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Thursday, October 06, 2005
Tuesday, August 23, 2005
Monday, August 15, 2005
Sunday, August 14, 2005
Broken Flowers Review
Bill Murray is one of hippest and most talented actors in contemporary cinema because he has mastered a complicated skill — he is really good at sitting around and looking like a washed-up has-been.
Director Jim Jarmusch (Ghost Dog, Dead Man, Down by Law) has honed Murray’s skill in Broken Flowers, Jarmusch’s new film about an aging Don Juan who falls into a search for the mother of his unknown 20-year-old son.
Read more here
Director Jim Jarmusch (Ghost Dog, Dead Man, Down by Law) has honed Murray’s skill in Broken Flowers, Jarmusch’s new film about an aging Don Juan who falls into a search for the mother of his unknown 20-year-old son.
Read more here
Monday, August 08, 2005
Myspace Music Review
When the only new releases are a 3 Doors Down album and chopped ’n’ screwed remixes of dirty South rap albums, it’s not hard to see that August is not the best month for music.
Myspace.com, the online community where many students spend hours looking at friends’ profiles and updating their own, offers what the radio and television might not be able to during this dry spell of good music on the airwaves — access to loads of new songs from thousands of bands.
There are numerous ways to search for new music — through friends’ profiles, by genre, by keyword, by location — and there are even ways to find out about some of these bands outside of Myspace.
Continue reading here
Myspace.com, the online community where many students spend hours looking at friends’ profiles and updating their own, offers what the radio and television might not be able to during this dry spell of good music on the airwaves — access to loads of new songs from thousands of bands.
There are numerous ways to search for new music — through friends’ profiles, by genre, by keyword, by location — and there are even ways to find out about some of these bands outside of Myspace.
Continue reading here
Thursday, August 04, 2005
Dukes of Hazzard Review
This movie has many of the elements that make up a bad movie: It is a remake of a bad TV show, it features Jessica Simpson and the gimmick of the move is a car with a big Confederate flag on the roof. And white-trash chic is getting really old.
The Dukes of Hazzard, however, was not a bad movie. It parodies the bad TV show and Jessica Simpson is only featured in the movie enough to feature her features, and then she gets out of the way. The flag on top of the General Lee is dealt with comically when the boys (Johnny Knoxville and Seann William Scott) leave podunk Hazzard County to visit the progressive city (ha!) of Atlanta. As far as the white-trash chic, well, deal with it.
Continue reading here
The Dukes of Hazzard, however, was not a bad movie. It parodies the bad TV show and Jessica Simpson is only featured in the movie enough to feature her features, and then she gets out of the way. The flag on top of the General Lee is dealt with comically when the boys (Johnny Knoxville and Seann William Scott) leave podunk Hazzard County to visit the progressive city (ha!) of Atlanta. As far as the white-trash chic, well, deal with it.
Continue reading here
Friday, July 29, 2005
Six Significant Landscapes
--by Wallace Stevens
I
An old man sits
In the shadow of a pine tree
In China.
He sees larkspur,
Blue and white,
At the edge of the shadow,
Move in the wind.
His beard moves in the wind.
The pine tree moves in the wind.
Thus water flows
Over weeds.
II
The night is of the colour
Of a woman's arm:
Night, the female,
Obscure,
Fragrant and supple,
Conceals herself.
A pool shines,
Like a bracelet
Shaken in a dance.
III
I measure myself
Against a tall tree.
I find that I am much taller,
For I reach right up to the sun,
With my eye;
And I reach to the shore of the sea
With my ear.
Nevertheless, I dislike
The way ants crawl
In and out of my shadow.
IV
When my dream was near the moon,
The white folds of its gown
Filled with yellow light.
The soles of its feet
Grew red.
Its hair filled
With certain blue crystallizations
From stars,
Not far off.
V
Not all the knives of the lamp-posts,
Nor the chisels of the long streets,
Nor the mallets of the domes
And high towers,
Can carve
What one star can carve,
Shining through the grape-leaves.
VI
Rationalists, wearing square hats,
Think, in square rooms,
Looking at the floor,
Looking at the ceiling.
They confine themselves
To right-angled triangles.
If they tried rhomboids,
Cones, waving lines, ellipses --
As, for example, the ellipse of the half-moon --
Rationalists would wear sombreros.
(1923)
I
An old man sits
In the shadow of a pine tree
In China.
He sees larkspur,
Blue and white,
At the edge of the shadow,
Move in the wind.
His beard moves in the wind.
The pine tree moves in the wind.
Thus water flows
Over weeds.
II
The night is of the colour
Of a woman's arm:
Night, the female,
Obscure,
Fragrant and supple,
Conceals herself.
A pool shines,
Like a bracelet
Shaken in a dance.
III
I measure myself
Against a tall tree.
I find that I am much taller,
For I reach right up to the sun,
With my eye;
And I reach to the shore of the sea
With my ear.
Nevertheless, I dislike
The way ants crawl
In and out of my shadow.
IV
When my dream was near the moon,
The white folds of its gown
Filled with yellow light.
The soles of its feet
Grew red.
Its hair filled
With certain blue crystallizations
From stars,
Not far off.
V
Not all the knives of the lamp-posts,
Nor the chisels of the long streets,
Nor the mallets of the domes
And high towers,
Can carve
What one star can carve,
Shining through the grape-leaves.
VI
Rationalists, wearing square hats,
Think, in square rooms,
Looking at the floor,
Looking at the ceiling.
They confine themselves
To right-angled triangles.
If they tried rhomboids,
Cones, waving lines, ellipses --
As, for example, the ellipse of the half-moon --
Rationalists would wear sombreros.
(1923)
The Lost Pilot
-- by James Tate
for my father, 1922-1944
Your face did not rot
like the others--the co-pilot,
for example, I saw him
yesterday. His face is corn-
mush: his wife and daughter,
the poor ignorant people, stare
as if he will compose soon.
He was more wronged than Job.
But your face did not rot
like the others--it grew dark,
and hard like ebony;
the features progressed in their
distinction. If I could cajole
you to come back for an evening,
down from your compulsive
orbiting, I would touch you,
read your face as Dallas,
your hoodlum gunner, now,
with the blistered eyes, reads
his braille editions. I would
touch your face as a disinterested
scholar touches an original page.
However frightening, I would
discover you, and I would not
turn you in; I would not make
you face your wife, or Dallas,
or the co-pilot, Jim. You
could return to your crazy
orbiting, and I would not try
to fully understand what
it means to you. All I know
is this: when I see you,
as I have seen you at least
once every year of my life,
spin across the wilds of the sky
like a tiny, African god,
I feel dead. I feel as if I were
the residue of a stranger's life,
that I should pursue you.
My head cocked toward the sky,
I cannot get off the ground,
and, you, passing over again,
fast, perfect, and unwilling
to tell me that you are doing
well, or that it was mistake
that placed you in that world,
and me in this; or that misfortune
placed these worlds in us.
for my father, 1922-1944
Your face did not rot
like the others--the co-pilot,
for example, I saw him
yesterday. His face is corn-
mush: his wife and daughter,
the poor ignorant people, stare
as if he will compose soon.
He was more wronged than Job.
But your face did not rot
like the others--it grew dark,
and hard like ebony;
the features progressed in their
distinction. If I could cajole
you to come back for an evening,
down from your compulsive
orbiting, I would touch you,
read your face as Dallas,
your hoodlum gunner, now,
with the blistered eyes, reads
his braille editions. I would
touch your face as a disinterested
scholar touches an original page.
However frightening, I would
discover you, and I would not
turn you in; I would not make
you face your wife, or Dallas,
or the co-pilot, Jim. You
could return to your crazy
orbiting, and I would not try
to fully understand what
it means to you. All I know
is this: when I see you,
as I have seen you at least
once every year of my life,
spin across the wilds of the sky
like a tiny, African god,
I feel dead. I feel as if I were
the residue of a stranger's life,
that I should pursue you.
My head cocked toward the sky,
I cannot get off the ground,
and, you, passing over again,
fast, perfect, and unwilling
to tell me that you are doing
well, or that it was mistake
that placed you in that world,
and me in this; or that misfortune
placed these worlds in us.
Wednesday, July 27, 2005
Kinski and Fruit Bats Review
Sub Pop has a long history of great releases — including Nirvana’s Bleach and the The Shins’ Oh, Inverted World — and they’re still putting out great albums by newer bands.
Alpine Static and Spelled in Bones are both new releases on Sub Pop and they prove that the label is making good decisions with the artists they pick up.
Continue reading here
Alpine Static and Spelled in Bones are both new releases on Sub Pop and they prove that the label is making good decisions with the artists they pick up.
Continue reading here
Tuesday, July 26, 2005
crunk, n.
[f. prec.: cf. Icel. krúnk the raven's cry.]
A hoarse harsh cry; a croak.
1868 ATKINSON Cleveland Gloss., Crunk, the hoarse cry or croak of the raven or carrion crow.
-- The Oxford English Dictionary
A hoarse harsh cry; a croak.
1868 ATKINSON Cleveland Gloss., Crunk, the hoarse cry or croak of the raven or carrion crow.
-- The Oxford English Dictionary
crunk, v.
Also 6-7 crunck(e. [Cf. Icel. krúnka to croak (as a raven).]
intr. Of some birds: To utter a hoarse harsh cry.
1565-73 COOPER Thesaurus, Gruo..to crunke like a crane. 1583 STANYHURST Æneis IV. (Arb.) 111 The skrich howle..Her burial roundel dooth ruck, and cruncketh in howling. 1617 MINSHEU Ductor, To Cruncke or Crunckle like a Crane.
--The Oxford English Dictionary
intr. Of some birds: To utter a hoarse harsh cry.
1565-73 COOPER Thesaurus, Gruo..to crunke like a crane. 1583 STANYHURST Æneis IV. (Arb.) 111 The skrich howle..Her burial roundel dooth ruck, and cruncketh in howling. 1617 MINSHEU Ductor, To Cruncke or Crunckle like a Crane.
