Tag Archives: rant

Tooting my own Horn

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Evidently, farting is funny. There are fart jokes in ancient Roman murals. We all know who Shakespeare is because 60 percent of his writing was baffling language, and the other 40 percent were fart jokes your English teacher had to explain to you. Fart jokes are mighty.

I don’t understand the appeal, to be honest, though I think it may be the taboo nature of farts, mixed in with “there but for the grace of God go I.” Farts smell really bad, and there’s something funny about being people being disgusted.

Some people are really proud of their farts, and some people don’t ever admit to having them. But the fact is, we all fart. Kim Kardashian farts. And since it’s a shared experience over the world, a vocabulary is going to be built around them. And that brings me to my question.

You know how some farts just explode, real attention-grabbers? Other farts are the opposite, hissing out of your anus with nobody the wiser. The problem is, these are also the most fragrant, so what do you call them? Silent-but-deadly? This is the one I hear the most. I understand the appeal of the gag, where it’s like a ninja of discomfort, but it’s not as good as the other one. I learned of this one in middle school, and I loved it for its sheer poetry: silent-but-violent.

I never hear it anymore, even though it is the superior of the two by every means. Silent-but-deadly describes poison gas, but silent-but-violent knocks you around a bit, gives you a bloody nose. And it rhymes.

When you were a kid and the scent of a microwaved dead skunk marinated in used gym socks comes from the bowels of someone in this room or elevator car, what do you call it?

Silent-but-deadly?

Or silent-but-violent?

Words, Words, Words

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If there’s one thing people know about me, it’s that I’m a writer. This goes all the way back to the fifth grade when I wrote my first short story, a Top Gun fan fiction. I showed it to my dad, and he had notes. Everyone’s a critic.

I have over thirty novels to my name, as well as countless short stories, a well-curated folder of most of my essays and blog entries, as well as a memoir and whatever the fuck “Three Stories in One” is supposed to be. Between “Three Stories in One” and my school newspaper column, writing made me a celebrity in high school. I went to college to learn to write. I moved to New York to become a writer, and while I didn’t become published, I certainly enjoyed the craft.

My marriage was great for me as a writer because she had an idea for a novel (I’d only written short stories so far), she got a lead on a contest I ultimately did pretty well in, and she bullied me into submitting my work. Ten short stories were published in various anthologies, but I got over sixty rejections on a novel I wrote by accident while she was in Namibia.

That basically stopped me from writing until seven years ago, when I entered another season of the contest and decided that I was going to write a novel. I did. And then I wrote the next one. I wrote the novels to write them, and I wasn’t going to kill my self-esteem with dozens more rejection letters. I tried again, though, submitting my best novel so far, but after thirty-plus rejections and Covid, I gave up.

Years later, I saw an ad for a writing service. Among the their many offerings is help (from agents and editors) with writing your query letters and synopses, copyediting your samples, and helping find the agents and publishers your work is the best match for. I purchased all of these. They found me five agents and five publishers because I didn’t want more than ten rejections. I got nine. The tenth should be publishing me in a few months.

If there’s two things about me that people know, it’s that I’m a writer and a Doctor Who fan from way back. I grew up with Classic Who, where the effects were cheap (but very imaginative), the acting was not Method, and the serials were always one or two episodes too long. Then it got cancelled, and seven years later, there was a movie with flashy effects and motorcycle chases. When that went over like a fart in a car, they rebooted the series nine years later, and it runs to this very day.

I’ve loyally watched all of NuWho (or Who Redux) as they have gone from Doctor to Doctor and showrunner to showrunner. Prior to last year, the latter was Chris Chibnall. It did not go over well. It started going badly before his era even began because the Doctor was going to be played by an icky girl. I defended Chris Chibnall from the Doctor-Who-not-Nurse-Who/Go-Woke-go-broke contingent who were complaining about the writing so they could mask their sexism. However, I wasn’t enjoying the show anymore. When it wasn’t completely forgettable, the mythos was being torn down, and the character was being stripped of everything I loved about them. The problem was indeed the writing. As a writer, I’m not happy to say this.

When a project goes wrong, especially on TV, it’s almost always the writers. And considering how much people complain about the writing, it’s no wonder the studios want to use AIs to do it.

Movie and TV writing are not art; they’re science. In a movie, you must, by around page 55, have some kind of major conflict. And the audience is so trained to expect this that The Avengers dragged a little in the middle because the epic fight on the Helicarrier took place on page 70. If characters don’t hit their beats like they’re supposed to, people can’t handle it. Look at the reaction to The Last Jedi. I tried writing a pilot, but I couldn’t make it fit into five acts.

Movies have endless script doctors fine-tuning every little thing. A sitcom will have rooms full of writers, fine-tuning every single joke. Producers and studios give their input. Actors love to give their input too, sometimes rewriting their lines. A producer (or a comic book editor) will have an idea, and they’ll make a writer make it happen. The writers everyone is complaining about are a committee, about as far from the process of writing I enjoy.

Don’t get me wrong—I love a good collaboration. Some of my favorite memories are sitting in Shane’s studio, bouncing ideas off of each other and creating a screenplay and a lost screenplay. But that’s not what happens. In movie and TV writing, someone is always reading over your shoulder and telling you they can do it better, unless you’re Neil Gaiman.

