Thursday, October 13, 2011

Operation Fu/ Jam




1.) I hate to apologize for cracking jokes. Doing so leads to a vicious cycle of wicked temptation and guilt—and that is hardly a productive way to live. All these years after I wrote “Cubs Fan Wants to Waste Time Travel,” however, I'd like to amend a swipe I took at Steve Bartman—the hapless, bespectacled bystander who became the scapegoat for the Chicago Cubs after he deflected a foul ball that the left-fielder nearly caught in game 6 of the '03 NLCS.

“Bartman deserves at least a dozen vengeance wedgies,” I wrote.

While somewhat funny, that statement is not at all true. It's hyperbole. In actuality, Bartman has suffered enough—and then some. He was simply a tailor-made target for writers; he became the source of twisted inspiration for goofy Cubs fans like me. In all sincerity, he should be forgiven and treated with immense kindness from now on. In fact, that is an understatement. We should ask him for forgiveness. On that spooky night at Wrigley Field, the fallout from Bartman's mistake was a revolting display of humanity.

When I defamed Bartman, the context of the essay was that I wanted to travel back in time to prevent him from swatting away that fateful ball that was aloft in foul ground. I cited his mishap as the absolute most vital happening in history that begs to be altered and rectified. I'm still fond of that one, but I'm no longer on-board with its premise. No. It occurs to me now that it would be petty to enact Quantum Leap redemption on something as frivolous as the outcome of a baseball game.

The time has come to let go of that senseless resentment.

The same cannot be stated, though, about Shaquille O'Neal's decision to license his name and likeness to Shaq Fu rather than the NBA Jam series for the Super Nintendo.

Let me explain.

2.) As the number one overall pick in the 1992 draft, Shaquille O'Neal was drafted by the Orlando Magic. The dominant phenom quickly established himself as a premier big-man; he went on to win the Rookie of the Year award. Shaq was and remains charismatic, disarmingly goofy, and marketable, and so in no time he was fielding offers from the entertainment industry to cash in on the craze he generated. He appeared in commercials for Reebok. He starred in movies—once as a funky genie and another time as a black Robocop. He signed a record deal and dropped an album called Shaq Diesel.

And, oh yeah, circa '94, some lowlifes as Electronic Arts convinced him to fulfill the title role of one of the shittiest video games ever made.

Shaq Fu was in the one-on-one fighter genre; it was the kind of game in which the aim is to jump around a lot and punch and kick another guy until his life-meter runs out and he keels over. To my knowledge, most of the people who actually bought a copy of Shaq Fu jumped out of second-story windows upon completion of level 2. The game was maligned by everyone who bothered to care about it. All these years later, the offending cartridges dwell near the top of a steep mound of pop-culture junk.

NBA Jam, by contrast, remains a masterpiece. The vid stripped round-ball down to a two-on-two contest—a marquee duet vs. a marquee duet. NBA Jam merged the simplistic setup and permissible violence of Nintendo’s Arch Rivals with the aerial acrobatics of a coked-up superhero. The result was an addictive frenzy of give-and-gos, glass-shattering dunks, three-balls, and brutal shoves that ranks as one of the most beloved sports titles to be found on 16-bit systems.

Now, I don't intend to express contempt for Shaq. He is one of my absolute favorite NBA legends. By the time I entered junior high school, I lost track of how many times I had cheered as I watched a beastly Shaq-dunk on Sportcenter. Over a decade later in college, I howled in a rowdy fit of joy when I saw him hoist the Larry O'Brien trophy alongside of Dwayne Wade. I never cared much for his movies or his music, but I never begrudged the man for putting some effort into something other than what he was obviously born to do—which has got to be abusing and belittling chumps in the low-post while winning scoring titles and championships.

Regrettably, Shaq's likeness never abused nor belittled chumps in the low-post in either NBA Jam title for the Super Nintendo. I have never let out a rowdy fit of joy after posterizing 16-bit Karl Malone on a tomahawk slam courtesy of 16-bit Shaq. NBA Jam and Shaq are both great, nevertheless, but they don't overlap. When he signed a contract to endorse Shaq Fu, litigious sticking points too nerdy to dwell on prevented him from appearing in the console-import of NBA Jam.

I don't despise Shaq for choosing money over merit; I'm just disappointed. Like Bartman, I just have this unwavering, dumb urge to talk some sense into him—from one mistake-prone human being to another.

Another reason why I chose to obsess over Shaq for two weeks and write about him is that we were both born on March 6th. Sometimes non-famous people feel a weird kinship for celebrities who share their birthdays. I don't take horoscopes seriously, but by contrast, I get a quirky kick out of the notion that some weirdo who moonlights as a palm-reader gives Shaq and me the exact same advice on a daily basis.

Every time I glance at the astrologically based counsel foretold for Shaq and me in the newspaper, I expect to read, “Use your veteran-savvy to counteract the youth and athleticism of Dwight Howard. Also, you should probably scale back on making references to The Simpsons.”

That never happens, though, and so I regard astrology as an absurd but endearing footnote tacked on to the long list of faulty ways to make sense of the world.

Anyway, I hate to see my March 6th cohorts fuck up so wretchedly. Those lazy scientists still have plenty of work to do, but if, someday, those brainy pillow-humpers finally fulfill their potential by inventing a time machine, I would lobby to go Quantum Leap on Shaq for his role in the Fu / Jam debacle. What follows is an account of what would happen if only those lousy geeks who call themselves scientists would quit jerking off and get down to business.

Enjoy? Enjoy.

3.) At the culmination of an hour or so of research on Google and a week or two of stalking a video game developer with a creepy vice—as well as my main man Shaq—I'd determine the exact date and time that the Big Diesel entered the headquarters of Electronic Arts to ink the Godforsaken deal in question. A rough estimate of this date and time—to the clueless, hastily-guessing mind—is January 11th, 1994, at 9:15 a.m.

Before stepping inside of some sort of a dome-shaped, metal chamber with gamma rays and protons beams or some shit (just to give you a few ideas to build on, scientists), I'd have to visit a costume shop. Part of my master-plan involves dressing up like Luigi (Mario's brother). I'd buy a lighter and something that could harm people, too. I'll explain why later.

With a frenzied swirl of electrons, I materialize in a back alley of the Electronic Arts building—located in Redwood City, California. I straighten my tussled overalls and adjust my green cap before noticing a frumpy and astonished homeless man. Dumbstruck, he blinks at me repeatedly and then tosses his bottle of cheap whiskey in the air.

“I've had enough of this.”

I lunge and catch it before the glass shatters against the concrete.

“Are you crazy?” I scold. “There's plenty left in here and this is probably gonna be the highlight of your day.”

He considers my point, nods gratefully, and accepts the bottle as I hand it back.

I check my watch for confirmation of the date, year, and time—all precise.

“Not bad, scientists,” I say as I hustle alongside the EA building toward the entrance.

The lobby is stark but ornate. The floor is marble and the furniture, while sparsely placed, is lavish. The walls are decorated with framed posters of EA hits such as John Madden Football and NBA Live. I admire the scenery for a beat and then hurry past a burly security guard with watchful eyes and a shaved head. The secretary behind the desk is likewise suspicious.

“Can I help you?” she says. She poses her question with drawn-out uncertainty.

“Indeed you can, ma'am,” I say. “I'm an acquaintance of Mr. Chaz Flenderson, one of your most esteemed developers.”

“I see...” she murmurs, looking over my shoulder to lock eyes with the security guard.

“Yes. Could you be a dear and please tell him Luigi is here?”

“May I ask what your visit pertains to?”

“You may. Certainly. Only—Mr. Flenderson would prefer some discretion on the matter, and I simply can't breach his trust by giving you full disclosure, ma'am.”

The heavy clacking of the security guard's shoes resounds throughout the lobby. I picture him squeezing his holstered nightstick. As he approaches, I rub my mustache for a second—a nervous gesture that I quickly correct by letting my hands slink past my waist. I breath out, assuming the posture of a man with nothing to hide.

“Is that right...Luigi?” Her eyes roll. She exchanges haughty glances with the man poised to club me. “And do you have a last name?”


“Brothers,” I say, shrugging. “Trust me, he'll know who I am...ma'am.”

She grins wickedly and clicks her fingernails against the desk. Her hand inches closer to the phone. I don't turn my head but I know the security guard is really bearing down; his steamy breath seeps underneath my collar and my whole body wells up with beads of sweat.

“Well, one way or the other, this ought make for quite a show,” she says.

She grabs the phone and dials the extension number.

“George,” she says to the man lurking beside me, “If Mr. Flenderson wants nothing to do with this guy, I'm going to look the other way. OK?”

My head swivels to see George nod. He seems intent on crippling my retinas.

“Yes, ma'am,” he says.

I can hear a faint dial-tone, and then another.

“Politeness,” I remark to George. “That's where it's at—am I right, George? Whatever happens, just know that I say ma'am, too.”

George says nothing, but as he continues to stare, I gather that his manners have limitations.

The dial-tone ceases. A muffled voice succinctly answers the phone.

“Hello, Mr. Flenderson. There's a man in the lobby asking for you. He doesn't have an appointment. He is dressed in green overalls like Luigi and he refers to himself as such. He says you're expecting him...”

The voice reprimands the secretary. Her bemused expression turns somber; she becomes like a misbehaving beast getting whipped by its master.

“Sir, you don't have to hiss at me,” she says, flabbergasted. “Your wife and kids? What do they have to do with this?” Her glower is more wrathful than George's when her eyes meet mine. “OK...OK. I'll send him right up.”

