Archive for the ‘Uncategorized’ Category

September 11, 2001

Saturday, September 10th, 2011

My wife and I were never more relieved to get home from a vacation.  We drove straight from O’Hare to our dog sitter’s, thanked her profusely for taking care of Mike an extra six days, and proceeded to rush home.  I wouldn’t be surprised if the neighbors heard our sighs of relief as Lori and I plopped ourselves on the couch in the living room.  We were grateful we had been together the whole time during the tragedy of 9-11 and its immediate aftermath.

We had been stranded in Las Vegas over 9-11.  If you’re thinking that might have been the best place to be at a time of disaster and uncertainty, you’d be right to some extent.  There were lots of ways to distract ourselves.  But Las Vegas feels different when you want to leave it but can’t.  And the Las Vegas of 9-11 was not the same as what we were used to.

By the afternoon of 9-11, when it was apparent what had really happened, casinos along the Strip began shutting down their electronic billboards or replacing the images with that of an American flag.  We walked out onto Las Vegas Boulevard that afternoon, and there was Old Glory on one billboard after another, as far as the eye could see, in both directions.   That was a neat sight.

We learned that all major shows and entertainment were canceled indefinitely.  Some casinos took the unprecedented step of halting any gambling for awhile that day.  At the Mirage, where we were staying, the mood on the gaming floor was completely subdued.   Piped-in music, as ubiquitous in Las Vegas casinos as secondhand smoke, had been turned off entirely.  There was very little action at the table games, and the usual din of the slot machines was gone.  Dealers, pit bosses and cocktail waitresses were mostly standing around in shock.  Everyone in the casino, from the employees to the gamblers, was caught in the same haze of uncertainty.  I noticed people were sitting down at the tables not as much to gamble but to be able chat with the dealers and other players.  There was great comfort in knowing you weren’t alone in the anxiety you were feeling.

Since all commercial flights were grounded, there was a mad rush for transportation out of Las Vegas.  All rental cars in Las Vegas were gone within a couple days.  Greyhound and Amtrak announced on the local news that they had no tickets left, and they couldn’t even offer a guess as to when they would have any more.  Lori and I weren’t scheduled to fly home until Thursday, the 13th.  Surely, we thought, planes would be in the air again by then.  We were wrong.

It wasn’t until the following Tuesday, the 18th, that United resumed their normal flight schedule and we were able to leave.  Thankfully the Mirage, like most other hotels in town, came up with a special room rate (most of them called it their “God Bless America” rate) that allowed us—and thousands of other stranded tourists—to add extra days to our stay without having to pay the regular rate.   

My first day back at the station was Wednesday, the 19th.  Between the elation and the relief of finally being back, that day flew by.  I hardly remember it.  The one thing I do remember is sitting in my boss’ office that day when he announced that Richard Elliot was going through with his concert at the Chicago Theatre that Friday night, the 21st.  And, when he came out on stage that night, Richard said what was going through the minds of all of us:  “I think this is what we all need.”  I would have to say that our collective healing process began at that moment.

Playing Rivers

Sunday, July 24th, 2011

Reasonable table minimums.  Cordial dealers.  Clean air.  I don’t ask for much out of a gaming experience.  You’ll notice that I didn’t even include winning.  Winning helps, but if those three conditions are met, I’m pretty much assured of having a good time regardless of how my bankroll fares.

I went over to the new Rivers Casino in Des Plaines for the first time this weekend, and I was impressed.  My three prerequisites were all there, in abundance, along with some pleasant surprises.

By the way, if you’ve never been to a casino right after it opens, take this opportunity.  The place will never look cleaner or brighter, and there’s something about the smell of a brand new casino.   Also, the slot machines and gaming tables are right off the assembly line.  The chips have the sharp edges that only factory fresh chips have.  And the staff is well-scrubbed and eager to please. 

When you get to Rivers, use the self-park because it comes with a helpful feature that I wish all parking garages were equipped with.  Above each parking space is a light which glows orange if there’s a car in the space, green if the space is open.  You don’t have to drive down every aisle, looking for an open space.  When you’re at the end of an aisle, look at the overhead lights.  If they’re all orange, go the next aisle.  Spot a green light and you’ll know there’s an empty spot.

Since Rivers is a brand new casino, everyone who visits has to sign up as a new players’ club member.  I can envision quite the logjam during peak times, but they were ready for the crowd at the time I went.  They had over a dozen extra computer terminals set up, and the process went smoothly and fairly quickly.

The gaming area is spacious and easy to navigate.  I’ve actually gotten lost a couple times at other casinos in the area.  You won’t have to worry about that here.  In terms of layout and décor, Rivers reminded me of the newest of the smaller casinos in Las Vegas, the M Casino (at the south end of Las Vegas Boulevard), in particular. 

