Over and out
If you've come here for smart-ass, counter-intuitive, stick-it-to-The-Man commentary for the past three and a half years, you'll now have to go elsewhere to waste time.
Comments on politics, society, sports, music, bad manners, crazy parents, nutty kids, strange students, university life and freakish acts of nature.
"I love your blog!" -- Anonymous "Your blog is stupid." -- Anonymous "What do they charge per square foot for something like this?" -- Old Jewish Proverb
If you've come here for smart-ass, counter-intuitive, stick-it-to-The-Man commentary for the past three and a half years, you'll now have to go elsewhere to waste time.
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Gregg Ivers
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7:44 AM
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Jackie and Dunlap discuss the conservative Bible, prepare for Halloween, suggest the music that should be used for torture at Guantanamo Bay, and offer their take on the "Drunkest Guy Ever" You Tube video.
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Gregg Ivers
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2:21 PM
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Click here to see the new Tom Tomorrow cartoon.
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Gregg Ivers
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2:12 PM
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Two South Carolina Republican party chairmen remarked in a recent op-ed piece in a local state newspaper, the Times and Democrat, that Senator James DeMint (R- S.C.), was simply following the good example set down by the "wealthy Jews" by refusing to earmark funds for pet projects. Jews came into their money, according to these estimable historians of economics, religion and cultural development, by "taking care of the pennies and [letting] the dollars taking care of themselves."
Don't these outstanding modern 21st century men know why Jews have such big noses? Because air is free!
I'd suggest clicking here, here and here to learn more about how Jews control pretty much everything that is worth controlling.
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Gregg Ivers
at
3:06 PM
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In case you didn't know, barometric pressure, or the pressure at which air density changes with altitude, can be determined either of two ways.
Equation 1
![{P}=P_b \cdot \left[\frac{T_b}{T_b + L_b\cdot(h-h_b)}\right]^{\textstyle \frac{g_0 \cdot M}{R^* \cdot L_b}}](http://upload.wikimedia.org/math/8/d/7/8d7d6f94a14ff782b294356960b3c3b9.png)
Equation 2
![{P}=P_b \cdot \exp \left[\frac{-g_0 \cdot M \cdot (h-h_b)}{R^* \cdot T_b}\right]](http://upload.wikimedia.org/math/4/4/6/4462d97ee83b9422618bb06c1bd9c46c.png)

where

Posted by
Gregg Ivers
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12:12 PM
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Click here to see the new Tom Tomorrow cartoon.
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Gregg Ivers
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8:21 AM
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Jackie and Dunlap prepare for Halloween, and worry that Obama's efforts to find health care for all Americans is "un-American."
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Gregg Ivers
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2:56 PM
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Marijuana, like homosexuality, strikes many conservative cultural warriors as a late 20th
century phenomenon. Just as there were no gay people until the Supreme Court outlawed state-sponsored school prayer in the early 1960s (and yes, there are people who really do subscribe to this view), marijuana use is often portrayed as an unfortunate consequence of the Beatles transition from lovable moptops screaming "yeah, yeah, yeah" to sweater clad pre-teen girls to psychadelic pseudo-druggies no longer fit for anyone's daughter who made mysterious references to "tangerine dreams and marmalade skies."
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Gregg Ivers
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5:19 PM
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Click here to see the new Tom Tomorrow cartoon.
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Gregg Ivers
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11:52 AM
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Jackie and Dunlap join the Gay Equality march in Washington this past weekend, and suggest a modest proposal to reduce health care costs.
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Gregg Ivers
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7:28 PM
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As the Supreme Court kicks off its week hearing two interesting but not terribly difficult First Amendment cases -- one involving the display of a cross in a public park (unconstitutional) and a federal statute banning animal cruelty videos (unconstitutional) -- my former state of Georgia (no, not the one in the former Soviet Union) offers up its own entry into the free speech debate.
Students sometimes ask me how I make up some of the case hypotheticals I use in class. I don't -- instead, I just read the papers.
