Showing posts with label The Monkees. Show all posts
Showing posts with label The Monkees. Show all posts

Monday, March 11, 2013

Monkee Monday: The Poor Old Lady, part 2


I love the Monkees.  Always have, always will.  I have a few issues of the London fanzine Monkees Monthly, and they're littered with these hilarious little comics.  I hope Beat Publications doesn't mind if I share them, because I think they're hilarious.

Mike Raxworthy is credited as the zine's art editor, so I tip my wool hat to you here, Sir.

NOTE: Last week's panel asked, "Will Micky and his friends save the poor old lady?"  This panel answers with a big reveal -- that lady ain't as poor as we thought!

Copyright Raybert Productions, Inc. 1967.  Trademark of Screen Gem Inc.


Monday, March 4, 2013

Monkee Monday: The Poor Old Lady, part 1


I love the Monkees.  Always have, always will.  I have a few issues of the London fanzine Monkees Monthly, and they're littered with these hilarious little comics.  I hope Beat Publications doesn't mind if I share them, because I think they're hilarious.

Mike Raxworthy is credited as the zine's art editor, so I tip my wool hat to you here, Sir.

NOTE: Apparently, some of the comics, like this one, were proverbial cliffhangers (almost literally, in this case) -- so, in the spirit of "page 21," come back here next week to see . . . "Will Micky and his friends save the poor old lady?"

Copyright Raybert Productions, Inc. 1967.  Trademark of Screen Gem Inc.


Monday, February 25, 2013

Monkee Monday


I love the Monkees.  Always have, always will.  I have a few issues of the London fanzine Monkees Monthly, and they're littered with these hilarious little comics.  I hope Beat Publications doesn't mind if I share them, because I think they're hilarious.

Mike Raxworthy is credited as the zine's art editor, so I tip my wool hat to you here, Sir.

Copyright Raybert Productions, Inc. 1967.  Trademark of Screen Gem Inc.


Monday, February 18, 2013

Monkee Monday



I love the Monkees.  Always have, always will.  I have a few issues of the London fanzine Monkees Monthly, and they're littered with these hilarious little comics.  I hope Beat Publications doesn't mind if I share them, because I think they're hilarious.

Mike Raxworthy is credited as the zine's art editor, so I tip my wool hat to you here, Sir.

Copyright Raybert Productions, Inc. 1967.  Trademark of Screen Gem Inc.

Monday, February 11, 2013

Monkee Monday


I love the Monkees.  Always have, always will.  I have a few issues of the London fanzine Monkees Monthly, and they're littered with these hilarious little comics.  I hope Beat Publications doesn't mind if I share them, because I think they're hilarious.

Mike Raxworthy is credited as the zine's art editor, so I tip my wool hat to you here, Sir.

Copyright Raybert Productions, Inc. 1967.  Trademark of Screen Gem Inc.


Monday, February 4, 2013

Monkee Monday



I love the Monkees.  Always have, always will.  I have a few issues of the London fanzine Monkees Monthly, and they're littered with these hilarious little comics.  I hope Beat Publications doesn't mind if I share them, because I think they're hilarious.

Mike Raxworthy is credited as the zine's art editor, so I tip my wool hat to you here, Sir.

Copyright Raybert Productions, Inc. 1967.  Trademark of Screen Gem Inc.

Monday, January 28, 2013

Monkee Monday



I love the Monkees.  Always have, always will.  I have a few issues of the London fanzine Monkees Monthly, and they're littered with these hilarious little comics.  I hope Beat Publications doesn't mind if I share them, because I think they're hilarious.

Mike Raxworthy is credited as the zine's art editor, so I tip my wool hat to you here, Sir.

Copyright Raybert Productions, Inc. 1967.  Trademark of Screen Gem Inc.

Monday, January 21, 2013

Monkee Monday



I love the Monkees.  Always have, always will.  I have a few issues of the London fanzine Monkees Monthly, and they're littered with these hilarious little comics.  I hope Beat Publications doesn't mind if I share them, because I think they're hilarious.

Mike Raxworthy is credited as the zine's art editor, so I tip my wool hat to you here, Sir.

NOTE: This comic is a personal favorite because it collides two of my favorite childhood memories: the Monkees and Batman.  I always assumed the Monkees existed in the DC Universe.  First of all, the Penguin appeared in the Monkees TV show . . . and, the Monkeemen made a cameo in the dark future DC tale Kingdom Come.  Look it up!

Also, if you couldn't tell, this two-panel gag is surrounded by Monkee fan pen pal requests.  If you want to drop them a line, some of them might still be game.

Copyright Raybert Productions, Inc. 1967.  Trademark of Screen Gem Inc.

Monday, January 14, 2013

Monkee Monday



I love the Monkees.  Always have, always will.  I have a few issues of the London fanzine Monkees Monthly, and they're littered with these hilarious little comics.  I hope Beat Publications doesn't mind if I share them, because I think they're hilarious.

