Adult Challenge: Invent a Teen Challenge That Will KILL TEENS RIGHT IN THEIR FACEs!

Do you think the Cin­na­mon Chal­lenge or the Tide Pod chal­lenge were for sissies? You’ve come to the right place!

GROT1 Chal­lenges Inc. is a non­prof­it orga­ni­za­tion devot­ed to thin­ning the herd. The aver­age teen is–let’s be can­did here–really stu­pid. GROT aims to raise teen IQs by remov­ing the ones dumb enough to eat laun­dry deter­gent or Car­oli­na Reapers or con­cen­trat­ed spices. The prob­lem is that they aren’t dead­ly enough.

We’ve includ­ed this free starter kit with sug­ges­tions to pur­sue GROT pol­i­cy a bit more aggres­sive­ly. Post these any­where dumb teens con­gre­gate: Tik-Tok, Insta­gram, and so on. Or print stick­ers with a chal­lenge or two and put them on their lock­ers in school.

If these inspire you to cre­ate any of your own GROT chal­lenges, post them in the com­ments. Every lit­tle bit helps!

  • Kool-Aid Chal­lenge: Scream “Oh yeeeeah­h­h­hh!” and run as fast as you can head­first into a brick wall.
  • Wood­chip­per Chal­lenge: Jump into a run­ning wood­chip­per. Extra points if you dive in feet-first.
  • Slid­ing Down the Razor Blade of Life Chal­lenge: See who can slide down the razor blade the most times while lis­ten­ing to Tom Lehrer’s “Bright Col­lege Days.”
  • Mad Max/Crash Test Dum­my Chal­lenge: Spray yel­low and black paint on your face and into your mouth, accel­er­ate your car to at least 100mph, then scream “Shiny and new!” before cross­ing lanes into a head-on with a semi.
  • Mean­er Than a Junk­yard Dog Chal­lenge: Infil­trate an under­ground dog-fight­ing ring with your friends and take turns attack­ing a pit bull.
  • Ulti­mate Taste Bud Destruc­tion Chal­lenge: Take shots of Car­oli­na Reaper pep­pers mar­i­nat­ed in a mix­ture of grain alco­hol, cap­saicin, cin­na­mon, crys­tal meth, papri­ka, nut­meg and ace­tone. The shots must be lit on fire before con­sump­tion.

‘The Hitchhiker’s Guide to the Galaxy,’ by Kurt Vonnegut. Sort Of

Don’t judge. There was a lot of coke-fueled art back in the ’70s.

I cred­it (or blame, as the case may be) my friend Todd and my friend Rob for turn­ing me on to The Hitch­hik­er’s Guide to the GalaxySo let’s talk about Kurt Von­negut.

Von­negut2 was one of those impor­tant authors who make you feel vague­ly guilty, giv­en that you’ve nev­er read any of his stuff except maybe Slaugh­ter­house-Five. And while some of his stuff is dystopi­an or mild­ly sci-fi, where do I get off say­ing he, not Dou­glas Adams,3 is respon­si­ble for a sprawl­ing sci-fi epic like The Hitch­hik­er’s Guide to the Galaxy?

Stay with me here: In 1965, Von­negut pub­lished God Bless You, Mr. Rose­wa­ter, which includ­ed a lengthy excerpt from a fic­tion­al nov­el titled Venus on the Half-Shell, by a fic­tion­al author named Kil­go­re Trout.4

Kil­go­re Trout showed up fre­quent­ly in Von­negut’s work as a lit­er­ary alter ego for Von­negut him­self, but Trout’s name was also a poke at Von­negut’s friend, sci-fi author Theodore Stur­geon:5I think it’s fun­ny to be named after a fish,” were Von­negut’s exact words (he may have been a great writer but appar­ent­ly part of him nev­er left mid­dle school).

Anoth­er sci-fi author, Philip Jose Farmer,6 was so amused he snagged the Venus on the Half-Shell excerpt in God Bless You, Mr. Rose­wa­ter and fluffed it up into an entire book.

