Teaser 267: Deep As You Go, the First Video Tease


We had already finished many songs, but there was one we were considering throwing up on the web site as a teaser. Watching the recordings and remembering all the rehearsals and the performance itself, I couldn't get out of my head Rebekka's rendition of Deep As You Go. Her voice and delivery are memorable and her action on stage and what we recorded previously, combined with how we put it all together, I thought this was the teaser. I wanted Rebekka's acceptance, though, and had days prior spoken with her about it. She was on her way to Munich to see it herself, so I showed John the video up on the big, wide screen with full sound. The whole crew, the camera guys and the wiz kids, except the one at the train station picking up Rebekka, along with anybody else in the building, gathered in our screening room. Ernst starts the song on acoustic guitar with Craig, who sat in for me on guitar, on mandolin and both, standing next to each other, are up in the spot at front stage left. The second spot hits Rebekka, at front and center. When she finishes the first verse the other instruments join in, stage lights come up and I stand a few feet away with my back turned to her. That's when all the movements and actions begin, and we switch often from the recorded action to one of the other cameras or several or all of them. There are often close-ups of one or both of us, both on stage and on screen. We mixed it up and, of course, the audio's perfect. Rebekka's voice is, to me, at times mesmerizing and I listened to her deeply enchanting vocal on stage while we did this in complete admiration, though I always knew I had a job to do in this performance and I delivered on it, too. My complete rejection of her is thorough and convincing. Her heart break at the end is convincing, too. We put on our own end to the song.

When the screen went blue, John looked to me as I sat next to him, totally captivated. “Who is that woman?”

I smiled widely. “She's the Professor everyone's talking about, John.”

John was totally blown away. “Her voice is unforgettable. And what a performance. And you did it live? No wonder people haven't stopped talking about it.”

“Professor Dietrich, she'll introduce herself as Rebekka, is on her way here by train. I'm expecting her call any time now.”

“I've never heard that song before. Where did you get it? It's not original, is it?”

“No. It's one from my library. I really liked it and I played it, like all of our songs, for the band mates to see what they thought and if they wanted to do it. We all agreed. We knew we could do it, but we had to have mandolin and we had to have a deep female voice. Rebekka sang it and Craig, from the horn section, worked out the mandolin. This one, John, is slowly becoming one of my favorites from the entire performance. You know I'm a hard rock guy, but this is magnificent.”

“I love the costumes and what an effect with all those people on stage. How many again?”

“Fourteen Maenads, the women not playing instruments other than tambourines or small percussion, eight in the horns, including those two women, eight male chorus members, which includes the percussionist, six in the band and Rebekka, so that's, how many?” I never did keep count.

“Thirty-seven, not including all the engineers and us on the cameras,” Jeremy advised.

John shook his head in pure amazement. “If that's an indication of the rest of the show, all four hours and some, it is absolutely incredible...I don't recognize the Greek myth, though.”

I smiled widely. “Doesn't exist, John. We made up a new Greek tragic myth, though it's consistent. It's not out of place with other Greek myths.”

“She rebuffs you, so you sneak into her bedroom and take her. You threw her around some, Al.”

“It was well-padded. That was the roughest take and Rebekka wanted to do it again, with me being even more aggressive. I convinced her it would suffice and we wrapped.”

“It's really tragic with the baby.”

“That was Rebekka's idea. She said, 'You're the Olympian god who wants me and rapes me, a mortal woman. Quite often when that happens, the woman suffers another tragedy. She becomes pregnant. I should become pregnant and to make it even more tragic, you demand the baby boy, that you will send for the boy in three days. Instead I drown the child so you can't have him.' I listened to her tell me this change, John, and thought, why aren't you a writer? I mean, really, John, her change makes it seem truly like a Greek myth, totally tragic, since she now is a kept woman.”


- Just Desserts, Segment Thirty-TwoStage of Mania” by Gregory R. Schussele, © 2021

contact me, as always: schussprose@gmail.com