Saturday, November 18th, 2017

We went to see Justice League Friday night with some friends. Fun movie. If you’re into superhero movies, then you will enjoy this. Grab some popcorn and go.

No spoilers here, but some general observations on superheroes, if I may:

The “what if” element of comic book superheroes has always been fascinating to me. What if you could shoot laser beams from your eyes? What if you could fly? What if you were unbreakable? What if you could punch something so hard it would go into orbit? It’s some pretty far-out imaginary thinking, and it’s fun to do! They gave Superman all those powers, and he’s been superheroing with them for, what, going on eighty-five years now?

I can still enjoy comic books – I’ve got quite a few issues boxed up in the basement, and I dig them out from time to time – but I can’t look at superpowers as anything but magic now.

The Flash was one of my favorite superheroes when I was a kid. Guy can run so fast you can’t see him go by. Trouble is, the friction he’d have to generate to go that fast would trench the ground from the spot where he started to the place where he stopped, and he would leave a trail of superheated plasma in his wake that would incinerate everything around him, to say nothing of the multiple sonic booms shattering everything that wasn’t already in flames. Also, he wouldn’t be able to corner for shit. His turning radius at Mach 1 would be measured in miles, so in the city he would have to run in a straight line and any taxi or pedestrian that got in his way would be flattened (or incinerated, but we already covered that).

Why would I want to spoil superheroing like this with facts? I wouldn’t if the movie hadn’t brought it up first. Batman noticed the Flash wore a heat-resistant costume, presumably to protect him from friction with the air, ignoring that the costume was held together with what looked like piano wire. Pretty sure that would fall apart before he hit the speed of sound. Also, the Flash covered every part of his body with heat-resistant material except his face. So I guess his face is indestructible. And Barry Allen (the Flash’s alter-ego) said his crazy-fast metabolism made him hungry, as he was gobbling down a pizza. That must be one high-octane pizza. It takes orbital rockets about five minutes to burn through tons of explosives, but he can run faster than the eye can see after fueling up on sausage and mozzarella. Cool cool.

Batman is my son’s favorite superhero. Timbo says that’s because Batman doesn’t have any superpowers. He’s just really strong and good at fighting, and he’s got a lot of gadgets. I say, he does have a superpower: he can stop time. It’s the only way to explain how he has enough time to build the gadgets. If he couldn’t stop time, he would spend his whole life building those gadgets and never have any time left over to get out there and fight crime. Now I know they sort of explained that Wayne Industries has an armaments division that cranks out his toys but, if that were true, then Batman’s superpower would have to be mind control, because how else would it be possible that he could use all those impressive gadgets in full view of the public and nobody would ever point at the latest news broadcast on a TV set in a bar and yell, “Hey! That looks just like the bat-shaped jet plane we made only one of at Wayne Industries!”

Sticking with Batman for another minute: He’s got to have some kind of regenerative powers, or he’s unbreakable, because no human being, no matter how bulked-up or highly trained, can take the hits he can, then get up and walk away. Even if his costume is some kind of body armor, there’s a limit to how much punishment it can take for him, and Batman is taking hits in this movie that would definitely kill your run-of-the-mill mortal being, no question. Put it this way: If you were inside a can made of an indestructible material and I pushed you off the top of the Empire State Building, when I opened the can you would be nothing but jelly and a pile of broken bones. It wouldn’t make any difference that the can didn’t get scratched or dented. That’s what’s happening inside Batman’s apparently indestructible armored costume whenever some super-powered being punches him across the room and he comes to a sudden stop against a wall. He would be oozing out of every seam of his suit instead of staggering to his feet groaning to bravely face his attacker again.

And there’s that face problem again: Batman covers ever part of himself in an armored costume but his face? None of the bad guys ever think of shooting him in the face? He never gets shot in the face by accident? Seems like a pretty poor costuming choice for the sake of a little face time.

Superman’s powers are really very easily explained: He’s an alien. Aliens can do things so advanced it looks like magic. How else to explain how he’s flying? Hell, he’s clearly levitating in these movies. Levitating! He can control gravity with his mind! And he can not only make himself fly, he can make other things fly. One scene in Justice League showed him carrying a building intact through the sky. There’s no way he simply picked it up in his hands. A building is made to stand on its foundations; it isn’t engineered in a way that would let anything grab a small part of it and pick it up. Superman had to be controlling the force of gravity! That’s a pretty awesome superpower! And pretty much all the superpower you need, when it comes right down to it. No superbaddie could touch you if you could send him flying into space or crashing into a mountain just by thinking him there. Funny Superman never does that, though. He mostly only punches. Which is great eye candy, but still puzzling.

Justice League | 12:52 pm CST
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Friday, November 10th, 2017

I Want You Back by the Jackson Five is one of my favorite Motown songs ever. I really don’t want to ruin it, but I don’t know how to explain what’s going on in with this guy and his ex without making him sound like a jerk, and that, in fact, kind of ruins the song.

His jerkiness starts with the first two lines of the song:

When I had you to myself, I didn’t want you around
Those pretty faces always made you stand out in a crowd

This has to be the most roundabout way of calling a girl ugly that I have ever heard in a pop song. He is calling her ugly, right? I can’t think of another way to interpret that.

Then he goes straight into regret, but it seems to be more the kind of regret that she’s with someone that’s not him, instead of regret that he was a jerk to her:

But someone picked you from the bunch, one glance was all it took
Now it’s much too late for me to take a second look

Oh, baby, give me one more chance (to show you that I love you)
Won’t you please let me back in your heart?
Oh, baby, I was blind to let you go
But now that I see you in his arms (I want you back!)

See, I’m not sure if he really expects her to take him back, or if he’s just crying in his coffee. He called her ugly, admitted to himself that she’s with someone now who thinks she’s beautiful, and he’s all wahh-wahh, gimme a chance. Dude, too late. You had your chance, and it sounds to me like you blew it.

Trying to live without your love is one long, sleepless night
Let me show you, girl, that I know wrong from right
Every street you walk on, I leave tear stains on the ground
Following the girl I didn’t even want around

So … he’s stalking her now? Is that supposed to be romantic? I mean, the first line of that verse sounds like the kind of poetic language guys use when they’re being romantic, but the second line sounds like an empty promise. He already showed her he didn’t know wrong from right; he ditched her because he thought she was ugly. Then some other guy thought she was worth seeing and suddenly he’s all, Hey, I want you back. Makes me think he doesn’t know wrong from anything.

And then those last two lines — the tear stains thing is all poetic again, but he’s following her everywhere. That’s not normal. That’s weird. Dude. Just stop.

another song bites the dust | 6:30 am CST
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Thursday, November 9th, 2017

Watching this made me so happy.

Just watch | 6:45 pm CST
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Wednesday, November 8th, 2017

We binge-watched the entire second season of Stranger Things last weekend, making us the two people in the whole nation who didn’t see it within the first twelve hours after it was released. Procrastination: it’s not just our middle name, it’s our mission in life!

Loved the second season and, I have to say, I was prepared for a let-down, because I the first season was so much fun that I didn’t see how they could pull off a second season as good as the first. Better Call Saul was the last one we watched that just kept getting better and better. It doesn’t happen that often.

That said, I’d be perfectly happy if they didn’t make another season, because this one tied up all the loose ends rather nicely (except that one in the icebox) and even gave us an (almost) happy ending.

I think my favorite scene was toward the end of the second to the last episode: The monsters are closing in. The kids are holed up at the Byers’ house with Hopper. Dusty whips out a Dungeons & Dragons manual to explain the hive mind of the monsters by describing how a character in the game works: “The mind flayer: It’s a monster from another dimenson.”

Hopper: “None of this is real. It’s a kid’s game.”

Dusty: “No, it’s a manual. And it’s not for kids. And unless you know something that we don’t, this is the best metaphor —”

Lucas: “Analogy.”

Dusty: “Analogy.” Beat. “THAT’S what you’re worried about?”

Of course that would be my favorite scene.

Most disappointing scene: The one that never happened, when one of the dog-monsters ate Max’s douchebag brother. Was so waiting for that scene.

Second most favorite scene: Dusty goes to the Wheeler’s house to look for Mike, has this conversation with Mike’s dad at the door:

Dusty: “Is Mike here?”

Dad: “No.”

Dusty: “Where the hell is he?”

Dad: “Will’s”

Dusty: “What about Nancy?”

Dad: “Allie’s. Our children don’t live here, didn’t you know that?”

Dusty: “Seriously?”

Dad: “Am I done here?”

Dusty: “Son of a bitch.” (walks away shaking head) “You’re really no help at all, y’know that?”

I just realized the thing these two scenes have in common is Dusty, who happens to be my favorite character in the show.

And my favorite reaction in the show was from Lucas, after Max got her first look at one of the hounds from hell and asked him, “Are you sure that’s not a dog?” Such a perfect “Are You NUTS?” look he gave her.

Stranger Things | 6:30 am CST
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Wednesday, November 1st, 2017

Most mind-blowing thing I learned last week:

This guy …

… and this guy …

… are the same person! Holy shit!

I went on a business trip last week that seemed to last a whole year, because that’s how much of your life gets sucked out of your soul when you’re behind the wheel of a car for three days driving on the interstate and backroads, getting stuck in traffic jams caused by oh my god another construction zone, and sleeping in one anonymous hotel after another. Thank goodness I don’t have to do that again for a while.

The one good thing about the trip was a travel companion who liked the same movies I liked and grew up on the same songs I grew up on. To pass the time, we played the “Who’s your favorite actor?” game, and we took turns playing songs from our phones through the car stereo and singing along, me always slightly out of key (thank goodness she didn’t mind. At least I think she didn’t).

One of the songs that kept coming up on her playlist was All Good Things from the musical Godspell, and each time it started to play she told me “That’s Victor Garber,” like I should’ve known a singer named Victor Garber. I was pretty sure I didn’t, but only because I didn’t know Victor Garber the singer was also Victor Garber the actor. I didn’t even know he could sing! It’s not like he ever broke into song in Legally Blonde or Sleepless In Seattle. And why would I ever have connected the kid in the blown-out afro with the gray-haired guy in Titanic? In my defense, I think it’s safe to say I’m not the only person who has remained this blissfully ignorant.

So last weekend I got reacquainted with the music of Godspell. I had the album once upon a time and listened to it so incessantly that I learned the words through osmosis, although not always the right words. The version of Godspell that bubbled up from my memory was filled with lots of Whoa Nipsey Russel and Elvis Is A Watermelon, because my LP didn’t come with the lyrics printed on the liner, dammit. I didn’t have a decent stereo to play it on, so I learned to sing lots of words that I knew were wrong but I would have to make do with them because I couldn’t figure out what the right words might be.

What’s interesting to me about this alternate version of Godspell is not only how comically wrong I was about the words but that, after all these years, I could recall the wrong words so clearly. I mean, these are songs I haven’t thought about in more than fifteen years, and yet each and every misheard word came back to me as clearly – or, rather, as garbled – as they did when I pressed my ear against a tinny speaker back in high school, straining to learn the words, any words, to the song.

Just as a for instance, one of my favorite songs was All For The Best, sung in two parts by Jesus (Victor Garber) and Judas (I don’t know). I could easily decipher the words of the part Garber sang, but I got the words to the other part almost entirely wrong. The way I heard it, it went something like this:

Some men just want to live at ease, doing what they please, richer than the bees are in honey
Never growing old, never feeling cold, pulling pots of gold from thin air
Your bets from every town, bets are shaking down, bets are making mountains of money
They can’t take it with them, but what do they care?
They get those sandy pots of meat, pushing down the street, outside on the street where it’s sunny
Summers at the sea, which are warmer treats, all of this when we have progressed
But who is the land for, the sun and the sand for?
You guessed, it’s all for the best!

But now I have the internet! I can look them up! Which I did, and was astonished to discover that I actually got some of the words right! But the words I got wrong were oh so comically wrong:

Some men are born to live at ease, doing what they please, richer than the bees are in honey
Never growing old, never feeling cold, pulling pots of gold from thin air
The best in every town, best at shaking down, best at making mountains of money
They can’t take it with them, but what do they care?
They get the center cut of meat, cushions on the seat, houses on the street where it’s sunny
Summers at the sea, winters warm and free, all of this, and we get the rest
But who is the land for, the sun and the sand for?
You guessed, it’s all for the best!

I think “sandy pots of meat” is my favorite mis-heard lyric.

If there’s a down side to this, it’s that I’ve had All For The Best playing on a loop in my head ever since. Well, sort of a down side. That was one of my favorite songs, so I’m not entirely bummed that I can now sing it the right way.

Mind blown | 6:30 am CST
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Tuesday, October 31st, 2017

I brought a big box of CDs along on our three-day road trip last week so we would never be out of fresh songs to listen to. Turned out we reserved the only damned car in the DOT fleet that didn’t have a CD player.

But good luck was with us: Each of us had lots of our favorite songs saved on our phones, and the car was a late model with a stereo that would connect to our phones so we could play our music loud.

