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?“1

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.

‘Frogs,’ aka ‘Why Sam Elliott Wishes He’d Been in a Porno’

♬ Hel­lo my hon­ey ♬ Hel­lo my baby ♬ Hel­lo my rag­time gaaaal! ♬

I like frogs.

Not real frogs, in a ter­rar­i­um as pets. They aren’t exact­ly cud­dly. I do like frogs’ legs, though. They aren’t cud­dly either; just deli­cious.

It’s just some­thing I like col­lect­ing. Frog stuff: Frogs on T‑shirts; Far Side car­toons that fea­ture frogs; ceram­ic frogs. Some folks col­lect Match­box cars; some folks col­lect com­ic books. I col­lect frogs.

I was in Tope­ka, KS—my home town—last week. And there’s a sports bar in Tope­ka called Jere­mi­ah Bull­frogs. They have a cool frog stat­ue at the door and framed Far Side comics and lots of oth­er frog stuff. So when­ev­er I vis­it Tope­ka I have to vis­it Jere­mi­ah Bull­frogs.

JBs recent­ly moved to a much larg­er build­ing, which I was glad to see, what with all the local­ly owned busi­ness­es around the coun­try dri­ven out of busi­ness by the pan­dem­ic.

With the added space came more frog bric-a-brac, includ­ing an amus­ing sign for Gooch’s Best Bull­frog Feed, and this movie poster:

 

Yes, you read that right: It’s a movie titled Frogs, and it stars Sam Elliott and Joan Van Ark.

What kind of movie would you expect based on this poster? We’ve got a cou­ple lurid taglines: “TODAY—The Pond! ; TOMORROW—The World!” and “It’s the day that Nature strikes back!”

We also have a frog with a human arm dan­gling from its mouth like a cig­ar.

An even more turgid poster for Frogs reads “A TIDAL WAVE OF SLITHERING, SLIMY HORROR DEVOURING, DESTROYING ALL IN ITS PATH! A ter­ri­fy­ing sto­ry of times to come when Nature strikes back!

It looked like a real­ly cheap hor­ror flick to me, and when I looked it up—yep, it’s a bad hor­ror movie released in 1972 with a bud­get of about $37.

Based on the posters you’d expect giant frogs to be run­ning around eat­ing peo­ple, like Night of the Lep­us with frogs instead of rab­bits:

(Some­times I won­der if this was the inspi­ra­tion for Mon­ty Python’s Killer Rab­bit of Caer­bannog.)

Or frogs hijack­ing an air­port con­trol tow­er and mak­ing planes crash like Die Hard 2. Maybe frogs killing peo­ple and assum­ing their iden­ti­ties, like Inva­sion of the Body Snatch­ers, or stab­bing women in the show­er à la Psy­cho, or even zom­bie frogs.

My Best Half won­dered aloud if Frogs would be self-aware campy fun, like The Tox­ic Avenger or Attack of the Killer Toma­toes or Killer Klowns From Out­er Space.

Shoot, they could have gone for a microbud­get hor­ror flick with some inter­est­ing new ideas, even if it was dirt cheap: Like Phan­tasm, with the fly­ing brain-slurp­ing met­al balls and the extreme­ly cool Hemi ‘Cuda; or Evil Dead, with Army of Dark­ness and the S‑Mart boom­stick, both of which spawned fran­chis­es despite bud­gets that would­n’t even fund a high school cafe­te­ria for two days.

They clear­ly weren’t inter­est­ed in break­ing any new ground on this, and any­one they pla­gia­rized would be too embar­rassed to sue. So I expect­ed Frogs to be so bad it was fun to watch.

Alas, Frogs was instead so bad it plum­met­ed WAY past “so bad it was good” ter­ri­to­ry and was just real­ly, real­ly bad.

I found the whole movie on YouTube for free. Appar­ent­ly none of the stream­ing ser­vices will touch Frogs. Maybe they’re embar­rassed by it, but I think it’s more like­ly they’re inca­pable of scru­ples or embar­rass­ment; they just real­ized they’d nev­er make a pen­ny by stream­ing it.

So I watched it. Now you don’t have to. No, don’t thank me. I’m just doing what any self­less hero would do.

Here’s the “plot”: Sam Elliott plays Pick­ett Smith, a pho­tog­ra­ph­er pad­dling around a swamp in a canoe and tak­ing pic­tures of trash in the swamp. (Here’s how brain­less this movie was: They missed a per­fect chance to have a Native Amer­i­can guy stand­ing there cry­ing, but they blew it.)

