Christmas Events 2008

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  string(278) "In Dec. '05, garage punk and power pop luminary Gentleman Jesse and Die Slaughterhaus scrambled missed the deadline to get a Christmas 7-inch out in time for the holidays. That record is now the only piece of Gentleman Jesse vinyl that hasn't demanded a repress, and it is good."
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    Back in December 2005, garage punk and power pop luminary Gentleman Jesse Smith and Die Slaughterhaus Records owner Mark Naumann scrambled to get a Christmas 7-inch out in time for the holidays.

    They failed.

    "The team of me and Mark just isn't a very productive one," Smith laughs. "Mark slept on it a little and the band totally missed our deadline to have the song to him."

    The record's sleeves didn't show up until months later. As a result, it's the only Gentleman Jesse vinyl release that's never demanded a repress. Christmas songs come a dollar a dozen in December when people actually enjoy, or at least tolerate, the seasonal cheer. A Christmas record that comes out after the holiday doesn't stand a chance. Want proof? Even though only 500 copies were pressed three years ago, the release still sits on shelves in pretty much any record store in town.

    That's not to say the songs are bad by any means. The record is a split single between the long dead Gentleman Jesse and His Men moniker, and Fever B (a.k.a. Brian Hermosillo of Donny Denim, the Fevers and the Sweet Faces). On the a-side Gentleman Jesse's "Christmas Hangover" is a concise, barreling anthem that counters a scaled down intro with busy licks and holiday cheer. On the flip-side Fever B's "Down with Christmas" is a primitive, anti-holiday mantra that builds on the grooves of gritty rock 'n' roll.

    Both numbers fit perfectly as opposite sides of a very catchy single. But bad timing has kept it from becoming notable. "The records showed up on Christmas eve eve.," Smith adds. "We had them in time to give one to my parents without a cover and that was about it."

    This year there's plenty of time before Christmas, and still plenty of Gentleman Jesse's "Christmas Hangover" to be had.

    image-2

    Gentleman Jesse plays w/ the Long Shadows. $5. 9 p.m. Thurs., Dec. 25. The Earl, 488 Flat Shoals Rd. 404-522-3950."
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    Back in December 2005, garage punk and power pop luminary [http://atlanta.creativeloafing.com/gyrobase/gentleman_jesse/Content?oid=524055|Gentleman Jesse Smith ]and [http://www.dieslaughterhausrecords.com/|Die Slaughterhaus] Records owner Mark Naumann scrambled to get a Christmas 7-inch out in time for the holidays.

    They failed.

    "The team of me and Mark just isn't a very productive one," Smith laughs. "Mark slept on it a little and [the band] totally missed our deadline to have the song to him."

    The record's sleeves didn't show up until months later. As a result, it's the only Gentleman Jesse vinyl release that's never demanded a repress. Christmas songs come a dollar a dozen in December when people actually enjoy, or at least tolerate, the seasonal cheer. A Christmas record that comes out after the holiday doesn't stand a chance. Want proof? Even though only 500 copies were pressed three years ago, the release still sits on shelves in pretty much any record store in town.

    That's not to say the songs are bad by any means. The record is a split single between the long dead Gentleman Jesse and His Men moniker, and Fever B (a.k.a. Brian Hermosillo of Donny Denim, the Fevers and the Sweet Faces). On the a-side Gentleman Jesse's "Christmas Hangover" is a concise, barreling anthem that counters a scaled down intro with busy licks and holiday cheer. On the flip-side Fever B's "Down with Christmas" is a primitive, anti-holiday mantra that builds on the grooves of gritty rock 'n' roll.

    Both numbers fit perfectly as opposite sides of a very catchy single. But bad timing has kept it from becoming notable. "The records showed up on Christmas eve ''eve''.," Smith adds. "We had them in time to give one to my parents without a cover and that was about it."

    This year there's plenty of time before Christmas, and still plenty of Gentleman Jesse's "Christmas Hangover" to be had.

