Things I was wrong about: Remote control

So here it is - the second in my series of Things I Was Wrong About. By the way, if you missed the first and feel the need to catch up - and frankly, who could blame you - you'll find it here.

I'm kind of partial to this series more than some of the others I do (Guilty Pleasures, Don't Ask, Things I Don't Need To Know), because, as my wife, children, close friends, banker, work colleagues, doctor and complete strangers on the street keep reminding me, I'll never run out of topics to talk about.

The one I'm talking about today is an American cultural icon, companion of couch potatoes worldwide and best friend of the AA battery industry. The remote control.

I remember the first remote control TV my parents bought. It also happened to be the first color TV we owned. It was an RCA console television, and looked similar to this one, minus the statue collection of the mixed fox/bull terrier Nipper that was the RCA mascot for years (Impressive I know that, yes? My mind is a crowded place).

Besides being able to finally see the NBC "in living color" peacock in living color for the first time, now we didn't have to get up to change from one of the seven - count 'em seven - channels to the other (3 network, 4 local).

The remote controls then weren't the streamlined, digitally programed, colorful, button-laiden devices they are today. The were like little bricks, usually offering only four buttons: volume up and down, and channel up and down.

Still, not having to get up to change the channel was a revelation. It gave me the perfect excuse get even less physical activity than I was already getting. I know you wouldn't think it to look at me now, but I was a fat little kid (you know I can hear you laughing, right?). And this new, magical device wasn't going to help that.

As the years have gone by, we've been able to control more and more things by remote. Lights to drapes. Thermostats to DVRs. Cameras to ovens. Today, with the power we hold in our hands, there's virtually no reason to get off the couch to do anything. Except get the potato chips.

Even as I write this, it seems hard to believe there was a point in time where I thought, "How lazy do you have to be that you can't get your fat ass up and walk four or five feet to the TV and change the channel?" But that was before molded-to-your-hand grip remote controls. And Netflix.

So on the long, long list of things I was wrong about, let me add the modern day convenience I could now never live without. The remote control.

I think that just about wraps up this post. CLICK! Power off.

Guilty pleasures Part 8: Devil's Advocate

Continuing my wildly popular Guilty Pleasures series (if you missed any, you can catch up here, here, here, here, here, here and here), we turn up the heat with one of my favorite over-the-top Al Pacino performances - Devil's Advocate.

In this B-movie gem, Keanu Reeves plays a hot shot southern lawyer (do the words casting against type ring a bell?) who's never lost a case. When a big New York law firm recruits him, he can't resist even though his wife, Charlize Theron, is somewhat hesitant.

His new boss, John Milton (Pacino) is a master of the universe literally and figuratively, and is prone to making a lot of inside jokes about being able to relate to Keanu when he starts talking about how lousy his father was.That's because he may not be who he appears to be. DA DA DA!

Better than his courtroom speech in And Justice For All, louder than he was in Scent Of A Woman, Devil's Advocate has one of the best Pacino tearing it up speeches of his career. It comes towards the end of the film, where he finally reveals to Keanu who he really is. Here's a hint: It's similar to the relationship Darth Vader has to Luke, only Pacino is a lot more, shall we say, subterranean.

It goes a little something like this:

Throughout the film, Pacino gives his character a little reptilian quality by licking his lips quickly with his tongue. It's mighty clear how much fun he's having, even if he has to act his ass off against Keanu's monotone voice and limited expression.

I could tell you a lot more about the film, for example what happens to Pacino's law office partners who don't go along with him. Or how Keanu defends Craig T. Nelson against murdering his wife. The frosty exchange between Pacino and Keanu's mother in a New York elevator. Pacino's subway run in with gang members. There's also the part where Charlize is driven crazy because, well, you'll just have to see for yourself.

Hamming it up? Yes. Chewing the scenery? Definitely. A wild ride? Absolutely.

I'm going to take the high road here (just to see what it's like) and resist the temptation to say it's a devilishly good time. I'll just say it's definitely worth finding on cable, or renting on Netflix. You'll have just as much fun as Pacino's obviously having.

