As per the request of some of the people, I'm starting a thread to "talk about Andy."
This thread will start off with some of the better comments/questions that have been posted here in the recent past. Hopefully, the newcomers wishing to talk about Andy will have something to add to these posts that we have not yet read.
It cannot be argued that Elvis, Fabian, Slim Whitman, and Andy's "Papu" helped mold and shape the private and public persona that Andy carried through his life and
career. But according to Zmuda and Zehme, there were two others who seared upon that great and mysterious mind even more important, more indelible influence. The
lessons he learned from them became part of his permenant identity, both on and off of the stage.
In 1962, as Andy was (at the tender age of 13) developing and refining his own act, he encountered an act that clearly burned into his psyche for life. After paying his
price of admission to the "World's Greatest Magician," he was disappointed by a lame series of characters from a "Rock Lady" that was just a poor old woman with
psoriasis, to a "two-headed calf" which just happened to be dead, stuffed, and a poor fake, at that. Soon he had experienced a full range of emotions. These ranged from
excitement and anticipation, to bewilderment, then embarrassment (for the 'World's Greatest Magician' AND for himself in being duped) and disappointment, then anger
at this charlatan who had taken his money and who had delivered nothing of what he had promised. But then something amazing occured that changed Andy Kaufman's
life forever! "Suddenly the canvas parted across the room, and something seeming to be a huge bat flew towards us. We recoiled in terror as the flying menace buzzed
us, then stopped and jerked back toward the table." Turko the Half Man was truly half a man. At the base of his trunk was attached something that looked like a quarter
of a car tire, which he used to hop and rock on. In the next few minutes, Turko flung himself around the room, and at one point landed on a Coke bottle, rotated on the
bottle, flipped it open, drank it in one long gulp, then sang a stunningly touching rendition of "Beautiful Dreamer." You know the rest of the story from Zmuda's book.
The point is that from that day forward, Andy understood, internalized, and forever incorporated the concept of involving all of his audience's emotions, and of
manipulating those emotions for maximum impact. He became the MASTER of getting them to expect one thing, then delivering the other. The unexpected. The thrill
that would impact the audience from the gut.
<Think of the morphing of foreign man into Elvis in light of this lesson.>
Then in 1971, Andy, now 22, had what he had to consider, literally, an opportunity of a lifetime (and a life changing experience). He had an audience with His Holiness,
the Maharishi of transcendental meditation. Andy, to the great discomfort of the on looking bliss people (as Zehme calls them) began to question His Holiness about the
nature of humor. Again, this experience burned into, and shaped his psyche permanently. "---the comedian's craft, he said, was akin to building two walls side by side and
leaving a space in between. The mere presence of those two walls then creates a contrast based on an awareness of the space. And by building such contrasting walls of
oddness, the comedian is implicitly calling attention to the length and the depth of the SILENT SPACE that connects the two. AND WITHIN THAT SPACE, SAID
MAHARISHI, LIES THE HARMONY THAT THRILLS THE SOUL AND APPEALS TO THE HEART! ---But what makes the contrast so evident is the journey in
between, which is a journey through a field of silence. And it is the experience of this journey that creates delight. THE SILENCE, THEN, IS THE VERY IMPULSE
OF LIFE."
<Think of Andy's appearance on the debut show of Saturday Night Live (Mighty Mouse) in light of these words>
Many, many other factors, words and events influenced Andy's ultimate genius and onstage abilities, but I think these two events must have been EPIPHANY moments.
Repost - Andy, Negative Vibes, and Rare Forms Of Illness
by Holly
* People say that, if you get a group of people "praying" or thinking positive thoughts for you, it can actually improve your well-being.
This makes me wonder something:
AK died young, and of a rare form of cancer. He was a firm believer in "positive energy" as a source of good health, and in MOTM, there's a
comment about how he has to get away from the negative energy, and also about (since he has created such a stir of "hatred" with his fans) how he is "the king of
negative energy". (That would be because of the "villian" characters he has created, that people actually "fall for", and hence hate.)
Now, I don't know if there's andything to this positive/negative energy thing, but...
...if there is, can performing night after night to a showroom/nightclub/auditorium filled with people who are directing hateful, negative energy at you (your character,
whom they assume to be you)...can that actually do something to cause an illness? If you are predisposed to an illness, can the negative thoughts of lots of people
make
you worse?
Andy did. Not intentionally, not consciously, but he did so just as surely as he played Carnegie Hall. Let me explain. (Ive been thinking about this for a long time, and
this question motivated me to focus, then write out, my thoughts.)
Have you ever had an aunt or uncle, or grandparent who spent a lifetime with their spouse, then lost the spouse to death? Then, mysteriously, the surviving spouse
dies within months of the first death? I can think of a half dozen cases in my family, or among friends, where Ive heard of this happening. Can you? Whats with that,
anyway?
Heres my theory, and how this relates to Andy Kaufman. I think that being secure in our identity (whatever that may be) provides us with comfort and security-and
protects us!. Our identity is a sort of cocoon or shell that shields us from STRESS. When we are psychologically and emotionally secure, our bodies are far more
resistant to attack from foreign, often-fatal infections and diseases (like cancer, for example).
Often (perhaps usually) when a couple is married for 30, 35, 40, 50 years or more, this union BECOMES their identity. When the spouse dies, that identity is stripped
away, and the surviving spouse is left naked and defenseless. Often death quickly overcomes this weakened mind-body.
Who was Andy Kaufman? What was his identity? And who took it from him? David letterman said, when you looked into Andys eyes, it was like someone else was
driving. Others have said that Andy was always on, always into one character or another. Others have said that Andy would NOT break character (whatever
character he was doing) for anyone, ever. Others have said there was no REAL Andy Kaufman-he WAS his characters, that WAS his identity. Andy would joke
about Who is Andy Kaufman? or OK, now Im going to show you the REAL Andy Kaufman, then hed launch into another character!
My point is that ANDY KAUFMANS IDENTITY WAS HIS CHARACTERS-HIS ACT. That was it, pure and simple.
Now, the interesting part. From Zhemes booktalking about Andys eminent taping for the Catch the Rising Star tenth Anniversary show in September, 1982: the
materialeveryone said there was nothing new, that he needed something new So he decided to KILL IT OFF, to put the material out of its misery, to expose it as
the charade and the lodestone it had become (Remember, this is Andys IDENTITY hes talking about.) He planted Zmuda up front and had Rick Newman make
sure that the microphone was hidden somewhere on Zmudas body so that Zmuda could be clearly overheard as the material was drained of its blood and left for
DEAD.
Now for the next few minutes Zmuda stood and did something far worse than heckling. He, line by line, did Kaufmans act from the crowd, ahead of Kaufman by a
second or two: Tenk you veddy much-Tenk you veddy much. EES de traffic-Ees de traffic. Take my wife-Take my wife. Eemetations-Eemetations. He was
relentlessline upon line. Kaufman would try to ignore it, but Zmuda kept on.
And Andy was wet: his face was soaked with flop summoned from trained synopses and abetted by blistering lights and he had to say something to stop this man in
front from ruining everything. And he said, Is there a problem?
ZMUDA: No, theres no problem. The only problem is that Im doing your act for youIf you did some new material, then I wouldnt know what youre gonna do
next.
ANDY: Well, uh I was asked to do this material tonight, okay? This is what the club asked me to do, and Im doing it.
This interchange goes on for a while, then Zmuda reveals his planted microphone and says Looktheres a little mic on me, you see this? He hired me tonight to
come here and criticize him, you know? See today he was saying to me Zmuda, heres what were gonna doIll take my old material and Ill call it Variation on a
Theme The theme is old material and the variation is that Im told to sit here and criticize it. <To Andy> well, its true. Am I being honest? Am I a plant? Is this
another Kaufman put-on? Be honestam I a plant? Tell the people. Theres a Mic here
ANDY: Yeah<sotto voce> youre not supposed to say anything.