    [image-2]

    Gentleman Jesse plays w/ the Long Shadows. $5. 9 p.m. Thurs., Dec. 25. [http://www.badearl.com|The Earl], 488 Flat Shoals Rd. 404-522-3950."
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  string(2585) "    In Dec. '05, garage punk and power pop luminary Gentleman Jesse and Die Slaughterhaus scrambled missed the deadline to get a Christmas 7-inch out in time for the holidays. That record is now the only piece of Gentleman Jesse vinyl that hasn't demanded a repress, and it is good.   2008-12-25T00:33:00+00:00 Christmas with Gentleman Jesse at The Earl   Chad Radford Chad Radford 2008-12-25T00:33:00+00:00  image-1

    Back in December 2005, garage punk and power pop luminary Gentleman Jesse Smith and Die Slaughterhaus Records owner Mark Naumann scrambled to get a Christmas 7-inch out in time for the holidays.

    They failed.

    "The team of me and Mark just isn't a very productive one," Smith laughs. "Mark slept on it a little and the band totally missed our deadline to have the song to him."

    The record's sleeves didn't show up until months later. As a result, it's the only Gentleman Jesse vinyl release that's never demanded a repress. Christmas songs come a dollar a dozen in December when people actually enjoy, or at least tolerate, the seasonal cheer. A Christmas record that comes out after the holiday doesn't stand a chance. Want proof? Even though only 500 copies were pressed three years ago, the release still sits on shelves in pretty much any record store in town.

    That's not to say the songs are bad by any means. The record is a split single between the long dead Gentleman Jesse and His Men moniker, and Fever B (a.k.a. Brian Hermosillo of Donny Denim, the Fevers and the Sweet Faces). On the a-side Gentleman Jesse's "Christmas Hangover" is a concise, barreling anthem that counters a scaled down intro with busy licks and holiday cheer. On the flip-side Fever B's "Down with Christmas" is a primitive, anti-holiday mantra that builds on the grooves of gritty rock 'n' roll.

    Both numbers fit perfectly as opposite sides of a very catchy single. But bad timing has kept it from becoming notable. "The records showed up on Christmas eve eve.," Smith adds. "We had them in time to give one to my parents without a cover and that was about it."

    This year there's plenty of time before Christmas, and still plenty of Gentleman Jesse's "Christmas Hangover" to be had.

    image-2

    Gentleman Jesse plays w/ the Long Shadows. $5. 9 p.m. Thurs., Dec. 25. The Earl, 488 Flat Shoals Rd. 404-522-3950.             13033823 1372964   christmas-with-gentleman-jesse-at-the-earl     /mediaserver/atlanta/2015-17/music_preview2-1_34-3.jpg   /mediaserver/atlanta/2015-17/gj-xflier2.jpg               Christmas with Gentleman Jesse at The Earl "
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  string(2093) "Twas the night before Christmas, when all through the Loaf

    Not a creature was stirring – they'd all been laid off

    Well, it almost rhymes. For the handful of you not already been bored to tears with the ongoing saga of CL's turbulent excursion through the wondrous world of bankruptcy, I offer more holiday reading. The Chicago Reader reports that several employees at that paper got pink slips the week before Christmas.

    CLI has suffered ever since the sale, and its cost-cutting hasn't spared the Reader: Six more layoffs last Thursday reduced this paper's editorial staff to 17; it was 38 when the old owners sold Eason the paper.

    At the same time, our sister Loaf in Tampa cut some folks as well, including three in editorial, as editor David Warner explains:

    The options we face are grim: If we don’t streamline and refocus our newsroom operations, we won’t survive.

    Cheered up yet, everybody? The Charlotte Loaf didn't escape the ax, either; some remaining employees were asked to work fewer hours. And our Washington City Paper has also lost a couple of bodies, as reported in the latest tome by Atlanta Mag's own Steve Fennessy. In fact, for the first time, Steve – an ex-CLer himself – takes direct aim at company president Ben Eason:

    One thing he did not express in our discussions, nor has he in any public way to his own employees, is a sense of shame or even regret in presiding over the dismantling of local institutions. Nor has he acknowledged the human toll his decisions have exacted on his employees, who with every week, it seems, grow fewer in number.

    Finally, if you haven't already had your fill of schadenfreude at our expense, you may also enjoy this essay by longtime Loaf contributor and former editor Cliff Bostock:

    The fact is that practically no existing print publications have made a successful transition to digital presence. Almost all publications, regardless of web presence, have suffered huge losses in staff and income.