And so, in 1975, Venus on the Half-Shell hit the book­stores, just three years before The Hitch­hik­er’s Guide to the Galaxy began on BBC Radio. The byline read Kil­go­re Trout, but the author was real­ly Philip Jose Farmer, using char­ac­ters cre­at­ed by Kurt Von­negut.

Got all that?

What does this have to do with Dou­glas Adams or Hitch­hik­er’s Guide to the Galaxy? Adams was a huge fan of Von­negut, for one thing. That’s not tan­ta­mount to pla­gia­rism, of course. But if you’ve ever read, lis­tened to or watched Hitch­hik­er’s Guide to the Galaxy, you’ll notice some star­tling par­al­lels:

1. The Everyman Galactic Wanderer

Some­one for­got to explain this to the cov­er artist.

Both sto­ries fol­low the adven­tures of an every­day schlub snatched from his every­day schlub’s life into an inter­galac­tic adven­ture. HHGTTG stars Arthur Dent, who worked in a small radio sta­tion before roam­ing the cos­mos in a bathrobe.

VOTHS, on the oth­er hand, stars Simon Wagstaff, a folk musi­cian who likes wear­ing fad­ed jeans and com­fy old sweat­shirts. He has curly dark hair, a big nose and looks a lot like Kurt Von­negut.

2. The Earth Gets Destroyed by Bureaucrats

When Hitch­hik­er’s Guide begins, Arthur Dent is lying in the mud in front of his house, block­ing the bull­doz­ers that have shown up to demol­ish his house. At the begin­ning of Venus on the Half-Shell, Simon Wagstaff and his girl­friend are hav­ing sex on the head of the Sphinx in Egypt.

Oh. This would be a good place to explain that accord­ing to Von­negut, Kil­go­re Trout was a hack who wrote a lot of thin­ly-dis­guised porn and was pub­lished most­ly in adult mag­a­zines.

And Philip Jose Farmer was the per­fect ghost writer for Trout, giv­en that Farmer’s favorite themes were sex, reli­gion, aliens, sexy reli­gion, alien sex, reli­gious sex, sexy reli­gious aliens, alien reli­gious sex, sex as wor­ship, alien sex wor­ship, wor­ship­ful sex with aliens—you get the idea.

Any­way, Arthur and Simon are both mind­ing their own busi­ness when aliens show up and destroy the Earth: The Vogons blow the Earth out from under Arthur to build a hyper­space bypass, while in Venus on the Half Shell, the Hoonhors decide Earth is too pol­lut­ed and clean things up by trig­ger­ing a world­wide flood, a la Noah. Turns out they cleaned up Earth a few thou­sand years ago already but are unhap­py things are already so dirty again.

3. Pursuing the Ultimate Question With Neurotic Robots in Stolen Spaceships

Arthur man­ages to snag a ride on a Vogon ship and lat­er winds up roam­ing the galaxy on a ship called Heart of Gold, which was stolen ear­li­er by one Zaphod Bee­ble­brox, looks like a giant run­ning shoe, and is named after a Neil Young song.

Con­verse­ly, Simon leaves Earth on a Chi­nese ship chris­tened Hwang Ho, which looks like a giant chrome penis and is named after the Yel­low Riv­er (remem­ber what I said about Philip Jose Farmer being a religious/alien sex fiend?).

Arthur is trav­el­ing with a small hand­ful of human and alien friends, plus a neu­rot­ic robot named Mar­vin, who resents being a low­ly main­te­nance robot when he has a brain the size of a plan­et, and Eddie, a ship­board com­put­er who tries way too hard to be cheer­ful.

Simon’s on the go with Anu­bis and Athena, his dog and owl, plus a neu­rot­ic robot named Chor­wk­tap, who has free will and far too much intel­li­gence to enjoy being a sex robot (this does­n’t stop her and Simon from hav­ing lots and lots of sex any­way–ref. P.J. Farmer, the sci-fi sex fiend author, again). Tzu Li, the Hwang Ho’s com­put­er, is just a com­put­er, despite Chork­tap spend­ing all her free time try­ing to prove Tzu Li is self-aware but shy.