Mike Raxworthy is credited as the zine's art editor, so I tip my wool hat to you here, Sir.

Copyright Raybert Productions, Inc. 1967.  Trademark of Screen Gem Inc.

Monday, January 7, 2013

Monkee Monday


I love the Monkees.  Always have, always will.  I have a few issues of the London fanzine Monkees Monthly, and they're littered with these hilarious little comics.  I hope Beat Publications doesn't mind if I share them, because I think they're hilarious.

Mike Raxworthy is credited as the zine's art editor, so I tip my wool hat to you here, Sir.

Copyright Raybert Productions, Inc. 1967.  Trademark of Screen Gem Inc.

Sunday, February 15, 2009

Unwrapping the Rhapsody, part 2: This Musical Life

A co-worker is currently graciously sharing his free trial of Rhapsody with me, a program he described as Microsoft's iTunes, which is about as much as I know about tracking down music on-line. At the risk of incriminating myself of cyber-crimes, I'm one of an admitted many that have participating in file sharing to acquire his music, but to my credit I usually only indulge in downloading tracks I've already purchased in the past, on albums I've either lost of damaged. I'm actually pretty narrow-minded when it comes to music; I still like what I've always liked, and I struggle to integrate new material into my daily playlist. So I've wondered what to do with Rhapsody, with this preciously time-sensitive all-access pass to the entire spectrum of music as we know it!

I wholeheartedly embrace my personal eras in musical taste, though some would say distaste, as I proudly pledge allegiance to bands and musicians definitively out of style. For example, I grew up on the Monkees, period. Some still debate their validity as a band, including Micky Dolenz himself, who, in his introduction on CMT's Gone Country, said he played the drummer on a television show, despite their tours as a band and his legitimate talent! While my friends embraced MC Hammer and Vanilla Ice, I transitioned into the likes of Bryan Adams, Sheryl Crow, and the Crash Test Dummies, when they were still dubbed rock 'n roll. Yes, today's adult contemporary was yesterday's rock 'n roll, in those last gasp years before "alternative," "punk," and "emo"* became the rebel genres of choice. A friend introduced me to Face to Face, and their self-righteousness struck a chord with me (heh) that both matched and transcended their thrashing pace -- so they remain my one and only alternative/punk favorite from those wayward early '90s.

(*I just recently heard of the "screamo" genre, the prodigal son of punk and emo that apparently best describes the likes of Dashboard Confessional, whose "Vindicated" from the Spider-man 2 soundtrack has always been my favorite musical companion to Tobey Maguire's pouty Peter Parker.)

While few would still proudly claim Bryan Adams a personal favorite, the late '90s remain my most enduring and universally accepted era, with the Dave Matthews Band and the Barenaked Ladies becoming linchpins in my playlist. Their balance of frivolity, i.e. DMB's sexual hyperbole and BNL's frequent lyrical goofiness, with the seriousness of autobiographical tunes like "Warehouse" and "What a Good Boy," respectively, best reflect the time a boy leaves the nest of home and high school to become a man at college -- which is exactly when I embraced them. David Gray shortly followed with his White Ladder, the album that made hit "Babylon" an overplayed guilty pleasure.

Now, my love for karaoke sckewed my musical development a bit, as I found myself most comfortable singing songs like Billy Joel's "Piano Man" and most recently John Cougar Mellancamp's "The Authority Song," tunes that I didn't consider personal favorites until they won me some acclaim onstage. Hearing those old radio hits coming out of my own mouth gives their otherwise dated lyrics new personal meaning; now, I liken Bon Jovi's Tommy and Gina to a modern day Romeo and Juliet in both romantic clout and lyrical significance! Like when you shake a bedsheet to roll and smooth out across a mattress, karaoke kicked up the wrinkle of those forgettable '80s and '90s jams so I could be comfortable with them in my mp3 player, too.

In recent years, I've embraced the ambient sounds of the Postal Service and Keane, the folksy blends of Farmer Not So John and Eddie from Ohio, and a smattering of odd pop jams like Li'l Mama's "Lipgloss" to round out an ironically eclectic yet still painfully narrow-minded playlist. So, the question remains -- What am I supposed to do with the whole world of music at my fingertips?

Well, firstly, I've collected my favorite artists' latest stuff. Let's face it: everybody hates their favorite bands' new stuff until it becomes just another part of the old stuff. I felt this way about David Gray's White Ladder album; it was so good that I was sure his follow-ups would pale in comparison, and I didn't bother. I mined some of his older material through re-releases and found it inconsistent, an artist trying to find his voice, so I figured White Ladder was appropriately as far as he could climb. Boy, was I wrong! Tracks like "Alibi," "Ain't No Love," and "Slow Motion" from his album Life in Slow Motion have become instant favorites. I've even found some incredible live versions of these tunes on YouTube, and would you believe that "Alibi" actually has a story-driven music video? Whatever happened to those days?