ZMUDA: Fine, then just cut it out <of the tape>.
This was highly abbreviated, but my point is this---ANDY WAS KILLING OFF HIS CHARACTERS--HIS ACT-- HIS IDENTITY. He was destroying his shell or
cocoon that had protected him from disease and death.
One final example, from a PBS Soundstage performance in late 1982 (snipped):
FOREIGN MAN: You know, I dont care what you do to yourself, but you, youve not only ruined your career, but youve ruined mine, too!
AK: So what? Who cares?
FM; Because of you, everybody doesnt like me, either. Why do you do thees? I think I know why. Its because you are really, underneath it allI dont think youre
such a bad man.
AK: Oh, thank you.
FM: I think you are a shy little man. A little, scared little man. <<my note: naked and defenseless without the cocoon of his identityhis characters> >
AK: What do I have to be scared of?
FM: Youre afraid of being hurt.
AK: Get outta herego away!
FM: Because deep down inside you have a gentle soul. And thats why you have put on thees tough-guy faade. Because you hide your inseecurity.
AK <starting to cry> Really?
FM: You know, when you.come to terms with your own deficiencies, then youll be able to accept your true self and wont have to hide behind thees macho act!
He never did. Instead he destroyedpurposely killed off---- HIS OWN IDENTITY. He deliberately destroyed his security, his shell, and his cocoon, which had
previously shielded him from stress, disease, and death.
Why? I can only suppose that he felt that it was time for them to die, in the interest of artistic integrity. And I think that he fully intended to replace them with new
characters, or to fill his life with a new identity, but never got the chance. I think he purposely KILLED phase one of his career and UNintentionally HIMSELF in
the process. Sadly, we will never get to see the bigger, brighter, even more awesome 'phase two'. It died with Andy.
I have collected a number of questions on AK, both recent and past, that seem to be evasive when I try to break them down logically.
I'm hoping for everyone's input on
this, to help me figure out the enigma that is Mister Andy.
---------------
1. This recent post I have about Mister Andy paying homage to Mister Lenny. The book is "Poems and Stories". Pgs. 72-3, Lines
9-13. For more info, see the
lower post.
Is "ecurB" a reference to Mister Lenney?
2. Why, exactly, did Mister Andy lie about his age...and then stop, without delivering a "punch"? Was this or was this not a "bit"?
Was it a "test" to see if
andyone was paying attention?
3. Did the "OK? OK!" bit come from vaudeville?
4. Does the name "Maria Margulies" mean andything to andybody here? (That's one from way back!)
5. Everyone who has seen the experimental bit from "Evening at the Improv" entitled "Eating Ice Cream"...I'd like your
impressions. (I really liked it - rather
John Cage in its style, if you ask me.)
6. "Poems and Stories" again. Are these poems and short works autobiographical, or semi-autobiographical? Or simply fiction?
What is this underlying
anger/frustration in so many of the poems? Did it fade with the TM training? Did he simply mature out of it? Did it become Tony
Clifton and Mr. Hollywood?
7. I don't know who this Tom Cottle guy is (who gives bad interview on "Up Close"), but I'm thinking on what he said. "I don't
want to harp on the fact that
you're ~weird~ or anything, but..." and then he goes on to ask AK if he's ever tried to "get help" for "being weird". AK
responded that if he got help at being
more normal, he didn't think he would be doing all of the good things that he was doing; he would be just like everybody else.
Opinions on this? Better to be
"cured" and "normal", or better to be "yourself" and "weird"?
----------------------
There's no end to the discussion of AK. The "chicken cluck opera" from Disney's "Orphan's Benefit" ~AS~ Elvis is priceless!!!
____________________
PART TWO:
_____________________
An "Andy's Famliy" question:
What, exactly, is the deal with the relationship between Mister Andy and his father?
I read the bios, of course, and saw the video clips from later in Mister Andy's life, and also posthumous interviews with Stanley
Kaufman, and they appear to have a
good relationship. Andy even publicly says that he loves his father, on the Letterman show.
But in "Poems and Stories", there is the recurring theme of paternal oppression, and I have heard Lynne make mention of the
fact that Stanley didn't really
approve of or understand the things that young Andy did.
Apparrently, Mister Andy was able to forgive his father for the oppression...?
And it would seem that, in spite of it all, Stanley loves his son veddy much; he still hasn't forgiven Ebersol for the lies...
Can someone "in the know" straighten this enigmatic relationship out for me?
Just in case anybody is confused, there are a whole series of forged postings here from a trouble-making malcontent. Email me, or Holly, and well explain whats going on.
Thanks Holly, and likewise. I just trust that others aren't being duped by "Sincere Don", and all of the other variations of forgeries on this board.
But, hey, this dizzy guy has to his kicks somehow, I guess. Better this than his acting out on those voices he must be hearing in his head, and physically hurting people as he'd like to do. Maybe his computer keeps him off the streets at night, and saves others from being attacked. Who knows. I just wish he'd act out his psychological cravings in a hate group somewhere, instead of in this group which relies on free open exchange of thoughts and ideas.
If this guy doesn't leave soon, I will. But that's another story.
It would be a shame to let this jerk run you off of the BB! We would MISS you!!!
In my humble but oft spoke opinion, people who use the internet to anonymously lash out at people are probably going to wind up in jail, a psychiatrist's office, or both. That is, if they don't wind up homeless, due to inability to interact with others, for instance, on the job.
As you said, Don, an enlightened way to view "Dizzy" and his pranks is that you may be saving this person from acting out IRL, perhaps with dire consequences. If he can get his jollies abusing you in a cowardly fashion, then he may not ~need~ to be a jerk to someone In Real Life...someone who may retaliate.
I agree - there are many hate groups that would LOVE to have this troll as a member!
---------------------
Don, as always, I'm happy to read your post! Glad you're still around!
Intelligent posters like Don too often forsake the community of the BBs when trolls target them, simply because they don't want to deal with the hassle. (Personally, I ~love~ a good hassle!)
I'm all for letting by-gones be by-gones, but I am NOT in favor of Don "being gone" due to the persecution of a net-troll.
So far, there have been only a few people willing to answer my (lower thread) inquiries about Mister Andy, and generally it's Don and Mary Anne. I keep checking them, though, in case somebody is actually interested in bringing the conversation back around to topic.
We don't all think we know so much about Dizzy, who is the person who, in Don's estimation, is the troll who floods, and impersonates people on this BB (in violation of "Network 54" terms of service.)
All that andybody knows about Dizzy is what he has presented to us...a meansprited, unintelligent boor who is too cowardly to use his own name, and too frustrated/angry to work out his problems in his own life, hence comes online to strike out at others. Essentially, the typical troll. Nothing new or interesting.
That's part of what goes on, on the net. People only know what you show them. If "Dizzy" only ever acts like a jerk, then people will envision him more as a petty-career criminal that isn't too successful at it, rather than a three-dimensional person, with a family and friends.
Perhaps, if he does not wish to be judged as being the worst possible "him", he ought to present to us a different side.
------------------------
It blows my mind how people who are new to the board can make one post, and get negative reactions, namecalling, etc. in response. How can people be so disrespectful of andyone, stranger or acquaintence?
--------------------------
Andy Kaufman speaks to me. So, while we're talking about him, if there is andything you would like to know, just post or email. I'll ask him.
I just re-read your message and can't believe that you called me "pathetic". I thought you were friends with Holly, and YOU KNOW that I am friends with her - yet you insult me. That is not nice to Holly. You are not a good friend to her, and are very disrespectful to her by what you just did to me.
