Hits and Misses from Storyography – 2017

Each year at this time I re-publish a selection of some of my blogs that may have slipped through the cracks, or I hope will find readers who might have missed them on the first pass.

And I include some of my personal favorites.

I am Woman, Hear Me “Wahhh!” is a little more political than usual for me but, like it or not, I felt my take on the recent sex scandals had to be said: https://lifestoryography.wordpress.com/2017/11/26/i-am-woman-hear-me-wahhh/  

Gumshoe, Meet Banana Peel is a rant from a different place that I hope gives you a smile: https://lifestoryography.wordpress.com/2017/11/04/gumshoe-meet-banana-peel/

Shakespeare, On the Rocks is a whimsical re-imagining of some of the Bard’s more famous plays: https://lifestoryography.wordpress.com/2017/10/24/shakespeare-on-the-rocks/

Eclipsed by a Fidget Spinner is an exploration of our need for diversion and the cyclical nature of our lives. This was printed in a recent edition of the Tolucan Times: https://lifestoryography.wordpress.com/2017/09/05/eclipsed-by-a-fidget-spinner/

You Kiss With That Mouth? was my most read blog this year. I’m told my misadventures with dentists is very entertaining and funny. Don’t forget to floss: https://lifestoryography.wordpress.com/2017/09/01/kicking-when-im-crowned/

Liberals and the Seven Stages of Grief examines the Kubler-Ross model of grief through the prism of the 2016 election: https://lifestoryography.wordpress.com/2017/05/31/liberals-and-the-seven-stages-of-grief/

Another Brick in the Wall recounts my brief tenure as a middle school teacher: https://lifestoryography.wordpress.com/2017/06/22/another-brick-in-the-wall/

Love and Scar Tissue is a reprint of a review I did for the Tolucan Times of the amazing Danny and the Deep Blue Sea. I wish everyone could have seen this riveting performance: https://lifestoryography.wordpress.com/2017/04/12/love-and-scar-tissue-on-display-in-danny-and-the-deep-blue-sea-and-poison/

Thank you for reading my blog this year. I very much appreciate your comments and attention. I hope 2018 is wonderful for all.

Why Movies About Movie Making Flop

It seems most movies tanked this summer. But why do movies about the film business do especially badly at the box office? I don’t mean films that use Hollywood as a backdrop, great films like ‘Singin’ in the Rain’ or ‘Sunset Boulevard’.

I mean movies that present the film business as interesting in and of itself. You know, shows like ‘An Alan Smithee Film’, ‘Map to the Stars’, ‘The Player’ ‘Won Ton Ton…’ and others. Did you see any of them? Exactly my point. These films didn’t sell enough pop corn to pay the ushers.

Why audiences don’t ‘get’ Hollywood-centric stories is a question I’ve never heard answered. I think it has to do with Hollywood’s self-promotion as a land of limitless glamour and glimmering success. There must be conflict to successfully engage the audience. How can the audience identify with anyone from that fanciful place untouched by darkness?

Comedies about the film business fail because they are filled with self-aware ‘in’ jokes, funny to those in the movie and few others. Alternately, the character’s problems may seem contrived. Can I truly sympathize with Red when she actively solicits the attentions of the Big Bad Wolf?

A case in point is a TV series I recently endured. The premise of it is absurd and I don’t recommend it. A secondary character, a writer is complaining about his sorry lot as the lead writer of a hit show. He is so put upon by his producer boss, that he has to work during ‘hiatus week’ while everyone else is vacationing or sitting by the pool. Any working schmo can identify with that. Who wants to work while everyone else is out playing? Not me.

But when you consider how much this ‘poor’ guy gets paid to put words on paper (six figures easily, plus golden time, residuals, etc.), our sympathy starts to fade. Perhaps his kids will respect him when they learn their Harvard tuition is completely funded. Meanwhile, he kvetches about his horrible job while riding around in a bit-coin powered limo and attending exclusive parties to schmooze flavor-of-the-week glitterati. Poor guy.