The most amazing thing about long road trips? How easy it is to get someone to sing along with Lovin’, Touchin’, Squeezin’ when you’ve been trapped in a car staring out the window at endless miles of concrete for hours and hours.

songs for the road | 6:30 am CST
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Thursday, October 26th, 2017

I’m here to ruin another song for you! Or maybe not. The song I’ve been thinking about today is Undercover Angel by Alan O’Day. Ever heard of it? It was on the radio constantly in 1977 but I haven’t heard it since I graduated from high school. So maybe you haven’t heard it, in which case I won’t be ruining it for you.

Likewise, I won’t be ruining it for you if you’ve heard it but, like me, you’ve always thought it was more than a little weird that a pop song about a guy’s wet dream made it all the way to number one in the charts. That’s really what the song was about. The songwriter himself, Alan O’Day, described the song as a “nocturnal novelette,” which I guess he thought was a kind of sly way to say it but I thought was about as sly as sneaking into a woman’s locker room by crashing through the wall with a truck.

Here’s the first thirty seconds of the song; what does this sound like to you:

Crying on my pillow, lonely in my bed
Then I heard a voice beside me, and she softly said
Thunder is your night light, magic is your dream
And as I held her, she said, See what I mean?

I said, What?
She said, Ooo-wooo wooo-weee!
I said, All right!
She said, Love me, love me, love me!

Undercover angel, midnight fantasy
I’ve never had a dream that made sweet love to me
Undercover angel, answer to my prayer
You let me know that there’s a love for me out there

So either a total stranger snuck into his bedroom while he was crying and boned him, which doesn’t seem likely given the actual words of the song; or a literal angel appeared and likewise there was boning, which doesn’t strike me as likely, either, given what I was taught in Sunday school about angels; or he dreamed the whole episode, which seems most likely to me because he was in bed, at night, crying about how he was soooo lonely.

Full disclosure: I was the kind of angsty teenage guy who was so bunched up about girls that I mostly lived my so-called social life in my own fantasies. The idea of getting it on with the literal girl of my dreams held an admittedly adolescent appeal for me. I didn’t think it was necessarily weird to write about it; god knows I did some of that myself, but I thought it was unquestionably weird that the repressive culture I grew up in would elevate a song about boning a dream girl (or an angel; which would be weirder?) to the highest tiers of musical fame.

Further disclosure: I like this song. Still. I liked it then, because of the aforesaid social fantasy life I lived, and I still like it now, mostly because it tells me that, no matter how awkward adolescence was for me, it was just as awkward, maybe more so, for other people. Say, other people who are song writers, for instance.

another song bites the dust | 5:00 am CST
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Wednesday, October 25th, 2017

Pop Music Confession Time: I think John Cougar Mellencamp’s old songs get better and better every time I hear them.

Tangent: I know he’s John Mellencamp now, and I’ve heard he doesn’t much care for the “Cougar” name, but I’m an old dog and his old name was stuck in my head just now, and I include it here because I’m a pedantic completest.

Another tangent: I specify Mellencamp’s old songs, i.e. the songs he recorded in the 70s and 80s, because it turns out he’s been recording right up to the present day, but I didn’t know that until I googled his name as I was writing this drivel. Until just now, all the Mellencamp songs I knew about were pre-1984.

So when I say I think his old songs get better and better, I’m talking about Pink Houses and R.O.C.K. In The U.S.A. I don’t know how to account for this. I didn’t like his songs much when they were popular on the radio forty years ago. Truth to tell, I didn’t like his songs at all except for Jack & Diane, which was insanely popular in spite of the fact that nobody I knew liked it. I had to enjoy Jack & Diane in private; turning it up when it came on the car radio invited an instant egging.

Then, for many years, Jack & Diane was the only Mellencamp song I heard on the local oldies radio station, with maybe an occasional Hurts So Good thrown in every couple of weeks just to remind us of the Mellencamp That Was, same as they did with Elton John and Crocodile Rock. How many times have you wanted to kick a radio across the room in a Hulk rage, hollering “HE WROTE OTHER SONGS!”

And now, for maybe the past five, ten years, I’ve been turning up the old Mellencamp songs when they come on the car radio and belting out the tunes

Random Bit O’ Trivia: I learned to sing along with Jack & Diane in the age before the internet, when the only way I could learn the words was by listening to the song, usually through the tinny speaker of a cheap stereo set or, even worse, a car radio, then by comparing what I learned with what my friends learned and either accepting the mistakes they made or continuing to sing the mistakes I made. Now, forty years later, I can look up the words to any song, if I remember to, but very occasionally I will still just ask somebody, as I did recently when My Darling B and I were singing along to Jack & Diane. The line in question was: “Hold on to sixteen as long as you can / changes come along real soon, make you women and men.”

I turned to My Darling B and asked her, “What’s he say there? Because I always heard, ‘Changes come along real soon, make you swim in a van.'”

Such a look she gave me.

“Hey, don’t look at me like that,” I shot back. “You’re the one who thought ‘Roam if you want to’ was ‘Whoa, Nipsey Russel.'”

John Cougar | 5:00 am CST
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Sunday, October 22nd, 2017

Here’s a weird confession, and it’s weird not because it’s going to shock anybody or change the history of the world; it’s weird because it’s hardly a confession at all. I really like the songs of KC and the Sunshine Band. I don’t like them so much that I ever bought any of their records, not even so much as a single, but I turn up the volume and sing along whenever one of their songs is played on the radio. I even do the disco-dance finger-pointing thing. It’s muscle memory at this point. Why fight it?

I’ve always known these were kinda cheesy songs, but you know what? They’re easy to dance to, even for a guy with two left feet like me, and girls loved to dance to them, so I got out there on the dance floor and danced my brains out. And now, forty years later (geeze Louise!), I can still get My Darling B to do a fun little disco-like jig in the kitchen when I’m Your Boogie Man comes up in my playlist, and my friends and I do a sing-along when Shake Your Booty comes on the car radio. After all this time, KC still inspires us to have fun. How great is that?

Random bit o’ trivia: When the song Get Down Tonight was popular (1975), the cheerleaders at our high school wanted to sing it at a rally before a game but were forbidden from uttering the line “make a little love.” The line was apparently considered way too scandalous as written, so they left out the word “love” to satisfy whoever was doing the forbidding, which to my mind was way more suggestive.

sunshine | 9:37 am CST
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Saturday, October 21st, 2017

I’m going to ruin another pop song, buckle up!

The song is Aimie by Pure Prairie League, and before I get started I want to say that I’ve always loved this song, and I mean always, from the very first time I can remember hearing it. I sang along every time it came on the radio, I eagerly awaited the next time I would hear it on the radio, I turned up the volume on the radio every time I heard it, and I’m pretty sure I’ve bought copies in every format since vinyl records.

And I’m probably going to ruin it for you now. I don’t want to ruin it. I didn’t want to ruin it for myself, but I can’t help but think about the meaning behind the words every time I sing it, and I get more uncomfortable with the meaning every time I sing along. My discomfort starts with the very first two lines:

I can see why you think you belong to me
I never tried to make you think or let you see one thing for yourself

The only thing I can make of this is that he (I’m assuming it’s a he because I’m assuming Aimie is a she; I could be wrong, but let’s go with that for now) is a controlling asshole. I mean, there’s not a whole lot to go on here, but there sort of is. He never let her see a single thing for herself? That’s cretinous behavior.

The idea of women as possessions has always made me uncomfortable, too. I mean, I get it that “you belong to me” is sort of like saying “we belong together,” but it’s not, it’s absolutely not at all the same. “We belong together” is a sweet sentiment; “you belong to me” turns a sweet sentiment into a statement that sounds like I hold title to your body and soul. It’s kind of creepy. And I think that’s the meaning of the first line of the song. Why else would Aimie leave him? Oops, spoilers.

But now you’re off with someone else and I’m alone
You see, I thought that I might keep you for my own

The classic “BUT” of pop songs — she was in his life, he didn’t treat her right, she’s seeing someone else and now he’s feeling regret. Is it regret that he treated her wrong, or regret that she’s not with him any longer?

And there’s that creepy idea again of making her into one of his possessions. Not something like, “we could be so good together,” but “I might keep you for my own.” Squick.

Aimie, what you wanna do?
I think I could stay with you
For a while, maybe longer

I love singing along with the chorus of this song, but it’s not exactly the most rock-solid of commitments, is it? “I could stay with you — could happen, maybe, or maybe not. For a while, anyway. Maybe longer than a while. But I’m a guy, and we don’t like to hang around. That’s just how guys are.” I’m digging a lot more out of those lines than maybe the songwriter intended, but it was a common theme in pop songs of the 70s that guys don’t stick around much, so I don’t think I’m reaching here.

Don’t you think the time is right for us to find
All the things we thought weren’t proper could be right in time
And can you see which way we should turn, together or alone
I can never see what’s right and what is wrong

I’m not entirely sure what he’s trying to say here. I’m not even sure he knows what he’s trying to say. He wants to get back together with Aimie; that’s in there for sure. I’m a little bummed that he’s using the “I can never see what’s right and what is wrong” excuse to dodge responsibility for treating her badly. I’m alarmed he’s proposing that she might come to think the way he treated her before they broke up will be “proper,” given a little time. If it was wrong then, why wouldn’t it be wrong a year from now? There’s at least one good reason Aimee broke up with him, is what I’m saying. Probably more than one.

Also, just to be way too nitpicky (and I might as well, since I’m ruining the song already), none of those lines end in words that rhyme.

Now it’s come to what you want, you’ve had your way
And all the things you thought before just faded into gray
And can you see that I don’t know if it’s you or of it’s me
If it’s one of us, I’m sure we both will see

“So you’ve had your little fling; doesn’t that make everything that passed between us all right now?” Um. No? I love this song, but I hate this verse. Maybe it was just a fling, but I feel it’s really quite presumptuous of him to assume that’s all it was. Maybe she’s off with someone else better than him, and she knows it.

I keep fallin’ in and out of love with you,
Fallin’ in and out of love with you
Don’t know what I’m gonna do …

Again, the level of commitment here would not inspire a whole lot of confidence in me, if I were to put myself in Aimie’s shoes.

I haven’t enjoyed ruining this song. I still love singing it — I was singing it in the shower just this morning, but I’m never going to be able to stop thinking the guy in the song was a jerk to Aimie and that she’d be a fool to get together with him again. Stay true to yourself, Aimie!

another song bites the dust | 11:21 am CST
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Monday, October 16th, 2017

[This is one of my favorite passages from Mark Twain’s Life On The Mississippi. In it, Twain describes one of the earliest days of his training to become a riverboat pilot at the hands of Horace Bixby, a crack pilot and Twain’s teacher:]

Now and then Mr. Bixby called my attention to certain things. Said he, ‘This is Six-Mile Point.’ I assented. It was pleasant enough information, but I could not see the bearing of it. I was not conscious that it was a matter of any interest to me. Another time he said, ‘This is Nine-Mile Point.’ Later he said, ‘This is Twelve-Mile Point.’ They were all about level with the water’s edge; they all looked about alike to me; they were monotonously unpicturesque. I hoped Mr. Bixby would change the subject. But no; he would crowd up around a point, hugging the shore with affection, and then say: ‘The slack water ends here, abreast this bunch of China-trees; now we cross over.’ So he crossed over. He gave me the wheel once or twice, but I had no luck. I either came near chipping off the edge of a sugar plantation, or I yawed too far from shore, and so dropped back into disgrace again and got abused.

Presently he turned on me and said: ‘What’s the name of the first point above New Orleans?’

I was gratified to be able to answer promptly, and I did. I said I didn’t know.

‘Don’t know?

This manner jolted me. I was down at the foot again, in a moment. But I had to say just what I had said before.

‘Well, you’re a smart one,’ said Mr. Bixby. ‘What’s the name of the next point?’

Once more I didn’t know.

‘Well, this beats anything. Tell me the name of any point or place I told you.’

I studied a while and decided that I couldn’t.

‘Look here! What do you start out from, above Twelve-Mile Point, to cross over?’

‘I — I — don’t know.’

‘You — you — don’t know?’ mimicking my drawling manner of speech. ‘What do you know?’

‘I — I — nothing, for certain.’

‘By the great Caesar’s ghost, I believe you! You’re the stupidest dunderhead I ever saw or ever heard of, so help me Moses! The idea of you being a pilot — you! Why, you don’t know enough to pilot a cow down a lane.’

Oh, but his wrath was up! He was a nervous man, and he shuffled from one side of his wheel to the other as if the floor was hot. He would boil a while to himself, and then overflow and scald me again.

‘Look here! What do you suppose I told you the names of those points for?’

I tremblingly considered a moment, and then the devil of temptation provoked me to say: ‘Well—to—to—be entertaining, I thought.’

This was a red rag to the bull. He raged and stormed so (he was crossing the river at the time) that I judge it made him blind, because he ran over the steering-oar of a trading-scow. Of course the traders sent up a volley of red-hot profanity. Never was a man so grateful as Mr. Bixby was: because he was brim full, and here were subjects who would talk back. He threw open a window, thrust his head out, and such an irruption followed as I never had heard before. The fainter and farther away the scowmen’s curses drifted, the higher Mr. Bixby lifted his voice and the weightier his adjectives grew. When he closed the window he was empty. You could have drawn a seine through his system and not caught curses enough to disturb your mother with.

cub pilot | 5:00 am CST
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Tuesday, April 11th, 2017

Woman goes into a big, dark house with creaky wooden floors and heavy doors that go boom when she closes them. Just your basic soul-eating house. Woman slowly wanders through every room of the house, doesn’t turn on any of the lights. Ghost appears. Of course it does. I mean, what did you think was going to happen? Woman doesn’t see the ghost at first, because it always materializes in the air behind her somewhere, then fades away. Then, when it’s time to really scare the piss out of her, it … turns on a faucet. Yeah. Ghosts have the awesome power to disappear, float in the air, walk through walls, make spooky noises. This one can turn on faucets.

