I think one of the things they say in AA and NA is that you shouldn’t worry about things you can’t change, the past for example, and probably accept things with grace and the help of a higher power or similar organizing principle. I don’t really know because I only went to NA meetings a couple of times when one of my methadone clinics tried to force me and I made sure not to pay attention. I most likely disagree with AA and NA on every relevant point but the main one is that I don’t think addiction is a disease. In fact I don’t think it exists at all and the myth of its existence is the most harmful aspect of humanity’s troubled relationship with drugs and alcohol.
I should clarify that I do believe that physical dependence to various substances exists – as I’m fond of saying I’m not going to sit here and argue with the evidence of my own senses. I also believe that, in the words of Minor Threat, substances can be a “crutch” but I don’t see how using a crutch is a bad thing. It’s certainly better than just walking on a broken ankle if you ever intend to stop having a broken ankle. If mental illness is a “broken ankle” then I absolutely believe that self-medicating with various substances is a useful and often necessary step on the path to healing or at least leading a fuller and more functional life.
The main thing I disagree with concerning the concept of “drug addiction” is the idea that addicts are powerless to make rational choices to improve their lives. Research by Dr. Carl Hart at Columbia University showed that crack smokers nearly universally will choose deferred rewards, either in the form of future drugs or money, when offered a choice between this option and smoking a relatively small dose of crack. At the most extreme example there isn’t a single drug addict on earth who would jump after their preferred substance into a live volcano like Gollum does at the end of Lord of the Rings.
On a more practical level I don’t think that either being fond of using, or even physically dependent on, any particular substance is sufficient to cause a person to compromise their values. Retaining one’s values in such a state is merely a question of placing those values above personal discomfort in a hierarchy. This is a question of courage and I don’t believe that the users of any particular substance are either more or less courageous than the population at large. People who don’t use psychoactive substances are just as likely to put their personal comfort above their supposed values in my experience.
However my biggest issue with the addiction narrative is that I find the idea that it’s rooted in empathy and compassion to be an egregious lie. It mostly serves to dehumanize people because you don’t agree with their choices while telling yourself that you’re a better person than they are. Anyway this piece isn’t even about drugs, it’s about memories and the past, but I do tend to get onto my soapbox. What I’m actually supposed to be talking about is how I worry about the past.
When I say I worry about the past I don’t mean that I have regrets or anything – I think it’s more like when a person knits lots of different cozies for various inanimate objects. I read an account about Kaspar Hauser, a famous German feral foundling, that said he would carefully deconstruct the objects in his room before going to sleep each night because he worried they could not safely persist in the state in which he’d arranged them in the absence of his consciousness. Perhaps that is how I view the past – I may well be a very specific kind of animist who believes that the past has a soul.
I might as well also mention that I both believe the past to be perfect and not to exist at all. These details aren’t super relevant to what I’m talking about but I do enjoy the sharp juxtapositions created by simultaneously holding contradictory ideas – kind of like how I’m getting back into Catholicism but strictly through the lens of atheism. Anyway as much as I believe the past to be perfect and not to exist at all, I also fundamentally want it to be okay and the only thing I can do toward that end is care for it.
I want to set a place at the table for all the things that don’t exist and aren’t real: death, the past, probably God… I imagine non-existence has made them all quite hungry. I take a certain perverse pleasure in starving myself to celebrate the Thanksgiving holiday but things that don’t exist are not me and I think they deserve at least the option to eat. If it suits them they can always starve themselves too – a full plate for every hunger artist.
Of course it doesn’t hurt that the past, in and of itself, is absolutely delectable. A fine repast as it were and an everlasting gobstopper for an eternally famished nervous system.
It occurs to me that I left one entity out in my banquet for nonexistent Noumena – addiction. Oh well. It can starve for all I care.
Anyway if you’ve read this far I’ve both established that I love the past and created more of it by taking up five to ten minutes of your reading time you’ll never get back – let’s go ahead and get on with the actual thing. I have a complex relationship with object permanence because I used to keep paper archives going back to my earliest childhood at my parent’s house but a combination of my siblings forcing me to remove everything for no good reason and my own life of homelessness being chaotic caused all of that to be lost.
I don’t necessarily trust the internet to keep and take care of things, I’ve been burned in this regard several times, but against all logic I trust it more than myself. This makes no sense at all as my wife and I are now home and land owners, but it’s hard to put your foot on solid ground when your brain is telling you it’s only empty air. Peek-a-boo is an emotionally charged game for parents and children alike – you may know the other human face persists behind the hands but knowing and seeing are two different things.