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Gregg Ivers
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11:47 PM
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From the first time I ever touched one, I loved record albums. Loved 'em, loved 'em . . . absolutely loved 'em. I am not a good record-keeper, so I have no way of knowing whether my own unofficial estimate that I spent roughly 95% of what little disposable income I had as a kid on records is accurate (the other 5% going to Arby's Jamocha shakes, Red Man chewing tobacco and raspberry Zingers). I still remember the first time I held a record in my hand. I was two or three months past my eighth birthday, hanging out at my neighbor Marcy Pitt's house on a rainy day. I saw a copy of "Sgt. Peppers Lonely Hearts Club" band leaning against the record player in her room. My father had just put a copy of "Sgt. Peppers" on his reel-to-reel tape deck and, like most kids in 1969, I was utterly transfixed by the Beatles. I asked Marcy if she could put it on. Because she had polio and often got tired from walking around in her braces and crutches, Marcy told me I could put it on myself. This was a privilege I did not yet have in my own house, where records were the equivalent of the nuclear codes and were guarded from my sister and I as if a child's hand touching one would set off a mushroom cloud over our house.
So I slid the record out of the sleeve and, just like I had watched my father handle his records, let the vinyl touch my thumb, careful to balance the middle on my other four fingers, my palm concave to ensure that my skin would not come into contact with the grooves. Balancing the record like a seasoned waiter balances multiple plates on his palm and forehand, I lifted the dust cover and, placing both palms on the outside of the record, placed the greatest record ever made on the turntable. Marcy had a Dual 1237 turntable, a model slightly below our own, so I knew how to work it from watching my parents play their records. I knelt down on one knee, careful to line up the tone arm so that the stylus would hit the outer groove at just the right point and begin its concentric journey to the opening song, "Sgt. Peppers Lonely Hearts Club Band." This was really my favorite part of playing records -- lining up the tone arm with the record with the precision of an Army ground-spotter calling in a precision air-strike to an F-15 fighter plane. Even into my twenties, the period when CDs started to replace records, I still went through the same ritual every time I put on a record.
* * * * * * * * * *
My mother played records constantly. Her concession to popular music was the Beatles, more the early "moptop" Beatles than the later "Revolver/Sgt. Peppers" Beatles. She was convinced that "Lucy in the Sky with Diamonds" was a drug song and had serious reservations about whether I, much less my younger sister, should listen to it. Her own tastes ran to Broadway show tunes, album versions of such popular musicals as "Oklahoma," "The Sound of Music," and "Stop the World: I Want to Get Off," the dramatic, over-the-top renditions of popular songs by Judy Garland and occasional singles by such noted female vocalists as Nancy Sinatra, Bobby Gentry and Ella Fitzgerald, who, in my mother's terminology, could "really belt out a tune!" My mother frequently attempted to "belt out" these same tunes, usually in public places and without the slightest concern that anyone would turn around and stare at us. Of course, she was the same person who would STAND UP in the movie theater and yell "Bravo!" when especially moved by an actor's performance. My mother's strategy of avoiding embarrassment to herself and reserving it for my sister and I was to take us to movies in African-American neighborhoods, where the call and response culture of the black church suited her own preferences just fine. Rather than a "sit down and be quiet response" that she would have surely received in a theater closer to our house, my mother's antics were greeted with a "That's right!" or "Mm-hmm!" or "Tell that woman she can sing!"
Having no particular enthusiasm for my mother's record collection, I contemplated sabotaging her albums, particularly anything on which Judy Garland appeared -- through a subtle, gradual campaign of scratching them, infecting her vinyl with the dreaded "skip" that made records unlistenable. An occasional bump against the turntable, down with a brief but effective hip check against the base on which it sat, would do it. I also thought about jumping up and down to shake the stylus off the record, forcing it to "jump" across the vinyl, setting it on its path to destruction. But I never followed through on my well thought-out plans to get Judy Garland out of my house. After a day of my sister and I driving her crazy, those records were my mother's sole reminder that she had a life outside of her children. She could keep her records and play them as much as she wanted. Besides, I would have gotten caught and had to endure my mother's tears as she looked at me and asked, "Why did you do this to me?" Not worth it.