She pump-fakes a slam of the receiver, thinks better of it, and then sets it in place with delicacy. She engulfs her elfish face in her hands. George gets the hint, exerts a let-down grunt, and backs off. I'm exhaling with so much relief that I nearly forget to breathe in. The secretary gestures toward the elevator without making a peep.

“Much obliged, ma'am,” I say.

I press the “Up” button and tap my feet anxiously as I wait. For the first time I become aware of the barely audible radio. It's a hit by Nirvana that I remember and love. Despite my better judgment and in too ominous a tone, I sing along loud enough to be heard.

“Well, I swear that I don't have a gun,” I sing. “No, I don't have a gun...”

A ding echoes throughout the lobby and I board the elevator.

Outside the window-plated lobby, a sleek limousine pulls up. The Superman logo is emblazoned on the side of the back-right door. A behemoth athlete steps out, one incredibly long leg at a time. He is dressed casually, in a black shirt and blue jeans, and is soon accompanied by another passenger from the limo—a tuxedoed man much burlier and darker than George.

Shaq lets his bodyguard lead the way. Once inside headquarters, Shaq nods respectfully to George. His pearly grin vanishes as his ears perk up; he shakes his head and struts toward the secretary.

“Excuse me, ma'am,” Shaq says with a wink. “With all due respect, it's cool if you like grunge. However, I'm kind of an important client, and while I'm here, I'd prefer to listen to something with a bit more flavor.”

He leans his 7'2” frame over the desk and presents to her a CD. In an instant the rancor I stirred in her is gone.

###

Having endured the humdrum piano twinkles of the elevator music, I step off hoping to hear Cobain's vocal-mimicking solo. No such luck. The Notorious B.I.G. has overtaken the stereo system.

“What gives?” I wonder aloud.

A lanky, pale man with thinning hair charges down the hallway to accost me.

“I could ask you the same damn thing,” Flenderson says.

He latches hold of my shoulder and roughly shepherds me into his office. He bristles with contempt and agitation as he points his finger to my forehead.

“What gives? I specifically told the agency not to send me any guys while I'm working! I never know when my wife's gonna stop by to nag my ear off. Put yourself in my shoes, numb-nuts. How would it look if she caught me with a male prostitute in my office?”

My cheeks flush and I stammer, unprepared for the most unsavory part of the mission.

“My bad. Um, afterward, I can give you some sort of a...coupon.”

“You're gonna have to do better than that, slim!” he shouts. “And you're not even tall and sculpted like the other Luigis. Christ. What do you weigh? A buck thirty-five?”

“That's a remarkable guess."

“Shut up! Do you even have a big penis?”

“Meh,” I shrug.

He stomps toward the phone atop his desk.

“That's it. I'm calling security.”

“You didn't let me finish,” I blurt out. “I was going to say, 'Meh. It's big enough.'”

He slams the receiver down. In a 180-turn of emotions, he approaches me and swats my butt.

“Great answer! Confident but nonchalant. That's what I like to see. Put a positive spin on the manorexia and I'm sold, blue eyes.”

My eyes narrow as I gaze at the carpet. I scratch my mustache.

“Um...don't think of me as...manorexic. Look at this way: I've got the... metabolism of—uh--a marathon runner?”

He clasps onto my slender jawbones and smooches my cheek. It's revolting. There is no cause for tongue when kissing someone on the cheek.

“Brilliant! Now do me a favor. Shut up and wait in my office or else I'll kill you. I've got an important meeting with a major client. Shouldn't take longer than 20 minutes, and after that, Luigi, we'll bang one out to celebrate.”

His eyes flicker with panic as the elevator chimes on our floor. He shoves me onto his leather couch, hysterically hushes me, and shuts off the light as he leaves the room.

I gather my breath and blink deliberately. I will need some time to gather my composure for the next phase of Operation Fu/Jam. A moment later, I overhear Flenderson's exuberant greeting.

“Hey, Shaq-Man! How the hell are ya?!”

Shaq's relaxed baritone is much harder to translate.

“I'm good, Mr. Flenderson. This is Rodney, my associate. Please don't touch us.”

“Won't happen again, big guy! Now, follow me to the conference room. We'll get this whole thing finalized and inked.”

“All right.”

Heavy footsteps down the hallway. A door opens then shuts.

I exhale with abounding tension, get on my knees, and sign the cross. I pray to a higher power.

“Dear Batman, please bless me with the respect you displayed for Alfred, the guidance you offered Robin, and the ass-kicking prowess you showed every time you fought the Joker. Bat signal Off.”

With newfound courage, I rise to my feet. I wriggle the handle of the glass-plated door and grin wolfishly.

“Looks like someone forgot to lock the door. Heh, heh.”

In the conference room, Shaq and Rodney lounge on plush swivel chairs. A distance of roughly 15 feet away, Flenderson rests his duff on a polished desk made of redwood. The desk is flanked by a waste basket. Figures and pie-charts are drawn on a chalkboard behind Flenderson. He thumbs over his shoulder to emphasize a selling-point.

“That graph marks last year's tally of the best-selling fighting games, gentlemen--”

Flenderson stops as his ears perk and detect a calamity of glass shattering in tandem with the manliest grunt this side of the Mississippi.

“Whoa! Did you hear that?”

“No,” Shaq replies.

“Really? 'Cause I could've sworn I heard the sound of glass br--”

Rodney bolts out of his seat.

“Hey!” he barks, his fists balled. “Your biggest client just said—in not so many words—that he didn't hear shit! Now don't argue with Shaq. Is that clear?”

“Yes, sir,” Flenderson answers, meek and belittled. He clears his throat rigorously, loosens his tie.

“As I was saying,” he continues. “With the right touches of marketing and a little bit of good fortune, I promise you this: Shaq Fu is going to outsell Mortal Kombat.”

I burst through a glass-plated door again. Transparent shards rain on the carpet as I hit the floor. Flenderson gestates wildly. Shaq and Rodney stand in unison and in a heartbeat Rodney assumes the role of Hakeem Olajuwon by boxing out Shaq. The conference room resounds with shocked profanities. I groan miserably for a second before jumping to my feet. I yank a shard from my forehead. Blood geysers out at first and then seeps steadily. I point to Flenderson.

“This man is full of bull-crap, Shaq. He's a creepy shyster. Don't believe a word he says.”

Flenderson fumes in indignation.

“Neither door was locked! Jesus. What's wrong with you?”

Shaq Fu is going to be a commercial and critical disaster. I'm telling you: It's not worth the money, Diesel.”

“Dammit. All you male prostitutes dressed like Nintendo characters are the same. Can't even wait 'til after noon to get high.”

“I'm not a male prostitute,” I declare. “You fool! You've been duped by a struggling writer from the future.”

“A struggling writer from the--” Flenderson chokes on his own acidic spit. He reaches for the phone. “I don't buy it, kid. Let's ask George for his take on the matter.”

Rodney pounds his chest once. Twice. He looks poised to trounce me.

“Na. I got this.”

“Hold on!” Shaq bellows. A moment later he's snickering, but with a trace of compassion. An odd hint of levity overcomes the hostility in the room.

“Come on,” he gestures to me. “Now, just to review: Pale Spud Webb over here just launched himself through two panes of glass, yapping about video games and how he's from the future. He's hurt. He's bleeding. You really think he needs a beat-down? That's whack. He needs a psychiatrist.”

I nod in slow repetitions. It strikes me that—regardless of its outcome—this mission won't be a lost cause.

“Mr. O'Neal, on behalf of those afflicted with mental illness everywhere...” I begin, my voice quavering. But it soon occurs to me that expressions of sentiment are wasteful at present time. “Forget it. Thanks for buying me some time.

“Listen, Shaq: You're just embarking on the start of a career that will span until 2011. You don't think I'm from the future? Well, get a load of this: You're gonna win four championships, but none with the Magic. As a free agent, you will sign with the Lakers for oodles of cash. You're gonna think your All-star shooting-guard is an asshole and he'll think the same about you, but you'll still win trophies; Phil Jackson will make sure of that. Later on you'll dunk all over Dirk and the Mavs to earn a fourth ring alongside of D-Wade.”

“Four rings?” he says with intrigue. He snickers. “Damn. Does my free-throw shooting get any better?”

“Shit, no,” I tell him. “Anyway, all this is to say that you're a legend in the making, and mark my words, Shaq Fu is far beneath the standard of excellence that you stand for. NBA Jam is a different story, though. It is NBA Jam—not this God-awful mess that will be even worse than Clayfighter—that will do justice to your Hall of Fame legacy.”

“Hmm,” Shaq considers, deep in thought. “NBA Jam. You know I'm in the arcade version of that game, right?

My reply is petulant.

“Yeah, Shaq. I get that, but I don't own an arcade machine, and I don't know anyone who does, either. Jeez. Not everyone's a millionaire or a winner on the showcase showdown.”

“What the hell is he babbling about?” Flenderson snorts.

Shaq swivels his head to address Flenderson.

The Price Is Right, fool.” He turns back to me. “That was a solid pop-culture reference.”

“Thanks, Big Diesel.”

“No problem, Big Imagination.”

We bump fists.

Something occurs to me.

“Wait, you've played NBA Jam on the arcade, haven't you? Come on, man, you know that game is--”

“Insanely bad-ass,” Shaq finishes my sentence.

“Well, then what's the holdup?” I plead. “You know it's gotta be one or the other. Why can't you just say no to Shaq Fu?”

“For the same reason I'm gonna sign with the Lakers in a few years. The dollar signs. Plus I'm an individual. I conquer uncharted territory. I make bold decisions. Tack on the fact that I can play the arcade version of Jam. At home. 'Cause I'm a millionaire. There's your answer.”