I used to want to be Joss Whedon (before we found out he was a violent creep) because he had made a brand for himself. He had fans who would watch anything he wrote, even Dollhouse. They picked apart his mythology, they obsessively watched for Easter eggs. I wish someone would do that to my stuff. Yeah, it would be great to have fans. I wish my other twenty-nine novels had readers.

On the other hand, I sit here in my cozy apartment with my swiftly growing cat, living my life with (mostly) peace and contentment. How miserable would I be if I were a professional writer?

If I were a novelist, I would still need a job because authors get paid shit (there’s a finite amount of money for authors, and it’s all going to JK Rowling). If I were a TV writer, I’d have to hustle just to make minimum wage while the studios figured out ways not to pay me, and I’d have to share my inspiration with a crowd and a belligerent showrunner. If I were a movie writer, the screenplay I poured my life into is going to be ripped up and reassembled, so I won’t recognize it.

The Princess Bride is a classic because of the performances and the art direction and costuming and sets, all brought together by Ron Howard, but every single quirk, every single quotable line came from William Goldman. You can’t have a movie, TV show, or comic book without the writing (though the founders of Image Comics gave it their best shot), but people don’t notice unless it’s bad.

I’m living my best life right now. I’m not famous, and maybe that’s okay. I used to feel like I was supposed to have a bestseller for my twentieth high school reunion, but I don’t want to hand over parts of my soul to people who have no respect for me. I’m a writer. I write. And that’s good enough for me.

I Want to Take his Face … Off

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We all know who Nic Cage is. He’s a dangerously unhinged actor who had a pyramid constructed to house his remains. When you see him screaming, “Not the bees! Not the bees!”; it’s easy to forget that this guy won an Oscar. He is a genuinely good actor, but he owes a lot of money to the IRS, and will take any job he can get.

Nicolas Cage is weird. He named his son Kal-El. He’s plenty weird onscreen too, delivering some of the most bipolar performances in movie history. You can see the same histrionics in the role that won him an Oscar on display when he dresses as a bear and cold-cocks a woman.

In Face/Off, one of his bigger roles, Cage plays a terrorist who switches faces with the FBI agent vowing to bring him to justice. He costars with John Travolta, who plays the FBI agent who switch faces with the terrorist he vows to bring to justice. And then the doves come out.

Face/Off starts out with a little boy, no older than five, getting shot in the head. It’s a John Woo movie, so no punches are going to be pulled. The next scene ends with a plane crash and gun ballet and someone getting flattened in a wind tunnel. This is the first eighteen minutes of this film.

John Woo had a long career in Hong Kong before coming to the US. The first time I saw Hard Boiled, I couldn’t get clips from it out of my head. The grace of the dives, the flash and crack of the guns. A baby urinating on the hero to put out a fire. Hard Boiled was a bloodbath, but sentimental, like all John Woo movies.

I haven’t seen all of his movies, but I have to say that Face/Off is in his top three (that I know about). With a Hollywood budget and stars, he shot a bloody gunfight around a five-year-old boy listening to “Somewhere over the Rainbow.” He ends the movie with a brutal gunfight in a church, followed by a high-speed boat chase that ends when their stunt men are thrown onto the beach. This was a bay seemingly made of napalm because everything blew up.

Face/Off seemed like the last few episodes of a long-running show. Agent Sean Archer and Castor Troy have a long history of failing to kill each other, and it shows. There are so many stories between them, I’m surprised a comic book company never got the licensing rights to do prequels. There are so many characters who have names and are given a personality who are in maybe two scenes, from Archer’s best friend, Tito to the agents at the FBI office, to Castor’s brother Pollax, to the vaguely incestuous Demetri and Sasha, who work with Troy.

Even though Nicolas Cage danced, grinned, and got a little pedo as Castor Troy, the movie is never more entertaining as when he’s John Travolta. When Travolta is Sean Archer, he has all the charisma of a sack of mashed potatoes in a toupee, but if there’s one thing he’s good at, it’s mischief. He plays Castor Troy like a sociopathic thirteen-year-old boy.

With John Travolta as the bad guy, Nicolas Cage gets to be the good guy. Where Travolta’s performance ranges from annoyed to angry, Cage brings in some real pathos. This war is weighing on both of them, and it shows.

John Woo’s career didn’t get any better than this. He made some more movies in America, to diminishing returns, including Mission Impossible 2, as well as Windtalkers, the movie about a Navajo Code Talker where the main character is a white guy. Eventually he went back to Hong Kong and has been making the kinds of movies he wants to make.

This was my favorite movie until it got dethroned two years later. I bonded to the moral grayness—when Travolta is Troy, he becomes a father and a husband, and when Cage is Archer, he steals and lies and commits great acts of violence. I was pretty convinced I was a bad guy back then, and it was good to see that you could be bad and do good things.

I also really dug the gun ballet, as well as the mythos, and the finest, as Jason Mantzoukas calls it, “kabuki acting.” I could talk about this movie forever, like how the Troy brothers are named after the Gemini brothers, but I won’t. I’m not qualified to say if this is his magnum opus. What I will say is that this movie was the work of a mad genius, and I salute you. If there’s one word you can use to describe John Woo, it’s sincerity. I think this is how he sees the world. I think that, most of all, is what I connected with.