Yes, also, live tracks of old favorites have become a must to download. The Dave Matthews Band and Barenaked Ladies are infamous for their available live material, but live albums from Toad the Wet Sprocket, R.E.M., and Counting Crows have breathed new life into the overplayed radio hits I fondly remember from the '90s. See, this is where the branching out begins. Knowing these bands only from what I've heard on the radio, I actually begin to enjoy their other lesser known tracks. In turn, the band's overall musical identity, not what I had expected, broadens my pallet to other, similar tastes. Ideally, I should experience these past three decades in a way I never have before, as if I'd always owned these albums, saw these bands live, and lived a more comprehensive musical experience. The key word is ideally.

The thing about downloading music on either side of the legal spectrum is the threat that "the album" loses its identity, and by proxy, the band does, too. Imagine if "Money" was the only track you'd ever heard from Pink Floyd's Dark Side of the Moon. Does that hit represent the psychedelic context of the album as a whole? Even if the album weren't conceptual like that, consider this: If "Everything I Do (I Do It For You)" from the Robin Hood soundtrack was the only Bryan Adams song you'd ever heard (and for many, it is -- and thanks, last week's episode of Family Guy, for nailing that stake in the coffin), you'd never know of his earlier rip-roarin' tunes like "Summer of '69" or "Kids Wanna Rock." Downloading an artist's work by disjointed track is like trying to appreciate a painting via one piece of a puzzle -- and that's where the music industry is headed.

Worse, consider how American Idol operates. The mission: We're going to find the next big pop star by making contestants sing other people's songs. Then judges throw out criticisms like, "We don't know who you are as an artist," and, "That was very karaoke." Listening to some of the top artists and hits that Rhapsody has to offer . . .?

I couldn't have said it better myself. Ever hear that old saying, "Stick with what you know?" Right now, it's music to my ears.

Friday, January 2, 2009

The Karaoke Chronicles: The Twelfth Night of Russmas

Eleven days after the Twelve Nights of Russmas began, my birthday actually arrived, just as I had planned. The beginning of my two week vacation from work, I could've slept in that morning, but I awoke early in anticipation of Les Stroud's Good Morning America interview. Stroud, my latest man-crush, is the host of the Discovery Channel's Survivorman, an one-man reality show in which he authentically recreates seven days' worth of survival in tumultuous terrains. While twelve consecutive nights of karaoke by no means compare to a week of endurance in places like the Kalahari Desert or Canada's Boreal forest, I can relate the concept of committing to a project that demands the kind of determination that changes one's lifestyle. On the brink of my thirties, I'm not quite a homebody, but I'm definitely not a swinging socialite, either; in other words, I enjoy staying in as much as I enjoy going out. Twelve nights in a row? Surely even Paris Hilton isn't capable of that, but with karaoke as a catalyst, the effort is truly its own reward.

So what does one learn from twelve consecutive nights of karaoke in eleven different locations throughout Orange County, you ask? That the Kid Rock/Sheryl Crow duet "Picture" quickly becomes the most annoying song in the history of music when heard all twelve of those nights, that's what. Actually, the muses spared us that final night, perhaps because the Linbrook Bowling Alley's Kopa Room was just as dead that Monday as it was the Thursday night we started. Yet, one lesson learned is the tenacity of karaoke itself, how, despite the night of the week, it's still happening anywhere, it's still demanding participation from the faithful and inexperienced alike. For some places, karaoke fills the void between weekends; for other venues, it is the weekend. For some people, it's a whim; for others, it's a must. The soundtrack of dive bars and steakhouses alike, karaoke has become a staple in American nightlife, and there's no escaping it . . . much to Kid Rock's delight, I'm sure, as it keeps his career afloat.

Further, experiencing the karaoke has only been half of the Russmas celebration; blogging about it has been the proverbial pumpkin pie to this holiday's highly anticipated turkey dinner. My aim for these twelve Karaoke Chronicles has been threefold, an effort to (1.) recount a memorable, hopefully quirky evening of karaoke with friends, (2.) review specific karaoke venues throughout Orange County, (3.) to reminisce over certain songs or musicians that have made an impact on my life, and thus that I must "pay forward" to others via karaoke. Mission accomplished, on all fronts.

The final night of Russmas was relatively uneventful by way of peculiarity. The Kopa's Monday night K.J. kept the short rotation moving, and the participants varied from the standard stiffs to the talented extroverted. I was able to sing four songs: two that I had saved for my birthday, and two that have become personal favorites. They were:

"I'm A Believer" -- The Monkees
"Careless Whisper" -- Wham
"The Authority Song" -- John Mellancamp
"Piano Man" -- Billy Joel

I've been an avid Monkees fan for as long as I can remember; since my mom had an admittedly crush on Davy Jones, I dare say my fanaticism is genetic. I have plenty of blog entries dedicated to that, so . . . After "Piano Man," "Careless Whisper" is one of the first songs I ever sang karaoke. My mom has the Wham single on its original vinyl (actually, I have it now), and I fondly remember she and my dad slow-dancing to the tune in our living room when I was a kid. The ballad has become a part of my life's soundtrack; I'm sure you have similar songs. In my opinion, these are the best to share, because your performance will be authentic and free of trepidation. With a lifetime's worth of fondness for that particular tune, who cares what anyone thinks about the way you sing it? Careless, yes, but a whisper, hardly.

