Saturday, December 24, 2016

11 immutable truths I've learned about Christmas music

I wouldn’t call holiday music one of my primary genres of interest, but I happen to have a child who is enamored of Christmas and has almost as broad a musical appetite as I do. I can’t not go overboard when it comes to hooking my kid up with art, so I’ve spent a lot of this season digging into the bottomless reservoir of Christmas music, looking for unknown nuggets and giving old standards a deeper analysis than I’ve ever bothered to before. I’ve reached a lot of conclusions over that time, and I’ve deigned to make you privy to ten of them.

1. Low knows Christmas
It’s my understanding that they still have Christmas in places without snow, and I’m sure they do a fine job of it. You’ll forgive a Minnesotan, though, for feeling a little smug about spending the most wintry of holidays in the most wintry of states. That’s why I hold that Duluth’s very own Low gets Christmas from a different angle than any other band that ever put out a Christmas album. Their aptly titled Christmas EP opens with the cheery indie pop of “Just Like Christmas,” then dives into chilly, almost mournful reflection for the next seven tracks. Whether they’re repurposing old standards like “Blue Christmas” and “Silent Night” or crafting striking originals like “If You Were Born Today” and “One Special Gift,” they display an innate grasp of the specific melancholy that defines the season at least as much as peace on Earth and good will toward men. I was fortunate enough to make it out to their annual Christmas show at First Avenue this year (on a night of negative-20-degree weather for extra street cred) and can attest that Alan Sparhawk, Mimi Parker and various bassists have a much deeper understanding of Christmas than you.

2. Merry Christmas from Sesame Street is a stone classic
Although it’s not the most celebrated Muppet-affiliated Christmas property, this 1975 TV special soundtrack was a pillar of my childhood and it sounds just as good today. Oscar the Grouch’s misanthropic “I Hate Christmas” is justifiably the best-known cut here, but there’s not a bad track in the bunch. You’ve got Bert and Ernie delivering my favorite rendition of my favorite carol (“Have Yourself a Merry Little Christmas”), a spirited “12 Days of Christmas” culminating in Snuffleupagus forgetting what present he got, the lovely original “Keep Christmas With You (All Through the Year),” and David (remember David?) delivering a proto-rap “Night Before Christmas on Sesame Street.” Stir in a couple of fantastic sketches - Prairie Dawn directs a Christmas pageant starring a reluctant Bert as The Tree, and Bert, Ernie and Mr. Hooper reenact “The Gift of the Magi” - and you’ve got something timeless that could only come from the peak era of Hensonian creativity.

3. “The Little Drummer Boy” is very good
I think I first became aware of mankind’s general hatred of “The Little Drummer Boy” while reading one of several Dave Barry columns bemoaning “a song, lasting longer than most dental appointments, in which a chorus of high-voiced women shriek ‘Rum-pa-pum-PUM, rum-pa-pum-PUM.’” Barry’s knack for drawing humor from overly literal nitpicking of popular songs has since been rendered redundant by the entire internet, but his sentiment stands. People haaaaate “The Little Drummer Boy” to a near “Wonderful Christmastime” degree. I don’t get it and never have. The staccato beat; the relentless, almost threatening progression of events; the somewhat saccharine but narratively sound arc of the story - this is a great damn Christmas song, whether it’s being performed by the aforementioned Low or the latermentioned Jackson Five or The Temptations or Bob Seger or a Christian hair metal band.

4. Christmas proves Springsteen knows Springsteen
Bruce Springsteen and the E-Street Band playing “Santa Claus is Coming to Town” is the type of thing that should be good for a quick goof, but damned if it isn’t a genuinely great performance and a deserving entry in the Christmas canon. The first time I heard it I wasn’t sure if I was listening to Springsteen or a spot-on parody, and therein lies the greatness. Springsteen plays this song exactly the way someone parodying Bruce Springsteen singing “Santa Claus is Coming to Town” would, from his opening line about it being cold down at the beach to the brief shifts into doo-wop to needling Clarence Clemons about asking Santa for a new saxophone. Springsteen’s a good dude by most accounts, but he’s got such a carefully maintained image that it’s nice to know he’s not afraid to take himself down a peg.