Words, Words, Words

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If there’s one thing people know about me, it’s that I’m a writer. This goes all the way back to the fifth grade when I wrote my first short story, a Top Gun fan fiction. I showed it to my dad, and he had notes. Everyone’s a critic.

I have over thirty novels to my name, as well as countless short stories, a well-curated folder of most of my essays and blog entries, as well as a memoir and whatever the fuck “Three Stories in One” is supposed to be. Between “Three Stories in One” and my school newspaper column, writing made me a celebrity in high school. I went to college to learn to write. I moved to New York to become a writer, and while I didn’t become published, I certainly enjoyed the craft.

My marriage was great for me as a writer because she had an idea for a novel (I’d only written short stories so far), she got a lead on a contest I ultimately did pretty well in, and she bullied me into submitting my work. Ten short stories were published in various anthologies, but I got over sixty rejections on a novel I wrote by accident while she was in Namibia.

That basically stopped me from writing until seven years ago, when I entered another season of the contest and decided that I was going to write a novel. I did. And then I wrote the next one. I wrote the novels to write them, and I wasn’t going to kill my self-esteem with dozens more rejection letters. I tried again, submitting my best novel so far, but after thirty-plus rejections, I gave up.

Years later, I saw an ad for a writing service. Among the their many offerings is help (from agents and editors) with writing your query letters and synopses, copyediting for your samples, and help finding the agents and publishers your work is the best match for. I purchased all of these. They found me five agents and five publishers because I didn’t want more than ten rejections. I got nine. The tenth should be publishing me in a few months.

If there’s two things about me that people know, it’s that I’m a writer and a Doctor Who fan from way back. I grew up with Classic Who, where the effects were cheap (but very imaginative), the acting was not Method, and the serials were always one or two episodes too long. Then it got cancelled, and seven years later, there was a movie with flashy effects and motorcycle chases. When that went over like a fart in a car, they rebooted the series nine years later, and it runs to this very day.

I’ve loyally watched all of NuWho (or Who Redux) as they have gone from Doctor to Doctor and showrunner to showrunner. Prior to last year, the latter was Chris Chibnall. It did not go over well. It started going badly before his era even began because the Doctor was going to be played by an icky girl. I defended Chris Chibnall from the Doctor-Who-not-Nurse-Who/Go-Woke-go-broke contingent who were complaining about the writing so they could mask their sexism. However, I wasn’t enjoying the show anymore. When it wasn’t completely forgettable, the mythos was being torn down, and the character was being stripped of everything I loved about them. The problem was indeed the writing. As a writer, I’m not happy to say this.

When a project goes wrong, especially on TV, it’s almost always the writers. And considering how much people complain about the writing, it’s no wonder the studios want to use AIs to do it.

But movie and TV writing is not an art, it’s a science. In a movie, you must, by around page 55, have some kind of conflict. And the audience is so trained to expect this that The Avengers dragged a little in the middle because the epic fight on the Helicarrier took place on page 70. If characters don’t hit their beats like they’re supposed to, people can’t handle it. Look at the reaction to The Last Jedi. I tried writing a pilot, but I couldn’t make it fit into five acts.

Movies have endless script doctors fine-tuning every little thing. A sitcom will have rooms full of writers, fine-tuning every single joke. Producers and studios give their input. Actors love to give their input too, sometimes rewriting their lines. A producer (or a comic book editor) will have an idea, and they’ll make a writer make it happen. The writers everyone is complaining about are a committee, about as far from the process of writing I enjoy.

Don’t get me wrong—I love a good collaboration. Some of my favorite memories are sitting in Shane’s studio, bouncing ideas off of each other and creating a screenplay and a lost screenplay. But that’s not what happens. In movie and TV writing, someone is always reading over your shoulder and telling you they can do it better, unless you’re Neil Gaiman.

I used to want to be Joss Whedon (before we found out he was a violent creep) because he had made a brand for himself. He had fans who would watch anything he wrote, even Dollhouse. They picked apart his mythology, they obsessively watched for Easter eggs. I wish someone would do that to my stuff. Yeah, it would be great to have fans. I wish my other twenty-nine novels had readers.

On the other hand, I sit here in my cozy apartment with my swiftly growing cat, living my life with (mostly) peace and contentment. How miserable would I be if I were a professional writer?

If I were a novelist, I would still need a job because authors get paid shit (there’s a finite amount of money for authors, and it’s all going to JK Rowling). If I were a TV writer, I’d have to hustle just to make minimum wage while the studios figured out ways not to pay me, and I’d have to share my inspiration with a crowd and a belligerent showrunner. If I were a movie writer, the screenplay I poured my life into is going to be ripped up and reassembled, so I won’t recognize it.

The Princess Bride is a classic because of the performances and the art direction and costuming and sets, all brought together by Ron Howard, but every single quirk, every single quotable line came from William Goldman. You can’t have a movie, TV show, or comic book without the writing (though the founders of Image Comics gave it their best shot), but people don’t notice unless it’s bad.

I’m living my best life right now. I’m not famous, and maybe that’s okay. I used to feel like I was supposed to have a bestseller for my twentieth high school reunion, but I don’t want to hand over parts of my soul to people who have no respect for me. I’m a writer. I write. And that’s good enough for me.

