Monday, July 28, 2008

"Shirt-Worthy"

Just wanted to share this wonderful article with the rest of you. It's imagery like this that helps me find inspiration within my own writing skills...

"Shirt-worthy"
Published: October 28, 2007

There is only one acceptable way to own a Ramones T-shirt. This is to have attended a Ramones concert, sweated, bled, transcended and then purchased one at a merchandise table en route to the concert-hall exit. (Preferably at the Rainbow Theatre, London, New Year’s Eve 1977, but that’s not a deal breaker.)

The closest I ever came to owning one was when, as a minor, I borrowed my older brother’s shirt from the “Pleasant Dreams” tour, his first-ever rock concert, which he attended with the brother of the B-level pop starlet Rachel Sweet and at which he purchased this garment with his last dollars. What I didn’t realize at the time was how firmly that shirt would establish a complicated precedent. Rock ’n’ roll paraphernalia had to be hard-won, meaningful and scented with personal experience. It required a depth of symbolic thought — something like what Bob Seger probably goes through when browsing at a Chevrolet dealership. Later, I attended several of the band’s shows myself, but it seemed too easy just to walk up and buy a shirt. Or maybe it was that none of the shows were epic enough to justify it. The iconic shirt had to be earned, on both sides.

I was comfortable with the fact that I did not own one. The self-deprivation reinforced standards of cultural behavior that were important to me. Not that anyone else would notice, since no one ever notices when you’re not wearing a particular item of clothing, unless that item is your pants. But I had internal street credibility, which, in Ohio, where I live, is sufficient.

Then I had children, which involves reconsidering everything you once believed to be true. (The relative grossness of vomit, for instance. Before parenthood, vomit is not considered Something to Catch in Midair, Barehanded.) So when my son asked for a Ramones T-shirt for his 10th birthday because he “wanted one,” the request was so culturally complex that I chose not to probe it. Instead I just headed to the mall.

I’m not one of those cool detached persons who pretend they don’t know that such a thing as Hot Topic exists. I knew about the store. Totally knew. It’s like a punk-rock version of Foot Locker. But I’d never glanced inside one. Not because I was above it. More like parallel. It contained things that once defined an entire value system but that I now no longer thought about.

Entering Hot Topic required a psychological recalibration. I passed into a room padded with shirts: the Germs, Dead Kennedys, Bad Religion, the Subhumans — punk-era bands that barely ascended to “underground” status and were now benefiting from the contemporary marketing of the obscure.

The tall stack of Ramones T-shirts was somehow familiar and almost heartwarming. It wasn’t nostalgia I felt. Nostalgia requires a past. This past never existed for me. I saw these shirts on other people, Californians mostly, in the pages of somebody else’s copy of Maximum Rock ’n’ Roll. These days, things that should be rare are startlingly available. Could it be, I wondered, that my children will never have to struggle? And that Hot Topic is the metaphor for this? I wanted this to be true as much as I wanted this not to be true.

I dug through the stack. It ended at Adult Small. He’d have to grow into it. I took it home, wrapped it and set it with the other packages of 10-year-old-boy gear.

He wore it for the first time to a friend’s cookout. The kids ran off to play, and the parents chatted on the patio. Soon he came running, his forearm half-covering his eyes, the conflicted gesture of a 10-year-old boy Trying Not to Cry, which, if you are not made of obsidian, will break your heart in four seconds.

“What is it?” I asked. He twisted himself sideways, pulling the tail of his shirt out to show me.

“The fence,” he exhaled over the cliff of his throat.

There was a jagged rip, maybe two inches, trailed by a thread of hem. We dads locked eyes in simultaneous understanding.

“No,” one said. “You just made it better.”

I wanted to explain that very truth — that just as emotional pain brings us closer to God, so a rip in our Ramones T-shirt brings us closer to Sid Vicious. But in a moment like that, the notion of conveying wisdom is as relevant as trigonometry offered to a quicksand victim.