    Anyway, everybody, have a happy holiday!"
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  string(2510) "Twas the night before Christmas, when all through the ''Loaf''

    Not a creature was stirring – they'd all been laid off

    Well, it almost rhymes. For the handful of you not already been bored to tears with the ongoing saga of ''CL'''s turbulent excursion through the wondrous world of bankruptcy, I offer more holiday reading. The [http://blogs.chicagoreader.com/news-bites/2008/12/22/reader-remains-hands-creative-loafing/|''Chicago Reader'' reports] that several employees at that paper got pink slips the week before Christmas.

    CLI has suffered ever since the sale, and its cost-cutting hasn't spared the ''Reader:'''' ''Six more layoffs last Thursday reduced this paper's editorial staff to 17; it was 38 when the old owners sold Eason the paper.

    At the same time, our sister ''Loaf'' in Tampa [http://blogs.creativeloafing.com/dailyloaf/2008/12/19/creative-loafing-announces-layoffs/|cut some folks as well], including three in editorial, as editor David Warner explains:

    The options we face are grim: If we don’t streamline and refocus our newsroom operations, we won’t survive.

    Cheered up yet, everybody? The Charlotte ''Loaf ''[http://blogs.creativeloafing.com/theclog/2008/12/23/cuts-at-cl-and-other-alt-weeklies/|didn't escape the ax], either; some remaining employees were asked to work fewer hours. And our ''Washington City Paper'' has also lost a couple of bodies, as [http://www.atlantamagazine.com/blogs/resurgens.aspx?id=26342&blogid=262|reported in the latest tome] by ''Atlanta Mag'''s own Steve Fennessy. In fact, for the first time, Steve – an ex-''CL''er himself – takes direct aim at company president Ben Eason:

    One thing he did not express in our discussions, nor has he in any public way to his own employees, is a sense of shame or even regret in presiding over the dismantling of local institutions. Nor has he acknowledged the human toll his decisions have exacted on his employees, who with every week, it seems, grow fewer in number.

    Finally, if you haven't already had your fill of schadenfreude at our expense, you may also [http://cliffbostock.com/sacreddisorder/?p=104|enjoy this essay] by longtime Loaf contributor and former editor Cliff Bostock:

    The fact is that practically no existing print publications have made a successful transition to digital presence. Almost all publications, regardless of web presence, have suffered huge losses in staff and income.

    Anyway, everybody, have a happy holiday!"
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  string(2278) "       2008-12-24T23:07:00+00:00 Christmas cheer from CL   Scott Henry 1223597 2008-12-24T23:07:00+00:00  Twas the night before Christmas, when all through the Loaf

    Not a creature was stirring – they'd all been laid off

    Well, it almost rhymes. For the handful of you not already been bored to tears with the ongoing saga of CL's turbulent excursion through the wondrous world of bankruptcy, I offer more holiday reading. The Chicago Reader reports that several employees at that paper got pink slips the week before Christmas.

    CLI has suffered ever since the sale, and its cost-cutting hasn't spared the Reader: Six more layoffs last Thursday reduced this paper's editorial staff to 17; it was 38 when the old owners sold Eason the paper.

    At the same time, our sister Loaf in Tampa cut some folks as well, including three in editorial, as editor David Warner explains:

    The options we face are grim: If we don’t streamline and refocus our newsroom operations, we won’t survive.

    Cheered up yet, everybody? The Charlotte Loaf didn't escape the ax, either; some remaining employees were asked to work fewer hours. And our Washington City Paper has also lost a couple of bodies, as reported in the latest tome by Atlanta Mag's own Steve Fennessy. In fact, for the first time, Steve – an ex-CLer himself – takes direct aim at company president Ben Eason:

    One thing he did not express in our discussions, nor has he in any public way to his own employees, is a sense of shame or even regret in presiding over the dismantling of local institutions. Nor has he acknowledged the human toll his decisions have exacted on his employees, who with every week, it seems, grow fewer in number.

    Finally, if you haven't already had your fill of schadenfreude at our expense, you may also enjoy this essay by longtime Loaf contributor and former editor Cliff Bostock:

    The fact is that practically no existing print publications have made a successful transition to digital presence. Almost all publications, regardless of web presence, have suffered huge losses in staff and income.

