Category Archives: Tuneage

Where Nursery School Meets Loony Bin

As a parent, you realize very quickly that you’re going to have to watch a lot of crap on TV you really don’t want to. At first, it’s because you realize a certain program can calm down a hysterical baby or hasten sleepy-time. (For my kid, that certain program was Predator.)

Eventually, your child will develop his/her own tastes and want to watch the same movie or show over and over and over again. And thanks to DVDs and video on demand, it’s easier than ever before to indulge this OCD. Of course, none of this stuff is meant for your adult eyes/brain, but some of it grates on you more than others.

Like many preschool kids, The Baby went through a Caillou phase, which I believe she has finally outgrown (knock on wood). If you don’t have children, you have probably never seen this show and I suggest you continue to avoid it. Caillou is about a four-year-old bald kid who is an enormous weiner. I can’t think of a better word to describe this kid; “weiner” covers it, with its implication of profound uncoolness.

There’s nothing really wrong with the show in aggregate, but the character of Caillou drives me up the wall. He has a squeaky little kid voice with a pronounced Canadian accident. He is preternaturally well-spoken and well-behaved in a way that no four-year-old has ever been. And everything in the world must revolve around him. If you remember The Kids in the Hall sketches with Bruce McCulloch as Gavin, Caillou is like a slightly younger version of that.

Oh, and Caillou has songs. Almost all little kid shows do, but these songs feel slapped together, both lyrically and musically. Really slapped together. I think they were all written by Garth and Kat.

This clip below is a perfect example. I can’t remember why Caillou is singing about being in a rock and roll band, not that it matters. The song clearly takes longer to listen to than the composer took to write it.

And yet, when I heard this song, it struck a chord. It reminded me of something–not despite its threadbare intellect, but because of it. It rattled at the back of my mind for a while, searching for a connection, until it hit me like a bolt from the blue: It sounds exactly like Wesley Willis’ “Rock and Roll McDonalds”. Don’t believe me? Have a listen.

In case you don’t remember or were too young to catch him the first time around, Wesley Willis was a schizophrenic who rose to “fame” in the 1990s thanks to songs he made with Casio keyboard presets, which he used to drive away the “demons in his head” that would take him on “hellrides”. Some of his songs were about how much he loved music, some were about beating up superheroes, and some were obscene rants involving animals.

Of course, since every Wesley Willis song sounds exactly the same, you could say “Caillou’s Rock and Roll Band” resembles any of them. But I think this comparison is more apt than, say, “Eat a Panda’s Ass.”

This Is Your 6:30 AM Wake Up Shriek

I don’t get a lot of sleep. Between parenting, various external and internal obligations, and my own Night Owl inclinations, it’s rare that I get a solid eight hours. Or seven. And even six is kinda pushing it.

As a result, I stay in bed as long as humanly possible each morning. More often than not, I don’t roll out of bed earlier than one second before I have to. But there is one thing that can get me leaping out of bed: radio ads for Broadway shows.

I’m not a Broadway Person. Not saying that to make myself seem superior to Broadway People; if that’s your thing, good for you. I’m simply saying it’s not for me. And the fact that it’s not for me is reinforced each time I hear a commercial for a musical at the crack of dawn.

Our alarm is set to WCBS News Radio. Apart from criminal amounts of John Sterling soundbites during baseball season, WCBS also airs tons of spots for Broadway musicals. Considering the average shelf life of a Broadway musical (i.e., not very long), these ads are run with an insane amount of saturation. If a show is about to debut, you are virtually guaranteed to hear an ad for it once or twice each commercial break.

Since these spots air incessantly first thing in the morning when I’m half awake and the human brain is at its most vulnerable, they’re imprinted on my brain. Even if a certain show didn’t run for very long, an ad for it probably ran in such heavy rotation I can recite it word for word (or warble for warble). I still distinctly remember an ad for a revival of Thoroughly Modern Millie, which ended with the titular character belting out MIL-LIEEEEEE! And there’s a commercial for Wicked that’s aired for years, in which the Wicked Witch (I think) sings about being so happy she could melt, in that ear-punishing Broadway fashion that makes me want to melt. My own brains. With a glock.

