Rilalities V: Challenges and Insecurities


The 6’5” Guy

“I’m six foot five,” a man named Joe said when I met him. He did not work this into his greeting, and he did not say it in the early minutes of our introduction but it hung over his sizable head until he acknowledged it.

Those fortunate enough to meet Joe will discover the reason we learn about his height soon after learning his first name. The natural inclination of most is to drop their last name soon after saying their first name. Some drop their last name soon after mentioning their first name as a matter of habit, and some do it because they’re so proud of their family and heritage. Others might mention their occupation soon after mentioning their first name. I didn’t learn any of that from Joe in the brief moments Joe and I spoke. I learned that Joe was 6’5”. Joe was more 6’5” than he was Joe, and those fortunate enough to have a conversation with him that extends beyond superficial pleasantries will learn how 6’5” he is. If the conversation we share with Joe evolves into a minutes-long discussion, and the listener doesn’t acknowledge his height in anyway, he’ll break the news to them:

“I’m six foot five!”

Although Joe and I spoke for a total of about three minutes, I had the impression that the man could’ve written a bestseller, won the Heisman Trophy, saved children from a fire, or discovered the cure for cancer, and his height would still be his greatest and worst attribute. No matter what happens to him in life, I think Joe will prefer to have “Here lies Joe. He was 6’5” chiseled into his gravestone.

Joe was an interesting guy. He appeared to be conversant on a wide range of topics, and he managed to tell some stories from his life in an impressively timely manner, but everything he spoke of kept coming back to that refrain of his life.

His height was the reason he had trouble finding chairs to sit in with comfort, the reason his 5’3” mother was always on him about stuff, and the reason he couldn’t be as particular as he wanted to be about the clothing he wore:

“You can’t be finicky about clothes when you’re 6’5” and built like me.”

Joe, we should also note, was broad-shouldered. This attribute, coupled with the idea that he was 6’5” was the reason he had trouble going door-to-door to talk to people.

“Would you be comfortable discussing politics, if a man my size came-a-knocking on your door?”

His height was also the reason, he informed me, that he had such trouble finding a decent woman. That subject matter may have shocked most people, or at least made them somewhat uncomfortable, as most people would deem such a discussion inordinately intimate for a conversation between two people meeting for the first time. I had a best friend in high school who was 6’7” however, so I was well versed in the travails of being an abnormally tall male in America today, and I was used to my friend going into such intimate details with people he just met. Joe and I did try, at various intervals, to move on to other topics, but he was unable to let the fact that he was 6’5” go as easily as I was.

What struck me as odd was that I never mentioned his height, and I don’t think I provided any verbal or physical cues that called attention to it. Was that the point though? I later wondered. Was my refusal to acknowledge his height such an aberration to his experience that until I acknowledged it in some way, he would not be able to move on until one of us did?

Being a tall man has numerous advantages, but it has almost as many disadvantages. As I wrote, I was well versed in the travails of being an abnormally tall man in America. I knew, for example, that a person’s height is the first thing people notice when another is taller than 6’3”, and the thing they talk about after the person leaves. “How would you like it if no matter what you said, ’Man he is a big fella ain’t he?’ is the only thing they have to say about you after you leave?” When you’re 6’5” people pester another about in malls. It’s the reason some guys won’t mess with you and the reason others do. It’s also the reason some women want to date you and others don’t. A 6’5” man could be the most charming person in the world, in other words, and most people will have preconceived notions about them based on their height.

With that in mind, one would think that an abnormally tall male, or a woman with abnormally large breasts, would find it refreshing when they’ve finally encountered someone who seems to be genuinely unconcerned with their attribute(s). One would think that they might find it refreshing when they’ve finally found a person who is willing to talk geopolitics with them without looking down their shirt, or saying, “How’s the weather up there?” One would think that someone who broke those patterns of human interaction would receive a bright smile as a reward, and maybe even something along the lines of, “Thank you. You may not even know why I’m thanking you, but thank you!” Yet, tall men and large-breasted women, just like all humans with exaggerated attributes, become so accustomed to these patterns of interaction that they feel compelled to draw your attention to them just to complete a line of dialogue comfortably.

Most people try to avoid talking about a trait they generally considered a negative, and they will do everything they can to avoid noticing it. When they consider that person’s attribute a positive, most people think you should feel privileged to have it, so they don’t mind drawing attention to it. “You’re tall Joe!” they will say, or “I wish I had those,” and they will add something along the lines of, “You should feel privileged.”