This was the ghost in a movie we saw at the Wisconsin Film Fest. The movie was “Personal Shopper,” and the woman was kind of pointlessly looking for the ghost of her brother, who died earlier that year. The woman says she’s a medium, and she eventually sees the ghost in the spooky house, but she’s the kind of medium who gets her information about ghosts from, just to name two sources, a movie about a seance, and the internet. Because where would you possibly get better information about the realm of spirits?

The first time the ghost turns on the faucet, it was kind of scary because I didn’t know what that noise was at first. The woman had to wander through most of the rooms in the house to find the tap that was running, because it was just a thin trickle and a bit hard to hear. Then the ghost opened the bathtub spigot all the way, and I was thinking, “Okay, he’s really good at turning on the water. What else can he do?” I mean, it’s not an especially malevolent activity, is it? It’s not even scary, after the first time. First time was, Oooo, what’s that noise? And the second time, meh.

It turned out the ghost did have a few other tricks up his sleeve: he could scratch the table, and he could tear up a piece of paper. Really scary stuff. (Full disclosure: I walked out halfway through the movie, so maybe it got a whole lot better after that. My Darling B stayed; she said it didn’t get any better. I trust her.)

all wet | 7:31 pm CST
Category: entertainment, festivals, movies, play, Wisc Film Fest
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Monday, April 10th, 2017

I read Ann Leckie’s debut novel “Ancillary Justice” about a year ago, which means I don’t remember how long ago it was. In the bible, they would’ve said “forty days and forty nights.” It was a long time ago. So long that I don’t remember all the details of the story now, but I do remember that I liked it and wanted to read more of Leckie’s work.

Luckily for me, “Ancillary Justice” is the first volume of a story Leckie eventually expanded into three volumes, the seemingly-standard trilogy of the fantasy and science fiction genre. She called the second volume “Ancillary Sword” and the third “Ancillary Mercy,” which is better than Roman numerals but still just confusing enough to my tiny little brain to make me stop and carefully look over all three volumes to make sure I was buying the right one. It doesn’t help that all three volumes have cover art that looks more or less the same: needle-nosed jet aircraft with razor-like wings painted in bright, primary colors.

After flipping through the first dozen pages or so and feeling certain that I knew which was the first and which was the second, I took my purchase to the check-out counter. It wasn’t until I was outside the store, headed back to the office, that I realized I’d put the wrong book back on the shelf and checked out with “Ancillary Justice,” the first book in the series, the one I’d already read. *facepalm* Too late at that point to turn around and ask them to swap it; I had just enough time to get back to my desk, no more.

I swung by the book store right after work, found the copy of “Ancillary Sword” that I meant to buy, tucked them both under my arm and headed for the checkout. Halfway there, I remembered the receipt that I’d tucked into the pages of “Ancillary Justice,” which I’d probably need to return the book, so I riffed through it, expecting the receipt to pop right out. It did not. Slowing my brisk walk to a slow amble, I started flipping through the pages a bit more slowly. Still couldn’t find it, so I flipped through it again, even more slowly this time. No joy.

By then, I was at the counter. “Hi,” I said to the young lady waiting there. “I bought this book —” holding up book “— earlier today, but I meant to buy this book —” holding up other book “— which is the second in a three-book series. I’d like to exchange one for the other, if that’s okay?” She said that would be no problem, so I began flipping through the pages again, explaining as I did that I was looking for the receipt. She waited patiently but, when I failed for the third time to find it, I asked her if we could just swap.

Apparently she couldn’t do that, not exactly, but she could process the first book as a return, give me store credit, and I could use the credit to buy the second one. Seemed needlessly complicated to me, but whatever. So she did all the hocus-pocus she had to do with the register, I signed a credit slip, she put the credit on a card, then charged the second book against the credit, and somehow I ended up with a couple bucks on the card. Don’t know how, but it was okay with me. I thanked her, scooped up the book, and headed out to the car.

Went to tuck the book into my backpack: It was “Ancillary Justice.”

Back into the book store. She looked at me sideways while she was finishing up with another customer. I smiled and waggled my fingers at her. When it was my turn, I flashed the cover of the book. She didn’t get it. Of course she didn’t. It looked just like the other book. “We got the books mixed up,” I explained, sliding it across the counter toward her. “I need the other one.” She gave it to me reluctantly, as if i was pulling a fast one on her. She didn’t seem entirely convinced I knew what I was talking about. But I finally got the right book. At least, I think I did.

Ancillary Mixup | 7:26 pm CST
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Sunday, April 9th, 2017

The Freddie Fender ballad “Before The Next Teardrop Falls” has been playing on a fucking loop in my head for the past 48 hours. I loathe this song in capital letters: LOATHE. I can’t say why; it’s one of those gut reactions that makes me instantly change the radio station. I think I can say with a high degree of confidence that I have loathed this song since it was released in 1975. I would’ve been fifteen years old then, growing up in a tiny rural town that was smack in the middle of Wisconsin. The local radio station played just about anything, but music by the likes of Merle Haggard, Buck Owens, and Johnny Cash were featured prominently. I remember hearing “Before The Next Teardrop Falls” and “Wasted Days And Wasted Nights” what seemed like every fucking day, although I’m sure now that’s an exaggeration. Although maybe not.

I have just learned that Freddie Fender was born with the name Baldemar Garza Huerta. That’s about the coolest name I’ve heard in my life. I can’t imagine why he wanted to change it. I want to have a son right now just so I can name him Baldemar. Also, Fender was in a band called Los Super Seven, another very cool name, and another band named Texas Tornados, which is a cool name but not as cool as Los Super Seven.

“Before The Next Teardrop Falls” is stuck in my head because I watched a documentary film about a guy with Aspberger’s who sang through his nose in that atonal way just about all of us do when we want to sing but there are a lot of people around so we try to make it look like we’re not singing by not moving our lips and by looking out the window pretending to be interested in the clouds. This guy wasn’t pretending not to sing, though. That’s just the way he sang. He knew all the words to “Before The Next Teardrop Falls,” even the ones in Spanish, and he sang them with such deep, emotional feeling that I couldn’t help but be touched by it.

I still hate that song, though.

That’s not the only song that’s been stuck in my head this weekend. Another is “La Marseillaise,” the national anthem of France, and it’s because of another film I saw this week (I was at the Wisconsin Film Fest with My Darling B last week, so I saw a lot of films; bear with me) called “Frantz,” about a young French soldier who travels to Germany to meet the family of the German soldier he killed during The Great War. It was “great” in the sense that it was really big, not in the sense that everybody thought it was a lot of fun and we should have another one again as soon as possible, even though we ended up doing just that. This is why choosing the right name is so important. “Baldemar” — good choice. “The Great War” — not such a good choice.

Back to the film: One of the principal characters of the film, a young German woman who was engaged to the German soldier who was shot by the French soldier I mentioned earlier, travels to Paris to find the French soldier because … it’s complicated. Anyway, she’s in a cafe in Paris when a couple of French soldiers come in for coffee and everyone stands up and sings “La Marseillaise” because what else would you do, right?

If you’ve seen “Casablanca,” you saw almost the same scene: Victor Laslo leads the customers of Rick’s Cafe in a rousing verse of “La Marseillaise” to flip the bird at the Germans who are after him. What they didn’t do in “Casablanca” was subtitle the words to the song, I guess because they figured everybody knew what it meant back then. I didn’t, and I never looked it up, either, thinking it was the usual stuff of national anthems: “We’re the best, you guys suck, our country is better than your country.”

But the version of “Frantz” we saw was subtitled, and they went on subtitling the words to the anthem during the cafe scene, so this is the first time I’ve heard it and known what they were singing about:

Arise, children of the fatherland,
The day of glory has arrived!
Against us, tyranny’s bloody banner is raised,
Do you hear, in the countryside,
The roar of those ferocious soldiers?
They’re coming right into your arms
To cut the throats of your sons, your women!

To arms, citizens!
Form your battalions!
Let’s march, let’s march!
Let an impure blood soak our fields!

The camera kept flitting from the puffed-up French people singing their yoo-rah-rah song to the uncomfortable face of the German woman, who spoke fluent French and knew just what they were saying. And there were a few disgusted-looking women in the crowd who did not stand up and did not sing; I assumed they were mothers of French soldiers who didn’t go for all that yoo-rah-rah crap.

“Kind of a different effect when you know the words to the song, don’t you think?” I whispered to B, who agreed.

While I’m on the musical theme, the last song I want to tell you about isn’t a song at all. It’s a kind of music: jazz, sort of. One of the duds we saw at the film fest was a musical review called “The King Of Jazz,” featuring the Paul Whiteman band. The final number was how they imagined jazz was created: a whole bunch of white people from Russia, Germany, Ireland, Scotland, and every other northern European country sang ethnic theme music (“Every laddie has his lassie” for the Irish people, that sort of thing) as they descended into a melting pot. Paul Whiteman gave the pot a stir, the sides of the pot swung open, and for one terrifying moment I thought the musicians and dancers were all going to come out in blackface singing “Mammie”! Instead, they sang what I guessed was supposed to be a jazz number, which was about as jazzy as any song can be when there isn’t a single African-American involved.

musical | 10:11 am CST
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Tuesday, April 4th, 2017

I was on the sofa with a book this morning, curling up into a ball, tighter and tighter, for more than two hours before I realized why the house was so goddamned cold: It’s Tuesday. I’m not normally in the house on Tuesday morning. I’m usually at the office, more’s the pity, so the smart thermostat at home is programmed to turn the temperature down to sixty-seven degrees after seven o’clock and keep it there until four, when it cranks the heat back up in anticipation of our return home. I’d forgotten to turn the thermostat up when I got out of bed and that’s why I was curling up into a ball so tight that I would’ve collapsed into my own gravity well if I hadn’t figured it out when I did.

I’m at home — well, not right now; right now, I’m in the library writing this drivel because they’ve got a damn computer that works and I don’t — because it’s day six of the Wisconsin Film Festival, so instead of going out into the world to be a productive member of American society, I’ve been slouched in the chairs (benches, medieval torture devices) of various darkened movie theaters around town, watching more movies in one week than I’ll probably watch the rest of the year. We’re shooting for thirty this year (B counts it as thirty, but it’s really more if, like me, you count the shorts separately, because they’re stand-alone films, right?), a slightly less ambitious schedule than last year when we saw something like thirty-five films, even by the weird way of counting that B uses. We used to arrange our schedule so that we crammed in as many movies in a day as we possibly could; this year, we’re taking it easy and today, like yesterday, we’re seeing just four films, when we could have probably squeezed in five or six a day if we wrestled with the schedule for hours. We didn’t feel like pulling our hair and gnashing our teeth this year, hence our more relaxed schedule.

We were at the Sundance Cinema from eleven in the morning until ten at night yesterday, which is nice inasmuch as we didn’t have to dash across town, hunt for a parking space, trudge through the rain or go without food or beer (Sundance has a concession stand that sells hot sandwiches and several brands of beers from local breweries; the downside is that the prices are just this side of extortion), although I have to say that being cooped up in one theater all day long leaves my head foggy at the end of the day. When I have to run from one theater to the next, at least it gets my legs moving, my blood pumping, and I have to blink at the sunlight a little more often, which is not a bad thing.

This has been a good week to stay inside all day. We’ve had rain for three, maybe four days *shrug*? So we’ve been invoking our head of the line privileges, a benefit of buying the all-festival pass instead of getting individual tickets for each showing, which is a royal pain in the neck when you’re trying to buy tickets to thirty-plus films. Actually, it’s typically a pain in the neck to buy tickets to just a handful of shows, because the on-line ticket-selling vendor is almost always instantly overwhelmed by the volume of people trying to log in and buy tickets the day they go on sale. We had pretty good luck the first year we did it that way, not so much the next year, and the year after that we threw our arms in the air and got the all-festival passes. It turned out that cost less than buying the individual tickets anyway. We found out about head-of-line privileges later but only invoked them when the line captains all but twisted our arms to take us to the front of the line, leading us past dozens of grumbling ticket-holders who’d been waiting to get in. But this year, waiting in line outside the Barrymore, I watched as people butted in line ahead of us, clustering around others who held a place for them, or crowding in behind friends who waved them over, shouting, “YOOO-HOOO! Join us!” After seeing at least a dozen people do that shit, I went up to the line captain, showed her my pass, and asked her how that head-of-line privilege worked. And we’ve been jumping to the head of the queue ever since, which came in especially handing last night because all the films we wanted to see were in theaters where the line was outside. We were warm and dry even as the rain fell all through the day.