5. Christmas is for Michael Jackson
I’ll confess that I’ve never been much of a Michael Jackson fan. I like the hits well enough, but his music has never stirred my soul the way that it did for most of my agemates. If I had to pick a favorite Michael Jackson era, it’d easily be his earliest work with The Jackson Five, and if I had to pick a favorite piece from that era, it’d easily be Christmas with the Jackson Five. While young Michael’s powerful-beyond-his-years vocals can come off a little creepy when he’s singing about romance and yearning, his Christmas songs overflow with a childish enthusiasm that can only be captured by, well, a child. His adolescent voice and delivery really are among the great wonders of the rock era, and they seldom got a  better vehicle than this collection of holiday standards. Michael Jackson’s “rooty-toot-toot and rummy-tum-tum” alone is worth any number of aging crooners’ Christmas cash-ins.

6. Christmas is for novelties
I’m pretty fond of the 1960s heyday of novelty rock songs, and possibly even more fond of the Christmas-themed sequels those hits frequently spawned. Maybe most famously, David Seville’s “The Witch Doctor” spawned the Christmas anti-classic “The Chipmunk Song,” but that was far from the last time a chart-topping weirdo found the yuletide spirit. The Royal Guardsmen’s “Snoopy vs. The Red Baron” spun off into “Snoopy’s Holiday,” in which the aerial aces declare a holiday truce. Sheb Wooley’s Purple People Eater teamed up with Santa Claus to stop a runaway Sputnik satellite. Even Bobby “Boris” Pickett’s decidedly non-Christmassy “Monster Mash” gang hatched a plot to hijack Santa’s sleigh only to be foiled by the irresistible force of generosity. Those were different times, I reckon.

7. “Here Comes Santa Claus” is the ultimate Christmas crossover
For the longest time I grouped Christmas songs into four distinct groups: Santa, Jesus, Winter, and General Christmas. Santa and Jesus might get name-checked in a Winter or Christmas song, but the overtly religious carols tend to eschew Santa and vice versa. This year, though, I paid close attention to Gene Autry’s lyrics to “Here Comes Santa Claus” for what must have been the first time and realized that there are references to Santa loving the rich and poor equally because he “knows we’re all God’s children” and exhorting us to “follow the light” and “give thanks to the Lord above.” Turns out Santa and Jesus are playing for the same team, I guess.

8. The California Raisins hold up
Look, there are times in history when cutting-edge clay animation, misguided advertising campaigns, and vaguely racist characterizations dovetail into something that captures the pop-cultural zeitgeist. I can neither excuse nor explain the existence of the California Raisins as a concept, but I can aver that the crass promotional tie-in albums released under their name are pretty dang good. Christmas with the California Raisins does what the band (fronted by legit rock legend and former Hendrix bandmate Buddy Miles) did best: crafting slightly updated, surprisingly authentic renditions of Motown-style tunes you know by heart. The Christmas album is full of soul-slathered standards, plus a rap version of “Rudolph the Red-Nosed Reindeer” that by all rights should be cringey but instead kinda rules. Apparently this was quietly reissued as Buddy Miles’ Greatest Christmas Hits, which gives credit where it’s due but is also somehow a little less fun.

9. Just because you shouldn’t do a Christmas song doesn’t mean you should
The dank back alleys of Christmas music are riddled with singles and albums whose main and perhaps only hook is “Can you believe ___ did a Christmas song?” With very few exceptions, these songs are good for one ironically amusing spin and very little else. I’m thinking here of endless CD samplers with titles like Punk Goes Christmas or We Wish You a Metal Christmas, or even, lord help us, Prog Rock Christmas. I won’t say these albums don’t sometimes feature a few gems - heck, seeking out gems from unlikely sources is one of my principal occupations - but by and large the gag’s shelf-life runs out in the time it takes to read the title.

10. “Christmas is Coming” owns A Charlie Brown Christmas
I love “Linus and Lucy” and “Christmas Time is Here” as much all good-hearted people, but for my money the best thing about Vince Guaraldi’s justly beloved piano jazz score is the bouncy, propulsive “Christmas is Coming.” You know the tune even if the name doesn’t ring a bell, but it’s nowhere near as iconic as those other two. I think that’s part of its strength - even though it’s deeply embedded in its source material, it can also live independently of it. It’s the difference between “Hey, it’s that Charlie Brown song!” and “Say, isn’t this that Charlie Brown song?” In my book (and maybe my book alone) that’s a meaningful distinction.

