Season of the Sticks

I’ve been a sucker for singer-songwriters ever since in fell in love with Carole King as a teenager in the seventies.  It’s a long story but the short version is that “she spoke to me.” 

Not literally but with her words.  Meaning when you’re so lonely inside that you fear no one will like you once they discover the real you, a song like You’ve Got A Friend means everything.

You just call out my name, And you know wherever I am,

I’ll come running to see you again,

Winter, Spring, Summer or Fall,  All you have to do is call,

And I’ll be there,

You’ve Got A Friend….

If you wonder why so many of us deep down sensitive baby boomers prefer a call to a text, well, that pretty much says it all.

I mean, all you have to do is text just isn’t quite the same thing.

Reba knows

In any event, for me these days there’s a different kind of fear and loneliness.  One that’s difficult to describe except to say it’s a feeling of being let down by so many of the people I came of age with in a country I thought I knew but don’t know at all.  

It would be easy to make this merely political but it occurred to me this weekend that it’s not.  There’s a callow self-centeredness permeating the air, determined to change the norm of what’s right and wrong.  A shifting back in time to what is moral and acceptable, sometimes to the 1950s and, other times, to the 1850s.

This cartoon is from… 1908 #notkidding

A societal, redefinition to the alt right where the media actually indulges in rational discussions (Note: That is if we’re lucky) on whether it’s okay to snatch people as young as two years old out of their schools, their streets or even their beds in the dead of night and fly them to a foreign gulag in a country they’ve never been to without a hearing, much less a trial. 

A time where it’s okay to openly shout at or discriminate against people with a different skin color, gender preference or even income, insultingly and/or at the top of your lungs, and even use a nasty pejorative word about their ‘kind” (Note: And by “kind” substitute the word for a particular group you’d have seldom heard implied, much less said out loud in public 10 years ago) as they do so. 

Without a doubt

A place where those in authority promote the Christian Bible and the virtues and obligations of parenthood while dismissing anyone decidedly non-religious, or atheist, or voluntarily childless as lacking a strong moral compass, selfish or simply immoral.

Listen, this is not the language of my friends and family.  But it IS what is becoming the language of our country.  Questions are being posed in the public square to which the vast majority of American know the answer to.

Two letters

NO – it is not right to snatch people off the streets, without a trial, never to be heard from again.

NO – you don’t have to be a Christian or have/raise a child to be a moral, loving, worthwhile, contributing member of society.

And NO – it’s not okay to be racist, sexist, homophobic, transphobic, ethnic phobic or, ______________. (Note: Fill in the blank because you truly do know the rest of the categories).

Yet somehow, in some fashion, this is all on the table again and up for discussion.

American voters = Dory

In my random 3:00 am nights awake I wonder, Is bringing slavery back, next?  In my mind’s eye I can actually hear some of those voices arguing, It depends on the circumstances.  Why can’t we at least debate it?

Lately, I’ve come to realize that in the last few weeks, okay months, I once again find myself turning to another singer-songwriter to get me through.  This time it’s 28-year-old Noah Kahan, a Grammy-nominated folk-pop performer from Vermont who plays guitar, banjo and mandolin, sounds like a cross between Paul Simon and Cat Stevens (Note: He cities them as two of his big inspirations) and has dealt with mental health issues since he was a kid – so much so that he used funds from his success to establish The Busyhead Project, a mental health initiative that provides information and resources to end the stigma around mental health.

Bonus: Good hair

I didn’t know the latter before I started listening to him.  I just gravitated to his music and his words.  But in retrospect it all makes sense.  Who better to help you when you’re feeling rather hopelessly disoriented than someone who has been dealing with those feelings most of their life?  It made even more sense when I began watching videos of him performing.  He reminded me of the type of burly straight guy who was kind to me in my younger years.  The sort of mostly silent fellow who’d actually exchange a few words with me if we were at a party or some dumb function, and then ask me a question or two about myself and actually listen to the answer. 

His song Stick Season, which is also the title of his breakthrough 2022 album, derives its title from that time in New England when the leaves have fallen and the trees are bare but the snow has not yet arrived.  Again, it makes sense I’d be listening to this over and over again as I drive through the hills of sunny L.A. since in my view we are awaiting some great societal snow to wash away a kind of cold ,chilly creepiness threatening our land.

Or perhaps that’s just me liking flowery, melodramatic metaphors. (Note: Perhaps?)

It’s kind of exactly what the Mamas and Papas sang about… but without all the California dreamin’

In any event, in Stick Season, Noah writes about a relationship he’s sort of in during a transitional period in his life. 

…And I’ll dream each night of some version of you
That I might not have, but I did not lose
Now you’re tire tracks and one pair of shoes
And I’m split in half, but that’ll have to do

So I thought that if I piled something good on all my bad
That I could cancel out the darkness I inherited from dad
No, I am no longer funny, ’cause I miss the way you laugh
You once called me forever, now you still can’t call me back.

And I love Vermont, but it’s the season of the sticks….

Make of the meaning of the song what you will.

All of ’em

It could be a relationship with a girlfriend.

But it might also be one with a boyfriend.

Or even an old friend, lover or family member. 

Someone or something that’s been in your life forever but you feel you’ve never known. 

Like your country.