    Anyway, everybody, have a happy holiday!             13045592 1446727                          Christmas cheer from CL "
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Below is our coverage and events for the 2008 Christmas.

!!List of Christmas Events:



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  string(1163) "image-1We took Wayne's mom to Christmas dinner at Chateau de Saigon (4300 Buford Hwy., 404-929-0034) last night. I reviewed the restaurant a few months back and it was positively reviewed by Meridith Ford Goldman of the AJC recently.

    The restaurant was doing a brisk business, with a large number of people apparently deciding against turkey in favor of banh trang cuon, the work-intensive dish that requires diners to make their own rice-paper wraps with a selection of ingredients. Wayne's mom and I demurred on the ordeal, but he ordered the version that includes lemongrass-flavored beef wrapped in wild betal leaves.

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    Air Loaf is broadcast weekdays on 1690 WMLB-AM at approximately 8:10 a.m., 12:20 p.m. and 6:20 p.m.

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    Today’s __Air Loaf__ features Max Arbes and ''CL'''s Curt Holman chatting about Dad's Garage's ''[http://atlanta.creativeloafing.com/gyrobase/characters_stage_sneak_attacks_during_invasion_christmas_carol_at_dad_s_garage/Content?oid=629103|Invasion: Christmas Carol]''. (Through Dec. 23)

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    [http://atlanta.creativeloafing.com/content/audio/12-08-08.mp3|Download]

    ''[http://blogs.creativeloafing.com/podcasts/feed/|Subscribe to the Air Loaf feed to download every new episode automatically.]''"
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During the Christmases of my childhood, I always enjoyed advent calendars and the daily ritual of opening a little door to reveal a new surprise for each day of December until the 25th. Taking the advent calendar as inspiration, this month I'll offer some tongue-in-cheek holiday blog entries, with the idea that clicking on, say, embedded video or "For the rest of this entry" lines are the online equivalent to opening a cardboard calendar window. First up is Invasion: Christmas Carol at Dad's Garage, which is the only version of the Scrooge story where you may hear a word like "bacne." Or "turduckephant."

    The Christmas Carol satire rejiggers the “invasion” concept the theater used in last year’s Invasion: Our Town. Both shows turn a theatrical classic upside down by the addition of a mid-show “invader” who’s not only new to the text, but hasn’t been seen by the rest of the cast, who have to incorporate the visitor on the fly. Dad’s likes to draft current or defunct roles from its long-running improvised soap opera Scandal! as the invader, and on Christmas Carol’s opening night Scott Warren played the Ghost of Christmas Past as a blustering barbarian in a loin clout. The nightly invader, isn’t the most surprising aspect of Invasion, however, but the casting of Ebenezer Scrooge himself. I’ll put the detail behind the cut to avoid spoilers, although the end of Dad’s trailer for the show gives it away:

    

    





    

    

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    The ''Christmas Carol'' satire rejiggers the “invasion” concept the theater used in last year’s [http://atlanta.creativeloafing.com/gyrobase/any_town_u_s_a_/Content?oid=210577|''Invasion: Our Town'']. Both shows turn a theatrical classic upside down by the addition of a mid-show “invader” who’s not only new to the text, but hasn’t been seen by the rest of the cast, who have to incorporate the visitor on the fly. Dad’s likes to draft current or defunct roles from its long-running improvised soap opera ''Scandal! ''as the invader, and on ''Christmas Carol’s'' opening night Scott Warren played the Ghost of Christmas Past as a blustering barbarian in a loin clout. The nightly invader, isn’t the most surprising aspect of ''Invasion'', however, but the casting of Ebenezer Scrooge himself. I’ll put the detail behind the cut to avoid spoilers, although the end of Dad’s trailer for the show gives it away:

    

    
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During the Christmases of my childhood, I always enjoyed advent calendars and the daily ritual of opening a little door to reveal a new surprise for each day of December until the 25th. Taking the advent calendar as inspiration, this month I'll offer some tongue-in-cheek holiday blog entries, with the idea that clicking on, say, embedded video or "For the rest of this entry" lines are the online equivalent to opening a cardboard calendar window. First up is Invasion: Christmas Carol at Dad's Garage, which is the only version of the Scrooge story where you may hear a word like "bacne." Or "turduckephant."