Understand that writing in Hollywood is a difficult and often thankless job. Writers often don’t get the appreciation they deserve. That is not my point. But Joe Blough, working two jobs just to keep up, and mowing his own lawn has a hard time feeling this character’s pain.

I never met a Hollywood writer who complained about his job. Whatever his private life, Hollywood people know they are blessed by whatever gods they grovel to. They would never be tempted to bite that beast’s gracious hand.

But that is only part of the problem. You have actors whose job is to give a gloss of authenticity to what is an inherently artificial process. It is hard enough to succeed at playing a cop, a housewife, or a lawyer. But an actor portraying an ‘authentic actor’ is beyond the best skills of most talented thespians. How exactly does an actor act, in the wild, when he’s not acting? What are they ‘really’ like? Just like you and me? Really?

Also, creating sympathetic portrayals of producers, directors and others in the business can be a task fraught with many pitfalls. Some of us ‘civilians’ may have to deal with out-sized egos and immense pressures in our hum-drum lives, but in Hollywood? Recent headlines only hint at what some of these powerful people are about.

But there is something un-real about how Hollywood elite deal with even mundane tasks. I heard Frank Sinatra had toilet paper in his house bearing his own image. Is your guest bathroom stocked with toilet paper with your smiling face printed on each two-ply sheet?

Asking an actor (read: someone truly fake and insincere) to honestly portray someone who is fake and insincere, creates a feedback loop of artifice. When it fails, it just looks like bad acting. But it is an honest attempt (by an inherently dishonest person) to portray as genuine, someone they know is dishonest. And that last bit is the problem. They try to make them genuine.

Some actors just play themselves and really only play one role, regardless how many shows they are in. Others never play themselves and completely transform once that camera starts rolling. When is either genuine though?

Not to say ‘genuine’ is impossible to do. In the recent mini-series ‘Feud,’ the story of the legendary competition between Bette Davis and Joan Crawford (played wonderfully by Susan Sarandon and Jessica Lang) all the elements combine to form a veritable work of genius. Centered on their one movie together, ‘Whatever Happened to Baby Jane?’ the series does everything right that most movies about movies fail miserably at. The characters are well known and bigger than life. The supporting roles are deliciously consistent with our expectations of who these people were. The writing is superb.

We see the characters on and off camera and they behave just as we expect they behaved, cat claws and all. Despite their bigger than life personas, the actors and writers succeeded in bringing out these character’s genuine humanity and the poignancy of their loneliness while embracing their prodigious flaws. They bring out their third dimension.

And the filmmakers never try to convince us these stars were normal or ‘just like us’. Hell, no! We don’t need to believe the ‘rich Hollywood actors, being paid millions of dollars to portray people just like you and me’ actually are just like you and me.

They succeed by highlighting our lives and allowing us to see things more clearly through their depiction on the big screen.

But they are not like us. And that is alright. I don’t want their flaws. I have my own. Watching them is entertaining. Watching me, not so much. (That is why they are known as ‘stars’!) If they were like me, I certainly wouldn’t be buying tickets to watch them.

Click  to see the Storyography Video Memoir website:  http://www.lifestoryography.com/

When is an Interview not an Interview?

Being a writer for a local newspaper, I am often assigned interviews promoting a current play or an event of local interest. Phone interviews are typical. Circumstances occasionally require that we meet in person. This is not usually a problem.

I was assigned to interview a man who works in Public Relations. He had several items he was promoting. And being a personable fellow (did I mention he works in Public Relations) he preferred to speak face to face. We set a time to meet at a coffee shop easily accessible to both of us.

I followed his directions and arrived at the wrong place a few minutes early. My actual destination was about two blocks away. I got there on time, parked and went in.

I entered the nearly empty restaurant and looked around.  A man at the counter caught my eye and nodded to me. He stood and got off his cell phone. I introduced myself while shaking his hand.  He suggested we adjourn to a table at the rear of the restaurant where we could talk undisturbed by other customers. A waiter took our orders for a light lunch.

It was going to be a lengthy and detailed interview and I wanted to make sure I got all my facts straight. I wanted to get some good quotes that always liven up the text. I put my legal pad on the table and prepared to write. Curiously, he asked why I had brought a pad.

