Uncle John’s Log & Co.

I caught a ride to Ohio with Joan and Mombo on Friday afternoon, and we managed to arrive at the church in Tipp City while almost everyone was still there. The three of us had dinner with K&KK in downtown Tipp. When Dana found out that Bruce would not be released immediately from Jewish Hospital, she left Louisville and made the trip separately to join me at Amy and Bill’s later that night. The morning funeral was appropriate for “a theatrical family,” complete with bagpipes and a horse-drawn hearse. We walked the half mile or so to the Catholic cemetery and rediscovered the profound sense of community that is lost when mourners retreat to their individual automobiles. The family reception at the parish hall featured a salad-lover’s bonanza. I enjoyed talking to Rita, David, Clev, and Angela before we returned to say good-bye to “The Barefeet.” After I snapped the bride+groom+2dogs in their new great room, we made our way down to Taylorsville Dam and the 2009 Seitz Reunion. Always good to see each member of my mother’s family, whoever shows up. Some of us gathered at Marion’s Pizza afterwards. Joan and I got a kick out of the peculiar, black and white, celebrity photos from the 60s and 70s, many of which are now beginning to fade. She observed, “What John Kenley did with his Players was what the Colonel had hoped to do in Danville.” True, but Henson’s summer troupe survived his passing and lives on after 60 years. Back at the motel, Joan treated us to our own adjoining room and I had the rare opportunity to watch the final two stages of the Tour de France before we left the next day. Although Armstrong accepted his role as “domestique” to teammate and eventual winner Alberto Contador after the Alpine 15th stage, admitting that “I gave it everything I had, and I wasn’t the best,” it was exciting to watch him ensure his place on the podium while settling “unfinished business” on Mont Ventoux. I tried to get Mombo and Joan involved, but they were just too sleepy to follow the drama. Dana had more interest in the Sunday finish, with the stunning aerial views of Paris and the Champs-Elysees. Lance will be back to challenge his rivals next year, leading a new team sponsored by Radio Shack. Whether an “old fart” can unseat the young Spaniard at the age of 38 will surely be the focus of the 2010 Tour. After checkout, we headed directly to Louisville to get Bruce. I’d felt odd on Saturday that I hadn’t worn my Seitz T-shirt, but it was a good thing I’d put it in my bag, because it was the only clean shirt I could offer Bruce for his release and our trip home. We all got to the Town House safe and sound, and Bruce was feeling normal enough by Monday to be voicing grievances about minor issues in and around the kitchen. I can tell how much he’d like to have his independence back. I said, “When you begin to feel like a husband in your mother’s home, it’s time to carry out the exit strategy.” His laughter sounded good.
 

— AP Photo | Bas Czerwinski

Well, Brendan has finally gone and done it. He’s found a way to combine most of his favorite talents—music, satirical writing, cartooning, comedic performance, creative collaboration, and your basic web magic. The end product of this fusion? An outrageous repository of droll hilarity known as The Children’s Hour of Knowledge. The site is co-produced with Stephen Heintz, and so far, it has two episodes. I haven’t heard anything quite like this since I listened to “I Think We’re All Bozos on This Bus” by The Firesign Theatre. (And that was 36 years ago—around the time I first started to make landmark journal entries just like this!). Go listen for yourself. Perhaps the best way to end this post is with an excerpt from my nephew’s biographical blurb: “In a perfect world, Brendan would be swiftly hunted down by those determined to keep it that way.”

— Month of January workout totals: Swim-1; Bike-2; Run-0; Lift-2; Yoga-5; Pilates-4

— I’m barely hanging on to athletic respectability, thanks to Yoga/Pilates, but that doesn’t do much for my aerobic fitness. This hasn’t been one of my better annual kick-offs, “exercise-wise,” compared to the past few years. My hope is that our traditional Super Sunday mountain-bike ride will help me turn this around, because I have no intention of not being in decent shape this year. Good. That’s settled.

— “Health is wealth,” but here’s another important reason I need to stay in noticeably sound condition: the mayor asked me to think through the idea of establishing a permanent Bicyclist/Pedestrian Advisory Committee for the city of Danville. Sounds like he intends to take my recommendations to the Board of Commissioners as soon as I finish my homework. It came out of nowhere, but seems in sync with my desire to disengage at the state level to focus more on local action. As I’ve probably said before, my days as a Kentucky Commissioner are undoubtedly numbered, since the governor who appointed me wasn’t re-elected, and my term on the KBBC will expire before long.

— Seeing Ken Watanabe in Clint’s Letters reminded me of his other emotional performances in Geisha and Samurai. And then I became even more sad, because I recently found out that Hollywood set decorator Gretchen Rau died of a brain tumor. I was really wanting to enjoy more of her exceptional work.

— I’ve been hearing funny things about The Producers since I was a college student, but it never occurred to me that it would take 35 years before I finally saw the show. This evening Dana and I had fabulous seats at Norton Center for the excellent national touring production, and I don’t know if I’ve laughed that hard since I first saw Blazing Saddles. When I’m in the right mood, nothing is more hilarious to me than Mel Brooks at his very best. I’ve always figured he was a comedic genius, but after experiencing “Springtime for Hitler” tonight, I must appreciate that he’s a genius—period. I was reminded that, when facing down the wicked, many unavoidable things are required by our warriors, but art is the best—the only true—revenge, and satiric comedy may be the ultimate—the most difficult?—form of that. Would that every aspiring dictator could look ahead only to having his personality cult reduced to an object of ridicule and gut-cramping laughter.