Our heroes have the fastest space­ships ever made and a uni­verse to explore, so they set out for some answers:

“What’s the ulti­mate answer to, you know–life, the uni­verse and every­thing?” Arthur wants to know.

Simon’s ques­tion is this: “Why were we cre­at­ed only to suf­fer and die?”

4. The Genius Vermin Secretly Running the Show

As they trav­el and enjoy var­i­ous hijinks in pur­suit of the truth, Arthur and Simon dis­cov­er the Vogons and Hoonhors are just what they appeared to be at first glance: Clue­less, care­less and cal­lous bureau­crats. It turns out there are mas­ter­minds behind the scenes who have been run­ning things all along, hyper­in­tel­li­gent beings every­one mis­took for harm­less or annoy­ing ver­min. They don’t real­ly mean Arthur or Simon any harm, but they aren’t exact­ly nice to them either–the ver­min mas­ter­minds, it turns out, are using Arthur and Simon as part of exper­i­ments to answer the same ulti­mate ques­tions.

In HHGTTG, Arthur dis­cov­ers mice are the most intel­li­gent beings on Earth. They’ve been manip­u­lat­ing sci­ence all along while pre­tend­ing to be lab­o­ra­to­ry test sub­jects; in real­i­ty they’re pur­su­ing the answer to life, the uni­verse and every­thing.

Drink beer for all eter­ni­ty with cock­roach­es? Meh. I’m fine with that as long as we don’t have to share glass­es.

Simon, on the oth­er hand, dis­cov­ers a myth­i­cal alien race called the Clerun-Gow­ph, who acci­den­tal­ly pop­u­lat­ed most of the uni­verse with messy sci­en­tif­ic out­posts that dumped waste prod­ucts into the pri­mor­dial soup of the plan­ets they were study­ing. And the Clerun-Gow­ph, Simon is shocked to learn, are cock­roach­es.

This is a huge blow to the ego: Arthur dis­cov­ers he’s noth­ing but a test sub­ject in an exper­i­ment run by lab­o­ra­to­ry mice, while Simon real­izes all life on Earth is just, as he puts it, the end of a process that start­ed with cock­roach crap.

5. The Planet-Sized Computer

Every seek­er of truth needs an Ora­cle, and our heroes are no excep­tion. In HGTTG, it seems Earth and all life on it were an enor­mous com­put­er built in pur­suit of the answer to life, the uni­verse and every­thing (I know, I know — it was built to specif­i­cal­ly help ask the ques­tion after anoth­er giant com­put­er gave an accu­rate but use­less answer — the point is that the whole plan­et is a com­put­er).

When Simon, on the oth­er hand, final­ly meets the Clerun-Gow­ph, he dis­cov­ers they built a plan­et-sized com­put­er to answer all the ques­tions there are. Hav­ing noth­ing left to dis­cov­er or learn, they decide to quit exploring/fertilizing the galaxy and devote them­selves to drink­ing beer.

6. The Useless Answers (spoiler alert!)

At long last, our pro­tag­o­nists are about to learn the ques­tion to their ulti­mate ques­tions. The prob­lem is that in both cas­es, the answer is use­less:

  • Arthur’s ques­tion: “What is the ulti­mate answer to life, the uni­verse and every­thing?”
  • Answer: “42.”
  • Pos­si­ble alter­nate answer: “We apol­o­gize for the incon­ve­nience.”
  • Simon’s ques­tion: “Why are we cre­at­ed only to suf­fer and die?”
  • Answer: “Why not?”

Don’t give me that look. I said they were use­less answers, did­n’t I?

Some Disassembly Required

I know how to prove that men and women are fun­da­men­tal­ly dif­fer­ent:

Put a man and a woman into sep­a­rate rooms alone with a new appliance—say, a bread machine—and watch what hap­pens. The woman will make some bread. On the oth­er hand—bear in mind that this is a brand new appli­ance, right out of the box—the man will take the bread machine apart to see how it works.

There’s a corol­lary here: I have a sermon/demo I’ve pre­sent­ed in var­i­ous church­es, where­in I break a stack of con­crete blocks, then talk about how break­ing con­crete blocks with your bare hands is just exact­ly like becom­ing a Chris­t­ian and going to heav­en.

