Tuesday, March 31, 2009

A Tribute to Rev: Celebrating the Contributions of Ron Stallings

For the past few decades, musician Ron Stallings (photo: John Spragens) has been an active member of the San Francisco Bay Area music scene. He has brought his versatile musical talent to a variety of styles including jazz, Latin, and pop music, playing saxophones and flute, and singing with members of the local and international music community. Ron has shared his creativity with audiences and artists in performances around the globe and made countless friends along the way.

He's also on my album Vagabundeo, both playing sweetly soulful sax on Angelitos Negros (arr. Murray Low and vocal arr. Wayne Wallace) and singing on Aguas de Marco (arr. Wayne Wallace)!


On the evening of Sunday, April 26th at La Peña Cultural Center in Berkeley, Ron's friends, colleagues, and fans will gather in a celebration of his work and his much loved presence in our lives. Many local artists will be performing at this heartfelt musical event, and all proceeds from the concert will be donated to help with expenses that have accrued from Ron's medical care.

The line-up includes: David Belove, Brad Buethe, Stephanie Bruce, John Calloway, Jeff Cressman, Bill Douglass, Cecilia Englehart, David Ewell, Mary Fettig, David Flores, Noel Jewkes, Bob Karty, Mark Levine, Murray Low, Melecio Magdaluyo, Jenna Mammina, Ron Marabuto, Frank Martin, Ray Obiedo, John Santos, Ray Scott, Kahlil Shaheed, Saul Sierra, Bud Spangler, Rob Sudduth, Paul van Wageningen, Harvey Wainapel, Wayne Wallace, Marty Wehner and John Wiitala.

Master of Ceremonies will be KCSM's Jesse "Chuy" Varela.

La Peña Cultural Center
3105 Shattuck Ave.
Berkeley, CA
510-849-2568

Cover: $12 at the door (no reserved seating)
Concert begins at 7:30 PM.

Monday, March 30, 2009

Musician Joke

After years of hiding the fact that the love is gone, the last child moves out of the house and Mom and Dad announce they are getting a divorce.

The kids are so distraught, they hire a marriage counselor as a last resort at keeping the parents together. The counselor works for hours, trying all of his methods, but the couple won't even acknowledge eachother's presence.

Finally, the counselor goes over to a closet, brings out a beautiful upright bass, and begins to play. After a few moments, the couple starts talking. They discover that they're not actually that far apart and decide to give their marriage another try.

The kids are amazed and ask the counselor how he managed to do it.

He replies, "I've never seen anyone who wouldn't talk during a bass solo."

Wednesday, March 25, 2009

Alexa Weber Morales Band with Rueda Con Ritmo at Senzala tomorrow night!


Join the Alexa Weber Morales Band with special guests Sidney Weaverling and Ryan Mead of Rueda Con Ritmo for our second show of an ongoing series.

The fun starts Thursday, March 26 at 7:30 pm at Senzala, a delicious, spacious Brazilian eatery and cultural center located at 250 E. Java Dr. in Sunnyvale, Calif. Tickets are $12 and include a Cuban circle dance class, two sets by the Alexa Weber Morales Band, and an Afro-Cuban dance performance by Sidney and Ryan! Senzala is an all-ages venue and children are welcome.

Senzala is fast becoming a hot-spot for Latin American and Brazilian dance and music events, and has expanded their event schedule to a new night: Thursdays! Peninsula residents are urged to spread the word that affordable, high-energy and family-friendly fun is now in the neighborhood! Here's the schedule:

7:30 Rueda de casino dance class taught by Sidney Weaverling and Ryan Mead

8:00 First set, Alexa Weber Morales MiniBand featuring pianist Murray Low, Grammy-nominated percussionist Omar Ledezma, bassist David Pinto and singer-songwriter Alexa Weber Morales!