11. Seriously, Low
And then there’s “Santa’s Coming Over.”

Wednesday, March 2, 2016

Knifing Around with Lou Reed

I’ve been blogging about the weird nooks and crannies of Lou Reed’s musical career on his birthday for quite a few years now. You might think by now I’d be running short on topics, but as this year’s entry illustrates, that would be grossly underestimating my creepy eye for minutia. At this point I can’t imagine why anyone else would want to read this stuff, but I know I want to write it and that’s all that really matters.

A while back my friend Stefa tweeted me asking for the name of the Lou Reed song where a guy is killed with a knife. It took me a few moments to answer “The Gift,” not because I couldn’t think of it, but because I could think of so many songs that fit the description. I’d never really thought about it before, but Lou Reed wrote a lot of songs about knives.
As I’m prone to doing when struck by a revelation, I immediately made a playlist about it. Pulling from Lou’s entire catalog beginning with the Velvet Underground, I assembled every song that mentions knives, swords, razors, stabbing, cutting and/or slicing. The playlist wound up being more than two hours long. If I’d included hypodermic needles it would be even longer, but I decided there’s enough of a distinction there. Here, then, is an annotated documentation of Lou Reed’s long and bloody history of knifing around.
Delivered in a second-person street-jive, this slow-burning wad of sleaze follows a homicidal dude with a blade on an evening prowl, luring in gay bar pickups and murdering them with his knife. The lyrics make no bones about the motivations. “When the blood run down his neck / You know it was far better than sex / It was way better than getting laid / ‘Cause it’s a final thing to do.”

“Sword of Damocles”
The blade here is metaphorical and mythological, hovering over the head of Lou’s terminally ill friend. It’s one of the most personal and harrowing songs in his catalog. That the sword hasn’t fallen by song’s end just makes it all the more powerful.

“The Gift”
The instrument of stalker ex-boyfriend and Internet Nice Guy prototype Waldo Jeffers’s well-earned destruction is one of Lou Reed’s most beautifully observed objects. After all of Sheila and Marsha’s fruitless fumbling with the sheet metal cutter, John Cale’s dispassionate description of the long blade’s journey “through the masking tape, through the cardboard, through the cushioning and [plunk] right through the middle of Waldo Jeffers’s head” is catharsis of the most macabre sort.

“Egg Cream”
Even at his most upbeat, Lou can’t help working in a little twist of misery. This is mostly a nostalgic ode to the favorite after school treat of Lou’s days at P.S. 92 in Brooklyn, a bubbly chocolate drink that “made it easier to deal with knife fights and kids pissing in the street.” No cloud is so silver that Lou Reed can’t find its grey lining.

“Hold On”
This montage of social ills in pre-Giuliani New York City hits sardonically on just about every form of violence available, including “blacks with knives and whites with clubs fighting at Howard Beach” and a subway commuter outfitted with “a black .38 and a gravity knife.” Call me nuts, but that vision of New York still sounds perversely appealing to me.

“My Friend George”
Unhinged gym rat George’s weapon of choice is a stick, but Lou’s reverie of him is sparked by a newspaper story about a man killed with a sword, and George’s barroom manifesto includes an exhortation to “stick it to these guys, right through their heads.”

“Prominent Men”
The Dylan influence is almost embarrassingly evident on this early Velvet Underground demo, from the grim social commentary to the rudimentary harmonica solos, but Lou Reed’s take on ‘60s folk is still a few degrees sleazier than his idol’s. One of the lost souls profiled here is a child with a glistening knife that “stabs no ways and all ways.” And thus was the template set.

“Dime Store Mystery”
Lou’s tribute to Andy Warhol envisions the artist as a dying Christ figure staring down his last temptation. As such, he is introduced “banged and battered, skewered and bleeding.” The real-life Warhol’s side-wound was more bullet-induced, of course, but I think we can safely assume a spear in this scenario.

“The Bed”
Lou fairly whispers his way through this haunted, ethereal post-mortem from his masterpiece of despair Berlin. After years of abuse of the mental, physical, substance and self varieties, our heroine Caroline has slit her wrists in the bed she once shared with her husband Jim. Jim narrates from his own traumatized yet unrepentant perspective, but if you’re not in Caroline’s corner when she lifts that fateful razor, I don’t think I care to know you.

