Sunday, August 26, 2012

Jack Noir: Time Cracker


This document is a production radio script for a segment of "Barley Corne’s Hour Of Wasted Time" (alternately spelled: Thyme), broadcast over the National Broadcasting Network on the evening of June 14, 1949. The popular radio show which, on this occasion, was filmed by an NBN Television crew for an experimental broadcast, was briefly interrupted by interference from an unidentified source and the visual record of certain segments, including this episode of the popular Jack Noir: Time Cracker series,  did not survive.


(Editor’s note: “Barley Corne’s Hour of Wasted Time [Thyme]” was performed between 1943 and 1958 in front of a live audience on a theatrical stage in upstate New Amsterdam.)


Jack Noir: Time Cracker
ACT 1

Announcer:
If it’s after 6:30 on Tuesday, then it’s TIME!  Time for Jack Noir: Time Cracker…
{SFX: alarm clock}
(continues)…Episode 24. 
{ SFX: Theme music plays under}
Last week, when we left Jack, he and his stately and beautiful assistant Nathalie had wandered aimlessly into the Wilderness Bar and Grill in South Hollywood.  Nathalie was deciding between the Cobb Salad, and a Chicken with Wine Sauce and Onions. 
{ SFX: restaurant sounds}
Nathalie
I – I guess I’ll have the salad.
Jack
No.  Wait.  I don’t think you should do that…
Nathalie
Why not?  The Cobb Salad is good here…
Jack
You should have the chicken.
Nathalie
I want the Cobb Salad…
Jack
You should have the chicken.
Nathalie
Jack, I don’t think I want the chicken?
Jack
Just…order the chicken
Nathalie
Jack, why should I have the chicken?
Jack
Because the Cobb Salad has eggs in it….
Nathalie
Jack, I know that…
Jack
(not understanding why she doesn’t understand)
Chicken…(pause)… eggs.
Nathalie
Jack…
Jack
I think I know which came first…
Nathalie
No one knows that…
Jack
I think I know.

Waitress
(forgotten and waiting for their order)
I’d like to know…
Jack
Just…Just order the chicken.
Nathalie
Jack…
Jack
Please, just order the chicken.  I’ll explain it all to you later.  Just order…the chicken.  OK

Nathalie
Pause…

Waitress
Would you to take a little more …TIME? 
{ SFX: Dramatic music Sting}
Jack
The chicken…
Nathalie
(pause)…I’m not hungry.
Waitress
(a bit miffed)
I can give you more…TIME if you need…
{ SFX: Dramatic music Sting}
Jack
Nathalie… (Tense dramatic music builds under)
Nathalie
Pause…
Jack
Nathalie…! (Tense dramatic music builds under)
Nathalie
(Through clenched teeth)
I’ll have…the chicken! (Tense dramatic music resolves)
Waitress
Thank you, miss.  Very good choice.  And what will the Gentleman have?
Jack
Wh-what? 
Waitress
You, sir.  What would you like to order? (Tense dramatic music begins to build again)

Heavily Accented Stranger:
(Interrupting, dramatic music ends abruptly)
…Perhaps I can answer that question, Mr…Noir.

Nathalie
Jack!  It’s…Raton!
Jack
I can smell him Nathalie even though he’s hiding beneath that giant stuffed mushroom cap.

Raton
That’s right, Mr…Noir.  You have an extraordinarily good sense of smell don’t you?

Jack
It’s easy to sniff out a rat on this menu.
Raton
(Emerging from under the mushroom cap)
You’ve never really acquired the taste for my kind, have you Mr. Noir?

Jack
No.  Usually I have to add more lemon and dill.  Perhaps, a pinch of curry.  And…that special ingredient.
Raton
Ah, yes, that…special ingredient.  You never found that.  Did you?

Jack
As long as you have to bring it up.  No, I’m still looking.  And…

Raton
How long have you been looking for it Mr.  Noir?  It seems like you’ve had plenty of…TIME

{ SFX: Dramatic music Sting}
Nathalie
Jack, be careful.  He has the stopwatch!
Raton
That’s right Mr. Noir.  I’m holding your stopwatch.  The one you lost in episode 17.  You thought it was gone forever didn’t you?
Jack 
(trying to get the upper hand)
That depends on which forever you mean.
Raton
What?
Jack
Come on, you’ve been stuck in this recipe for a while.  You tell me, Raton.  Which forever do you mean?
Nathalie
Jack!  Be careful.  You’re going to send us into a flashback.

Jack
I’ve lived my whole life in a flashback, Sweetcakes.  What’s to stop me now?

