When people find out I play the drums, one of their most common follow-up questions is:
"Do you love Neil Peart?"
Neil Peart is the drummer for the Canadian classic rock band Rush, and on the short list of "drummers casual music fans know by name." The reason he's known is because of his legendary multi-piece drum kits and the elaborate drum solos he plays on them.
My answer is no, I don't love Neil Peart.
This is nothing against Neil. I'm sure he's a great guy. And frankly, the idea of me criticizing a drummer of Peart's stature is like a four-year-old with a set of Legos griping about Frank Lloyd Wright's architecture style. Rush is an internationally beloved rock trio; Thunderlips (my band) is beloved by a few dozen kids at a local charter school.
The Peart question presumes I automatically favor music that features dynamic drumming. This is not true. I may play the drums, but my appreciation of music began many years before a heavy-set Elvis impersonator taught me to use the sticks. Just because a drummer has a high skill set doesn't mean I like him or his band. With all due respect, I'm not a huge Rush fan; Geddy Lee's voice really bugs me (like the vocals of most late '70s bands, if I'm being fair), and though Peart's drumming abilities are tremendous, they aren't really "my style."
But like I said...Legos, right?
Now if we're going to talk about my favorite drummers, we've got to talk about Keith Moon. John Bonham. Animal. And not just old classic rock guys. I love Steve Gorman's work with the Black Crowes, and watching Darren King play with Mutemath last year was both inspiring and devastatingly depressing.
In all his years with The Who, Keith Moon sounded like a guy fighting the simultaneous effects of alcohol and speed, falling all over his kit with a chaotic abandon that somehow managed to keep time even though it sounded like he was just playing one continuous fill. Plus he was crazy. His is the most distinctive drumming style I've ever encountered, and I wouldn't even bother trying to emulate it. I'll never be as good as Led Zeppelin's John Bonham (as much for a lack of practice as a lack of talent), but his Hammer of the Gods style is at least fundamentally recognizable enough to aspire to.
I actually became a fan of Gorman's work while listening to his interpretations of Zeppelin songs during a tour the Crowes did with Jimmy Page, but that appreciation spilled over into the Crowes' original work, too. King introduced himself to the Salt Lake audience two Valentine's Days ago by walking out on stage and duct taping a pair of headphones to his skull. I thought this was a little weird, but after watching him thrash around his kit for 90 minutes, I can understand the reason why. His style echoes the barely-controlled chaos of Moon, but with a more down-to-earth kind of rhythm (meaning I can vaguely follow what he is doing).
Even if he's not my favorite drummer in terms of playing style, the coolest drummer of all time would have to be Charlie Watts of the Rolling Stones. Not only has Watts been faithful to his wife throughout his decades of touring with The World's Greatest Philandering Rock and Roll Band, but every story I read about him suggests he doesn't even want to be a rock drummer. He's a jazz nut.
My favorite Charlie Watts story goes like this: one night after a show Mick Jagger was partying somewhere in the band's hotel, and in a drunken stupor he called Charlie's room, where the drummer was trying to sleep, demanding, "where's my (expletive) drummer?" Watts got out of bed, stormed into Mick's room and either punched him, grabbed him by the neck, or beheaded him (I can't quite remember for sure...but this version seems kind of watered down), and hissed, "I'm not your (expletive) drummer...you're MY (expletive) singer!"
I don't know...maybe if I heard a similar story about Neil Peart, I might like him more.
Sunday, July 28, 2013
Sunday, July 21, 2013
The Enigma of Facebook Friendship
Confession #284: It bothers me when someone drops me as a friend on Facebook.
Every once in a while I'll notice I haven't seen any recent updates from someone on my Facebook wall, and when I look up their profile, I'll see that the little magic box that used to say "friends" is now labeled "Add as friend." Then I immediately decide that person is a jerk.
Saying this may seem silly, since Facebook "friendships" are so insignificant that they've almost managed to render the term meaningless. But that is exactly why it bothers me. I have plenty of friends who were a lot more important to me in years past, and I understand when those relationships become thin. But a Facebook connection is about as tenuous and low-maintenance as you can get, and when someone goes out of their way to sever that...well, I struggle to not take it personally. Like most people, I've encountered all sorts of social and professional rejection in my life, but a Facebook rejection seems all the more insulting for how penile it is.
Part of the reason this bothers me is because I maintain my Facebook network for professional reasons as well as social reasons. There are plenty of people I'm "friends" with who I haven't spoken or interacted with in several years. It might be tempting to delete them, but you never know when someone might approach me for a photography job, so I keep that avenue open. Every once in a while someone will contact me out of the blue and tell me that they look at my photography online all the time, even though they never "like" or comment on anything. So I keep the connection. After all, it's not costing me anything. And isn't the whole value of Facebook the very fact that it enables you to connect with people you don't plan to interact with every day?
My guess is that a lot of people do "cleanings" because they don't want low-priority friends to be privy to their personal lives, which makes sense until you ask why people are posting information about their personal lives online in the first place. Do you really trust Facebook or some other social website to keep your information private? Do you think it's wise to go online every thirty seconds and expose intimate details of your personal tragedies that can only backfire in miserable fashion?
I think a lot of other friendship deletions come because someone got tired of someone else posting dumb crap all the time. Just because I'm friends with someone doesn't mean I want my news feed clogged up with their seventeen daily political rants or too-personal gushings about their insignificant other. But I don't have to delete them to solve this problem; all I have to do is click the little link at the upper right of their dumb post and "unsubscribe" from them. Problem solved.
About the only friend deletions I've been able to stomach have been the ones where I dated someone and she or I moved on. If I make a Facebook connection for dating reasons and things don't work out, I'm OK if that person deletes me. But when a guy I've known since the age of five deletes me because we haven't hung out in a few years, that just seems lame.
Several months ago I was at a party talking to a friend when a Facebook "ex" of mine attempted to join our conversation. She didn't know my friend, so she either wanted me to introduce her or she just felt awkward because she didn't know anyone else at the party. Either way, all I could think of during the whole stilted conversation was, "why are you bothering me? You made a conscious decision to cut me off from your virtual network of friends. Beat it, butt-munch!"
I don't know if that says more about me or about how central Facebook and social media has become to our daily interaction. But if I'm not good enough to be your virtual friend, feel free to eat my virtual shorts.
Every once in a while I'll notice I haven't seen any recent updates from someone on my Facebook wall, and when I look up their profile, I'll see that the little magic box that used to say "friends" is now labeled "Add as friend." Then I immediately decide that person is a jerk.
Saying this may seem silly, since Facebook "friendships" are so insignificant that they've almost managed to render the term meaningless. But that is exactly why it bothers me. I have plenty of friends who were a lot more important to me in years past, and I understand when those relationships become thin. But a Facebook connection is about as tenuous and low-maintenance as you can get, and when someone goes out of their way to sever that...well, I struggle to not take it personally. Like most people, I've encountered all sorts of social and professional rejection in my life, but a Facebook rejection seems all the more insulting for how penile it is.
Part of the reason this bothers me is because I maintain my Facebook network for professional reasons as well as social reasons. There are plenty of people I'm "friends" with who I haven't spoken or interacted with in several years. It might be tempting to delete them, but you never know when someone might approach me for a photography job, so I keep that avenue open. Every once in a while someone will contact me out of the blue and tell me that they look at my photography online all the time, even though they never "like" or comment on anything. So I keep the connection. After all, it's not costing me anything. And isn't the whole value of Facebook the very fact that it enables you to connect with people you don't plan to interact with every day?
My guess is that a lot of people do "cleanings" because they don't want low-priority friends to be privy to their personal lives, which makes sense until you ask why people are posting information about their personal lives online in the first place. Do you really trust Facebook or some other social website to keep your information private? Do you think it's wise to go online every thirty seconds and expose intimate details of your personal tragedies that can only backfire in miserable fashion?
I think a lot of other friendship deletions come because someone got tired of someone else posting dumb crap all the time. Just because I'm friends with someone doesn't mean I want my news feed clogged up with their seventeen daily political rants or too-personal gushings about their insignificant other. But I don't have to delete them to solve this problem; all I have to do is click the little link at the upper right of their dumb post and "unsubscribe" from them. Problem solved.
About the only friend deletions I've been able to stomach have been the ones where I dated someone and she or I moved on. If I make a Facebook connection for dating reasons and things don't work out, I'm OK if that person deletes me. But when a guy I've known since the age of five deletes me because we haven't hung out in a few years, that just seems lame.
Several months ago I was at a party talking to a friend when a Facebook "ex" of mine attempted to join our conversation. She didn't know my friend, so she either wanted me to introduce her or she just felt awkward because she didn't know anyone else at the party. Either way, all I could think of during the whole stilted conversation was, "why are you bothering me? You made a conscious decision to cut me off from your virtual network of friends. Beat it, butt-munch!"
I don't know if that says more about me or about how central Facebook and social media has become to our daily interaction. But if I'm not good enough to be your virtual friend, feel free to eat my virtual shorts.
Sunday, July 14, 2013
The Perks of (Not) Being a Hipster
There is a beautiful moment near the beginning of "The Perks of Being a Wallflower" where three teenagers are driving a pickup truck through a tunnel. The girl, played by Emma Watson, is standing up in the truck bed with her arms stretched out to the sky, sucking in life and all of its wonders while David Bowie's "Heroes" blasts from the stereo. None of the kids can identify the song, though, and that's what made me want to love and hate the film at the same time.
I spent the first hour of "The Perks of Being a Wallflower" trying to decide whether to finish it. I wasn't wrestling with this decision because it was a bad movie. The problem was a little more complex: I struggle to watch movies about contemporary teens who treat the '80s with the same kind of nostalgia I used to treat the '60s with when I was a teenager, because they make me feel old and alienated. Hipsters love all my old crap, and sometimes it drives me crazy.
This is just one reason I hated "Pitch Perfect," but that's a discussion for another time.
"The Perks of Being a Wallflower" tells the story of a loner high school freshman named Charlie who is socially adopted into a tight group of senior misfits. Charlie is wise beyond his years, aspires to write, and has some inner demons that come into play later in the film. He also has great taste in music and a habit of putting together mix tapes that instantly endears him to his new friends.
This leads to the second reason I struggled with the film: I couldn't watch it without imagining what my high school experience would have been like if I'd been taken in by a group of kids three years older than me, gotten a crush on the one who looked like Emma Watson, and had that crush reciprocated. One of the most transcendent dating experiences I had as a teen was to ask out a girl a year older than me and have her accept with enthusiasm. Tripling that gap would have made my brain explode.
But about two-thirds of the way through the film, something weird happened. It dawned on me that none of the characters were using cell phones, or even using computers. I had assumed that the kids' affection for cassette tapes and buying each other actual typewriters as gifts was some kind of hipster thing, but slowly I got the feeling I might be wrong. I remembered that the film was based on a book, so I pulled out my smart phone (cue irony) and did a quick search.
"The Perks of Being a Wallflower" is about a group of high school students in the early '90s. It's not about contemporary hipster teenagers. It's about ME.
At that point, my mind collapsed in on itself, and I went from relating to a film I assumed was about somebody else to embracing a film that was supposed to be about me...a member of that narrow window of kids who were too young to be in Generation X and too old to be considered Millenials. Suddenly, mix tapes on cassette were just mix tapes on cassette, and hearing cool Bowie tunes and not knowing their names was innocent. Suddenly I wasn't rolling my eyes at today's teens...the teens of the 1970's were rolling their eyes at me.
I didn't relate to everything of course...I never dropped acid or ate marijuana brownies at parties in high school, at least in part because I never went to parties. And even though I remember thinking that "Rocky Horror Picture Show" was cool, I never actually went and saw it, let alone joined a cast of cross-dressers to act it out at a local theater. Nevertheless, "The Perks of Being a Wallflower" speaks for high school me the way "Liberal Arts" speaks for me today.
And I still hate "Pitch Perfect."
But that's a discussion for another time.
I spent the first hour of "The Perks of Being a Wallflower" trying to decide whether to finish it. I wasn't wrestling with this decision because it was a bad movie. The problem was a little more complex: I struggle to watch movies about contemporary teens who treat the '80s with the same kind of nostalgia I used to treat the '60s with when I was a teenager, because they make me feel old and alienated. Hipsters love all my old crap, and sometimes it drives me crazy.
This is just one reason I hated "Pitch Perfect," but that's a discussion for another time.
"The Perks of Being a Wallflower" tells the story of a loner high school freshman named Charlie who is socially adopted into a tight group of senior misfits. Charlie is wise beyond his years, aspires to write, and has some inner demons that come into play later in the film. He also has great taste in music and a habit of putting together mix tapes that instantly endears him to his new friends.
This leads to the second reason I struggled with the film: I couldn't watch it without imagining what my high school experience would have been like if I'd been taken in by a group of kids three years older than me, gotten a crush on the one who looked like Emma Watson, and had that crush reciprocated. One of the most transcendent dating experiences I had as a teen was to ask out a girl a year older than me and have her accept with enthusiasm. Tripling that gap would have made my brain explode.
But about two-thirds of the way through the film, something weird happened. It dawned on me that none of the characters were using cell phones, or even using computers. I had assumed that the kids' affection for cassette tapes and buying each other actual typewriters as gifts was some kind of hipster thing, but slowly I got the feeling I might be wrong. I remembered that the film was based on a book, so I pulled out my smart phone (cue irony) and did a quick search.
"The Perks of Being a Wallflower" is about a group of high school students in the early '90s. It's not about contemporary hipster teenagers. It's about ME.
At that point, my mind collapsed in on itself, and I went from relating to a film I assumed was about somebody else to embracing a film that was supposed to be about me...a member of that narrow window of kids who were too young to be in Generation X and too old to be considered Millenials. Suddenly, mix tapes on cassette were just mix tapes on cassette, and hearing cool Bowie tunes and not knowing their names was innocent. Suddenly I wasn't rolling my eyes at today's teens...the teens of the 1970's were rolling their eyes at me.
I didn't relate to everything of course...I never dropped acid or ate marijuana brownies at parties in high school, at least in part because I never went to parties. And even though I remember thinking that "Rocky Horror Picture Show" was cool, I never actually went and saw it, let alone joined a cast of cross-dressers to act it out at a local theater. Nevertheless, "The Perks of Being a Wallflower" speaks for high school me the way "Liberal Arts" speaks for me today.
And I still hate "Pitch Perfect."
But that's a discussion for another time.
Sunday, July 07, 2013
"Liberal Arts" Hits Close to Home
I never reviewed the film "Liberal Arts" for the Deseret News, and it's probably a good thing I didn't, since I don't see how I could put together an unbiased review for a film that hit so close to home. I can't think of a movie protagonist who has mirrored my own place in life as much as Josh Radnor's Jesse.
Jesse works in the admissions office of a prominent New York City college, and seems to be making the best of his mid-30s, even if he gets his laundry stolen once in a while. One day this existence is interrupted when he is called back to his Ohio alma mater to toast the retirement of his mentor after 37 years in the English department. Jesse's return to campus thrills him, injecting him with a passion and enthusiasm that seems to spring from ancient brick buildings and wide expanses of green grass and trees.