8:45 Dance performance by Rueda Con Ritmo

9:00 Second set, Alexa Weber Morales MiniBand

ABOUT RUEDA CON RITMO

Ryan Mead was studying jazz percussion at the New England Conservatory when he took his first trip to Cuba, and his life was changed forever. He became an avid student of Cuban dance and music, both popular and folkloric, making several trips to Cuba (most recently on a grant from Stanford). Fluent in Spanish, he has studied Cuban and Miami-style salsa and rueda in Washington DC, Miami, and throughout the San Francisco Bay Area, and has been teaching for 4 years.

Sidney Weaverling is a longtime contributer to of the currently thriving Cuban-style salsa scene in the SF Bay Area, with more than 10 years of experience as a teacher, performer, and choreographer. Apart from her remarkable proficiency with Cuban popular dance, she has extensive knowledge of Brazilian and African styles. She has studied at the Escuela Nacional de Arte (ENA) in Cuba and hosted study trips for her students at myriad schools in Miami, notably SalsaLovers and Salsa Racing. Sidney not only has a beautiful, fluid style – she has the experience to transform and inspire dancers at any level.

ABOUT THE ALEXA WEBER MORALES BAND

Since 2004, multilingual singer-songwriter Alexa Weber Morales has made six studio recordings, including her two solo albums, Jazzmérica and Vagabundeo. The latter, named “one of the greatest Bay Area recordings in recent times” by Latin Beat magazine, made top-20 airplay nationwide and received acclaim from around the world. Rio de Janeiro–based producer Arnaldo DeSouteiro (João Gilberto, Luiz Bonfá) calls her original compositions “rhythmically captivating and entrancing.” A June 2008 DownBeat review of Vagabundeo enthuses, “Her large-scale skill and talent encourages her all-inclusive dreams” and praises her “gorgeous articulation, flowing time sense and warm tone.”

Murray Low is a 30-year veteran pianist on the Bay Area jazz scene. Though he is a tireless performer, recording artist, and arranger, he is best known for his work with Pete Escovedo (since 1994); Grammy-nominated John Santos and the Machete Ensemble (since 2000); and Andy Narell, the pioneering steel pan player. His multifaceted career has also included international performances with Tito Puente, Bob Mintzer, Sheila E, Benny Golson, John Patitucci, George Duke, and many others.


Born in Caracas, Venezuela, 2008 Grammy-nominated Omar Ledezma, Jr. has been taking the Bay Area by storm with his percussion-vocals skills and his professionalism. After graduating at one of the most prestigious law schools in Caracas, Omar packed one bag and one drum to begin his move to Boston while making a passionate commitment to study at Berklee College of Music. There he collaborated and toured with renowned artists in the US, Europe, Caribbean and South America. He has participated in more than 20 recordings and projects including CDs, DVDs and books.

David Pinto is a Peruvian native probably best-known for his work as musical director, arranger and bassist with Grammy-winner Susana Baca, champion of Afro-Peruvian song. Other credits include Olga Guillot, Alex Acuña and Bay Area band leaders Edgardo Cambón and producer Wayne Wallace. He has played more than 800 festivals around the world.

For more information, visit any of the links below.

CD :: http://www.cdbaby.com/cd/alexawm2 (Vagabundeo)
CD :: http://www.cdbaby.com/cd/alexawm (Jazzmerica)
WEB :: http://www.alexawebermorales.com
BLOG :: http://www.alexawebermorales.com/blogger.html
VIDEO :: http://www.youtube.com/profile?user=awebermorales

Tuesday, March 24, 2009

CD Review: Tanaóra's Dia Real


One of the pleasures of working in the Bay Area latin jazz scene is hearing the cross-fertilization that occurs when so many fine musicians are exposed to the cultural diversity that simmers here. A new CD by the band Tanaóra, Dia Real (Moondo Records, January 2009) is a perfect example of the soulful Pan American sound that seems to spring naturally from Northern California.

Led by a trio of established musicians, singer-songwriter Cecilia Engelhart, pianist Bob Karty and percussionist Michael Spiro, Tanaóra's repertoire swirls languages and styles over a bubbling groove. Given the supporting cast of seasoned studio musicians, the soulful underpinnings are no surprise: Ron Stallings on saxes, David Belove on bass and Paul Van Wageningen on drums easily ride the temporal fluctuations demanded by Brazilian, Afro-Cuban, jazz and South American styles.

