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I’m going to take her little pants off and show her where it’s at
Daniel turned over in bed and said, “Your song is deeply disturbing.”
“The last line needs work,” Joe said. “In blues songs ‘back’ always rhymes with ‘heart attack.’ Maybe ‘wipe her dirty crack.’”
“I think with regard to our professional relationship there should be an ironclad rule,” Daniel said. “No songs about my daughter.”
THEIR ONE CONCESSION TO JOE’S ECCENTRICITIES WAS THE PURCHASE OF A BABY carrier. Pam called strollers “traffic testers,” because of the way caregivers in New York shoved them into the street to stop the cars. They had been transporting Flora in a ten-foot-long carrying cloth that circled the torso multiple times, with an X in back and another X in front, finishing with a knot you had to tie behind your own back. Joe’s attempt to put it on might have worked as a vaudeville routine. For him they invested in a BabyBjörn. They didn’t say it aloud, but they were both ever so slightly concerned that he might forget Flora somewhere if she weren’t firmly attached to his body.
Daniel quit his night job, transitioned to Pam’s health insurance, and signed on with a temp agency in the financial district. The hours would be unpredictable, but the pay was higher than for full-time work—eighteen dollars an hour. Within a week, he had an assignment that would last a year, sitting in for an administrative assistant on maternity leave at an employee benefits consulting firm way downtown, in windy maritime Manhattan, close to Battery Park.
His new colleagues expected almost nothing from him. They seemed thrilled that he knew how to alphabetize. They came to him for help printing spreadsheets.
After work he usually took the handoff, since Pam worked later. In the morning, he headed downtown while she waited for Joe.
The familial stress level declined to near zero. Flora continued to set new benchmarks for infant cuteness. By the time she was six months old, Pam, Daniel, and Joe were in agreement that for her to get any cuter would violate natural law. Her hair had come in wavy and almost black. Her eyes were dark blue. Her face was chubby as a peach.
LIKE DANIEL, JOE TOOK HER ON LONG WALKS STRAPPED TO HIS CHEST. HE HIT ALL THE record stores at least once a week. His former coworkers at the coffee shop fawned like grandparents.
One afternoon he came home and put her on the changing table just as his beeper went off in the pocket of his coat. He left her to go to the coatrack. He was feeling around for the pager’s hard surface in a tangle of candy wrappers when he heard a thump. She was lying on the floor on her side, making a high-pitched groaning noise.
He ran downstairs to call Pam, who had called his beeper. He said, “While I was getting the beeper, Flora fell on the floor! I think she hurt herself!”
“Where are you?”
“Downstairs.”
“Go back up and get her. Hail a cab to the emergency room at New York Downtown right away. I’ll meet you there. Okay?”
“Her arm looked weird.”
“Push her sideways into a box so you don’t have to change her position. Pad it with blankets. I’ll see you at Downtown Hospital. Okay?”
She didn’t call Daniel because she had a bad feeling about what he might say. He confirmed her fears that evening when he arrived home to see Flora’s elbow wrapped in blue bandaging. It was sprained. Joe had thought it was broken because he didn’t really do shapes. Daniel said they couldn’t go on letting a retard care for their child. He stopped himself and added, “He’s not retarded. Of course not. I just mean—”
“What did he do differently from anybody else?” Pam demanded to know. “Do you really think there’s any babysitter in the world that wouldn’t have happened to? She rolled over. There’s a first time for everything. And he was flawless. He charmed his way into pediatric orthopedic surgery before I could even get down there. She was fixed before I even caught up with them. She’s fine!”
“She has a monster bandage,” Daniel said. “What if she’d been bleeding?”
“What do we have to do, hire a registered nurse? I know Joe couldn’t splint a broken arm to save his life, and the box he put her in was way too big. But he knew something was wrong, and he got her to the hospital. That’s one of the reasons to live in Manhattan. It’s never far to the best medical care in the world.”
“He put her in a box?”