After I’d done it a num­ber of times I real­ized that when I said looky here; I’m going to smash all these con­crete blocks with my bare hands, the audi­ence response is divid­ed right down the mid­dle between men and women:

The men would say, “Cool!”

The women say, “Why?“7

I’m not sure what dri­ves men to take things apart. Maybe some psy­chi­a­trist has it fig­ured out. If so, I bet the psy­chi­a­trist is a man. Why? For the same rea­son psy­chol­o­gy has tra­di­tion­al­ly been a male pur­suit: Psy­cho­an­a­lyz­ing peo­ple is very much like tak­ing them apart to see how they work.

I think the dri­ve to take things apart is genet­ic, not learned. For instance, I saw a TV show once about Under­writ­ers Lab­o­ra­to­ries. This com­pa­ny takes new prod­ucts, dis­as­sem­bles them down into mol­e­cules to see how they’re designed, and then fig­ures out inge­nious ways to break them.

Under­writ­ers Labs pays the guys in white lab coats you see on TV com­mer­cials who build a robot arm to open and close a refrig­er­a­tor door 38 bil­lion times in two weeks. All guys, mind you—you nev­er see women in the com­mer­cials. These are the men who send cars hurtling into con­crete walls at 90 miles an hour to see what will hap­pen to the dum­mies inside.

I’ve often dreamed about work­ing for one of those com­pa­nies that blow up build­ings so that they col­lapse into their own base­ments.

Odd­ly enough, their research has con­clu­sive­ly proven over and over again that the dum­mies (sur­prise!) get demol­ished. But for some rea­son, they still find it nec­es­sary to crash an aver­age of 10 cars a week.

Don’t tell me it’s all about safe­ty and research—these guys are hav­ing the time of their lives. I’m not sure why Under­writ­ers Labs even both­ers to pay them; most men would prob­a­bly work there for free. I know I would.

I’ve often dreamed about work­ing for Under­writ­ers Lab­o­ra­to­ries. I’ve also dreamed about work­ing for one of those com­pa­nies that blow up build­ings so that they col­lapse into their own base­ments (c’mon—you have, too, haven’t you? Let’s see a show of hands, guys … I knew it!).

My favorite destruc­tive fan­ta­sy, though, involves work­ing for one of the big auto man­u­fac­tur­ers. Their research depart­ments have teams that secret­ly buy com­peti­tors’ cars. Then they com­plete­ly dis­as­sem­ble the cars and mount all the parts on sheets of ply­wood, which they hang in a ware­house.

You must under­stand, though—when I say they dis­as­sem­ble a car, I’m talk­ing a lev­el of dis­as­sem­bly rarely seen on this earth. If a butch­er ren­dered a cow the way these guys take on a car, he would need 17 square acres of coun­ter­top. Every sin­gle part in the car is bro­ken down com­plete­ly: The door locks are tak­en apart into piles of tiny springs and wafers. The engine is trans­formed into a heap of pis­tons, rings, bolts, bush­ings, springs, valves and bear­ings. The starter motor is unwound to see how much wire is in the arma­tures.

Every hook, pin, screw, nut, bolt, gear, spring, bush­ing, sta­ple, clip, clamp, strap and wire in the car is unfas­tened, until the engi­neers have thou­sands of parts to cat­a­logue and mount on the boards. They even unstitch all the uphol­stery, sep­a­rate glued-togeth­er pieces, and cut all the welds apart until they have the orig­i­nal pieces of met­al that make up the body and frame.

They say this is done to help them bet­ter under­stand their com­peti­tors’ designs. But it sounds like a labor of love to me. I bet they draw straws to see who gets to take things apart and who has to do the paper­work.

Yep, I’d be real­ly good at that sort of thing; I’ve always been a cham­pi­on dis­as­sem­bler myself. When I was 8, my par­ents gave me a watch. I pried off the back to see how it worked (and my moth­er has nev­er quite for­giv­en me). Since then, I have dis­as­sem­bled elec­tric razors, toast­ers, an elec­tric knife, radios, car stere­os and tape decks, a vari­able speed drill, an elec­tric gui­tar, a See ‘N Say, and any­thing else I could get my hands on.