There are singer-songwriter records and there are composer records, but this date straddles these extremes with a definite band feel. Although Engelhart's lovely voice stands out with fluid, light tones throughout, she alternately moves to the forefront and then blends in with her collaborators. A pianist with big ears and supple style, Karty's tasteful inventiveness is evident on every track. Spiro's layered percussion work is recorded in great clarity, creating myriad environments. The date is excellently mixed by the trio with engineer Jeff Cressman.

The first track sets the mood perfectly with a well-chosen piece, El Pez, an oceanic parable by the Mexican poet Eduardo Langagne and the Brazilian musician Manduka. It begins with the alternating rattle and resonant thump of a chekere over a bell pattern, and as the arrangement builds with piano and bass, Engelhart's clear soprano enters. Interestingly, a 1988 version of the tune performed by the eclectic Mexican artist Eugenia León also features chekere and a one-note ostinato, but the anachronistic use of synthesizers contrasts with Tanaóra's more languid acoustic arrangement.

The song is also the longest on the recording, at just over 10 minutes. Midway through, Karty takes a wandering solo and the tune naturally builds into a modern American jazz exploration, with funkier bass and drumset support. Then Engelhart returns and Stallings dances in on soprano saxophone with a lilting Carioca feel. The song closes out with doubling on vocals for emphasis, one of my favorite effects. On the outro, the band begins to fuse panned, echoing vocals, batá drums and Stallings on expressive trills and bebop squawks. Engelhart's percussive breathing reminds me of Claudia Villela here.

The next song contrasts perfectly: Nonsense syllables by Engelhart on The Katanga Patrol poke fun at the "clave police" with a melody that breaks down into three-bar phrases that alternate beginning on the two- or three-side of clave. Jeff Cressman's trombone adds to the texture. Karty's long experience as a pianist with Orquesta La Moderna Tradición and other Afro-Cuban bands is in evidence here and throughout as he comps rhythmically and inventively. Like all the musicians on the album, he displays considerable depth, and unveils arranging skills with the gorgeous strings on the Engelhart original Dia Real, a compelling if incomplete story of a woman living a double life.

As a singer, I can't complain: Tanaóra plays with so many of the voice's possibilities, be they language (English, Spanish and Portuguese), range (Engelhart reveals rich alto tones on the Jobim tune Bonita, against Karty's playful cha-cha piano), scat (Engelhart's tune Rollón and the standard Polkadots and Moonbeams). Further, the melding of a vocalist with a pianist and percussionist means nothing goes neglected. There are many more discoveries to be made than I've mentioned here: I love the vocal doubling and the harmonies on the horn lines on the mambo section of Polkadots and Moonbeams, to name just one.

The feel of Dia Real is authentically global, gently rhythmic and unmistakeably a product of our Baghdad by the Bay. Hear them for yourself: Tanaóra's CD release concert will be at Yoshi’s in Oakland's Jack London Square, Monday May 4 at 8 pm!

Monday, March 23, 2009

My Very Complex Nutritional System

When you are around athletes and/or you read Runner's World or any kind of fitness magazine, you get the definite sense that food is a fuel and you should really plan out what you eat. One time I heard a coach talking about when your body absorbs this or that nutrient and I was impressed, but did not really retain the information.

Having been raised in Berkeley by parents who are natural-born cooks and gourmands of a sort, I know how to eat well. You know, not too much junk food, put some veggies on your plate (not that I do that enough), don't eat things that are too processed. But also belonging to the eat-while-standing generation I basically am a lazy grazer. And not really being an extremist at anything, I'm not inclined to go vegan, let alone vegetarian.

The closest I came to an actual food-based political statement was not going to McDonald's for an entire year after reading Fast Food Nation. Well, I also try to buy things that haven't been flown here from the other side of the world. We do live in California after all. My husband always buys things that are out of season and it annoys me.

Anyway, my theory is this, this is my theory, so how my theory goes is... my body will tell me what it wants to eat. I am hoping this is a good approach. Sometimes my body tells me to eat a jar of black olives. Don't know why. Just now I ate a head of lettuce out of the bag. Didn't wash it, probably not the most hygienic way to eat. For all I know I was teetering toward scurvy. It happens these days!

