Nuptial Indemnity

Insurance for weddings, family reunions and bar mitzvahs, already common in Britain, is becoming popular in the US.  The Boston Globe

 

          I drove out to Glendale to put three new tantes on a bar mitzvah bond, and then I remembered this lead on a wedding policy over in Hollywood.  I decided to run over there to see if I could get the future bride and groom to sign the paperwork while they were still in love.  Timing is everything when you’re selling insurance.

          The house was one of those Mexican-style jobs everyone was crazy about a few years ago-white walls, red tile roof.  The couple was probably under water on the mortgage and couldn’t afford to leave.  I figured they’d been living together and she’d started making noises about palimony.  Or maybe there was a baby on the way, and I don’t mean from one of those third-world dumps where the gross national product doubles when a movie starlet on a mission touches down on the country’s only landing strip.  Funny how those things work out.

          I rang the bell and waited–nothing.  I rang it again.  What the hell, I drove all the way out there, I might as well make sure.  Still nothing.  I turned to go back to my car when I heard footsteps inside.  I looked through the glass and saw a woman.  She opened the inner door and spoke through the screen.

          ”May I help you?” she asked.  You sure could, I thought.  It’s getting towards the end of the month, and I need the commission.

          “Good afternoon–I’m Walter Huff, American Nuptial Indemnity.”

          “Hello,” she said in a sultry voice, and that one word spoke volumes.  If I’d been selling encyclopedias I would have run to my car for a sample.  “I’m Phyllis Shamie Nirdlinger, or at least I will be as soon as I get married.”

          “The home office said someone at this address was interested in some insurance.”  She had a body like an upside-down viola da gamba-without the sound holes, frets or strings.  Full at the top, narrowing at the waist, slender legs where the neck should have been.

          “That would be my fiancé, Herbert S. Nirdlinger.”

          “Yes, I believe that was the name.”

          “What kind of insurance was he interested in?  I ought to know, but I don’t keep track,” she said as she twisted her lower lip into a little dishrag of affected concern.

          “I guess none of us keep track until something happens,” I replied.  “Just the usual–collision, fire, family reunion, with a bar/bat mitzvah rider in case either of you convert to Judaism and have children.”

          “Oh yes, of course.”

          “It’s only a routine matter, but he ought to take care of it.  You never know when something might happen.”

          “Yes, I’m sure you’re right.  So many entertainers get caught up in the Kabbalah-like Madonna.”

          “You in the entertainment business?”  I was playing dumb.  I can spot an unemployed actress a backhanded Frisbee toss away.

          “Yes.  I’m between roles right now,” she said as she gazed over my shoulder, as if she expected to see Spielberg coming up the sidewalk.   All of sudden she looked at me, and I felt a chill creep up my back and into the roots of my hair.  “Do you handle wedding insurance?”

          I couldn’t be mistaken about what she meant, not after fifteen years in the insurance business.  Not with all the jewelry riders I’ve written up, not with all the homeowner’s policies I’ve stretched to cover some kid’s busted mountain bike two years after he graduated from college.

          I was going to get up and go and drop her and that wedding policy like a hot shotput–but I didn’t.  I couldn’t, not when I looked into those eyes like turtle pools that little kids wade in and pee in, and-what the hell.  I grabbed her around the waist and pulled her towards me.

            She looked surprised, but I was pretty sure that was a façade, a coat of paint.  I could see right through her if I wanted, but I liked what I saw on the surface, and I didn’t go any deeper.

            “Oh, Walter,” she moaned as I clutched her close to me.  “Maybe this is the awful part, but I want . . . I need our wedding to fail.  Do you understand me?”

            “No.”

            “Nobody could,” she sighed.

            “But we’re going to do it.”

            “We’re going to do it.”

            “Straight down the line, right?

            “Right.”

“To hell with the bridesmaids?”

            “To hell with the bridesmaids–and their purple organza empire waistline floor-length dresses.”

            If we were going to do it, we were going to do it right.  “All the big money on wedding insurance policies comes from the double indemnity clause,” I said to her.

            “The double whatsis clause?”

            “Double indemnity.  They found out pretty quick when they started writing wedding insurance that the places people think are danger spots–like the groom has a few too many pops and calls the mother-of-the-bride an old warthog–aren’t danger spots at all.”

            “They aren’t?”

            “No.  People think the groom thinks the mother of the bride is an old warthog, but he doesn’t.  He doesn’t think she’s all that bad, just a few decades older than the bride, who looks like her mother, so why would he say the mother looks like an old warthog, unless he thinks the bride looks like a young warthog?”

            “I see.”

            No she didn’t, but I decided to humor her.  “So they put in a feature that sounds pretty good to the guy that buys it, because he’s a little worried he’s going to slip.  It doesn’t cost the company much because they know he’s pretty sure to keep his mouth shut.”

            “Oh.”

            “You can say that again.”

            “Oh–”

            “Not literally–figuratively.  They tell you they’ll pay double indemnity if the groom insults the bride’s mother, because then you’ve got a living hell.  You married the guy and have to live with him the rest of your life, but he insulted your mother, so what are you going to do for holidays, and the kid’s birthdays, and so forth.”

            She was quiet for a moment.  “How much is that worth?”

            “On a regular $10,000 wedding package?  When we get done, if we do it right, we cash a $20,000 bet.”

            “Twenty thousand dollars?”

            “To bring the immediate family, flowers and a cake back to the original location, with a photographer-absolutely.”

            “But–what if I don’t want to do it over?”

            I knew where she was going.  I wanted to go there too.

            “The check is made out to you and your fiancé–jointly.  What time does he get home from work?”

            “6 o’clock-closer to 7 if traffic’s bad.”

            “And what time does the mail get here?”

            “Usually by 4:30.”

            “Have you got his signature on a piece of paper?”

            “Yes, on the installment contract for the bedroom air conditioner.”

            “How about a glass coffee table and a flashlight?”

            “Yes.  The batteries in the flashlight may be low . . .”

            “You can get new ones at the hardware store.  Here’s how we do it.  You get under the coffee table, shine the light through contract, and I’ll trace his signature on the check.”

            “Very clever,” she said, a dizzy grin on her face.  I could tell she had no idea what she was getting herself into.

            “Now listen to me,” I said, a little out of breath.  I was winded from switching back and forth between our staccato dialogue and my first-person narrative.