“We can get another one,” I said.

Which we did. Obtaining a replacement was a mere errand, devoid of ethical-cultural implications, $20, cleanly exchanged.

And this is how I ended up owning a Ramones T-shirt, a little snug, with a rip in the bottom, and wearing it with a clean conscience. Because no responsible father ever wastes a perfectly good shirt.

David Giffels, a former writer for “Beavis and Butt-Head,” is a columnist at The Akron Beacon Journal. His memoir, “All the Way Home,” will be published next spring.

I really have no excuse...

...to why I haven't updated my blog in a while. So here's a quick recap of what I have been up to lately:

• Volunteering with cats at Palo Alto Animal Services on Saturday afternoons.
• Los Altos Art & Wine Festival.
• A trip to Los Gatos. Fun, despite being bothered by bees. I mean, it was my fault. I ordered Hawaiian pizza and sat outside. ;)
• Hiking near Bear Valley with my pop.
• A day trip to the city with my mom and sis.
• A weekend in the Monterey, Pacific Grove, Carmel, Pebble beach area:

• Legion of Honor in San Francisco:


• Moaning Caverns - ziplining and guided tour:

• "The Dark Knight":


And something I have been looking forward to for months, right around the corner:

Not only have I never been to Chicago, but I have never been to the music festival.
... yep, I fully intend to take in AS MUCH music as humanly possibly while having a chance to check out the sites in town. ;)

Don't get me wrong, I have also experienced quite a few difficulties lately, but these moments have taught me to perservere and live every single moment in good company and doing what I love.

Wednesday, July 2, 2008

"Could Heath Ledger really win an Oscar?"

LOS ANGELES, California (AP) -- Jack Nicholson's Joker was a blast. Heath Ledger's Joker is as dark and anarchic a figure as Randle McMurphy in "One Flew Over the Cuckoo's Nest," the role that brought Nicholson his first Academy Award.

People who have seen Heath Ledger's "Dark Knight" performance compare him to the great screen villains.

Ledger's performance in the Batman tale "The Dark Knight" is so remarkable that next January 22, the one-year anniversary of his death, he could become just the seventh actor in Oscar history to earn a posthumous nomination.

"I do think that Heath has created an iconic villain that will stand for the ages, and of course, I would love to see him get an award," said Christian Bale, who reprises his "Batman Begins" role as the tormented crime fighter. "But you know, to me, you can witness his talent, celebrate his talent within this movie. Anything else is gravy."

Superhero flicks usually are not the stuff Oscar dreams are made of. Yet Ledger delivered so far beyond anyone's expectations that he could end up as the second performer to win Hollywood's top honor after his death.

"He may be the first actor since Peter Finch. He may even win the damn thing," said Gary Oldman, who co-stars as noble cop Jim Gordon in "The Dark Knight," which hits theaters July 18.

Finch is the only person to win posthumously, earning the best-actor prize for 1976's "Network" two months after he died.

News of Ledger's death at age 28 from an accidental drug overdose broke just hours after the Oscar nominations were announced last January, darkening what normally is one of Hollywood's happiest days. The nominations next year fall on the same date because they were moved back two days from their traditional Tuesday announcement to avoid conflicting with the presidential inauguration.

With nothing remotely like the maniacal Joker among his credits beforehand, Ledger had been a surprising choice to fans, some feeling he was too young, others sensing he would not live up to the campy but earnest performance Nicholson gave in 1989's "Batman." (The role earned Nicholson a Golden Globe nomination, though he did not make the Oscar cut.)

As filming progressed last year, word began leaking from the set about the feverishly psychotic persona Ledger was creating.

With a marketing campaign heavily focused on the Joker, the movie trailers that followed presented a Joker with sloppy, ominous clown makeup that looked as though it had been applied in a windstorm. The brief footage revealed a character whose cackling humor cannot conceal the malevolent soul beneath.

