Bronco II

Bronco II

by Michael Patrick Vitale

I remember. You remember too. That one time. The memory you might be embarrassed by. The memory that could very well make you smile—if not blush as well, in the fraught of youthful naïveté—there might be a bit of shame mixed in there as well. A concoction of emotions that could very well string a few tears down a cheek, while recollecting—however, I do not think this is the intention of the memory. If anything, it was a deep lesson in a well of wisdom through mistakes hopefully never made again. I only had a few bruises—a few scratches on my back, and arms, and torso. I walked away with my life. I should be grateful. I should be on my hands and knees.

And I was that night, as I crawled from the indiscernible mangled confines of the cracked and destroyed windshield of a Bronco II that was totaled in the shape of a taco, along the side of a rural country road on the outskirts of my hometown of Visalia, California. I was just a kid. A kid who thought he knew it all, yet also had some small inkling that he was a fool—especially while on his hands in knees, crawling, in utter shock, through shattered glass, and dusty horizon of loose dirt sent arial by the bouncing spin, side-over-side of this Bronco II into an old oak tree, going Lord knows how fast. It made contact with that tree, so far up, it makes my stomach churn. The tree bark scrapped off, where the truck slid down the side of its wise and old trunk. It stood proudly, in the face of the ignorance of youth.

I was in the backseat. I didn’t have a seatbelt on. I was drunk. My friends were both intoxicated too. Coincidentally, both of those factors saved my life: being drunk, and having no seatbelt on. As the Bronco flipped side-over-side, I could feel myself bouncing from ceiling to seat, ceiling to seat, ceiling to seat… and I remained loose and an unconstricted bag of fleshy blood and water, from the alcohol, as if my friend did not just flip his car, swerving wildly and out of control, down this rural road that led away from his house—in pursuit of a pack of cigarettes no less. We were all out of cigarettes. We wanted cigarettes; we wanted to suck on the teat of nicotine like a bunch of stupid fucking infants.

My two friends who occupied the front seats, driving and as co-pilot—they had just dropped acid before we left. I opted out on that adventure on this occasion. I had done enough acid and mushrooms at that time in my life, albeit, in the humble pursuit of awareness in the spiritual. I did not require a spiritual journey that night. I had one well-enough without the assistance of psychedelics. That spiritual journey began with me rhythmically bouncing from seat to ceiling, for what seemed like an eternity. No seat belt. I survived.

We all survived. We all crawled out of the windshield, calling out for one another. Disoriented. Coughing from the dirt and debris. We all groggily walked back to his rural house, surrounded by orchards and farm land, to the driver’s parents’ house. They were out of town. We took advantage of this fact by sharing a fifth of Jack Daniels, and our thoughts and good company with one another, if I remember correctly. We might have smoked a few joints too. Loosened up our attitude. Became the warm campfire of friendship, providing heat for one another.

We got back to his house, and examined ourselves in the mirror of his lower bathroom in the downstairs quarter of his huge country house. I was in shock. My friends were in shock as well. There was some laughing and jubilee in the realization that we survived, with few things to remind us, aside from the damages inflicted on our persons. We showed each other these bruises and scratches. There was laughing involved, yes—but please take into account: we were all in shock—and that shock makes it difficult for me to remember much after this examination in the mirror of a downstairs bathroom.

What I do remember is being upstairs in his bedroom, trying to fall asleep on his cushioned bamboo chair, contorted into the shape of a question mark, listening to my two friends on acid, as they concocted a story to tell my friends’ parents. To explain how things came to pass. To explain how three youths nearly died that night, by the hand of their own ignorance—while also omitting those pertinent facts, in favor of some judicious half-truths and lies—if not to both help me, but to also help themselves. I slowly began to sober up, and become annoyed by the chatter of their acid-peaked thoughts, and to feel the full and fool weight of my own decisions—and to forgo my fingers, for counting the many blessings that appendages would never account for, because I will never have enough of them.

I remember waking up at one point, and seeing my friend through my drowsy and sleep starved eyes; he was languidly and contemplatively staring out the window, as his Bronco II was lifted onto a flatbed truck—it was during the sunrise of the next day. The light of the new day reflected across his face. I think his mind was also, where my mind was, while I tried to sleep. What have I done?

Real Estate

Real Estate

by Michael Patrick Vitale

Lately, I take long walks in the morning, and I listen to things. I listen to audio books, or to an interview on a podcast, or to a music album. Sometimes I just listen to the birds. Other times, it’s the wind, being expressed through the rustling of leaves in trees, or the trash rolling up the gutter on a city street. And, as I listen, I let my mind wander and meander like the sinuous twists and turns of flowing tributaries and streams, ironically in contrast, along an otherwise seemingly monotonous oval through my neighborhood; it’s a great big jittery handed zero I make every morning on my etch-a-sketch-GPS running app, spanning approximately three and a half miles.

I was listening to an audio book this morning, trying to take my mind off of a very brief incident last night, after completing my work at a resort. However, the chatter in my head was making it difficult to concentrate.

I perform music for people at special events and gatherings. For the most part, I enjoy my work. On the other hand, I am sure I could punch holes through the thin veneer of this general assessment on occasion, if not out of complete frustration, then for a brief glimpse of the human element residing beneath the surface of what we use to make things look natural and attractive on the outside.

I certainly felt like punching a wall, as I was driving away from the resort last night in the dusk, quickly transitioning into darkness. I am fairly certain that was the desired outcome by these four folks sitting at a table, drinking their wine and prattling on and on about things in their life. And while my interaction with these individuals started innocently enough, it quickly perverted into some queer exchange of forced politeness, criticism, entitlement, and irony—all that I would have gladly avoided. They wound me up, like a little play toy. I am in fact, not a play toy. I am quite capable of fencing with words. However, when doing repeat work for a place that pays me well and treats me well, there is a particular deport or decorum necessary for me to maintain with the establishment’s patrons, no matter their attitude and demeanor. This made for a wonderful winding-key provided conveniently on my back, I imagine.

I mulled this notion over in the moment. I left my foil sheathed, as they drunkenly pulled out a figurative magnifying glass under some misguided pretense to better expose the faults and selfishness of my behavior. Perhaps they felt like shiny armored knights and moral arbiters of truth and justice gathered around an itsy bitsy round table. Or were they four school children, in a park on a bright and particularly hot summer’s day, hovering over what they felt to be an ant, with that same magnifying glass, and plenty of time to kill—amongst other things?

Just before the storm—before any of this that I just summarized, I was a slightly verbose, yet ultimately simple math equation: one tired musician with a long drive ahead of him, plus an empty stomach, plus excessive avian fecal matter on his hands after winding cables and distributing equipment to car, plus time sensitive social plans when he arrives home from his two hour car drive, equals: a guy with somewhere to be. First order of business was a bathroom sink. Second order of business was to pick up my check from the business office. The shortest path to this office was a course and heading that led to a brief fly-by of the round table and its knights. As I approached, I did not see knights or swords or armor: I simply saw four people.

I passed by the table laden with wine glasses, a wine chiller, wine bottles, and its occupants in a two by two divide, two male and two female. They were nestled between the greek columns that decorated the lavish outdoor patio of the wine estate. The two female were faced towards me as I passed, one of them asking if I could take a picture of them, as I approached. She thrust her phone out anticipating for me to take it. I looked at my right hand.

My mind was very much preoccupied with the notion of getting home to eat, which was a two hour drive for me. I was famished. I just completed packing my car, and in the process, had acquired a copious amount of bird shit on my hands while winding the speaker cables. It’s not the birds’ fault. They were just doing what they do where they always do. I was the moron who decided to place his shit where they shit. I take a brief glimpse of the phone in her outstretched hand and say, “You know, I really need to be going.” I quickly resume my efforts to get to the bathroom, wash my hands, and pick up my check. From behind me, I hear one of the male guests at that same table proclaim to the female, “Why did you ask him to take a picture?”

