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10/28/2010

Notes From the B Train: Part 3


View: Part 1, Part 2

VIII.
Winter comes to Brighton Beach, and as it turns out, winter there is barely acknowledged. The thermostat does not appear to ascend past 60 degrees and my pal Misha rubs his hands together for warmth over his keyboard. I turn so my feet are pressed against the cozy computer hard drives. We all wear hats and nurse hot beverages; I buy larger coffees. Friends in their first years of employment elsewhere across the city are thrilled by the realization that snow days exist in their professional worlds. I scoff and trek to work through snow up to my knees. “You think Russians are going to shut down because of snow?” I ask, followed by a requisite dramatic pause. “They invented snow.” This is, I suppose, what I talk about when I talk about Russians – their vodka and blizzards and great fur shapka hats - because it is easier than saying almost anything else, anything more nuanced or complete.

It’s the second half of my first year with them. With my hands on the keys and eyes on the screen, the Russians keep passing around me. They bustle and lurk, yell maddeningly and conspire in whispers, they laugh and they eat. A girl cuts her foot on glass. “Where is the vodka?” is the first question someone asks. On another day, a different girl cuts her hand. “Why isn't life easier?'” she wonders through tears with her hand under running water. “Come on,” says another Russian impatiently. “Who would want to live an easy life?” I concede that this is a fair point but I am not sure that it is.

My office is small and windowless and closed to the natural elements, but it hums and swells with philosophical questions and spiritual contemplations, with mixed-language idioms and jokes. I am drinking tea on a break and evaluating the state of my nails. “Lusya,” says a woman I am sure I've never met. “What are you thinking about so seriously?” Moved by the Russian spirit of things, I answer with seriousness, “Life.” The woman, who is somewhat brusque, flashes her gold teeth at me in approval.

Over lunch, conversations of similar import commence. Is the lychee fruit related to a leech? Is couscous the American kasha? What exactly is a bad romance, in the GaGa sense? What are the origins of the term “Limp Bizkit?” Is being married on the Sims really so different from being married in real life? Are we all just controlled by aliens? Where can you find a decent banya in this town, one where you're allowed to sip beer while you steam? In the morning, Vanya asks me how I am. “I'm fine,” I say like an American, but in Russian. “And you?” “Everything is terrible,” he says. I spit out my coffee laughing, but I should know better, that he is serious, because Russians are when it comes to these things.

IX.
As the only possessor of a United States birth certificate, I am exempted from staff meetings and USSR t-shirt uniforms, but I sense that I am a step outside the ring in almost every other respect as well. This constant need to prove yourself on behalf of your entire culture makes, it turns out, for an exhausting way to spend your days, and there are a number of occasions over the course of the year when I think I might give up the Russian racket for good, get out of the business and back into English.

Over time I realize that I am prone to forgetting that the strict militancy of the Russian environment conceals the fact that there are actually no rules at all. The law of Brighton Beach is that there isn’t one: you can do whatever you want, more or less; a hangover or a desire to go to the beach is, after the most unconvincing sigh or slightest good-natured berating, a perfectly legitimate reason not to come to work. But arriving in the office each morning as an American, raised in the great tradition of defense as the best offense, I feel compelled to offer excuses for my behavior, the good and the bad, and grandiose reasons for any absences. I find that for as many things as I do not understand about them – the constantly raised voices, the endless appetite for mayonnaise – there are a lot of things the Russians do not understand about me: my willingness to wear used clothing or scuffed shoes, how I can be a Jew without a last name like Goldsteinberg, what exactly I, as a vegetarian, eat and how I stay alive, so far from my mother’s home cooking, too. But one thing Russians are very good at understanding is chaos, the dramatics of love and family, personal crises, the kind of lack of direction or tendency toward major life upheaval that may or may not afflict you, intensely and suddenly, when you are twenty-two or twenty-three.