* * * * * * * * * *
My dad treated his records very differently. He held them, examined them, checked them for dust, fingerprints and other foreign substances before he put them on his Dual 1245 turntable. He owned a Discwasher record-cleaning system, a Sound Guard "miracle" spray concoction that claimed to provide a "protective coat" of some chemical on the record to preserve the vinyl's integrity. To the best of my memory, record-cleaning fluids and audio equipment were my father's only concession to "brand name" products, convinced then, as now, that all cars, cookware, plates, lawn fertilizer, bottled spaghetti sauce, canned vegetables -- really, everything -- were all "made by the same people." Later, in my teen years, when I suggested to him that just because General Motors made the Cadillac and the Nova didn't mean they were really the same car, my father looked at me incredulously, unsure whether to clock me (which he didn't do and never did) or feel sorry for me ("boy, I don't know how you're going to survive when you start paying your own bills!").
For every one record my mother owned, my father owned twenty. He had hundreds and hundreds of albums, his record collection spanning the history of American jazz music. The emphasis was on Louis Armstrong, 20s swing, New Orleans music, big band leaders like Benny Goodman, who my dad revered as a band leader more than a horn player ("never hired a bad musician -- ever."), Billie Holliday and, of course, Duke Ellington, whose music he collected and studied like a Biblical anthropologist alone with the tablets that Moses received on Mount Sinai. Entire weekends were devoted to making documentaries about an Ellington performance featuring a particular horn player or unusual arrangement of one his standards. He took great care of his records, always careful to return them to their paper sleeves after he finished playing them and insert them back into the cardboard cover, with the sleeve facing up so the record could never accidentally slip out and make contact with the ground.
My dad's record collection ended when the be-bop revolution started. He acknowledged that Monk, Dizzy, Miles, Lester Young, Max Roach and Bud Powell were "talented" musicians but he didn't find the break from swing the eye-opener that I later did. Popular music had little room in his collection. Aside from the occasional Tony Bennett record, my father's scholarly interest in male vocalists was limited to early Frank Sinatra. He loved female jazz singers much more, and used to lament how unfortunate it was that I never got to hear Billie Holliday sing on record the way she sang live. "The saddest life in the history of music, maybe ever," he would say about Billie, with whom he was on a first-name basis.
* * * * * * * * * *
The first two records I ever bought with my own money were "Let It Be," by the Beatles, and "American Woman," by the Guess Who. This was shortly after I touched Marcy Pitt's copy of "Sgt. Pepper." My parents understood that if my cool 17 year-old neighbor would let me touch her favorite album, I was ready to buy and take care of albums on my own. I did not buy them at a "real" record store. I bought them at a discount department store called Zayre's. My mother had taken my sister to another part of the store to buy pajamas, underwear, slippers or whatever essential items a 5 year-old girl needed. I announced I was going to "look at records." I picked up those two albums, contemplated whether I could afford both with the ten dollars I had in my pocket. At $3.99 a piece, with tax on $7.98 coming to 32 cents, I realized I could pull it off. Better yet, the albums folded out, and included pictures inside. This meant the spine of the records was a little bigger, and made it easier to see the album artist when you stored them sideways. So thrilled was I with my first albums that I peeled the plastic wrap off on the way home just so I could the inside of the cover and peer into the record sleeve itself. The first song I ever played from the first record album I ever owned was "I Got a Feeling" by the Beatles. Not a bad start.