Earlier on, as I was breaking down my equipment, winding cables, and unwittingly smearing white and black excrement evenly through my fingers palms as if it were hand lotion, I overheard this same gentleman talking about real estate in Long Beach. I used to live there, so I suppose it attracted partial interest and I leaned into what was being said, ever so slightly:

“I sold that house in Long Beach,” he said.

To which one of the females replied, “The one with the pool?”

He must be a realtor, I thought.

Real estate. I’m on my walk again. My morning walk. The walk I was telling you about earlier. I’m no longer walking by a table, or talking to patrons at a resort, nestled between rolling hills and a cool breeze. It’s the next morning. I’ve walked about three miles. I’m passing by this old decrepit husk of a building that I am sure has a story. I pass by it every day, on my morning walk. I spent several years running by it, as I exercised—chasing after endorphins, chemicals that were already in my body to begin with; go figure.

I really didn’t start to think about this old abandoned building, until I started walking past it. It could have been a bar, I thought. Maybe it was a small restaurant. No, I most certainly think it was a bar, judging by its lack of windows—perhaps its aura and conceptual design, as well.

It is mostly constructed from those old concrete blocks that almost seem to conspire towards the grand creation of a nondescript building. It was as if the architect or draftsman who designed it, were trying to create something that would confuse a slow moving passerby, approximately fifty to seventy years after it was built. I’m sure nothing could be further from the truth, no matter how hard I just laughed. However, with its old-faded-semi-olive-green paint job, iron rod covered windows, and heavily bolted and boarded front entrance: it most certainly was not competing for a beauty pageant.

The longer side of the building contained an awkward rectangle of mismatching green, over the top of the original faded olive green. A cause and effect that probably began with a sudden desire by an individual to graffiti an urgent transmission, and ended with the building owner’s frustration to match the original paint color.

It has an L-shaped parking lot that wraps around two sides of its worn rectangular confines. There is an entrance from the parking lot that is missing its door. One might assume that this would be an invitation to explore the buildings greater interior, if not for the large black sliding gate surrounding the perimeter of the parking lot, calmly saying, stay the fuck out. The short front side of this rectangle, of which I have described to you previously, faces towards a major thoroughfare. The longer, windowless-concrete-block side of the structure, follows a residential street, that quickly dead-ends up a hill, into a house or an apartment. It maintains its stance on this corner: one of many buildings lining a semi-steep incline, on a winding road.

In the five years I have lived in this neighborhood, this building has stood here, in its exact same condition. Unused. To the best of my recollection, there has never been a realtor sign in front of it. It is a skeleton of what it once was. Perhaps I feel a sort of kinship to it. Then again, perhaps not. It has taken five years to even really begin to notice its energy, or to even abstract some sort of meaning to it, beyond its physical attributes.

Were I man of more wealth, I might hunt the person down who owns it, and try to relieve the individual of this burden, so that it may be reborn and useful and beautiful again. I also recognize that I make my own tail wag from time to time with bouts of whimsy. At the moment, this creation of concrete and wood and iron and steel just seems to be taking up space. I wish for this building to be full of purpose. Oh, how beautiful and fulfilling it is to couple a purpose with the occupation of space. I would gladly officiate that wedding, regardless of whether it be animate or inanimate.

Space, by its very definition, can be so much. It is almost ironic to think of all the possibilities of space, in and of itself: just as a word with definitions. It can be a vast expanse: impossible to grasp in its complexity and size and distance and substance. It can be a small space or a large space, within the confines of our perceptions of a three dimensional reality; however it can also exist in two dimensions, as you might see between each of these written words before you—and the subsequent sentences, and paragraphs, and indentations from the perimeters. It can be a commodity, such as property, with the intention of providing it a purpose—whether that be physical or otherwise. It can be a measure of distance between objects, such as people, or an interval of time. It can be an area provided to an advertiser in a newspaper or magazine. It can also be a place in my thoughts.

And perhaps that is what I see in this building. Perhaps that is what I feel, residually, from last night. My thoughts are involuntarily occupied by the occurrence of these four individuals. Yes, I realize I am in control of my own faculties. However, there are phenomenon, in which we can not control the thought. It is analogous to a ghost. A ghost that haunts in a house. It can be akin to the concept of the movie Inception. Don’t think of pink elephants. Don’t think of them dancing. Those dancing pink elephants in your head. Watch them prance and prance and prance; those gorgeous and happy pink elephants. The thoughts are like real estate. Real estate occupying space in your thoughts.

I observe the thoughts, consciously. Taoism talks of observing them entering, and watching them leave—as if they are people taking a brisk stroll through my consciousness. However, sometimes, they are a carousel in a freaky carnival of the mind. Speaking for myself—these thoughts do not last forever. And while I feel it would be unwise to boil the reasons for revisiting them down to some sort of strange alchemy of understanding; it seems that might be the very reason I continue to think on something for a spell: perhaps I just want to understand, even if it is just on my own subjective level. It might even be in an effort towards empathy as well.

I am no longer on a walk. I am writing this with my pants down, on the toilet. I am getting rid of waste: a waste of space—or probably more accurately, making room for something else that may equally serve me in a manner that is helpful. I am making lemonade. Poopie lemonade. I am making myself laugh, which is always a gift. I like to laugh. I love when other people can laugh.

Perhaps those other people were laughing amongst themselves after I left. Perhaps they were not laughing. Perhaps they were genuinely upset by the fact that I would not take a picture of them when they asked. Perhaps the person who asked for the snap shot, would have wanted bird shit all over her phone when I took the picture, and handed it back to her—had I agreed. Most of the time, I do take pictures of people when they ask. In fact, I think this was the first time I have ever opted out, when asked.

While I have no certainty in regards to the hypotheticals I have listed, I can say that they complained to the manager about me, who in turn, transmitted such claim to their supervisor, who in turn, reached out to me. The names have been changed to conceal the identities of those involved:

TO: Mrs. Buttersworth

FROM: Bruce Springsteen

SUBJECT: Guests

DATE:

Hey Mrs. Buttersworth, just wanted to follow up on something.

Was there any issue or concerns with some of the guests from last night?

Thanks.

Sent from my iPhone

To which I replied:

TO: Bruce Springsteen

FROM: Mrs. Buttersworth

SUBJECT: Guests:RE

DATE:

Hey Bruce,

Yeah, I had an issue with the table that most near to me as I was going to wash bird feces from hands and to pick up the check from the office.

One of the girls at the table asked me if it would be possible for me to take a picture of them, as I was walking by their table.

I politely said, “Uh you know, I really need to be going,” as I was anxious to wash bird poop from my hands, and to get home to eat. It was actually an act of kindness in some regards—to not get poop all over their [sic] phone.

I was also anxious to get home to eat as I am on a ketogenic diet, and just find that it is easier to bring meals with me or to eat at home. One of the members of the table (male) (they totaled 4) [sic], asked her “why are you asking him to take a picture?”, as I walked off. I was not impolite, but I did have places to be and a long drive home.

On my way back out towards the car, they confronted me in a manor that I increasingly found offensive, overly-critical, passive-aggressive, impolite, entitled, and above all else, laced with irony.

I did not engage them. They engaged me as I walked by.

One of the women said, “Would it really have been that big of a deal if you just would have taken my picture?”

I said, “As much as I would like to, I have a long drive ahead of me, close to two hours.”

I turn to go to my car.

She says, “It would have taken you two minutes to take a picture of us. You know, I thought you were really good. I tipped you earlier. But whatever, can’t be bothered to take a simple picture. I was going to check out your music later, but now, I don’t think I’ll bother.

I stopped and turned around and said, “With all due respect there is absolutely nothing wrong with telling someone no, when they ask for something.”

At this point, the other female at the table said, “Yeah, you’re kind of a jerk.”

To which I replied, “You’re drunk.” (Which all four of them were). I was not.

At this point, one of the males jumped in (conversationally, not literally—his arms were crossed and he seemed uncomfortable in his body language), also complaining, that he tipped me as well and he can’t believe how I am so this or that (can’t quite remember what he was getting at).

