​With all the serious talk now about Climate Change following the hurricane devastation in the Gulf Coast and the disaster flooding in the northeast -- not to mention the crushing wildfires across the West, it would be really appropriate if all the news networks had AL GORE on – and not just on once, but as a regular guest. But even just once would be a step in the right direction.
 
I mean, seriously, folks, He only won a Nobel Prize for his work on Climate Change. And made a documentary, An Inconvenient Truth about Climate Change that won the Academy Award for Best Documentary.  And lectures on the subject.  And written books on it.  And, y'know, is also a former Vice President of the United States.
 
I admit to being biased about this.  But it’s the reason I’m biased that supports fully why I’m right.  But then, this is a no-brainer, anyway.
 
However, back in 2008, I was hired to be the writer on a proposed radio series that Al Gore would do about the environment.  It would be 90-second features each day on a national radio syndicate put together by Westwood One (the organization that, among other things, distributes NFL football.)
 
I interviewed with him in a hotel room and was told bluntly by an aide that this would be 15 minutes.  It ended up going so well, we spoke for 15 minutes.  I gave him several articles I’d written for the Huffington Post, but the most nerve-wracking part was when I handed over the material, I saw that the piece on top was an article on why Al Gore should be president.  That wasn’t the nerve-wracking part – it’s that when I so a piece like that, my style is to bring up the negatives first, knock them down and then make the case.  And among the “negatives” were that Al Gore had the reputation of being wooden and boring, that he supposedly claimed to invent the Internet, and that he was a loser (despite winning the popular vote) and that his talk about Climate Change meant he was crazy.  I’d meant to bury the article among the others, but there it was on top.  And when he took the pile, he couldn’t help see it – and so, as I thought was likely, he decided to read it right there, in front of me.  As I waited and sweated.  As he got to the end of the first page, where I wrote about Bill O’Reilly calling him crazy, I held my breath – and then saw him laugh and under his breath quote the passage, “the craziest speech I’ve heard in my life” and then laugh again. I thought there was a good chance then that I was safe.  And then, after reading the last paragraph where I wrapped the thesis up with why Al Gore would make a great president, he looked over and very quietly said, “Thank you.”
 
My favorite part of the experience was as we were preparing for the recording session to make the demos, I was sending him material of what I was working on.  And one day, the phone rang, and I heard, “Hi, Bob, this is Al Gore.”  I immediately replied in a sort of weary voice, “Do you know how many times a day someone says that to me??”  Fortunately, he burst into a laugh.  But what most impressed me was that he hadn’t had an assistant call and say, “Are you in for Al Gore?  Please hold.”  He just picked up the phone himself.  What I also remember was having to restrain myself from laughing during the call because of the ludicrous reality of talking with Al Gore about this project we were working on, while eating a bowl of cereal for lunch.
 
Our small group flew from Los Angeles down to Nashville to meet, go over the project and then record the demos.  We got together for lunch at the Gore home (which was delicious), but it’s the conversation in the backyard that was most memorable.  That’s because of two things, keeping in mind that it took place during the primary season before the Democratic Convention when Barack Obama and Hilary Clinton were running against one another:
 
One was when someone asked if he had any interest in helping broker the convention, which was being proposed by some at the time.  He had absolutely none, and had no interest in running again in case the party couldn’t decide on a candidate.  So, from that point on when I’d hear expert TV analysts wondering if Al Gore might be a dark horse candidate, it felt really good knowing more than them and shouting at the TV, “No!  He isn’t going to run!  I know.  He told me.”
 
The other was when an aide that there was an important call for him.  He apologized to the group, took the phone and walked off – when we heard, “Hi, Barack.”  They spoke for a long time – we even started lunch without him and could see him walking back-and-forth in his front yard.  Eventually, he rejoined us, and nothing was said for about a half-minute until finally someone said, “Soooooo???!!!!!”  He said it wasn’t a big deal, just some questions about campaigning, and he said that he made himself available to both sides, that he talked with Hilary as much as Barack.  But the best part came many months later.  That’s when one of the big papers broke a major scoop that the now-nominee Barack Obama had spoken with Al Gore before the convention.  It was very nice to have had that scoop first, months before, when it happened.