Last year I sawed an 8‑foot-wide alu­minum satel­lite dish in half.

When I was 19, I took the engine out of my car and put it back. It was so much fun I did it again a year lat­er. Last year I sawed an 8‑foot-wide alu­minum satel­lite dish in half (don’t ask).

I sup­pose (I said don’t ask!) I can under­stand why, when my par­ents gave me a bicy­cle for my 24th birth­day, my moth­er looked me right in the eye and with a straight face said, “Now don’t go tak­ing this apart to see how it works!” She need­n’t have wor­ried. Bicy­cles were kid stuff; I was in the big leagues by that time.

The all-time high­light of my decon­struc­tion­al­ist career was when I mur­dered a piano. My room­mate, George, had bought an old upright piano for $100. This beast was made by a Ger­man com­pa­ny called Gul­bransen, and it was so heavy it took eight peo­ple to move it into our house. I think mov­ing one of the rocks at Stone­henge would have been eas­i­er. The piano’s wheels left ruts in the wood on our front porch, it was so heavy. In fact, I think the Ger­mans designed that piano to hold pill­box doors shut against ene­my mor­tar fire in World War II. It was that kind of heavy.

Any­way, after we all got her­nias mov­ing this bat­tle­ship anchor of a piano, George dis­cov­ered it had six keys that did­n’t work at all. The remain­ing 82 were so far out of tune they made my dog howl when we struck them. George called a piano tuner, who came over, lis­tened to the piano, and then left, laugh­ing so hard he was drool­ing.

Need­less to say, George did­n’t want to take the piano along when he got ready to move out a year lat­er. The prob­lem was that he had no way to dis­pose of it, and he was too kind­heart­ed to sell it to some oth­er sucker—I mean, vic­tim.

So while George was at work one evening, I decid­ed to sur­prise him: I took the piano apart and put it in a Dump­ster in a park­ing lot behind our house. I used pli­ers to cut the strings; a crow­bar took care of every­thing else (cham­pi­on dis­as­sem­blers don’t need hun­dreds of tools; that’s for wimps like Tim Allen).

Over the course of an hour or so that night, my friend, Dave, and I stealth­ily car­ried the dis­mem­bered piano to the Dump­ster, arm­load by arm­load. Final­ly, only two pieces were left: the back frame, which was made of huge oak beams, and the harp, a thick steel frame­work over which the strings had been stretched. These pieces weighed sev­er­al hun­dred pounds each and were the only parts that were dif­fi­cult to maneu­ver into the Dump­ster.

The Dump­ster squat­ted at the end of the alley like a land mine as George and I glee­ful­ly peered out the upstairs bed­room win­dow.

George near­ly had a heart attack when he got home and found noth­ing but a major dent in the car­pet where his piano had been.

At 5 a.m. the next morn­ing, George woke me excit­ed­ly. One of those trucks that picks up Dump­sters and turns them upside down to emp­ty them was rum­bling up the alley toward the Dump­ster. The Dump­ster squat­ted at the end of the alley like a land mine as George and I glee­ful­ly peered out the upstairs bed­room win­dow.

The dri­ver posi­tioned the load­er’s arms in the slots on the Dump­ster’s sides and turned on the hoist. George and I clutched our sides with laugh­ter as the truck­’s engine roared—and noth­ing hap­pened. The dri­ver scratched his head and put the hoist into a low­er gear. With the truck­’s engine bel­low­ing in protest, its sus­pen­sion groan­ing and the hoist’s gears screech­ing, the Dump­ster slow­ly left the ground.

As we held our breath, the Dump­ster turned over, the lid flipped open and the harp and frame tum­bled out into the truck­’s bed, which—and I knew God loved me when I saw it—was emp­ty. The harp and frame land­ed flat in the truck­’s bed with a resound­ing, thun­der­ous boom. The rest of the pieces slid out on top, crash­ing and rat­tling into a heap atop the frame.

