ON AND ON

1) The big news around here is: I have cable!

Okay, really, I don't care that much. The only reason I bothered is because the local cable company could give me a better deal on my phone and interweb service...but only if I got cable. The package I have doesn't include Turner Classic Movies, the channel I'd most watch. Mostly, it's your standard TBS, TNT, USA, whatever. So instead of not watching Scrubs in syndication, I can not watch it on cable. Yay.

2) I spend way too much time trying to think of appropriate titles for these posts, which usually involve lyrics from, or titles of, a song tied--however randomly--to the subject at hand. Unless I'm indulging in some heavy-duty irony, it's almost always a song I like, which explains the numerous John Lennon, Marshall Crenshaw and Steely Dan riffs.

However, since there is no one subject here, and since I do tend to ramble a bit, my first thought for a title was that whole "Mean to go on and on and on" bit from We Are The Champions. But seriously...Queen? I toyed with some lines from My Heart Will Go On, but again...Celine Dion? My sense of irony isn't that all-encompassing.

So: On And On. Yes, that Stephen Bishop song from '77. I hear it and I'm immediately twelve again, riding into Perry with my sister to cash in some soda cans, and I know just what I'll do with the money: buy the novelization of Star Wars.

3) According to today's New York Times, Rudy Giuliani has spent his time on the campaign trail advocating some sort of electronic monitoring system for U.S. borders, to stem the tide of illegal immigration or some such. Anyway, turns out a company Giuliani owns was a partner in manufacturing the electronics.

He has, for the sake of appearances, severed his ties with the company. Yet he still advocates the use of the system, and one of the guys who ran the company is one of his biggest campaign contributors...but there's nothing fishy going on here.

I despise Mitt Romney and Mike Huckabee and everything for which they stand, but I'd take them over Giuliani any day. Man, what a scuzzbag.

4) Blogger's spellcheck flags "Giuliani" and "Huckabee" but gives a pass to "Mitt" and "Romney". Weird.

5) I actually did a Google search to see if there were any pointless wire stories on Michael Stipe today. Sadly, no. But I did discover High School Musical heartthrob Zac Efron has signed on to star in Richard Linklater's latest, which is kind of weird. It's apparently about a guy who randomly encounters young Orson Welles, and gets caught up in his world. The only reason I mention this is because Ben Chaplin will play George Coulouris. One wonders who else will be cast as assorted Mercury Players. I'd like to suggest Spike, the cartoon stegosaurus from Land Before Time, as Everett Sloane.

6) Maybe I'd improve the stats for this site if I made more references to Zac Efron and fewer to Everett Sloane.

7) Delmar is a huge cat, prone to fits of psychotic rage, yet for some reason I still think of him as a delicate little hothouse flower, and feel very protective of him. Monika is well into her fourteenth year on this planet, very old for a cat, yet shows no signs of age, and I tend to take her for granted, assuming she'll be around forever.

I have nothing really to add to that, but I haven't mentioned the cats for awhile, and they're sitting on the floor staring at me, and I'm frightened...

THINK ABOUT DIRECTION

It's been awhile since an angry political screed has appeared on this site, and God knows there's plenty of material: The incredible assholiness of Homeland Security honcho Michael Chertoff (seriously, how does this guy still have a job?) or Hillary Clinton's defensiveness about her graceless "It took a white guy to pass the Civil Rights Act" comment or, just today, Iraqi defense minister Abdul Qadir's stated belief that his country will need U.S. forces around until, oh, 2018 at least, because...well, because it's easier to have someone else do his job.

Yes, I could write about any of those things, but the AP has a story about Michael Stipe being dismissed as a juror!

Stipe told the judge presiding over a case involving the attempted sexual assault of a middle-school girl that he couldn't be impartial, since he's been the target of stalkers himself.

A few thoughts:

1) Coming a week after Reuters reported that Stipe finds Mike Huckabee "charming", I wonder what stories the wire services will bring us next. "Stipe Says Two And A Half Men Is 'Kinda Funny'" or "Stipe Finds Lint On Shirt, Flicks It Into Wastebasket"? I can't wait.

2) Why hasn't REM broken up yet? Seriously, guys, it's been ten, twelve years since anybody's cared. Once Bill Berry took a hike, the band ceased to exist. Everyone else knows it. Why don't you? (And yeah, I realize Berry came back long enough to play with them for the Rock & Roll Hall Of Fame induction...but doesn't that just offer further proof of how over they are?)

3) Remember when REM gave an official okey-doakes to let Chris Elliot's absurdist sitcom Get A Life use Stand as its theme music? Remember how that immediately gave the show an imprimatur of coolness? Remember when anyone could use the word "cool" to describe REM? Remember how great Murmur and Document used to be, even though nobody ever listens to them anymore?

4) Seriously, who the hell would stalk Michael Stipe?

GILBERT GIDDYUP, WE HARDLY KNEW YE

Carl Karcher, the founder of the Carl's Jr. restaurant chain, has died at the age of 90.

Knowing that in the late nineties, Carl's Jr. merged with Hardee's, and because I have some surprisingly fond memories of eating at Hardee's, I found myself reading the Wikipedia entry for Hardee's, wherein I learned Cass Elliot sang the early seventies jingle I can still remember to this day, and that Hardee's bought out the Burger Chef chain, which explains what happened to Burger Chef.

But are these facts reliable? Wikipedia warns us this particular article lacks "in-text citations", so its "sources remain unclear." Gasp! What if it turns out Cass Elliot had nothing to do with that old jingle, and the article merely repeated some long-forgotten urban myth?

As I'm wondering that, I realize it's 3 AM and I'm reading a fucking Wikipedia article on Hardee's, and I weep for my soul.

FISH GOTTA SWIM, BIRDS GOTTA FLY

While going on yesterday about Tim Burton's Sweeney Todd, I stated it was, along with Bob Fosse's Cabaret, the only film version of a Broadway musical that has no feel of staginess about it, that feels like a movie, not an adaptation.

Certainly those two remain the high water mark, but how could I have forgotten James Whale's mostly magnificent 1936 film of Showboat? Like Burton, Whale was a visual stylist who had not previously directed a full-blown musical, but whose dramatic work often moved to eccentric rhythms, whose staging and cutting was always very precise.

And like Sweeney Todd, Showboat doesn't always feel like a musical. Whale often stages and films the song numbers as moments of heightened drama, not as empty spectacle. True, that's how they should be filmed, but as decades of lousy Broadway adaptations have shown us, it sounds easier than it is.

Consider this scene. It starts as mere conversation, though Whale's fluid camera already serves to heighten the importance of what's being discussed. When the song begins, it's almost a throwaway. Then Hattie McDaniels appears and--say, why does Miss Julie know a song only "colored folk" sing? (Plot point! Plot point!) When the song continues, then, Julie has a tone of defensiveness as she sings, knowing full well she's been found out. Then the song passes through more hands, finally turning into a full-blown production number:




But even at that, it doesn't seem like a production number. It snuck up on us somehow, as a spontaneous outburst of joy. Much of the credit for that should go to Oscar Hammerstein, who wrote both the original stage version and the screenplay, and who always believed songs in musicals should serve a specific dramatic purpose.

Still, he was a creature of the stage, and knew, after all, his shows were playing to live audiences. So he had to give them what they wanted--cues for laughter and applause. But though Whale had stage experience, he understood the language of film was very different. The songs in Showboat just sort of happen. And he found a perfect visual style, not stagebound but not realistic in the least. (I love the expressionist closeups of the four faces at the end of the scene.) The story seems to take place in some crazy alternate reality, so we're not surprised by outbursts of song, but mostly unaware of the clanking of theatrical machinery.

Mostly. If Showboat doesn't quite hit the standards of Sweeney Todd and Cabaret, it's because eventually you do hear those gears grinding, the melodramatic stage conventions of the time impose themselves and you're wishing the whole thing would just end. Songs were cut (including Life Upon The Wicked Stage, a big favorite around here) and others streamlined, but the numerous storylines become tedious, and take forever to resolve. Whale's work on this cannot be faulted, but ultimately the material itself tripped him up.

WE'LL DO WONDERS, WON'T WE?

Anthony Tommasini, classical music critic for The New York Times, has a piece on Johnny Depp's amazing performance in Sweeney Todd, making clear what so many critics (and devotees of the original Broadway show) seem to have missed: Depp's a terrific singer.

When I first heard Tim Burton had cast his frequent collaborator in the title role, it seemed ridiculous. Sure, as an actor, Depp is fearless, but surely the part of Sweeney is one of the most vocally demanding roles in musical theater history. The ability to sorta carry a tune wouldn't be enough. This needed a trained singer.

What I didn't foresee was how malleable Stephen Sondheim's extraordinary score would be in the hands of Burton and Depp, how they would bleed (literally!) away any traces of theatricality from the material, how they could transform Sondheim's quasi-operatic work into something so hushed, so intimate.

On stage, a performer can claim a role as their own, but in the musical theater, at least, it's difficult to for one to get lost in it. With a pit band accompanying and other actors waiting for their cues, a musical performance becomes largely technical, and once it's locked, it's locked.

