In Appreciation of: David Bowie (1947-2016)

Karen: This is the sort of post you never want to have to write. Or you wish you had written it sooner, when the subject of your admiration was still alive. Instead, you find you've waited too long, and now you have to come at it from an angle of loss and regret. Inevitably, it colors what you have to say.

Karen: David Bowie, the artist who had perfected the ability to transform himself and his music in strange and unpredictable ways, is gone. It almost seems impossible -is it another metamorphosis? -but no, even he could not find a way to mutate and change to avoid death. And yet even though he was struck down by cancer, he utilized the knowledge of his impending death to craft his last album, Blackstar, which was just released, mere days before his passing. It seems so calculated and so completely Bowie.

Karen: He was always an artist in complete control, quite aware of what he wanted and unafraid to take risks and try new things. "Try new things" -that's putting it mildly. He would race from one style of music to the next, not as a lark, but as a sincere student/admirer, immersing himself fully and working at his craft until he mastered it. The term genius is thrown around perhaps too casually  but the man deserves to be called that, and a large part of 'genius' is putting in the work.

Karen: You can't separate Bowie from the stage personas he created and in some ways,  he always seemed like an actor playing a part; he was always a little distant. Did we ever really know the man or were we always seeing some carefully crafted creation? I think there were times the man was glimpsed and certainly the themes found in his songs -of alienation, longing, striving -gave us some small access to him. 

Doug: About the only things I can add, that wouldn't simply duplicate some of Karen's thoughts, are two distinct memories of Bowie from my childhood. The first was the initial time I laid eyes on Bowie, which was also my introduction to his androgyny - it was somewhat alarming to young Doug. But just a few years later, there he was singing "Little Drummer Boy" with Bing Crosby, looking normal. But as Karen has remarked, that was part of the chameleon nature of David Bowie.

Karen: He leaves us his songs which is a huge gift. So much to listen to, to enjoy and to ponder. His lyrics typically offer a lot of room for interpretation. I've been listening to "The Bewlay Brothers" (below) for years and I go back and forth on what I think it means.

Karen: I haven't listened to Blackstar yet. I don't think I'll be ready to for a while. But I have been listening to some of my favorite Bowie songs today, and I am posting a few below. 

Guest Post - In Appreciation of: Condorman

Karen: Today our pal Edo revives the long-dormant "In Appreciation Of..." topic to take a look at a film I've always been curious about. Take it away, Edo...

Edo: I wanted to see this movie so much when it was first released in 1981, but never did at the time. It was also universally panned as I recall, and considered a big expensive flop for Disney. However, it has since become something of a cult favorite, and I’ve occasionally come across online rumors that there’s going to be a remake, or that Condorman will even be introduced to the Marvel Universe.

I only got a chance to watch it as an adult, just a few years ago, so my impressions were not colored by childhood nostalgia – I absolutely and unreservedly loved it. It is a light-hearted, cornball, action-packed, and above-all fun romp. What really makes this movie work so well for me is the naïve and goofy main character, a comic book writer/artist who gets caught up in an espionage caper, ably played by Michael Crawford (an actor I don’t think I’ve ever seen in anything else – apparently he’s better known in the UK). It also stars Barbara Carrera and Oliver Reed, both perfectly cast as the female lead and the hero’s eventual love interest and the villain, respectively.

Here’s a really well-done, in-depth review that pretty much echoes all of my own feelings about this movie:

The only point I would disagree on – and it’s something that appears in most descriptions – is when the reviewer calls Condorman a superhero movie. It’s actually more of a spoof of spy films that underscores the often outlandish nature of that genre by employing the trappings of the similarly outlandish superhero genre (and when I say ‘outlandish’ I mean it with the greatest affection). However, it’s those superhero trappings that drew me into this film almost instantly.

So who else has seen this movie, and what did you think? If you haven’t seen it, do yourself a favor and do so – this is a thoroughly enjoyable Bronze Age cinematic gem.

In Appreciation of: Robin Williams

Karen: I sit here stunned at the news of Robin Williams' passing. Only 63, still far too soon to leave this world. I don't want to dwell on the details of his death (and ask that you do not in your comments either) but rather remember his many contributions as an artist.