In attendance for my actual birthday was my ever-faithful girlfriend, who endured every night with patience and grace, and our friend Stephanie, the runner-up for most dedicated to the cause. A few other co-workers joined us, one of whom was accompanied by an old friend that resides in Japan. Kim had been in town a few months prior and I met him at the Kopa then, too, so his participation this time 'round was darn near poetic; on that June night, he wowed the crowd with a harmonica solo that rivaled the best blues musicians. He was in similar form on my birthday, and I was thrilled when he agreed to join me for "Piano Man," blowing harp to my vocals and making for a truly memorable last performance. He answered that persistent question, "Man, what are you doing here?" with a musical poignancy.

"I'm here to conclude a dozen nights of marathon karaoke that celebrate my twenty-ninth year of life, that's what!" Sing 'em a song, I did . . . actually, thirty-two songs in all . . . and I survived.

Thursday, December 18, 2008

The Karaoke Chronicles: The Sixth Night of Russmas

On the way to McClure's Bar and Grill in Tustin, I mused aloud to my girlfriend, "The sixth night of Russmas . . . We're halfway there, baby!" She managed a grin, but I could tell the marathon was getting to her, and honestly I'm feeling the strain, too. Even if we stay at a place for just an hour or two, getting home by or before midnight, this is the week before that other holiday everybody's bustling about, and that has its own traditions to maintain, as well.

Fortunately, McClure's, right down the street from my favorite local comic book shop, has a warm, inviting atmosphere, with those old padded booths I like, where even a fatigued mind can relax and enjoy some karaoke. The K.J. is a no nonsense type, rapidly calling singers to the stage and avoiding the spotlight altogether -- a rare trait in any karaoke jockey. The crowd was a younger sect, too -- the guys a gang of Weezer rejects, the gals a group of watered down Gwen Stefani disciples, all in the best way possible, I assure you. Just south of the Orange Crush (I think that's what they call that assemblage of freeways in OC), this place was the polar opposite of the previous night's TomKat Lounge, the distinction between north and south Orange County.

The song slips boasted three places to list tunes, so if you know what you want to sing, one trip up to the K.J. is all it takes to load up for the night. I haven't seen that in a long time, but the pressure is on -- you know, sometimes the mood changes between songs, and you want to switch things up. On the other hand, once you're in the rotation, you're in, so the format has its advantages. Because of our aforementioned fatigue, I only sang two out of the three songs I listed, with no regrets:

"One Week" -- Barenaked Ladies
"Two Princes" -- Spin Doctors

The Barenaked Ladies and the Dave Matthews Band have vied for the "my favorite contemporary band" position for almost a decade now*, and while "One Week" isn't my favorite of their songs, it's a fast, favorite '90s tune; besides, I think the best BNL song, "What a Good Boy," might put off a crowd . . . that's not to say I wouldn't sing it. Also, Aquaman gets a mention, Superman did in Saturday night's Dave Matthews ditty "Where Are You Going," so . . . if only Martian Manhunter got a plug in a Gin Blossoms song, or something, I might be able to get the whole Justice League out there by the end of Russmas! Ah, but that would be having my birthday cake and eating it, too.

"Two Princes" was a random old radio play favorite I've never sung before, but I don't think I'm Bohemian enough to really pull it off.

The highlight of the night came when someone sang the new Killers song "Human," which everyone I talk to seems to agree is the worst Killers song ever. (According to a coworker, people have recently called KROQ and asked them to stop playing it!) On top of the song's hokey lyrics, the guy sang it terribly, and our grumblings were loud enough to attract the attention of a dude dancing (hence, not human?) nearby. When we shared our disgust with the song, he snidely replied, "Oh, yeah, like that whole 'soul/soldier' song is any better . . ." My friend Stephanie didn't even let him finish. "Shut up! That's the best Killers song!" Soldiers we all became, defending our positions on the matter.

A quick interlude here: Our favorite karaoke venue, Durty Nelly's (coming the Tenth Night of Russmas), boasts a few devoted regulars, one of whom, a Scottish guy, sings the Killers' "All These Things That I've Done" expertly and way enthusiastically. It's become a staple of our Durty Nelly's experience, and why I'd never sing the song there (and hence have opted to sing it twice elsewhere these past few nights!). Also, between the accent and the guy's outed homosexuality, he's a hit with the ladies, mine included. Musing about the tune a few nights ago, my girlfriend summed it up best, explaining that the song has nothing but fond memories attached to it, Nelly's and all. (I particularly liked it at the end of the Pierce Brosnon vehicle The Matador.) So, enter this guy, with the gall to suggest the song barely even has lyrics!

