Bombs away

It doesn't take much to figure out what the incoming administration's foreign policy will be.

Speak loudly, in incomplete sentences that make no sense, repeat words like "tremendously" and "bigly" several times, make it sound like total gibberish and carry a big stick.

If you can lift it with those tiny baby hands.

It's clear that with this dipshit elect we're stuck with, whoever looks at us the wrong way, or tweets something he doesn't like is going to get what's coming to them. There's nothing subtle about it. It's right there in the open, almost mob-like in its approach.

"Hey Angela Merkel, noticed you didn't agree with me on Paris climate change agreement. You know, Germany's a nice country. Be a shame somethin' happened to it."

He's a humorless, thin-skinned bully and a thug. And his sons Uday and Qusay are no better.

What I find interesting is way back in 1972, whether it was a premonition, prediction or some other word that starts with a "P", Randy Newman called it. Forty-five years ago he basically laid out in song what the dipshit elect's foreign policy is going to look like.

Back then it was a funny, harmless, politically astute song with a catchy melody that had anyone who heard it singing along on the first listen.

I've seen Randy Newman many times over the years, everywhere from the Troubadour to Royce Hall at UCLA. I've always loved him, and it's still a great song.

It's just not so funny anymore.

String theory

Why are you looking at a picture of Stu Rosen (aka Dusty), Maxine the Crow, Stanley Spider and Scooter the Squirrel? It’s because I don’t want you looking at a picture of me in a black shirt, tights and a bright yellow scarf tied around my neck.

Even though I know how badly you want to see that.

One of the many odd jobs I’ve had was working for master puppeteer Tony Urbano. In the marionette world – and yes, there is a marionette world - there are a few giants. Bob Baker was one. Tony was another.

Even if you don't know his name, you've seen Tony's work in Men In Black (1 & 2), The Abyss and Team America: World Police.

Tony’s studio was a warehouse in a small industrial park in Van Nuys. I’d seen an ad for a job while I was at UCLA (all hour and a half), so I went and applied. I interviewed with Richard who ran the studio, and who’d later become a good friend of mine.

Cue the Twilight Zone theme.

In the part of the studio that opened to the parking lot via a garage door hung dozens of marionettes. Skeletons. Pianists. Crazy looking ones, whose eyes followed you as you walked around the room after closing.

Did that one just turn his head? I’ll swear he did.

Anyway, Tony did shows for corporate and children’s events. He had a road company of puppeteers, of which I was one, and an ingenious puppet stage he’d designed that, when folded, was about four feet by twenty feet and fit on the roof rack of the company station wagon.

I, along with one of the other puppeteers, danced dolls at events in Redlands, Topanga Mall, South Coast Plaza and Universal Studios. We did celebrity birthday parties, although I can’t remember which ones.

It was open puppetry, that is to say we danced them right out in the open and not from behind a curtain to hide us.

Tony was also the puppeteer on Dusty’s Treehouse (remember that picture?) a kids show that ran for ten years on KNXT-TV. It even won a Peabody Award. I got to work on the show many times, and was able to get my AFTRA card because of it.

Here’s one of my fond memories of Tony.

One day we were at the studio and some young kids were playing ball in the parking lot. The garage door was open, and the kids were looking at all the marionettes inside. Richard, Tony and I were in there. Tony was manipulating Maxine as he was going over a new script for Dusty’s Treehouse. One of the kids recognized the puppet, and yelled, “Where’s Dusty?” And without breaking stride, Tony shot the kid a look and in his bitchiest voice said, “Dusty’s dead.”

I felt sad for the kid, but Richard and I couldn’t stop laughing.

The other thing we used to do when Tony wasn’t around was have a little fun with the Piano Player puppet. His hands were sculpted as if he were playing the keyboard. So Richard would grab the strings, fly him around the room, then land him on the side of a plastic trash can. He’d have his hands on the side, and make his head look down in the trash can and make throwing up sounds. It was awesome.

Guess you had to be there.

Anyway, there comes a time in every boys life where he has to stop playing with dolls, so eventually I moved on. Fortunately I found my calling, such as it is, in advertising.

There's about the same amount of manipulation and string pulling.

But at least I don't have to wear the tights.

His aim is true

There's a special running on cable right now called Elvis Costello: Mystery Dance. As you might expect, it deals with the life and career of the other Elvis.