            “Yes?”

            She was all ears, with some lips, hips, legs, breasts and other body parts thrown in for good measure.

            “You can’t breathe a word of this-not so much as a vowel of it–to anybody.”

She leaned into me like the bulkhead of a four-story apartment building. “Do you understand?” I asked as she pressed against me.

              “I understand,” she said.  She had a smile that could light up the inside of a refrigerator.

* * * * *

            There’s a million things can go wrong with a wedding.  An uncle who has to see the Southern Cal game brings a portable TV to the church.  A groomsman sticks a bottle rocket in the tailpipe of the bride’s limo.  A maiden aunt who’s allergic to nuts keels over after two bites of the tortoni.  It doesn’t take long to come up with a couple of crazy schemes, not if you’ve been in the business as long as I have.  Problem is, you’d make better use of the brain cells you burn thinking them up having a rye highball and going to bed.

            “How are you going to do it?” I asked Phyllis one night as I stared into the fire.

            “Well, we’ve got a swimming pool out back.  We could have a cocktail party for him to meet my parents’ friends, and I could bump him so he knocks my mother into it.”

            “Out of the question.”

            She screwed her mouth up into a little moue.

            “You don’t like that idea?” she asked.

            “It’s terrible.  Your mother would just laugh it off.  She’d be telling friends about it till the day she died.  What else?”

            “Um-what if he got really drunk at his bachelor party and . . . left something personal with a stripper?”

            “It’s no good.”

            “Why not?”

            “You call things off over that, you’re the bad guy, not him.  He’s just letting off a little steam.  Worst that happens is he picks up a social disease-gives you something to talk about at bridge club.”

            “Maybe you’re right.”

            I grabbed her by the shoulders, spun her around and made her do the Bunny Hop into the bathroom until we were standing in front of her medicine cabinet mirror.

            “You’ve got to get this straight–there comes a time with any wedding policy when the only thing that will see you through is audacity, and I can’t tell you why.  Understand?”

            “Why you can’t tell me why?”

            “No, why you need audacity.”

            “I don’t understand why you need audacity.”

            “Neither do I, but you need it.  So what we do is this.  You get to his best man, tell him you know Herbert was a ladies’ man, you’ve always wanted to hear what a rake he was . . .”

            “You mean hoe?”

            “No, rake.  You set the guy up to give the most embarrassing toast at a rehearsal dinner since the wedding feast at Cana.”

            “And when he does?”

            “You bolt the banquet hall, crying.  Deal’s off.”

            “And the insurance company pays?”

            “They have to.  You don’t fall within the runaway bride exception.  You didn’t get cold feet–you had no idea Herb was such a cad, a bounder, a . . . “

            “Rake?”

            “You got it.”

*    *    *

            We had it set up so it couldn’t fail.  It would run like a Swiss cuckoo clock, chirping at the appointed hour.  Floyd Gehrke, the best man, liked to drink, and he liked to talk.  Phyllis had pumped him up like an air mattress.

            “I want to hear everything-everything, you understand?” she told Gehrke.

            “I could go on all night,” Floyd said.  “Won’t you have to pay the band extra?”

            “That won’t be necessary,” I cut in.  I didn’t want to use up the deductible on Leo Bopp and his Musical Magicians.

            “Okay,” Floyd said, as he wiped his mouth with a napkin and stood up.

            “Ladies and gentlemen,” he began, and Phyllis and I were tapping our crystal water glasses like English handbell ringers.

            “If I can have your attention for a few moments, I’d like to say a few words about my best bud–Herb Nirdlinger.”

            The crowd began to uncouple from their conversations, and Floyd launched his dinghy onto the dark waters of the Chateau de Ville Ballroom and Function Facilities.

            “I’ve known Herb for many, many years-I don’t think any man knows him better than I do.”

            There were a few coughs in the back of the room, but then things settled down for good.

            “Like a lot of guys, Herb sowed a fifty-pound bag of wild oats when he was younger, but–and this is a big but, just like Herb’s-

            There were a few laughs spread across the room–fewer than Floyd was expecting.  I thought I saw a few drops of flop sweat break out on his brow.

            “Every girl Herb ever dated, then dumped–every one of them would come running back to him today.  All he’d have to do is say the word.  And the reason is, when he dropped them, he let them down easy.”

            Floyd was off to a good start.  I gave Phyllis the high sign; one hand under my chin, which I waved up and down, so I looked like Oliver the Dragon on “Kukla, Fran and Ollie”.

That’s Ollie on the right.

            “Herb was always a perfect gentleman about it, and that’s why he remains friends to this very day with so many of the women he dated.”

            It wouldn’t take too much more of this before any reasonable woman would have fled in tears.  That’s all I needed–just a little actuarial ammunition to back us up.

            “And I hope he continues to do the same thing with Phyllis–the nice part, not the breaking up part.”

            I kicked her–kicked her hard–and she stood up.  “You–you lout, you!” she said, looking at Herb.   “The wedding’s off!” she screamed, took off her ring and threw it at him.  Then she ran off into the night like a scalded cat.

            I picked up the ring, put it in a #1 Brown Kraft coin envelope with Gummed Closure and handed it to Herb.  “Your policy does not cover goods that are intentionally damaged or discarded,” I said.

            “Thanks,” he replied.  I thought I saw a tear in his eye, and I thought he was crying about Phyllis.  The cold duck must have gone to my head.

*    *    *

            “Huff, I don’t like it.”  I was sitting in the office of Keyes, my claim manager.

            “What’s the matter with it?”

            “Gal goes out and buys a wedding policy,” he said as he paced up and down in my office.  “Never hires a florist or a caterer.  Doesn’t book a band.  Has one, maybe two fittings on her wedding dress.  Picks out some godawful purple organza material none of the bridesmaids like, but none of them says a thing.”

            “Nothing unusual about that.”

            “It gets unusualler.  The night before the rehearsal dinner she calls up the fabric shop and cancels the order.”

            “So–it happens every day.”

            “Sure it does.  But you know what doesn’t happen every day?”

            “What?”

            “She doesn’t argue about the $200 deposit, and in fact tells the girl she can keep it–’cause she’s been so nice to her.”

            My heart was pounding.  “It’s a chick thing.  Women don’t tip for service, they tip because they like somebody, they tip . . .”