Some people like to limit their time on the internet. Personally, I like to "LIVE" rather than spend all my time looking for books about Andy Kaufman on the computer (same goes with Napster, but that's a different story). Why should I waste my time looking for an Andy link when someone else, who was more interested can simply give the guy the information.
I am so sorry that I think Andy is dead and am not obsessed with analyzing him as you are. You're a piece of work!
Or am I being "Kaufmanized" (and you are not really Don) an overplayed joke on the internet. Not funny.
Some idiot is sitting back right now thinking he is really clever, because he now has you mad at me. How sick is that!
Of course I did not post that ugly message and I have nothing but respect for both of you!
I really am beginning to become convinced that this troll is out after me, in some sort of "payback" mission. I am VERY sorry that his swipes at me are affecting, negatively, you guys, too.
I'm actually considering leaving, so that he'll leave you all alone.
But that's another story.
PLEASE don't ever take anything signed by Don, here, as necessarily coming from as it is clear that this guy only wants to cause trouble. And, likewise, any time I read a post, I look at the content, not the signature to determine who possibly authored it.
Actually, there were veddy few lines at Disneyland, the weather was gorgeous, and I had an artist sketch out a beautiful portrait of me for my gallery wall. It was a near-perfect day!
Anyone who watches a dumb show like "Gilligan's Island" must be a rocket scientist - NOT! There's a whole website dedicated to all the mistakes that show made over the years. But making mistakes is something you are very familiar with, Sin-Queerly Don.
I didn't think that was you - but then you never know on the internet. I don't understand how people "get off" on stupid crap like that - maybe this person needs to do what Andy did - GET A HOOKER - ha-ha!
Please don't leave this message board on my account! I know you and Holly really enjoy your philosophies about Andy (as I've enjoyed reading what both of you had to say). In fact, as you know, I'm a writer, and am seriously thinking about breaking away from entertainment media and pursuing the health circuit. Therefore, I won't have much time for Andy or his message boards, but he will always be in my heart!
It was nice meeting you and I wish you all the best.
When we're done, I'll clean you up and you can write something for me.
Sounds romantic doesn't it?
If not, I understand. Being that you're pathetic and lazy, you're probably not serious and were only speaking in conjecture......................................
YEESH! SCREW "SINCERELY, DON" & HIS SPRINGER-ATRICS
by SHANE O'BRIEN (MY REAL NAME!)
ANOTHER ONE WHO OPENS FOOT AND INSERTS MOUTH. WHO THE HELL IS THIS "ANONYMOUS" DOPER WHO INSINUATES THAT A PERSON IS JUST SAYING THAT THEY ARE A WRITER, BUT THEY'RE NOT - DUH!!
I FOUND MARYANNE'S LAST NAME ON KATE SITH'S ANDYLAND WEBSITE AND USED A SEARCH ENGINE TO FIND SOME OF HER WORK. JUST SO HAPPENS I OWN THE COPY OF "IN THE FLESH" TATTOO & BODY-PIERCING MAGAZINE, WHERE SHE INTERVIEWS MAX FROM SEPULTURA. IF YOU READ THIS MARYANNE - GREAT JOB!!
AT LEAST MARYANNE HAS THE BALLS TO WRITE HER NAME AND LAST NAME ON A WEBSITE. WHO ATE YOUR BALLS, MR ANONYMOUS "SINCERELY" DON?!
Or maybe not, seeing as how there seem to be such a plethora of jerks inhabiting the worldwide web. (Also, wonderful people play on the net, but there seems to be, at time, one jerk on every BB...at least the ones I frequent.)
I was just posting on another BB how one of the main problems with people who are abusive on the net is that they LOVE the anonymity. These are people who would never have the courage to act out like this IRL, because (for the reasons that most of us already know) it just doesn't work out in life.
I also admire Mary Anne's wonderful writing talent, and, indeed, the fact that she is honest and upfront enough to print her real name.
Of course...she probably does that because she comports herself in a manner of which she can be proud. She doesn't have to worry about living down juvenile and unthinking posts; her posts are substantial and positive.
Im new to the net, Holly. This is my chicks computer and she just told me that typing in CAPS in shouting. I didnt know that. I'm a new Andy Kaufman fan because I just saw the Man On the Moon. I recognize your name from the two best Andy boards and want to tell you I like what you wrote too abotu all the fun stuff you do. I like to read what the women write, a feminine perspective. Are you also Sister Holly?
Yep, "Sister Holly" is me - said VEDDY tongue-in-cheek. I wound up heading up a chapter of the Brotherhood and Sisterhood of the Temple of Andy Kaufman (which you are cordially invited to join, BTW), and the name kind of went with it.
I am happy that you enjoy reading my stuff - and I hope to read more posts from you!
YES, I HAVE BEEN TOLD THAT THIS IS SHOUTING, and ~ this~ is how one ~italicizes~ certain words. However, some people with "real life" perspective have reminded me that it all should be taken with a grain of salt, because THIS IS NOT REALLY SHOUTING, THIS IS TYPING IN CAPITAL LETTERS.
I didn't figure that you meant to yell!
Andyway, glad to have you around, Shane! What is your favorite aspect of Andy Kaufman?
I just found this discussion group and wondered if I could join in? Ive been a fan of the Andy man since the 70s, but just recently saw the movie, and read the bios. I had no idea, until I began reading here, how prolific Andy was as an author. Can you tell me where to find his writings for sale?
Im from Beaverton, Oregon, home of Nike, Tektronix, Beaver Horseradish, and rain- 9 months a year. So if I get depressed sometimes, I hope it OK with you.
Andy was a piece of work, wasnt he? In a good way, I mean. He was amazing. After I read the books, I began to understand just how unique he really was. Do you guys think he might be still alive?
Hi Paul! It's great to have someone new to talk to about Andy. Last year when I first came on this board, after seeing the film, a lot of the new Andy fans had much to say about him. Unfortunately since Andy hasn't put out any new material lately, we go through dry spells without saying much, and sometimes get into our personal lives (which I prefer not to on a message board, but sometimes figure, what the hell!)
Yes, Andy certainly was a "piece of work"! After seeing the film on him, I sought out all the stuff I missed and had many many great laughs. I was old enough to know who Andy was, but a teenager going out all the time, rather than sitting home watching Saturday Night Live and Taxi (my great-grandmother was a big Andy fan back in those days - I guess he was a cute young boy to her!)
Anyway, I think you'll like this message board, there are a lot of great people here - some I've even became friends with and talk on the phone to! Unfortunately I don't know where to get his books. I know Holly, who is a regular here has some. I'm sure she'll fill you in
And finally, I don't think Andy is still alive. Maybe some of the others feel differently - so I'm sure you can have a lot of fun discussing that!
Well it looks like your arrival was greeted by quite a "flurry." We're having a bit of a problem (as if you couldn't tell) from an obviously disturbed heckler. Hope you can seperate out the real from the counterfeit.
I'll give you some thoughts on what you asked about when I have a bit more time.
Don
PS I know your little berb- I used to live in Lake Oswego.
I am depressed frequently, and I live in San Diego where it's sunny all the time. Maybe we can commisserate!
I am not sure if Mister Andy is still alive, but if ANDYBODY would and could fake his own death, I believe it's him. If he IS alive, I hope he's hanging out with Elvis in Kalamaoo!
If you would like to receive emails and snailmails for the Brotherhood and Sisterhood of the Temple of Andy Kaufman (BSTAK), please drop me a little email at the linked edress.
I am veddy much enjoying the BSTAK TOW; I enjoy keeping in touch with all of you at least once a week, and rest assured that I think of ALL of you
on a more frequent basis! I think that the "circle of good vibes" and positive thoughts that we have going are a wonderful, and powerful thing!
(Actually, positive thinking is something that I intend to touch upon in this week's thought...)
