Showing posts with label man vs. food. Show all posts
Showing posts with label man vs. food. Show all posts

Sunday, June 27, 2010

S'MORRISONS MENU



Light My Fire
A flaming kabob of five mini s'mores!  If we can’t successfully set it on fire, you better believe the marshmallows will be good and burnt out, much like Morrison himself in the early 70s far before his death from “heart failure.”

Ba-con through to the other side
Chase your pleasures here, there and EVERYWHERE with this classic s’more, all shook up with bacon flavored chocolate!  Yeow!
 
The End
Kick down the doors of perception with this double dose of carcinogenic charred marshmallow magic on a hemp-encrusted nutella biscuit.
SOLD OUT DUE TO POPULAR INTEREST IN PSYCHEDELIC SWAN SONGS!!!

Hello, I Love You
It's love at first sight when you feast your surprised eyes on this
towering pyramid of 14 stacked s'mores with your choice of three additional toppings.  Much like the Lizard King's muse, Pam Courson, this thing of beauty will probably find you dead in a bathtub from heart failure.
       
For s'more information about the outlaw party-time whereabouts of Austin's own S'Morrisons smore cart, email thesehippieshavenoborders@gmail.com

Saturday, December 19, 2009

TOM BORAM: Swimming Up the Spirit Vacuum


Baltimore's Tom Boram: social worker and respectable neighborhood husband by day, freakbeat multi-instrumentalist when the sun goes down. As one-third of space-prance trio Leprechaun Catering with Jason Willett & Dan Breen, one-half of foodsperimental snazz excursion SNACKS with Dan Breen, or some mysterious fraction of two ingenious, oppositely purposed cover bands (The Louie Louise and Baltimore Afrobeat Society), Tom is a highly inventive performer and cultural participant. The editor of the Baltimore City Paper once called him a "crazy straw." He wears stripes, smokes pipes, and lives in Waverly with his wife, artist Jackie Milad.

What do you do? What are you doing the most lately?

I guess I can say "I do this, I do this too, I do this..." but I don't want to be a buffet. Maybe I might like buffets, but I don't want to operate one. I'm trying to make a big weird casserole or build a genius sex kitten out of spare parts like in "Weird Science". I don't want to offer my peas, my banana pudding or my sex kittens in separate containers. I think I'm a "musician" by default because I'm only about 50% auto didactic with music compared to 90-100% with everything else I regularly engage in. I mean, for someone playing music as long as I have, I'm far from virtuosic, and I barely register as practiced, but it's my lens and the springboard for everything else I do.

Lately I've been making a (relatively) ambitious film with my Snacks constituent Dan Breen. We're co-starring, co-directing, co-scoring, co-editing, co-sound-designing, co-art-designing, co-gripping, co-gophering, co-hatchetmen etc etc. I'm not as interested lately in playing "music" at "shows". I'd rather commit my energy to the aesthetic and technical yoga required to completing this single project that yolks all or most of my interests and philosophies.

How long have you done these things? How have the things changed?
Well that's the thing. If I'm a "musician", I've been playing piano as long as I can remember anything. I'm 35 years old. I sang in church choirs, played trombone in my childhood. I've been playing guitar for 22 years. Guitars and 12-tone keyboards pianos feel as much a part of my body as my ass. But, for all my conventional instrumental background I spend as much, if not more time making "music" with knobby, buttony, patch-cabley machines...and, God help me, computers. I strive constantly for the sensation of being self-taught, so I've been seeking electronics and esoteric instruments to keep me padded in a state of relative naive discovery in spite of my long music background. In my film, or performance, theatre, dance, foodie forays, I do it for better or worse without tuition.

I just got back from Europe, and after having a lot of conversations with experimental musicians there, I see even more clearly how the "classical" sense of music/art informs everything there, including much the "avant garde". Generalizing, I think that in Europe artists/musicians hold to the classic model of "virtuoso", one who specializes and refines their most obvious talent as a career. America, being a bastard young of Europe has a good bit of this same mentality but is slightly more permissive to mutants, and to rich sensibilites that come housed in less "baked" technical constructions - what Euros term "art brut".

What's changed in me is that technology (both current and obsolete) and multi-media platforms have allowed me to express my "music"-filtered but non-music ideas. I would need a very unusually formatted band or concert to even want to see live music these days. I like elements of drama, or theatre, or sculpture, or absurdity to creep into live music performance. Cross platform creating is very interesting to me now hence all the jabber about buffet vs casserole.

L to R: Tom Boram, Dan Breen. Photo courtesy Tom, 2009.

Why do you do these things? What's it like when you are unable to do these things?
There is a strange combination of pleasure and spiritual growth made possible through art doing. When I feel myself growing I'm satisfied that the universe is dynamic and exciting. When I feel pleasure I'm satisfied that the universe rewards effort and consideration. When I'm not growing, obviously I'm very depressed and feel on the fritz with creation. The total lack of a single creative outlet would result in suicide. God forbid this very unlikely possibility.