            “Huff-it wasn’t a tip.  It was hush money, pure and simple.  Only she gave it to the wrong person-someone who’s got a shred of ethics left in this lousy, stinking world. Someone who understands that the cost of insurance fraud for all of us is a lot higher than the price tag on a lousy 50 yard bolt of discontinued fabric.”

            A lump rolled down my throat and into my stomach.  The honeymoon was over.  It was time to kill Phyllis.

*    *    *

            I told her I’d meet her at her place, that I had the check.

            “Oh, Walter, that’s thrilling.”

            ”Just be sure you’ve got new batteries for the flashlight, and use some Windex on that coffee table of yours so I can do a good job on Herb’s signature.”

            “I’m sure you’ll do fine.”

            “Fine isn’t good enough.  This is a big check, so there’ll be a manual examination when it hits my company’s account.  It’s got to be perfect.”

            “Don’t snap at me,” she said in a hurt little voice.  “What do I know about reasonable industry standards of care in the commercial banking business?”

            I couldn’t afford to have her go wobbly on me now.  “Sorry, sugar.  We’ll get this last piece of business behind us, and then we’ll be together.”

           “Finally.”

           “That’s right.”

           “Forever.”

           Until death did us part.

           I rolled into her driveway around twelve-thirty.  There wasn’t any point in parking down the street and walking any more; it would all be over–for better or worse–when I walked out that door.

          I rang her doorbell and she answered it in the same get-up she had on the first day I met her.

         “Looks familiar, baby.”

         “I figured you liked what you saw then.”

         “I sure did,” I said, and I wasn’t lying.  “Where’s that coffee table?”

         “In there,” she said, and she pointed into a sort of parlor off foyer.

         I walked in and started to sit down on the couch.  As I hiked up my pants the way men used to do before the coming of wrinkle-free, easy-care styles, something hit me in the back of the head like Jack Dempsey in a clinch.

         “Ow,” I said as my head hit one of those expensive coffee table books that nobody every reads but everybody says “This is so lovely!” when you give it to them.  People are like that.

         “Okay, you human file cabinet,” I heard a gruff voice say.  “Hand over that check.”

          I looked up and saw Floyd Gehrke standing there with the Bucheimer “Midget” sap that he had just flattened me with.

          “So it’s the best man,” I said through the salty taste of blood in my mouth.  The oldest trick in the book, and I fell for it.

          ”That’s right,” he said.  “You were expecting maybe the ring bearer?”

          “That would have been just a little too cute.”

          “Enough with the wisecracks,” he said.  “Hand over the $20,000.”

          “Sure, sure,” I said.  “I’ve got it right here.”

          I reached in my inside jacket pocket and pulled out my Beretta PX4 Storm Sub-Compact.  It holds thirteen rounds-unlucky thirteen.

          I let the best man have twelve while Phyllis stood there shrieking, her hands over her ears.  Then I turned to her.

         “There’s one left, baby.  You want it?”

         “Oh, Walter-please don’t.  We have so much to live for!”

         “Like what?” I said bitterly.  “Name one precious little thing.”

         “Just look,” she said, and with a sweep of her arm she showed me what every newlywed couple hopes for and dreams of.

         “Look at these wedding presents!  We got a Cuisinart! And a Donut Express countertop donut maker with standard and mini-size pans–it’s dishwasher safe!”

Smack and the Alto Sax

Heroin, some wag once said, isn’t so much the occupational hazard of jazz musicians, it’s the occupation. It doesn’t trigger the schizophrenic visions induced in acid rockers by LSD, and it doesn’t set off the manic bursts of energy–anathema to the lyrical mood–of cocaine.  Instead, it acts as a warm blanket or hot bath on the psyche at the same time that it absorbs large quantities of time, the bane of musicians on the road or during periods of unemployment.  (Kids reading at home:  Please ask mom or dad’s permission before shooting up.)  As a result, it’s the drug of choice for those who’ve grown bored of the low-octane euphorics of marijuana.


I’m sorry–I couldn’t resist.

While smack is an equal opportunity parasite, afflicting practitioners of all instruments in the jazz orchestration, it worked particular damage on alto saxophonists during the twentieth century.  Frank Morgan, Art Pepper and Charlie Parker–the greatest of them all–all lost valuable time they could have spent creating to the drug.

 

Morgan and Pepper made it back from the brink, in Pepper’s case celebrated by the song “Straight Life.”  Parker struggled with the drug, growing plump during periods when he kicked the habit by feeding on his favorite food, chicken (yardbird, hence his nickname) then turning wraith-like when he fell off the wagon.

 
Charlie Parker, during a clean period

Some altos steered clear of the drug entirely; Paul Desmond, whose quicksilver phrasing you hear on Dave Brubeck’s “Take 5,” was satisfied with a dry martini.  Johnny Hodges, whose career linked Sidney Bechet and Duke Ellington, seems to have stayed away from the stuff, as did Benny Carter.


Charlie Parker, Johnny Hodges, Benny Carter.

Parker’s inability to kick the habit was perhaps a reflection of his musical persona; protean, a fire hose of ideas whose solos–even his riffs–were torrents compared to his peers’ glasses of beer, or in lesser cases, eye droppers.  Perhaps he needed the drug to turn off his imagination from time to time.

Parker died sitting before a television set watching the Dorsey Brothers show, but this is no reflection on their sweet sound.  He died of any or all of four causes; pneumonia, a bleeding ulcer, cirrhosis and/or a heart attack.  His body was so ravaged by the effects of heroin that the coroner estimated his corpse to be that of a man between 50 and 60.  When he died, Parker was 34.

Provincetown: Where America and its Drama Begin

Provincetown is the town on the outermost point of Cape Cod, and while a cartographer might argue the point, by leading into the Atlantic with its chin, it is where America begins.  It is also the place where, nearly a century ago, a little band of vacationing artistic types turned the tide of American drama away from a handed-down formalism towards a freer, looser style that more accurately reflected the rhythms of everyday speech and themes drawn from life as it was then lived.

The first performance of the Provincetown Players had been scheduled as a social event in the home of Susan Glaspell, a playwright; two sets were constructed, one facing the ocean, one opening into her living room.  When interested friends and neighbors who had heard of a prior staged reading at Glaspell’s house promised to swell the crowd beyond its limited capacity, the performance was moved to a rickety building on a wharf.


The Provincetown Players performing Eugene O’Neill’s “Bound East for Cardiff.” 