The noise echoed up and down the predawn street; lights began appear­ing in win­dows. The dri­ver and his helper stag­gered out of the truck, hold­ing their ears, and climbed the side of the bed, no doubt think­ing an aster­oid had just land­ed in the truck.

They looked over the side of the bed in aston­ish­ment. I could hear them excit­ed­ly ques­tion­ing each oth­er: “How on God’s green earth did a piano get in there?” the dri­ver said in amaze­ment.

I closed my eyes and sighed wist­ful­ly, know­ing I would prob­a­bly nev­er again expe­ri­ence a moment so sub­lime this side of eter­ni­ty.

Happy Little Bloodbath

Today I’m binge-watch­ing Bob Ross.

No, real­ly.

There’s a free chan­nel sec­tion on our smart TV, and it has an entire chan­nel of noth­ing but Bob Ross’ The Joy of Paint­ing. I stum­bled across it last night and today I’m let­ting it play in the back­ground while I’m work­ing.

Bob Ross had the gen­tlest, most sooth­ing voice in the whole wide world. Mis­ter Rogers sound­ed like Axl Rose com­pared to Ross. There was a good rea­son for that: Ross was career mil­i­tary; an Air Force Mas­ter Sergeant at Eiel­son Air Force Base in Alas­ka, where he become fond of snowy moun­tain land­scapes and of shout­ing, a vital skill for Mas­ter Sergeants. When he retired he start­ed paint­ing snowy moun­tain land­scapes, but he also vowed nev­er to raise his voice again.

He would have been a great air traf­fic controller—how could you get stressed with his voice on the radio?

But I think it would be more fun if he did col­or com­men­tary for a sport—UFC, for exam­ple:

Joe Rogan: “WOAH! Usman does a SUPLEX! Did you see that? It’s a UFC first! Burns is in trou­ble now and NO, WAIT! BURNS COUNTERS USMAN! USMAN IS IN THE GUARD AFTER THAT KILLER SUPLEX!

Bob Ross: You know, there’s a lot of room in the octa­gon. I love see­ing that wide open space; it’s just like a new can­vas. It’s Gilbert’s world; he can put anyth—

Joe Rogan: I DON’T BELIEVE IT! USMAN’S GOT BURNS IN THE AIR! Usman is LETHAL on the ground, but he’s not gonna set­tle for an arm bar tonight! IT’S A BLOODBATH!

Bob Ross: It’s Usman’s world now. I think he’s going to add a hap­py lit­tle body lock in the cor­ner there. Hey, let’s do some­thing fun here—yeah, break­ing Gilbert’s nose is a great idea. Don’t be afraid to use bold­er col­ors to stand out. Be care­ful though; a lit­tle bit of blood can go a long w—

Joe Rogan: IT’S OVER! THE REF’S CALLING IT! GILBERT’S WINNING STREAK IS HISTORY! IT’S GONE!

Bob Ross: So is his face, but that’s okay. There are no mis­takes; just hap­py acci­dents. It’s your world; you can make it beau­ti­ful any way you like.

My friend Rob and some oth­er friends and I used to play a Bob Ross drink­ing game: The PBS sta­tion in Tope­ka would occa­sion­al­ly show two or three The Joy of Paint­ing reruns at a time late on week­ends. We’d set­tle in with our beer or Scotch or what­ev­er, and game on!

There were four rules:

  1. When­ev­er Bob said, “Hap­py lit­tle,” as in “I’m gonna put a hap­py lit­tle tree over here,” you took a drink.
  2. When­ev­er he said, “Your world,” as in “It’s your world; you can put in any­thing you want,” you took two drinks.
  3. When­ev­er he said, “Hap­py acci­dent,” as in “Oh, I just used the wrong col­or here, but that’s okay. What do we always say? ‘There are no mis­takes, just hap­py acci­dents,’” you stood up, toast­ed every­one else in the room,  said “Here’s to hap­py acci­dents!” and took a drink.
  4. And if Bob said “Crazy,” as in “Should we do some­thing crazy? I’m gonna get crazy and put a bush right here,” you stood up, toast­ed every­one else while scream­ing, “NO! DON’T DO IT, BOB! IT’S CRAZY!” and drained your drink, no mat­ter whether it was almost gone or if you just refilled it.

