Sunday, October 22, 2023

Rumble in the Jungle

After a break of a little over a year, we’re finally back to the Family Campaign (which is what I call the D&D campaign that I’ve built around my children’s characters, who happen to be all animal-based).  Why so long?  Well, a big reason was the return of my eldest child and their partner.  You’d think that would make it easier to do a thing called “the Family Campaign,” but not so much, as it turned out.  But another reason was that this was the first really big battle that I’d planned for the campaign.  Now, if you watch actual play games like Dimension 20 or Critical Role, you might recognize that this is very light in terms of combat: D20 typically has a major (as in, episode-long) combat every other episode; CR is usually a bit less often, but not by much.  However, I’m a much more combat-light (and therefore story-heavy) GM.  While I pepper in short combats, done using theater of the mind, I save big set-piece combats utilizing fancy battle maps for special occasions that come along maybe once a level.

So, with the arrival of the party in Maztica (a jungle-dominated continent with cultures influenced by Aztec, Incan, and other Mesoamerican cultures), I figured it was time to pull out all the stops.  You can see the array of enemies I put up (with apologies for my limited Phtoshop skills); there’s a few evil cultists (always fun to battle, with no pesky moral quandaries to worry about) and then a number of creatures taken straight from Legendary Games’ Latin American Monsters, which I purchased specifically for this purpose.  There’s a jaguar in the right foreground, with a werejaguar right behind it, a couple of pumas, and a werecaiman.  That red furry thing with the horns is a timbo; the scary horse-headed woman is a sihuanaba, and the big snake with antlers is a mazacoatl.

And, yes, I built a full map for it.  Here’s some pics we took to mark our place when we had to pause this mega-combat:

As you can see, I had to use a number of proxy figures: my jaguar is here represented by the tiger (and the werejaguar is a weretiger figure), the timbo is the wrong color (but otherwise surprisingly accurate), the werecaiman is really just a lizardfolk, that “wolf” is actually supposed to be a black panther (one of the good guys), etc etc.  But the overall scene—a bar on a beach with a jungle right behind it—is actually pretty accurate for what I had in my mind.  The kids seemed to have a good time with it anyhow.  (Fun fact: the legs you can see in one of the pictures belong to my middle child, who was taking their own pictures of the battle.)

Oh, and you might wonder: what the heck is up with the Bazooka Joe wrapper?  Well, I asked my youngest to find a way to mark that space, and that’s what she came up with.  We had to mark the space because one of the powers of the timbo is called “Gravedigger”: in a single turn, it digs a grave, pushes you into it, and covers you up so you start suffocating.  So that bubble gum wrapper is actually a grave marker, and there’s someone in there buried alive.  So that’s fun.

We’ll pick it up here next week, if we can wait that long.  It’s a tough battle, but I provided a few allies to help them out, and I think they’ll prevail in the end.  I’m anxious to find out how it all comes out!









Sunday, October 15, 2023

I thought Jared Kushner was going to fix this ...

When the WGA went on strike earlier this year, I was miffed for an entirely selfish reason: I get almost all of my news from places that employ writers, like The Daily Show and Steven Colbert on The Late Show.  Just as when the coronavirus first hit, I was abruptly plunged into a news-free zone.  As I noted back then:

Sure, I could sit around and watch CNN or something along those lines, but I gotta tell you: I spent a long time doing that right after 9/11, and all I got for it was way more stressed and not particularly more well-informed.  In fact, study after study has shown that “fake news” shows such as The Daily Show produce more well-informed viewers than almost any other outlet.  So right now I’m losing not only my major source of news about the world, but also the coping mechanism I was using to deal with the stress of said news: being able to laugh at it.

During this year’s stoppage, I found some new outlets, mostly on YouTube, where creators are not writing for the AMPTP, so the strike allowed them to continue.  Most of them, however, were not nearly amusing enough.  I’ve grown somewhat fond of Brian Tyler Cohen, for instance, but there’s no denying that he’s not only a radical liberal (which I don’t mind so much), but also a staunch Democrat (which I’m far less tolerant of).  Generally speaking, the Democrats are not nearly as liberal/progressive as I’d like, and they fuck up just as badly as the Republicans (case in point: Bob Menendez).  Then there are the “dirtbag left” and their less extreme offshoots, who will happily—even gleefully—attack Democrats, but traffic more in manufactured outrage than incisive and funny commentary.  About the only truly postive find during this long dry spell was Some More News, who are not so much current news like Colbert and whoever ends up being the next Trevor Noah, but more like John Oliver’s Last Week Tonight: deep dives into an single problematic situation, trying to use humor to explore the nuances of the story that traditional news outlets (even the “fake” news ones) just don’t have time to cover.