I think I’ve always lived in kingdoms of memory inside my head but living in cities with the bright lights of culture, society and civilization made them more difficult to see in detail. It’s like the stars – they’re always there but only us country mice get to see them burning as brightly as William Blake’s Tyger. Living out here has made my memory dioramas much more lurid as well and the quiet life allows me to give the past about as much attention as Henry Darger devoted to his “Realms of the Unreal”.
Sometimes in my perambulations of prior primrose paths my mind’s feet come bumping against artifacts that may yet live in the world of things. While you’re not likely to find a bigger proponent than myself of the value of inaccessibility I do also yearn, at times, for a subset of these things, if they’re media, to take their rightful place in the ethereal Asgard called the internet of things. Unfortunately none of the dullard inventors of the twentieth century quite perfected the crystal ball so occasionally these media are crystallized in mediums that would require that most priceless of resources, human effort, if ever such a transition were to be made.
The modern archaeologist must not just dig, but also digitize. If we are to parley with ghosts first we must make them Boolean, with hearty helpings of ones and zeros, for forms captured only in unnumbered light, vibration and, that most mysterious of mistresses, electromagnetism. As this labor can be Herculean, not everybody is always up to it, at least not right now – the infant demigods of the world have their own snakes to strangle after all, and strangle they should as venoms are cruel and pressing and life is always worth living.
Anyway I’m rambling. Some of these artifacts were Super 8 films my friend Tim made with me in 1998 for his Filmmaking 280 class at USC. I’m a big fan of clines and his cohort was the last ever to work in this medium – leading to some amusing and illegal hijinks involving his housemates not long afterward. Tim and I talk and his life has been less chaotic than mine but it is also currently busier as he’s a Hollywood power player and I’m a weird beard stylite. The reels are real and in his basement. I’ve been to the house he shares with his wife, and my friend, Brandi, as well as their son Orson, a few times – once he helped me make a large scale bismuth crystal as a gift for my estranged younger sister’s wedding and once me and my now wife LaPorsha got lost trying to go there for his and Brandi’s.
Sorry for all the details. The devil is in them and will have his due, and my sympathy, until they pry my cold, dead fingers from the tiller. Full speed ahead, shipmates! The point is I’m a long way from Los Angeles now and, while transferring the films would probably make for a lovely adult friendship afternoon activity if I were there to offer material and moral support, as a thing I only needled Tim about remotely their position on his prospectus was more open ended.
And so things sat, until I decided to ask my buddy Gabe Saucedo about a ballad by Mexican ska band Inspector that had been stuck in my head since it got a lot of radio play while I was in Belize in the Summer of 2002. He didn’t know but passed the question along to his brother and my friend Gerry who is more versed in this brand of Rock en Español and helped me figure out it was Amargo Ádios. The singer in the video bears an uncanny resemblance to Gerry and hearing it again brought back vivid memories of rude boys stoically skanking to it outside a banana bread bakery in the Caribbean environs of Caye Caulker after somewhat more threateningly dancing around my sister to that Summer’s hot jam: Sean Paul’s Get Busy.
Gerry also introduced me to a wonderful song with a near identical rhythm called Lamento Boliviano by Argentina’s Enanitos Verdes. However the true skullduggery began when I offhandedly mentioned the Super 8 films, in which Gerry also acted, and he revealed that he was still holding on to a VHS transfer and could catapult them into the cloud somewhere on the sooner side of forever. In fact he has already done just that and the light of 1998 shines again as a finely aged Summer Wine.
Tim wants to convert them from 16:9 to 4:3 before uploading to YouTube or somewhere similar. I explained he could simply take the square root of both sides but apparently the prospect of returning -4:-3 makes this option unpalatable. Regardless patience is a virtue, like all others, I prefer to live without so I’ve simply served up the contents in a meaty hyperlink to a public DropBox that I have no idea as to whether or not it might expire at some point.
Once when I was riding a freight train with some people on acid we joked about the prospect of snatching an oversized submarine sandwich from the hands of a family movie style fat kid should the train pass such a child with such a sandwich at high velocity. The imaginary payoff to this imaginary joke was the mental image of this fat kid then attempting to take a hearty bite only to have his teeth come crashing together on empty air. If Gerry’s DropBox link expires that will happen to you, and if you tell me it happened to you I will laugh at your misfortune.
Let’s talk about the movies. I’ve never had a long term art boyfriend, probably because I’m too much of a control freak to make a good collaborator, but my first short term one was a kid named Anthony I made up a bunch of superheroes with in Third Grade. I was a little jealous of the stable art boyfriends I started to meet around High School, like Paul and Ben for a second, but it wasn’t in the cards for me. Anyway me and Tim got to be art boyfriends for a good chunk of 1998.