Nathalie
I have a feeling this one’s going to be different.

Jack
What?  But, they’re never different.  They’re always the same.  That’s what makes them flashbacks!  They’re a literary, theatrical or cinematic device in which an earlier event is inserted into the normal chronological order of a narrative.  They tell you what happened before!

Raton
(Teasing)
Before what?   Mr….Noir.
Jack
What do you mean?  Before what?  Before this!  That’s what before… is… now… (gets lost)

Nathalie
But… you’ve never called me “Sweetcakes” before. 
{ SFX: Dramatic music Sting}
Jack
Ah hah!  But, you can’t know that unless you’ve been in this flashback already!

Nathalie
We’re not in the flashback yet.
Jack
We’re not?
Nathalie
Have you heard the organ music playing us into the past, yet?

Jack
No.
Nathalie (voice fading)
Has anyone faded their voice out as though they’re walking down a long corridor? 

Jack
I don’t think so.
Chief Casey (a completely different voice)
Has anyone completely new to the story up to this point started talking as though he’s been here all the time? Actually he doesn’t appear until the end of the episode?

Jack
Not until now.
Nathalie
Then we’re not in a flashback yet.  Are we? 
Jack
(mysteriously)
I don’t …know.
Waitress
Okay, who had the ribs?
Nathalie
I did.
Jack
Nathalie, that’s not what you ordered…
Nathalie
Yes it is.  I ordered the chocolate ribs with a Foccacia sauce and stewed tomatoes.

Jack
(As if remembering)
And I …I had the Hot Set Ralston with a bowl of Suet….Now, wait just a minute… Hold on!  That’s what I ordered in Episode 17, just before that vermin Raton stole my stopwatch!

Raton
That’s right Mr. Noir.  I have your stopwatch.  And I’m not afraid to use it! (He breaks into maniacal laughter)
{ SFX: A stopwatch starts ticking and continues through the next section }

(These next lines should be delivered in slow motion as though time had hit a wall of Jell-O, and then sped up through the end of the section as though the spring has gone crazy in a cheap clock)
Waitress
Okay, who had the soup?
Nathalie
I had the Split Pea.  I think Jack had the …
Jack
Egg drop…
Waitress (repeating)
Okay, who had the soup?
Nathalie
I had the Egg drop and I think Jack had the …
Jack
Chicken…
Waitress
Your entrĂ©es will be out in a minute…
Raton
What about the appetizer?
Jack
Okay, who smells of Mushroom Caps?
Waitress
Your entrĂ©es will be out in a minute…
Nathalie
I’m waiting for my chicken…
Jack
Which came first?
Raton
Who had the soup?
Jack
I had the Egg drop…
Nathalie
Chicken for me
Jack
Egg drop…
Nathalie
Chicken…
Jack
I think I know.
Raton
It’s an appetizer!
Nathalie
Cobb Salad
Jack
It has eggs!
Nathalie
Chicken…
Jack
I think I know.
Raton
Which came first?
Jack
What?
Raton
Which came first?
(Coming into real time, Ticking stops)
Jack
 (struggling with the words)  Okay!...  Who… had… the… soup?  (The last word is strained as though he has to punch through time to get it out.)

{ SFX: Dramatic music crescendo and climax, then Stops.}

Chief Casey:
We’ll be back after these words from Barley Corne’s Sourmash Sweetcakes and your local stations.

END OF ACT 1





ACT 2

 {SFX: ticking stopwatch}
{SFX: running footsteps}

Jack
(talking into a coffee mug to make his voice “do that voice-over narration thing”)
Nathalie and I leapt from the car and started sprinting down Wasilla Boulevard to South Hollywood  We only had a minute or so to get to the Wilderness Bar and Grill before Nathalie and I would wander aimlessly in as we did at the end of Episode 23…which is where we rejoined the story in this episode….
Announcer:
Jack Noir: Episode 24

Jack
(into the cup)  Exactly…
Nathalie
(out of breath as though she was running)  You know I can hear you when you do that, don’t you?
Jack
(normal voice, now breathing heavily as well) Yes, but it’s essential as a device to bring the listener up to speed about where we are in the story.  A classical element brought in from the Greek Theatre.  A Coffee Mug Chorus if you will.  It allows a character to step out of his body, as it were, and to narrate the story from a second or third person perspective.

Nathalie
Just as long as you know.  ….  

