Wednesday, September 12, 2012

On Working In A Kitchen

I've heard it said that working in a kitchen is nothing more than a 24/7 dick-measuring competition. I cannot think of anything that could be both more accurate and more wrong, all at the same time. Kitchen work is a survival of the fittest sort of thing. And I mean that in a very literal sense. You very rarely see people who have a similar body type as the customers standing next to the grill all night. And if that does wind up occurring, they either quit or sweat it off pretty quickly. Spending forty plus hours a week in that sort of environment is a challenge that many people are not up to. Forgive me if this gives those of us who can do it, sometimes well, a bit of an ego to match the callouses on our knife and saute hands. There is a continual showing off aspect to the whole thing, a bit of stage show provided, not for the customers, who will never be allowed near the whole lurid spectacle of professional food preparation if management has any idea what is good for them, but for one's co-workers. The basic premise of the enterprise is that, as kitchen work is not an office job, the goal should be to commit some sort of act that would get one fired from any self-respecting office at minimum once per hour. Working through hangovers, or while in the bag or on most any ingestible substance, is the mark of the line cook. If you manage to somehow (Probably through some sort of misunderstanding or trickery) find yourself in a stable relationship, you have committed a minor sin. Not vomiting over the railing of the deck to close the night because you wish to spend time in the company of said other may up the deal to felony level. Why would you want to go home for sex when the waitstaff is in such close proximity? In short, it is all about the Three B's: Booze, bluster and bullshit. And it is wonderful.

 Now, make no mistake, there is no actual dick-measuring competition going on back where your food is prepared. For one thing, there is little use for a ruler in a kitchen, and kitchens tend to get trimmed down to the essentials. This would leave any sort of serious contest woefully imprecise. But more importantly, unless you're running El Bulli, there is likely a limited amount of space in the back of house (If you are running El Bulli, the extra space is probably filled with unpaid interns. Perhaps stacked). To have a dick-measuring competition would likely mean having to wash your cutting board, and given the usual state of affairs in the dish pit, it's almost always best to simply keep it zipped up unless/until the new host walks by. Instead of taking a physical form, this leaves the favored game as verbal abuse.

There are rules to this sort of thing, but they vary from kitchen to kitchen depending on the backgrounds of the crew contained therein. The general policy is that if you think you can say it without getting stabbed, it will be coming out of your mouth. Sometimes even these remarks get uttered if it seems likely that their emittance will remain unpunished. If you ask anyone in a kitchen about this atmosphere, they will tell you they're just busting someone's balls. Nothing more to it than that. But this is incorrect. You see, there is an eventual goal to this eternal show of machismo. What everyone is trying to do back there is to be the one who pushes a fellow employee over the edge, dropping the final insult on some poor bastard who didn't have the intelligence or opportunity to choose a career path better-suited for his particular temperament. This goal remains unacknowledged, as talking with your co-workers about your continual attempts to get them to kill themselves would probably put a damper on the sort of camaraderie needed to get through a busy Saturday night. Yet it still exists. And the undiscussed reward is just as widely known as the contest itself: The winner gets eternal free drinks from the remainder of the staff. To help him forget.

Tuesday, September 11, 2012

Pro Cooking Tip

When making New England Clam Chowder, it is comforting to see the words "Made with natural clams" on the side of your bottle of clam juice. This way you are assured that your chowder is not made with gay clams.

Monday, September 10, 2012

Thursday, September 6, 2012

Really Important Site News or Something

I talked about this blog with a man who knows about this sort of thing, and he said that it's not dead. It's merely mostly dead. So rather than going through the site's pockets for loose change, I have decided to hope for a miracle. It recently moved its head (The blog, not the miracle), so I have hope that this endeavor may be successful. For now I am going to make a list of my assets. If anyone has a wheelbarrow or a Holocaust Cloak, please let me know.

Thank you,

The Management

Tuesday, September 4, 2012

Company

Supposedly Steven Sondheim is some sort of musical theater genius. But from the two shows I have seen that prominently feature his name on the marquee (Into the Woods being the other one of these, that being a show that was completely derailed by a terribly-written second act featuring the most painfully obvious overarching metaphor I have ever had the misfortune of being exposed to), I will dispute that claim with anyone who cares to get into an unwinnable argument likely to leave both parties angry. Now, it is true that my issues may not be strictly with Sondheim, as I believe he sticks to writing the music and/or lyrics of his shows, not the scripts, which is where the majority of the fault lies. To this I say: tough. Either write it yourself or find a better scriptwriter. Odds are they'll all work for food, so cost is unlikely to matter. Go for the quality.