The recording session went well.  He’d previously told me a range of issues that interested him, I would then put together a list I’d researched, he approved the ones he liked, I’d research them further to fill in the details, we talked about them, then I wrote the scripts.  At the recording session, he went over the script, making the changes he felt it needed and rephrasing the material to fit him.  He recorded six of the scripts, though rejected one – not because he didn’t like it but he said he didn’t know that area well enough yet, and didn’t want to put his name to something he wasn’t fully informed on.  I was sitting in the back, next to his communications director, a very nice lady named Kaylee Kreider – she could see I was still disappointed at having the script dropped, so she leaned over to him.  “Don’t feel bad,” she said.  “The last person we tried, he rejected al the scripts.  He’s approved six of yours.”
 
There was only one bad memory from the trip.  At the time we were in Nashville, there was a big country music convention or event of some sort.  (I’d taken an afternoon off to walk around the city and went to Ryman Auditorium, the original home of the Grand Ol’ Opry.)  That night, our group went to a big bar where it turned out Trisha Yearwood was brought in to perform.  After a while, the others decided to leave and go somewhere else for dinner – though I wanted to stay.  My point was that I wondered if it was possible that her new husband Garth Brooks might join Yearwood later.  But I was overruled on such a thin theory, and we left.  The next morning, I found out that, yes, Garth Brooks did show up later.  I still sigh about it periodically…
 
In the end, it was a great experience, but came to nothing.  They actually got 200 radio stations to sign up and raised what struck me as a lot of money.  But at that point, most anything would strike me as a lot of money.  And as much as it was, it wasn’t enough for what Westwood One and Al Gore needed for the time and expenses it would take to pull off such a project in an ongoing basis.  So…This Nearly Was Mine, as the song goes.  But it was a wonderful project to do. even if didn’t come to fruition.  And Al Gore was a good enough guy – behind the scenes, away from cameras – and warm and funny, to make me admire him even more than I had when I wrote the article on why he should be president.
 
Though the radio series never made it on the air, I do have the 5-minute promotional track that was put together, which includes three of the scripts I wrote that Al recorded.  I didn’t write the promo, but my material starts around the one-minute mark.
 
Which bring us back to the original point – that every television network should have Al Gore on as a Nobel Prize-winning expert guest on Climate Change.  That his film won an Oscar and he’s a former Vice-President of the United States – who ran for president and actually got the most votes, but it took a strange “one-time only” Supreme Court decision that offered no precedent to keep him from taking office – is just a bonus.

Every year around this time, there are articles about which recorded version of A Christmas Carol is "the best."  Usually it comes down to the films that starred either Alistair Sim or Reginald Owen.

But for me, it's this one.  It's not a movie, though, or a TV production.  It's, of all things, an audio version that was done in 1960 for, I believe, the BBC.  It's quite wonderful and as good an adaptation of the story as I've come across.  It stars Sir Ralph Richardson as Scrooge, and Oscar-winner Paul Scofield as Dickens, the narrator.  Casts don't get much better than that.

I first heard this on radio station WFMT in Chicago which has been playing this every Christmas Eve for many decades.  Eventually, I found it on audio tape.  I've listened to it annually since I was a kidling.  Some years I think I won't listen to it this year, but put it on for a few minutes for tradition's sake -- but after the first sentence it sucks me in.

There are four reasons why, for me, this is far and away the best version. But one reason leaps out.

First, the acting is as good as it gets.  Scofield is crisp and emphatic as the narrator, and almost every creak of his voice draws you in to the world, and Richardson as Scrooge is a Christmas pudding joy.  Second, being radio, you aren't limited by budgets to create the Dickensian world.  Your imagination fills in every lush and poverty-stricken, nook and cranny -- and ghostly spirit, aided by moody sound effects and violins.  Third, the adaptation sticks  closely to the Dickens tale, and Scrooge comes across more a realistic, rounded-person than as a Mythic Icon.  

