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January 21, 2012

"I Had Sex with Hitler and then Almost Fed His Brain to a Condor"

by admin — Categories: Media and Entertainment — Tags: , , , , , , , , Comments Off

If you’re like most dolts produced by the American education system, you probably actually believe Adolph Hitler died in his bunker in 1945 when the Russian Army reached Berlin.  Such ignorance is understandable, given how important it was, then and now, to protect the world from the terrifying REALITY of the situation, namely this: At the end of WWII, Adolph Hitler’s brain was surgically removed, placed in stasis, and then transplanted into a willing new host!   Most likely, “Hitler” is still somewhere on the planet today, scheming, ever scheming, to return and complete his plans for world domination. My money says the brain is now in Rick Perry.  Every Texas yahoo talks about secession now and then, but Perry’s recent campaign pledge to annex the Sudetenland is troubling to say the least.
They Saved Hitler’s Brain (aka The Madman of Mandoras) (1963) dared speak this truth in the tortured logic of Z-cinema some fifty years ago.  Legend has it that the film began shooting in the late fifties–only to be shut down by Nazi agents in Hollywood looking to suppress its startling revelations.  It took the courage of a rag-tag band of UCLA students in the early sixties to shoot some additional framing footage, thereby padding out the original film by ten or fifteen minutes so that it might get distribution and thus see the light of day.  But it turns out the Nazis had nothing to worry about.  The temporal rift created by grafting together the film stock and styles of the late fifties and early sixties was so jarring that the movie elicited only jeers and ridicule.  For years it played in the post-fringe graveyard of late-night television, leaving an astonished few to admire the stamina of the actor forced to kneel for hours at a time behind an old ham radio set and under a bell jar in order to “sell” the illusion of functional decapitation.
Happily for lovers of historical drama,  the saga of Hitler’s itinerant brain did not die with that noble, yet failed cinematic experiment.  In 1973, novelist Roland Puccetti tried once again to alert the world to the ongoing hazard presented by allowing Hitler’s brain to remain at liberty,  giving us the sublime revisionism of The Death of the Führer (Arrow Books-1973).
I have now read Puccetti’s book.  Before recounting its alternative history of the years after the Second World War (absolute and total spoiler alert), let me say this:  The Death of the Führer MUST be adapted for the screen as soon as possible.  How it hasn’t already ended up as a major motion picture is a true mystery, one that makes me suspect Nazi sympathizers are once again pressuring Hollywood to ignore the R-rated bombshells contained in this book.  The Death of the Führer is everything Inglourious Basterds hoped to be–but done with such economy and ease that it utterly shames Tarantino’s lumbering attempt to pass off what are essentially five interminably long dialog scenes as some kind of fast-paced caper film.  If you want brutal and stunning Nazisploitative action, then Puccetti is your man.
We begin at a Bavarian ski lodge some time in the 1960s.  A young man–his name is unimportant, call him Mr. Framing-Device if you like–has twisted his leg and must stay off the slopes.  An old man sitting on a bench nearby accurately diagnoses the skier’s condition from afar–for you see, this old man is a doctor: Karl Giesvius. As so often happens when strangers meet in the Bavarian Alps, their conversation soon turns to Hitler.  Karl, it turns out, knows the REAL story, which he proceeds to tell us:
Ten or so years after the end of WWII,  Karl had been sitting in a Parisian cafe when suddenly a local rushed in and begged him to attend to a dying man elsewhere in the city, a dying man who claimed to have information about the whereabouts of….Hitler!  Understandably intrigued, Karl rushed to the man’s bedside to hear a startling confession: “I assisted in the removal and transplantation of Hitler’s brain!”  Later, after the man dies, Karl looks through some old photos and verifies that the dying man had indeed been a member of the Führer’s personal medical team.  He decides to fly to Berlin and begin his investigation.
First task: get inside the Führerbunker and see if any clues are still there.  Now, you might think the Führerbunker would have been picked over for just about any and all items of historical import, and that accessing it would be difficult if not impossible.  But this turns out not to the be the case.  Consulting a map of the compound, Karl figures out where the ventilation shaft should be, and after moving a few well-placed rocks, he’s unearthed the entrance.  After shimmying down the vent, he’s the first person to stand in the Führerbunker since the Russians collapsed the entrances at the end of the war.  What’s down there?  Junk, mostly.  It would also appear a Russian soldier took a retributive shit on Hitler’s bed, an extremely resilient shit considering it somehow survived for a decade before Karl descended into the bunker to witness it.  He checks out the conference room.  Nothing.  Eva Braun’s bedroom.  Nothing.  He’s just about to give up and/or suffocate from a lack of oxygen when finally Karl discovers a hidden passageway connecting Hitler’s bedroom to… a secret surgical theater! 
Looking around the tiled room with his flashlight, Karl discovers a bloody operating table and scalpels that still have hair on them (the hair of Hitler!).  Strangely, though the Nazis had apparently pioneered the art of brain transplantation, they still didn’t quite understand that one should shave a surgical area before operating.  Karl continues his search for evidence.  His flashlight illuminates a strange object on the floor.  Bingo! It’s a brain!  
Hitler’s brain?  Well, no, actually–Karl quickly reasons it is the brain of the poor schmuck who donated his body so that Hitler could have a new ride.  This was some particularly good writing, I thought.  Here Puccetti captures the urgency of the situation back in 1945.  With the allies advancing, Nazi doctors had no time to wash down the operating theater nor throw away the old brain–a point Puccetti emphasizes by revealing that the floor-brain is still in the steely clutches of the forceps used so many years ago to wrench it from its skull!  There’s also a bucket of congealed blood nearby, but Puccetti does not speculate as to why the brain didn’t end up there rather than on the floor. Also, we are left to wonder how this brain tissue, much like the enduring pile of Russian infantry crap in the next room, could survive more or less in tact for over a decade.
Karl’s investigation continues. He finds a plaque bearing the name of the surgical genius responsible for all this brain shuffling: Dr. Wilhelm Tager.  Karl is flabbergasted.  Tager, as it turns out, was his buddy from medical school before the war, his old fencing partner, and a genius of neurology who finished at the top of their class.  That just about seals it.  Find Tager find Hitler’s brain, he reasons.  And then he can kill them both!
After a little more detective work, Karl tracks Tager down to a remote castle somewhere in Spain.  Next obstacle: How to infiltrate a well-guarded compound full of evil Nazi scientists?  Here Karl decides for an elegantly direct approach–he simply floors his motorcycle and breaks through the front gate (as seen on the action-packed cover above).  That might seem crazy, but Karl’s plan is actually a bit more complicated.  After taking a few Nazi bullets and wrecking his bike into a tree, it is Karl’s hope that Dr. Tager will attend to him and then recognize him from their college days.  And this is precisely what happens.  After surgery, Karl wakes up and tells his “old friend” that he just happened to be vacationing in Spain and that the throttle on his motorcycle just happened to get stuck–that’s why he crashed through the gate uncontrollably. 
One might think that the Nazi brain trust (those entrusted with the Nazi brain, that is) hiding out in Spain would be the most paranoid gated-community on the planet–but no one seems to question the fact that Karl, unseen by Tager since before the war, has suddenly and seemingly coincidentally arrived on their doorstep.  Before you know it, all the Nazis have welcomed Karl into their little clique, probably because Karl wastes no time fishing for Hitler leads by constantly bemoaning the fate of the Third Reich.
Later, once he’s completely healed from his injuries, Karl is invited to a big party hosted by the owner of the castle, the beautiful Baroness Gerda Bach-Wisliceny. The party goes well as Karl learns a few new tidbits by eavesdropping.  But still no sign of Hitler’s noodle.
Things really heat up later that night when a guard knocks on Karl’s door.  The Baroness has requested a private audience.  Well, one thing leads to another, and before you know it Karl and the Baroness are in her bedroom ripping off each other’s clothes.  And then this happens:



Her fingers dug into my arms with sharp nails, her back arched spasmodically, she started to pull me down deep into a bottomless pit.  Somewhere within my body a train of cold liquid left its station with relentless fury and plunged on to its destination.