But now the strike is over, and Colbert is back, Meyers is back, Oliver is back, and The Daily Show will be back tomorrow night.  And just in time for the most violent flare-up between Israel and Palestine in decades; by the time it’s over—and I’m being optimistic just in assuming it will eventually be over—it will almost certainly jettison the “almost” from that description.  This is the type of thing that it is very difficult to inject even a modicum of humor into, but one of the reasons I truly respect these folks is that they always find a way: you can’t make jokes about the tragedy itself, of course, but you can make jokes about the idiots talking about the tragedy, or trying to “manage” it.  You can point out hypocrisies and people being greedy and foolish.  They figured out a way to do it about 9/11 (eventually), and they figured out a way to do it about the pandemic.  And, I have to say: I’m a bit disappointed by the lack of even trying that I’m seeing from my usual outlets.  That probably sounds a bit crass, like I’m complaining that this humanitarian crisis, where thousands are being killed, isn’t funny enough for me.  But that’s not what I mean to imply.  I’m more disappointed in how this is the line that my comedic news idols are afraid to cross.  A world-wide pandemic that killed 7 million people?  Sure, we can find a way to make jokes about that.  The Middle East?  Fuck that, man: I’m not touching that.

I think the main source of the problem is, perhaps more than any other hot-button issue in the United States—perhaps more even than abortion, or gun rights—there are reflexive reactions to stating a position on either side.  If you refuse to say you stand with Israel, well then of course you’re supporting terrorists.  And, if you do say you stand with Israel, then you’re supporting apartheid at the best and genocide at the worst.  Best just not to take a side.  Except ...

Except I reject this false dichotomy.  I do not stand with Israel, nor do I stand with Hamas (or any of the other Paletinian terrorist groups-du-jour).  I stand with the innocent civilians.

Numbers are hard to pin down, but the United Nations says that “More than 1,200 Israelis and foreign nationals, the majority of whom were civilians, were reportedly killed ...” and that ”... at least 1,100 Palestinians have been killed, including older persons and 290 children ...” ABC News reports that “In Israel, at least 1,300 people have been killed ...” and that “Palestinian authorities said at least 2,329 people have been killed ...” Would it really be so controversial to posit that killing innocent civilians is bad, regardless of which side is doing it?

This conflict has been going on so long that people don’t even bother going back to its beginning in their lists any more: the United Nations lists casualties only going back as far as 2008; Wikpedia’s list of military operations headed “Gaza-Israel conflict” only goes back to 2006 (and has 21 entries in those 18 years).  But, trying to extrapolate from Wikipedia’s timeline, I think there have been more than 50 incidents just in my lifetimethe first of which started when I was 7 months old—ranging from plane hijackings to full-on wars.  And I was only trying to count incidents in which multiple innocent bystanders were killed: I skipped all the assasinations of military and political figures by both sides.  Also, once it became clear I was going to hit 50 (easily), I actually quit counting, because it was just so goddamned depressing.  The Israelis and the Palestinians have bcome the Hatfields and McCoys of our lifetimes, except if the Hatfields and McCoys were wiping out huge swaths of the West Virginia population.

And I understand the issues of conflating the state of Israel with the Jewish people, but I don’t think it’s antisemitic to criticize the government of Israel.  If it were, there would quite a few antisemitc Jews these days: Jon Stewart has done some of this, not to mention there’s an entire organization of Jews for whom it is the raison d’être.  But it’s harder for non-Jewish people (such as myself) to do so.  In fact, there are, bizarrely, actual laws in 35 states (including my own) saying that you’re not allowed to boycott Israel in protest of its policies.  You know where it’s not illegal to protest Israel?  Israel.  Many Israeli newspapers have been extremely critical of Netanyahu in particular, which is only sensible: in a democracy, people are supposed to be critical of their governments.  They are supposed to hold them accountable.  There are no laws in the US about not being able to protest the US government (probably), but it’s okay to make it illegal to protest other countries’ governments?  It’s just surreal.

