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Song Lyrics Parodies


xxmikexx

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A few months ago I discovered that I have a talent for writing parody lyrics to popular songs. For example, here's one that I posted to the Dreamfleet 2007 forum at that time.

 

The situation was that a new user of Paul Golding's magnificent 727 had complained that thus-and-such didn't work and that as a result he could not use the aircraft, which he considered to be total garbage.

 

The problem was a simple one to solve, something like putting the elevator in the green range prior to beginning the takeoff roll. But whatever the problem was, consulting (not even reading) the manual would have given the poster the required information.

 

Without further ado, here's what I posted ...

 

xxxxxxxxxxxxxxxxxxxx

 

As long as I’m on a song parodies roll, an ode to Paul Golding’s commitment to customer support and product excellence. With apologies to Ray Davies of The Kinks ...

 

When he gets up in the am, ‘fore he buckles down to work,

He scans the DreamFleet forums, to see if there’s a jerk

Who didn’t R-T-F-M and has really gone berserk.

 

And he’s oh so good, and he’s oh so kind,

And he’s oh so patient with the folks of hostile mind.

He’s a well respected de-vel-op-er making planes of

High fidelity.

 

He castigates the poster but decides to help him out

Because Paul knows that his Good Karma will damp down an angry shout

And make a happy cus-tom-er - - that’s what it’s all about.

 

And he’s oh so good, and he’s oh so kind,

He does in-house tests and beta to kill bugs that folks might find.

He’s a well respected de-vel-op-er making planes of

Such high quality.

 

xxxxxxxxxxxxxxxxxxxx

 

One thing that did and does startle me is that the basic form of a parody takes shape very quickly. In the above case I had the essence of the whole thing down in about ten minutes. I spent another hour refining the parody lyrics but that's all it was, refinements.

 

I take no credit for this stuff. It's simply genes passed down to me from my anscestors -- most definitely a luck of the draw. But while I'm just getting going with this new "career" in song lyrics, i WILL take credit for having cultivated the remainder of my musical talents.

 

I was born with the ability to learn musical instruments without lessons. (Fine, lots of musicians are.) But the determination to do it -- to spend six years learning to play rhythm and jazz guitar really well, and to play well enough to get paid for playing -- was something I generated on my own. My goal had been to replicate all the R&B and Pop stuff I was hearing on the radio plus all the jazz stuff on the records that my sister owned. I succeeded. And even though I can't play lead guitar, I can COP it.

 

xxxxxxxxxxxxxxxxxxxx

 

Speaking of jazz, one of my high school friends was the son of the maitre d' at NYC's then premier jazz supper club, the Upstairs At The Downstairs. My friend, Jimmy Hernandez, played tenor sax quite well, and he sometimes sat in with the "name" musicians who would perform at the club. But I didn't know any of this till after we became friends, and he heard me play, and he invited ME to sit in.

 

No, Jimmy, absolutely out of the question. How am I, me, moi, Mikey going to sit in with the likes of Ahmad Jahmal, or the Modern Jazz Quartet? How would that work?

 

Oddly enough, Ringo Starr has the same reactions. When asked to sit in with <whoever> he will usually reply something like "No, I couldn't possibly do it. Those are REAL musicians up there."

 

I was never really satisfied unless I was playing with people who were better than I was and who therefore were people I could learn from, but c'mon Jimmy, those are REAL musicians up there.

Edited by xxmikexx

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re. Upstairs At The Downstairs:

 

I don't know about these days, but back in my days of frequenting such places, I found Jimmy Ryan's and Birdland to have better music in NYC. In Chicago it was the Blue Note. That's where I met and was photographed with, Dave Brubeck.

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You may well be right, skylab, but note that I said "jazz SUPPER club". Most of the places on West (52nd?) were lounges. If I recall correctly, Upstairs At The Downstairs eventually booked in an unknown piano playing singer/songwriter named ... Bobby Short ... who never left, so no other acts were booked in until Short died. (No, I dont know where the supper club was located. I was never there.)