I don’t think we ever came up with any rules for com­bi­na­tions. If Bob said, “Now I want­ed to get crazy with this hap­py lit­tle bush here; there was a hap­py acci­dent, but that’s okay—it’s your world,” I don’t know how we should have respond­ed. Flam­ing Bac­ar­di 151 shots, maybe?

I don’t know if he ever said any­thing like that any­way; by the end of the first episode we were usu­al­ly too drunk to keep up.

No one else was here today except Pep­per. I love Pep­per, but she’s a lousy drink­ing bud­dy. I need­ed to get some work done any­way. So I didn’t play the Bob Ross drink­ing game while I was binge-watch­ing The Joy of Paint­ing.

Which is good, because I prob­a­bly would have wound up with alco­hol poi­son­ing. But I’ll proud­ly raise my Big Gulp of diet Dr Pep­per to the nicest orange-afroed painter ever.

Here’s to you, Bob. Keep it hap­py and just a lit­tle bit crazy.

We and Mrs. Jones

No, this is Mrs. Robin­son.

And now, chil­dren, hear and remem­ber the tale of me, Bil­ly Paul, Mrs. Jones, my friend Rob, and my dog Meat­ball:

Long, long ago, in a lit­tle state named Kansas, which no one wants to admit com­ing from except the clas­sic rock band Kansas and pos­si­bly Bob Dole, two young men and a dog were tool­ing around town in the leg­endary mus­cle car  Charles the Deep Breather, which prob­a­bly sounds sil­ly because you weren’t there, but which would make per­fect sense if you were there, because Charles breathed very, VERY deeply indeed, and com­mu­ni­cat­ed in a sub­son­ic, almost heav­en­ly, rum­ble that made fans of glass­pack muf­flers sneer, fans of tur­bo muf­flers weep tears of pure joy, and every­one else say, “That car! It—it spoke to me! It made my panties moist and/or my jeans tight “(depend­ing on their gen­der)”, and I want to run after it to hear and under­stand and remem­ber its teach­ing, but I can’t because I have noth­ing but two legs, while Charles the Deep Breather boasts 8 cylin­ders and 318 whole­some, part-of-this-nutri­tious-break­fast Detroit cubic inch­es (plus a .30 radius of bored-out glim­mery smooth cylin­der walls, rebuilt 340 heads, a 60,000-volt Mal­lo­ry rac­ing igni­tion coil, graphite igni­tion wiring, an alu­minum Edel­brock intake man­i­fold, a 600 CFM Hol­ley four-bar­rel car­bu­re­tor, a bunch of oth­er rac­ing parts no one gives a shit about, and the most impor­tant com­po­nent of all: the sto­ried under­dash Pio­neer Super­tuner pump­ing its juicy Amer­i­can-made stereo­phon­ic DNA through a 60-watt graph­ic equal­iz­er and final­ly into the Holy Grail of mobile tunes: a pair of 6x9 Jensen tri­ax­i­al speak­ers!”

And on this long ago night, my friend Rob, my dog Meat­ball, and I were engaged in the…

What? Meat­ball? You’re wor­ried about Meat­ball? Look, Meat­ball loved loud music, okay?8

Any­way, Rob and Meat­ball and I were—okay, now what? Oh, you think it was cru­el to name him Meat­ball? Look here: Peo­ple should not name ani­mals. We should instead lis­ten to our ani­mals and use the names they choose. Meat­ball was named Meat­ball because that’s the name he want­ed me to use.

So! We were observ­ing the time-hon­ored tra­di­tion of get­ting drunk via a cool­er of beer in Charles the Deep Breather’s back seat as we drove around, which also sounds sil­ly (if not down­right irre­spon­si­ble) if you weren’t there, but if you were there it made per­fect sense that two friends, a dog, one car, and some beer all had to be enjoyed simul­ta­ne­ous­ly, because that’s just the way it was and get off my lawn.