Even on film, most performances in musicals are the same way: star turns rather than portrayals of characters. Nothing wrong with that, of course, since most musicals are written to give pleasure, not to provide dazzling insight into human nature. And of course, I can think of plenty of exceptions right off the top of my head. (Dan Dailey in It's Always Fair Weather, Fred Astaire in The Band Wagon, even Robert Preston in The Music Man.)

But I've never seen anything like this:



Depp's growled "I want you bleeders" was surely a deliberate choice, but what about the slight crack in his voice immediately after, as he cries, "Anybody"? An actor's trick or a happy coincidence? Astounding either way, and wholly free of any trace of the Broadway stage.

That is perhaps the most amazing thing about the whole picture. Even in the best adaptations of stage musicals (like West Side Story) you can see the seams, and historically even the greatest directors of original film musicals, like Stanley Donen, Vincente Minnelli and Rouben Mamoulian, have been stymied when they've tried to bring stage material on screen. Sweeney Todd joins Bob Fosse's Cabaret as the only adaptation that feels like an original. It's organic, immediate, and it feels brand new. This honors Sondheim best by ignoring the original show, or any revivals. Burton made a film first, and a great one.

HOW DO YOU SPOT A NORGAY?

1) Edmund Hillary, the first guy to climb Everest, has died. I mean no disrespect, but I didn't even know he was still alive. Also, for whatever reason, the first thing I think of when anyone mentions Edmund Hillary is his Sherpa guide, Tenzing Norgay. I guess because it's so much fun to say.

Go on, say it: Tenzing Norgay! There! Don't you feel better?

2) There's a very funny Tenzing Norgay gag in Joel & Ethan Coen's Intolerable Cruelty. This is officially the Coens' most underrated film, a distinction previously held by The Hudsucker Proxy, but that one has been championed by its partisans for so long it's in danger of becoming overrated. Or would be in danger of being overrated, if it weren't so awesome.

Yes, I'm a Hudsucker partisan.

3) If you do a YouTube search for the phrase "intolerable cruelty", you'll find clips from the movie (including the payoff to the Norgay gag, but not the set-up), but you'll also get documentaries about the Holocaust. Man, is my buzz harshed!

4) Every critic has blind spots and inexplicable enthusiasms. One of my favorite film critics is Dave Kehr, who currently writes for The New York Times. He takes the medium seriously, clearly loves it, and his writing is witty and well-informed. He absolutely hates the Coens, however, with a passion so extreme it borders on pathology. Also, he's also a big admirer of Robert Zemeckis. He liked Beowulf, for God's sake!

On the other hand, he was one of the first critics to take Clint Eastwood seriously as a director, and he uses the word "Minnellian" as a form of praise, so it's all good.

5) Speaking of Minnellian--you knew this was coming, didn't you?--here's a brief clip from An American In Paris. Gene Kelly and Leslie Caron dance, Kelly choreographed, the music, of course, is Gershwin. But the fiery orange and deep, deep blue, the perfectly timed cuts and swooping camera, the dreamy, melancholy romanticism--that's pure Vincente Minnelli.



Naturally, you're better off seeing this on the big screen, but it's still pretty great. Is that crane shot at the end one of the greatest things ever? Yes. Yes, it is.

6) Say it at work, say it at home, say it anywhere you happen to be: Tenzing Norgay!

YOU'LL NEVER WANT TO ROAM

Sure, things were simpler then. Kids didn't have any of that hoo-ha they have today, your Wii and your i-Pod, your dungarees and your bebop and whatnot. But trust me, it was never as boring as this:




Really? Seriously? Why would any kid want to play with this? How would any kid play with this? The denizens of The Island Of Misfit Toys would recoil in horror from this. I realize The Waltons was popular--the damn thing was always on every Thursday night at my house, not that anyone but Dad seemed to actually pay attention--but that doesn't mean kids wanted to get together with their friends and play "loving Depression-era family". No child ever enthusiastically said, "I get to be Grandpa!" or "I get to carry the firewood!" or "I can't wait to get home so I can assemble my action figures around a kitchen table where they'll sit silently listening to old-timey radio!" Did someone at Mego expect kids to make up rambling, psuedo-poetic Earl Hamner-style narration to accompany their playtime?

This may not be the most pointless product ever to appear on the market--consider Mr. Microphone or Fruit Brute--but it may well be the saddest.

KNOWS NOT WHERE HE'S GOING TO

Yesterday was mostly unremarkable. I had the day off, so I slept late, then went to a movie, grabbed a bite to eat, ran some errands and came home. I chatted on the phone a bit, read awhile and went to bed.

Not once did I even think about posting something here.

Sure, this site has been quite before, for days at a time. But always for a reason, because I've been away, or sick, or something. This time, I just didn't feel like writing.

Things change.

In the last half of the eighties, writing became my passion, my mission. I churned out tons of fiction, none of it published, some of it actually good. I submitted a couple of TV reviews to the local newspaper and wound up with a regular column, then convinced the editor of a Des Moines-based weekly to take me on as a freelancer. Suddenly I got paid to write!

Oh joy! Oh rapture! I'd sit in front of my cheap word processor, crank up some music and let it rip. My shtick then was basically the same as what you read here, only without the overuse of the word "douchebag" and with constant references to The Nightmare Before Christmas instead of The Pirate. So easy! Words flowed, they gushed, cascaded...until they didn't.

The Des Moines weekly got a new editor, much less enamored of my work, and as for the local paper, well, I moved away, and what was the point of writing for it anymore? And I got married, and other things seemed more important.

Eventually, a friend of mine became an associate editor of that local paper, and she convinced me to write a monthly column. A simple, easy gig, but damn, things had changed. Words no longer flowed, they had to be pulled like unyielding teeth, and carefully, deliberately placed in order to form coherent sentences. It felt like work.

So I stopped, and never wrote another word until I started this little forum, and I admit I have very mixed feelings about it. Initially, it felt great to start pounding out the wordage again, but lately I've been gripped by the feeling of Is That All There Is? I had hoped what I do here would lead to other things, would fuel my ambitions and spur me on to bigger and better things. I've made a few stabs at writing fiction again, but most of it is shitty, and I've certainly never submitted it anywhere.

For now, I'll continue here, hoping against hope for a sense of purpose, a sense of direction, or hell, any sense at all.

TIME AND DISTANCE ARE OUT OF PLACE HERE

Reuters posted a story this morning on a phone call Michael Stipe placed to Jane Pratt's satellite radio show. The former alt-rocker turned creepy man-child babbled on and on about how "charming" and "funny" he finds Mike Huckabee.

A few thoughts:

1) If you ran a website devoted to every conceivable piece of REM arcana, I can understand how you might make mention of this. But why would anyone else?

2) I'm certainly not going to bore you with the details of the Wikipedia entry on Reuters--I could barely keep my eyes open myself--but suffice to say, it is (or was) a fairly respectable news-gathering organization. I don't condemn news outlets for trading in tidbits from pop culture, but seriously...Michael Stipe? When did anyone last care? I'm guessing '94, when Monster came out and even hardcore fans gave it a cursory listen and wondered why they ever gave a rat's ass in the first place.

3) My copies of Murmur, Fables of The Reconstruction and Document are lost to the ages, but great as they were, I remember thinking even at the time that Stipe was a pretentious asshole.

4) Anyone who ever sat through an installment of Jane Pratt's mercifully short-lived Fox talk show (which featured theme music by REM) will recall with a shudder her incredibly irritating voice. Now she's on the radio?

5) Charming? Funny? Mike Huckabee?

SLOW HOT WIND

It's Sunday morning, I have to go to work in two hours, and I'm listening to music. Just wanted to share. First, Sarah Vaughn's unbelievably gorgeous version of a Henry Mancini tune.



Next, Ry Cooder with Eldridge King, Bobby King and Terry Evans:



And in complete contrast, ladies & germs, Weird Al!



About that last one: I'd just like to point out that an appreciation for The Star Wars Holiday Special does not necessarily make one "nerdy". I believe that show's cheesetasticness can best be appreciated by ironic hipsters, not nerds. Ironic hipsters who will complain that the show suddenly gives the Millennium Falcon an automatic weapons system. Ironic hipsters who will point out the first-ever appearance of Boba Fett. Ironic hipsters who will loudly proclaim to a room full of disinterested people that this show can't be considered canon. Ironic hipsters who really, really like Star Wars.

Definitely not nerds.

OBLIGATORY LIST

I can't say this is a list of the best films of the year, only the best ones I actually saw. There Will Be Blood and Persepolis have yet to open in the heartland, lots of films never played here at all and...well, let's just say life got in the way sometimes, and moviegoing wasn't always a priority.

Many movies I wanted to like just didn't do much for me (like Zodiac, a very fine film in many ways, yet fatally undermined by Jake Gyllenhaal's amazingly bland performance in a key role), and I was surprised to find some merit in things I'd assumed would be terrible (I wouldn't say In The Land Of Women is good, exactly, but it has a genuine point of view, and individual scenes are extremely well handled by writer-director Jon Kasdan). Many movies were underrated (Alpha Dog) and many, many overrated (The Host, Knocked Up, Eastern Promises). Most were simply time-killers, and about halfway through the latest Pirates Of the Caribbean extravaganza, I found myself wondering whether I'd ever enjoy a movie again.