This enthusiasm is bolstered when Jesse is introduced to Libby (Elizabeth Olson), a 19-year-old freshman who is somehow connected to his mentor (a colleague's daughter, if I remember right). Like Jesse before her, Libby is an English major, passionate about books and words and poetry, and her wide-eyed innocence is endearing to her new nostalgia-drunk friend.
After the quick weekend visit, Jesse and Libby become pen pals (using real hand-written letters and everything), and they quickly develop a connection. Libby is wise beyond her years, and the driving force behind their relationship. Jesse is hesitant, but his heart gets the best of him. Besides, some quick math reveals that their age difference won't be that big a deal when he's in his '80s.
Their connection is genuine. Their friendship is genuine. But regardless of how things will look in 50 years, the present is a stumbling block. Even if the cosmos seems to be pushing them together (in the form of a mystical campus hippie played by Zac Efron, no less), somehow the pieces aren't connecting. It may have something to do with Libby's roommate and her annoying habit of showing up whenever Jesse visits the dorm.
While Jesse can't seem to decide whether the hippie is real, there is no doubt about his mentor, who is struggling to let go as much as Jesse is. He is another example of life's big secret: no one really feels like an adult. We all feel 19. Only mirrors tell us otherwise.
"Liberal Arts" isn't about English majors, and it isn't about age-appropriate relationships. It's about coming to those places in life where you don't feel the way you expected to feel, and the efforts we all make to return to or hold on to the things we wish we appreciated more the first time. Mostly it's about letting go and embracing the idea of getting older.
It was remarkable to watch Jesse wrestle with the same kinds of awkward questions and even more awkward social situations as I have in the last several years. I'd like to think it's easier to feel like an honest-to-goodness adult when you settle down with a mortgage and a wife and a family, but I'm sure my married friends have the same feelings. I know because they've told me as much. All I can say is that as a single Mormon guy in his '30s, adulthood has become a very abstract concept. And in that sense, "Liberal Arts" is batting a 10 for 10 on relatability.
It's very possible that "Liberal Arts" is not a great movie, and it's even more possible that most of the people I know won't relate to it or enjoy it at all. But I enjoyed it immensely. If nothing else, you have to love a film that above all, asks one penetrating question: "Does Zac Efron really exist?"
Jesse works in the admissions office of a prominent New York City college, and seems to be making the best of his mid-30s, even if he gets his laundry stolen once in a while. One day this existence is interrupted when he is called back to his Ohio alma mater to toast the retirement of his mentor after 37 years in the English department. Jesse's return to campus thrills him, injecting him with a passion and enthusiasm that seems to spring from ancient brick buildings and wide expanses of green grass and trees.
This enthusiasm is bolstered when Jesse is introduced to Libby (Elizabeth Olson), a 19-year-old freshman who is somehow connected to his mentor (a colleague's daughter, if I remember right). Like Jesse before her, Libby is an English major, passionate about books and words and poetry, and her wide-eyed innocence is endearing to her new nostalgia-drunk friend.
After the quick weekend visit, Jesse and Libby become pen pals (using real hand-written letters and everything), and they quickly develop a connection. Libby is wise beyond her years, and the driving force behind their relationship. Jesse is hesitant, but his heart gets the best of him. Besides, some quick math reveals that their age difference won't be that big a deal when he's in his '80s.
Their connection is genuine. Their friendship is genuine. But regardless of how things will look in 50 years, the present is a stumbling block. Even if the cosmos seems to be pushing them together (in the form of a mystical campus hippie played by Zac Efron, no less), somehow the pieces aren't connecting. It may have something to do with Libby's roommate and her annoying habit of showing up whenever Jesse visits the dorm.
While Jesse can't seem to decide whether the hippie is real, there is no doubt about his mentor, who is struggling to let go as much as Jesse is. He is another example of life's big secret: no one really feels like an adult. We all feel 19. Only mirrors tell us otherwise.
"Liberal Arts" isn't about English majors, and it isn't about age-appropriate relationships. It's about coming to those places in life where you don't feel the way you expected to feel, and the efforts we all make to return to or hold on to the things we wish we appreciated more the first time. Mostly it's about letting go and embracing the idea of getting older.
It was remarkable to watch Jesse wrestle with the same kinds of awkward questions and even more awkward social situations as I have in the last several years. I'd like to think it's easier to feel like an honest-to-goodness adult when you settle down with a mortgage and a wife and a family, but I'm sure my married friends have the same feelings. I know because they've told me as much. All I can say is that as a single Mormon guy in his '30s, adulthood has become a very abstract concept. And in that sense, "Liberal Arts" is batting a 10 for 10 on relatability.
It's very possible that "Liberal Arts" is not a great movie, and it's even more possible that most of the people I know won't relate to it or enjoy it at all. But I enjoyed it immensely. If nothing else, you have to love a film that above all, asks one penetrating question: "Does Zac Efron really exist?"
Sunday, June 30, 2013
Quick Hits at the Halfway Mark
As of today we are halfway through 2013, and with this post, I am halfway to my goal of posting once a week throughout 2013. Given the sentiment of my friend's post outlining the decline of the Blog Era, it may not be the most critical of goals, but it has been good for keeping my writing skills in practice. Anyway, in spite of my frequent posting, I still haven't written about a handful of significant events from the past six months. Given the tag line of this blog, that's kind of strange. So here are a few quick updates in summary:
Working on KJZZ Movie Show
Back in January, on the heels of attending my first Sundance Film Festival (an event I did blog about), I started making weekly appearances on the opening segment of the KJZZ Movie Show. It has been a lot of fun working with my old KJZZ Cafe boss Dean again, as well as getting to know my co-stars(?) Steve and Melanie. Whereas before I was screening maybe one movie a month or so, I'm now seeing at least 1-2 a week, and am starting to recognize the other critics at press screenings. Here's a lovely picture of Dean trying to buff the highly-reflective gleam off the top of my head before a recent taping:
Uncle 2.0
The family got the official word back in December, but it wasn't until spring that my sister went public with the news that I would be getting a second niece in August of this year. Uncle 1.0 has been a blast...I can only imagine that Uncle 2.0 is going to become even better. (Incidentally, a heartfelt post on the joys of being an uncle is one of those unfinished projects I mentioned a few months back. By the time I actually get it posted, my niece will probably be a college graduate.)
Signed up for Netflix
Thanks to a one-month free trial and the lure of 15 brand-new episodes of "Arrested Development," I finally caved in and picked up a subscription to Netflix. In the time since, I've also made my way through series like "Undeclared" (the short-lived follow-up to "Freaks and Geeks") and the last couple seasons of "My Name is Earl" that aired after I got distracted by the show's 3rd season missteps. (Another motivation for joining the Netflix crew? Trying to find my way out from under the thumb of Comcast's Utah monopoly.)
Return trip to Seattle
At the end of May, I made my third trip to Seattle since the summer of 2010 (and thanks to double-booking a wedding shoot for the same weekend, I almost didn't). Once again, the impetus for the journey was Cheetahman's online vendor convention. As it was our third trip, we didn't spend so much time doing touristy things, and instead tried to achieve a nice balance between resting, eating good food, and eating more good food. I took plenty of pictures, and was also able to hang out with a couple of longtime friends, including an old mission buddy I hadn't seen in more than ten years.
Paid gigs for Thunderlips
Some of the most interesting news of the past few months has been on the music scene. Back in April, the Atomic Thunderlips (the band that used to play exclusive gigs at the Legacy charter school) was recruited to participate in the Rock 'n Bowl program at Orchard Lanes in North Salt Lake. Our first gig (three 45-minute sets packed into three hours on a Friday night) went so well that the managers brought us back earlier this month. Even better, both gigs were paid, making Thunderlips my all-time most profitable band. (Next up: a kickoff set at the Relay for Life event in Salt Lake in July.)
Started dating again
I'll save the best for last. Some of you may be interested (even relieved) to know that I recently ended an extended social sabbatical and started going on real dates again. Early results suggest I still have no idea what I am doing, but I figured it was important to comment on the one aspect of my identity that is most central to the theme of this blog.
So there you go...a few random bits hastily thrown together to meet a post quota. The streak continues!
Working on KJZZ Movie Show
Back in January, on the heels of attending my first Sundance Film Festival (an event I did blog about), I started making weekly appearances on the opening segment of the KJZZ Movie Show. It has been a lot of fun working with my old KJZZ Cafe boss Dean again, as well as getting to know my co-stars(?) Steve and Melanie. Whereas before I was screening maybe one movie a month or so, I'm now seeing at least 1-2 a week, and am starting to recognize the other critics at press screenings. Here's a lovely picture of Dean trying to buff the highly-reflective gleam off the top of my head before a recent taping:
Uncle 2.0
The family got the official word back in December, but it wasn't until spring that my sister went public with the news that I would be getting a second niece in August of this year. Uncle 1.0 has been a blast...I can only imagine that Uncle 2.0 is going to become even better. (Incidentally, a heartfelt post on the joys of being an uncle is one of those unfinished projects I mentioned a few months back. By the time I actually get it posted, my niece will probably be a college graduate.)
Signed up for Netflix
Thanks to a one-month free trial and the lure of 15 brand-new episodes of "Arrested Development," I finally caved in and picked up a subscription to Netflix. In the time since, I've also made my way through series like "Undeclared" (the short-lived follow-up to "Freaks and Geeks") and the last couple seasons of "My Name is Earl" that aired after I got distracted by the show's 3rd season missteps. (Another motivation for joining the Netflix crew? Trying to find my way out from under the thumb of Comcast's Utah monopoly.)
Return trip to Seattle
At the end of May, I made my third trip to Seattle since the summer of 2010 (and thanks to double-booking a wedding shoot for the same weekend, I almost didn't). Once again, the impetus for the journey was Cheetahman's online vendor convention. As it was our third trip, we didn't spend so much time doing touristy things, and instead tried to achieve a nice balance between resting, eating good food, and eating more good food. I took plenty of pictures, and was also able to hang out with a couple of longtime friends, including an old mission buddy I hadn't seen in more than ten years.
Paid gigs for Thunderlips
Some of the most interesting news of the past few months has been on the music scene. Back in April, the Atomic Thunderlips (the band that used to play exclusive gigs at the Legacy charter school) was recruited to participate in the Rock 'n Bowl program at Orchard Lanes in North Salt Lake. Our first gig (three 45-minute sets packed into three hours on a Friday night) went so well that the managers brought us back earlier this month. Even better, both gigs were paid, making Thunderlips my all-time most profitable band. (Next up: a kickoff set at the Relay for Life event in Salt Lake in July.)
Started dating again
I'll save the best for last. Some of you may be interested (even relieved) to know that I recently ended an extended social sabbatical and started going on real dates again. Early results suggest I still have no idea what I am doing, but I figured it was important to comment on the one aspect of my identity that is most central to the theme of this blog.
So there you go...a few random bits hastily thrown together to meet a post quota. The streak continues!
Sunday, June 23, 2013
World War Z: Second Time's the Charm
After missing the press screening earlier this week due to a schedule conflict, I wound up seeing "World War Z" twice this weekend, and I liked it a lot better the second time. Partly it is because a second viewing allows you to digest a film's nuance a little deeper, but mostly I think it was because my first screening was marred by the four teenagers on my row who insisted on talking through the entire feature.
Missing the press screening was hard, because I was more excited to see "World War Z" than any movie since "Taken 2." Seriously. "Taken 2" kind of sucked, but coming off the original, a lot of people were excited to see Liam Neeson kill pimps for another two hours. As a confessed zombie nut--I've been hosting an annual "Zombie Fest" for going on seven years now--one might understand why WWZ would tweak the same nerve.
At the same time, I approached my initial viewing with a combination of dread and hope, due to all the negative publicity that has surrounded the movie over the last several months. Concerns over the new film have fallen into two camps:
1. The movie abandons the interview format of Max Brooks's source novel, and instead opts for a traditional linear narrative using Brad Pitt as protagonist.
2. The first cut of the film was a disaster, so Pitt and co. brought in help to do an 11th hour re-write and re-shoot to salvage the project that effectively replaced the entire third act of the original movie.
Before I dig into these points, let me summarize: "World War Z" follows the events of a worldwide zombie epidemic through the eyes of an ex-UN operative named Gerry, played by Brad Pitt. Once he manages to get his family to safety in the chaos of the initial outbreak, he returns to his old employer to track the globe in the middle of the carnage, desperately searching for a solution to an outbreak of rabies that is turning everyday folks into raging, violent madmen. Effectively, WWZ could be seen as the lost footage shoehorned between the opening outbreak in "28 Days Later" and the scene where Jim wakes up in his hospital bed.
So the film follows a pretty simple, linear plot, which leads me to address that first point. If you're the kind of dedicated purist who feels obligated to hate any film that doesn't fall lock-step in line with whatever book, TV series or foreign film original that provided the source material, you'll probably hate WWZ. It's not quite as ridiculous a re-interpretation as Will Smith's "I, Robot" from a few years ago, but it's still a drastic departure.
That being said, I'm not sure a departure was a bad thing. I enjoyed the original novel, but have to admit it got a bit exhaustive at points. Translating such a serial novel directly to the screen would yield an exhaustive and tedious result. Some have suggested a TV miniseries would have been a better idea, and I'm inclined to agree.
What WWZ does instead is offer zombie fans a relatively unique perspective on the genre. In the vast majority of zombie movies, the narrative lands in the aftermath of the apocalypse, focusing on a small group of survivors trying to stay alive in a suddenly treacherous landscape. If we get to see the outbreak itself, it's usually through a quick intro or flashback, or limited to the perspective of one of those same small groups (like in the original "Night of the Living Dead"). WWZ gives us a worldwide view of the apocalypse as it is happening, in many shots using excellent CGI to give us a birds-eye view on the scope of the carnage, and frankly, providing a much more realistic and plausible perspective of how an army of the undead could overwhelm modern military resistance.
As far as the third-act issue, I'm a little split. On my first screening, I wasn't crazy about the new "fixed" finale, but I think that was because I spent most of what was meant to be a quiet and suspenseful sequence debating whether to climb two seats over and go post-apocalyptic on the 17-year-old jerk who couldn't keep his mouth shut. Seeing it again on Saturday, I liked it a lot better, even though it is still a slightly anti-climactic finish considering the scope of some of the film's earlier sequences. I don't know that it's likely, but I'm personally hoping that the DVD release includes that discarded ending, because I'm curious to see if it was really that bad.
It's very clear that the filmmakers wanted to keep WWZ in PG-13 territory. Contrary to the philosophy of most zombie films, WWZ keeps a lot of the violence just out of the shot, going for terror instead of a traditional gore-fest. So if you're the kind of zombie fan that feels like no intestines = no good, you'll be very disappointed.
But if you're not a blood and guts hound, or are just looking for a nice entry to the zombie genre, "World War Z" could be your gateway to a brave new world, and maybe even a ticket to Zombie Fest 7 this fall...just as long as you don't talk through the movies.
Missing the press screening was hard, because I was more excited to see "World War Z" than any movie since "Taken 2." Seriously. "Taken 2" kind of sucked, but coming off the original, a lot of people were excited to see Liam Neeson kill pimps for another two hours. As a confessed zombie nut--I've been hosting an annual "Zombie Fest" for going on seven years now--one might understand why WWZ would tweak the same nerve.