Karen: Robin Williams was such a huge spirit -he was so boundless in energy and creative ability, when he was really "on" he was a wonder to behold. His mind (and his mouth) moved a million miles a minute; it was hard to keep up with him at times, but always fun to try.

Karen: One of his great inspirations was comedian Jonathan Winters, and it was easy to see why. When the two of them were together, it seemed less like teacher and apprentice, and more like two kids having a ball. They were both two improvisational geniuses. Sadly, Winters passed away last year.

 Karen: Williams came to prominence as a comedian, first on TV in the show "Mork and Mindy," and certainly is remembered for his manic wit. A lot of kids grew up recognizing his voice as the Genie in Disney's Aladdin. His stand-up specials are still hilarious, and his many comedic roles are quite memorable. But Williams also was a terrific dramatic actor, who won a Best Supporting Actor for his role in Good Will Hunting. He always seemed to bring a certain wordiness and deep empathy to these roles.

Karen: I can't do the man service. I am just completely shocked and heart-broken that he's gone, yet another talented person tragically lost to us. I hope some of you can express your thoughts about him and which of his roles you really enjoyed the most.

In Appreciation of: Ray Harryhausen

Karen: Ray Harryhausen, the master of stop-motion animation, passed away this week on May 7th at the venerable age of 92. He was a legend in the special effects world, an unparalleled artist whose work influenced untold numbers of film-makers, writers, artists, and other creative types, and fueled the imaginations of generations.

Karen: He was one of my first guides to the world of the fantastic. His films played often on the local TV stations, and whenever they came on, I was transfixed. It took a few years before I learned the secrets of how he gave life to his creatures, but it didn't diminish their magic; if anything, it made them even more impressive.

Karen: Ray's work was elegant; his creations all had personalities of their own. He managed to convey a tremendous amount of emotion through such limited figures. The body movement of a Harryhausen figure was unmistakable -as a kid, I would imitate the strange yet graceful moves of the Cyclops or Ymir. He made monsters, yet they were all beautiful monsters.

Karen: Harryhausen was so incredibly talented. Think about it: he could sketch, paint, sculpt, and even learned photography, so he take the pictures of the stop-motion figures himself. Any one of these fields would be difficult to take on, but he was proficient in all of them. His imagination knew no bounds. Look at the amazing array of creatures he designed over the years. From dinosaurs to mythical beasts to flying saucers, Ray could envision them all and bring them to life. 

Karen: Modern CGI effects may look more "realistic" but to me they seem to lack the artistry that Ray's work brought to the screen. Where is the soul? Can anyone name a CGI 'artist'? I have no doubt that Ray's work will be remembered for as long as there are movies. I'm grateful to have experienced the thrill of seeing his films as a child, of having them make such a powerful impression upon me, of experiencing their magic and being able to close my eyes and picture the Cyclops or Talos  whenever I please. Thank you Ray, for all the wonderful films.

I'd like to also point readers back to a previous post, regarding the (hopefully) soon to be released on DVD documentary, "Ray Harryhausen: Special Effects Titan." This is a fabulous documentary!

In Appreciation of: Bruce Lee

Karen: Back in the early seventies, I had a poster in my room that was very similar to the picture on the right here. I bet millions of other kids did too. Bruce Lee was coolness personified.

Sadly, we only have a handful of TV shows and films by which to remember him. Of course, it's well known that he appeared as Kato on the Green Hornet TV series (a role he reportedly hated). But he really came into his own in his films. His characters were all very similar. He was typically motivated out of a desire to find justice -although often it seemed more like vengeance! He also seemed fearless, even when facing guys much bigger than himself (remember how he demolished Bob Wall in Enter the Dragon?). His incredible speed and skills are still thrilling to watch -no camera tricks or CGI there! But much of the reason for Lee's success was due to his winning personality. Even in a fight scene, his emotions flash across his face and are easily read. His steely stare is classic. He was also a strikingly good-looking man. Lee's charisma and outstanding athleticism made him a universally acclaimed hero.

But Lee was a cool cat in his real life as well. Always an iconoclast, he rebelled against Chinese traditionalists by welcoming non-Chinese into his schools. He studied boxing, judo, and every form of martial art to develop his fighting skills, never locking himself into any dogma. While many martial artists eschewed weight lifting, Lee decided to pursue it. He did everything his way, even creating his own form of martial art called Jeet Kune Do.

