There's Something Going Wrong Around Here
I was wrong.
I got an ipod. A used one. It’s old school. But it holds 20 megabytes of fucking music. That’s a lot of fucking music. In fact, I’ve loaded almost every single note I own (and several I’ve, um, acquired) onto the damn thing and it’s not half full. I’ve got a lot of music. Much of which I’ve forgotten about. Even with the pre-move-to-Texas-purge, I had a ton of music. And I can double that and still put it on this little, beautiful white gadget. I love my ipod. It is my new best friend. And that U2 b-side from 1982? Totally awesome tune.
And, well, let’s just say I’ve had a certain fantasy for a long time. It’s a good one. Not that kind of fantasy (Damn, Briar), but this:
Remember Reality Bites? Remember how Ethan/Troy was all pissed because Shop Lift Chick had started to date Jerry Stiller’s Kid? And Ethan/Troy, he had this band that was oh-so-hip-and-cool that it played the same Houston coffee shop all the time.
Remember?
They had a self-propelled, wheeled vehicle in their band name, if that helps.
Anyway, Ethan/Troy’s all broody and jealous, and Shop Lift Girl walks into the club with Jerry Stiller’s Kid while he’s playing and they launch into the Violent Femmes classic, “Add It Up,” and Shop Lift Girl’s all sad because Ethan/Troy’s singing right to her and her almost cheating but totally shattered heart.
That’s some good cinema. (And, really, Ethan/Troy, what kind of fool cheats on Uma with a Canadian Stripper? Are you insane?)
But like most Hollywood product, it’s too easy. See Ethan/Troy was already cool, just by getting out of bed in the morning. That hair. The goatee. The artfully out of tune guitar. The spiraling smoke from yet another Camel. That passage in the script that every-alt-woman-between-the-ages-of-25-and-35-can-quote-word-for-word about, “You, me and five bucks.”
You can’t argue with it. Ethan/Troy was a model for a whole lot of people like me who spent the ages of 11-17 in fear of a random ass kicking, but who hoped they had something more.
BUT...too easy.
He’s already cool. And they play a Violent Femmes song. Please.
Allow me to explain. The record containing that particular track was released in 1983. By my own high school years, several years later, tattered, many-dubbed copies of that cassette circled, We all had it. When Chris G. got the Escort, and he could drive me home from rehearsal to Hello, Dolly, we blasted side 1. At parties, it blared. Later, in college, it was produced like a chestnut. It is cornerstone in the geek soundtrack.
No. It would’ve been better if Ethan/Troy’s band had chosen a song that’s not so good. That doesn’t have the hip cred. A song that could’ve been made new through snarling, anti-folk from under a curtain of almost-greasy hipster hair. A song like Joe Jackson’s, “Is She Really Going Out With Him?”
Because, today, as I was walking in the sun, wearing my ear buds, the ipod's shuffle feature produced that number, and I was back in my fantasy. In the fantasy where I have a soupcon of musical talent. Where I have an inkling of melody. Where I can carry a tune and have the faintest notion of rhythm.
In the fantasy, I’m the lead singer and rhythm guitar player in a band. We have a gig in a club that is much like Southpaw or the Mercury Lounge. We’re doing our thing, and my soulful, broken hearted air is earned, and the kids love us. We’ve got the friends we’ve known forever over by the bar, signing along to the words, and enough people in the room, digging the vibe, that we think we might make it.
Oh yeah. I’ve written a record. One of hope and heart break. Of love and despair. You’ve heard Beck’s Sea Change? It’s all sad like that, but groovy too. You can shake it while you’re sad. It’s that kind of record.
And, lo and behold, as I’m finishing a tune, squinting into the crowd over the mic stand, I see her. The inspiration for the record, chatting and laughing with some dude. And I nod to the drummer, and he counts off, “One, Two, A-One, Two, Three, Four,” and there’s sludgy bass bringing in the opening notes, and I’m leering the words into the room, “Pretty women out walkin' with gorillas down my street/ From my window I'm starin' while my coffee goes cold /Look over there /(Where?) /There! /There's a lady that I used to know /She's married now or engaged or somethin', so I'm told... ."
And I’m wide eyed at the mic, watching. And she knows I’m singing to her. It’s all dramatic and she storms out of the club. And, then. [choose your own adventure]:
a) I get the girl in the end like Ethan/Troy. After chasing her into the street and going to Chicago because my abusive father has died.
or
b) It ends in a moment of punk rock glory I will ever know. The set is trashed and she is crying and I’m above it all. My demons are exorcised. And the really cute, yet totally unappreciated best friend character who’s been long suffering, finally gets some attention.
or
c) I get nothing. Just spiral into pills and more nefarious drugs in an attempt to nearly end my pain, get suddenly famous for a novelty single, tour the world, come home muttering, "Somebody, for the love of God, toss me a vicodin," end up on an episode of "Behind the Music--One Hit Wonders," while calling an agent who wants nothing more to do with me to try to beg a spot on some new reality show.
Really, I'm not all that fussed.
Because I love my ipod.
And it’s so pretty.