There is no safety for honest men except
by believing all possible evil of evil men.
          —Edmund Burke

Rhetoric does not get you anywhere, because
Hitler and Mussolini are just as good at rhetoric.
But if you can bring these people down with
comedy, they stand no chance.
          —Mel Brooks

V & S

With Norton Center so close at hand, it’s never been unusual around Danville to hear stories of visiting celebrities. Not that long ago, I even got to meet Jamie Farr in the green room, and to personally present him an OHIOANS poster. Eddie Montgomery is a typical presence in the area, and who knows what kind of visitors come and go out at the Rick Dees estate. As far as the entertainment industry is concerned, this community is really not that far off the beaten trail. And that’s why I was intrigued, but not entirely surprised, when I learned that Kim Darby was coming to Danville to star in “A Jarful of Fireflies” at Pioneer Playhouse, as part of the Raintree County 50th Anniversary Festival. I’ve always had ample respect for her talent, but now, based on Jennifer B’s article in the Sunday paper, the word is out that her beau, Johnny Crawford, is hanging around Boyle County these days, and that’s enough to activate the old fascination with my favorite TV stars. You see, I had a lot of Oldenday heroic idols back in the 60s, but there were two young guys a bit older than me that I considered the coolest teens to emulate: Don Grady (Robbie Douglas on My Three Sons) and Johnny Crawford (Mark McCain on The Rifleman). What was not to admire about Johnny Crawford? He could ride, rope, sing, play guitar, and, as an actor, hold his own on the tube next to Chuck Connors! Sure, as he matured, he became a “manufactured” heartthrob, but there was something genuine about him I could relate to, in contrast to a Vic Morrow or a Robert Conrad or a David McCallum. Hey, he was even cooler than Mark Vagedes! I hope he makes some sort of connection this summer that brings him back to town with his big-band dance orchestra for a future performance.

Rotary Club was unusually interesting today. I was called upon to make an spontaneous appeal in support of The Salvation Army Summer Camp program. Then we heard from a hometown gal who’s taking Pioneer Playhouse by storm this summer, and that got me thinking about my young chum Andrew. Holly Henson, daughter of the Playhouse founder, gave her pitch about next year’s Raintree County 50th Anniversary Festival. She made us realize that in 1956, it was the most expensive domestic motion picture ever made, and that 40% of it was shot in and around Danville/Boyle County. She made what I thought was an amusing remark— “What if 50 years later everyone had forgotten that the movie Titanic was filmed at Herrington Lake?” Later in the afternoon, I had coffee with a rookie staff writer for the local newspaper to promote the “Share the Road Rally” in Frankfort next Saturday. I’m also in the process of raising the profile of the bicycling advocacy group that a few of us local cyclists have organized this year. We have some lofty goals, and decided it was time to “go public.” We’re committed to a long-term effort and agree it’s too late to put on the brakes now. We’ll press on and see what happens. After that, Dana and I cruised to Lexington for the Gallery Hop, grabbed dinner and a glass of wine at Alfalfa’s downtown eatery, and settled in for an Altman picture at the State Theatre. What a day!

As Dana and I worked our way back toward Danville, we found ourselves near the Kentucky Theater, with the chance to catch a showing of “The Squid and the Whale” during its last week in Lexington. We hadn’t been in the adjacent State Theatre since the screening of Andrew’s movie last summer. Seeing this kind of film reminds me how much I appreciate the full spectrum of cinema, from the huge spectacles like “War of the Worlds,” to small literary pictures like “Squid.” I’m not enough of a groupie to outline any details, but I recognize the quality of the creative output coming from this particular circle of film makers, including Noah Baumbach, Wes Anderson, Jennifer Jason Leigh (Vic Morrow’s daughter), the Wilson brothers, and others. The nature of the circle’s connection to talents such as Bill Murray, Gwyneth Paltrow, and Kevin Kline are unknown to me, but serves as a clear reminder that the movie biz is a relatively “small world” at the nontechnical level. “Squid” has obvious parallels to “The Royal Tenenbaums,” but it also triggered some reflections on “The Anniversary Party.” Beyond the dynamics of the artistic circle (usually behind the camera, but occasionally in front as well), these kinds of low-budget, quasi-autobiographical pieces tend to fascinate me when well executed, not so much because of the typical, self-reflective focus on dysfunctional relationships, but the way in which the art affects me at an emotional level and stimulates personal objectives. For me, that’s what movie-going has always been about—the lingering internal ripples of the following day (and beyond, if I’m lucky, or did a decent bit of homework before making my choice of feature). For instance, in spite of all the attention to the unattractive snobbishness of intellectual elitism, I come away from “Squid” with the distinct desire to reverse my practice of keeping at arm’s length the major works of great novelists—Dickens, Melville, Proust, etc. It brings to mind the words of Michel Seuphor, which I copied in my journal a while back: “You can never see too many things in a work of art. Itself, the work is a means for discovering what is already within us. The true work of art is more than its creator; it is always behind him; soon it enters another orbit not his, because the artist changes, he dies, while the work lives in others.” Twyla Tharp takes it a step further, examining the potential power of sub-art, with her story about Jerome Robbins: He was “a true man of the theater, who made a point of going to see everything because he could find something useful in even the worst productions. He’d sit there, viewing the catastrophe onstage, and imagine how he would have done it differently. A bad evening at the theater for everyone else was a creative workout for him.” No bad art, only bad observers? I wouldn’t take it to that extreme…