At the same time, I approached my initial viewing with a combination of dread and hope, due to all the negative publicity that has surrounded the movie over the last several months. Concerns over the new film have fallen into two camps:
1. The movie abandons the interview format of Max Brooks's source novel, and instead opts for a traditional linear narrative using Brad Pitt as protagonist.
2. The first cut of the film was a disaster, so Pitt and co. brought in help to do an 11th hour re-write and re-shoot to salvage the project that effectively replaced the entire third act of the original movie.
Before I dig into these points, let me summarize: "World War Z" follows the events of a worldwide zombie epidemic through the eyes of an ex-UN operative named Gerry, played by Brad Pitt. Once he manages to get his family to safety in the chaos of the initial outbreak, he returns to his old employer to track the globe in the middle of the carnage, desperately searching for a solution to an outbreak of rabies that is turning everyday folks into raging, violent madmen. Effectively, WWZ could be seen as the lost footage shoehorned between the opening outbreak in "28 Days Later" and the scene where Jim wakes up in his hospital bed.
So the film follows a pretty simple, linear plot, which leads me to address that first point. If you're the kind of dedicated purist who feels obligated to hate any film that doesn't fall lock-step in line with whatever book, TV series or foreign film original that provided the source material, you'll probably hate WWZ. It's not quite as ridiculous a re-interpretation as Will Smith's "I, Robot" from a few years ago, but it's still a drastic departure.
That being said, I'm not sure a departure was a bad thing. I enjoyed the original novel, but have to admit it got a bit exhaustive at points. Translating such a serial novel directly to the screen would yield an exhaustive and tedious result. Some have suggested a TV miniseries would have been a better idea, and I'm inclined to agree.
What WWZ does instead is offer zombie fans a relatively unique perspective on the genre. In the vast majority of zombie movies, the narrative lands in the aftermath of the apocalypse, focusing on a small group of survivors trying to stay alive in a suddenly treacherous landscape. If we get to see the outbreak itself, it's usually through a quick intro or flashback, or limited to the perspective of one of those same small groups (like in the original "Night of the Living Dead"). WWZ gives us a worldwide view of the apocalypse as it is happening, in many shots using excellent CGI to give us a birds-eye view on the scope of the carnage, and frankly, providing a much more realistic and plausible perspective of how an army of the undead could overwhelm modern military resistance.
As far as the third-act issue, I'm a little split. On my first screening, I wasn't crazy about the new "fixed" finale, but I think that was because I spent most of what was meant to be a quiet and suspenseful sequence debating whether to climb two seats over and go post-apocalyptic on the 17-year-old jerk who couldn't keep his mouth shut. Seeing it again on Saturday, I liked it a lot better, even though it is still a slightly anti-climactic finish considering the scope of some of the film's earlier sequences. I don't know that it's likely, but I'm personally hoping that the DVD release includes that discarded ending, because I'm curious to see if it was really that bad.
It's very clear that the filmmakers wanted to keep WWZ in PG-13 territory. Contrary to the philosophy of most zombie films, WWZ keeps a lot of the violence just out of the shot, going for terror instead of a traditional gore-fest. So if you're the kind of zombie fan that feels like no intestines = no good, you'll be very disappointed.
But if you're not a blood and guts hound, or are just looking for a nice entry to the zombie genre, "World War Z" could be your gateway to a brave new world, and maybe even a ticket to Zombie Fest 7 this fall...just as long as you don't talk through the movies.
Sunday, June 16, 2013
Car Guys
My dad and I have done a lot of stuff together. We've eaten deep-dish pizza in Chicago, seen Simon & Garfunkel in concert, and watched the Jazz battle Michael Jordan a few times, too. But when I think of signature activities for my dad and I, more often than not I think of driving cars. My dad loves cars, and so do I.
Over the years, one of our favorite father-son activities has been to go on test drives. It's actually one of the first things I remember doing with my dad. My mom and sister were out in Cleveland visiting my aunt one year, and while they were away I talked my dad into test-driving a Pontiac Trans Am. I was way too young to drive myself, but I do remember being underwhelmed by the experience. I guess I've always been more of a handling guy over a straight power guy.
I don't think the Trans Am was really his style, either. My dad has always been a bit more forward-thinking than the rest of the car buying public. He was one of the first people in Utah to have a BMW (long before driving a BMW was any kind of status symbol). When I was really little, we had a blue Saab, and later, were one of the first families to get a Honda Accord. There was also that stint with the Chevy Citation, but no one's perfect, I guess.
In the years since that first drive, we've taken out everything from a 1958 VW Bug to a '91 Lotus Elan. He was with me the first time I ever drove a BMW (a red '88 325 convertible), and when I finally drove a '93 Mazda RX-7 after lusting over them for six years ("Free Bird" was even playing on the radio when I took it on the freeway). He was with me when I stalled a Miata a half-dozen times in front of a bunch of amused car salesmen, and he was with me when I zipped a Honda S-2000 in and out of traffic on I-15 at 90mph a couple summers back.
The crazy thing is, ever since that ride in the Trans Am, I've always been the one behind the wheel. Type 1 Diabetes left my dad legally blind back in the mid-'80s, and he hasn't driven since. One afternoon after a dangerous close call, he came home, tossed my mom the keys to his brand-new Honda CRX, and told her he was done.
Ever since, I've tried to capitalize on the opportunities he lost. Never was this more apparent than when I bought a '64 1/2 Mustang while I was still in college. We'd been out looking at VW Bugs, and came across an intriguing ad from a guy up near campus. After taking it out and mulling it over, I decided to pull the trigger, and I think my dad was more excited than I was.
The Mustang was a deep maroon color, a hardtop with an early model 260 V8. To be honest, it didn't have a lot of power, but it sounded great (especially in parking garages). I bought it early in the summer, and spent the next few months cruising around Davis County with the windows down while I listened to one of the two AM radio stations that worked on the stereo.
One night late the next January, my dad and I took the Mustang into downtown Salt Lake to see Crosby, Stills, Nash and Young perform at the Delta Center*. The aging hippies put on a three-hour show that pulled out all the stops, especially Neil Young, who hopped around on stage with his black Gibson slung like an assault rifle. This stood out to me because Neil is roughly the same age as my dad. But while a Les Paul and a Marshall stack might be the best way to make Neil feel young, nothing has ever quite brought back that youthful gleam in the eye for my dad like a quick run through a manual transmission.
The night turned out to be the last triumphant ride of the Mustang, since two nights later I totaled it when I hit a patch of black ice on the freeway and hit the center median at 70mph. In the aftermath of the crash, I felt like I had let down a whole community of classic car enthusiasts, but I never got that vibe from my dad. He and I have always shared a healthy appreciation for material things, but he always taught me that material is all they were.
I keep telling myself that one of these times I'm just going to drive him out onto the salt flats, hand him the car keys, and tell him to go crazy. I almost did it one time, but when we pulled off the main road, the flats were too muddy and we almost got stuck. Maybe some other time, though. I know it would make for a better Father's Day gift than that tie I picked up this year.
Happy Father's Day, Dad...
---
*Lifelong regret #217: Deciding not to buy the $4 "Teach Your Children" condom from the souvenir booth at the CSN&Y concert.
Over the years, one of our favorite father-son activities has been to go on test drives. It's actually one of the first things I remember doing with my dad. My mom and sister were out in Cleveland visiting my aunt one year, and while they were away I talked my dad into test-driving a Pontiac Trans Am. I was way too young to drive myself, but I do remember being underwhelmed by the experience. I guess I've always been more of a handling guy over a straight power guy.
I don't think the Trans Am was really his style, either. My dad has always been a bit more forward-thinking than the rest of the car buying public. He was one of the first people in Utah to have a BMW (long before driving a BMW was any kind of status symbol). When I was really little, we had a blue Saab, and later, were one of the first families to get a Honda Accord. There was also that stint with the Chevy Citation, but no one's perfect, I guess.
In the years since that first drive, we've taken out everything from a 1958 VW Bug to a '91 Lotus Elan. He was with me the first time I ever drove a BMW (a red '88 325 convertible), and when I finally drove a '93 Mazda RX-7 after lusting over them for six years ("Free Bird" was even playing on the radio when I took it on the freeway). He was with me when I stalled a Miata a half-dozen times in front of a bunch of amused car salesmen, and he was with me when I zipped a Honda S-2000 in and out of traffic on I-15 at 90mph a couple summers back.
The crazy thing is, ever since that ride in the Trans Am, I've always been the one behind the wheel. Type 1 Diabetes left my dad legally blind back in the mid-'80s, and he hasn't driven since. One afternoon after a dangerous close call, he came home, tossed my mom the keys to his brand-new Honda CRX, and told her he was done.
Ever since, I've tried to capitalize on the opportunities he lost. Never was this more apparent than when I bought a '64 1/2 Mustang while I was still in college. We'd been out looking at VW Bugs, and came across an intriguing ad from a guy up near campus. After taking it out and mulling it over, I decided to pull the trigger, and I think my dad was more excited than I was.
The Mustang was a deep maroon color, a hardtop with an early model 260 V8. To be honest, it didn't have a lot of power, but it sounded great (especially in parking garages). I bought it early in the summer, and spent the next few months cruising around Davis County with the windows down while I listened to one of the two AM radio stations that worked on the stereo.
One night late the next January, my dad and I took the Mustang into downtown Salt Lake to see Crosby, Stills, Nash and Young perform at the Delta Center*. The aging hippies put on a three-hour show that pulled out all the stops, especially Neil Young, who hopped around on stage with his black Gibson slung like an assault rifle. This stood out to me because Neil is roughly the same age as my dad. But while a Les Paul and a Marshall stack might be the best way to make Neil feel young, nothing has ever quite brought back that youthful gleam in the eye for my dad like a quick run through a manual transmission.
The night turned out to be the last triumphant ride of the Mustang, since two nights later I totaled it when I hit a patch of black ice on the freeway and hit the center median at 70mph. In the aftermath of the crash, I felt like I had let down a whole community of classic car enthusiasts, but I never got that vibe from my dad. He and I have always shared a healthy appreciation for material things, but he always taught me that material is all they were.
I keep telling myself that one of these times I'm just going to drive him out onto the salt flats, hand him the car keys, and tell him to go crazy. I almost did it one time, but when we pulled off the main road, the flats were too muddy and we almost got stuck. Maybe some other time, though. I know it would make for a better Father's Day gift than that tie I picked up this year.
Happy Father's Day, Dad...
---
*Lifelong regret #217: Deciding not to buy the $4 "Teach Your Children" condom from the souvenir booth at the CSN&Y concert.
Sunday, June 09, 2013
The Power of an Icebreaker
In the years since my debacle of a first date at Viewmont High School's annual Christmas Dance, I have been on hundreds of dates with hundreds of girls, but every time I feel like I have something figured out (always open your date's door, never use the word "groin" in mixed company), my next excursion nullifies it. Sometimes dating feels like flunking the same college class year after year, only your professor never actually tells you why you haven't passed.
And yet, there are a few dating tips I feel assured of. One is that you should always cheat when you play pool.
Years ago, before he was married, The Cheetahman and I went on a double date. My date was a Hungarian girl named Alex, who I'd met at my singles ward. Cheetahman's date was a girl named Wanda*, also from our singles ward, who was an avid beach volleyball player. Wanda** also liked ribs. She demonstrated this early in the evening at Tony Roma's by finishing an entire rack of baby backs less than five minutes after they hit our table.
I'm sure there are hordes of men who'd go weak at the knees when confronted by such an awesome display of rib-conquering appetite, but The Cheetahman wasn't one of them...especially when he was footing the bill. Truth is, his presence that evening was more an exercise in accommodation than romantic courtship.
At any rate, by the time the rest of us finished our meal and drove up to the University of Utah campus to shoot a few games of pool at the student union, an odd tone had been established.
Vulgar Display of Rib-Consuming Power + First Date Awkwardness = Odd Tone.
I think that's why about halfway through our second game of two-on-two, I got bored and started cheating. Whenever the girls weren't paying attention, I started pulling out the balls they'd already knocked in and placing them back on the table. Since Cheetahman and I were shooting like crap anyway, our new advantage didn't become immediately obvious. In fact, once he caught on to my plan, we both carried on the exercise for a full ten minutes before our dates realized what we were doing.
When they did finally catch us, something incredible happened. We laughed, our dates pretended to be offended, then they laughed too. The awkward date tension was broken. Everyone relaxed, and the rest of the evening was a lot of fun. On the way home, Wanda*** confessed her love to Cheetahman, and he rejected it and married Alex instead. (About six months later...not that same night).
Vulgar Display of Rib-Consuming Power + First Date Awkwardness + Cheating at Pool = Marriage.
As easy as it is to apply the value of a tension-breaker to dating, I'm going to suggest that the lesson applies elsewhere in life. And I'm not just thinking about board meetings or sports teams, either.
(prepare for profound philosophical/spiritual transition...)
One of the toughest challenges in life, particularly as a Mormon, is understanding the balance of responsibility between yourself and the Lord. We're all required to take initiative, whether it has to do with dating, career, buying leather pants, or most any major life decision, but all the initiative in the world still takes a backseat to the Lord's Timing. This frequently results in an uncomfortable tension and anxiety that leaves a person wondering whether their failure to find a job/spouse/etc. is the result of them doing something wrong, or merely The Lord's Will.
At times like those, I really appreciate those little icebreakers.
---
*Not her real name.
**Again, not her real name. But a name you could associate with a woman who was really into ribs.
***Jamie Lee Curtis once played a woman named Wanda.****
****Jamie Lee Curtis was not Cheetahman's date.
And yet, there are a few dating tips I feel assured of. One is that you should always cheat when you play pool.
Years ago, before he was married, The Cheetahman and I went on a double date. My date was a Hungarian girl named Alex, who I'd met at my singles ward. Cheetahman's date was a girl named Wanda*, also from our singles ward, who was an avid beach volleyball player. Wanda** also liked ribs. She demonstrated this early in the evening at Tony Roma's by finishing an entire rack of baby backs less than five minutes after they hit our table.
I'm sure there are hordes of men who'd go weak at the knees when confronted by such an awesome display of rib-conquering appetite, but The Cheetahman wasn't one of them...especially when he was footing the bill. Truth is, his presence that evening was more an exercise in accommodation than romantic courtship.
At any rate, by the time the rest of us finished our meal and drove up to the University of Utah campus to shoot a few games of pool at the student union, an odd tone had been established.
Vulgar Display of Rib-Consuming Power + First Date Awkwardness = Odd Tone.
I think that's why about halfway through our second game of two-on-two, I got bored and started cheating. Whenever the girls weren't paying attention, I started pulling out the balls they'd already knocked in and placing them back on the table. Since Cheetahman and I were shooting like crap anyway, our new advantage didn't become immediately obvious. In fact, once he caught on to my plan, we both carried on the exercise for a full ten minutes before our dates realized what we were doing.
When they did finally catch us, something incredible happened. We laughed, our dates pretended to be offended, then they laughed too. The awkward date tension was broken. Everyone relaxed, and the rest of the evening was a lot of fun. On the way home, Wanda*** confessed her love to Cheetahman, and he rejected it and married Alex instead. (About six months later...not that same night).