Meanwhile the Palestinians have the opposite problem: too often the face of their people is a group like Hamas (or Hezbollah, or Fatah, or the PLO, or ...), which everybody condemns, and rightfully so.  But condemning a terrorist group that operates in a country is not the same as condemning the people of that country, and expressing support for the people is not the same as expressing support for the terrorist group.  Netanyahu has said that “the enemy will pay an unprecedented price”; does that mean that Hamas will pay this price?  Because it sure seems like it’s the Palestinian people paying it right now.  If the Israelis wanted to hunt down every single Hamas soldier who participated in this henious attack on their country, who would speak out against them?  But bombing innocent civilians back to the stone age because of the actions of some madmen who claim to speak for them?  Does that really seem “justified”?

So I would like to take the (hopefully!) uncontroversial stance that people in both Israel and Palestine have the right to live their lives without fear of being shot, kidnapped, or bombed.  I dunno ... that just seems like common sense—and common decency—to me.



Even More News, the current news discussion podcast from the Some More News folks that I mentioned way back at the beginning of this post, had an almost entirely humor-free discussion of the current situation in Israel and Palestine that you could check out for more in depth discussion.  The episode of Some More News that they reference is actually two years old at this point, but (as Cody says) it’s eerily relevant to today’s news, so you should probably watch that.  The older video does lean more towards the Palestine side, but the recent podcast is more balanced.  And all the information is good regardless.









Sunday, October 8, 2023

Trying not to ruin the apology



There should be something longer here.

But there isn’t.

I should have found the time to write it ...

But I didn’t.

The vagaries of life have struck me down, the minutiæ causing me to drown, hopefully I won’t have a breakdown ...

I’m feeling insufficient.

Perhaps next week will be much better.

Then again, perhaps it won’t.

I typically strive to produce some content.

But then sometimes I don’t.

Not that you should pity me (I’m not asking you for sympathy), I’m just sayin’, that’s all I have for thee: ’cause this is all I wrote.









Sunday, October 1, 2023

In a house with unlocked doors

As I sit here rewatching The Meg, which really isn’t as bad as it’s cracked up to be, in preparation for watching The Meg 2, which probably will be as bad as it’s cracked up to be (but it’ll be entertaining enough, I expect) ... as I sit here, pondering old Jason Statham will be before they stop casting him in action movies, I appreciate the fact that I took this blog to a biweekly schedule.  See ya next week.









Sunday, September 24, 2023

Sirenexiv Cola II


"Sneaky Like a Fiery Fox"

[This is one post in a series about my music mixes.  The series list has links to all posts in the series and also definitions of many of the terms I use.  You may wish to read the introduction for more background.  You may also want to check out the first volume in this multi-volume mix for more info on its theme.

Like all my series, it is not necessarily contiguous—that is, I don’t guarantee that the next post in the series will be next week.  Just that I will eventually finish it, someday.  Unless I get hit by a bus.]


Sometimes a volume II consists of all the songs that just wouldn’t fit on volume I.  But sometimes it’s just that certain artists were so good that they had multiple candidates, and I was working very hard to restrain myself from including them all.  That latter case sums up Sirenexiv Cola pretty well: there’s yet another brilliant opener from KT Tunstall—”(Still a) Weirdo,” in fact, includes the brilliant line “Optimisitc, but never quite elegant,” which came very close to being our volume title—and the promised inclusion of alt-radio favorite “Polyester Bridge” by Liz Phair.  The Sundays and the Katydids are back; the former provide the gorgeous “Here’s Where the Story Ends,” another alt-radio favorite and quite possibly my introduction to the London band; the latter give us a slightly less folky take than last volume with “Don’t Think Twice.” And, speaking of folky, you know I had more from folks like Feist and Regina Spektor and the inimitable Tori Amos.  For Feist, the album that immediately precedes the one with her breakout hit “1234” (which was featured last volume) is Let It Die, which features her first charted single, “Mushaboom.” It’s a sweet pop gem which sweeps us into the middle stretch of this volume.  As for the Russian-born NYC-raised Spektor, “Fidelity” was her first song to chart in the US, and features some beautiful musical hijinx, such as pairing pizzicato string work with some glottal stops and stretching the word “heart” into a dozen or more syllables; it’s pretty breathtaking.  And, while I still maintain that Tori Amos’ debut Little Earthquakes is the most brilliant album of her career, “Caught a Lite Sneeze” is probably the first of her singles that I really enjoyed after that initial infatuation.  It’s somehow both dreamy and poppy, ethereal but with a strong beat.  Definitely a classic.