{SFX: the running stops}
{SFX: the ticking continues}
Nathalie
(continuing) Look, there we are!
Jack
(Into the cup again) We were not too late.  We arrived at the restaurant just as we were going in the last time.  This time we were not “aimless”.  This time we were prepared.  This time … we had already had …dinner.

{SFX: Door opening to restaurant}

Nathalie
(Stage whisper) Oh , no!  There’s Raton sliding under the Mushroom Cap.  He still has the stopwatch!
Jack
It’s not the stopwatch we’re after Nathalie.
Nathalie
It’s not?
Jack
No. 
Nathalie
I thought it was the stopwatch.
Jack
It isn’t the stopwatch!  It’s the special ingredient!   The FIRST ingredient!

Nathalie
Jack…we’re about to catch up with our earlier selves, do something!

Jack
I told you!  I know now which came first!
Nathalie
The Cobb Salad?
Jack
No!  The EGG!

{SFX: ticking stops}
Earlier Nathalie
{SFX: in slight reverb like she’s a little out of phase}
I – I guess I’ll have the salad.
Earlier Jack
{SFX: …out of phase}
The Cobb Salad?
Earlier Nathalie
Yes.
Waitress
{SFX: …out of phase}
Wonderful choice.  And you sir?

Jack (Real time)
I’ll have…the rat stuffed mushroom cap!

 {SFX:  sound of a struggle… dishes and silverware hitting the floor}

{SFX:  sounds of surprised patrons in the restaurant as if they’ve seen a rat on the premises.  This keeps up as a background throughout the rest of the episode.}

Raton
(startled, out of breath, exposed) Well, Mr…Noir.  I don’t know how you did it, but it seems you’ve spoiled my little surprise.
Jack
That’s not all that’s spoiled Raton.  I’ve figured out the sequence.

Raton
What sequence?
Jack
The special ingredient…
Raton
You found it?
Jack
You bet I did.  See I take this egg here.  Crack it open and out pops…

{SFX: Loud popping sound}
Nathalie
Chief Casey?
Chief Casey
(Irish accent of course)  So, Mr. Raton.  It’s no good again ye’ve been up ta?  You’ll be comin’ along with me, then.

{SFX:  Hand cuffling sounds}
Raton
You can’t take me that easily copper.  I still have the …. Why…What happened to the stopwatch?  I had it right here in my pocket at the beginning of the episode. 

Jack
Are you looking for this Raton? 
{SFX:  Jack pulls watch and chain out of his pocket.}

Raton
Mon dieu!…Noir!  It is impossible… how did you? … But I stole it from you seven episodes ago. 
Chief Casey
Is that a crime I just heard you confessin’ to?  It’s your touch you’re losing, sure. 

Jack
It was easy, Raton.  While we were hurrying here to intercept our earlier selves from episode 23, I remembered a little trick I learned back in the original series.  All I have to do is dis-remember some element of my past.  Re-remember it into a different future.   And voila!

{SFX: Ticking resumes and gets louder throughout next sequence, morphing from that of a small stopwatch to something like Big Ben}

Casey and Raton
“Voila,” what?
Jack
Once I dis-remembered the exact moment you stole my watch from me in episode 17, I grabbed it back in my new reality.  Since Episode 18, you haven’t had the stopwatch.  I have!

Raton
But then I wouldn’t have been able to steal the secret of the tanning beds in Episode 20… oh, no!  I feel so pasty!
Nathalie
Jack…what’s happening?
Jack
The past is reshuffling around us, Nathalie.  Hold on!  We just have to ride it out…

{SFX: flashback music playing backwards}
Jack
(continues) There goes the flashback sequence in episode 24…

Nathalie
Jack…this IS Episode 24!
Jack
Not anymore, Sweet cakes.  We could land just about anywhere in this series. 

Chief Casey
(Now he has a New York accent) Or next, the way I figure…

Nathalie
Casey, what happened to your accent?
Chief Casey
What accent?
Jack
He’s right.  We could be thrown completely clear of this series and into another whole season.  Or…
{SFX:  Big Ben starts to toll midnight}

Nathalie
(nervously)  Or what?
Jack
Or, we could be cancelled completely.
Nathalie
Jack I’m scared.
Jack
Just hang on!
Raton
Noir!  You can’t dis-remember me! 
Jack
Sorry Raton.  It’s not up to me now.  I all has to shuffle out

Raton
Jack Noir…you haven’t seen the last of me!
{SFX: Big Ben continues striking}
{SFX: Loud popping sound with thunder}

Nathalie
Jack!  Raton’s gone!
Chief Casey
Who’s gone?
{SFX: Big Ben strikes 13}
Nathalie
Jack?
(silence)
Nathalie
(worried)
Jack?
(silence)
Chief Casey
Who’s Jack?