Vulgar Display of Rib-Consuming Power + First Date Awkwardness + Cheating at Pool = Marriage.
As easy as it is to apply the value of a tension-breaker to dating, I'm going to suggest that the lesson applies elsewhere in life. And I'm not just thinking about board meetings or sports teams, either.
(prepare for profound philosophical/spiritual transition...)
One of the toughest challenges in life, particularly as a Mormon, is understanding the balance of responsibility between yourself and the Lord. We're all required to take initiative, whether it has to do with dating, career, buying leather pants, or most any major life decision, but all the initiative in the world still takes a backseat to the Lord's Timing. This frequently results in an uncomfortable tension and anxiety that leaves a person wondering whether their failure to find a job/spouse/etc. is the result of them doing something wrong, or merely The Lord's Will.
At times like those, I really appreciate those little icebreakers.
---
*Not her real name.
**Again, not her real name. But a name you could associate with a woman who was really into ribs.
***Jamie Lee Curtis once played a woman named Wanda.****
****Jamie Lee Curtis was not Cheetahman's date.
Sunday, June 02, 2013
Five Closed Restaurants...Five Gaping Holes in My Life
Last week I spent a few days in Seattle with The Cheetahman eating great food, taking some pictures, and catching up with a few old friends. Along the way one afternoon, while deliberating the location of our evening meal, a little burger joint back in Bountiful named Carmack's came up, because there's really no way to have a conversation about food without thinking of some of the great food that has been lost to history.
In an attempt to respect that history, I have produced the following list of favorite restaurants I have lost over the years. In an attempt to be constructive instead of merely complaining, I have also included suggestions for the restaurants that have filled these gaping culinary holes in my heart.
1. Bob's Deli, North Salt Lake
The first time I ever had beef jerky I was twenty minutes removed from a youth soccer game when I was six years old. My friend Steve and I were getting a ride home from his dad, and on the way we swung by Bob Kellersburger's warehouse so he could pick up some steaks. Steve's dad got us some jerky for our trouble. Years later I became such a fan that my mother sent me bi-monthly shipments of Bob's X-Spice jerky for the entirety of my LDS mission to Chicago. Then Bob retired, and Kellersburger's is now an Atlantis Burger.
The Replacement: I've never found a spot-on substitute for Bob's X-Spice, but a friend referred me to Thompsons' Smokehouse outside of Tooele for some good homemade jerky. It's definitely in the ballpark, and hey, any excuse to drive to Tooele, right?
2. Carmack's, Bountiful
Longtime Bountiful residents almost universally hold up Carmack's as the Greatest of the Local Burger Joints, and universally mourn the day the original spot went up in flames back in the 1990s. My only regret is that I didn't enjoy it more when it was around, as I spent most of my youth fixated on generic McDonald's hamburgers instead of appreciating the classic burgers that sprang from Carmack's ancient equipment. A few years after the original burned down, the owners attempted to open a new restaurant off of 5th South, but it wasn't the same, and died a pretty quick death.
The Replacement: Maddox Drive-In, Brigham City (Admittedly a stretch, since Maddox is no one's second banana).
3. R&B's, West Yellowstone, Montana
As a kid, R&B's was noted as the best burger joint in West Yellowstone (at least to my family), and was a traditional stop whenever we'd make our yearly pilgrimage to my grandparents' place in Island Park. Sometime in my teens the place went out of business, and now the building is entirely vacant.
The Replacement: Nothing. Absolutely nothing. There is not a single place I look forward to eating at when I go to Island Park in the summer. If anyone out there in the interwebs has any suggestions, I am EAGER to be proven wrong.
4. Eat-a-Burger, Bountiful/Salt Lake City
As a teenager, Eat-a-Burger had great hamburgers and even better spicy fries. Its locations were shaped like old '50s-style diners, complete with barstools and chrome-lined booths. Over the years they went out of business one at a time...first my go-to spot in Bountiful off 5th South, then eventually the last spot I knew of in Holladay off Highland Drive just a few years ago. I don't know how many times I ate at one of their locations, but the time I remember best was meeting up at the Bountiful spot with my friend Noel shortly after I thought I had been stood up for a date.*
The Replacement: I still miss Eat-a-Burger's hamburgers, and the old juke box that my buddy Brian and I used to play "House of the Rising Sun" on, but the cajun fries at Five Guys are a dead ringer for the spicy fries. And the burgers at Salt City Burger are fantastic. Still feels like swapping a dollar for four quarters, though.
5. Manuel's, Salt Lake City
The photo banner at the top of this blog includes an image of my dad holding a proud infant in a sombrero. That's me. We were at a small Mexican restaurant in Salt Lake called Manuel's that was one of my family's favorite lunch spots for years until it closed its doors well into my twenties. I won't kid around: it was about as authentic as a late '70s Bee Gees drumbeat, but I am as fond of Manuel's as I am of any of the ghosts on this list.
The Replacement: The Red Iguana, obviously.
---
*A story that may deserve its own post.
In an attempt to respect that history, I have produced the following list of favorite restaurants I have lost over the years. In an attempt to be constructive instead of merely complaining, I have also included suggestions for the restaurants that have filled these gaping culinary holes in my heart.
1. Bob's Deli, North Salt Lake
The first time I ever had beef jerky I was twenty minutes removed from a youth soccer game when I was six years old. My friend Steve and I were getting a ride home from his dad, and on the way we swung by Bob Kellersburger's warehouse so he could pick up some steaks. Steve's dad got us some jerky for our trouble. Years later I became such a fan that my mother sent me bi-monthly shipments of Bob's X-Spice jerky for the entirety of my LDS mission to Chicago. Then Bob retired, and Kellersburger's is now an Atlantis Burger.
The Replacement: I've never found a spot-on substitute for Bob's X-Spice, but a friend referred me to Thompsons' Smokehouse outside of Tooele for some good homemade jerky. It's definitely in the ballpark, and hey, any excuse to drive to Tooele, right?
2. Carmack's, Bountiful
Longtime Bountiful residents almost universally hold up Carmack's as the Greatest of the Local Burger Joints, and universally mourn the day the original spot went up in flames back in the 1990s. My only regret is that I didn't enjoy it more when it was around, as I spent most of my youth fixated on generic McDonald's hamburgers instead of appreciating the classic burgers that sprang from Carmack's ancient equipment. A few years after the original burned down, the owners attempted to open a new restaurant off of 5th South, but it wasn't the same, and died a pretty quick death.
The Replacement: Maddox Drive-In, Brigham City (Admittedly a stretch, since Maddox is no one's second banana).
3. R&B's, West Yellowstone, Montana
As a kid, R&B's was noted as the best burger joint in West Yellowstone (at least to my family), and was a traditional stop whenever we'd make our yearly pilgrimage to my grandparents' place in Island Park. Sometime in my teens the place went out of business, and now the building is entirely vacant.
The Replacement: Nothing. Absolutely nothing. There is not a single place I look forward to eating at when I go to Island Park in the summer. If anyone out there in the interwebs has any suggestions, I am EAGER to be proven wrong.
4. Eat-a-Burger, Bountiful/Salt Lake City
As a teenager, Eat-a-Burger had great hamburgers and even better spicy fries. Its locations were shaped like old '50s-style diners, complete with barstools and chrome-lined booths. Over the years they went out of business one at a time...first my go-to spot in Bountiful off 5th South, then eventually the last spot I knew of in Holladay off Highland Drive just a few years ago. I don't know how many times I ate at one of their locations, but the time I remember best was meeting up at the Bountiful spot with my friend Noel shortly after I thought I had been stood up for a date.*
The Replacement: I still miss Eat-a-Burger's hamburgers, and the old juke box that my buddy Brian and I used to play "House of the Rising Sun" on, but the cajun fries at Five Guys are a dead ringer for the spicy fries. And the burgers at Salt City Burger are fantastic. Still feels like swapping a dollar for four quarters, though.
5. Manuel's, Salt Lake City
The photo banner at the top of this blog includes an image of my dad holding a proud infant in a sombrero. That's me. We were at a small Mexican restaurant in Salt Lake called Manuel's that was one of my family's favorite lunch spots for years until it closed its doors well into my twenties. I won't kid around: it was about as authentic as a late '70s Bee Gees drumbeat, but I am as fond of Manuel's as I am of any of the ghosts on this list.
The Replacement: The Red Iguana, obviously.
---
*A story that may deserve its own post.
Saturday, May 25, 2013
Time Flies When You're Traveling at Light Speed
"Return of the Jedi" was not the first Star Wars film I ever saw. But it is the first Star Wars film I remember seeing. I have a vague memory of my mother coming into my bedroom as a child to summon me for a screening of "The Empire Strikes Back," and according to my parents, I was terrified of the Jawas in "A New Hope" as an infant. But I have very clear memories of "Return of the Jedi." Memories that are now thirty years old.
Ugh...
The memory that keeps coming back over and over to my mind is standing in a ticket line that wound through the parking lot outside the Century Theater with my dad and Steve Jones, my best friend. In those pre-internet days there was little more than vague rumor to prepare me for what I was about to see, but thanks to a quick glance at a novelization my mother had picked up at the grocery store--complete with a half dozen glossy photos from the movie tucked halfway through its pages--I knew two things about the third chapter of the trilogy:
"Why do you believe what he said?" I would ask anyone who would listen. "It's DARTH VADER. HE'S A LIAR."
Of course, 45 minutes into the film, Yoda confirmed the relationship, then Ben went him one further and told Luke that Leia was his sister. I was totally fine with this, because as a Han Solo guy*, I wanted him to get the girl in the iron bikini.
The thing I was too young to notice was the Ewok controversy. They were far from my favorite Star Wars characters, but I didn't have any problem with them helping to overthrow the Empire. I think I would have been more disappointed if I'd known Lucas was originally planning for the planet to be inhabited by Wookiees. Live and learn, eh George?
This was also before I grew in my appreciation for Boba Fett, so I wasn't crestfallen when I saw the most notorious bounty hunter in the universe Abbott and Costello his way into the gaping maw of a sunbathing Sarlaac. Strangely, the pattern of not questioning a film in the moment is something that has followed me through to adulthood, though my current employment is forcing a more critical hand.
Even though I attended the opening day screening with my dad, it was my mother who took me the majority of the 19 times I watched "Jedi" over the course of that summer**. I'm sure half of the time it was me nagging my parents to go, but there were just as many times that the motivation came from my parents' own interest. Another lasting image from that summer is my dad swinging our brand-new 1983 Honda Accord up to the sidewalk in front of the old Center Theater on the corner of State Street and Broadway in downtown Salt Lake. Before I knew what was happening, my mom was pulling me out of the car and hustling me through the red velvet ensconced lobby on our way to a spontaneous afternoon screening***. That's the kind of thing I'm talking about when I refer to my mother's influence on my appreciation for popular culture.
But the best family memory of Jedi has to be the time we dragged my one-year-old sister to a screening and wound up on the front row. She sat on my dad's lap and stared bug-eyed at the screen for two full hours.
Man, I really miss the Center Theater. It's an office building and a multiplex right now.
Years later, even though Empire has become my favorite of the three movies, Jedi maintains the closest ties to my childhood memories. One afternoon as a teenager I was riding shotgun with my Priest's Quorum Advisor on the way to a temple activity when I related the story of my dad and Steve and I at the Century.
"I'll never forget it," I said. "May 25th, 1983."
"Wow, that's impressive," my advisor said. "When were you baptized?"
I thought about it for a moment.
"Sometime when I was eight."
Happy Anniversary, "Return of the Jedi." Jacking up my spiritual priorities for more than three decades now.
---
*See my blog banner for evidence.
**Yes, I kept track.
***Inside the theater they'd hung a huge banner advertising a film called "The Big Chill." Though I didn't relate to the story of a half dozen ex-hippies reflecting on the aftermath of the '60s in the wake of a friend's suicide, the film's soundtrack pretty much laid the childhood foundation for my musical appreciation, including this song.
Ugh...
The memory that keeps coming back over and over to my mind is standing in a ticket line that wound through the parking lot outside the Century Theater with my dad and Steve Jones, my best friend. In those pre-internet days there was little more than vague rumor to prepare me for what I was about to see, but thanks to a quick glance at a novelization my mother had picked up at the grocery store--complete with a half dozen glossy photos from the movie tucked halfway through its pages--I knew two things about the third chapter of the trilogy:
- The rebels were going to win.
- Princess Leia was going to wear an iron bikini.
"Why do you believe what he said?" I would ask anyone who would listen. "It's DARTH VADER. HE'S A LIAR."
Of course, 45 minutes into the film, Yoda confirmed the relationship, then Ben went him one further and told Luke that Leia was his sister. I was totally fine with this, because as a Han Solo guy*, I wanted him to get the girl in the iron bikini.
The thing I was too young to notice was the Ewok controversy. They were far from my favorite Star Wars characters, but I didn't have any problem with them helping to overthrow the Empire. I think I would have been more disappointed if I'd known Lucas was originally planning for the planet to be inhabited by Wookiees. Live and learn, eh George?
This was also before I grew in my appreciation for Boba Fett, so I wasn't crestfallen when I saw the most notorious bounty hunter in the universe Abbott and Costello his way into the gaping maw of a sunbathing Sarlaac. Strangely, the pattern of not questioning a film in the moment is something that has followed me through to adulthood, though my current employment is forcing a more critical hand.
Even though I attended the opening day screening with my dad, it was my mother who took me the majority of the 19 times I watched "Jedi" over the course of that summer**. I'm sure half of the time it was me nagging my parents to go, but there were just as many times that the motivation came from my parents' own interest. Another lasting image from that summer is my dad swinging our brand-new 1983 Honda Accord up to the sidewalk in front of the old Center Theater on the corner of State Street and Broadway in downtown Salt Lake. Before I knew what was happening, my mom was pulling me out of the car and hustling me through the red velvet ensconced lobby on our way to a spontaneous afternoon screening***. That's the kind of thing I'm talking about when I refer to my mother's influence on my appreciation for popular culture.
But the best family memory of Jedi has to be the time we dragged my one-year-old sister to a screening and wound up on the front row. She sat on my dad's lap and stared bug-eyed at the screen for two full hours.
Man, I really miss the Center Theater. It's an office building and a multiplex right now.
Years later, even though Empire has become my favorite of the three movies, Jedi maintains the closest ties to my childhood memories. One afternoon as a teenager I was riding shotgun with my Priest's Quorum Advisor on the way to a temple activity when I related the story of my dad and Steve and I at the Century.
"I'll never forget it," I said. "May 25th, 1983."
"Wow, that's impressive," my advisor said. "When were you baptized?"
I thought about it for a moment.
"Sometime when I was eight."
Happy Anniversary, "Return of the Jedi." Jacking up my spiritual priorities for more than three decades now.
---
*See my blog banner for evidence.
**Yes, I kept track.
***Inside the theater they'd hung a huge banner advertising a film called "The Big Chill." Though I didn't relate to the story of a half dozen ex-hippies reflecting on the aftermath of the '60s in the wake of a friend's suicide, the film's soundtrack pretty much laid the childhood foundation for my musical appreciation, including this song.