Noah Kahan – “Stick Season”

SNL Supersized

If you were ever a fan of Saturday Night Live – and let’s face it, many of us were for at least a handful of years – NBC’s more than three-hour Sunday night special SNL50: An Anniversary Celebration was both an original and nostalgic super-sized treat.

And no, I’m not just saying that because of the book I co-authored with my husband, Stephen Tropiano — The SNL Companion: An Unofficial Guide to The Seasons, Sketches and Stars of Saturday Night Live.

Oh this? ::wink::

The book that is available on Amazon in paperback or on Kindle.  

Nor is it because the two of us coincidentally spent part of the end of our first “date” watching the SNL episode hosted by Sean Penn 37 years ago, never realizing that both we (and the series) would still be a thing.  

It’s not even due to the nostalgic fact that we each happened to go to an SNL taping (Note: Me during season one; him in season three) in its first five seminal seasons. 

We didn’t!

It’s that somehow – after so many hits and misses – this particular episode got it exactly right.  Or, well, as right as it could ever be.

There are many secrets to SNL but chief among them is its ability to regenerate itself with a revolving cast of comedy performers every few X number of years, some of whom even start as writers.  Just when the series isn’t working, suddenly someone or something (Note:  Like some ripe-for-parody personality or news event) comes in that makes it work again.  Its most popular sketches endure but are seldom done too many times, always leaving room for the newest hot take to cross into the zeitgeist and create some seemingly necessary, key cultural moment. 

… and sometimes it’s just Dooneese!

Rather than rest on its laurels and rely solely on its past, it constantly tweaks its content while remaining true to the tradition and structure of its unique brand of sketch comedy and musical guests.  Weekend Update, the host monologue and the singer/band performances may endure and so do the way they are presented and who presents them.  Yet what is contained inside and who is offering what is always different. Not to mention the commercial parodies, the music videos, the short films, guest hosts and guest star cameos.

All of this and more were there in abundance on #SNL50. Yet unlike the prototypical evening of clip reels peppered with celebrity or cast member intro and outros, this was instead like watching a gigantic new episode of the series that incorporated reinvented, new versions of a lot of our favorite sketches and characters from each decade, sometimes with new ones, and in others surprise moments with an SNL performer from an entirely different season showing up in their own signature character from an entirely different bit.

Linda was ready for Sweata Weatha

Among the best was an unexpected spot by a very game Meryl Streep (Note: Her first ever in the entire 50 years) playing the mother of Kate McKinnon’s alien-abducted Colleen.  As it turns out, Colleen Sr. was also abducted by those little men with the big eyes and watching her have her comic way with fellow abductees (Note: Pedro Pascal and Woody Harrelson, each former hosts) was every bit as bizarrely funny as it sounds.

But there was also:

  • Black Jeopardy featuring with contestants Leslie Jones and Tracy Morgan joined by Eddie Murphy playing a fiction version of Tracy Morgan as the third contestant while standing right next to him.
  • Original SNL cast member Laraine Newman in a short film doing a nostalgic walk through of Studio 8H memories only to be met by Pete Davidson’s dim bulb Chad persona as an incompetent 30 Rock stagehand.
  • A Q&A of little known SNL facts and cutaways hosted by Tina Fey and Poehler, which gave us a chance to see any number of other former cast members and guest stars.  
  • A tribute to SNL digital shorts with a new one on SNL-performance anxiety led by Andy Samberg and Bowen Yang (Note: Though good as it was it couldn’t outweigh the special version of Samberg and Lady Gaga reworking his and Justin Timberlake’s Emmy-winning “Dick in the Box” two nights before in an SNL musical anniversary special).
  • And Adam Sandler center stage with his guitar (Note: Introduced by little-seen these days Jack Nicholson!) singing a new tune he wrote in the tradition of his Chanukah song, but this time in tribute to various SNL performers and crew people (Note: Many behind-the-scenes personnel were given shout outs and brought in front of the camera during the episode), some of which were quite touching without overdoing it.

Instead of allowing a heavy hitter group of live musical acts to take over, they were judiciously spread over the three hours, much like they would be over the course of a single episode.  There was Paul Simon, Sabrina Carpenter, Lil Wayne and Paul McCartney (all former guests) but by far stealing the show was a blues rock version of Nothing Compares To U by Miley Cyrus and Brittany Howard.  A cleverly reinvented but fitting version of the signature Sinead O’Connor tune, written by Prince, both of whom left us with their own classic SNL performances before their untimely deaths.

Remember when you were in the Beatles?

It’s tricky to write about 50 years of SNL without leaving so many out from the past, on the special and even in the audience attending the special.  But what’s even harder is not devoting some time to its creator, and producer of 45 of those years, Lorne Michaels.  He’s been an omnipresent part of everything, referenced frequently and every so often making brief (and very often even silent) onscreen appearances.  The latter was exactly the case over this three hours, which at first seemed strange but, by the end, felt only fitting.  Mr. Michaels clearly enjoys steering the ship but wisely picks and chooses when and where he appears on camera.

Thank you Lorne

It’s not that he doesn’t know his way around an audience and a teleprompter. Or shy away from taking credit for steering the ship for most of its journey.  It’s that on nights where it’s all going the way it should be, it’s best to simply let the work speak for itself.

“Nothing Compares 2 U” – Miley Cyrus & Brittany Howard