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Albert Hoffman (and child)

I missed this a few days ago: Albert Hoffman, the chemist who invented (or synthesized or discovered) LSD, died a few days ago. The guy lived to 102. Must be something in the water in Switzerland.

It reminded me of this article I read years ago in Slate, about how a 2000 bust by the DEA basically wiped out LSD as a recreational drug. It is evidently very difficult to make — no bargain-basement LSD labs in the small towns of Middle America à la the ones that grace us with crystal meth — and these two fellows in Kansas were the only ones left with the means and the know-how to do it, at least on such a scale. Not to rhapsodize about an illicit chemical that does some seriously hazardous shit to your head, but the idea of LSD disappearing because it’s too difficult to make can’t help but put me in mind of other products of craft and ingenuity rendered obsolete by quicker, cheaper or baser alternatives.

I am old enough to have actually studied penmanship in school, though not old enough to have retained much of it; I can only recall cursive letters with great effort, and my hand balks at shaping them. I don’t know of any grammar-school age child who studies handwriting the way my classmates and I used to; in today’s world, it would be like teaching a child to shoe a horse. Why spend the time learning to write well when no one writes letters and every other document we touch is created electronically?

So LSD, which some genuinely intelligent people once believed might actually change the way people live, is vanishing; researchers rarely study it, and cheaper, easier and more lucrative substitutes have crowded it off the map. I wonder if Dr. Hoffman imagined he would live long enough to witness it, the slow passing of his “problem child.”

In the not-too-distant past

Another recent interview with Joel Hodgson wherein he’s much more candid about his time in MST3K than he was in the past. This may have been well-known to fans more clued in than me, but his leaving midway through season five was entirely due to his feud with Jim Mallon; his claims at the time to have reams of ideas he wanted to try out were smoke to protect the reputation of the show. Does he regret leaving? “Absolutely.”

I really came to enjoy Mike’s tenure as host, but you can’t help but wonder how the show would have progressed had Joel stayed. Maybe he would have stepped aside as host anyway, or alternated with Mike; maybe Trace and Frank wouldn’t have left when they did; maybe Joel would’ve completely revamped the premise and it would have taken on new life, or crashed and burned. Beyond all that, you can’t help but feel a pang for a creative person forced out of their own creation. (John Kricfalusi can relate, I’m sure.) And whatever the hell Mallon is doing with the property nowadays doesn’t inspire much sympathy for his side of the issue. (There is no Tom Servo without Kevin Murphy. Doesn’t matter if Josh did it first. Nobody thinks of the Beatles as John, Paul, George, Stu and Pete do they?)

Obscure related trivia: Joel Hodgson’s original Gizmonic Antsite was the first proper website I ever visited. (Not counting the proprietary stuff from the Prodigy days.) Even that black-and-white number loaded slow as hell on my AOL dialup connection.

Interview with John Doe

Interview with John Doe

I kinda wanted to talk about the music industry, and I wanted to get into it by talking about the character you played in Georgia, because I’ve never been in a band, but watching that it seemed like the most realistic portrait of a real working band that I’ve seen in a movie. Playing bowling alleys and bar mitzvahs, but still being able to make a living at it, which is kind of a triumph in itself. I wondered: is it really that authentic, and is that what drew you to the project?

John Doe: What drew me to the project was working with [director] Ulu Grosbard and Jennifer Jason Leigh and Mare Winningham, and it being a great script. But I think it is accurate, to a bar band. Luckily, that’s the only time I’ve played “Hava Nagila.” Guaranteed. And I hope it’s the only time that I play it; not that it’s a bad song, it’s …

[Laughing throughout] It’s of a situation you’re not often in …

Yes. It sort of has a certain … je nais se quoi. [Laughs] But … the only thing that I don’t think a movie has ever captured in the music world is the speak that musicians have, the way that people are constantly capping on each other, and the banter that goes back and forth at rehearsal and just as they’re hanging around. I think that would be really difficult to script; you’d have to record it and then transcribe it. Even in Spinal Tap, it didn’t have that. I think of that sometimes in rehearsals and stuff.

The sickest part about doing acting is that then you find those same situations coming up in your real life. And then you’re wondering what’s real and what’s not.

Flashing back …

It’s just weird. Right around that same time when we were promoting Georgia, I was doing a tour on my own, and there’s this one place in Cincinnati called Sudsy Malone’s, which is a Laundromat-bar-gig.

One-stop shopping.