I was flustered at this point, and felt quite belittled. I did however, not say anything further to them. I caught myself. I walked up to them. Stopped. At which point, one of the guys said, “Yeah, whatever. Bye bye.” I started to speak again, and he cut me off and said, “Bye bye, we’re done here. Seriously, bye bye. You’ve got places to be, remember. Bye bye.”

One of the females started saying polite inflammatory things such as “Good luck with your music career” and things of that nature, with the intended purpose of getting a rise out of me? It’s hard to say. It most certainly did not come across as a gesture of kindness. It came across as ironic in her use VIA tone.

I was speechless, and quite upset by this.

I got in my car, and left, in the calmest manner possible. I actually tried calling the resort a few times while on my way home, but couldn’t reach anyone to discuss this. I’m actually quite happy you reached out to me in regards to this.

I am driving to a gig. Please feel free to call me if you would like additional details or need anything. I will be driving until my 6pm load in.

Thank you for reaching out. Deeply and truly.

Warm Regards,

Mrs. Buttersworth

323-867-5309

Sent in 1's and 0's from my iTin can telephone attached to a piece of string

To which he then replied:

TO: Mrs. Buttersworth

FROM: Bruce Springsteen

SUBJECT: Guests:RE:RE

DATE:

Mrs. Buttersworth, thanks for your response.

Always interesting to see how there are such different perceptions from a single encounter.

Funny thing is, there's really no variance in your sense of the facts and their sense of the facts...  just difference in perception as to what is fair to expect from another person.

I'm sorry you had to experience the situation in the way that you did.

Please don't give it any further thought I just wanted to understand better what happened.

I don't know if anything like this has happened to you before but it is definitely something we go through on a fairly regular basis.  I think some folks feel that if they've tipped someone it gives them some entitlement.

We look forward to seeing you next week.

Bruce Springsteen

Perception. Yes. There is a reason that Bruce Springsteen is the boss. An incomplete picture, perhaps? How often do we operate without a complete picture? How often do we project the shadow of our persona on others around us?

What started with an innocent request for me to take a picture, turned into something else entirely. It was just a little question. All I had to say in return was that I had bird shit all over my hands, but I did not. The absence of that statement in the moment was not calculated or premeditated. I was tired and I was hungry; I had plans with a friend and I wished to be home. Yet this became a recipe for some witch’s brew—a concoction—a doorway for dark behavior; it was the catalyst to a string of events. And as the sun was setting, and as I climbed into my modest and overstuffed sedan full of sound equipment and instruments, I added a slightly heavier version of myself to this grouping of stuff. I too had baggage: a vessel now full of enmity and antagonism, as those feelings were poured half-hazardously on my person.

I observed myself, for the first fifteen minutes of my two hour drive home, in the darkness of night, saying mean things. Saying witty things. Saying clever-passive-aggressive-double entendres to my dashboard: a stand-in for an imaginary group of people. It was the transmission of their collective projections onto me, that left me wet with their feelings. I just needed to dry off a bit. I felt silly after fifteen minutes. So, I spent the rest of the ride home oscillating between deep rumination and wanting to be home to eat a healthy meal, and spend some time with my friend. However, there was now a space in my thoughts that they collectively occupied. Real estate. I did not sell it to them. It was as if, they just sat down, uninvited. However, it was not that. It was a greasy residue. A smear on a counter-top. It was rubbish disguised in a cheap mustache and horn-rimmed glasses, as something useful. It could be useful to them, the recollection, if they do not label the psycho analysis theories, of some, as psycho-babble. But for me it was a brief occurrence that just became chatter. My brain was full of chatter:

Have I ever been those four people around a tiny round table? I'm not perfect. I know for certain I've pissed people off. I'm not so certain that I have ever actively participated in something of that nature before. Why do you even care? Why do you allow yourself to be wound-up by someone else? It's my emotions. That's what the problem is. Emotions. I can feel perfectly in balance, and then someone can come along and disrupt... actually, it wouldn't even have been an issue if I just would have said I have bird shit on my hands. So is it my fault? Maybe so. I was doing the best I could, given the circumstances. Etc..

The freaky carousel of thoughts goes round and round, in perpetuity, until one might ask themself: are these thoughts useful? Well, are they? Additionally, there are those who would have the audacity to say that they do not suffer from time to time with the burden of such thoughts. You can dress yourself up in whatever persona you find pleasing. It is the gatekeeper to your own ego. I offer this warning, if such is the case. It is the same advice as what Kurt Vonnegut gave at the beginning of his book Mother Night: “We are what we pretend to be, so we must be careful about what we pretend to be.”

I’m sure this would all make more sense to you dear reader if the details, if the emails, if the transmission were not predominately redacted information. So I un-redacted it—but then again, you’ve already seen that. As far as you were concerned, before my mentioning such, it was never amended in the first place.

Perhaps I am now graffiti on a wall. Perhaps I am the wall. Perhaps I used to be the mismatched green paint used to cover the graffiti. If buildings wore shoes, I might try to put myself in them. If one were to ask my opinion, I do not think I am any of those things. I am also not the building. I observe the building, and then I keep on walking. It is real estate, regardless of whether it has purpose, or just takes up space. It might have a pool. Someone could push me into the pool. Someone could try to sell real estate to me. I don’t have to buy it though.

New Orleans and the South as Filtered by Numpty Abroad

I am not accustomed to the foreign affairs of the common folk walking the French Quarter adornments of Bourbon Street with open containers, nor am I in equal measure accustomed to the cobblestone stumbling of the before mentioned, namely myself enjoying alcohol laden libations as I meander down River Street in Savannah, Georgia in search of secret treasures for the senses, whether they take the form of old buildings, old stories, proposition in prostitution, voodoo and hoodoo gift shops, tales of ghosts, passing relic steamboats and modern freighters alike, live music, and Catfish—the later breaded to perfection, a fluffy, light, and delicious surprise with every bite. Both places have become tourist powerhouses akin to an ancient dinosaur innocently walking into a tar pit. However, I can’t help myself for being both predator and prey to a location that allows me to do nearly all of my favorite things, simultaneously, or at the very least, in rapid succession of one another.

There is a magic to seeing places I have only read about since I was a child. I absolutely have had the assisted lens of television and the silver screen to paint pictures of false pretense in two dimensional simulacrum, but the real treasure is to walk amongst the bonanza yourself. “Midnight in the Garden of Good and Evil” is largely responsible for the second gold rush of tourism afforded to Savannah, Georgia—while New Orleans has obtained the golden age of post-Lent celebration, Mardi Gras, from its predecessor Mobile, Alabama, which celebrated this holiday long before it became the staple character of New Orleans demographic. My second cousins who all live in Mobile, Alabama shared this interesting fact with me while I had the privilege of their company for a few days, playing a house show at my cousin’s place. What a privilege this has all been. To see the Redneck Riviera, as my cousin Bill put it, was a treasure: Bayou La Batre. He punctuated my visit with jokes such as this: 

“What do you call a beautiful woman in Bayou La Batre?”, he asked me with a small grin.

I said, “I don’t know, Bill.”

“A visitor.”

… and speaking of beautiful women.

I was briefly the prey of a lady of the night while in New Orleans, operating with a charisma that was quite intoxicating, far beyond what I had been pouring into my person throughout the evening. She was dark and fit and lovely as a mistress as she passed by me with compliments accentuating my masculinity, and initiated the conversation with an assurance that there was nothing in the direction that I was walking in—I asked her how she knew that. She assured me, “because I just came from there.” I playfully mirrored her approximations by assuring her that there was nothing in the direction she was heading. She asked me why I thought such? I assured her, because, “I just came from there.” And while she did shower me with peppered compliments of “gorgeous” and the like—I could not help but feel the salt seasoning being poured in unscrupulous quantity and appetite on my wounded wallet for her consumption. I will however, kindly accept her bouquet of accolades and admire their freshness of uncut potential. It would be a small feather in a hat that I wasn’t necessarily wearing anywhere else, aside from my own imagination.