His untimely death in 1973 robbed us of a great talent, but created a legend. Without Lee, it's doubtful that martial arts would have achieved such tremendous popularity in the western world. It seemed like every kid had a home-made pair of nunchaku in the 70s -and the self-inflicted injuries that went with them! And how many people started taking kung fu lessons after seeing Enter the Dragon? Nowadays it's pretty much impossible to see an action film that doesn't have some martial arts fighting in it. Lee was the herald of a new way of filming fights. He influenced other media too, not the least of which was comics. Shang Chi could be Bruce Lee's twin!

So here's to Bruce Lee: gone, but never ever to be forgotten.

In Appreciation of : John Belushi

Karen: John Belushi meant a lot to me and my friends when we were teenagers. He was the rebel, the weirdo, the wild man, the misfit who rose to the top. He was far from what people considered a Hollywood star in looks but was successful despite (maybe even because of) that. He was inspiring to many of us out there who didn't necessarily fit in. Above all, he was a gifted comedian. We might remember him best for his physical slapstick, the way he could throw his pudgy body around, or raise his eyebrows; but he also had expert timing and could deliver a line like nobody's business.

Karen: But it feels like he is being slowly forgotten. In his heyday, he was one of the brightest stars to come out of the original Saturday Night Live. He went on to tremendous success in Animal House and The Blues Brothers (less so with 1941, Neighbors and a few other film appearances). But Belushi left this world at the young age of 33 -33! - back in 1982. His portfolio is thus rather slim.

Karen: I can easily recall the moment when I heard he had died. I felt stunned. His death was the first time I lost a performer that I had a strong interest in. I phoned friends. We were all in disbelief. How could this unstoppable maniac be dead? But, as is so often the case, Belushi was on a path of self-destruction. It's incredibly sad, especially as I look back now, nearly 30 years later, realizing how young he was and how much more he could have done.

Karen: But as long as we have recording devices, his work will live on. Some of his funniest stuff was during his days on SNL. The "cheeburga" and Samurai sketches instantly come to mind. He also made some great faux commercials.

Karen: Or how about his turn as Joe Cocker?

Karen: I'd love to show some clips from Animal House and Blues Brothers, but we're trying to keep this site PG rated! But if you haven't seen these films in a few years, throw them in the player and sit back and marvel at just how hysterical Belushi was. I miss John Belushi.

In Appreciation of: Letterers

Doug: Karen's away, so Doug will play! Actually, Karen posted this subject in the queue, but then vacation planning got the better of her. So, she said have at it, or come up with something altogether different. So putting my nose to the blogging grindstone, I came up with today's love-fest. How about we toss a little affection toward Artie Simek, Joe Rosen, Gaspar Saldino, and the many unsung heroes who've toiled before and after them -- all the way down to today's computer studios, a la Richard Starkings and Comicraft.

Doug: I don't know about you, but for years I never really gave it much thought as to the look of the text of a comic, nor really to the sound effects. I just took those elements for granted. But stop and think: In the Golden, Silver, and Bronze Ages, long before computers, PhotoShop, etc., the look of a particular comic was all from the creative hands of the artists. From the book's cover logo to all of the word balloons and effects, it was the letterer who brought us the consistency of the look month after month -- no wonder we took those guys for granted. Talk about steady! You know what else now impresses me? They never had a bad day printing! Now that comic book lettering is a font in its own right, available for download to our favorite word processing program, it truly is an afterthought. But think of how much concentration it must take to handwrite comics in a consistent style, no matter the deadline or length of script -- or any other variable.

Doug: So what's your opinion? Do you actually have a favorite letterer? Is there an artist who caught your eye long ago that you've appreciated through the years? Give a shout out to these guys (and maybe gals -- shoot, I don't know...) who've really contributed so much to our four-color enjoyment over the years.

In Appreciation of -- Meeting Our Favorite Creators

Doug: This one's inspired by a comment frequent reader Redartz posted on our Walt Simonson Spotlight last week. He related a short anecdote about meeting and visiting with Simonson at a con when he was 16 (Redartz, not Walt). Today we'd like to hear more of that sort of thing, because let's face it -- meeting one of your idols and actually spending some time with them is way cool and never gets old.