Card-Carrying Birthday Boy

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I am extraordinarily lucky to have my job. One reason is that they give you a birthday gift every year (an electronic gift card). For some reason, they keep screwing up mine. This year, I waited all week for my birthday gift, and it didn’t arrive. Typically, it would get there on your birthday, or if it’s on a weekend, on the Friday before. I thought that maybe they would email it on my actual birthday. They didn’t. I reached out to HR, who didn’t answer my email until I wrote them again, and they sent me to someone else, who sent me to someone else.

Remember how I wrote that blog post about how it’s great to have my name? They sent my present to the other Jeremiah in the office. That didn’t annoy me so much because I get his email and Teams message all the time. I’ve even gotten into arguments about my own identity. (“You sent this to the wrong Jeremiah.” “But you’re Jeremiah.”) But when you receive a gift card that says “Happy Birthday!” and it’s not your birthday, shouldn’t you say something to somebody? In all this time, he’s either never received an email intended for me, or he just ignores them. Right now, I think it might be the latter.

But I got my gift card. Now I need to buy something that’s not an action figure or art supplies.

He Was a Good Friend of Mine

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I listen to YouTube videos while I work. It helps me focus. About half of my job is waiting for PDFs to download, so I can successfully hear whatever I have on without screwing anything up. I listen to a great many subjects, including true crime and pop culture.

My favorite from the latter is the Professor of Rock, who’s this middle-aged dude in a bowling shirt and a trilby hat, spending twenty minutes educating you on the history of just one song (although he sometimes does an album, sometimes a band). He focuses on the sixties through the nineties and grouses about music these days. If you’re lucky, he’ll tell a touching story about his dad, a rock music fanatic who introduced him to the subject.

Each show begins with the mystery, as the thumbnail and title only drop hints about the subject matter du jour. I mention this because I clicked on a video because the thumbnail said that the singer was inspired by a kid’s cartoon. The title said, “Band swept the world with the most memorable first line in rock history.” I love this show because every song, every album, every band is the greatest of all time. It’s good for the mood.

You may have guessed what today’s song was. I had no clue, even as he set up the mystery, then cut to the clip that was going to reveal the answer. The image now has this sepia tone to it that all photos from the seventies and eighties have. We now see a skinny, shirtless man with flowing, dark brown hair and ox-bow mustache, and he was screaming. Do you know what he was screaming? He was screaming the most memorable first line in rock. He was screaming, “Jeremiah was a bullfrog!”

“Joy to the World,” by Three Dog Night was the bane of my existence. It’s the first thing that comes to mind when most people hear my name. And half of them have to tell me. There were the bullies who taunted me with it, the teachers who were just bein’ goofy, and my customer service clients at every non-office job I’ve worked. So far, no one at my current job has asked me about this song, but something tells me Work Dad is waiting for the right moment.

The thing is, I love my name. My parents told me once that they were going to call me Robert, then changed their mind. Can you imagine me as a Robert? I’d be manscaping.

But I think it’s cool that I’m Jeremiah. It suits me. The problem was, it was something I had to endure as a child. I tried changing my name to Jerry (how was that any better?), but I went back to Jeremiah in high school, though occasionally I went by Jerm (to be honest, I didn’t really love it).

In college, a lovely young woman shouted at me, “Dude! You should have been named Eugene!” I agreed and adopted Eugene as a nom de guerre. Obviously, I didn’t change my name, but it became a character in a series of short and long stories, as well as a complete novel. When I was waiting tables, I changed the name on my tag to Eugene, for reasons I’m about to get into.  

I worked weekends on Fridays and Saturdays, known as the Black Friday (and Saturday) of late-night family restaurants. Until the last customer left, we were dealing with drunken monkeys on acid. We had one woman who stuffed feminine hygiene products in her ears, nose, and mouth and ran around, shouting, “I’m Tampon Lady!”

That and 85 percent of the tables had one spokesman who said, “You’re a bullfrog! You know that song?” Or, “Jeremiah was a bullfrog! You know that song?” Or. “Did you know you were a bullfrog? You know that song?” And so on. It got to the point where I just started telling them I didn’t know what they were talking about, and eventually they’d sing. That almost made it worth it. They only ever knew the first line.

Every once in a while, the Professor of Rock sits down with a member or two of the band and has a chat. The guy who wrote the song and the line that hung around my neck like an albatross met with the professor today. Prior to “Joy to the World,” Three Dog Night was making adult contemporary music, but after, they were rock superstars. The first line comes from an obscure cartoon frog who might have been an alcoholic. I don’t know if Jeremiah was the name of the frog, or if they just chose it because it has a great rhythm to it.

At the end of the episode, the Prof lists all the major artists who have done covers, as well as the most memorable TV and movie appearances. I don’t remember any of the ones from “Joy to the World,” though they left out the time Scully sang it to an injured Mulder, which I thought was a shame.

Pop-culture-wise, I don’t see or hear my name a lot. There was a short-lived TV show called Jeremiah, starring Theo from The Cosby Show. In Batman World, the founder of the insane asylum the Joker keeps escaping from is Jeremiah Arkham. He was also coo-coo for Cocoa Puffs. Other than that, you rarely hear my name despite it being unique and pretty good.