Also, I must insist that this guy looked like Zephram Cochrane as portrayed by James Cromwell in Star Trek: First Contact, weird beanie and all.




Stephanie quickly changed her next song choice to the ditty in question to prove the tune's catchy viability and multi-faceted lyrics. Mission accomplished, and, in her words, the fellow was owned. When he then challenged her to a dance contest, shortly after describing dancing as a vertical expression of a horizontal activity, his true colors were revealed. Talk about moving at warp speed. We left shortly after, the spirit of Russmas still thick in the room, if not also in that guy's pants.

In brief, I would definitely hit up McClure's again. With three nights of karaoke, Tuesday through Thursday, it offers a fun mid-week respite in an inviting atmosphere, even one that inspires rousing debate. The joint lets you be human and, uhm, dancer, whatever that really means.

* For the record, the Monkees are "my favorite band of all time," with Face to Face reserved for "my favorite punk band," and Bryan Adams "my favorite male performer," though his back-up band, with Keith Scott on guitar, is awesome and necessary for old favorite like "Cuts Like a Knife." Just so you know. "My favorite female performer" is still open for suggestions, though Whitney is a strong contender . . .

Wednesday, November 19, 2008

One More Monkee Jumping on the Bed


Meeting Davy Jones? Mission accomplished. Read the story here. Three down, one to go.

Saturday, November 8, 2008

A Head of My Time?

Last night's third season premiere of Survivorman was everything I'd hoped it would be. If you aren't familiar with Survivorman, on the Discovery Channel Friday nights, the show's website sums up its premise most concisely: "No food, no shelter, no fresh water, no tools . . . no camera crew. One man -- alone in the wild for seven days." Sure, several shows mimic this concept, but Les was the first to launch it successfully, first in his native Canada then here in the United States. He often simulates outdoor excursions gone wrong, like in last night's new episode, in which Stroud role-played a lost backpacker in the Sierra Nevadas. By far his most comprehensive exploration of survival, Les not only implemented his usual food-capturing, fire-starting, and shelter-building innovations, but also discussed the psychology of getting lost (which reminded me of Blair Witch, still lingering in the back-brain after Halloween) and the logistics of the local search and rescue office. In a world ruled by cell phones and wireless Internet connections, is it strange to feel reassured by the reminder that one can still get lost, even if the results are fatal? One part entertainer, one part educator, Survivorman does his best to both proudly boast and reassuringly alleviate the thought.

Yet the contents of last night's episode are only part of why Survivorman remains in my thoughts today. I've anticipated few things on television lately. Yes, Fox's Monday nights are still beloved, thanks to Prison Break and Terminator: The Sarah Connor Chronicles, but if this week's episodes were the series' last, I don't think I'd mourn too much. In fact, both shows are written in such a way that they seem prepared for that inevitability -- that, as much as Michael's quest to unravel Scylla and Sarah's attempt to save her son for the impending apocalypse are respectively multifaceted, they're each just a single revelation from culminating in an explosive finale. Also, I'm moderately excited about next week's premiere of Batman: The Brave and the Bold on Cartoon Network, but I'm equally skeptical of its depth and longevity, as well. Alas, the end of the Presidential election means no more political partisan antagonism for awhile, either; the fight has actually gone inward, at least for the losing Republicans, which strikes me as just a rerun for all of the liberal criticism they received months ago -- in other words, boring. So, Stroud's search for some morsel of food in the Sierra Nevadas is somewhat reminiscent of my flipping through the cable channels these days. His is just more exciting to watch.

When it comes to what entertains me, I was simply born in the wrong decade . . . which is something I've heard plenty of people say, so I claim no originality in that regard. Though, I think I can pinpoint the disconnect; had I been born in 1959 instead of 1979, the original releases of my most favorite acts in entertainment would've corresponded with the age in which I liked them. Never mind that I would've been two years old when Spider-man premiered in Amazing Fantasy #15 (August 1962); the argument for comics can be made in any decade, and in fact had I been more attune to comics culture as a kid, I could've been shaped by the likes of The Dark Knight Returns and The Watchmen in real time rather than retrospectively. No, I'm thinking about the Monkees, whose 1966 debut would've paralleled my love for them when I was six-years-old. (Their 20 year reunion in '86 was great, including my seeing them in concert in Connecticut, but no Nesmith . . .? The first time is always the most memorable.) A genuine love for the Monkees then is like the kids' fanaticism for any American Idol now. Now, when I proclaim myself a Monkees fan, folks cock an eyebrow and ask, "They didn't even play their own instruments, right?" For the record, the Monkees were a multifaceted franchise that began as a television show, transitioned into a failed feature length film, and still continues to be a successful pop rock band, if only when the guys perform separately.