* * * * * * * * * *
By the way, the first record label to introduce album covers that opened up was Impulse!, a jazz label begun in the early 1960s as a somewhat arty alternative to the jazz being issued by CBS and Atlantic Records. Impulse! wanted to compete with Blue Note and Riverside, the premier labels for jazz purists. Impulse! put a great deal of time and expense into designing album covers that would be distinctive, as much as Blue Note had developed a "look" through four-color covers that included the musicians names, usually in white block letters, on the front, and a "sound," courtesy of the legendary recording engineer Rudy Van Gelder. Impulse! records features orange and black colors, changed up on the front but consistent on the spine. It also signed John Coltrane, who put Impulse! on the map by releasing a record, at his insistence, with Duke Ellington. Serious record collectors always placed their albums in alphabetical order by the year they were released, separated by genre. The two exceptions were records on Blue Note and Impulse!, which received their own special section.
The folded record cover would, of course, serve a far more useful purpose later in the 1960s (and beyond) -- to sift the seeds out of marijuana and serve as a platter to roll joints. For music collectors who have grown up with CDs and never had to make the conversion from vinyl, they missed out on one of the great rituals of listening to records.
* * * * * * * * * *
The arrival of CDs in the mid-80s was initially touted as a storage medium that would augment vinyl records and cassette tapes, not replace them. I held on to all my records even while I started to replace them, more for romantic reasons than any useful purpose. How could you argue with a system that allowed you to hear 45 or 60 minutes of music without having to turn the record over? That permitted a listener to skip over bad songs like "Mother" on "Synchronicity" by the Police? That you could play over and over with no risk to the recording's fidelity -- no pops, clicks and scratches? At the beginning, I bought into vinyl snob's insistence that vinyl recordings were superior to the new digital storage medium and that imperfections in the playback process made the music "real." By the mid-1990s, I used my turntable maybe once or twice a year, having converted fully to CDs. I stopped buying records five years or so before, even giving up the time-honored practice of all record collectors of rummaging through used record stores for the occasional $3 gem.
For Father's Day this past June, my family gave me a new turntable and, separately, a turntable that transfers vinyl records into digital files. I hadn't played a record in my house in years, since my Dual 522 turntable stopped working and I didn't feel the need to repair it. But I also didn't feel the need to get rid of it, as it sits inside of a closet nestled between boxes of crayons we bought our children anywhere from 10 to 15 years ago and a desk lamp whose bulb I haven't gotten around to replacing. The first record I put on my new turntable was Bill Evans, "Live From Shelley Manne's Hole," because it contains my favorite version ever of "Isn't It Romantic?" the great Rodgers and Hart standard. I was nervous putting the album on, unsure of what it would sound like after years of sitting dormant inside the record sleeve, full of the sorts of jitters I remember getting when waiting for the door to open on a first date way back when. But as soon as the stylus hit the turntable and those first few seconds of static came through the speakers, I remembered immediately why I loved records so much in the first place: the care and selection of the album, of searching through your records to find the one you felt like playing and re-reading the liner notes to make sure that you hadn't missed anything the first 40 or 50 times you read them. Best of all, the album sounded great -- full, warm and completely absent of the harshness that sometimes accompanies digital production and recording.
I still have probably two or three hundred records in the built-in bookshelves in my home office, which are there simply to remind me of how much I loved buying and listening to records growing up (and now, record by record, are being moved to digital files so I can put these records on my iPod). Close to my house growing up was a small record store called Cheap Thrills, which was run by a guy whose main income, I later determined, came from dealing pot out of the back of his store. But he always had the best records, the "cool" ones that Zayre's, K-Mart and Woolworth's didn't carry. Coolest of all were the "bootlegs" of concerts he kept in the back. You had to ask for them, and once he decided that you weren't an undercover cop, or a kid recruited by an undercover cop to set him up, he would sell them to you. I still have three bootlegs he sold me -- a Pink Floyd concert recording from 1973, a Genesis show from 1976 and a 1977 Yes concert. One afternoon, when I was about 14, I remember sifting through album after album in Cheap Thrills, looking for something I didn't have or, as was more likely, records I did have that were cool enough to be sold in this coolest of all stores, and thinking to myself, "This is what I want to do when I grow up. Own a record store so I sit around all day listening to music, keep the bootlegs in the back, develop a reputation as the "go-to guy" when you needed a hard-to-find album or just wanted somewhere to hang out." For a kid like me, there was no better feeling than, upon being told by the Cheap Thrills guy that an album I was holding was one I "should buy," to say, "I've already got it." All kids, whatever their pretense to rebellion and independence, want approval. And approval from the Cheap Thrills guy was as good as it got.