Of course, some good luck always enhances the experience.  I was in the black when I left, thanks mainly to an initially weak blackjack hand, a pair of 3s, which turned into a win of five units, thanks to winning the two splits and the two double-downs which followed on that hand.

I’ve been to every casino in Chicagoland and Northwest Indiana, and I’d have to put Rivers in the area’s top three.  It’s worth checking out.

Everything Favors Fries

Sunday, September 26th, 2010

Listen to dieticians, and they all suggest one way to cut back on calories when you dine out is to make sensible substitutions.  For instance, ask to swap out the French fries (which seem to come with everything you can order at a restaurant these days) for a healthy vegetable.   My wife and I decided last month that we’d commit to a more healthful eating plan in the fall, so that’s one of the first things we do whenever we’re at a restaurant.  Wouldn’t you know it—at the first place we decided to try this we learned a restaurant chain isn’t about to do anything to encourage diners to opt for the healthier choice.

At Ruby Tuesday, look up any of their lunch combos and they all come with endless fries (their emphasis).  Ask to swap them out for another vegetable, and they’ll give you the choice of green beans or broccoli, generally.  Not bad.  Unlike the fries, however, these healthier alternatives come with a catch:  they aren’t endless.  You’re allowed one serving, and that’s it.  In other words, Ruby Tuesday is more than happy to fill you up with a feedbag’s worth of fatty fries if you want it, but ask for a second helping of green beans, and the answer is a firm no.

It’s hard enough to turn down fries (and Ruby’s has some darn good fries, I must say) when they tempt you from every corner of the menu.  Now, add in the fact that their fries are an all-you-can-eat proposition (while the healthier alternative is limited to one helping), and it’s obvious what Ruby Tuesday would rather have you order.

The Big Wave Returns

Saturday, September 18th, 2010

I was too big a fan of the original series to miss this Monday night’s reboot of Hawaii Five-O.  I’ll be watching with limited expectations, however, because I realize it won’t be the same show.  The network, CBS, is calling it a “reimagining,” which I interpret as a warning to fans of the original that creative license will be exercised and liberties taken.  As was the case with the first Mission: Impossible movie, any similarities to the show we grew up watching in the ‘60s and ‘70s will likely be in the title and very little else.  I’m ready for that going in.

Hawaii Five-O, the original version, is one of my all-time favorite shows.  Its strength was in its perfect combination of dramatic elements:  strong, inventive storylines (at least during the first eight or nine seasons), a solid cast, an exotic backdrop and a magnificent theme song.  How big a fan was I?  From the second season (1969) until the time I went off to college (1976) I never missed an episode.  The titles of my favorite episodes are also etched in my brain:

“Hookman”  (Real-life detective and amputee Jay J. Armes plays Curt Stoner, an armless sniper who targets cops with deadly accuracy.)

“Singapore File” (McGarrett and Nicole Wylie evade assassins on a treacherous journey from Singapore to Hawaii.)

“Highest Castle, Deepest Grave” (Five-O investigates a murder cover-up involving an industrialist played by Herbert Lom, his late wife and his daughter.)

“Death is a Company Policy”  (Organized crime plants a mole, played by West Side Story’s George Chakiris, in the DA’s office, leading to a frame of Office Duke Lukela.)

“A Matter of Mutual Concern” (Often cited as one of Five-O’s most violent episodes, with a dismemberment shown in graphic detail, it also features a host of racial slurs toward various Asian ethnicities.)

“The Jinn Who Clears the Way” (A classic episode featuring arch villain Wo Fat with a memorable kicker in the finale.)

I don’t fault CBS for resurrecting the show.  As strong a brand as Hawaii Five-O still is thirty years (!) after its final original episode aired, frankly I’m surprised it took them this long.  But, even sight unseen, I can tell you right now it will be a very different Hawaii Five-O.  I might even end up being a fan, but it’ll always remain inferior to the original.  This isn’t a major criticism, considering the high standard set by Jack Lord and company with the original series back in the ‘70s.

Here’s a link to a fantastic site devoted to the original series.  It’s one of the best sites I’ve ever come across on a vintage television series.

(By the way, actor Harold Gould, who played the memorable villain Honore’ Vashon on the original series—along with countless other roles in a remarkable career spanning five decades—died at the age of 86 this past September 11.)

The S and the U in SUV

Wednesday, July 28th, 2010

Saturday morning I found myself on the road minutes after the area had taken the brunt of the weekend storms.  An SUV was directly in front of me, headed northbound as I was, and in the far right lane of four-lane Crawford Avenue.

The lane the SUV was driving in had several large puddles but nothing that looked too deep.  Along the unflooded stretches of the road were clumps of mud. I watched as the driver of the SUV charted a zigzag course right in front of me, trying to avoid the puddles and mud for the length of the entire block.  I wasn’t about to try and pass them as they swerved periodically into my lane.