Things did get better, as this list will show.

1. Sweeney Todd. Tim Burton took Stephen Sondheim's celebrated stage musical and made it his own, streamlining the book, pruning the score but still respecting its basic carpentry. The operatic leanings of Sondheim's score are transformed into something much more raw, but equally valid, and Burton's direction never feels stagy--the fluid staging (particularly of Pretty Women and the throat-slashing reprise of Johanna) and carefully chosen use of color (mostly blues and grays, with subtle hints of yellow and bright, vivid red) may not be intentional homages to Vincente Minnelli, but this is the best film musical he never directed.

2. Bug. William Friedkin's intense, claustrophobic adaptation of a play by Tracy Letts tracks the downward spiral of two damaged souls as they descend into absolute madness...or, in their minds, fulfill their ultimate purpose. Equal parts squirm-inducing and heartbreaking, with the performances of Ashley Judd and Michael Shannon as good as anything seen on screen all year.

3. No Country For Old Men. As I've said before, Joel and Ethan Coen have always seemed like the filmmaking equivalent to Steely Dan's Donald Fagen and Walter Becker: Technically proficient, even brilliant, responsible for many things I love unreservedly...yet always willing to resort to sarcasm or irony whenever actual emotions threaten to rear their heads. Happily, in this adaptation of Cormac McCarthy's novel, the Coens manage to deliver both a crackerjack thriller and a somber meditation on the nature of change.

4. Ratatouille. If Brad Bird's second film for the Pixar empire isn't quite as ambitious (or as good) as his first, The Incredibles, it's more precise, more direct in both emotions and effects. Possibly inspired by its French setting, Bird's staging of several comedic set pieces is worthy of Jacques Tati. You'll laugh, you'll cry, you'll ache for fine food.

5. Hairspray. Hey, no one could be more surprised than me that the director of The Pacifier and Bringing Down The House made one of my favorite movies of the year, but there you go. Adam Shankman's upbeat adaptation of the Broadway hit featured great songs, dance numbers both well-staged and well-shot and a number of big laughs. None of that might have mattered without the tremendous presence of Nikki Blonsky, whose disarmingly sincere performance in the lead gives heart to what could have been raucous camp.

Beyond these five, which I could watch again anytime, were Sidney Lumet's intense drama Before The Devil Knows You're Dead, Michael Moore's surprisingly overlooked Sicko, Ben Affleck's fine adaptation of Dennis Lehane's Gone, Baby, Gone and Julian Temple's thoughtfully assembled Joe Strummer: The Future Is Unwritten. I should also mention Craig Brewer's supremely weird Black Snake Moan, for its weird mix of trashiness and sincerity, for it's utter unpredictability (its storyline and tone were all over the map), for its fine performances...but mostly for featuring a skimpily-dressed Christina Ricci. For her, um, presence alone, it was a great year at the movies.

SEE THE GLORY

Being an Iowan and all, I'm no doubt supposed to say something about the results of the caucuses.

But really, what is there to say? Huckabee's win is unlikely to mean much down the road--bashing Hispanic immigrants probably won't play well in Florida--and Clinton's third-place finish took many by surprise (not least the candidate herself), just as Biden's status as first casualty surprised absolutely no one.

It's early. Things will change. The whole process is a joke anyway, a dinosaur whose large, unwieldy body continues to function after its brain has already died.

HELLO, YOU MUST BE GOING

Finally, finally, finally, dear God, finally. The caucuses (cauci?) are tonight, and the whole Demapublican circus will leave Iowa, and nobody will give a rat's ass about the state again.

As you may have guessed, I won't be participating.

Oh, of course, by staying home, I'm shirking my duties as a citizen, not taking part in the process of democracy, blah, blah. Fine. I say, anyone who does participate is undermining democracy. None of these losers are addressing the concerns of real people, and by offering them support, however half-hearted, we're only encouraging them.

And the front-runners for the Democratic ticket are the sorriest lot you'll ever see. Clinton, Obama, Edwards--the more they try to clarify the differences between them, the more alike they seem. Vague promises to change policy towards Iraq, tentative efforts to kinda sorta provide decent health care for all, whispered suggestions that somehow things will get better again--but no actual, workable policy, and certainly no breathtaking, inspiring visions of the future.

There are plenty of reasons to hate Lyndon Johnson, but dammit, the Voting Rights Act, the Great Society--he promised great things, and by God made them happen. The current crop of nominees are so scared of the Republican attack machine that they cling to safe centrist positions, and the only one of the bunch with the balls to do what's right, Dennis Kucinich, is openly mocked by the rest.

(True story: I got a call two weeks ago from some anonymous Edwards volunteer asking me if I'd made up my mind who to support. I said if forced to choose, I'd go with Kucinich, and she actually laughed at me and assured me he didn't have a chance. Kind of a strange tactic; it didn't change my opinion about Kucinich, but boy did it lower my opinion of Edwards. I don't care that he has Tim Robbins--seriously, Tim, why?--and Bonnie Raitt on his side, nothing will make me forget the sheer ugliness of that moment.)

The fact that the Democrats all seem to have sprung from the same policy-wonk pod is even more disheartening when you consider the diversity of voices found under the Republican tent. As much as I despise Huckabee's Keep-out-the-wetbacks vilify-the-faggots smite-the-infidels rhetoric, he's certainly nothing like Giuliani, who is wholly separate from McCain, who has nothing in common with a nutjob Libertarian like Ron Paul. Yet they're all (well, maybe not Paul) allowed their time in the sun by the party machine, possibly because the Republicans, in a rare moment of vulnerability, genuinely have no idea what to do.

So if there's a populist groundswell for one of these guys, the party might step in and anoint him, make him over into whatever they want him to be, make Huckabee slightly less openly racist or Giuliani somewhat less smug. But the Democratic machine wouldn't need to step in to polish the rough edges of Clinton, Obama or Edwards because they're already defanged, and frankly not worthy of the votes of any sentient beings.

Literally, as I wrote this, someone buzzed my doorbell. I went down to the lobby to find a phalanx of Edwards reps accompanied by a camera crew. They gave me the standard rap, and when I explained my disenchantment with the process, they predictably turned against me, bragging about how much more they care about democracy than I do, since they were willing to brave the cold just to go out there and knock on doors and...whatever.

All I could see were people patting themselves on the back for supporting mediocrity.

RIOT! RIOT!

Kinda pressed for time this morning, but dammit, there's always time for Chuck Jones!

THE TIME OF OUR TIME HAS COME AND GONE

No goodbyes, no regrets, no what-might've-beens. 2007 departs with a shrug of indifference.

Oh, I thought things were good when the year began, but circumstances changed and I pulled back, detached from whatever pageants and parades may have been on display. The latest heartbreak was too much to bear. My tears cried out, the blinders went on, and life became mere existence.

The things I used to care about no longer meant much to me. Of course, that had been percolating for a long time, and I'd been waiting for a change. I thought I'd found it--not only marriage, but family. Oh, new life, new adventure! Changes upon changes, joy unimagined. So unfamiliar with and unaccustomed to happiness, it took me awhile to shed the skins of my previous life, to emerge into this new world.

In fact, I never quite got there. The new life was not to be, and I found myself returning to the past I thought I'd escaped. The signposts were familiar, but no longer pointing to places I wanted to go. The comfort of the familiar become dull routine.

Lord, this sounds depressing. And I'm using way too many words. The point is, 2007 started great and ended...not great. I can see my growing detachment even in what I've posted here since last January. As the time progressed, I cranked out fewer political screeds or lengthy takedowns of pop culture, mostly because it became harder and harder for me to care anymore.

But hey, the calender turns, right? Bright new days, new opportunities, new worlds to explore. More crappy sequels, more reality shows, more blight and pestilence and suffering, more war and disease...

No, no, no. Stay upbeat. Nobody wants to be depressed. Grit your teeth and say it like you mean it:

Happy New Year.

IF YOU WANT IT

Where to begin?

Forgotten years of childhood, knowing of New Year's Eve but not understanding why people celebrated, aware only of the fact that it signified the winding down of Christmas vacation, the bliss of leisure time ending, the return of the daily grind of school.

Later--late seventies to early eighties--my brother John and I discovered the joys of mocking Dick Clark's New Year's Rockin' Eve, riffing on the ever-lamer hosts and musical guests, our sarcasm barely masking the fact that it was New Year's Eve and we had nothing better to do.

Time passed. John moved out, moved away, got a life. I didn't. I spent much of the eighties and half of the nineties in limbo, watching the assembled crowds in Times Square, longing to be there, or anywhere, on the outside looking in.

In '96, I spent New Year's Eve with John again, only this time he had family. His wife and kids drifted away as the evening wore on, and we riffed on Dick Clark just like in the old days, and stayed up most of the night, talking, laughing. It felt good, but also like a wake, a commemoration of a way of life that was coming to an end. Things were about to change, I could feel it. I just didn't know how.