Like most people, the first time I heard Elvis was on his album, My Aim Is True. Alison was the number one hit, and I loved it. So when Elvis came to the Santa Monica Civic Auditorium, along with Nick Lowe and Link Wray, I was in.

I don't remember much about how the music sounded. What I remember most is that after about a twenty-five minute set, Elvis kicked over one of the giant speakers and stormed offstage. Punk movement. Angry young man. You get the picture.

I've seen Elvis many, many times since. And I'm always in awe of two things: how prolific a songwriter he is, and his endless versatility. From rock, to jazz, to country to classical, Elvis attacks every genre and infuses it with originality and the uniqueness of his sound.

One of the great concerts the wife and I went to was Elvis with the Brodsky Quartet at Royce Hall. We sat sixth row center, right in front of Jackson Browne (maybe if he had some connections he could've gotten better seats). My wife used to play classical violin, and she loves Elvis. So this was the perfect concert for her.

It was perfect for everyone. It was exceptional.

A few years ago, Elvis opened for Sting at the Hollywood Bowl. During that performance, he invited the fifteen-thousand people there to a free midnight show he was doing at the El Rey Theater later that night.

I don't have many regrets, but not showing up at the El Rey at midnight that night is definitely one of them.

Anyway, just a quick post to say I love his music.

And I'm pretty confident he won't be leaving the building anytime soon.

Blame him

You want to know whose fault it is that I'm in advertising? It's his.

A long time ago, in a lifetime far, far away, I saw a job post on the UCLA job board for a position in the mailroom at an ad agency in Century City. I'd never given much thought to advertising, but I did give a little thought to paying my bills and my rent. So I interviewed for the position, turned on the charm and humor we all know and love and got the gig.

Come to find out the agency was Wells, Rich, Greene. And the creative director who arrived from New York shortly after I got there was Howie Cohen.

By the time Howie got there, I'm not sure which of my jobs I was on at the agency. I'd started in the mailroom, where I got to make my rounds, and talk with everyone every day. A social butterfly even back then.

Then I got promoted to running the stat camera (look it up) in the studio. Except it wasn't in the studio. It was in a small, badly ventilated room next to the studio. Since the camera used a lot of fragrant chemicals to develop the film, I'd have to hold my breath a lot, then run out of the room after I'd taken a shot of whatever camera ready art I was working with.

From there, I was bumped up to traffic person - excuse me, project manager. If you look in the Guiness Book of World Records, you'll see that I was the worst traffic person that's ever held the job. True fact.

Anyway, my grand plan, since I was a theater arts major, was to become an agency producer. I figured if I did that, I'd make all these contacts. I could get an agent and start my illustrious film career.

But a funny thing happened on the way to my three-picture deal.

One day, there were no creative people at the agency. A team was down in Rio on a shoot for Brittania Jeans. Another team was out sick. Yet a third team was at a client meeting. This all happened to be on a day when a Bran Chex print ad had to be written and presented. The account guy, a short man who looked like he was wearing those plastic glasses with the fake nose - except they were both his - was running around the agency trying to scrounge up someone to write the ad.

He called Howie, who wasn't in that day, and asked who he should get to write the ad. And Howie said "Give it to Jeff."

So I wrote it. While it didn't win any awards, I'm pretty sure it's still the best written ad for a high-fiber cereal Reader's Digest has ever run.

Shortly after that, Howie promoted me to junior copywriter. Honestly, it was thrilling. I was excited to be working with the team, Howie and his partner Bob Pasqualina, who had created the legendary "I can't believe I ate the whole thing" Alka-Seltzer commercial.

As you might imagine, earning his bona fides working in New York advertising during that time, Howie has many, many stories that only someone who lived it can tell. And nobody tells a better story than Howie. If you want to read some good ones, definitely have a peek at his blog MadMensch.com.

I'm happy to say Howie is still working his magic in the world of advertising. I'm still working mine as well, although so far nothing I've done has made it to the Advertising Hall Of Fame. Yes, I said so far. Keep hope alive.

Anyway, I don't know if I ever actually thanked Howie and told him how grateful I am for launching me into a career I didn't even know I wanted. But if I haven't, I'm doing it now.

And by the way, for all the creative directors I may work for in the future, if you don't like something I write, now you know who to talk to.