{SFX: normal restaurant sounds }
Waitress
Cobb salad.  No eggs.  Wonderful choice, miss.  And what will the Gentleman have?

Chief Casey
You got burgers?
Nathalie
(sadly) Oh, Jack….
{SFX:  Theme music up… a little more mournful than before…}

Announcer: 
(Raton’s voice with no accent)
Is this the LAST episode of Jack Noir: Time Cracker?  Or the first?  What happened to the Stopwatch?  How can anyone  know?  What have you been listening to for 24 episodes?  And what about Nathalie?  Tune in next week and find out.  Maybe.  

{SFX: Music swells, maniacal laughter in echo}


END ACT 2

THE END


Wednesday, August 22, 2012

5:15 - OR SO

It is necessary to locate the birthplace of the following offering, both in time and in place.  Otherwise it will make less sense than it will already not make.

It was written late in February 1980 while I was living in New York City.  One of the sofas on which I was allowed to "crash" on a regular basis was in an apartment in the SoHo district.  Atop said apartment building, was a splendid rooftop retreat which I visited whenever I could.  One remarkable evening at about "5:15 - or so" I witnessed the setting sun reflecting magnificently from the upper floors of one of the skyscrapers a couple miles uptown from me.

Rainbows are also significant and shall be revisited in later posts.


5:15 --- Or So

The sun shines sharply from
Northern monolithic highlands.
Other glimmering baubles reflract
And reflect
Rainbows in a reminiscing Mind.

Clement warmness,
Unseasonal for February's normal chill
Sends springtime shivers
Through a fevered Mind.

Alone and one.

Urban, beehive sprawl
Splinters northern sunsets into many.

For a time...
...none passes.
Save for The Never-ending Sound Effect:
Vehicular tumult.

Cloudless blue-and-brown hued masking 
Hides the endless velvet violet of Stellar regions from
Optic awareness.

Here, to when "Now" is here,
The panoramic, spectacle
Emblazons and imprints, permanently
A peaceful Mind.

Painful memories remembered
Then filed away: Forgotten,
"Now" becomes the dwelling place of
Northern sunset's mysteries.

There.

For, when reading-thinking-speaking movement ends:
(a transit of a soul's experience)
There is another "Now" to bleach
The stain of Life
Away for one more shot at Eternity...

...an Immortal Mind.



Saturday, August 18, 2012

WHOEVER YOU ARE

~ By Barley Corne

Did you really just call me "Whoever You Are"?
It seems so unlike you to me.
I'm sorry I woke you from trying to sleep.
It was well after noon. Excuse me!

I thought I was more than "Whoever You Are".
I could be mistaken, I guess.
And yet, I am left here to stare at the phone
My ego is bruised, I confess.

It's possible Darlin', whoever you are,
I needed a friend on the line.
Your brand of rejection, I take pretty hard.
It's usually not a good sign.

I just wanted a minute, whoever I was,
To give you the news of the day.
It's not like I called for no reason at all.
I knew what I wanted to say.

So why did you call me "Whoever You Are"?
Why'd you bother to answer the call?
You could have just let your machine pick it up.
Since that's why it's there after all.

My Budweiser's flat'ning, whatever that is.
This evening has gone rather long.
It's late and I have to start early at work
I guess I should wrap up this song.

Whoever I was, I was someone you knew
Whatever I did, did it really hurt you?
However I thought we had something to share.
Now I don't really think that you care...


I'll call in the morning, whenever that is.
And possibly talk to you then.
If I can be more than "Whoever You Are"
Then maybe I'll call you again.




Friday, August 17, 2012

You can talk. They can’t see you!


This document is a partial transcript of a live studio performance of Barley Corne’s Hour Of Wasted Time (alternately spelled: Thyme), broadcast over the National Broadcasting Network on the evening of June 14, 1949.  The popular radio show which, on this occasion, was filmed by an NBN Television crew for an experimental broadcast, was briefly interrupted by interference from an unidentified source and the visual record of certain segments did not survive.  One of these, sadly, is the ventriloquist act of Johnny Mopp & His Magic Toy, Harry.  It was a regular segment on the radio program and featured a non-traditional relationship between the “Dummy”- Harry and his Human - Johnny. 
Johnny Mopp and Harry c.1948
This classic routine, entitled: “You Can Talk. They Can’t See You” begins as Harry (the “Dummy”) emerges from the wings while Johnny remains mostly obscured behind the curtain, offstage.