About a month later I met Sue Ellen. When we got married, it was--why not?--on New Year's Eve. For three years after that, New Year's Eve doubled as a celebration of our anniversary. On the fourth year, the celebration was a bit muted, the marriage in crisis. Three months after that, we split for good.

New Year's Eve 2002, with what should have been my fifth wedding anniversary looming, unbearable sadness in the air, I found myself back at John's, in safe company, with enough laughter and commotion to mask my heartache. So I returned the next year, and the next and the next, and it always felt good to be there.

And I returned last year, a mistake I may still be paying for. By that time, Tabbatha and I had made vague plans about moving in together, about taking our relationship to another level. I'd spent Thanksgiving with her, and Christmas, but those were spent surrounded by her family. New Year's would have been our time together, but I foolishly chose to celebrate the past, to cocoon in warm memories of the past instead of living in the present, ditching the woman I loved for...what?

Tabbatha knew New Year's Eve doubled as my wedding anniversary, and she always felt she had to compete with my memories of Sue Ellen. Had I been there for her, had I exorcised all the ghosts of the past in celebration with her, maybe...

Ah, but that's just speculation. This New Year's Eve...Well, I'm back outside, but not really looking in. I have to work today and tomorrow, and there's not much time for celebrating, anyway. I'm just here, waiting to see what happens next.

YOU LAID IT DOWN FOR ALL TO SEE

Much I could go on about.

The assassination of Benazir Bhutto, of course, and the world-wide ramifications.

The ongoing douchebaggery of Rudy Giuliani.

The birthday today of tweedy, affable Jack Perkins, fondly remembered as the former host of A&E's Biography series...and for being endlessly mocked on Mystery Science Theater 3000.

Plus, I've really, really been meaning to write a lengthy piece on Sweeney Todd.

But all that will wait, for now. I'll be gone for a few days, a crushing blow as always to regular readers of this site. Both of them. (And no, I never get tired of that gag.)

In the meantime, please enjoy this bit of forgotten seventies culture. Feel free to speculate on the exact nature of the relationship between Burger Chef and Jeff. Bustling pickles?

AAARRRGGGHHH!!!

After yesterday's complaints about the horrible obit of Michael Kidd given by National Public Radio's Steve Inskeep, I'd be remiss if I didn't spend a moment or two slamming Inskeep's series of stories marking the tenth anniversary of the term "blogging".

His tone is, not surprisingly, contemptuous, vaguely amused by all these deluded souls who think their ramblings, their "descriptions of their morning's activities," as Inskeep put it, are worth reading. Why, he asked with a condescending chuckle, do people bother writing these things?

Two thoughts:

1) Clearly, undeniably, blogging has brought about a certain democratization of the writing process. Yes, many blogs (including this one, usually) are nothing more than random thoughts or laundry lists of things pissing off their authors. But how, exactly, is that different from what newspaper columnists--or radio pundits--do?

An ambitious blogger can easily maximize readership by any number of methods--joining a blogging network, placing their efforts in as many search engines as possible, what have you. Somebody with absolutely no writing experience can find their daily efforts read by hundreds, even thousands of people each day. No, those aren't New York Times or even NPR numbers, but people are reading...and coming back for more every day.

It makes sense for the mainstream media to denigrate the blogging efforts of average citizens, since they show all too clearly that the average Joe or Jane has at least as much capability for political analysis, a better sense of humor and often a more distinctive prose style than any David Brooks or Thomas Friedman. The Old Guard is dying, and they're scared.

2) As far as Inskeep personally, all I can say is, Shut the hell up, dude. The ratings for Morning Edition have either flattened or decreased (depending on the source) since Inskeep and Renee Montagne took over for Bob Edwards three years ago, and both NPR and Public radio International are developing morning programs to compete against Morning Edition. Let me say that again: NPR apparently has so little faith in their flagship show (and it's smarmy, irritating host) that it is trying to interest member stations in a more "cutting-edge" version of the same thing.

Soon, Inskeep may no longer be able to look down his nose at the blogging community. If NPR kicks his ass to the curb, he may find himself just another guy with a computer and a website, praying for at least a hundred hits a day.

PASSING

I was saddened to learn of the death of the great dancer, choreographer, sometime director and occasional actor Michael Kidd Sunday at the age of 92. That sadness boiled over to anger as I heard the brief, patronizing obit read by smarmy host Steve Inskeep on National Public Radio's Morning Edition.

He referred to Kidd as the man who "guided Marlon Brando's feet" in the film version of Guys And Dolls (of course, Kidd's dances for that show's original Broadway production are landmarks of the form, but hey, why mention that?) and condescendingly referred to another highlight of Kidd's career, the astonishingly athletic choreography for Stanley Donen's Seven Brides For Seven Brothers as "featuring dancing lumberjacks."

There was a time when NPR's programming respected artists. Ten years ago, Kidd's passing would surely have been commented on by a colleague or dance critic, who could have put Kidd's career in some sort of context, from his days as a bright potential star of the ballet world to his groundbreaking choreography on stage (Finian's Rainbow) and film (Vincente Minnelli's The Band Wagon, Stanley Donen's amazingly underrated Movie, Movie), perhaps even mentioned his fine work as an actor (best scene in Michael Ritchie's classic Smile.)

These days, sadly, Inskeep's featherweight, borderline reactionary approach signifies the prevailing attitude at NPR, and its arts coverage as well as its news coverage features all the depth you'd expect from network TV. Ugh.

Anyway, here's the "dancing lumberjacks" scene Inskeep sneered about. More perceptive eyes than his would recognize this as much an antecedent of Hong Kong-style action as a standard Hollywood dance sequence:

IF THE FATES ALLOW

It used to be so simple, counting the days, the minutes , the seconds, the swet anticipation topped only the the joyous reality of Christmas morning. Presents everywhere, yes, and family gathered and good food and not a care in the world. Such good times would surely last forever, right?

Right?

When I split from my ex, I decided to treat Christmas as just another day. Too many memories, too many spirits of the past. To celebrate Christmas would mean acknowledging my solitude, dwelling in constant, unbearable sorrow.

Last year was the first Christmas without Mom, but there was Tabbatha and a new life, new possibilities unfolding before me. Happiness beckoned.

This year...I'm not sure. Melancholia is in the air, and I won't deny it, but I'll try not to let it get the best of me.

One very much missed Christmas tradition is the inevitable Phone call from Mom, sobbing uncontrollably after her annual viewing of Mr. Magoo's Christmas Carol. Here's the song that would always set her off, an ineffably sad number written by Jule Styne and Bob Merrill:



Well, I'm sobbing uncontrollably myself now. Might as well go ahead and wallow in it. Here's a clip from one of my favorite movies, Vincente Minnelli's incomparable Meet Me In St. Louis. This movie was made during World War II, so the ambiguity in the dialogue, the uncertainty about making plans for the future, was something very much on the minds of audiences at the time. Everything here is perfect. The writing is superb ("I'm taking all my dolls, even the dead ones!"), the acting is peerless, Minnelli's color, composition and staging are magnificent--how heartbreaking when the shade is pulled down, the lovely golden glow slowly disappearing!--and of course, there's that song:



Merry Christmas, or festive vaguely religious season, or whatever.

OPEN UP YOUR HEART AND LET THE PATRICK SWAYZE CHRISTMAS IN

This really could be the Swayze-est Christmas of them all!

GARY CRIMBLE!

It's a kind of Christmas tradition: I wish someone Gary Crimble, and they never know what the hell I'm talking about.

Come on, peoples! It's not like I'm quoting some obscure text or referencing a cult band. It's The Beatles!



And Many Rudolph to all!

I AM IN THE DARK BESIDE YOU

I'll surely write more about Sweeney Todd once I've processed my thoughts more fully, but for now I'll say that, after ten years of diminishing returns, Tim Burton has finally made his masterpiece. This may be the most fully imagined film musical since...well, since Vincente Minnelli's The Pirate.

Driving home, Christmas lights and streetlights and headlights all blurred together in the fog, and i felt a profound sense of loss. I felt Mom's presence, there and gone, like missing her for the first time. Maybe it was the movie, maybe it's the season.

When I walked in my door, Delmar sat up on his hind legs and grabbed my hand in his front paws, purring.

These are the things on my mind right now. Can't think of anything else, or put them in any coherent context. Maybe later.

SPIRITS HAVING FLOWN

Talking to my brother the other day, the conversation turned (as it does with alarming frequency) to the dreadful 1978 movie Sgt. Pepper's Lonely Hearts Club Band, which led John to mention the interview in Rolling Stone around the time of its release, during which Robert Stigwood kept fondling the triple-embossed cover of the soundtrack LP.

"It wasn't actually Stigwood," I pointed out, "it was Al Coury."

At that point I realized my priorities were hopelessly screwed up. I can't remember phone numbers or names of people I know, couldn't tell you the eye colors of any ex-girlfriends or the clothing size of my ex-wife, can't remember all the details of my mom's last day on earth.