--The Oxford English Dictionary
Monday, July 25, 2005
EXPIRATION DATE
Face broken out
of time by loss
arms like fabric softener on the pink
and black striped tight shirt
hugging-
w/o squeeze
too tight
from front for free feel
Fitting pants reveal everything
I ever wanted
mine lack revelation.
of time by loss
arms like fabric softener on the pink
and black striped tight shirt
hugging-
w/o squeeze
too tight
from front for free feel
Fitting pants reveal everything
I ever wanted
mine lack revelation.
Thursday, July 21, 2005
Wednesday, July 20, 2005
Ambien through his south
ground indipendendence completely
indipendence however how
stay knew side work
indipendence however how
stay knew side work
Monday, July 18, 2005
One Should Always be Drunk
— by Charles Baudelaire
One should always be drunk.
One should always be drunk.
That’s all that matters;
that’s our one imperative need.
So as not to feel Time’s horrible burden
one which breaks your shoulders and bows you down,
you must get drunk without cease.
But with what?
With wine, poetry, or virtue as you choose.
But get drunk.
And if, at some time, on steps of a palace,
in the green grass of a ditch,
in the bleak solitude of your room,
you are waking and the drunkenness has already abated,
ask the wind, the wave, the stars, the clock,
all that which flees,
all that which groans,
all that which rolls,
all that which sings,
all that which speaks,
ask them, what time it is;
and the wind, the wave, the stars, the birds, and the clock,
they will all reply:
“It is time to get drunk!
So that you may not be the martyred slaves of Time,
get drunk, get drunk,
and never pause for rest!
With wine, poetry, or virtue,
as you choose!”
that’s our one imperative need.
So as not to feel Time’s horrible burden
one which breaks your shoulders and bows you down,
you must get drunk without cease.
But with what?
With wine, poetry, or virtue as you choose.
But get drunk.
And if, at some time, on steps of a palace,
in the green grass of a ditch,
in the bleak solitude of your room,
you are waking and the drunkenness has already abated,
ask the wind, the wave, the stars, the clock,
all that which flees,
all that which groans,
all that which rolls,
all that which sings,
all that which speaks,
ask them, what time it is;
and the wind, the wave, the stars, the birds, and the clock,
they will all reply:
“It is time to get drunk!
So that you may not be the martyred slaves of Time,
get drunk, get drunk,
and never pause for rest!
With wine, poetry, or virtue,
as you choose!”
David Pajo Review
This lo-fi folk album from post-rock poster boy David Pajo outdoes itself with each listen. Pajo makes it clear that the four-track recorder has been replaced with cheap computer recording software — Pajo was completely recorded with software that was included with his laptop.
Continue reading here
Continue reading here
American Beer Movie Review
5 guys, 38 breweries, 40 days and 200 possible hangovers — American Beer chronicles Paul Kerminzian’s road-trip with his friends as they visit numerous microbreweries across the U.S. Surprisingly, no DUIs were documented in this crunk bro fantasy.
“This lifestyle we’re living — we can’t sustain this,” said crew member Jon Miller on the second day of the journey. “But I’m sure having fun.”
Continue reading here
“This lifestyle we’re living — we can’t sustain this,” said crew member Jon Miller on the second day of the journey. “But I’m sure having fun.”
Continue reading here
Monday, July 11, 2005
Pelican Review
Pelican is still metal and still instrumental, but it has added to its sound. This record is one of the best to come out this year — not to say that its previous releases were not amazing — this one just encompasses more sounds.
Pelican’s driving, building, metal guitar is never hard to find on Fire, but the listener might have to sift through some other sounds, like an acoustic vamp or some Mogwai-esque spacey effects. On that note, some of the songs, like “Autumn into Summer” posses somewhat of an early Mogwai feel to them, but listeners will be able to tell that this is not Mogwai if they listen for more than a minute — it is something much more metal.
Continue reading here
Pelican’s driving, building, metal guitar is never hard to find on Fire, but the listener might have to sift through some other sounds, like an acoustic vamp or some Mogwai-esque spacey effects. On that note, some of the songs, like “Autumn into Summer” posses somewhat of an early Mogwai feel to them, but listeners will be able to tell that this is not Mogwai if they listen for more than a minute — it is something much more metal.
Continue reading here
Bangkok 5 Review
Imagine the Strokes, if they were from Hollywood. This idea has pros and cons. Pro: the Strokes follow in a long tradition of rock ’n’ roll influences, and adding some L.A. gritty glam to a sound like theirs can only intensify the rock. Con: even though these guys really rock, everything they are doing has been done before: if I want to listen to the Strokes, I’ll pick up a Guided by Voices record.
Continue reading here
Continue reading here
Audioslave Review
Okay. Enough is enough. Wasn’t the first album a joke that kind of happened to rock in a crappy Clearchannel way? Whatever the deal was, it definitely didn’t warrant another wuss-washed piece of so-called hard rock. “I like driving backwards in the fog because it doesn’t remind me of anything.” Come on. Get some hair down there.
Continue reading here
Continue reading here
Thursday, July 07, 2005
Lords of Dogtown Soundtrack Review
A good soundtrack should be able to be looked at as an entity separate from the film that it was created for. If it can’t be separated, it is almost worthless on its own. There are some soundtracks — such as Pocahontas or Jaws — that give listeners the chance to relive a film while they get extreme on their NordicTracks. These are not soundtracks, as much as they are View-Masters without the slides.
Lords of Dogtown is a perfect example of a well-sequenced, stand-alone soundtrack and it will be reviewed as such. It is a summer soundtrack that might cause its listener to cut off his jeans, grab a twelver and bring his boombox to a riverside barbecue. This album is classic rock. This album is bad-ass rock ’n’ roll.
Continue reading here
Lords of Dogtown is a perfect example of a well-sequenced, stand-alone soundtrack and it will be reviewed as such. It is a summer soundtrack that might cause its listener to cut off his jeans, grab a twelver and bring his boombox to a riverside barbecue. This album is classic rock. This album is bad-ass rock ’n’ roll.
Continue reading here
Thursday, June 30, 2005
Herman Düne Review
Witty and simple, Herman Düne’s newest release offers its listeners a humorous escape into the almost-real world that songwriters David-Ivar and Andre have created. Lo-fi folk from Sweden and France, with seemingly random references to U.S. pop culture like “And all the terminators should be running for governor/ And you will come to live with me in California,” stitch the lyrical stories in Not on Top together with the guitars, ukulele, bass and minimal drums.
Continue reading here
Continue reading here
Fourth of July Preview
For more than 70 years, the city of Davis has offered its residents a Fourth of July celebration including music, food, baseball and fireworks.
“I’ve been attending since 1986,” Davis Community Services Superintendent Connie Foppiano said. “But it’s been going on longer than that.”
The format of the annual festival has not varied significantly over the years, even though the size of the crowd has increased by 2 or 3 percent per year. This year, 10,000 to 12,000 people are expected to attend, Foppiano said.
Continue reading here
“I’ve been attending since 1986,” Davis Community Services Superintendent Connie Foppiano said. “But it’s been going on longer than that.”
The format of the annual festival has not varied significantly over the years, even though the size of the crowd has increased by 2 or 3 percent per year. This year, 10,000 to 12,000 people are expected to attend, Foppiano said.
Continue reading here
Thursday, May 26, 2005
What do they hide in Hyde Park?
Easter Eggs.
Beer cans.
Princess Di’s diary.
Poop.
Cell phones.
Promises.
Kylie Minogue tickets.
Blood.
Picnic baskets.
Hair.
Paramol.
Pounds.
Teabags.
That one blade of grass that looks like Paul Revere.
Water, more than one kind.
Me.
Footballs.
Hide and Seek.
Crazy Frogs.
Prince Albert.
Coppers.
Mushroom trips.
Piggy-back rides.
A couple of crunks.
Pigeons with stumps.
iPods.
Break-ups.
The sun.
In a hurry or not.
Skinned knees.
HP Sauce.
Used condoms.
Robbers.
Some monuments.
A daughter and her mother chasing each-other around a tree until they both fall down, laughing.
New shoes.
Advice.
Maggots.
Two sitting on a bench, almost touching.
Math teachers.
Someone thinking about Central Park.
A Sunday BBQ with stories about ex-lovers.
A kite, almost off of the ground.
A quarter.
AA members.
Happy Slaps.
Bikes, fast ones and slow.
All kinds of people,
and shit like that.
Beer cans.
Princess Di’s diary.
Poop.
Cell phones.
Promises.
Kylie Minogue tickets.
Blood.
Picnic baskets.
Hair.
Paramol.
Pounds.
Teabags.
That one blade of grass that looks like Paul Revere.
Water, more than one kind.
Me.
Footballs.
Hide and Seek.
Crazy Frogs.
Prince Albert.
Coppers.
Mushroom trips.
Piggy-back rides.
A couple of crunks.
Pigeons with stumps.
iPods.
Break-ups.
The sun.
In a hurry or not.
Skinned knees.
HP Sauce.
Used condoms.
Robbers.
Some monuments.
A daughter and her mother chasing each-other around a tree until they both fall down, laughing.
New shoes.
Advice.
Maggots.
Two sitting on a bench, almost touching.
Math teachers.
Someone thinking about Central Park.
A Sunday BBQ with stories about ex-lovers.
A kite, almost off of the ground.
A quarter.
AA members.
Happy Slaps.
Bikes, fast ones and slow.
All kinds of people,
and shit like that.
Ding Ding Ding Ding Ding
By the time I make my second left, I should be well into the first song. But I usually am not. Mornings used to begin with excitement. Sun, shit, shower, shave, coffee. Now I’m lucky to leave my bed at all. Sure, I still sun, shit, shower, shave and coffee, but I do it all from bed. That’s the thing about Kensington. My arms grow and stretch here like they never have before. It’s no problem for me to reach through the bars on my window to the top of the sky and wave, “Hello. Good morning, Mister Sun.”
He has yet to reply. Maybe his back is turned on me because he’s looking at Uranus. My arms have no trouble reaching mine. And I couldn’t ask for a better shower—it’s a fancy (American usage of this word) one with a long hose coming up from the bath faucet. My crazy arms like to intertwine with it to let the water trickle through the hair and over the tattoos, across the hallway, to room 5A like The California Aqueduct. The bed is wet and so am I. So what. It’s wet outside and so am I. So what. My pocketbook is dry. I’ll shave when I’m wet. If only I could leave this bed. There is a French Press five feet away, but fuck it—I could press my luck and reach to France for the real thing. OK, Italy. Yeah, I’ll do that and see how many European women I can fondle along the way. It’d be fun to reach through that Chunnel thing, but I hear that those trains go really fast and I don’t want to lose these awesome arms.