Sweet Baby James

I imagine every person on earth, or close to it, who has a son named James loves this song. Not that you need to have a kid to love it, but it only magnifies it.

Because I'm one of those people, I've heard many, many versions - both of James Taylor singing it and cover versions. This 1971 version from the Johnny Cash Show is my favorite. For starters, it was James Taylor's network television debut. And it's a powerful one, with just him, his guitar, his voice and one timeless song.

It's also a triumphant performance, with the audience jumping to their feet as if they were spring-loaded, and James Taylor walking off the stage to shouts of "More!"

Even though my son is named James, I never sang this song to him. Both he and his sister were sung to sleep with Springsteen's Thunder Road when they were babies (I know, I'm as shocked as you are).

Still, this is the song that just opens the floodgates thinking about my boy. It perfectly captures the love that all of us in the James Parents Club have for our boys.

The story is James Taylor wrote the song for his nephew who was named after him. He wanted it to be a cowboy lullaby, a buckaroo to bedtime melody.

That's his story, and he's sticking to it. But I know the truth.

He wrote it for my baby James.

Spaced out

What's the difference between a giant asteroid, comet and meteor hitting the earth? The answer is you're dead.

This Monday, an asteroid, which, I don't have to tell you, consists of metals and rocky material, is going to pass by earth fairly close in astronomical terms. It'll come within 745,000 miles of us, and should be visible with clear skies and an expensive pair of binoculars.

Just like Linkin Park at Greensboro Coliseum.

This particular asteroid has the unfortunate name of 2004 BL86, which only tells me that whoever names these things really needs to hire an agency do a naming exploration, as well as commercials for the fly by.

One agency might create an animated asteroid character along the lines of Mr. Mucinex or the RAID bugs. They could call it something clever that tests well, like Mr. Asteroid.

Another might use a D-list celebrity in an asteroid costume, warning us of the close proximity. Kathy Griffin, keep your phone line open.

I'm sure there's also any number of westside shops ready with a bearded hipster, deadpan, obscure reference-filled, dripping with irony spot where the only thing the wardrobe person has to worry about is which t-shirt goes with which pair of faded jeans and knit cap.

For all our sake, let's hope that asteroid isn't as far off course as I'm off topic.

At any given time, as the chart to the left frighteningly shows, there are hundreds of asteroids with bad aim trying to reunite us with the dinosaurs. And these are just the ones we know about.

Scientists refer to a potentially catastrophic asteroid strike as an EEE: earth extinction event. It could take a couple forms. It might hit us so hard it'd kick up a dust and dirt cloud blocking out the sun for centuries, making the air unbreathable and killing all life on earth. Or it might just hit the earth so hard it knocks it out of its orbit, and on a path straight towards the sun (stock up on SPF 1,000,000 now).

Maybe there's a scenario where it doesn't hit us at all, but just flies by super close. If the timing's right, it'd be a great way to open next year's Tournament of Roses parade. Followed by the stealth bomber of course.

I'm personally of the belief that if one were on course to wipe us out, the government wouldn't tell us for fear of panic in the streets. And really, the panic would be misplaced because unless you're Richard Branson, you really don't have a way off the planet in time to avoid it. I know there are a lot of secrets the government keeps that it shouldn't, but I'd be fine not knowing. One minute I'm sitting in my living room watching my 12th binge of Breaking Bad, the next minute I'm dust. Lights out. The really sad thing is the house probably wouldn't look much worse than it does now.

Fascination with our own demise is nothing new. Hollywood's had a great time of it for years, making movies like Armageddon where Bruce Willis and crew save earth from the asteroid. I've seen the movie. I think being wiped out by the asteroid would be more entertaining.

If you're looking for how popular keeping an eye on asteroids has become, you don't need a telescope to see it. NASA Jet Propulsion Laboratory (JPL) whose job is to keep an eye on these things has an asteroid watch page and Twitter feed (@AsteroidWatch). There's also an Asteroid Watch app , so while you're updating your Facebook status on your smartphone you can also check how long until you take the big dirtnap.