Then it occurred to me.  Isn’t one reason why you get an SUV so you can glide right through–and over–obstacles without so much as a second thought?  Hey, I’ve seen the commercials and you have, too. They’re doing things like ascending sand dunes and fording streams, for crying out loud–things I wouldn’t even dream of doing in my sedan.  And, as for being afraid of a little mud, I was just at a car dealership the other day where they had an SUV which was actually caked in mud from top to bottom on display in their showroom.

I’m not one of those who hates SUVs.  Most of the time the person behind the wheel can be much more annoying.  This was obviously a case where the driver had lost sight of the “S” and “U” aspect of their vehicle, whereas I, in my plain old “V,” was the one who should have been swerving like mad around the hazards in the road.

At Least Armando Gallaraga Got an Apology

Tuesday, June 8th, 2010

“What if…” is never a happy question, and seeing defeat snatched from the jaws of victory isn’t fun, especially here in Chicago where we’ve been witness to that scenario a few too many times over the years with our sports teams.

I can only wonder how long it will take Julianna Canabal-Rodriquez to get over the sting of being unfairly bounced from the finals of the recently concluded 2010 Scripps National Spelling Bee.  Unlike Armando Gallaraga, the Tigers pitcher who received an apology from umpire Jim Joyce, who denied him a perfect game with a badly blown call—Julianna, to my knowledge, hasn’t heard a word from Jacques Bailly, the official of the Scripps Spelling Bee whose careless pronunciation caused her to misspell her word in that fateful 6th round last Friday.

Julianna’s word was “gyokuro,” (correctly pronounced “gyOH-ku-roh”) which we were told was a type of high-grade Japanese tea.  Bailly, the “official pronouncer” for the annual spelling bee, mispronounced the word on his first read-through as “gyAH-ku-roh.”  He mispronounced it again on his second try.  Then, when asked by Juliana to repeat it, he mispronounced it several more times, never getting it right during the two-and-a-half minutes she stood at the microphone before eventually misspelling the word and stepping away.

Watching Julianna you could tell she was grappling with what came down to two choices in her mind:  going with “g-y-a” or “g-y-o” to start the word.  By her repeated requests for Bailly to repeat “gyokuro,” it was obvious to me that she was leaning toward the correct spelling but that the way he was pronouncing the first syllable was pushing her toward a spelling she had no confidence in.  In the end, she went against her gut entirely because of his pronunciation.  She was eliminated from the tournament as a result.

As she was walking off the stage in stunned disappointment, the commentators were remarking about how Bailly had seemingly led her down the wrong path, having Anglicized the word when he pronounced it “gyAH-ku-roh.”  They were right.  No one speaking correct Japanese would have said it that way.  Even I, for whom Japanese was a first language when I was growing up, would have ended up spelling it incorrectly after being given that erroneous hint.

For a contest predicated entirely on absolute precision, the E. W. Scripps Company ought to be as demanding of perfection on the part of its officials as it is the young men and women who courageously compete each year in its famous spelling bee.

The Final Days of Penmanship

Monday, April 26th, 2010

Zaner-Bloser.  Now there’s a name I hadn’t heard in almost 40 years.  It all came back to me, reading the front page article in Saturday’s Tribune about young Jancarlo Perez of Chicago, who became a two-time winner of a national handwriting contest—sponsored by Zaner-Bloser.

When I was learning penmanship in the second and third grade, it was the Zaner-Bloser method that my grammar school taught.  The handwriting textbooks which we used every day and the light green lined writing paper—they all came with the name “Zaner-Bloser” on them.

My teachers were sticklers for precision, and I recall my seven-year old left hand was ultra steady and obedient.  My tall letters went up to the top line and stopped right there; my small letters hugged the dotted center line of the page without ever going past.  When it came to cursive, my loops were nearly perfect and I could duplicate them at will.  At least in the beginning I was an A student in penmanship.

Then came junior high (as we called it back then) and a strange thing happened.  Style points gave way to speed, and I developed bad, bad habits, habits from which I’ve never recovered.  I became a juvenile penmanship delinquent, and as a grown-up I’ve never reformed.  In fact, at our house it’s become something of a joke.  My wife orders me to keep away from the checkbook, because she can never make out my letters or my numbers.

These days it’s rare for me to receive anything written in longhand, but occasionally I do.  It’s even rarer for me to receive something from a letter writer who obviously still has the skill and patience to form their letters carefully, precisely and legibly, while adding touches of their own unique style.  Penmanship, it is clear to me, is becoming a fading art.  And, with email and texting dominating our lives these days, I don’t hold out much hope that it’ll ever return to its former glory.