That humble inaugural was a success, and members of the group staged two more plays on the wharf before returning to Greenwich Village that fall.  Enthusiasm for the experiment in summer theatre grew over the winter, and the next year newcomers joined the group, including Eugene O’Neill.


Eugene O’Neill: Notice how his eyes follow you when you start to click on another post.

O’Neill is remembered today as a troubled, brooding artist, an image that is not dispelled by the many glowering poses he struck in photographs, but he had grown up in the theatre and was a hustler for the business of himself as well.  Far from a chance vacation encounter on the Cape, O’Neill had heard of the Players and came to Provincetown with the express intent of persuading them to perform his plays.

The Players rejected O’Neill’s work at first, but when they agreed to hear him read Bound East for Cardiff, they knew, as Glaspell later wrote, what their group was for.  The play has a simple plot: a dying sailor talks in a crude, poetic tongue to one of his ship-mates as the work of sailing in a storm goes on around him.


“If you folks would hurry up and finish your pizza, we could get the show started.”

From such humble beginnings are artistic careers launched.  In the meantime, communities are enriched by artists willing to cast their bread upon the water for nothing in the hope that it will be returned to them after many days.

Humble beginnings and casting bread–or at least pizza crust–are two subjects I know something about as a not-yet-successful playwright.  If you’re a musician you can stand on a street corner and play for change tossed into your guitar case.  As a playwright, you need people, which does not, contra Barbra Streisand, make you the luckiest person in the world.


Streisand

If you want to see your work performed, you have to find people to play your characters, so you go wherever there are actors willing to give tongue to your words.  Writers tend not to be “people persons,” so the task is intrinsically harder for those most in need of performing it.


Hockeyus Daddyus Americanus

I’ve had plays performed in real theatres–including one in New York with head shots of notable alumni such as Dustin Hoffman on the walls–but also in former warehouses and church basements.  In what surely was the nadir of my theatre career, I had a play about a hockey dad and his son performed in a pizza parlor in Salem, Mass., the place where they burned the witches.  Since the place was normally filled with hockey dads, for once I didn’t have to scrounge for extras.


The Ho Chi Minh gas tank by nun-artist Corita, Southeast Expressway, Boston

I don’t take my better half along to these lesser venues; it would confirm her view that I’m wasting my time starting my assault on the capitals of culture from the provinces, like Ho Chi Minh making his way through the dramatic jungle to the Broadway of Saigon.  But starting next weekend, I can say that I’m having a play performed where O’Neill’s characters first came to life.

On November 5, 6, 7 and 14th you can see my play, The Uncle Binky Show, at The Provincetown Theatre.  Binky combines two elements that I have always found to be simultaneously disturbing and entertaining: ventriloquism, and adult kids show hosts.

I admit, it’s not A Long Day’s Journey Into Night.  On the other hand, name one Eugene O’Neill play that includes a ventriloquist’s dummy.

High Court Hears Arguments in Right-to-Watch-World Series Case

WASHINGTON.  The World Series begins tonight in San Francisco, but today lawyers stepped to the plate facing a different team of nine; the members of the U.S. Supreme Court, who heard arguments on a legal issue that tears the nation apart every October:  Does the Constitution protect the right of male fans to watch the fall classic even if they have no rooting interest in either team involved?


“I forget–who’s the DH?”

Lawyers for Ray Duncan of Florissant, Missouri say yes, while advocates for his wife Lurleen say the Bill of Rights does not recognize a man’s right to watch the World Series if he is not a fan of either the San Francisco Giants or the Texas Rangers.


“U-S-A!  U-S-A!  What?  Both teams are from America?”

“Men watching sports and scantily-clad pom-pom shaking women on TV is what makes this country great,” said former Solicitor General Kenneth Starr, now Dean of the Pepperdine University School of Law and line judge for professional women’s beach volleyball matches.


MacKinnon:  “You really should be watching Masterpiece Theatre.”

Feminist legal scholar Catherine MacKinnon wrote an op-ed piece in yesterday’s Wall Street Journal urging women to support a bill sponsored by Speaker of the House Nancy Pelosi that would require men to hand the remote to their spouses as soon as their previously-designated “home team” was mathematically eliminated from contention. 

 
Virginia Woolf:  “Can I at least watch A&E during the beer commercials?”

“The right of a woman to watch ballet on Bravo, while not explicity protected by the Bill of Rights, may be found within the subtext of most Virginia Woolf novels,” MacKinnon wrote.


Jack Nicholson

A constitutional right to watch the World Series was first suggested in the film version of the Ken Kesey novel “One Flew Over the Cuckoo’s Nurse,” in which Jack Nicholson, playing the role of Randle Patrick McMurphy, rebels against a prohibition imposed by Nurse Ratched, played by Louise Fletcher, and watches an imaginary World Series before a blank TV screen.


Starr:  “To get the best reception, you have to twist both knobs at the same time.”

The right has not subsequently been recognized by federal courts, although it has been defended by law school professors with too much time on their hands and cited without authority by husbands across the country once their home team is eliminated.  “Our forefathers fought and died for the right to watch baseball,” asserted Duncan, who is a Cardinals fan.  “Yes my team was eliminated, but does that mean I have to watch a disease-of-the-week movie on Lifetime?”


Ruth Bader Ginsburg:  “I was hoping we could watch some ice skating for a change.”

Ruth Bader Ginsburg, one of three female justices on the high court, has spoken critically of a right to watch the World Series in speeches.  “Republican appointees on the Court who claim to be strict constructionists suddenly get all loosey-goosey when it’s about baseball,” she said in a commencement address at the Judge Wapner School of Law in Burbank, California, last spring.  “Whenever I want to watch ice skating the Chief Justice takes the remote away from me.”

Yours For a Song

It had been several years since my last physical, so the nurse had a number of questions to ask before the doctor saw me last week.  Was I taking any medications?  Was I allergic to penicillin?  Did I have high blood pressure?


“Do you have any recurring symptoms of smart-aleckiness?”

I had to stop and think about that last one.  “You know,” I said finally, “when I’m out in the waiting room, I get high blood pressure when you call my name.”

The woman looked at me as if I were crazy, then slowly moved her hand to the emergency call button to summon help.

