Vintage Bree: Nagel and Me

My fascination with the gaudy and über-'80s lithographs of Patrick Nagel started in about 1990 when I was known to frequent, frequently, a now-bygone coffee house in San Jose called The Phoenix. I've wanted to write about the Phoenix for years, and I may yet get around to an installment of Vintage Bree about the history of cafés-past in my life, but the thing that is germane to this story is that the upstairs of the Phoenix was lined with dozens of framed Nagel prints. The aesthetic of the café was generally more palatable than that, with minimal décor and ample seating, but for some reason, the upstairs was crowded with Nagels. This prompted B. and I to write a song about them called "Women on the Walls," in which we extolled the eerie omnipresence of Nagel's women in the café and imagined the highly dramatic stories of their lives. The song, earnest only in its minor chords, a total product of our collective early-twenties angst, became a camp classic among our friends for many years. It even utilized Berkeleyan principles (ripped naïvely from the Western philosophy class I was taking at the junior college at the time) in a refrain presenting the Women and then flippantly erasing them from consciousness with the bat of a heavily mascara'd eye. While the song remained a party trick for a number of years, it faded into obscurity just like other songs I'd written with friends from that era, many penned at the Phoenix, until B. and I had a rare opportunity to showcase it in public.

It was November of 1997, and Mag & Ana had organized Nagel Night at Trannyshack, the local irreverent underground drag club. The ode included many fabulous performers lip-synching to Eighties songs, arty send-ups of Nagel's portraits, and even a (very tasteful!) dramatic reenactment (lovingly rendered by our friend Dingo Chan) of Patrick Nagel's tragically ironic death scene (he had died in 1984 of a heart attack after doing 15 minutes of cardiovascular exercise in a charity event for the American Heart Association). Take a moment to absorb that last sentence, please.

B. and I, not in drag, nor Eighties pancake makeup, nor lip-synching, were a bit oddball in this clamour of oddness. It was the two of us on stage, with my acoustic guitar, singing this sort of hippy dirge in our very untrained voices. And now, at long last, for the first time ever at Toothpick Labeling, I present to you the original song, newly recorded in crystal clear digital!



It was quite a happening. But, dear readers, there is so much more to the story, if it can be believed! The very next day, a foggy November day it was, found me canvassing (I worked for the Peace Organization back then) in a modest neighborhood in Pacific Grove, a quaint seaside town just south of Monterey. It was my charge to find new supporters and renew the members of the Org that lived in the neighborhood. I was excited to speak with a gentleman that evening who had given $100 to the canvasser last year, and knocked fervidly at the door of his tiny bungalow apartment. The man of the house answered the door, a pale, gaunt, bespectacled guy, pleasant to talk to. As we discussed the current campaigns of the Organization from his doorway, I caught glimpses of the tiny apartment in the background. Every surface in the place was piled with papers and used dishes and scattered pieces of electronic equipment and half empty bottles of Zima and I'm sure lots of other stuff I can't remember or even fabricate for you now. The one thing that I remember with absolute clarity was perched on the coffee table among all this clutter: a white ceramic Nagel coffee mug.

I said, "Is that a Nagel coffee mug?" He replied with interest that it was, and asked me about my knowledge of Nagel. Right away I could tell that I had to keep my snooty "so bad it's good" attitude about Nagel in check. He regaled me with stories of his avid collecting and his admiration for the artwork of this master lithographer. I relayed to him the story of "Women On The Walls," and my experience of performing it in San Francisco the night before, and he was enthralled. Then, he showed me his Pride and Joy. Rolling up his shirt sleeve, he revealed one of Nagel's Women tattooed on his left bicep.

Full of awe at the synchronicity of the cosmos, I renewed his membership at $250.00 and walked off into the Monterey mist.

Today is Patrick Nagel's birthday. He would have been 63.

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Women On The Walls ©1990/2008 astrobarry & bree (with many thanks to Cisco for his engineering prowess and to B. for being there. For all of it.)