Touring Italy (pt. 3)

I wake up the first day, which wisely was a planned day to adjust and not perform, I make my way to buy food after Stefano tells me he hasn’t any. That is of course totally fine, it is best I take care of myself and not worry about whether things in his cupboards work with my whacky diet. The first store I find is run by an old man and an older woman dressed in black and they cannot speak any English. We speak sign language but he moves my hand away when I try to feel a pear. The rules are he gets to select whichever fruits or vegetables I want. I bought some tomatoes, pears, a ready-made salad and pink lady apples not just because of their name. A little further down the street there is a larger grocery store. I would rather buy from the little people but I would also rather feel the food and select it.
I forgot how much I love being in strange places watching locals do their business. Way less interested in medieval churches, much more keen on neighbourhood life. This food store is remarkable for at least two crazy vegetables, a small clover cluster which I bought, (tasted spinach-like) and a crazy white lettuce with purple swirl patterns in the leaves. I didn’t try it but I might have bought it to frame it on the wall. The customers weigh everything in advance on scales that have miniature pictures of the items. It’s a game where you put your item on the scale and after you punch the corresponding picture an automatic price is printed for you to stick to your bag.
It’s so fortunate to have a booking agent. 50% of the situation is an agent like Monica believing I’m worthwhile. If the work I do ever became larger and profitable I would reward her with loyalty and bonuses. I would send other artists to her that she might love.
As it is I’ve approached at least 20 others in Britain, Germany, Netherlands and Scandinavia. They tell me to get lost by not responding or bluntly pointing out if I have no major support go away and besides they don’t like talking directly with artists, there are too many applicants. It’s down to who can pay them the most. Not unusual in the mean lean capitalist world but still heart breaking. I try to alert them to why my background might make their job easier. Previous records on both major labels and indie labels. Is it not helpful some famous people have been guests on my records? Daniel Lanois, Edie Brickell, Mary Margaret O’Hara, Jane Sibbery, Eugene Chadbourne. Even though they don’t know me doesn’t that give them something to talk about when they try to sell the show? Of course that’s the wrong reason but they just want any reason right?
More silence.
If there are still agents somewhere who might take a chance on me they are hiding really really good.

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