But by God I remember Al Coury was president of RSO Records in the late seventies, and he oversaw the Saturday Night Fever and Grease soundtracks, but miscalculated badly with the Sgt. Pepper soundtrack, an overpriced souveneir for a commercial flop, and the Bee Gees' first post-Fever album didn't live up to expectations, and RSO sank and Coury was out of a job and...

Why the hell did I know any of this in the first place, and why do I remember it?

WORDS AND PICTURES

This movie season finds two examples of something Hollywood does very badly: Literary adaptations.

First up, consider The Kite Runner. Khaled Hosseini's book is the type of Westernized-glimpse-into-a-foreign land fodder that plays well with the Barnes & Noble crowd, the story of innocence lost somewhere in pre-Taliban Afghanistan. It's respectably middlebrow stuff, moderately affecting though a tad calculated and ultimately shallow.

Still, I have no doubt it was at least written with sincerity. The movie, on the other hand, exists for no reason other than to win awards.

It's directed by Marc Forster, which tells you everything you need to know. Forster's credits include Monster's Ball, Finding Neverland and Stranger Than Fiction, all competently crafted, all lacking even a trace of personality. Which is no doubt why he was hired for this project; the studio clearly wanted an efficient technician to guide this baby to Oscar glory. Any trace of a point-of-view or personal vision wasn't required. Though the contours of the story would seem to require, nay, demand the touch of an artist, someone with an insight into the human condition, such vision would merely get in the way. The formula is simple: Popular Book+Pretty Pictures=Academy Award!

Actually, it almost never works that way. Remember Cold Mountain or Memoirs Of A Geisha? Of course you don't, and neither does anyone else.

On the other end of the spectrum, we have I Am Legend. This is the umpteenth adaptation, official or otherwise, of Richard Matheson's 1954 novel, and the umpteenth version to screw it up.

The approach here is the opposite of The Kite Runner. Though Matheson's novel is highly regarded by science fiction and horror fans, it has relatively little "serious" literary reputation. Rather than an earnest, respectful and boring adaptation, we have a loose, we-can-improve-on-this adaptation, taking the novel as a jumping-off point.

Which would be fine, if the film had any place to go. But since the final screenplay was written by Akiva Goldsman, Hollywood's reigning prince of crap (he wrote Joel Schumacher's Batman films and scripted The DaVinci Code, which means his spot in Cinema Hell is assured), suckitude was guaranteed from the get-go. Matheson's despairing portrait of utter isolation (as well as the dark significance of the title) is jettisoned in favor of a knock-off of 28 Days Later, which was itself a knock-off of George Romero's Living Dead films, which were ripped off from Matheson's novel. All of which makes you wonder why they bothered acquiring the rights to the book in the first place.

There are, of course, many fine films made from literary sources. Virtually all of Stanley Kubrick's films came from books, sometimes filmed faithfully (A Clockwork Orange, Barry Lyndon), sometimes not (Lolita, The Shining and most obviously Dr. Strangelove), but always filtered through the prisms of Kubrick's eyes, mind and sensibilities. The Godfather and Jaws are great examples of trashy fiction turned into cinematic art. John Huston's adaptations of everything from The Maltese Falcon to Wise Blood and George Roy Hill's note-perfect The World Of Henry Orient and Slaughterhouse Five show how author's singular voices can be translated to the screen.

It can be done, but not by chasing awards and/or profits.

I'M SURE I COULD FIND SOME APPROPRIATE TOLKIEN QUOTE...BUT WHY BOTHER?

Geeks and fanboys everywhere are wetting themselves over the announcement that Peter Jackson will produce an adaptation of The Hobbit.

Sensible people, on the other hand, shake their heads and shudder.

I say this as someone who admired Jackson's Lord Of the Rings films. There was much to dislike about them, some severe failings of taste and inspiration, but for their ambition alone they deserve praise, and Jackson clearly approached the films with a distinct vision in mind. There is an authentic directorial voice to the films, something all too rare in mega-budget blockbusters.

Still, by the time The Return Of The King passed the three hour mark, Jackson clearly lost all sense of perspective, spending inordinate amounts of screen time showing us things described only in passing in Tolkien's book. The problem with that film wasn't, as many people felt, its prolonged final act, it's how long it took to get there.

The acclaim, awards and financial success of the three films obviously went to his head, as witness his dreadful remake of King Kong, which runs on and on to absolutely no purpose whatsoever.

Despite Kong's underwhelming boxoffice success and mixed reviews, which might have given a lesser ego pause, Jackon got into a pissing match with New Line Cinema over profits from The Rings cycle--untold billions apparently weren't enough for him--and refused to consider an adaptation of The Hobbit, the prequel to Tolkien's Rings, since New Line held the rights.

Well, apparently everything has been worked out--presumably Jackson is diving, Scrooge McDuck-like, into a swimming pool filled with gold coins--and though Jackson will be too busy with his dreadfully misconceived mo-capped adaptation of Tintin to personally direct The Hobbit, he will produce, supervise, micromanage and no doubt hog credit if it's any good.

Which, of course, it won't be. It would be hard to imagine a less necessary movie, a more transparent attempt to squeeze more dollars from an exhausted franchise. It's as though Jackson wanted to erase any trace of goodwill we might still feel towards his work.

Mission accomplished, sir.

I FEAR SOMETHING TERRIBLE HAS HAPPENED

Oh, sure, despite yesterday's rhapsodic Star Wars memories, I'm willing to admit, some bad things happened as a result of its success.

I don't mean the usual tedious charge so many level against it, that it brought a screeching halt to the seventies renaissance of personal filmmaking and single-handedly created the era of the blockbuster.

This one gets bandied about a lot, in books like Easy Riders, Raging Bulls and documentaries like A Decade Under The Influence. Somehow George Lucas' massive commercial success killed the successful careers of more artistically valid directors like Martin Scorsese and Robert Altman.

First off, most of the filmmakers of the seventies kept working through the eighties and nineties. If they didn't always find much commercial success in those decades, well, the truth is, they hadn't had much success in the seventies. It's not like Mean Streets or McCabe And Mrs. Miller were smash hits; audiences were too busy flocking to the likes of The Towering Inferno.

Besides, Star Wars was surely as personal an effort for Lucas as, say, New York, New York was for Scorsese. It was relatively low-budget, and the studio had almost no faith in it. Also, despite retroactive claims to the contrary, it was not heavily hyped or marketed at the time. Its popularity took everyone by surprise. Audiences embraced it because they liked it.

Having said that, once it became a pop culture phenom, the cash-ins began. One of the first was also the most blatant:



Lucas, of course, had nothing to do with this, and neither did poor John Williams. The copyright for his score was held by Twentieth Century-Fox's music publishing company, and if they thought this crap would sell...

The popularity of Star Wars set off a general interest in anything vaguely related to outer space, which, since it was the seventies, tended to meld with disco. Sarah Brightman, ladies and germs:



Wow. It's easy to think that was the worst thing in the history of the world, but no, friends, not by a long shot. The most blatant Star Wars rip-off was surely 1978's Battlestar Galactica. After its failure, producer Glen Larson unfortunately did not give up on the whole science fiction thing and immediately launched production on Buck Rogers, starring Gil Gerard, a mostly forgotten seventies irritant who made Ben Murphy and Marjoe Gortner look self-effacing by comparison.



Hope you enjoyed the brief appearance there from Twiki the robot, generally considered to be the most irritating character in science fiction history.

Well, except for Jar Jar Binks, but I really don't want to get into that...

THERE'S NO MYSTICAL ENERGY FIELD THAT CONTROLS MY DESTINY

Thirty years? Really?

That summer exists to me as some sort of pure bliss, a state of innocence that was about to be destroyed. I don't know why I remember it so vividly: the languid, lazy days in rapt attention of comic books, Famous Monsters Of Filmland or assorted science fiction anthologies; late afternoons with a bowl of chocolate marshmallow ice cream and reruns of All In The Family, evenings spent scribbling in my notebooks, words and drawings and the occasional five or six page comic book drawn to amuse my brother.

But there was change in the air. At least one night a week, my sister Julie had her boyfriend over for the evening, the boyfriend she'd eventually marry, another departure following my brothers Mike and Keith and my sister Ann, all of whom had moved away one by one, leaving me more alone.

But these departures meant I could move into their rooms as they left, and that summer I finally had a real room of my own, with a door to shut out the rest of the world. An AM radio came with the room, and I began to regularly listen to Top Forty radio, as well as the records I owned. Music became so much a part of my life, it was a form of dreaming.

Dreaming of...what? I started to become aware of the wider world that summer, of places beyond my own sheltered existence, places wonderful and terrible. For some reason, I also developed an absolute fear of tornadoes, certain that every humid, still day was going to bring about the end of my world.

But mostly, I remember this: On my birthday, a somewhat cryptic ad appeared in The Des Moines Register, for a movie that didn't even open for two weeks. I'd never heard of it, knew nothing about it, but its title alone made me determined to see it.