* * * * * * * * * *
The first mega-record store to come to Atlanta was called Peaches. It was the size of a large supermarket, the kind now that would qualify as a "Gourmet Giant" or "Super Safeway." Peaches featured the hand prints of musicians and bands that had come to town on the sidewalk in front of the store, and stocked, so it seemed, every record ever made. You could also by "Peach Crates" to store your records, and naturally I owned many a "Peach Crate" over the years, not getting rid of my final one until I moved from Atlanta to Washington in 1989. As a "serious" teen-age record buyer I faced a serious dilemma once Peaches, and then later, a store called Turtles opened much closer to my house: do I save a dollar or so on records by buying them at the big stores or continue to buy records from the cool guy at Cheap Thrills?
I did the only logical thing I could do: I started buying them at all three stores. Anything else would have been unfair.
* * * * * * * * * *
Tower Records closed its doors three years ago, a victim of the Internet and a bad business model. The company's demise marked the end of records stores as I once knew them. Once Wal-Mart becomes the nation's leading music retailer it's time to throw in the towel. People like myself who once spent hours in record stores reading liner notes and looking for the occasional "lost" album that showed up in the Yes, Genesis, Jethro Tull or Pink Floyd bins do not constitute the majority of recorded music buyers. CDs meant the end of vinyl records, and iTunes and the mp3 revolution are slowly bringing to an end the CD. Music buyers want the music they want, and care little about liner notes, album covers or displaying their music collection for their friends and guests to see when coming over. To this day, the first thing I do when I walk in someone's house I've never visited is to look for and then assess their music collection. I think this is a distinctly male trait, much like my wife will ask me if I think she -- I mean, we -- should redesign the kitchen in which I prepare her and my children's meals after seeing someone else's vastly superior layout, state-of-the-art appliances or genuine marble counter tops.
Me? I now hold on to my CDs the way I still cling to my vinyl records. In an effort to adapt to the on-line revolution, I bought a few "albums" through iTunes a few years ago, but felt empty that I didn't have a booklet to flip through or a plastic case to hold in my hand. So I now buy CDs, transfer them to my iPod the moment they arrive (I buy all my music on-line), and then put them in their appropriate alphabetical, chronological place -- by genre, of course -- in my CD cabinet.
No different than 20, 25 or 30 years ago, I do this because I labor under the illusion that someone will care about, much less be impressed by, my CD collection, which I am no longer permitted to keep upstairs in full public view, but rather downstairs in an obscure corner where we keep discarded sports equipment. Yes, I still hold onto that "reverse snobbery" prevalent among record people that says, "Okay, so you've got your BMW 535i, but do you have the Complete Village Vanguard Recordings of Bill Evans or the Complete Classic Quartet Recordings of John Coltrane on Impulse! Do you know who Rudy Van Gelder is? Do you have the 'lost' version of the Allman Brothers Live at Fillmore East album?"
Perhaps that is not the most mature way to weigh your station in life at age 47. But it sure feels normal to me.
Posted by
Gregg Ivers
at
2:02 PM
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Posted by
Gregg Ivers
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11:40 PM
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Click here to see the new Tom Tomorrow cartoon.
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Gregg Ivers
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3:19 PM
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Jackie and Dunlap review President Obama's failure to persuade the International Olympic Committee to land the Olympics for his adopted hometown of Chicago and get started on Halloween.
