Doxology. Nell Zink

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СКАЧАТЬ yet, nor entirely clear on which of those strangers had been Grandma and Grandpa.

      Their return flight was postponed by thirty hours due to typical Wisconsin winter weather. The likelihood that they would return for a second holiday season in Racine diminished to a vanishing smallness.

      JOE’S NEXT SHOW WAS BY INVITATION OF SIMON, WHO HAD STUMBLED INTO ENVIABLE gigs reviewing classic rock LPs for the new website Amazon and heavy metal for the magazine Thrasher. Dumb luck and connections had lent him the aura of success, and some indie rock band was trying to siphon it off by getting him to book opening acts for their CD release party at a storefront on Stanton Street called House of Candles.

      The band members had their own label, the way Joe had Lion’s Den, so they had no label-mates to pack the bill with. They were from Albany, so they had no fan base in tow except their girlfriends. They were paying rent for the venue, so they wanted bands with social circles, but not party bands that would steal the show.

      Being something of an asshole, Simon invited bands that would help cement his professional position as a critic. He added Joe as an afterthought, to make sure Pam knew he could have booked Marmalade Sky and didn’t. He told the indie rock band that Joe was an outsider singer-songwriter with a loyal following, which was true.

      She stayed home with Flora. Joe was promised no share of the door but granted permission to sell merchandise. Simon encouraged him to skip the sound check, because he couldn’t have cared less how he sounded. Thus Joe and Daniel didn’t head over until eight o’clock, as the first band was starting. Daniel carried twenty-eight singles in a box labeled “$3.”

      Daniel set it down on a table in the back and looked around for Eloise. But she never showed that night, because there had been no publicity for anyone but the headliners. He stayed near the merchandise to make sure no one stole it.

      Joe sat in the front row, bass on his lap, playing along quietly with the opening act, billed as Broad Spectrum. It consisted of a woman singer, a scared-looking boy playing tenor recorder, a sequencer that wasn’t working right, and a keyboard player holding a tambourine. The keyboardist was responsible for the sequencer. She kept jabbing at it, shaking the tambourine at random, and alternating between two chords on the keyboard with her left hand. You could hear that she was right-handed. The woodwind looked frustrated, trying for low notes and getting overtones. The singer’s dance moves kept taking her away from the microphone. Her voice could be heard when she stood still for the chorus, but it remained incomprehensible, because she cupped the mic with both hands, looking very earnest and sexy while it was practically inside her mouth and kept feeding back. The group performed as though they not only hadn’t rehearsed, but had won the gig in a raffle, earlier in the day, before they founded the band.

      After their first number subsided, the singer nudged the keyboardist aside and fiddled with the sequencer. The setup began to play “Sussudio” by Phil Collins. She returned to the mic, glared at Joe for singing along, and said, “It’s a borrowed keyboard. Give us a minute.” Three minutes later, the band continued its set with four-finger organ, tambourine duties devolving on the singer. The woodwind took a rest. The singer’s yawping teetered on the edge of feedback until Simon, the soundman, rendered the mic inaudible. The whole thing was pathetic, and when it was done, everybody clapped for a long time.

      Daniel thought, The name kind of fits, assuming they meant “broad” as in “woman” and the autism “spectrum.” Also, in his opinion, their conceptual project didn’t stand a chance against the art of music. Joe had craft, not a concept. He could hear himself play—he could really listen—and when he wasn’t sounding good, he took steps to fix it.

      He played three numbers, rocking out to his own conception of beauty, alone and weird. The applause was cursory, because there was no one in the audience but members and friends of Broad Spectrum. He sat back down in his seat in the front. An older but not repulsive man in standard-issue indie rock garb (Black Watch plaid shirt, Cubs cap) sat down next to him, introduced himself as Eric, handed over a business card, and said, “Call me if you’re interested.” Joe scampered to the rear, breathlessly waving the card, to tell Daniel he’d been scouted by Matador.

      Matador was an important indie record label, Joe’s favorite in all of New York next to 4AD. It turned out that Broad Spectrum was made up of people who had office jobs there.

      Daniel had come to feel gloomy about distributing the single. If Joe got a contract with Matador, his work was done. The remaining singles would sell themselves. He said, “That’s awesome!”

      He knew that Matador was doing some kind of dance with Atlantic—an unequal partnership or a not quite acquisition—the idea being that collaboration would offer artists all the advantages of a major label with none of the degradation. What the reality was, he didn’t know, but the company itself was respectable: it possessed bourgeois realness; it had offices in Manhattan and fine and noble founders, and it distributed its wares to the farthest corners of the earth. As for signing with Matador, there was little Joe could have possibly done that was more likely to get him fair treatment and decent money.

      Daniel sold two singles that evening and gave away five to people who said they were reviewers for magazines whose existence he doubted, strengthening his resolve to nudge Joe from the indie rock gift economy into the big time. He offered to call Eric for him the next day.

      WITHIN A WEEK JOE AND SOME GUY NAMED RANDY HAD SIGNED A MEMORANDUM OF understanding drawn up in ballpoint pen on a steno pad at a beer bar on Sixth Avenue. Joe signed it in the presence of Daniel—not in an official capacity; his role as Joe’s label executive and manager was a combination hobby and joke—who saw nothing to criticize. Somebody somewhere had skipped Joe right over Matador and signed him to Atlantic, with an advance of $80,000 for a single LP. He might take home only $10,000 after taxes, recording, and publicity, yet spending even $10,000 was likely to be fun for him. On some level it was money for nothing, since he would be making music anyway. With a major label contract, he could make it in a fancy studio with professional engineers.

      When the finalized contract arrived in the mail—eighteen pages of legalese—Daniel belatedly suggested getting a lawyer. Joe said no, because he trusted Eric and Randy. Daniel suggested involving Professor Harris. Again, Joe said no.

      He wasn’t anybody’s ward. He was impulsive and vulnerable. His own weaknesses told him, directly, that he didn’t need protection.

      It wasn’t paradoxical. It was tautological, like all the most daunting and bewildering things in life. Things are the way they are: unthinkable. Trying to understand can feel like a struggle, but the conflict is internal to each of us, ending in surrender each night when we close our eyes.

      Looking through the countersigned contract months later and seeing points he maybe should have argued over, Daniel couldn’t say for sure whether Joe had gotten a raw deal. Maybe other fledgling artists were being treated better; he didn’t know. In absolute terms, it was a gift. Joe had gone straight from babysitter to rock star, while there was nothing in the contract that would oblige him to give up babysitting.

      RANDY WANTED TO MAKE AN ANTI-FOLK RECORD WITH ROCK DRUMMING À LA BECK OR major-label Butthole Surfers. He claimed that Joe’s vision of bubblegum dub was an audience-free joint that wouldn’t even fly in Brazil. That’s how he phrased it, thinking Joe would get bewildered and surrender. Joe did not. It seldom impressed him that things are the way they are.

      “The bass on Doggystyle makes my vision go blurry!” he insisted to an elevator full of random label employees after his third chaotic five-minute meeting with Randy. “That’s what I want! Deep music for deaf people!” He told Daniel, who was waiting for him in the lobby with Flora to go to lunch, that Atlantic was going to turn his lovely demos into crashy-bangy СКАЧАТЬ