Despite attempts to convince my brother John to take me, it was my sister Ann who drove me the fifty-some miles from the farm to Des Moines, to the one theater in the whole state playing this movie. I couldn't tell you what I did two days ago, but I remember every detail of that day, from my impression of local tire pitchman Bernie Marks to the stop at Methodist Hospital where Ann, a nursing student, had some business to take care of while I sat in front of a TV and watched The Gong Show to hanging out at the airport just to watch planes take off.

Finally, we headed to the theater, the venerable old River Hills. No weekday matinees back then; the movie didn't even start until 7:40, but by the time we arrived, shortly after six, the line already snaked around the block. A long wait in a circus-like atmosphere, everyone full of anticipation, nobody knowing what was about to happen.

The lights dimmed. No trailers, no nothing. The curtain opened as the Fox logo filled the magnificent 70-foot screen. Then:



Then, of course, the camera moving down to Tatooine, the Imperial Cruiser travelling endlessly over our heads, the first bit of dialogue, spoken by a robot(!)...and so much more, marvel upon marvel, surprise upon surprise.

I'd fallen in love with movies before. Two years earlier, I'd had the doors of my mind blown open by 2001, Blazing Saddles had made me laugh harder than anything I'd ever known, and I'd seen three Ray Harryhausen movies by that point.

But Star Wars--none of that Episode IV crap in those days--was different, as if someone had injected pure pleasure into my veins, making me giddy and hysterical. Like so many that summer, I longed to see it again and again, to re-experience the joy that seemed so lacking in my life. I'd see it four more times that summer, no small achievement when you live on a farm and have to depend on someone else to drive you.

Summer ended, school began. I entered seventh grade, officially in junior high now, my world expanding slightly, my perspective altering, my tastes evolving. Somewhere along the line I discovered the notion of Serious Cinema, and what a great time the late seventies were for filmgoing: Days Of Heaven, Manhattan, Being There, All That Jazz, Apocalypse Now. I felt so adult, so sophisticated, that by 1980, when the sequel to Star Wars arrived, I barely cared.

Then I saw The Empire Strikes Back, and, well...

LET'S HOPE IT'S A GOOD ONE

A pretty good day yesterday. I'd already told Tabbatha I'd take Paul shopping so he could buy a present for her, then she called in the morning and said she was thinking of going into work to pick up some overtime if I could spend a little more time with Paul. No problem.

After dinner with my sister Ann--she had to drop off the DVD of The Star Wars Holiday Special she'd burned for me, and curiously, Paul expressed no interest in seeing it--it was off to shop. Paul had two things in mind for his mom, and we bought both of them. I can't tell you one, because it would ruin the surprise, but the other one we already gave her: A watch.

In Paul's words, "She never wears a watch, so she needs one. Plus, it's purple, and she really loves purple. Plus, it has hearts on it."

I decided to price a few things while we were at it, and wound up in the electronics section. Paul wasted no time pointing all the things he wanted, then paused in front of the discount DVDs and pulled out a copy of La Bamba. "I've seen this! It's really good, but it's really sad. Have you seen it?"

"Yeah," I said, powerfully resisting the urge to geek out over Marshall Crenshaw's deathless cameo as Buddy Holly, pulling him away as he started telling me all about the movie's invented details of Richie Valens' life.

As we approached the checkout counter, Paul suggested the watch should actually be a present from both of us. Oh, I said, and why is that?

"Because it has hearts. And you still love my mom."

Um, I said, and tried to change the subject.

He'd have none of it. "You still love her, right?"

Well...

"I know you do."

Uh...Oh look, an open check-out lane!

Fortunately, the cheap toys and candy of the check-out lane served as a distraction. Whew!

In any event, when Tabbatha arrived to pick up Paul, we gave her the watch, and she seemed pleased. He picked well. And she invited me over to spend Christmas night with her family. So happy holidays, or at least, happy enough.

DESIGNATED HITTER

If we believe The New York Times, the issuance of George Mitchell's (or to use his apparent full name, Former Senator George Mitchell) report on steroid use in baseball is right up there with the release of the Pentagon Papers.

Not only front page news, but just over half a dozen sidebars, plus the complete text of the report, and (in the online edition) copious blogs, fan reactions and fency-schmency graphics.

And what's the bombshell in this report? Well, hey, it turns out some major league players used steroids. Wow. I did not see that coming.

Despite the hollow promises of MLB commissioner Bud Selig to make necessary reforms (as if Selig has ever given a rat's ass about this anyway) and the predictable indignation of player's union weenie Donald Fehr, the report is essentially toothless. Mitchell makes general suggestions rather than sweeping demands for reform, and doesn't even recommend punishment for the players named.

So what, exactly, was the point?

EVERYTHING IS CLEAR IN OUR WORLD

Delmar just hopped off my lap following the approximately five minutes of affection he displays per day. Now he's in a corner, growling at imaginary objects. Soon, no doubt, he'll sit in the chair beside me, attempting to bite my elbow as I type.

He was the odd one out among his litter-mates, all of them more attractive, more docile, more pleasant. Del might have been marked from the moment he got stuck emerging backwards from his mother's womb, and my sister-in-law attempted to gently tug him out, and his tail snapped off in her fingers. He just wasn't meant to be normal.

His mom was a stray cat my brother's family adopted, and though she's since been spayed, at that time they had no choice but to take the kittens down to a garden supply store and put them up for adoption. But first, I could pick one for my own, since I was at that time living with them following the end of my marriage. I needed a companion, they reasoned.

All those adorable kittens, plus one cranky, wiry little half-tailed malcontent. The choice seemed obvious.

The other kittens were adopted quickly, but if Del had been on the block, would anyone have chosen him? Maybe, but it's unlikely they would have kept him, with his neurotic little yowls and angry moods and aggressive nature. He's not cute, he's not gentle, he's not what most people would want in a cat.

But he's my buddy, and I can't imagine life without him.

ALL I CAN DO IS WONDER WHY

Sitting in my neighborhood Chinese restaurant yesterday--bravely, hungrily venturing out despite the ice storm--minding my own, business, reading The Times, tuning out the ambient sound of crying babies and Muzak.

Until one of those Muzak numbers strikes me--It can't be! But it is!--a string-laden, instrumental version of Marshall Crenshaw's neo-rockabilly classic Someday Someway.

Holy crap. Is there a Crenshaw renaissance going on that I don't know about? I know he wrote the title song to the new John C. Reilly comedy Walk Hard, but coming after last week's encounter with Starless Summer Sky at a Taco Bell, I'm beginning to think the whole world is developing Crenshaw Fever. And about time, dammit.

Of course, twenty-five years (!) since he recorded it, Someday Someway remains the closest thing Crenshaw's ever had to a hit. I would love to post his original version here, but though it's available at YouTube, embedding is disabled by request. (Why?) Still, here's an older, wiser more grizzled Marshall with a new song, Sunday Blues, followed by Someday Someway, which begins around 4:34:




The song had been kicking around for awhile before Crenshaw recorded it himself. Rockabilly revivalist Robert Gordon cut the first version of it. Here he is performing it on SCTV, with awesome lead guitar provided by the late Danny Gatton. This is available on Shout Factory's first volume of SCTV episodes, and by purchasing it, you'll not only enjoy the finest sketch comedy in TV history, you'll also contribute songwriting royalties to Marshall Crenshaw. And he deserves it, frankly.



How well-known was this song during the eighties? Popular enough to enter the repertoire of those perky young fashion victims from Kids Incorporated. Ladies & Gentlemen, for your stunned bemusement, I present...Ryan Lambert!



Ye gods, you're thinking, that was horrible. Indeed it was, but it could have been worse. It could have been the distaff members of those plucky Kids From Fame. Oh, I'd love to make you squirm through it, but again...Embedding Disabled By Request. You'll just have to imagine the multi-culti (but distinctly white bread) vibe, and picture in your mind beloved character actor (and Joe Dante mainstay) Dick Miller clapping along. Or go to YouTube and watch it yourself. Whichever. Marshall would probably be amused. Or saddened. Or horrified. In any event, he probably cashed the check.

I AIN'T MARCHIN' ANYMORE

Today's New York Times has a story on Hillary Clinton's frantic attempts to interest Iowa voters in her campaign. Barack Obama has the lead here, John Edwards is neck-and-neck with Clinton, yet the Democratic party machine clearly backs Clinton, the worst possible choice.

Her behavior in Iowa shows why. While other candidates travel the entire state, stopping at small town cafes and family farms, Clinton focuses on more populated areas, hanging out with people with better educations and higher incomes--people more like her. She has no interest in relating to the masses, and when she makes the effort, condescension drips from her every pore. She doesn't care about the poor or the middle class. She may be running with the mules, but everything about her behavior and bearing suggests she'd fit in just fine with the Republicans.

Speaking of which--Mike Huckabee? Iowa has to take the blame for this one. Granted, the Republican contenders are among the sorriest bunch of creepy white guys you'll ever see, but the inexplicable surge of enthusiasm for Huckabee largely results from peeved Iowans not getting enough visits from Giuliani or Fred Thompson, and so turning to a guy who's spent way too much time here. Instead of appealing to their better angels, Huckabee exploits the latent xenophobia of the rural masses by spinning immigration horror stories, while simultaneously spouting Christian pieties. (Incidentally, did I miss something? Is there some lost gospel depicting Jesus as a fence-building racist? Or is Huckabee just a two-faced huckster?)