(Editor’s note: “Barley Corne’s Hour of Wasted Time [Thyme]” was performed between 1943 and 1958 in front of a live audience on a theatrical stage in upstate New Amsterdam.  Hence, even though this is a radio transcript, several staging notations have been made, based on eye witness accounts, to approximate the actual in-person experience.)

Harry
(to Johnny offstage)
Hey, Johnny!  Come on out here.  It’s time to do the show now!

(There is a pause.)
Johnny
(Offstage)
Don’t want to.
Harry
(Looking at the audience)
Come on, the people are waiting.
Johnny
Nuh, uh.
Harry
(Coaxing) Johny come on!
Johnny
…No…
Harry
Why not?
Johnny
(After a slight pause, mumbling) I can’t stop moving my lips.

Harry
What?
Johnny
(Clearly) I can’t stop moving my lips!  I’m a ventriloquist.  And I can’t stop moving my lips!  

Harry
Seriously?
Johnny
I mean, you’re out there talking.  And doing a fine job if I say so myself…

Harry
…Thank you
Johnny
But let’s face it.  If I wasn’t back here doing the work, you’d be sitting out there doing your impression of kindling wood in a suit.
Harry
I beg your pardon…
Johnny
You’re a building material with hair.
Harry
…You don’t have to get personal…
Johnny
Without me, you’d be chucked by the nearest woodchuck….

Harry
Now that’s enough…

(Pause)
Johnny
Sorry…
Harry
Okay then…
Johnny
Got carried away…
Harry
It’s alright.
Johnny
(Animated again) Kinda, like I carry YOU every night.  Day in and day out…!

Harry
All right!  I think we understand! Really, that’s enough now…

(Pause)
Johnny
Sorry again.
Harry
Apology accepted.
Johnny
Anyway, that’s why I can’t come out on stage anymore.

Harry
Because you can’t stop moving your lips…
Johhny
Yeah.  Cause if you and I are on the same stage anymore, I’d have to do all the talking.  You’d have to…..stop.

(Short pause)
Harry
Johnny….
Johnny
(Timidly) Yes?
Harry
It’s Okay.  Come on out here.
Johnny
But…
Harry
It’s OK, really.  Come on out.
Johnny
(begins to protest again)
Harry
(Coaxing)  Come on….

(Johnny emerges from the wings and Harry leads the audience in a big welcoming applause.  Johnny is beaming.)

Harry
See?  How bad is that?  Everyone loves you for yourself! 

Johnny
Yeah!  I guess so!   But what about the lips thing?

Harry
(Is SILENT) 
Johnny
Harry?
Harry
(Is still SILENT) 
Johnny
HarrySpeak to me!
Harry
(Suddenly) You want to know the truth? 
Johnny
(Relieved) Sure!  Anything!
Harry
…About the lips thing?   
Johnny
Yeah.
Harry
This is radio, Johnny.
Johnny
Yeah.  I…
Harry
You’re a ventriloquist on the radio.
Johnny
(dawn is breaking)  Um..
Harry
It's allright. You can talk. They can’t see you!

Johnny
Ahhhhh! So…

Harry
Kinda frees you up a little…
Johnny
…You could put it that way, yeah.  A little weird, but nice.  (a pause, then genuinely) Thank you.
Harry
(Awkwardly)
Why don’t you just say “Hello”?
Johnny
(Looks at the audience and smiles)  Hello. 

(Someone in the audience responds “Hello!”
Harry
(to the audience) That was mediocre.  Why don’t you try again?
Johnny
(More forcefully…)  Hello!  (Audience responds much better this time)  Smile!  You’re on the RADIO!

(The audience responds with waves of laughter, friendly cheers and loud applause.)
Harry
(Stage whisper) The act.  Go into the act
Johnny
(Also sotto-voce) Oh, r-right!  Okay.    

(Now he’s in character) S-say Johnny,
Harry
(Correcting)  Harry…
Johnny
Harry….  I hear you have a talent for reading minds.  Is that true?

Harry
Actually, I do have a sixth sense if you need to know.

Johnny
Really?  Just how many senses ARE there?
Harry
Counting this one?
Johnny
Yes.
Harry
(Take to the audience)  …Six.
Johnny
(Finally getting into the swing of it, bringing in an air of mystique, setting up a magic trick)

…Right!  Okay.  Who has a deck of playing cards?  A regular deck.  No markings or anything.  Just a plain deck. 