“I told him to. I don’t know. When an animal’s hurt, the most important thing is to get them to the vet without moving their spine, so you slide them onto something stiff like cardboard.”
“Oh, my God,” Daniel said. “She could have had a spinal injury, and you told him to pick her up and put her in a box!”
“Well, he couldn’t just leave her there and call an ambulance. That would take forever.”
“She might have been—I can’t even say it—”
“What?” Pam protested. She knew what he was getting at. Her throat seized up. “I didn’t think of that,” she said. “I can’t even think about it if I try.” It was true. No amount of effort could make her imagine Flora with a broken neck or back. It seemed like a sin, and tempting a lifetime’s bad luck, to think about it, much less say it.
“We’re getting rid of that table,” Daniel said. “We don’t need her airborne. There are no changing tables in nature.” She whimpered in her crib, and he picked her up. “Baby Flora, the floor baby. Born to be in contact with the earth.”
HE RESERVED THE HOBOKEN STUDIO AGAIN, THIS TIME FOR A FULL DAY, INCLUDING grudging supervision from a grouchy engineer, and recorded two Joe Harris tracks: an original entitled “Hold the Key” and a cover of “American Woman” by the Guess Who.
“Hold the Key” was taken straight from life. “Hold the key, kill the light, lock the door, lock it twice, and go down …” It had originated as a mnemonic device for leaving his own apartment, but in Daniel’s opinion it could become a stoner anthem. He imagined crowds at festivals singing it, swaying, holding hands.
Joe said “American Woman” was easy to play and fun to sing, and he wasn’t wrong. No one, hearing that recording, could have denied that he could warble like Mariah Carey and wail like Bono. Only the oddness of his ambitions marked him as an indie eccentric rather than a mainstream poseur.
Daniel didn’t waste money on a printed sleeve for the seven-inch, knowing it was the glued-on label that mattered. He used xeroxed clip art and a free vector graphics program (CorelDraw) to make the Lion’s Den logo. It showed a stylized lioness holding a large flower, something like a zinnia, in its crossed forelegs, with “Lion’s Den” in sixties-style art nouveau script. He put the preponderance of his investment into sound quality, paying double for heavy vinyl mastered at forty-five revolutions per minute to be shipped from England. He ordered one thousand of the singles, an insanely optimistic number, but Joe had committed to playing as many shows as it took to unload them, even if it took him the rest of his life. Daniel estimated twenty years.
JOE WAS IN THE LOFT ON CHRYSTIE STREET WITH FLORA WHEN THE UPS MAN ARRIVED with the fourteen stunningly heavy boxes. Victor helped him carry them up the stairs. Joe put one on the stereo, cranked it, and danced. It was immediately clear to him what he needed to do. He fed and changed Flora, strapped her to his chest, tucked twenty-five singles into his messenger bag, and marched off to the Abyssinian Coffee Shop.
He bestowed singles on all those who currently had shifts and stacked five more by the register for the remaining employees to pick up. With one exception, a pothead prep cook whose shift was ending, the staff added their gifts to the stack, from which two customers removed six singles before a homeless hoarder absconded with the rest.
His next stop was Tower Records. He asked to speak to a manager and explained that he was Joe Harris, seeking distribution for his new single, out now on Lion’s Den. He introduced Flora, turning and lifting a corner of her blanket to show the manager her sleeping face. He talked too much and too loudly. He continued talking after the manager turned away. He was allowed to leave two singles. He left the store against traffic, through the entrance, turning around to wave goodbye.
He headed westward toward NYU’s radio station. Failing to get past the security guard, he was told to try the U.S. Mail. At select bars and nightclubs, he pressed the single on whoever answered the door—in one case, a custodian holding a mop.
SHORTLY AFTER HE LEFT TOWER RECORDS, A JUNIOR EMPLOYEE WHO HAD WITNESSED the proceedings asked the manager if she could please, please have the singles before he threw them away. He said of course not; he would never throw them away, much less give them to her. They were the property of Tower Records, to be listened to in due time by the staff member responsible for selecting indie records for distribution.