Sunday, May 19, 2013
A Spoiler-Filled Analysis of Star Trek's Inevitable New Debate
Whenever a director gets involved in an established franchise, whether it's Peter Jackson adapting beloved Tolkien novels, Joss Whedon bringing Marvel comics to life, or even George Lucas returning to a galaxy far, far away fifteen years after his original trilogy, a unique challenge is issued: do you focus on keeping the fans happy? Or do you risk the wrath of the fanboy and make a film that will appeal to a universal audience?
It isn't always an either-or proposition, and most filmmakers (especially those noted above) have tried to satisfy both sides of the equation. Over the last few years, JJ Abrams has been staring down one of the most daunting fanboy franchises of all, and with "Star Trek: Into Darkness," he brings that debate to the forefront.
In 2009's "Star Trek," Abrams laid down the gauntlet with a timeline twist that told Trekkies they should consider his films a unique interpretation of the Trek universe instead of a regimented set of prequels to the original series. By transporting a villain from Trek's canonical future into its ambiguous past, then allowing him to alter that past, Abrams shook off the fanboy tether and got to work telling his own story. One that had Spock hooking up with Uhura and the Planet Vulcan biting the big one long before Captain Kirk could ever climb the steps of Mount Seleyah.
But instead of declare total creative independence, Abrams' Trek films have continued to forge ties to their original source material, offering frequent echoes that suggest certain events in history are rooted, regardless of your particular timeline. (Longtime Abrams fan will note the previous exploration of this theme in "Lost"). This idea is played out to unexpected degrees in "Star Trek: Into Darkness," primarily through its familiar villain.
For months, speculation has swirled around the identity of actor Benedict Cumberbatch's baddie. As the second film of the new franchise, many expected/hoped for the second coming of Khan Noonien Singh, the legendary baddie Ricardo Montalban portrayed in the second film of the first franchise. Others noted parallels to Gary Mitchell, a Federation officer featured in the original TV series back in the late 1960s. It was telling that a completely unique character never seemed to be an option, and even more telling that Abrams chose to give fans a brand-new interpretation of that eugenics superman gone bad.
By choosing Khan as his heavy, Abrams has offered thrills to Trek's longtime fans, but stifled the immortality of his own franchise at the same time. "Into Darkness" is an awesome film that boosts the Star Trek resurgence, and Cumberbatch is an impressive Khan. To rookie Trek fans and casual observers, it's a great movie, and to seasoned veterans, it's even better. But the film's explicit nods to "Wrath of Khan" (right down to Zachary Quinto's echo of William Shatner's most infamous acting moment) that propel it to new heights of meaning also force it to take a backseat to the Montalban film.
Once Cumberbatch revealed his identity halfway through the new film, I couldn't help but fall into a "which is better?" internal debate between the two Khans and their respective films. In the face of superior special effects and imposing marketing, I almost felt defensive on behalf of Montalban and "Wrath of Khan," which I see as "my" film. I guess that is what happens when you write a 15-page paper on Chicano Nationalism through the lens of a 20-year-old sci-fi flick. Or when you retain childhood memories of turning away from the screen when those bugs get dropped in Chekov's ear.
It's amusing that I/we feel compelled to do this whenever confronted with options in popular culture, or anything else for that matter. If it isn't Benedict Cumberbatch vs. Ricardo Montalban, it's Coke vs. Pepsi, or (for my fellow photographers) Canon vs. Nikon. Heck, one of the implicit purposes of the new Trek franchise is to give it more street cred in the Star Trek vs. Star Wars debate. For decades Star Wars movies have been cultural events while Trek releases were attended by a narrow sliver of sci-fi fandom. While this may not mean anything in terms of film quality, profits are what allow our favorite franchises to keep turning out product. Abrams has sought to address that gap, and I think he has made great strides in generating a more inclusive fan base for Gene Roddenberry's baby. (Of course, now that Abrams is helming Star Wars as well, things are about to get very interesting.)
But as far as the Battle of the Khans is concerned, my verdict is this: Cumberbatch is awesome, more than up to the task, and will earn his spot on Star Trek's Mount Rushmore of All-Time Best Bad Guys. But since that particular Rushmore only features two faces, and since the other one is the original version of Cumberbatch's character, the New Khan can only go so far. "Star Trek: Into Darkness" is a film that can stand on its own feet and be enjoyed even if you aren't familiar with Trek history. But if you are familiar with Trek history, "Into Darkness" becomes even more impressive, but also more derivative and dependent as a consequence.
When Cumberbatch glares at Chris Pine with hollow eyes and declares, "MY NAME IS KHAN," it is a powerful moment only to those who already know who Khan is. When Zachary Quinto prods Leonard Nimoy into his Doc Brown Moment later on, the original Spock's reaction is weighted because we too remember what Khan did the first time around. Without the source material, these dramatic moments ring empty.
Of course, rational people will understand that this debate is as pointless as arguing whether LeBron James would beat Michael Jordan in a game of one-on-one. It gives you great fodder for sports talk radio, but it doesn't really mean anything. There's no reason you can't enjoy and appreciate both Khans. But when you enter the waters of such an established franchise, these kinds of debates come with the territory.
For years I've been trying to get my English students to understand the difference between text and context, especially how context can hold so much sway over a text's full meaning. "Star Trek: Into Darkness" may have just become Exhibit A in that lecture.
It isn't always an either-or proposition, and most filmmakers (especially those noted above) have tried to satisfy both sides of the equation. Over the last few years, JJ Abrams has been staring down one of the most daunting fanboy franchises of all, and with "Star Trek: Into Darkness," he brings that debate to the forefront.
In 2009's "Star Trek," Abrams laid down the gauntlet with a timeline twist that told Trekkies they should consider his films a unique interpretation of the Trek universe instead of a regimented set of prequels to the original series. By transporting a villain from Trek's canonical future into its ambiguous past, then allowing him to alter that past, Abrams shook off the fanboy tether and got to work telling his own story. One that had Spock hooking up with Uhura and the Planet Vulcan biting the big one long before Captain Kirk could ever climb the steps of Mount Seleyah.
But instead of declare total creative independence, Abrams' Trek films have continued to forge ties to their original source material, offering frequent echoes that suggest certain events in history are rooted, regardless of your particular timeline. (Longtime Abrams fan will note the previous exploration of this theme in "Lost"). This idea is played out to unexpected degrees in "Star Trek: Into Darkness," primarily through its familiar villain.
For months, speculation has swirled around the identity of actor Benedict Cumberbatch's baddie. As the second film of the new franchise, many expected/hoped for the second coming of Khan Noonien Singh, the legendary baddie Ricardo Montalban portrayed in the second film of the first franchise. Others noted parallels to Gary Mitchell, a Federation officer featured in the original TV series back in the late 1960s. It was telling that a completely unique character never seemed to be an option, and even more telling that Abrams chose to give fans a brand-new interpretation of that eugenics superman gone bad.
By choosing Khan as his heavy, Abrams has offered thrills to Trek's longtime fans, but stifled the immortality of his own franchise at the same time. "Into Darkness" is an awesome film that boosts the Star Trek resurgence, and Cumberbatch is an impressive Khan. To rookie Trek fans and casual observers, it's a great movie, and to seasoned veterans, it's even better. But the film's explicit nods to "Wrath of Khan" (right down to Zachary Quinto's echo of William Shatner's most infamous acting moment) that propel it to new heights of meaning also force it to take a backseat to the Montalban film.
Once Cumberbatch revealed his identity halfway through the new film, I couldn't help but fall into a "which is better?" internal debate between the two Khans and their respective films. In the face of superior special effects and imposing marketing, I almost felt defensive on behalf of Montalban and "Wrath of Khan," which I see as "my" film. I guess that is what happens when you write a 15-page paper on Chicano Nationalism through the lens of a 20-year-old sci-fi flick. Or when you retain childhood memories of turning away from the screen when those bugs get dropped in Chekov's ear.
It's amusing that I/we feel compelled to do this whenever confronted with options in popular culture, or anything else for that matter. If it isn't Benedict Cumberbatch vs. Ricardo Montalban, it's Coke vs. Pepsi, or (for my fellow photographers) Canon vs. Nikon. Heck, one of the implicit purposes of the new Trek franchise is to give it more street cred in the Star Trek vs. Star Wars debate. For decades Star Wars movies have been cultural events while Trek releases were attended by a narrow sliver of sci-fi fandom. While this may not mean anything in terms of film quality, profits are what allow our favorite franchises to keep turning out product. Abrams has sought to address that gap, and I think he has made great strides in generating a more inclusive fan base for Gene Roddenberry's baby. (Of course, now that Abrams is helming Star Wars as well, things are about to get very interesting.)
But as far as the Battle of the Khans is concerned, my verdict is this: Cumberbatch is awesome, more than up to the task, and will earn his spot on Star Trek's Mount Rushmore of All-Time Best Bad Guys. But since that particular Rushmore only features two faces, and since the other one is the original version of Cumberbatch's character, the New Khan can only go so far. "Star Trek: Into Darkness" is a film that can stand on its own feet and be enjoyed even if you aren't familiar with Trek history. But if you are familiar with Trek history, "Into Darkness" becomes even more impressive, but also more derivative and dependent as a consequence.
When Cumberbatch glares at Chris Pine with hollow eyes and declares, "MY NAME IS KHAN," it is a powerful moment only to those who already know who Khan is. When Zachary Quinto prods Leonard Nimoy into his Doc Brown Moment later on, the original Spock's reaction is weighted because we too remember what Khan did the first time around. Without the source material, these dramatic moments ring empty.
Of course, rational people will understand that this debate is as pointless as arguing whether LeBron James would beat Michael Jordan in a game of one-on-one. It gives you great fodder for sports talk radio, but it doesn't really mean anything. There's no reason you can't enjoy and appreciate both Khans. But when you enter the waters of such an established franchise, these kinds of debates come with the territory.
For years I've been trying to get my English students to understand the difference between text and context, especially how context can hold so much sway over a text's full meaning. "Star Trek: Into Darkness" may have just become Exhibit A in that lecture.
Sunday, May 12, 2013
My Mother the Superhero
I've often thought of my mother as the primary influence behind my appreciation of popular culture. Whether it was the stacks of vinyl records in our basement, the regular visits to the Redwood Drive-In on summer weekends, or the simple fact that my parents were watching SNL when my mom went into labor with me, it's an easy connection to make.
But the influence of my mother has been far more profound than to just give me an appreciation of Motown or the great American tradition that is the drive-in movie theater. In fact, I'm not sure she even remembers one of the most important lessons she ever taught me: that she has super-powers.
I must have been four or five years old when I found myself next to my mom at the checkout counter of the B. Dalton Bookseller in Layton Hills Mall. While she was making her purchase (probably a new Star Trek novel, because this would have been in the pre-Martha Stewart era), I was browsing through the containers of writing utensils and other impulse-buy knickknacks at my eye-level when I became fixated on a set of brightly colored pencils topped with large, multi-colored erasers. The erasers were cut in a variety of shapes, like huge diamonds or stars, and their blue, pink, and purple patterns cascaded down onto the shafts of their pencils. As I sorted through the bin, I noticed that one of the erasers had broken off its pencil, so without a thought, I kept it.
About an hour later I was crouched on the orange shag of my toy room in the basement, slowly turning over the eraser in my tiny fingers, examining it with my curious little green eyes, when my mom walked in the room.
"What is that?" she asked.
"It's an eraser," I said. Duh.
"Where did you get it?" she asked with a tone of suspicion that should have signaled trouble.
"I got it at the bookstore," I explained. "It was broken off a pencil."
Within thirty seconds I was sitting next to my mom in the car on our way back to the mall. A few minutes after that, I was standing quietly at the B. Dalton checkout counter as my mom ordered me to hand the stolen property over to the bewildered clerk. I had assumed that a damaged product was fair game. My mother was instructing me otherwise.
That night I learned that, along with her great taste in music and sci-fi TV shows, my mother had been endowed with some kind of sixth-sense radar that allowed her to recognize a stolen eraser among the Legos, GI Joe action figures, and thousands of other toys and trinkets I regularly scattered across the floor of our toy room. I wish I could say it was the only time my naive youthful logic proved no match against her maternal wisdom.
Philosophers and sociologists have debated for decades whether our behavior is a product of genetics or our environment. I have no idea if that bookstore encounter prevented me from a life of petty theft or grand larceny, but either way, I'm grateful that my mom's super-power prevented me from finding out.
Happy Mother's Day, Mom. Here's a musical thank-you from me and Mr. T:
But the influence of my mother has been far more profound than to just give me an appreciation of Motown or the great American tradition that is the drive-in movie theater. In fact, I'm not sure she even remembers one of the most important lessons she ever taught me: that she has super-powers.
I must have been four or five years old when I found myself next to my mom at the checkout counter of the B. Dalton Bookseller in Layton Hills Mall. While she was making her purchase (probably a new Star Trek novel, because this would have been in the pre-Martha Stewart era), I was browsing through the containers of writing utensils and other impulse-buy knickknacks at my eye-level when I became fixated on a set of brightly colored pencils topped with large, multi-colored erasers. The erasers were cut in a variety of shapes, like huge diamonds or stars, and their blue, pink, and purple patterns cascaded down onto the shafts of their pencils. As I sorted through the bin, I noticed that one of the erasers had broken off its pencil, so without a thought, I kept it.
About an hour later I was crouched on the orange shag of my toy room in the basement, slowly turning over the eraser in my tiny fingers, examining it with my curious little green eyes, when my mom walked in the room.
"What is that?" she asked.
"It's an eraser," I said. Duh.
"Where did you get it?" she asked with a tone of suspicion that should have signaled trouble.
"I got it at the bookstore," I explained. "It was broken off a pencil."
Within thirty seconds I was sitting next to my mom in the car on our way back to the mall. A few minutes after that, I was standing quietly at the B. Dalton checkout counter as my mom ordered me to hand the stolen property over to the bewildered clerk. I had assumed that a damaged product was fair game. My mother was instructing me otherwise.
That night I learned that, along with her great taste in music and sci-fi TV shows, my mother had been endowed with some kind of sixth-sense radar that allowed her to recognize a stolen eraser among the Legos, GI Joe action figures, and thousands of other toys and trinkets I regularly scattered across the floor of our toy room. I wish I could say it was the only time my naive youthful logic proved no match against her maternal wisdom.
Philosophers and sociologists have debated for decades whether our behavior is a product of genetics or our environment. I have no idea if that bookstore encounter prevented me from a life of petty theft or grand larceny, but either way, I'm grateful that my mom's super-power prevented me from finding out.
Happy Mother's Day, Mom. Here's a musical thank-you from me and Mr. T:
Sunday, May 05, 2013
Working Like a Man
When I finished
grad school in the spring of 2004, I took a job on a framing crew for the
summer. My first reason was practical: the teaching job I’d applied for didn’t
start until fall, and I needed money. My second reason was psychological: I
needed to prove to myself that I could handle a construction job.
As far back as I
could remember I’d held a grudging respect for the world of hard labor. My
childhood was dotted with images of men who seemed to have an essential gene I
missed, whether it was my dad working on the family car, my uncle building us a
shed in our backyard, or the thousand stories I heard about my pioneer
ancestors who built up the Salt Lake Valley with their bare hands. Their long
hours and difficult feats were badges of honor, and felt like the epitome of
manliness. I’d dabble in these tasks here and there—on Christmas morning in the
8th grade I proudly presented my parents with a set of cast iron hot
dog cookers I welded in metal shop—but ultimately I’d bury my inferiority
complex in academic success.