 

Here's another part of the story that you'll relate to. Our school was a prep school, and even though I was born into poverty, by the time I was ready for high school my father had pulled himself up and was a high ranking corporate staffer at General Electric, my point being that he could afford to put me through Rhodes Prep, which he did.

 

Many of the kids at the school had famous parents -- actors, musicians, more about this immediately below. Anyway, it really wasn't all that unusual for me to have a guy like Jimmy for a friend. And some of the school staff had bright futures ahead of them too ...

 

Like my music club teacher, Nat Hentoff, already a jazz columnist for for Downbeat Magazine, and who is a political columnist today. I joined that club only because everybody had to belong to at least a few clubs. (My others were, predictably, debating and chess. :) I cut both of these as often as I could get away with.)

 

Anyway, I had Nat Hentoff telling me what to listen to and as long as I didn't have to lay out any money I followed his recommendations. (He even lent me a couple of records. The others I borrowed, mostly I think from the 42nd Street Library, which was only about ten blocks away from school.)

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Kids at Rhodes who had famous parents ...

 

Well, let's see. She was really shy but there was Letty Ferer, daughter of actor Jose Ferer.

 

There was ... d-word, my mind is going ... extended senior moment and I can't remember anybody else just now. I'll have to come back to this later. However, I remember one girl because I wrote about her elsewhere on this site several months ago.

 

It was ... d-word ... either Carol Baker or Carol Lynley or ... d-word ... Oh well, it'll come back to me, and so will the other names, and when they do I'll extend this thread.

 

Anyway, the key thing here is that this girl was famous in her own right, as a teenage movie actress. (It was her parents who were complete unknowns. :))

 

Perhaps between movies (I don't recall), she was with us for only about six weeks. Everybody thought she was very stuck up because she wouldn't talk to anybody, but I guessed that in reality she was simply intensely shy like a lot of famous people. (Which is why they go into acting, so they can be somebody other than the shy persona they can't lose any other way.)

 

And so it turned out to be. I struck up a conversation with her one day and found her to be very funny, very charming, very grateful to have somebody to talk to. I tried to screw up my courage and ask her out but I never was able. As I realized in later years she probably would have said yes because most child stars live in a bubble and never get asked to go anywhere. (So typically they miss the experience even of making out, for example. How sad.)

 

This, by the way, was during the period before my high school classmate wife and I had hooked up permanently. Had I dated <Carol Lynley?> goodness knows what might have happened after that.

 

Tuesday Weld! That's who the other possibility is. So it was either she or Carol Lynley, I'm not sure. (But I think it was Lynley.)

Edited by xxmikexx
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There's more to the Jimmy Hernandez story ...

 

After high school we went our separate ways. But a few years later I ran into Jimmy on a New York Central train headed upstate out of Manhattan. I was on the train because I was going to Peekskill to spend the weekend with my cousins and, as it happened, I decided to bring my Stratocaster along.

 

Anyway, there was Jimmy sitting in one of the cars along with four other guys. Mutual introductions having been made, it turned out that they were an unknown group who called themselves ... The Kingsmen ... and who had a record that was just starting to happen called ... Louie, Louie. (I'm completely serious here.)

 

They were all on their way to Albany where they would open for ... I don't remember but it was a name act. They got their guitar and bass out (not the drums and not the electric piano), I got mine out, and we had an unplugged jam session courtesy of New York Central, who were experiencing some kind of departure delay. Anyway, the guys liked my playing invited me to join the party up in Albany.

 

But I declined the offer and got off at Peekskill. Of course their record hit it big time later in the year and who knows what trajectory my life would have followed if I had stayed on that train.

 

I don't recall how they and Jimmy had hooked up, or why Jimmy was on the train, but most likely he had become their road manager.

 

End of story, or at least of the Jimmy story. I never saw or heard of him again.

Edited by xxmikexx
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A partial name has come back -- Julie? Damone, daughter of singer/drummer/producer Vic Damone.

 

Another was Jason Sachs of the Goldman-Sachs Wall Street firm family. (But it was not known as Goldman-Sachs at the time.) Not an artsy type but my goodness did he have expensive clothes. We were all required to wear a shirt and tie (I wore them with black jeans :)) but Jason was always dressed to the nines like a wealthy conservative banker which, of course, his father was. Let me tell you, Jason was not the life of the party, this from me moi Mikey, who can draw ANYBODY out into a conversation -- unless his name is Jason Sachs.