But that’s not the extent of our returning artists—in fact, it’s perhaps only as I’m writing this blog post that I realize how much throughline there really is in terms of the vocalists.  Bella Ruse is back with “Hold Me Close,” a spare acoustic anti-folk ballad that develops into a dreampop synth wash; its’s somehow hopeful and melancholy all at once.  We hear once again from Beth Quist; the swooping vocals of “Goodbye” show off why she’s part of Bobby McFerrin’s “Voicestra.” There’s another Meaghan Smith tune, “Poor,” which shows off her ability to start out slow and build to something beautiful.  And, on the harder side of this mix, I once again come back to Swedish powerpop star Lykke Li, with “Dance, Dance, Dance,” and P!nk, with “Stupid Girls.” The former was never a hit, but it is off Li’s first, best album (Youth Novels), and it showcases her ability to blend a lot of different instruments and styles into a coherent whole.  The latter was a fairly big hit for P!nk (#13 in the US; #4 in the UK) and contains a lot of typically smart lyrics such as “What happened to the dream of a girl president? She’s dancing in the video next to 50 Cent” and laments “where oh where have the smart people gone?” And it still manages to be a banger, of course.

Still, we must have new blood to keep a mix fresh.  One of the things I realized when putting together volume II was that I had failed to include the incomparable Suzanne Vega.  And, while normally my go-to Vega album is 99.9F°, there’s also much to be said for her follow-up Nine Objects of Desire.  And I just felt like “No Cheap Thrill,” a little more upbeat than most of her œuvre, worked best as our penultimate track.  It’s got that slinky vibe that I featured on Slithy Toves I (speficially, “Caramel”), but a bit more of a pop vibe, with catchy lyrics that compare a relationship to playing poker.

It also felt a little weird that I hadn’t included anything off Fur and Gold.  The brilliant debut of British vocalist Bat for Lashes has provided tracks for Porchwell Firetime I, Slithy Toves I, Darkling Embrace I, and Wisty Mysteria II, but this mix was really tailor-made for her.  “The Wizard” was her first single and, though it didn’t chart, it’s really a great, dreamy track that works quite well here.  I also thought to return to the smokier voice of Chrissy Amphlett and Divinyls; “Heart Telegraph” really lets Amphlett’s pipes shine, and I think it transcends the mid-80s new wave that it also indelibly evokes.  (Last we saw Ampheltt—on Totally Different Head II noted that she died fairly young.  Since then, I’ve actually passed her age at the time she died, so it hits even harder for me now.)

Of course, I’ve also just plain discovered some new bands since I started this mix.  A former coworker of mine introduced me to a bunch of new music, from his favorite obscure subgenre (Italo-disco) to just stuff he knew because he was much younger than I.  And sometimes he would have tenuous personal connections to a band: I believe he knew the Dum Dum Girls (who are indeed from our native LA) because an ex-girlfriend was close friends with one of the members.  Or something like that.  But he threw up one of their songs onto our big screen that we used to play “push songs” and I was mightily impressed.  “Caught in One” is my pick for their first appearance here: while they can often be a bit shoegaze-y, this tune is more jangle-pop, with Dee Dee’s powerful vocals singing about the loss of her mother (“Death is on the telephone / I lie and say she isn’t home”).  It’s a great tune.

Another major discovery was Lucius, whose Wildewoman was nearly as exciting a discovery as Tiger Suit, which is what arguably kicked off this mix in the first place.  This indie pop four-piece from Brooklyn features two harmonic female vocalists.  Jess Wolfe and Holly Laessig are not related, but they tend to dress alike and wear their hair in similar styles, so you could be forgiven for thinking they were sisters.  The title track off this amazing album is a bit of a revelation; Wolfe and Laessig do that thing they do so well where they alternative between harmonizing and singing in a round-like style, and it includes great lyrics such as our volume title, as well as the chorus:

She’s gonna find another way back home,
It’s written in her blood; oh, it’s written in her bones.
Yeah, she’s ripping out the pages in your book.
...
Yeah, she’ll only be bound by the things she chooses.