I became the second-hand tourist on a musician’s budget, listening to ghost stories told on old and ancient streets described by Anne Rice, yet narrated by a young lady, her congregation of paid acolytes, following her every word and movement down a dimly-lit thoroughfare. My ease-dropping was brief, for I never wish to overstay my welcome, especially when it involves the livelihood of another, so it was to be only brief punctuations of dread and fright for me on that evening—both in the realm of storytelling, and gambling for that matter. You can do that in New Orleans as well—and I pursued this vice, if only momentarily in the one casino afforded to the city by ordinance. However, with a $25 dollar minimum buy-in on a hand of Blackjack, my appetite went un-satiated, aside from being given a brief form of entertainment watching many a gambler bet away or receive their fortune for an evening. However, when my interest ran its course, I was back out into the evening to sponge up more of what was to be had in the French Quarter. 

Frenchmen Street gave me a bit of what makes my heart sing: jazz and groove music being played by the best musicians that the United States has to offer. I drank my wine and listened to the language of their improvisation with an eager ear and appetite for cold drink and warm jams on a breezy night. Jazz Fest had been cancelled this year, and I tried in vain to use this as returned selling point for booking a few house concerts in the area for myself—I was initially turned away by house concert hosts because of Jazz Fest’s occurrence during my planned occupation. Despite the demise of the festival this year, I had a small taste of what it would have had to offer: a large assortment of college-age students playing inspired renditions of the theme song from the movie “Halloween”, as a groove tune, leaving no stone unturned with tension and release and old scales rarely heard in the realm of pop music. Heaven can be found in the mustached-villain twist of a half-whole scale, modal variations, diminished and augmented approaches over altered dominants, and any number of other fanciful music being spoken, with the effortless of conversation, that are common place when listening to an art form, under appreciated in its difficulty and mastery by the performer, to the common listener.

However, despite all of this goodness, and badness: my first order of business when arriving in New Orleans, was to find The Natchez. I speak eagerly of this vessel. It is like an old friend. It’s a steamboat on the Mississippi River, named after a city. It is still functioning, and still doing its good work for fine folk wishing to see the splendor of the great Mississippi River. I had no greater wish in my heart that to see it with my own eyes, after reading of its exploits in the words of Samuel Langhorne Clemens. Alas, my efforts were to no good effect, satiated. There was an empty dock. My inquiries (only after further strolling down the river, mistaking another smaller boat for The Natchez) proved to be found with the sad news of its repair for several weeks in maintenance, perhaps from the recent hurricane.

There was evidence of this everywhere, in the neighborhood in which I stayed, which was just outside of the French Quarters: large piles of tree trunks and branches piled to the 15 or 20 feet high, occupying precious sidewalk and street space, the later with tremendous water damage. The drive in to New Orleans, was the most revealing evidence of heartbreak, as I witnessed tremendous amounts of homes, left to Lucifer matches, with little evidence that the pile of rubble was ever a living quarter for a loving family. Entire roofs missing. Tremendous holes punched into the sides of both commerce buildings and residence, alike. Given that it has been months since the original occurrence of the event, it can only be said that I feign the sight New Orleans and its residents at the storm’s recent precipice.

I have, dear reader, been a sponge. A murky little sponge that perhaps belongs on the bottom of the ocean, but has found itself meandering amongst new places in search of joy. It has been my wish to see new things while I play new things for new people. I have done all of these things, and continue to do so today. I am off to go explore Charlotte now. May this find you smiling and well.

"Which Way Are You Goin'" | Jim Croce (Mike Vitale Cover)

One of my friends and Patrons, Susn, asked me to learn a Jim Croce cover called “Which Way Are You Goin’”. At the time, I was completely unfamiliar with this song. It is from his posthumous album released shortly after his death.

To me, it seemed relevant to many of the things happening around the world right now, as well as, within the United States. The year is 2020, and we are still finding ourselves confronted with a reality in which people refuse to hear each other when we speak. Yes, it would be easy for you the reader to laugh at me boiling things down to something so simple, but I ask that you entertain this idea for just a moment.

So many of us do not listen to one another. We wait for the other person to stop speaking so that we may in turn, talk. It is my speculation that this is because we value our own insight, thoughts, and ideals over those of the others around us.

When we truly respect others, we listen to what they have to say. We don’t just wait to talk. We observe and weigh what was said. We compare it against our own thoughts and ideals. In the year 2020, I hope that people may achieve this feat. In 2021, and the many years to come, I hope that we can become a species more open to ideas that are not our own—that we make an effort to expand our horizons in order to better fill the frame of our perceptions of one another—that we are capable of respecting each other as living creatures with our own unique thoughts and feelings, trying to share such in an open forum of communication.

Given our current circumstance world wide amongst a pandemic, may we all recognize each other as the same fragile creatures simply trying to express what we are feeling and observing, so that others around us may understand, and listen.

Pandemics aside, our issue with not understanding each other, starts at not listening. Once we successfully listen, it is then our duty to open our mind to as many possibilities as we are capable of. Hypocrisy is the mortar of our own bricks of belief, a burden we carry around for ages, before deciding they are far too heavy to carry any longer as a burden, so, we build a wall with them instead.

Like any piece of art, this song can be interpreted in a number of ways, however, by my own approximation—it seems to lean into the wind of hypocrisy as a subject matter—something that I feel is the mortar to many of our walls: as humans, as cultures, and creeds, and so forth. There is worth and intention to walls. However, there is equal virtue to an open field—the later however leaves itself open to so much, both positive and negative in nature and intent.

May we listen more and remain open, like a field. May we make no effort to incite the building of a wall. May we remain hopeful and positive. May we reach out to one another with olive branches, and not spears.

Thank you everyone on PATREON for helping me to make this happen.

Vocals, Electric Guitar, Synthesizers, Bass, and Drums - Mike Vitale

Mixing and Mastering - Mike Vitale

Video Footage and Editing - Mike Vitale

“Which Way Are You Goin’” - words and music by Jim Croce (lyrics available within the notes of the Youtube video).

My Music Catalogue is Now Signed to a Licensing Company called Analog People

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I just signed my first licensing contract with Analog People! They are a boutique licensing, placement, and production company who will be representing my music (thank you). By far, this has been one of the cooler things I have garnered from making music and noises and things—in my pajamas. Point in fact, I’m writing this in my pajamas too. Wink wink.

Thank you to all the amazing musicians and engineers who play and make music with me and played a large role in making something like this happen. A very special thank you to everyone on Patreon for helping to finance these creations (it means the absolute world to me).

I just received an email from them today to send them photos, bios, and information, to have me added to their website, here: https://analogpeople.tv

I hope to have the time to provide that information to them shortly.

In the meanwhile, thank you to everyone who finds something to like in the stuff I make. I am a very lucky man, and I am thankful.

- Mike

"Want" | Mike Vitale (Original)

“Want”
words and music by Mike Vitale

A tall glass of water
A safe bed to sleep
A roof overhead
Warm food to eat

A world full of want
Desires and dues
Everyone needs something
Without exception too

Someone to hug us
When we’re feeling blue
Someone to love us
Through and through

Everyone wants
We’re all living proof
Everyone needs something
And I’m no exception too

Maybe under an overpass and over this life
Feeling all alone and cold and scared and hungry at night
Empty as a Dixie cup, discarded just the same
Crumpled up and wasted under pliable walls, blankets, and rain

Who here marks value on things you can count
Please add up all the tents and tarps standing about
Everyone here needs a home and no one ever wants to feel alone

"Infinite Jest" | Mike Vitale (Original)

Faith is a curious creature, who even when roaming the confines of a dictionary, grazes on the delights of strange words:

faith
/fāTH/
Learn to pronounce
noun
noun: faith
1.
complete trust or confidence in someone or something.
"this restores one's faith in politicians"
2.
strong belief in God or in the doctrines of a religion, based on spiritual apprehension rather than proof.

I have had times in my life where I have lacked faith, and yet others where the fruits of faith were in overabundance for harvest. 