Karen: Doug's asked me to kick this off, so I'll start with my meeting with Jack Kirby. It was at the San Diego Comic Con in 1975 -I was 10 years old, and a pretty quiet kid. I saw Kirby sitting at a table, with relatively few people around. Even though he had left Marvel before I started reading comics, I knew very well who he was from all of the reprint books Marvel put out. So I was, of course, in awe of him. Mom encouraged me to go get his autograph. He was very friendly, asked me my name and if I was having fun. I probably gave him just a word or two in response. Then he asked me who my favorite comics character was. Now I was ready to talk! I enthusiastically told him that my favorite was the Thing. He said the Thing was his favorite too! He was really wonderful and left a great impression.

Karen: In recent years I've had the opportunity to interview several comics creators that I grew up reading. I've spoken with Gerry Conway twice and he's just been a great guy both times; funny, easy to talk to, and very generous with his time.

Doug: As I posted a loooonngg time ago, I've gone to the Chicago Comicon (later Wizardworld Chicago) and various other shows and appearances meeting creators and getting some autographs. Four legends stick out in my mind: Stan Lee, John Romita, Sal Buscema, and Alex Ross. I met Stan only briefly -- if you've ever been to a con where he's been the guest-of-honor, then you know the lines that form when he is going to sign. Even though I waited for a long time, and only got to exchange a pleasantry or two (mainly I just thanked him for everything he'd done for me -- and I mean that), I was just so amazed that the guy we now see on television, that boisterous huckster, was evident even at the signing table. Stan just seemed genuinely excited to be there and to meet his fans. A great experience. At the same con I met John Romita and Sal Buscema. They were at a table at the Marvel booth, seated next to each other. What a couple of gentlemen. I can't say enough about how kind they were, like a couple of grandfathers (which they were) -- very warm. At the time, which was maybe 2-3 years before John Buscema passed away, I ribbed Sal about bringing his big brother with him next time.

Doug: I later met Romita at an art gallery in the Gold Coast neighborhood in Chicago. He was appearing in promotion of the Spidey/Green Goblin lithograph that he had drawn and Alex Ross had painted. My friend Don Kramer and I went up to meet John. Again, he was just such a warm guy. Don and I were the only fans there at the time, so we had John's full attention, and he had ours. I bet we chit-chatted with him for 15 minutes, and it was just a great, great experience. And speaking of Alex Ross, Don and I first met him at a small show near O'Hare airport right after Marvels #1 was released. That was back in Alex's longhair, long beard days! He was very humble, and who knew at the time the superstardom that was about to be his. He signed a few things and Don and I visited with him for a few minutes. Years later, Alex had a gallery show in Chicago and Don and I went. By this time I'd met Alex several times, and Don had even been to the Halloween party that Alex hosts every year. So it was a bit more personal. Maybe the coolest thing about that trip was the presence of Alex's dad, Clark -- the model for Norman McCay in Kingdom Come. I'll admit, that was a little weird, seeing a 2-D character come to life!

Doug: Share an experience you've had -- and I suppose if you had a negative one that disappointed you, add that in as well. Thanks in advance, and again thanks to Redartz for the idea.

In Appreciation of: Roy Thomas

Karen: When fans think of Marvel Comics and the people that shaped the Marvel universe, two names probably come up more than any others: Stan Lee and Jack Kirby. Certainly both of those men deserve all the accolades they are given, and were responsible for creating the very foundations of the company and the characters. We can also cite folks like Steve Ditko, John Romita Jr, and John Buscema for providing concepts and a certain style to the Marvel line. But as a fan of the books put out in the 70s, there's one person I think deserves special credit, and that's Roy Thomas.

Roy had been writing Avengers and other titles while Stan was still in charge of the books. But when Stan moved up the ladder, Roy had the unenviable task of taking the reins as editor in chief and riding herd over a bunch of wild and woolly artists and writers. It could have been a catastrophe. But instead, it was one of the most creative and adventurous periods in Marvel's history, giving birth to innumerable characters, stories, and concepts that persist to this day.