(A woman from the audience produces a deck)
Johnny
Great!  Okay.  Now please shuffle the deck. And be sure not to let me see it as you do.

(This is done)
Johnny
Is it done?
Audience Member
It is done.
Johnny
Good, OK.  Now.  Fan the deck so that the numbers are down.  Don’t let me see them. 

(This is done)
Johnny (continuing)
…and allow me to choose a card from the deck.   Tell me when you’re ready.

Audience Member
I’m ready.
Johnny
Right.  Now I’m going to select a card from the deck, and I will show it to you.  Being careful not to let Harry see the card I have selected.  Is that clear?

Audience Member
Yes.
Johnny
(pulls the card from the deck, looks at it, hiding it from Harry and shows it to the Audience Member) 
You have it? 
Audience Member
Yes.
Johnny
(Hands the card to the Audience Member) 
Now keep that safe somewhere.  Put it in your pocket.  And don’t let Harry see it!
Audience Member
Ok.
Johnny
(Turning to Harry, who has had his eyes averted throughout and has fallen asleep) 
Now…  Harry
Harry
(snores) 
Johnny
Harry?!
Harry
(Still half asleep)  Okay… just don’t tell my wife…
Johnny
(Shaking him awake) HARRY!!
Harry
What!?
Johnny
Haven’t you been paying attention?
Harry
Last I knew we were talking about my sixth sense and then you completely ignored me since then.
Johnny
I’m so sorry
Harry
I mean I think It’s kind of special to be able to see things other people can’t see don’t you think so?
Johnny
Yes, you’re right.  It IS special.
Harry
(to audience)  I see WOOD people!
Johnny
Harry.   I said I’m sorry.  Can we get back to the act?

Harry
Oh, listen to you!  All “Mr. I’m-in-charge, now,” aren’t we?

Johnny
Harry.   Please.  Why don’t you tell us…. (Back in “tone mystique”) What is the card this nice lady pulled from the deck?
Harry
Are you kidding?  I was asleep!
Johnny
Uh, I thought…I didn’t know you were …..  You said to get into the act and I did!

Harry
I know!  Then you completely ….  Wait a minute. 
(He stops and stares at the Audience Member) 
Harry
You’re the one!
Audience Member
Me?
Harry
Yes.  You are the one who chose the card, aren’t you?

Audience Member
Yes
Harry
Very nice dress.
Audience Member
Thank you.
Harry
You have pockets in that dress?
Audience Member
I do.
Harry
Is there a card in one of your pockets?

Audience Member
There is.
Harry
Is it from my agent?  I can’t find the one he gave me.

Johnny
Harry
Harry
Ok, ok!  (he bows his head and starts to moan)  Ohhhhhhhhhhhhh-mmmmmm.

Johnny (getting anxious)
HarryWhat are you doing?
Harry
Ohhhhhhhhhhhhh-mmmmmm!  What?  I’m communing….

Johnny
Communing
Harry
Yeah, communing…. Ohhhhhhhhhhhhh-mmmmmm.

Johnny
With what?  A backwards cow?
Harry
That’s just mean!
Johnny
I’m sorry!  Just pay attention!
Harry
Okay!   The card! 
Johnny
Yes!
Harry
The playing card.
Johnny
Yes!
Harry
That was chosen.
Johnny
Yes!
Harry
It……. was……… the………. 8 of Diamonds!  

(The Audience Member takes the card out of her pocket and shows it to the rest of the audience.  It is indeed the 8 of Diamonds.  The place goes crazy with applause and cheers)

Johnny
Yes!  The 8 of Diamonds!  Isn’t that fantastic, Ladies and Gentlemen?

Harry
Thank you, thank you!  Say goodnight, Johnny

Johnny
Goodnight.  Johnny

(He waves to the audience, smiling, triumphant. Harry (with Johnny’s assistance) also waves. They exit the stage, commiserating with each other as they leave…)

End of transcript.


Friday, August 10, 2012

Men are from Ugh. Women are from Neatness

One of my favorite Neal Simon plays is "The Odd Couple". I haven't acted in it yet, but I think I could still pull off a good Oscar Madison if I lost a little weight and put some color back in my hair.

Damn!  Now that I've summoned it, the ubiquitous theme song has lodged itself in my brain.  I expect it to follow me around, dropping sandwich wrappers in my path and blowing cigar smoke in my face all day.  The only way I can get rid of a song once it jams in my head is to replace it with another one.  Then I'm stuck with that tune until it in turn is replaced, or it gets bored with itself and falls asleep when I'm not looking.  However once I realize there is no brain tune playing, it wakes up again once I wonder where it went.  You don't want my head. It's noisy in there.