I've noticed these TOW taking on a loose, but evident structure: they seem to open with some friendly banter about what's up with me, and in the lives
of other members of BSTAK, then open up to a large, general, metaphysical/philosophical discussion, and then usually wrap up with something by or
about Andy Kaufman. I don't feel "locked" into this format, but for now, it has become a comfortable one for me...the old "three part essay" from
High School, with a few minor modifications (because I think that the majority of you are quicker than the teachers for whom I wrote the three part
essays!)
Well, Hallowe'en is drawing near, and a certain BSTAK member has tickets to see Alice Cooper on Hallowe'en night! Hooray! I know that I'll be there
in...spirit...hee hee!
And THREE of us (at least) are appearing as Tony Clifton for Hallowe'en, and related events. Cheers to Guy Incognito, the most recent participant in
"Tony's Army!"
Speaking of Tony Clifton, I went out on the town last night (Sat. Oct. 14) as Clifton, and was it FUN!!! (I want to milk this Hallowe'en stuff for all I can
get....my mom remarked today that "something happens to me in October!" Hee hee!
First, Tony and Rex and Mom went out to Outback Steakhouse, where a sumptuous meal was enjoyed. Then, it was off to a little hole-in-the-wall
Karaoke bar, where Tony sang his famous composition, "Caroliner In Da Mornin'!" He brought down the house, and was recognized by a number of
people....even signed some autographs! (BTW - the version of "Caroliner" that I use is ~exactly~ like the one from "Carnegie Hall"...I sequenced it
myself.)
It was a blast!!! I can't wait to do it again!! Everybody who says that Tony is an addictive character is right! *_*
I got pix...I especially hope the ones turn out of Tony being "kicked out" of the Karaoke bar! Dunno if they will, though...kinda blurry from lots of
movement.
SPECIAL THANKS to the ~real~ Tony Clifton, the fellow who spends a lot of time in Hollywood, for making me the "Official Tony Clifton
Medallion," which really made the outfit perfect!!! I love ya, Tony! *_*
-------------------------------
You may have noticed that this week's TOW is coming out a little early. I can explain this.
Tomorrow, Rex and I are going on a little "getaway" for a couple of days...headed up to Disneyland! We hope to stay at our favorite hotel there, but it
may be gone. We're going to play it by ear.
Andyway, I won't be having the time to write the TOW on Sunday night, because...I will be having fun in Anaheim! So, I figured, better a little early
than a little late. Hence, the TOW is coming a day early!
Aside - I've made it into "Disneyland History" by placing a little plaque on one of the rifles on Tom Sawyer's Island (Fort Adventure). The setup is that
you're supposed to be in this fort, and look out at the various tourist going by, and pretend they're "the bad guys", and "shoot" them. So, I went to a
trophy shop, and had a little metal plaque made up that read "This Attraction Sponsored By The NRA," which I stuck on a convenient rifle when I
went to the park. Apparrently, BSTAK-er Kelley Jarvis read about this on a Disneyland site! (Correct me if I am wrong, but...guns at Disneyland?!?!?)
I don't have the time to do it, but I would love to make a plaque for their mint julep bar that says it's sponsored by Scope. (I swear, it tastes
EXACTLY like Scope!) Oh well, next time!
SO - now y'all know why I won't be around a whole lot for the next couple of days.
*_*
--------------------------------
The topic for this week is positive thoughts, and creating our own positive reality with positive thoughts.
I would like, for a moment, to recall the three basic tenets of BSTAK; these were established by Pastor John, founder of BSTAK, long before I came
into the picture...
1. Humor. Laughter heals. It saves and expands consciousness.
2. Meditation connects one with unity.
3. Subversion of convention leads to freedom.
For those of you who are wondering how all this metaphysical stuff relates to Andy Kaufman, it ties in with tenet #2...meditation, positive thoughts,
creating one's own reality, the whole shebang. (I'm sure that you have all noticed that, although we have come together over Andy, the conversation
often leads to larger issues...and I believe this to be a good thing - NO RULES! *_* )
Here are a few select quotes from Hugh Prather's "The Quiet Answer." I'd love to hear your thoughts on this, as I feel that it directly follows some of
the earlier Thoughts of the Week, particularly the parts from Richard Bach and Neale Donald Walsch.
"BEGINNING"
"If I am unwilling to let this problem go completely, let me at least loosen my grip a little. I will create some softness around the edges by stepping
aside and waiting a moment for another point of view to come to me. I will allow a small measure of...gentleness into my mind. At least I will let my
mind consider a moment's peaceful rest, if not a happy laugh of relief. Love Itself is what calls to me to give myself rest. It is NOT humble to remain
in turmoil, and Love does not ask this of me. I will reach for one peaceful thought."
"THINKING"
"Thoughts cannot separate themselves from the mind that thinks them, and that is wh I cannot succeed in dismissing another person. If I have thought
of him, he is mine. What then do I wish to make of this piece of my mind? A garden or a slaughterhouse? My mind holds everything in a vast circle
of pure spirit. I cannot think a disturbing thought without requesting that everything share in my distress. And I cannot be at peace without offering
peace to the entire world that peoples my thoughts. Because listening is love, love can be transmitted through silence as easily as through words and
deeds. And without love, there are no deeds, and no communication has actually taken place."
"PREOCCUPATIONS"
Dwell not on the distressing, the complicated, and the doubtful. Dwell not on things of smallness: little hurts and petty accomplishments. Dwell instead
on some kindness given, on some sign of thoughtfullness. Dwell on clarity, cimplicity, and trust. You are one. Dwell only on what can be extended
and shared so that your mind may remain one. One in peace and love. One in its healing vision. Quickly forgive another his mistakes. Do not leave
your mind at war. Look instantly beyond the little interferences, no matter what their form, so you may continue to hear a single Voice and see a single
Self. Waking up is not difficult provided you do not let your mind drift back into concerns of any sort. Look at what makes you happy to see. Try, at
least. Only a single vision can help and heal. One divided has already become part of the problem it beholds. Oneness, simplicity, and kindliness are a
Thougt that is highly practical and effective. But chnoose it because it is true. Keep your interpretations fresh and still by interesting yourself in the
points of light around you. All you attempt is to see that they do in fact exist. Allow this recognition to come softly into your single mind. A single
vision, carried everywhere you go, is heaven."
------------------------------------
We all know that Mister Andy was a firm believer in the power of meditation, and a practicer of TM...he lived a fairly simple life, considering his wealth
and fame, and generally cared little the acoutrements that usually accompany "stardom." I'd like to reproduce for you here what is, perhaps, at once
Mister Andy's simplest and most profound poem:
"Untitled"
by Andrew G. Kaufman
May 7, 1964
I liv
e
to l
ive
-------------------------------------
Finally, I would like to share with you something that was written by BSTAK member, Don...an interesting piece about some not-so-obvious influences
of Mister Andy.
"What Were Andy's Greatest Influences?"
by Don
It cannot be argued that Elvis, Fabian, Slim Whitman, and Andy's "Papu" helped mold and shape the private and public persona that Andy carried
through his life and
career. But according to Zmuda and Zehme, there were two others who seared upon that great and mysterious mind even more important, more
indelible influence. The
lessons he learned from them became part of his permenant identity, both on and off of the stage.
In 1962, as Andy was (at the tender age of 13) developing and refining his own act, he encountered an act that clearly burned into his psyche for life.
After paying his
price of admission to the "World's Greatest Magician," he was disappointed by a lame series of characters from a "Rock Lady" that was just a poor old
woman with
psoriasis, to a "two-headed calf" which just happened to be dead, stuffed, and a poor fake, at that. Soon he had experienced a full range of emotions.