Edited by xxmikexx
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We had Michael Sobel, whose parents were involved in the the Rosenberg Spy ring.

 

We also had Nancy SeniorMoment, whose father, known as The Hanging Judge, had presided over the Rosenberg trial.

 

(Because I knew anybody and everybody at the school I became aware of peoples' backgrounds even when the student body at large didn't know these things. So Michael Sobel was amazed when one day I asked him whether his father was Morton Sobel. He confirmed it.)

 

More where these came from ...

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McFarlane Mackey, a name to conjure with, son of the Jamaican ambassador to the United Nations.

 

McFarlane (black as coal) and I were in World History together. We would always sit together and quietly do African drumming with our fingertips, long improvisations with him and me working off each other. He taught me some beautiful Nigerian rhythms, my very favorite being the 6/4 ...

 

KON-KON-kolo

KON-kolo

 

KON-KON-kolo

KON-kolo

 

and so on, non-stop for ten, twenty, thirty minutes at a time, just like the real thing. I invented a variation of the above pattern, also in 6/4 ...

 

kon-KO-lo

KON-KON-kolo

 

kon-KO-lo

KON-KON-kolo

 

To this day I tap these beats out with two fingers while driving. (I also do the kick/snare intro to "My Sharona".)

 

xxxxxxxxxxxxxxxxxxxx

 

Of course your man Brubeck did a whole composition in 5/4. There's even some piece we're all familiar with that's in 13/4.

 

(No, maybe we're not all familiar with it. I think it's the sequenced intro to "Kyrie Eleison".)

Edited by xxmikexx
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P.S. ...

 

It wasn't until Golden Midi that I learned a little DrummerSpeak. :) So the Sly Stone lyrics

 

Boom-a-lak-a

Lak-a-lak-a

Boom-a-lak-a

Lak-a-lak-a

 

are very plausibly instructions that a producer might give to a drummer ...

 

Boom -- kick the bass drum

a -- an eighth note rest

lak -- perhaps a rim shot

 

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Eric Jacobsen taught me to count things out like this ...

 

One Two Three Four (obvious)

 

One And Two And Three And Four, allowing us to talk about what was supposed to happen on the "and of four", for example.

 

For purposes of musical direction time could be subdivided even further, as in

 

One-ee-and-uh-Two-ee-and-uh-Three-ee ..., which got us all the way down to sixteenth notes.

 

I don't know whether Eric invented this oral notation. Certainly I've never heard it anyplace else.

 

xxxxxxxxxxxxxxxxxxxx

 

Eric was about five feet two, a mousey little guy, the proverbial 98-pound weakling. But OMG could the man play keyboards.

 

He was with Spyrogyra for a while and shares the writing credit for "Bob Goes To The Store", a piece you would recognize if it doesn't come immediately to mind. Eric was and probably still is heavily dependent on those modest royalty checks.

 

Anyway, for many years Eric occupied the piano chair of Conjunto Colores, a now regionally famous Salsa band that was, at the time, known only in downtown Denver. That's how we met -- Golden Midi was first located in our apartment in the Brooks Tower.

 

At street level of the Brooks Tower was a restaurant, now gone, where the band held forth every weekend. Being a big fan of Latino music in all of its various forms, I dropped in one night when I had nothing better to do. I saw Eric, noted his exceptional playing skills but didn't do anything more.

 

A few weeks later a fellow named Bill Lyons strolled into our studio looking for work. We did a couple of sequences together, I don't remember what, but one of them had an intricate very fast tick-tack keyboard part that Bill simply wasn't hearing. Over his objections I dubbed in the pattern on one of the MIDI channels and then looped it for the entire song or whatever.

 

Bill then said, "Mike, I'm good and so are you. But I know a guy who is WAY better than I am and I think you need to be working with him. I say this even if it means that you stop workig with me."

 

"That's a strong statement, Bill, because you and I are doing great stuff here and it's hard for me to imagine working with somebody better. What's his name?"

