“Sure.” I held my breath and unzipped my gig bag, lamenting my lack of a hard-shell case. Then I kneeled on the floor, right beside the New Releases display, and launched into a derivative funk riff I’d been woodshedding for a few weeks. I played it far too fast, but with some flashy 7th chords and percussive strumming, I thought it sounded like I halfway knew what I was doing.  

To prepare his cast before making the film The Three Burials of Melquidas Estrada, Tommy Lee Jones had them read The Stranger by Albert Camus since the theme of alienation is central to both that book and the film they were about to shoot. Before he commenced filming the movie Heat, director Michael Mann gave the cast copies of the book No Beast So Fierce by former convicted felon turned author Edward Bunker about a recently paroled convict and his attempt to go straight. In my senior year of college, before we began rehearsals of the one-act play I wrote “Show Me Your Tong Po,” I invited the cast over to my house to watch Kickboxer 4: The Aggressor for similar reasons as those directors.

Yesterday he texted me the definition of a new word he was excited to learn, “freudenfreude.” It’s best translated as “the bliss we feel when someone else succeeds, even if we weren’t directly involved.” This morning, as I watched him watch me scarf down my favorite donut from Dunkin’ Donuts (a creation filled with something called “cookie butter”), I realized he’d given me a word to describe the look on his face.  

Each of these characters in Starting Out in the Evening has their own needs and desires, but they unselfishly interact with each other, learning from each other the importance of sharing life. For people who like a meaty intellectual story, there is much here to enjoy. No less than Roger Ebert said that Langella's performance was Oscar worthy. That the Oscars ignored it only confirms that movies of the mind and emotional depth play second fiddle to movies of entertaining merriment. 

It’s also true that even after only one listen I recognized that this was one slipshod record. To that point in his career, Marc Bolan had not been known for sophisticated composition, or even for bothering to write both a verse and a chorus in his songs (bridges were not to be imagined). Even by that low standard, however, the songs on this record were half-written.

I don’t say anything at this point but give him another shrug. Why does he keep calling me kiddo? Why not just say Lyssa or Missy or something? See?—I hate being called kiddo, but I’m not yet ready to tell him. I confess I like the puckering shape of his mouth with his emphasis on the letter Okiddo, like he was about to whistle.