The only problem is that I am so lazy about cooking and shopping that I am limited in how I can follow this urge, so I often scrounge on the same things, day in and out.

My husband cooks most of the time. He's got a limited repertoire, but lots of sazon. So we eat beans every day. And he likes meat. He's the kind of guy who eats two or three kinds of meat in a single meal. He really admires the Chinese for their meat cookery.

I do like to bake, and I love sugar. The other day I was thinking I should figure out how to make energy bars to economize. Probably just adding some protein powder or almond butter to an oatmeal bar recipe would do the trick.

Things could be worse: I could be a Masai tribeswoman who only ate cattle-based products.

La Rumba No Es Como Ayer: Upcoming Lecture Series by John Santos


Legendary not only for his performance, production and composition skills with his band Machete, but also for his ageless thirst for knowledge, John Santos has turned teaching about Afro-Cuban music into an art form of its own. Charmingly courteous to those wishing to learn more about these polyrhythmic patterns that our feet and hips find so hard to ignore, four-time Grammy nominee Santos is a Bay Area institution. When you get the chance to learn from him, take it!

La Rumba No Es Como Ayer is a seven-part lecture series taught by Santos and presented by the Yerba Buena Gardens Festival, the Museum of the African Diaspora, and the San Francisco Jazz Festival.

La Rumba No Es Como Ayer delves into the evolution, anatomy, and relevance of the Cuban rumba, one of the most important and influential musical/dance genres in the history of the Americas. Having invaded the US during the 1930s and maintaining a US presence in performance, theater, radio, recordings, television, and movies ever since, the rumba holds a place in American history few if any other genres can claim. This series will trace the rumba's Kongo/Spanish origins, its birth in 19th century Havana and Matanzas provinces, and its subsequent choreographic, musical and lyrical development, incorporating many other elements along its path to becoming the integral part of American music that it is today.

The seven two-hour sessions will take place on Tuesday evenings from 7:00 to 9:00 at the Museum of the African Diaspora, and will cover these themes:

1. May 5 - Intro
2. Mat 12 - El Yambú
3. May 19 - El Guaguancó
4. May 26 - La Columbia
5. June 2 - Rumba-Son/Jiribilla /Rumba de Cabaret
6. June 9 - La Rumba in Salsa and in Jazz
7. June 16 - El Guarapachangueo y la Rumba Moderna

Museum of the African Diaspora (MOAD)
685 Mission St,
San Francisco, CA 94105
(415) 358-7200

Concert Review: Jose "Pepito" Gomez y La Bola Bay Area Debut

There is so much great music going on in the Bay Area, and only so much time and money to see it. Thankfully, I made it out to the swanky Club Anton near Oakland's Jack London Square on Friday, March 13 to see Jose “Pepito” Gomez and La Bola. The tickets weren't cheap -- $30 at the door -- but it turned out to be worth the price to see this band's Bay Area debut.

In May 2008 Gomez moved to Miami (he is now settled in New York), leaving his native Cuba, where -- among many other honors -- for eight years he was the lead singer for Cesar "Pupy" Pedroso's band Los Que Son Son. Gomez was born in 1971 in Florida, in the province of Camaguey. His career path has intersected with many of the greatest musicians of Cuba, including latin jazzers late of Irakere.

The band at Club Anton mixed New York players with some Bay Area greats: On the New York side were Ariacne Trujillo on piano, Victor Garcia-Herreros on drums, Aryam Vasquez on congas, Raul Navarrette on trombone and David Hertzberg on bass. Representing the Bay were Mike Olmos and Jeff Lewis on trumpets, Javier Navarrette (brother of Raul) on guiro, Anthony Blea on violin, and Havana natives Erick Barbería and Félix Samuel Pérezon on coro.