My rhetoric is derailed. I'm on the brink of surrender until I catch sight of Flenderson's smug and triumphant smirk.

“This guy's a total weasel, OK? And weasels swindle people. Do you really want to sign that contract without having your lawyer read it first?”

“I already did, son,” Rodney chimes in.

Flenderson and I exchange looks of surprise.

“Wait. You're a lawyer?” we ask, united by bafflement.

“My lawyer-slash-bodyguard—yes,” Shaq says. “Rodney, tell these poor skeptics the definition of habeas corpus.”

“'A writ issued to bring a person before a judge or court in order to release that motherfucker from unlawful detention or restraint,'” Rodney replies, rife with righteous swagger. “Ya racist bitches.”

He points to the contract atop the desk and barks at Flenderson.

“Your secretary faxed me that shit yesterday. Get a handle on your business, ah-ite? On behalf of my client, pending his signature, we approve.”

Shaq grins wanly, but there is a hint of sadness in his eyes as he stares at me.

“Satisfied? Can we call an ambulance for you now?”

I bury my glass-slit face in my glass-slit hands for a moment. I reach into my pocket and grab hold of my last resort.

“It's a shame it had to come to this,” I say gravely.

I start to unbutton the shoulder straps of my green overalls.

“Are you undressing?” Flenderson wonders. “What's the deal? I thought you said you weren't a male prostitute.”

I reveal dinky fireworks strapped to my sweater. They're “Black Cats,” known to sparkle and cause very mild explosions. I spark the wick with my lighter and deliver my ultimatum.

“Decision time, Shaq! Tear up that stinking contract and I'll snuff out the wick. Otherwise, we all die.”

The bluff works on Rodney, at least. He gasps, screeches, and then charges past me with a shove that nearly knocks me over.

“Get the fuck outta my way, Unabomber!” he yells. “Security! Help!”

As Rodney rushes to the stairwell, Flenderson snaps out of his terrified stupor and ducks behind his desk.

“Sweet Jesus!”

Shaq merely sucks his teeth and shakes his head with equal parts mirth and disappointment.

“Unbelievable.”

He reaches across the desktop and tears off a few inches of Scotch tape from the roll. He walks up to me. With poise that almost seems eerie, he stoops over to unfasten the string of fireworks stuck to my torso. I don't try to stop him. He doesn't burn his hand as he rolls the Black Cats into a shape that approximates a sphere. He lets out a quick yawn as he applies the tape.

From a distance of roughly 15 feet, Shaq takes aim at the waste basket.

“Three, two, one...”

With that, Shaq heaves the lit-sphere aloft. It arches poorly and plops down three feet away from his target. The wad of Black Cats thumps on the desk—atop the vile contract for Shaq Fu.

The (oddly long) wick vanishes and an instant later the fireworks flare, pop, and shriek in a pyrotechnic frenzy that is somewhat impressive and entirely noble. The contract is set ablaze. It crumbles with advancing blackness and disintegrates into smoldering ash. Our ears ring with the sound of a flat-lined pulse on a cardiograph. With tears streaming down his cheeks, Flenderson pokes his head up from underneath his desk and wafts away a cloud of smoke. He gapes at me and utters obscenities that I can't even hear.

Shaq bends his knees and bellows with tremulous joy into my ear.

“My God! You're right about NBA Jam. How could I ignore the signs?”

Shaq fishes for something in his back pocket. It's a newspaper clipping of some sort. Flenderson wipes his tears and stomps over to us, fuming and flabergasted.

“No, no, he's not right about anything!” he hollers. “He's a lunatic and he's going to jail. Listen, we'll reschedule the signing for tomorrow, print out another copy--”

“Pipe down, Weasel!” Shaq reprimands. He turns to me and reads with boisterous glee. “My horoscope for today: 'An unexpected encounter with a stranger from a different part of the space-time continuum may change your life for the better.'”

I laugh like the lunatic Flenderson thinks I am.

“That's my horoscope, too. We have the same birthday, Shaq!”

We bump fists again.

“Horoscopes?!” Flenderson snarls. "Do you really believe that nonsense?”

“Uhhh...” Shaq begins, mockingly. “Do you really think now is a good time to dis horoscopes?”

“I know, right? Those things are...totally legit,” I say to Shaq. “Who talks trash about horoscopes? What a lowlife.”

“Lowlife,” Shaq echoes, nodding his head. “Such a pithy and biting derogatory term for a bad person. I like it, but don't overuse it.”

“I won't,” I lie.

Down the hall, we can faintly hear a stern voice exclaim warnings.

“Security! Drop your weapons!”

It must be George. Flenderson curses us feebly as he escapes the conference room.

“So, how 'bout it,” Shaq says. “You got an escape plan, McFly?”

I snap my fingers and point to him, my thumb raised like a trigger.

Back to the Future. Nice. Well, uh, the trouble is, in 2011, time travel is possible, of course, but the whole thing is in its infancy. Ideally, I should have leaped back once you made the decision to appear in NBA Jam...

“Oh, and can you do me a favor and box out the security guard before he gets in here and pummels the shit out of me?”

“Sure thing, buddy.”

With the bulk of his backside clogging the oblong opening in the door, Shaq plants his feet, spreads his wingspan, and acts as a blockade. George, Flenderson, and Rodney surge and grunt from the other side, trying in vain to make Shaq budge.

“Thanks. Like I was saying, they must still be working some kinks out of the time machine. The scientists, I mean.”

“Pffft. Scientists,” he scoffs.

“Oh, they're so lame and overrated!”

“Couldn't agree more,” Shaq says. “Also, I think someone's zapping me with a tazer gun.”

“And why do they wear those stupid, white lab-coats?” I go on.

Electrons gradually begin to swirl and flash about my body. My skin flickers like a strobe-light gaining speed as it rotates.

“Hey! Here we go. Finally.”

Another zap sounds and Shaq lets out a concise but agonized cry.

“Yup. Definitely a tazer gun. Vision blurring...knees wobbling...can't keep this up for much longer...”

“By the way, Shaq,” I say, oblivious to his pain, “Years from now, if you spot someone who looks a lot like me accidentally spying through your kitchen window...go easy on him, will ya?”

Shaq scowls at me, on the brink of collapse, but his ire is soon chased off by a magnanimous smirk.

“Oh, Big Imagination. I can't stay mad at you.”

“Ditto, Big Diesel,” I say. “Ditto.”

His legs give out and he slumps to one knee. Three men storm past him with intent to pulverize me.

No matter. I dodge the first punch when I Quantum Leap.

###

4.) Back at the laboratory, I emerge from the time machine and shove past gawking and applauding scientists. I give the finger to photographers and snub the president. I speed on the drive home and pay no mind to Stop signs. I lock the doors, crank up some Beastie Boys, and two minutes later, my 16-bit Shaq posterizes 16-bit Karl Malone. The glass shatters with the force of the dunk. I pause the game and touch the wounds on my face. They were definitely worth the trouble, I realize, and for awhile I feel the same way about everything else, too.

Thursday, October 6, 2011

The Simpsons Script 1




“I've been reading a lot of scripts lately. You know, it's a lot cheaper than going to the movies.” --Troy McClure


As I ransacked through desk drawers that stored stacks of torn folders thick with papers that I filled up with ink years ago, I found something other than what I was searching for. Wasted potential? Crushed expectations? No and no. Don't be so negative. What I came across had a cover page that more or less looked like this:

Prime-time TV Writing
The Simpsons
“Insert Title Here”
Written by
Nick Olig, 15th grader

Allow me to explain this cover page. The college I graduated from offers radio, TV, and film courses that are fairly respected by those who want nothing to do with more practical pursuits like marketing, sales, and computer programming. Now, it is a bit loopy for unknown and unconnected Wisconsinites to write scripts for shows that are produced far west in California. Looking back, more so than a kind of minor league system, the class seems like a fantasy camp for addicts of cartoons and C.S.I. In truth, neither Seth MacFarlane nor Michael Bay called my professor on a weekly basis to ask, “Who are your top prospects, Doug?” Even so, every semester, scripts from UWO are submitted to contests, and the ones that are well-received at least provide their scribes a dozen or so positive words to add to their resumes. The same semester that I won a short story contest (to fill up some empty space on my resume), I also wrote an episode of The Simpsons. I couldn't come up with a title for it in those bygone days when I told others I was a 15th grader rather than a junior in college. And years later, I still don't know what to name it. “The Simpsons Script”?! Horrible. That's almost worse than “Insert Title Here.” I don't even warrant a D-minus for some of my titles.

The setup of act one and some of the lines and gags are passable, though, and so I have decided to post the first four or five scenes. After that, my plot-line stumbled a bit (that happened years ago), and some of the pages have gone missing (as I discovered today). There is a slim chance that the lost content eventually will turn up. As far as the likelihood of that is concerned, read this paraphrasing from an episode of The Simpsons:

INT. LIVING ROOM

Homer walks in with movie rentals in tow.

MARGE: Did you bring home a copy of Waiting to Exhale?

HOMER: No. They were all out. They put me on a waiting list but told me not to hold my breath.

And so the family watches Paint Your Wagon instead.

End scene.

OK. Now read part of a script that will never be produced. Come on. Be like Troy.

ACT ONE

FADE IN:

EXT. SIMPSONS' HOUSE – AFTERNOON – To Establish*

INT. LIVING ROOM

BART and LISA lie prone on the carpet, elbows pressed to the floor, chins resting on opened palms. They watch TV with bated excitement.