This all comes to a head in March, when a trip to visit family turns into one of these crises, just the post-grad kind, the end-of-a-long-relationship kind. As soon as I get back to New York I decide I have to leave again, and while I am prepared to work off-site – “Telecommuting,” I tell them like I know anything about business at all, “It’s very popular in American management” – I am also prepared for the likelihood that I could be fired. But instead of chastising, the Russians swing into action, full of advice, completely in their authoritative element. On the hunt for an apartment, I ask Misha if he has ever moved within New York before and if he might recommend a moving company. “Oh man,” he says. “You’ve got me. I still live with my parents. I tried to move out three times but my mom just wouldn’t let me.” When I announce with exaggerated optimism that I am moving in with male roommates in Crown Heights, the reception is as though I have announced I’m quitting drinking during a long winter; there are sharp exhalations, some muttered disbelief at how far I’ve fallen and intimations of, “This can’t last.” Several people suggest I move to Brighton Beach instead. I entertain the idea so far as a cursory Craigslist search and setting up an apartment visit, but at the last minute I back out and don’t show. There can be, it seems just then, distinctly too much Russian in one day.

Oddly, when I return from my second trip away from New York, my employers are moved by some sort of pity or regret or other kind of mysterious Russian logic to promote me. My boss corners me and asks me about my plan for the future. Being the kind of person who consults airline ticket prices so frequently I know which days a month are best to fly from New York to LA or from New York to Chicago, I do not like to commit to any kind of plan that might keep me in one place. I swallow and tactfully say that I enjoy working with the business and hope to continue working with it somewhat longer in whatever capacity both parties agree on. My once mainly academic and survival Russian vocabulary, full of words useful for describing the Imperial legal system or ordering Baltika beer, has taken a turn toward “amateur lawyer with a taste for idioms.” “How long will you stay with us?” my boss wants to know. I say six months with a question in my voice. He says a year. I counter two years. He suggests three. It is bargaining, the Russian way of life, the trait I find to be most frustrating and advantageous at once. By the end of the conversation, he too has offered to find me a studio apartment in Brighton Beach to spare me a commute and keep me close to the fold. He takes particular joy in imagining depriving the MTA of the $89 I pay for my monthlies. The thought of relinquishing my Metrocard seems like a fate significantly worse than unemployment. “We’ll see,” I say, which is a phrase Russians like very much and use to signify the end of many conversations, their special non-committal yet all-knowing refusal to ever concede the last word.

X.
For a while, moved by enthusiasm and perhaps some post-holiday rush boredom, my boss decides to try convincing me to work longer hours, preferably ten hours a day, six days a week. For various reasons, chief among them my embarrassingly meager pay -- although spending most of my waking hours confined to a space where people think microwaving fish is acceptable is also an unappealing prospect -- I do not find this to be a reasonable expectation. I spend a week refusing to submit a new schedule. “Ten hours is not possible,” I say. “I have classes, I have another job, I have things to do,” trying a new excuse every day in the hope that one will strike my boss as sufficiently convincing, but he doesn’t give up. “Well, what’s wrong with nine and a half hours?” he asks reluctantly, like he is sacrificing something major and not just a few hundred words about translations of Dr. Spock books. After work, I fume to a few friends. They are Jewish and sympathetic. “Didn’t our great-great-grandparents work 18 hour days for their Russian overlords so they could emigrate and we wouldn’t have to?” someone asks. I outwardly agree, as carried away by American indignation as I was before by Russian moral meditation, but I stop to consider that our ancestors’ Russian bosses presumably did not try to lure them in with afternoon sake or pirozhki.

The Russians get more comfortable with me as time passes and spring arrives. When the men ask me to name my favorite alcohol and the women start asking to borrow money, I know I am more or less part of the family. They enjoy sharing with me their vast repertoire of Jew jokes, as though they believe that as a Jew I might especially understand and relate to them. When I cannot bring myself to laugh uproariously they think I may not understand. “You see,” Misha explains with patience, “It is funny because there is a thought that the Jew people are very stupid and greedy.” After a pause and a bite of potato salad he asks breezily if “Hava Nagilah” is my favorite song. Still, they take nearly endearing pains to assure me that I am not quite as bad off as other members of my culture. “You have some Irish heritage, yes? Don’t worry, that is much more important. Your children will be great drinkers.” I am not sure what scientific grounds they might have for this conclusion, but as with much of the dubious information they present as indisputable Russian fact, I accept it tacitly and with a tight smile. It is not often that I actually disagree with them entirely, but they are not to know that; such is the nature of our bond: the old believers and the new disbeliever, the confident and the skeptical confidant, the Slavs and the American.