There is so much that we feel in this world... versus say, think in this world—and the grey area between those two opposing forces of dichotomy seems to be where this creature dwells, grazing on those strange delights of words I was mentioning earlier—perhaps, waiting to be noticed, so that another may appear, just like it—like the spooky action at a distance that Einstein talked about in 1947. 

Something like quantum entanglement in the realm of particles and quantum mechanics is so incredible to behold, but it doesn't mean we understand how it works. 

We instead just might observe a photon lighting up, and find another just like it, identically lighting up at exactly the same time, in an opposite place in the universe (which we have, and continue to). We build computers using these discoveries, yet we are no closer to understanding how something can be a hazy cloud, until it is observed. I know all of this sounds like nonsense, but it is what quantum mechanics is trying to make sense of, at the moment. We have people postulating that we all live inside a holographic projection, right now, in an effort to find a unifying theory for everything. It's called The Holographic Principle.

I don't know where to begin trying to understand things as wacky, intangible, and deep as this—but then again, maybe that's the reason why its this convoluted in the first place. Who knows for sure? Not me. But, I can write a song about it.

Infinite Jest
words and music by Mike Vitale

Maybe God gave the punchline
And we were too young to interpret the meaning
Or maybe we’re all just a comedy of errors
And so on and on logic wrestles with feeling

Universe, are we all alone
in an endless space full of human abstraction?
The chills running up and down my spine 
A conversation, or just a chemical reaction?
And if God already tipped its hat and gave its last regard
With infinite jest and a question written in the stars

Who here thinks God’s got a sense of humor?
Maybe one day it’ll raise your hand
Despite what you’ve read between wonderment and rumor
Our only sacrament is our ability to understand

Universe, are we all alone
in an endless space full of human abstraction?
The chills running up and down my spine 
A conversation, or just a chemical reaction?
And if God already tipped its hat and gave its last regard
With infinite jest and a question written in the stars

The chicken from the egg?
Or the egg from the chicken?
We take it all so serious with our scientific method
If we could learn to laugh with egg on our face rather than be angry, indifferent, and tepid

and mixed up somewhere between particles and strings and the king of kings...
We might find an answer
Or maybe God just speaks in stones and trees and the bones of things like an exotic dancer

Universe, are we all alone
in an endless space full of human abstraction?
The chills running up and down my spine 
A conversation, or just a chemical reaction?
And if God already tipped its hat and gave its last regard
With infinite jest and a question written in the stars
With infinite jest and a question written in the stars
With infinite jest and a question written in the stars

Thanks to everyone on Patreon for helping me to make music videos, and to record, mix, and master music all the music I've been posting to Spotify, Apple Music, and all the streaming services. I'm very grateful.

If you are interested in being a part of it, you can learn more here: http://www.patreon.com/mikevitalemusic

A very special thanks to patrons Amy Armitage and Fernando Gallegos.

Kathy's Song | Mike Vitale (Original)

Out of anything I have ever done with my life—this was the greatest responsibility and privilege that's ever been put on my shoulders: I was asked to write this song by my friend Amy who lives in Australia. It was a gift for her mother, who was nearing the end of her current form here on Earth. Her mom's name is Kathy. I asked for Amy to send me as much intimate detail and memories she could muster about her mom's life—especially as it pertained to Kathy and her children. I put as much of my heart and love into this song as I could. The greatest gift in my life was to receive these words from Amy after I sent her the song:

"I played it to her and said nothing. She said, it's beautiful— where did you find this?"

I said "it's a song written for you."

She continued to cry and listened and said "it's beautiful. It's absolutely beautiful."

And when it ended I asked her if she recognized the voice, she paused, she didn't know and then she said "is it your friend? Is it Mike Vitale?"

And she asked me to thank you.

Right now it's night time. And she's alone in her hospital bed, listening to the song, over and over and feeling very special.
Thank you x."

Kathy passed away on July 2nd 2019. Thank you so much for the opportunity and privilege of this connection, Amy. All my love to you and your family.
Here are the words. I'm working on the production for it right now—it'll be on one of my two new album coming out in 2020.

Kathy's Song
words and music by me

Baby Steps
Your hands on my waist
Showering kisses on my tiny face
My clumsy dance
Living life's ballet
But your outstretched arms met me there half way

Mum was magic
and her grand illusion
As sorceress of candy and it's sweet diffusion
Lollies would vanish
And cool mints too
Appearing under pillows from across the room

When we were young
Zizi couldn't say
The suitable pronunciation of our names
Amanda was Memo
And Brett was Bert
And mum would say she loved us all the much in the world

We took long drives
With no destination
While mum and dad would hold hands in adoration
The passing scenery and years roll by so quick
With kids in the backseat listening to music

Your wheelchair
I engage the brake
Showering kisses on our mother's face
This mysterious dance
It breaks my heart
But nothing in this Universe will ever keep us apart

Thank you to everyone on Patreon for directly supporting the art I make. If you are interested in having a profound affect on my ability to release more art into the world, whether it be through videos like this, or the two albums I'm releasing in 2020, or the acoustic album I put out in 2018, or the tours I setup across the United States, you can do so here: http://www.patreon.com/mikevitalemusic

A deep and special thank you to the Patreon patrons Fernando Gallegos and to Amy Armitage (this is song is dedicated to her mother, Kathy).

Ted Greene | "Have Yourself a Merry Little Christmas"

Getting sick is a drag. I'm heading to the doctor today.  I'm a smidge concerned—I seem to have caught something a little more severe than a cold.  At any rate, in regards to yourself, stay safe and healthy.

All that said, I've been trying to better utilize my time away from the realm of singing in other ways—like working on Ted Greene arrangements for solo guitar!  

Let there be no mistake: Ted Greene was one of the most amazing and versatile guitar players you have probably never have heard of (unless you are a musician).  He wrote several books on chord study and single note soloing—and many fine guitar players in southern California used to take private lessons with Ted, before he passed away. I first heard him through my friend Marcus McMillan, who studied with Ted for several years. He would record his guitar lessons with him. They were a blast to listen to. It was immediately apparent the guy was beyond the normal boundaries of guitar ninja gaiden territory. He was somewhere else entirely.

His knowledge of voice leading, inversions, and chord voicings made him the foremost authority on cracking your skull in two as a listener.  You need only buy his books to get a grasp of this.  He was a brilliant mind—a trailblazer in terms of the chords he used—no exaggeration necessary.  The only players I’ve heard use the chord voicing he found, are his students.  That is why I study these songs.  They are equal parts inspiring—and I learn these chord shapes within a utilized context, which is priceless in and of itself.  I have already started writing some songs that use some of these tasty vibes.

There is always a nugget or passage in these tunes that are extremely difficult to play.  If you are a guitar player, I’m sure it might be apparent just watching—however, if you take a crack at playing some of them, I’m sure you’ll see what I mean.

Speaking of which, here is a link to Ted's website should you have any interest in perusing:

tedgreene.com

Enjoy!

- Mike

In My Dreams... #2

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This dream was on the very next night after my last dream.

I was walking in an unfamiliar space. A concrete space. Great acoustics... reflective. I knew, intrinsically, in the context of the dream, that I was there to pick someone up from school.

Just as I was getting ready to walk through the unfamiliar entrance, another individual walks right in front of me—unaware of my presence behind them. It is someone I recognize—another musician—a now famous musician. I greet him.

He turns around, and gives me a warm smile. He says hi and encourages us to both continue towards our destination.

I continue to follow him into what now appears to be an auditorium like amphitheater. There are children sitting on the steps.

As I round the corner, I notice the person who I am there to pickup. She notices me, and promptly collects her things. She is around 11 years old. She is my ex-girlfriends’ youngest daughter. Her name is Grace.

I was there to find Grace.

I wake up.