She knew how many supplicants he had—dozens every day. She said, “At least let me listen to it. You have to!” She clasped her hands and bounced to indicate pleading.
“Fine,” he said, holding out both seven-inches. “Take them.”
“I don’t want to keep them,” she said. “I want us to distribute it, if it’s any good. I want to hear it!”
“Why?”
“Because that guy was so cute, like an angel. Did you see his eyes? They were like stars!”
“Take them,” the manager said, disgusted.
She put one in her messenger bag and brought one to the frat boy working the customer service desk.
Forty-five minutes later, after his ironic Anita Baker compilation tape was done playing, the store filled with a fresh and compelling sound. Joe had recorded all the A side’s instrumental tracks on bass. Open strings played the part of Neil Young and Crazy Horse bass. High fretting was Phil Lesh meets the Congos bass. Fuzzy bass, courtesy of Pam’s distortion pedal, stepped in after the bridge to play a solo. All the tracks were doubled, because he liked playing them so much. The sound was low fidelity, but the tune rocked like a cradle rocking, like someone casually pitching a melody from hand to hand, and he sang in a tormented voice about something it was hard not to take for loneliness. The chorus was a three-part harmonic cadence on the repeated word “down,” careful and precise as a madrigal.
Annoyed by the challenge to his preconceptions, the customer service frat boy flipped it to hear the B side. Massive riffage blasted from the store’s speakers while the same voice cried out, “American woman!” The vocals were lower in the mix than on “Hold the Key” and conveyed a note of pain definitely lacking in the original. It sounded as if the American woman really had the singer cornered this time. It was less a succession of throwaway insults than a cry for help. The bass recalled live Yes or King Crimson, with the kind of distortion that peels paint off distant walls.
“I’m in love,” the stock girl said. “Do you think that was his baby?”
“It definitely wasn’t his single,” the frat boy replied. “That guy was a retard. That’s who the breeders are. Not smart people. That’s why we’re devolving.”
DANIEL BOUGHT FACTSHEET FIVE, THE FANZINE THAT CATALOGED FANZINES, AND PAGED through it, noting down the names and addresses of likely sounding targets. First he sent promo singles to riot grrrly magazines such as Bust and Chickfactor. (Post-punk women had exchanged duct tape on their nipples for heels and cocktail dresses without compromising their ironic focus on objectification by the male gaze and the appropriation of epithets intended to belittle and demean them.) Likewise he mailed promos to painfully masculine publications such as Thicker and the Probe. He tried for attention from mass-market monthlies with nationwide distribution (Spin, Alternative Press) and tabloid weeklies (Village Voice, City Paper), which got five singles each, instead of one, on account of their big staffs.
He truly didn’t expect any competent reviewers to approve the single by this means, but it was all he had. Music being a matter of taste, and the urge to help a struggling artist rare, he counted on wasting hundreds of dollars in postage alone in return, if he got lucky, for three or four inattentive reviews.
After about two months, he had his first responses: amiable paragraphs in modest publications—five-by-eight xeroxed, stapled, folded fanzines with circulations in the hundreds—all of which said that the single was “gorgeous.” That was the adjective du jour. In the age of grunge, anything that didn’t sound like a riding lawnmower was gorgeous. Several of the reviews arrived with demo cassettes from the reviewers’ bands. The one he liked best sounded like lawnmowers ridden by nymphets playing banjos, but he didn’t have the money to put out another single. Every time a review arrived, he cut it out with scissors and pasted it to the letter-sized sheet of paper he called the “press kit.”