With so much Cuban soul in the band, the feel was unmistakeably authentic. The fluid movement and rhythmic yet mellifluous sound of the three singers created an irresistibly danceable concert. Pianist Trujillo was hard to ignore, with her in-the-pocket montunos and charismatic smiles to the audience and with band members. Trujillo also turned on the charm when she sang Olvidarte from behind the piano. Her voice -- as best I could hear -- was surprisingly deep, with a beautiful vibrato, and bore some resemblance to Albita's. The group easily overcame a typical obstacle for such shows -- insufficient sound engineering with a mix that all but obscured violinist Blea (except during his electrifying solos) and percussionist Navarette. The last two songs of the show were marred by the painful drone of bass amp feedback, but the band soldiered on while someone from the club rummaged around behind them trying to fix it.

As the star of the show, Pepito did not disappoint. His voice is a clear, acrobatic tenor that easily pierces the sonic fabric without any harshness. The set list included Pupy y Los Que Son Son songs such as La Borrachera and Del Trabajo a La Casa, as well as the Alejandro Sanz tune Aprendiz. The audience was well-versed in all his tunes and readily sang back coros and responses to Gomez's calls in certain sections. Most everyone was a Cuban dance aficionado as well, and while only one rueda formed briefly, there were many wonderful partner dancers on display.



For me it was a lovely reunion with musician friends, many of the people with whom my husband and I went to Cuba (led by Alisa Frohman of Plaza Cuba, who also made an appearance), and Facebook friends. It was very entertaining to recognize and be recognized by people I had "friended" online through similar interests and other Bay Area circles. It felt like the perfect realization of what online networking should ultimately be about: Physically and personally expanding one's social circle to include others who share your enthusiasm for, say, Cuban music or live bands.

I even got to dance with someone I met while traveling to Los Angeles in December with Sidney Weaverling and Ryan Mead, dance instructors who will be teaching and performing at my next show. He and his wife had come up from L.A. specially for the show (interestingly, we share another connection in that he's from Cuernavaca and my husband is from Cuautla, both in the state of Morelos, Mexico. We discovered this in a conversation about Chapulín Colorado). I went home absolutely soaked in sweat and positive Cuban vibes. A great band made it a great night!

Friday, March 20, 2009

Aha! Moment in Swimming

This past weekend we did our first open-water swim of the Spring training season, and it was brutal. I think -- I fervently hope -- that my problem was due to not getting enough of a "wetsuit wedgie," meaning that you have someone else yank your suit up really high around your waist so that you don't have a horrible vise-like compression on your chest and shoulders while you swim. I felt confident and enthusiastic before we got in to Lake Del Valle (Livermore, CA) at 8 am. Once I dove into the 54-degree water (roughly the same temperature as the San Francisco Bay), the cold seized my face. For some reason my head, protected only by one regular latex swim cap, was fine, as were my feet -- but my face and hands were killing me.

And my lungs! The reflex when you get into water that cold is to gasp for air. I was making a high-pitched wheezing sound as I tried to breathe. All of this was rather shocking, as I thought last year's experience had prepared me for this. It has been a year, though. I tried to stroke and get some rhythm going (and heat circulating), but I felt strangled. So I flailed about, making very slow progress, for 30 minutes with the other back-of-the-packers.

For me the issue is not fear of open water -- I have swum that lake in the summer many times. Apparently, I am a slow swimmer, however. I have never gotten much training other than my Team in Training experience from last year.

I also have been bad about following the prescribed swimming workouts. I tend to go to the pool and just start swimming laps after a few warmup drills. Last year I said to someone on the day of the race, "Hey, did you actually do all the swim workouts exactly like the schedule said to?" "Yeah, I printed it out and put it in a plastic bag poolside. It really helped me improve my speed and stamina. Didn't you?" "Uh, no..." Then the gun went off!

My attitude with all the training is, I want to be prepared, and push myself, but at the same time, I don't want to add stress to my life by obsessing about it. That's the nice thing about the group workouts -- you don't think, you just do what they tell you to!