Roy also oversaw the blossoming of many new talents in the industry. Writers and artists such as Steve Englehart, Steve Gerber, Jim Starlin, George Perez, and Rich Buckler are just a few of the young talents that he encouraged. Almost every person I know of who worked under Roy's editorship has said that they liked Roy's methodology: do what you want on the book, as long as it sells. I know some critics say that a stronger hand was needed. But why? Sure, there was some garbage turned out, no denying that. But there was also some wonderful stuff produced, comics that were incredibly imaginative and even provocative. The writers and artists were not micromanaged. If Roy assigned someone to a book, he trusted them to handle it properly. Personally, that's what I like in a manager, and I'm sure for creative people, that is ideal.

It was Roy who sought out new genres into which Marvel could expand. He brought the wildly successful Conan to the world of comics, which then gave birth to a ton of imitators, both at Marvel and other comics companies. He oversaw Marvel's monster line of comics, helping develop characters such as Ghost Rider, Werewolf By Night, and the Zombie. It was not uncommon for Roy to come up with an idea or plot and then hand it off to another writer to flesh out. He created the Defenders and promptly handed it off to Steve Englehart. Iron Fist, likewise, was another creation of Roy's which went off to be handled by others. He broadened the existing universe by coming up with The Invaders, to give Marvel a stronger heroic past, and What If?, which allowed writers to explore the many different possibilities that might spring from established Marvel history. Let's also not forget that Roy was the one with the foresight to go after the Star Wars license, which depending on who you ask, may have saved Marvel from bankruptcy.

Beyond all that Roy contributed to shaping the Marvel universe, he also was a prolific writer and was responsible for so many great stories, including my all-time favorite, the Kree-Skrull War in Avengers. We could talk all day about the different books he wrote, and the characters he created. Roy had a huge impact on Marvel, and I think he deserves to be recognized as one of the key figures in Marvel's success. Here's to Rascally Roy!

In Appreciation of: Songs That Taught Us About Social Justice

Doug: Today I'd like to celebrate some songs from my kidhood that really contributed to the development of my social conscience. Now I don't want to state any sort of political agenda in doing so, but if you have to pin a liberal agenda or leaning on me, then so be it. I think the examples here bespeak a higher agenda than anything you'd find in your state capital or Washington, DC -- these songs just seem right.

Doug: Maybe I'm a johnny-come-lately to this sort of thought, but it was really my college years (1984-88) that expanded my tastes in music, which served to manifest in me an interest in national and international news and social issues. The art of local Midwesterner John Mellencamp (nee Johnny Cougar and John Cougar Mellencamp -- I just love his anthem to the Midwest Pink Houses), pianist Bruce Hornsby, Phil Collins, and others made us think about how we relate to our fellow humans. Mellencamp's work with Farm-Aid called out the large farm conglomerates that pushed the family farmer into hard times. Hornsby and Collins sang about the downtrodden and homeless. And in listening to this music, my interests expanded, reaching into the past to artists like Neil Young and some early REO Speedwagon.

Doug: Politically, I could go on about U2's Bullet the Blue Sky and Don Henley's End of the Innocence -- maybe that will be for another time.

Doug: Below I've posted some lyrics to favorite songs from the '80's, and I've also included Young's Southern Man, which Lynyrd Skynyrd famously chastised in their mega-hit Sweet Home Alabama. Enjoy the poetry. Give it some thought.

Hot Dogs and Hamburgers: John Mellencamp

Drivin' down on a dry summer's day
Old Route 66 and I was just a kid
Met a pretty little Indian girl
Along the way
Got her into my car
And tried to give her a kiss
I'll give you beads and wampum
Whatever it takes, girl, to make you trade
She jumped into the back seat
And she kinda flipped her lid
She said you're tryin' to get something for nothing
Like the Pilgrims in the olden days

We rode for a while till the sun went away
And I realized it was sort of an honor
Bein' around this girl I felt embarrassed
Of what I tried to do earlier that day
She was the saddest girl I ever knew

She told me stories about the Indian nations
And how the White man stole their lives away
And although she kinda liked me
She could never trust me
And when the sun comes up
We'd go our different ways

CHORUS
Now everybody has got the choice
Between hotdogs and hamburgers
Every one of us has got to choose
Between right and wrong
And givin' up or holdin' on