10/19/2010

Snail Talk


Growing up in Los Angeles, I took walks around the block and found myself stepping on a lot of empty snail shells. The sharp, crunching noise kept me coming back to this one spot, guaranteed to be overloaded with empty snail houses. I never liked the gooey ooey part of the snail, and to this day I hate worms. They are gross. They don't have that nice shell to cover up their grossness. But snails have since grown on me (idiomatically, not actually grown on my body). In fact, I kinda love them.

A couple weeks into the snail house-wrecking period of my life, I was at the car wash with my mom, waiting and being bored and 6 years old or something. There was a weird gift shop vibe at this car wash. It was as if the car wash dudes were thriving off the bored little kids who got tricked into going on errands with their parents. There was this spinning puppet rack, like the kind you'd see in a toy store. Of all the fluffy and soft animals I could stick my hand into, I chose the snail puppet. My mom bought me Snaily, the snail puppet, and from then on out Snaily officially came with me everywhere I went. Here is a picture of Snaily and I, dinning.

It is easy to imagine Snaily’s fate resembling Woody’s in Toy Story 3, just chilling on the bed, waiting to get played with. But Snaily was actually a big hit in college. Rather than just a puppet, he was kind of a comforting glove. You put Snaily on your arm and you can still pretty much do anything you would normally do, it's just a little funnier looking. You forgot that you were wearing a snail and went about your business - eat a banana, turn off the light, something. My friends' evolving intrigue in Snaily and their appreciation for my random interest in all things snails made it easy to get me birthday gifts. I started to rack up on the snail paraphernalia. I left college with a snail lamp, a snail clock, a couple snail candles, a snail necklace, an I <3 Snails magnet, a snail-print cloth from straight-up Africa, a couple snail shirts and the list goes on. Nowadays, people send me sweet images of snails or photos they've taken and think of me when anything snail-related is involved.

Anytime the moment arises where one would need to draw something on a wall, or carve their name in a tree or just generally graffiti (pretend that's a verb) something, out comes a snail. It's a nice go-to and I feel pretty lucky to have it. The other day in the subway, I saw someone had drawn a snail smoking a cigarette on a poster. I think I have a doppelganger out there. That's cool.


10/12/2010

Woven Bones Interview


Andy, Carolyn, and Matty are in the Austin, TX band Woven Bones. When I was there in August I was talking to Andy about where we were going to meet for the interview. He said I could come to their practice space. He said there was a giant moon rock out back. I said that sounded good. When I got there, the trio took a break from playing and led me to the moon rock. Together we orchestrated a conversation, and below are the stories that came out of it. I edited out most of my prompts and left Andy's words, because that's how my man Studs Terkel used to do it. The band will be in town next week for CMJ so feel free to check their dates and catch a show.

Andy: As far as like a, "what is the coolest thing is the world that you could do?" kinda level, always in the back of my mind I think, "being in a rock band." Giving your songs to people. Having people like your songs. It's been a fantasy of mine.

Nivana, the Cure, fuckin Sonic Youth, fuckin Weezer. I mean, Jesus and Mary Chain. Velvet Underground is one of our bigger influences but I didn't even really know the Velvet Underground until I was like a senior. In high school. I grew up in a real - I got into everything through 120 Minutes on MTV. That or whatever my skater buddies listened to. My parents liked the Beatles and the Mamas and the Papas and the Kinks. And Tommy James and the Shondells. That was their biggest contribution to my record collection. Nothing too far out or wicked cool or underground or anything.