But today in the pool I did feel like I had just begun to understand the concept of the side-arm balance drill. I think the point of that is that on every stroke you are supposed to rotate your body fully so that you are nearly perpendicular to the surface and looking down your lower armpit to the bottom of the pool. In addition, your core is supposed to be solid enough to cause your hips to rotate with you, while your kick stays small and contained (not a large scissor, which apparently I had been doing with every breath). For some unfathomable reason my hips wiggle a lot, which is good for salsa dancing but not swimming. Ha!

We had a video analysis of our swim stroke a few weeks ago. It was useful, but it's still hard to implement improvements on my own. There is so much to remember. But I am taking our last open water swim as a wakeup call. Unfortunately, for financial reasons I am not going to the training weekend this year (it's tomorrow), so I won't have a chance to actually swim the Wildflower course prior to the race. I need to make that up on my own. I don't want this year's race result to be slower than last!

Thanks to my donors, I have raised $275 towards curing blood cancers and supporting patients. Can you help today? It's tax-deductible and you'll get your receipt right away via email. Thank you!

Wednesday, March 18, 2009

How to Gain Hundreds of False Friends and Influence Them in Meaningless Ways

In the last few years I have become a social media maven, to whom many turn with their questions, their qualms, their technical glitches. You probably know my name via MySpace, where I have a staggering 2,500 friends -- a record number among people named Alexa Weber Morales. Or perhaps we're friends on Facebook or Twitter, where hundreds -- yes, you read that correctly -- hundreds of people have "friended" or "followed" me.

And there's my blog, this space right here that you're reading because you saw an article linking to it on the homepage of the New York Times. This is where I express my strangest thoughts and expose the most private lunacy of my family, all for a comment or two and hundreds of thousands of dollars in fees paid by ad agencies to fund subliminal purchasing messages seeded in every post Colgate.

Indeed, social media companies themselves have approached me, chief power user, for my input on how best to monetize the social activities of their lemmings, or users.

But that is not the focus of this essay. No, today I want to help you make many fake friends and then influence them to do things that serve your own agenda.

FIVE TIPS FOR FRIENDING

1. Use a bot. This will bring you many high-quality friends who want nothing more than to sell you something or perhaps give you an entertaining virus.

2. Choose by photo. The more retouched, the better.

3. Choose by intelligence. Monosyllabic friends may be easier to manipulate in the long run.

4. Choose by ambition. Self-important friends react quickly to self-aggrandizing statements of your own. Starting a meaningless popularity contest is easy with these friends.

5. Choose by excessive personal sharing. Friends without boundaries may be more willing to write you entertaining comments. They may also be dangerous in real life.

FIVE TIPS FOR INFLUENCING FRIEND BEHAVIOR

1. Be viral. Do something so incredibly timely, funny or daring that it instantly traverses the globe and racks up millions of hits.

2. Interact methodically. Send automated messages 20 times a day to all your friends.

3. Be famous. Use your celebrity status from 20 years of bad sitcom work as a platform to establish authority. Command friends to do things like watch videos or download songs and watch them instantaneously swarm your target.

4. Be sexy. Unfortunately due to the crowded market for sex you will have to be highly freaky to earn significant genital share. If you were raised in a meth house this should be easy.

5. Be funny. So funny that people become incontinent and women spontaneously give birth when they read your words.

There you have it. If you follow my advice precisely you will become one of the most famous and powerful people ever. Unless there's a power outage.

Crazy Gideon Commercial - IF YOU DON

Monday, March 16, 2009

Team in Training: Early Morning Swim-Bike-Run Part 5

Please go to http://pages.teamintraining.org/sf/wildtri09/awebermorales to donate! Any amount helps!

Team in Training: Early Morning Swim-Bike-Run Part 4

Please go to http://pages.teamintraining.org/sf/wildtri09/awebermorales to donate! Any amount helps!

Team in Training: Early Morning Swim-Bike-Run

Team in Training: Early Morning Swim-Bike-Run part 2

When I said I saw a bald eagle swimming, I meant flying, of course!

Please go to http://pages.teamintraining.org/sf/wildtri09/awebermorales to donate! Any amount helps!