Rob, Meat­ball and I had been drink­ing, dri­ving and rock­ing out for a cou­ple hours and had just fin­ished lis­ten­ing, on cas­sette, to Queen’s 1975 album “A Night at the Opera,” with pun­ish­ing­ly high deci­bels, and for some rea­son we couldn’t agree which cassette/band/album we should lis­ten to next, so I just flipped the Supertuner’s switch from cas­sette to radio and we start­ed lis­ten­ing to KDVV, aka V‑100, to see if any­thing good popped up.

And it did. To an expo­nen­tial degree, it did.

The moment we switched over to V‑100, Bil­ly Paul’s “Me and Mrs. Jones” had just start­ed. And Rob and I (and, I am con­vinced, Meat­ball), we all loved “Me and Mrs. Jones.”

Meat­ball gen­er­al­ly showed his approval by wag­ging his tail, while I, care­ful­ly and wise­ly, avoid­ed try­ing to sing along with music if any­one else was present, even if it was just Meat­ball. To do oth­er­wise would prob­a­bly vio­late the Gene­va Con­ven­tion.

Rob, on the oth­er hand, was and is an excel­lent vocal­ist. Meat­ball and I were both delight­ed to del­e­gate the mouth music to him.

Bil­ly Paul had just fin­ished the first stan­za from “Me and Mrs. Jones,” and was gath­er­ing his strength to explode into his famous refrain: “Meeey­eee aaaayaaand… MISSUS! Mrs. Jones Mrs. Jones Mrs. Jones Mrs. Jones! We got a thing going on!”

And Meat­ball and I were hap­py to be The Pips to Rob’s Gladys Knight, rea­son­ing that with Rob bel­low­ing out the cho­rus along with Bil­ly Paul’s ear-shat­ter­ing voice ham­mer­ing out of the Jensen Tri­ax­i­als, we could add to the over­all vol­ume with­out drift­ing too far off-key.

And the moment arrived: Bil­ly Paul’s thun­der­ing “Mee-yeee aaayaaand MISSUS! Mrs Jones!” plus Meat­ball and I utter­ing an unrea­son­able fac­sim­i­le there­of, and the oth­er cars and traf­fic sounds and oth­er urban back­ground nois­es, all set­ting the stage for and pump­ing up Rob’s bet­ter-n-aver­age con­tri­bu­tion, and the whole world screeched to a halt and cocked its ear to see what Rob’s con­tri­bu­tion would be, and he did not dis­ap­point:

Ver­i­ly did he openeth his lips, and he sang with all his might, and he utter—uttereth, no, uttere­deth… SHIT! Okay, he pro­claimed to the heav­en­ly skies above and the rest of us mere mor­tals, and he sang:

“Weeey­eeee aaaaayand MISSUS!” and then he paused, real­iz­ing he was hav­ing a lit­tle pro­noun trou­ble exac­er­bat­ed by beer, because “Meeey­eee” and “Weeey­eee” are rad­i­cal­ly dis­sim­i­lar, even as I was won­der­ing why he paused, and then Meat­ball whis­pered to me “Who’s this ‘we’? You got a mouse in your pock­et?” and I blurt­ed out “ ‘WE?’ Ooh! Menage a trois!”

And Meat­ball start­ed laugh­ing, as did Rob, and I start­ed laugh­ing as well but then belat­ed­ly real­ized hey, maybe I shouldn’t veer left and kill us all.

In con­clu­sion, we all got home in one piece even though we all laughed so much no court in the nation would have con­vict­ed us for being unable to dri­ve, and then I ran away and got mar­ried to an unrea­son­ably beau­ti­ful and amaz­ing woman who by all rights could have land­ed Tom Cruise or Brad Pitt but instead she chose ME, and had two kids, and some­where along the way also Rob got mar­ried and had a kid, and I bet him feels the same way about his wife and son too, so I’m pret­ty sure I don’t need to threat­en him with telling his wife about our stu­pid juve­nile behav­ior and hey Rob, I love you and thanks for giv­ing me so much of your time way back then.