So as an Iowan, let me apologize in advance for the outcomes of the caucuses, whatever the results may be. On the other hand, there's only so much we can do with a two-party system offering a parade of mediocrity.

THE THINGS YOU LEAN ON ARE THINGS THAT DON'T LAST

I had today off anyway, but we're being hammered by a major winter storm, ice and snow everywhere, so I'm stuck at home. And unstuck in time.

For nine years, I worked for a company providing services for the elderly and infirm. Mostly, I drove a bus and made various deliveries. The pay wasn't great, but I could afford decent insurance and a two-week vacation every year. I lacked for nothing in those days, had money for travel and fine food while still keeping up my increasingly costly record collecting and video habits.

Not much actually happened in all those years, but it felt as though it would, I was perpetually on the verge of doing...something. Nothing was clear, but better days awaited me.

Those nine years ended almost eleven years ago, when I met Sue Ellen. We lived together, got married. Our time together totaled five years. One life ended, another began, then that one ended. Nearly six years ago.

More time, more numbers:

One year spent living with various family members, as my bank account recovered from the split with my wife and my body recovered from a suicide attempt.

Various dead-end assignations with assorted women, measured in months or weeks or days.

Two years since Mom died, which finally and definitively ended any connection to the life I'd always known.

Nearly a year and a half since I met Tabbatha, with whom the promise of another, radically different life appeared, a life based around family and children, a life I'd never known I wanted. I loved her, and her son, and was surprised and overjoyed by the depth of my feelings. But it wasn't meant to be--we split up, mere months ago.

Years and months, days and weeks, all still immediate, all fading into the past.

I recall a day like this from eleven years ago, a snow day spent languishing in front of the TV, gorging on chocolate chip cookies and reruns of TJ Hooker, Monika curled up and purring on my lap. Monika, the beloved cat I abandoned to Mom when I got married, Monika now returned to me as Mom's final gift. She looks the same, acts the same, is the same, though she's nearly fourteen.

If she's fourteen, then I'm...much older, with extra pounds, an ache in my knees and a metallic heel. But do I feel any different? Am I like Monika, so content in her little space, untouched and untroubled by the larger world? Has everything that has happened to me had any meaning? Did I miss my best days, or are they still to come? Does the past repeat, or stay behind? Why does today feel like 1996? What triggers these thoughts, these feelings?

Time is a ghost accompanying me, haunting and taunting, and in the past I've listened to its whispered warnings. But no more. Life's too short to let this ghost determine every step.

BLUE MIST 'ROUND MY SOUL

Is it the weather, or the job, or something else altogether that has me down? Not major, suicidal, nohopewhatstheuse depression, just vaguely disconnected.

Certainly the weather is contributing, non-stop snow and ice and cold, with the sun peering out for only minutes at a time, taunting and teasing, then vanishing for another week or so. It's tough to navigate the slick streets, and every day brings a fresh batch of hell, making every drive to and from my job a white-knuckle nightmare, and sapping the desire to go out after I get home from work.

Not that I have any place to go if I wanted to. It's weird reading the sappy, happy posts I put up a year ago, all full of the promise of the new life I was about to embark on with Tabbatha, overcome with the joy she was bringing me. Strange how few qualms I had, no sense of hardships to come. Though she thought I tended to be too negative, what surprises me is how optimistic I was, how being with her just felt right.

After it ended, I didn't feel sad so much as empty. And I'm not sure what that means. Sorrow or depression or would seem to be the logical reaction, based on my history, but maybe after the massive hit my emotional wiring took after my mom's death, my capacity for sadness was drained. Though I'd rather, as the sage Warren Zevon put it, feel bad than feel nothing at all, maybe the lack of feeling was the only way I had to deal with it.

But it's Christmas time, and the lights and the music only serve to remind me I'm still numb.

EVERY TIME, ALAS

Cartoonist Al Scaduto has died at the age of 79.

For the last 18 years, Scaduto toiled away on the syndicated comic strip They'll Do It Every Time, a strip that had been around long before Scaduto's involvement, one usually overlooked by most readers. TDIET is a "Didja ever notice" observational strip, pointing out various foibles of everyday life.

Unexceptional in concept, but Scaduto brought an old school hipster's sensibility to it, all jazzy lingo and characters with names like Barfo and Wombo and Gaspayne. The strip seemed like something from another era, when teenagers wore dungarees and listened to bebop, but that was part of its charm.

Scaduto wasn't a great cartoonist, but he was a solid craftsman working in a medium in which his humble virtues sadly no longer seem to be required. With his passing, the funny pages become decidedly less funny.

COME AND GET YOUR SHARE

Twenty-seven years without him. Damn.

I GOT MY HAND UP THE SKIRT OF MOTHER NATURE

Kind of bummed today, probably because of the crappy weather or because I have to work on the weekend or...Who knows? Anyway, I don't feel much like writing or thinking or doing much of anything.

So. A bunch of clips, then? You bet.

Neil Innes, ladies and gentlemen:



The Undertones get some Teenage Kicks:



One of my favorite Blondie songs:



Some casual surrealism from the Fleischer Studio? Why the hell not?



And in complete contrast, here's Leonard Bernstein conducting the finale of Candide, the beautiful Make Our Garden Grow. June Anderson and the late Jerry Hadley provide the (glorious) voices. Enjoy!

FAITH

I'm agnostic.

Five years ago, I attempted suicide by jumping from a second-story tier onto a concrete floor. I jumped headfirst, figuring the impact of my head against cement would pretty much shatter my skull and destroy my brain. Instant oblivion.

And it would have worked, too, except somehow, on my way down, my body flipped and I landed on my feet instead. I broke bones in both feet, and completely destroyed the heel on my right foot. If I'd done that damage to my head, I'd be dead.

Yet I'm here. There's no logical way I can think of for my body to have flipped upside down in such a short distance. Is there a reason it happened? Was it not my time to go? Was I spared?

Or was it just a crazy fluke?

We can have faith, we can believe, but ultimately, none of us can know whether God exists. To some people, their religious beliefs are merely one aspect of their existence. Others exist for their beliefs. Some people act on their faith in noble ways, to enrich the world, while some allow their faith to divide them from others who share their core values.

In this country, we mock Muslims in Sudan who jailed a teacher for allowing a teddy bear to be named Muhammad, but think nothing of it when Republican candidates at a recent debate were, in essence, asked if they were Christian enough to be president. Baptists pillory Mitt Romney for the crime of being a Mormon. It's not enough to worship God, you have to engage in the proper rituals, say the right things. Oh, and shun the proper people.

Maybe it's the divisiveness of organized religion that makes me turn away. I'm agnostic, but I'm open to possibilities. When I see a particularly lovely sunset, all crimson and azure, I think yes, there is some higher power in the universe, a controlling intelligence that could be called God.

Then I look at how so many people behave in the name of that God, and my skepticism returns.

SOMETIMES THE BEST WORDS ARE LEFT UNSPOKEN

1) Another guy goes on a shooting spree, and TV is on the scene, half-hearted alliteration at the ready: MAYHEM IN THE MIDWEST! HORROR IN THE HEARTLAND! NIGHTMARE IN NEBRASKA!

In this way, the media manages to reduce all the pain and horror of the world to insignificance. Thanks, folks.

2) The NIE report claims Iran dropped its nuclear weapons program years ago, which is even greater reason to remain vigilant against the nation because...oh hell, forget it. It's too depressing to even attempt deciphering the twisted logic of the Bushinistas anymore.

3) As I'm typing this, Delmar is curled up on my lap, his wheezy, squeaking purr vibrating his entire body, his legs wrapped around my right arm. He's allowing me some movement now, but when I first logged on the computer this morning, he'd furiously bite my arm anytime it reached for the keyboard.

Del could be the poster child for people who hate cats, but even as he rips my tender flesh, I adore him.

4) Did I mention this is another Random Thoughts post? These disconnected snippets will not add up to a coherent whole. I just woke up, and I'm emptying out the brain pan here.

5) All that worrying about the musical aspect of Tim Burton's Sweeney Todd movie, and it turns out Johnny Depp really can sing.




In fact, his voice is gorgeous--not the traditional Big Broadway voice, but man, it sounds great. And though it's silly to judge a movie by a fleeting clip, I admire Burton's elegant staging here, as well. I'd been expecting the worst from this, now I really want to see it. Right now, in fact.

6) Sitting in Taco Bell yesterday, plowing through chicken and steak burritos that remind me why it's best to avoid Taco Bell, I note the music playing is Regina Spektor, which seems odd but gratifying. I read my paper and think nothing more of it.

Then the next song comes on. That opening guitar riff sure sounds familiar, but it couldn't be...holy crap, it is! Marshall Crenshaw's Starless Summer Sky, a decade-old shoulda-been hit, from Miracle Of Science, his first album for an indie label. By this point in his career, Crenshaw was (and is) strictly a cult favorite, not the type of artist you're likely to hear as background music in fast food joints.