“High in the City”
This steel drum-laced jaunt about getting stoned and strolling around town sounds celebratory on its surface, but listen a little closer and you’ll find the grimness beneath the glee. Before setting out on a simple walk through a landscape of vicious dogs, burning Jeeps and street crazies, Lou has to make sure that “You got your mace and I got my knife / You gotta protect your own life when you’re high in the city.”

“Future Farmers of America”
A rapid-fire slave revolt story set to a rollicking rock beat, this one culminates in a call to “kill your master with one cut of your knife. Kill them during talk, kill them during sex, kill them whenever you can.” It’s not one of Lou’s subtler messages.

“The Murder Mystery”
All four Velvets are on hand to chant along with this discordant collection of dueling nonsense rhymes, which naturally include plenty of chopping, piercing, flaying and other forms of blade-related mutilation. “Off with his head, take his head from his neck off/Requiring memories both lovely and guilt-free/Put out his eyes, then cut his nose off” is a pretty typical sequence. This is arguably the most widely hated Velvet Underground song, so it should come as no surprise that I adore it.

“The Blue Mask”
The title track from one of Lou’s most visceral albums follows a tormented soul across a life of violence that leads him to believe in the cleansing power of pain. He demands to have his face slashed with a razor, pierces his own nipple with a pin and dreams of genital mutilation. The guitar is pretty good too.

“Wrap Your Troubles in Dreams”
This one melds a deceptively lovely John Cale melody and dreamy Nico vocal with some mighty harsh lyrics, even by Lou Reed standards. It’s all about embracing death and finding salvation through pain, much of it blade-induced. Not to be confused for one second with the easy-listening standard, even though it’s fun to imagine Louis Armstrong or Frank Sinatra crooning “The knife stabs existent wounds / Pus runs through matted hair.”

“Power and Glory”
A big, boisterous anthem that also happens to be an introspective meditation on death and the meaning of existence, the opening track from “Magic and Loss” delves into a variety of mystic imagery, naturally including a little bit of piercery. “I saw a man put a red hot needle into his eye / turn into a crow and fly through the trees” might not be one of your more orthodox visions of the afterlife, but I’ve certainly heard worse.

I’m not entirely sure that “You must think that I’m some kind of gay blade / Well, why don’t you go swallow a razor blade?” even counts as wordplay, let alone rhyming, but it’s close enough for me.

“Lady Godiva’s Operation”
In maybe the purest example of the collaborative vision of Lou Reed and John Cale, the menacing elegance of the musical arrangement both belies and accentuates the brutality of the lyrics. The jarring discordance of Lou and John swapping lead vocals, sometimes mid-verse, plays right into the story of the alluring Godiva’s vaguely defined and highly traumatic surgery at the hands of a surgeon who “sees the growth as just so much cabbage that must be cut away.” By the time “the doctor removes his blade cagily so from the brain,” it seems as though the damage has already been done.   

“The Heroine”
I’m pretty sure this ode to a seawoman standing strong in the face of both a mutiny and a collosal storm is a metaphor, but I couldn’t tell you for what exactly. Anyway, the situation with the crewmen is dire enough that it’s almost an afterthought when Lou tells us that “when they thought no one was looking, they would cut a weaker man’s neck.”

“Sally Can’t Dance”
One of the few instances where I believe the bladeplay in a Lou Reed song to be metaphorical, this sardonically upbeat number about a gender-fluid party girl and eventual overdose victim finds its heroine surviving a rape in Tompkins Square and thereafter adopting an unorthodox self-defense system. “Now she wears a sword like Napoleon / And she kills the boys and acts like a son,” says Lou. I don’t think the boy-killing is literal, but it would be hard to fault Sally if it were.

“Video Violence”
This very ‘80s cut finds a skeevy dullard sitting down to a quiet night of television and being bombarded with graphic violence both physical and ideological in nature. He’s the type of dude who beats up sex workers, then calls up a televangelist to rant against the menace of TV violence. Lyrically, Lou almost seems to be having it both ways, decrying moviegoers “grabbing their crotches at the 13th beheading” and the general pervasiveness of ugly imagery in the Reagan era. In the end, though, it’s clear that nobody’s to blame for this dummy’s actions but himself, no matter how hard he might try to blame slasher movies and Madonna.