Out the window, left over the Thames. By the time I make my second left, I will be well into the first song.
He has yet to reply. Maybe his back is turned on me because he’s looking at Uranus. My arms have no trouble reaching mine. And I couldn’t ask for a better shower—it’s a fancy (American usage of this word) one with a long hose coming up from the bath faucet. My crazy arms like to intertwine with it to let the water trickle through the hair and over the tattoos, across the hallway, to room 5A like The California Aqueduct. The bed is wet and so am I. So what. It’s wet outside and so am I. So what. My pocketbook is dry. I’ll shave when I’m wet. If only I could leave this bed. There is a French Press five feet away, but fuck it—I could press my luck and reach to France for the real thing. OK, Italy. Yeah, I’ll do that and see how many European women I can fondle along the way. It’d be fun to reach through that Chunnel thing, but I hear that those trains go really fast and I don’t want to lose these awesome arms.
Out the window, left over the Thames. By the time I make my second left, I will be well into the first song.
Thursday, May 19, 2005
Philip Marlboro interviews Sam Prekop
The Sea and Cake frontman Sam Prekop has just released his second solo album, Who’s Your New Professor. It fits perfectly into his catalog of soulful tropical jazz-rock, a sound he has been cultivating since the mid ’80s when he was in the latin-jazz/folk/soul/southern-rock-influenced Shrimp Boat. Aside from making music, Prekop also paints. Some of his pieces contain simple geometric shapes on canvas that have been said to resemble cityscapes.
PM: I was living in Santa Cruz when I really got into your first solo album. I could relate the mood of the music to a pleasant, coastal California atmosphere. I've been listening to Professor a lot while I’ve been here in London, and find it to work in perfectly as I travel in and out of the crowds. I know that location and climate play a big part on my interpretation of the music as a listener, but what role do they play when the music is being composed?
SP: I don’t know, because I usually compose the music in a tiny little room with hardly even a window. The actual location doesn’t matter as much. I can’t compose the music for people listening in different places. I know what you mean, though. I love to listen on the bus. I like the idea of people listening to music in the world and how the world affects it.
Continue reading here
PM: I was living in Santa Cruz when I really got into your first solo album. I could relate the mood of the music to a pleasant, coastal California atmosphere. I've been listening to Professor a lot while I’ve been here in London, and find it to work in perfectly as I travel in and out of the crowds. I know that location and climate play a big part on my interpretation of the music as a listener, but what role do they play when the music is being composed?
SP: I don’t know, because I usually compose the music in a tiny little room with hardly even a window. The actual location doesn’t matter as much. I can’t compose the music for people listening in different places. I know what you mean, though. I love to listen on the bus. I like the idea of people listening to music in the world and how the world affects it.
Continue reading here
Tuesday, April 19, 2005
Sunday, April 17, 2005
Eggs with veggies, hash browns, toast, cappuccino.
Earl Grey, 1 milk, 1 sugar.
Yorkshire pudding, roast beef, carrots, peas, potatoes, cabbage, horseradish, mint sauce, gravy.
Sweet candy: lemon, pear.
Earl Grey, 1 milk, 1 sugar.
3 Rizzla, Drum, skunk, spit, cardboard from Rizzla.
Stella.
Whole wheat pita, salami, anchovies.
Stella.
Stella.
3 Rizzla, Drum, skunk, spit, cardboard from Rizzla.
Stella.
Headphones with Cathode Ray Syndrome, pillow.
Earl Grey, 1 milk, 1 sugar.
Yorkshire pudding, roast beef, carrots, peas, potatoes, cabbage, horseradish, mint sauce, gravy.
Sweet candy: lemon, pear.
Earl Grey, 1 milk, 1 sugar.
3 Rizzla, Drum, skunk, spit, cardboard from Rizzla.
Stella.
Whole wheat pita, salami, anchovies.
Stella.
Stella.
3 Rizzla, Drum, skunk, spit, cardboard from Rizzla.
Stella.
Headphones with Cathode Ray Syndrome, pillow.
Saturday, April 16, 2005
Stonehenge, Bath
Went to Stonehenge and Bath today. Yeah, Stonehenge is pretty stony. It’s pretty much what you’d expect, but with 2 adjacent freeways. I could totally feel the 4000 year old spirit of crunk. Think about how many people have farted there since it was constructed.
I added something to the ancient wind.
When in Bath…
drink the water. Pretty much the same thing as the Lithia water in Ashland, but crunker because Romans used to drink it.
I added something to the ancient wind.
When in Bath…
drink the water. Pretty much the same thing as the Lithia water in Ashland, but crunker because Romans used to drink it.
Thursday, April 14, 2005
Crunkards of the World Unite
Found a couple of cool sites that list good rock shows and clubs:
artrocker.com
irlondon.co.uk
Used artrocker last night and found a really cool free show. It was at a pub, but the crowd was more of a house show crowd. A band from Brighton and Cambridge played called The Cathode Ray Syndrome. They were fucking amazing. Kind of mathy post rock. Imagine The Fucking Champs mixed with Mogwai and you might come close to an idea of what they sounded like. I picked up their cd, so I’ll pass it around when I get back.
I can’t stress how cool it was to go to a small show and see some local acts that I’ve never heard of. A lot of the other students are spending like £10 to get in to shitty clubs, and then paying for drinks once they get in there. I’m so glad I’m a crunkard—I harnessed the spirit of crunk to find last night’s free show and snuck in a bottle of Jack (which was still expensive— £9.99 / half liter). Daniel and I hung out with some of the guys from the band after the show and they smoked us out. Crunkards of the world are usually really friendly to each other.
artrocker.com
irlondon.co.uk
Used artrocker last night and found a really cool free show. It was at a pub, but the crowd was more of a house show crowd. A band from Brighton and Cambridge played called The Cathode Ray Syndrome. They were fucking amazing. Kind of mathy post rock. Imagine The Fucking Champs mixed with Mogwai and you might come close to an idea of what they sounded like. I picked up their cd, so I’ll pass it around when I get back.
I can’t stress how cool it was to go to a small show and see some local acts that I’ve never heard of. A lot of the other students are spending like £10 to get in to shitty clubs, and then paying for drinks once they get in there. I’m so glad I’m a crunkard—I harnessed the spirit of crunk to find last night’s free show and snuck in a bottle of Jack (which was still expensive— £9.99 / half liter). Daniel and I hung out with some of the guys from the band after the show and they smoked us out. Crunkards of the world are usually really friendly to each other.
London Crunking
Found a six pack of Stella 50cl (16.9oz) for £5 ($10), a pretty good deal. Any time you find beer for less that a pound it’s a bargain. There is always Strongbow, a hobo cider, if you want to get crunk. You can get a 2 liter bottle for £2.26 over at Tesco. Bars? Yeah, they’re more expensive—anywhere between £1-4 for a beer. I do most of my drinking in my room, on the street or on the tube. There’s no open container law here—it’s just low class to walk around with a 2L of Strongbow, but hey I’m not the classiest.
Yes, I have been doing more than drinking, but I just wanted to break the ice with something we are all familiar with. I started my journey off in Brighton, staying with Ann and Russell. I had a lot of fun hanging out with them and exploring the city by myself. The beach is great. Instead of sand there are pebbles. France is about 23 miles south, but you can’t see it. I think it’s the beach where there was the Mod/Rocker war years back, but I’m not sure—I didn’t see to many of either until last night. I finally found a rocker bar, but I’ll get to that later. Russ and Ann sent me off well on my last night by taking me to their friends house. Paul and Jackie are extreme Guided by Voices fans—their first trip to the states was to catch GbV on their last tour. So what did we do that night? Drank beer, smoked hash and listened to GbV along with other awesome music. I felt like I was at the crunk house’s British cousin’s house.
Needless to say, I arrived in London with quite a hangover. One of the other students asked me if I had been drinking earlier that morning. Rookie. Kensington, the area where I am staying, is one of the poshest in the world. Besides the little boys’ cars like Porshes and Ferraris, the place is also littered with Bentleys and Rolls Royces. So yeah, I look pretty crunk walking around in Carhart hoodie with a 2L of Strongbow. Daniel has been a great roommate. It’s hard not to get along with someone who can claim to have played with the Keystone Eyes. If we get in an argument, it will only be over who gets the last beer, and chances are that neither of us will remember it in the morning anyway.
The internet is shit here, that’s why it’s taken me so long to get this up. Every time I try to do something, it takes about four times as long as I’m used to. So I might not be able to put up photos—I’ll leave that for Myspace. I’ll try to post something on this blog every day or two—keep checking if you want to know what I’m getting up to.
Yes, I have been doing more than drinking, but I just wanted to break the ice with something we are all familiar with. I started my journey off in Brighton, staying with Ann and Russell. I had a lot of fun hanging out with them and exploring the city by myself. The beach is great. Instead of sand there are pebbles. France is about 23 miles south, but you can’t see it. I think it’s the beach where there was the Mod/Rocker war years back, but I’m not sure—I didn’t see to many of either until last night. I finally found a rocker bar, but I’ll get to that later. Russ and Ann sent me off well on my last night by taking me to their friends house. Paul and Jackie are extreme Guided by Voices fans—their first trip to the states was to catch GbV on their last tour. So what did we do that night? Drank beer, smoked hash and listened to GbV along with other awesome music. I felt like I was at the crunk house’s British cousin’s house.
Needless to say, I arrived in London with quite a hangover. One of the other students asked me if I had been drinking earlier that morning. Rookie. Kensington, the area where I am staying, is one of the poshest in the world. Besides the little boys’ cars like Porshes and Ferraris, the place is also littered with Bentleys and Rolls Royces. So yeah, I look pretty crunk walking around in Carhart hoodie with a 2L of Strongbow. Daniel has been a great roommate. It’s hard not to get along with someone who can claim to have played with the Keystone Eyes. If we get in an argument, it will only be over who gets the last beer, and chances are that neither of us will remember it in the morning anyway.