Here Puccetti is telling us, as artfully as he can, that Karl is about to ejaculate into the Baroness.  The story continues.

Gerda’s eyes opened widely now.  The pupils looked dark in the fire glow, much darker than before, and somehow beyond them and behind them there was a deep rustling of Teutonic forests, of shadowy predators roaming in the night…Only then did I raise my trembling, terribly tired fingers to her head, slide them under the golden hair and feel the bony ridge across her skull.  Only then did her lips part to give the fateful cry. 
      ‘ICH BIN DER FUHRER.’

Yes, friends, our intrepid hero and narrator has just enjoyed a simultaneous orgasm with Adolph Hitler– a drop-dead gorgeous Hitler, mind you, but Hitler nonetheless (an alternate cover for the book foregrounds this reveal a bit more forcefully). 
Some might be thinking this was surprisingly enlightened on Hitler’s part, this willingness to have his brain transplanted into a woman.  Funny thing about that–it was actually a complete surprise for the Führer.  Later we learn that Tager and his team had a young, strapping Aryan male all ready to host Hitler’s brain, but the kid died during surgery from an unforeseen complication.  The original Baroness Gerda Bach-Wisliceny, a loyalist if ever there was one, stepped right up and volunteered her body.  Man, was Hitler ever mad when he woke up.  But we are told that the Führer eventually warmed up to and even embraced the idea of being a sexy Baroness.  Realizing it made for a good hiding place, the brain decided to stay put.
But back to the post-coital revelation that our narrator just had some manner of queerly heteronormative gay sex with Hitler.  “What would I do,” wonders the reader, “under such circumstances?”  Given that Karl is dedicated above all else to his mission, he loses no time recovering from this quite literal “mindfuck” and stabs Baroness Hitler-brain straight through the heart, leaving her for dead.
For the next twenty or so pages, Karl is on the run trying to evade capture in the compound.  He jumps a guard and steals his uniform, which buys him a little more time to wander around the castle in search of a way out.  Eventually he finds another series of hidden passageways leading deeper and deeper into the castle’s foundations.  Finally he stumbles upon, wouldn’t you know it, another goddamn secret operating theater!  No sooner have you killed Hitler’s host body than his evil surgical team is right back at it putting his brain in yet another body.  Actually, Karl probably should have seen this coming. After all, as narrator, he of all people should understand the basic premise of his own story.  Caught off guard indulging in some well-deserved self-recrimination, Karl is taken into custody and whisked away to a holding cell. 
You’re probably thinking at this point that Karl himself is destined to be the new donor body for Hitler’s brain.  Makes sense.  Hitler needs the body and the Nazis no longer need Karl–that’s certainly what a lesser writer would settle for here.  But Puccetti has other and much more incredible ambitions.  Karl is wheeled into surgery alright, but finds that his nemesis Dr. Tager instead plans to implant a type of experimental electrode “harness” in Karl’s brain.  In fact, he forces Karl to remain awake as he cuts off the top of his skull and inserts the electrodes one by one.  Later, in post-op, we discover that Tager and his assistants can now control Karl’s actions simply by pushing the appropriate buttons: THIRST, HUNGER, LUST, etc.  This is the sort of thing Nazi doctors live for, apparently.  Bouncing Hitler’s brain from body to body is a neat trick and all, but Tager’s real ambition is to rule the world by implanting electrodes in every human skull!  We also discover here that Tager has no real investment in Nazi ideology–he chose to ride Hitler’s coattails only because Hitler seemed–at the time at least– the most likely to make his dream of global brain control come true.  He would just as easily have cast his lot with the Americans or Russians, if need be.  That’s just how evil Tager is–the pure evil of pure science.
After some pleasure/pain interrogation from Tager and his buttons, Karl is taken back to his cell, which it so happens is a glass cube.  There he devises a brilliant plan.  He will break the glass by ramming his head into the wall, which will also probably disable the brain-electrode stuff at the top of his brain.  At the very least, he reasons, it will interfere with its optimal operation.  Gathering his strength and courage, he runs headlong into the glass–so hard that he blacks out.  When he comes to, however, he finds the plan has indeed worked–there is nothing but shattered glass all around him (and no guards, apparently).  Karl quickly runs back to the lab and pulls all the wiring out of the control-console so that Tager cannot send any more brain signals.
But the console can be quickly repaired, Karl reasons.  No, there is simply no way around it, the electrode net in his brain must come out.  But how?  Who will do the delicate surgery?  Karl.  Karl will do the surgery.  Karl will do the surgery on himself.  Brain surgery.  Karl will perform brain surgery on his own brain.
Are you beginning to understand why this novel must be committed to film as soon as possible?  I already have Scarlett Johansson down for the role of the Baroness.  As for Karl…well, who cares really?  I just want to see the scene wherein Scarlett Johansson reveals that she is actually a busty receptacle for Hitler’s devious brain.  I would trade you any number of Final Destinations and/or Centipede units for such a moment to be captured on film.
Back to the brain surgery.  Karl sets up a mirror to see the top of his head.  “The scalp was easy,” Karl tells us.  Then the skull bone.  Then the membrane covering the brain.  Underneath are the electrodes.  Though delicately inserted only hours earlier by Dr. Tager, Karl finds he is able to simply rip them out of his brain with no real consequences.  But the suspense isn’t over:

There I was, nude and exhausted, unarmed and with the whole top of my brain exposed to raw air. If I so much as leaned forward, the cerebrospinal fluid encasing my brain would spill out; I could imagine the sticky liquid dripping over into my face and blinding me.  


To make matters worse, a guard suddenly appears and interrupts the operation.  Luckily, Karl still has the presence (and fluid) of mind to dispatch him with a nearby bone saw.  But there he remains, his brain still exposed to “raw air” and all of his brain juice about to spill out.  He decides he has no time to stitch the membrane and just goes for wiring the skull back in place.  After that he’s so tired that he just kind of flops his scalp back over the bone, figuring he’ll deal with that after he’s finished killing Tager and finding Hitler’s new cranial hideaway.
Eventually he corners Tager and forces him at gunpoint to the “vault”–the most secret of secret chambers in the bottom floors of the castle.  Inside is the requisite vat with Hitler’s pulsating brain floating inside, awaiting its new host.  As an incidental detail, we are also told there are two crossed sabers on the wall as part of the castle’s Coat of Arms. Almost immediately, however, this proves not to be incidental as Tager calls Karl’s bluff on the number of bullets in the gun, which leads directly to the two men retrieving those very same sabers and reliving their days as college fencing opponents (remember? I told you about that earlier).  Karl is worried, for he never beat Tager in their university matches, but it remains his only hope.  Thrust and parry.  Thrust and parry.  And then Karl spies an “Auto-Destruction” button on the wall.  It’s true.  He really does.  A big red button that will blow everything up.  Even if Karl can’t escape, he can blow up the entire castle, Hitler’s brain, and all the remaining Nazis at the same time!  