"Whatever Heath channeled into, he's found something quite extraordinary," Oldman said. "It's arguably one of the greatest screen villains I think I've ever seen."

Fans were hooked, but some were skeptical when Oscar buzz for the performance started circulating after Ledger's death. Comic-book tales and other big action flicks rarely are taken seriously by awards voters, who are willing to honor them for technical achievements but generally not for acting.

Skepticism dissolved once Warner Bros. began screenings for "The Dark Knight."

"Heath Ledger didn't so much give a performance as he disappeared completely into the role," filmmaker and lifelong comics fan Kevin Smith said on his MySpace blog after seeing "The Dark Knight." "I know I'm not the first to suggest this, but he'll likely get at least an Oscar nod (if not the win) for best supporting actor."

Ledger's performance is surpassing even the sky-high expectations hardcore fans have going in.

"He was better than I thought he was going to be," said Bill Ramey, founder of the fan Web site Batman-on-Film.com, who caught an advance press screening. "I think he legitimately would deserve an Oscar nomination, not just out of sympathy to his passing, but because he was just fantastic in the movie. ... It's right up there with Hannibal Lecter," which earned Anthony Hopkins an Oscar for "The Silence of the Lambs."

Along with Finch, past posthumous Oscar contenders include James Dean, who was nominated for best actor twice after his death, with 1955's "East of Eden" and 1956's "Giant."

The other actors nominated after their deaths were Spencer Tracy (1967's "Guess Who's Coming to Dinner"); Ralph Richardson (1984's "Greystoke: The Legend of Tarzan, Lord of the Apes"); Massimo Troisi (1995's "The Postman"); and Jeanne Eagels (1929's "The Letter").

The aura surrounding Ledger since his death is a sign that, like Dean, he could endure as a mythic figure of talent silenced before his time. Ledger had a best-actor nomination for 2005's "Brokeback Mountain" and was considered a gifted performer just coming into his own.

That will not necessarily improve his Oscar chances. Dean had two shots after his death and lost both.

"The fact that only one actor has ever won an Oscar from the grave tells us that in general at the Oscars, the feeling is when you're dead, you're dead," said Tom O'Neil, a columnist for TheEnvelope.com, an awards Web site. "Maybe the point is that the Oscars are all about hugs. Nobody wants to hug a dead guy."

Oscar voters tend to hand out the trophies for heroic or sympathetic roles, so Ledger's supremely evil characterization could prove a drawback along with the action-genre stigma.

Yet there are notable instances when actors playing villains made such an impression that academy members could not resist voting for them.

Besides Hopkins as cannibalistic killer Lecter, bad guys who won include Fredric March in the title role of 1932's "Dr. Jekyll and Mr. Hyde"; F. Murray Abraham as Mozart's mortal enemy in 1984's "Amadeus"; Kathy Bates as a novelist's demented fan in 1990's "Misery"; Denzel Washington as a corrupt cop in 2001's "Training Day"; and Charlize Theron as a serial killer in 2003's "Monster."

The last two years have brought Oscar wins by Forest Whitaker as brutal dictator Idi Amin in "The Last King of Scotland," Tilda Swinton as a murderously ruthless attorney in "Michael Clayton," Daniel Day-Lewis as a savage oilman in "There Will Be Blood" and Javier Bardem as a psychopathic killer in "No Country for Old Men."

"When a performance as a villain is that memorable, it can be held up as being that much more special," said Chuck Walton, managing editor of online movie-ticket site Fandango.com. "Oscar voters have a lot of respect for actors willing to really let themselves go and inhabit darker roles."

Warner Bros. and the filmmakers are profuse in their praise of Ledger but have been diplomatic about the Oscar talk. Awards publicity generally pads a movie's box-office and DVD receipts, and the studio has cautiously avoided any appearance of profiting from the added attention Ledger's death has brought to the film.

"The Dark Knight" director Christopher Nolan sidestepped the Oscar question, saying that he was simply happy that early viewers were responding to the performance the way Ledger would have liked.