His name was Iron Eyes Cody. Meet­ing Pres­i­dent Carter ruined Cody’s career: He could­n’t stop smil­ing.

Pick­ett Smith is the only char­ac­ter name I can remem­ber, and that’s only because, while I was strug­gling not to slip into a coma, I thought his name was Wil­son Pick­ett for a minute, which remind­ed me of “Every­body Needs Some­body” from The Blues Broth­ers, which in turn gave me a few sec­onds of fond nos­tal­gia before I real­ized I was total­ly off-track, which led to the kind of bit­ter dis­ap­point­ment we all felt when George Lucas was smart enough to hire Lawrence Kas­dan to write the screen­play for The Empire Strikes Back and part of Return of the Jedi, so we were all pumped to see The Phan­tom Men­ace until we dis­cov­ered Lucas decid­ed he could just write all the screen­plays with­out Kas­dan’s help, which led to ghast­ly abor­tions of dia­log like Anakin Sky­walk­er, try­ing to suave his way into Pad­me’s pants by say­ing “I don’t like sand. It’s coarse and rough and irri­tat­ing and it gets every­where” and WHAT THE HELL WAS LUCAS THINKING?!?

Sor­ry. I swear, by Crom’s crunchy crotch crou­tons; so many fond hopes and dreams scut­tled by a badass Jedi knight and heart­stop­ping­ly pow­er­ful and evil Sith lord who whines, lit­er­al­ly, about sand in his box­ers.

Where was I? Joan Van Ark plays a sim­per­ing air­head who does noth­ing. I mean that lit­er­al­ly: For the entire movie she just stands around doing noth­ing. Noth­ing at all. I sus­pect they paid her enough to show up but not enough to make her want to do any act­ing.

There are some oth­er char­ac­ters, but they’re all as life­less and use­less as Joan Van Air­head.

Any­way, Elliott comes across a fam­i­ly liv­ing in an old ante­bel­lum man­sion on an island in the mid­dle of the swamp. I’d say it looked like an old plan­ta­tion house, but in a swamp? I mean, if you’re run­ning a plan­ta­tion you need to have cot­ton or tobac­co or some­thing to har­vest. What would they har­vest in a swamp?

The minute Elliot shows up, weird things start hap­pen­ing; from there on out they appar­ent­ly couldn’t decide between rip­ping off a teen slash­er film, with idiot teens being mur­dered one by one, or rip­ping off Hitchcock’s The Birds, except with frogs.

I say that because there were dozens of cut­away scenes of the lawn out­side the house swarm­ing with frogs, which were obvi­ous­ly being thrown in front of the cam­era by off­screen frog wran­glers.

Here’s where the fun starts: The char­ac­ters start dis­ap­pear­ing and wind­ing up dead. The frogs are here! TODAY, the World!! A TIDAL WAVE OF SLITHERING, SLIMY HORROR!

Wan­na know how many peo­ple the frogs kill? I kept track. Here’s how many peo­ple the frogs kill:

Zero.

Oh, the movie does have a respectable body count: About a dozen peo­ple, plus hints about this being a world­wide frog­poca­lypse. Here’s how the idiots die:

Idiot 1: A guy goes fish­ing and gets killed by a rat­tlesnake.

Idiot 2: Next a guy look­ing for the first dead guy gets offed by—I’m not mak­ing this up—a rat­tlesnake bite, fol­lowed by fronds of Span­ish Moss on a weep­ing wil­low: The fronds come to life and stran­gle the poor bas­tard. This is fol­lowed by him being devoured by scor­pi­ons (scor­pi­ons? In a swamp?), a bunch of lizards and baby croc­o­diles, and final­ly taran­tu­las, which set about eat­ing him and cov­er­ing him with webs.

Idiot 3: A matron­ly old nin­ny wan­ders around in the swamp try­ing to catch but­ter­flies. She also gets a rat­tlesnake bite fol­lowed by oth­er crit­ters devour­ing her.

Idiot 4: Mean­while, one of the oth­er stu­pid adults is won­der­ing if the miss­ing matron­ly nin­ny is in the green­house. While he’s look­ing around in the green­house, a gecko starts knock­ing things off a shelf like an ornery cat.

