mschindler.com

serving brain food since 1998

journal, schin-zingers

Comments Off on Transcendental Orchestra

Transcendental Orchestra

An actual conversation in the car.

Liz: Your parents are going to see the, uh… Yngwie Malmsteen… Alaskan Orchestra.

Me: They’re called the, uh… Siberian… Huskie… um, Train Wreck

Liz: Sure.

Both: (Uncontrollable laughter.)

Me: I have to remember that for my blog.


art, culture, journal

Comments Off on Recent Art, Figure Series 1

Recent Art, Figure Series 1

Just a sampling of some figure drawings I’ve been doing in a recent studio—some five minute gestures, charcoal tonals, and quick ink washes.


culture, journal

Comments Off on Brian Regan Live

Brian Regan Live

Brian Regan Live

I had the intense pleasure of seeing comedian Brian Regan perform live last night at the Forum in Harrisburg, PA. It was a well-timed birthday present from my wife.

I’ve been a big fan of his self-deprecating style of humor for a long time now. He came out in a blue Hawaiian shirt and did a bit about his luggage getting lost at the airport that immediately put the crowd into hysterics. The funniest part of his act that I can recall had to do with his overriding theme of trying to “learn stuff” about the world. He described watching a Nova special on string theory, which was funny because I saw the same thing recently as well. He was telling us how the theory is so deep that even Albert Einstein couldn’t figure it out.

“Well,” he said, “I’m thinkin’ if he couldn’t figure it out—me, the couch, and a bag of potato chips won’t stand a chance.”

Uncontrollable laughter went on non-stop for about an hour and a half as he hit us with all new material. He even bombed ever so slightly with a series of “new” jokes about cuckoo clocks—as he put it “this might be a one time thing, folks.” That may have been the most endearing moment of the night. Clearly there was a lot of love for the comic. Everyone was rolling on the floor to 99.9% of the act.

Then he did something that was unprecedented in my experience of watching live stand up. He came out and did an encore. People shouted out their favorite bits. Although he tried to talk us out of it (“I’ll be happy to do it, but you’ll be like, ‘Yep, that’s how I have it memorized'”), he ultimately succumbed and did his most famous routines by request, including You too, Donut Lady, and others.

I’ve always thought this guy should be more famous, but it’s also good to see that the carcinogen effect of fame hasn’t spoiled him. If he never gets caught up in that game, it will only serve to guarantee his place as one of the funniest observation comics of our time.

(Note: He’ll be on Late Night this Monday night. So, set your Tivos.)


politics

Comments Off on Of Elephants and Asses

Of Elephants and Asses

What a mess

You know when James Dobson can’t resist defending a gay man who sexually harrassed teenage boys on the government bill, it’s time to pack up the self-rightousness and make a move for the hills—preferably some place where they’ve never heard of irony before.


culture, film, journal, music

Comments Off on Cowboy Matinee Mixups

Cowboy Matinee Mixups

Midnight Cowboy A gaggle of movie mixups, written down and straightened out right here for my own posterity. This started out as a Friday conversation gone horribly awry between a co-worker and myself.

Midnight Cowboy is the movie starring Jon Voight and Dustin Hoffman. It’s the one with the famous scene of Hoffman’s character slapping a car and yelling, “I’m walkin’ here!” And who could forget the theme song, Everybody’s Talkin, (I say that somewhat confidently because I don’t think I’ve ever seen the movie, but I know the theme song) which incidently has been covered by everyone from Madeleine Peyroux to Leonard Nimoy

Urban Cowboy is the one with John Travolta. In it, he rides an electric bull and talks to Deborah Winger with a really bad southern accent, “Sissy!”

Drugstore Cowboy is the one with Matt Dillon as a junky. It was directed by Gus Van Sant and shouldn’t be confused with Rumble Fish, which was a Coppola film.

Electric Horseman is the one with Robert Redford as an alcoholic cowboy who rides a horse in a suit of Christmas lights. (Seriously, that was the plot. Hey, it was the seventies.)

Rhinestone is the 1984 trainwreck starring Sly Stallone as a New York City cab driver who’s primmed and primed to be a country/western singer by none other than Dolly Parton (Hey, it was the eighties.)

Rhinestone Cowboy is a Glen Campbell song that has no relation any of this mess but is close enough in title to act as an enabling variable for confusion.

Somewhat related, if second guessing still looms about the accuracy of the first movie, is Midnight Run. It’s the 1988 buddy movie starring Robert De Niro and Charles Grodin. It has no cowboys.

Midnight Express, on the other hand, is about Turkish prisons.

Any questions?


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