Another plus to the Sundance theaters is their seating: big, plush chairs with so much leg room that you don’t have to stand up to let people get by and you can stretch out during the movie, a sharp contrast to, for instance, the clamshell seats in the Chazen Theater where my knees are firmly butted up against the back of the chair in the next row in front of me. God help you if you have to excuse yourself to the washroom from a seat in the middle of the row during the show. At Sundance, there’s enough room to walk past them without turning to one side and standing tippy-toe. There’s even a tier of seats in the middle of the theater with a handrail you can put your feet up on; the competition to snag those is fierce, with many a harsh word spoken between people who seek them and others who “reserve” seats for friends who aren’t actually present in the theater yet. I’ve never had the moxie to try that. A woman at one of the showings last night was holding at least half a dozen seats (I couldn’t tell exactly how many she was laying claim to with her outspread arms) and had to absorb more verbal punishment to do it than I could have withstood in a year; the resentful glares alone would have reduced me to a withered husk.

in the dark | 10:01 am CST
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Sunday, March 5th, 2017

If memory serves, I bought my first copy of The Caine Mutiny at a used book store in Lincoln, England, in 1999 or 2000. It was a pretty beat-up, water-damaged Penguin paperback edition and I read it as though I was possessed by it, all in one week. (400 pages in a week is pretty good for me.) Full disclosure: I didn’t read every word. The first time I read it I was put off by the love story, so I skipped over all that and only read the parts that had to do with MEN AT WAR, because that’s the kind of guy I was then. I’ve since read the novel from cover to cover many times and so far I appreciate it more every time (if I didn’t, I probably wouldn’t keep picking it up to re-read it).

Just in case you’re confused: The novel does, in fact, pivot around a mutiny aboard a naval vessel during the war in the Pacific, but the story is about the main character of the novel, who is not Humphrey Bogart, in spite of the movie you might have seen. (I kind of wish I’d never seen that movie. I still hear Bogart’s voice when I read the novel, and although Bogart did a fine job of playing Queeg, it’s the wrong voice for Queeg. John Fiedler’s voice would have been perfect; he may have been a better casting choice, too. But I digress.)

The book opens and closes on Willie Keith, who enters the story as a spoiled mama’s boy with little sense of direction but ends up as a confident, strong-willed young man who’s going places. The story is not told from Keith’s point of view, but he is present in almost every scene; events turn around him and their importance is impressed on him, building his character piece by piece. That I ever thought his story was boring enough to skip over should show you what I lack in the way of appreciation for good writing.

The Caine Mutiny is also amazing for being semi-autobiographical. Author Herman Wouk served as an officer aboard two destroyer minesweepers (one of them named the Zane) during the Pacific war. One of Wouk’s duties was as the ship’s communications officer, same as Keith and Thomas Keefer. Keefer was also an aspiring author who spent much of his off-time (and a bit more besides) writing a novel. It’s impossible to read the novel without imaging that many, if not most of the episodes in it are anecdotes from Wouk’s experience aboard ship during the war.

I still have that first Penguin paperback; it’s parked in a place of honor on the top shelf of my bedside bookcase and I’ve read it cover-to-cover at least three times, but still take it out now and again to read my favorite passages at bedtime when I’m not sure what to read. (The speech by Barney Greenwald at the end is one of the best.) I’ve since bought at least two hardbacked copies. I found the first one at a resale shop in Madison and read it several times before giving it away to a coworker who seemed interested in it, but I’m pretty sure he never read it. I went looking for the second copy at Powell’s bookstore while on vacation in Portland OR and found a first edition in its original dust jacket (squee!). This is the second or third time I’ve read it. I’ve read a couple other Herman Wouk novels (Winds Of War and War And Remembrance spring to mind), but haven’t enjoyed any of them more than The Caine Mutiny.

The Caine Mutiny | 12:58 pm CST
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Tuesday, February 28th, 2017

I picked up a copy of Tinker, Tailor, Soldier, Spy by John Le Carre the last time I was at the resale store. I’ve wanted to read it since I watched the recently-made movie with Gary Oldman, and I have to say I could follow the plot of the movie a lot more easily than the book, which is not surprising. A movies about two hours long, while the book is something like four hundred pages and took me a week and a half to read. I couldn’t have lost the thread of the movie if I’d tried, but there was so much going on in the book that I kept turning back the pages to figure out who the characters were talking about. So I didn’t enjoy it as much as I would have liked. And I’ve never read spy fiction before; I thought it would take to it easily, but that wasn’t the case. Maybe it’s an acquired taste.

spy world | 9:25 pm CST
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Thursday, February 9th, 2017

I thought I would spend my lunch break today reading the latest book of fantasy and speculative fiction from Kameron Hurley, The Stars Are Legion. I ordered it last week, or thought I did, and when it didn’t show up on my doorstep and I didn’t get an email from Amazon about it, I checked the website last night and discovered I forgot to hit the “buy” button. D’OH! So I fixed that, but then I had to wait DAYS to get the book, which didn’t satisfy my desire to read it RIGHT NOW.

But wait … what’s this? A note at the bottom of my receipt that reads, “Would you like to read this book now?” I clicked on the “Hell, yes!” button and it was downloaded to my Kindle. Oh Happy Day! I read the first chapter right then, even though it was way past my bedtime.

Took the Kindle to work with me this morning. Flipped it open as I sat down with my microwaved leftovers. Tapped on the icon, turned the page, and … blank screen. Turned out that I’d been reading a “sample” of only the first chapter. No more.

Not that I’m complaining. I’m glad that I got to read as much as I did, but it was a GIANT BUMMER after looking forward all morning to reading another chapter or two. And now I gotta wait until tomorrow for the hardcover to arrive on my doorstep. *sigh* Well, if I gotta, then I spoze I gotta.

bummer | 9:59 pm CST
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Sunday, January 8th, 2017

B and I saw the musical La-La Land two weeks ago in Sun Prairie and she’s still singing songs from it. She’s already bought the soundtrack so we can play it over and over at home, and I think she wants to see it again, too. I’d gladly go see it again if she asked me. And I know we’ll buy a copy of it when it’s released on DVD. That means it’s probably pretty good, right?

The film is about the relationship between an aspiring actor, played by Emma Stone, and a musician who wants to open his own jazz club, played by Ryan Gosling. They meet while they’re pursuing their dreams in Hollywood and, because this is a musical, they frequently break out in song to explain what they’re doing and why.

I love musicals, but it took a while for me to warm up to this one, and I’ll quickly add that I believe the reason was mostly technical. The opening number, Another Day of Sun, is a fabulous overture performed by dozens of people on an on-ramp of a Los Angeles freeway. The camera slowly pans over backed-up traffic and stops at a car where a woman sings the opening lines, which I could barely hear. Her voice, and the voice of every other singer in that number, was drowned like a sack of kittens by the music. There are few things that infuriate me more than somebody trying to drown a sack of kittens, and infuriated is not a good emotion to start a musical with.

The next number, Someone In the Crowd, suffered from the same problem, as did many of the other numbers, so my infuriation with this technical problem never entirely went away. I’ve since heard the soundtrack (as noted above, B replays it obsessively on Spotify, trying to learn the words) and I have no trouble at all hearing what the singers are saying, which leads me to believe that the theater’s sound system was somehow fucking it up.

So I was not really digging this movie until the scene where Stone and Gosling are walking along a road overlooking LA looking for her car and Gosling tells Stone that he’s not attracted to her. Stone returns fire, telling Gosling she’s not only not attracted to him, she’s double-anti-attracted to him, so there. All sung in verse, naturally.

I’m such a sucker for scenes like this. Boy meets girl, boy tells girl they’re not made for each other, audience can clearly see that boy and girl have a chemistry that will inevitably draw them together but, first they have to dance around it. And dance they do. In wing tip shoes, no less. Gene Kelly and Debbie Reynolds flirted circles around each other just like this in Singing In The Rain.

After that scene, the movie had me. I even got all weepy-eyed for the ending. I’m a sap for romance, even if it doesn’t end the way I want it to (sometimes especially if it doesn’t end the way I want it to), so I couldn’t help myself. And there must be a lot of other people out there like me, because there was hardly a seat left at the screening we went to, and we had to check around at several theaters to get tickets for that. Glad we did. It was well worth the trip.

La-La Land | 9:49 am CST
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Thursday, January 5th, 2017

Netflix viewers of the movie Spectral gave it four and a half stars. I am now a Netflix viewer of the movie Spectral, and I say that’s at least four stars too many.

The setup seemed promising: wraithlike beings haunt a war-torn European city, killing heavily-armed and armored soldiers by merely running through them. Invisible to the naked eye, the soldiers are given the ability to see them through an advanced imaging system they wear attached to their helmets. Their weapons, however, are entirely ineffective against this deadly menace.

Enter Mark Clyne, one of the megaminds developing superweapons for DARPA (Defense Advanced Research Project Agency; the only real government agency that sounds like something out of a comic book). Clyne invented the goggles that allow the soldiers to see the ghosts that are killing them. Now he joins a Delta force team to figure out what the ghosts are.

Here’s where the movie lost me: In a matter of a few hours, Clyne re-engineers a camera he brought with him, “reversing the polarity” so it projects a beam that makes the wraiths visible to the naked eye, even when he’s not pointing it at them. As long as the projector’s on, it seems to light up every wraith within eyeshot. Makes perfect sense.

The wraiths shamble like old-school zombies through the streets until a platoon of heavily-armed soldiers show up. Then they go turbo zombie and mow through every single soldier in a blur until, of course, only Clyne and his plucky group of Delta force commandos are left; then the wraiths hang back, moaning spookily, or jumping around like a pride of crazed chimpanzees, but not advancing until the soldiers make a break for it. And then the wraiths run just fast enough to appear to be fearsome, but not fast enough to actually catch anybody.

After the Delta force are evacuated to a mountaintop castle where they can crash headfirst into despair and squabble amongst themselves (“We can’t fight them! We don’t even know what they are!”), Clyne not only figures out what the wraiths are using no more evidence than the mighty thoughts in his mighty brain, he then goes full-blown Tony Stark and, overnight, finds enough electronic gadgetry stockpiled in the castle to cobble together a plasma cannon and hand-held plasma rifles for each and every soldier.

And then they go kill all the zombie-wraiths with untested weapons because of course Clyne was not only exactly right about the wraiths, he also flawlessly assembled every one of the plasma cannons in one sleepless night.

Well. *shrugs* OH-kay!

Spectral is on Netflix. Don’t say I didn’t warn you.

Spectral | 12:01 am CST
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Tuesday, December 27th, 2016

Weirdest thing that happened to me last weekend: I heard Barry Manilow on the radio. That never happens. Never. I listen to two stations that brag they play the best of the 70s, but they must be using a definition of “the best” that I’m not aware of. Either that, or the people who program their music didn’t do a minute’s research on what was considered the best of the 70s. I’m assuming they didn’t grow up in the 70s either, because if they had done either of those two things, then they would know they’d have to play Barry Manilow every single flippin day. And I know this because I was a teenager in the 70s who listened to a lot of pop music, as teenagers do, and I can tell you I heard Barry Manilow every single flippin day.

Full disclosure: I’m not a Barry Manilow fan. I never bought any of his albums or singles. But neither do I dislike his music. It was fun to listen to, it was easy for me to learn the words to the chorus so I could sing along, and I could even dance to it as much as I could dance to any music (which is to say, not so much dance as rhythmically twitch and jerk, usually in time to the music). I could listen to it again, while on the other hand I’ve had my fill of Peaceful Easy Feeling, or We Are The Champions. I think I’d be all right if I never heard either of those songs ever again. I guess I’d be all right with never hearing Mandy again, but I would get up out of my overstuffed chair and do the mambo if I ever heard Copacabana again. And I wouldn’t care who was watching.

Oh Barry | 1:34 pm CST
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Monday, December 26th, 2016

I saw Rogue One last week because I am nothing if not a completest. I’ve seen every single one of the Star Wars movies, so at this point missing one would feel like missing church.

I’d like to say it was as good as Star Wars (or, if you’re going to get pedantic on me, “Star Wars: A New Hope”). I can’t say that, but only because Rogue One and Star Wars are not the same kind of movie. Comparing the two would be like comparing apples to asteroids that end all life on earth. Star Wars was good, rollicking fun, a movie in which the good guys won and the bad guys lost and it was all smiles and sunshine in the end. Nobody in Rogue One was doing any rollicking. The good guys beat the bad guys, but I would hesitate to say they won, exactly. And everything was not all sunshine and smiles in the end. Put in the context of war movies (my brain is full of war movies), Star Wars had the bounce and weight of Operation Petticoat, compared to Rogue One’s gritty Generation Kill vibe. And I think I have to make that distinction because Rogue One is not a movie I would have shown to my four-year-old, but we watched Star Wars together and had a great time.

Not to say I think Rogue One is a bad movie. I enjoyed it for what it was, a reboot of the Star Wars franchise with new characters (and a few old characters) in familiar settings. But I wasn’t completely won over by it, either. It went for realism, sacrificing swashbuckling, and didn’t get a firm grip on either. And I loved Star Wars for its swashbuckling. But I have a feeling this movie wasn’t made for fifty-six-year-old me, so maybe the target audience ate up the gritty rebootedness of Rogue One the same way I ate up the corny swashbuckledness of Star Wars.