The internet is shit here, that’s why it’s taken me so long to get this up. Every time I try to do something, it takes about four times as long as I’m used to. So I might not be able to put up photos—I’ll leave that for Myspace. I’ll try to post something on this blog every day or two—keep checking if you want to know what I’m getting up to.
Thursday, March 10, 2005
Sam Prekop Review
It's about time Sam Prekop put out another solo album. His first, self-titled record, released in 1999, is an excellent compliment to the mellow jazz-rock mixtures of his earlier albums with his former band The Sea and Cake. The debut release added layers of Brazilian Tropicalia to the musical texture that his band had already established.
Read more here
Read more here
On a Daytrip through the California Delta
Some danced, some ordered "Johnny's Special Martinis" and others suffered from indigestion as Joanie Lee and Branding Iron played Jimmy Buffett's "Margaritaville" at the Spam-frenzied Hotel Del Rio in Isleton.
Spam T-shirts, Spam boxers, Spam costumes with Spam capes, Spam caps, Spam tossing, Spam-eating contests, the Spam King and of course, countless cans of Spam helped to compose the atmosphere at the annual Isleton Spam Festival.
Jean Hussey, from Sacramento, said that her whole family participated in the Spam festival.
"I cooked for the potluck," Hussey said. "Pay $1 and eat as much as you want."
Hussey's son, Jason, and husband, Rich, both participated in the Spam-eating contest.
"My son won, but my husband threw up," she said.
Rich added that "it would have been a different story if it was cooked."
Continue reading here
Spam T-shirts, Spam boxers, Spam costumes with Spam capes, Spam caps, Spam tossing, Spam-eating contests, the Spam King and of course, countless cans of Spam helped to compose the atmosphere at the annual Isleton Spam Festival.
Jean Hussey, from Sacramento, said that her whole family participated in the Spam festival.
"I cooked for the potluck," Hussey said. "Pay $1 and eat as much as you want."
Hussey's son, Jason, and husband, Rich, both participated in the Spam-eating contest.
"My son won, but my husband threw up," she said.
Rich added that "it would have been a different story if it was cooked."
Continue reading here
Saturday, March 05, 2005
Friday, January 28, 2005
New Heresy
Inhaling stars, wheezing
like an alderman who has
lost municipal faith in that
side of the tracks. Humbug
after ingesting too many
lie, might as well be
a palm reader preying
on the gloved.
Triggered by homeless
kidnappings and fixed
to debug the roach coach
so that we may all eat
Home Run Pies never getting there.
Back up for nothing and realize
it’s the same as exiting the womb — too much.
like an alderman who has
lost municipal faith in that
side of the tracks. Humbug
after ingesting too many
lie, might as well be
a palm reader preying
on the gloved.
Triggered by homeless
kidnappings and fixed
to debug the roach coach
so that we may all eat
Home Run Pies never getting there.
Back up for nothing and realize
it’s the same as exiting the womb — too much.
Saturday, January 01, 2005
Duke's Fluke
by Tyson Nichols
CHARACTERS
DUKE WASHINGTON: A 30 year old who picks up freelance jobs.
SOPHE WASHINGTON: Duke’s wife; works with at risk children.
HOWARD: Duke’s mysterious mentor.
SONNY: Duke’s drinking buddy from college.
1.1
[The stage is dark. Footsteps are heard and the audience can barely make out DUKE pacing back and forth across the stage. The sound of DUKE opening a can is heard followed by the sound of a long sip. DUKE sits down on the couch. He picks up a cordless telephone off of the coffee table. He dials and holds the phone to his ear.]
DUKE: Hey Sonny, it’s Duke. Just callin’ to see what you’re up to. Sophie’s out of town so I was thinking ‘bout barbequin’ this afternoon. Call me back if you want.
[DUKE looks at the phone and dials another number. He holds the phone up to his ear.]
What’s up? It’s Duke… Oh, nothing. Sophie’s out of town and it’s pretty quiet around here. Do you wanna come over and barbeque?... Oh, alright. Well, give me a call if that falls through and you can make it out later.
[DUKE sets the phone down on the coffee table. He opens another beer and then pours a shot of Teachers. DUKE sets the shot down on the table and walks over to the window. He cups his eyes over the window and peers out. He then backs up and looks at his reflection for a moment. DUKE walks back to the coffee table. He drinks the shot in one swift motion and chases it with beer. He picks up the phone and dials again. He holds the phone to his ear.]
Hi… How’s your trip going?... Oh, really? That sounds great… I miss you too… Oh, I’m just cleaning up the house…No, not yet, but I’m working on it…I know… [Duke pours another shot.] Don’t worry, I’ll be good…OK, I love you… I love you, bye.
[He sets the phone down and takes the shot. He finishes his beer. He gets up and starts pacing. The phone rings. He sits back down on the couch and answers the phone.]
Hey, what’s up, Sonny… Oh, nothing. Just sitting around. Drinking…Yeah? I guess it’s just that kind of day. (Light laugh) Do you wanna come over … you are? [DUKE looks out the window] Oh yeah, I see your truck. Why don’t you grab some limes while you’re there and just come on up when you’re done. Sounds good, see you in a few.
[DUKE stands and feels the weight of the cans on that table. He pours another shot. A cat meows off stage.]
I’m sorry Winston, I completely forgot about your surprise. [He starts to walk offstage toward the meow.] I bet you’re hungry. Well, I’ve got a treat for you. [Now offstage. The stage lights up.] I picked up some of that wet food that you like when I went to the store. I know we both get sad when mom’s outta town. One can for you, and one can for me.
[A beer can cracks open. DUKE walks back onto stage toward the couch. He is sipping a beer. He paces around. Turns the radio on and flips through the stations. Nothing satisfies him. He turns it off and then sits down on the couch and thumbs through a magazine with something loosely related to luging. He puts it down and reclines on the couch with his feet elevated. As soon as he starts to doze, the doorbell rings.]
Come on in.
[SONNY enters with a 12 pack of Bud Light bottles and a Fifth of Cuervo Gold. He looks at the beer can littered table.]
SONNY: Looks like I’ve got some catching up to do.
DUKE: Perhaps this will help. [Duke brandishes a beer bong and starts pouring a beer into it.]
SONNY: The Destroyer! D’you remember what happened last time you pulled that thing out?
DUKE: Not really, probably a good thing. [DUKE pauses for a moment then preps the beer bong by holding it up in the air.] Anyway, you ready for this?
SONNY: It’s your castle. [SONNY ritualistically uses the beer bong and slams it down. He has trouble holding in the liquid and his face shows it. He is about to run outside to relieve himself.]
DUKE: Wait, the landlady’s out there.
SONNY: [Still sick, but he is able to hold it down] What…She got you livin’ if fear? You pay your rent.
DUKE: Yeah, it’s time that the property owners know how everyone else feels!
[DUKE proceeds to show the landlady something…]
1.2
[DUKE is sitting on his suitcase. He is outside of his house in front of the door. He looks washed up. His cat is meowing in the carrier next to him. He takes a long look at the bottle of whisky sitting if front of him. He picks it up and reads the label. He sets it down. He looks at his cat and sticks his finger through the carrier. He looks at the bottle again and picks it up. He opens it and takes a shot. He sets the bottle down and turns his head to look at the house behind him. There is a sound of a car driving up. A door opens and closes. SOPHIE enters the stage carrying an overnight bag.
DUKE: How… was your trip?
SOPHIE: [Laughing.] What are you doing out here? [SOPHIE notices the cats in the carriers and immediately loses any sign of her smile.] Why is the kitty in its carrier?
DUKE: I… Sonny and I… we—
SOPHIE: What happened? What did—
DUKE: Sonny and I… we had a drink—
SOPHIE: Duke, a drink? Are you…
DUKE: Well, a few… we—
SOPHIE: Duke, what the hell are you—
DUKE: Sonny got sick—
SOPHIE: Why is my baby in its carrier? The suitcases… why!?
DUKE: The landlady was judging us—
SOPHIE: I don’t want to hear it. I’m going inside—
DUKE: Wait… You can’t— [DUKE attempts to stop her, but is too immobilized to react in time.]
SOPHIE: I’m going inside! [SOPHIE tries her key and it doesn’t work.] Why isn’t my key working?
DUKE: Sophie, we don’t… I fucked up… we thought it be funny to… but the landlady saw my—
SOPHIE: Wait… Stop these games and unlock the door. The cat is getting hot in that carrier. [SOPHIE walks to the carrier and sticks her fingers through. She shows the cat some affectionate attention and looks back at DUKE, hurt and horrified.]
DUKE: I’m serious.
SOPHIE: No… You can’t be… Are you telling—
DUKE: But… The classifieds… [DUKE picks up a paper from next to the suitcase and waves it in the air]… The classifieds are… right here.
SOPHIE: What? The classifieds? The classifieds?!!
DUKE: Sure… The classifieds… [waving the paper around in the air] They say you can…The classifieds will help—
[SOPHIE grabs the paper out of his hand and hits him with it a few times. She is starting to cry.]
I’m sorry! At least I’m telling the truth. I could have said—
SOPHIE: Stop it! Duke, you’d better hold on to the classifieds. [SOPHIE throws the paper at his feet and picks up the cat carrier.]
DUKE: I’m sorry, Sophie.
SOPHIE: You’ll need them to find a new place.
DUKE: Sophie, wait—
SOPHIE: I’m leaving.
DUKE: But Sophie… I love—
SOPHIE: I can’t even see how I used to…You’ve been derailing for so… so long now. Duke, you need to get it together. Right now I can’t find a connection to the man I see in front of me. I can’t do this anymore, it’s killing us. [SOPHIE starts to walk away with the cat carrier. She uses her shoulder to wipe away her tears.]
DUKE: [Breaking down.] No…Wait… Let’s find a… Let’s… Our cat! You can’t—
SOPHIE: Take care of yourself, Duke.
DUKE: No, Sophie, wait… no… we can…
[Sophie walks off stage. There are sounds of a car door slamming and driving off. DUKE stands up and looks in the window of his former home. He punches the wall next to it. He grabs the bottle. Finishes it and throws it offstage. It breaks. He bangs his head against the wall until he passes out.]