So I dropped her off at some railroad crossing in Texas
An old Indian man was waiting there
He smiled and thanked me
But he saw right through me
I could tell he didn't like me
For my kind he did not care

Because to him I was the White man
The one who sold him something that he already owned
And it was like he'd been riding in the car right there with us
And I felt ashamed of my actions
And the way the West was really won

So I drove down the highway
Till I came to Los Angeles
The town of the angels
The best this country can do
I got down on my knees
And I asked for forgiveness
I said, Lord, forgive us for we know not what we do
CHORUS

Justice and Independence '85: John Mellencamp

He was born on the fourth day of July
So his parents called him Independence Day
He married a girl named Justice who gave birth to a son called Nation
Then she walked away

Independence he would daydream and he'd pretend
That some day him and Justice and Nation would get together again
But Justice held up in a shotgun shack
And she wouldn't let nobody in
So a Nation cried

CHORUS
Oh, oh When a Nation cries
His tears fall down like missiles from the skies
Justice look into Independence's eyes
Can you make everything alright
Can you keep your Nation warm tonight

Well Nation grew up and got himself a big reputation
Couldn't keep the boy at home no, no
He just kept running 'round and 'round and 'round and 'round
Independence and Justice well they felt so ashamed
When the Nation fell down they argued who was to blame
Nation if you'll come home we'll have this family again
Oh, Nation, don't cry

CHORUS
Roll a rock across the country
Everybody come along
When you're feelin' down, yeah, yeah
Just sing this song, yeah yeah

The Way It Is: Bruce Hornsby and the Range

Standing in line marking time--
Waiting for the welfare dime
'Cause they can't buy a job
The man in the silk suit hurries by
As he catches the poor old ladies' eyes
Just for fun he says "Get a job"

That's just the way it is
Some things will never change
That's just the way it is
But don't you believe them

They say hey little boy you can't go
Where the others go
'Cause you don't look like they do
Said hey old man how can you stand
To think that way
Did you really think about it
Before you made the rules

He said, Son
That's just the way it is
Some things will never change
That's just the way it is
But don't you believe them

Well they passed a law in '64
To give those who ain't got a little more
But it only goes so far
Because the law don't change another's mind
When all it sees at the hiring time
Is the line on the color bar

That's just the way it is
Some things will never change
That's just the way it is
But don't you believe them

Another Day in Paradise: Phil Collins

She calls out to the man on the street
"Sir, can you help me?
It's cold and I've nowhere to sleep
Is there somewhere you can tell me?"

He walks on, doesn't look back
He pretends he can't hear her
He starts to whistle as he crosses the street
She's embarrassed to be there

Oh, think twice, it's just another day for
For you and me in paradise
Oh, think twice, it's just another day
For you, you and me in paradise

Just think about it
She calls out to the man on the street
He can see she's been cryin'
She's got blisters on the soles of her feet
She can't walk but she's tryin'

Oh, just think twice, it's just another day
For you and me in paradise
Oh, yes think twice, it's just another day
For you, you and me in paradise
Just think about it, just think about it

Oh Lord, is there nothing more anybody can do?
Oh Lord, there must be something you can say
You can tell by the lines on her face
You can see that she's been there

Probably been moved on from every place
'Cause she didn't fit in there
Oh, yes think twice, it's just another day
For you and me in paradise

Oh, yes think twice, it's just another day
For you, you and me in paradise
Just think about it, just think about it
It's just another day
For you and me in paradise

It's just another day
For you and me in paradise
It's just another day
For you and me in paradise

It's just another day
For you and me in paradise
It's just another day
For you and me

It's another day
For you and me
It's another day
For you and me in paradise
In paradise

Southern Man: Neil Young

Southern man
better keep your head
Don't forget
what your good book said
Southern change
gonna come at last
Now your crosses
are burning fast
Southern man

I saw cotton
and I saw black
Tall white mansions
and little shacks.
Southern man
when will you
pay them back?
I heard screamin'
and bullwhips cracking
How long? How long?

Southern man
better keep your head
Don't forget
what your good book said
Southern change
gonna come at last
Now your crosses
are burning fast
Southern man

Lily Belle,
your hair is golden brown
I've seen your black man
comin' round
Swear by God
I'm gonna cut him down!
I heard screamin'
and bullwhips cracking
How long? How long?