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  string(1593) "The Muppets have always been all over Christmas. Some of the Jim Henson holiday specials include  the "Emmet Otter's Jug-Band Christmas" from 1977; "John Denver and the Muppets: A Christmas Together" from 1979 (hey, we had that album), The Muppet Christmas Carol theatrical film (with Michael Caine as Scrooge) from 1992; and one of my favorites, It's a Very Merry Muppet Christmas Movie (with Joan Cusack as the villain) from 2002. "A Muppet Family Christmas" from 1987 deserves note as the only special to feature "crossover" appearances from the four major Muppet franchises: "Sesame Street," "The Muppet Show," "Fraggle Rock" and (ugh) "Muppet Babies." Incidentally, you can check out some of Jim Henson's actual puppets at an exhibit currently running at Center for Puppetry Arts.

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  string(911) "       2008-12-08T18:00:00+00:00 Clickable Advent Calendar, 8: A Charlie Brown Christmas   Curt Holman Curt Holman 2008-12-08T18:00:00+00:00  One of the most beloved — and refreshingly soft-spoken — animated TV specials ever made, "A Charlie Brown Christmas" airs on ABC tonight at 8 p.m. The first cartoon version of Charles M. Schulz's "Peanuts" comic strip was broadcast in 1965 and featured many unusual touches, such as the casting of children (many of them inexperienced) as voice actors, the Vince Guaraldi jazz-piano score and the lack of laugh track. Lots of parodies are out there, including "A Charlie Brown Christmas Performed by the Cast of 'Scrubs'" and the horribly NSFW "Charlie Brown Kwanzaa," but fans of Atlanta-based music probably appreciate this clip the best:

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  string(1876) "image-1Tonight, Dec. 18, ABC Family broadcasts the live-action Jim Carrey film How The Grinch Stole Christmas from 2000. Let us not speak of it again lest it sully our memories of the classic 1966 cartoon "How the Grinch Stole Christmas!" which isn’t just one of the best Christmas specials, but is one of the best pieces of animation made for television of any kind. Chuck Jones, who directed some of the greatest Looney Tunes shorts, was at the height of his powers for characterization and sight gags in rendering the Grinch and his hapless dog Max. (Here’s a fun bit of trivia: June Foray, who voiced Cindy Lou Who, was apparently the inspiration for the title of the Whos' Christmas carol “Fah Who Forays.”)

    Famous as the story is on page and screen, many don't know that Dr. Seuss's original How the Grinch Stole Christmas! has a "lost" ending, which was altered from the original manuscript to make the book more commercial. Here's the book's original conclusion:

    … Three thousand feet up! Up the side of Mt. Crumpit!

    He rode with his load to the tiptop to dump it!

    “Pooh-Pooh to the Whos!” he was grinch-ish-ly humming.

    “They’re finding out now that no Christmas is coming!

    “They’re just waking up! I know just what they’ll do!

    “Their mouths will hang open a minute or two

    “Then the Whos down in Who-ville will all cry BOO-HOO!”

    “That’s a noise,” grinned the Grinch,

    “That I simply MUST hear!”

    So he paused. And the Grinch put his hand to his ear.

    And he did hear a sound rising over the snow.

    It started in low. Then it started to grow …

    But the sound wasn’t sad!

    Why it sounded … mad!"
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  string(1958) "[image-1]Tonight, Dec. 18, ABC Family broadcasts the live-action Jim Carrey film ''How The Grinch Stole Christmas'' from 2000. Let us not speak of it again lest it sully our memories of the classic 1966 cartoon "[http://en.wikipedia.org/wiki/How_the_Grinch_Stole_Christmas!_(TV_special)|How the Grinch Stole Christmas!]" which isn’t just one of the best Christmas specials, but is one of the [http://www.youtube.com/watch?v=6S3KM92s-pg|best pieces of animation] made for television of any kind. [http://en.wikipedia.org/wiki/Chuck_Jones|Chuck Jones], who directed some of the greatest Looney Tunes shorts, was at the height of his powers for characterization and sight gags in rendering the Grinch and his hapless dog Max. (Here’s a fun bit of trivia: June Foray, who voiced Cindy Lou Who, was apparently the inspiration for the title of the Whos' Christmas carol “Fah Who Forays.”)