“No, no–that wasn’t me talking,” I said, trying to calm her down.  “I was quoting the song ‘High Blood Pressure.’”  The look of incomprehension on her face was not erased by my explanation.  “By Huey ‘Piano’ Smith and His Clowns?” I said, trying to recall the fifties hit by the New Orleans R&B star for her.

“I’ve never heard of them,” she said as she gingerly returned to her litany of questions.  “Never heard of Huey ‘Piano’ Smith and His Clowns?” I asked myself silently.  “What the hell are they teaching kids in nursing school these days?”

I had just pulled off, albeit unsuccessfully, one of my favorite conversational gambits; inserting the words of a song into a conversation.


“Jada–jada.  Jada, jada jing jing jing.”

It’s a rare thing, like a meteor shower or a courteous driver in Boston, when such an opportunity presents itself; when it does you must seize it, for you may never get another chance to use a particular lyric in conversation again.

I was introduced to this custom when, as a young lawyer, I committed one of the errors the flesh of legal beagles is heir to.  I had confused an accretion with a reliction, or maybe requested an additur when I should have asked for a remittitur, I can’t recall precisely.  After a scolding by Charlie, the partner I was working with, his tone shifted to the avuncular.  “You must remember this,” he said as he looked out his office window at the Atlantic and jingled some change in his pocket.


Dooley Wilson, Humphrey Bogart and Ingrid Bergman in “Casablanca”

I gulped, waiting for the next lash of his tongue.

“A kiss is just a kiss, a sigh is just a sigh.  The fundamental things apply.”

I nodded my head.  “As time goes by,” I acknowledged, recalling the lyrics burned into my memory by the movie Casablanca, in which Dooley Wilson sings them for a nostalgic Humphrey Bogart and Ingrid Bergman.

Once we got started, there was no stopping us.  “And when two lovers woo, they still say I love you,” Charlie intoned, “on that you can rely.”

“No matter what the future brings,” I added thoughtfully.  “As time goes by.”

A senior partner in the firm stuck his head in the door at that point.  “Say Charlie,” he said, not noticing that we were engrossed in conversation.

“Moonlight and love songs–never out of date,” Charlie said.


“Okay–enough already.”

“Hearts full of passion, jealousy and hate,” I reminded him.

“Maybe I should come back later,” the senior partner said.

“Woman needs man–and man must have his mate,” Charlie noted.

“That no one can deny,” I said, summing the thing up.

Men are the primary perpetrators of this little gag, perhaps because women lack the deep capacity for insincerity that the male of the species is capable of, especially those men who must busy themselves with work that the world considers serious all day long.  Walter Wriston, the man who built Citibank into an international financial powerhouse, was reputed to string junior yes men along in this fashion until someone would finally realize they had been gulled.


Walter Wriston:  “There were chills down my spine–and some thrills I can’t define.”

Like riding a bull of a different sort, the trick is to keep yourself astride the lyric for as long as you can.  It helps if the words of the song actually mean something, unlike say “Wooly Bully” by Sam the Sham and the Pharoahs, and that they are not so current that your interlocutor will recognize them immediately.  I find the Beach Boys’ “California Girls” to be particularly helpful as I counsel my two sons on what part of the country they may want to settle in once they’ve graduated from college. 

“Well, East Coast girls are hip–I really dig those styles they wear,” I say, reminding them of one of the advantages of returning to New England.

“Yeah, if you like Uggs,” says the younger of the two, who’s thinking of staying below the Mason-Dixon line.

“The southern girls–with they way they talk–they knock me out when I’m down there,” I say, giving that warmer region of the nation its due.

Even an elevator conversation can be enlivened by this rhetorical trick.  “What’s new?” a colleague asks as he pushes the button for his floor.  “How is the world treating you?” I fire right back, understanding that his words to me were a greeting, not a question.

“Oh, okay, I guess,” he replies.

“You haven’t changed a bit,” I say as I step off the elevator.  “Lovely as ever–I must admit,” thereby completing the first verse of the Johnny Burke and Bob Haggart classic of 1939.  The guy tries to hide his embarrassment as there are other people in the elevator, so I throw him a bone of explanation.  “For my money,” I say as the doors close, “the best version is on the ‘Louis Armstrong meets Oscar Peterson’ album.”

Lyricizing your conversations isn’t just for fun, however.  It can help defuse an argument with your spouse over his or her lack of affection.

“A fine romance this is, a fine romance–with no kisses,” you complain amusically, channeling Billie Holiday.

“What do you mean?” your opposite number says.

“You’re calmer than the seals in the Arctic Ocean,” you say bitterly.  “At least they flap their fins to express emotion.”

A Canary in the Coal Mine of Fashion

I have an unerring eye for fashion, if I do say so myself.  Which I just did.


Resort wear:  To be worn only as a last resort.

If you want to know what’s “happening” in men’s fashion, look at me.

Then wear something else.

I’m like the canaries that coal miners take down into mine shafts to detect poisonous gas.  The little birds have such sensitive lungs that when they keel over, the humans know they’ll be in trouble soon.  When you see me wearing, for example, pleated pants, you need to run, not walk, to the nearest clothing store to buy a pair of plain fronts.


“Why did that dork have to go and buy a jacket like mine?”

Whither I goest, fashion doth not follow.  To put it as Webster’s Dictionary might, fashion is what I’m not wearing.  If you see me wearing epaulets–don’t.

I mention this because of an article I stumbled across in the Wall Street Journal to the effect that fashionable men have started to wear their pants high off their ankles, a la Pee-wee Herman.  The style has come to be known as “floods”.  In order to secure my rightful place in the history of fashion, allow me to describe my role in this tectonic shift in haberdashery’s foundations.


Pee-wee Herman, showing some ankle.

For many years I resisted the so-called “European” hemline for pants, which uses excess fabric to form a slight drape over the shoe.  I took grief for this from family members, both biological and marital.  I didn’t care.  With all the fabric I saved manufacturers, you could have clothed an Eskimo village.


“Hey mister–aren’t your ankles cold?”

From my point of view, the extra-long pant leg revealed not fashion, but insecurity.  The style seemed to be most pronounced among used-car salesmen, maitre’d's of overpriced restaurants and real estate developers looking to make a fortune with borrowed money.  The “high-water” look, by contrast, was a mark of the old-line Yankees of New England who wore them on the off chance that they’d see a snowy egret on their way into work, and would be prepared to get off the train and traipse into a marsh to get a better view of it.  These men didn’t care about fashion because they didn’t need to impress anybody.


