Wednesday, June 6, 2007

Jericho Saved


Here's the good news from CBS: Jericho has been saved! (For Now...)

To the Fans of Jericho:

Wow!

Over the past few weeks you have put forth an impressive and probably unprecedented display of passion in support of a prime time television series. You got our attention; your emails and collective voice have been heard.

As a result, CBS has ordered seven episodes of “Jericho” for mid-season next year. In success, there is the potential for more. But, for there to be more “Jericho,” we will need more viewers.

A loyal and passionate community has clearly formed around the show. But that community needs to grow. It needs to grow on the CBS Television Network, as well as on the many digital platforms where we make the show available.

We will count on you to rally around the show, to recruit new viewers with the same grass-roots energy, intensity and volume you have displayed in recent weeks.

At this time, I cannot tell you the specific date or time period that “Jericho” will return to our schedule. However, in the interim, we are working on several initiatives to help introduce the show to new audiences. This includes re-broadcasting “Jericho” on CBS this summer, streaming episodes and clips from these episodes across the CBS Audience Network (online), releasing the first season DVD on September 25 and continuing the story of Jericho in the digital world until the new episodes return. We will let you know specifics when we have them so you can pass them on.

On behalf of everyone at CBS, thank you for expressing your support of “Jericho” in such an extraordinary manner. Your protest was creative, sustained and very thoughtful and respectful in tone. You made a difference.

Sincerely,

Nina Tassler
President, CBS Entertainment

P.S. Please stop sending us nuts :)

Learn More

  • New York Times, CBS, bowing to protests, brings back 'Jericho'

    Previous Posts on Jericho

    May 3, 2007: Jericho, Kansas

    May 19, 2007: Save Jericho
  • Here It Is!

    (Photo By Andrew Wood)

    This well-worn billboard marks the Jack Rabbit Trading Post near Joseph City, Arizona. To me, this image illustrates one of the strange attractions of Route 66, its ability to create a sense of place based upon signs, and the communal desire to believe that this place has meaning among all others. If you’ve ever been to the Jack Rabbit Trading Post, you may remember a pleasant tourist trap selling all sorts of trinkets and doodads related to the highway, along with dozens of shirts, postcards, playing card decks, pennants, and other souvenirs depicting that silly rabbit. I have a photo of my daughter Vienna atop a fiberglass jackrabbit that we took when first visiting Arizona in 1996. If you could pull the frame back from that cute kid sitting on an oversized animal, you’d see a desolate panorama offering no other reason to pull over except for a sign announcing, “here it is.” We just had to stop.

    (1996 Photo by Jenny Wood)

    Route 66 is truly a ribbon of signs pointing to ordinary places and people. There’s Cyrus Avery who helped promote the Chicago-L.A. road. He was no prophet; Cy just wanted to bring more business into the Ozarks region. There’s Lester Dill who opened Meramec Caverns to highway cave tourists. He was no icon; Les just wanted to sell tickets. There’s Andy Payne, a Native American who endured the punishing “Bunion Derby” footrace across all eight states. He was no hero; Andy just didn’t quit. Then there are some of the Route 66 notables I’ve been fortunate enough to meet: Lillian Redmond who operated Tucumcari's Blue Swallow Motel as a haven for countless road-weary souls, Tom Teague whose stories about the Mother Road inspired so many people to see it for themselves, and Bob Waldmire whose detailed drawings of the highway's places and people shaped much of its meaning. These are special people, but still just regular folks.

    It is the humility and honesty and basic humanity of Route 66 that keeps this highway in my fondest recollections. Its bowling alleys, motels, diners, and juke joints, its lonely stretches and crowded cities, reveal nothing more than themselves. There’s no secret to loving this road other than the joy of being exactly where you are. That, I think, is the pleasure of seeing a dopey black jackrabbit in the middle of an empty stretch of hot asphalt in Joseph City, Arizona.

    You’ve driven almost the entire stretch of this highway -- "more than two thousand miles all the way” -- as described by Bobby Troup and popularized by Nat King Cole. You’ve met strange and ordinary and fascinating people, even as you’ve grown closer to your fellow travelers. You’ve sampled fried chicken and apple pie and authentic Tex-Mex cuisine. You’re about a day or so from dipping your toes in the Pacific Ocean, but you will stop here and take a picture of the rabbit. That’s the mission of this place, to sell you trinkets and provide a backdrop for your photos. You know its unglamorous purpose, but you don’t mind. You will act like a tourist, and you don’t care. The sign makes it OK.