It's like my art director partner Pete Andress used to say: we hang by a thread. None of us know when the hit is coming. So I guess the point is to stop our petty fighting, get our priorities straight, love each other, and just enjoy it all while we're here.

Right after we up the homeowner's insurance.

Under inflated balls

In the last few days we've been hearing a lot about under inflated footballs. Allegedly, the New England Patriots used them to help win their AFC Championship game against the Colts last Sunday.

Let's pause for a minute and congratulate me on the fact I actually know the names of two teams and what they were playing for. I'm as surprised as you are.

The reason under inflated balls (I'll never get tired of that phrase) make a difference is that they're easier to grip and throw.

Here's the thing: while the issue of under inflated balls is a relatively new discussion for the NFL, it's been rampant in ad agencies ever since the very first "new and improved." Many have suffered the affliction for years. Surprisingly, the condition is anatomically agnostic. It affects both men and women in the business.

The symptoms are readily apparent, although they do vary. They can run anywhere from letting the client write the copy, to telling the creative team, "I could present this but I know you can do better." Other symptoms include run-on meetings, not challenging client mandates, letting the work go down in flames without so much as a whimper, insisting the bulk of the budget be shifted to digital and reading the brief word for word.

If you find yourself in a completely ridiculous argument lasting four hours or more with someone who has never created a thing in their life, yet continues to criticize your work, they most likely have an untreated case of under inflated balls.

Try to be understanding and not judgmental. Give them the same reassuring, constructive advice their doctor would.

Grow a pair.

Born to be mild

Usually when you see a member of a biker gang the reaction is to give them a wide berth, accelerate quickly past them and hope they're not going to rev their engines to deafening levels next to you at the red light.

My reaction to this guy, who was in front of me today, was gratitude. I was grateful he cleaned and sobered up. Grateful he was telling the world about it. Grateful for the can't-judge-a-book-by-its-cover lesson that I continue to learn over and over, seemingly right when I need to.

It's like when the Hell's Angels descend on Daly City every year for the annual blood drive. Hundreds of bikers take over the main drag on their Harleys, roaring into town ready to do nothing but good (something I'm aware not all Hells Angels chapters do).

Anyway, to the guy on the bike in front of me, thanks for the reminder.

That what makes you badass isn't where you start. It's where you finish.

Call time

I guess I haven't been paying attention, which will come as absolutely no shock to anyone who's ever been in a status meeting with me. But as I was barreling up the carpool lane of the 110, alone, thanks to my FasTrak transponder that charges me to use a lane my taxes have already paid for, I was genuinely surprised to see there are still freeway call boxes lining the four-lane.

These intermittently spaced call boxes, with their reassuring blue signs, are a throw back to my childhood. Which, if you ask anyone who knows me, I'm still in.

When I was a kid, my parents would take us to Gilman Hot Springs. Or Murrieta Hot Springs. Or Desert Hot Springs. Apparently Jews are attracted to hot springs like moths to canasta. I remember the drive always seemed like it took hours to get there. It was just in Riverside county, but it may as well have been another world.

I mean, have you been to Riverside county?

It didn't help that I was a worried little kid and always thought our dark blue Dodge Coronet would breakdown on the way. Actually, the only time I remember it breaking down was when I stole it one day to take it for a drive to the valley to see some girl before I had my license. I wound up at a Union Oil station on Van Nuys and Riverside, and called my parents to come pick me up. They said they'd be happy to drive out and get me, to which I said, "Yeah, about the driving out part..." They had to call friends of the family to drive them out.

It was a very long, quiet ride home. But I digress.

Anyway, my parents would always tell me we were fine, and that even if the car did break down, we'd just use the call box and, like magic, help would be on the way. It was very comforting. A lot more comforting than being the only person under 75 at whichever hot springs we were going to.

It's easy to think of call boxes as old technology. The truth is they're now equipped with the latest digital whammy-jammies, and probably have fewer dropped calls than AT&T. I always thought they were a little Jetson-y because they were the first things I remember that used solar panels to power the lights that made them visible at night.