In fact, Davy Jones is performing in Orange County tonight. When I first researched his tour schedule over a year ago, I had just met Peter Tork, which was just on the heels of my meeting Micky Dolenz, so I was stoked to find out when the other two might be around. Unfortunately, tickets to Davy's show range from $30-$60, and since I've seen the Monkees perform three times not including those solo Micky and Peter shows, I'm less interested in the music than I am the meet-and-greet. I've called the venue twice and reps can't confirm if he'll be signed and picture-taking with fans. So, I've opted for this Wednesday's commemorative showing of Head, the Monkees' movie, which will precede a Q & A with Peter and Davy. I don't know if they'll mingle with fans there, either, but the opportunity is too definitively Monkees to miss -- definitely the better of the two upcoming options on a budget. Why must the circumstances of adulthood often restrain the fulfillment of long-standing childhood dreams?

Further, had I been born in '59, I would've been in my teens in the '70s and experienced the hijinks of Andy Kaufman as he first hatched them, rather than vicariously through the release of Man on the Moon and Bob Zmuda's book. Like this Wednesday's showing of Head, I was lucky enough to attend my generation's definitive Andy Kaufman event, the "Andy Kaufman: Dead or Alive" variety show at the Hollywood House of Blues in 2004 . . . but I wasn't smart enough to stay until the bitter end, which including a Kaufman walking tour and an invitation to the Bunny Ranch. This comes to mind because of a recent ad in the L.A. Weekly featuring Tony Clifton and the website for Two Boots pizzeria, which has a special slice named for Kaufman's lounge act alter ego. Initially, I'd hoped for a real Clifton appearance, but tomorrow's supposed press conference may be better -- fortuitous that I found it searching for the Two Boots connection. Perhaps his is one phenomenon that plays better in retrospect, considering the myth of Andy's resurrection . . .

Such are the thoughts that assure me of my place in history. In the heat of the moment, one never knows if their pop culture passions are fleeting (like, say, any American Idol after season one), but years later, one can benefit from the fellowship that comes with nostalgia. For example, sure, I wish I could've experienced the success of the Monkees in real time, I prefer the older crowd that will attend the Head showing today versus the screaming, teeny-bopper masses from their '60s concerts. Now, Monkees fans, or Kaufman fans, can enjoy developments with the clout of hindsight, with the relief that their beloved personalities are still influential if only through that pre-established work. Of course, this is the "nurture" side of the argument. I wonder, since my parents were born in the '50s and experienced these things in my stead, could it be that their absorption of it all instilled an appreciation of it all in me? Through . . . osmosis? Could it be . . . natural? Yes, I'm just trying to survive in a habitat of my own outdated tastes. Screw the Sierra Nevadas, Les. Trying getting out this one.

Friday, July 25, 2008

Karaokefanboy 101

Hello, my name is Russ, a.k.a. Karaokefanboy, and this is my blog's 101st post. What better way to commemorate that numeric accomplishment, and my feeble attempt to redefine my on-line identity, than by providing some "Karaokefanboy 101?" Though I've decided to allocate more personal writing to my LiveJournal, a concise autobiography seems equally appropriate for this forum, now more dedicated to creative writing and my brazen, often ignorant opinions of pop culture, religion, and politics. If this blog is unto an on-line zine, then consider this my "About the Author." The LiveJournal is . . . well, a journal -- a diary with a deliberately broken lock and spread open for anyone in the world-wide-web that cares.

So, how does one write an autobiography without sounding totally self-indulgent? I could easily recount a succinct chronology of the most important events of in my life, each of which would imply a milestone of philosophical and existential revelation, culminating in my general sense of what's right and wrong in life, but that would be too easy. Instead, I've decided to list these revelations outright, with a brief description of how I realized them. Thinking about them, I've discovered that listing them in order of significance actually reveals something of a chronology anyway, and in the case of the first and most important, a cyclical lifestyle or deeply ingrained modus operandi. Then again, perhaps assuming that these life lessons are so important that they must be listed and shared with the world is the most self-indulgent of all! I wouldn't have it any other way, either way.

So, without further ado, allow me to present the Autobiographical Philosophies of a Karaokefanboy!

1. Your inner child is and always should be the loudest voice in your head. Now, I could easily explain the obvious: I'm a huge geek that loves cartoons, comic books, and action figures, just as I did when I was a child, and further I believe everyone is a geek in that we're all secretly faithful to our childhood passions, i.e. sports, literature, music, movies, etc. "Geek" as we define it nowadays is more akin to "fanatic" than its classic carnival root (which, ironically, oft referred to a cape-wearing performer, hence the superhero connection -- Wikipedia it). Yes, by this standard, even "jocks" are really just "sports geeks." Get over it. ("Comic book jocks?" See, that just doesn't make any sense.)