When the next song is a Nina Simone number, my mind is officially blown.

PULL UP AN ICEBLOCK AND LEND AN EAR

CBS trotted out its annual broadcast of Rudolph The Red-Nosed Reindeer last night, much as ABC last week offered up A Charlie Brown Christmas and How The Grinch Stole Christmas. These holiday perenials always garner solid ratings, as they're equally beloved by parents and children alike.

All of these productions are old school. Though The Grinch is beautifully designed (by Maurice Noble) and impeccably directed (by Chuck Jones), it is, of course, cel animated--the art form studios are convinced kids no longer want to see in the shiny new world of CGI and mocap. Charlie Brown is also cel animated, rather crudely, and its visual style is no more than functional, but its superb script and melancholy spirit make such matters irrelevant. The endearingly oddball Rudolph is brought to life by stop-motion, a technique nearly as old as film.

They also lack other mainstays of what we are these days served in the name of family entertainment. No fart jokes, no pop culture references (unless you count the caricature of Burl Ives hosting Rudolph...but really, was Burl Ives considered cool even in 1964?), no condescending vibes indicating their creative teams would rather be doing something else.

Yet they endure, and will long after whatever Big New Thing has come and gone, simply because they're good. You'd think someone in the entertainment world would be able to figure that out.

HAVE YOU HEARD THE ONE ABOUT THE PENGUIN, THE SOAPDISH AND THE INVISIBLE COWGIRL?

Three items of note on DVD today. First off, the massive Ford At Fox boxed set is probably the most comprehensive assemblage of one filmmaker's work ever released in one place, containing such previously released touchstones of John Ford's career as My Darling Clementine and The Grapes Of Wrath, plus previously hard-to-find items such as Judge Priest, plus a huge assemblage of silents such as The Iron Horse plus plus plenty of documentation to put it all in context. As the title states, this only includes Ford's output at Twentieth Century-Fox, so later efforts like The Searchers and The Man Who Shot Liberty Valance are not included. Nonetheless, the detail and loving care with which this project has been assembled puts similar efforts by other video distributors--most notably, Warners' pick-and-choose Stanley Kubrick box--very much to shame. The list price for this, it should be noted, is three hundred bucks...but if you're a Ford obsessive, worth every penny.

Next, a reissue of my favorite Martin Scorsese picture, 1977's underappreciated New York, New York. Scorsese once stated this story of the rocky romance between a singer and saxophone player in the post-W W II era was an attempt to make a movie that would look as though it had been co-directed by Vincente Minnelli and John Cassavetes. He succeeded admirably well, the film's often dazzling surface matched by an almost unbearable intensity as it charts the downward spiral of its love story. Stunning performances by Robert DeNiro and Liza Minnelli, gorgeous design and camerawork and several original songs by John Kander and Fred Ebb all contribute to the greatest movie ever made about the inevitable problems of neurotic artistic types in love. (Not that, koff koff, I'm speaking from personal experience or anything...)

Finally, SNL: Season Two reminds us of the time when Saturday Night Live ceased being a late-night experiment and became, briefly, one of the greatest shows in TV history. The departure of Chevy Chase, the arrival of Bill Murray, the flowering of Michael O'Donoghue's talent ("The Little Engine That Died" segment of Mr. Mike's Least-Loved Bedtime Tales is, for my money, one of the greatest pieces of comic writing ever), a document of its time ("Let's Kill Gary Gilmore For Christmas"), amazing guest hosts (Steve Martin, Lily Tomlin, Jodie Foster, Sissy Spacek, Shelly Duvall), unbelievable music (John Prine, Ry Cooder, The Band, Paul Simon, Frank Zappa, Tom Waits, Kate & Anna McGarrigle, Neil Innes...Holy crap! It's like they hired me to book the music!) and above all, a clear desire to do something good, to astonish, to raise the bar. It doesn't always work, and some sketches are more squirm-inducing than anything else, but this season and the next would represent a show trying for greatness, and occasionally succeeding. A treasure--too bad it couldn't last.

YOUR TEARS WILL BE TREMBLING

Good news: No more fake Nyquil in my system. I might be coherent! Let's find out as we wade through some Random Thoughts:

1) I really, really wish I could think of something profound to say about the death of Evel Knievel. As a kid, the man was like unto a god to me. Well, not so much a god as a well-paid, jumpsuited cracker who jumped over shit on a motorcycle. But in the seventies, that was all it took. We didn't know from cable or the Interweb or any of that crazy hoo-ha that would come later. We had three networks, and if one of them devoted an hour on a Thursday night to some redneck leaping over a bunch of semis, you watched. And talked about it at school the next day.

I remember Dale Louk was the coolest kid in school for awhile because he not only had the Evel Knievel action figure and motorcycle but all the accessories, the ramps and stunt garages and whatnot. The rest of us spent recess just watching, begging for the right to at least touch Evel's plastic likeness.

Then we hit junior high, and Evel went to jail for beating up his manager with a baseball bat, and we never really cared again.

2) I really don't pay attention to football, but it's worth mentioning that the Jets actually won another game! True, that means they're only 3-9 for the entire season, and the win was against the even more hapless Dolphins, but still, for the Jets, this borders on competence.

The loser here, of course, would be the Knicks, who can no longer claim they aren't the worst pro sports team in New York.

3) Hugo Chavez lost his bid to be Venezuela's Benevolent Dictator For Life by a narrow but convincing margin. Chavez is the latest proof of the old saw about absolute power corrupting absolutely, but even though much of the defeated referendum consisted of naked power grabs, much in it also involved genuine efforts to improve the lot of the nation's citizens. Chavez is a bit of a douchebag, but he's fairly well-respected by the people of his country; they apparently wanted to remind him there are limits. Sometimes democracy works.

4) On the other hand, Vladimir Putin's party consolidated power in Russia. In the interest of pretending to bow to the niceties of the law, Putin says he will only serve the two consecutive terms as president he's allowed. But he's not planning on going away, and one of the post-presidential roles he's claiming for himself is something called "father of the nation"--which, given Putin's KGB background and conspicuous resemblance to a James Bond villain doesn't sound the least bit ominous.

5) I actually had a dream about the new Indiana Jones movie. That's just sad.

WHEN THEY ALLOW FUCK-ME HEELS, IT WILL MEAN THE END OF CIVILIZATION

Couldn't let this pass without mention: Today's New York Times features a profile of stripper-turned-screenwriter Diablo Cody, author of the well-regarded new comedy Juno. Not worth mentioning, except at one point in the article, author David Carr refers to Cody's "history as a do-me feminist."

Y'know, there was time, not too long ago, when so august a publication as The Times would never even consider using a phrase like "do-me feminist." We should pause now and remember those days, with appropriate mock solemnity, as we attempt to muffle our giggles.

PLUCKED FROM MIDAIR FOR YOUR AMUSEMENT AND EDIFICATION

You should know I'm still loopy from some store-brand Nyquil knockoff. Expect no logic here, or coherence, or any discernable point. I'm just tapping away and giddy, riding the buzz.

We--and by "we" I mean central Iowa in general, but specifically myself and my cats, forced to endure my presence pretty much constantly yesterday--got hit by an ice storm yesterday, which meant it was well nigh (Well Nigh The Science Guy! Coming soon to a PBS station near you!) impossible to travel yesterday, which meant hanging out and watching movies, which renders the notion of time meaningless.

So shortly after seven, while enduring the nightmare of The Rockettes' Christmas Whoop-De-Doo (not the actual title, of course, but like I'm going to bother looking it up), I decide my day is pretty well shot, might as well take the aforementioned Nyquil-like product, read for awhile (a book on Sidney Lumet--Jeebus, what a geek!), then hit the road to dreamland.

Dreamland arrives sooner than expected, so quickly I don't even shut off the TV. I dream of bad SNL reruns and David Caruso's sunglasses and hastily-assembled hosts of infomercials. Somewhere in my sleep (or lightly drug-fueled haze), I must be flipping channels.

I awake at four or five AM, and realize my local CW affiliate shows reruns of the UPN sitcom Half And Half, which I've never even heard of, but which stars Rachel True. She, of course, is one of the babes from The Craft, and in that movie she's hotter than Neve Campbell but not as hot as Fairuza Balk.

Why do I know this? Come on! Who the hell was The Craft made for? Teenage girls? No way, my friend. What with it's quartet of hot babes in Goth schoolgirl outfits, it was clearly made for pathetic lonely guys everywhere, who'd obsessively watch it every time it shows up on cable, which for a time was every five minutes or so.

I go back to sleep, but upon waking find myself inexplicably drawn to the IMDb, reading the entries on Rachel True and Fairuza Balk. About Faiuza, we learn she writes poetry, loves to sing and her favorite authors include William Burroughs, James Joyce and Oscar Wilde.

Poetry and singing are huge signifiers right there, but Burroughs, Joyce and Wilde? This chick is seriously fucked up. So how come I'm not dating her?