It goes beyond cat mis­chief, though: Some­one has thought­ful­ly left a dozen or so large, frag­ile glass jars of var­i­ous poi­sons stored on flim­sy shelves. They ooze all over the place, dis­solv­ing stuff faster than Alien blood and fill­ing the room with tox­ic gasses; the dumb guy in the green­house dies about 3 steps from the door, through which he makes no attempt to escape.

Idiot 5: Anoth­er idiot takes his boat to a mari­na across the lake. He stop to gas up the boat, where­upon a Komo­do Drag­on (in an Amer­i­can swamp?) bites the rope teth­er, mak­ing the boat drift off. The idiot jumps in to swim out to the boat an gets attacked by Ana­con­da-size snakes, which, unlike Ana­con­das, live in an Amer­i­can swamp and which also, unlike Ana­con­das, are ven­omous.

Idiot 6: Idiot 5’s wife sees him leav­ing, runs down to the shore to beg him to come back, gets her feet stuck in the mud, and winds up feed­ing alli­ga­tors.

Mean­while, Sam Elliott, Joan Van Ark, a cou­ple of use­less kids and an old fart in a wheel­chair bar­ri­cade them­selves in the house. Elliott says, “We should leave.”

The old fart in the wheel­chair says, “I ain’t leav­ing!.”

So Elliott and Van Ark and the use­less kids pad­dle Elliott’s canoe across the lake. There they dis­cov­er what hap­pened to the plan­ta­tion house’s ser­vants, who fled ear­li­er:

Idiots 7 thru 11: Well, actu­al­ly, they just find a cou­ple of suit­cas­es in a park­ing lot, so we don’t know what hap­pened. This must have been scary back in ’72, because when they spot the suit­cas­es the sound­track plays a scary crash sound thingy like King Kong just showed up.

Idiot 12: And final­ly, we see the old fart in his wheel­chair look­ing around in ter­ror as the off-screen frog wran­glers start throw­ing frogs through the win­dows instead on the lawn out­side.

So the old fart keels over dead, even though none of the frogs touched him.

Thus endeth Frogs.

Most actors have an embar­rass­ing com­mer­cial or short-lived sit­com role in their past that they’d rather for­get. Sam Elliott has been in a cou­ple bombs and weird movies, such as The Man Who Killed Hitler and Then the Big­foot (I’m not mak­ing that up either).

I bet Sam Elliott wish­es he’d been in a cheap porno rather than Frogs.

Here’s the whole movie if you’re a glut­ton for pun­ish­ment:

https://www.youtube.com/watch?v=Kd0gbI_5sCQ

 

Assisted Twister

You’ve heard this say­ing: “If you don’t like the weath­er in (wher­ev­er you are), just wait five min­utes and it’ll change!”

This, my friends, is Fake News. I’ve lived in, or spent enough time in, enough states to get an idea what the weath­er is like: Ore­gon, Wash­ing­ton (State and DC), Col­orado, Texas, Ari­zona, Flori­da (and Aku­mal, Mex­i­co and Guangzho, Chang­sha, and Hong Kong).

But I grew up in Kansas.2 Kansas is the only place where the “wait five min­utes and the weath­er will change” joke applies. In fact, Kansas is the only place I’ve ever lived that has weath­er at all, and I can prove it. To do so I need to talk about cof­fee:

Back some mum­bledy-sev­en years ago, I worked after­noons at the state hos­pi­tal and got off at 11. Depend­ing on how much mon­ey we had, my friend Rob and I would either dri­ve around and drink beer till the wee hours of the morn­ing, or go down­town to Pore Richard’s, pay for one bot­tom­less  cup of cof­fee each, and drink cof­fee till the wee hours of the morn­ing.

Pore Richard’s was a restau­rant and café where you could spend a lot of mon­ey on steak or lob­ster or oth­er pricey munchies, or you could spend $1.25 on a cup of cof­fee and get refills until you start­ed to vibrate.

Being broke, and giv­en that Nin­ten­do and iPhones and Android and X‑Box and restau­rants with dozens of TVs show­ing every chan­nel there is at ear-shat­ter­ing vol­ume were all years in the future, we had to find some­thing else to do. So we’d talk and argue and talk with the servers and argue about things with them, all of which are alas becom­ing lost arts.

But most often we would whip out Road Notes and get busy.

Road Notes was a big 200-page col­lege-ruled spi­ral note­book (sev­er­al, in fact; I still have about 10 of them and I’m pret­ty sure there were more).