CURTAIN
2.1
[DUKE is standing near railroad tracks. He is unshaven. His camp is visible in the background. He has a half empty jug of Carlo Rossi hooked in his hand with his index finger. He is swinging it slightly with his arm. He appears to be waiting for a train and frequently looks off stage. He steps over the tracks and sits down next to them. He takes a hefty drink out of the jug and sets it down. He scoots forward and lies down, with his head on the track. He falls asleep. There is a train whistle from one side of the stage. DUKE continues to sleep. The train whistles again, louder. This time the train is also heard, along with the whistle. It gets louder. HOWARD approaches from the other side of the train. He is wearing a long coat and a hat. He is swinging a closed umbrella. He approaches DUKE. He takes a look at DUKE and then a look in the direction of the train whistle. He prods DUKE’S stomach with the umbrella tip. DUKE does not move. He prods again without any result. He looks again in the direction of the train, pulls his arms partially inside of his sleeves and lifts DUKE off the tracks, but HOWARD is careful not to make any direct physical contact with DUKE. The stage gets dark and the sound of the train moves to the other side.]
2.2
[When the lights resume, HOWARD is sitting on a log and DUKE is sleeping, using HOWARD’S coat for a pillow. HOWARD is smoking and looking into the direction that the train went. DUKE begins to stir. HOWARD glances at DUKE and then looks back in the direction that the train left. DUKE looks up to HOWARD. HOWARD lightly shoves the bottle of Rossi toward DUKE, still not looking at DUKE. DUKE is disoriented.]
HOWARD: You looking for this? It’ll warm you up.
DUKE: Thanks. [DUKE sits up and grabs the bottle. He looks at HOWARD. HOWARD stamps out his smoke.] The train… What—
HOWARD: Don’t worry about it, it’s gone.
DUKE: You…? Who are you.
HOWARD: My name’s Howard.
[DUKE looks at the coat, now at his side. He picks it up.]
DUKE: Is this yours?
HOWARD: Keep it. I’ve got more. and you might need it.
DUKE: Really?... Thanks, I’m Duke. [HOWARD nods. DUKE puts coat on.] What are you doing out here?
HOWARD: Same as you. Watching trains.
DUKE: Not the same…[DUKE swirls the wine in the jug] I’ve lost everything.
HOWARD: You could lose more.
DUKE: My wife. My cat. My home. My friends… won’t even help me out. I mean, I wouldn’t have ended up like this on my own. It’s not my fault. If I would have been alone that night, none of this would have happened. [DUKE takes long pull of wine. HOWARD looks at DUKE, then gives a thoughtful look to the tracks.]
HOWARD: [Slowly turning back toward DUKE.] Duke, what brings you out to the tracks tonight?
DUKE: I set up a camp right over there. [Points]
HOWARD: I see, why didn’t you just set up your camp right there? [Points at the place on the tracks where duke was sleeping.]
DUKE: What? What’s up with you? Why are the tracks on your mind?
HOWARD: Why was your mind on the tracks?
[DUKE gets up, walks over to the log and joins HOWARD.]
DUKE: You don’t get it… I was just resting my head.
HOWARD: If you were just resting you would have been shocked when you woke up.
DUKE: You—
HOWARD: Are you going to give me some line about being drunk and passing out on the tracks?
[DUKE gets up and walks over to the place on the tracks where he was “sleeping.” He touches his hand to the rail. He looks back over at HOWARD.]
DUKE: You know, it all just happened so fast. I was alone at home… My wife was out of town… she… it… I had to call somebody.
HOWARD: Why?
DUKE: Just that place, I can’t… I mean… I pace and drink. That’s all I do when I’m alone. I look out the window and there’s nothing there. [Duke looks as if looking out the window.]
HOWARD: It’s your home. There’s nothing there?
DUKE: Not without other people around.
HOWARD: Duke, there must be times when you are forced to be alone and cut off from contact with other people. Like the car.
DUKE: But it’s not the same in the car. I’m usually using it to go visit people, or at least be around other people. I can talk on the phone and listen to music.
HOWARD: Certainly that can’t be the only way you experience driving?
DUKE: Mostly, yes.
HOWARD: Mostly?... Explain.
DUKE: [Takes a big slug off of the jug] One time was different. It’s hard to explain because I don’t really know why it happened or how to think about it…. Or even what to think about it… Maybe you can tell me what you think… about it. (Beat) I used to drive to the bay. To visit friends. To get drunk. Sometimes when I was driving I would turn off the music and roll down the windows, and… it was like the Mountains, the stars, the trees… everything was just gazing down at me. The wind. The fuckin’ wind would blow right through my ears. It felt so good I couldn’t handle it. It scared me and I don’t know why. I’d immediately roll up the windows and turn up the music. Or get on the phone. But one wet night I didn’t. I couldn’t. Something wouldn’t let me. So I drove. I drove and I was fixed on everything around me. I don’t know how to say it, but it’s like my eyes were... My tears matched the rain and they wouldn’t stop. They couldn’t stop and I didn’t want them to. I’ve never cried like that before. I didn’t know if the howling was my own voice or the whistle of the wind through the windows. That night still haunts me daily, and I can’t figure out why. [DUKE looks intently at HOWARD for a reaction, HOWARD stares into audience for a moment, then responds to DUKE.]
HOWARD: That experience is yours, so use it. [HOWARD pauses and steps forward, looking up to the sky] I’ve been through similar times when I wasn’t exactly keen on why certain things were happening. [Beat, HOWARD thinks for moment.] ‘Why.’ I didn’t need the answer to that word then and I still don’t. I’ve come to realize that the reason, or the understanding of the reason, is not always to be found.
DUKE: But…
HOWARD: [Returns his attention to DUKE.] When you went for that drive you felt something you’ve never felt before. You drew up the plans for your big project. Now it’s time to get to work. To start building. What do you need in order to start building? You need materials. Duke, think about the difference between these two questions: “Why did this happen?,” and “What do I do with this?” Find me once you have started building.
[Howard walks off stage. Duke gets up, he is about to follow Howard. He looks in Howard’s direction, and then he sits back down.]
2.3
[DUKE’s camp is now visible from a different angle. It is a makeshift hut on a hill overlooking the tracks in the background. It is built out of shopping carts with a mattress for its roof; there are various objects attached to the shopping carts with twine and zip-ties. There is a long horizontal street sign at the top of the hill that says, DEAD END. An abandoned road leads up to and ends at the top of the hill.]
[DUKE enters along the road pushing a shopping cart full of items such as cans, old computers, a microwave, TVs, toasters, magazines, broken Styrofoam coolers, cardboard boxes, and a skateboard. Attached to the shopping cart is a boombox blasting “Justice Tonight,” the dub version of “Armagideon Time” by The Clash. He is wearing HOWARD’s jacket and he has a beard. ]
DUKE: Building. Wait till Howard sees what I’m building. [DUKE attaches his new shopping cart to another shopping cart. He begins to pull items out of the cart and attach them to it or stack them around it. He takes the skateboard out of the cart and sets it at the top of the hill, directly behind where he is standing.] This is it. It’s coming together. Once I am finished the masses will come from all around to see… “Duke’s Fluke!”… Yeah, Duke’s Fluke, Duke’s Fluke, Duke’s Fluke! This… will be the building of all buildings to come. I will show the world that something can come out of nothing. That… after the world has been thrown out from under me I can erect such a piece of hideous beauty. By a fluke, Duke Washington has began building a castle…A castle called… [He is lifting something out of the cart and he slips. DUKE lands with his butt on the skateboard. He semi-luges off stage.]…DUKE’S FLUKE!!! [The sound of DUKE luging and screaming continues offstage until the sound of tires screeching and a crash is heard. There is a moment of silence. DUKE’s voice is heard offstage.]
Sorry about that, but I’m building. [The skateboard wheels are heard again on the pavement, slowly picking up momentum. The sound of the wheels is heard around the theatre until it reaches the stage. It slows down to a stop. DUKE enters the stage. His coat is thrashed and he is out of breath. He walks to the top of the hill and sits down on the ground..]
That was amazing…Like the time in the car… except more… My eyes… they didn’t matter… I saw everything… Sophie…The cat… what did I… Howard?... He… If what I felt on that ride is correct… I can find him tomorrow at…
[He picks up the skateboard and looks at it.]
You’re a good start, but you won’t last long. Or I won’t last long riding you... You’re not long enough. [He looks around until he fixes on the DEAD END sign.] Perfect.
CURTAIN
2.4
[DUKE is standing on the top of the hill. He has shaved a mustache similar to HOWARD’s and is wearing a bodysuit made of duct tape. It is padded. All of his joints are reinforced with beer-can armor. The beer cans are attached with zip-ties. DUKE’s helmet is a football helmet. He is wearing welders’ gloves with extra padding on the fingers. His shoes are reinforced with pieces of discarded tires. The shopping cart castle is gone. The DEAD END street sign is off of the pole and now the deck of his street luge. DUKE is holding it in one hand with the base on the ground. He has neatly painted over part of the sign to turn “DEAD END” into “DUKE’S FLUKE.” DUKE taps the luge on the ground, as if he is testing its strength. He sets it down horizontally and sits down on it.]
DUKE: If Howard told me to find him… Let’s see where this thing takes me…
[DUKE leans back and pushes off. The sound of wheels on asphalt begins. As the curtain closes there is a high speed projection of a reverse aerial view traveling through city streets. There are many curves and turns. There is an overlapping projection of Howard waiting for DUKE or perhaps there is a scrim with HOWARD waiting behind it. The projection begins to slow down. The curtain opens while the projection is still going. HOWARD is in a subway station similar to the Montgomery BART station. He is looking down on the tracks. The projection fades out once the curtain is fully opened. DUKE rolls in from the side. He brakes with his hands and feet. HOWARD continues to look at the track.]
HOWARD: In approximately twelve minutes a train will derail… Seven will die.
DUKE: What am I supposed to do? I can’t save…
HOWARD: Just go.
DUKE: How do I—
HOWARD: Now!
[DUKE hops down to the track area with his luge. it is at a slant. He gets on and rolls. The house audio begins. As the curtain closes a projection begins of a subway tunnel wall with graffiti on it and an overlapping projection of SOPHIE when she said goodbye, then one of her running through the subway. The projection fades out but the audio continues. The sound of an approaching train gradually gets louder. Suddenly the sound of DUKE’s rolling stops. Shortly after the sound of the train’s brakes screeching is heard. There is a loud crash. Bright lights are seen flashing under the curtain. All sound and light ceases.]