I grew up in Jacksonville, in the city, five minutes from downtown. I grew up skateboarding and playing basketball and riding my bike. Doing all kinds of shit. Skateboarder forever. My parents moved out to the burbs, far out, when I was 13. Kinda like the country. I didn't want to at the time. Because all I did was skate. And we were an hour away from downtown. But it was cool because - they were few and far between - but the kids that I met there were all really cool. I met people, and driving an hour back to town and having older friends that could do it ended up not being a problem. I did that whenever I could. And there was actually a cool punk scene of, not house parties, but more at veterans' halls and crazy shit like that, in the area where my parents lived. It was a weird time. Veterans' halls – they would just rent out a space and throw a show for a band that was on tour. It wasn’t total hickville. It was, but it was a different day and age. It's backwoods Florida but there's a beach there. There's a beach, there's a downtown, there's an urban area around downtown. It's a legit city. It's not as far behind as some people think Florida is. I mean it is, but it's not.

There was an old place called Einstein a Go Go that was on the beach. And I mean, The Breeders and Nivana and The Pixies, and The Melvins, and Arches of Loaf - all these cool bands, like Luna, right before they got big - they would come through and play Einstein a Go Go. All of the people that were older, in their late teens to mid-twenties, a lot of them are still around in Jacksonville. They've always done nights in Jacksonville. So from when I was able to go out, there was always really good indie rock/rock and roll/punk rock dance nights. Those don't exist in Austin, or lots of places. Where they just play really fucking good indie rock, and a sea of people dance. It was different places, after Einstein a Go Go. When that place went down, everybody filtered into the urban neighborhoods around downtown. There were a few places that had that kind of thing. Thursday and Saturday nights. There were two different places. Every hip kid - that's where we were all at. And we'd just get wasted. I mean, whatever 90s indie rock to whatever's cool now. They'd play all that. And all the hits. And everybody just danced their asses off and has a good time. Old school dudes would dj. It was fun. It was what we did. Compared to Austin. I mean I like dancing. You like dancing, huh Carolyn?

Carolyn: I love dancing.

Andy: Yeah, I mean I like dancing and having fun. We all like – from shitty new pop music to - I mean they'd even play whatever crazy hip hop was rad. It was just good shit that kids like. Just the regular shit that everybody loves. It was not genred-out or anything. It was just the shit and everybody danced.

Besides really crappy punk pop bands - like Limp Bizkit is from Jacksonville, really crappy shitty stuff like that - there was never really any cool bands that played good stuff. That's kinda why I moved out. I went to college and I went through a bunch of shit, and came back home and wasn't really doing anything. Everyone was still there. Everybody goes out and parties and has good taste and are good artists, but they're all armchair critics, and I mean it in the kindest way. I love everybody from there. Everybody's an armchair critic, they talk about everything, the good and the bad, smoke shitloads of weed and get wasted, but nobody ever actually participates in creativity in a fashion that they actually try to go out, and get it out. A lot of people don't do anything. They're just lazy.

I had sort of a panic attack. Actually, it was the worst job I ever had. I was working at Guitar Center. I went through a bunch of dark times. I broke up with the girlfriend I was with for years when I was in college. And then a few months later I lost myself to drug-fueled abandon. When I got my head out of that I was living at home just to get my feet on the ground again. I worked at Guitar Center. When you first work there you work in accessories. So I just knew about guitar pedals and a bunch of stuff. I knew about the stuff because I was interested in it. A lot of people work there and don't give a fuck. They're ex-musicians who were used car salesmen and got fired from that, and now they're selling musical instruments as if they were used cars.

You work on commission. You have to fade your pay. That's what they call it. To get commission on what you sell you have to outsell your hourly wage, and then you get a percentage of what you outsell. And if you don't outsell your hourly wage, your job is at risk. So they make you make these annoying phone calls to people, which I never did. I just acted like I was doing it.

I did really good and they tried to move me to guitars, which is a more money-making side of the job. I did really good the first day and as soon as I did good all the old dudes who worked there, all the sharks – I'd be talking to a customer, trying to give them the right deal for what they needed and get them out of the store. It's like, moms shopping for their sons and daughters. The kids, either they know what they want but it's too expensive but they can get something that's just as good, or they don't know what they want at all, and you want to get something that is proper for them. And all these other guys wanna do is make as much money as they can and they don’t give a fuck. You know what I mean? So they would cuss me out or try to make me look like an idiot and get loud and then swoop in and steal my customer. And I was like, "Well, I don't give a fuck. Hey, brother, I'd just rather be king shit of my little shit-fuck mountain in accessories and work back over there." I don’t give a fuck about competing with some dude who used to play keyboards for Gloria Estefan back in '85.