A few other minor quibbles:

There were a lot of people coming and going in the first half-hour of this movie, so many that I honestly had more than a little trouble keeping track of them, but I figured out pretty early that almost everybody was talking about the Death Star, and after I twigged to that, I stopped trying to keep track of everyone and just waited for them to mass and attack, because that’s what the rebel forces do when a Death Star shows up.

Almost every character had a completely forgettable name. This is most likely my problem more than the movie’s, but it annoyed and distracted me. I wasn’t sure what the name of the woman was until almost the end of the movie. Sometimes it sounded like Jen, sometimes like Jid (it turned out to be Jyn), and I was sure her family name was Ursal until the credits rolled.

Because the events in Rogue One led up to, and then immediately connected with events in Star Wars: A New Hope, several characters that appeared in Star Wars reappeared in Rogue One. Some were just for fun: C-3P0 and R2D2 made a cameo appearance, and so did the rat-faced guy who bumps into Luke Skywalker in the cantina in Mos Eisley. The rat-faced guy was probably played by a look-alike, which wouldn’t have been hard to pull off because his face was mostly latex and putty. C-3P0 could’ve been played by anybody, for obvious reasons. But Moff Tarkin, the commander of the Death Star, played a major part in Rogue One, and as Peter Cushing is dead twenty-two years last August, the movie’s makers decided to go with a computer-generated Tarkin rather than a look-alike for Cushing.

I am amazed by CGI characters when they can be done convincingly. Rogue One’s Moff Tarkin was not. He hid in the shadows almost constantly, giving me the impression that not even the film’s makers had confidence in his performance, and when he stepped out into the light, he seemed flat and immobile. CGI Princess Leia was even less convincing than Tarkin; she might as well have been a cardboard cutout, and that’s why it made a difference to me. I’m used to seeing CGI characters in video games, but no amount of familiarity is going to make me accept them when they look like cartoons in a live-action movie. I thought that, if they were going for gritty realism, they should’ve found some look-alikes, but then this movie probably wasn’t made for fifty-six-year-old me. I’m guessing its target demographic was more satisfied than I was.

Rogue One | 12:01 am CST
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Friday, December 9th, 2016

“I had no idea, until I became a war worker myself, how low wages actually were. When my skimpy little paycheck of $23 a week came to me, I wondered how on earth I could ever live on that in wartime Washington if I were forced to pay my own room, board, transportation, doctors’ bills and other necessities out of it. Then I would look around the shop and wonder how the married women and mothers – the majority there – could support their children and parents as well as themselves on these wages.

“Not only do the women start at a low wage – they stay at it. At the Washington yard and at the other navy yards in the East and West, there are no automatic raises. Raises were accorded on some indeterminate basis. Promotions to supervisory jobs seem to be unknown not only at Washington but elsewhere in navy yards. Equal pay and promotions for women are one of the government standards of employment supported in writing by the Navy Department and seven other federal agencies. The navy yards themselves seem to be unaware of the fact; nor do they observe other standards adhered to on paper by the Department.

“I quickly adapted myself to eating sandwiches held between grimy hands. The yard gave us 20 minutes for lunch, but at least five minutes were gone by the time you had raced and waited at the understaffed canteen for cold,k watery chocolate milk or cola drinks (no coffee except on the midnight shift). The government standard of 30-minute lunch periods, hot lunches and a decent place to eat them is ignored by the Washington yard, which is nearer being the rule than the exception.

“I had mistakenly thought before going to work at the yard that minutes were precious in production. Once on the job, personnel officers and posters proclaimed the need for punctuality and perfect attendance. I was naturally surprised to learn after one day’s work that the main method of disciplining these “precious” workers was to lay them off for as much as a week at a time.l If you were one minute late in the morning, you were made to stand idle for one hour and be docked accordingly. If you forgot to tag in upon arrival at work or at lunch time, after three offenses you were laid off for a day.

“The women whom I met at the yard would stand for practically anything – five months without sleeping in a bed, a solid year on the graveyard shift so as to be home with the kids during the day, the double job,k indigestible lunches, long hours and no promise of a future after the war – all for miserably low wages. The longer I worked side by side with them, the more I admired their endurance – but the more I seethed to see them organized in a union that would help solve their problems. And the more I saw the necessity for really planned production, planned community service, labor-utilization inspectors, planned community service, labor-utilization inspectors, labor-management committees that function and are recognized, and a program to educate the workers about the issues of the war abroad and at home. I admired the patience of the women who stuck by their jobs, day after day, though it was obvious that their usefulness to the war effort was cut in half by the very working conditions which they endured.”

— Susan B. Anthony II, writing in The New Republic, May 1, 1944

I just came home from a visit to Half Price Books, where I scored a copy of “Reporting World War II Part Two: American Journalism 1944 – 1946,” an edition from The Library of America. One of my many dreams would be to line the walls of my house with shelves, and to stock those shelves of all the books published by The Library of America. Each sturdy, clothbound volume, clad in The Library’s trademark black dust jacket, seems to be just the right size to hold in one hand. The text of each page is set in a compact, clear font, and each volume comes with a ribbon sewn into the binding which you can use to mark your place. They are designed to be, and indeed are, classy books for a home library.

I’m especially happy to have found this particular volume because the people of my generation tend to glorify the second world war in a way that borders on indecency, and reading the work of Ernie Pyle, Bill Mauldin, Lee Miller, Edward R. Murrow, John Hersey and their like is such a bracing antidote to the most romantic notions floating around out there.

Which is not to say the men and women of “The Greatest Generation” didn’t do amazing things; they did. But I’ve never read a first-hand report that made them out to be any more than ordinary people who were doing what they were more or less forced to do until the war was over, which wouldn’t be soon enough, as far as they were concerned. Life during the war years was very hard; nobody thought it was all that glorious or romantic, and they said so.

I’m glad The Library of America put this volume together, and I’m going to look for Part One.

“The Greatest Generation” | 3:16 pm CST
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Saturday, August 27th, 2016

When B asked where I wanted to go to dinner for our anniversary, I suggested Lombardino’s first thing. We hadn’t been there in months, probably in more than a year. They haven’t changed a thing, thank goodness. There are still pinups of Bridget Bardot and Gina Lollabrigida in the men’s room (B says there’s a movie poster and a potted plant in the ladies’ room; doesn’t seem fair) and they still bring you such a big pile of pasta and sauce when you order the spaghetti bolognese that you have plenty left over for lunch the next day. I wasn’t even tempted to try to finish it, not after our traditional appetizer of calamari.

The Cinemateque has reopened for the season, and they’re showcasing the work of Brian De Palma, starting with Dressed To Kill, which we went to see last night. I left the theater wondering if it was a film that used to be good but hasn’t aged well, or if it has always been a bad film. I’m leaning toward “always been bad.” Renowned film critic Roger Ebert praised Dressed to Kill for being “Hitchkockian,” but B and I described it with terms such as “cheeseball,” “unintentionally funny” and “laughably bad.” I saw Body Double when it came out in theaters and I remember just enough of it to think that maybe Brian De Palma has this one cheesy movie inside him that he keeps making over and over that brought audiences to the theater because it was chock full of sex and gore.

Even so, B wants to go see more of the De Palma movies they’re playing through the rest of the season (except Mission: Impossible, which I’m not a fan of, either; nobody makes Jim Phelps out to be the bad guy and gets away with it!). I’m willing, but only because they’re going to screen Carrie, which I’ve never seen all the way through before, and The Untouchables, which I’ve seen two or three times and I’m looking forward to seeing again. They’re also going to screen a documentary that appears to be a one-on-one interview with De Palma, and I always go for those behind-the-scenes films.

B wanted to stop at the Robin Room before the movie, where they were serving cubanos by special arrangement with a guest chef. We discovered at the last minute that they didn’t start serving until seven o’clock, the same time the movie started, so we had to fall back and regroup. We ended up at Buraka, an African restaurant on Willy Street. It used to be a place that served Jamaican food when it was called Jolly Bob’s, but it got new owners this summer and a complete makeover.

I can’t recall the dishes we ordered because they had native names; mine was something like “darowot” and B’s was maybe “tippi.” Both were spicy dishes, mine with chicken and hers with shrimp. I didn’t think they very spicy at the time so I wasn’t too worried that I might have trouble sleeping, but by the time we were headed home from the movie I was singing a different tune and even stopped at a drug store for some Pepto Bismol I could chug before bed time. I like spicy food, but most of it doesn’t like me very much.

The Pepto worked, but I woke anyway to the roar of pouring rain. It let up after a while, just before the cats went berserker crazy and started running back and forth through the house. After they got that out of their systems and I started to drift off to sleep again, I snored loudly enough to jolt myself awake not once, but several times. It was not a restful night, and was made less so because my back ached and there was a shooting pain from my right hip down the outside of my thigh. I hate getting old.

jumble | 1:44 pm CST
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Thursday, June 30th, 2016

What was such a great big deal about The Revenant? I thought it was okay, but just okay. It really wasn’t that much different from any Clint Eastwood movie about the wild, wild west. Hard times. Mountain men. Betrayal. Death. Vengeance. Get me something with Lee Van Cleef and I’ll enjoy it a whole lot more.

I thought the bear attack looked great, but I honestly didn’t have the horrified visceral reaction that most people seemed to feel about that scene. Honestly, all I could think was, Wow, they made that look good. That looks really good. How did they do that without having an actual Grizzly bear maul Leonardo Cappucino? Because obviously they didn’t do that. And I knew it probably had something to do with cables and camera angles, but I knew that if I were to aspire to that level of technical photography, I would be dead of old age before I had it in the can. But I never once thought: Ouch. I’ll bet that hurt. Maybe I’m just a block of wood, as far as that’s concerned.

So three stars, just because it looked so good.

The Revenant | 7:56 pm CST
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Sunday, June 5th, 2016

I see that A Room Of One’s Own is for sale. It’s one of the few remaining independent bookstores in Madison, and I hope it finds a buyer because I would hate for Madison to lose another bookstore. I would buy it myself, except that I would have to rename it Go Away, I’m Reading, which I realize isn’t very inviting but I gotta be me. I would sit in an overstuffed chair in the corner, always reading a book but always happy to take your payment for the book you wanted, and to hand you change from the dented gray metal box on the end table beside the chair, but if you asked me a question I would have to answer, “Hang on, I gotta finish this chapter.” Or, if I knew that finishing the chapter wasn’t going to be enough, “Go away, I’m reading.” So I have a pretty good feeling that I wouldn’t be in the bookstore business very long. Still, it’s a pleasant enough fantasy.

Go Away | 10:19 am CST
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Monday, May 23rd, 2016

I quite like this one, too.

SHOWTIME! | 7:58 pm CST
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Sunday, May 22nd, 2016

I just can’t get enough of this video.

WORK! | 1:09 pm CST
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Saturday, April 23rd, 2016

“Valley of Love” followed Gerard Depardeau and Isabelle Huppert playing the divorced parents of a son they have recently learned has committed suicide. The day before, we had seen Isabelle Huppert in “Louder Than Bombs,” a movie where her character committed suicide. Although she’s a wonderful actor, I’m kinda apprehensive about seeing another Isabelle Huppert movie now.

Just before the son killed himself, he wrote a letter to each of his parents, beseeching them to visit one of several different tourist spots in Death Valley over a period of a week. If they did this, he promised that they would see him.

His mother seemed to believe in psychics and visitations from beyond. His father flat-out didn’t and plainly said so, but went along with it, apparently to make his mother happy.

The first two-thirds of the movie painted a sincerely honest and endearing portrait of the mother and father as they tried to come to terms with the death of their son. In the final third of the movie, however, it turned into kind of a stupid ghost story, and everything that came before was pretty much ruined. We were so disappointed coming out of this movie. Three out of four.

We had about an hour and a half to while away between “Valley of Love” and our next movie, “Under the Sun”, so B and I walked across the street to have a beer on the patio at the Great Dane. Among the other things we talked about (what a beautiful day, isn’t this beer delicious, etc), I made sure that I told B, “You know what? If I ever off myself — and I’m not thinking about it, just so you know — and I leave a note or a letter behind, please just burn that shit. Don’t read it to find out why I did it or to find out if I had any last dying wishes. Just toss it.”

I wasn’t kidding. Because there’s no explanation for a suicide, and it seems to me that anybody who wants one is probably looking for assurance that they weren’t the one that tipped him over the edge. It’s the only way the question, “Did he leave a note?” makes sense to me. If you didn’t know a person well enough in life to know why he decided to kill himself, a note’s not going to bring you up to speed. The only way it’s going to help is if it says, “It’s all on me, not on you or anybody else. I love you. Good-bye.”

Valley Of Love | 7:00 am CST
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Thursday, April 21st, 2016

“Sunset Song” was a period piece about the hard life of a young Scottish woman. That’s pretty much it. Looks great. Story’s well-written. Liked the acting. Gave it four out of five.

The documentary “In Transit” was interviews with several random people traveling cross-country on an Amtrak passenger train. Three out of five.