Karl pushes the button.  No, you fool! screams Tager.  Ten minutes to absolute annihilation.  Just then Karl sees that the brain vat has become unmoored and is rolling into the periphery of his vision.  Two quick ballet leaps and he is standing over the bubbling vat. He then drives his sword directly into the Fuhrer’s brain!  Tager screams in horror, and Karl takes advantage of his shock to stab Tager “in the crotch” all the way back to the pelvis.  Tager collapses, and in doing so, knocks over the now pinkish red vat of brain and blood.  Hitler’s brain slides across the floor where Karl, not wanting to leave anything to chance, scoops it up. 
Karl must escape–the castle is still going to blow at any second.  Miraculously, he discovers another secret door leading to some kind of mining-car contraption below.  Still clutching the well-stabbed yet still relatively cohesive Hitler brain, he jumps in and releases the brakes.  A bloody Tager crawls along the tracks begging for mercy.   But no dice.  Karl rides the mining-car out of the castle and out into the open air.  There he sees a mighty condor flying through the sky, and considers throwing Hitler’s brain on the grass so that the majestic bird might swoop down and carry it away.  For that would be a fitting final indignity for Hitler’s stupid evil brain–snatched up by razor-sharp talons and fed to a nest full of baby condors.  Just then the earth rocks with the force of the castle exploding.  In the end, Karl simply falls on the brain and “collapses” it good and flat.  
Victory!
Back to our Bavarian ski-lodge in the present day.  The story over, Mr. Framing-Device doesn’t know what to think. Did this old man really have sex with Hitler in a woman’s body, operate on his own brain, and then almost throw Hitler’s brain to a hungry condor?  Just then a nurse appears on scene to retrieve Karl–the sun is setting and it’s time to go back home.  Mr. Framing-Device takes the nurse aside and asks if he might visit Karl again some day.  “Why not?”the nurse responds, “visiting hours at the sanatorium are open to everyone.”
And there we leave it.  Karl might be crazy.  Then again, he might just have a bad case of tuberculosis.  I guess the next generation of historians will have to make the ultimate determination: did Tager somehow get the brain back and put it in Scarlett Johansson, or did it end up in the bellies of a dozen hungry little condor chicks?

January 21, 2012

Toward the Final Beatle

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Confronted with the prospects of watching yet another Beatles documentary, there are many who would understandably prefer a ticket to ride—some place where no one has ever even heard of the Beatles.  Well good luck, mean Mr. Mustard, because that octopus’ garden doesn’t exist.  You may have never given them your money, dear Prudence, but you can no more escape the Beatles than you can throw an old brown shoe across the universe.  “And your bird can sing” is another great title.
So Martin Scorsese had his work cut out for him in producing a 208-minute opus that once again revisits the single most perverse fame eruption of the twentieth-century–Beatlemania.  Even more remarkable, Scorsese’s Living in the Material World (currently playing in two 90-or-so minute chunks on HBO) is really only about 25% of the Beatles; namely, George Harrison…the “third” Beatle, the “quiet” Beatle, the Beatle who forced millions of pop fans to contend with the sitar and songs that occasionally strayed from 4/4 time.  
Fifty years after the Beatles began playing for beer and lodging in Reeperbahn (Hamburg’s notorious red light district, brought to screen here courtesy of contemporaneous footage culled from Mondo Cane), what is there left to say about this collective psychosis that defined a generation, a fixation on the music, biography–and most importantly–the mythos of the Beatles that will continue to enshroud the planet until someone pulls the plug on the last baby-boomer clutching the faders at the final classic rock station?  Even those who have only a casual Beatles habit will be familiar with most of the territory covered in part one—the lads meet in Liverpool, gig in Germany, get signed to Parlophone and George Martin, ignite a mass adolescent sexual frenzy, come to America, become bigger than Jesus, drop acid, push the confines of the recording studio, and so on.   

There are a few new details for the truly obsessed.  We meet George Harrison’s brothers, for example, who rather refreshingly seem to have remained non-fab Liverpudlians unfazed by a having a little brother who, in some improbable cosmic lottery, turned a fascination with skiffle riffs into a billion dollar empire.  Studio geeks, meanwhile, get to hear a few new tales about the recording of Harrison’s tracks on the Beatles’ records, including the story of an Abbey Road engineer working tirelessly to mix properly the saxophones on “Savoy Truffle” only to have Harrison request they be more distorted and bright (and truly, that track remains a treble endurance test to this very day—very “toppy” as George Martin pops in to opine).  Ringo also informs us that if it wasn’t for Paul, the other 3 Beatles would have spent most of the late 60’s in their respective Surrey mansions smoking pot and just hanging out.  Perhaps the oddest detail: the Beatles actually commuted into work each day at Abbey Road in Lennon’s psychedelic Rolls Royce (somehow the idea of the Beatles as working stiffs commuting on the A3 is a winning image—especially given that today even the most abject reality star flotsam expect to be driven everywhere by limo). 
In part two, Harrison’s commitment to embracing the non-material world experiences some obstacles.  There is the notorious triangle with Eric Clapton and Harrison’s first wife, Patty Boyd (speaking of burdens—imagine being the woman who inspired both “Something” and “Layla”—truly she is the face that launched a thousand tracks on Ampex tape).  Scorsese rather delicately handles Harrison’s apparently bad cocaine problem in the mid-70s (footage of a rail-thin Harrison, his voice absolutely decimated, chugging through a truly awful live arrangement of “What is Life?” is one of the documentary’s more cringe-worthy moments).  Wholly absent, no doubt by demand of second-wife/producer Olivia Harrison, is the foundational copyright lawsuit fought between Harrison and the Chiffons over the melody of  “My Sweet Lord.”  Also hanging like a dark cloud over part two is the knowledge that Harrison’s spiritual journey will eventually culminate in getting stabbed in his own home by a schizophrenic and then dying shortly thereafter from cancer. 
This might make Living in the Material World sound like a total bummer.  And in some respects, part two is often melancholic to the point of being downright depressing.  There are bright spots, of course, as in Harrison’s support and patronage of Monty Python (Harrison produced Life of Brian and Time Bandits…as well as Shanghai Surprise, which Scorsese understandably ignores).  Mostly, though, Scorsese’s portrait of Harrison casts him as someone who genuinely wanted to be a better person in a better world, and who ultimately preferred to stay at home and garden rather than do the obligatory record tour every year (at the time of Harrison’s death in 2001, Ringo had put out more albums than his former bandmate—Ringo, for Vishnu’s sake!).  Toward the end of part two, Olivia Harrison recounts how, toward the end of his life, George was invited to various award ceremonies to honor his many achievements, invitations invariably declined by the Beatle who really no longer wanted to have anything to do with the Beatles.  His widow offers this as evidence of her husband’s incredible humbleness—but there is also a sense that his reclusiveness had a touch of bitterness in it as well.
The Traveling Wilburys.  And then a “come-back” solo album that Harrison claims wasn’t really a “come-back” because, by that point, he had long stopped considering himself to be a pop star/public performer anymore. 
And then the stabbing at his home in England.  Given the unprecedented mass cathexis on the Beatles, it’s a miracle all four of them didn’t end up murdered by various crazy people.  Olivia Harrison narrates the events of that particular evening, leaving us to wonder why someone didn’t simply pick up a phone and call the police (Harrison’s initial strategy for dealing with this intruder, we are told, was to “chant” at him from the upstairs window.  A few moments later the guy has broken in, rushed up the stairs, and is wrestling with a wounded Harrison for the knife. So remember, while your mantra may be good for your soul, it remains generally ineffective in warding off the psychotic). 
Harrison survives, of course, only to die two years later from his ongoing bout with lung cancer.  As recounted by Scorsese, Harrison’s death is both more banal and yet, oddly, more profound than the murder of John Lennon.  Assassinated at forty, Lennon died so young and so abruptly that he was able to assume Kennedy-esque stature as a generational icon unimpeded by the embarrassment of continuing to live and thus disappoint everyone (and Lord knows, Double Fantasy was a bad step in that direction).  And besides, getting shot by a nut job outside the Dakota is a freakish tragedy—much like getting hit by an asteroid or falling through a manhole.  But to be someone who ruled the western world at the age of 25, only to then slog on through a failed marriage, some bad investments, a drug habit, and the burdensome expectations of your former greatness, all so that you might then live to be stabbed in your home before dying of cancer two years later—that’s the kind of depressingly common life arc almost any middle-aged boomer can relate to (if, of course, one substitutes the general exhilaration of one’s perceived youthful immortality for Harrison’s time as a Beatle).   And I don’t care how much you think you hate the Beatles, if Ringo’s account of his last meeting with George doesn’t get you misty-eyed than truly you are a soulless monster who deserves to come back in the next life as a latrine-born cockroach (while I understand the counter-distinctual obligations of thinking the Beatles were overrated or even just downright terrible, how anyone who has ever listened to and enjoyed a 3.5 minute guitar-based pop-song in the last 30 years thinks they “hate” the Beatles is beyond me.  It’s like loving spaghetti while claiming to hate Italian cuisine.  Even Kurt Cobain had the self-knowledge and graciousness to acknowledge that nothing much had happened since the Beatles, except perhaps for a general increase in yelling and distortion.    
Ultimately, Living in the Material World, with all its familiar popcult signposts of the past fifty years, is as much about its audience as it is about Harrison himself, artfully beginning the perhaps inevitable process of rewriting Beatles nostalgia into boomer elegy.  Here, too, is where the fascination with meditation, Krishna, and all things eastern finds its ultimate rendez-vous–both for Harrison and a generational audience that once upon a time fancied itself disenchanted with western politics, morality, and religion.  Throughout the documentary, we are told how Harrison’s spiritual quest was to practice “the art of dying,” to be at peace with one’s death so that the universe doesn’t force you to return for another round of frustrated desire and corporeal misery.  Apparently realizing at a freakishly young age that one faces the end alone, no matter what one acquires or achieves in this world, Harrison makes for a compelling index on boomer spirituality in general, an emblem of material success/excess apparently quite sincere (and thus quite conflicted) in his attempt to renounce the trappings of this world. 