“Your cuffs are even higher than mine!”

The turning point for me came when I was in an inner-city McDonald’s buying hamburgers for students at a school where I volunteered, and overheard a stage-whispered conversation by three girls that, I came to understand, was intended for my ears.

“Is it raining outside?” one asked.

“Is there a flood coming?” another said.

“Maybe a levee broke somewhere” the third said.

I looked at them, noticed them giggling, then looked down at my pants.  They were a little high.

It is one thing to endure criticism from your wife or your older sister–you know they’ve got it in for you.  But when unknown teenage girls start to laugh at you, it is time for a serious reappraisal of the fashion choices you have made.

I decided, after a long, dark night of soul-searching, that perhaps I’d been wrong.  Maybe longer pant legs weren’t so bad.  Who was I to buck a fashion trend that had been adopted by millions of men at the behest of sophisticated European designers?  “Get down off your high horse”, I said to myself, and “Who died and left you boss?”  Also “Get with the program.”

I slowly began to replace my high-water pants with the longer-legged style, and eventually joined the community of right-thinking men who realize that it’s just plain wrong to show your ankles in public.

Unless, of course, you want to be fashionable.

Bumpy Ride Ahead as Jet-Lagged Hamsters Try Viagra

Researchers have successfully used Viagra, the male erectile dysfunction drug, to treat jet lag in hamsters.  Reuters

I was on a 48-hour turnaround to the west coast to call on Pet Place, Inc., my biggest customer, and I’d been running my tail off trying to close a deal.  By the time I got on the red-eye back to Boston I felt like a two-week old newspaper in the bottom of a hamster cage, but I didn’t care; I’d just made the biggest sale of my life–100,000 Super Rodent hamster wheels, water bottle included–and I felt like a million bucks.


“I just flew in from the coast and boy are my little arms tired!”

As I walked down the aisle to my economy class seat, I couldn’t help but give the eye to one of the stewardesses.  A cute blonde, she gave me a big smile and said hi.  Seemed to me she put more emotion into it than her job description required, but maybe I was imagining things, or just on a sales-quota high.  I looked down at the ring finger of her left hand–she was single.


“Coffee, tea–or a complimentary copy of our boring in-flight magazine?”

What’s the expression?  While the cat–or in my case, my wife–is away, the mice shall play?  Hey–I’m a rodent too! 

“Excuse me?” I said as I settled into my seat.  “Can I get a cup of water?”

“Certainly,” she replied.  I took out my pill box and popped a Viagra into my mouth. 

“Here you are,” she said as she handed me a plastic cup.

“Fank you,” I replied with the pill on my tongue.  Not too suave,  I said to myself, but when you fly as much as I do, you need something for your jet lag.


“I call this dance the ‘Funky Robot’.”

For once in my life I paid attention to the pre-flight safety instructions–she looked great in her orange life vest.  I unlatched my tray table and jumped on it to get a better look.

“I’m sorry,” she said with a breathy, sultry voice.  “The captain has turned on the ‘Fasten Seatbelt’ sign, so all trays must be in the upright position.”

 
“There’s some sort of rodent in seat 12C.”

That’s not all that was in the upright position.  “No problemo“, I said, trying out a little Spanish I’d picked up in Southern Cal.  It is the language of love, you know.


“We know you have a choice of bankrupt airlines, so we appreciate your business!”

As she removed her life vest I couldn’t take my eyes off what lay beneath–two big, soft you-know-whats, looking for all the world like Indian burial mounds covered in white linen.  “Kowa bunga”, I said to myself, and I meant it, whatever it means.

I know what you’re thinking–just another horny salesman on the road, looking for love on the run–but who are you to judge?  I keep myself in great shape–when you’re selling hamster wheels you have to look the part.  I’ve been sexually mature since I was six weeks old and I’ll probably be dead before I’m three.  I’ve got to have some fun while I can.

We prepared for take-off, and I started to fasten my seat-belt when I, uh, encountered a little problem.

“I need you to fasten your seat-belt,” she said to me politely as she patrolled the aisle.

“I can’t seem to get it closed.”

“Let me see if I can help you,” she said.  Dear God in heaven, I thought, as she leaned over me and struggled to secure the clasp.  This makes up for lousy airline food.

“I tell you what,” I said after a few moments of this exquisite business.  “Why don’t you sit on my lap and we’ll talk about the first thing that comes up?”


“I’ve had my eye on you since Express Check-In at John Wayne International.”

Before you could say “Federal Air Marshall” some dorky guy with a crew-cut is all over me like a can of flea powder.  “You have the right to remain silent,” he’s shouting in my ear.  “You have the right to retain counsel, and the right to retain your complimentary bag of peanuts and SkyMall Shopping Guide.”

“But officer,” I said, “I couldn’t help myself.  I’m on medication.”

“Doesn’t matter,” he said.  “You can’t make a pass at a stewardess unless you’re sitting in first class.”

Available in Kindle format on amazon.com as part of the collection “Wild Animals of Nature!”

New Drug Cocktail Breaks Grip of Hummel Addiction

MAYNARD, Mass.  In a darkened room, Rose Alba Mercurio sits in a comfortable chair and repeats the words she hears on a self-hypnosis tape especially prepared for her by a local support group.  “I don’t need another . . . I don’t need another,” she says in a trance-like monotone for twenty minutes, then opens her eyes.


“Gateway” figurine of boy with dump truck

“I think it’s working,” she says after she recovers her waking consciousness.  “I haven’t been on eBay for two weeks.”


“You can get this monkey off your back!”

Mercurio suffers from Hummel Addiction, a debilitating compulsion that in the past caused her to fill her small one-bedroom apartment with over 2,500 of the ceramic figurines, which eventually spilled over into a rented storage space on the edge of town.  “I was out of control,” she says tearfully, as she peeks out her venetian blinds for neighborhood “pushers” who prey on Hummel collectors.  “They know I’m weak, and they come by around the first of the month when I get my Social Security check.”


They outnumber you.

Rose Alba was able to get her habit under control for the first time with the help of a new drug cocktail that Hummel clinics say shows promise.  “You mix crack cocaine, methadone, bicarbonate of soda and Serutan,” the laxative whose name, read backwards, spells “natures”, according to Dr. Philip Heisel of the University of Massachusetts-Seekonk.  “It packs a powerful punch, but that’s what it takes to shake these people out of their legarthy, or lethargy, however you spell it.”