When was That Moment in your life that told you you would become what you are?
When I was 19, and on a break from college, I set out one night from my parent's house in the woods outside of Bmore on about 3 grams of psilocybin mushrooms. It was cold and clear, but the past week's 18 inches of snow were still on the ground. I soon realized that I was going to trip in a far more profound way than i ever had, in spite of tons of psychedelic trips. I went into my first ever "white out". Being alone without friends to ground me, I completely recessed into my mind - all sense of ego, proportion and orientation completely erased.

I went through a death experience, living a micro lifetime with no identity in a place where form can be anything it wants and change at any rate it wants. I was in this state for hours. As I was starting to come down i got the impression that I was a fetus, being born into a "new" person. A bit like the star chamber sequence in 2001, where the fetus hovers above the earth, after having its soul chewed up and fractalized by unbelievable technology. Eventually, my psilocybin paralysis wore off enough for me make an active decision, and I pulled my "embryonic sack" apart to discover that I was in fact in my bed. I had somehow gotten back up to my room from out in the snow, took off all my clothes and climbed into bed. I was amazed - I had been merely my familiar young adult self all night, tripping and naked crouching like a fetus in a blanket womb, not a dead mind swimming up the spirit vacuum into someone's uterus.

I was happy that I had not been dead, but I felt invigorated that I had felt so vividly the sensation of dying.

Set of GASA. Doppelganger club's house band.
L to R: Spoon Popkin, a lion, Virginia Warwick, April Camlin.
Lower left-hand corner features Tom & Eric Franklin's forehead. Photo by Lex, 2009


How has your life changed to accommodate That Moment's effect on you?

It made me realize the importance of growth and evolution. For a person to not actively pursue their total reality is a real shame. The things inside of us are unspeakably fantastic and terrifying.

How has your work affected your life in return?
My creativity is to my life what the word "fart" is to the "thing" fart.

How does your location affect what you do and who you are these days?
I'm a born and bred Baltimorean. I find Baltimore to be an interesting yoga. It's pretty pleasant, it has history and character(s). It's also brutal, bleak and capable of lending up some serious ignoramuses from across its demographic carousel. Occasionally it feels incredibly provincial and too small, lacking diversity. I enjoy the love/hate I feel towards Baltimore, though. You really need to be intimate with a thing to see a depth of variety, the wonder and the loathing. This is a great meditation for me, seeing the duality of my home. It's a fine place, to be sure, with a discriminating artist scene to keep things fresh and it can inspire with the occasional display of the truly bizarre. I met my delightful wife Jackie in Baltimore, so it's given me some great gifts.

SNACKS @ True Vine, 2005. Dan Breen is on the right there, amplifying a pretzel slurpee. Photo by Lex

What do you think of the future?
I'm glad that America is sliding off, 'cause i think that will allow more alien cultural and technological things to influence and morph the "western" mainstream. I look forward to learning much from the junk/pop imports that will flood the waning "First World" from Asia, Eastern Europe and Latin America, as well as the genuine innovations that will come nestled amongst these pop land mines. I'm not dystopian or utopian. I view technology as a continuum - pretending to make life easier while keeping it more or less at the same amount of inconvenience, but succeeding at least in creating new contexts. For me and for creative people generally, I think new ideas and formats are always exciting, and new ideas will be aplenty, exponentially dividing. On the down side, abominations will not restrain themselves from trampling decency aboard new technology. Also, the obsolescence of once new and/or great movements and/or technology is always sad.

See David Bowie's "Oh You Pretty things" for an approximation of my feelings about the future. The future is the present, but splintered and origami'd.

Tom, after SNACKS set, karaokeing "Jump". Or "Panama." L to R: Jake Freeman, Tom, Reba. Photo by Lex, 2005


What has David Lee Roth meant in your life?
David Lee Roth is completely utopian 80s magic. The video for "Jump" signified millennial joy to my 10 year old brain. Clearly a video whose production costs were far disproportionate to the amount made by the song it represented --- just a bunch of strangely attired California nouveau rich, top lit, dancing around like hyenas and pretending to play a Van Halen song. But I think the meaninglessness and shiny hubris of that song and video is iconic. MTV was naive joy and cardboard futurism in 1984 and that vid played big on the hour throughout.

Sunday, August 16, 2009

Mr. Sunday Afternoon Special


I wait tables at A Restaurant. Like many other establishments looking to kill you slowly, we serve a dish called "The Elvis"; two slices of thick-cut, applewood-smoked bacon is cooked into two gigantic buttermilk pancakes, whereupon they are topped with bananas sauteed in honey and butter, a blob of peanut-butter butter and powdered sugar. This coronary is served with a side of pure maple syrup. For those looking to dip their toes into the experience without committing fully, we also provide a single bacon-pancake-banana-peanut-butter pile to those asking for "The Lisa Marie" (pictured). It should be noted that most of our guests have a hard time cleaning up a plate of even the latter.