Team in Training: Early Morning Swim-Bike-Run

Tuesday, March 10, 2009

An Open Letter to My Cat

I see you sitting there by the back door, waiting to be let in for the 300th time today so you can whine until I fill your bowl to the brim with kibble and then you eat a few bites and then whine until I let you back out again. But I don't want to let you in today, you pooper. You're a pooper. A stealthy, vindictive pooper who strikes when I least expect it. But my therapist has helped me see that I deserve better than this and that's why I am not letting you in.

Remember two nights ago? I fed you for the 312th time, around 10 pm. Then I sat down to watch TV. Everyone else had gone to bed. You came over and I guess you wanted some loving, and like a stupid fool without any self-esteem, I gave it to you. You sat on my lap, kneading my thighs with your razor sharp claws, but still, I scratched behind your ears and you purred and I petted you and you even licked my hands. I thought you loved me. We sat contentedly for an hour. Then I left you on the couch and went to bed. I heard you come into our room in the middle of the night, and I heard you purring at the foot of the bed. Little did I know what sadistic activity had made you so happy.

The next morning at 5 am I heard my husband wretching loud enough to wake the neighborhood. Then he started yelling for me to come clean up what MY cat had done.

I walked into the boys' room. You had pooped all over, and it was gloppy and disgusting. I am sick of your passive-aggressive shit! Literally, your passive-aggressive shit! You purr and want me to scratch your ears, oh yes, and fill your bowl to the brim, yes, yes, but then, I don't know if it was your upbringing or -- wait, I BROUGHT YOU UP! Your mom was my cat too.

This has got to stop. I have limits. No means no.

Here is your bowl of kibble, very full the way you like it. Yeah, you can eat it outside.

Sunday, March 08, 2009

Apple Introduces Revolutionary New Laptop With No Keyboard

I love the predictive sentences!

FDA Approves Depressant Drug For The Annoyingly Cheerful

Monday, March 02, 2009

A Fantasmagorical Run in the Woods

I went for a run late yesterday afternoon. It was 5:15 pm, and the rain had stopped. I wanted to run where I could let the dog loose, so I went to the woods, even though I knew it would be dark soon. I pulled into the empty trailhead. There was one other car, parked with fogged windows. I started up the hill, sloshing around puddles, my dog up ahead. It was bright out because the clouds had cleared, and the streams were rushing with new water. I drank in the solitude.

In about 15 minutes I had made it to the top of the hill. Fog had erased my customary view of the mountain in the East. Turning my eyes forward again I saw an enormous fire-bellied newt progressing across the trail -- instinctively I leaped over it.

Following the curving ridgeline I noted mansions perched on the cliffs, some with lights on, others looking cavernous as dusk loomed. My dog suddenly stiffened in front of me to warn of a figure approaching. Automatically I moved to give it a wide berth. It was an emaciated woman in a puffy parka vest and parachute pants. Hi, I said. Her eyes avoided me. As I passed her I could hear her arm bones clicking against each other as she marched toward some phantom purpose.

Jarred, I quickened my pace, then shot a glance over my shoulder to make sure she hadn't rematerialized behind me. My dog and I were alone again. He gamboled happily ahead, attacking a puddle with his paws. My thoughts began to whir gently as they do when I run, resolving and dissipating like steam from my body.

Several miles went by easily and when I reached my traditional turn-around I decided to continue another mile and a half to a stone bridge I hadn't been to in months. This trail was almost flat, dotted with cow pies, and very wooded. The sky above had begun to show strips of pink -- clouds were catching the sunset's last colors.

To my left there was a shallow ravine, and something down there caught my eye, so I stopped. Someone had built a small army of stick figures along the stream banks. I couldn't help thinking of the Blair Witch Project and I darted off. Suddenly, there was another newt in front of me -- bigger than the last one, with giant padded fingers that slowly touched ground one at a time as he moved across the trail. Why do they always cross the trail? I wondered. I ran around it.

The stone bridge wasn't far ahead, yet it was taking longer than I'd hoped to get there. An owl hooted. Branches scritched. The tree canopy closed in, which meant we were nearing our destination. I noted fresh horse tracks, trying to calculate if they were by a trotting horse or one who was walking slowly. I decided they were too close together to mean it was moving fast. Then my dog's collar jangled as he put on the brakes.