So as my last
semester wound to a close, I felt like I had something to prove. I got in touch
with a friend of a friend, and two days after receiving an MS in American
Studies, I was standing next to a concrete-lined hole in the ground above the
Eaglewood Golf Course in North Salt Lake City, Utah. For the next three months
I would help frame a 1.2 million dollar mansion at the bargain-basement rate of
$8 an hour.
In two days I
had traded a group of colleagues who prided themselves for their vast
vocabularies for a crew who had reduced their vocabularies to variations of the
same three words. Mike was tall and lanky with long, stringy blonde hair and
baggy jeans that were always being pulled down by his tool bags. Robbie was
shorter with dark hair, usually wore shorts, and acted as the crew’s unofficial
conspiracy theorist and partier. Arash was the closest I came to a kindred
spirit, if only because he was also a rookie. He’d moved to Utah to go to school
after paying a man to smuggle him into Turkey from his home country of Iran.
“Iran, not Iraq,” he said the morning we met.
Our foreman was
Dave, taller, lankier, and older than Mike, but with less hair. When I first met
him I made the mistake of assuming his thin frame translated into an easygoing
work ethic. My error was corrected quickly. Every day a lumber truck would dump
a load of 12-foot 2X4s in a pile in front of the construction site, and Arash
and I were tasked with hauling them up to a more accessible spot. To make the
task more manageable, I started grabbing two 2X4s at a time and walking them
over to the foundation. But Dave would have none of that. Without a word he stomped
over to the pile, wrapped his wiry arms around a stack of eight or nine of the
same 2X4s, and hauled them up the hill.
Message
received. Framing wasn’t about making the job manageable. It was about getting
the job done.
Inspired by that
blunt lesson, I took to my new responsibilities quickly, and before long we settled
into a routine: as carpenters, Dave, Mike and Robbie did most of the actual
framing, while Arash and I carried stuff around and tried to cut boards to size
without chopping our fingers off. Then every couple of weeks we would drive out
to some work site in Salt Lake where we would meet up with several other crews
to get our paychecks, eat free pizza, and hear a lecture on safety standards.
The new routine was
tough, but doable, and it quickly forced me into some good habits. Being
dressed and on site at 7am was a challenge for a career night owl. And I’d
never been a breakfast guy, but the physical nature of the job demanded I eat
something before work. It also saved me money, forcing me to pack lunches
instead of meet up with a friend for an hour at some restaurant downtown.
But all the good
habits in the world couldn’t disguise the moonlighting college professor who lathered
up in sun block every morning to protect his pasty skin while his co-workers were
draped in deep tans that testified to long years in the sun. I never really
knew if my crew resented me for leaving the white collar world to sweat it out
on a construction site for a few months. If they did they didn’t show it. One
afternoon in July I was sitting around on a break with the other guys when I
mentioned something about grad school. Mike shook his head and asked:
“What are you
doing here, man?”
I thought about
everything I could say in response. That I needed to prove I was man enough to
work long hours with my hands in the summer sun, that I was more than a schoolteacher
with a red pen. That I remembered working at a grocery store as a teenager when
former classmates would come in to cash construction paychecks that were three
or four times the totals I was pulling down, and that even though I knew they’d
sacrificed their futures by dropping out of school to take their jobs, that
somehow standing there in their grime and their grease, they intimidated me.
“I just wanted
to learn something new,” I finally said.
Bit by bit, the
million-dollar house took shape over the summer weeks, and along the way I
scored a 50-cent raise. The cement hole became a framed basement, then a really
big rambler, then a crane came by and a sweeping roof capped off the structure.
As the pieces fell into place I realized that even if I’d only been cutting
2X4s, I could look at that obnoxious house and know I’d helped to bring it up
out of the ground. My sweat was in that thing, and after jabbing my hand on a
nail one afternoon, so was my DNA. Maybe the future owner wouldn’t let me in
the door, and maybe it was insulting to be making $8.50 an hour with two
college degrees, but as long as that house stood, I knew I owned a piece of it.
At the same
time, I wasn’t working any harder on the house than I did when I lingered on
campus long into the night researching my paper on Chicano Nationalism, or when
I graded all my students’ freshman argument papers, or when I sacrificed my
Spring Break to marathon my way through five days of sunrise-to-sunset work on
my Master’s Thesis. Grad school never gave me a sunburn, but hard work was hard
work.
As July neared
August, plumbers and electricians started to come by and take measurements as
they prepared the house for its next phase of construction. Soon it would be
time for the framers to move on to a new project.
One afternoon
Dave took me aside to give me the news. “Our next project is going to be down
in Payson,” he said. Payson was about 100 miles away. 200 miles of daily
commute at $8.50 an hour didn’t carry much appeal, and Dave knew it.
“I could
probably bump you up to $9.00, but that’s the best I could do until we trained
you as a carpenter,” he continued. “But that’s not going happen anytime soon.”
I don’t think he
meant it as an insult, but the last comment still stung. Even if I didn’t want
the promotion, I wanted to think I was good enough to do it. Sometimes you
don’t want to go to the party, but you still want to be invited.
About three
weeks earlier the teaching job I was counting on had fallen through. Quitting
framing would leave me with no income and no prospects, since it was too late in
the year to go back to school and get into a PhD program. But I knew the Payson
job wasn’t an option. I also knew that I didn’t have anything left to prove.
I called the
boss two or three times, figuring I owed him a verbal resignation, but
eventually I just had to leave a voice mail. A month later I picked up a part-time
job teaching for the local community college. It took another year and a half
before the house in Eaglewood sold. I’ll still drive by it once in a while, but
I’ve never stopped to meet the owner, and I’ll still see pickups hauling tool
trailers on the freeway from time to time, but I’ve never second-guessed my
decision to leave the crew.
Two weeks after
I quit I went to my 10-year high school reunion. I was single, unemployed, and
living with my parents. But it didn’t bother me. I knew something about myself
that I didn’t know before. Plus I knew that when you go after a stack of 2X4s,
you grab eight, not two.
Friday, April 26, 2013
His Name is Mud
"Mud" offers a simple premise: two boys in rural Arkansas stumble onto a fugitive murder suspect hiding out in a swamp. But "Mud" is anything but a simple movie, and it has anything but a simple message. It is a brooding drama that is dark and funny and sweet at the same time, which is maybe just another way of saying it feels like real life.
It reminded me of Rob Reiner's 1986 coming-of-age tale "Stand By Me," partially because one of the boys (Neckbone, played by Jacob Lofland) is a buzz-headed hick who channels River Phoenix. The other (Ellis, played by Ty Sheridan) is the hopeless romantic I remember being at 14 and the tough-nosed punk I wish I had been at 14. Often the best characters remind you of who you are and who you wish you were.
The first plot point was a surprise. Maybe I've seen too many episodes of "24" or too many spy movies that use the old hostage cliche, but I assumed that the fugitive (named Mud and played by Matthew McConaughey) would feel threatened by the boys' discovery of his hideout and immediately threaten them with harm. Ellis and Neckbone seem to anticipate this during their first meeting. Instead, Mud recruits them to contact his girlfriend (Reese Witherspoon) and help with his escape plan, and the film becomes a study of the nature of trust, love, and role models.
The film is built of echoes:
"Mud" is an interesting foil for "Beasts of the Southern Wild," another film set in the swamp that looks at its world with the wide-eyed wonder of child, and struggles to maintain its innocence when harsh reality gives its protagonist a swift kick in the Private Idahoes. It's the kind of movie that stifles your impulse to crack jokes about Matthew McConaughey going shirtless or Reese Witherspoon's (in?)conveniently timed arrest record. You want to point out that it feels a little long, but then you have to acknowledge that its deliberate pacing and mood is critical to its effect, and that you are probably just too used to movies that offer quick editing and a fast pace because they have nothing important to say. "Mud" isn't the kind of movie you watch with a group of friends on a Saturday night. It's the kind of movie you watch on your own in the middle of the week when you want a film to give you something to think about. It's beautiful and profound and well-worth a watch on the big screen, but you can see it on DVD and be just fine. In fact, the best endorsement I can offer is that two-thirds of the way through the movie I started to consider whether I would buy a copy of the film for my permanent collection.
"Mud" is rated PG-13 for consistent profanity, some vulgar dialogue, scattered violence, and the sight of Michael Shannon in a wet suit.
It reminded me of Rob Reiner's 1986 coming-of-age tale "Stand By Me," partially because one of the boys (Neckbone, played by Jacob Lofland) is a buzz-headed hick who channels River Phoenix. The other (Ellis, played by Ty Sheridan) is the hopeless romantic I remember being at 14 and the tough-nosed punk I wish I had been at 14. Often the best characters remind you of who you are and who you wish you were.
The first plot point was a surprise. Maybe I've seen too many episodes of "24" or too many spy movies that use the old hostage cliche, but I assumed that the fugitive (named Mud and played by Matthew McConaughey) would feel threatened by the boys' discovery of his hideout and immediately threaten them with harm. Ellis and Neckbone seem to anticipate this during their first meeting. Instead, Mud recruits them to contact his girlfriend (Reese Witherspoon) and help with his escape plan, and the film becomes a study of the nature of trust, love, and role models.
The film is built of echoes:
- The boys look up to Mud, who they see as a fount of world-weary seasoned wisdom. But later we meet Tom Blankenship (Sam Shepherd), the "old assassin" fount of genuine wisdom who makes Mud seem like a 14-year-old boy.
- Mud recruits Ellis to manage his communication (and thereby the relationship) with his girlfriend. In the meantime, Ellis' parents' marriage is coming apart. And in the meantime meantime, Ellis scores his own girlfriend and gets a nasty lesson in love of his own.
"Mud" is an interesting foil for "Beasts of the Southern Wild," another film set in the swamp that looks at its world with the wide-eyed wonder of child, and struggles to maintain its innocence when harsh reality gives its protagonist a swift kick in the Private Idahoes. It's the kind of movie that stifles your impulse to crack jokes about Matthew McConaughey going shirtless or Reese Witherspoon's (in?)conveniently timed arrest record. You want to point out that it feels a little long, but then you have to acknowledge that its deliberate pacing and mood is critical to its effect, and that you are probably just too used to movies that offer quick editing and a fast pace because they have nothing important to say. "Mud" isn't the kind of movie you watch with a group of friends on a Saturday night. It's the kind of movie you watch on your own in the middle of the week when you want a film to give you something to think about. It's beautiful and profound and well-worth a watch on the big screen, but you can see it on DVD and be just fine. In fact, the best endorsement I can offer is that two-thirds of the way through the movie I started to consider whether I would buy a copy of the film for my permanent collection.
"Mud" is rated PG-13 for consistent profanity, some vulgar dialogue, scattered violence, and the sight of Michael Shannon in a wet suit.
Saturday, April 20, 2013
The Mailman's McDonald's
There is an abandoned McDonald's on Highway 89 in Bountiful. Six months ago the Golden Arches opened up a new building around the corner, and so far no one has moved into the old location.
Normally I'm not all that bummed at the prospect of a vacated McDonald's, but I actually had a history with this place. Years ago, before it was remodeled with a two-story enclosed Playland, the Highway 89 location had an outdoor patio ringed with an iron gate. Among its impressive features was a 10-foot plastic Grimace mounted on industrial strength springs and a Mayor McCheese tower you could climb around inside. I probably visited this fast food wonderland dozens of times as a kid, but none was so memorable as the time I dropped in to meet a brand new Utah Jazz rookie named Karl Malone.
The image is as vivid as any from my childhood. It was a bright Saturday afternoon, and the Playland was completely empty save for a 6'9" black man sitting alone at a table in the far corner, about 10 feet from Mayor McCheese. He was equipped with a sharpie marker and a stack of glossy 8X10s that featured an enlarged action shot from a recent game, and there wasn't a PR rep or security person in sight.
My dad and I approached Karl, and five minutes later we walked away with personalized 8X10s for all four members of my family. Each one was personally addressed and signed with the following:
"To: Josh, Karl 'The Mailman' Malone, #32, Utah Jazz."
The memory makes me smile for a multitude of reasons, but it also makes me sad, because it reminds me of how much I miss Karl Malone.
After the Jazz were eliminated from playoff contention last week, I was reminded of a feeling I have often encountered as a teacher. It's the feeling of frustration and heartbreak that occurs as you watch a student do just enough work to not pass your class. You never feel all that bad for the students who go up in flames, but when someone attends regularly, turns in most of their assignments, and still comes up short...well, it's just a waste.
That feeling perfectly describes my last two months as a Jazz fan.
As I've watched the 2012-13 squad stumble and fight all year, only to fall short of playoff qualification, I've started to wonder if I was holding them to unreasonable expectations. Maybe I took the Stockton-to-Malone years for granted. Maybe having two top-50 all-time players on my team for more than 15 years and a 50+ win contender on the court every year was more out of the ordinary than I realized.
Every once in a while something will jog my memory of the glory days. Karl Malone will call in as a guest on a sports radio talk show. I'll stumble on an old YouTube clip that takes me back. Or I'll just drive by an old abandoned McDonald's. It's easy to look at the past and point an accusing finger at the present, but we also need to realize that we were pointing fingers back then, too. Maybe bad decisions have been made, and maybe potential is not being realized, but I think we're a lot better off taking stock of the fun times than fretting about the frustrating ones.
I've been a basketball fan since the 5th grade, but I'm not dumb enough to think that I know whether the Jazz should fire Ty Corbin or play Derrick Favors. I can barely keep track of my own crap from day to day, and ultimately the Jazz need to take care of their business just like my students do. That's not to say that I haven't let a loss get to me, especially when that loss gives the NBA's entry in the Pro Sports Axis of Evil a ticket to the playoffs. I'm just saying that I should know better. Unless your financial livelihood depends on the success of the Utah Jazz or whatever team is causing you stress, being a sports fan should be fun. If you're not having fun, you're doing something wrong.
Even Mayor McCheese could tell you that.
Normally I'm not all that bummed at the prospect of a vacated McDonald's, but I actually had a history with this place. Years ago, before it was remodeled with a two-story enclosed Playland, the Highway 89 location had an outdoor patio ringed with an iron gate. Among its impressive features was a 10-foot plastic Grimace mounted on industrial strength springs and a Mayor McCheese tower you could climb around inside. I probably visited this fast food wonderland dozens of times as a kid, but none was so memorable as the time I dropped in to meet a brand new Utah Jazz rookie named Karl Malone.
The image is as vivid as any from my childhood. It was a bright Saturday afternoon, and the Playland was completely empty save for a 6'9" black man sitting alone at a table in the far corner, about 10 feet from Mayor McCheese. He was equipped with a sharpie marker and a stack of glossy 8X10s that featured an enlarged action shot from a recent game, and there wasn't a PR rep or security person in sight.
My dad and I approached Karl, and five minutes later we walked away with personalized 8X10s for all four members of my family. Each one was personally addressed and signed with the following:
"To: Josh, Karl 'The Mailman' Malone, #32, Utah Jazz."