Serutan: Hold a mirror up to this word, and watch what happens.

Hummel figurines have been characterized as “kitsch,” a German word that is used to refer to tasteless, sentimental art, but that has not served as a deterrent.  “The moralistic approach never works,” says Sergeant Perry Hampden of the Detroit, Michigan, drug and vice squad.  “When I catch somebody holding up a liquor store to feed his Hummel habit, he’ll just get defensive if I criticize his taste and switch to more potent stuff, like Ladro.”


Cute Ladro figurine with a widdle wambykin.

For recovering addicts such as Rose Alba, the ability to face the world freed from her prior compulsion is a gift that is given to her anew each morning.  “I feel great,” she says, her face transformed by a smile.  “I think I’ll go to a tag sale today.”

Sylvia Plath Foreclosure Sale

I grew up surrounded by females.  My dad owned a women’s clothing store.  Both of my sisters were girls, and my mom was a woman.  We had two female cats whose names–Big Kitty and Baby Cat–could have been taken straight from a Eudora Welty short story.  As far as I know, the box turtle in the basement was female, too.


Eudora Welty

As a result, I am uniquely well-equipped to intervene in, and resolve, disputes between women, sometimes referred to colloquially as “catfights.”  At the tender age of twelve, my dad took me to see a night of men’s, women’s and midget wrestling matches.  The truths I absorbed that night, all wide-eyed innocence as the ladies leapt upon each other’s bodies from the ropes, I have put to good use.


Women’s wrestling, every Tuesday night, in my central Missouri home town.

That’s why I am frequently called on to referee the All-Female Sunday Night Poetry Slams that are held around New England as fund-raisers for what A.J. Liebling disparagingly referred to as “the quarterlies,” the high-brow, low-revenue publications that pluck drops of verse from the torrent of poetry that is showered on them, providing them with a brief, mayfly-length existence, before they are recycled at one of the region’s many picturesque do-it-yourself town dumps.


Picturesque town dump, Lincoln, Maine

“You’ve got your helmet, right?” my wife asks anxiously as she eyes the bandage on my forehead that covers a three-inch cut I received last weekend when a symbolist poetess smashed a villanelle over my head after I whistled her for a shot-clock violation.


Ready for action!

“Yes, dear,” I say sheepishly, like a kid who’s asked if he’s clipped his mittens to his coat sleeves.  It took three stitches to close the wound, and my carelessness will leave a scar that matches one I acquired four decades earlier when my helmet cracked in a freshman football game.


June Lockhart, left, Lassie, right

“I worry about you, okay?” she says, her face a placemat of concern, like June Lockhart’s on Lassie when Timmie announces he’s going upstairs to study for his algebra quiz and doesn’t need his genius collie’s help.

“Just be careful,” she says with a lump in her throat.  “I love you.”

“Love you too,” I say.  We kiss, and I head out the door with my gym bag.


Blacksmith House

I arrive at the Blacksmith House in Cambridge, one of the rougher venues on the NEPA (Northeast Poetess Association) circuit.  A crowd of black-turtlenecked women and girls mills about outside, smoking French Gauloise-brand cigarettes, “freestyling” with each other.  The losing female–the one who “craps out,” unable to come up with a quatrain after her opponent finishes–often runs off in tears to gorge herself on pastry inside.


Tonight’s line-up

I move through the crowd with difficulty, as many of the distaff versifiers have gigantic egos and yield only grudgingly.  I squeeze through the front door and notice that two women are already going at it, and the bell hasn’t even rung yet!

“You couldn’t write your way out of a Barnes & Noble bag!” one screams at the other, who has a hand full of beret and is trying to get at her adversary’s hair.

“Ladies, ladies–please,” I say, with more extreme unction than a Catholic priest at a big donor’s dying bedside.  “What’s this all about?”

“She says she was into confessional poetry before me!” the one in the beret says.

“You’re a Ginny-come-lately,” the other hisses.


e. e. cummings

The shock of recognition hits me, even though both women have had cosmetic surgery recently.  In the beret is elena gotchko, who’s had the capital letters removed from her name, e. e. cummings-style, since I last saw her.  Her opponent is jean-marie benson, who opted for an Italicized style during a recent fellowship in Rome.  I notice that she’s added a hyphen between her first and middle names and her face is still puffy from the surgery, which has not yet been approved by the FDA.  Even though neither will be eligible to enter the Yale Younger Poets Competition ever again, I have to admit that both are looking great.

“Why don’t we settle this lawyer-style,” I say, “using summary judgment.”

“How does that work?” elena asks.

“You both give me your version of the facts, and I decide solely on the law.”

Okay,” jean-marie says.  “I was into confessional poetry at such a young age I had an Anne Sexton Dream House, with working car running in the garage.”


Anne Sexton

“Hmm,” I hum.  “elena?”

“That’s nothing,” the lower-case literata fairly spits back.  “When I was a little girl, I had the Sylvia Plath Brown ‘n Serve Toy Oven!”

I look at the two, trying to conceal my self-satisfied amusement.  “That’s it?” I say.  “That’s the best you’ve got?”

“Well, yeah,” gotchko says.  “I thought that made me–special.”

I can’t help but emit a mirthless little laugh.  “Excuse my frankness,” I say, “but give me a break!”

Others have started to crowd around now, anxious to hear my decision.  “I can beat you both–I handled Sylvia Plath’s foreclosure sale!”


“They take away the things you love, the car, the books, the roof above.”

“What?” squawks a forbidding women with a Katherine Hepburn-Main Line Philadelphia accent, and a haughty attitude to match.  It is Professor Natalia Seals-Croft, Head of Women’s Studies at Bryn Mawr.  “Sylvia Plath was never foreclosed on!”


Hepburn:  Butter wouldn’t melt in her mouth–maybe margarine.

“Well, she wasn’t,” I begin, “but the site of one of her poems was.”

I’ve got them eating out of my hand, and it makes me hungry.  “Bring me one of those congo bars, and I’ll tell you the story.”

My blood sugar restored, I launch into my tale.  “Sylvia had a summer job at Lookout Farm, in the suburbs west of Boston.  It was there that she overheard the conversations that she wove into ‘Bitter Strawberries‘, which was published in the Christian Science Monitor.  You can find it on http://www.neuroticpoets.com/.”