There at the stone bridge a horse and rider stood. The horse's tail flicked, but his eyes avoided me. A figure atop the horse was heavily wrapped in blankets and a balaclava.

With casual movements to camouflage my fear, I turned back on the trail and hoped the rider would not follow. I heard nothing but my footsteps. After a minute I looked back. It was too dark to see all the way to the bridge. No one was behind me.

Now I was focused. It was dark. I was running on a trail that was far from the road and completely abandoned. I calculated how long it would take to get back to my original turn-around, which was back on the open ridgeline trail.

Despite the hooting owl and the enclosing tunnel vision, I once again succumbed to the rhythm of the run and before I knew it I was back on the ridge trail. At least this was less scary. The sky was turning a dark indigo, with a bright horizon along the hills reflecting from the city lights beyond. I could still see where my feet fell as I jogged uphill. I wondered what I'd do if some crazy bush-dweller jumped out at me. Was it better to recklessly dive down the ravine, or run up and over the other hill toward the equally solitary road?

I passed a cow gate. My dog waited for me to hold it open for him, as he always does -- even though he easily can go under. Only a few more hills to go before I reached the top. The last dip would briefly take me under a thick weaving of oaks before I could again see the faraway mansions on their rickety scaffolds. I was entering this deep darkness when a shuffling, erect shadow came into sight. My heart pumped an extra cycle. It was the skeleton woman. She said nothing as I passed her.

I had reached the top of the ridge. I untied my dog leash from my waist, figuring it could serve as some sort of weapon. I ran with abandon. Every noise made me go faster. The trail began to descend. I blindly found footing among the rocks and roots. Just in time, I remembered a long patch of slimy mud that I would have to walk down. A twist of my heel told me I'd arrived. Carefully placing one foot ahead of another, I nervously whistled for my dog, who had disappeared around the next bend. He popped his head back into view, as if to say Hurry up!

Finally the slime ended. In the daylight it would have only taken me five more minutes to reach my car. I stepped onto gravel and heard a strange sound to my right. I peered into the foliage and gasped. A smooth and grayish-orange appendage emerged. Branches cracked. Then, I heard what I can only describe as a roar -- if a newt could roar. Making a sound like a backwards burp, an angry, bus-sized fire-bellied newt pushed his torso onto the trail. His fleshy hands made alternating circles five feet in the air as his limbs lifted and then met the ground, launching his gravity-challenged body toward me. I was running backwards in the dark, downhill, on the mud. Where was my dog? The newt roared again. My heel caught on a root and I fell, scrabbling backwards. Do newts have teeth? I wondered. Are they herbivores?

A vice grip closed on my hair and I screamed. It was my dog. Seizing my ponytail in his teeth, he pulled me backwards onto another patch of slime. I had a horrifying mental image of a similarly sized California native, the banana slug. Could that explain the slick ground? There was no time to explore the thought -- my dog and I were picking up speed, sliding down the steep trail. The rain began to fall. Good timing. A stream burst through the eroded bank and roiled behind us, then picked us up like two leaves in its path. I screamed as if on an amusement park log ride. An instant later, it was all over. I lay, twisted among the debris, at the trailhead.

My dog looked expectantly at me. Well, aren't you going to open up the car? he asked with his eyes. I pulled myself to my feet, fumbled in my pocket, found the fob and pushed the keyless entry button. Looking left and right I ran to the car, opened up the back for him to jump in, and tried to simultaneously slam his door shut while opening mine. What if there's someone in my car, waiting? I thought even as I sat in the driver's seat. I closed the door and hit the lock all doors button. My dog would have barked if we weren't alone, I realized. Relief. I turned on the overhead light to take a look at my slime-spattered face.

I turned off the light and the view outside came back into focus. There was that same car, still parked. And what was next to it? A bony figure in a parka, just standing there. Turning the key I jammed the shift into drive, hit the headlights and spun the wheel back toward the home.

It's six o'clock in the evening as I write this. Yep. I think it's too late for a run in the woods.