Doxology. Nell Zink

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      “Yes. The problem is maternity leave is unpaid, and it’s a little late.”

      He sneered, wrinkling his nose. “Who told you that? Your union rep?”

      “Very funny!”

      “You’re the funny one here, talking about part-time work when I bill for you by the day. Clients are always telling me how many hours you work most days, or should I say minutes?”

      “Express yourself clearly, Yuval.”

      “That maybe it’s almost better if you limit time offsite? Like, dress up like you’re in marketing, run intense interviews about client needs, drip your famous honey sweetness on them, estimate billable days with some generosity to me, and deliver on time? Stay home. Work as you need. Flextime.”

      “I’d do that.”

      “But only two years. Maternity leave. In two years is performance review. I’ll be counting your billable days.”

      She called Daniel at his temp job with the good news. He said, “Your boss has a Messiah complex.”

      DANIEL THOUGHT THE SONG WAS GREAT AND LACKED ONLY ONE LINE TO BE PERFECT: “IF my right hand should offend you, cut it off.”

      With Pam at the controls of a four-track and the vocal stylings of Flora and Daniel, Joe recorded a bass-and-foot-tapping demo of “Rub My Nub.” The interplay between the four/four repetitions of “rub my nub I” and the syncopation of “cut it off, cut it off” was strikingly infectious. When Daktari heard it over the phone the next day, he said, “Ç’est ça, mon ami!”

      Joe’s reasonable response was “Sad monogamy?”

      He was summoned to a studio in Chelsea to rerecord vocals and two bass parts. It took two days. Without consulting him, Daktari then laid the recording over a big-beat synth percussion track. He hired a contrabassist to shadow the bass and singers to imitate Flora, ran the results through a compressor with multiple bowls of reverb (reverb was measured in units of the kind bud), and cranked up the presence until the song could work as a ringtone on a Nokia.

      The album Sad Monogamy (that was the working title; in the end it was released as Coronation) came together quickly, because Joe wrote a song almost every day. Daktari didn’t care too much about the other tracks. He didn’t even ask for changes in “Rub My Nub,” except for the title, which became “Chugalug.”

      THE STILLS AND RUSHES FROM THE FIRST DAY OF FILMING THE “CHUGALUG” VIDEO astounded Daniel. Watching the shoot on monitors was even more disturbing.

      He was a show business novice. His experience of comparing images with reality had been acquired firsthand. For example, he saw himself as an okay-looking guy who was not photogenic. In pictures he looked like a small-eyed, hairy potato. Smiling widened his strong jaw into something photographs invariably depicted as a moon face, right on the edge of pug. By contrast, he thought of Joe as not an okay-looking guy. He wondered how major-label-style publicity was supposed to work with a star like that. He imagined they would pose him far away, with contour makeup under dramatic lighting, or maybe on a beach, facing out to sea. Joe was short, five feet seven and a half at the outside with shoes on. He had a cute enough butt and square little shoulders, and if you issued him a smallish guitar—well, Dylan and Springsteen were little guys, right? Those were Daniel’s not uncharitable thoughts on the subject of Joe’s image. He was trying to be realistic.

      On screen, Joe became a rock god. His Muppet mouth became a twenty-tooth smile. His small head became enormous eyes; his girlish chin, an asset at last. His mousy bowl cut required only one sweep of the oiled brush to darken to a mass of chestnut waves under the lights. His short stature and neck made him fit neatly in the frame. His size made cheap props, such as the foam-and-cardboard wingback chairs the director had bought from IKEA (to be returned for credit the next day), look vast and luxurious. The effect of the camera on his skin was strangest of it all. Joe in real life had a yellowish cast. He was anemic-looking, sallow, not olive; not a beautiful look. On screen he looked vibrant, yet blotless—smooth as the piece of paper the cameraman held up to get a white balance score. Reduced to two dimensions, with a script to follow, he became someone else who was also himself. The transformation wasn’t instantaneous, because the two Joes were incommensurate and incompatible. It was like some strange proof of the existence of a parallel universe looming behind our own. Daniel could look up at the soundstage and see the frowns on the dancers straining to evoke eroticism in the presence of the goofiest man alive (they’d met him; he’d introduced himself and talked to them all before the shoot), lower his gaze to the monitors where similar women were writhing in a miasma of lust they felt for a handsome singer who was coolly delivering obscenities, look up again to see Joe gesticulating while the resentful troupers sweated their workout, look back down, look up again, see stars, see human beings, until his brain abandoned the effort of trying to reconcile them. The video was like a centrifuge, separating the world into a visual component that drained into the monitors propped on the floor and a bodily component that became more unsightly with every turn of the machinery.

      The women did the dance, not Joe. The director said it was great to be able to surround a singer with built fly girls who could move instead of models. He told Daniel to be happy, because Joe was going to get film offers.

      THE VIDEO WENT INTO ROTATION ON MTV AND VH1. STRANGERS NOW RECOGNIZED JOE in record stores, if the staff clued them in. They called him “Joe Harris” rather than “mongo collector scum.” He had been more notorious than popular.

      Maybe he would have stayed notorious, never becoming popular, if he’d been easier to recognize. But his social skills and conversational arts couldn’t discredit him in the eyes of the world. The disconnect between image and reality was total. Occasionally he was taken for someone who resembled Joe Harris, but only when something startled him into silence.

      There was one recurring situation where he would be recognized and draw a crowd: if the song was played in his hearing. He would sing along and do the dance, no matter where he was—at home listening to the radio, walking past a bar where it was on the jukebox, shopping in a grocery store where an easy-listening version was streaming over the paging system. It made him oh-so-happy to hear it.

      His mainstream career took off with an appearance on a morning talk show. Atlantic’s publicist had negotiated a one-minute promotional segment. Prior radio interviews had established that a minute could be a long time. Thus there was debate as to how to handle him, until a production intern’s boyfriend provided a timely eyewitness account of a performance in the dairy section of C-Town. The host of the show shook hands, said hi, and let the track roll. Seemingly a man of few words, Joe sang and did the dance. The camera zoomed to his face as the vision mixer cut to the shocked reactions of the host and other guests.

      After that, many talk shows invited him on, but not to talk. The song gave rise to a vulgar and widely satirized dance craze. No wedding was complete without it. It was the go-to anthem of drunken groomsmen. The album sold and sold and sold, and the single reached number four on the Billboard Hot 100. Joe in his lewdness was compared with Elvis Presley.

      As with Elvis, it was a lewdness only the unmediated had seen. The buzz around his first concert tour was accordingly significant.

      Daniel began to wish he’d asked for a songwriting credit for his coda.

      CURRENTLY BETWEEN JOBS, ELOISE STROLLED THE LOWER EAST SIDE IN SEARCH OF JOE. She looked out for Pam, Daniel, and Flora as well. But all of them were busier than they’d ever been. She didn’t know where they lived. Joe was walking and shopping less, swamped with СКАЧАТЬ