You don't see very many people using them, because standing on the side of the freeway isn't the brightest idea, and almost everyone has a cell phone now.

But I still find knowing they're there very comforting.

It may be the only thing on the 110 that is.

A great Dame

Years ago, there was a Shubert Theater in Century City where the CAA mothership is now. The wife and I had been early season subscribers, and as a result for years enjoyed two fourth-row center seats to every production and concert that appeared there. And because we had such great seats, that we were never going to let go, we saw them all.

During the 2001 Shubert season, which included Mama Mia!, we also had tickets to another show: Dame Edna, the Royal Tour. At the time I had no idea who she was, but our seats were great and we were going.

Here are the things I remember. She brought two people out of the audience who hadn't had dinner, and had them sit at a table onstage. Then she brought out a phone and called Harry's Bar, which was downstairs from the theater, and ordered them dinner. When the dinner arrived, she served it to them, and they watched the rest of the show while eating dinner at their table on the side of the stage. Every once in awhile, she would ask them questions or talk to them.

It was a very interactive show, with Dame Edna talking to several people, including us, who were sitting up front. She asked one couple about their children, who weren't there, and who was taking care of them. Then she called their babysitter, and started quizzing her on how she was handling the children.

I realize I'm not even close to doing her justice describing what her show is like, but it's difficult to explain exactly what she does. Part satire, part improv, part slapstick, part social commentary, the only way to experience Dame Edna is to be one of her "possums," her affectionate name for her audience. This clip will give you a better idea than I can:

The character of Dame Edna is the creation of the brilliant Australian comedian Barry Humphries. He's almost 81 years old now, so this Farewell Tour may actually be just that. All the more reason if you can get a ticket, do it.

The other thing I distinctly remember is I have never laughed so hard in my life. I was crying, and my sides were literally aching. I instantly became a Dame Edna fan, and promised myself I'd see her every time she came to L.A. It's a promise I've made good on.

So a week from Friday, the wife and I are taking the kids to the Ahmanson, and we're going to see her Farewell Tour. I can't wait. I know it'll be a great evening start to finish, when she tosses her beloved gladiolas out to her possums.

And of course, I'm hoping the "farewell" part is the biggest joke of the evening.

The lost art

So much advertising is like an American trying to talk to someone who speaks a different language. They figure if they just keep talking louder and louder, eventually you'll understand what they're saying.

What with the marketplace more competitive than ever, and advertising budgets more frugal than ever, with their "mention the product name three times in the first five seconds" and "Make that print ad logo bigger, I can hardly see it from across the street" mandates, clients are all turning into those people adrift at sea, screaming and waving as loudly as they can so the plane will see them.

It's safe - yet another thing clients like - to say that in a business that never had much subtlety to start with, what little is left is rapidly disappearing.

This isn't news to anyone in the creative department. It isn't even really news to the clients that demand the screaming ads. They're just in denial. They'll ask you where their names a subtle, funny, intelligent commercial everyone likes spot is. And when you bring it to them, they'll tell you it takes too long to get to the product. Or that they don't get it. Or that it won't test well.

Anyway, as much of a bitch session this post seems to be (is), it's also a thank you note. To creatives and clients alike who fight the good fight, and get their humor filled, intelligent, unexpected, message subtly embedded ads out the door.

They're an ongoing inspiration it can still be done. It's quality work we'd remember on its own merits. Even if the rest of the landscape wasn't so easy to forget.

Open for business

As I was just saying the other day to my good friend Rich Siegel, creator, curator and pledge drive MC for his Round Seventeen blog, Rich I said, you can never have enough posts slamming open space office seating.

I've written many times about the particular challenges to getting anything productive done in that environment, including here. Rich has also displayed a few well-written tirades about it, like this one for example. But it's not just a couple of malcontent, disgruntled and yet extremely talented and worth every penny and more of their day rate copywriters doing the complaining.

The monumental failure of open space floor plans has also been well-covered in many publications I'm proud to say I've stolen from some of the finer agency mailrooms around town. Fortune to Fast Company, the Washington Post to New York Magazine, and everything in between.