ANNOUNCER (OFF-SCREEN): Live from Springfield, home of the world's most obscene parakeet, it's the Krusty 30th Anniversary Special! And now, here he is, the man who puts the “acidic” in “Hasidic,” Kruuussstttyyy the Klooowwwnnn!

The curtain raises. The children in the crowd cheer hysterically. KRUSTY is clad in a dapper tuxedo.

BART: Wow. When's the last time you saw Krusty in a tux?

LISA: I think it was when he did that tasteless sketch that led to the cancellation of the short-lived Krusty After Dark—the one in which James Bond is captured, starved, and forced to resort to cannibalism.

BART: (SNICKERING) Oh, yeah. Those Pussy Galore jokes worked on so many levels!

INT. KRUSTY'S STUDIO – CONTINUOUS

KRUSTY: Hey, hey, kids! (GOOFY LAUGH) Thank you, thank you. Thirty years on TV. What a dream come true. I couldn't ask for more. Sure, it would have been nice of the network to give me a prime-time slot for this thing, but hey, it's sweeps week and I guess I can't keep up with the drunk broad from New Jersey. What can you do? Anyway, in honor of this fine occasion, Krusty has something very special lined-up today...I'm taking the day off to get plastered at the bar!

INT. LIVING ROOM

Disappointed and disgusted, Bart and Lisa spring to their feet. Bart balls up his fists.

BART: He pulled this same stunt on Arbor Day!

LISA: ...And on that Jewish holiday he just made up on the spot. “Rokmoklahavven.”

BART: You mean that's not a real holiday? I wasted hours on that “Rokmoklahavven” greetings card!

INT. KRUSTY'S STUDIO

The youngsters bicker and boo. An ANGRY BOY wads up a spit ball while he mouths, “You son-of-a-bitch.”

KRUSTY: Now, now, settle down. Sideshow (FAKE-COUGHS, MUTTERS A MUFFLED NAME) is here to put himself in Krusty's shoes.

With trepidation, SIDESHOW MEL joins Krusty at center stage.

SIDESHOW MEL: Now, Krusty, you do know that remark about the shoes is purely figurative...

Krusty hops around as he removes his shoes one at a time.

KRUSTY: Like hell it is.

FLASH FORWARD TO:

Bent over with his head on level with Mel's kneecaps, Krusty exerts a series of grunts as he shoves Mel's biggish foot into his own modestly sized red shoe. The bruised toes on Mel's other foot have already been forced through the vinyl tip. Krusty grumbles, thrusts, and pounds the tip until the toes on Mel's other foot horridly burst through, too. An ominous pop sounds. Mel shudders as Krusty rises to his feet and lets out a satisfied sigh.

KRUSTY: There. Go get 'em, new guy. So what if you've got a broken toe? It's time to break a leg.

He swats Mel on the back and walks offstage.

SIDESHOW MEL: (GNASHING HIS TEETH) Greetings, children. As a bit of an overture, I wish to regale you with a splendid impression of former Prime Minister Lord James Callaghan.

INSERT: Dumbfounded, the whole audience blinks as one.

OFFSTAGE: With his tie already loosened, Krusty warily raises an eyebrow. MR. TEENY lights a cigarette for him. Krusty nods a quick thank you and swipes his hand by his neck in a cutting gesture. Mr. Teeny likewise nods. The monkey then picks up a nearby bucket marked “Weasel Guts.” With a mighty heave, he hurls the bucket's bloody contents onto the bone that juts out from Mel's hairdo.

SIDESHOW MEL: (GRIM) Oh...dear. Well, onward with the show, Mel. Onward with the show...

INSERT CLOSE-UP: A malicious ROTTWEILER snarls inside a portable cage. A ZOOM-OUT shows Mr. Teeny unlatch the door. The dog rushes for Mel, leaps in the air, and clamps its teeth on the bone. The kids in the crowd are appeased by this; they point and cheer as Mel falls and flails.

ON LISA – HOLDING THE REMOTE

With narrowed and fiery eyes, Lisa thumps the power-button with her thumb.

LISA: This is a new low for Krusty. I can't bare to watch.

BART: I hear ya, Lis...but what else is there to do?

The two peer through the window.

EXT. EVERGREEN TERRACE

The sun shines majestically above chirping birds and smiling passersby on the sidewalk. In the road, an ice cream truck has turned over. MILHOUSE AND JANEY raid the supply with chocolate smeared on their delighted faces.

INT. LIVING ROOM

These happenings fail to excite the Simpson children.

LISA: (YAWNS) I see your point.

She turns on the TV. Like her brother, she looks sedated. The noise of cheering children and snarling dogs fills the room.

SIDESHOW MEL: (OFFSCREEN) (STRUGGLING TO IMPERSONATE) My countrymen call me “Lucky Jim,” but if that were truly the case, why was I born with such woeful vision?

KRUSTY'S AUDIENCE: (O.S.) Boooooooo!

EXT. MOE'S BAR – TO ESTABLISH

INT. MOE'S BAR

Krusty gulps down a shot. He is the only patron, and a solemn one, at that.

MOE scrubs the inside of a glass with a very long and colorful handkerchief. He hands it back to Krusty, who stuffs the gaudy cloth back into his pocket.

MOE: Thanks, stranger. Ever since I splurged on that smutty arcade game, I got no cash to spare for clean towels.

KRUSTY: Don't mention it.

MOE: Hey, pardon my ogle, but...don't I know you from somewhere?

KRUSTY: (GROANS)

Krusty reaches into his pants pocket for his trademark clown nose. He puts the thing on and points at it.

MOE: Holy crap, you're Krusty the Klown!

Krusty nods and removes the red nose. Moe hurries to fill a glass with beer.

MOE: You know, I might hate myself in the morning for doing something generous, but what the hell, have one on the house.

KRUSTY: Thanks.

The entrance door swings open. Along with LENNY and CARL, HOMER bursts through.

CLOSE-UP ON MOE

The hot-tempered bartender grabs Krusty by the collar and yanks him nose-to-nose.

MOE: (RAGING YET HUSHED) That drink was our little secret. You got that, clown?

Krusty is horrified. He nods. Moe's rage vanishes as he puts an arm around Krusty and greets the newcomers.

MOE: (CONT'D) Hey fellas, look who it is!

Homer and his coworkers vacantly look at the clown.

KRUSTY: (GROANS)

He reaches into his pocket and again applies his signature nose.

HOMER/LENNY/CARL: Holy crap, it's Krusty the Klown!

Krusty takes off the nose as the men occupy the stools flanking him.

HOMER: Mr. the Klown, your comedic talents have completely freed me from the awful pressure of being a positive role-model to my children. (EMOTIONAL) Thank you. (beat) Now, let me buy you a beer.

KRUSTY: Na, pug-nose over there just gave me a--

His gaze meets Moe's he detects the murderous glint in the bartender's eyes.

KRUSTY: I mean, sure! Why not? I'll have another, but just one. And that's only if I don't have to pretend to care about your problems. Or listen to any of your stories...unless there's a horny housewife in there somewhere.

HOMER: Woo-hoo!

EXT. MOE'S BAR – LATER

A slug line reads “42 beers, 14 shots, 5 mixed drinks, and a bottle of glue later.”

INT. MOE'S BAR

Pleasantly sloshed, the men sway on their bar stools. Krusty, the center of attention, is about to finish an anecdote fit for a locker room.

KRUSTY: ...So I said to Pacino, “Sure, Natalie Wood was pretty good, but I'd rather bone Sharon Stone.”

They erupt with laughter.

LENNY: Holy smokes. A six-figure audit, four OD's, and a bout with the clap. I envy you, Krusty.

CARL: Yeah, what a lifestyle. Hey, give us the scoop, Krusty. How many women you been with, anyway?

KRUSTY: Eh. Who keeps track?

LENNY: Seven.

CARL: Eleven.

MOE: Three.

KRUSTY: (SIGHS) OK, OK. Let me see...does a tipsy Bea Arthur count?

LENNY: Meh. I guess so.

MOE: Whoa, whoa, that counts? All right! That ups my total to four, then.

KRUSTY: Well, that puts me at...two-thousand, eight-hundred and twelve women. Plus a weird close-call with David Bowie.

Following a hushed awe, the boys fidget.

MOE: Huh. (beat) David Bowie.

LENNY: So, how 'bout you, Homer? What's your number?

Homer reacts to the question like it's a whiff of smelling salt. Deep in thought, he strokes his five o'clock shadow.

HOMER: Well, let me see...there was...her...and then...add the zero...(beat) Marge. Just Marge.

Aside from Krusty, all involved scoff at Homer.

MOE: For God's sake, Homer, I thought I was pathetic, but I got you quadrupled.

LENNY: Yeah, and I got you sevtupli—um, septaruple...uh...I've boinked more broads than you!

KRUSTY: Ah, you can't fault the guy for not cheating.

CARL: Maybe so, but what about high school?

MOE: Yeah. Plenty of people scored in high school. Even me. Thank you very much, Marvin Gaye record...and narcolepsy.

HOMER: Hey! For your information, I got to second base with Shirley McDonald.

MOE: The head cheerleader? You felt her up?

HOMER: Well, not exactly. She was my partner in a three-legged race that took place on a baseball diamond.

For this admission, Homer is cackled at.

HOMER: Shut up! We may be a little old-fashioned, but Marge and I share something special. Now, if you'll excuse me, I'm going home to romance the woman I love after a heated pep-talk to my whiskey-wang.

With that, Homer storms for the exit. Krusty pursues and catches him by the door.

KRUSTY: Don't worry about those schmucks. They're just jealous of you and me both.