These ranged from
excitement and anticipation, to bewilderment, then embarrassment (for the 'World's Greatest Magician' AND for himself in being duped) and
disappointment, then anger
at this charlatan who had taken his money and who had delivered nothing of what he had promised. But then something amazing occured that changed
Andy Kaufman's
life forever! "Suddenly the canvas parted across the room, and something seeming to be a huge bat flew towards us. We recoiled in terror as the flying
menace buzzed
us, then stopped and jerked back toward the table." Turko the Half Man was truly half a man. At the base of his trunk was attached something that
looked like a quarter
of a car tire, which he used to hop and rock on. In the next few minutes, Turko flung himself around the room, and at one point landed on a Coke
bottle, rotated on the
bottle, flipped it open, drank it in one long gulp, then sang a stunningly touching rendition of "Beautiful Dreamer." You know the rest of the story from
Zmuda's book.
The point is that from that day forward, Andy understood, internalized, and forever incorporated the concept of involving all of his audience's emotions,
and of
manipulating those emotions for maximum impact. He became the MASTER of getting them to expect one thing, then delivering the other. The
unexpected. The thrill
that would impact the audience from the gut.
<Think of the morphing of foreign man into Elvis in light of this lesson.>
Then in 1971, Andy, now 22, had what he had to consider, literally, an opportunity of a lifetime (and a life changing experience). He had an audience
with His Holiness,
the Maharishi of transcendental meditation. Andy, to the great discomfort of the on looking bliss people (as Zehme calls them) began to question His
Holiness about the
nature of humor. Again, this experience burned into, and shaped his psyche permanently. "---the comedian's craft, he said, was akin to building two
walls side by side and
leaving a space in between. The mere presence of those two walls then creates a contrast based on an awareness of the space. And by building such
contrasting walls of
oddness, the comedian is implicitly calling attention to the length and the depth of the SILENT SPACE that connects the two. AND WITHIN THAT
SPACE, SAID
MAHARISHI, LIES THE HARMONY THAT THRILLS THE SOUL AND APPEALS TO THE HEART! ---But what makes the contrast so evident
is the journey in
between, which is a journey through a field of silence. And it is the experience of this journey that creates delight. THE SILENCE, THEN, IS THE
VERY IMPULSE
OF LIFE."
<Think of Andy's appearance on the debut show of Saturday Night Live (Mighty Mouse) in light of these words>
Many, many other factors, words and events influenced Andy's ultimate genius and onstage abilities, but I think these two events must have been
EPIPHANY moments.
I believe that ~that~ about covers it for this week! As always, responses are welcomed with open arms and open ears! Remember, if you wish to
receive the snailmail materials, simply email your address (preferably MBE or PO Box) to this edress. I would be happy to send you whatever I've
got! *_* Or, if you are not currently on the BSTAK mailing list, feel free to drop an email...join the club!
Here's wishing all of you a week filled with wonder!
All roads lead to Rome/Roam
All roads lead to Lenny
All roads lead to Hix
All roads lead to Andy
All roads lead to Other Roads
All roads are a Mobius
Ut! Trvth Is Universal!
Solidarity Through Andy!
Solidarity Through DiVeRsItY!
In everything I've read about Andy, I've never seen any direct reference to Lenny Bruce, so anything I say here is pure speculation.
But I'd certainly guess that the above reference is exactly as you suggest. In Andy's teens, a recurring theme with him was authority. He was the quintessential 'rebel' against all forms of control. It would make sense that, at that time, he would canonize Lenny Bruce, as he was the symbol and personification of this rebellion. The "pledge of allegiance" thing is also about that. I think he saw being forced to take this pledge as a control issue, especially when he was, as he suggests, being forced to pledge allegiance to what he saw (at the time) as a repressive (contolling and unfair) system.
"ecurB" is clearly Bruce backwards, complete with capital 'B'. I think you're observation is right on the money. I probably would hace read right over that and missed it! Thanks, Holly
Heres my number one unanswered question: Who was that voice on Mr Xs tape? Ive never even seen a plausible theory on this. Or do you think there was no voice
on Mr Xs tape"that Zmuda made the incident up out of whole cloth? And what is your reasoning behind whatever theory you may propose?
Listening to R.E.M. frontman Michael Stipe discuss the comedian Andy Kaufman, one can't help imagining that the singer is, at least in part, also describing himself. "I
copped a lot of his moves," Stipe concedes. Coming from a man who has been saddled since early in his career with the quasi-complimentary "eccentric" tag, that's no
small admission.
Andy Kaufman rose to fame through early "Saturday Night Live" performances, and reached an even larger, more mainstream audience playing the wide-eyed,
munchkin-voiced Latka Gravas on TV's "Taxi." But he solidified his reputation as a barrier-breaking, otherworldly eccentric by wrestling women, reading entire novels
onstage, and taking audiences out for milk and cookies.
Stipe and his bandmates, meanwhile, spent the balance of the last two decades pushing the boundaries of modern pop. As the fuzz-guitar blast of Nirvana's
"Nevermind" exploded the complacency of early '90s radio, R.E.M.'s "Automatic for the People" -- and particularly the plaintive, addictively repetitive single "Man on
the Moon" ("Yeah, yeah, yeah, yeah") -- played an equally compelling counterpoint.
Now, seven years later, Stipe's lyrical homage to Kaufman has become a major Hollywood vehicle. Helmed by acclaimed director Milos Forman ("Hair," "The People
vs. Larry Flynt"), the film has already garnered considerable Oscar buzz for Jim Carrey's dramatic turn as Kaufman, and for R.E.M.'s lush, evocative soundtrack.
Stipe recently sat down with MTV News Online's Benjamin Wagner to discuss the film, its namesake song, and the band's new single, "The Great Beyond." What
emerged was not only a revealing portrait of both Stipe and Kaufman, but a searching discussion on the courage required to create groundbreaking art.
If you believe...
MTV News: Was the "Man on the Moon" film project on your mind at all when R.E.M. released the song in 1992?
Michael Stipe: Did I have in mind that Milos Forman, or somebody, was going to take an idea of mine and make a movie out of it? Hell no! [laughs] I'm not that
arrogant about my work. When I wrote "Man on the Moon," I had no idea I was going to write a song about Andy Kaufman. It was actually a desperate and
completely unconscious move on my part.
We were in the studio for months in Seattle, and had written and recorded and mixed every song on "Automatic for the People." But there was one piece of music
that the band kept pushing me to come up with some lyrics for, and I couldn't. The last day of the mix, I had nothing, so I put on a Walkman, went walking around
downtown Seattle and came up with this little lyric. I went back to the studio, put it down, sang it, mixed it that night, and the next morning we had to send the tape
to the record company to be mastered. And that was "Man on the Moon."
The only conscious element is that at the time I was spending a lot of time with Nirvana. I told Kurt [Cobain] that I was going to write a song that had more "yeahs"
in it than anything he'd written. I certainly didn't intend to present Andy Kaufman as a central character, almost a hero, in the song.
What the song is about, I think, is some crackpot theories of the 1970s, the most primary being that NASA and the U.S. military and the government conspired to
fake the 1969 moon walk; that, in fact, what we were watching on television was a stage set in some secret place in the Arizona desert. Second, that Elvis Presley was
still alive. And then, in 1984 when Andy Kaufman, Elvis impersonator and prankster extraordinaire, died, the rumor began that he had faked his own death. And
that's what "Man on the Moon" is about.
The record company liked the song and asked us to make a video. We made a beautiful video with the director Peter Care, and went to the Kaufman family and asked
them if we could use footage of Andy. They were puzzled, but I think honored by the song. They gave us the footage, and the song and the video were a huge hit
outside the U.S. Then there was a television documentary in 1994 using our song, footage from the video, conversations and interviews with people who knew Andy
through his life, and select clips of his work. Some people saw it, and I think they thought "This is a brilliant, exciting idea to write a script around," and they named
the script "Man on the Moon." When Danny DeVito got it, he handed it over to Milos Forman, who read it, called me on the phone right away, and said, "I'm going
to make a movie about Andy Kaufman called 'Man on the Moon,' and I want your band to score it." And, we did. That's the whole story.