Now, it's one thing to bitch and moan when you're one of the cogs in a giant holding company wheel who's forced to work at the picnic table. It's quite another when the company who set it up that way realizes the insanity of it and warns you about it.

I noticed a help wanted ad, a section of which is shown above, that lets you know just what you're getting into should you decide to work with them. In case it's not legible on that Kaypro II screen (employee offices aren't the only place they're saving money), here's what it says:

Ability to work and write in an open office environment with a considerable amount of distractions and interruptions.

I don't know the exact definition of the phrase "mixed message", but I have an idea this is pretty damn close.

What they're saying is, "Hey, we know it's virtually impossible to get anything done in this office setup, but we don't care. Deal with it." Fair enough. I suppose we all have our own choice to make.

But if a company tells me, brags to me, they had a bad idea that's making them less productive, my job more difficult and they're sticking with it because it's cheaper to have me overcome their stupid obstacles than it is for them to change it, my choice would be a resounding, unequivocal no thank you.

Right after I hear what day rate they're offering.

Both sides now

When you work in the insurance business, you don't get to have an opinion about whether the claim form is filled out correctly - it either is or it isn't. If you're fixing cars, no one's looking for an opinion about the intricacies and meaning of the repair - it's either fixed or it's not. In the case of the Saab 900 I used to own, it was not. Whole other story.

In advertising, the lines are more blurred when it comes to the work. There's room for opinions. And, as anyone on the creative side of the business will tell you, everyone has one.

One of the unspoken agreements when you work at an agency is the expectation you're going to be a company man, an advocate of the work regardless of its merits, good or bad, subtle or crass, exploitative or not. And if you're a stakeholder in the work - a writer, art director or producer - the agreement isn't that unspoken. Of course you're going to defend your work.

Here's the thing though. If you're going to work in this business, you have to put on your big boy pants and realize that there are going to be lots of opinions about the work, and they're not all going to agree with yours.

Case in point: the recent McDonald's "Signs" commercial. I already told you what I think of it here. Over 20 years ago I worked on McDonald's, but their advertising has changed several times over the years. And the fact that I got paid to work on it a very long time ago didn't buy them a promise I'd love everything they do forever and ever.

No one sets out to do a crass, exploitative, manipulative, cynical spot on purpose. At least I hope they don't. But even if you're a stakeholder, you have to realize the world is not having their checks signed by the same people you are. There'll be different opinions.

It's the price of admission to work in this business.

So it really comes down to two choices. You can let opinions that don't agree with yours roll off your back.

Or you can gear up and spend a lot of energy fighting each and every one like they're a kitchen grease fire that needs to be put out.

Which would be a complete waste of time. Not unlike that McDonald's spot.

I'm hatin' it

There really are so few things that offend me in advertising. In fact, for the most part, I usually feel the same way about it that I do about free speech and comedy material - everything's fair game.

But even though they're sometimes hard to see, the lines are there. And McDonald's, in my opinion, has crossed one with this commercial.

I recognize the neighborhood McDonald's is just that: a member of the community, and a business that wants to support it. And to that end, I think there's nothing wrong with posting messages on their reader boards about what's going on in their town, their state or the world.

But when they make a manipulative (Carry On as the soundtrack? Subtle.), crass commercial exploiting genuine tragedy in the world, it's offensive. How many minutes away are we from the spot with the Je susis Charlie sign?

It might get a pass if it were genuinely in service of the greater good. But, let's not kid ourselves or let them kid us. They're doing it to sell their cereal-filled, heart-attack inducing, greasy little burgers.

McDonald's, with it's menu of over a hundred items and rapidly declining sales, lost it's way a long time ago.

Too bad they don't have an agency that can help them find their way back.

Unemployment line

A friend of mine, who's an excellent writer, and I believe from my experiences with him a decent individual, put up a post about someone he didn't know who'd tried to contact him on LinkedIn. Universal experience. Happens to all of us.

Whoever it was that hit my friend up for a connection listed his job as Independent Marketing & Advertising Professional, which, as we all know, is LinkedIn code for unemployed. My friend replied maybe the guy wasn't that good at advertising if he couldn't think of a better way to say it.