More Fun Than a Barrel of Basset Hounds

Sunday, April 11th, 2010

I love my Smooth Jazz, but I truly am a sucker for dogs.  That’s why I’d like to invite you to join me at an event that’s an incredible amount of fun for a worthwhile cause:  Bark in the Park, the Anti-Cruelty Society’s annual walk for the animals.  The money we raise will benefit ACS’s programs of caring for dogs and cats.

This year’s event will take place at 9:00 am on Saturday, May 1, at Montrose Harbor.  Last year’s Bark drew nearly 3,500 two-legged participants, most of whom did the 5K walk with their four-legged family members.

Joining me at Bark will be ABC-7’s Hosea Sanders and Roz Varon and longtime Chicago radio traffic voice Bart Shore.  For those of you who might be wondering about him, our beloved bulldog Mike will not be part of the festivities this year, however.   He’s no longer the rambunctious pup who had the boundless energy and exuberance (and pain-free hips) to do the walk with my wife and me a few years ago.  He’ll be there in spirit but otherwise contentedly napping in his dog bed at home that Saturday morning.

New to the event this year is a formal attempt to break the Guinness Book of World Records ® Largest Simultaneous Dog Stay record.  If we can get 628 dogs to sit and stay for two minutes, we’ll set a new mark.  Hey, it’s worth trying!

For more information, please go to www.BarkInThePark.org.  And, on May 1, look for me in the Hospitality area.  I’ll be there leading the event’s best volunteer crew and dispensing human treats to those who finish the walk.

Dressing for Smooth Jazz Success

Wednesday, April 7th, 2010

The April issue of JazzTimes magazine features a lively discussion on how jazz artists ought to dress when they’re up on stage.  It got me thinking, and then it occurred to me:  over the past 23 years that Smooth Jazz has been around, a transformation has taken place in the way performers in our genre dress.

When it comes to earning style points, Smooth Jazz artists have taken a quantum leap in two decades.  I don’t know how many of you remember this, but in the early days nearly everyone had the same look:  garage-band-but-sadly-lacking-the-hipness-of-grunge.  Worn-out denims and a jazz festival t-shirt were a common ensemble.  At the time it didn’t seem particularly inappropriate because artists were being booked into places such as the Cubby Bear, Jazz Bulls and China Club in those days—venues that were bars or converted industrial space.

As Smooth Jazz began to blossom in the middle ‘90s and concerts moved into larger, more elegant venues, artists instinctively reacted to this move up in class by becoming more style conscious.  Led by African-American artists who seemed to be the first to recognize there should be a certain visual vibe to the whole Smooth Jazz concert experience, the fashion bar was raised significantly.

These days, it’s rare to witness a performer who hasn’t dressed for the occasion.  From the sartorially resplendent Nick Colionne to the dapper Dave Koz & Friends Christmas group (including Brenda Russell, who always looks as though she’s ready to walk the red carpet at the Oscars), Smooth Jazz artists get it—there is value to looking good.  But they’re only continuing a tradition.  If you go back far enough to remember that the likes of Miles Davis and Billie Holiday were as influential with their fashion as with their music, you’ll realize live performance in jazz music has never been about just the music.

Good Night, Mr. Phelps

Monday, March 15th, 2010

I imagine over the next few days you’ll be hearing a few snippets of the Mission: Impossible theme at various times.  Peter Graves, the actor who played the leader of the Impossible Missions Force, Jim Phelps, died yesterday at the age of 83.

Off the top of my head, I can’t think of another TV series that received a bigger boost from a change in its lead actor than Mission did in the late 1960s.  Steven Hill brought considerable chops along with distinguished acting credentials to the role of Dan Briggs, leader of the IMF when the show debuted in 1966.  But Mission truly blossomed when producer Bruce Geller added Peter Graves to the ensemble at the start of season two after a falling out with Hill.  Graves embodied all the qualities of a leading man in an action series.  He was strong and athletic—and quite camera-friendly.  To this day, whenever I watch my DVDs of the original series, my wife always comments on how good looking he was, especially in the apartment scenes where he was always seen in suits that perfectly complimented his silver hair.

Graves’ Jim Phelps also had a cerebral side and preferred plotting missions around psychological manipulation of the target as opposed to using brute force and violence on them.  He was the opposite of 24’s Jack Bauer.

Growing up, I watched every episode of Mission: Impossible.  I loved everything about the show:  the staccato theme—perhaps the best TV theme song ever–composed by Lalo Schifrin;  the intricate plotting;  the no-nonsense, unsentimental endings of most of the episodes.  It was a brilliant concept, masterfully executed.  And Peter Graves was the essential ingredient.

In the end, he wasn’t “caught or killed.”  The Secretary didn’t have to “disavow any knowledge” of his actions.  Peter Graves went off into the sunset the way he preferred—and with his wife of nearly 60 years, Joan, and his three daughters, Kelly, Claudia and Amanda nearby.  I’ll miss him.

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