He jots down his phone number and hands the napkin to Homer.

KRUSTY: Listen, it get lonely at the top, so if you ever want to hear a story about how great I am, or if you can score some primo reefer, give me a call, will ya?

As he sways to and fro, Homer eyeballs Krusty.

HOMER: Who the hell are you?

KRUSTY: Aw, for the love of...

He digs into his pocket for the clown nose.

INT. BEDROOM – LATER

As Homer barges in, the door thwacks against the wall. He flips on the light, staggers toward the bed, and kisses Marge.

HOMER: Listen, baby, you're the greatest thing that ever happened to sliced bread. And I'm not just saying that 'cause I threw up on some roadkill on the walk home.

MARGE: (YAWNS) Well, you're home early. The bars don't close for another five minutes.

Homer wrangles with his shirt, trying to remove it.

HOMER: Yeah, the jerks at Moe's were being a bunch of Lenny and Carls. They were giving me the third dimension 'cause you're the only one I've done the old sweaty-snuggle with. But I say there's nothing wrong with weirdos like us that embrace premarital Cassidy. Am I right?

MARGE: (NERVOUS LAUGH) Yup. You're right, Homey.

As he fumbles with his zipper, he casts a leery gaze on her.

HOMER: Hold on...I know that laugh. That's the same laugh you let out when I asked if you'd seen my Members Only shirt. Two days later Lisa told me you donated it to those monsters at the Salvation Army. They revoked my membership and gave it to a freaking hobo! (beat) Are you hiding something from me?

She pulls the covers over head.

MARGE: No, no, no. Of course not. There. It's settled. Now let's go to sleep and hope you're too drunk to remember this conversation in the morning. (NERVOUS LAUGH)

Homer tugs on the covers like a magician revealing the ugly truth. He exposes his wife to his accusatory pointer-finger.

HOMER: You are hiding something. What is it, Marge? I demand to know.

Marge rubs her forehead, swallowed by dread.

MARGE: (SIGHS) Homer, you're the love of my life and we got this far without me ever having to bring this up. But the truth is, before I met you...I once slept with another man.

Unfazed, Homer backs away from the confrontation. He hops on one foot and clumsily tends to stepping out of his pants.

HOMER: (NONCHALANT) Hmm. Slumber party with a dude, eh? Well, that's kind of odd, but I can handle it. Who was he? Smithers?

MARGE: No. Homer, you don't understand. When I say “slept with,” that's a nice way of saying that—before I knew you existed—I had sex with another man.

HOMER: (AGHAST) What?!

He loses his balance, tips over, and whacks his head on the dresser. He won't regain consciousness until morning.

END OF ACT ONE

###

Hey, it's me again. This is a suitable place to stop for now. There will be a little more to come. Homer has a funny nightmare in the next scene, and after that, he confronts Marge in the kitchen and you'll find out which semi-well-known character bedded her in high school. (In my script, at least.)

“If you've come this far, maybe you're willing to come a little further. You remember the name of the town, don't you?”**

Springfield.



*Not all of the formatting herein is done properly. You know what, though? If you're the type who models his scripts after what he reads on my blog, the time has probably come for you to abandon your hopes and dreams.

** I'm not sure why I slipped in a Shawshank quote at the end. Standards have fallen.

Saturday, September 3, 2011

Too Many Jokes




When I'm asked why I've never tried stand-up comedy, I tend to stammer in my response. I say that I'm flattered by the suggestion, but then I cite my dread of bombing on-stage and my general distaste for public speaking. My inquisitor on the matter assumes that anyone who writes comedy must be able to perform it, too, and it's always disappointing to tell him/ her otherwise.

There remains a slim chance that I will one day change my mind about stand-up, that the size of my testicles will miraculously double and I will muster the fortitude required to tell jokes to dozens of drunks at a bar.

Until then, I leave you with a lengthy collection of the best stand-up material I have written but never performed on-stage. If your copy of There Will Be Blog has yet to be red-flagged by doo-doo residue in the bathroom, now is the perfect time to remedy that.

Instead of that long-winded Surgeon General’s warning on the side of a box of cigarettes, I think a more persuasive disclaimer would be: “There’s no cool way to wheeze, Olig.”

The other day I saw a heavyset girl wearing a high school track sweatshirt. A bit puzzled, I said to her, “Shot-put, right?”

I was at the grocery store the other day. By the entrance I saw one of those funneled coin deposits with a sign above it that read, “Your donations will help to feed animals at the local petting zoo.” I gladly donated all the change in my wallet. Let me tell you, it’s a great feeling to know that some adorable little bunny is going to choke on the quarters I donated.

Unlike women, most men don’t mind using blankets to cover up their windows. If there were no women on the face of the earth, blanket sales would skyrocket and curtain sales would plummet. And I shan’t consider the setback the tampon industry would endure.

The following are bad ideas for bumper stickers. 1.) My kid shot your honor student. 2.) I brake for child molesters! 3.) If you can read this, you're not from Alabama. 4.) Honk if you've blinked today. 5.) Follow me to where I hide the bodies!

If I had but one superhuman power, I’d want the ability to scratch my butt with my mind. ‘Cause let’s face it, we’ve all had that inopportune butt-itch at a wedding or funeral.

If Bette Midler named her son Adolf, the poor kid’s name would be Adolf Midler.


I was standing in line at the grocery store when I spotted a Cosmopolitan magazine on the rack. A nearly nude Megan Fox was on the cover. Underneath her picture, the caption read, “Hey ladies, doesn’t this bitch make you feel fat?”

The future would be less terrifying if our pubic hair fell out as we got older instead of turned gray.

G.P.S. Navigation Systems are a scam. Forgive me for pointing out the obvious, but it's impossible to get directions on the road from a plate of German Potato Salad.

I'm so sick of unrequited affection. The phone sex lady never calls me back. I gave that sultry voice the best years of my life!

Whoever coined the phrase “Smooth as a baby's bottom” sounds like a pervert to me. Why did we let a baby's ass-groping pederast coin a popular expression?

The one advantage the penis has over the vagina is the penis can answer yes or no questions. Have you ever tried to get a straight answer out of a vagina? It can be so maddening.

The Trench Coat Mafia really gave the Mafia a bad name.

If it's true that life is nothing but a dream, it's incredible to think of how many times you've unknowingly pissed the bed.

Something about vampires just doesn’t add up to me. Given the fact that they don’t appear in reflective surfaces, isn’t it strange that they’re all so primly groomed and presentable? Without a mirror to use for reference, you’d think they’d all be slovenly doofs with boogers in their noses and bits of jugular stuck between their teeth. Instead of handsome men like Tom Cruise and Brad Pitt and the guy from Twilight, modern-day depictions of vampires should resemble bedraggled misfits like director Tim Burton and mug shot Nick Nolte—people who obviously haven’t dared to look at their reflection in years. Self-reflection is at the core of vanity, and vampires completely defy that.

Robocop doesn’t scare me. I’d just shoot him in his vulnerable mouth area and he’d be a goner.

Remember when our grade school teachers told us we had to learn cursive because our high school teachers would forbid us from writing freehand? The fuckers lied to us.

I used to be enamored with a girl who told me that even though she thinks she might love me, she didn't want to give me a hug. That's when I realized I was chasing a lost cause. “I might love you but I don't want to hug you?” That's the same agreement I have with my dad.*

In the future, bathroom walls will be equipped with spell-check devices. This will prove invaluable considering a lot of guys have a habit of misspelling the word “masturbate.”

Sometimes when I’m eyeballing a gorgeous girl in a Maxim spread, I wonder if she’s secretly got a Siamese twin that was airbrushed out of the picture. Because, as my female friends keep insisting, they can do some pretty amazing stuff with that airbrush technology.

You don't see too many deaf third base coaches, do you? That's because the batter wrongly assumes the hit-and-run is on every time the coach mimes the words, “Damn, these polyester uniforms really chafe my nuts.”

When you’re walking back to your car in a parking lot late at night, do you ever pretend there’s a knife-wielding serial killer nipping at your heels and you’ve got to unlock the door and drive off quickly in order to survive? I do, only instead of rushing urgently, I take my precious time getting into the car because I’ve always dreamed of being stabbed to death.

Watching war movies has taught me that soldiers are more likely to run out of ammunition than cigarettes. The battleground is no doubt a nerve-rattling environment, and cancer sticks provide a brief reprieve, but soldiers in war movies should be more practical and replace a few boxes of cigarettes with some clips of ammunition. Although it’s true that you can kill a Nazi with second-hand smoke, the
process takes decades, and it’s much simpler to pump his chest full of bullets.

Whenever an athlete who wears the number 69 engages in mutual oral sex, it’s got to mean a little extra something. And while we’re on the topic, the next time you’re in the midst of sixty-nining, I think it would be fun to abruptly scold your partner by screaming, “Hey, you’re doing it all wrong! You’re supposed to be the six and I’m supposed to be the nine, not the other way around, stupid!”


My secret to happiness? Oh, I owe it all to that pillow I own with the phrase “Hooray for Love” sewn in the fabric. It's just that easy, people.

Why do the Spanish feel the need to attach gender to inanimate objects? The Spanish live in absurd fantasy world where the computer menstruates and the hammers obsess about baseball to keep from ejaculating too soon.

I was very disappointed by the contents of a compilation CD called Monster Ballads. It was filled with melodramatic '80s crap from the likes of Poison and Cinderella; there weren't any songs that lamented the woes of monsters such as Freddy Krueger, Swamp Thing, The Wolfman, and former vice-president Dick Cheney.