Human - Mike Vitale (Original)

This is a song I wrote about us and for us: human beings. I have an extensive track record of being very hard on myself—as well as continuously beating myself up for mistakes that I have made in the past. As much as we all know we are fallible creatures, that doesn’t stop us from judging one another, and worst of all, judging ourselves. My desire is for this song to be a reminder that we are all trying the best we can—to try to keep that in mind—to see yourself in others so that you may understand that we are all in this together. Maybe it’s somewhat like that Bill Hicks quote: “[...] we are all one consciousness experiencing ourselves subjectively [...] Life is a dream, and we are the imagination of ourselves.” He was a standup comedian, and isn’t it funny that they are the ones spouting some of the most pertinent, astute, and (sometimes) poignant observational truth. A quick thank you to everyone supporting my original music on Patreon: this is my latest offer for $1 backers. A special thanks to Amy Armitage and Fernando Gallegos.

Human
words and music by Mike VItale

People are a walking contradiction
Placing one foot in front of the other
And me I had no idea that i could walk this way
So I learned it from my father and my mother

People here are doing the best they can
Based on whatever their parents already covered
And I’m doing my best to do my best myself these days
So together let’s see what we discover

Because truth be told everyone tells a lie
And honesty can be delicately laid
Language was created to understand one another
So I choose my words carefully to say

We’re Human

Take it easy if you’re feeling down
Everyone trips from time to time
It’s a forgone conclusion to maintain the resolution
That you’re a perfect circle or a perfect line

Because truth be told everyone tells a lie
And honesty can be delicately laid
Language was created to understand one another
So I choose my words carefully to say

We’re Human
We’re Human

So go on and be mean if that’s what you’re feeling
Or maybe decided to turn the other cheek
Have a sense of humor, or maybe spread a rumor
We get back what we put into this world

Because truth be told everyone tells a lie
And honesty can be delicately laid
Language was created to understand one another
So I choose my words carefully to say

We’re Human
We’re Human
We’re Human

DUSTIN LOVELIS | Dimensions | "Idiot"

After having written that last entry Tao Te Ching and sharing Madison Cunningham with you in previous weeks, I got to thinking: I don't talk enough about all of the local music around me I admire and love. I think I will continue to write these and share, and just coin them GOOD MUSIC.

There is so much excellent art happening on the local level. There is too much—too much that goes unnoticed. It's criminal.

We all know this in our bones. We are avid supporters of local art that resonates with us.

As some of you know, I spent 5 years living in Long Beach, and I found several wonderful acts there that I cherish (and I will be sharing all of them with you): Dustin Lovelis is one of them.

He is such a unique amalgamation of influences. There is this inescapable retro quality to his music that I admire as well—you feel comfortable in it, like your favorite t-shirt, a t-shirt that is new to you, but you just bought it from a curated second hand store for $67 and you're completely comfortable with that decision because it was love at first sight—and remember? It's comfortable as all fuck.

Most of all, I resonate with the deep honesty of his music.

However you want to describe it, there is a gravity that carries the will to bring one to tears given the right opportunity: such as someone just breaking your heart, or you yourself making a mistake you regret. Dustin is providing the soundtrack for you in those times by sharing his own personal experiences—perhaps—at least in my own imagination, that is the way I interpret it.

You can find Dustin and his music on all of the streaming services, but naturally, you can truly support his work by making a purchase, like I did, here:

https://porchpartyrecords.bandcamp.com/album/dimensions

If you are interested in finding him online you may do so here:

Facebook

Instagram

I hope you enjoy the song I posted of his, up yonder. It is entitled "Idiot."

You can also learn more about him through the all powerful Google Search Engine. If you are local to southern California, catch a show of his soon. He would be full of gratitude, and you yourself will be floored by his sheer talent.

- Mike

Tao Te Ching

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I remember being around 20 years old, in the town I grew up in: Visalia, CA.  It's not a very big place.  It's not very small either.  It's between those two things: small enough for rumors to bother you and big enough for it to take 25 minutes to get from one end to the other—I'm sure information was faster than the car there, even before the advent of the internet.

I fell in love for the first time in Visalia.  It was love at first sight for me—but ended up not working out.  I think back on it, and I know all the places where I made errors.  This is important to me, because I feel I have room to learn from my mistakes.  Lauren is happily married now and has children, and I am thrilled for her, deeply and truly.  She is a good person.

What's really painful is making mistakes and realizing you have made them shortly after making them.  This was the case between Lauren and I.  However, we are not defined by another person.  

While we may be defined by our decisions, partially—ultimately, I feel that we just are.  We exist I mean.  Nothing beyond that.  To put it a better way, we all come in and out of each others lives, changing one another, so that we may continue on: all the additional perceptions attached to it, are human notions.  

If we look at ourselves as purely animals, we just exist, accumulating life experience in the form of memories.  We own our past.  It is involuntary in so much as it pertains to it being deposited in the banks of chaos that are our minds.  Beyond that, we can chose to own it as a verb, which is more along the lines of accepting it, and not perceiving it as a burden.  Perhaps like cargo floating on a rive in tandem with us: effortless.

I am fascinated by the thought of how much more malleable I was in my younger years.  I could love, fall out of love, and love again rather quickly.  If I were to be honest with myself, I have become far more guarded with my heart over the years.

19 year-old me fell in and out of love with Lauren, was at the forefront of his love of music, had parents who did not encourage the pursuit of music as a career, so he felt as if he needed to find his own footing and encouragement in other places—even if that was just in the daydreams of his own head.

He worked two jobs: one during the day and one during the night.  He practiced guitar in between.  He kept trying to write songs, but found it extremely difficult to like what he wrote—to genuinely love what was being made by his own creativity.

The first song I ever tried to write was about a young girl who tried to commit suicide off of a freeway overpass.  It was a good song—I couldn't see that though, at the time.  So I hid it away, and never shared it.

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I remember discovering Dave Matthews Band for the first time, and learning all of his songs.  I remember meeting a young girl named Robin that same summer.  We loved each other in a window of time, before she moved away.  In that window of time, I began reading a book that I very much enjoyed called " The Tao of Pooh".  I was 20 years old.

It was a very beautiful interpretation of Taoism, in so far as Winnie the Pooh being a prime example of an individual who lives the Tao.  I gave it to Robin when she moved to San Jose, along with a few Calvin and Hobbs comic strip books.

In hindsight, I was more malleable in those days—which isn't to say that I am not that way now—I'm just beginning to wonder if I was living more "the way" at that time, than I am now.  

Robin was no possession to me.  She enriched my life.  Hopefully, I enriched hers as well.  We keep contact with one another, and I am friends with her whole family.  I love them all dearly.

I continued to play guitar.  I was also very fascinated with Chess.  I played a gentleman named Jason McKaughan at his house in downtown Visalia.  He was an amazing musician himself.  He was also studying philosophy at California State University Fresno.  We would play chess together.  He would introduce me to movies and new music that I had never heard of such as Michael Hedges or Charlie Hunter or "The Matrix" or "Deconstructing Harry"—to be honest they are too numerous to name.  

I began to learn how to play Michael Hedges and became obsessed with him, much as I did Eric Clapton and Stevie Ray Vaughan before that.  However, I remember showing up to his house to play chess on one day in particular and he had something fun to share with me.

He popped on a song called "Comfortable".  He asked me to name who it was.  I listened.  "Comfortable" displayed amazing songwriting.  The lyrics were incredible.  His voice had a masculine baritone quality that was very beautiful and entrancing to listen to.  I listened the whole way through without saying a word.  

When the song was completed, I said "Jacob Dylan?"  I knew this wasn't the answer, but it was the closest thing I could think of that matched the timber of his voice.  His answer was, "this is Matt Mangano's roommate at Berklee School of Music.  His name is John Mayer."  I was hooked.

Matt Mangano was also a Visalia native who had just moved to Boston to attend Berklee School of Music.  He was there to study recording and sound engineering.  He recorded John in the dorm room they shared together.  The recordings I was listening to, were those recordings.  Matt brought them back with him on summer break and told Jason, this is my roommate John Mayer.  Remember his name.  He's going to be a big star.  Jason was skeptical that this was the case, but there was no denying his talent.