We had our band, that was nominally supposed to include Brandi, called The Singles, and bought matching bellhop jackets that we unsuccessfully tried to sneak into my prom with Little Four in before we went and played a couple Ramones covers at Union and Beech. We eventually wrote and recorded a couple of songs together, which Tim apparently does still have a tape of and will hopefully reach the internet of things in due time.
I helped him roof a house that Summer and we zipped all over town in his sporty white Datsun convertible. The two of us were striking enough in this vehicle that one day a pair of prototypical “California Beach Babes” lifted their shirts to flash us on the 94 Freeway. I think Tim even attempted to teach me how to drive a manual transmission this year but I’m a slow learner – I’ve just about figured out driving an automatic well enough to hopefully take a driving test in 2026.
Our greatest collaborations were in Super 8 celluloid however. I don’t want to take too much credit as Tim wrote, shot, directed, edited and scored the shorts while I merely spitballed ideas and acted, poorly, but I don’t think it would be an exaggeration to say I was his muse. Gerry’s VHS contained two narrative shorts: Cherchez Les Femmes and Two Plus Two Minus. We also made a more experimental short called Changes, and possibly one more film neither of us can remember, before he ended the semester with a full color claymation I only made a fire hydrant for called A Special Pizza.
Cherchez Les Femmes is our love letter to the French New Wave – we both had a bit of a Godard-on at this point. I play a hard boiled detective with my hair in an uncharacteristically short shag that resulted from my brother duping me with a ringer of a barber for his first wedding earlier that year. You can’t exactly tell in the footage but my necktie is a beautiful silk Emilio Pucci number with a squared tip featuring simple geometric forms in a range of earth tones against a black background.
The shifting seasons of our lives! I don’t think I own a single necktie now but to teenage me they held up the very firmament. I have an amusing memory of a white girl in my Senior IB English class telling me I looked like I was “being lynched” the day after our entire class read that very turn of phrase regarding neckties in The Color Purple, and silently judging her. I still love judging people but now I try to be loud about it and hopefully me being a paragon of garbage softens the blow.
Anyway the movie: it’s a convoluted double cross thing featuring Jonas, Tim’s prior art boyfriend, as a priest turned pimp, our Peter Pan-ish teacher friend Señor Suave as Fidel Castro, Tim as a mysterious Mormon-like antagonist and finally Nina and Kendall – two girls who went to SCPA and were much cooler than us. I was smitten with Kendall at the time though I can’t remember the chain of events that led to this fixation. I have a troubling premonition that it could be because my friend Gabe Saucedo told me that she’d told him she liked him and he reacted by punching her in the stomach.
In those days Gabe was doing a bad impression of a piece Vincent Gallo wrote for the Beastie Boys short lived Grand Royal magazine where he interviewed himself. Vincent, and Gabe in imitation, called people, in the general sense, “creeps” and claimed to be above romance by virtue of this creepiness. Gabe ascribed the same attitude to Morrissey – who coincidentally wasn’t that bad of a role model in 1998. Anyway the Saucedo clan is comprised of proud Mexican-American mama’s boys who have stayed true to the Raza in all of their adult romantic endeavors so the question may be largely academic.
[Important note: I grievously misunderstood a statement Gabe said about not being in the “white boy party scene” and he is currently the proud father of a child where the mestizo “original recipe” has been heavily slanted toward the “tercera europea”. Mea culpa.]
I mostly remember having long telephone conversations with Kendall under a dying apricot tree where she confessed to some degree of reciprocal fascination but told me she’d be “washing her hair” when I asked her what her plans for prom were. That was pretty classy of her. Less classy was the thing I apparently ended up saying to her – that it was a good thing she wouldn’t be coming to my prom because everybody at my school hated her.
I’m pretty bitchy but there must be a kernel of truth in there somewhere and I wonder what it was. Maybe Anne Gregory, my previous obsessive crush and the person who introduced me to Little Four, didn’t like Kendall or something. I’d sure like to find Anne Gregory. She told me that her mom had sex with Peter Frampton so every time I saw the I’m in You record digging through Thrift Store bins I thought about Anne Gregory’s mom who I only met once or twice. I don’t think he was supposed to be her dad or anything.
Anyway I wouldn’t have remembered saying that at all if I hadn’t reached through time and space to find Kendall and pass along the movies. That’s the nice thing about being a past obsessed weirdo – sometimes it causes me to talk to real live, flesh and blood people. When we were chatting I could only picture her as the melancholy maiden of my memories but I’ve since peeked over the wall of Zuckerberg’s garden and seen pictures where she’s smiling.