Sublime.



Sirenexiv Cola II
[ Sneaky Like a Fiery Fox ]


“(Still a) Weirdo” by KT Tunstall, off Tiger Suit
“Stupid Girls” by P!nk, off I'm Not Dead
“Caught a Lite Sneeze” by Tori Amos, off Boys for Pele
“The Wizard” by Bat for Lashes, off Fur and Gold
“Dance, Dance, Dance” by Lykke Li, off Youth Novels
“Goodbye” by Beth Quist, off Lucidity
“Mushaboom” by Feist, off Let It Die
“Poor” by Meaghan Smith, off The Cricket's Orchestra
“You and Me” by Sara Watkins, off Sun Midnight Sun
“Hold Me Close” by Bella Ruse, off Bella Ruse [EP]
“Wildewoman” by Lucius, off Wildewoman
“Fidelity” by Regina Spektor, off Begin to Hope
“I Say Nothing” by Voice of the Beehive, off Let It Bee
“Caught in One” by Dum Dum Girls, off Only in Dreams
“The Gold Medal” by the Donnas, off Gold Medal
“Here's Where the Story Ends” by the Sundays, off Reading, Writing and Arithmetic
“Polyester Bride” by Liz Phair, off Whitechocolatespaceegg
“Don't Think Twice” by Katydids, off Shangri-La
“No Cheap Thrill” by Suzanne Vega, off Nine Objects of Desire
“Heart Telegraph” by Divinyls, off What a Life
Total:  20 tracks,  74:45



There’s nothing too surprising here, though there are a few obscure tracks.  Voice of the Beehive was a group comprised of two sisters from California who formed a band in London that included a couple former members of Madness.  Let It Bee is fairly typical for the late 80s, though it does include a few quite clever songs such as “There’s a Barbarian in the Back of My Car” and “Sorrow Floats” (the problem with trying to drown your sorrows, of course).  But I’ve always had a soft spot for “I Say Nothing,” their second single but first to chart (in the UK and Australia only, although they reissued it the following year and it made it to #11 on the US alternative charts), which contains the brilliant line “That’s why I drink: so I’ll be who they think I am.” It’s a bit of 80s-style poppiness that’s hard not to like.

Now, the Donnas might be a little surprising: they’re typically hard rockers in the same vein as the Runaways or Sleater-Kinney, so you might them more suited for something like Distaff Attitude (and I’ve no doubt we’ll see them there eventually).  But in their calmer moments (which still aren’t all that calm), they put out some tunes that work well here.  One of which is “The Gold Medal,” which is a surprisingly non-aggressive song about leaving someone who can’t appreciate you.  Brett Anderson (a.k.a. Donna A) has the perfect, apathetic vocal take on this song, and it’s kind of perfect coming off the Dum Dum Girls and setting up the Sundays for the quieter back third.

And that just leaves me with perhaps the most unlikely artist of all—or at least unlikely that I would own an album of hers.  I first heard Sara Watkins on A Prairie Home Companion, and at first I was convinced that she was way too country for me ... I mean, she started off playing fiddle for a “progressive bluegrass” band, of all things!  But there’s just something about her voice, and I do appreciate a fiddle, especially when it’s not particularly country-fied.  Now, her album Sun Midnight Sun does contain a few tracks which are entirely too country to be tolerated, but many—and in particular “You and Me”—are just gorgeous alt-country tunes.  Powered primarily by what I suspect is a mandolin, with perhaps a few touches of steel guitar and surprisingly little (if any) actual fiddle, “You and Me” is too perfectly apt for this mix for me to ignore it just for the sin of appearing on an album with a few other songs I can’t particularly appreciate.  So here it sits, and I’m pretty happy with my decision.



Next time ... well, Hallowe’en is coming up.  Maybe we’ll find some tunes that would work well for that.