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Gregg Ivers
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3:40 PM
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Like a lot of kids, I had a dog growing up. Her name was Sandy, after Sandy Koufax, and we brought her home from the Humane Society when I was seven years old. In those days -- by the way, is there any other phrase as damning as "in those days" to confirm that you are moving well past middle age into AARP territory? -- there were no leash laws where I lived, so dogs were free to roam the streets. Our neighborhood was full of dogs, and, as best as I can remember, they came and went -- and sometimes crapped and went -- as they damn well pleased. My dog, at first, was less social than most of the others -- shy, withdrawn and fearful of people not familiar to her. We were told when we adopted her that she had been abused -- hence, the limp -- and I wanted to give her a home where she would feel protected and loved. Sandy turned out to be a great dog -- smart, curious, loyal and friendly. She even buddied up to the cat my sister demanded after I refused to share custody of Sandy with her, insisting that she was "my" dog in the same way that my sister claimed that our mother bought the Count Chocula cereal for her and not me, and that if I ever thought about eating any she would tell all my friends that I used to practice my pitching motion in front of the TV in my footie pajamas, which wasn't completely true, but neither was it completely false.
As much as I loved my dog and, admittedly, my sister's cat, it never occurred to me to pester my mother to put a bumper sticker on our car informing all other drivers, pedestrians, meter-readers, construction workers and gas station attendants -- yes, "in those days," no one pumped their own gas -- that we (a) owned a dog; (b) owned a dog of a certain pedigree or (c) owned a dog of a certain pedigree that was smarter than dogs of other, presumably lesser pedigrees or (d) owned a dog that was smarter than a human being, much less an honor student at a nearby public school. Asking my father was absolutely out of the question, since he already had two huge magnets advertising his business on the driver and passenger-side front door panels of our Chevrolet Kenwood station wagon. Riding in that car was embarrassing enough, so there was no need to compound the humiliation we already felt when confronted by strangers and friends with the entirely reasonable question of why my dad's clothing stores were named "Out of Sight" and "The Cat Bag." And, no, I still don't have an answer, other than it was the late 1960s and early '70s.
Nor, despite spending the years between the ages of 8 and 18 playing baseball, football, street hockey, soccer, basketball and tennis or running cross-country did we ever have a sticker or magnet of any kind on our cars sharing my modest sports accomplishments with the broader public. No magnets with an outline of a pitcher holding a runner on, no sticker with a black runner striding through the woods against a white background, no sticker with my name and number framing the community sports organization to which I belonged and absolutely no sticker or magnet that proudly defined my mother or father's adult identity as a "BASEBALL MOM" or "CROSS-COUNTRY DAD."
Thinking about this not even a little more, we did not have any publicly displayed proof that we vacationed in exotic places, belonged to an exclusive club of some sort, thought that people, not guns, killed people, that my sister and I attended our local public schools (which we did) and excelled in them (which we didn't), or that I was loved unconditionally despite not excelling in school. And this was not just us. Bumper stickers of any sort were a rare occurrence when and where I grew up. Growing up, I knew my fair share of good athletes, honors students, cat and dog owners and people -- although not many -- who vacationed in places more than 15 miles from their houses and were generally loved and supported by their parents. I just never knew anyone who felt compelled to share their children's activities and accomplishments through bumper sticker boasting. To this day, I still don't get it.
Take, for example, a car that I sat behind at a stop light last week in the affluent Washington, D.C. suburb of Bethesda, where I live. Not one, not two, not three, but four -- FOUR -- bumper stickers adorned the back of the driver's car testifying to his dog's brilliance ("smarter than your honor's student"), athleticism ("faster than your soccer player"), attractiveness ("hotter than your girlfriend") and, finally, political prospects ("Greyounds make better presidents than people"). Frankly, I don't even get why a Black Lab owner needs to place a "WOOF" sticker on the rear window of her car. Silly, yes; creepy, no. But a grown man with four stickers on his bumper going on about his dog's perceived academic abilities and hotness quotient? That's just plain bizarre. There was part of me that wanted to follow him to see where he worked to make sure that if I ever came into contact with him in any professional context I would know to just get up and leave. Regardless of what he did -- fix my car, prepare the meal I ordered in a restaurant or lead the triage team in the ER closet to my house -- I don't want some guy so hung up on his damn dog that he thinks is smarter than me or more attractive than my wife having anything to do with me.