“Sergio Herman: Fucking Perfect” was a documentary about one of those chefs who owns several restaurants that are so popular you have to call years in advance to book a table. Going to one of them is not a meal, it’s an event, and the chef spends hours a day hunched over each and every dish, carefully arranging sprigs of rosemary around thinly-sliced beef. This guy is more into food than anything else, probably even more than his family, but his wife seems to be okay with that, until about midway through the film when chef announced that he would be closing one of his restaurants. In a brief clip, his wife says something like, This will be great, he’ll have time to spend with the children and help me around the house. My first thought was, Clearly you do not know this guy as well as you think you do. I’ve been watching him for barely and hour and I already know he’s not going to let up on the gas at all. And sure enough, in the scenes that follow he opens another restaurant in what looks like a great big church and as the film closes, he’s bustling around the kitchen. I’m not a foodie so I didn’t care much for this film, and gave it three out of five. B happens to be a foodie, but she thought it could have been better, and gave it the same.

“Operation Avalanche” was a found-footage comic documentary that followed two new recruits to the CIA who learn, pretty much by accident, that NASA won’t be able to figure out how to land on the moon until 1971 at the earliest, so they hatch a plan to fake the moon landing. I just know that some day footage from this film is going to be used in a moon-hoax conspiracy video. Four out of five.

WFF Final Day | 10:00 pm CST
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Wednesday, April 20th, 2016

We saw four movies today, all at Sundance on the west side of town:

“Valley of Love” followed Gerard Depardeau and Isabelle Huppert playing the divorced parents of a son they have recently learned has committed suicide. Writing a letter to each of them at the time of his death, he beseeched them to meet at several different tourist spots in Death Valley, where he promised that they would see him. His mother seems to believe in psychics and visitations from beyond. His father flat-out doesn’t, but goes along with it, apparently to make his mother happy. The first two-thirds of the movie paint a sincerely honest and endearing portrait of these two as they come to terms with the death of their son. In the final third of the movie turned it into a heavy-handed ghost story that all but ruined everything that came before. Three out of four.

“Under the Sun” was a startlingly revealing documentary about life in North Korea, filmed by a Russian crew that was invited to record a day in the life of a typical North Korean family. Footage that was obviously not meant to be used in the finished film, so that North Korean handlers are continually seen coaching the film’s subject on what to say and how to say it. Five out of five.

“Ingrid Bergman in Her Own Words” is just what it says on the tin. Archived films and photos illustrate passages from Bergman’s diary and letters to friends. Four out of five.

I don’t think I’ve seen a Roberto Rosellini film before, and if “Europe ’51” is exemplary of his work, I don’t think I’ll be seeing one again. Walked out after watching half of it and couldn’t bear any more. No stars.

WFF day seven | 10:00 pm CST
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Tuesday, April 19th, 2016

Only three movies today, our lightest day at the film fest all week:

“Best of the British Arrows” is always a crowd-pleaser. A collection of some of the best television advertisements from Europe, they usually lean toward humor, although it seems to me that nobody can make a more pointed public service announcement than the British.

I liked “Little Men” a lot. B thought it was so-so. A family moves to a Brooklyn apartment over a store. The family’s son becomes close friends with the store owner’s son, but the parents do not become friendly at all. Wonderful acting all around made this movie a treat to watch. Five out of five.

“Louder Than Bombs” was a drama that started with a birth, then spent the next two hours examining how the death of a mother affected her sons and her husband in ways that often contradicted their outward behavior. Five out of five.

WFF day six | 10:00 pm CST
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Monday, April 18th, 2016

No trouble getting to the movies today. We reviewed our schedule the night before and again this morning. Our first movie started at one, so we set an alarm to remind us to get out of the house by noon, and we actually left about ten minutes before noon. No panic today, no sir.

No panic | 10:22 pm CST
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“Nahid” was a whole lot of drama about a woman who was ripping off the kind, compassionate man who wanted to marry her so she could pay off the debts she was drowning in from trying to raise her brat of a son without any help from her douchebag ex-husband. Four out of five.

“My Love, Don’t Cross That River” was a tender tribute to a couple married seventy-some years. Four out of five.

“The Witness” was a documentary that followed Bill Genovese as he learned about the murder of his sister, Kitty Genovese, in 1964. The story went viral when the New York Times famously asserted that dozens of people witnessed the murder but did nothing to help. In Bill’s interviews with people who lived in the aparement building across the street, he learns otherwise. Four out of Five.

“The Mountain” was an unexpectedly gripping drama about a woman growing increasingly frustrated with her marriage to a husband who has no time for her and her life in a house that is virtually a tomb and literally part of the cemetary on the Mount of Olives. Five out of five.

WFF 2016 day five | 10:00 pm CST
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Sunday, April 17th, 2016

We almost didn’t make it to the first movie we wanted to see today. It started at noon, so the night before we agreed that we would leave the house no later than eleven o’clock. Fast-forward to the next morning and we were be-bopping around the kitchen, singing along with the soundtrack from the Broadway play “Hamilton,” our newest favorite musical ever.

After singing our way through acts one and two, I stepped into the shower to clean up. B took her shower a little while later. When she stepped into the shower, I noticed that it was already eleven o’clock, but I said to myself, Surely she knows what time it is and when the show starts, so I didn’t say anything. And she took a good, long shower, as she should be expected to do when she’s on vacation. But the longer she was in there, the more I asked myself, How are we going to the movie on time?

When she finally stepped out of the bathroom at eleven thirty, toweling her hair dry, I asked her, You know the movie starts at noon, right?

Right, she said.

Well, I said, looking at the clock, I don’t think we’re going to make it.

She stopped toweling her hair, looked at the clock, too, and said, Oh, shit.

But we decided to try anyway, packed up the car and hit the road, B’s hair still damp from the shower. Traffic on the Beltline was very light and we managed to pull into the parking ramp by the theater at about five past noon, hurried over to the theater and found that people were still waiting in line for the first movie, collect our tickets and got in line just minutes before they opened the doors. Even got some pretty good seats, although they were a little closer than we usually want to be.

How to almost miss a movie | 10:00 am CST
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“Rwanda & Juliet” is about a retired Dartmouth professor who travels to the trouble spots of the world to produce Shakespeare’s plays. In Rawanda, the young men and women are more than a little skeptical of his intention to reconcile Hutus and Tutsis through his production of “Romeo and Juliet.” Four out of Five.

“Sonita” is a documentary about a young woman from Afghanistan who fled to Iran to escape the Taliban, only to have her mother try to take her back because marrying her off would bring the family $9,000 that they need to pay for the marriage of another relative. But Sonita has spent her time in Iran learning music and earning awards. Her music video about child marriage wins her a scholarship to a school in the U.S. Five out of five.

“The Fear of 13” is ninety minutes of one guy sitting in front of a camera, spinning the story of how he entered the prison system, talked himself into a conviction for murder, compounded his conviction by escaping, then was exonerated for the murder through DNA examination of the murder. As compelling as this might sound, watching this guy talk for an hour and a half was never as interesting as the story might have been. Walked out, no stars.

“Viva” My Darling B said it best: “”Viva” wasn’t quite what I expected, and I’m glad for it. I expected a fun romp about a drag show newbie; what I got instead was a story about forgiveness, acceptance, and strength.” Four out of five

“Tickled” was without question the most interesting, and the weirdest documentary of the day. After a journalist in New Zealand stumbles across a video of “competitive endurance tickling” and writes to the organizer about his interest in producing a documentary, he begins to receive blatantly homophobic emails in reply that escalate into threats of legal action. As the journalist digs deeper, his investigation slowly pieces together a bizarre story of a guy with a tickling fetish, a mountain of money and a sociopathic need to control people. Five out of five

WFF 2016 day four | 7:00 am CST
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Saturday, April 16th, 2016

Mad About Madison: a collection of shorts made by people who are from or living in Madison, or about Madison itself, including:

“Intimate Nature” was four minutes of scenes from the Arboretum. The irony of sitting in a dark room on a beautiful day to watch a film about a walk through the Arboretum on a beautiful day was not lost on me.

“The Turkeys of Atwood Avenue” was a collection of Facebook posts (literally!) from a fan page devoted to watching a gaggle of turkeys (or whatever you call them) that roamed up and down Atwood Avenue in the Schenk-Atwood neighborhood of Madison. Was it inevitable that one day film makers would turn to Facebook for source material?

In “A Grand Walk … Paul’s Late”, a student at the UW wakes up late for class, runs his ass of to get there, sits down just as everyone in the class receives an email message announcing that the class has been canceled. Oops, spoilers.

“Lakeshore Preserve” looked like found footage shot for a news story about volunteers doing trail maintenance at a nature preserve.

I went in thinking I would not like “Nigga: A Monologue” but came away feeling that it deserves a lot more of my attention.

A nature photographer searches for the rusty-patched bumblebee in “A Ghost In The Making”, which sounds really, really boring, but I promise you it’s not.

Hundreds of nude and seminude bicyclists ride through Madison on World Naked Bicycle Ride Day, the subject of “Real … Live …”

“Continuum” is another film about a UW student who wakes up late for class and how that worked out pretty good for him. Will we soon see trash cans piled high with alarm clocks all over campus?

There is a Russian Folk Orchestra at the UW. “Russian Folk” is a four-minute short documenting a rehearsal. Worth watching just to see a balalaika as big as a dining room table.

“IMMO 240 Frames A Second” is just what it says on the tin: Iron Man Madison filmed at 240 frames per second, which slowed the action down to a snail’s pace. Watching it in slow-mo didn’t do anything for me. Take that back: an artifact of the high-speed recording process gave the playback a herky-jerky motion that irritated the hell out of me. Also, a lot of the film was shot in the low light of early morning and late evening, making it very hard for me to follow the action.

WFF 2016 day three | 10:00 am CST
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Friday, April 15th, 2016

My Darling B and I both took a week off from work so we could sit in dark, windowless rooms and watch movies all week long. It’s time again for the Wisconsin Film Fest. We veered slightly from tradition this year; I was sick with a nasty chest cold when the film guide was published last month, so we didn’t go straight to Roman Candle after work to pick out the films we wanted to see. I think we went the next day or maybe the day after that. Even then, we didn’t pick out all the films we wanted to see, or go through the long, complicated negotiations where we whittled them down to the twenty or thirty that we could fit into the schedule. Instead, we bought a pair of all-festival passes, same as we did last year. They’re pricy, but they’re a savings on the cost of individual tickets for the thirty-two films we wanted to see this year.

Thursday was the opening night of the festival with a reception in the lobby of the Barrymore Theater an hour and a half before the start of the first film, a comedy from New Zealand called “Hunt for the Wilderpeople.” Although the reception was very crowded, there were plenty of noshies, champagne and chocolate, with enough left over that My Darling B pocketed a few extra for later. The comedy was good; a little uneven, a little over the top at times, but genuinely fun. I gave it four out of five.

Friday was kind of a bust. After struggling to find a place to park on campus, we found out that the first film we wanted to see, “Louder Than Words,” had been canceled. With a couple of hours unexpectely dropped into our laps, we rented a couple of B-Bikes and pedaled up State Street to Capitol Square to eat a leisurely lunch at Graze before coasting back down State to the campus to see the rest of the movies on our Friday schedule:

“Phantom Boy” was an animated feature about a boy with an unspecified but serious disease who learned while he was in the hospital that he was able to leave his body and float around. He teams up with a police officer to catch the arch-criminal who is threatening the city. I thought it was worth four out of five, but B drowsed through much of it.

Two teenaged girls with way too much time on their hands stalk a middle-aged single father in “John From.” The synopsis in the film catalogue called this “a sensitive, infectious and dreamy ode to young love.” We thought it was creepy, more than a little boring, and gave it no stars because we walked out before the end.

“The Well” was just about the cheesiest film about race relations you could imagine. I’m sure it was considered gripping in 1951 when it came out, but the writing seems cliched and the acting looks stilted and wooden now, except for Harry Morgan, doing his best to get through the movie. I gave it four out of five, should have given it three.

“True Stories” was one of the quirky movies of the eighties that we considered cool back then, but are mostly cringeworthy now. Walked out after watching thirty minutes or so. No stars.

WFF 2016 day one and two | 10:00 am CST
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Saturday, March 5th, 2016

I used to read fiction almost exclusively. The only time I would read non-fiction was when someone made me, like for school. And even then, I blew off most of my assigned reading to read fiction.

I loved fiction, especially science fiction and fantasy. Those stories had what seemed like limitless possibilities. What would a society of intelligent bugs be like? A writer could take that idea and run in just about any direction with it: Would they get along with humans? If they didn’t, would humans win or lose a war with them? If they did, would humans have sexual congress with them? (Sooner or later, even the most far-out ideas come back to sex.)

And then, for reasons I never quite understood, a switch flipped in my brain about twenty or twenty-five years ago and I began reading non-fiction. Mostly biographies, or American history. I think it started when I wanted to know more about American history during the second world war. I knew a lot about bombs and planes, but almost nothing about why America made the bombs and planes. Turned out there was a lot to learn. I think I’ve read more about that period of American history than any other, and I still wouldn’t dare say I know much about it.