Sirenexiv Cola III










Sunday, September 17, 2023

The soul of wit

No time for even a short post this week, sadly.  The Mother is coming down with something so I haven’t had the time today to do much other than help out with errands.  Still, there’s always next week.  Let’s see what happens then.









Sunday, September 10, 2023

Family Dinner

When I was kid, we would often to go to my grandparents’ house for dinner on Sunday.  Since I was lucky enough to have two sets of grandparents, this could mean wildly different cuisines.  On my father’s side, his parents, raised on farms in North Carolina, favored sprawling meals with many side dishes, and often multiple kinds of meat (usually some form of pork).  My mother’s side, on the other hand, fancied themselves as having come up in the world since their humble roots, and favored fancier, more coherent meals.  We might have turkey tetrazzini, or filet mignon with shoestring fries, or pot roast with potatoes and carrots (leading to the creation of what my grandmother called “hash” the following day).  But, if we were very lucky, we would have spaghetti and meatballs.

Now, back in my day most folks thought of spaghetti and meatballs as an Italian dish, though nowadays we know that it’s exactly as Italian as chicken tikka masala is Indian, thanks to articles from places like the Smithsonian (although I personally learned about it from Alton Brown).  But, as a child, it never occurred to me to think of it as anything other than grandmother food.  Spaghetti dinner was practically an all day affair: it cooked on the stove in a giant pot all day, sending out irresistible aromas and making everyone’s mouths water, and my mother and grandmother and Bernice, my grandmother’s housekeeper, would fuss over the proper amounts of spices to add.  When it got a bit closer to dinner, we would break out the saltines and bleu cheese as a sort of appetizer (I have never discovered where exactly this strange tradition originated).  Then it was time to eat, and there was a great family divide between those of us who just wanted to chop the long spaghetti into more manageable chunks so you could eat everything together, and those who insisted on twirling it around their forks to make giant pasta balls which you then ate followed by a big spoonful of sauce.  Some of us liked grated parmesan; some couldn’t stand the smell.  And of course we fought over the meatballs.

My mother made it at home, sometimes, but it was always considered a special-occasion food.  Both my brother and I took great pains to learn how to cook it, though we (eventually) began to deviate from the recipe in small ways.  Now The Mother makes it for us, far more regularly than I ever used to have it as a child (or even as a young adult).  It’s regularly requested by my children on birthday weekends, or holidays, or pretty much any time The Mother lets them set the menu.  There is, as far as I know, no Italian in my ancestry (although there’s an eighth of my heritage that I’ve never been able to track down), but this Italian-American dish has become very symbolic of our family’s culture, to the point where we typically refer to it using my last name (which is of course a complete misnomer, as it originates with my maternal grandmother).  Let me tell you the two family myths that are attached to its origin.


My Mother’s Story

When your grandfather was in The War [my grandfather served as a lieutenant in the Navy’s Construction Battalion—or “Seabees”in World War II], his unit had an Italian-American cook.  That worthy gentleman [yes, my mother really talks like that] wanted to make food for his unit that was better than the standard rations, so, whenever possible, he cooked large meals with the best ingredients he could come up with.  This sauce is based on his mother’s recipe, but of course using canned ingredients instead of fresh because that’s all they really had access to.  When my father—your grandfather—came home from The War, he asked this cook for the recipe and brought it home to my mother (your grandmother) and that’s what she makes today.

My Father’s Story

That’s all crap.  Your grandmother told me one night she just got the recipe out of the Ladies’ Home Journal.


Which story is “true”?  Likely neither ... or possibly both.  But the point is, this is a meal of great significance to our family, and I thought it was probably worth preserving for posterity.  Let’s break it down.

The Spaghetti

For many years, I completely believed that we were eating spaghetti in our spaghetti and meatballs—I mean, after all, it’s right there in the name.  But, as it turns out, my grandmother always used vermicelli.  The pasta you pick is in one sense of utmost importance—after all, half the reason why spaghetti and meatballs is not authentically Italian is that Italians would not choose a thin pasta with no holes like spaghetti to go with their meat sauces—and, in another, completely irrelevant.  The beauty of this meal is that it pretty much tastes great with any pasta you like: I’ve had it with penne, farfalle, conchiglie (that’s the seashell shaped one), and even, when truly desperate, macaroni.  But most often we have it with some variation of spaghetti.  My (non-Italian, recall) family taught me that there were four different sizes of “spaghetti”:
  • Spaghetti proper, which is the thickest.
  • Spaghettini, also called thin spaghetti (just a bit thinner).
  • Vermicelli (thinner still).
  • Capellini, also known as “angel hair” pasta, the thinnest of all.