This weekend is the anniversary of the day Elvis entered the next world largely thanks to food, so it seems only fitting that The Restauranteurs AKA Bosspeople of The Restaurant crafted a menu of special foodstuffs honoring his demise and, at the same time sort of accidentally, honoring the capacity of our cuisine to interrupt one's life cycle.

One of the items on this weekend's menu of death is a $35 crash course in diabetic shock called "The Graceland." We do sweeten the deal, aha, though: if you can plow your way through its SIX bacon-laden pancakes, THREE bananas sauteed in a pint of clover honey and clarified butter, THREE BALLS OF PEANUT-BUTTER BUTTER THE SIZE OF A TEENAGE FIST and a bowl of maple syrup, we will award you a bona fide Restaurant Logo tee shirt.

Luckily the only t-shirts we have left these days are Large an Extra Large. Also, you have to eat the whole thing in 30 minutes or under.

This morning, the restaurant is quiet. A little too quiet. At about 10AM, a lone gentleman arrives. At my mercy. At our mercy. He carries with him a backpack and a plastic bag, through which a bottle of something and paper currency is clearly visible. He is in my section. He is fine with only water. Pointing at the specials menu, he looks up at me. He has one eye.

"This come with a t-shirt?"

"You have to eat the entire thing. In a half and hour or less. Its alot of food!"

He smiles. "I'll take it!"

I ask him if he's sure; he says he's sure yes. The kitchen goes nuts, the manager is joking did he ask for a bucket too. Twenty minutes later, I place before him a pile of flapjacks and slime weighing over five pounds, dripping goo from a height of eight inches. The previous evening, four people working in unison could not conquer this dish. He says "Can I wash my hands?"

"The restroom is right around the corner, first door on your left."

The Graceland is thus allowed a moment of repose. Diners gawk, whispering, and capture its steaming, wide-shouldered form in their memories. We take pictures of it with our digital cameras and inside the tiny image within the tiny screen The Graceland makes everything around it seem to contract in size. The man returns, hands still wet. From his backpack he produces two rubber gloves and fits them awkwardly, squeakily, over his fingers.

Turning around, I leave him to his work.

Momentarily, a coworker gasps "He's eaten a whole ball of peanut butter butter!" Suddenly we're all watching again; he's working on the banana chunks, getting them in there. The peanut-butter butter globs are mostly gone. The topping is going down first. He requires more water. He has not yet engaged the silverware.

He drinks a glass of water, sixteen ounces of cold water. Our cooks are emerging one by one from the kitchen to satisfy their curiousity about the man who bragged he could do it in less than thirty for sure. They can't believe it. He cuts the entire pile in half with his silverware, then again. This will be the extent of his cutlery use for the duration of the meal.

Ten minutes down. Toppings gone, syrup undisturbed, pancakes a pile of shrapnel the color of vehicle upholstery. He has food all over his face like a postcard of a baby, and is hoisting jagged wedges of pancake halfheartedly into his mouth. He needs more water.

Fifteen minutes down. He is starting to reel, eye half closed, sitting up from his meal, from his intense pancake-ingesting hunch.

"You better bring a bucket, I'm gonna throw up!"

At this I sort of laugh and pour him some more water and then head into the kitchen looking for a suitable container for what would be, at this point, about a gallon of foamy tan vomit. It occurs to me that we should probably not cater to his immediate whim or perhaps fantasy of barfing in the middle of a restaurant but I sort of feel like I'm going to vomit myself and I momentarily fear that if I return to his side I will either vomit or be vomited upon. The host is ashen; he, too, has got the puke fever.

No. At eighteen minutes, we have to address the situation. A half-dozen tourists are watching him intently, having just finished their comparatively miniature breakfasts, and it would not do to encourage their accidental regurgitation either.

I return to the table.

"These are the worst pancakes I've ever had!" He is swirling in his chair, gloved hands coated with pale muck, fingers wiggling slowly.

"Sir, are you ok?"

"You better bring me a bucket."

"Ha ha! Well. Lets get into the restroom, then. Can you stand up?"

He rises, teetering, and I guide him as gingerly as I can towards the men's room. He stumbles through the partially opened door towards the urinal.

"Sir! The stall!" I exclaim, alarmed. He changes course, heading for the toilet instead. Once more, I leave him to his work.

Twenty-two minutes. An intrepid dishwasher volunteers to check on him. The report back from the front is there's no mess, he wants some more water, and now he's in the hallway. The manager is concerned about whether or not we've landed him in the hospital later today. We decide he's earned The Graceland, now an assortment of cake nuggets and melting ice cubes waiting moistly for his return. This one will be on the house.

Thirty minutes. At a table in the bathroom corridor, head in his hands. I fill his water glass and at the sound of ice cubes hitting plastic he looks up. I give him antacid tablets and he chews them like dinner mints.

"I don't know what I did to myself!"

"Its on us. Could have been the peanut butter butter, right?"

"I'll be fine I'll just have a cigarette. Want to have a cigarette with me?"

"No thanks."

He gathers his belongings and reemerges into the balmy heat of the day. We think, Ah! If he comes back we should give him a t-shirt anyway.