Now, I totally recognize my friend was just being funny. And don't get me wrong. I like a harsh, sharp, snarky line as much as the next guy. God knows I've written my share of them. But this time, it just struck me wrong.

Not wrong, hurtful. I felt bad for the guy.

I've said it many times before - if you're in advertising and you're unemployed, all it means is you showed up one day. Obviously the guy was unemployed. We've all been. And I was startled that my friend, who knows what it's like to be unemployed, came off as harsh as he did in his comment.

The point of LinkedIn isn't to announce you're unemployed - it's to make yourself look as good as possible to potential employers and digitally network as much as possible. Two things it seems to me this guy was trying to do. (Just to be clear, I wouldn't link with someone I don't know either - but I wouldn't blame 'em for trying).

We're all in the advertising foxhole together, and anyone in the business will tell you things ain't what they used to be. And they're not going to be again. Me, my friend and the guy on LinkedIn are all just trying to do our best.

Every once in awhile, contrary to how it may appear, I believe a little slack-cutting is in order.

I can't wait to see how it ends

Advertising has never been shy about being behind the bandwagon, then jumping on it and saying they've been steering it the whole time. It's also a business that's never met a buzzword it didn't like.

If you've been on any agency website recently, usually in the About section, you've probably noticed the unholy alliance of bandwagon with the buzzword du jour: Storytellers.

Apparently agency creative departments aren't staffed with copywriters and art directors anymore. Instead, they've been replaced by storytellers.

I get it. It's a romantic notion, and it plays well in pitches where the client is told how the "story" of their brand will be conveyed to the waiting masses. Like many other things in advertising, it's hyperbole.

It's the janitor calling himself a sanitation engineer.

I can't exactly tell you why this trend pisses me off so much. Maybe because it's so blatantly untrue. Or the image it conjures up is of someone who's facile with exaggeration, able to spin a yarn or an impossible - and unbelievable - tale out of thin air.

And if there's anything advertising needs to be more of, it's unbelievable.

Storytellers, the really good ones, are skilled at the practiced art of spinning straw into gold. But when the story's over, compelling though it may be, you're still left with straw.

Storytellers, brand stewards, marketing gurus (yes that was on one of the sites), dynamic social directives officers. Whatever. It all sounds false and a little desperate to me.

As for the agencies who insist on calling themselves that, I believe their future can be summed up in two words found in every story.

Goodbye Taylor

I come down hard on advertising in a lot of these posts, and for the most part advertising deserves it. But without a doubt one of the best things about being in this business is the people you get to work with.

To my great joy and surprise, I got to work with Taylor Negron early on.

I'd known who Taylor was for a long time. I had a lot of friends who were stand ups, and I spent a lot of years hanging out at the Improv on Melrose and the legendary Comedy Store on Sunset Blvd. My good friend Ned was even the MC at the store for awhile.

I'd seen Taylor perform many, many times. He was offbeat, unique and had a timing and sensibility all his own. It was his uniqueness that made him so compelling. Even though he may not have been well known in the mainstream, he was a comedian that other comedians admired.

Years ago, I wanted Taylor for a Church's Fried Chicken commercial I did, and was shocked when he came in and read for it. Which of course he didn't have to - the part was his, and I was prepared to fall on my sword with the client, the director, my creative director, the account people or anyone who said it wasn't.

Fortunately, everyone saw his remarkable talent and what he brought to the table. It was hard not to.

I'd like to say we became great pals after that, but we didn't. I did however continue to follow him, and was always excited when he came onscreen in the various movie roles he had like Fast Times At Ridgemont High and The Last Boy Scout, where he was a wicked blond-haired villain long before Javier Bardem ever thought about bleaching his hair for the Bond film.

In one of those ooo-weeee-oooo moments, I was thinking about Taylor just the other day, wondering why I hadn't seen him in anything in awhile. I didn't know he was fighting cancer, apparently for some time. And I'm heartbroken he lost the fight.