The memory makes me smile for a multitude of reasons, but it also makes me sad, because it reminds me of how much I miss Karl Malone.
After the Jazz were eliminated from playoff contention last week, I was reminded of a feeling I have often encountered as a teacher. It's the feeling of frustration and heartbreak that occurs as you watch a student do just enough work to not pass your class. You never feel all that bad for the students who go up in flames, but when someone attends regularly, turns in most of their assignments, and still comes up short...well, it's just a waste.
That feeling perfectly describes my last two months as a Jazz fan.
As I've watched the 2012-13 squad stumble and fight all year, only to fall short of playoff qualification, I've started to wonder if I was holding them to unreasonable expectations. Maybe I took the Stockton-to-Malone years for granted. Maybe having two top-50 all-time players on my team for more than 15 years and a 50+ win contender on the court every year was more out of the ordinary than I realized.
Every once in a while something will jog my memory of the glory days. Karl Malone will call in as a guest on a sports radio talk show. I'll stumble on an old YouTube clip that takes me back. Or I'll just drive by an old abandoned McDonald's. It's easy to look at the past and point an accusing finger at the present, but we also need to realize that we were pointing fingers back then, too. Maybe bad decisions have been made, and maybe potential is not being realized, but I think we're a lot better off taking stock of the fun times than fretting about the frustrating ones.
I've been a basketball fan since the 5th grade, but I'm not dumb enough to think that I know whether the Jazz should fire Ty Corbin or play Derrick Favors. I can barely keep track of my own crap from day to day, and ultimately the Jazz need to take care of their business just like my students do. That's not to say that I haven't let a loss get to me, especially when that loss gives the NBA's entry in the Pro Sports Axis of Evil a ticket to the playoffs. I'm just saying that I should know better. Unless your financial livelihood depends on the success of the Utah Jazz or whatever team is causing you stress, being a sports fan should be fun. If you're not having fun, you're doing something wrong.
Even Mayor McCheese could tell you that.
Sunday, April 14, 2013
Dating and Driving, No. III
When asked to share my most embarrassing moment, I have a variety of options to choose from. There was the time I stalled a brand-new Mazda Miata five times in front of a half-dozen used car salesmen, and there was another time when John Stockton asked me if I was a girl.
But the winner took place inside a maroon 1983 Honda Accord back when I was still in high school. I was on a date with a girl I had known for a little over a year. We'd been out a handful of times, including a couple of school dances, and I'd decided it was time to "make a move." This decision stemmed from the fact that one of my best friends had just taken her to Prom, and another best friend had just spent a week kissing her on stage in the school play.
We were parked at the Redwood Drive-In out in West Valley, because if seventeen years of pop culture had taught me anything at that point, it was that drive-ins were built for romance. I had pre-determined that at the most romantic point of the film, I would put my arm around my date, thus communicating my "hey baby, I'm yo man" intentions. This seemed like an airtight plan, save for two problems:
1. We were watching "Grumpy Old Men."
2. My car had headrests.
I was able to overcome problem #1 by waiting until the fish and tackle shop owner played by Ozzie Smith died. It was as sensitive a moment as I was going to get, so I took it. I casually stretched out my right arm and tried to drop it behind my date's head. But she was leaning back against the headrest, so instead my arm wound up jammed in the gap between the top of her head and the top of the headrest. It was like my arm was one of those striped tollbooth arms and she was a car that tried to pull out of the parking lot without paying.
Slowly, with my arm still propped up on top of her golden-haired head, she turned and stared at me with a look of confusion that justified any fear I ever had about making a move on someone of the opposite sex.
I tried to address the situation with a non-verbal gesture, meaning I started pushing down with my right arm to try to force it behind her head. Another half-second of confused awkwardness followed, then when my date finally realized what on earth I was trying to do and leaned forward a bit, my arm fell over her shoulders. Then we sat there silently for another forty minutes while Jack Lemmon and Walter Matthau worked out their differences--I can't remember which of them wound up with Ann-Margaret--and I took her home. Or maybe we stopped at Village Inn. The other details are a little hazy.
While we remained friends, we never went on another date. After I returned from Chicago a few years later, a mutual friend told me she married a guy she'd met on a blind date*. I don't know if she ever told anyone about my mishap at the drive-in. My guess is no, since compared to the horror stories I usually hear from my female friends whenever we get around to comparing dating notes**, my little mishap comes across as utterly harmless.
I do remember seeing her at our 10-year-reunion, but I can't remember if I talked to her or just kept an awkward distance. Once a girl I've dated gets married, even if we are on good terms, I don't go out of my way to stay in touch. I'm pretty much content to fade into their personal history as one of those "other" guys they met along the way.
The day after that date I took the headrests off my car, and they stayed off for eighteen months until I left on my mission. Never let it be said that I don't learn from my mistakes.
----
*Reason #34 I hate blind dates.
**Reason #18 I am grateful to be a man.
But the winner took place inside a maroon 1983 Honda Accord back when I was still in high school. I was on a date with a girl I had known for a little over a year. We'd been out a handful of times, including a couple of school dances, and I'd decided it was time to "make a move." This decision stemmed from the fact that one of my best friends had just taken her to Prom, and another best friend had just spent a week kissing her on stage in the school play.
We were parked at the Redwood Drive-In out in West Valley, because if seventeen years of pop culture had taught me anything at that point, it was that drive-ins were built for romance. I had pre-determined that at the most romantic point of the film, I would put my arm around my date, thus communicating my "hey baby, I'm yo man" intentions. This seemed like an airtight plan, save for two problems:
1. We were watching "Grumpy Old Men."
2. My car had headrests.
I was able to overcome problem #1 by waiting until the fish and tackle shop owner played by Ozzie Smith died. It was as sensitive a moment as I was going to get, so I took it. I casually stretched out my right arm and tried to drop it behind my date's head. But she was leaning back against the headrest, so instead my arm wound up jammed in the gap between the top of her head and the top of the headrest. It was like my arm was one of those striped tollbooth arms and she was a car that tried to pull out of the parking lot without paying.
Slowly, with my arm still propped up on top of her golden-haired head, she turned and stared at me with a look of confusion that justified any fear I ever had about making a move on someone of the opposite sex.
I tried to address the situation with a non-verbal gesture, meaning I started pushing down with my right arm to try to force it behind her head. Another half-second of confused awkwardness followed, then when my date finally realized what on earth I was trying to do and leaned forward a bit, my arm fell over her shoulders. Then we sat there silently for another forty minutes while Jack Lemmon and Walter Matthau worked out their differences--I can't remember which of them wound up with Ann-Margaret--and I took her home. Or maybe we stopped at Village Inn. The other details are a little hazy.
While we remained friends, we never went on another date. After I returned from Chicago a few years later, a mutual friend told me she married a guy she'd met on a blind date*. I don't know if she ever told anyone about my mishap at the drive-in. My guess is no, since compared to the horror stories I usually hear from my female friends whenever we get around to comparing dating notes**, my little mishap comes across as utterly harmless.
I do remember seeing her at our 10-year-reunion, but I can't remember if I talked to her or just kept an awkward distance. Once a girl I've dated gets married, even if we are on good terms, I don't go out of my way to stay in touch. I'm pretty much content to fade into their personal history as one of those "other" guys they met along the way.
The day after that date I took the headrests off my car, and they stayed off for eighteen months until I left on my mission. Never let it be said that I don't learn from my mistakes.
----
*Reason #34 I hate blind dates.
**Reason #18 I am grateful to be a man.
Friday, April 05, 2013
Remembering Roger
In about a year's time, I was able to shake hands with two of my most important creative influences. My encounters with Ray Bradbury and George Lucas in 2007 and 2008 only lasted a few seconds, but meeting them in person added a human element to relationships that would never have felt as genuine otherwise. You spend enough time reading a person's books or watching their movies, you start to feel like you know them. Bradbury and Lucas still wouldn't know me from Adam, but meeting them at least partially validated those relationships.
As of Thursday, I'm never going to have that opportunity with Roger Ebert. After a long bout with cancer that robbed him of his jaw and his ability to speak and eat for the last several years, Ebert finally passed away at the age of 70.
Of those three influences, Ebert is the only one I might be able to consider a colleague. He wrote film reviews for the Chicago Sun-Times for nearly 50 years, though like most people, I first got to know him as the the tubby Costello to Gene Siskel's Abbott on TV back in the '80s. Sometime between the year I spent as the film critic for my student newspaper in grad school and when I started writing reviews for the Deseret News in the fall of 2010, I discovered his website and have checked in with him regularly ever since.
Often I've clicked over to his site only seconds after submitting a review of my own, curious to know what he thought of a film, wondering if I had completely missed the boat. Which is funny, because I disagree with Ebert's reviews as often as I concur. The deeper truth is that whether I agree with him or not, I admire Roger Ebert primarily as a writer. Most film reviews (including many of my own, unfortunately) come across as formulaic and distant, cold analysis of inanimate celluloid. But Ebert put his heart into his reviews, composing efforts that felt more like personal essays. Instead of write about an obligatory checklist of things that make movies good or bad, he wrote about the experience he had watching a film, and in that sense, he could never be wrong.
In doing so, he tapped into the joy of watching great movies. And more famously, he tapped into the comic rage that can come from being victimized by an unholy pile of garbage. When we cover reviews and evaluations in my English courses, I often have my students read Ebert's review of "Transformers 2," and assure them that it's a lot easier to write a review of a movie you hate than of one you love.
Ebert also had a knack for modern media. Robbed of his speaking voice, and in spite of being in his '60s, Ebert was more than happy to jump headfirst into modern social media outlets like Twitter, and his exploits often landed him in the middle of mini-controversies. I disagree with him on matters of politics even more than I do on films, but I never felt like I had to abandon his writing for it.
Late in January of this year, I started making weekly appearances on the "KJZZ Movie Show" as part of an opening segment roundtable with host Melanie Nelson and Steve Salles, who writes for the Ogden Standard Examiner. It's a long way from "At the Movies" or "Sneak Previews," but it has been a great experience. One I'm sure I never could have had if it wasn't for Gene Siskel & Roger Ebert.
With that in mind, I think it would be fair to give him the last word. So here's a quote that perfectly describes the moviegoing experience, taken, appropriately enough, from his review of "Star Wars:"
"Every once in a while I have what I think of as an out-of-the-body experience at a movie. When the ESP people use a phrase like that, they're referring to the sensation of the mind actually leaving the body and spiriting itself off to China or Peoria or a galaxy far, far away. When I use the phrase, I simply mean that my imagination has forgotten it is actually present in a movie theater and thinks it's up there on the screen. In a curious sense, the events in the movie seem real, and I seem to be a part of them."
As of Thursday, I'm never going to have that opportunity with Roger Ebert. After a long bout with cancer that robbed him of his jaw and his ability to speak and eat for the last several years, Ebert finally passed away at the age of 70.
Of those three influences, Ebert is the only one I might be able to consider a colleague. He wrote film reviews for the Chicago Sun-Times for nearly 50 years, though like most people, I first got to know him as the the tubby Costello to Gene Siskel's Abbott on TV back in the '80s. Sometime between the year I spent as the film critic for my student newspaper in grad school and when I started writing reviews for the Deseret News in the fall of 2010, I discovered his website and have checked in with him regularly ever since.
Often I've clicked over to his site only seconds after submitting a review of my own, curious to know what he thought of a film, wondering if I had completely missed the boat. Which is funny, because I disagree with Ebert's reviews as often as I concur. The deeper truth is that whether I agree with him or not, I admire Roger Ebert primarily as a writer. Most film reviews (including many of my own, unfortunately) come across as formulaic and distant, cold analysis of inanimate celluloid. But Ebert put his heart into his reviews, composing efforts that felt more like personal essays. Instead of write about an obligatory checklist of things that make movies good or bad, he wrote about the experience he had watching a film, and in that sense, he could never be wrong.
In doing so, he tapped into the joy of watching great movies. And more famously, he tapped into the comic rage that can come from being victimized by an unholy pile of garbage. When we cover reviews and evaluations in my English courses, I often have my students read Ebert's review of "Transformers 2," and assure them that it's a lot easier to write a review of a movie you hate than of one you love.
Ebert also had a knack for modern media. Robbed of his speaking voice, and in spite of being in his '60s, Ebert was more than happy to jump headfirst into modern social media outlets like Twitter, and his exploits often landed him in the middle of mini-controversies. I disagree with him on matters of politics even more than I do on films, but I never felt like I had to abandon his writing for it.
Late in January of this year, I started making weekly appearances on the "KJZZ Movie Show" as part of an opening segment roundtable with host Melanie Nelson and Steve Salles, who writes for the Ogden Standard Examiner. It's a long way from "At the Movies" or "Sneak Previews," but it has been a great experience. One I'm sure I never could have had if it wasn't for Gene Siskel & Roger Ebert.
With that in mind, I think it would be fair to give him the last word. So here's a quote that perfectly describes the moviegoing experience, taken, appropriately enough, from his review of "Star Wars:"
"Every once in a while I have what I think of as an out-of-the-body experience at a movie. When the ESP people use a phrase like that, they're referring to the sensation of the mind actually leaving the body and spiriting itself off to China or Peoria or a galaxy far, far away. When I use the phrase, I simply mean that my imagination has forgotten it is actually present in a movie theater and thinks it's up there on the screen. In a curious sense, the events in the movie seem real, and I seem to be a part of them."
Sunday, March 31, 2013
The 10 Most Embarrassing CDs in my Music Collection
Earlier this year I put together a list of my most embarrassing DVDs. As a film critic and self-avowed movie snob, I think this was a good exercise to keep me humble. But my effort to do the same thing for my CD collection has been more complicated, because a) I no longer own a lot of the humiliating CDs I ordered from the BMG music club back in the '90s, an b) thanks to iTunes, I can download all the goofball songs I want for a buck under the guise of ironic appreciation. There's a big difference between downloading "Ice Ice Baby" as a joke for 99 cents and throwing $15 at an entire album's worth of Robert Van Winkle's early '90s mayonnaise raps.
So I am left with a choice: construct the list as a retrospective of inept musical appreciation, or make it a warts-and-all confession of albums I still own and cherish (or just forgot to run down to the Tom-Tom Music exchange back in 1998). After careful consideration, I think it might be more revealing to know what I still own on CD today...
1. Right Said Fred, "Up"
I bought this CD during my first year of grad school in order to use "I'm Too Sexy" for an English 1010 writing activity. iTunes hadn't happened yet, so I had no choice but to pick up the entire album for seven bucks out of the used bin of a local Hastings. On the plus side, this demonstrates the great lengths I will go to serve my students. On the downside, I have listened to "Don't Talk, Just Kiss" more than once.
2. Avril Levigne, "Let Go"
I don't know if I should even try to excuse this one. Avril Levigne's first album is guitar and drum-driven, which kind of helps--I do think it would be fun to play the drums to "Sk8ter Boi," and I seem to recall that being the primary impetus for the purchase--but beyond that, I think my defense runs out of gas.
3. Dolly Parton, "White Limozeen"
No need for a summary here. I've already given this little gem its own post. And yes, the ball is back in my court.