As my conversation with Joe continued, and he began to belabor the point of his height, I thought he was trying to assert some sort of dominance. I may have been wrong on that note, and it might have had more to do with everything I thought later, but I began to rebel against his theme by making a concerted effort to avoid the topic of his height. Our conversation ended soon thereafter, and we moved onto other people at the gathering.

“What did you say to Joe?” our mutual friend later asked. She thought Joe and I would have so much in common that we would hit it off.

“Why?” I asked.

“He says he doesn’t think you two hit it off.” When I asked her for more details, our mutual friend said, “He said he can’t put a finger on it, but he doesn’t like you as much as I thought he would.”

Without going into what I deem to be the unnecessary details of our otherwise innocuous conversation, I can tell you that the conversation I had with Joe involved no disagreements. To my mind, there were not even moments of subtle tension, and there certainly were no overt ones, but he didn’t like me. Now, I’m not one of those people who thinks every person has to like me, and if they don’t I think there has to be something wrong with them, but to my mind this conversation I had with Joe proved to be amicable if not pleasant. Joe and I also proved to be as like-minded on certain topics as our mutual friend thought we would be. The only thing I did, and that which I presume led Joe to state that I didn’t live up to the characteristics our mutual friend detailed for him, was refuse to acknowledge he was 6’5” in anyway, and I think he thought that if I was’t going to do that, I was probably a phony.

Going Clear—

Anytime I finish a book as fantastic as Lawrence Wright’s Going Clear, I wonder what I am going to do with my free time?  The book gives credence to Phillip Roth’s line about non-fiction being stranger than fiction.  A complaint that an Amazon.com reviewer posed was: “If everything Wright writes is factual, why would anyone want to join the Scientology religion?”  This reviewer stated that this was the only point, and a central point, that they found lacking in the book.  If I were this Amazon.com reviewer’s teacher, and I lived by the credo, there’s no such thing as a stupid question, I would simply require that student reread the book.

Kiss in Rolling Stone—

Anyone that thinks that being “king of the hill, top of the heap, and ‘A’ number one” means that you will be able control your press, should read the March 28, 2014, issue of Rolling Stone magazine.  Kiss may no longer be the band that sells platinum records every year, and they may be more about marketing than music at this point in their career, but this Rolling Stone article was supposed to be about their soon-to-occur induction into the Rock and Roll Hall of Fame.  To read this piece in the Rolling Stone, however, that fact means little-to-nothing.

This piece of rock journalism was so shockingly brutal that one has to imagine that Gene Simmons is still throwing some of his much detailed Kiss memorabilia at the wall when he thinks about it.  All four members of the band Kiss came under attack from the author of the piece, but the author reserved most of his unprofessional brutality for Gene.  This writer’s attacks were so petty and snarky that a regular reader of Rolling Stone would suspect that Gene was a Republican candidate running for office.  Yet, Gene’s not even a Republican voter, as he has made it public that he voted for both Barack Obama and Bill Clinton twice.

This article would also be an excellent read for journalism students seeking answers on what not to do with subjects they’re covering in an article.  Having never taken a journalism course, I would have to imagine that one of the primary rules discussed in a Journalism 101 class is: “The articles that you write are not about you.  No one will be reading your article to learn what you think, unless you’re writing an opinion piece.  If you’re covering a subject in a journalistic manner, however, remember that your readers are only reading your article to learn more about the subject.  It’s not about you.  Your readers won’t care about your opinion, your preferences, or what you think about the subject you’re covering, so be careful how you frame their answers.  If your subject says something stupid, infantile, or in any way revealing of their character, put that statement on the record, but do not comment, or frame, that quote in anyway.  That’s not your job.”  Judging by the course journalism has followed in the last generation, I’m quite sure that most journalism schools now include an asterisk with each of these rules that states: “Unless your subject is a Republican politician.”  As I wrote, however, Gene Simmons is not a Republican voter.

Inspiration—

“This guy sounds like a complete fraud,” a writer said of a fellow writer I was describing.  I wasn’t even done with my description of this fellow writer, when this writer interrupted me with her blunt characterization.  I wasn’t shocked by her assessment of this fellow writer.  She had said as much of other, more established writers, but it was apparent to me that this woman believed that by diminishing all other writers around her, her stature as a writer would somehow be fortified.  Had this been the first time I heard any writer say such a thing, I would’ve passed her comments off as flaws in her character, but I’ve heard a number of novices, and well-established writers, engage in the this practice.  If you’ve ever heard a U.F.O. chaser, a ghost hunter, or some fortune teller attempt to establish their bona fides by telling you that every other person engaged in their craft are fraudulent, then you have some idea what I’m detailing here.