I reminded him of our scheduled interview and that I wanted to maintain absolute accuracy. It was odd he didn’t remember which paper I worked for.

Respecting his valuable time, I bypassed the small talk and got straight to the interview. I asked how he got his start and he settled into a rambling account of his youth. He went into some detail about how his father belonged to the culinary union. “That’s very interesting,” I observed, “but how, from there did you get into Public Relations?”

He scoffed. “I don’t do public relations.”

What? “I’m sorry, but I think there may have been a mix up.  I’m supposed to be interviewing a PR guy. Are you ___________?”

“No, I own this restaurant. My name is Biff.”

I called my contact. He apologized and said he was about ten minutes away. He tried to call but was in the canyon and had no reception. I assured him I would wait. There was nothing else to do but finish my lunch and continue my conversation with Biff. He told me how he was the namesake for a character in a Micheal J. Fox movie from the ‘80s.

We were about finished when Biff signaled to someone. I turned to see my guy had just entered and was walking our way. I offered my hand to shake, but he walked by me to shake hands with Biff. They began talking like old friends.

What was happening? Wasn’t this my interview subject? Did these guys know each other? Then Biff said something and the new guy turned toward me. We shook hands. He explained that since Biff signaled to him, he thought Biff was me.

We adjourned to another table and started the interview. But, apparently feeling like we were all old friends now, Biff kept interjecting his observations on whatever he thought we were discussing. I finally thanked Biff for his charming conversation and let him know it was not an open forum.

To no one’s surprise, all the delays and confusion kept us from getting to the meat of the interview. We rescheduled the interview for another day.

By phone.

P L. A. Y Noir – One Acts -as Dark as it Gets

The Noir genre is often underestimated. Just populate the stage with sneering men and half clad, cynical ‘dames,’ add a dollop of decadence, sprinkle in a pinch of pistols, and voila! – an easy-bake concoction called Noir. If only it were that simple. It may look like Noir, but if wit is absent, taste will be missed.

One neglected, but essential ingredient to success, is the world-weary character who takes a moral stand and clings to his or her ideals in counter-point to the overwhelming darkness the world gleefully spews forth.  The audience expects an emotional connection. They hope to take solace in knowing they are not alone in attempting to navigate these murky times.

So, of course, our hero must try to fathom the shadowy labyrinth of human behavior. Those above mentioned ‘dames’ bear many secrets and are loath to reveal them cheaply.  Characters string the hero along by teasing the hinted at but hidden. Anything too easy or glaringly obvious is suspect in this world. Too much is at stake.

This year’s “P L. A. Y Noir” collection of one act plays at The Actor’s Workout Studio, pretends to be noir but too often trades broad humor for the tease. These plays have a sexual component, but expect a face full rather than the innuendo usually associated with the genre. How many times can a single word be milked for a sophomoric punch line?  Don’t ask.

One acts ‘get no respect,’ because they so often sink into sketchy material. The one act’s brevity actually raises the bar for excellence. Full length plays may survive a weak scene, but a one act is especially vulnerable to flaccid writing. These plays are the antithesis of what noir and one acts aspire to be.

I haven’t known that many killers, but I doubt they ever spend twenty minutes chatting to their prey about their dark existentialism. Do assassins have a poetic license?

“P L. A. Y Noir” runs the gamut from high concept to double-entendre laden shtick. Yuk, yuk.

Actors James Elden, Laura Boccaletti, Nicole Suzanne, Andrew J. Hillis, Jason Galindo, Gordon Meacham, Guy Noland, John Conroy, Angela Bray, Roy Oraschin, Jason Galindo, Tania L. Pearson-Loeser, Jim Shipley, Rachel Borbas, and Roxanne Jaeckel gamely bring energy to this potpourri of dead flowers. Many actors play multiple roles in this two-hour showcase of untested work.

Note: strong sexual content throughout.

P L. A. Y Noir is staged Fridays and Saturday evenings at 8 p.m. and Sundays at 2 p.m. through October 2nd, 2016, at The Actor’s Workout Studio 4735 Lankershim Boulevard, North Hollywood, CA 91602.