And upon the pages of Road Notes we would inflict song lyrics; goofy draw­ings; vignettes; short sto­ries writ­ten back and forth between us, two para­graphs apiece; all man­ner of things.

One night I was noodling around in Road Notes and the Wham song—oops; I mean the WHAM! song—“Careless Whis­per” came on our table juke­box, which meant some­one at one of the oth­er tables had dropped a dime in their table juke­box.

Then it came on again. And again. And again. Now, I like this song and I liked it back then. It wasn’t as bad as some­one play­ing “What’s New Pussy­cat?” 21 times in a row, but it was wear­ing thin. I sac­ri­ficed a dime from pet­ty cash (aka the serv­er-tip­ping cash) to play some­thing else, but some­one in the restau­rant had just bro­ken up with some­one else and was drown­ing his or her sor­rows in a tsuna­mi of dimes to hog the juke­box.

Rob grabbed Road Notes from me and start­ed draw­ing. A minute lat­er he hand­ed back a pair of draw­ings. One was a cred­i­ble forgery of the old “Loose Lips Sink Ships” poster labeled “Care­less Whis­per,” except the sol­dier gab­bing at his girl­friend had a bull­horn aimed right at Hitler and was blow­ing his hair and mus­tache off.

Next to that was a draw­ing of a bald woman, labeled “Hair­less Sis­ter.”

I said, “Hair­less Sis­ter”? Rob said, “Wait; don’t tell me you haven’t heard this. The Hair­less Sis­ter song? On Dr. Demen­to?”

I hadn’t, but I did lat­er: Hair­less Sis­ter was a spoof of Care­less Whis­per, in which a high school guy’s sis­ter shaves her head, and her broth­er is singing about how he’ll nev­er go to school again, because an embar­rassed mind can do no learn­ing.

So I grabbed Road Notes back and drew an old woman yelling “Get me some pears!”, labeled “Pear­less Spin­ster,” which set off a pret­ty damn good pun war, which end­ed like this:

After sev­er­al more rounds, Rob drew a pic­ture of Dee Snider with a corkscrew stick­ing out of a big lump on his arm. It was titled, “Twist­ed Blis­ter.”

I looked at him and said “Twist­ed Blis­ter”? You HATE Twist­ed Sis­ter! What song is this, We’re Not Gonna Lance It? He snick­ered and said, “Your move!”

I made a few false starts and then inspi­ra­tion struck: I drew a pic­ture of a house with a tor­na­do head­ing its way. There was anoth­er tor­na­do on the oth­er side of the house.

The first tor­na­do was say­ing, “Help me wreck this house!” The oth­er tor­na­do said, “Sure!”

I titled it Assist­ed Twister.

I pushed Road Notes back at Rob. He looked at Assist­ed Twister and start­ed to laugh. So did I.

Before long we were both howl­ing and falling out of the booth and try­ing very sin­cere­ly not to wet our pants and/or have asth­ma attacks.

Assist­ed Twister. Com­ing soon to a restau­rant near you.

 

So I—yes, I know it’s a hor­ri­ble pun. But that was wh—What? Look, you had to be there. Any­way, we—okay, shut up and sit down. You don’t have to like a bad pun. You just have to respect its courage to be seen in pub­lic.

So let me abrupt­ly change the sub­ject:

I men­tioned ear­li­er that I lived in Ore­gon for a while. I went to col­lege in Ore­gon, in fact. One day I was walk­ing to a class with some­one, and he said, “You’re from Kansas? Weren’t you alla time scared of tor­na­does?”

I said, “You’re from Port­land in spit­ting dis­tance of five vol­ca­noes; ain’t you alla time scared of the floor being lava?”

If you live in Port­land, you can’t wait five min­utes for the weath­er to change: Port­land doesn’t HAVE weath­er. All the weath­er folks on the news have to say is, “Fore­cast: Damp. Cur­rent con­di­tions: About to Rain, Rain­ing, or Just Stopped Rain­ing.”

Arizona’s just the oppo­site: The weath­er in Prescott Val­ley is always mild and sun­ny (unless you’re in Phoenix, where the weath­er is always boil-your-eyballs hot and sun­ny), except that in Prescott Val­ley it rains a few weeks late in the sum­mer, which they call “Mon­soon sea­son,” like they’re in Tahi­ti.

But Kansas—Kansas, my friends, has WEATHER. Back in about ’91, I remem­ber try­ing to dri­ve to work one morn­ing, but it was so cold the trans­mis­sion flu­id was like molasses and the car couldn’t move an inch.