“The Black Angel’s Death Song”
The song that allegedly got the Velvet Underground banned from at least one nightclub is as unsettling lyrically as it is musically. Lou’s monotone stream of consciousness recounts a weary trudge through an apocalyptic landscape laced with semi-coherent couplets like “Cut mouth-bleeding razors forgetting the pain / Antiseptic remains cool goodbye” and “Wandering’s brother walked on through the night / With his hair in his face on a long splintered cut from the knife of G.T.” I have no idea who or what G.T. is but I want to believe it’s George Thorogood.

“Harry’s Circumcision”
A blackly humorous jaunt into identity crisis and body horror, this one watches a poor slob named Harry taking a depressing inventory in his bathroom mirror, nonchalantly carving up his face with a straight razor, and finally slitting his own throat. The punchline has Harry surviving his self-mutilation and laughing ruefully as he considers his new life with a new, horrific face. It’s one of the less grim songs on Magic & Loss.

“Rock Minuet”
I get the impression that Lou was mighty proud of this song, but for me it’s always verged on trying too hard for the sleaze and grime of the Lou Reed brand. Anyway, it’s all about a damaged loner who gets off on torture and eventually slits the throat of a hustler who tries to pick him up. I think of it as a sort-of sequel to “Kicks,” minus the nebulous menace.

It seems only fitting that Lou Reed’s final album is loaded with mutilation imagery from the very first line, as “Brandenburg Gate" opens with the eponymous Lulu telling us “I would cut my legs and tits off / When I think of Boris Karloff / And Kinski in the dark of the moon.” It’s the story of a small town girl heading to the city with images of Hollywood and adventure in her head. You know how well those stories usually end. By the time we reach “Pumping Blood,” she’s fixated on, well, blood, demanding point-blank, “Use a knife on me” among other far less wholesome things. “Frustration” finds her lover bemoaning “a sword between my thighs,” and in the end everybody’s all carved up, emotionally if not physically. But probably physically too.

Happy Lou Reed’s birthday, everybody!

Tuesday, December 22, 2015

My kid's top 15 things of 2015

2015 was our boy’s fifth year of existence, and one in which his pop culture palate continued to broaden in directions both expected and not. Here are a few of the bits of art and other ephemera that caught his eye over the past year.

My Neighbor Totoro
Conventional wisdom would suggest that kids raised on the hyperkinetic action of modern American cartoons would be bored stiff by the comparatively gentle, introspective work of filmmaker Hayo Miyazaki. The boy, though, adores the work of Miyazaki’s Studio Ghibli, and a good number of his friends and classmates seem to agree. My Neighbor Totoro is his resounding favorite, so much so that we dressed as a family of Totoros for Halloween and got a Totoro cake for his birthday party. My wife and I couldn’t be happier that he loves this melancholy story of mysterious forest spirits helping two young girls cope with personal trauma in post-war Japan, as it’s quite simply one of the finest works of art of the 20th century.

(Hipster bonus: The boy considered it a positive when we explained that a lot of people might not know what his costume was but those who did would probably like it a lot.)

Batman: The Brave and The Bold
We watched a lot of superhero shows this year. A lot. And honestly, I enjoyed just about every minute of it. Before 2015 my knowledge of the DC Animated Universe began and ended with my much-loved Batman: The Animated Series. Now I’ve seen the justifiably venerated Justice League and its slightly inferior successor Justice League Unlimited, the curiously underrated Superman and the criminally overlooked Green Lantern: The Animated Series. And some Marvel stuff too.

Green Lantern might be my favorite of the bunch, but the boy was most taken with Batman: The Brave and The Bold. That makes sense, as the show specifically aims to recapture the fun and nonsense of old school comic books, before “dark and gritty” became the default setting. Each episode finds Batman teaming up with one or more classic superheroes, ranging from big names like Aquaman and Green Arrow to relative obscurities like the Metal Men and B’wana Beast. It’s good-natured, goofy Silver Age entertainment that takes itself just seriously enough maintain a genuine sense of adventure.

Art Baltazar and Franco
I’m a little bit torn about the state of kids’ superhero comics. On the one hand, I recognize that the abundance of material specifically aimed at younger readers is part of a massive marketing maneuver aimed at hooking kids early and establishing them as customers for life as the characters “grow” along with them. On the other hand, there are a lot of really good kids’ comics out there right now. Having grown up in the era when comic companies were determined to rebrand as “not just for kids” by making all of their comics very much inappropriate for kids, I’ll take this trade-off.