Vanity license plates are, to me, an extension of bumper sticker exhibitionism, which is, of course, a further extension of the real American exceptionalism, which is the constant need to engage in child-like, "look-at-me" behavior just to let anyone who might be watching know that, in a nation of 300 million people looking to stand out from one another, you . . . "LUV GLF," or "LUV WINE," or have "GRT KIDS," or believe in "NO YNIN," or have multiple degrees, "PHD JD," or have morphed from a "PTY GRL" into a "MILF," or feel the need to confirm publicly that you love your children or husband or wife or dog or gerbils by placing their initials on your license plate (I've often wondered if these public displays of affection are linked to family therapy of some sort, or the need to convince a reluctant parent/husband/wife that, yes, you do love your children and your spouse -- perhaps akin to the more recent alternative punishment movement of having shoplifters wear sandwich boards in public that say, "I STOLE FORKS FROM MACARONI GRILL").
And on and on it goes. Years back, my family spent an extended vacation driving through Eastern Canada, and the one thing I noticed right off the bat while navigating the roads and highways of our cleaner, more polite and generally more enlightened northern neighbor was the complete absence of bumper stickers and vanity license plates. My guess is that the Canadian aversion to self-promotion and braggadocio has more to do with the absence of this visual pollution than any law banning their use.
But I must confess that there is some social utility to these misplaced cries for attention. Any time either of my children misbehaves or does something to piss me off, I always come back with the same threat, "Do you want your name and number on the back of the car?" or "Do you want us to put one of those stick-figure families on the back of our rear window?" Shuts 'em up.
Every single time.
Posted by
Gregg Ivers
at
4:39 PM
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An organization called Liberty Counsel is sponsoring an outreach program called "Adopt-a-Liberal," which calls on all right-thinking conservative Christians -- there are, apparently, no other kind -- to save liberals from themselves through prayer and support. If this sounds suspiciously like an "Adopt-a-Puppy/Kitten/Hamster/Gerbil/Pirates Fan" pity program, think again. "Adopt-a-Liberal" is a registered trade mark of the Liberty Counsel, which means that everything time I mention the "Adopt-a-Liberal" program I have to remember to use quotation marks around the words or risk infringing on their legally protected name.
Clever . . . clever . . . clever.
Liberty Counsel was kind and thoughtful enough to provide a list of those "leaders" most in need of prayer and counseling. New York City mayor Michael Bloomberg heads the list, followed by the "pro-homosexual" Barney Frank and Hillary Clinton, whose support for gay service in the military will mean that servicemen and women will bring their "unnatural" sexual preferences into combat with them. And since these armchair warriors are determined to stay in Afghanistan and Iraq for as long as possible so that we can convert them to our natural, Christian and democratic way of life, it is more important than ever to weed out the weirdos. Can you imagine what kind of strange sexual poses gay soldiers might demand of their enemy combatant detainees that managed to escape our fair-minded, natural heterosexual soldiers at Abu Ghraib?
You can? Holy shit. I guess someone has to place those ads in the back of the City Paper.
Naturally -- as opposed to "unnaturally" -- I was disappointed not to see my name anywhere on the "Adopt-a-Liberal" Most Wanted List. There is, though, at the bottom, an "Unknown Liberal" category that allows participants to pick their own "unique liberal" for prayer and salvation.
What's the old expression? "Takes one to know one." But that doesn't apply here. How about this? "It doesn't matter how you get invited to the dance as long as you get invited." Actually, that's not true either. Assuming you don't live in West Virginia, the panhandle of Florida or southern Mississippi, getting invited to the dance by your cousin, sister or brother doesn't quite hold out the same possibilities as getting invited by someone not related to you.
Oy, veh!
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Gregg Ivers
at
2:29 PM
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Click here to see the new Tom Tomorrow cartoon.
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Gregg Ivers
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11:45 AM
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