I don’t know how soon it was since we lost touch around 1998 but just like the Urge Overkill cover of the Neil Diamond song in Pulp Fiction she became a woman. I’ve been having an interesting experience over the past year or so and I’m just going to come out and say it. I think that intensely loving my wife for the past thirteen years has made me especially susceptible to the beauty of women – kind of like how rubbing a balloon on your hair can cause it to stand up from static electricity.
I know it sounds bad but whatever, I’m a pretty feminine dude. When I was younger I mostly noticed the beauty of men. First guys like Harry Dean Stanton and Gene Wilder but more recently Shah Rukh Khan and Dev Patel. To be fair I haven’t seen it but I wish they hadn’t let him make that Monkey Man movie last year. I think he really had A-list potential if they’d let his career slowly simmer but instead they let him make a big budget ego project and I doubt we’ll be hearing much more from him. It’s a shame because I really don’t care for the Austin Butlers and Timothée Chalamet’s of the world.
Finn Wolfhard has a beautiful nose but where has it gotten him? Anyway I should save all this for when they start letting me edit Tiger Beat and get back to some semblance of a narrative. As much as I appreciate male beauty, I’ve only ever loved women and now when I think about any woman I’ve ever known in my life their beauty hits me like a fist in the stomach. I can see how the fact that it’s every woman might make it seem less special but it’s not like that at all. Think about every cat you’ve ever seen – all cats are beautiful right?
Regardless I don’t think Kendall and I ever had much chemistry off the phone, what I call “skinside”. We share a brief kiss in the movie and let me tell you, Super 8 is a really evergreen medium, we all look stunning, but there is nothing there – no sparks, no William Blake’s Tyger, the forests of the night are dark. Nothing really distinguishes it from my kiss with Nina, or my kiss with Tim for that matter. I mean, I was shy and inexperienced but you’d expect something, it’s the movies after all.
Anyway let’s get back to the bromance. I used to tease Tim that in his omnipotence as scriptwriter it was telling that the film featured two flowers of exquisite teenage beauty but he chose to write himself a kiss with me. It was an empty jest though, I know his true mistress was the narrative though you’d have to ask him what that narrative was – Chekov’s gun only makes an appearance in the final frames of the closing credits.
As long as we’re talking about Russians I’d like to mention that a rough, high contrast portrait of Vladimir Ilyich Ulyanov aka Lenin pops up several times throughout the story. I was obsessed with Shepard Fairey’s constructivist inspired Obey Giant! stickers around this time and had made the picture, derived from literal clip art picture files stored in Manila envelopes in the old downtown library, into a stencil for spray painting t-shirts and carving Jack o’Lanterns. I used to have pictures of all this stuff but I’ll save the tired refrain for the time being.
Cherchez Les Femmes is shot in Vertiscope, achieved by using widescreen stock and holding the camera sideways. Tim invented the technique and, as he noted recently, was rather prescient in doing so now that so much video is recorded on cell phones in portrait mode. If Tim ever does get around to tweaking aspect ratios for the big upload it would be nice to see Cherchez Les Femmes expanding from the pittance of my phone screen the current format grants it.
I’ve written a bit about the second uploaded film, Two Plus Two Minus, in a rambling essay that touches on the fortunes of my costar Spencer. The film’s title is a reference to it containing two good characters and two bad characters, and the monochromatic morality is fairly humorous by modern standards. The good guys are Tim and Spencer, both clean cut white guys who look comfortably middle class, while the heels are me and Gerry as a Dickensian evil homeless man and Latino greaser house burglar respectively.
My casting proved prophetic as I’ve spent years homeless and lived exclusively off the proceeds of panhandling but it might just be a role I was born for. I used to get offered food a lot as a teenager while waiting at bus stops and in my brief time as an extra I portrayed a homeless man in the airport scene of Elvis & Nixon (2016) convincingly enough that set security attempted to eject me under the assumption that I was a random vagrant and not featured talent.
In regards to Spencer and Gerry the casting is less clairvoyant. Gerry seems like an upstanding do-gooder to me but Spencer went through a bit of a rake’s progress and did some hard time for counterfeiting. I’ve done a fair amount of counterfeiting myself but never of legal tender, not that I think the crime is especially onerous. If anything, Spencer’s unforgivable sin was getting caught. I might dry snitch like a raspy voiced canary in these narratives but what’s anybody going to do about it? I’m not a hard man to find.
I titled the piece the way I did because when Kendall thanked me for dredging up the past and giving sleeping dogs firm kicks I replied that I was a regular Victor Frankenstein. I thoroughly enjoyed Guillermo Del Toro’s recent adaptation of Mary Shelley’s angsty teenage novel – especially when it preserved references to Milton’s Paradise Lost. Thirteen years ago I portrayed an amalgam of Milton’s Lucifer and Prometheus in a short lived lounge jazz presentation called Diving God.