I’ve only known a small handful of people in my life named Jeremiah. Most of them go by different names (like JT, as one example). It’s so rare that, whenever I hear “Jeremiah,” they’re most likely talking to me. I got whiplash when at the Laundromat, a three-year-old kid named Jeremiah went on a rampage, and I kept hearing, “Jeremiah, stop it! Jeremiah, sit down!” Same when the couple behind me at the Panera Bread were having a loud conversation about someone named Jeremiah who was not me.

Jeremiah Murphy is a surprisingly popular name. Until it went down recently, jeremiahmurphy.com belonged to a black gospel singer, and jeremiahmurphy.net belonged to an unfunny comedian. Someone on Facebook named Jeremiah Murphy sent me a friend request, and a quick look revealed he was collecting Jeremiah Murphies. He had eight so far. In Indiana, I started getting collection calls for some douchebag named Jeremiah P. Murphy. The reason they kept calling is because, what were the odds of two people named Jeremiah Murphy in the state of Indiana? They were right. There weren’t two Jeremiah Murphies in Indiana. There were three.

I like being Jeremiah. It suits me. It’s got a great rhythm. If I had a different name, I’d use it in a piece of fiction. It would have made a great celebrity name if I had lived my life differently. It’s my name, and it’s perfect.

Just …

I am not a fucking bullfrog, okay? Jesus Christ!

God’s Not Dead 5: God Strikes Back

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When I was a little bitty kid, around ten, I think, I spirited my younger sisters into my room. I had something important to tell them, and it was going to blow their tiny little minds: Santa Claus wasn’t real. I had evidence. If PowerPoint existed back then, I would have had slides. My youngest sibling fled the room, crying, and the middle sibling was not convinced. Christmas morning, Santa wrote me a long letter in my dad’s handwriting urging me not to lose faith. That Advent, my skepticism started early.

I’m going just going to say it: I’m an atheist, meaning I don’t believe in god. That’s all it means. We are all different. Some atheists believe in fairies. Buddhism is an atheist religion, and there’s even an afterlife. I read Viking runes. Some of us are naturalists, i.e. we don’t believe in anything that can’t be tested with the Scientific Method. (I’m one of them.)

You may be wondering what caused me to disbelieve in God. To those in the know, this would be called my “deconstruction story,” except I don’t have one. I don’t think I ever believed in God, even as I was born and baptized a Roman Catholic. I’m middle-aged, so the motives of my child self are baffling to me, the ones I remember. However, based on the wreckage of cars I left behind, as well as of theft, bullying, court appearances, and my father’s broken legs, it was clear that I was not concerned about hell.

Between the ages of eight and fourteen, I grabbed the reins and took control over my life. Yeah, I was still a bad kid, but I was better. My grades improved. I developed mentoring relationships with most of my teachers. I got along with adults better than people my own age, and I had a great thing going on with the parish priest and his deacon.

When you’re a Catholic, you have a list of sacraments that you should at least make an attempt to complete. Ask your Irish or Italian friends. Your first sacrament is baptism, which you don’t have any say in. You also don’t have any say in your second sacrament either, because you’re in the second grade. You want it, though, because it’s the reason you have a suit.

Confirmation, they tell us, is optional. Around the end of middle school, you’re asked to confirm the commitment you made when you got your first communion. Seven is too young to choose your path, but thirteen makes you a grown-up. Confirmation is a ceremony to mark your entrance into adulthood and make the decision whether or not to stay Catholic.

By that point, I had been questioning the church, and I was seriously considering not kneeling before the bishop, where he’d be slapping me. This wouldn’t have been out of rebellion, or fear of the slap, but rather respect for the people who did believe. (My best friend in high school, Tony, would receive communion, an earned sacrament, despite that he was not a Catholic. I was appalled, even back then.) However, one look around revealed that Confirmation was not optional at all.

I was an altar boy for many years, through my doubts, because I got along so well with the clergy. I will never forget the look on my dad’s face when he saw Father’s arm around my shoulders. New Mexico had known about the pedophile priest scandal long before the rest of the world because this was where they shipped them. You’ll be relieved to know that nothing happened. He was one of the good ones.

The deacon was a friend of my mother’s, and he took a special interest in me while I flung one atheist 101ism after another at him. By that point, I was starting to realize I didn’t belong in that Sunday school class anymore, so I told him I didn’t believe in God. I think I was brave enough to say this out loud then because I wasn’t worried about losing everything by rejecting the church because I had new friends, and they weren’t Catholic, or even Christian. The next day, my mother pulled the car over to deliver an impassioned, eloquent, furious speech about why I was wrong, and God was real.

Even though I didn’t believe I’d be going to hell, I lived in fear of it. If I was wrong, and Jesus was real, then there was no way I was going to heaven. Yeah, I was nicer to people at that point in my life, but you didn’t have to dig very far for the bad. Most people were like this, I imagined. Maybe that dad over there hit his kids. Maybe that young woman had an abortion. Going to heaven was the kind of thing you needed extra credit for. I went to confession, and I prayed and prayed, and I could only fake it and hope nobody noticed.

Late in high school, we were excused from class so we could go to some kind of evangelical recruitment show in the gym. (I’m not sure how that happened with the separation of church and state.) I wanted so badly to believe, to be one of them, that I broke down in the middle of the gym, bawling, begging Jesus to take me. He never did.