And fourth, and most of all by far, unlike any of the other version, this includes...Dickens.  While the story of A Christmas Carol is beloved, it's Dickens' writing that makes it even more vibrant than the story alone is.  And that's all lost in the movie versions, even down even to the legendary opening line, "Marley was dead, to begin with."  Or any of the other classic narrative lines.  (Like my favorite, when Scrooge first comes in contact with a ghost and was "as close to it as I am now to you, and I am standing in the spirit at your elbow.") Or the richness of Dickens setting the mood and tone and description of the gritty and ephemeral and emotional world.  All that's gone in movies, good as the productions may be.  But all of that is here in this radio adaptation, and Scofield's reading of it is joyously wonderful and memorable.  For many, this will be A Christmas Carol unlike any other you're aware of, giving it a meaning and richness you didn't realize was there.  The ending of the tale is so much more moving and joyful here, as we listen to Dickens' own words, that begin with "Scrooge was better than his word.  He did it all, and infinitely more," and it soars from there, to perhaps my favorite extended passage about the new Scrooge and how good he is in the "good old world. Or any other good old world."

If you have the time or inclination, do give it a listen.  If only for five minutes to at least get the flavor.  You might find yourself sticking around.  Let it play in the background, if you have other things to do.  It runs about 55 minutes.

(Side note:  speaking of Dickens, if you know the original cast album of Oliver!, the actor here who plays the Ghost of Christmas Present, Willoughby Goddard, was Mr. Bumble on Broadway and also in the original London production.)

Normally I would post this later in the evening -- but given the various time zones across the country, I thought that I'd get it embedded earlier to give as many listeners as possible the chance to hear it on Christmas Eve.

This might not play immediately, since it's a large file and may have to buffer first.  But be patient, it's worth it.​

We'll end our Fest with a longer, special treat.

This comes with thanks to Eric Boardman who brought it to my attention.  Eric and I share a love for Jack Benny.  He particularly loves the radio show -- and while I do, as well, I also enjoy watching the later TV version which airs two episodes ever Saturday night on the Antenna TV cable channel.

This is the "Jack Benny Thanksgiving Program" episode  from his radio show on November 30, 1952.

As Eric wrote, "Yes, I know Thanksgiving is long over, but this particular program will bring joy to any season. Today's sitcom staffers should study the construction. And everybody else should howl with laughter---and marvel at the gags radio encourages. Benny's writers are constantly surprising us with "visual" images. And Mr. Benny generously shares the jokes with his crackerjack cast. (Thanks always to the Sportsman Quartet for making cigarette commercials satisfying.) "The Lucky Strike Program with Jack Benny" is high art, maybe the highest of the genre."
 
Happy Thanksgiving.
​

Almost 12 years to the day (August 2, 2008) I wrote an article for the Huffington Post about the history behind Cubs fans singing Steve Goodman's song, "Go Cubs, Go" after every home game that they win.  (I re-posted the piece here on this site a few years ago.)  It's definitely not even close the prime Steve Goodman, and in fact was just written as a jingle of sort for WGN radio to lead into Cubs broadcasts.  But it's lived on to carry Steve Goodman's fame to a a generation that didn't know his work but then went back to discover it, having won Grammys for his biggest hit, "The City of New Orleans," and more, like the country hit, "You Never Call Me By My Name," which he co-wrote with his close friend John Prine, though Prine didn't want any credit for it.

A few weeks back, I got a Direct Message on Twitter from Jesse Dukes, a radio producer for the well-regarded WBEZ in Chicago, one of the first charter stations for National Public Radio.  He was working on a sort of documentary story about the history of "Go Cubs, Go," and had come across my article.  We set up a time for a phone interview, and later spoke for about 15 minutes or so.

None of the interview got included in the finished product, but that's fine because he also spoke to people who knew a lot more of the story than I did, notably author Clay Eals, who wrote the definitive 778-page biography on Steve Goodman (that I wrote about here after he contacted me about my original article) and the producer at WGN radio who actually came up with the idea for Goodman to write the song for the baseball broadcasts, .  And the finished show has now aired.  It was made for WBEZ's podcast, Curious City, and is called "The Man and the Music Behind the Baseball Ballad  'Go Cubs, Go.'"

(Very thoughtfully, Jesse Dukes does give me a totally unnecessary, but appreciated acknowledgement at the end of the broadcast.)
​
I thought that Dukes did a very nice job with his entertaining and substantive report -- which runs for an enjoyable 20 minutes..  And as far as I can tell from what I know, he got the story pretty close to right.  (I think WGN ended up using the song before the game, not just as a bumper between innings, as the piece says.)  I do feel that it starts a bit unfocused and rambling as he talks with the Curious City host, who seems not to know much on the subject.  (That's not a criticism of her, just a description.)  But a few minutes in, the story kicks in, and it's flies by from then on.  The conversation between the two ends up adding a personal quality to it all.