Ticket information: www.playnoir.com.

Note: This review has not been published previously.

Amanda Markowitz film ‘Love Meet Hope’ conquers all

By John K. Adams

“Overall, I most want to inspire other artists to try, keep trying, take chances and not be afraid to make mistakes.”

Strong sentiments from Amanda Markowitz, star, co-creator and producer of Love Meet Hope, winner of Best Dramatic Film at this year’s Hollywood Reel Independent Film Festival.

Love Meet Hope is summarized: “A grandfather’s love stories enlighten a jaded man and a moonstruck girl about the realities of love.” Ed Asner, departing from familiar curmudgeonly roles, plays the sweet grandfather, grieving his wife. How great for a film to depict one man’s love stories that resonate to inspire other’s stories.

Markowitz, who co-created the film with Bradley Fowler, shares, “Love Meet Hope inspires and instills hope within each viewer. It is a beautifully unique project with elements of romance, action, drama and comedy all wrapped up to create a compelling work of art.”

Markowitz graduated magna cum laude from USC’s Marshall School of Business, but it was growing up in her parents’ deli, Factor’s Famous Deli in Los Angeles, where she learned “the importance of everyone involved, from the owner to the busboy,” to achieving success.

That ethic of teamwork translated well to the rigors of producing a movie. Amanda says the crew on Love Meet Hope actually had fun while creating this award-winning feature film. Quite a claim, considering movie productions often resemble a military operation.

Markowitz said the toughest things about doing the movie were “wearing multiple hats and learning to delegate. Adaptability becomes second nature. Having a strong team you can trust 100 percent is absolutely essential.”

Love Meet Hope director Bennie Woodell, describes Markowitz as “an asset and a joy to have involved in any production.”

Follow updates on the upcoming release of “Love Meet Hope” on these sites: LoveMeetHope.com, Facebook: Love Meet Hope, Twitter and Instagram: @lovemeethope. Follow Amanda Markowitz at AmandaMarkowitz.com, Facebook: Amanda Markowitz, Twitter and Instagram: @amandamarkowitz.

This interview originally appeared in the Tolucan Times on March 13, 2016.

Actress Lucy Walsh makes film debut in star-studded ‘Mother’s Day’

By John K. Adams

Mother’s Day is an all-star ensemble piece, directed by Garry Marshall. The motion picture follows the interwoven stories of several mothers and their respective children leading up to their annual holiday. It features an all-star cast with Jennifer Aniston, Julia Roberts, Kate Hudson and Lucy Walsh.

Walsh makes her film debut in Mother’s Day, but she is no stranger to performance, having toured internationally with her own music with Maroon 5, One Republic, Bruno Mars, Owl City and Ashlee Simpson. The daughter of rocker Joe Walsh, she has also shared the stage with many Nashville greats. She performs her song “Winter Coat” on the soundtrack of Mother’s Day.

“A gift I got from my dad is his great respect for the craft of performance. I would watch him spend days perfecting a six note riff, only to see him toss it off on stage like he just came up with it. It’s powerful to see the work it takes, that work ethic in practice,” she said.

Loving both music and acting, Walsh is now concentrating on the acting piece. Besides Mother’s Day, she also guest stars this season in Criminal Minds and NCIS.

Walsh describes her Mother’s Day role as “the voice of hope for my friend, played by Jason (Sudeikis). My character is sort of this optimistic person, always pushing forward.”

She identifies Gloria Gifford as the acting coach who kick started her career. “You wouldn’t go to the Olympics without a coach, would you? She’s my coach.”

And Walsh names Mother’s Day Director, Garry Marshall as her mentor. “He’s a legend. He saw me in A Comedy of Errors and brought me in. He comes from television, so he works really fast. You stay in the moment. He taught me so much.”

It rained constantly in Atlanta during the Mother’s Day shoot. This was a heady experience for Walsh, who grew up in arid Los Angeles. “I would stand on the balcony and let the wind and rain soak my hotel room while I was just yelling and hooting at the storm.”

Mother’s Day opens in theaters on April 29th. Lucy Walsh’s song “Winter Coat” is available on iTunes.