These are all simply annoying, the kinds of sounds I don’t want to hear first thing in the morning. But I’ve recently heard a Broadway ad that slips out of the surly bounds of annoying and attains the status of Maddening. As in, it could actually drive you crazy. I’m pretty sure it was engineered in a CIA lab for the purposes of psychic warfare.

It comes from the musical adaptation of Pedro Almodovar’s Women on the Verge of a Nervous Breakdown. I have not seen this musical and almost certainly will not see it. I haven’t even seen the movie, though I know it’s considered a classic. So I can not comment on the quality of the production or its source material. What I can say is that, if this is the first thing you hear when you wake up, after 5+ hours of fitful sleep, there is a 50 percent chance you will go insane.

Here’s the audio, although I only suggest playing it if you’re running low on nightmare fuel or you enjoy acid flashbacks. Enjoy! (Click here if that player down there don’t work for ya.)

[audio:http://66.147.244.95/~scratci7/wp-content/uploads/2011/03/wotvoanb1.mp3|titles=Women on the Verge of a Nervous Breakdown]

My Musical Based on the Oeuvre of the Band Orleans is a Guaranteed Goldmine

orleans.jpgI am prepared to let you in on a golden opportunity, a once in a lifetime kind of thing. I have the exclusive rights to a musical based on the music of Orleans, and with financial backing like yours, we can bring Still the One! it to Broadway.

No, “Still the One” was not their only song. I think you’re forgetting a little song called “Dance with Me”, not to mention the countless other hits they made famous, whose names escape me at this time. This musical uses their entire catalog, up to and including 2008’s Obscurities, an unjustly overlooked masterpiece. By my calculations, you would stand to receive a return on your investment of approximately eleventy-bazillion percent. Give or take.

Think about it. The theater-going public can not get enough of these jukebox musicals like Mamma Mia and Jersey Boys. But none of them contain the music of Orleans. No one’s even tried yet! We swoop in, fill the void, and watch the cash roll in. Between road productions, soundtrack sales, and other related revenue streams, this musical will make a trillion dollars, easy.

You’re exactly right, no musical has ever made anywhere near a trillion dollars. Another gap we can fill!

How do we do it? Generate buzz through controversy. This is the musical the members of Orleans don’t want you to see. Original guitarist/vocalist Larry Hoppen begged me to sell the rights to “Still the One” to one of those bullshit multi-artist musicals like Rock of Ages. He was all like, “That’s real money to me! I got kids in college!” But I insisted that the full, true story of Orleans had to be told. In musical form!

We see Orleans as they struggle to make it during their early days in upstate New York. We see Rolling Stone name them “the best unrecorded band in America”. We see “Still the One” catapult them into stardom and a spot on a legendary tour with Jackson Browne. And just as superstardom is handed to them, it’s snatched away when songwriter John Hall departs to pursue a solo career and eventually become a US Congressman!

No, that’s not the whole thing! That’s just Act One! This thing is epic! We need three whole acts to tell the story of Orleans’ triumphant reformation in 1979! The tragic death of original drummer Wells Kelly while touring with Meat Loaf! Their historic appearance at Woodstock ’94! Their heated debate over whether to let Burger King use “Still the One” in a commercial! I defy you to name me something that has more drama than this!

Okay, the 20 things you just mentioned are somewhat more dramatic than the story of Orleans, granted, but…alright, you can stop naming things now.

How did I get the rights to this musical? I won them in a poker game. Does it matter? Would it make any difference to you if you found out that the original production of Cats was produced on a dare?

No, that’s not actually true. I’m just asking if it would make a difference to you.

You think this one over, because I can’t extend this offer forever. I’ve had this hot property for almost 17 years now, so obviously it’s just a matter of time before someone beats you to the punch.

If you change your mind, I’ll be right here at my desk in the office furniture section of Target, at least until closing time.