Yet, I take this revelation a step further than the fact that my parents condoned and enabled my fanaticism for cartoons and comics, that they never had the yard sale everyone else's folks seemed to have where their treasured toys were peddled for pennies apiece. Even when we moved from my native Stratford, Connecticut to Peoria, Arizona, my Masters of the Universe and Super Powers action figures and my Monkees albums made it intact. (I did lose King Hiss's left snap-on arm, which totally blew his human disguise, but I digress.) No, I'm not talking about the props of a healthy childhood; I'm talking about the script.

Simply put, the emotions you experienced as a child, and the natural way you experienced them, are the best therapy for any seemingly adult trauma. Kids freakin' feel it, man. When they're happy, they dance; when they're pissed, they rant. The best part of the latter is, when it's over, it's over. Children don't suppress their rage, nor should they. Nor should anyone, ever, suppress any genuine feeling. "Regret" is born of suppressed love; "grudges" are born of suppressed anger. If emotions are allowed to live, breathe, and eventually die naturally, these grown-up words would become extinct. And, no, naysayers -- regret doesn't teach a valuable lesson. Love or desire fulfilled or denied does. See this little geek standing next to the He-Man birthday party table? He was never told not to make a wish when he blew out the cake's candles, yet he sometimes learned that those wishes don't come true. That never stopped him.



Where's the cyclical part come in? Well, I work with children now, in a nationally recognized after school/summer program. I actually have a whole blog about that (though currently dormant but intended for revival), but I mention it here to assert that my seemingly selfless career is a beloved, selfish reminder of this hard-learned life lesson -- a constant virtual portal to my own loud-mouthed inner child. I often tell the angry child that feeling mad isn't wrong; what they do with that anger betrays their intrinsic morality (which firmly establishes the "murder is wrong" clause in my "mad is okay" philosophy). Yes, nothing brings out my inner child more than being surrounded by them. Try it. Believe me, it'll make you want to go to your room -- your safe, New Kids on the Block-poster riddled room. If you were that kind of a geek, anyway.

2. Creative expression of any kind heals the soul. One of the defining days of my life was spent at the beige kitchen counter at our home in Stratford, when and where my father showed me show to properly sketch the human shape. Until then, I'd drawn He-Man as a square body with a circle head, apparently my dad had had enough; he modeled how to use the pencil lightly, to sketch the shapes before adding the details, and all of the stuff kids usually learn from those campy "How to Draw" books. Of course, it meant more coming from my father, and seeing the skills demonstrated live. I remember that afternoon as the definitive moment my feeble artistry began, and as the moment I realized I could create my own superhero adventures, like the ones I enjoyed in comics, on television, or even when I played with my Marvel Secret Wars action figures.

On another level, I don't quite remember the first time I heard the Monkees -- that's how long they've been a part of my life. (I do remember my mother buying me the Rhino Records "Then & Now" compilation album, the first record I ever consciously wanted!) Most importantly, the goofiness of their TV show, which reran on Nick at Nite and MTV, was overshadowed by the frequent "live" performances that followed every psychedelic misadventure, which instilled in me a natural desire to perform those songs myself. I remember using our staircase stoop as a stage and putting on concerts for my parents' friends -- my first karaoke performances, though I didn't realize it then. As far as I was concerned, those '60s pop tunes were poetry set to music, and it would've been a crime not to share them.

See the connection? As my appreciation for various media -- comics, television, and music -- developed, so did my desire to interact and contribute to them. In a very Jungian way, I think everybody shares this desire, from the random doodle whilst chatting on the phone to one's secret personal serenade in the car or the shower. Unfortunately, a certain shame in light of their beloved media's self-appointed perfection prevents many people from expressing themselves in public, from dragging their anthems from the car seat to the karaoke stage! "I could never sing as well as so-and-so," these people claim. "Oh, I don't know how to draw," others explain sheepishly. Since when does personal expression require talent? As the great Andy Kaufman believed, one's sense of entertainment often comes when the audience is perceived as the performers, exhibiting their natural reactions to whatever disturbing thing is unfolding before them. In other words, the tone deaf karaoke singer is as natural as the audience that winces to him, and both are perfectly synced to their inherent sense of self-expression.

Incidentally, when my family moved to Arizona and my parents divorced, the men that fulfilled a father figure role in my life all encouraged me to express myself creatively, from Mr. Burbridge's and Mr. Poslaiko's penchant for literary examination, to Mr. Martin's and Mr. Keene's mastery of public speech and the broadcast arts. Every time I learned something new at their proverbial knee, I was sitting with my father at the kitchen counter again, or shopping at the record store with my Davy Jones-lovin' mom. They all made me a believer . . . in myself.

This is getting pretty long, and I don't want to abbreviate my thoughts, so for your sake . . . to be continued . . .!