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He shared numerous stories with me regarding Matt and John.  I began to follow John on my parents old AOL dial up computer.  The World Wide Web had just started.  John was present on a website he created at johnmayer.com and posted music he wrote to another website called MP3.com.  He had left Berklee School of Music after one year there, and moved down to Georgia.  I enthusiastically watched and supported his very quick rise to fame.

There were no crowd sourcing platforms at this time.  This was all between the years of 1999-2000.  Jason McKaughan would go and visit Matt and John at their place in Atlanta, Georgia.  John took Jason out to go sight seeing around the South, historical landmarks and so forth.  He brought back stories.  They were fun to listen to.  I shared John's music with people I thought would like it.

When he started to be able to afford to tour, I went out and supported his first tour solo acoustic.  He opened for Glen Phillips from Toad the Wet Sprocket.  He played a wonderful set over a bunch of people screaming over the top of his music, talking loudly, waiting for Glen to take the stage.  He didn't appear bothered by it, but having been there myself, I'm sure it was no fun to have only a quarter of the room listening to you.

Shortly there after, he was signed to Aware Records, which is what that CD up yonder is.  He went on tour with a band.  I caught him three times during that tour.  Once in San Francisco, once in Los Angeles at The Roxy, and lastly at The Coach House in San Juan Capistrano.  He came out after every show and would chat with all of us that attended.  John is a very funny guy, and was always a pleasure to talk to.  I emailed him once to ask him how to play one of his songs, and he was kind enough to provide the info I was after.

I look back on my life, and I see that around the years of 19 to 21 is when I woke up to art and how much I loved it.  I have tried to avidly support local and independent music as I find it.  I suppose John was the first musician to not be spoon fed to me by a major label?  I had never thought of this before in plain terms, but I suppose that is the truth.

My whole life, I have been living the way.  I am sure you can say the same.  That's what "Tao" translates to: "The Way."  We are all living the mystery is what I mean.  Allow me to explain myself a little better—I don't want this to be a Chinese Finger Trap.

I started reading "Change You Thoughts, Change Your Life" by Wayne Dyer.  In a nut shell, it is the "Tao Te Ching" by Lao Tzu, but with his interpretation of each concise chapter of "Tao Te Ching" which often reads a bit like poetry.  I'll give you an example:

第一章

道可道

非常道

名可名

非常名

無名天地之始

有名萬物之母

故常無欲

以觀其妙

常有欲

以觀其徼

此兩者

同出而異名

同謂之玄

玄之又玄

眾妙之門


Pretty interesting, right?  I kid.


Chapter 1

The Tao that can be spoken is not the eternal Tao

The name that can be named is not the eternal name

The nameless is the origin of Heaven and Earth

The named is the mother of myriad things

Thus, constantly with

out desire, one observes its essence

Constantly with desire, one observes its manifestations

These two emerge together but differ in name

The unity is said to be the mystery

Mystery of mysteries, the door to all wonders


OR alternately it could be translated to this, as we are working from Chinese characters that are no longer in use.  This alone is fascinating to me as language allows for so many different interpretations, especially when it has been translated from a translation.  This text is nearly 2,500 years old.  As far as I know, these both have been translated directly from the original Chinese characters listed above.


The Tao that can be told

is not the eternal Tao.

The name that can be named

is not the eternal name.


The Tao is both named and nameless.

As nameless it is the origin of all things;

as named it is the mother of 10,000 things.


Ever desire less, one can see the mystery;

ever desiring, one sees only the manifestations.

And the mystery itself is the doorway

to all understanding.


This is paradoxical thinking—and very thick.  It has the viscosity of maple syrup.  Yet, it is also simple.  We just are.  That is Tao, yet by my reducing things in simplicity of those words of explanation to you, another human being, that is not Tao.  But I digress.  This is what I was getting at in the words of Wayne Dyer:

.".. enjoy the mystery."

"Let the world unfold without always trying to figure it all out.  Let relationships just be, for example, since everything is just going to stretch out in Divine Order.  Don't try so hard to make something work—simply allow.  Don't always toil at trying to understand your mate, your children, your parents, your boss, or anyone else, because the Tao is working at all times.  When expectations are shattered, practicing allowing that to be the way it is.  Relax, let go, allow, and recognize that some of your desires are about how you think your world should be, rather than how it is in the moment.  Become an astute observer... judge less and listen more.  Take time to open your mind to the fascinating mystery and uncertainty that we all experience."

"Practice letting go of always naming and labeling."

There are many things to be interpreted from these very concise lines from the first chapter of "Tao Te Ching."  Similarly, there are many things to be interpreted from a lifetime already lived.  Beyond that, is living.  It's the present moment.  

I've enjoyed sharing a bit of my past with you.  I've also enjoyed thinking back to a version of myself that is 20 years old.  I find it fascinating that I have ran along a twenty year cycle, a continuum, in which it has begun with me reading an interpretation of Tao Te Ching (but with Winnie the Pooh bonus round), and led me back to me reading an interpretation once again, and me arriving at my own paradoxical understanding.  In the process of writing that last sentence, I also just realized that putting exclamation points on things can be construed as shouting.  However, most of the time, it just means enthusiasm, nowadays.

What a mystery!

- Mike

A One Dollar Bill

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I acquired a one-dollar bill the other day. Well, sort of.

To be anal retentive (precise—however you want to boil it down) it was three-quarters of a dollar bill.

What the hell happened to it? I don't know... but now I have it.

No worries, I have some laundry to do; I’ll just use it to purchase some quarters, and there you go: problem solved.

Wait a second—this is a problem. How does that work? Is that three-quarters of a dollar bill still worth one dollar? What's the mysteriously missing one quarter worth?  

I mean, if you want to get down to brass tacks: neither side of this torn bill of currency, is worth a damn thing. A fresh, unused one dollar bill is worth nothing. It's a fancy piece of cotton and paper that represents currency backed up by gold (which unfortunately isn’t the case, either, now; gold no longer backs up our currency). Money, or currency if you prefer, is the largest mutual make-believe game that we, as adults, play on a daily basis. We pretend money is worth something, with each other... and quite frankly, we really go balls deep when it comes to how hard we play this game, and how deeply we subscribe to this notion—so much so, that it’s no longer a game. As a continued thought experiment, how many of you would do this with a large pile of money?

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I wouldn't.

We are born and raised into a society that plays make believe about a lot of things. Off the top of my head, land property is another, but we can save that for another day. Let's just all agree that money is fictitious—or not. I’d prefer you decide that on your own.  Either way though, currency is used as a representation of natural resource, which by extension, is rare, and is henceforth, valuable.

But we all don't know whether or not we like to pretend about this. We just do.

We buy things with it. I mean, here I am with three-quarters of a dollar bill, at a quarter machine at the laundromat, trying to buy four quarters with three quarters of a dollar bill—and you know what? The machine is not fooled. It won't take the three-quarter dollar bill.  It just keeps spitting it back out at me. I don't blame the machine. It has one job, and it does it well.

I realize that I am left with few recourse, and that perhaps I must do what was done before, if I were to continue the journey of this three-quarter dollar bill: I must give it to someone else. Whether it be used as tender in a transaction, or by simply giving the partial bill of tender as a gift to someone else. I mean, I could burn it, but that sounds silly for some reason.

So I do the former. I move its journey forward throughout the world. I am no longer concerned with the ramifications mentioned previously, or all the over-thinking I just did moments ago (as much fun as that is for me—deeply and truly). Instead, my curiosity lingers on where it will end up next, and where it has been. All the people it has touched. How it came to be as it is. Where it will go. How it will be used. Sure, it's not a complete one dollar bill. Maybe it's the perfect representation of me, or you: a human being.

Incomplete.

Worth something.

Just moving our way through the world the best we can.

Touching as many people as we can.

Trying to be helpful.

Until we are of no further use.

Perhaps we are all three-quarters of a dollar bill.

And our worth? It's left to our own imagination.