“So?” Seals-Croft asks, one eyebrow making its way up her imposing forehead like a mountain climber with crampons.

“In the 1980’s,” I begin, “the farm had a new owner.  He’d taken on a lot of bank debt to buy the place and was going to try to turn it into a year-round attraction, with llamas the kids could pet and ride, u-pick-em apple harvesting, a butterfly exhibit.”


Lookout Farm:  U-pick-’em.

“Real estate prices dropped,” I continued, “the bank got nervous, and they started to foreclose.  The owner called me up and I put him into Chapter 11.”

“Why didn’t you start at the beginning of the book?” gotchko asks.

“It’s not that kind of chapter,” I explain.  “It’s a court proceeding in which a company is protected from creditors while it attempts to reorganize.”

“There’s a lot of insolvency in Dickens,” benson adds helpfully.

“Right,” I say, then continue.  “Anyway, the guy didn’t have enough cash flow to pay the bank, and people wouldn’t come to the farm until he’d fixed it up, and he couldn’t raise money to do it.  So the bank got permission to foreclose.”

“On the very land that Plath walked on,” gotchko said sadly.  “So what did you do?”

“Everything goes when the whistle blows,” I said, “unless you can find a ’straw man’–”

“That shouldn’t be too hard on a farm,” benson interjected.

“Not that kind of straw,” I explained.  “Somebody friendly to the owner who’d buy it and maybe sell it back when he could come up with the money.  So while the auctioneer’s rattling off the terms of sale, I launched into a desperate plea.”

“How’d it go?” the woman behind the counter asked.

“I’m glad you asked,” I said.  “Here it is.”

On Lookout Farm, where Plath did write
  I rise to tell you of her plight.
If no one raises up their hand
 The bank will shortly own this land.
Where she picked berries, red and blue
 and where we planned a petting zoo.


Ted Hughes, Sylvia Plath, making goo-goo eyes at each other.

The room was silent.  Finally, a young woman in toreador pants and black glasses spoke.  “So–did anybody come through?”

“No,” I had to explain sadly.  “My guy lost it.  Since then the place has gone through two owners, neither of whom knows Sylvia Plath from a lath.”

“What’s a lath?”

“A thin, narrow strip of wood used in building lattices,” I replied, becoming emotional.  “They’ve got laths all over that place.  You’d think they could name one–just one!–the Sylvia Plath Lath–but no.”

I noticed a few tears running down pale cheeks, and the owner came up to me and put a hand on my shoulder.

“Thanks very much for sharing that with us,” she said.  “Would you like a complimentary vanilla latte or something?”

“No thanks,” I said, after I’d calmed down a bit.  “I’ve got promises to keep.  And, uh, miles to go before I sleep.”

Available in Kindle format on amazon.com as part of the collection “poetry is kind of important.”

The Master of the Air

He was, the local newspaper said, a man of vision.
It was he who had seen, back when no one else did,
   that even a small town could have its own TV and
   radio stations.  He’d been around—Kansas City,
   St. Louis.  He knew how to do it, and he got it done.
   You could see his handiwork from miles away—
   the lights on his tower gleaming in the night.

 

He was smooth, his dark hair slicked back, and
   always well dressed.  He was a booster—if you
   believed in our little town, you’d advertise your
   business on his stations, and everybody would prosper.
He belonged to all the clubs: Optimist, Rotary, Lions,
   Moose and Elk.  He knew the value of getting out
   there, shaking hands, being a regular guy.

 

Some nights he’d look down the boulevard on which he
   lived with his wife and admire what he had built;
   the square brick studio with the shining glass front,
   green, red and blue lights making it glow from behind.
Overhead, reaching almost into the clouds, was the spire
   of steel and lights.  You didn’t need to be in a big city;
   it was a big country, and you could reach it through the air.

 

He thought of it as magic, but magic that he understood,
   the way a magician knows about the hidden compartments
   in his hat and trunks.  All it took was power and equipment;
   if you had those, as he did, you could broadcast your sonorous
   voice to places you’d never seen and never would see. 
You could send your image to other towns and other states.
He was the master of the air, and the waves that ran through it.

  

When he’d arrive to broadcast from a hardware store opening,
   he’d be greeted like a god you’d read about in a sacred text.
“It’s the man from TV,” someone would say, and he’d say
“Howdy—glad to meet you!” with a smile on his face.
He started looking for new sites for new stations.  If he
   could do it once, he could do it twice, he thought, then
   again, until he’d be master of all the air he surveyed.

  

 He lived with his wife and their little daughter, the joy
   of his life.  She was a happy little girl who loved to dress
   in frilly clothes.  She was, they knew, the only one they
   would ever have, and for that reason all the more precious.
He would swing her high above his head when he got home,
   and she would laugh.  Then she started having seizures, and
   his wife said maybe he should stop—maybe it would help.

 

He did, and the little princess of the air was grounded.
   “Daddy, swing me,” she would say, but he would say
   no, I don’t want you to get excited again.  “But I like to
   get excited,” she would say, and so he would take her and
   rock her in his arms, singing to her she was daddy’s girl,
   daddy’s girl, daddy loves his daddy’s girl.  She would calm
   down as he slowed down, and he’d carry her up to bed.

 

The business grew, and with it the demands on his time.
He had to spend time with advertisers, or fill in for his
   newscaster, who was also the high school volleyball
   coach, when he was away on a road trip.  He resented
   it, but it was the price he had to pay for success, he
   told himself.  If the girl was asleep when he got home,
   the agreement was he’d leave her be, she needed the rest.

 

One night he came home to find his wife waiting for him
   at the door, a look of panic on her face.  “She’s having
   a seizure,” she said.  “We’ve got to get her to the hospital.”
He rushed inside, slipped his arms under the girl, and held
   her while his wife threw a blanket over her.  He ran out
   the front door but, before he even reached his car, he
   felt her kick one last time, and the life go out of her.

 

In his arms, as he ran, she became dead weight.  He had
   heard the term before, but he felt it now.  She was unliving,
   like a fifty-pound sack of grain, and a burden he could
   hardly bear.  He almost stumbled but he made it to the car,
   where he rested her on the trunk; less a body than an object.
He looked up to where the tower stood, and thought of what
   had gone out of her; the breath of life, the buoyancy of air.

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