In college, I studied the bible, only a couple of credits shy of a Religion minor. However, the more I read the Hebrew bible and the historical documents surrounding them, the more I saw the holy book as a collection of myths. Likewise, when I went through the Greek bible, I found a lot to be skeptical of. I won’t go into detail about this because I didn’t write this to start a fight.

I tried to believe in God another way. I remember Mom assuring me that Genesis says it took six days to create Earth and man, but why couldn’t a day be millions of years? I flirted with the Baha’i faith when I had to decide between all religions being wrong, or every religion being right. When the idea of praying to God to find my keys seemed kind of petty, I considered Aquinas’s Unmoved Mover.

I couldn’t even believe in luck. Nowadays, I do, but not as an external force, rather as the delicate, snowflake of coincidences coming together to create a perfect moment. Life is full of them. My history would get picked apart online if it were a movie.

For example, during the Great Blackout of ’03, I was trying to figure out how to get to New Jersey, and I bumped into my friend and former coworker, Mark. I had no idea how I was getting home, but Mark had a plan. And sure enough, I made it by bedtime. If I had not stopped in a bar for forty-five minutes and drank the last cold beers in Manhattan, I would not have been in that exact spot when Mark showed up.

I have been a very lucky man.

As I got older, I started looking again for something I could believe. I embraced the religion of my ex-wife. Keep in mind, she’s the one who bought a raccoon skull on eBay to put on the altar she drilled into the wall of our (her) condo. She fed it bowls of wine. The raccoon was her animal spirit.

I tried having an animal spirit. As I was walking down the steps out of a leather shop early in our marriage, I felt a pair of giant, invisible talons grab me by the shoulders. Since then, my animal spirit has been the owl, and that’s why I have an owl shrine next to my Newcastle shrine.

I tried to believe in her gods. And yet, even though I learned fairy lore, even though I became a Morrigan fan boy, even though I taught myself how to read runes, even though I used everything I learned and wrote a series of Urban Fantasy novels about it, even though I went to mass at the UU church, even though I looked in awe toward the really weird people she was hanging out with, I couldn’t just believe.

After I moved out, I came to realize that I wasn’t agnostic, I am an atheist. I’m not an atheist because the church hurt me or I realized it’s easier to sin if I didn’t believe in hell. I’m not an atheist because I hate God. I don’t blame him for the death of Newcastle. I don’t blame him for all of the horrible natural or otherwise disasters that destroy the lives of millions. I don’t even blame him for the reprehensible actions of many of his followers. I can’t blame him for any of this because he doesn’t exist to me.

I’m sure some of you knew this already. I haven’t concealed my skepticism, so I figured some people have assumed. I haven’t believed in God all my life, and it took until now to say anything directly. Apologists have a lot of shitty things to say about us, and in poll after poll, we’re the least trusted religious subgroup. Pastors tell their congregations that we’re coming to take their religion away.

It doesn’t help that the spokesman for atheists in the mainstream was Christopher Hitchens, a bottomless asshole. Who wants to be associated with him?

Coming out as atheist has changed nothing about me. I’m a guy who loves cats and used to like comics and respects his job and has a creative outlet. At this point in my life, most of my identity is tied up in my creative outlet. If you’ve never had a chance to speak with an atheist before, let me answer some common questions.

Are we just animals? Yes. To simplify it, evolution happens when an organism adapts over many generations to fit their environment. Occasionally, you’ll find an organism that adapts its environment to them. Some of them developed consciousness and imagination, and the consciousness and imagination evolved into art, religion, and culture. Our personalities evolve from a combination of instincts and environment, like any other animal, but as humans we have drama. I don’t know where that evolved from.

Do I believe in eternal life? Yes, but not how you think. Over the course of my life, I’ve encountered thousands of people, and I’ve affected them in some way, for good or for bad. These people, in turn, have an effect on someone else. And so on. Though the memory of me will fade, I will live on. That’s my eternal life.

What do I think happens when I die? Nothing. The lights go out, and everybody will have to move on with their lives. To explain why I think this is a good thing, I’m going to talk about Star Wars. Star Wars is a series of eleven movies, two made-for-TV movies, a holiday special, two Saturday Morning cartoons, as well as a lot of animated series for every age, and a number of TV shows. There’s some books, but only nerds read those. Once upon a time, Star Wars was two amazing and one fine (I guess) movies. And they were brilliant, even the okay one. They changed Western culture. Nowadays, when there’s an announcement for a Star Wars movie or TV show, see if America cares. The Empire Strikes Back, arguably the best out of all the movies, is less than 5 percent of current Star Wars content.

There was a time when six hours of Star Wars was all we had, and we loved every little detail of it. That’s how I feel about my life. My story will be over within a few decades, and that’s great because what a story it was. My life had drama! It had pathos! It had twists, it had turns! I met some amazing people and went on some great adventures. How can a day be special if it’s one in an eternity?

And that brings me to your next question: Where do I find purpose? Inside me. I know what I want to do with my life, and I do it. Writing is my purpose, drawing is my purpose, except when Oscar deposits himself on my sketchbook or keyboard. Keeping him fed, clean, and happy is my purpose, just like it was for Newcastle or any cat I’ve lived with.

Finally: Where does my morality come from? I have empathy, and I don’t want to do something that hurts another person. (I mean, I do, but it’s never my intention.) I would never have sex with someone who was not my wife at the time because that would hurt her. However, when we agreed to be polyamorous household, I had sex with someone who was not my wife, and no one was hurt. I’m more concerned with ethics than morals because there are no moral absolutes.