This, finally, is the ultimate trick of Scorsese’s documentary–transforming Harrison the counter-cultural icon into just another aging boomer (albeit one of unimaginable wealth and fame—and, technically, not actually a boomer), doing his best to survive the humiliations of mortality with some grace and dignity, all while trying to remain true to a core set of beliefs.  Olivia recounts her husband’s last moments on earth as “glowing.”  I certainly hope so.  If, after his extraordinary ride through the late twentieth-century, George Harrison couldn’t figure out what does and doesn’t ultimately matter, what hope remains for the rest of us still plowing our way through the particularly pernicious maya of western existence, the legions of boomers who–years after their perceived rebellion against the social order–have rather lazily crawled back to the church of their parents more out of habit than belief.  Scorsese ultimately makes the viewer admire George, the quiet Beatle, not so much for being a Beatle, but for fighting so hard (and perhaps so futilely) to escape the absurd cosmic joke that gave birth to the Beatles in the first place.

January 21, 2012

Its Never Sunny Anywhere

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It’s Always Sunny in Philadelphia just began its seventh season on FX.  With any luck, the series will bounce back from a sixth season that, as any objective Phillyphile would agree, was uneven at best.  Last week’s premiere, “Frank’s Pretty Woman,” was certainly a good start, returning “the gang” to the moral muck in which they thrive best (Frank decides to marry his favorite prostitute, the gang decides she needs to be “classed up,” hilarity ensues).
Sunny may well be the most distinctly “American” sitcom on the air at the moment.  That claim will make many bristle, I’m sure, especially those sensitized by post-graduate name-calling to resist any and all such sweeping generalizations about nationhood and identity.   So let me clarify: the series does not (and could not) speak to some impossible unity of “American experience,” whatever that might still mean for anyone beyond Tea Party time-travelers; instead, it rather doggedly documents a certain mindset that is unique (or perhaps just particularly widespread) in the USA of the twenty-first century.
Like many sitcoms, Sunny is a hybrid of earlier successes given its own distinctive twist—what might best be described in industry shorthand as a more loathsome Seinfeld meets a downscale Cheers.  From Seinfeld, the show borrows the now ubiquitous formula of urban singles who seemingly have little to no responsibilities beyond cultivating their skills at bantering.  Sunny also replicates the 3 guys/1 gal structure—but with the crucial addition of Danny DeVito’s “Frank” as the gang’s debauched and wholly irresponsible patriarch (Frank was a brilliant addition to the show’s architecture.  Father to the borderline American Psycho Dennis (Glen Howerton) and his ever-annoyed sister Dee (Kaitlin Olson), Frank doesn’t really seem to give a shit about anyone other than himself—devoting his senior years to drinking and whoring.  But as he either has (or had) money stashed away, he becomes the default protector/bankroller of the gang’s various misadventures). 
But while Seinfeld and company most often worked over the everyday minutiae of middle-class aggravation (“first-world problems,” as some now call them), Sunny’s crew seems to bicker endlessly about absolutely nothing at all.  More to the point, each character is typically so dug in defending his or her own delusional take on the sitcom situation at hand that, in the show’s best moments, it creates a polyphonic exchange of variously narcissistic and selfish monologues that amplify more than answer one another.  Often this is the crucial ingredient in separating the best episodes from the average—whether or not cast and director have captured the best possible group rants on film (last season, for example, some of this banter—typically so “natural’ to the cast—seemed a bit more forced, for whatever reason).    
Obviously, people everywhere in the world often argue about completely stupid and pointless things.  The distinctly American flavor of Sunny, I would argue, stems from the fact that each character, despite being a woefully uninformed and misguided idiot, is always completely and wholly convinced that he or she is 100% correct in any and all arguments—so much so that any actual communication, dialogue, and persuasion as we typically know them rarely if ever take place.  Characters will on occasion convince one another to cooperate in enacting a scheme of some sort, but most often these are only alliances of momentary convenience—each member of the gang is ready, willing, and able to screw over the other at the drop of a hat.  If Seinfeld famously lived by the credo “no hugs,” Sunny remains steadfastly committed to the principle of “no empathy”…for anyone…ever. 
Set primarily in the crappiest bar in Philly’s most dilapidated neighborhood, Sunny also references Cheers, but with an emphasis on capturing more honestly the milieu of the chronic drinker (Paddy’s, or its Boston equivalent, is where Cliff and Norm would eventually end up after drinking away their pensions).   The “bar” set (or its displaced cousins like “Central Perk” and the “Peach Pit”) has long been central to TV architecture—public spaces where characters can congregate for jokes and plot points.  Typically these sets weave the characters into a larger social world—the cast surrounded by various extras that circulate to signify the characters’ integration with our own reality.  True to the wicked inversions of Sunny, however, Paddy’s bar is a bleak and generally empty space.  It is occasionally packed on special occasions in service of the plot, but for the most part  has no clientele and merely serves as an echo-chamber for the inane bickering of the cast.  This isolation is further underscored in the exterior establishing shots that invariably depict the bar as standing alone in a beaten-down warehouse district devoid of all humanity, a place where one expects to see a tumbleweed blow by festooned with used condoms and dirty syringes (at left, L.A. exterior used for Paddy’s–courtesy Flickr Yousuba&!).
American comedy is frequently concerned with the invisible shell-game of “class,” typically in ways that stylize poverty to make it either a momentary comic irruption in middle-class life or the launching pad for eventual middle-class success.  Sunny, on the other hand, is particularly candid in examining the thin line dividing crippling destitution from out-and-out homelessness.   Given their location, the gang is constantly mixing with addicts, prostitutes, criminals, and—perhaps most magically—various shady characters that Frank and Charlie meet “under the bridge.”  Slightly better off than their neighbors, the gang’s relation to the human misery all around them is like that of most Americans—instrumental indifference (their repeated dealings with “Cricket” come to mind).  Building on this bedrock of a permanent underclass with no possibilities or aspirations, individual episodes often focus on the particularly American delusion–cultivated by almost everyone occupying a position other than Fortune 500 CFO or crack whore—that every citizen of the USA  is middle-class and rising.  Dennis, Dee, and Mac (Rob McElhenney), in particular, are constantly misjudging their positions on the economic, educational, and cultural ladder (Frank and Charlie (Charlie Day), for different reasons, don’t appear to care one way or another).
If nothing else, Sunny signifies how far television has come from the days of Buffalo Bill.  A noble one-season failure in 1983-84, Buffalo Bill was a much-heralded MTM sitcom starring Dabney Coleman.  The show garnered a lot of attention as the first sitcom to feature a lead character who was often “unlikeable” (a matter of judgment, obviously, as all of us no doubt have a sitcom lead from the 50s, 60s, or 70s we would like to punch in the face.  I’m looking at you, Hawkeye).   With Sunny we have an entire ensemble of assholes.