CURTAIN
3.1
[When the curtain opens DUKE is sleeping in a hospital bed. He is bandaged. HOWARD is sitting in the chair next to DUKE’s bed, reading a train schedule. DUKE wakes up and surveys his surroundings. He sees HOWARD next to him. ]
DUKE: Like the car ride… I…what happened?…
[HOWARD reaches for the radio on the table next to DUKE’s bed. He turns it on.]
RADIO VOICE: …Negotiations are scheduled to take place soon, but chances of reconciliation look unlikely. Join us after the break for more information on this morning’s accident where seven people died after a northbound subway train derailed and crashed into a barricade. Authorities have not yet confirmed the cause of the accident… [Howard turns the radio down to a lower volume.]
DUKE: I failed. Because of me seven people are dead.
HOWARD: Seven out of thousands.
DUKE: What do you mean, “out of thousands?” I killed seven people and… you set me up to do it. [DUKE is weak but he tries to get up to attack HOWARD. He is struggling. HOWARD picks up his umbrella and lightly pushes DUKE back into bed.]
HOWARD: Slow down there. You’re not considering all of the possibilities of the situation.
DUKE: Possibilities? What possibilities? I killed seven people.
HOWARD: Duke, listen. [HOWARD turns the radio’s volume back up.]
RADIO VOICE: … Now back to today’s breaking story. At approximately eight-forty-five this morning, Subway Train number three-thirteen mysteriously avoided an encounter with a damaged gas line that had dropped three feet because of its faulty supports. If the train had made contact with the line, the impact would have caused the line to rupture. The sparks from this collision would have ignited the gas and nearly two city blocks would have been destroyed, claiming the lives of approximately three thousand people. Authorities said they are still unsure how an apparatus made of skateboard wheels and a DEAD END sign became wedged in the tracks, but they are not quick to question the sparing of so many lives… [HOWARD turns the radio down.]
HOWARD: If the rescue workers had found you down there, wearing your luging attire, the press and authorities would be all over you right now. Lucky for you, someone got to you first—
DUKE: You? You couldn’t have…
HOWARD: That’s right, I couldn’t.
[HOWARD exits as SOPHIE enters the room. She has an overnight bag with her, it is different than the one she had earlier. She moves towards DUKE, hesitates, and then sits down on the chair next to him. DUKE reaches out to her and is about to speak, but she motions him down and waits for a moment. They take their time looking at each other before she speaks.]
SOPHIE: Something sparked Winston and he got out of my apartment, so I trailed him down there. You stood before us. The train was coming, and it illuminated the pipe that as it dropped. You launched your wheeled sign on to the track and it diverted the train into the barricade. Then you ran over and started pulling people out of the metal mess, and a big piece of debris fell on your head. I took you home and got you out of that suit, before bringing you here. I thought you might have legal trouble if—
DUKE: You… I… don’t know what to say… What about Winston?
SOPHIE: He led us out of the tunnel. [She sets the bag down next to his bed .] Here, I brought you some clothes. The doctor said you should be out tomorrow. You can stay in my basement if you don’t have anywhere else to go. This is not an invitation back into Sophie and Duke, but I can help you… give you a chance to get it together.
DUKE: I… I…
SOPHIE: Don’t speak, just think. [SOPHIE looks at DUKE and then exits. DUKE turns up the radio and hears HOWARD’s voice]
HOWARD: You’re lucky, Duke, and so is she. You are starting to see the spectrum of your potential. Do you know what to do with it? Keep moving, Duke.
[HOWARD’s voice is replaced with very distorted radio sounds—almost static. DUKE turns to sleep.]
CURTAIN.
3.2
[DUKE is in a makeshift workshop/living space. There are four different sized street luges on the wall. He is building another one at a work table. He is listening to “Barbedwire Love” by the Stiff Little Fingers. There is a knock on the door. SOPHIE enters holding a cordless telephone.]
SOPHIE: How is everything coming with the project?
DUKE: Better than I thought it would. Right now I’m working on an economy luge for homeless people. Property owners need to know that they can’t have full control over peoples’ lives—
SOPHIE: Duke?
DUKE: Don’t worry, I’ll fight this battle fully clothed.
SOPHIE: Okay, we both know what happens if you don’t. Anyway, you got a call.
DUKE: Really? What did they say?
SOPHIE: Something about scheduling an interview. Here, I have the number.
DUKE: That’s wonderful. If I got that job I could start to pay you back for all of your generous help.
SOPHIE: Don’t worry about that right now. You have other concerns. Besides, I came down to talk about something else.
DUKE: Sure, what’s on your mind?
SOPHIE: I’m curious about your luging experiences. They’ve changed you. You’re not a sinking ship anymore, but the Duke I fell in love with has not returned… But I don’t think I want him to. [Long pause]
Duke, what is luging like?
DUKE: [DUKE reaches under a pile of clothes under his cot. He pulls out a street luge with “Sophie” painted on it.] Would you like to find out?
SOPHIE: Duke… I… Thank you. [She is about to give DUKE a hug but she stops herself.]
DUKE: Your welcome…[DUKE hands SOPHIE the luge] come on, I know just the spot.
SOPHIE: Now? but—
DUKE: Why not? [DUKE grabs a luge off of the wall and then SOPHIE’s hand. They run out the door.]
CURTAIN.
3.3
[SOPHIE and DUKE are standing on top of the hill where DUKE had his first luging experience. They are both wearing luging gear and holding their luges. This should look similar to the beginning of ACT 2, SCENE 4, but with the addition of SOPHIE. They are both looking down the hill.]
DUKE: I don’t know how this is going to work for you, but with me… with me I give myself to the road.
SOPHIE: But how do I stop.
DUKE: You just stop. [SOPHIE looks down the hill and backs up. She is hesitant and very nervous. DUKE looks at her.]
DUKE: It’s alright. It’s good to be scared. [DUKE sits down on his luge and begins to prep himself.] Come, sit down next to me.
SOPHIE: Okay. [SOPHIE joins him.]
DUKE: Now take a deep breath. [They both take deep breaths.] And lean back. [They both lean back.] 1-2-3, go.
[They roll offstage side by side. This time the sound of their luges continues in the direction that exited. As it is getting fainter, HOWARD walks out from behind the hill, up to the top. He follows DUKE and SOPHIE with his eyes and lights up a cigarette. He takes a long drag and exhales. He smiles, walks down the hill and off the stage. The lights dim.
END.
CHARACTERS
DUKE WASHINGTON: A 30 year old who picks up freelance jobs.
SOPHE WASHINGTON: Duke’s wife; works with at risk children.
HOWARD: Duke’s mysterious mentor.
SONNY: Duke’s drinking buddy from college.
1.1
[The stage is dark. Footsteps are heard and the audience can barely make out DUKE pacing back and forth across the stage. The sound of DUKE opening a can is heard followed by the sound of a long sip. DUKE sits down on the couch. He picks up a cordless telephone off of the coffee table. He dials and holds the phone to his ear.]
DUKE: Hey Sonny, it’s Duke. Just callin’ to see what you’re up to. Sophie’s out of town so I was thinking ‘bout barbequin’ this afternoon. Call me back if you want.
[DUKE looks at the phone and dials another number. He holds the phone up to his ear.]
What’s up? It’s Duke… Oh, nothing. Sophie’s out of town and it’s pretty quiet around here. Do you wanna come over and barbeque?... Oh, alright. Well, give me a call if that falls through and you can make it out later.
[DUKE sets the phone down on the coffee table. He opens another beer and then pours a shot of Teachers. DUKE sets the shot down on the table and walks over to the window. He cups his eyes over the window and peers out. He then backs up and looks at his reflection for a moment. DUKE walks back to the coffee table. He drinks the shot in one swift motion and chases it with beer. He picks up the phone and dials again. He holds the phone to his ear.]
Hi… How’s your trip going?... Oh, really? That sounds great… I miss you too… Oh, I’m just cleaning up the house…No, not yet, but I’m working on it…I know… [Duke pours another shot.] Don’t worry, I’ll be good…OK, I love you… I love you, bye.
[He sets the phone down and takes the shot. He finishes his beer. He gets up and starts pacing. The phone rings. He sits back down on the couch and answers the phone.]
Hey, what’s up, Sonny… Oh, nothing. Just sitting around. Drinking…Yeah? I guess it’s just that kind of day. (Light laugh) Do you wanna come over … you are? [DUKE looks out the window] Oh yeah, I see your truck. Why don’t you grab some limes while you’re there and just come on up when you’re done. Sounds good, see you in a few.
[DUKE stands and feels the weight of the cans on that table. He pours another shot. A cat meows off stage.]
I’m sorry Winston, I completely forgot about your surprise. [He starts to walk offstage toward the meow.] I bet you’re hungry. Well, I’ve got a treat for you. [Now offstage. The stage lights up.] I picked up some of that wet food that you like when I went to the store. I know we both get sad when mom’s outta town. One can for you, and one can for me.
[A beer can cracks open. DUKE walks back onto stage toward the couch. He is sipping a beer. He paces around. Turns the radio on and flips through the stations. Nothing satisfies him. He turns it off and then sits down on the couch and thumbs through a magazine with something loosely related to luging. He puts it down and reclines on the couch with his feet elevated. As soon as he starts to doze, the doorbell rings.]
Come on in.
[SONNY enters with a 12 pack of Bud Light bottles and a Fifth of Cuervo Gold. He looks at the beer can littered table.]
SONNY: Looks like I’ve got some catching up to do.
DUKE: Perhaps this will help. [Duke brandishes a beer bong and starts pouring a beer into it.]
SONNY: The Destroyer! D’you remember what happened last time you pulled that thing out?
DUKE: Not really, probably a good thing. [DUKE pauses for a moment then preps the beer bong by holding it up in the air.] Anyway, you ready for this?
SONNY: It’s your castle. [SONNY ritualistically uses the beer bong and slams it down. He has trouble holding in the liquid and his face shows it. He is about to run outside to relieve himself.]
DUKE: Wait, the landlady’s out there.