Those were the first questions that occurred to me, but if you have more, feel free to message me in good faith. I’ll answer to the best of my abilities. I know most of you don’t agree with me, and that’s fine. I’m not here to convert you. I just want you to understand where I’m coming from.

I’m asking that you respect my lack of belief. Don’t try to convert me, don’t try to debate me. As I hope I’ve expressed in this essay, I’ve made every effort to be a believer, and no amount of your logic or appeals to my humanity are going to suddenly make everything click. No matter how clever you think you are, I can guarantee I’ve already heard it.

My life is not empty. I have a cat who will fight me for a cinnamon roll. I have my art, I have my writing. I’m not the most social person, but I regularly chat with people who mean the world to me. It took me a long time to realize this, but the life I’m living now is more than a dress rehearsal. This world is my only home, so I’m going to try to take care of it and enjoy what it has to offer.

Fangs for the Ride

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I have to tell you about this movie I just saw. It’s called V for Vengeance, and it’s about adopted sisters, two vampires and one finding a cure for vampirism. On the poster, one of the sisters is holding a crossbow, which she never does in the movie. I had put it on to have something in the background while I tinkered with my latest work of art, but Oscar set up camp on my arm, so I had to watch it.

I really enjoyed this movie. One of the sisters is armed with a stake made out of the same kind of tree the cross was made out of. They call it the Jesus Stake. She had the Jesus Stake because she called dibs when it was brought out. There is a government agency called the Federal Vampire Corps.

I don’t love this movie because it’s good. I don’t love it because it’s so bad it’s good. I love it because it tries so hard. For example, a hilarious philosophical debate about eternal life goes on between an impeccably groomed man who likes to shout and a young woman in a baby tee, and short-shorts, using words like elucidate.

The death scenes, of which there’s a spectacular one (well, more than one) near the end of the movie, are on par with Paul Reubens on the movie Buffy the Vampire Slayer. It wasn’t supposed to be hilarious.

The writing is not very good, but it follows the formula. The character you’re expecting to betray the good guys betrays the good guys. One of the sisters is falling for the Judas, but their romance is awkward motel sex, so you can’t really buy it. The dialogue is … fine? I guess. It’s influenced by Joss Whedon, but without the pop culture references.

Speaking of the writing, this movie has Chekov’s switchblade boot. You figure out pretty quickly when the lethal footwear will come in handy. You may not expect any twists, but they come up with an even dumber use for them that you really don’t see coming. Of course, this is used to kill the bad guy. (If you’ve seen this kind of movie before, I’m not spoiling anything.)

On the other hand, the actor who plays the lead is actually really good. Her character is a vampire who drinks too much alcohol and gazes contemplatively into the distance when she’s not killing perverts on the highway. The actor (whose name I didn’t get) portrays her with sass and joie de vivre, and she’s a real bright spot.

Most of the actors aren’t that great, but Graham Greene’s in it. The fight choreography is choppy and raw, but quite good. For budget reasons, they didn’t use their vampire powers much, but when they did, they were cool and different.

I guess what I liked about this movie is that it could have been good with a budget, even the script, the weakest part. I don’t recommend it because it isn’t good, but I had a good time.

I’m the Exact Amount of Sexy for This Song

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So I can’t use the lyrics to “I’m too Sexy” in my book. I tried. The publisher told me it could potentially cost thousands of dollars (for fifteen words; yay capitalism!). The first version is almost perfect because it captures that moment when you realize, “I’m going to have to listen to this again.” The second version is lame, so I’m not going to do it. The third version is what I’m going with.

Original Version
Because, just as she was trying to make sense of a geometry problem, the jukebox went off. A deep voice, almost comically so, said, “I’m too sexy for my love; too sexy for my love; love’s going to leave me.” Her head slammed down onto her book. Had they seriously not updated the jukebox for ten years, but when this song came out, they thought, this was the one? This was the music they wanted everyone to associate with their family restaurant?

The What-I’m-Not-Going-to-Do Version
Because, just as she was trying to make sense of a geometry problem, the jukebox went off. A deep voice, almost comically so, said the opening lyrics to “I’m too Sexy” by Right Said Fred. Her head slammed down onto her book. Had they seriously not updated the jukebox for ten years, but when this song came out, they thought, this was the one? This was the music they wanted everyone to associate with their family restaurant?

Final Version
Because, just as she was trying to make sense of a geometry problem, the jukebox went off. An aria, with a voice as deep as the bowels of hell, heralded a first-person ballad she had come to know of a man whose sexiness exceeds the tolerance of his love, his car, his cat, your party, several cosmopolitan cities, and his shirt, the latter of which actually causes him pain. Her head slammed down on her book. Had they seriously not updated the jukebox for ten years, but when this song came out, they thought, this was the one? This was the music they wanted everyone to associate with their family restaurant? “I’m Too Sexy?” Really?

Conclusion
This whole ordeal reminds me of the original Cybermen from Doctor Who. The women who designed their costume had something like fifty dollars, so she bought a vacuum cleaner and some floodlights and constructed one of the most iconic bad guys in science fiction TV. Nowadays, if you want something onscreen, you throw millions of dollars at some keyboard jockeys, and they make it happen. Before CGI, you had to work within existing space with limits, and they did some amazing things. Think about how much better A New Hope looks like next to Rise of Skywalker. Being limited ultimately gave me a chance to describe how dumb that song is without using any of the lyrics, and the result is better than I’d originally written it.