With one notable exception, perhaps unexpected in the show’s original design.  Despite the program’s general commitment to venal nastiness, Frank and Charlie’s warped father-son vibe has become somewhat of a moral anchor for the series.  Frank, again, has lived the middle-class “dream” of marriage, kids, and a house in the ‘burbs—but has decided, rather courageously, that he’d rather crash in a horrifying studio apartment and devote his time and energy to getting fucked up and laid as much as possible.  Meanwhile, his room and Murphy-bedmate Charlie is the show’s sole remaining innocent, a guy that one could imagine, given the right circumstances, might end up institutionalized either out of injustice, inconvenience, or a simple misunderstanding.   Like the rest of them, Charlie has his schemes.  But he also seems relatively content to never leave Philadelphia so that he might continue devoting his life to trapping the bar’s prodigious rat population.   
So, to summarize: uninformed, narcissistic idiots constantly arguing at cross-purposes, standing in a dying business in a dying neighborhood, ceaselessly scheming their way toward greater class mobility and failing utterly, but protected from their unrelenting idiocy by the residual capital reserves of their putative father—what could be more American than that?

January 21, 2012

Farewell, Summer Television

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The fall television season starts soon, and with it, the return of some of our most beloved entertainment franchises.  Soon we’ll know the true extent of Chuck Lorre’s rage at Charlie Sheen when he offs him in the most humiliating way possible on A Man + Ashton Kutcher ÷ the Teenage Remainder.   I’m pretty sure we left “House” in some kind of interesting scrape at the end of last season, although I am hard pressed to remember what it was.  And then there are the shiny new shows, like Whitey, which I think stars the lady from the Progressive Insurance ads shacking up with her boyfriend as they try to save up money to buy him a shaving kit.  There’s also the sci-fi show, Terra Nova, which upon cancellation will introduce us to the next generation of futuristic whiners mortally wounded that their series was not allowed to fulfill its destiny, even if that destiny was merely to be the Time Tunnel of 2011.     
Most exciting of all is NBC’s bold new experiment in wasting, as egregiously as possible, the considerable talents of Will Arnett and Maya Rudolph.  With little to no shame, Up All Night apparently has no more ambition than to document the hilarity of couples fighting over just who is going to get up and stick a bottle in the puling maw of a baby.  Given that these TV couples apparently chose to have these TV babies, I’m not sure why this should be my TV problem.  I know young parents secrete an enzyme that makes junior’s inopportune puking on various fabrics and visitors endlessly fascinating, but in the past such banal war stories have typically and mercifully circulated only among fellow parents —how NBC plans to do 22 episodes a year of dirty diaper jokes for those who don’t find little Johnny’s little shits adorable is a true mystery.  Unless one of the babies is from Venus or the reincarnation of Albert Fish or something equally edgy, I’ll pass, thank you very much. 
Of course, for all these new and returning shows to take to the airwaves, we must first say goodbye to the “summer” television season.  Time was when there was no such thing as a summer television season—the networks simply flipped into rerun mode and assumed everyone, on both sides of the screen, had better things to do with their time.  But as TV gradually came to realize that going dark for three months might, in the very near future, lead to an entire generation completely forgetting that television ever existed in the first place, the decision was made to create the illusion of exciting new programming year round.  
Many complain about the quality of summer television.  Not me.  In fact, I’m always a little sad to see it go.  Summer programming, as we have come to know it over the past few years, is like television’s feral cousin—recognizable as TV and yet unexpectedly “wild” in a way that the prestigious gloss of the autumn schedule would never abide.  It’s like the dog you once rescued from traffic at the side of the Interstate: he’s cute enough that you grow a little attached to him as he lives in your basement for a few days while you put up posters; and yet he is deranged enough that you come to understand how he got left on the side of the freeway in the first place.  You’re a little sad when the Humane Society finally comes to take him away, but not inconsolably so, much like the feeling you have when MTV breaks out the cattle prods to herd Ronnie and Sammi back into their enclosures until next season. 
One of the highlights of this summer was undoubtedly ABC’s Wipeout, a show where mobile assemblages of bone and meat subjected themselves to a punishing obstacle course for reasons that apparently had nothing to do with either prizes or fame.  In fact, I’m not even sure if Wipeout was actually a game show or just an ongoing X-treme sport product demo featuring recruits from various So-Cal fitness clubs looking to “test themselves” against the challenge of a human pachinko machine.  Making it even more stupidly unfair, some off-screen tech-lord apparently had the power to activate various booby-traps at his own discretion, making sure that even the most worthy competitor eventually ended up in the drink with a broken coccyx.  If, as a child, you ever wondered what it would be like to be miniaturized so that you could try to outrun the various components of “Mousetrap,” this was the show for you. Wipeout may seem like America’s take on those wacky Japanese game shows that focus on contestant pain and humiliation, but that comparison makes little to no sense given that it is almost impossible to humiliate an American, especially one appearing on television.  It would seem these people decided to appear on Wipeout for little more than talking points at various Orange County juice bars; or perhaps because, to have not done so, would be to lead a life slightly less awesome.
Less strenuous but no less ridiculous has been NBC’s It’s Worth What?, a post-empire version of The Price is Right hosted by a strangely distracted, perhaps even painfully embarrassed Cedric the Entertainer (at top).  Whereas The Price is Right concentrates on commonsense consumer-citizenship, rewarding viewers for actually knowing what a can of tuna or a washing machine might cost, It’s Worth What? works the freak show wing of capitalism.  The conceit here is that Cedric the Entertainer has access to a giant vault filled with odd treasures from around the world.  In each segment, contestants have to guesstimate the price of said objects—most of them ostensibly worthless– without fainting from shock or outrage.  Quick—which costs more—a Lamborghini Spider or a mint copy of the first issue of Spiderman?  The answer is almost unimportant (it’s the sports car, by a hair)—it is the question itself that is so perversely cruel.  In an era of massive economic retrenchment, here we have an entire hour devoted to “Theoretical Expenditures of the Leisure Class,” reminding viewers struggling to make rent that someone out there just paid 2.35 million for a Honus Wagner baseball card. 
At least It’s Worth What? feigns a “gee-whiz, rich people sure are crazy” type of populism that makes it available, however remotely, for an eventual Marxist epiphany. Over on Lifetime, however, there resides the irredeemable loathsomeness of The Picker Sisters.  In what is perhaps the most tone-deaf series currently on television, here we have two noisome interior designers (apparently on loan from Extreme Makeover: Home Edition) who wander through economically depressed regions of the nation in search of hidden treasures and cute knickknacks that they might refurbish and sell in their upscale boutique back in L.A.  In the episode I saw, the vulture twins spent a couple of hours swindling an older junk-gentleman in Alabama out of all kinds of odd scrap metal so that it might be stripped, powder-coated, and sold as adorable patio furniture to some copyright lawyer at Sony, a tool who will no doubt regale guests at his pool party with the interesting story of their origins (“Apparently these chairs were originally involved in the transportation of chickens in Alabama,” he laughs, reaching for another canapé. “How, I simply can’t imagine.”).   Not only is The Picker Sisters irksome for unabashedly trading in fantasies of the bi-coastal tasteful gleefully screwing over clueless rubes, it is also—quite unintentionally, I’m sure–a rather depressing documentary about the precipitous decline of the nation’s once great manufacturing base.  In another segment, the gals raid an old Army depot (again, somewhere in the south), now reduced to little more than a rusting collection of obsolescent hardware.  They are delighted to find an “Acid Suit” locker, a stand-alone metal closet that apparently once housed an emergency “acid suit” for that lucky soldier called upon to deal with the ominous eruption of an acid emergency in the plant.  Rather than ponder the object as silent testimony to the shared dangers and selfless sacrifice of previous generations working difficult jobs for the common good of the nation, the Pickers instead declare that the locker would make a great “wet bar” for some young Hollywood bachelor.  On a truck and back to L.A. it goes.  With any luck, residual benzene levels will ensure that everyone involved feeds a tumor with each new Mojito. 
The vaguely hypnotic Hillbilly Handfishin’, meanwhile, attempts to redress the regional antagonisms provoked by the likes of The Picker Sisters.  Here unlikely handfishers from around the nation come to a lake in Oklahoma to stand around in muddy water and let freakishly gigantic catfish swim through their legs—a practice offered as the key to resolving all manner of racial, regional, sexual, and class difference.  It’s an odd show, inasmuch as most of the “action” takes place under the water and the producers are apparently too cheap to spring for any submergible camera equipment.  For most of the program, we watch as three visiting couples and the two hosts stand waist deep in water, occasionally shouting out with surprise, pleasure, and/or pain when a giant flathead cat swims past their thigh, giving the whole enterprise a vaguely pornographic feel (perhaps better captured in the title of the earlier fish-in-the-crotch show, Okie Noodlin’). 
Speaking of slimy things swimming near your junk, Animal Planet got just about everything right in titling its summer exploitation classic: Man-Eating Super-Snake.  The premise here, as I understand it, is that there is currently a rogue species of Anaconda loose in the Florida Everglades.  If they begin to interbreed with another humongous snake indigenous to the area, most likely everyone weighing under 80lbs. and living south of Jacksonville will soon be dead.  The few minutes of the program that I witnessed featured the requisite “slither-cam,” in this case showcasing “man-eating super snake” as he made his way toward a crib.  I assume the baby was rescued at the last second and everyone learned an important safety lesson, like not leaving your baby’s crib at the edge of a swamp, but I can’t say for sure. 
Of course, the summer friends I will miss the most are the freaks, the glorious, glorious freaks, especially those lost souls that we got to meet in the second season of TLC’s My Strange Addiction.   Who could forget the gas-huffing Mom or the grown woman who took her creepy stuffed animals everywhere?   The woman who bathed thrice daily in bleach or the hipster taxidermist obsessively prowling the streets of Brooklyn in search of dead mice to stuff?  And who could forget Teresa, she who eats rocks, and Casie, she who eats the ashes of her dead husband?   If you somehow missed either of these segments over the summer, I highly recommend them both.  Teresa was especially amazing in that she apparently really eats rocks, not by swallowing little pebbles, mind you, but by actually taking great big crunchy bites out of large, hard rocks—teeth, intestines, and foley sweetening be damned!
I have come to love My Strange Addiction so much that I fear it may have peaked this season, so in the interest of having some good kooks for next summer, I will end here with the casting call currently posted at TLC.  If you are really screwed up, I beseech you, for my own personal entertainment pleasure, to share your story with us all:
MY STRANGE ADDICTION
Think you have an unusual compulsive behavior or strange habit? Do you find it consuming you, affecting your life, work and relationships? If you or someone you know is suffering from a strange addiction and would be interested in participating in our program, please send us a short description of your unusual behavior and the impact it has on your daily life to: casting@20west.tv. Please make sure to include your name, age, city of residence, a current photo, and a phone number or email where you can be reached for further questions.