Wednesday, July 23, 2008

My Centennial Post

Of course my one hundredth post would be my attempt to recommit to blogging, my umpteenth promise to myself to maintain a frequent, consistent record of my thoughts on all things personal and pop-cultural -- which I often exaggerate as unnecessarily personal, anyway. Consider the recent passing of Estelle Getty. While some might think of her death as frivolous pop culture trivia (not to mention long overdue, when one realizes that a Golden Girls reunion was still very much possible until Sunday night), I take it personally, since I've long deemed Getty one-fourth of television's second best comedic quartet.* The loss of even just one of them forever closes the book on that original dynamic and places a definitive sense of closure on Lifetime's enduring Golden Girls reruns. Knowing Getty is gone, the viewer can never imagine an epilogue to the ladies' cumulative story, at not one that isn't tainted with tragedy.

I felt much the same way when Universal Studios closed the Back to the Future ride. Sure, the BTTF films are the best, tidiest trilogy of all time (in my opinion), and a cinematic revisitation would only threaten such self-enclosed canon, but at least I could still visit Doc Brown's labs and face young Biff's rage if I jonesed an interactive addendum. Figures that, a week after the Simpsons ride opened and officially replaced the Time Travel Institute, Universal Studios' backlot burns down and takes the clock tower with it. Some things are best treasured in the past, I suppose . . .

No! See, near as I can figure, blogging exists as a form of time travel, not necessarily to the past or future, but in mere preservation of the present. How many thoughts do I wish I recorded these past few months? How many feelings was I afraid to share with this Google-happy world? Who cares? For every petty reservation, that's just one more personal moment lost in the ether of my fading, compartmentalizing memory. In other words, what was once so important that I wanted to blog it was just as easily forgotten, and I wish it wasn't so! I may not be as witty as one of the Golden Girls, but I'm entitled to my own reruns, yes? From my own lifetime? Ah, too much, but you know what I mean.

So, this Blogspot will continue to exist as a record of my impressions of all things pop culture. The more personal stuff is going up at my own LiveJournal, because I hate to have so many abandoned facets of my on-line personality. Damn Noisy Kids! will continue to chronicle the struggle of my working with youth in the context of an unnecessarily politically burdened non-profit organization. And A Comic A Day . . . will become something else. You'll see.

Or you won't. Remember. I'm not doing this for Fenster. I'm not doing it for you. I'm doing it for me. I'm going to finish this thing . . .

*I'm sorry, no one can top the Monkees. It's hereditary. And you're wrong! The Monkees will never die! **
** A riff from Grant Morrison's current "Batman: R.I.P." storyline, okay? A footnote for a footnote?! I love blogging!

Thursday, March 13, 2008

Best TV Theme Songs Ever

Aaron at Geek in the City recently posted a top 10 list of TV's best theme songs. I was instantly inspired to remember some of my favorites and am now compelled to add them to his list. This isn't a counter argument, mind you -- just a suggested addendum to the ever expanding annals of pop culture trivia:

5. The Monkees: The Monkees may have been (and still are) a pop culture underdog, perpetually trapped in the shadow of the Beatles that inspired them, but no other TV theme goes to such great lengths to identify its title characters: "Hey, hey, WE'RE THE MONKEES . . . in case you didn't know what show you were watching."

4. The A-Team: The perfect combination of '80s synth and guitar rock, the A-Team theme song is a virtual audio onslaught, crudely constructed by trash cans, air conditioning tubes, and a blow torch. (I'll even except the weak season five remix, if I have to.)

3. The Greatest American Hero: "Believe It Or Not" is one part superhero anthem, one part inspirational melody, encouraging everyone to embrace the alien supersuit in us all. You're your OWN instructional manual, kid . . .

2. Gilligan's Island: The Gilligan's Island theme song is darn near perfect: it catches you up on the series' concept and pilot episode, then dutifully introduces its diverse list of protagonists. It's like every episode is the FIRST episode! Lost could learn a thing or two from this inaugural island TV adventure: "Just sit right back and you'll hear a tale, a tale of a fateful plane/That fell onto a mysterious island, where it always seemed to rain . . . The smoke monster was getting rough, the" -- Well, you get the idea. YOU cram all three seasons into a 45 second song.

1. All in the Family: "Those were the days" . . . when racially charged humor and political satire didn't evoke whiny protests but actually inspired national discourse, even when it was perceived for what it REALLY was -- a classic old "da-da" comedy.

Honorable Mention: Friends' "I'll Be There for You." If anybody says they don't do that obligatory hand-clap after "So no one told you life was gonna be this way," he's a liar. C'mon, you did it just NOW.

Wednesday, February 6, 2008

When Favorite Things Collide: Dynamic Duo


I absolutely swiped this from Monkees.com, but when I saw it, my inner child squealed: Mike Nesmith and Micky Dolenz digging an issue of DC's World's Finest. They really look into it, don't they?