I was starting to write Woven Bones songs and I had a lot of stuff going. But it was so soul-sucking and fucked up. I started having all these like – the economy was just starting to fall – and they started having all these sales meetings. And they were talking. And there was all this shit. They were crazy sharks and weird shit. I was just stoked to work around instruments. Even if it was at fuckin shitty ass guitar center, it was cool. Then I worked every day of the week. I only had one day off. I basically worked from 10 until 8 at night, and I drove an hour to work in the morning and an hour home. I didn't ever get to do the stuff that I wanted to do, that I thought would be more possible because I worked in a music store. Then shit just keep getting more and more corpo and sales-oriented and weird. I sort of had this panic attack one day. I and talked to my friend in Orlando and I was like, "Dude, I'm just getting the fuck out of Jacksonville. I don't know what I'm gonna do, but all I need to do is get out of here." It's only an hour away. It's a quick move. I moved to Orlando. I worked at a vegetarian cafĂ© that was family-run. I was the only employee besides the family. And I played music with my friend Curtis. We started Woven Bones up as a two piece band. When the economy crashed, a bunch of shit went awry at the restaurant. A bunch of equipment broke, like the air conditioner broke and shit. They were all kinda like, bumming around. I was like, "I know I'm the only person who's getting a non-family paycheck. A legit paycheck. I don't wanna beat around the bush or be a burden on you guys. Let me know. Because I've got some friends in Austin that told me I should move there. And I'm sure it wouldn't take a lot to move there." They were like, "Yeah. We were gonna tell you that we might need to let you go." I was like, "Well let me work until next Friday and just pay me out in cash and don't give me a check and I'll be out and everything will be cool." So that's what happened.

I've been able to get by. I get by by the skin of my teeth a lot. There's a lot – I dunno. It just seems each easier here right now for me. And it has since I moved here. I think that I was lucky that things kind of took off for our band in whatever way they took off. It's given me, even in a miniscule way, opportunities to make money doing design work and stuff like that. Just freelance. It's cheap here. I haven't lived in the best places. I haven't been as comfortable as I have been in the past. But I've been able to get by. At least for me and Matty. Carolyn's just now stepping into the role of casting aside things to play in a band. It's enabling. To get by and keep up. The town is supportive of music. We're lucky enough to have - for whatever strange reason, right when we started people paid attention to our band.

LL: How did that happen?

Andy: I dunno, do you?

Matty: I dunno. We're good?

Andy: Maybe we're good, I dunno. I had people who wanted to do our record – like Hozac – when it was just me. They heard songs on the internet. I moved to Austin with a bag of tools that enabled us to do things. A bag of tools that a lot of people don’t have. Record labels that wanted to do records. I told them to wait, that I would find a band and we would tour. There's a lot of bands these days that never leave the bedroom. They write cool records and it's 7 inches and stuff, but they're just bedroom projects. I was like, "I really don't wanna be one of those. If you want to spread my music around to the world or the internet or whatever, I would love to be in a real band and actually support it and try to do as much for you as you can do for me." It's worked out. Everything we have right now has been a successive thing of people hearing what we put out. I've never sent off demos to anybody. There's a lot of small record labels around, and we've tried to pick the best ones to work with who wanted to do stuff for us. It ended up being, as far as we can see right now, the right decision. We signed. Now we're on a label called Hardly Art, which is part of Sub Pop. Which is cool. We're all stoked on it. We're not rich. We didn't take a bunch of money, agree to get a big advance or anything. We're happy to have a home with a really good team of people behind us who genuinely like our band a lot. We signed for two records. So if our first record that we do with them totally tanks, they can drop us. But as long as we work on it, I doubt that will happen.