Since the dawn of sapiens, we have been social beasts. The larger the group, the easier we find it to get along. Owing to the concept of security in numbers, it was simply easier for Ugh to blame someone else, like Wug, for the mess Ugh made.  It was much later, after we started splitting off into monogamous pairs, when we had to own up to our own failings. There's something to be said about how we as self-realized beings adapt to our surroundings to cope, or not to cope with changes.  But when it comes to dealing with the other-than-me on our lives some of us are more adept than others..

Using the Oscar-Felix unity as a template, I can apply it to the relationship my wife and I enjoy in our so-far 29-year experiment in co-habitation.  There are all sorts of things a guy like me needs to learn when he pairs up with a not-me who happens to practice Neatism. Neatism is, as it sounds, a borderline obsession with arranging everything in alphabetical order if it has a label, by height if not, by color if available, and everything is hidden away from sight thereby eliminating "Clutter".  “Clutter” is bad.  Neat is good.

Before entering into the state of Romantic Co-habitation; as far as I was concerned, vacuum cleaners were for people who had shedding animals in the house, and they were w-a-y-y too noisy -- the vacuums that is -- not necessarily the animals.  In my pre Co-habitation world, there were no English words for: the Black Stuff that Grows in the Shower, the Green Stuff that Grows in the Refrigerator, the White Stuff that Grows in the Coffee Mug, or the Brown Stuff that Replaced the Orange and Yellow Stuff that Used to Smell Good. I didn't see a need to name them.  I have no stronger excuse.

But, things are different now, my education has been intense. To begin with, my wife knows the words for all of these things. I'm not certain they are the actual scientific names for the aforementioned fungi, but they are sufficiently descriptive nouns nonetheless.  I bow to her creativity.

When I was young, I had been taught: "There's a time and a place for everything."  In later life, I took that to include such things as the white stuff in the coffee mug.  Not so for the Neatist. (I coined this word myself.)  For the Neatist, the time is always "Now" and the place is predefined by the Master Plan.  If it is not in the Neatist’s Master Plan, there is no place for it.  Exceptions can be made if I petition for special dispensation for certain, unlisted treasures; but the wait can be long for an answer and the space allotment is usually small.  Essentially, I have three desk drawers, one third of one closet, a dresser, the cargo space of my 2006 Matrix, and a cigar box in which to store my 60-some years of personal life's accumulation of touchstones; along with and among the various and sundry components of my modest wardrobe.

Which brings me to this: before our partnership, I wouldn't have dreamed that there was a correct way to hang shirts in the closet, except that the hook came out where the neck would be and the wide part went into the arm hole at the shoulders.  I thought I got points for hanging them in the closet at all.  No. They must face East.  I don't know if it is a sacred alignment for Neatists or not, but they must face East.  I have also learned to embrace the Mystical Trifold of the Towels.  I'm not permitted to explain further. Just know it is the Right Way.  And don't get me started on the Quadruple Flex with a Twist trick with underwear.  I never mastered it and she won't even let me try it anymore.

All these things I learned from my wife as we have traveled on our road together.  And I must admit I was beginning to get the hang of stuff like the order of the Things that Go Under the Sink, when the entire dynamic changed.  Our Daughter arrived.  No longer does our household provide succor for the Neatist. Nature has seen fit to provide for the Child.

...And Ugh has someone to blame for his mess again.

Cue that ubiquitous theme music....


Wednesday, August 1, 2012

How To Sing the Blues


Okay, I borrowed this.  

Actually, I compiled it.  And I added to it.  The original is lost somewhere in an internet back room, soaked in old sourmash, and strumming on an out of tune 5 string guitar.  

Like most Blues, ain't no one owns it.  It just gets sang.