- Mike




Happiness and Vacuum Cleaners

Vacuum cleaners:  How can you not like them?  They're even spelled in a sexy way.  Two "u"'s! Why?  Who cares?  It's just boss that it has two u's in the name: one for you and one for me.

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I'll tell you what, I like them even more once I got a cat.  Aside from waking me up at 6am in the morning for no good reason (playing with my face)—her second favorite thing to do is litter my floor, furniture, curtains, ceiling (not sure how that works), couch, studio desk, with her hair.  

Yes, I brush her.  It doesn't help. 

I am as excited about this vacuum cleaner, as I was about receiving Optimus Prime for Christmas from my parents when I was seven years old.  It's even red like Optimums Prime.  Can't you see the resemblance?  It's uncanny (use you imagination; the picture is in black and white, people).

For what Optimus Prime lacks in suck, this vacuum cleaner makes up for.  It's a Dirt Devil.  It's got Reach, and not just by manufacturer name.  It could play pro ball, but doesn't want to because it's an inanimate object—that is unless I'm pushing it around, ridding my floor of the bane of my existence: cat hair.  It reaches under my couch (sort of).

It has attachments.

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It has wheels, just like Optimus.  It's fucking cool.  That's what I'm trying to say.

Okay, yeah I know.  I'm officially old.  I am excited about a vacuum cleaner.  More to the point, I'm excited that my socks are not riddled with feline reminders of her hard work and effort spreading herself about the house.  It's a full-time job for my cat.

My other option was to shave my cat, but that would be ridiculous... or would it?

Stay tuned.

- Mike

Re-Uploading "Latchkey Kid" for NPR's TINY DESK CONCERT SERIES

Hey Everyone,

So, quickly: I had to resubmit my video for the Tiny Desk Concert Series because I upload it a few days before the March 12th start date, and they said that would disqualify the video.  

At any rate, if you could give the video some love, that would be greatly appreciated.  I had 31 likes on the last upload and a lot of comments and that was really neat, but I lost all that positivity because I have re-upload the video.  Here is what NPR wrote me today.  It was very nice of them to do this, and to not just disqualify the video I submitted:

Hi there,

My name is Marissa, and I work on the Tiny Desk Contest. I wanted to get in touch about a small problem we had with your Tiny Desk Contest entry.

While your video did follow most of our Official Rules – being under 10 minutes, showing an original song, featuring a desk (thanks!) – it looks like it didn’t meet one requirement for eligibility: being uploaded to YouTube after March 12, 2019.

The reason we have this “After March 12” rule is to make sure that people are sending us videos that are made specifically for this Contest – to ensure that, we check that videos were uploaded after we announced this year’s Contest.

However, I know that we hinted at the Contest coming back for 2019 a couple times on our site, in our newsletter and on social media over the past few months – and I’d like to give you the benefit of the doubt and imagine that you filmed and uploaded your video in anticipation of the official announcement. If that’s the case, and you’d still like your video to be considered for the 2019 Contest, please consider re-uploading your video and resubmitting. Otherwise, we’ll have to consider your entry ineligible. Please note that we don’t usually allow this kind of resubmission – but this feels like a special situation.

Let me know if you have any questions or any problems with submitting.

Best, Marissa & the Tiny Desk Contest team

At any rate, that link above is for the brand new upload I just did.  I would be honored to have you show it some love if you have the inclination of the time!  It would mean a lot to me. 

Hope you all are having a great day!

Mike

Honesty

Honesty: now that is an interesting subject. I have a line in a song I wrote that says this: "Truth be told, everyone tells a lie—and honesty can be delicately laid"—and I do believe that.

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Whether I like it or not, I am an extremely honest person when it comes to how I display my feelings. I had a girlfriend once who told me that I wear my emotions on my sleeve—and I think she's right; I don't hide my feelings well. However, I have learned over the years that people respond to honesty in a variety of ways, most of which, are not always favorable. It's like ping pong. Let me explain.

I've spent a fair amount of time volleying honesty in a game of table tennis with friends, family, and acquaintances. I would try lobbing the ball over the net in order to give them the opportunity to play nicely as well, only to be returned with a hit to the chest from the thrust of a one thousand pound gorilla.

I've also had people key into my extension of goodwill, and return the ball with an equal amount of intensity in order to keep the conversation moving. There have been times when I have been the show-off, serving like an Olympic competitor, only to be remember afterwards that the person on the other side of the table is a little boy or girl who is barely learning to hold the mallet (let us not be mistaken though, little ones can still thrust a mean serve with little to no effort exerted).

And on and on and on I go through the various permutations of opportunities, successes, and losses at the hands of how either I or the other person at the end of the net, start the game.

Most often, I push the ping pong table against the wall and try to play. Regardless of how hard I serve, or how softly I nudge the ball forward to start the game, it rarely makes it back over the net, because invariably, I am keeping my honesty to myself—and there is no forward momentum to life and learning under those circumstances.

However, what I have had a great deal of success with is removing the net, folding the ping pong table in half to create a 90 degree angle, and playing at whatever intensity I feel fit: after all, being honest with yourself makes all the difference in the world.

Fred Smoot

In all honesty, today has been a bit of a rough day for me. I just got done playing a memorial service for this man.

Fred Smoot

Fred Smoot

His name is Fred Smoot.

He was a standup comedian and a photographer. He was part of the associated press that took many of the photos you may have seen regarding Vietnam, specifically the Tet Offensive.

However, Fred would have preferred to have been remembered as a standup comedian—and that he was. He was a guest on The Tonight Show with Johnny Carson seven times; this was a drop in the bucket compared to all the other notable appearances he made as an entertainer on numerour late night and daytime television programs in the 1960’s and 1970’s. He shared the stage with many, including: Johnny Carson, Neil Diamond, Merv Griffin, Steve Allen, The Everly Brothers, Count Basie, Paul McCartney's WINGS, Bob Dylan, Linda Ronstadt, Olivia Newton John, Ella Fitzgerald, Chicago, Fleetwood Mac, Dave Brubeck Quartet, Gordon Lightfoot, 5th Dimension, Count Basie and his Band, Mamas & the Papas, Mac Davis, Bobby Darin, and Trini Lopez.

I listened to all of his friends recounting stories regarding his life and all the joy and laughter he brought to them; it was palpable—if not contagious. We can all be so lucky, to be remembered so fondly, and to be the one bringing the joy and smiles to others.

One of his friends stated that there is a star in the sky that she chose for him. She has named the star after him. Ironically, that star is in the Canis Minor Constellation (this was not a conscious decision). It’s a small constellation in the northern celestial hemisphere, and it’s name means the lesser dog, or the more specific title, the underdog.

Fred died as a rich and wealthy man. While he was not someone who possessed a large monetary fortune—I mean, he lived in spare bedrooms from the kindness of others, he ate the food that friends provided to him, and lived in his car with no possessions—he was a billionaire in terms of the friendships and laughter he brought to everyone in that room today. I could feel it, and I cried—and I have never met him in person.

Fred had dementia. Quite literally, he was a man with a shrinking brain. For those of you that may wonder, yes, “The Incredible Shrinking Brain” was partially inspired by Fred—however he deserves his own song—I’m working on it.

In the meanwhile, Fred, this poem is for you. It is by one of my favorite poets, Robert Frost:

Canis Major

The great Overdog 
That heavenly beast 
With a star in one eye 
Gives a leap in the east. 

He dances upright 
All the way to the west 
And never once drops 
On his forefeet to rest. 

I'm a poor underdog, 
But to-night I will bark 
With the great Overdog 
That romps through the dark.

You brought everyone in your life so much joy and laughter, Fred—and to me, you brought tears, and for this, I thank you. God bless you. You are loved.

WHO IS MIKE VITALE?

I am a storyteller, singer, songwriter, music producer, traveling musician, Jungian dream analyst, all-around curious fellow (Spiritual, Mathematical Historical, Scientific), Taoist, and much much more, based out of Los Angeles, California. I’m constantly releasing new music, in all sorts of different genres. You can listen to me below, on Spotify:

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