Knowing how hard it is to come up with ideas, and execute those ideas to the point of proper completion, one would think that a writer would bend over backwards to extend professional courtesies to anyone trying to do the same.  If you think that, you’ve never sat down with a group of writers.

“You can say he’s a poor writer,” I said, “But are you saying he’s not a writer?”

“I’m saying he’s probably a hack,” she responded.  She didn’t arc her nose upward after saying that, but that’s how I now remember it.  It seemed like such a violation of the code, on so many levels, that it was hard to comprehend how she could be so brutal.

She cut me off before I could ask her what she meant by “hack”.  I know the general term applies to writers that write just to write, and churn out poor quality submissions for financial gain, but she had never read this person’s material.  She had never even met the man.  Yet, he was a hack in a manner that made her appear adept at using the word.

One essential component to avoid being called a hack, apparently, is to write so little that everything you write can be perceived as enlightened, or divine in nature.  If you want to avoid being a hack, you should never write what others might consider mundane.  Yet, those of us that truly love the minutiae involved in writing, believe that it’s only through exploring the mundane that moments of inspiration can be discovered.    

One key component to being in a position to level such a charge, and have that charge stick –I now know after reading her material— is to never allow those that hear you level it, read your material.  Your charge should remain an indefinable accusation that leaves you with the dignified, nose-in-the-air air about you.

Her material brought to mind the one key component of storytelling that every writer should focus on —be they a writer of vital, substantial material, or a hack— make sure it’s interesting.  Translation: You can be the most gifted writer the world has ever read, but if your material is not interesting, no one will care. 

In the face of the constructive comments (see negative) this woman received from our group, she said, “Perhaps, I’m a better editor, than I am a writer.”  Translation: I have little in the way of creative talent, but I am, indeed, gifted in the art of telling others how little they have. 

Rilalities IV: The Rilalities


6175ASTTEDLThe Rilality for Album of the year goes to… Sufjan Stevens Illinois.  I know it came out in 2005, but with every critic going bonkers over it back then, I decided I would hate it circa 2005-2006.  In 2013, I realized I was wrong.

Runner up: Secret Chiefs Book of Souls Folio A. The most original album of the year by a mile. Folio A, like all Secret Chiefs’ albums, has very few lyrics.  So, if you’re a lyrics guy, this album isn’t for you. It does have some of the most complex arrangements I’ve heard on an album since… the last time Trey Spruance decided to put out a Chiefs’ album in 2004.

(For a longer review of this album, go here

In the age of iTunes, it appears that either it’s difficult for some artists to make complete albums, or it’s become increasingly difficult for me to listen to them, because iTunes has spoiled me into making my own shuffle albums out of the artists’ best individual tunes. ITunes has also opened my eyes to the filler that an artist loads his albums with, and I don’t listen to those individual tunes as often as I once did, just because they’re from “my guys”.

2013 was also a year where I moved past some of my guys, and once you’ve made the move past some of your guys, it’s difficult to go back. I used to hate it when people told me that they’ve just moved past Led Zeppelin. “They’re great and all, and I spent years listening to them, but I’m just done with them.”  How can one move past Led Zeppelin I wondered. Then I did, and then I moved past Radiohead, Alice in Chains, Verve, and Soundgarden. The latter three groups regrouped, and I tried to get back into them, but I realized that in some manner that’s hard to describe, I’ve moved on. I moved on in a manner that if they came out with the most brilliant album they, or anyone else, could produce, I wouldn’t think it wasn’t as good as the body of work they produced back when they were my guys. The groups I listen to now may not be better, in the truest sense of the word, but they’re different, and when you move past a group you need something different.

You-Are-NOt-So-SmartThe Rilality for Book of the Year goes to… You are Not so Smart by David McRaney.  Again, it came out in 2011, but I’m not a professional critic, and as such I’m not held to time constraints.

Runner Up: I Wear the Black, by Chuck Klosterman.  I disagreed with Klosterman as often as I agreed with him, and that’s exactly what everyone should want in a book.  Klosterman is not meek when offering his opinions, unless he is criticizing staples in our society… like Bruce Springsteen.

The Rilality for the book of the year, next year, will probably go to: Going Clear by Lawrence Wright.  The award winning writer of the terrorism tome The Looming Tower may have even topped that book with this one.  I’m about halfway through this exposé on the religion, called Scientology, and I am obsessed. Wright is a ‘Just the facts ma’am’, Hemingway type of writer. For those that enjoy writing more in the  Doris Kearns Goodwin mode, you may not enjoy this style of writing.  For those curious about this religion –that were too young when the actual revelations occurred– this book is an account that is proving to be invaluable to this ever-curious reader that enjoys the ‘just the fact ma’am’ Jack Webb approach.

