“If it had been people at the opera that night, there would have been a big difference.”

I remember hearing about the Station fire via online reports, how it made a tense and worrying month even more so. The Columbia disaster had just happened, the invasion of Iraq was imminent. But we each see things through our own lenses, as I’ve muttered below and elsewhere, so the idea of a club fire was something that creeped me out bigtime.

As was probably too smugly stated at the time in California media reports — the proof is ultimately in the pudding, which hopefully will never come about in this instance — fire codes and inspections are different out here, and the likelihood of such a disaster is supposed to be less. But what of it, and those presumed reassurances? Little when so many people perished in so horrifyingly quick a time, all simply because they’d gone out to see a band that they knew and liked.

I remember the day after the fire I went to work in the garden that some friends and I had recently started to participate in, a communal organic garden on the UCI campus, and the first initial step towards my more active gardening and organic cooking state. I read through the reports in the front section of the LA Times — during what I think was the last year I subscribed to the paper, before I finally realized that that wasn’t necessary anymore, after all — and felt the creeping horrors. Whose fault was it, what should and shouldn’t have been done? Was the band at fault? The owners of the club? The inspectors?

My best source for immediate reports on the day and at the time was via the old Metal Sludge site — given its sorry collapse in recent years I’m not inclined to reinvestigate the place — and its associated forum, where some raw, horrifying stories about what happened went out. Later, some of the most resonant writing involving the impact of the fire on people was thanks to Chuck Klosterman, who despite his many writing sins in my mind does know well exactly what music can mean to people unconcerned about being cool. Ultimately, though, the Providence Journal’s special section and website on the fire — still being added to — proved important, and still does, for an on-site take, from people who knew the town, the venue, in some cases the victims.

It’s important, that section, because it’s a city where the fire is still being lived with, the many twists and turns that have occurred over the years, most of which are only causing more pain. Funds have run out for victim support time and again. Court cases seemed, all too clearly, to only absolve those responsible, or never put them front and center to begin with. It was always someone else’s fault, conveniently enough — and a little community service here and there seemed to be the extent of a punishment.

Meantime, the dead were gone, the survivors damaged, the relatives of the lost and wounded saddened and numb.

With the fifth anniversary coming up, this NY Times story — which as Idolator wisely notes is hardly free of assumptions and bias — addresses some of those lingering wounds. It’s the source of the quote that’s the headline to this piece, and also includes this:

On the anniversary of the fire, Ms. Fisher and other survivors will gather at a restaurant across from the former Station site, where a circle of ragged crosses form a makeshift memorial to the dead. Meanwhile, Ms. Fisher and Ms. Eagan are brainstorming about how to draw more support.

“We’ve been kicking around the idea of a black-tie ball, maybe at the Biltmore,” Ms. Fisher said, referring to the fanciest hotel in Providence. “A lot of the blue collar, average people who’ve already dipped into their pockets time and time again — you can only give so much.”

It’s a small thing to note, perhaps, but: it’s sad enough that the living still need support. But that the dead still have yet to get their permanent memorial, something to recall a sorrowful and unneeded loss, is just as depressing.

The Station Family Fund is always accepting contributions.

Third time’s the charm (just pre-empting all the bad headlines)

Among a wide, wide swath of friends and acquaintances, there’s only one album of note coming out in the next few months, one return to touring, one band, one.

To say that people have been waiting on the return of Portishead understates. One friend of mine confessed he’d been checking their website for years upon years, despite the fact that nothing had changed on it. Others openly wondered if they’d ever see them live. The list went on.

I considered myself a lucky guy (and still do) because I’d been able to see them live, twice — first, on their short American tour for Dummy. The setting was the American Legion Hall in LA, vaulted and appropriately mysterious if the lighting was right, and it was. Geoff Barrows span a good hip-hop set beforehand as the floor filled, then the band’s short film To Kill a Dead Man screened on a side wall. The band then took the stage, all dressed soberly in black, Beth Gibbons the exception, performing with a certain wide-eyed intensity that seemed caught between stage fright and awe. It was a wonderful show, a recreation of Dummy with slight variations. Afterward, I asked Perry Farrell a question and was directed to Kevin Haskins. That kind of evening.

Then there was the second time.

Santa Monica Civic Center had long had a reputation for good shows — there’s a live show David Bowie performed there in the Ziggy Stardust years which has since been heavily bootlegged and/or legitimately released (sorta) — but for me it’ll always be memorable for the second time I saw Portishead, this time touring for their self-titled followup. They’d already performed an earlier date a friend of mine saw and had raved about, a good sign — and of course I already liked them, and very much adored the second album.

The crowd was, still, the most mixed crowd I’d ever seen in LA that wasn’t at a festival (and in fact was far more mixed than most of the festival crowds I’ve seen). Goths rubbing up against hip-hop freaks, ravers up against punks, subcultural styles in a massive soundclash, backgrounds representative of a real LA rather than the airbrushed and bleached version. This was a band that effortlessly crossed imagined boundaries just by being itself, by combining and recombining and more.

The lights went down, a chaotic hip-hop mix and chopped up movie of road scenes culminating in views of the sign identifying the town that gave the band its name provided the introduction, the band hit the stage and…

For the next hour and a half, two hours, however long it was, that band owned that crowd, owned the world. And they didn’t do it by being polite, coffee-table soulful or whatever else one might want to call it. They were loud, aggressive, mean, possessed. They took the dark shadows, the twisted threats implied in all their music, brought them to the fore. They all *moved* on stage, like few bands I’ve seen, fully into their music, the grooves, a threatening storm, a series of explosions. Barrow nuts on the turntables, Gibbons stalking and singing, Adrian Utley and the rest of the band not holding back either.

We in the audience would have stayed there forever if we could.

Third is due out in two months time. While we all wait, read this interview from the Guardian and take this to heart:

The roots of Barrow’s allergic reaction to the sounds he once loved probably lay in the unasked-for ubiquity of his band’s debut album. At some point around the time Dummy won the 1995 Mercury Prize, Portishead found that the music they had lovingly fashioned from scraps of Lalo Schifrin’s old film scores had suddenly (when featured in the background on aspirational twenty-something TV drama This Life) become the soundtrack to a mid-Nineties media lifestyle fantasy.

‘They turned our songs into a fondue set,’ he observes, disgustedly, more than a decade on.

This combined with the memory of that long-distant show and other bits of information I’ve heard and seen leads me to think that Third is going to be a goddamn monster of an album.

Get ready.

Making an escarole soup


Not just escarole — there’s also another lettuce in there too — but it all came out in the wash. As it were!

ESCAROLE SOUP (ZUPPA DI SCAROLA)

1 pound sweet Italian sausage, proscuitto ends, sopressato, or pepperoni
4 quarts chicken stock
6 garlic cloves, minced
freshly ground black pepper
1 pound dry white beans, washed and drained
2 heads escarole, roughly chopped
inch pieces, (up to 4 cups)
1/4 teaspoon oregano
3-4 leaves fresh basil
pinch red pepper flakes
1 bay leaf
(optional)
salt
freshly grated romano cheese

Brown the sausage or meat in a large soup pot. Remove and slice into rounds or cubes and set aside.

Add the stock, garlic and several grindings of pepper to the soup pot.

Bring to a boil, reduce heat and simmer, scraping all the browned bits from the bottom of the pan. Add the beans, herbs, and cook, covered, for 30 minutes, then add the meat. Simmer on lowest heat, until beans are tender. Add the escarole and cook until escarole is soft.

Taste and adjust seasonings.

Serve with plenty of freshly grated Romano and garlic bread for dipping.

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