To learn more about Walsh visit her page on IMDB.com search:  Lucy Walsh.

This interview originally appeared in the Tolucan Times on April 7th, 2016.

Actor Wayne Péré takes off his mask

By John K. Adams

Wayne Péré is one of those actors you’ve seen in memorable character roles, in countless movies and television shows. You might not know his name but you surely know his face. “Oh! That guy. He’s great,” you might say when he appears in yet another of your favorite shows. Last year you saw him in the acclaimed The Big Short and Trumbo, among other releases.

You can now get to know him better. Péré currently appears in a trifecta of Civil War-era dramas. He plays sympathetic slave owner, Benjamin Murray, in the remake of the iconic Roots mini-series. He plays a recurring character (Rev. Wilowset) in Underground about the ante-bellum Underground Railroad for escaped slaves making their way to the north. And he also appears, opposite Matthew McConaughey, as Confederate Col. Robert Lowery in the feature, Free State of Jones.

Free State of Jones is based on the true event of a small group of southern farmers who seceded from the Confederacy and how their rebellion was crushed.

“People are uncomfortable shining a light on these dark times of history, but I think it’s imperative,” states Péré. “One of the challenges for an actor in this type of historical drama is to bring truth to a character, who may hold views diametrically opposed to views of your own,” Péré continues. “In the end you are still drawing from your own emotional well. How do you get there?”

At this point Péré quotes actress Meryl Streep: “Acting is not about being someone different. It’s finding the similarity in what’s apparently different, and finding myself in there.”

Péré also quotes actor Robert Duvall who paraphrases the great acting coach Sanford Meisner: ”When you create a character, it’s like making a chair. Except instead of making it out of wood, you make it out of yourself. That’s the actor’s craft, using yourself to create a character.”

Be sure to schedule time to watch Péré bring truth to the screen in Roots, Underground and Free State of Jones.

To learn more about Péré visit his page on IMDB.com search:  Wayne Péré.  

This interview originally appeared in the Tolucan Times on April 7th, 2016.

‘Gershwin Sings Gershwin’ and all that jazz March 22

Alexis Gershwin has a sweet speaking voice. Hearing her talk, one thinks, “Boy, I’ll bet she can sing.”

Niece of the iconic songwriting brothers George and Ira Gershwin, Alexis Gerswhin is determined to “bring back good music, help save what we have, and let young people realize what beautiful music can sound like.” She wants to share music that embodies “romance, sincerity and feelings…this music comes straight from my soul and my heart.”

Gershwin loves her uncles’ entire songbook, but her special favorite is “Someone to Watch Over Me” because “it speaks to that vulnerability we all have, but can’t always express.”

Always a performer, she studied ballet, acting and musical performance in school. “But singing comes naturally. It is like breathing for me,” she says.

Growing up within the Gershwin family allowed her to see her uncles as people. She would cajole her Uncle Ira to play tennis. “He played so well. He wasn’t competitive at all. It was more about keeping the volley alive. He got rhythm,” she explained.

Alexis Gershwin uses all her training and experience to bring a fresh interpretation to these timeless favorites.

“Gershwin Sings Gershwin,” will be presented one night only, Tuesday, March 22nd, 8:30pm (doors open at 7pm), at Catalina Bar & Grill located at 6725 W. Sunset Boulevard (just east of North Highland Avenue) in Hollywood. Alexis Gershwin will be backed by The Gershwin Singers and a Four-Piece Band. Admission is $20 plus dinner or a two-drink minimum per person. For reservations call (323) 466-2210 or visit CatalinaJazzClub.com. Valet parking is available. CDs of Alexis Gershwin will be available at the concert.

This press release originally appeared in the Tolucan Times on March 17th, 2016.

Distinctive Differences

Hans was the eccentric old guy at the photo lab, where I worked. He was a technician and good at his job. He came across as a kindly old gentleman with a German accent. He minded his business and didn’t bother anyone.

It seemed like everyone in Minnesota had an accent, German, Scandinavian or the weirdest mix of all, Minnesotan.