Golden Country: REO Speedwagon

Golden country your face is so red
With all of your money your poor can be fed
You strut around and you flirt with disaster
Never really carin' just what comes after

Well your blacks are dyin' but your back is still turned
And your freaks are cryin' but your back is still turned
You better stop your hidin or your country will burn

The time has come for you my friend
To all this ugliness we must put an end
Before we leave we must make a stand

Mortgage people you crawl to your homes
Your security lies in your bed of white foam
You act concerned but then why turn away
When a lady was raped on your doorstep today

Well your blacks are cryin' but your back is still turned
And your freaks are dyin' but your back is still turned
You better stop your hidin or your country will burn

The time has come for you my friend
To all this ugliness we must put an end
Before we leave we must make a stand, oh yeah......

(solo)

Golden country your face is so red
With all of your money your poor can be fed
You strut around and you flirt with disaster
Never really carin' just what comes after

Well your blacks are dyin' but your back is still turned
And your freaks are cryin' but your back is still turned
You better stop your hidin or your country will burn

The time has come for you my friend
To all this ugliness we must put an end
Before we leave we must make a stand

(repeat)

In Appreciation of: Space: Above and Beyond

Karen: As a kid, I grew up reading a lot of science fiction. In my tweens and early teens, one of the books I really enjoyed was Robert Heinlein's Starship Troopers. Leaving out the politics -which as I got older, became more troubling -it's a great space war story. Later on, I read and re-read Joe Haldeman's Forever War. The backdrop of war is always a rich lode for writers; you can tell so many different types of stories, when your characters are constantly confronted with choices to make, particularly choices of a moral or ethical nature. Add in the element of science fiction, and the number of choices increases.

Karen: In 1995, Fox television broadcast a show that dealt with war between humans and aliens less than a hundred years in the future. It was called Space: Above and Beyond, and sadly, it lasted only one year, 22 episodes. But luckily for people like me, who remember it fondly, the entire season is available on DVD.

Karen: The show focused on a group of Marines, the 58th Squadron or "Wild Cards", caught up in a war between a united earth (although the Marines were definitely USMC) and a group of aliens commonly referred to as the Chigs, for their physical resemblance to a chigger. There were side issues too, such as the troubling involvement of corporate juggernaut Aero Tech in the war, questions over the treatment of artificially gestated humans known as in vitros (or tanks), and the alliance of the aliens and a race of androids (the AIs) that had fought a war with humans just decades earlier.

Karen: Of course each marine had their own story: Nathan West's fiancee had been a member of a colony that was wiped out by the aliens, but she was taken as a prisoner of war, and Nathan was determined to find her; Shane Vansen's marine corps parents had been killed in the AI wars, and she needed to prove herself; Cooper Hawkes was an in vitro trying to figure out his place in not only the marine corps but with humanity as a whole; Paul Wang struggled with feelings of unworthiness; Vanessa Damphousse sought some sense of direction. The characters were well-realized, with both admirable qualities and flaws. For example, Nathan's devotion to his missing fiancee was touching, but it sometimes became an obsession that threatened the safety of his team.

Karen: Space: Above and Beyond never allowed the viewer to get comfortable; like in any war, questionable actions were undertaken at times by our protagonists, and they had to take a hard look at themselves frequently. The aliens were not always displayed in a harsh light either; they even appeared to help the Marines find their way home in the episode "River of Stars". The show also had plenty of action, with the Wild Cards fighting in both space and on land.

Karen: I wish this show had been given a chance to succeed. As Fox often did with many shows, it jerked Space: Above and Beyond around from one time slot to the next, with an erratic schedule. I missed a number of episodes, including the two final shows, which served to conclude the story, more or less. Considering the success of the recent Battlestar Galactica series, which mined a similar vein, I think that the Marines of the 58th squadron could have lasted several seasons, if only they had been given a fighting chance.