Art Baltazar and Franco are arguably the most prolific team working in all ages' comics today, and for good reason. These guys know how to make comics for young readers, whether they’re reimagining the DC Universe as a bunch of Little Archie-esque ragamuffins in Tiny Titans, creating a new but familiar universe of superheroic funny animals in Aw Yeah Comics, scaling the sprawling expanse of the Green Lantern universe down to a child-friendly scope, or any of the other dozen or so comic projects they’ve cranked out over the past few years. The boy generally prefers finding new material to revisiting old favorites, but these are stories he’ll gladly read over and over.

“Punk” and “Rock”
The boy has gone through a number of favorite songs over the course of the year, the earliest being The Ramones’ “Rock 'n' Roll High School.” Our discussion of that song led to an explanation of punk rock in general, which led to the boy declaring any song he liked to be “a good punk song,” provided it was loud enough and reasonably fast-paced. That included actual punk acts like Rancid and MU330 as well as broader-reaching stuff like Bob Dylan and Doomtree. As the year wore on he shifted to “Rock” as his default terminology, which made more sense when he started digging on Queen and T. Rex but still didn’t quite cover his fondness for club bangers.

Other individual favorite songs for the year include “Last Song About Satan” by Slim Cessna’s Auto Club, “Game On” by Waka Flocka Flame, “Blitzkrieg Bop” by The Ramones, “We Will Rock You” and “Another One Bites the Dust” by Queen, the African folk song “Funga Alafia,” "Time Bomb" by Rancid, “The Great Defender (Down at the Arcade)” by Lou Reed, the theme from My Neighbor Totoro, “Hey Bulldog” and "Sgt. Pepper's Lonely Hearts Club Band" by The Beatles, “Aquaman’s Rousing Song of Heroism” from Batman: The Brave and The Bold, and “Jingle Bells.”

Chapter books
Reading just clicked for the boy toward the end of last year, and his skills progressed at an alarming rate from then on. He’s currently immensely proud of himself for being able to read chapter books unassisted, as well he should be - he recently brought home Flat Stanley from school and read it to us in one sitting just to prove he could. He's read a few more Stanley adventures since then, along with things like Roald Dahl, the Super Pets series and the Harry Potter knock-off Secrets of Droon books. Still, we try to keep him mindful that things won’t always come quite so easily to him, and that no good will come of getting cocky about his skills. I well remember breezing along through elementary school and then running smack into the brick wall of multiplication tables. That hurt on several levels

Melanie Watt
Despite his much-vaunted fondness for longer tomes, the boy still loves a good picture book as much as the next kid. His tastes range from the thoughtful, elegantly illustrated work of author-illustrators like Graeme Base and John J. Muth to the wackier antics of folks like Chris Monroe, Michael Ian Black and Mac Barnett. Melanie Watt stands out as his favorite by virtue of two wonderful series: the fussy, elaborately detailed misadventures of Scaredy Squirrel, and the treacherous meta-text of Chester the mutinous cat. All of the above get my hearty endorsement.

Monsters Ate My Birthday Cake
I see video games as the biggest pop cultural chasm between the boy’s generation and mine. I grew up in the early days of NES, when gaming systems were still something of a luxury item. Nowadays they’re as much a fact of childhood as TV cartoons, if not more so. While we do have a semi-functional GameCube and PS2 in the basement, the boy’s gaming is mainly tablet- and PC-based. He gravitates toward problem-solving games that lean heavily on logic and pattern recognition. Needless to say, that means Mommy is his usual gaming buddy.

They’ve defeated a good number of opponents this year in titles ranging from the delightfully low-key Draw a Stickman to the endlessly obnoxious Plants vs. Zombies. I think the biggest hit was Monsters Ate My Birthday Cake, a cool bit of problem-solving from Cartoon Network. As a guy who’s not so hot with cause-and-effect, the logical intricacies of this one sometimes makes my head hurt, but it’s probably a good sign that the boy gets a blast out of rational thinking.

