Doxology. Nell Zink
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incompatible. It was like some strange proof of the existence of a parallel universe looming behind our own. Daniel could look up at the soundstage and see the frowns on the dancers straining to evoke eroticism in the presence of the goofiest man alive (they’d met him; he’d introduced himself and talked to them all before the shoot), lower his gaze to the monitors where similar women were writhing in a miasma of lust they felt for a handsome singer who was coolly delivering obscenities, look up again to see Joe gesticulating while the resentful troupers sweated their workout, look back down, look up again, see stars, see human beings, until his brain abandoned the effort of trying to reconcile them. The video was like a centrifuge, separating the world into a visual component that drained into the monitors propped on the floor and a bodily component that became more unsightly with every turn of the machinery.
The women did the dance, not Joe. The director said it was great to be able to surround a singer with built fly girls who could move instead of models. He told Daniel to be happy, because Joe was going to get film offers.
THE VIDEO WENT INTO ROTATION ON MTV AND VH1. STRANGERS NOW RECOGNIZED JOE in record stores, if the staff clued them in. They called him “Joe Harris” rather than “mongo collector scum.” He had been more notorious than popular.
Maybe he would have stayed notorious, never becoming popular, if he’d been easier to recognize. But his social skills and conversational arts couldn’t discredit him in the eyes of the world. The disconnect between image and reality was total. Occasionally he was taken for someone who resembled Joe Harris, but only when something startled him into silence.
There was one recurring situation where he would be recognized and draw a crowd: if the song was played in his hearing. He would sing along and do the dance, no matter where he was—at home listening to the radio, walking past a bar where it was on the jukebox, shopping in a grocery store where an easy-listening version was streaming over the paging system. It made him oh-so-happy to hear it.
His mainstream career took off with an appearance on a morning talk show. Atlantic’s publicist had negotiated a one-minute promotional segment. Prior radio interviews had established that a minute could be a long time. Thus there was debate as to how to handle him, until a production intern’s boyfriend provided a timely eyewitness account of a performance in the dairy section of C-Town. The host of the show shook hands, said hi, and let the track roll. Seemingly a man of few words, Joe sang and did the dance. The camera zoomed to his face as the vision mixer cut to the shocked reactions of the host and other guests.
After that, many talk shows invited him on, but not to talk. The song gave rise to a vulgar and widely satirized dance craze. No wedding was complete without it. It was the go-to anthem of drunken groomsmen. The album sold and sold and sold, and the single reached number four on the Billboard Hot 100. Joe in his lewdness was compared with Elvis Presley.
As with Elvis, it was a lewdness only the unmediated had seen. The buzz around his first concert tour was accordingly significant.
Daniel began to wish he’d asked for a songwriting credit for his coda.
CURRENTLY BETWEEN JOBS, ELOISE STROLLED THE LOWER EAST SIDE IN SEARCH OF JOE. She looked out for Pam, Daniel, and Flora as well. But all of them were busier than they’d ever been. She didn’t know where they lived. Joe was walking and shopping less, swamped with work and free promo CDs. He never again played a small club, having gotten signed before he could even occupy a feature slot at CBGB. The label was rationing his presence in preparation for a big-budget tour.
She watched cable in case his video came on. She bought magazines like People and Vogue so she could read short Q&As and capsule reviews. The scourge of commerce had driven the wedge of fame between them. She thought it was only natural, because he was a rock star and she was a speck.
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