    Tuesday, June 5, 2007

    Summer Roadtrips

    (2000 Photo by Jenny Wood)

    I carry a vacation with me wherever I go, a portable vision of summer roadtrips past and future. Sure, I keep a framed print of Andreas Feininger's famous Route 66 photograph in my office, but that totem doesn’t work on a long bus ride or in a boring meeting. It is my mental collection of scenes, stories, and souvenirs that carries me through the occasionally frustrating pit stops of daily life. How does it work, this portable vacation?

    It’s simply a matter of projection, an intentional immersion in the recalled senses of the road: the crackle of a distant thunderstorm that rolls over the prairie, the pleasant conversation with a waitress wearing a beehive and serving a bulging slice of cherry pie, the buzz of a neon motel sign that glows under a twilight sky. With enough will and practice, I can transport myself to those memories and stay awhile. Storytelling helps.

    On the road, my family and I tell lots of stories. My favorite kind is to imagine the lives of people we pass, living days, months, and even years of their lives in my own narrative. Sometimes when Jenny and Vienna allow it, I’ll pick out a house and tell how its occupant got there. Given my love of Sherwood Anderson and John Steinbeck, these are invariably sad stories, gothic in their wretched pathos. These are the kinds of stories that Bruce Springsteen meant when he asked, “Is a dream a lie if it don’t come true, or is it something worse?” -- narratives of hope and optimism worn down by the rough patches that no one anticipates when setting out on the road. My stories end up with a bittersweet hope that things will get better for my characters, tomorrow. But then again my stories begin that way too. It’s a motorized form of flaneur gaze, complete with plenty of warrant for critique. But I imagine that some folks have concocted their own stories about me too, so I feel OK about my choice of narrative inspiration.

    When we’re between roadtrips, those unromantic stretches that most people call “real life,” I love to remember great and infamous drives. My family and I have an almost decade-old practice of telling the story of our cross-country drive from Ohio to California in 1998, the year I took my teaching position at San Jose State University. We had driven longer distances even then, and since that year we’ve done up to 10,000 miles over a three week tour. But that trip in 1998 remains a gathering point for so many moments that define the Wood Family: our good fortune with friends, our squabbles and our laughter, and our relentless persistence despite long odds.

    It takes about an hour to tell the story properly, and I won’t try to recount it here. I’ll simply say that the story includes a horrifying crash into a Cheyenne motel overhang, a sublime evening in Winnemucca, and a last minute discovery that neither Jenny nor I had a valid driver’s license, requiring a tri-state high-speed odyssey before we could even start our journey. Jenny groans when I start the story but eventually we all add our unique transitions and narrative nuggets, reminding ourselves of how far we’ve come.

    Jenny and I also use one particular drive from the southern tip of New Jersey to New Hampshire in a single nightmarish day as a reminder of the struggles we’ve faced and overcome. We were researching our book on motels, taking four day 2,000-mile tours through clusters of states every month or so, and it was time to hit New England. We enjoyed our journey snapping photos and interviewing folks until we realized just how poorly I’d planned the final leg of our trip. Traffic, rain, and poor navigational choices strained our conviviality until the two of us found ourselves screaming at each other for nearly an hour. The prospect of divorce -- heck, the potential that one of us would end up walking home -- led us to a breaking point.

    At last we had to laugh at how genuinely awful this trip had become, recognizing that we two must pull together. We remember stumbling into our motel room, knowing we only had about two hours to sleep before returning to the airport. We remember sleeping with our heads leaned against each other across the country on an airplane. And whenever we tell this story, we realize that nothing we’ve experienced in nineteen years of marriage was as bad as that day in New England.

    Then there was our very first roadtrip, a journey across Route 66 and back. On our first night, some thug broke into our car and stole Jenny’s purse while we played miniature golf in St. Louis. On that one occasion we’d chosen to keep our cash in my wallet, so we didn’t lose too much money. But I was still crushed. Our first cross-country trip, planned for months, and some jerk broke into our car and ripped off our credit cards. That night at the Gardenway Motel, I seriously thought about turning back and giving up. The next morning, though, Jenny woke up early and negotiated with the bank to release some money before canceling our credit cards. She returned as I awoke and handed me a hat sporting a Route 66 shield. It was a shiny, silver trucker’s cap that I’d never buy, but seeing it that morning lifted my spirits. We hit the road and didn’t look back. I only wish we’d kept a journal from that trip.