JOE LACKED THE ROCK STAR’S STANDARD NEUROSES. HE FELT NO BASELESS CONVICTION that he was a genius. He had never needed illusions to feel good about himself, and his illusions had never been exposed. Unencumbered by the guilty suspicion that he was secretly a no-talent impostor, he had zero inhibitions about telling the world. Soon hundreds of people with no interest in music and less inclination to buy seven-inch singles were quite pointlessly aware that he had one out. The mail carriers knew it, as did the transvestite from Essex Street with the Yorkies, the girl who made the egg creams on First Avenue, the schizophrenic who sat on the discarded end table next to the BMT entrance on Houston, et cetera.
He liked magazines and he liked helping Daniel, so whenever he came near it, he stopped into See Hear, a large alternative newsstand in the East Village that specialized in music fanzines. He leafed through every magazine—dozens of new issues each week—checking each one under H and J to make sure they didn’t miss a review of his work. So it was he who found the notice in Forced Exposure.
Joe Harris. “Hold the Key” b/w “American Woman” 7" (Lion’s Den). Ruins meets Badfinger in a jar of Gerber’s. Mark my words: You don’t need to hear this, and whoever mic’d the drums on it should die facedown in a pile of dog shit with an AIDS-infected needle up his ass.
It was the first time he had seen a review before Daniel did. He wasn’t sure what to think. It was troubling enough that he didn’t even point to it and say, “Look! Forced Exposure reviewed my record!” to the cashier when he paid for it. He paid and left, walking with studied briskness toward Chrystie Street, repeating key phrases such as “facedown in a pile of dog shit” to himself with his first-ever inklings of self-doubt.
Daniel didn’t mind being awakened from a Saturday afternoon nap (Pam was out clothes shopping) to read it. A review in Forced Exposure was exciting to him.
“Admittedly hard to parse,” he said, “but definitely positive. Ruins is good.” Ruins was a Japanese improvising bass and percussion duo widely regarded in avant-garde circles as ultimate rock gods. “Badfinger means British invasion without the invasion. They’re saying it’s not bluesy.”
“And Gerber’s?” Joe protested. “That’s baby food!”
“They’re saying you can’t play guitar.”
“But I don’t play guitar, or drums either!”
“They’re making a funny about the drums.” Daniel turned to the front of the magazine and glanced through the features. “Oh, look. Here’s a sex scene between you and Thurston Moore.”
“A what?”
Daniel was too busy laughing to answer right away. “It’s a fake Sonic Youth tour diary. He loses his virginity to you in the ladies’ room at Wetlands. Definitely do not read this. They’re not trying to pluck you from obscurity, like they do with crappy Swedish speed metal. It’s like they think you’re already famous.”
Joe perused the tour diary entry. “‘The probing, darting fist of it-boy Joe Harris,’” he read aloud. “I’m the ‘it-boy’!”
“You’re the it-boy,” Daniel said. “High five.”
He clipped the one-paragraph review and added it to the press kit, unobtrusively, at the bottom, with his official media relations glue stick.
V. (#ulink_b8dd3ae9-8a86-578a-9e7e-a978f0368205)
Daniel had assumed that Joe’s first gigs would be open-mic nights at anti-folk clubs on Ludlow, squaring off against stoned women in fringed vests. But given the excellent publicity, he felt emboldened to try booking him into a rock club. It could happen. Most new artists had cassette demos and no press. Joe had a seven-inch forty-five and something approaching sanctification from Forced Exposure.
The first step was audition night at CBGB, as much as Pam dreaded the idea of ever seeing the place again. Her first reaction was an uncharacteristically whiny “Do I have to go?” She offered to stay home with Flora. When Daniel said he would buy her sunglasses and a floppy hat, she realized that she was being needlessly vain. No one would connect a backbencher holding a baby in Joe’s entourage with the pitiful diva of the Diaphragms.
Since CBGB bought a weekly ad in the Village Voice to list the auditioning bands, Joe’s name appeared in the paper. Dozens of people in New York City were regular readers of both the Voice and Forced Exposure.