In Appreciation (and Memory) of: Ron Santo

Doug: Late last week I lost one of my earliest "favorite players" and a real character in the game of baseball. Chicago Cubs third baseman and radio broadcaster Ron Santo passed away at the age of 70 at his winter home in Arizona from complications related to bladder cancer. As anyone who follows the Cubs knows, Santo had suffered greatly in recent years from a progressively debilitating battle with diabetes. In the past ten years, he'd lost both legs and had been forced to miss several Cubs road trips due to various sorts of "being under the weather".

Doug: I first heard of Santo when I was a quite wee lad, and recall watching Cubs games on WGN television. Growing up near Chicago, the Cubs were very popular and a favorite team of both of my grandfathers. Entering high school, with Santo long-since retired, the Cubs came to be "my" team as well. The minute they clinched the 1984 division title while playing in Pittsburgh is a memory burned into my mind from my freshman year in college. By then, my hero was Ryne Sandberg, who won the MVP of the National League that season.

Doug: In 1990, Ron Santo joined the WGN Radio booth. Retired just 15 years at the time, Santo would go on to cover the Cubs for the next 20 summers, first alongside Thom Brennaman and then later with his long-time partner Pat Hughes. These last many years were a joy -- Hughes and Santo were the best combination. Hughes was the matter-of-fact guy, coyly baiting Ronnie at times into what could be an innings-long dialogue on who-knows-what; Santo almost always was duped into going along. Favorite broadcast memories include Hughes chiding Santo about his hairpieces, and Ronnie talking about the time his "gamer" caught fire from an overhead heat lamp in New York! I'll also never forget what a homer Santo was, living and dying with every Cub triumph, but most often as we all know, their tragedies (dropped balls, baserunning gaffes, etc. -- hey, they're the Cubs!). Ronnie's familiar groans and cries of "Oh, NOOOOOOOOOO!!" were just hilarious, even if I was cursing those lovable losers at the same moment.

Doug: So Ronnie -- enjoy! You are no longer suffering the effects of your health, and maybe, just maybe... you can put in a word with the Big Guy and get those Cubbies to the World Series. Even in spite of themselves.

In Appreciation of: Ray Davies

Karen: Have you ever heard a song that just seemed to somehow flip a switch inside of you, as if the proverbial light bulb went on over your head and you realized that you were hearing perfection? That's how I felt the first time I heard "Waterloo Sunset" by the Kinks -with lyrics by Ray Davies.

Karen: "Waterloo Sunset" may be the most beautiful pop song ever recorded. It's sweet but not cloying, it's lush but not over-produced; it just works. The music and the lyrics combine for a real experience. You can project yourself into this song, into the lives of Terry and Julie, see that dirty old river... Davies tells a story and pulls you along. 









Karen: I've come to really appreciate Davies as a songwriter. I've always liked the Kinks, but it was only in recent years that I began to pay attention to Davies and his work. He might be the best lyricist in all of rock. I know, what about Lennon and McCartney? Dylan? Well, I'd put Davies up there with them any day.

Karen: When I was going through a rough patch a couple of years ago, this song, "Better Things", was a spiritual crutch for me. I don't know how many times I listened to it.


"Here's hoping all the days ahead
Won't be as bitter as the ones behind you.
Be an optimist instead,
And somehow happiness will find you. Forget what happened yesterday,
know that better things are on the way. "

Karen: Davies has the ability to transport the listener any place, any time, and instantly impart a mood. "Celluloid Heroes" is a sad, thoughtful tune, about the often tragic fates of those who become 'stars'. 



"You can see all the stars as you walk down Hollywood Boulevard, Some that you recognize, some that you've hardly even heard of,
People who worked and suffered and struggled for fame,
Some who succeeded and some who suffered in vain."

Karen: It's hard to offer up just a handful of songs when there are so many that could be discussed here. I've only heard a small portion of Davies' recent solo work, so I can't say much about it, other than I've liked what I've heard. The songs "Things are Gonna Change", "Other People's Lives", and "Stand Up Comic" from his Other People's Lives album from 2006 are all great examples of Davies gifts as a storyteller and cultural commentator. Particularly with "Stand Up Comic", Davies laments the loss of good manners that seems prevalent today. In many songs, Davies yearns for a simpler life, where people and their social connections are the focal point of life. He mourns a bit for the loss of that world; yet he can also be surprisingly optimistic.

Karen: Davies could also write some rousing good rock songs too.