Anyway, thank you Taylor for your talent, for making me laugh, and for making my work far better than it would've been without you. I feel blessed to have been one of the lucky ones.

Rest in peace.

Define writer

Seems simple enough. A writer is a person who writes. Just like a drummer is someone who drums. So if you're drumming on your table at Starbucks, waiting for your venti half-caf with an extra shot of cream, does that make you a drummer? No, no it doesn't.

I take a lot of heat from my friends, who I call "real writers" because they are, about the fact I don't post to this blog with any kind of regularity. Clearly they've forgotten that I hold the well-earned title for the least disciplined writer they know. If it's any consolation, and I'm not sure why it should be, it's not the only thing I do without any regularity.

Saving money, buying new clothes, changing the oil in my car, good parenting. It's a long list.

At least when I do manage to have a thought rattling around and write about it, I usually have something to say. Usually being the operative word.

Anyway, I'd like to wrap up this post with some clever, snappy line. But to do that, I'd have to think about it more, and that might jeopardize my least disciplined writer status.

What I might do is take a second to go back over this post and see if there's anything I want to revise.

As I look at it, I think a good place to start would be the part about how I usually have something to say.

State of the reunion

For as much of a social butterfly I like to think I am - and don't get me wrong, I can light up a room - I've somehow managed never to go to any of the reunions at the many agencies I've worked at. Sometimes it was intentional, other times circumstantial. The circumstances were I didn't want to go.

Anyway, a couple Saturdays ago, at the last minute, I noticed an invitation had been sent to me. So for once, I decided to get over myself and make the effort. I'm pleased to report it was well worth it.

For a little over two years, I worked at an agency called DBC in downtown L.A. It was during the time the city was blasting the subway tunnels under 7th Street, and they'd ripped up the asphalt and replaced it with wood planks during construction. One of the owners, Brad Ball, had a great line about it. He said, "L.A. is such a classy city it has hardwood streets." Still cracks me up.

Anyway, I know a few get togethers have happened in the many years since I was there, even one at a park extremely close to my house. But despite my polite refusals in the past, this time I decided to take the dive.

I'm glad I did.

I'd spent so long focusing on a few people there I didn't like - really didn't like - that I neglected to devote any brain space to the ones I actually liked and enjoyed, but had forgotten how much. I was happy to see all the faces there, and genuinely missed many of the ones who weren't able to make it.

As conversation usually goes at these things, we caught up on our current lives, as well as past ones. That's the beauty of reunions: they're moments out of time. Suddenly, you're with a roomful of people who can fill in the blanks about who you were, and what you did way back when (not always a good thing, but always amusing).

So, this is my personal thank you to all my friends who were there and made me feel so damn welcome.

And even though I can already feel my loner, anti-social, too-cool-for-reunion ways creeping back in, before they take over completely let me say I can't wait for the next time we all get together.

For starters, with any luck, I'll be a lot thinner.

The big dipper

The photo is slightly misleading since this post is about my kitchen floor, and not a giant sinkhole. But if I don't do something about it soon, it could wind up like that.

When we first bought our house, we did the traditional walk-through before we closed. That's the part of the transaction where you notice all the little things that are wrong you didn't notice before, and the sellers - along with their mother who's acting as their real estate agent - tell you why it's not really a problem so they can close the deal and move on to their next home in Newport Beach. Then you take them to arbitration for trying to pull the wool over your eyes, and you get a judgement in your favor for $10K. How you like me now Duleep and Jamie?!

I may be getting off point here.

Anyway, during the walk through I noticed a small, shallow, hardly worth mentioning little dip in the kitchen floor just in front of the dishwasher. I wasn't even sure I'd felt it, and no, I won't be using the high school girlfriend joke here.

Fast forward sixteen years later, and that dip in the floor is now a small canyon.

We don't know whether to fix it or add a viewing platform.

We're leaning towards fixing it.