One day, while on break, he told me about growing up in Germany before WWII. Then he told me about joining the German army and fighting for the Third Reich in Yugoslavia. Then he told me about how their leader, Adolf Hitler, was misunderstood by the world. Poor old Adolf “did a lot of good things,” he said. With great power comes great forgiveness, as Spiderman says. No, wait.

Mel Brooks’ “The Producers” had been released a few years before. My impression of Hans blended with the hilarious, Nazi playwright from that movie, waxing ecstatic over “what a wonderful dancer” Hitler was. Hans wasn’t so demonstrative but he did insist ‘der Fuhrer’ was misunderstood.

A few years later, on my first day of film school in Tampa, Florida, all the buzz was about one instructor, Karl who was a former Luftwaffe pilot in WWII. All the Jewish students were anxious about taking his classes.

Not to worry, Karl, though as severe in countenance as his reputation would suggest, never betrayed any prejudice against any group or individual. He treated everyone with the same superior disdain in keeping with his perfectionist temperament. Considering the styles of some of the other instructors, Karl was consistent, predictable and a purveyor of solid technical information.

Karl also had a dry sense of humor. At least that is how we chose to see it. A fellow student, Bill, once drew Karl into sharing some personal history with us. He was pressed into the German military service as a young teenager and trained to fly a reconnaissance plane, which were unarmed. He spoke tersely of getting captured when a British squadron of fighter planes came out of the clouds and forced him to land.

Bill asked, “But since your plane could fly higher and faster than theirs, couldn’t you have escaped?” Karl gave Bill a look that would unnerve a hawk and delivered a perfect Teutonic response. “You never retreat.” For years we would quote him with our best approximation of his German accent.

Karl came to the United States when he was released from the POW camp. He never looked back.

Years later, in Los Angeles, I worked for his niece, Karola. When I interviewed with her for the job, hearing her last name, her accent, and seeing those familiar features, I knew she could be no one else’s kin. It was an unusual application of my ‘old school tie’.

In the ‘80s, I edited a ‘sword and sorcery’ flick in Buenos Aires, Argentina, a popular genre then. Before going there, all I knew about Argentina was their ‘open door,’ non-extradition policy that welcomed Nazis escaping prosecution after WWII. Mad Magazine always poked fun at their pompous, latter day fascism.

While visiting the set one day, the studio photographer approached me and introduced himself as Juan Schultz, in a curious, German/Spanish accent. In conspiratorial tones, he told me proudly about his being Hitler’s staff photographer. He claimed he documented Hitler meeting Mussolini, and shaking hands with the Pope. He challenged my disbelief with insistent defensiveness. Alas, photographic proof was lost in his hasty exit from Germany.

He escaped to Argentina and changed his name after the war, like many others, to avoid prosecution. He was well on in years, and it could have been true. A shame about that proof.

I’ll never understand why anyone would brag about that, even if true. It is hardly the stuff one puts on their resume. Or, at least I wouldn’t. But in Buenos Aires, it seemed to open many doors.

People cannot keep dark secrets from the light. The same qualities of character that lead us into dark actions, are those which cause us to proudly broadcast them.

My co-worker Hans was an Al Bundy type, nostalgic for the glory days of that game winning touchdown. How could condemning something so glorious be anything but the result of a misunderstanding?

Karl was not nostalgic. He was no ideologue. As anyone would, he pursued opportunities to forge a new life in his adopted country. But he didn’t trade on his past.

Juan was the oddest one. While successfully escaping responsibility for his participation in infamy, he also made his fortune from those associations. And within the right context, he burnished his reputation from his sordid past.

These three men are familiar types. Not specific to one time or place, they are found throughout humanity. We each find ourselves carried by the currents of history. How we choose to respond to those forces is what is telling.

 

 

2015 Faves and Raves

I cannot believe I have been blogging for over a year now, averaging about three posts per month.

My purpose in blogging is to share examples of storytelling or sharing from my own life, by way of example, for those who might be interested in writing a memoir, or for seeing how they might re-capture old memories to share with interested parties.

Below is a short list of some popular posts you may have missed, and some of my favorites which you might find worth revisiting.