 

"Eric Jacobsen ..."

 

I cut Bill right off. "You mean the piano player with Conjunto Colores?"

 

"Yes" said Bill. "Let me call him right now."

Edited by xxmikexx
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Which he did. Eric came over within the hour and proceeded to dazzle me with his ability to lay down MIDI tracks. He even did live drumming on our MIDI keyboard, laying down an intricate pattern over and over, claiming that he wasn't satisfied with his timing. (Which may have been true.)

 

"Stop" I said. "Stop trying to impress me. You've got the gig, now let's get to work." :D

 

And we did. We started in immediately on ... well ... I don't remember now but it was a fairly tricky piece. I told Eric my ideas regarding how certain MIDI-related technical problems might be addressed, and I told him that I was particularly worried about laying down the drums track because there were so many parts running in it, my concern being that if we did it with one take for each part the result might need to be redone, and re-redone, and so on, until we had a satisfactory drum track.

 

"No problem" said Eric. "Watch this ..."

 

He then played the original recording and WROTE DOWN THE ENTIRE DRUM SCORE ON THE FLY IN ONE TAKE, after which he PLAYED THE ENTIRE DRUM SCORE LIVE INTO THE SEQUENCER IN ONE TAKE, using only a click track to keep everything solid. (He had his own special notation (quite possibly invented on the spot) so he wouldn't fall behind the music.)

 

There were other pieces where we would get the score down verse by verse, but I don't recall any situation where Eric had to play stuff back in verse by verse. And he was a skilled drummer in his own right provided he could use a MIDI keyboard instead of an actual drum kit. He had terrific "time".

 

There are other Eric Jacobsen stories I can and will tell, but I can never forget this moment because it was when I realized that I was in the presence of a true musical genius, and that I was going to learn a lot from him.

 

xxxxxxxxxxxxxxxxxxxx

 

And so it was. Eric was a little condescending at first, but when he realized that I was actually able to appreciate his skills, and that I too had valid musical ideas (as with composing dance endings), he accepted me as an equal for purposes of creating MIDI sequences. This was an immense source of satisfaction and pride for me -- to be accepted as a producer by ... not just a musician ... not just a musician who was able to support himself from his music (which hardly anybody can do) ... but rather, a REAL musician.

 

I was in the presence of greatness, I knew it, and I never forgot it.

 

We were able to do a fair amount of Steely Dan stuff because we had Eric available to us -- and of all the musicians I worked with, apart from me Eric was the only one capable of handling the intricate Donald Fagen chords and harmonies without error. (You can't sequence what you don't hear. Eric could even reproduce bell tree riffs though there isn't a drum machine in the world capable of playing them.)

 

xxxxxxxxxxxxxxxxxxxx

 

Hearing fatigue sets in at some point and when it does, be it with the player or the producer, I would always call a halt to the work because whatever would be laid down in that situation invariably would be garbage, even though the garbage might not be apparent till the next day when the ears had been refreshed by sleep plus absence from the studio.

 

On more than one occasion Eric and I simply stopped working and started talking about music -- music theory, music practice, song selection for the business, song structure, lyrics, melody, harmony, rhythm, anything and everthing.

 

I vividly recall one evening when we had been doing <whatever> and I said to Eric "the horns in the bridge are in a call-and-response part with the keyboard".

 

"It's all about tension and resolution, Mike" he said in a very irritated way. "That's true" I said, "But it isn't all about call-and-response, which is a very special thing."

 

So we proceeded to have a very ... well ... vigorous ... discussion about gospel music, and field shouting, and blues, and funk, and so on. In the end he conceded my point, which made me feel that our musical relationship had now fully matured. To have a REAL musician accept my ideas was intensely gratifying.

 

P.S. ...

 

I am NOT putting myself in Eric's class. Whatever level of inborn talent I possess, and whatever cultivation of those talents I was able to achieve, when it comes to people like Eric Jacobsen, or Ahmad Jamal, or Herbie Hancock, or ... on and on and on ... I am in the same position as a movie critic.