But maybe five years ago I made a conscious effort, every now and then, to pick up some fiction that came with the recommendation of a friend or a critic, and read at least the first fifty pages, just to see if there was still some magic in the pleasure of reading made-up stuff. It would be a pity to miss out on a new voice as engaging as some of my old favorites. And waddaya know, I did find fiction that still raised my eyebrows in surprise, that was fun to read.

Most recently, I started reading The Name of The Wind, by Patrick Rothfuss. An epic fantasy (660 pages! Run, Will Robinson!), it’s not the kind of book I would normally have tried to read for fun, and I say that as a guy who not only has all of Le Guin’s Earthsea books in hardback, but who takes them down from the shelf every couple of years and reads every page from beginning to end. I also say that as a guy who has started reading the epic tomes of Saberhagen and Martin, but could never get any further than the first fifty pages. Pure fantasy, with magic and swords, was never something I automatically loved the way, for instance, a story with a rocketship would.

So I was pleasantly surprised when I curled up on the sofa with The Name of The Wind one night and found myself immersed in a story that I didn’t emerge from until it was time to put on my jammies and turn in for the night. And even then I took the book with me, as it’s long been my custom to read a chapter or two in bed. It relaxes my neck, which lets my head sink into my pillow. Far from putting me to sleep, though, this is one of those books I have to read just one more chapter of, until I glance at the clock and warn myself that if I don’t stop, I won’t get enough sleep and I’ll be a grumpy cat in the morning.

I probably never would have looked for this book, or even heard of it, if I hadn’t gone on the JoCo Cruise. Rothfuss was there to read some of his work and to sit on a couple of panels to talk with the other authors who came along, and he was such a pleasure to listen to that I resolved to check out all his books from the library and try out every one of them, believing that surely at least one will appeal to me. Well, now I’m facing the daunting possibility that they will all appeal to me and I’ll soon have a whole shelf filled with them in hardcover. Oh well. There are worse compulsions.

The Name of The Wind | 9:56 am CST
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Saturday, December 19th, 2015

Spoiler Alert: I watched the ending of The Man In The High Castle last week, and it’s time to unload the various and sundry brain vomit that’s been building up inside me. And grump alert: I thought it could’ve been better.

In the last half-hour of the last episode, Frank wants to know what’s so damn important about these films that Jules is after, so they thread one into a conveniently handy projector (there’s always a projector around when they want to watch a film) and Frank sees himself being lined up with a bunch of Nazi resistance fighters and shot.

Up until this point, it hasn’t been clear whether the films are a record of a reality that had somehow crossed into the alternate timeline where Frank and Jules lived, or they are a propaganda stunt. If they were from another universe, cool. But for nine episodes there was no reason to believe they were anything but a fantasy spliced together in somebody’s garage for the hell of it. Why did we have to wait ten hours to learn that the films were somehow crossing over from our reality into Frank’s?

And what the hell is with Frank, anyway? His mind is blown when he seems himself shot in the film, but just a minute or so later he snaps back to being all mad and mopey about Jules and Joe. Dude! You just saw yourself in another universe! There’s no other plausible explanation! And you got shot! In! Another! UNIVERSE! Your girlfriend and her other boyfriend are not as big a deal as that!

And another thing: The resistance has been devoting practically all their time and effort to getting hold of these films. They don’t know why. They don’t even know what’s on the films. They just know they’re important, so they do everything they can to get them. The Nazi SS in New York is doing the same thing by planting a mole in the resistance to steal the films and pass them along to Hitler, who has a special interest in the films, we’re told. The resistance is getting the films for someone they know only as the man in the high castle, which turns out to be, Guess Who?

So if the resistance has already been maneuvered into getting the films and passing them along to Hitler, then why is the SS trying to take the films away from the resistance in order to give them to Hitler? Seems to me that the first item on the things to do list of the SS commander would be: Make sure nobody stops the resistance from getting those films to Hitler.

Maybe I shouldn’t be so hung up on the films. Maybe they were meant to be nothing more than a McGuffin, but it seems to me that the story doesn’t work that way. The films point the way to an alternate universe. That would make them, and every action related to them, very important. Where am I going wrong here?

film at eleven | 8:58 am CST
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Tuesday, December 8th, 2015

After everybody got up and got showered on Sunday, we all piled into the O-mobile to make the short trip to Lake Mills, where we visited the Tyranena brewery. Their tap room opens at noon and they encourage visitors to order take-out food from any of the local restaurants and bring it in to eat while drinking beer, so B and I covered the table with 5-ounce tasters and we phoned a local pizzeria and asked for a sixteen-inch with plenty of cheese and sausage.

The tap room has plenty of board games piled up along the window ledges. I picked out a word game that we played for ten or fifteen minutes. When I guessed it was about time to pick up the pizza, I took my leave and made the short drive into town. The pizzeria was on the town square about three minutes away; all I had to do was duck in, pay the ponytailed girl at the counter and duck out. I was back at the tap room in probably ten minutes. It was like I was never gone.

B was a little concerned about how we were going to eat the pizza without plates, but the bartender solved that problem by handing us a whole stack of paper plates and napkins. He even handed over a jar of cracked red pepper in case we wanted to spice up the pizza a little bit. Now that’s a bartender who knows how to keep his customers happy. We gobbled up all the pizza while we played the word game some more and sipped our beers, which kept us there until about two-thirty. Almost all of us dozed off on the twenty-minute drive back, so we broke up to find places to nap for an hour or so after returning.

Tyranena | 7:07 am CST
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Thursday, December 3rd, 2015

Our latest guilty pleasure has been watching The Man In The High Castle, a television series streaming on Amazon video that was released just two or three weeks ago, so we’re almost keeping up with what other people are watching. The premise of the story is a pretty straightforward what-if that has made lots of money for dozens of writers: What would America look like if the Axis powers had won the second world war? This show has some pretty good-looking visuals to answer that question. They’ve obviously devoted a lot of brainpower to giving the streets of occupied American cities look foreign and retro. Wish they had saved some of that ingenuity to translating the story to the screen as well.

I’m not sure what the story is, to be frank. We’ve watched five episodes and so far, about all I know is that there’s this guy everybody calls the man in the high castle and he’s got something to do with a film that’s a what-if story about what America might look like if the Axis powers had lost the war. Very meta, right? There’s also a resistance movement that doesn’t seem to be resisting very much. They appear to be spending most of their efforts on getting the film in bits and pieces to the man in the high castle. Beyond that, the show is mostly atmosphere and people speaking very elliptically in hushed tones. “If you knew what it cost me to get here.” “My mission must not fail.” And so on.

atmosphere | 6:04 am CST
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Saturday, November 28th, 2015

We binge-watched all thirteen episodes of Jessica Jones last week, if you consider it binge-watching when we only watched two shows on most nights. We started with three episodes on the Friday before last when the whole season was up for grabs on Netflix; I think that’s as many episodes of any series as we’ve ever watched in a single gulp. We finished it this last Friday morning. B wanted to finish on Thursday night, but I was burned out after two episodes and had to go to bed. For some reason, she waited for me, but insisted that we watch the final episode right away Friday morning. Which we did.

Jessica Jones is unlike any other television series built around a superhero. She’s really not much of a superhero, for a start. She can’t fly or shoot laser beams out of her eyes. She’s not bulletproof, and ordinary people can knock her out by bonking her over the head with a stick. All she’s got, at least in this series, is the ability to punch people really hard and jump really high. She doesn’t wear a costume; she mostly wears undershirts and the same old ratty pair of jeans. And she doesn’t have a superhero name. Her real name isn’t even all that unusual. She’s just Jessica Jones, a private detective who isn’t especially good at investigating things, even though everybody says she is. As far as I could tell, she found out what she wanted to know because everybody was after her all the time, and when they caught up with her, she punched them really hard until they answered her questions.

Which brings me to the second point of how unlike other “gritty” comic-book hero series this is: Instead of filming it mostly in the dark, or by throwing in lots of gory fight scenes, they made this one seem real through the simple expedient of making the characters pretty ordinary. Even Jessica’s arch-nemesis, a guy who can make people do what he wants by merely suggesting it to them, is the spoiled brat you would expect anybody with that kind of power to be. Not that it makes him any less threatening. His cat-and-mouse game with Jessica over the span of thirteen episodes kept me on the edge of my seat the whole time.

Daredevil was not quite as engaging as Jessica Jones. I started watching it several months ago when I was down with the flu, got through eight or nine episodes in three or four days, then stopped and didn’t pick it up again until this week after we finished Jessica Jones. The show seems to have a much slower pace and the villain isn’t nearly as vibrant or engaging. He’s meant to be the most canny businessman ever who just happens to have a penchant for occasionally beating people to death, so the few times you see him doing that, he’s truly awful, but most of the time you see him he’s in meetings with other evil villains, expounding in his drawn-out, reserved baritone voice how he’s going to make the city better. Yawn. I can’t imagine why they didn’t go with a much more immediately threatening villain like Bull’s Eye. There was a guy who could have kept Daredevil on his toes and made his justifications for becoming a vigilante sound more reasonable and less like rationalization. Not that I minded Daredevil questioning himself. If I had one little nit-pick about the hero, it would be that I had a really hard time believing he could take as much punishment as he did, and he took a lot of punishment: he was beaten, stabbed, shot, disemboweled and thrown off one building after another, and yet he still got up and walked away, slept it off and was back on the streets, beating up bad guys the next evening. Didn’t seem too plausible, given that healing fast wasn’t one of his super-powers. I’ve got one episode left, and I’m hoping the resolution will be as satisfying as the one they wrote for Jessica Jones.

boob tube | 11:26 am CST
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Monday, November 16th, 2015

There’s a certain kind of funny that doesn’t seem to register on my funnybone. Maybe I sprained it?

The other night I was listening to a podcast called Pop Culture Happy Hour. Three people were talking about how much they loved the television show Brooklyn 99. They thought it was one of the funniest shows on television today, funnier than Parks and Recreation, a show that, from what I’ve been able to tell, virtually every person on the planet believes is hilarious.

I’ve watched both, and I am here to confess that I have not so much as cracked a smile at either show. It kinda makes me feel like a grinch. These shows are not hyperpopular for no reason, but I just don’t get the funny, even though I can tell when the characters deliver what is clearly meant to be a joke. They even pause for audience reaction. It couldn’t be more obvious if there was a laugh track. But the jokes just don’t register on me. I don’t get it.

By coincidence, Brooklyn 99 was on TV the night I’d heard the podcast. It had been several months since I’d tried watching it, so I sat through the episode to the end, thinking that maybe this would be the episode that would flip the switch. Maybe that discussion I heard on the podcast gave me the insight I needed to properly experience this show. Maybe, but no. No funnies.

The weirdest example of funny shows that are not funny to me was the very excellent The Last Man On Earth. The first episode had me doubled over laughing until I was in tears. Those were the funniest twenty-two minutes of my life. Naturally, I wanted to binge-watch the whole series after that, so I went on to the next episode. It was … meh. Could’ve been a misfire, I thought, so I went on to the next episode, which was … okay.

How did that happen? How did they go from a first episode that was so funny I was struggling for breath every single minute to a series of episodes so meh that was struggling to find reasons to keep watching? After the fourth or fifth episode I couldn’t think of any, and stopped watching.

I’m not blaming television, or anybody else besides me. I’m completely okay with owning this. It’s clear to me that my sense of humor fossilized in the 1980s and can’t understand what young people these days think is so darned funny.

sprained | 7:00 am CST
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Sunday, November 1st, 2015

Well I hope you all had a good time at your various pagan celebrations last night, not that I think there’s anything wrong with pagan celebrations. I am, in fact, a supporter of almost any celebrations at all, particularly if drinks and noshies are on hand. And if it’s a party where you dress up in underpants and a cape, or as sexy garbage collector, I have been known to appear at those, too. Sorry, no, there aren’t any photos.

Our Little Red House was visited by sixty or seventy little superheroes and pixies last night, but nobody with bloody axes or knives sticking out of their heads. Thank goodness that particular costume has gone out of fashion in this neck of the woods. And thank goody-goodness they took all the Snickers snack-size candy bars and Reese’s Pieces and left us nothing but Twizzlers, which neither one of us will be tempted to eat today. Tomorrow we’ll take them to work and leave them in the break room, where they’ll disappear before the lunch hour.

pagan | 9:58 am CST
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Sunday, August 16th, 2015

Last night I finished reading The End Of All Things, the latest science-fiction novel from John Scalzi, and I have to say that I felt he overpromised and underdelivered by several orders of magnitude. All the things did not end. Not even close. There were, to be fair, a number of things that did end, but by far the vast majority of things did not end. In fact, I would have to say that, on a scale of “All Things,” the number of things that ended was statistically insignificant. So the title was a little misleading. Chalk it up to poetic license, I guess.

But other than that teensy-tiny little nitpick, I’d say it was a good read. The book is actually four novelettes (plus a bonus 25-page “deleted and alternate scenes” coda) set in the same storyline where Scalzi’s novel Old Man’s War first conjured up what has become known in the mind-bogglingly technical nomenclature of science fiction fandom as “The OMW Universe.” You don’t have to read Old Man’s War to get maximum enjoyment out of The End Of All Things. It works just fine as a stand-alone collection, but I’m going to give you fair warning that The End Of All Things may leave you with an overpowering compulsion to get your hands on a copy of Old Man’s War, and from there you’re gonna want The Ghost Brigades and oh geeze you’re in it for the long haul at that point because, damn, these books are fun to read.