Now, personally, I find actual spaghetti way too thick.  My understanding from all those articles and whatnot is that we currently have a concept of spaghetti and meatballs primarily because, back in the turn of the century (not this one, the one before that), spaghetti was often the only pasta you could buy, if you didn’t want to make it yourself.  Spaghettini is all right; capellini is better; and of course vermicelli is the best, but I suppose that’s probably just because it’s what I was actually raised on.  Even in today’s choice-rich world, though, vermicelli seems hard to come by, for some reason, so I’ll admit to using capellini way more often than I’d prefer.  But, as I say, any pasta will taste good with this sauce.

The Meatballs

Perhaps surprisingly, this offers a lot of options as well.  For my grandmother, it was always the same: you go to the butcher, you get two pounds of beef and one pound of pork, and you have him grind them together.  Well, these days, you’d be hard pressed to find a butcher who will deal with pork at all (most of our remaining butchers are either kosher or halal), and even the grocery stores won’t do anything as radical as grind beef and pork together.  But, as it turns out, if you just buy ground meat and stick it in a big bowl and just sort of knead it all together, that works just fine.

Of course, you needn’t go to all the trouble of mixing two kinds of meat if you don’t want to.  Personally, I find meatballs made of all beef way too strong a flavor (but then again I have a compllicated relationship with beef).  I think my favorite these days is two-thirds turkey and one-third pork.  But you can also do 100% pork, or 100% turkey, or even—and I haven’t personally tried this, but I bet you it would work just fine—a plant based substitute such as Impossible.

As far as what to do with the meat, just form it into balls.  That’s it: no eggs, no bread crumbs, none of that fancy shit.  Maybe a little salt and pepper; occasionally some onion powder or garlic powder.  Make the balls a bit large (The Mother often uses an ice cream scoop for this purpose): they’re going to fall apart at least a little in the sauce, which will make it meat sauce, which is what you want.  But, in order to keep them from falling apart too much, you want to brown them a bit.

First, use some paper towels to pat the meatballs dry a bit (this is especially important when using ground turkey).  Dryer meatballs will brown better.  Next, in the biggest pot you’ve got, heat up some olive oil.  Then put some garlic in it: my grandmother would literally slice fresh cloves of garlic into thin slices and then brown them in the oil, fishing them out when they’d given up the ghost.  Nowadays we’re just as likely to use pre-minced garlic.  Use 4 – 6 cloves, or 1 – 2 heaping tablespoons (depending on how much you love garlic).  Also toss in a softball-sized yellow onion, diced fairly fine.  Once the garlic is starting to brown and the onions are starting to get translucent, start browning the meatballs.  You want them just browned enough to (mostly) hold together; you’re not trying to cook them all the way through.  You’ll need to turn them a few times to get them brown all over.

The Sauce

Obviously the most crucial component is the sauce.  The base of this is pretty simple:
  • 4 8-oz cans of tomato sauce
  • 4 6-oz cans of tomato paste
  • 8 oz of water

We’ve also experimented with another 8 oz of tomato sauce and just skip the water, which makes the sauce a bit more intense—more tomato-y, if you see what I mean.  Stir all that together, trying to be careful not to break up the meatballs too much, though it’s fine if you lose a couple.  Cook it at a low simmer for a few hours: at least two, but probably no more than four.  About a half an hour before you’re ready to eat, it’s time to season.