MTV: Do you remember your first exposure to Andy?
MS: I saw Andy on television in 1975 on "Saturday Night Live," a new TV show that was really exciting, at the time, and what I didn't know was that it was the first
time he had ever been on TV. He sang along to the theme from "Mighty Mouse," and I, at fifteen years old, inexperienced, naive as sh**, was like, "This guy is
completely brilliant. This is like nothing I've ever seen before, ever." And I followed his career until his death, and, obviously I guess, beyond his death.
He galvanized a nation, I think, in three-and-a-half minutes on live television. It was really something that I think had not been done in years and years and years.
Kaufman, like Lenny Bruce, like Andy Warhol -- the other Andy, as I like to refer to him -- was easily fifteen years ahead of his time. He's one of those people, to
quote "Velvet Goldmine," who are "strange messengers or strange people sent down to move things forward a little bit faster." Andy was so ahead of the curve in
terms of what he was doing, pulling these seemingly disparate elements together in performances that really would befuddle and puzzle and baffled and anger people,
and he got exactly what he wanted, which was a reaction. A reaction of any kind.
It proves to me as a performer how courageous he was. I'm sure he had all the insecurities that you and I have, but he was courageous enough to allow an audience to
hate him. Balls like church bells, to get up and do what he did over and over and over again. I had a lot of respect for him. I copped a lot of his moves.
MTV: Speaking of balls, I particularly enjoyed your swapping the lyric "Mr. Charles Darwin had the gall to ask" to "Mr. Charles Darwin had the balls to ask" during
your performance of "Man on the Moon" on "Saturday Night Live."
MS: I started doing that years ago. It's a good move.
MTV: It felt [Jim] Morrison-esque, leaning into the camera on Ed Sullivan. Also, you exclaimed "Cool!" after the choruses, as I've seen you do live before.
MS: It's just how I perform it live. It's a little different than the recorded version.
MTV: Different energy.
MS: Yeah, it's way different. On live TV you kind of have to come out like a boxer. Patti Smith taught me that. There's no room for subtlety on live television.
Everything's being funneled through this very small thing, and you can't allow subtlety to get in the way.
MTV: Which is a point you guys addressed pretty succinctly in your video for "The Great Beyond," the new single. How did that song come about?
MS: Milos wanted us to write a song that was like a sister piece to "Man on the Moon," and feeling like I'd already written the ultimate Andy Kaufman/R.E.M. tribute
song, it was a little difficult to go back and retread. Instead I kind of self-cannibalized "Man on the Moon." I pulled lyrical elements into "The Great Beyond" so that it
can be a companion piece without diminishing the original, and at the same time stand alone as a really good pop song. I took the third verse of "Man on the Moon"
and made it a background vocal in the final choruses, just because those were my favorite lyrics from "Man on the Moon," so I wanted to bring 'em back around.
And there are other little easy references, like "having something up your sleeve," which is "Rocky & Bullwinkle," we all know that. "The Great Beyond," in a way, is
about someone who's trying to achieve the impossible. Pushing the elephant up the stairs. Andy's whole thing was breaking down the fourth wall to such a degree that
the audience never really knew whether he was for real or not. And I wanted to capture a little bit of that in the song.
MTV: I would offer that what Andy Kaufman did for America's concept of comedy -- pushing the envelope, pushing the audience -- you guys, R.E.M., have done for
music.
MS: It's not mine to say, that we've done that. But I feel like we do, you know, within the little universe of R.E.M. We're limited in terms of our abilities, talents and
our creativity, but we've never stopped pushing our limitations and trying to move outside of what we're capable of and create something that's different.
To me, death is stasis, to allow yourself to stop, and repeat, and repeat, and repeat, and repeat, and not to move forward or even experiment or try different things.
With that kind of stasis, you turn into plaster of Paris, you know? You no longer exist.
MTV: Did you spend a lot of time on the "Man on the Moon" set?
MS: I was there a lot, and it was always fun. You never knew what was going to happen.
MTV: I understand that Jim Carrey was consistently in character as Andy.
MS: Jim was always Andy. Jim Carrey was nowhere near that movie set. I didn't know that. I was talking with this guy, and he was really nice and seemed rooted in
1999 and was dressed like Andy Kaufman. But what I found out months later when I actually met Jim Carrey in the recording studio to finish up the soundtrack was
that the person I'd been talking to the whole time was Andy Kaufman impersonating Jim Carrey.
Carrey's a brilliant comic actor, he's got his own schtick, and I say that with all the love in my heart. I think it's a brilliant schtick. But he's a huge fan of Kaufman's,
and he had to completely leave himself behind.
What you're seeing in this film, and I think it's very brave on Milos' part as a director and as a storyteller, what you're seeing is all the detritus of a character and a
personality. What you never see is that character. The people who were closest to him -- Bob Zmuda, and Len, his girlfriend played by Courtney Love in the movie --
all these people loved him to death, and none of them can really say who he was. He was really a mystery.
MTV: Did the movie turn out as you might have hoped, or expected?
MS: Yeah, I think the film is brilliant. I'm so honored to be involved in anything that Milos Forman worked on. Objectively, yes, I can stand back and not be a fan of
Milos' work and not be a fan of Andy and say this is a great film.
MTV: You touched on recording "This Friendly World" with Jim, or was it Andy...?
MS: It was Jim... finally. [laughs] Another thing, Jim Carrey is easily five inches taller than Andy Kaufman, and just watching this guy change his body, his physical
body that much, was shocking. When Jim walked in it was like, "Sh**, he's really tall, and he's skinny."
MTV: In the second verse of "This Friendly World," the two of you switch off every second word. Is that live, or studio magic?
MS: No, we did it live. That was not easy.
MTV: How was Jim in the recording studio?
MS: As soon as tape started rolling, he became Andy, and I had to communicate with Andy, and Andy became Tony [Clifton, Andy's nasty alter ego], which was a
big surprise for everyone, and Tony was really insulting towards me, which I was frankly honored by. But Carrey, er, Andy, was throwing off this amazing stuff. I'd
say, "Hi, you wanna sing a song?" And he says, "Is that why you pulled my ethereal ass out of the celestial heavens and saddled me with this cold and heavy human
form?" This is coming off the top of this guy's head, and he was tired, too! He was just whipping 'em out. I admire that.
Why do you think Andy hated hearing that refrain so much?
Heres my take. Latka, AKA Foreign Man, was a prop. He was the unfunny side of the contrasting walls. He was meant to be an untalented, unfunny character to
be used as a prop, as the lame wall against which the other (brilliant!) wall was displayed as a contrast.
Picture this (from Zmudas book): It's the Improv, mid town Manhattan, 1973. An array of talented unknowns named Jay Leno, Richard Lewis, Elayne Boosler, Joe
Piscapo, Richard Belzar take the Improv's Stage. All through the show we hear a shaggy-haired young foreigner in the back of the room begging, then demanding,
that Budd Friedman let him on stage. He is relentless. Finally near the end of the evening, after numerous noisy discussions between Friedman and the weirdo, the
club owner threw up his hands and relented. Taking the microphone, he announced "Ladies and gentlemen, please welcome a visitor from afar, Mr. Andy Kaufman."