And it’s very popular with a certain level of musicians, because then they know that there’s one place they’re going to have clean clothes. And you can put your laundry in between soundcheck and the show and have it pretty much done. I’m sure that someone has probably gotten offstage while they’re playing so they can put it in for the …

[Laughing throughout] Put the fabric sheet in the dryer …

Right. [Laughs] I don’t think they’re worried about fabric softener with their jeans and t-shirts.

Your character had a line in that movie, something like “Look Sadie, things are really happening for us, and I don’t want you to fuck us up.” And to most people, for this band, nothing’s really happening; they’re playing bowling alleys. But for that band, to be able to just make a living playing is probably a pretty big deal.

Right, right.

They don’t have to worry about the day job anymore.

I think a lot of people would be better if they did have a day job. And in a way, acting has provided that for me, to do it for the right reasons; to do it because I love it, and because I need to do it, for creativity and stuff. And you can get—when you have a major label contract, you can get distracted, or you can get too far away from the reason you’re doing it. Because it becomes a job. And I think I was there—I was there with that Geffen contract, and I was there with kind of losing the reasons to write songs, or writing songs just for X, and it kind of came back after doing that Rhino record [Kissingsohard, 1995]. I’d collected a bunch of songs to do that record and then toured that, and then, just through personal life and things that happened, I realized I’d lost a sense of discovery, and a sense of searching for something and trying different things. Doing that Kill Rock Stars record [For the Rest of Us (EP), 1998) was—I tried to be innovative and tried to do different things, and carried it over into this one. It’s important.

Do you feel that you’re still “paying your dues”? Is there a point in your career where you thought “OK, I’m here; this can now be my job, I don’t have to worry about where the next paycheck’s coming in”?

Everybody has to worry about where the next paycheck’s coming in. Because everyone extends themselves over and above what they actually make. [Laughs] Everybody does.

This being America, after all.

Yes. Not just because it’s America, because you develop a lifestyle. I’m still having character-building experiences, let’s put it this way. [Laughs] You know, once you accept the fact that life is struggle, then you can embrace it a little bit better. My priorities are not security and comfort, although it’s nice to have in moderate amounts.

Well, you do have a family to help keep up—

I do.

—and that’s always a consideration.

It’s a great source of love, it’s a great source of happiness, and also it can take you away from what you really need to be paying attention to, which is a difficult balance. My wife is finishing school, she’s been going to school for five years, and so I’ve been taking the kids to dance classes and Girl Scouts and crap like that, and sometimes I have to turn down auditions, and say “I can’t do that, because I’ve got to be home.” And that can be really frustrating. Because you’re not paying attention to what you’re supposed to be doing. But that’s part of the tradeoff. Continue reading →

13 Writing Prompts

1.

Write a scene showing a man and a woman arguing over the man’s friendship with a former girlfriend. Do not mention the girlfriend, the man, the woman, or the argument.

2.

Write a short scene set at a lake, with trees and shit. Throw some birds in there, too.

3.

Choose your favorite historical figure and imagine if he/she had been led to greatness by the promptings of an invisible imp living behind his or her right ear. Write a story from the point of view of this creature. Where did it come from? What are its goals? Use research to make your story as accurate as possible.

4.

Write a story that ends with the following sentence: Debra brushed the sand from her blouse, took a last, wistful look at the now putrefying horse, and stepped into the hot-air balloon.

5.

A wasp called the tarantula hawk reproduces by paralyzing tarantulas and laying its eggs into their bodies. When the larvae hatch, they devour the still living spider from the inside out. Isn’t that fucked up? Write a short story about how fucked up that is.

6.

Imagine if your favorite character from 19th-century fiction had been born without thumbs. Then write a short story about them winning the lottery.

7.

Write a story that begins with a man throwing handfuls of $100 bills from a speeding car, and ends with a young girl urinating into a tin bucket.

8.

A husband and wife are meeting in a restaurant to finalize the terms of their impending divorce. Write the scene from the point of view of a busboy snorting cocaine in the restroom.

9.

Think of the most important secret your best friend has ever entrusted you with. Write a story in which you reveal it to everyone. Write it again from the point of view of your friend. Does she want to kill you? How does she imagine doing it? Would she use a gun, or something crueler and more savage, like a baseball bat with nails in it?

10.

Popular music is often a good source of writing inspiration. Rewrite Bob Dylan’s “Visions of Johanna” as a play.

11.

Write a short scene in which one character reduces another to uncontrollable sobs without touching him or speaking.

12.

Your main character finds a box of scorched human hair. Whose is it? How did it get there?

13.

A man has a terrifying dream in which he is being sawn in half. He wakes to find himself in the Indian Ocean, naked and clinging to a door; a hotel keycard is clenched in his teeth. Write what happens next.

Originally published on McSweeneys.net.