1.  Most Blues begin "…woke up this morning."
2.  "I got a good woman" ain't no way to begin the Blues, unless something nasty's in the next line, like -
I got a good woman
With the meanest face in town.
3.  Blues are simple. After you have the first line right, repeat it. Then find something that rhymes. …Sort of… like -
Got a good woman
With the meanest face in town
Got a good woman
With the meanest face in town
She got teeth like
Steve Buscemi
And she weigh 500 pound.
4.  The Blues ain't about choice: You stuck in a ditch, you stuck in a ditch.  Ain't no way out.
5.  Blues cars: Chevys and Cadillacs and broken-down trucks. Blues don't travel in Volvos, BMWs, or Sport Utility Vehicles. Most Blues transportation is a Greyhound bus or a southbound train. Jet aircraft an' state-sponsored motor pools ain't even in the running.
6.  Walkin' plays a major part in the  Blues lifestyle. So does fixin' to die.
7.  Teenagers can't sing the Blues. They ain’t fixin’ to die yet.  Adults sing the blues. Blues Adulthood means old enough to get the electric chair if you shoot a man in Memphis.
8.  Blues can take place in New York City but not in Hawaii or any place in Canada. Hard times in St. Paul or Tucson is just depression. Chicago, St. Louis, and Kansas City still the best places to have the Blues. You cannot have the Blues in any place that don't get rain.
9.  A man with male pattern baldness ain't the Blues. A woman with male pattern baldness is. Breaking your leg cuz you skiing is not the Blues. Breaking your leg cuz an alligator be chomping on it is.
10. The following colors do not belong in the  Blues :
a. violet
b. beige
c. mauve
d. taupe
e. flamingo (even though it has a cool number of syllables)
11. The following do:
a. Black
b. Brown
c. Black
12. You can't have the Blues in well lighted places like an office or a shopping mall.  Go outside to the parking lot or sit by the dumpster.
13. Good places for the Blues:
a. the highway
b. the jailhouse
c. the empty bed.
d. The bottom of a whiskey glass.
14. Bad places:
a. Ashrams
b. Gallery openings
c. Martha’s Vinyard
d. Golf Course
15. No one will believe it's the Blues if you wear a suit, unless you a old ethnic man and you slept in it.

16. Do you have the right to sing the Blues 
YES if :
a. You’re older than dirt
b. You're blind
c. You shot a man in Memphis
d. You can't be satisfied.

NO if :
a. You once were blind, but now can see
b. The guy in Memphis lived
c. You have a trust fund
d. You have all your teeth
17. Neither Justin Bieber nor Randy Travis can sing the Blues. But, not surprisingly, Willie Nelson CAN sing the Blues .
18. If you ask for water and your baby gives you gasoline, it's the Blues .
19. Other Blues beverages are:
a. Wine
b. Whiskey or Bourbon
c. Muddy Water
d. Black Coffee
20. Blues beverages are NOT:
a. Any mixed drink
b. Any wine kosher for Passover
c. Snapple
c. Sparkling Water
21. If it occurs in a cheap motel, it's Blues
22. Some Blues names for Women:
a. Sadie
b. Big Mama
c. Bessie
d. Bertha
e. Josephine
f. Lucille
g. Fat River Dumpling
23. Some Blues Names for Men
a. Joe
b. Willie
c. Little Willie
d. Big Willie,
e. Willie B. 
(Note: Persons with names like Sierra, Sequoia, or Skye will not be permitted to sing the Blues no matter how many men they shoot in Memphis.  Nor should juggling comedians.)
24. Other Blues Names (Starter Kit)
a. Name of Physical infirmity (Blind, Cripple, Asthmatic)
b. First name (see above) or name of fruit (Lemon, Lime, Kiwi)
c. Last Name of President (Jefferson, Johnson, Fillmore, etc.)
        (For example: Blind Lemon Jefferson, Cripple Kiwi            Fillmore... ok, maybe 'Kiwi' don't work.)  
25. A Blues way to communicate is to dial up the telephone or to "holla." 
26. Smartphones or any device beginning with “i” are not Blues ways to communicate.
27. Blues weapons:
a. shotgun
b. snub nosed 38
c. knife
d. "doing the dozens,"  (don’t know what it is, but is sounds deadly).
28. People with the Blues eat barbecue (dry rub), grits, corn bread, beans, and they last meal.
29. Good Blues instruments: Guitar (Lucille), Slide Trombone, Saxophone, Harmonica, string bass, piano, drums.
30. Bad Blues instruments: almost everything else, particularly inappropriate are the oboe, french horn, and glochenspiel.
31. You got the Blues if you got lumbago, or a rumblin’ in your brain. If it’s treatable, you don’t got the Blues
32. Black Jack is a good Blues game. Uno is not.
33. Blues jobs include trucker, railroad work, picking cotton, musician (down or out preferred), just got fired.
34. Blues animals include the junkyard dog, faithful mule, big ole rat.  Ain't no cats, except maybe Mud Cat.
35. Most country songs can be interchanged with Blues songs (baby left me, crop ain’t growin’, dog died, shot a man in Reno, etc.)
36. Finally:
Epitaph on a
Blues musician's tombstone: "I didn't wake up this morning"


~ Bursitis "Barley Corne" Van Buren