Walking out into the spotlight, this goofy guy with eyes wider than the Hudson and a thick unplaced accent began with a few extremely lame impressions, or
'eemetations' as he called them. He started with Archie Bunker, slid into Ed Sullivan, and finished with our president, Tricky Dick Nixon. Each eemetation was worse
than the previous one. As you're expecting Friedman to reach for his "hook," this man continues in a hopelessly amateurish act. As his act painfully continues, some of
the audience could not contain themselves and began snorting. Some of the more sensitive in the audience shot the laughers disapproving glances, embarrassed by the
discomfort this poor yutz had visited upon himself and now the congregation. When he announced that he was going to do "de Elbis Presley" there was a collective
groan from the house.
The poor Iron Curtain comedian then fumbled around in a tired little valise, found a comb, and began raking his hair into an Elvis coif. He reached back and pulled
out some props. He combed his hair again.
By now the audience is starting to laugh-this time with him, not at him. Suddenly the house lights go down and a single follow-spot illuminated the man on stage.
After a few more hair combs, just enough to whip the crowd into a laughing frenzy-this weird young foreigner began an amazing transformation. Accompanied by
the strains of Strauss's famous opening from the movie 2001: A Space Odyssey, he donned a spangled jacket, popped up the generous collar, hefted an acoustic
guitar, and by now he is starting to really look like Elvis! Then he curled his lip in that perfect Elvisian arc and the crowd screamed.
By this time, the poor foreign soul, the cringing little man we had admired and mocked for having the guts to stand before us, was gone. The voice was now rich,
sultry, and from the Deep South, as in America. "Thank yeh verra much, you can just stare at me while ah catch mah breath." This was no impression. This WAS
Elvis. Then as the trademark lip twitch went out of control, he deadpanned, "There's something wrong with mah lip." This brought a huge laugh, partly because it was
funny, but mostly because the audience was still in shock.
Suddenly lights begin to flash, and he launched into "Treat me like a fool." No lip-synch. Killer performance! Then a rendition of "Jailhouse Rock" that brought the
house down. The audience was stunned. Speechless. They didnt expect, nor had ever seen, andything like this! At the end of the act, this person, whoever or
whatever he was, nodded politely, eyes agog, and said, "Dank you veddy much." As he left the stage everyone in the place went nuts. A full scale Kaufmanization of
the first order!!
Now I ask you? Was it~ Foreign man (Latka)~ that Andy was so proud of at the end of the night? If you had been Andy, how would you feel if everywhere you
went, you could see that ALL the audience had taken from this act was that this funny little foreign man was cute, and they wanted to hear him say ibeedah?
How would you feel, if you were Andy, and everywhere you went, cries of Do Latka! would fill the auditorium?
I agree Don. It's a shame that celebrities can be so talented, but are known for the silliest things. Not that Latka was silly - he was a wonderful character, but it is very sad
that the majority of people can only absorb so much and can't open their simple minds to other things.
Awhile back I saw Eve Plumb (Jan on the "Brady Bunch") on a talk show. A member of the audience stood up and asked her to say, "Marsha, Marsha, Marsha!" And
she wouldn't do it. Good for her!
It's understandable that without the fans most celebrities wouldn't be where they are today. However, that doesn't mean that they have to stand up and act like a chimp
on command. People should respect the art and talent of their favorite celebrities and give them the chance to grow. How sad is it, that the Rolling Stones MUST play
"Satisfaction" for every single show?! With a million other fabulous songs, it just wouldn't be "fair" to the audience if they didn't play that 3-chord tune.
And yes, I would be very annoyed hearing the cries of "Do Latka!" everywhere I went.
I agree wholeheartedly with Mary Anne's points...it's a shame that a complex human being is reduced in the eyes of the public to a "catchphrase", whether it's Andy or
Eve Plumb or Jim Carrey (Allllrighty, then!) or Robin Williams (Na-noo, na-noo).
The public can react to the live performers as if they were creations, simply existing to please their audience. It's one thing if you're Bart Simpson, and the only time you
"appear" is for a performance, but entirely another thing if you're Nancy Cartwright, the ~voice talent~ of Bart Simpson, and you're barraged each day with demands to
say "Don't Have A Cow, Man..."
I remember reading a piece by Andy Rooney a long time ago about this. He had written an essay because (something to the effect of) he had been asked to sign an
autograph while out in public, and didn't want to, or didn't have the time, or something, and the autograph seeker was VEDDY upset! He made a comment like, "You're
a public persona, and you have an obligation to be friendly to your public." Andy Rooney's essay explored exactly how far one's "obligation" to the public went, if one's
job happened to bring a person into the public light. After discussing all sides, he drew the conclusion that, at the end of the day, he's written a good journalistic piece, he
has no further obligation to andyone.
----------------------
Speaking from the other side, however, as someone who would ~love~ to be recognized on the street...I don't think the requests to "do" a catchphrase would be all that
annoying to me. I'd be happy to be recognized. (Remember, Andy felt bitter about Latka because ABC took his "Foreign Man" character, and ran with it. AK didn't
really feel like it was "him", or what he wanted to do andymore. He was just under contract. I imagine this played a role in his attitude, as well.)
You are soooo right about the exploitation of his own creation and ABC 'morphing' it into Latka. After ~all~ the genius Andy gave us, ~all~ the laughter, ~all~ the joy,
it had to hurt a little for him to see that what most of his audience wanted was ABC's character.
All Andy ever wanted was to be his ~own~ man and to thrill us with his ~own~ creative energy.
If he's listening from the 'Great Beyond', though, I'm sure that he knows that he succeeded in that beyond his wildest expectations!
Holly, since me and you are both very active in the creative world - you, with your musical performances, and me with my writing - I can totally relate to what you said
about being recognized on the street. As a writer, nobody knows what "Mary Anne Christiano" looks like. I've performed as a featured poet throughout New York and
New Jersey, with some recognition, in print, but those gigs were few and far between.
Now of all the godforsaken things to be recognized for, here's a silly little story. When I was younger, about 23, in the mid-80s, I used to "model" for a local, now
defunct glam-band called "Pharoah". I used to go onstage in a bikini and hand the musicians their guitars, very campy and fun (kinda like your "Chickie Baby" gig with
Tony Clifton). I only did this a handful of times, some shows in New York and some in New Jersey, before I got bored, gave it up, and other cuties took my place. Not
only was I recognized once, but twice (both times by women!) The first time was, when I was still with the band, and I was down the shore, many miles away from
where we did the shows. A girl was pointing at me saying, "Pharoah, Pharoah!" I was secretly flattered. The second time was very recently. A girl came up to me and
said, "You were in Pharoah!" I was thrilled, and replied, "Yeah, and that was 13 years ago!" Certainly did a lot for my ego! My point is - I'd much rather be recognized
for my writing, but if I'm recognized as a "sex object" that's fine with me too - heh! (Even the famous author Anne Rice once said something to the effect of "I'd love to
be a sex object!")
It certainly is true that we can't choose how we will be remembered, or for what. We each want to be remembered for those personal accomplishments that mattered most to us. But to be recognized or remembered for anything we do in life is itself a compliment. We should savor small victories, and appreciate what life sends our way!
Hello, Fans, Friends, Kaufmanites, and Kats (and the rest of you, too!)
Welcome to the Thought of the Week!
First, a small update: the filmscoring work is going along well, and my schedule should be back to "fairly" normal "fairly" soon; expect my return to my usual
haunts on the net to be imminent! Thanks for understanding, all of you whom I've been slighting via email and IM, and on the BBs as well. As Kate Sith says,
"busi bakson". (Is that how you spell it, Kate?)
AND a BSTAK update - as of this mailing, our "chapter" has 25 "members"! Hooray! *_*
Onward!
This week's thoughts are drawn from a number of different sources, and are loosely structured around the topic of freedom; freedom from fear, freedom to be
onesself, to create onesself...