In the OMW Universe, humans colonize far-flung planets with the help of the Colonial Union, a organization that does not have the motto “We come in peace” emblazoned anywhere on its great seal, or a prime directive of non-interference with aliens it discovers on the planets it means to colonize. The CU exists to shove the aliens aside and make sure they stay shoved. This policy results in some hard feelings between humans and non-humans, to say the least. Hard feelings lead to conflict, and if I recall anything useful at all from the English Lit classes I took thirty-some years ago, it is that conflict is the heart and soul of exciting drama.

Each novelette in The End Of All Things is about a hundred pages long, give or take ten or twenty pages, so you could treat this book as four yummy afternoon snacks, but if you got it into your head to binge-read the whole thing from cover to cover, you could probably gobble it up in a weekend. Scalzi’s previous OMW book, The Human Division, was a similar collection of novelettes, and also one hell of a fun read. Again, you don’t have to read The Human Division to know what’s going on in The End Of All Things but, again, you’ll probably want to afterwards. Just sayin’.

Scalzi’s been compared favorably to Heinlein for his storytelling abilities; I would say that’s about right if you’re comparing Scalzi’s work to Heinlein’s earlier adventure novels, like Tunnel In The Sky or The Puppet Masters, not so much if you’re into Heinlein’s later works. For what it’s worth, when I read Scalzi’s stories, I get a vibe that’s a lot like the one coming from my favorite Joe Haldeman books, like The Hemingway Hoax or The Forever War, but I also feel as though I can detect a witty harmonic wave that’s a lot like the one running through Douglas Adams’s Hitchhiker books. The characters in Scalzi’s stories talk like people I know and would be friends with; they take the time to intelligently think a situation all the way through, but they never take themselves so ridiculously seriously that I have to roll my eyes and moan, “Oh, come on, now.”

To sum up, an entertaining sci-fi adventure for a weekend, or to string out over several days, and don’t let the title put you off. All the things, relatively speaking, are pretty safe.

The End Of All Things | 5:19 pm CST
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Monday, June 15th, 2015

In a scene from an episode of True Detective that we were watching the other night, the characters played by Woody Harrelson and Matthew McConaughey passed a pint bottle of Jim Beam between them, each taking a generous swig at the end of each line of dialogue before passing it back.

This was not the first television show or movie where we’d seen people knock back the hard stuff like it was water. And no, I’m not stupid, I know it was water, like I know it’s a television show. But I have to wonder, are there people who really drink like this? Or even close to like this? If I drank like that, I would be unable to speak by the time we got to the fourth swig. I like a drinking buzz as much as most people, but one beer and I’m already there. There is no way on earth I can drink a half-pint of whiskey and keep on talking so it makes any kind of sense. I have my doubts that anybody can. Not only that, but in the show we watched the other night, Matthew McConaughey’s guy kept not only drinking but snorting coke and remained lucid. I’m pretty sure nobody can do that. But what the hell, it’s television.

booze | 6:46 pm CST
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Sunday, June 14th, 2015

After our weekly visit to the farmer’s market on Madison’s west side, My Darling B and I crossed the street to the Hilldale Mall where B had to shop for a dress to wear to a wedding. B hates shopping with the blazing white intensity of a thousand exploding suns, but the wedding is just two weeks away, so, even though there was still some time left to procrastinate, she decided it was time to get it over with. As luck would have it, she fell in love with the very first dress she found, but it’s fire-engine red and apparently there’s some rule about wearing a dress to a wedding that would upstage the bride. She put it on hold and kept shopping, eventually ending up with what she called “the granny dress,” a cream-colored, knee-length dress with lots of sparklies. B loves sparklies.

While she was trying on dresses, I wandered down the street a few blocks to a garage sale on Midvale Avenue that I spotted as we drove past. There wasn’t much that interested me, and the only thing I eventually bought was a book published by the Associated Press to commemorate the 1969 moon landing. Titled “Footprints On The Moon,” it was a coffee table book chock full of familiar photographs of the space race, starting as usual with Sputnik and ending with lots of lofty prose about how Neil & Buzz walking on the moon had ushered the world into a new era, yada yada yada.

When I picked up the book I had no intention of putting it down again. I’ll buy almost any book or commemorative nick-knack that came out of the space race. I’d never seen this book before and as I opened the cover I thought, Oh nice, something new for my collection, but I didn’t think it was anything extraordinary at first. Then the book fell open to the middle where the folded newspaper pages were tucked away. My heart sped up. It was the first four pages torn out of the Wisconsin State Journal dated July 21, 1969. “ON THE MOON!” the headline on the front page blared in block capital letters over a full-color photo of Armstrong and Aldrin in a training scenario, using tongs to pick up rocks in their space suits. An inside page ran a snapshot of the video feed from the moon, unfocused and about as black-and-white as any photograph could be. If you didn’t know what you were looking at, you might not realize what was going on.

I tucked the pages back in the book and carried it reverently to the front of the garage where a quartet of old friends were bantering with some customers about one of the items for sale. When one of them turned to me and offered to help, I handed over the book, which he opened to the inside cover to read the price: two dollars. “Footprints on the moon,” he said conversationally, flipping through the first couple pages before it fell open to the middle where he found the newspaper pages. I was sure when he saw those that he would either take them out because they weren’t part of the book, or at least charge me for them separately. He barely looked at them before he snapped the book closed. I held my breath. “Two dollars, please,” he said. I dug two singles from my wallet and handed them over; he thanked me, and I walked away with a tiny piece of history.

Shopping for dresses took a lot out of B, so we headed straight home where she planned to spend time in her garden to decompress. It had been raining for the past two days so the ground was probably too wet for her to plant anything. Even so, she figured she could at least pull weeds, but when we got home she wasn’t up for that any more. “A new bar opened in town with fifty-zillion taps,” she informed me, and she wanted to go there to see what that was about.

The bar was Mr. Brews Taphouse, a Wisconsin chain of bars that specializes in craft beers and features loads of local brews as well as national craft beers. I don’t know how many taps there were; it was too way many for me to bother counting them. We settled in at a hightop table next to the beer menu chalked on the wall, where I studied the options long and hard. I spotted a specialty brew called Sixty-One from Dogfish Head that a friend had raved about; I wish I could say it was as good as the hype, but I couldn’t be bothered to finish it. B ordered a delicious barrel-aged porter called Barrel Aged Brrrbon with Vanilla from Widmer Brothers Brewing in Portland OR. She let me taste it, then she let me taste it again, and then I tasted it some more. Eventually she just said to hell with tasting and we called it sharing.

After the first draughts were out of the way, we ordered a flight of four beers: Dynamo Copper Lager from Metropolitan Brewing in Chicago; Bean Me Up Scotchy from St. Francis Brewing in St. Francis WI; Shake Chocolate Porter from Boulder Beer Company in Boulder CO; and Quinannan Falls Lager from Bell’s Brewery in Kalamazoo MI.

We’ve been to Chicago on our own, but we have to go back soon on a proper beer tour because there’s some really good brews coming out of there. If Dynamo’s any indication, I could probably spend all day in the taproom of Metropolitan Brewing, sampling their beers.

St. Francis is just north of Milwaukee and we’ve enjoyed their beer before. Bean Me Up Scotchy is a barrel-aged version of their scotch ale, known as Pride, and I would guess they’ve added vanilla beans to the recipe to boot. Very smooth, and yummy enough to make me want more.

I don’t remember drinking any brews from Boulder Beer before, so that’s something I’m working on correcting, starting with this excellent porter.

Bell’s has been one of my favorite breweries ever since I tried Two-Hearted Ale, a very hoppy beer. I’m not so much into hoppy beers any more, but fortunately Bell’s has produced plenty of other styles that are ever so tasty, and this lager, I’m happy to report, is no exception. Plus, it comes from Kalamazoo, which gives me an opportunity to say Kalamazoo. I love to say Kalamazoo. Who doesn’t love saying Kalamazoo? Boring people, that’s who.

I can’t remember whether or not we visited Widmer Brothers when we were in Portland. Looking photos of the place and where it is on the map, I’m pretty sure we didn’t. If we didn’t, we were stupid. It looks like a pretty great place to visit. Plus, the vanilla porter we sampled was scrumptuous. Getting some right from the source would’ve been a treat.

Our sufficiencies well and truly serensified, we retired back to Our Little Red House to pass the rest of a quiet afternoon reading and napping until supper time. And that is a satisfying way to pass a Saturday afternoon.

walking on the moon | 9:04 am CST
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Monday, May 4th, 2015

It was the first weekend of Madison Craft Beer Week, so brace yourself! This is going to be mostly about beer.

Both B and I had some flex time to burn on Friday, so we got out of work a couple hours early, drove straight home and had a nice nap for an hour or so. Hey, we’re middle-aged. It seemed like a great idea to us.

After getting a really good, restful nap, we changed clothes and went to The Malt House, where the Central Waters Brewery was doing a tap takeover, pouring I don’t know how many different beers – looked like at least a dozen. We got a flight of their darkest, maltiest high-gravity beers: an imperial cherry stout, a coffee stout known as Peruvian Morning, and their anniversary ale, 17. We grabbed a couple of chairs and settled in on the patio where we could enjoy sipping them in the evening light.

And sipping was about all we could do with these very strong brews. These are beers to be savored, not guzzled. We both thought that 17 was the very best. I had to give it 5 out of five marks. I can’t remember the last time I did that, but this was such a yummy beer that I just had to. I thought the cherry stout was a bit too tart, but B liked it fine. The coffee stout had just enough coffee aroma to make it as close to perfect as coffee stout gets, if I may say so.

After enjoying the beers on offer at The Malt House, we strolled down to Dexter’s Pub because we heard there was a tap takeover there, too. We sampled a few chocolate stouts from Southern Tier Brewing and a porter from Great Lakes before the noise and the crowds were too much for us and we began to miss the peace and quiet of our little red house.

Saturday we went to breakfast at Lazy Jane’s. Biscuits and gravy, baby!

At eleven, they had the official Madison Craft Beer Week kickoff party at the East Side Club with a collection of brewers and their firkins in a tent in the parking lot. Last year, the party was out back on the lawn, but a wedding party had taken over on Saturday. Too bad. Would’ve been a perfect day to be out on the lawn.

No biggie. We found a seat in a small garden by the door and took turns getting refills so we wouldn’t lose it. This was a classic beer tasting: They gave us four-ounce tumblers at the gate that we could get refilled as many times as we liked. I tried one of each of the beers on tap, even the sour beers that are all the rage now. I don’t like them, no matter how often I try them. They’re all just a little too tart for my palate, or I’ve got a faulty palate.

Tim swung by the fest at three to pick us up and take us home, where we grilled bratwurst and watched a movie after dinner. The movie was Locke. The whole movie was Tom Hardy in a car calling people on the phone. It was not boring, but I’m not sure what it was. Maybe more about that later.

Sunday, out of bed at five. B had a quick shower, but I’m not as civilized, so I just threw on some dirty clothes. Besides, I knew we were going to be standing in line outside all morning, waiting to buy tickets for the Great Taste of the Midwest; who would be able to get a whiff of me? Nobody that I knew, that’s who.

There were 300 tickets available. Each person in line could buy two. At eight thirty, they started passing out wrist bands numbered one to one-fifty. I got number 148. B got 149. Just before they handed out the last numbered band to the guy behind us, he took a deep breath and said, “I think I’m about to cry.”

Once you have your numbered wrist band, you can step out of line and come back at eleven thirty to buy tickets. B and I went to breakfast at Stalzy’s. Probably didn’t need to, because we’d both just eaten the Lazy Jane’s scones we bought the day before, but it’s a tradition, born just last year, that we stop in for breakfast sammies after they hand out the numbers, so off we went.

After breakfast, we still had enough time to go home, where My Darling B had a nap. My tummy was too full, so I mowed the lawn. There, now I won’t have to think about it for a week!

Back in line at eleven-thirty; everybody started to bunch up at about eleven-fifty; ticket sales started at twelve and we got our tickets at twelve forty-five. Home again, home again, jiggidy-jog.

The last beer event for the weekend was the benefit for the pet rescue at One Barrel Brewing. Because nothing motivates people to save the doggies like beer. Well, nothing motivates me like beer, anyway.

Madison Craft Beer Week | 9:26 pm CST
Category: beer, entertainment, festivals, food & drink, Madison Craft Beer Week, play
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Friday, April 17th, 2015

My Darling B snorted at me when I ventured the opinion that Where The Sidewalk Ends was a pretty good movie. She thought it was “too corny.”

“It wasn’t any cornier than Casablanca,” I replied.

“Hey hey hey, don’t be dissing on Casablanca,” she warned me, wagging a finger.

“I’m not dissing,” I said, “but c’mon. You don’t think Sydney Greenstreet was every bit as corny in Casablanca as Dana Andrews was in Sidewalk?” But she wouldn’t bite. I’d already gone where I shouldn’t have.

Where The Sidewalk Ends | 3:07 pm CST
Category: entertainment, festivals, movies, play, Wisc Film Fest | Tags:
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