Here are a few additional, albeit lengthy thoughts about the broadcast before we get to the show itself:

When Clay Eals mentions Steve Goodman in high school, what got cut from the report is that one of his Class of 1965 classmates was...Hillary Clinton!  She's said that they weren't friends but she definitely knew who he was.

One thing I don't agree with Clay Eals about is his theory on why Steven Goodman didn't break out like John Prine.  It's not because he was too nice.  He was nice -- as the legendary story Eals tells shows -- but a tough guy, very determined, very driven especially knowing the leukemia life-sentence he was facing. He didn't have time to screw around and just "be nice."  (All of which does comes across very clearly in Eals' book.)  From what I know working in the entertainment industry, executives like things that are simple, easy to grasp so you can identify who someone is in one quick look.  They like stories that can be described in "Give it to me in one sentence."  They like someone who is a country singer -- or a folk singer -- or a rock musician.  But Steve Goodman was none of those, he was spread all over the place: he has songs that are folk, country, comedy, standard ballads, jazz and rock.  I just think record producers and radio stations didn't have any idea what to do with him and how to market him.

I thought it was very touching that host/producer Dukes got emotional at the end -- because it is an emotional story.  But the reason why I think the story of "Go Cubs, Go" is a "happy" ending story to Steve Goodman's life, different from what was discussed.  Most entertainers, and perhaps especially singers, get forgotten once their time on the charts, writing and performing passes.  And by all rights, as great as Steve Goodman was, he was really on the verge of being forgotten by the general public (though not remotely his fans).  But "Go Cubs, Go," not only kept him remembered, but I think also ended up bringing up new fans who wanted to look up who this guy was.  And that's a joyous ending.

Again, it's a very nice piece and well-worth listening to.  The song has a wonderful story behind it, not to mention a wonderful singer-songwriter, and it's told me.  Unfortunately, I can't embed it here, but you can get to it by clicking this link.

And for those who don't know the song, especially how it's sung with home fans at Wrigley Field after a win, here it is after Game 5 of the World Series in 2016 which the Cubs won, sending the Series back to Cleveland -- where the Cubs won the final two games to win their first World Series in 108 years.  Which is why the 41,000+ plus fans singing along with the recording of Steve Goodman are so delirious.

Every year around this time, there are articles about which recorded version of A Christmas Carol is "the best."  Usually it comes down to the films that starred either Alistair Sim or Reginald Owen.

But for me, as I explain every year (and did lthe last couple of years here), it's this one.  It's not a movie, though, or a TV production.  It's, of all things, an audio version that was done in 1960 for, I believe, the BBC.  It's quite wonderful and as good an adaptation of the story as I've come across.  It stars Sir Ralph Richardson as Scrooge, and Paul Scofield as Dickens, the narrator.  Casts don't get much better than that.

I first heard this on radio station WFMT in Chicago which has been playing this every Christmas Eve for many decades.  (And only couple few years ago finally moved on.)  Eventually, I found it on audio tape.  I've listened to it annually since I was a kidling.  Some years I think I won't listen to it this year, but put it on for a few minutes for tradition's sake -- but after the first sentence it sucks me in.

There are four reasons why, for me, this is far and away the best version. But one reason leaps out.

First, the acting is as good as it gets.  Scofield is crisp and emphatic as the narrator,and almost every creak of his voice draws you in to the world, and Richardson as Scrooge is a Christmas pudding joy.  Second, being radio, you aren't limited by budgets to create the Dickensian world.  Your imagination fills in every lush and poverty-stricken, nook and cranny -- and ghostly spirit, aided by moody sound effects and violins.  Third, the adaptation sticks  closely to the Dickens tale, and Scrooge comes across more a realistic, rounded-person than as a Mythic Icon.  

And fourth, and most of all by far, unlike any of the other version, this includes...Dickens.  While the story of A Christmas Carol is beloved, it's Dickens' writing that makes it even more vibrant than the story alone is.  And that's all lost in the movie versions, even down even to the legendary opening line, "Marley was dead, to begin with."  Or any of the other classic narrative lines.  Or the richness of Dickens setting the mood and tone and description of the gritty and ephemeral and emotional world.  All that's gone in movies, good as the productions may be.  But all of that is here in this radio adaptation, and Scofield's reading of it is joyously wonderful and memorable.  For many, this will be A Christmas Carol unlike any other you're aware of, giving it a meaning and richness you didn't realize was there.  The ending of the tale is so much more moving and joyful here, as we listen to Dickens' own words, that begin with "Scrooge was better than his word.  He did it all, and infinitely more," and it soars from there, to perhaps my favorite passage about the new Scrooge and how good he is in the "good old world. Or any other good old world."