As you may have figured out, I recently saw a Sondheim piece. Company, to be specific, showing at Renegade Theater in what I'm sure the tourism department refers to as beautiful downtown Duluth. As you may also have figured out, it is not overly good. In fact, it fails on almost all counts. Perhaps the music was amazing. Whatever. Don't care.

More to the point, Company revolves around the central character Bobby, a man whose name is repeated a minimum of 5 million times by the various cast members. Bobby has problems, and we (the audience) are lucky enough to get to see them play out. You see, Bobby is unmarried and seems to be somewhere around his thirties, at an age where most of his friends have settled down. This makes him the titular company when he comes over for dinner, which he seems to do with great regularity. Beyond saving vast amounts of money on Bobby's food bill, this allows us a glimpse into multiple short, comedic marriage-related set pieces, which we shall discuss shortly. It also gives us some insight into Bobby, apparently quite the Lothario, as the parade of names his friends throw out as past romantic foils attests. But as things go on, we learn that Bobby actually really wishes to be married, he just hasn't found the right girl (Actually, this seems to be the only problem Bobby has. I shouldn't have pluralized that earlier. My bad). To show this, we are treated to scenes involving three romantic matches, ranging from recent to current. Two are presented as dimwitted (Technically I suppose one was more of a post-hippy stoner idiot, but I have no qualms about lumping them both under this banner), while the other one is never given more than a couple lines, leaving her a completely forgettable and unused character. If these are the types of women Bobby finds himself spending his times with while secretly yearning to be married then he is most certainly doing it wrong. Fortunately for the play as a whole (And audience by extension), the writers decided that this was all the characterization Bobby would be given in two and a half hours. This leaves us with, not a main character, but an utterly unconvincing piece of furniture who exists solely for the reason of giving us access to a number of marriage-centric vignettes, which occupy the bulk of the play.

These are certainly the foremost strength of the play, primarily the first scene, which is outright hilarious at points. After the opening high this brings, however, the rest could be safely skipped by an efficiency-minded theatregoer without missing a beat. The only impression these give off in the end are to repeatedly say that married people sure are wacky. This concept comes very close to matching in overall profundity Sondheim's follow-up masterpiece, Women Be Shoppin'. What we have here is an empty shell of a play, with a vacant hole where the lead should be, and nothing of any substance to say. It feels as though someone involved wrote a couple of the marriage pieces, showed them to someone who encouraged him to write more, then gave it a thin concept to try to tie it all together without bothering to put any effort into it. Then songs were tacked on at the end for no possible comprehensible reason, as many of them seem completely awkwardly shoehorned into a near-total void of a script that somehow still doesn't make room for the music. Some of the transitions are worse than mine have been so far here. I'm sure that the music is excellent, and I'm simply missing Sondheim's brilliance here. But you know what? Once he bothers to learn to write, I'll see if I can be bothered to care about his songs. Until then, I remain thoroughly unimpressed.

Saturday, July 7, 2012

R.S.V.P.

Dear Sir (Or, if we are now close enough friends that I may return your greeting of "Dude!" in kind, Dude),

I regret to inform you that I will not be attending your party tonight, July 7th, at ten p.m. Instead, I shall be working, and therefore occupied. My co-workers will not be attending either, as, depite your request, I will probably not bother telling them about this party; and if the topic does come up, it will probably not be in an overly positive light. Rest assured that should I somehow get out of work before this time, I will also not be attending, as I am somewhat averse to gatherings of people I don't know advertised by men in tight t-shirts drinking beer on the street at one o'clock in the afternoon yelling at random passers-by.

Thank you for your interest in spending quality time with me.

Regretfully yours,
Hollar

Tuesday, June 26, 2012

A Conversation That Apparently Happened

Broadway Producer 1: So, Fiddler on the Roof. That's Jewish, right?

Broadway Producer 2: Yeah, I think so.

Broadway Producer 1: So we'll make them speak with Brooklyn accents.

Broadway Producer 2: Can we mix the Brooklyn accents with Boston ones?

Broadway Producer 1: Why?

Broadway Producer 2: I don't have an answer to that question.

Broadway Producer 1: Perfect! Let's do it.

Dialogue Coach: Do you want me to work in some Slavic accents?

Broadway Producer 1: Whoa whoa whoa!

Broadway Producer 2: Hold up there. We freed those people. We can't call them that anymore.

Dialogue Coach: What? But...

Broadway Producer 1: I'm starving. Who wants lunch?

Broadway Producer 2: Pastrami on rye?

Broadway Producer 1: You know it! Who's buying?