January 21, 2012

I Saw That Movie Where All the Apes Get Mad and Take Over the World

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First of all, credit where credit is due.  Thank you, Hollywood, for finally making a film this summer that didn’t make me wish I had stayed home to express my cat’s blocked anal gland with a Q-Tip.  Rise of the Planet of the Apes is actually really, really good.  Surprisingly good.  True, it did require the industry to dip back into the stockpile of science-fiction ideas that existed before Star Wars transformed the entire genre into little more than an endless sword ‘n’ sandal flick with more and better weapons, but if that means getting a Zardoz reboot next, I’ll take it.
If anyone reading this is in or near Malibu, by the way, please kidnap Michael Bay and force him to see Rise immediately so that he might learn the basics of scene articulation and narrative structure.  If Rise can make me misty-eyed over a big, dumb ape taking out a helicopter, surely Bay can learn how to help us keep track of who is a Transformer, who is a Decepticon, who is Shia LeBeouf, and why we should even care in the first place.   Okay, obligatory Bay = State of current cinema joke out of the way, let’s proceed…
Let me say this:  I wish Rise of the Planet of the Apes were happening right now.  I wish super-intelligent apes were swinging through the trees this very moment ready to lay waste to our sorry civilization.  It’s about time another species took over for our terrible stewardship of the planet and of ourselves.  Millions starving.  Inequality increasing.  Axe Body Spray still on the market.  At this point, the ghost of Paul the psychic Octopus deciding affairs of state with an aqua-Ouija board could probably run most governments better than we humans.  And look, we all know this movie is only showing us our inevitable future.  Apes may not learn to talk and organize themselves into medieval fighting formations, but it’s even money we end up taking ourselves out with a virus that we will probably invent for profit.  It may be an additive used to extend the shelf-life of Cheezy Bread Stix or a fine mist Steve Jobs sprays into the atmosphere to make Apple users misplace their dongles and cords that much quicker, but it’s going to happen, we’re going to take ourselves out in a way that is cosmically embarrassing. 
That’s why it’s so great that Rise targets San Francisco as the first city to go—It’s an open attack on all the Trekkies out there who imagine that Frisco will be the gateway for projecting our boring, homogenized cultural differences of the future out into the universe so that we can lecture other cultures (alien ones, no less) on what they should and should not be doing.  You say the future is a bank lobby in space where we all obey the prime directive whilst discovering every civilization in the universe has its own form of brightly colored liquor?   I say it will be genetically mutated monkeys ripping out our tracheae and kneecaps just for the hell of it.
In this respect, I always thought Spielberg missed a real opportunity with the Jurassic Park series.  After humans stupidly brought dinosaurs back to life, wouldn’t it have been great if a bunch of pterodactyls got loose, bred in such numbers that we couldn’t really control them, and then occasionally swooped down to snatch away house pets and small unguarded children?  Not so often that we had to declare a “War on Pterodactyls,” obviously, but maybe with the same frequency as people being hit by lightning—just enough to remind us of what dumbasses we were for bringing dinosaurs back to life in the first place, or for trying to play an extra hole of golf in the face of an advancing thunderstorm.  I salute Rise for having the courage to remind us that it is often our very intelligence that makes us the stupidest ape of all.  Imagine how much more free and full of life you’d feel if you could simply entertain yourself by throwing your own feces at various comic foils, as opposed to feeling dead inside after paying $14 to see Kevin James do it for you (wait, crossover alert: the mad-as-hell apes of Rise invade Zookeeper, radicalize the non-human primates, and then all escape the film to leave their bewildered human cast-mates wondering where the next fart joke will come from). 
Like all science-fiction, Rise of the Planet of the Apes is of course an allegory.  I’ve heard many say this week, either in jest or quite earnestly, that the film is a great parable about the Tea Party—angry right-wingers as angry apes rising up against their oppressors.  That’s a really nasty swipe, of course, seeing as how gratuitously insulting it is to apes.  After all, the apes of Rise all learn to cooperate for the common good.  They share their cookies and divide the labor “from each according to his need, to each according to his ability.”  They also learn very quickly how important it is to get a good education, as in that scene where the guard catches them all going to night school.  Say what you want about how smelly, dirty, or damned they might be, but an ape isn’t the type of creature that would prefer to shit in coffee cans and stack them on his neighbor’s property line rather than pay that extra penny in sales tax to refurbish his community’s sewer system.  No, an ape is smarter than that. 
Actually, as far as parables go, I think the film is much more interesting in its kinship to the zombie genre.  A few years ago I delivered a paper in London (at the Cine-Excess conference) on the zombie film as a rather playful indulgence of a collective and accelerating social death-drive. Zombies are scary—particularly those British ones that cheat by running extra-fast—but there’s also something exhilarating in seeing the entirety of our social world absolutely destroyed.  After all, what’s so bad about being a zombie?  You’re still somewhat sentient, apparently, certainly more so than if you just watched 100 Ways to Leave a Game Show or paid actual attention to the last Katy Perry CD all the way through.  Moreover, the only thing that can kill you is a clean brain shot—and once everyone else in the world is also a zombie, that isn’t very likely to happen.  Zombies don’t have to work or pay mortgages or worry about their personal appearance anymore—what’s not to like?
If anything, Rise is even more candid and enthusiastic than most zombie films in indulging our desire to watch humankind snuff it—you’re on your feet by the end cheering the primate army as they hoist us brainiacs by our own R&D petard.  Hurray for the noble apes!  Hurray we’ll all be coughing up blood and dying soon!  True, it’s a shame the death of humanity will mean no more incredible specimens like James Franco, Freida Pinto, and the hypothetical primates they might spawn, but that’s a small price to pay for exterminating assholes like that guy in the Ape house with the cattle prod or the pilot-neighbor-from-hell living next door.   If I had a neighbor like that, I’d be personally injecting local raccoons with anything I could find in the hopes that one would eventually turn sour and spray his patio furniture with some form of mutantly toxic urine.
So kudos once again, Hollywood, for getting it right this time.  I eagerly await the next installment when all the CGI Apes are rather surrealistically talking (which I hope will be even weirder than imagining Roddy McDowell’s mouth flapping behind the latex in the original series).  I also hope the sequel has the guts to show thousands of Americans waiting around to die from the mutant virus, sad they will soon be no more, but ecstatic that they didn’t have to see their tax dollars wasted on government medical research or to support the implementation of Obama’s goddamn socialized medicine scheme.