The problem is, our house was built in 1949, and the kitchen floor is tiled with linoleum. So, one thing leads to another. If we're going to fix the dip in the floor, we have to tear up the linoleum to do it. Which means not only do we repair the subfloor, but we put in a new floor over it. Also, we've been planning to remodel the kitchen since we've lived here, so it would only make sense to do all the cabinets and appliances first and then tear up the floor.

That dip is slowly turning into a money pit.

We haven't decided exactly what to do yet or how much we want to spend on it. We do know we're in a race against time, because we're only probably a couple months away from someone stepping through the floor and being hip deep in linoleum.

It'll probably be me since I'm the one who loads the dishwasher all the time. It's not because I want to. It's because, and I'm not bragging here, I'm a dishwasher savant. I know how to maximize the space. It's like that movie A Beautiful Mind, except in my version, instead of seeing equations in the air John Nash sees how all the dishes fit in the racks.

I know the entire family will be happy once the kitchen is done. It's really the last problem we have with the house. Then, we can all sit back and enjoy this house the way we've wanted to since we moved in.

Besides, I'm sure the lights blowing out when we run the washer, dryer and dishwasher at the same is fairly common.

My darling Clementine

I have a somewhat compulsive personality. For example when I like a song, I play it into the ground until everyone including me is sick of it. When I see a movie I like, I see it several times, looking for nuances, lines and performances I didn't notice the first several times. When I'm at the craps tables in Vegas, I'll roll the bones until I've gone all the way through the college fund.

Just kidding. What college fund?

And does anyone need to be reminded of my four-starting-on-five binges of Breaking Bad? Anyone? So it should come as no surprise that when I was introduced to clementine oranges - and liked them - that I would eat them six and eight at a time.

Besides, what's not to like. This small, tasty hybrid of a mandarin and sweet orange is seedless, easy to peel and just sweet enough. Not unlike my high school girlfriend (that joke is also something I'll use until you can't stand it anymore).

They're best when refrigerated, although they don't have to be. And you can eat them almost anywhere. They're juicy, but not in that spill-all-over-the-place naval orange kind of way.

At the market, they're usually sold in netted bags or small boxes called Cuties or Halos. I wouldn't care if they were called Cha Cha's or NumNums. They're awesome.

Occasionally I wonder how long it'll take me to tire of them, and what semi-healthy snack I'll move on to and obsess over next.

But not before I check to see if there are any more of these left.

Two for the roses

It's a colorful tradition that's been going on for 126 years. The first day of the new year, people gather in Pasadena, as well as millions more in their living rooms around the country to watch the spectacle, gasp in disbelief and appreciate the artistry of it all.

Of course I'm speaking of Bob Eubanks' and Stephanie Edwards' plastic surgery.

For all 126 years, Bob and Stephanie have been hosting the annual Tournament of the Roses Parade on KTLA in Los Angeles. They look great don't they?

Bob Eubanks was the first host of the Chuck Barris produced Newlywed Game. He was 28-years old when the show debuted in 1966. You do the math. Never mind, I'll do it for you. He's 77-years old.

Of course, that's just chronologically. In parade host/plastic surgeon years, he's still 28.

Stephanie Edwards has been television fixture since I was a kid. And by fixture, I mean an inanimate object that doesn't do much, but looks good sitting there. She began on a morning talk show in L.A., got moved to the predecessor of Good Morning America for awhile, and then became a Rose Parade, um, fixture in 1978.

There were a couple years (2006-2008) where KTLA tied the can to her and brought in a younger model to sit with Eubanks and read cliché-filled copy about the Oklahoma University Marching band, its storied history and the Wells Fargo float celebrating the theme "Let's Make Money." But the apparently the viewing audience put down their Metamucil for a second and noticed. Then they called their grandchildren and had them write letters to KTLA, in their nice handwriting. Anyway, the outcry was so overwhelming that the network brought her back in 2009.

My question is, are we supposed to not notice? When you have a parade where the flowers wilt after a couple days, but the hosts don't after forty years, it's hard to ignore.

Well, God bless 'em. Nice to see the older folks working. Even if they don't look like older folks are supposed to look.

All of this also begs another couple questions.

Why am I watching the Rose Parade? And where the hell did I put my Metamucil?