If you have the time or inclination, do give it a listen.  Ideally tonight around the fireplace while roasting chestnuts and drinking a Smoking Bishop.  (Listen to the recording, it's from Dickens...)  Even if only for five minutes to at least get the flavor.  You might find yourself sticking around.  Or just let it play in the background during the day, if you have other things to do.  It runs about 55 minutes.

(Side note:  speaking of Dickens, if you know the original cast album of Oliver!, the actor here who plays the Ghost of Christmas Present, Willoughby Goddard, was Mr. Bumble on Broadway and in the original London production.)

This might not play immediately, since it's a large file and may have to buffer first.  But be patient, it's worth it.
​

​I got a note yesterday from my friend Eric Boardman who sent me the unfortunate news that Dick Orkin passed away the other day, at the age of 84. 

Many of you may know of Dick Orkin without knowing it, but he was wildly popular in Chicago for decades.  It began in the late-60s/early-70s when he created (and did most of the voices for) the often-hilarious parody Chickenman for WCFL radio.  The radio series, with 3-4 minute episodes, later branched out on its own and was syndicated on 326 radio stations in six countries.  It told the misadventures of an oddball shoe salesman named Benton Harbor who lived with his mother, but freelanced when it was convenient as the Wonderful White-Winged Warrior to help Midland City, but usually screwed things up.

Later, Orkin and his partner Bert Berdis created wildly successful and wonderfully radio ads that were heard through the country, but Chicago was their centerpiece.  They were so fun (sort of in the Stan Freberg mode, but with their own unique twists) that my folks -- especially my mother -- who were generally annoyed at having to listen to ads would actually hope to hear one of their commercials, notable for Orkin's recognizable voice, when listening to the WBBM All News station, and would often tell me about the latest one.  My mother's favorites were for the First American Bank, but she loved them all.  (Eventually Orkin and Berdis went their separate ways, but Orkin had his own ad agency that continues to work today.  His daughter Lisa is carrying the company on, and Orkin was still working having recorded a new one only a couple weeks ago.)  Side note:  Eric Boardman worked with Orkin and Berdis for several years.

​
Here's a nice obituary on Dick Orkin in the Chicago Tribune.

In case you've never heard the show, here's an episode of Chickenman.  No explanation is necessary, it should all be pretty clear.  The only thing to note is that the Commissioner's secretary was this world-weary the whole time.  She was voiced by Jane Roberts (later Runyon), and the show's narrator was her subsequent husband, Jim Runyon, both who worked at WCFL. 

(Trivia note: their daughter Jennifer has had a fairly successful career as an actress, mainly on television, such as the soap opera Another World for a few years, but also some film work, including a small role in Ghostbusters.  In fact, has a film credit as recently as last year.)

​And though I couldn't find a radio spot for First American Bank (yet -- I'll keep looking), this is a typical Orkin-Berdis radio ad for K-Mart.  Orkin plays the manager.

You may recall two weeks ago when I had my "Taking the Class Out of Classical" rant here about the generally very-good KUSC classical music station, and how they are dumbing down aspects of their broadcasting.

I also went off onto a side-tangent, bringing up their similarly-annoying "Off to School" Requests in the morning -- and how after six weeks it became clear that these had virtually nothing to do with kids making classical request.  Or kids.  Or even classical (but rather movie themes).  Yet they've continued this way, as "Off to School" Requests for the past year.  And I noted how twisted the station's effort have become to justify calling these "Off to School" Requests, rather than just simply Morning Requests.

I explained what their convoluted introduction now was when time for their "Off to School" requests -- but I did it from memory, and knew that I didn't do it justice, only mentioning a small portion of how bizarre the introduction had become.  Besides which, I suspected most people probably thought I was joking that it not only was this stupid, but actually even worse.  So, to be fair, I carefully listened to the introduction and took notes and marked it all down.  I've corrected and updated the original post, and this is now how it reads --