January 19, 2012

Really funny jokes-No menus

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A guy goes into a restaurant and asks for a menu, but the waiter tells him, “We don’t have menus here. Our chef can make any dish you desire … in fact, if he can’t, we’ll give you one thousand dollars.”

The man sees a chance to make some money so he thinks of something impossible. “Bring me an order of hummingbird tongues on rye toast,” he tells the waiter, who returns fairly quickly with a plate. “One order of hummingbird tongues on rye toast. Will there be anything else?”

The man thinks for a second, then says, “I’d like a bowl of lo mein made with rutabaga-flavored noodles that were imported from Bolivia by Paul Newman, accompanied by a croissant with exactly 429 caraway seeds and served on aquamarine-colored bone china from the Yuan Dynasty.” The waiter returns in a few minutes with a bowl. “One number eight. Will there be anything else?”

The man thinks another second, then says, “Yes … bring me an elephant ear sandwich.” The waiter says disappears into the kitchen and returns with a thousand dollars in cash. “You did it, sir. You beat us.” With a broad smile, the man pockets the money. “Didn’t have any elephant ears back there, huh?” “Oh no,” the waiter says. “We have plenty of elephant ears. We just ran out of the big rolls.”

January 17, 2012

The Peculiar Arab Chronicles: Love and Defecation by Nour Ali Youssef

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Love is not love
Which alters when it alteration finds,
Or Bends with the remover to remove.
O, no! It is an ever-fixed mark,
That looks on tempests and is never shaken.
It is the star to every wandering bark,
whose worth’s unknown, although his height be taken.

— William Shakespeare

- – -

So in short, love is that thing that obliges you to pretend to respect opposing views, wear deodorant, and fight your gag reflex to watch a movie not of your liking for a special someone.

Love is one of the few default elements in life… much like defecation. You need it for the general satisfaction of your nether region. Some have the good fortune of a healthy bowel movement. Others have constipation and genuine resentment towards those who are doing it so regularly.

Why me? They must wonder, as they write sad songs about love’s painful absence, because while they’re spending the night home alone with a homemade enema, others so easily contract explosive diarrhea.

Love, in Shakespearean and entirely unscientific terms comes out of your heart and you cannot mess with it, the same why poop comes out your anus, and you cannot mess with that either… unless you’re an underpaid Japanese porn star.

From this loving-is-pooping perspective, I systematically scanned my environment to learn something new about my fellow Arabs: how they love!

We’re very passionate people by nature. We throw shoes at those who disagree with us and yell when we greet each other—not to mention the occasional bombing when you really hit a nerve. I hate to break stereotypes, but some aren’t like that. They’re all soft and civilian! And they defecate rather differently as well.

This is why I’ve categorized the different types of affairs that are only available in a country where no one owns an umbrella.

The Romantics

They refer to themselves as “lovers” and modestly flirt via eyelashes, missed calls, and text messages. Arabs are not too keen on public affection, or intimacy, or any physical expression of emotion between a man and a woman. This is troublesome for obvious reasons for a betrothed you couple, so the modest girl must modestly incite the modest guy in order to retain a modest virgin aura. To do so, she resorts to frequent eyelash fluttering and the very Egyptian, cat-and-mouse calling. Usually the guy calls the girl who is not supposed to answer (as not to cost him money), but merely indulge herself in the ringtone.

Unfortunately, the Egyptian movie industry revolves around this category of lovers, which results in grossly sexual movies. Despite showing little skin, they somehow manage to out sexualize French movies (which aren’t gross at all, for obvious reasons!) through this modest-sexually-suppressed demeanor. It’s like being stuck in a humid human-sized, misty glass bottle with your parents fondling each other.

The Pickled

These are people who have been soaked in the bitterness of their own tears inside the sad, rusty jar that is their life. They are single, and acutely aware of it. This category includes the fat, the flat, the spinsters, the widows, the ugly, and the barren. The celibacy takes its toll on the males first, who then channel their frustration onto the closest female relative or neighbor. They refer to themselves as “secret admirers,” with extra emphasis on the secret. Their hobbies include stalking, hair sniffing and love letter writing.

Female pickles, on the other hand, merely eat and glare at their surroundings. If love really was poop, they would kill for the weakest breeze of a fart.

The Sufferers

This is when a pickle meets a romantic, and they fall in shit.

It’s double the misery, because they’re in pairs. They’re always a young couple; old sufferers go to a retirement farm or switch to full-time pickles. They suffer from the same old sob story, it’s either lack of money, parental approval or less likely, conflict over religion. They must spend several years eye fluttering and text messaging, before finally coming to terms with reality.