In the event of a zombie uprising, the best mode of transportation is a snowplow. And don't give me that monster truck bullshit; everyone knows those things have terrible gas mileage. I've put a lot of thought into this, so just trust me on this one.

For the life of me, I can’t comprehend this cultural hard-on for expensive car rims. I’d rather splurge on calf implants than pay five-grand for a set of hubcaps. These grown men have a toddler-like obsession with meaningless shiny things. Why stop at hubcaps? Go duct-tape some Christmas tinsel to your riding lawnmower, ya spoiled-rotten stooge.

What is it the Bloods and Crips disagree on? I’m no expert on the matter, but from what I gather, both gangs embrace hustling, hos, rap music, tattoos, malt liquor and territoriality. Members of both gangs were born into underprivileged neighborhoods that are mostly neglected by outsiders. Bloods and Crips both despise and fear the police. It seems like they’ve got more in common than they care to admit. Is the whole dispute centered on color preference? Do you have to spray a man with Uzi fire because he likes to wear red as opposed to blue? I’d like to see the two gangs reconcile and unite against a common enemy: The Amish.

My grandma is in the throes of Alzheimer's Disease, which isn't a funny notion on the surface, but I'll tell you this: Watching baseball on ESPN is more entertaining when someone in the room keeps getting shocked and spooked by a computer rendering of the strike zone (the “K-zone”). I can't help but grin wickedly whenever she asks, “Did that man just swing his bat through a magic window?” No grandma, magic windows don't yet exist, God bless your heart.

Phone sex is all right, I guess, but you haven't lived until you've tried Morse Code sex.

I bought a season of Teen Mom on DVD just for the deleted scenes. My favorite clip that got cut is called, “A shred of human dignity.”

No one ever said that life is easy, but sometimes, on serene summer twilights, when the charcoal embers in the grill get slowly extinguished like the gleam in the eyes of tuckered-out toddlers, and a flock of graceful birds fly straight over head, I just think to myself: “Am I gonna get shit on?”



*Hey. Yuks aside, I really do love my dad.





Tuesday, August 16, 2011

Coach, the Short Story




Craig T. Nelson is an actor in his 60s best known for playing the title role of Coach Hayden Fox on an ABC sitcom that peaked in popularity in the early '90s. (He was the embattled dad in the movie Poltergeist, too.) What follows is an account of what happened on his trip to the Atlantic coast of Florida to take in the Daytona 500, a major NASCAR race.

Inside an Applebee's, Craig sits in a booth, alone and solemn, gazing absently at a menu. Suddenly a clamor arises in the pocket of his khaki pants. It's his cell phone, blaring the theme song from Coach—a marching band anthem that flourishes with all the gusto of a John Phillip Sousa arrangement. Craig urgently digs for the cell phone, brings it into the light. Meanwhile, a burly and excitable man in his late 20s overhears the music from his perch at the bar. He sits bolt upright, swivels around, and turns his focus toward Craig. The fight song ceases abruptly, though—an indication that Craig has received a text message rather than a call. He frowns as he reads the text.

“It's over, Craig. Move out by end of month. Goodbye. --Diane.”

His shoulders slink. He groans weakly. On the brink of catatonic despair, he slips the device back into his pocket and stares at the empty seat in front of him.

The young man at the bar approaches, his mouth agape, his eyes bulging in increments with each step he takes in his leather sandals. His t-shirt bares Greek letters; stitching beneath that reads “2001 Pledge.” He grins broadly, tucks his hands behind his head and squeezes the bill of his backward-turned cap. When he gets within an arm's reach of the table, Craig finally notices him.

“Coooaaach!” the young man bellows.

A willowy waitress with a golden ponytail strides over, shaking her head.

“Inside voice, Mike. Please. Tone it down.”

Craig smirks wistfully, a bit revived but still weary.

“It's all right, miss,” he says. “I guess the fanfare is nice sometimes.”

She peers at Craig quizzically. After a moment, she nods with vague recognition.

“Oh—my goodness. I do know you—from television. Yes. A sitcom. What was the name of that program?”

Coooaaach!” Mike informs her.

“Yup. That's the one,” Craig says, chuckling.

“Well, I've never waited on a celebrity before. How neat! I'll be back to take your order in a minute, sir.”

She walks away, flashing her teeth. Mike lingers, awestruck and vibrating with cheer. Craig extends an open hand to his admirer.

“Pleasure to meet you, Mike.”

Startled by the greeting, Mike gulps anxiously, convulses out of his stupor, and shakes hands. He nods reverently.

“Coach,” he says in a dignified manner.

“Have a seat.”

Mike exerts a quick gasp and then obliges. He slides into the booth and faces his idol.

“You know,” Craig says, “I hate to be needy, but it really is refreshing for an actor to find someone who really likes his work. The years I spent playing Hayden Fox were some of the best of my life—professionally, personally, financially...you name it. Sure, we were never quite as popular as Full House or Seinfeld, but do you know which show had the sixth-highest ratings in prime-time from '92 'til '94?”

Coach!”

“Bingo! Holy smokes. You really know your Coach facts.”

The waitress returns, poised to jot down Craig's order. As she addresses Mike, she motions toward the bar.

“I think your beer is getting warm...”

“No, it's all right,” Craig insists. “Mike, care to join me for dinner? It's on me, bud.”

Overcome with gratitude, Mike pumps his fist and nods effusively.

“Coach!”

“That's the spirit,” Craig says, squinting at the menu. “I'll have a T-bone steak, rare, with a baked potato on the side. And for my new friend...”

Mike bows his head and gestures to Craig; he defers.

“Coach?”

“You want me to order for you? Sure. Mike will have the same. And a few rounds of beer for the both of us.”

The waitress says she'll be back soon with their meals and departs.

Craig leans forward, raises an eyebrow.

“I ordered the T-bone 'cause that was my nickname when I was about your age. Craig 'T-bone' Nelson.”

The gag is slow to register for Mike. A few seconds pass by, but then, with feigned understanding, he lets out a boisterous laugh. He tilts his head to the side and points to Craig.

“Coooaaach.”

Craig rollicks in his seat, snickering.

“Oh man, sharing some laughs with one of my biggest fans...This is just what I needed.” He reaches into his back pocket and makes a grand presentation of two tickets. “Do you like NASCAR, Mike?”

He nods repeatedly.

“I suddenly have an extra ticket for the Daytona 500 tomorrow. Tell you what: You can be my guest, but only if you pass the quiz. Ready?”

Puzzled but willing, Mike nods again.

“Okay. First question: What is the greatest TV show of all time?”

Coooaaach!” Mike hollers.

“What was the profession of the character I played?”

“Coach.”

“And, last but not least, who's your favorite character?”

“Coach!”

“Really? Wow. Most people say 'Dauber,'” Craig says. He offers a high-five and is left hanging for less than a millisecond. “Congratulations, Mike, you passed with flying colors. Let's celebrate with some shots of Jameson.” He turns his head and says, “Excuse me—waitress!”

###

At the big race the next day, Craig and Mike are clapping elatedly, standing on their seats with the utmost expectancy. The surrounding spectators are no less enthralled. Craig nudges Mike.

“The last lap. I've got five-grand riding on Jimmie Johnson and he's making a late-charge on that bozo Jeff Gordon. Oh man, Mike—the racing, the gambling—it doesn't get much better than this.”

Mike nods in agreement. They watch the drivers round the final turn. Johnson is trailing Gordon by less than a car-length.

“You can do it, Jimmie!” Craig shouts.

Perhaps mystically spurred on by the Coach's encouragement, Jimmie Johnson indeed does it; he takes the checkered flag by a narrow margin. Bursting with triumph and passion, Craig and Mike hug each other. Craig pulls away and grabs a hold of Mike's chubby cheeks.

“Guess who just got five-thousand dollars richer?”

“Coooaaach!”

“You said it, Mike! Now we gotta celebrate.”

 I swear to God if you buy More Stories, and Additional Stories it will be the greatest decision of your life. Better than having a kid--which, let's face it, Tom and Judy, was really more of an accident.

Saturday, August 6, 2011

We're an American Band, For What It's Worth (side-B)




Telling quote #1: “We are the innovators/ They are the imitators.”--My Morning Jacket, “Wordless Chorus”

Telling quote #2: “Question: Which bear is the best bear?”--Jim Halpert, impersonating and mocking his loony co-worker Dwight Schrute on The Office.

The four of us rode our bikes to the Ferg household on the southern edge of town. In reference to Mariokart, we hollered jokes about shooting red shells and dropping banana peels along the way. We were poised to play a friendly game of poker. I was the last to arrive at our destination and blamed my shoddy performance on a lack of Star power-ups, which I am wont to do.

We helped ourselves to bottled waters in the basement. Mr. Ferg came downstairs to greet us. Everyone said hello and in no time I was asking him questions about music. He gave me answers on Gram Parsons as well as the various lineups of the Byrds. Mr. Ferg is a great guitar player. He's in his mid-50s. We're friends with his two sons. When his workweek is through, he plays gigs with three different bands and covers songs by CCR, Elvis, Buddy Holly, and Buck Owens (to name a few) and performs originals like “Shit My Pants Polka” and “I Can't Sing Like Johnny Cash.”

My friend Wesley Tables got my attention.

“You should ask Mr. Ferg your big question.”

It was a reference to side-A of this essay. I had finished it the day before. I shrugged, nodded, and took a seat on a bar-stool with intent to pose my question to Mr. Ferg.

“OK. In terms of a rock band having a whole lot of impact on the world at large, the Beatles have got to be #1, right? They're British, of course. Who do you think is the most influential and significant American band? That's the big question.”