Lat­er that same win­ter, on New Year’s eve, I left work at 11pm and it was a balmy 75°. When the sun came up on New Year’s day it was 20 below zero, and a lot of peo­ple couldn’t get to work because the tem­per­a­ture extremes made a grain ele­va­tor explode, cov­er­ing I‑70 with a 30-foot-high wheat­drift.

Lat­er that spring I was attempt­ing to dash from my car to my house dur­ing a nasty thun­der­storm, and I took a rac­quet­ball-sized hail­stone to the nog­gin that almost knocked me uncon­scious.

I’ve seen it cold enough in Kansas you could spit and it would freeze before it hit the ground. I’ve seen it hot enough that recent­ly resur­faced roads soft­ened up, leav­ing cars mired in asphalt.

Kansas folks are tough enough to deal with apoc­a­lyp­tic weath­er, but Kansas just doesn’t get any respect.

In Dia­monds Are For­ev­er, the evil vil­lain Blofeld asks Bond, James Bond, how he should set about extort­ing the world with his giant space laser.

“I sup­pose I could destroy Kansas,” Blofeld says, “but it would take years for any­one to notice!”

Hyuk hyuk hyuk. But con­sid­er this: If Kansas was destroyed, all that real weather—frozen spit, boil­ing asphalt, Mama-said-knock-you-out hail­stones and tor­na­does, oh my—would have to hap­pen in oth­er states, where peo­ple talk about how the weath­er changes every five min­utes but don’t have a clue what’s in store for them.

Think about that the next time you’re mock­ing Kansas with your hilar­i­ous Wiz­ard of Oz jokes.

The Helicopter Song

When I was 4 or 5 my par­ents had some friends over for a bar­be­cue. Every­one was milling around in fine bar­be­cue fash­ion, and then the radio played a song I’d nev­er heard before. It was amaz­ing! There was some­body laugh­ing and then heli­copter sounds, but it did­n’t have any lyrics.

I planned to ask Mom and Dad what the song was, but they were busy doing things and I for­got.

A cou­ple of days lat­er Mom was putting some­thing on the record play­er, and I remem­bered the bar­be­cue and said, “Play The Heli­copter Song!”

“The what?” Mom said.

“The Heli­copter Song! There was a guy laugh­ing and heli­copters! And there weren’t any words!” Mom had no idea what I meant. I did, but I could­n’t describe it well enough. I gave up, frus­trat­ed.

A cou­ple days lat­er we were dri­ving some­where and the heli­copter song came on the radio.

“That’s The Heli­copter Song! That’s The Heli­copter Song!” I yelled.

“That’s the song you meant?” Mom asked.

“Yeah! It’s The Heli­copter Song!”

And it turned out that the heli­copter song was… (drum roll])3

“Wipe­out,” by The Sur­faris.

Lemme ‘splain: When I was a kid in the ear­ly 1960s, we lived in Tope­ka, KS, about 7 miles north of Forbes Air Force Base. Air­craft often flew right over us com­ing to and from Forbes; usu­al­ly heav­ier car­go air­craft. Once, in about ’89 or ’90, every­one in Tope­ka got to watch a brand-new Air Force One land at Forbes for the first stop in its inau­gur­al test flight, fuel up, and take off again.

This was much ear­li­er, though; maybe 1967 or ’68. The war in Viet­nam was rag­ing along full blast, and we often heard large chop­pers fly­ing thump­ing along over­head: long-range spe­cial-ops copters like the Siko­rsky MH-53, aka the Jol­ly Green Giant, or Boe­ing CH-47 Chi­nook dual-rotor heavy car­go heli­copters.

It hap­pened often enough that I didn’t con­scious­ly lis­ten to them, but they still made a hell of a lot of noise.

And so it hap­pened that when I heard “Wipe­out,” the long drum breaks, heavy on the bass and toms, remind­ed me of all the big chop­pers fly­ing over­head.

I didn’t know how to explain this when I was so young. So years lat­er, when I was in my ear­ly 20s, a friend of mine was show­ing me how to play “Wipe­out” on gui­tar, and I sud­den­ly remem­bered: THE HELICOPTER SONG!

I told Mom and Dad about it, but they did­n’t remem­ber any of this.

So either I’m hal­lu­ci­nat­ing or The Sur­faris tricked me.