As far as Egyptians movies are concerned, one of the sufferers must die or get paralyzed from the waist down by the end of the movie. Also they must feature a train in a climatic moment.

The Sinful

When the sufferers do it, baby.

To Arabs this is the equivalent of taking a gun to the relationship’s head and pulling the trigger. Theoretically speaking, intimacy should breed love and pheromones. But apparently, all it does is “taint” the affair. The girl is commonly grief-stricken to the loss of her ticket to the land of the happily married, while the guy is hit with the sudden realization that he cannot marry a girl who slept with him before marriage.

In movies, the sinful always produce an illegitimate “seed,” which is to be flushed out by an unethical doctor in a shady clinic. The girl is destined to wretchedness and shame, while the guy moves on and marries a “good” woman.

The Regretful

They were lucky enough to evade the four categories but ended in the fifth and worst.

This category includes everyone in their late 20s and above.

They are fucking married.

January 13, 2012

Clean jokes-Worry job

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A young accountant, straight out of uni, applies for a job advertised in the Sydney Morning Herald. He is interviewed by the owner of a small business who has built it up from scratch. “I need someone with an accounting degree,” says the man, “but mainly I’m looking for someone to do my worrying for me.”

“How do you mean?” says the accountant. “I have lots of things to worry about, but I want someone else to worry about money matters.”

“OK,” says the accountant. “How much are you offering?”

“You can start on seventy-five thousand,” says the owner.

“Seventy-five thousand dollars. How can a business like this afford to pay so much?”

“That,” says the man, “is your first worry.”

January 12, 2012

The More the Marrier by Ben Greenman

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“Well, what about three men?”
— Rick Santorum, explaining his objection to gay marriage.

- – -

About six months after I decided I was gay, I got married. Nothing fancy, just city hall and a small party afterwards, and then Tim and I bought a nice place in a nice part of town and went about with our lives. We cooked meals or ordered out. We puttered around the house, not fixing things quite as well as we hoped. We slept in the same bed and usually Tim took too much of the covers.

Then one day we were eating Japanese food and talking about redoing the patio, and Tim looked in my eyes and I looked in his, and we just knew. We had to marry a third guy.

We didn’t have a boyfriend, really, but Tim made some calls and before long there was a man at the front door with a suitcase. His name was Pete, and he explained that he had recently moved to town, and that he had been staying with a friend of ours, Jason, but that he couldn’t really impose any longer. We liked the plainspoken way Pete talked, and he had a great haircut, long but not too long, so we married him.

If Tim and I were happy being married, Tim and Pete and I were even happier. That led, in a roundabout way, to Jason coming in as a fourth husband, and then Luis, Jason’s boyfriend, as a fifth. Luis had a former college roommate who had recently decided he was gay, and he joined up as the sixth, and then there was Howard and then a second Pete, who agreed to be called Peter so long as we were married, and Frank and Danny and Walter and Randy. There was a great moment with Guy, who was the tenth to come aboard, I think; Tim was going through the living room and saw him on the couch, and he couldn’t remember his name, so he just said, “Hi, guy.” Guy waved back, gratified that Tim already knew him. Marriage is full of those little stories.

It wasn’t all paradise, though. The house was big enough. That wasn’t a problem. We were all professionals, many of us working in food service or architecture or counseling or medicine or media, so money wasn’t a problem either. But the tiniest things can suddenly change the weather. TV, for example: Perry and Frank loved Project Runway, but Isaac and Kenny thought it was too stereotypical and watched MythBusters instead. And that was only the beginning. Barry, Ellis, and Warren were obsessed with Cake Boss; Paul and Rowan co-owned a football fantasy team so they had to see all the games; Randy was a news junkie; and Howard and Teo just wanted a room without a TV set.

Birthdays, too, were a nightmare. Anton had the idea to keep track with a big white board in the kitchen that Michael joked looked like something from NASA. (We all laughed except for Walter, who actually worked for NASA, and took it as an insult.) With the help of the white board, people tried keep on top of things, but even when we remembered, it was hopeless: how many designer iPad cases or stemless glasses does one house need? Luis, who was the funniest—though Ron was pretty funny, too, and Pete could do great impressions once he got some wine in him (you should have seen his Regis Philbin, and he also did a killer Anton)—thought of the best gift. He got Andy a shirt that said “I Do…And That’s All I Do!” Soon those shirts were everywhere, which made sorting them out after laundry day a living hell.

One morning, I woke up and went to the kitchen. Ellis had already started three pots of coffee, and lots of the guys were sitting at the tables, reading the papers. Tim looked upset. He was far away from me, almost at the other end of the room, but a husband knows. I threaded my way through the crowd and asked him what was wrong. “Let’s go outside,” he said.

Out there in the yard, Tim leaned up against the fence. It was actually a white picket fence; Harry, who was twelfth in or something like that, had put it up, saying it was ironic, but most days it seemed perfectly sincere. Our next-door neighbor, a lovely divorced lady with two teenagers, waved, and we waved back. “So,” Tim said. He tried to go on but he couldn’t and I heard the thickness in his voice and realized that he was close to crying. The lady next door put her back to us as a show that she was minding her own business. “I don’t know if I can go on,” Tim finally said.

“What?” I said. “Why?”

“I just feel lost sometimes,” he said. “Like I’m not being a good husband.”

“You are,” I said. “You’re a great husband.”

“I forgot our anniversary.”

“It’s not until next month,” I said.

“I know,” he said. “What I mean is that I didn’t remember when it was. The board only has birthdays on it, and I panicked. Finally I found an old letter from you, and I was able to figure things out.”

“Well,” I said. “It’s not that big a deal. Don’t worry about it.”

“But I am worried,” he said. “I want you to know something.”

“What?” I said. I was suddenly nervous. I gripped the white picket fence.

“I want you to know that I love you,” he said. “Only you.”

“I know,” I said. “But what does that have to do with marriage?” Tim laughed at this, and then I laughed too, and I relaxed my grip on the fence, and took his hand in mine, and we turned and headed back to the house. We could already hear the murmur of conversation.

January 11, 2012

Funny jokes-Useful tips for becoming a Superhero

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Thinking of becoming a superhero? Here are some useful pointers.

1. Don’t call yourself by your real name, e.g. Ms. Jenny Pinchuck, The Amazing Stevie Foster.

2. Don’t call yourself by someone else’s real name, e.g. Mr. Teddy Kennedy, Captain Dean Martin.

3. Choose a name that suggests power, heroism and prowess, e.g. Captain Power, Thunderman, Mr. Invincible, Justiceman.

4. Don’t be too modest, e.g. Mr. Pretty Good, Captain So-So, Fairly Incredibleman.

5. But don’t labor the point, e.g. Mr. So-Powerful-Don’t-Even-Think-About-It-Buddy.

6. Don’t choose a name detrimental to your crime fighting image, e.g. Captain Spongecake, Mr. Silly, Yellow Streak, Purple Slippers, Captain Evil.

7. Don’t choose the name of an existing Superhero unless you have lots of money and enjoy fighting litigation instead of supervillains.

8. It’s no use calling yourself Captain Invincible if your only power is self-control over Hostess Twinkies and you suffer from a congenial hole-in-the-heart condition. It’s just asking for trouble.

9. Don’t call yourself the Invisible Boy if you’re not.

10. Don’t call yourself the Invisible Boy if you’re a girl.

11. Don’t call yourself the Invisible Lady if you’re a man — even if you do feel like a woman trapped in a man’s body.

12. Don’t give away important information in your name, e.g. The Glass Jaw, Captain Vulnerable-to-Strontium 90.

13. Don’t call yourself The Green Avenger if you wear an orange costume. You’ll confuse people.

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