(Dialogue Coach sighs, slumps shoulders)

Monday, June 11, 2012

I'll Miss You: Ween Break Up

The key to being a (I'm just gonna go ahead and say it here; we're discussing Ween for God's sake) successful smart-ass is never letting on when you're joking. With that in mind, perhaps Ween will announce the impending release of their new album next week. They will almost certainly announce the dates of their new tour in a couple years, though it might be better for all parties concerned if they don't. After all, Ween were a band built largely upon spot on, unflinching musical genre parodies and the ingestion of anything not tied down that could fit into the mouth. And for everyone who chooses to travel down that road, a point arises when it has passed from questionable idea to very bad plan. Ween hit that point over a decade ago, and only with the news of the band's break-up has it become apparent that this isn't just some joke from a band waiting around the corner ready to laugh at us when we believe them.

It is now 2012, 28 years after two fourteen-year-olds decided to form a band, and fifteen years after they released their last good studio album. So what is the big deal? Well, that would be what came in the middle. In a span of eight years, Ween released six albums that ranged from absolutely brilliant to completely unlistenable, each of which was fairly mind-blowing even to those of us out there who plumb the varying ranges of sobriety. Beyond this, they recorded what seems to be an equal number of brilliant pieces which didn't even make their albums proper, spread out across soundtracks, compilations, EPs and probably their garage sales if they ran low on funds for drugs (Though even I wouldn't pay for the masters for Candy). This period saw them inexplicably given a major label deal which they responded to by recording their most bizarre album ever, which resulted in Push th' Little Daisies getting actual money pushing it on MTV, a situation which probably had some suits soiling their drawers at Elektra. The duo then became a full band, for the first time sounding as if they were recording songs that were clearly written on a load of drugs while actually fairly sober. Then they released a country album. It was a remarkably fertile creative span, and one that gave them a massive catalog to draw from during their marathon live performances, songs that stayed perenially fresh as the band changing from two guys with a drum machine to a five-piece rock powerhouse forced them to reconstruct the songs for each new stop along the way. And they toured those songs hard.

Every time they put out a new album, and quite a few times that they didn't, for the last decade, Ween would set out to play every town in America that would allow them to display their particular blend of drunken genre-hopping and jamming, playing gloriously extended versions of their songs that they inevitably seemed unlikely to remember upon waking up the following day unless someone had fortuitously taped the proceedings. And many times, it turned out someone had. And then Ween would release the tape. All in all, they wound up releasing six live albums over ten years. Granted, some of these were old tapes documenting prior iterations of the band's career, and they were usually somewhere between very good and excellent. But man, that is a lot of live albums for a span of years which only saw them release three proper studio records. That should probably have been the clue that the party was nearing its end. That and the rumors of rehab which constantly dogged the band. But every time the rumors seemed to threaten to overtake them they were back onstage, and look how much fun they're having! Of course they're still going.

At least until they weren't. It ended the only way it could, with most of the band not being aware of it. It happened after one of their last stage performances ended in a complete meltdown. It happened five years after their last studio album, without even any rumors of another one in the works. And when it happened it became apparent that they had actually been done for years. This is perfectly okay.



During their heyday, Ween had more ideas than they knew what to do with, throwing out brilliance and trash at a rate not seen since Robert Pollard lost the ability to write five songs on the can, three of which would be good (He can, however, still write five songs while in the can). And this furious pace is what keeps them alive. That track a couple lines above didn't make it onto one of their studio albums. Also, it is a gorgeous ballad. Yes, they did that. They also did everything else. How well and how fast they did it made it possible to ignore the obvious with each passing year after the release of The Mollusk, when it became apparent that the brilliance would be concentrated only in flashes rather than sprinkled over the bulk of their recorded output going forward. There was simply so much to catch up on. Sure, the entire second half of Quebec was incredibly dull, but have you heard this new collection of previously unreleased material? They've still got it!

While it seems inevitable that Ween will tour again down the road, it is entirely possible that they shouldn't. The odds of them releasing music that adds to their legacy seems very slim, outweighed by the possibility that the combination of Dean and Gene Ween may no longer be good for people who at this point in life may have a greater need for sobriety than they used to. If they do come back, it will generate money, not art. Until they die, they will likely enjoy playing music together, even if they no longer have any reason to record music together. Even if they shouldn't play music together anymore. When they do reunite, they will put on a fun concert, but it will be a nostalgia-laden exercise, as it has been for years now. There's nothing wrong with a bit of nostalgia here and there, but it cannot compare to the sheer joy of diving into the things the duo did in the past and hearing them communicate through a prog-rock epic that sounds like it is being written from the point of view of a child molester the simple message that they cannot believe they are being paid to do this. We had the best time at their party. I choose to thank them like this. By writing about them on the internet (Naughty words in the video below).