In my grandmother’s recipe, there were actual amounts for everything.  However, nowadays we don’t measure any of the spices and seasonings at all.  Usually the the youngest and I handle the seasoning, and we have a simple system:
  • Cover the surface of the sauce with a thin layer of basil.
  • Sprinkle in a much smaller amount of oregano (perhaps a quarter as much).
  • Stir it all in.
  • Now, taste the sauce:
    • If it’s not salty enough, add some salt (duh).
    • If it’s not sweet enough, add more basil.
    • If it’s not savory enough, add some garlic powder.
    • If it’s not herby enough, add more oregano.
    • If it doesn’t have enough kick, add some pepper.
That’s pretty much it.  If you want the original measurements, I typically remember them via the mnemonic that you need to use every one of your measuring spoons:
  • 1 tbsp of sugar
  • 1 tsp of basil
  • ½ tsp of salt
  • ¼ tsp of pepper

The sugar was the first to fall by the wayside: basil provides a more natural-tasing sweetness, and you require far less of it, and it’s healthier (not that I mean to imply that this is a low-calorie dish or anything).  Next, the salt and pepper got moved to being applied directly to the meat, which gives your meatballs a bit more direct seasoning.  Most recently, I added the oregano: I just think it provides a very distinctive flavor that gives food a very Italian identity.

About 15 minutes before you’re ready to eat, boil your pasta of choice.  And you’re done.



So that’s our family recipe for spaghetti and meatballs.  It’s lasted for four generations now, and it’s stood up to a good deal of tinkering over the years without ever losing its essential character.  It’s a fairly short ingredient list, and there’s nothing too fancy in the preparation.  But, despite all that, it’s probably the favorite meal for about three-quarters of my extended family.  It’s a meal that we love, and one that is quintessentially us.









Sunday, September 3, 2023

A small recommendation

You know, when I first got over my rather silly belief that I couldn’t enjoy watching other people play D&D, I started looking for really entertaining examples of people streaming the game.  (I talked a bit about this in my “D&D and Me” series.)  And I found some great examples ... but a lot of not-so-great ones as well.  If I had to put my finger on what elevates the good from the meh, it would have to be this: streaming D&D can be a whole new form of media, a whole new way to tell a story ... or it can be just watching people play a game.  The latter is entertaining ... ish.  Watching people play sports, or poker, or things of that nature can be entertaining too.  But I wouldn’t call those sorts of things a new storytelling medium.  D&D, on the other hand, if done well, can really tell a story in a fresh new way that you just can’t experience in any other medium.  That’s the magic of it.

And I’ve tried a lot of D&D shows: video and podcast, edited and unedited, zero production values and over-the-top gimmicks.  A few really stand out.  But I may have found a new pinnacle.

The first chapter of World Beyond Number’s first ongoing campaign (“The Wizard, the Witch, and the Wild One”) just concluded, and I am really blown away.  This is the D&D streaming equivalent of a rock supergroup: Brennan Lee Mulligan, DM of Dimension 20 and guest DM on Critical Role (and veteran CollegeHumor performer); Aabria Iyengar, DM on Saving Throw and guest DM and player on both Crital Role and Dimension 20; Erika Ishii, voice actor, player on LA By Night, and guest player on both Crital Role and Dimension 20; Lou Wilson, actor and comedian, player on Dimension 20, guest player on Critical Role (and announcer for Jimmy Kimmel); and Taylor Moore, producer, composer and sound-designer, co-creator of Rude Tales of Magic and Fun City.  These guys have a lot of mileage under their belts, and they’ve come together to produce a podcast, with premium sound design that makes it sound like an old-style radio broadcast.  The D&D elements are still there, but they’re not the focus; primarily they just serve to remind the audience that one of the things that make streaming D&D unlike any other form of storytelling is that random chance plays a factor.  Brennan is the GM for this campaign, and he has beaucoup experience and a flair for the dramatic.  Aabria, Erika, and Lou all have a great deal of experience committing to a textured, flawed, but lovable character, and they make you fall in love with these three unlikely companions.  Together they’ve built a new fantasy world, Umora, which is every bit as fascinating as Middle Earth, Narnia, or Oz.  And the story ... is just magnificent.

You can check out their website to get started listening, or just search for “Worlds Beyond Number” in your podcast app.  If you really want an amazing experience, go give them $5 at their Patreon and listen to “The Children’s Adventure,” which is a prequel series that explains how the 3 protagonists met as children and started to develop their powers (and their personalities).  You can easily get through it in a month, but honestly you should keep giving them money even after that, because it’s worth every penny.  But you can also listen for free if you’d prefer.

I’m not usually one to plug things this hard, but, really: even if you have zero interest in D&D, I think you’ll be seduced by this show.  It’s something really unique.  Check it out.