 

I can appreciate what these people do, and now and then I may be able to make intelligent comments about their work, but really, folks, these people operate on a whole 'nother plane. I try to imagine what it must be like to hear music the way they do, and to play the way they do, but of course I can't.

 

If I could I'd be one of them.

Edited by xxmikexx
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>>>For you and for me it's all about the music, isn't it. Where would we be without it?

 

 

Well, music is one of the things I really appreciate. I only wish I would've continued with piano lessons way back when. I always admired those who could sit down at a piano and just play without music. My wife was a concert pianist when she was in shcool. She can really play quite well to this day, but it gets harder and harder for her because of the finger joints ya know. And, she reads music.....ticks me off. Wish I could.

 

When I think of the different kinds of music from all over the world (much of it I like by the way), it just seems too bad that there is so much strife worldwide. Folks should just listen to and enjoy each others music. There I go dreaming again.

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Unfortunately I do think that it's a dream. However, as you know, when musicians get together and play, especially jazz musicians, all consciousness of race, age, ethnicity, blah blah blah, disappears.

 

So I agree with you. It ought to be the case that music can overcome all the national differences and situations that trigger the fighting ...

 

... But I don't think it will ever happen, certainly not in your and my lifetimes.

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I want to add a comment about jazz, Golden Midi and Duke Ellington ...

 

We did several Ellington covers. As a result of having to analyze to death the pieces in question ("Satin Doll" and "Take The A-Train" come to mind), I gradually came to realize that Ellington was singlehandedly responsible for all the modern harmony jazz chords I had learned for guitar in the late 50s and early 60s.

 

I don't even remember the correct name for it but one of my favorites of the pioneering chords is something like a major thirteenth with a flatted ninth. And of course ninth chords play a big role in funk scratch guitar parts.

 

Ellington probably didn't invent the ninth (I wouldn't know, I'm largely ignorant of harmony theory) but he certainly popularized it, and many of his harmonies he DID invent because I can't recall hearing them before his recordings.

 

So while we don't normally think of him that way, Ellington has had just as great an influence on music as Beethoven did. He was a great composer and his music will still be played centuries from now.

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Ah.....the Duke (Ellington that is, not Wayne). Saw him at Ravinia in Chicago years ago when I was at Great Lakes. Paul Gonzolves did his great twenty-minue sax solo from "Diminuendo in Blue, and Crescendo in Blue". Still got that old 33-and-a-third record.
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And I forgot to tell you about Bill Lyons ...

 

Bill had been -- are you ready for this? -- a Titan missile silo crew member up in Wyoming. Out of sheer boredom he got a synthesizer and taught himself to play. Nine (repeat nine) months later he was discharged from the Air Force ...

 

... And immediately landed a gig on the oldies circuit, after which he immediately transitioned to cruise ships, which can be Big Money because of passenger tips if you play well, like people and know how to schmooze.

 

Anyway, Bill was between cruises when he dropped in on us the first time. He wanted to work with us in part because he had heard about us and wanted to learn more about what we were up to. He certainly didn't need what little money we were paying though he wanted it and was happy to have it.

 

And I mis-spoke earlier. As I now remember clearly, it was the repeating two-bar tick-tack guitar part in "Owner Of A Lonely Heart". (Even Eric couldn't follow that part when I asked him later to double-check my work.)

 

xxxxxxxxxxxxxxxxxxxx

 

So Bill had the skills of a ten-year keyboards player even though he had been at it less than a year when he began to work professionally -- an astonishing accomplishment. It came as no surprise that he counted people like Eric among his musician friends.

Edited by xxmikexx
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It was only a six-and-a-half minute sax solo not 20. The whole number was nearly 20 minutes long. Just wanted to clear that up.
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You got to see so many jazz greats. I got to see all the early heroes of rock (some other day) but the closest I came in person to big band music was Lloyd Price, who was really a pop guy.

 

You mentioned Great Lakes. Okay, I'll bite. That will have been Great Lakes NAS, so you must have been a naval aviator at some point? Or did UAL have some kind of base there?

 

EDIT: I remember now. You will not have been a naval aviator, and you came to flying relatively late in life.