I'm veddy pleased to bring you the responses of some of the members of BSTAK...we are opening up some wonderful e-discussions, and I feel as though our little
"fanclub/community" has a strong positive feel to it. (Remember to keep sending out the positive vibes, everybody! *_* )
I was so happy that a long-time member of BSTAK responded to a subject that was brought up in a TOW with by sharing her personal experiences. I'd like to
thank Mary Anne for the permission to print this piece here. This was in response to the contradiction between what Einstein said, that man's two primal
motivations are "fear and longing", and what Neale Donald Walsch said, that the primary motives were "loving and fear." Mary Anne came up with an
interesting hybrid of the two:
"How about a different perspective? Loving and longing. When I thought about this, I thought of my younger days - definitely being motivated by fear and
longing or fear and loving. But as I grow older, wiser, and more content, yet still driven (longing) the fear lessens. Do I dare be silly enough to say "fearless"? I
see how life falls into place - and what is there to be afraid about? When I was younger, I feared the unknown: What will my life be like in 10 years? Will I make it
on my own? Now that I know, I can do almost anything in a pinch, well, hey The good news is that the results of getting what I longed for bring loving. The
happier I am, the more I can help other people (the ones who are also longing at this stage of the game)."
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A BSTAKer wrote this thought-provoking piece, which follows up on our thoughts of the past few weeks about "identity", and the nature of one's identity. He
has graciously given me permission to reprint it for the TOW.
"Who killed Andy Kaufman?"
by Don
Andy did. Not intentionally, not consciously, but he did so just as surely as he played Carnegie Hall. Let me explain.
Have you ever had an aunt or uncle, or grandparent who spent a lifetime with their spouse, then lost the spouse to death? Then, mysteriously, the surviving
spouse dies within months of the first death? I can think of a half dozen cases in my family, or among friends, where I've heard of this happening. Can you?
What's with that, anyway?
Here's my theory, and how this relates to Andy Kaufman. I think that being secure in our identity (whatever that may be) provides us with comfort and
security-and protects us!. Our identity is a sort of cocoon or shell that shields us from STRESS. When we are psychologically and emotionally secure, our bodies
are far more resistant to attack from foreign, often-fatal infections and diseases (like cancer, for example).
Often (perhaps usually) when a couple is married for 30, 35, 40, 50 years or more, this union BECOMES their identity. When the spouse dies, that identity is
stripped away, and the surviving spouse is left naked and defenseless. Often death quickly overcomes this weakened mind-body.
Who was Andy Kaufman? What was his identity? And who took it from him? David letterman said, "when you looked into Andy's eyes, it was like someone else
was driving". Others have said that Andy was always -on- always into one character or another. Others have said that Andy would NOT break character
(whatever character he was doing) for anyone, ever. Others have said there was no REAL Andy Kaufman-he WAS his characters, that WAS his identity. Andy
would joke about "Who is Andy Kaufman?" or "OK, now Im going to show you the REAL Andy Kaufman", then he'd launch into another character!
My point is that ANDY KAUFMAN'S IDENTITY WAS HIS CHARACTERS-HIS ACT. That was it, pure and simple.
Now, the interesting part. From Zhemes book, talking about Andy's eminent taping for the Catch the Rising Star tenth Anniversary show in September, 1982:
the material, everyone said there was nothing new, that he needed something new --- So he decided to KILL IT OFF, to put the material out of its misery, to
expose it as the charade and the lodestone it had become. (Remember, this is Andy's IDENTITY hes talking about.) He planted Zmuda up front and had Rick
Newman make sure that the microphone was hidden somewhere on Zmuda's body so that Zmuda could be clearly overheard as the material was drained of its
blood and left for DEAD!
Now for the next few minutes Zmuda stood and did something far worse than heckling. He, line by line, did Kaufman's act from the crowd, ahead of Kaufman
by a second or two: Tenk you veddy much-Tenk you veddy much. EES de traffic-Ees de traffic. Take my wife-Take my wife. Eemetations-Eemetations. He was
relentless line upon line. Kaufman would try to ignore it, but Zmuda kept on.
And Andy was wet: his face was soaked with flop summoned from trained synopses and abetted by blistering lights and he had to say something to stop this man
in front from ruining everything. And he said, Is there a problem?
ZMUDA: No, there's no problem. The only problem is that I'm doing your act for you; If you did some new material, then I wouldn't know what you're gonna
do next.
ANDY: Well, uh I was asked to do this material tonight, okay? This is what the club asked me to do, and I'm doing it.
This interchange goes on for a while, then Zmuda reveals his planted microphone and says "Look there's a little mic on me, you see this? He hired me tonight to
come here and criticize him, you know? See today he was saying to me: Zmuda, heres what were gonna do; I'll take my old material and I'll call it "Variation
on a Theme." The theme is old material and the variation is that Im told to sit here and criticize it. <To Andy> well, it's true. Am I being honest? Am I a plant?
Is this another Kaufman put-on? Be honest, am I a plant? Tell the people. Theres a Mic here!
ANDY: Yeah <sotto voce> you're not supposed to say anything.
ZMUDA: Fine, then just cut it out <of the tape>.
This was highly abbreviated, but my point is this---ANDY WAS KILLING OFF HIS CHARACTERS--HIS ACT-- HIS IDENTITY. He was destroying his shell or
cocoon that had protected him from disease and death. One final example, from a PBS Soundstage performance in late 1982 (snipped):
FOREIGN MAN: You know, I don't care what you do to yourself, but you, you've not only ruined your career, but you've ruined mine, too!
AK: So what? Who cares?
FM; Because of you, everybody doesnt like me, either. Why do you do thees? I think I know why. It's because you are really, underneath it all, I don't think
you're such a bad man.
AK: Oh, thank you.
FM: I think you are a shy little man. A little, scared little man. <<my note: naked and defenseless without the cocoon of his identityhis characters> >
AK: What do I have to be scared of?
FM: You're afraid of being hurt.
AK: Get outta here, go away!
FM: Because deep down inside you have a gentle soul. And thats why you have put on thees tough-guy fascade. Because you hide your inseecurity.
AK <starting to cry> Really?
FM: You know, when you come to terms with your own deficiencies, then youll be able to accept your true self and won't have to hide behind thees macho act!
He never did. Instead he destroyed --- purposely killed off---- HIS OWN IDENTITY. He deliberately destroyed his security, his shell, and his cocoon, which had
previously shielded him from stress, disease, and death.
Why? I can only suppose that he felt that it was time for them to die, in the interest of artistic integrity. And I think that he fully intended to replace them with
new characters, or to fill his life with a new identity, but never got the chance. I think he purposely KILLED phase one of his career and UNintentionally
HIMSELF in the process. Sadly, we will never get to see the bigger, brighter, even more awesome 'phase two'. It died with Andy.
--Written Sep 23 2000, 1:33 PM
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A few random quotes that remind me of Mister Andy, (who was truly free), from "Conversations With God Volume 1" by Neale Donald Walsch:
"What you resist persists. What you look at disappears...You cannot resist something to which you grant no reality. The act of resisting a thing is the act of
granting it life. When you resist an energy, you place it there. The more you resist, the more you make it real - whatever it is that you are resisting. What you
open your eyes and look at disappears. That is, it ceases to hold its illusory form."
"To live your life without expectation - without the need for specific results - that is freedom."
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And finally, what really has to be my favorite poem by Mister Andy; I adore the way he plays with the language and the linebreaks! And the double meaning at
the last line...ooooh!
"Untitled"
by Andrew G. Kaufman
March 26, 1965
G
eei shouldn't have warn this
iei now can't p
eei can't whenever i want t
oi can't jump around b
oyi am burdened for the rest of the d
ayi hate it caus
ei have no more freedom w
elook good and w
edig suits osh
ithink
I just trust that others aren't being duped by "Sincere Don", and all of the other variations of forgeries on this board.