STROKE OF GENIUS

“Do we have any cream rinse?” I asked, heading for the shower.

“The WHAT?” replied the chorus.

“You know, the stuff you put in your hair after you’ve used the shampoo.”

“Oh! You mean the CONDITIONER! They haven’t called it cream rinse for decades.”

Yeah, that stuff. There I go again, showing my age. Only to be corrected by my wife and kids.

Actually, I have to admire someone’s marketing savvy, however far back. Cream rinse, introduced to me by my first lover, always sounded like an indulgence – a luxury, superfluous but comforting. (She did have silky hair.) But conditioner? Now that sounds like something you might need to counter the, uh, harshness of shampoo. Not a luxury, but a necessity, making it all the better for marketing and sales.

Just goes to show the power of one word, doesn’t it.

THIRD TIME’S A CHARM

Just want to thank all of you who have downloaded your own copy of my novel Hippie Drum and to say how much I hope you’ve enjoyed it.

Since it’s my third published novel, and another in what’s considered the “experimental” literature realm, I’m grateful for all of the positive reaction.

If you haven’t yet joined the club of readers, let me encourage you to join now. Just click here for your own free copy.

INTO THE WARP

With some time to kill before rehearsal and a desire to buy a magnifying glass as a gag in an upcoming birthday present, I darted into a CVS pharmacy, where I promptly became disoriented. Everything in this one was backwards: the main checkout counters were at the back of the store, by the municipal parking lot, while the druggists were in a corner at the front, away from the doors along the main street. I had no idea where to begin looking.

No doubt in reaction to my perplexed state, a young clerk approached me and asked if she could help. It wasn’t her fault I was now thoroughly bewildered. Standing before me was my First Love, from nearly 50 years earlier and hundreds of miles to the west. Right height and shape, right hair, right voice, same quirkiness, even the same intensely blue eyes. Somehow she hadn’t aged, while I, well, time tells. In some ways, this was time travel of the worst sort.

How could I say anything that would make sense? She’d never be able to answer the questions I would have posed her.

WINDY CITY PERSPECTIVE

In 1922, the Chicago Tribune conducted an international architectural competition for the design of its new headquarters. The World’s Greatest Newspaper, as it proclaimed itself, could have erected a landmark modernistic tower envisioned by Walter Gropius and Adolf Meyer or an impractical giant lectern styled by Adolf Loos but instead went with a neo-Gothic bullet by Howells and Hood.

By the mid-‘80s, when I was employed by the paper’s syndication service, the grimy gray building was surrounded by many much newer buildings that resembled the glassy proposal the publisher had rejected. Maybe that says everything, in the end.

By then, though, the newsroom had definitely changed. Gone were the typewriters, long replaced by computer terminals and keyboards. Tours were guided through glass-shrouded catwalks overhead, where they could look down on journalists at work. I remember being fascinated to recognize there were four semi-circular copy-desks below me, each one ringed by copy-editors and a single “slotman” at the center, just as it had been when I started. I’d heard, too, that none of those seats were ever vacant long; this was a paper edited ‘round the clock for its many editions. But then I noticed that the editors on one of the rims were doing nothing except writing and editing photo captions. Nothing else for the entire shift. I’m sorry, but I’m used to far more variety when I’m editing. How did they ever stay awake?

Since we were really there to see two of our cartoonists, we headed for a set of elevators serving floors six through 32. And we were headed to the top, Jeff MacNelly’s suite, which sat just under the floor of microwave gear.

With his panoramic windows between flying buttresses looking out over Lake Michigan (you couldn’t tell where the water ended and the sky began that day), I wondered how he ever got any work done on his editorial cartoons or his Shoe comic strip.

One floor down, which Dick Locher commanded, was quite different. With its tiny diamond-shaped windows, the suite wrapped around the elevator and service shafts felt more like sitting inside a gargoyle.

At that point, one of my colleagues noticed a framed Pulitzer Prize on the wall. “That’s all it is? A piece of paper?”

Locher, who drew the Dick Tracy strip in addition to his editorial cartoons, had won two.

On the couch, MacNelly, who’d just won his third Pulitzer, grinned. “Yup, that’s about it. A piece of paper.”

WHERE, O WHERE

“Hey, you know your portrait’s hanging at Harvard?”

“Eh?” I replied, wondering what century the canvas would have evoked.

“No, it was the ‘60s. You were younger, of course.” And while a residence hall on the Yard was mentioned, I was too awash in wonder to catch the details. (Darn!)

Still, it stirs up the what-if musings.

At the time, Ivy League was completely outside my range of possibilities, beginning with finances.

Even so, here we were, one town over, a half-century later.

If only …

Or if they only knew …

THE DYING ART OF CARTOONING

Flipping through the latest New Yorker and admiring the cartoons brought a sense of loss, too. While the New Yorker and Playboy had long been the epitome of the art, paying the premium rates for work that matched the highest standards, almost every magazine ran cartoons, at least as fillers in the back sections. These days, though, hardly any of them do.

When I was in high school, the wit of fellow Buckeye James Thurber became a model, along with the Addams Family even before the TV series. And then there was Gahan Wilson’s mordant pen. But who’s come along, say, in the past decade to fill the ranks? Not in magazines, as far as I see.

Or in newspapers, where having an editorial page cartoonist was seen as a badge of distinction. (Except at the New York Times, of course, which abstained.) In the collapse of the second newspaper in most markets – and the elimination of afternoon editions – the ranks of those cartoonists have also been evaporating. Even before we get to the recent rounds of attrition.

It’s not a laughing matter.

BOTTLE FARM

Among those dim memories from childhood are Sunday afternoon drives, including one on a dull rainy day as we approached Farmersville. As Dad slowed the car, I heard an eerie panorama of tinkling glass and looked out over a seeming junkyard with large, black figures shaped from roofing tin, I suppose – witches, Indians on horseback, perhaps cowboys and the like – and many poles “like cornstalks,” as some have described, but with bottles instead of leaves. Plus, as I’ve read, a number of old church bells mounted somewhere, in addition to the bells of grazing sheep.

Yes, it was the chorus of sound that lingered strongest in my mind.

By the time we got a chance to go back, it had all been razed, declared a public health hazard, I remember hearing, because of the broken glass caused by vandals. Other stories suggested the orgies of motorcycle gangs instead.

One history I’d heard, that this was a relative of the late comedian Jonathan Winters, proved erroneous. The owner’s name was not Zero Winters, but Winter Zellar (Zero) Swartsel (1876-1953), an eccentric who turned his 22 acres into artwork fashioned from discards such as old bedframes and twisted wire. What I retain from that one day is far more cluttered than the clean photographs taken by Edward Weston.

It’s all lost, of course. How much it could have been an installation in some gallery will forever remain conjectural, but Winter was way ahead of his time on his multi-sensual approach to creation.