“Dozens” doesn’t sound like a lot, but the farther you got from New York, the more attention was paid to media, which, after all, serve to “mediate” between the individual and lived experience. Indie rock fans who couldn’t afford basic cable were more likely to have heard of Slint than Nirvana.
As a result, the show wasn’t entirely empty. The girl who had made off with Joe’s singles from Tower Records—ensuring that Tower would never become his distributor—was there, accompanied by the friend on whom she’d pressed her spare single. They wore vintage flower-print housecoats over turtlenecks and thick wool tights and were drinking beer. When Joe took the stage, they yelled, “Hold the key! Hold the key!” Flora lay in Pam’s arms, earplugs deep in her ears, swaying with the beat. Joe played through two amps—his own new bass rig and Pam’s Marshall—with a Whirlwind splitter to divide the signal. The effects loop on the bass amp ran through her MXR distortion. The guitar amp, with the reverb turned way up and the treble way down, was fed through her Foxx fuzz-wah. Joe’s voice and the grinding of his valiant Hartke cabinet’s indestructible aluminum speaker cones cut through the haze of feedback echoing from the tortured Marshall, and he sang all his finest nonsense as though his soul were on fire. Instead of “American Woman,” he closed with “Roll with the Changes” by REO Speedwagon.
When he was done, the manager’s comment to Daniel was “Bookable. Get him a band.”
Meanwhile, the girl from Tower approached Pam and said, “Your baby is so cute, I can’t stand it!”
“Thanks,” Pam said.
“Do you know Joe Harris? It looked to us like maybe you know him.”
“We’re friends.”
“He’s so talented. Does he—does he—” Her friend elbowed her, and she rephrased her question. “Are you his wife?”
“I don’t think he’s ever had a girlfriend in his life,” Pam said. Seeing their disappointment, she added, “He’s not gay. Just shy.” She smiled at the absurdity of what she’d just said. Girls were shy of Joe, shying away soon after he opened his mouth to speak. Elevation onto the stage of CBGB, with well-rehearsed lyrics to sing at high volume, must have enhanced his sex appeal.
His new number one fan took the smile as reassurance. She giggled, not even trying to hide her relief, while her friend squealed at her, “I told you that wasn’t his baby!”
“I should introduce you,” Pam said. “He’s coming over now.”
The girls drew away to regroup. Joe hugged Pam, spoke with her briefly, and turned to stare at them both. They ran out of the club.
TO DANIEL’S SURPRISE, MAXWELL’S BOOKED JOE. HE WOULD HAVE BEEN LESS SURPRISED if he had seen the single up on the wall at Pier Platters, priced at twelve dollars, classed as a limited-edition rarity because he still hadn’t found a distributor.
Maxwell’s was a club at the far end of Hoboken, a full nautical mile away from the PATH train to Manhattan, specializing in new and obscure acts. Some were obscure without being new—Daniel had seen Sun Ra there not long before his death—but most were both. The club invited Joe to open for a band that was opening for a band that was opening for a band that was opening for the Honeymoon Killers.
Joe asked Pam to sit in on guitar. Drums could stay optional if he made the bass loud enough, but someone had to fill the chinks in his crushing wall of sound, or so he said. The debate went back and forth until her final stern refusal. She wasn’t feeling very rock and roll—she weighed six pounds more than before she got pregnant—but her main reason was Joe’s sound. On the single it was refreshingly open and airy, more like an arbor than a wall. A million indie rock bands (or what seemed like a million to her, meaning several, all from the Pacific Northwest) featured guitars screaming high over bellowing male voices. Only Joe saved that Fender Jaguar role for himself. His vocals soared over the percussive rumbling like Grace Slick’s on “White Rabbit.” If it took some electronics to make it work live, so be it.
That was her view, and Daniel more or less agreed, though he would have liked to see her onstage with Joe. She was female and women were trendy. But he wasn’t about to force it. As she said, guitar didn’t fit with what Joe was doing. The sound of the single seemed to them an accident of fate, but it was an accident they liked. In the silence of his brain, Daniel called it “bliss-core.” He didn’t plan to put that in a press release, though. A new set of accidents could change it at any moment.