The image I chose, from Thomas Edison’s Frankenstein, was used on the cover art of a Bleak End at Bernie’s live CD-R I no longer possess entitled Nothing Happened : Live in a Ghost Town. Until I watched Del Toro’s, Edison’s was my favorite adaptation of this classic tale and I still consider it to be the scariest with its uniquely alchemical take on the monster’s creation. I reached out to somebody who played a track from the CD on a radio show once in 2010 hoping he might still have it and could photograph the cover but I have yet to hear back.
The cover was a simple amalgamation of this poster art, the title and a quote from Louise Glück’s Gretel in Darkness:
“Now far from women’s arms
and memories of women, in our father’s hut
we sleep, are never hungry.
Why do I not forget?”
Glück was 28 when she wrote the poem, which is young to me now, but considerably older than Shelley’s eighteen years when she first drafted Frankenstein – coincidentally the age that I was in both of the above films and close to the age for nearly everyone in the casts and crews but Señor Suave. Edison was an august 63 when he made his Frankenstein but the film certainly represents an adolescence for cinema as an art form.
I’m a big champion of juvenilia, even if I also appreciate the work of old weirdos, and craftsmanship just seems like any other element in artistry to me that can be used to good effect but is by no means necessary. Now that I’ve seen photographic evidence that Kendall is a fully adult woman I feel a little bit of guilt for talking to her as if we were both still moody teenagers but I don’t know how to prevent myself. While my beard has become long and white I still often feel like three children stacked up in a trench coat and at this point it seems unlikely I’ll ever stop.
I must confess that for a long time I resented Kendall, or perhaps a better word would be that I felt betrayed by her, because she claimed to be experiencing a similar attracting force yet made a different decision. In my whirlwind life of whirlwind romances I only experienced this one other time and dealt with similar feelings. I think I’ve experienced most everything else though – I’ve played the roles of both “needy” and “distant” in the unpleasant game I call Brokeback Mountain.
I do think I’ve matured enough to reach a point where I no longer feel this resentment. Just because it’s always my tendency to go head over heels and be careless with my heart doesn’t mean that anybody else is beholden to do the same. I do think there was wisdom in her decision – we both seem to be in the lives and relationships where we belong whether the roads to get there were rocky or otherwise.
I wrote in my recent piece on my friend Steve Lawrence that I sometimes worry that my romance with the past makes me a subpar friend to the people who need me in the here and now. My greatest misgiving is that I might make my friends feel like a person who is only contacted to get another person’s phone number but that other person would be either their past selves or the past in general. I’m bad when it comes to telling my friends I love them – the ones I say it to seem uncomfortable like I shouldn’t have said it and likely some of those I don’t say it to would prefer if I did.
I’m trying to get better about these things but time is running out. I know that for much of my life I’ve seemed incredibly aloof, and I am, but I also love most people. For the small handful I hate I hope that intensity makes it equally exciting and for the hordes who earn only my ambivalence, my only excuse is that I have weird taste. I deeply appreciate Gerry for uploading these movies, Tim for making them and everybody who has taken the time to talk to me and share their current lives throughout this process.
I don’t know if everybody fantasizes about their own funerals but I know I do. One of my favorite ideas is to have fancy invitations printed up that say “Don’t worry. Ossian can’t hurt you anymore.” For anybody who needs me to be something I am not and never will be I can only offer the cold consolation that, as long as it exceeds mine, that day will be coming within your lifetime. I don’t know if I’ll be able to get anybody to print the invitations.
“The living, he thought, should never be used to serve the purposes of the dead. But the dead–he glanced at Bruce, the empty shape beside him–should, if possible, serve the purposes of the living.” – Philip K. Dick
“Yes, yes, I know you’re hungry
Ah, and here comes dinner
Feed my Frankenstein
Well, I ain’t evil, I’m just good lookin‘” – Alice Cooper






























































































































































































