My video memoir company, Storyography: https://lifestoryography.wordpress.com/2015/11/20/no-one-can-stop-time-but-hearing-those-stories-again-slows-it-just-a-little/ , is another way to share stories which captures individual performance as part of the storytelling experience and not merely the words shared.

The biggest hit, which surprised me some, was “Mandatory Moon Bathing in Minnesota”: https://lifestoryography.wordpress.com/2015/08/10/he-was-naked-as-a-blooming-orchid/

I’m not sure why that one grabbed so much attention over others. Maybe the title intrigued.

Another relative hit was “The Best Cab Driver in Buenos Aires”: https://lifestoryography.wordpress.com/2015/02/25/long-may-he-ride/  which describes some of my experiences while working in that charming city.

Some of my posts are more autobiographical than others. Other posts are more opinion oriented. My favorite of these which didn’t get the attention I thought it deserved was “Greenman Died for Your Niblets”: https://lifestoryography.wordpress.com/2015/04/13/to-our-surprise-cheers-and-salutations-greeted-our-approach-to-the-gate-green-man-was-a-star/

Some of my posts amounted to musings about the human condition as viewed through a prism of my own experience. One example of this, which didn’t attract the attention I had hoped was “Swings”: https://lifestoryography.wordpress.com/2014/12/04/swings/ ,

or “Taxi Driver Uber Alles”: https://lifestoryography.wordpress.com/2015/10/01/each-second-is-a-threshold-to-eternity/ which I thought deserved more attention.

The Territorial Imperative” was about my encounter with a very assertive spider: https://lifestoryography.wordpress.com/2015/08/22/i-cringed-at-the-memory-of-what-i-yelled-that-night-during-my-desperate-search-what-had-i-wrought/ .

That was a companion piece to the popular “The Company You Keep”: https://lifestoryography.wordpress.com/2015/08/18/to-say-this-house-was-infested-is-like-saying-forests-have-trees/ in which I recounted my futile war with cockroaches while in college.

I also published a few practical posts exploring the value of writing a memoir “The Irreplaceable Memoir”: https://lifestoryography.wordpress.com/2015/09/28/the-irreplaceable-memoir/

or a distillation of what I presented weekly in a workshop for job seekers on how best to find gainful employment. “The Best Solution to the Problem” was my summary of the workshop: https://lifestoryography.wordpress.com/2015/09/16/the-best-solution-to-the-problem/ .

Godzilla”: https://lifestoryography.wordpress.com/2015/10/29/there-is-a-piece-of-godzilla-in-all-of-us/

and “The Show Must Go On” : https://lifestoryography.wordpress.com/2015/11/19/the-show-must-go-on/ share memories of my career in motion pictures.

My favorites probably fell in my recounting episodes of my life that were fun to write and (I’m told), hilarious to read. “Bad Hair Day”: https://lifestoryography.wordpress.com/2015/07/01/i-looked-like-a-psychotic-texas-ranger/ ,

A Knuckle Sandwich and a Side of Steroids Please”: https://lifestoryography.wordpress.com/2015/06/25/a-knuckle-sandwich-and-a-side-of-steroids-please/ ,

Sunny Sleepy San Raphael”: https://lifestoryography.wordpress.com/2015/09/16/judging-by-her-word-count-the-woman-was-winning-but-we-had-to-acknowledge-he-made-some-very-impressive-points-with-his-rare-interjections/

and “What’s in a Name, Jack”: https://lifestoryography.wordpress.com/2015/05/12/whats-in-a-name-jack/ are my favorites in that genre.

Much attention has been paid of late, to concussions, due in part to the Will Smith movie of that name. My post “Isn’t this Fun?” https://lifestoryography.wordpress.com/2015/11/25/isnt-this-fun/ deals with my personal experience with a concussion.

At risk of naming all of my posts, I will stop with this brief list of personal highlights. But feel free to revisit some of these and others. They all have something to offer and offer some amusement or a diversion from the tedium of the day.

Please feel free to comment or add to the conversation. I appreciate your input. Thank you for reading.

And you are welcome to visit my Storyography website at: http://www.lifestoryography.com/

See you next year.