THE SOUND CHECK AT MAXWELL’S WENT FINE, WITH THE USUAL EXCEPTIONS FOR strangers being irritated by Joe. He was delighted and excited by everyone and everything. He forgot to plug in his bass and sang half a song a cappella, proving once and for all that he didn’t think the instrumentation much mattered. When Daniel yelled, “Plug in!” he found the end of the cable, shoved it into his bass, and finished the song in a storm of arpeggios. He looked ebullient about being so much louder than before. The soundman said he was meshuga, but he didn’t seem to mean it in a bad way.
The hall wasn’t full for his set, but there were people in attendance. Pam and Daniel could see that many were the proper kind—indie rock fans, as indicated by their pocket tees in dark colors, unbuttoned plaid flannel shirts worn as jackets, and vintage PF Flyers or comparable footwear. Also present were two men of a dubious sort. “Major label scouts,” Pam hissed. They were dressed in sport coats and talked to each other in loud voices throughout Joe’s opening number. She heard one of them call his music “rad,” as if “rad” were current slang.
Carrying Flora, she went to stand in front of them. Every time they moved, she moved. When they eyed the rear of the club, plainly considering sitting down on the big PA speakers stored there, she went to those same speakers to change Flora’s diaper. Seeing the diaper from the inside, the scouts decamped to the bar.
A less streetwise musician might not have chased major label scouts away from Joe. But indie rock had arisen from desperate necessity, to offer artists an alternative to exploitation. The recording industry had once paid musicians flat fees. The contemporary way to stiff them while cultivating an appearance of generosity was to charge publicity against their royalties. Every video, tour bus, and hotel room came straight out of the artist’s pocket. Long before peer-to-peer file sharing and online streaming, a star could have big hits and be broke.
As Joe was starting his last song, Pam saw the cute girl from CBGB. She was alone, rushed and hectic, still wearing her coat. She had arrived when his set was nearly done. Pam could see the disappointment in her face. She strolled over. The girl noticed her with relief. She mimed looking at her watch and turned up her hands helplessly. She knew she was late. When the song was over, and she was done clapping and whooping and yelling “Encore!” and “Hold the key!” she turned to Pam and said, “I had to find someone to cover the shift after mine. That’s why I’m late.”
“What’s your name?”
“Eloise.”
“No way.”
The girl closed her eyes in deep embarrassment and clenched her fists, and Pam realized belatedly that she was shy. Eloise fled toward the stage, where Joe was launching into his encore, “Splash 1” by the 13th Floor Elevators. He saw her and stared at her. He sang the entire song looking into her eyes.
The rock repertoire includes several songs an informed person might call romantic, such as “God Only Knows” by the Beach Boys, but few can compete with “Splash,” the work of a mystic at the height of his powers. Soon after its composition, those powers defeated Roky Erickson, and he turned his genius to the service of the devil and the Martian voice in his head, but in “Splash” he was as yet untainted.
It was too much for Eloise. When Joe had finished emoting, she had to be alone. She ceased from clapping and hid in the bathroom to fix her face. The ladies’ room at Maxwell’s was a single. Because the mirror occupied the same space as the toilet bowl, a person could miss an entire set waiting in line. There she stood at the mirror and found herself wanting. She looked in vain for the neon splashing from her eyes.
Pam gave up looking for her and joined the queue. When Eloise finally came out, wincing at the sight of her, Pam hesitated briefly. She wanted to introduce her to Joe. She thought it might be of significant positive import for Joe’s future. But she had to pee, so she stayed in line. By the time she emerged, Eloise was gone.
IN THE TAXI GOING HOME, SHE SAID TO JOE, “THAT CUTE GIRL INTRODUCED HERSELF TO me. Her name is Eloise. I think she likes you.”
“I’m the original bitch magnet,” Joe said.