4. Milli Vanilli, "Girl You Know It's True"
The one CD from that fateful first round of BMG acquisitions that has survived to this day. I traded in Paula Abdul and Janet Jackson, but something told me that Milli Vanilli was worth holding on to. And let's be honest, "Blame it On the Rain" is a pretty great song.
5. Roxette, "Look Sharp!"
Whenever I think about bands that would have sounded awesome if they weren't dragged down by dated production techniques, Roxette usually springs to mind. I think it was my friend Mark who pointed out that hits like "Dangerous" and "Paint" would work fine today if you stripped away the '80s-ness of the recordings. But even with the kitsch intact, "Look Sharp" has enough high points to stay on my shelf.
6. Pras, "Ghetto Supastar"
If it was available on iTunes, I would have bought the title track for a buck. But Pras didn't want his one hit available for a ninety-nine cent download. So how else was I supposed to get a hold of the song that reminded me of my favorite Aggie-ette? Sometimes sacrifices must be made for the greater good.
7. Bread, "Anthology of Bread"
I genuinely like Bread. "If" in particular is a fantastic song. I think I just struggle with the idea of owning a CD by a band with such a sissified name. If it were a joke, I'd be OK with it. But Bread is a legit name. You can tell because the music sounds like bread. White bread, specifically. Probably Wonder Bread. And that doesn't help my argument at all.
8. Various Artists, "Serendipity" Soundtrack
Originally I had listed my 3-CD Burt Bacharach boxed set here, but as I think about it, it's much more difficult for me to explain my ownership of the "Serendipity" soundtrack, so I decided to man up and make the switch. To be fair, no one should ever have to strain to justify a soundtrack that includes music from Nick Drake and Louis Armstrong. But judging from the reaction to my DVD list, I should probably come clean on my total "Serendipity"-related purchase history.
9. The Carpenters, "The Singles: 1969-73"
There's a semi-famous* scene in "Tommy Boy" where David Spade and Chris Farley begrudgingly acknowledge their love of the song "Superstar." And hey, it's a pretty great song (I happen to favor the original artist's version from the "Mad Dogs and Englishmen" soundtrack**). But I would be lying if I didn't admit that there were plenty of other Carpenters' songs I liked.
10. Various Artists, "Pretty Woman" Soundtrack
I'm trying to remember why I picked this up used for five bucks a few years ago. It may have been because I wanted a copy of the Roxette song. I don't think it was for the Christopher Otcasek song (which was also featured in "Crocodile Dundee II," by the way). The funny thing is that I don't think I've ever seen the entire movie.
BONUS: Hulk Hogan and the Wrestling Boot Band, "Hulk Rules"
I can't include this on the main list for two reasons. The first is I can't find it, so I can't confirm that I still own it (trust me, I searched). The second is that I'm not sure it really qualifies for this list since, unlike the other entries, I wouldn't be all that embarrassed if anyone came across it while browsing through my collection***. In fact, I think I would go out of my way to point it out to guests during dinner parties. The fact that I picked it up (for free, as I recall...it may have been a white elephant gift) already knowing how awful it would be probably disqualifies it.
---
*Semi-famous because apparently it isn't on YouTube.
**Also not on YouTube. But worth looking up...trust me.
***This feels like an oblivious thing to say in a voluntary blog post that publishes my musical sins to the entire planet, but somehow taking the initiative feels much more empowering than merely waiting for disaster to strike on its own.
So I am left with a choice: construct the list as a retrospective of inept musical appreciation, or make it a warts-and-all confession of albums I still own and cherish (or just forgot to run down to the Tom-Tom Music exchange back in 1998). After careful consideration, I think it might be more revealing to know what I still own on CD today...
1. Right Said Fred, "Up"
I bought this CD during my first year of grad school in order to use "I'm Too Sexy" for an English 1010 writing activity. iTunes hadn't happened yet, so I had no choice but to pick up the entire album for seven bucks out of the used bin of a local Hastings. On the plus side, this demonstrates the great lengths I will go to serve my students. On the downside, I have listened to "Don't Talk, Just Kiss" more than once.
2. Avril Levigne, "Let Go"
I don't know if I should even try to excuse this one. Avril Levigne's first album is guitar and drum-driven, which kind of helps--I do think it would be fun to play the drums to "Sk8ter Boi," and I seem to recall that being the primary impetus for the purchase--but beyond that, I think my defense runs out of gas.
3. Dolly Parton, "White Limozeen"
No need for a summary here. I've already given this little gem its own post. And yes, the ball is back in my court.
4. Milli Vanilli, "Girl You Know It's True"
The one CD from that fateful first round of BMG acquisitions that has survived to this day. I traded in Paula Abdul and Janet Jackson, but something told me that Milli Vanilli was worth holding on to. And let's be honest, "Blame it On the Rain" is a pretty great song.
5. Roxette, "Look Sharp!"
Whenever I think about bands that would have sounded awesome if they weren't dragged down by dated production techniques, Roxette usually springs to mind. I think it was my friend Mark who pointed out that hits like "Dangerous" and "Paint" would work fine today if you stripped away the '80s-ness of the recordings. But even with the kitsch intact, "Look Sharp" has enough high points to stay on my shelf.
6. Pras, "Ghetto Supastar"
If it was available on iTunes, I would have bought the title track for a buck. But Pras didn't want his one hit available for a ninety-nine cent download. So how else was I supposed to get a hold of the song that reminded me of my favorite Aggie-ette? Sometimes sacrifices must be made for the greater good.
7. Bread, "Anthology of Bread"
I genuinely like Bread. "If" in particular is a fantastic song. I think I just struggle with the idea of owning a CD by a band with such a sissified name. If it were a joke, I'd be OK with it. But Bread is a legit name. You can tell because the music sounds like bread. White bread, specifically. Probably Wonder Bread. And that doesn't help my argument at all.
8. Various Artists, "Serendipity" Soundtrack
Originally I had listed my 3-CD Burt Bacharach boxed set here, but as I think about it, it's much more difficult for me to explain my ownership of the "Serendipity" soundtrack, so I decided to man up and make the switch. To be fair, no one should ever have to strain to justify a soundtrack that includes music from Nick Drake and Louis Armstrong. But judging from the reaction to my DVD list, I should probably come clean on my total "Serendipity"-related purchase history.
9. The Carpenters, "The Singles: 1969-73"
There's a semi-famous* scene in "Tommy Boy" where David Spade and Chris Farley begrudgingly acknowledge their love of the song "Superstar." And hey, it's a pretty great song (I happen to favor the original artist's version from the "Mad Dogs and Englishmen" soundtrack**). But I would be lying if I didn't admit that there were plenty of other Carpenters' songs I liked.
10. Various Artists, "Pretty Woman" Soundtrack
I'm trying to remember why I picked this up used for five bucks a few years ago. It may have been because I wanted a copy of the Roxette song. I don't think it was for the Christopher Otcasek song (which was also featured in "Crocodile Dundee II," by the way). The funny thing is that I don't think I've ever seen the entire movie.
BONUS: Hulk Hogan and the Wrestling Boot Band, "Hulk Rules"
I can't include this on the main list for two reasons. The first is I can't find it, so I can't confirm that I still own it (trust me, I searched). The second is that I'm not sure it really qualifies for this list since, unlike the other entries, I wouldn't be all that embarrassed if anyone came across it while browsing through my collection***. In fact, I think I would go out of my way to point it out to guests during dinner parties. The fact that I picked it up (for free, as I recall...it may have been a white elephant gift) already knowing how awful it would be probably disqualifies it.
---
*Semi-famous because apparently it isn't on YouTube.
**Also not on YouTube. But worth looking up...trust me.
***This feels like an oblivious thing to say in a voluntary blog post that publishes my musical sins to the entire planet, but somehow taking the initiative feels much more empowering than merely waiting for disaster to strike on its own.
Friday, March 22, 2013
One Shining Moment...
I never played college basketball. Never knew what it felt like to stand at the free throw line during March Madness as thousands of co-eds and die-hard college basketball fans screamed at me. But in the first basketball tournament I ever entered, in the first game I ever played, I did something at the age of eleven that no one ever did in the tournament of 64. Not Walton, not Magic, not even Jordan.
I scored every single one of my team's points for an entire game.
Granted, we lost that game 72-4, but I'll take whatever credit I can get. My shining moment came on the first night of the Bountiful North Stake's Deacon's Basketball Tournament, a two day ecclesiastical bonanza that would match up the 12 and 13-year-olds of six wards in a pre-pubescent bloodbath. It was my baptism by fire into the cultural curiosity that is LDS church basketball. Thanks to a massive age gap that left my ward with only two deacon-aged boys, I was recruited along with another half-dozen of my eleven-year-old peers to fill out the roster. Just enough for the 19th ward to field a team of 6th graders against five teams stacked with kids on the opposite end of their junior high growth spurts.
I can't remember who we played in that first game. It might have been the 13th ward, or maybe the 10th. They were all older than I was, so I didn't know any of them anyway. What I did know was that from the opening tip, my team's challenge was not to score points. It was to get the ball across the half-court line. We'd barely inbound the basketball before a merciless full-court press would pressure us into turnover after turnover, easily converted to quick layups by kids who may as well have been 7-feet tall from our perspective.
I don't know that any of us had serious aspirations going into that tournament, but any hopes we had were quickly hammered into the hardwood. It was the first of many games I would play at the A-frame church up on the hill that overlooked the radish and bean fields of Bangerter's farm (where I would earn my first professional wages two summers later). The lighting inside that tiny basketball court was bad even for church gym standards, and the whole place had a distinctive orange tone that was a far cry from the bright Celestial glory of our spacious home court down the road. Not that any of that would have made any difference.
At some point late in the first half, we still hadn't put a single point on the board, so I followed in the time-honored tradition of many NBA professionals and decided that playing defense was pointless. As our opponent picked up another steal and made their way down to another easy basket, I lingered back. Our point guard Phil Johnson took the inbounds pass and spied my 4'9", 75-pound frame all alone and uncovered at the other end of the court. He lofted a cross-court pass that I grabbed just past the opposite foul line, and in a single motion I turned and tossed up a 10-foot jumper before anyone could get back and slap it into the next week. In my mind, it looked just like this play.
When the shot went in, the crowd erupted like we had just won the national title. Shutout averted.
At halftime, my coach pleaded with the other squad to let us at least get the ball past mid court, but there must have been some kind of BCS-ranking applied to the tournament standings, because when the second half started, the carnage continued. I do seem to remember our team getting a few shots off, either because we were playing better or because the other team was getting bored. But we didn't convert another field goal for the rest of the game.
As the clock finally wound down on our sad debacle, somehow we got the ball past mid court, and I took a pass near the top of the key. Again I turned to throw up a prayer, but this time the defender clipped my arm, and I was sent to the foul line.
The cheer that came after I made the first free throw was almost as loud as the cheer that came with my first-half jumper. The cheer that came after I hit the second was definitely louder.
A few seconds later, the buzzer sounded, the slaughter finally ended, and I walked away from my first church basketball game feeling conflicted. The defeat was excruciating, total and humiliating, yet it offered just enough hope to make me think I could hold my own with real competition. We fared better over the course of our next four games, though I don't remember winning any of them. By the next year, we were all on our way through puberty, and just another group of awkward pre-teens. A few years after that we were offering beat downs of our own, though I don't remember any of them being as lopsided as 72-4.
I never went on to play college ball. Heck, I never even went on to play for my junior high team. Like most wanna-be jocks, my basketball "career" was spent in rec leagues and pick-up games. But I had a pretty good time. And I'd put my highlight reel up against anybody's.
The world may have spent the last thirty years wishing they could try on Michael Jordan's shoes, but just about everybody has taken a stroll in mine.
I scored every single one of my team's points for an entire game.
Granted, we lost that game 72-4, but I'll take whatever credit I can get. My shining moment came on the first night of the Bountiful North Stake's Deacon's Basketball Tournament, a two day ecclesiastical bonanza that would match up the 12 and 13-year-olds of six wards in a pre-pubescent bloodbath. It was my baptism by fire into the cultural curiosity that is LDS church basketball. Thanks to a massive age gap that left my ward with only two deacon-aged boys, I was recruited along with another half-dozen of my eleven-year-old peers to fill out the roster. Just enough for the 19th ward to field a team of 6th graders against five teams stacked with kids on the opposite end of their junior high growth spurts.
I can't remember who we played in that first game. It might have been the 13th ward, or maybe the 10th. They were all older than I was, so I didn't know any of them anyway. What I did know was that from the opening tip, my team's challenge was not to score points. It was to get the ball across the half-court line. We'd barely inbound the basketball before a merciless full-court press would pressure us into turnover after turnover, easily converted to quick layups by kids who may as well have been 7-feet tall from our perspective.
I don't know that any of us had serious aspirations going into that tournament, but any hopes we had were quickly hammered into the hardwood. It was the first of many games I would play at the A-frame church up on the hill that overlooked the radish and bean fields of Bangerter's farm (where I would earn my first professional wages two summers later). The lighting inside that tiny basketball court was bad even for church gym standards, and the whole place had a distinctive orange tone that was a far cry from the bright Celestial glory of our spacious home court down the road. Not that any of that would have made any difference.
At some point late in the first half, we still hadn't put a single point on the board, so I followed in the time-honored tradition of many NBA professionals and decided that playing defense was pointless. As our opponent picked up another steal and made their way down to another easy basket, I lingered back. Our point guard Phil Johnson took the inbounds pass and spied my 4'9", 75-pound frame all alone and uncovered at the other end of the court. He lofted a cross-court pass that I grabbed just past the opposite foul line, and in a single motion I turned and tossed up a 10-foot jumper before anyone could get back and slap it into the next week. In my mind, it looked just like this play.
When the shot went in, the crowd erupted like we had just won the national title. Shutout averted.
At halftime, my coach pleaded with the other squad to let us at least get the ball past mid court, but there must have been some kind of BCS-ranking applied to the tournament standings, because when the second half started, the carnage continued. I do seem to remember our team getting a few shots off, either because we were playing better or because the other team was getting bored. But we didn't convert another field goal for the rest of the game.
As the clock finally wound down on our sad debacle, somehow we got the ball past mid court, and I took a pass near the top of the key. Again I turned to throw up a prayer, but this time the defender clipped my arm, and I was sent to the foul line.
The cheer that came after I made the first free throw was almost as loud as the cheer that came with my first-half jumper. The cheer that came after I hit the second was definitely louder.
A few seconds later, the buzzer sounded, the slaughter finally ended, and I walked away from my first church basketball game feeling conflicted. The defeat was excruciating, total and humiliating, yet it offered just enough hope to make me think I could hold my own with real competition. We fared better over the course of our next four games, though I don't remember winning any of them. By the next year, we were all on our way through puberty, and just another group of awkward pre-teens. A few years after that we were offering beat downs of our own, though I don't remember any of them being as lopsided as 72-4.
I never went on to play college ball. Heck, I never even went on to play for my junior high team. Like most wanna-be jocks, my basketball "career" was spent in rec leagues and pick-up games. But I had a pretty good time. And I'd put my highlight reel up against anybody's.
The world may have spent the last thirty years wishing they could try on Michael Jordan's shoes, but just about everybody has taken a stroll in mine.
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