His prominent brow crinkled, owing to wariness more so than intrigue.

“I just don't think there's a real answer to that question, Nick. No other band left their mark in history quite like the Beatles—American, British...Irish, who cares? I don't see why there has to be a competition for second place. What does it matter? Now, a lot of people thought the Byrds were sort of like the American version of the Beatles, and there's some truth to that, but I have to say that my ultimate answer is that I don't have an answer for you.”

It should not be overlooked that my friends were overjoyed by this response. Dick Willy chimed in.

“That's a great answer, Mr. Ferg,” he said. “And you still don't know whether to count Nine Inch Nails as a band or a solo artist, Olig,” he added.

That was true, at the time. I pondered for a beat without hanging my head in dejection, which was a challenge. Tad Lightly spoke up.

“I'd go with Three Dog Night.”

Mr. Ferg snorted before he took a sip of beer. He shook his head.

“Three Dog Night,” he repeated—somehow marveling and dismayed at the same time.

Mr. Ferg and I agreed on something, at least. The problem with Three Dog Night and so many other popular American bands from the '70s is that they all tend to blend together in a hearty but generic stew of that musical era. To me, Steve Miller Band, Kansas, T-Rex, Grand Funk Railroad, Boston, and Three Dog Night all seem akin to sports teams that made the playoffs only to get knocked out in the first round. All of these bands made achievements, but the true champions of their era will be discussed later. Hopefully this is the last time anyone likens the dudes from Cheap Trick to the Yao/ McGrady-led Houston Rockets, circa '05.

In the basement of the Ferg household, I realized I wasn't making much progress. Basically, I had journeyed to consult the sage, only to be told that my pressing question didn't really merit an answer. I stepped outside to smoke a cigarette and contemplate as much as I could as the chips and cards were distributed for the poker game.

Later on in the night, the answer to a minor issue came to me. Belatedly, I thought of a reply to one of Dick Willy's many qualms with my latest essay. What I said seemed especially mistimed because I interrupted a chat that was mostly about Gilligan's Island.

“Nine Inch Nails are a band, to answer your question," I said. "But they're a band with an identity crisis. Trent Reznor isn't a solo artist and Nine Inch Nails are a band in pretty much the same way that 'bra' should be plural and 'panties' should be singular—even though they're not termed that way. By a loophole of logic, Nine Inch Nails are more like the bra, plural, than the panties, singular. Got it?”

I felt satisfied and went all in with my dwindled stack of chips. My nines were drawing dead before the final, “river” card was flipped. After that, the upshot of my explanation was that I had to explain myself further. I felt accustomed to doing that sort of thing.

***

The point being: I really didn't get anywhere the night the big question was brought up. Sure, Nine Inch Nails may count as an American rock band, but they're definitely not the most historically relevant. The same goes for so many other bands because my point of comparison is unfair in nature. I have come to realize that Mr. Ferg is probably onto something...but that doesn't mean I won't try to meddle with the ludicrous notion of determining America's most comparable answer to the Beatles.

I get the maddening nature of it all, though. We're a country founded on the belief in the triumph of the individual, whereas the British put a higher regard into the collectivist spirit. Americans tend to feel like they have a band, but the British typically feel like they're in a band. Americans are more likely than other nationalities to lend prestige to one while lessening the contributions of others, and rock 'n' roll is but a microcosm of this truth. This is why so many Americans know something about Albert Einstein and Babe Ruth but have little to add about the Manhattan Project and the '27 Yankees. This why the president has more power than congress, whereas the British Parliament has more power than the Prime Minister and royalty. Great Britain and America were fundamentally molded into those paradigms, and the iconic music created in both countries has reflected that.

In recognition of this cultural chasm, I am hereby waving the surrender flag in regard to my original question. The ideal way to cope with all the flack I've been handed for raising such an absurd question (not to mention the dumb consternation the whole thing has caused me) is to strike up a compromise and admit that I too can't really provide a satisfactory answer. Instead, I have to offer an abrupt crossover into baseball lore. I'm going to compose a starting-lineup card of America's premier rock bands.

Baseball is, after all, a truly American sport; it has been deemed our national pastime, ad nauseam. It's also not as popular as football—whether it be American football or the painfully dull version of the game that Brits embrace. Just as American bands don't provoke as many “wows” from the casual fan, the same could be said about baseball in comparison to football.

Elvis is our quarterback and Creedence Clearwater Revival is our center-fielder--am I right?

As for the problem of equating plural entities (bands) to singular entities (individual players), refer to the Nine Inch Nails conundrum earlier in this essay.

Some significant bands must be left out of the starting line-up; they'll have to ride the pine in the dugout, chew and spit wads of snuff, and tell dirty jokes between innings. R.E.M. are critically beloved and forefathers of indie/ alternative rock, but their magnitude is just not on par with the bands in the starting line-up. Apologies for the snub, Michael Stipe, but you sang it best: “Everybody Hurts.” Lynyrd Skynyrd are quite popular, especially to southerners, but they're really more of a Confederate band. Benched! Van Halen meant an awful lot, but they lose points for interchanging lead-singers and thereby cheapening the value of their group by employing the likes of Van Hagar and later Van Gary Cherone. Journey is denied mostly because their most memorable music video—the one that featured them earnestly playing air-instruments in a back alley—cannot be appreciated by a self-respecting listener who has no sense of ironic detachment. The Eagles have a top-selling greatest hits album working in their favor, but too many fans of rock-music share the Dude Lebowski's conviction that they really sucked. Guns 'n' Roses disbanded an album or two before cementing a superlative legacy, and then their lead singer devolved into a pop-culture joke. Metallica doesn't quite mean as much to American heavy metal as KISS does (who hit the scene first), but I will concede that that was a very tough call to make...

For what it's worth, naturally.

And so, with "fuck yous" to further ados: Here is my starting line-up of the most iconic American rock bands.

1.The Ramones, RF. They played much faster than any other band in the line-up, and lead-off hitters are known for having great speed. The Ramones only required 2 minutes to blast eardrums with 3-chord ugly-bliss. They played at a frenzied pace and always hustled. They could easily stretch a bloop-single into a double. My friend Ziggy has to lend a great and insightful quote about why the Ramones are so crucial, and here it is: “Like most Americans, they're dumb and they don't care. They founded American punk.” Listen to Ziggy.

2.The Beach Boys, 2B. “They're probably the most suitable rock-critic answer to the question,” Ziggy opined, and, considering that Rolling Stone deemed Pet Sounds the second-greatest album of all time (behind only the Beatles' Sgt. Pepper), it's hard to disagree with him. Their early stuff seems so unduly fixated on the appeal of surfing and So-Cal babes, and I have to scoff at the likelihood of legendary Brits like Mick or Paul or Plant ever bringing their talents to a county fair in my hometown of Fond du Lac, WI—as Mike Love has done with his touring semblance of the Beach Boys—but that only serves to demonstrate the fact that our bands are less in-demand than their counterparts across the Atlantic. But within the confines of the debate, that hardly matters. “Good Vibrations,” “God Only Knows,” “Sloop John B.,” “Barbara Ann,” “Help Me Rhonda,” and a host of other melodic triumphs stand as proof that while the Beach Boys didn't slug very many out of the park, they still tallied singles with the greatest of ease.

More Stories, and Additional Stories. Oh, man, it's way better than the worst thing that ever happened to you. Eat your heart out, creepy scout master!

Wednesday, July 27, 2011

We're an American Band, For What It's Worth (side-A)




I don't mean to boast, but not long ago, I made practical use of a status on Facebook. This is a relative claim, of course; I'm comparing the question I posed to the likes of 1.) “My ex-girlfriend is a vile harlot”* and 2.) “man im so high right now!” Now, I can't prove the status I submitted was more substancial than either of those two offerings, but mine garnered over 50 responses, whereas no one had a word to say to the jaded lover or the non-discrete stoner. The point is not that I am therefore cooler than anyone else, but rather, that my hunch about posting something relevant on FB has been supported by evidence. This essay functions in much the same way. I seek validations for what strikes me as truthful, but I don't offer very many indisputable facts. Considering the following question that I posed...how could I?


“I have a question about music. OBJECTIVELY speaking, it can be stated that either the Beatles or the Rolling Stones are the greatest British rock band. (Led Zeppelin and Pink Floyd can't quite match the magnitude of their predecessors.) Which band best qualifies as America's greatest? Not necessarily your favorite, mind you--and please dear God nobody say Fish** (sic).”

My hypotheses are that 1.) the indisputably iconic rock bands from Great Britain are vastly easier to acknowledge than their American counterparts, and 2.) America's most influential and monumental musicians are all solo artists. Less vitally, it's also fairly simple to identify the solo rockers from Great Britain who have left the most culturally significant legacy. The greater question that I want an answer to is this: Why does it seem so laughably dubious to try to name the American rock band that truly resonates the most? I can't even compile a plausible Top-5 that would be remotely satisfying—which is vexing since I'm inclined to do such a categorical thing. How can this be explained?