    These days, either Jenny or I take on the duties of writing a journal for each day of our trips. We then build webpages and share them with friends, and sometimes we get amazed reactions from folks who read these stories years after they’re posted. For me, the entries are tickets for time travel, chances to relive otherwise fleeting moments in distant places. I imagine decades from now that I’ll clutch those memories tightly like a treasure. In the meantime I’m so grateful that we still have plenty of journeys ahead. In fact we will make new memories this summer, on our Wood Family Southern Routes BBQ Tour. Less than two months to go, and I can’t wait. And the next time I’m sitting in a long meeting, wishing I were a thousand of miles away, I may very well be there.

    (2005 Photo by Jenny Wood)

    Monday, June 4, 2007

    Greyhound Bus Terminals


    This November I'll present an essay about Greyhound bus terminals and advertisements from the 1930s and 1940s at the National Communication Association's annual conference in Chicago. Here's an excerpt:

    Most folks needing to drive long distances on a limited budget have a story of “riding the dog” somewhere in their past. And the stories of hours spent waiting in the Greyhound terminal, particularly those in the centers of large cities, are almost invariably tinged with bitter recollections of foul odors, lousy food, and forced interactions with fellow-travelers whose physical and mental challenges inspire both pity and dread. Travel over sufficient distance would almost inevitably require a late-night stop in a cavernous enclosure, requiring a wait for a connecting bus that offered no guarantee of available seats. As experienced Greyhound riders know, a ticket guarantees a trip but not always a chair. Given the frequency of their locations in urban cores that have suffered profound decay over the past decades, Greyhound terminals justifiably earn their reputations as being nodes of an underclass network that is not sought through glitzy advertising campaigns. Thus one almost never hears the slogan, “Go Greyhound and leave the driving to us,” if one hears it at all, without some derision.

    Despite the nostalgia woven by preservationists, bus terminals were always simple, practical places; any romance found within their confines was surely of an illicit nature. The terminals were designed around the comings and goings of large numbers of people waiting to start, continue, or conclude their journeys, as well as purchase tickets, buy newspapers, consume meals, and welcome visitors (occasionally with less than friendly purposes). These places could easily be viewed as examples of Marc Augé’s non-places, manifestations of text with no personal or social context. One might visit the “Cleveland” or “Cincinnati” or “Chicago.” But one could hardly expect to be in a place imbued with time and character. At a bus terminal, one is always just passing through. Like manner similar places built around the purpose of transit, these terminals were not intended to be remembered as much as be used.

    Learn More

    Bus Depot Modern: a site I maintain to share postcard images of Greyhound terminals.

    Sunday, June 3, 2007

    Surveillance Society

    Who is this guy? Why is he trying to climb a locked gate at 682 S. Van Ness Avenue in San Francisco? Why do I have his picture?

    Like most internet geeks, I am fascinated by Google Street View. If you haven't heard about it yet, here's an overview: Google paid a company called Immersive Media to mount 360-degree cameras on cars and vans and take street level photos in cities across the US and around the world. The idea is that you can see more than a map of your location; you can see a pedestrian-level view that allows you to turn around any direction. Thinking about booking a hotel in Miami? Now you can check out the neighborhood. Confused about directions to a party? Look for a nearby landmark. You can even zoom in for close-up shots or "walk" down the road by clicking a directional arrow. So far, only a handful of locations (including Denver, Las Vegas, Miami, New York, and the San Francisco Bay Area) have gone live. But Google has announced plans to rapidly increase the number of available street views over the next 18 months.

    Predictably, Google Street View has raised privacy and security issues. Countless users are searching for the next big hit: some girl's thong (now removed from Street View at her request), some dude entering an adult book store, even a well known homeless man who was killed after his photo was taken (see Boing Boing to learn more). Google reminds its critics that these images are taken from public thoroughfares, and that users can flag images for removal if they have serious concerns. And yet one can only wonder at the embarrassing and potentially illegal things that will inadvertently be caught by Google's cameras. With Google Street View we continue our immersion into the total surveillance society.

    Increasingly the notion of "private space" seems quaint and antiquated. Facebook "feeds" allow our every click to stream onto our friends' pages. Twitter allows us to broadcast our every emotion. Boost Mobile Phone advertisements capture the vibe with their slogan-demand: "Where you at?" We hear about the presence of one camera for every 14 people in the United Kingdom. But that's amateur stuff. Real surveillance, the perfect panopticon, comes when we learn to discipline ourselves. When we feel guilty for not being available for the view of others in some way at all times we have fulfilled Jeremy Bentham's eighteenth-century vision of an All-Seeing Place. So...Where you at?