Edited by xxmikexx
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Yes.....I was fortunate to have seen in person many jazz greats way back in my "other" life. All I see now are some local groups doing some of the early as well as modern stuff that usually isn't that bad for the most part. I think the last jazz "great" I saw in person was Aretha Franklin at Wrestlemania III !!

 

No.....my Great Lakes (NAS) experience was as a patient! I was enroute to Korea after my 2nd 8 weeks of training (Army) and was in a BAD car accident in Wisconsin. After spending a month in a local hospital, I was transferred to the nearest Military Hospital, which was at Great Lakes. I spent another three months there before going on to Korea.

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Korea ...

 

My half brother is fifteen years older than me. Over my mother's strenuous objections he enlisted in the Air Force when the war started, wanting to be a pilot.

 

Well, they trained him up to fly but then instead made him a navigator on A-26 night intruder missions into North Korea. After some large number of missions they let him actually fly, C-47s based in Japan somewhere.

 

(Aside: Again I have a strong deja vu feeling. If I've told you this story before, please forgive -- my memory is flaky these days.)

 

My brother reports that one bad weather night, intending to land at Airport A he instead landed by mistake at Airport B ten miles away! (And remember that he had been a navigator earlier for quite some time, on night missions no less. :))

Edited by xxmikexx
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Well, there you have it. He was a navigator and then a pilot. He apparently couldn't walk and chew gum (fly and navigate) at the same time. [insert smiley of your choice]
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Leibowitz. Nancy Leibowitz, the daughter of "Hanging Judge Leibowitz".

 

And here's another famous person though he was not famous at the time -- Heywood Gould ...

 

Four of us who used the West 54th Street subway station got in the habit of singing acapella at the bottom of a staircase, the tile walls making for a rich sonic environment. We often got applause from passing strangers, and sometimes a regular or two would stick around for a song or two. But we didn't go beyond this.

 

Anyway, Woody was a year ahead of me and 2-3 years older so we really didn't have much in common except singing. However ...

 

At one point Woody expressed an interest in acting, and he then got involved in a school play, blah blah blah. I thought nothing of it, and after Woody graduated I never saw him again or heard of him ...

 

... Until one day about twenty years ago when, reading a movie credit crawl as I often do, I saw "Screenplay -- Heywood Gould".

 

xxxxxxxxxxxxxxxxxxxx

 

It had to be him. Evidently he had failed as an actor but had enjoyed at least a little bit of success as a screenwriter. So I mentally congratulated Woody and then forgot about him ...

 

Until about six months ago when, just for grins, I googled his name, pursued a couple of links, and discovered that my high school friend Heywood Gould had actually become a director. I've never seen any of his movies, and how I missed them I've no idea, but here's part of his filmography ...

 

Fort Apache, The Bronx

Streets Of Gold

One Good Cop

The Boys From Brazil

.

.

.

and on and on. I'd heard of about half the movies but hadn't seen any of them. (Still haven't.)

 

So Woody succeeded beyond his wildest dreams, which is what the USA is all about, isn't it? People are quite literally DYING TO COME HERE.

 

xxxxxxxxxxxxxxxxxxxx

 

Another discovery from a year ago ...

 

James Caan is one of my favorite actors. It turns out that he was four years ahead of me in our prep school and I never knew it.

 

One of my favorite of his movies is "The Gambler". In it is a pudgy little character actor, the same guy who played "Paulie" in all of the the Sylvester Stallone "Rocky" movies. Now you must remember Paulie. He's the guy who held the side of beef in place, in the meat locker, while Rocky used it as a body bag. Remember now? I thought so.

 

Anyway, one evening about ten years ago I caught a standup comic who said, at one point, "Yes, I'm an actor. I played the meat in Rocky."

 

The audience did not react though I did. His line had me quite literally rolling on the floor, absolutely paralyzed with laughter.

 

And then the comedian delivered the best "bomb line" that I have ever heard ...

 

"Ladies and gentlemen. In a few minutes I will be telling actual jokes. I just need to get through this lecture I've been giving."

 

The audience didn't react to that one either.

Edited by xxmikexx
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