The Wizard of Oz, but not that one
We made a lot of family visits to Oz this year via all kinds of media. We’ve listened to L. Frank Baum’s original novel on Audible, read almost all of the fantastic Marvel Comics adaptations, read a few of Baum’s sequels, and attended Children’s Theater Company’s extravagant stage interpretation of the MGM movie. We haven’t, however, engaged with Oz’s most famous incarnation, the movie itself. Despite thoroughly enjoying the multitude of horrors served up by Baum (not to mention potential trauma-fonts like the Justice League facing down the dread Cthulu in an effort to save the soul of a rampaging zombie), the boy is convinced Margaret Hamilton’s Wicked Witch of the West will be too scary for him to deal with. Much as I dig the technicolor Oz, I’m perfectly happy to stick to the Baumverse for the time being.

Boxy Mouse
I’ll admit it made me rather proud that my five-year-old had a favorite local graffiti artist. I suppose Boxy Mouse isn’t technically graffiti, but the curiously cubic rodent’s visage decorates more than enough Twin Cities light posts and news boxes to qualify as a street art icon. The boy has loved going Boxy-spotting for years and has amassed a sizable collection of his buttons. His mom picked him up a framed Boxy Mouse portrait for his birthday, which now decorates his bedroom wall.

We Bare Bears
I’m a firm believer that children’s television is the strongest it’s ever been. I’ve seen a lot of top-notch shows over the past six years, and this new Cartoon Network offering is one of the best. It’s a simple story of three idiosyncratic bears living in a cave outside of San Francisco and doing their best to cope with this modern world. It’s a rare combination of hip, heartfelt and hilarious that qualifies as appointment TV for every member of our family. Ice Bear is among the five best characters on television right now.

Looney Tunes
Would that my artistic career ever produce anything one-tenth as timeless as Looney Tunes. By this point my generation has seen all of these 60-plus-year-old shorts so many times that it’s easy to forget their raw power. Spend a few minutes on a couch next to a five-year-old straight-up howling with laughter at Roadrunner and Coyote and it’ll all come rushing back.

Loving things that you later realize are terrible is an important rite of childhood passage. I’m happy that the boy has found one of those in this profoundly lazy Adam Sandler/Chris Columbus collaboration. A movie about a team of losers battling giant retro video game characters from outer space actually had potential to be a decent bit of dumb fun, but it’s evident that nobody here (except maybe the graphics department) cared enough to put in the effort to do anything more than was necessary to make a profit on the rental market. It’s a sloppy, unfunny and weirdly misogynistic movie, but it does have some pretty cool video game battle sequences, and that’s all that matters to the boy. Much as I don’t like exposing him to the concept of a world where Kevin James could become President, he’s fascinated by old-school video games (he adores the Pixels version of Q-Bert) and his taste in things is generally good enough that I’m not too concerned. Plus Pixels’ utterly predictable use of “We Will Rock You” got him interested in Queen. That’s a pretty solid byproduct.

The Back to the Future Trilogy
Neither my wife nor I were exactly diehard Back to the Future fans, but we were both pre-pubescents in the mid-1980s, which means the Marty McFly saga was more or less hardwired into our consciousnesses. Through a stroke of fortuitous timing, the boy happened to be home sick on the much-ballyhooed “Back to the Future Day” - the day in 2015 to which Marty travels in Back to the Future Part II - which led to my wife queuing it up on Amazon, which led to him watching the entire trilogy over two days and devouring every pseudo-scientific scrap of it. I’m pretty certain he has a better grasp on the capabilities and limitations of the time-traveling Delorean than do I, and he even pointed out a couple of plot holes that never occurred to me.

The Snow Queen
I’ve somehow become a gainfully employed theater critic in the past few years, which means the boy sees far more live theater than I could have conceived of at his age. We had a good year of theatergoing, taking in everything from everything from big-budget stage productions to traveling puppet shows to a bunch of genial millennials frolicking around with a parachute. The one he talked about the most was an adaptation of Hans Christian Anderson’s The Snow Queen that he saw at Saint Paul’s Park Square Theater on a Sunday date with mommy. I’m a little envious that I missed such a memorable show, but I’ve heard enough about the mysterious queen, the singing peasants and the hilarious reindeer that I almost feel like I was there.

The Creeping Terror
The boy has never seen Vic Savage’s bottom-of-the-barrel 1964 sci-fi flick, but he does love to hear me describe the trash films on which I squander so many of my precious hours. “This is like The Creeping Terror” has become his shorthand for anything slow-moving or tedious. It’s probably my favorite of his many antiquated pop culture euphemisms, narrowly edging out “This makes no sense, like T. Rex words.”