There are very few fiction writers that shocked me with their modus operandi in 2013. The last one to do so was Chuck Palahniuk. He was shockingly good, but something shocking isn’t always good. It may be that Palahniuk, and all other fiction writers have simply tripped my tripwire so often that I cannot be shocked by their prowess anymore, but I couldn’t find any piece of fiction shockingly well written in 2013.

breaking_bad_by_motionshowcase-d5l3atmThe Rilality for TV show of the year goes toBreaking Bad. I would love to tell you the line that put the show over the top for me. I refer to it as the line, because the more I digested the subtext of what Walter White just said, the more my jaw continued to drop. Entertainment Weekly, Rolling Stone, and TV Guide focus on the moments of TV, but I focus on lines, and this was the best of the year in my humble opinion. It was such an incredible line that I wondered if Vince Gilligan, and his writers, had been sitting on the line for the past few seasons. I also wonder if Gilligan used the line in his pitch to the networks, as a way of summing up the series. I would love to tell you what this line is, but I don’t want to ruin it for all those people just now watching the series on Netflix, or DVD. The line needs to be heard, chewed, and digested individually for maximum effect. The line was so elemental to the series, that it separated Breaking Bad from all the gritty, new age style TV shows I have loved over the years, including, but not limited to, The Sopranos, Mad Men, and Justified.

One interesting nugget from the general reviews of this show was that some of the seasons were filler. My guess is that they probably were, but I have to wonder what the general perception of the show would be if it were but a three season series. “We want more,” might be the general outcry, and the five season arc seems more satisfying. I think The Sopranos followed a similar arc. The first two seasons are action packed, the studio AMC and HBO respectively, cried out for more seasons, and the writers happily complied by introducing filler seasons to complete the previously planned three seasons. It’s just a theory, of course, but I think all parties concerned feel more satisfied with five to six seasons than they would three. 

Runner up: Justified. Boyd Crowder may be one of the most original, and finely crafted, bad guys ever created for TV. I know, I know, Crowder was created by Elmore Leonard for the short story Fire in the Hole. I read that story, and I recognized the gestational elements of the Crowder character there, but Justified’s writers Graham Yost, Chris Provenzano, Fred Golan, and actor Walter Goggins have taken the Boyd Crowder character to a level I’m guessing Leonard had to find impressive.  (Leonard obviously didn’t see the same possibilities of the Crowder character that the show’s writers did, as Leonard killed the Crowder character off in that short story.)

The other characters—Marshall Raylan Givens, played by actor Timothy Olyphant, and Chief Deputy U.S. Marshal Art Mullen, played by Nick Searcy—are also great, and dynamic, and almost as impressive, but the deliniations between great movies and shows is always the bad guy, and there aren’t any better on TV today than Goggins’ Boyd Crowder.

american-hustle-posterThe Rilality for movie of the year goes to… American Hustle. The movie wins based largely on the fact that I didn’t go to a lot of movies in 2013, and I wasn’t overly impressed with those I did. Bradley Cooper turned in a good performance, but Christian Bale did something different. It seems he does in just about every role he accepts, and that makes him the current, best actor in movies today.

Runner up: Blackfish. I may be biased in this area, since I’ve loved killer whales, Orcas, for most of my life, but when I started doing research on the elements in this movie, I knew that the movie makers reached me on a level that most don’t.

I’ve watched too many movies to continue to enjoy the important movies that I’m supposed to like, and I no longer watch actor vehicles that are done to impress Oscar voters. Most dramas seem to be as reductive in their problems as they do in their solutions. Action movies have a way of leaving me with the idea that I’ve already seen this movie so many times before. I see the formula from another action movie that influenced this movie, while I’m watching it. I spend the entire ninety minutes trying to shake off the idea that the original was better. This may give the reader insight into my age. It may also give readers some insight into what my fellow movie watchers, and TV show watchers, go through with me, but I have a problem shutting it off for just a little bit to enjoy most modern movies. Comedy, in general, is so derivative, and subjective that most movies now feel the need to go over the top to make their mark. Over the top can be funny, of course, but it’s difficult to maintain that level for an entire movie, and most of them do not do this well.

This may not be the best “best of” list for those seeking the best ofs, and if you want to consider it the cynical “best of” have at it, but I don’t consider most entertainment vehicles “must have, must see, must read, and must hear” anymore, and I find that the marketing departments that promote their vehicles in this manner tedious.