I received plenty of solid answers and, predictably, very few great answers. Some replied facetiously. (“Cheeseheads with Attitude,” “America, for fuck's sake,” and “If only Nickelback were born in the U.S.A....”) Others provided sincere replies that strike me as ludicrous. (“Rancid—debate over,” “The Strawberry Alarm Clock...no contest,” and “The Grass Roots?”) Not everyone gave an objective rather than subjective response. (You're one of my favorite people, Hootie McBoobs, but that band who rocked us so thoroughly at Summerfest, “the Black Keys”...they're just not a viable answer to the question.) One person answered, “The Beatles, obviously,” and I don't know her well enough to tell if she was serious or kidding. I got a kick out of another comment, “Definitely Grand Funk Railroad, now that I think about it,” because that would be Homer Simpson's answer and Grand Funk were at least effusively proud when they proclaimed themselves an American Band. Aside from Fish (sic), I was relieved nobody mentioned bands I think are both quite shitty and poor answers to the core question. (Sticks,*** REO Speedwagon, and Bon Jovi.) I was rueful when bands that don't appeal to me but nonetheless merit consideration were brought up. (Journey, Aerosmith, and Van Halen.) The most rational and insightful contributor included in his Top-5 Sonic Youth—a discordant indie-band that has mostly disdained mainstream appeal since their emergence in the mid-80s. This baffles me as much as it validates my initial hunch. I couldn't believe Lynyrd Skynyrd, R.E.M., and KISS were nowhere to be found in the debate. These three American rock bands combine for nearly 8-million “likes” on Facebook.**** Astonishingly, Metallica is more popular than all three of those bands COMBINED on the same site—and they were likewise absent. Maybe I need new digital pals to better reflect our culture's classification of a truly great American band. Maybe I should offer superficial friendship to a random weirdo solely because he has a Gene Simmons tattoo on his chest. These are the fake problems I conjure to make life even more troubling.

My premise that Led Zeppelin can't match the magnitude of the Beatles or the Rolling Stones was disputed. This is a minor quibble and a tangential challenge. Regardless of whether you prefer Led Zeppelin to the Beatles and/ or the Stones, don't overlook the fact that the Misty Mountain Hoppers were not a part of the British Invasion—probably the most momentous development in the time-line of rock 'n' roll. I will gladly concede that, in terms of impact, Led Zeppelin vaulted over less iconic British Invaders such as the Who and the Kinks. Led Zeppelin may very well earn the bronze medal in the debate across the Atlantic, and—all things considered—that is an astounding achievement. But no matter how much you adore raunchy but sometimes sentimental hard rock that verges on heavy metal, please, don't shit yourself: Led Zeppelin mean a lot, but the Beatles and the Stones unequivocally mean more. As the time elapsed after the watershed moment of said Invasion, the limitations of cultural impact became more restrictive. (This also helps explain why Black Sabbath, Queen, the Clash, and Cream—while superior in impact to the vast majority of American bands—aren't the most sensible answers, either.) Perhaps I should have restated it all this way: In an encyclopedia that chronicles a slew of rock bands, the Beatles and the Rolling Stones must have the longest, most thorough entries. Which American band warrants the longest, most thorough entry?

And by the way, I do realize that equating sexy things like rock 'n' roll and Robert Plant's acid-washed pants-tent to scholarly things like encyclopedias and footnotes sort of reduces the appeal of what I'm trying to embrace. What can I say? Don't be like me. Shit, I can barely pull it off. It's a daily challenge.

The second problem people had with my premise was far more exasperating. Vance Flerny, among others, completely disagreed with me that Chuck Berry and Elvis Presley qualify as solo artists. After I commented that both are subject to a different (and less ambiguous) debate, he retorted with the following:

“That's weak. They both played with bands. Neither one just hung out by himself and played on-stage. I would hate to be the one to tell the 'band' backing a so-called solo artist that they actually weren't a band at all—that the only person considered to be the artist was the front-man.”

To my chagrin, Richie Chipworth concurred.

“Yeah. Why are solo artists disqualified? It seems like an arbitrary distinction.”

I spewed an exhausted sigh and tried to explain that there is a clear difference between bands and solo artists with backing bands that typically feature a revolving cast of players. Golly, what a fucking lost cause that turned out to be. And so I'll have to elaborate. Being in a band is not the same as having a band. While the former phrasing designates a partnership, the latter implies prestige for one and the subordination of the others. Chuck Berry is the easiest to dismiss because he never had a definitive backing band. He required interchangeable bassists and drummers, but, in essence, the man behind “Johnny B. Goode” played with his own Ding-a-Ling. As for Elvis, Bob Dylan, and Johnny Cash, consider their album covers for tangible proof. NO MENTION of the Jordanaires, the Band, nor the Tennessee Three, respectively, is printed on any of the studio album covers the three collectively released. This info was reflected by Billboard charts that marked record sales and radio play. Credit, acclaim, and fortune came to them in vastly unbalanced proportions compared to what their backing bands received. Hence: the King, the Voice of a Generation, and the Man in Black qualify as solo artists.

Beyond that, it's senseless and grammatically incorrect to say something akin to, “Johnny Cash was such an incredible band.” Or: “The Beach Boys are my favorite musician.” Sweet Jesus, people. If I have to explain to literate adults the difference between singular and plural nouns, I'll be forced to pursue a career as a merchant of suicide machines.

Votes were cast for Tom Petty and the Heartbreakers as well as Bruce Springsteen and the E-Street Band. This is where it gets especially tricky. Explicit signs of prestige and subordination apply to both, but the line-ups of the Heartbreakers and the E-Street Band alike have remained (mostly) intact for over 35 years. Petty and Springsteen may be glory-hogs, but I think that's a major part of their American appeal, and furthermore, both are loyal glory-hogs who prefer not to play with interchangeable musicians. Does either qualify for the debate?

Tom Petty and the Heartbreakers were marketed and therefore qualify as a band because three crucial words, “and the Heartbreakers,” were printed on the record sleeves of You're Gonna Get It!, Damn the Torpedoes, Greatest Hits, etc. Bruce Springsteen, on the other hand, did not acknowledge the E-Street Band on the covers of Born to Run, Born in the U.S.A., Darkness on the Edge of Town, etc. The Boss also played every instrument on 1982's Nebraska, which is widely regarded as his best (and definitely saddest) album. The E-Street Band are very rarely recognized on Springsteen's album covers.

Therefore, the poor neurotic hack trying to clarify this clusterfuck deems that Tom Petty and the Heartbreakers are in fact an American band. Bruce Springsteen is ultimately an American solo act, though. If I was to assert that the distinction lies in the album covers, would anyone believe me? Vance Flerny and people of his ilk would not; I can only hope to sway others.

Maddeningly enough, though, Tom Petty released a few solo albums. In fact, three of his biggest singles, “I Won't Back Down,” “Runnin' Down a Dream,” and (oh, sweet lord, how the gruesome plot thickens) “Free Fallin'” are all included on 1989's Full Moon Fever. By my logic, those hits would have to be stricken from the band's legacy. Infinitely worse, Wildflowers was marketed as a solo album, too. That one featured “You Don't Know How It Feels” and “You Wreck Me.” I type infinitely worse because—get this—ALL THE HEARTBREAKERS, except for the drummer, played on Wildflowers. Petty is damn lucky he didn't cause a rift in the space-time continuum with that move.

 More Stories, and Additional Stories. Who needs two packs of gum when they could purchase this eBook instead? Losers, that's who.

Sunday, July 17, 2011

White Knows Candy




Four people sit behind a news desk, half-encircled by a camera crew. Only one of the four is a regular on television. His name is Marshall Storm, an anchorman known for badgering those he interviews with rude and prying questions. To his right, Mookie gestates peevishly. The middle of the panel is occupied by a wide-screen TV that displays a vexed and nonplussed Bill Cosby via satellite. To the right of anchorman Marshall Storm is Skip White, the frazzled and controversial owner of a local candy shop. Beside Mr. White, a fairly attractive but stern woman named Susan Grace glowers at him through wire-rimmed glasses.

Marshall Storm: Welcome to Hard Focus. I'm Marshall Storm. Grant Barker has the night off again; he was, if you recall, fired two months ago. Tonight the Hard Focus is cast on Skip White, owner of White's Candy Shop, a local business that has become the subject of controversy.

Skip White: There's that word again: Controversy. Skip White is now public enemy number one. I don't get it. I've done nothing wrong.

Susan Grace: On the contrary, Mr. White, what you've done is wrong and irresponsible.

Mookie: Yeah! You lied to me, Whitey.

Marshall Storm: Those are the outbursts of Susan Grace, concerned mother and moral crusader, and Mookie, a disgruntled cocaine addict. And joining us via satellite is a more esteemed African-American who serves as proof that Channel 6 in no believes all black people are like Mookie. Warm greetings to wholesome comedian and children's doctor: Bill Cosby. A living legend.

Bill Cosby: What? Doctor? No, that was just a character I played on the TV...say, what does this have to do with me? I heard some talk about a candy shop and drugs. What's all this about?

Marshall Storm: (bursts with laughter) Great stuff as always, Bill—and a fine segue, too. Let's take a look at Mr. White's latest commercial.

Skip White stands preening behind a display case of boxes of chocolate. A large spool of licorice, wound-up like a garden hose, can be seen over his shoulder.

Skip White: Greetings, candy fans! I'm Skip White. You know, people can buy a candy-bar just about anywhere these days, but what really makes my shop stand out is that I'm a certified expert on candy. The teenager in the baggy pants at the Wal-Whatever—has he memorized every single ingredient in Sweet Tarts? What about the heavyset fellow with the tattoos at the gas station—is he gonna explain to you the difference between Starbursts and Mambas? Heck no. You get the picture; I'm like a candy-sage. If you've got a craving for the stuff, you can trust me. Like my slogan says, I promise you: White Knows Candy!

Whoa. I changed the format so much on this story; it's remarkably better to the extent that it'll blow your fucking mind all the way to Heaven, where God will say, "Welcome my son, or daughter," and hand you an eBook copy of More Stories, and Additional Stories all over again.