SONNY: [Still sick, but he is able to hold it down] What…She got you livin’ if fear? You pay your rent.
DUKE: Yeah, it’s time that the property owners know how everyone else feels!
[DUKE proceeds to show the landlady something…]
1.2
[DUKE is sitting on his suitcase. He is outside of his house in front of the door. He looks washed up. His cat is meowing in the carrier next to him. He takes a long look at the bottle of whisky sitting if front of him. He picks it up and reads the label. He sets it down. He looks at his cat and sticks his finger through the carrier. He looks at the bottle again and picks it up. He opens it and takes a shot. He sets the bottle down and turns his head to look at the house behind him. There is a sound of a car driving up. A door opens and closes. SOPHIE enters the stage carrying an overnight bag.
DUKE: How… was your trip?
SOPHIE: [Laughing.] What are you doing out here? [SOPHIE notices the cats in the carriers and immediately loses any sign of her smile.] Why is the kitty in its carrier?
DUKE: I… Sonny and I… we—
SOPHIE: What happened? What did—
DUKE: Sonny and I… we had a drink—
SOPHIE: Duke, a drink? Are you…
DUKE: Well, a few… we—
SOPHIE: Duke, what the hell are you—
DUKE: Sonny got sick—
SOPHIE: Why is my baby in its carrier? The suitcases… why!?
DUKE: The landlady was judging us—
SOPHIE: I don’t want to hear it. I’m going inside—
DUKE: Wait… You can’t— [DUKE attempts to stop her, but is too immobilized to react in time.]
SOPHIE: I’m going inside! [SOPHIE tries her key and it doesn’t work.] Why isn’t my key working?
DUKE: Sophie, we don’t… I fucked up… we thought it be funny to… but the landlady saw my—
SOPHIE: Wait… Stop these games and unlock the door. The cat is getting hot in that carrier. [SOPHIE walks to the carrier and sticks her fingers through. She shows the cat some affectionate attention and looks back at DUKE, hurt and horrified.]
DUKE: I’m serious.
SOPHIE: No… You can’t be… Are you telling—
DUKE: But… The classifieds… [DUKE picks up a paper from next to the suitcase and waves it in the air]… The classifieds are… right here.
SOPHIE: What? The classifieds? The classifieds?!!
DUKE: Sure… The classifieds… [waving the paper around in the air] They say you can…The classifieds will help—
[SOPHIE grabs the paper out of his hand and hits him with it a few times. She is starting to cry.]
I’m sorry! At least I’m telling the truth. I could have said—
SOPHIE: Stop it! Duke, you’d better hold on to the classifieds. [SOPHIE throws the paper at his feet and picks up the cat carrier.]
DUKE: I’m sorry, Sophie.
SOPHIE: You’ll need them to find a new place.
DUKE: Sophie, wait—
SOPHIE: I’m leaving.
DUKE: But Sophie… I love—
SOPHIE: I can’t even see how I used to…You’ve been derailing for so… so long now. Duke, you need to get it together. Right now I can’t find a connection to the man I see in front of me. I can’t do this anymore, it’s killing us. [SOPHIE starts to walk away with the cat carrier. She uses her shoulder to wipe away her tears.]
DUKE: [Breaking down.] No…Wait… Let’s find a… Let’s… Our cat! You can’t—
SOPHIE: Take care of yourself, Duke.
DUKE: No, Sophie, wait… no… we can…
[Sophie walks off stage. There are sounds of a car door slamming and driving off. DUKE stands up and looks in the window of his former home. He punches the wall next to it. He grabs the bottle. Finishes it and throws it offstage. It breaks. He bangs his head against the wall until he passes out.]
CURTAIN
2.1
[DUKE is standing near railroad tracks. He is unshaven. His camp is visible in the background. He has a half empty jug of Carlo Rossi hooked in his hand with his index finger. He is swinging it slightly with his arm. He appears to be waiting for a train and frequently looks off stage. He steps over the tracks and sits down next to them. He takes a hefty drink out of the jug and sets it down. He scoots forward and lies down, with his head on the track. He falls asleep. There is a train whistle from one side of the stage. DUKE continues to sleep. The train whistles again, louder. This time the train is also heard, along with the whistle. It gets louder. HOWARD approaches from the other side of the train. He is wearing a long coat and a hat. He is swinging a closed umbrella. He approaches DUKE. He takes a look at DUKE and then a look in the direction of the train whistle. He prods DUKE’S stomach with the umbrella tip. DUKE does not move. He prods again without any result. He looks again in the direction of the train, pulls his arms partially inside of his sleeves and lifts DUKE off the tracks, but HOWARD is careful not to make any direct physical contact with DUKE. The stage gets dark and the sound of the train moves to the other side.]
2.2
[When the lights resume, HOWARD is sitting on a log and DUKE is sleeping, using HOWARD’S coat for a pillow. HOWARD is smoking and looking into the direction that the train went. DUKE begins to stir. HOWARD glances at DUKE and then looks back in the direction that the train left. DUKE looks up to HOWARD. HOWARD lightly shoves the bottle of Rossi toward DUKE, still not looking at DUKE. DUKE is disoriented.]
HOWARD: You looking for this? It’ll warm you up.
DUKE: Thanks. [DUKE sits up and grabs the bottle. He looks at HOWARD. HOWARD stamps out his smoke.] The train… What—
HOWARD: Don’t worry about it, it’s gone.
DUKE: You…? Who are you.
HOWARD: My name’s Howard.
[DUKE looks at the coat, now at his side. He picks it up.]
DUKE: Is this yours?
HOWARD: Keep it. I’ve got more. and you might need it.
DUKE: Really?... Thanks, I’m Duke. [HOWARD nods. DUKE puts coat on.] What are you doing out here?
HOWARD: Same as you. Watching trains.
DUKE: Not the same…[DUKE swirls the wine in the jug] I’ve lost everything.
HOWARD: You could lose more.
DUKE: My wife. My cat. My home. My friends… won’t even help me out. I mean, I wouldn’t have ended up like this on my own. It’s not my fault. If I would have been alone that night, none of this would have happened. [DUKE takes long pull of wine. HOWARD looks at DUKE, then gives a thoughtful look to the tracks.]
HOWARD: [Slowly turning back toward DUKE.] Duke, what brings you out to the tracks tonight?
DUKE: I set up a camp right over there. [Points]
HOWARD: I see, why didn’t you just set up your camp right there? [Points at the place on the tracks where duke was sleeping.]
DUKE: What? What’s up with you? Why are the tracks on your mind?
HOWARD: Why was your mind on the tracks?
[DUKE gets up, walks over to the log and joins HOWARD.]
DUKE: You don’t get it… I was just resting my head.
HOWARD: If you were just resting you would have been shocked when you woke up.
DUKE: You—
HOWARD: Are you going to give me some line about being drunk and passing out on the tracks?
[DUKE gets up and walks over to the place on the tracks where he was “sleeping.” He touches his hand to the rail. He looks back over at HOWARD.]
DUKE: You know, it all just happened so fast. I was alone at home… My wife was out of town… she… it… I had to call somebody.
HOWARD: Why?
DUKE: Just that place, I can’t… I mean… I pace and drink. That’s all I do when I’m alone. I look out the window and there’s nothing there. [Duke looks as if looking out the window.]
HOWARD: It’s your home. There’s nothing there?
DUKE: Not without other people around.
HOWARD: Duke, there must be times when you are forced to be alone and cut off from contact with other people. Like the car.
DUKE: But it’s not the same in the car. I’m usually using it to go visit people, or at least be around other people. I can talk on the phone and listen to music.
HOWARD: Certainly that can’t be the only way you experience driving?
DUKE: Mostly, yes.
HOWARD: Mostly?... Explain.
DUKE: [Takes a big slug off of the jug] One time was different. It’s hard to explain because I don’t really know why it happened or how to think about it…. Or even what to think about it… Maybe you can tell me what you think… about it. (Beat) I used to drive to the bay. To visit friends. To get drunk. Sometimes when I was driving I would turn off the music and roll down the windows, and… it was like the Mountains, the stars, the trees… everything was just gazing down at me. The wind. The fuckin’ wind would blow right through my ears. It felt so good I couldn’t handle it. It scared me and I don’t know why. I’d immediately roll up the windows and turn up the music. Or get on the phone. But one wet night I didn’t. I couldn’t. Something wouldn’t let me. So I drove. I drove and I was fixed on everything around me. I don’t know how to say it, but it’s like my eyes were... My tears matched the rain and they wouldn’t stop. They couldn’t stop and I didn’t want them to. I’ve never cried like that before. I didn’t know if the howling was my own voice or the whistle of the wind through the windows. That night still haunts me daily, and I can’t figure out why. [DUKE looks intently at HOWARD for a reaction, HOWARD stares into audience for a moment, then responds to DUKE.]
HOWARD: That experience is yours, so use it. [HOWARD pauses and steps forward, looking up to the sky] I’ve been through similar times when I wasn’t exactly keen on why certain things were happening. [Beat, HOWARD thinks for moment.] ‘Why.’ I didn’t need the answer to that word then and I still don’t. I’ve come to realize that the reason, or the understanding of the reason, is not always to be found.
DUKE: But…
HOWARD: [Returns his attention to DUKE.] When you went for that drive you felt something you’ve never felt before. You drew up the plans for your big project. Now it’s time to get to work. To start building. What do you need in order to start building? You need materials. Duke, think about the difference between these two questions: “Why did this happen?,” and “What do I do with this?” Find me once you have started building.
[Howard walks off stage. Duke gets up, he is about to follow Howard. He looks in Howard’s direction, and then he sits back down.]
2.3
[DUKE’s camp is now visible from a different angle. It is a makeshift hut on a hill overlooking the tracks in the background. It is built out of shopping carts with a mattress for its roof; there are various objects attached to the shopping carts with twine and zip-ties. There is a long horizontal street sign at the top of the hill that says, DEAD END. An abandoned road leads up to and ends at the top of the hill.]