(Special thanks to Donna Martinez who helped me brainstorm this approach. Someone, I won’t say who, has earned a space on my acknowledgements page.)

Unfair Use

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I was told under no uncertain terms will I be allowed to include the first 3 lines of  “I’m Too Sexy” in my upcoming novel. The reason I given is that the music industry is insanely litigious. They gave me several examples of the charges they’ve levied for the use of even “one lyric” (I assume they mean line because a lyric is a word). Note that I didn’t say “musicians” are so litigious. It’s the people who own the songs, which is not them.

I wrote Right Said Fred personally and asked them for permission to use the lines, and their assistant told me that to talk to the licenser. Now, “I’m Too Sexy” is not a work of art. The lyrics are uninspired, and the beat is childishly simple. It’s catchy, though, and most importantly, the brothers who make up the band wrote, performed, and recorded it. It’s their song. They don’t own it.

National Comics, which would one day become DC Comics, bought the rights to Superman from Jerry Siegel and Joe Shuster for a hundred dollars. A hundred dollars is worth a lot more than in the forties, but even then it was incredibly cheap. Superman launched an entire genre. Even before comic book movies became mainstream, the work of superhero creators inspired the movies. Remember the scene in The Empire Strikes Back where Lando leads Han, Chewy, and Leia into banquet hall with Darth Vader? That scene happened over a decade earlier in The Fantastic Four:

Jack Kirby, the artist of that scene (and cowriter; without going into detail, the Marvel method of storytelling leaned a lot more on the artist than the writer, contrary to what Stan Lee’s hype machine will tell you), did not get to keep his own art. Timely, which became Marvel, got to sell it at auction, and Kirby didn’t get a dime. This went on until the seventies, when Kirby and Neal Adams and other artists fought tooth and nail for the right to own what they created. Likewise, in the nineties, Todd McFarlane was the superstar artist whose work was selling literally millions of copies of Spider-Man comics. Marvel went nuts selling merchandizing with his art. McFarlane got nothing. (He rounded up other superstar artists to form Image Comics, in which creators were allowed to keep their creations until they didn’t want to do that anymore and did the same thing.)

Sorry I’m hitting you with the comic book history, but it’s all I really know. I know that Disney and the Creator’s Syndicate (which owns Peanuts, among its extensive catalog) are so litigious, they will send cease-and-desist and even subpoenas to daycare centers that paint Charlie Brown or Mickey Mouse on their walls. Every time I see a place with a Garfield hanging around, I wonder who’s going to squeal on them and bring in the lawyers.

All of this goes back to my book. It’s set in 1995, and while “I’m Too Sexy” was released in 1991, it was still fresh on our minds at that time. My twenty-seven-year-old work friend told me the song was a banger when I mentioned it to her, but in the nineties, it was kind of annoying. Really, really catchy, but annoying. The people I hung out with hated the song, myself included, and hearing the acapella “I’m too sexy for my love; Too sexy for my love; Love’s going to leave me” meant we were in for a very difficult three-to-four minutes. One of my friends thought it made him cool to play that song in the Kristy’s every time he came in. (For reference: if most of the people in Gallup, New Mexico were Power Rangers, Krristy’s would be the juice bar where everyone hangs out.) It was not cool. In fact, we all kind of hated him.

Kristy’s is a major setting for my novel, and a character does the “I’m Too Sexy” thing. I happens repeatedly, but I can easily edit the subsequent uses out. That first use, though, is supposed to capture the despair those first three lines brought in me every time I heard them. Why the fuck can’t I use those twenty-one words without paying out a fortune?

Greed. That’s all.

Music is ingrained in us, from catchy ad jingles to that guy whistling on the elevator. We sing the lyrics to ourselves or other people all the time. It’s a part of our lives, and denying writers the right to use these words is denying us the right to properly chronicle how we live, how we talk to each other. My novel is about teenagers, and what do teenagers care about if not music? That used to be the first question I’d ask of anyone I met when I was that young, even before learning their name: “What kind of music do you listen to?” How does that count as “Fair Use?”

When I wrote this novel a year and a half ago, I had come to terms with Right Said Fred. Their one-hit wonder was a classic by that point, and I had begrudgingly accepted that. Even though I haven’t exchanged a word with the asshole who heralded himself with that song like it was fucking “Hail to the Chief,” I kind of love his chutzpah in retrospect. But after talking to three lawyers and Neil Gaiman (relax, it was on Tumblr), and now the legal department of my publisher, I kind of hate it again.

If he’d had the right, would Fred have approved of my use of the lyrics? I don’t know. The characters’ reaction to them isn’t positive. But I can use the title, so it doesn’t matter anyway. I have to rewrite the paragraph or the entire passage so I don’t just say, “She heard the first words of ‘I’m Too Sexy’ and slammed her head down on her book.” I’m too good a writer for that, all so some rich douchebags can charge me a thousand dollars or more for their use, douchebags who have never a created a thing in their lives except enough money to buy a yacht. I am so mad right now.

I’m too sexy for this bullshit.