    Learn More

  • New York Times, May 31, 2007, Google Zooms in Too Close for Some

  • Brisbane Times, June 11, 2007, Now You See it, Now You Don't

  • Dr. Dobb's Portal, June 15, 2007, Google Waffles on Street View Takedown Policy

  • Street Reviewer
  • Saturday, June 2, 2007

    Thundarr the Barbarian

    On an occasional Saturday morning I’ll share some of my favorite kids’ television shows. Today, we start with Thundarr the Barbarian. The show only lasted 21 episodes over two seasons (1980-82), but many of my friends still remember this being the coolest cartoon of that era.

    Thundarr is set on post-apocalyptic Earth still suffering the ravages wrought by a “runaway planet” in the distant time of 1994. Two thousand years later, wizards employ sorcery and “super science” to terrorize the descendants of the catastrophe. Fortunately Thundarr the Barbarian and his friends Ookla the Mok and Princess Ariel (who looks pretty hot in her swimsuit) enjoy nothing more than helping strangers and fighting those awful wizards. So they ride horses across the burned and desolate world, having adventures and seeing the sights.

    The show was a fairly blatant rip-off hybrid of Star Wars and a host of sword-and-sorcery stories like Conan the Barbarian, but I didn’t mind. Thundarr made up for that sacrilege through its clever conceit of showing bits and pieces of the old world as appearing strange and mystical to our heroes. Thus Manhattan is called “Manhat,” a poster for Jaws is confused for navigational marker, and even the name “Ookla” comes from an ancient citadel of learning: UCLA. As Thundarr, Ariel, and Ookla journey from place to place, viewers are rewarded with tantalizing hints to their locations: Isn’t that Mount Rushmore? Doesn’t that resemble LA? I didn’t know it at the time, but I was being introduced to a kind of historical perspective later named by William Gibson as the search for “semiotic ghosts.”

    The interpersonal dynamic between Princess Ariel and Thundarr the Barbarian always intrigued me too. Even though Ariel seemed so much smarter than Thundarr, she still always followed his headlong charges into battle:
    Thundarr: What’s wrong Ariel?

    Ariel: You mean you’re not wondering about . . . what kind of danger we may be riding into?

    Thundarr: Why wonder? When the danger comes, we will face it!

    Ariel: Can’t argue with that. My mind is now at ease.
    Sounds like sarcasm, right? But you wouldn't have thought that by listening to the show. 80s-era gender roles were rarely challenged by this cartoon. Thundarr, dumb as a rock, always had to save Ariel. And both she and Ookla had no problem heading the commands of the muscled man and his “fabulous sunsword.” Watching the show at such a young age, I must admit their relationship made perfect sense to me.

    I suppose my favorite part of Thundarr was its introduction that depicted volcanoes and tidal waves wrecking the cities of earth. To a twelve-year old boy, those scenes were pretty cool. I remember thinking they were a little scary too: “Can they show that on children’s television?” I wondered. Check it out for yourself. Oh, and if you happen to be chatting with someone in their late thirties, try out one of these phrases -- “Lords of light!,” “Demon Dogs!,” or “Ariel, Ookla, Ride!” If you then see a broad dopey smile, you’ve just met another fan of Thundarr the Barbarian.



    Learn More:

    Under the Broken Moon role-playing game: a frighteningly detailed overview of Thundarr's world.

    Friday, June 1, 2007

    Tourist City Motel - Before and After

    One of the great things about collecting postcards is the opportunity to study the changing face of roadside America. Buildings viewed as “contemporary” one year become old fashioned and cheesy soon thereafter. Stewart Brand expertly explores this phenomenon in his book How Buildings Learn: What Happens After They’re Built, in which he astutely describes the complex interplay of the terms we use to describe the built environment:
    “The word ‘building’ contains the double reality. It means both ‘the action of the verb BUILD’ and ‘that which is built’ – both verb and noun, both the action and the result. Whereas ‘architecture’ may strive to be permanent, a ‘building’ is always building and rebuilding. The idea is crystalline, the fact fluid” (p. 2).

    By way of illustration, consider the Tourist City Motel in Winchester, Virginia. The first card, postmarked 1958, reveals a typical “tourist court” design: detached duplex cottages with plain “moderne” facades. The second card offers no postmark to aid in dating, though I would guess that this photo was taken no more than five years later. In that time, owners refashioned the property substantially, adding flagcrete on the surfaces and colonial-style “chimneys” atop a new roof, transforming the discrete cottages into a coherent motor court typical of the era.

    Today I am told the motel still stands, its sign little changed. Check out a photograph of the motel sign from Debra Jane.