[DUKE enters along the road pushing a shopping cart full of items such as cans, old computers, a microwave, TVs, toasters, magazines, broken Styrofoam coolers, cardboard boxes, and a skateboard. Attached to the shopping cart is a boombox blasting “Justice Tonight,” the dub version of “Armagideon Time” by The Clash. He is wearing HOWARD’s jacket and he has a beard. ]
DUKE: Building. Wait till Howard sees what I’m building. [DUKE attaches his new shopping cart to another shopping cart. He begins to pull items out of the cart and attach them to it or stack them around it. He takes the skateboard out of the cart and sets it at the top of the hill, directly behind where he is standing.] This is it. It’s coming together. Once I am finished the masses will come from all around to see… “Duke’s Fluke!”… Yeah, Duke’s Fluke, Duke’s Fluke, Duke’s Fluke! This… will be the building of all buildings to come. I will show the world that something can come out of nothing. That… after the world has been thrown out from under me I can erect such a piece of hideous beauty. By a fluke, Duke Washington has began building a castle…A castle called… [He is lifting something out of the cart and he slips. DUKE lands with his butt on the skateboard. He semi-luges off stage.]…DUKE’S FLUKE!!! [The sound of DUKE luging and screaming continues offstage until the sound of tires screeching and a crash is heard. There is a moment of silence. DUKE’s voice is heard offstage.]
Sorry about that, but I’m building. [The skateboard wheels are heard again on the pavement, slowly picking up momentum. The sound of the wheels is heard around the theatre until it reaches the stage. It slows down to a stop. DUKE enters the stage. His coat is thrashed and he is out of breath. He walks to the top of the hill and sits down on the ground..]
That was amazing…Like the time in the car… except more… My eyes… they didn’t matter… I saw everything… Sophie…The cat… what did I… Howard?... He… If what I felt on that ride is correct… I can find him tomorrow at…
[He picks up the skateboard and looks at it.]
You’re a good start, but you won’t last long. Or I won’t last long riding you... You’re not long enough. [He looks around until he fixes on the DEAD END sign.] Perfect.
CURTAIN
2.4
[DUKE is standing on the top of the hill. He has shaved a mustache similar to HOWARD’s and is wearing a bodysuit made of duct tape. It is padded. All of his joints are reinforced with beer-can armor. The beer cans are attached with zip-ties. DUKE’s helmet is a football helmet. He is wearing welders’ gloves with extra padding on the fingers. His shoes are reinforced with pieces of discarded tires. The shopping cart castle is gone. The DEAD END street sign is off of the pole and now the deck of his street luge. DUKE is holding it in one hand with the base on the ground. He has neatly painted over part of the sign to turn “DEAD END” into “DUKE’S FLUKE.” DUKE taps the luge on the ground, as if he is testing its strength. He sets it down horizontally and sits down on it.]
DUKE: If Howard told me to find him… Let’s see where this thing takes me…
[DUKE leans back and pushes off. The sound of wheels on asphalt begins. As the curtain closes there is a high speed projection of a reverse aerial view traveling through city streets. There are many curves and turns. There is an overlapping projection of Howard waiting for DUKE or perhaps there is a scrim with HOWARD waiting behind it. The projection begins to slow down. The curtain opens while the projection is still going. HOWARD is in a subway station similar to the Montgomery BART station. He is looking down on the tracks. The projection fades out once the curtain is fully opened. DUKE rolls in from the side. He brakes with his hands and feet. HOWARD continues to look at the track.]
HOWARD: In approximately twelve minutes a train will derail… Seven will die.
DUKE: What am I supposed to do? I can’t save…
HOWARD: Just go.
DUKE: How do I—
HOWARD: Now!
[DUKE hops down to the track area with his luge. it is at a slant. He gets on and rolls. The house audio begins. As the curtain closes a projection begins of a subway tunnel wall with graffiti on it and an overlapping projection of SOPHIE when she said goodbye, then one of her running through the subway. The projection fades out but the audio continues. The sound of an approaching train gradually gets louder. Suddenly the sound of DUKE’s rolling stops. Shortly after the sound of the train’s brakes screeching is heard. There is a loud crash. Bright lights are seen flashing under the curtain. All sound and light ceases.]
CURTAIN
3.1
[When the curtain opens DUKE is sleeping in a hospital bed. He is bandaged. HOWARD is sitting in the chair next to DUKE’s bed, reading a train schedule. DUKE wakes up and surveys his surroundings. He sees HOWARD next to him. ]
DUKE: Like the car ride… I…what happened?…
[HOWARD reaches for the radio on the table next to DUKE’s bed. He turns it on.]
RADIO VOICE: …Negotiations are scheduled to take place soon, but chances of reconciliation look unlikely. Join us after the break for more information on this morning’s accident where seven people died after a northbound subway train derailed and crashed into a barricade. Authorities have not yet confirmed the cause of the accident… [Howard turns the radio down to a lower volume.]
DUKE: I failed. Because of me seven people are dead.
HOWARD: Seven out of thousands.
DUKE: What do you mean, “out of thousands?” I killed seven people and… you set me up to do it. [DUKE is weak but he tries to get up to attack HOWARD. He is struggling. HOWARD picks up his umbrella and lightly pushes DUKE back into bed.]
HOWARD: Slow down there. You’re not considering all of the possibilities of the situation.
DUKE: Possibilities? What possibilities? I killed seven people.
HOWARD: Duke, listen. [HOWARD turns the radio’s volume back up.]
RADIO VOICE: … Now back to today’s breaking story. At approximately eight-forty-five this morning, Subway Train number three-thirteen mysteriously avoided an encounter with a damaged gas line that had dropped three feet because of its faulty supports. If the train had made contact with the line, the impact would have caused the line to rupture. The sparks from this collision would have ignited the gas and nearly two city blocks would have been destroyed, claiming the lives of approximately three thousand people. Authorities said they are still unsure how an apparatus made of skateboard wheels and a DEAD END sign became wedged in the tracks, but they are not quick to question the sparing of so many lives… [HOWARD turns the radio down.]
HOWARD: If the rescue workers had found you down there, wearing your luging attire, the press and authorities would be all over you right now. Lucky for you, someone got to you first—
DUKE: You? You couldn’t have…
HOWARD: That’s right, I couldn’t.
[HOWARD exits as SOPHIE enters the room. She has an overnight bag with her, it is different than the one she had earlier. She moves towards DUKE, hesitates, and then sits down on the chair next to him. DUKE reaches out to her and is about to speak, but she motions him down and waits for a moment. They take their time looking at each other before she speaks.]
SOPHIE: Something sparked Winston and he got out of my apartment, so I trailed him down there. You stood before us. The train was coming, and it illuminated the pipe that as it dropped. You launched your wheeled sign on to the track and it diverted the train into the barricade. Then you ran over and started pulling people out of the metal mess, and a big piece of debris fell on your head. I took you home and got you out of that suit, before bringing you here. I thought you might have legal trouble if—
DUKE: You… I… don’t know what to say… What about Winston?
SOPHIE: He led us out of the tunnel. [She sets the bag down next to his bed .] Here, I brought you some clothes. The doctor said you should be out tomorrow. You can stay in my basement if you don’t have anywhere else to go. This is not an invitation back into Sophie and Duke, but I can help you… give you a chance to get it together.
DUKE: I… I…
SOPHIE: Don’t speak, just think. [SOPHIE looks at DUKE and then exits. DUKE turns up the radio and hears HOWARD’s voice]
HOWARD: You’re lucky, Duke, and so is she. You are starting to see the spectrum of your potential. Do you know what to do with it? Keep moving, Duke.
[HOWARD’s voice is replaced with very distorted radio sounds—almost static. DUKE turns to sleep.]
CURTAIN.
3.2
[DUKE is in a makeshift workshop/living space. There are four different sized street luges on the wall. He is building another one at a work table. He is listening to “Barbedwire Love” by the Stiff Little Fingers. There is a knock on the door. SOPHIE enters holding a cordless telephone.]
SOPHIE: How is everything coming with the project?
DUKE: Better than I thought it would. Right now I’m working on an economy luge for homeless people. Property owners need to know that they can’t have full control over peoples’ lives—
SOPHIE: Duke?
DUKE: Don’t worry, I’ll fight this battle fully clothed.
SOPHIE: Okay, we both know what happens if you don’t. Anyway, you got a call.
DUKE: Really? What did they say?
SOPHIE: Something about scheduling an interview. Here, I have the number.
DUKE: That’s wonderful. If I got that job I could start to pay you back for all of your generous help.
SOPHIE: Don’t worry about that right now. You have other concerns. Besides, I came down to talk about something else.
DUKE: Sure, what’s on your mind?
SOPHIE: I’m curious about your luging experiences. They’ve changed you. You’re not a sinking ship anymore, but the Duke I fell in love with has not returned… But I don’t think I want him to. [Long pause]
Duke, what is luging like?
DUKE: [DUKE reaches under a pile of clothes under his cot. He pulls out a street luge with “Sophie” painted on it.] Would you like to find out?
SOPHIE: Duke… I… Thank you. [She is about to give DUKE a hug but she stops herself.]
DUKE: Your welcome…[DUKE hands SOPHIE the luge] come on, I know just the spot.
SOPHIE: Now? but—
DUKE: Why not? [DUKE grabs a luge off of the wall and then SOPHIE’s hand. They run out the door.]
CURTAIN.
3.3
[SOPHIE and DUKE are standing on top of the hill where DUKE had his first luging experience. They are both wearing luging gear and holding their luges. This should look similar to the beginning of ACT 2, SCENE 4, but with the addition of SOPHIE. They are both looking down the hill.]
DUKE: I don’t know how this is going to work for you, but with me… with me I give myself to the road.
SOPHIE: But how do I stop.
DUKE: You just stop. [SOPHIE looks down the hill and backs up. She is hesitant and very nervous. DUKE looks at her.]
DUKE: It’s alright. It’s good to be scared. [DUKE sits down on his luge and begins to prep himself.] Come, sit down next to me.
SOPHIE: Okay. [SOPHIE joins him.]
DUKE: Now take a deep breath. [They both take deep breaths.] And lean back. [They both lean back.] 1-2-3, go.
[They roll offstage side by side. This time the sound of their luges continues in the direction that exited. As it is getting fainter, HOWARD walks out from behind the hill, up to the top. He follows DUKE and SOPHIE with his eyes and lights up a cigarette. He takes a long drag and exhales. He smiles, walks down the hill and off the stage. The lights dim.
END.
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