    Famous as the story is on page and screen, many don't know that Dr. Seuss's original ''How the Grinch Stole Christmas!'' has a "lost" ending, which was altered from the original manuscript to make the book more commercial. Here's the book's original conclusion:

    … Three thousand feet up! Up the side of Mt. Crumpit!

    He rode with his load to the tiptop to dump it!

    “Pooh-Pooh to the Whos!” he was grinch-ish-ly humming.

    “They’re finding out now that no Christmas is coming!

    “They’re just waking up! I know just what they’ll do!

    “Their mouths will hang open a minute or two

    “Then the Whos down in Who-ville will all cry BOO-HOO!”

    “That’s a noise,” grinned the Grinch,

    “That I simply MUST hear!”

    So he paused. And the Grinch put his hand to his ear.

    And he did hear a sound rising over the snow.

    It started in low. Then it started to grow …

    But the sound wasn’t sad!

    Why it sounded … mad!"
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  string(7403) "The economic downturn threatens to make 2008 one of the tightest Christmases ever. With a goal of making spirits bright, light-hearted DVD gifts may be bona fide necessities rather than luxuries. The following suggested comedies — some hip, some heart-warming — span seven decades with the hopes of offering something to amuse everyone on your multigenerational gift list. From digitally remastered films from Hollywood's golden age to nostalgic contemporary satires, they can even provide a literal answer to the question, "What's so funny about peace, love and understanding?"

Available in stores three days after its Nov. 23 cable debut, A Colbert Christmas (Comedy Central, $19.99) slightly repackages fake right-wing pundit Stephen Colbert as an all-purpose showbiz phoney. In dead-on parody of 1970s-style variety shows, A Colbert Christmas finds Colbert trapped in his mountain cabin by a hungry bear. He still manages to play host to such unexpected guests as Toby Keith, Jon Stewart, John Legend and Elvis Costello (whose seasonal costumes are nearly worth the price of admission alone). But who will Colbert kiss under the mistletoe?

A Colbert Christmas is a knockout thanks to the strength of the holiday parodies by David Javerbaum ("The Daily Show" executive producer) and Adam Schlesinger (songwriter and Fountains of Wayne co-founder), providing some of the best goofs on Christmas since "South Park's" Christmas specials. One of the most ingenious finds Canadian folk singer Feist riffing on "Angels We Have Heard on High" in the form of a call-waiting message from Heaven: "Due to increased prayer amounts, seraphim will have delays/Serving your prayer accounts for the next five million days."

Willie Nelson's song not only tweaks "The Little Drummer Boy," but specifically footnotes the beloved, inexplicable 1977 TV duet of the song between David Bowie and Bing Crosby, who didn't seem exactly sure who the other one was.

For a refresher as to why Crosby is almost synonymous with Christmas in some circles, check out the new release of 1942's Holiday Inn (Universal Studios, $26.98), which features Crosby singing the Christmas standard-of-standards, "White Christmas."

Holiday Inn falls a little short of classic status, relying on a thin plot about a passive-aggressive romantic triangle between Crosby, Fred Astaire and ingénue Marjorie Reynolds at a hotel/club that only opens for national holidays. But the film finds Crosby and Astaire in excellent form, and the veteran hoofer does a remarkable tap dance routine with firecrackers for the July 4 number. Knowing the seasonal premise, the film's appeal partly lies in seeing how legendary tunesmith Irving Berlin will write numbers about the likes of Thanksgiving or George Washington's birthday. (Warning: The Lincoln number, "Abraham," is performed in blackface in a sign of racial condescension that's almost shocking by contemporary standards.) Holiday Inn features three discs that offer the original black-and-white film, a new colorized version (meh) and a CD of the songs.

If you want to cultivate an appreciation of old black-and-white movies among the young people in your life, a good "gateway drug" may be Abbott & Costello: The Complete Universal Pictures Collection (Universal Studios, $119.98). Designed like a steamer trunk, the box contains 28 films from 1940-1955, featuring testy straight man Bud Abbott and boyish stooge Lou Costello. If you don't mind hostile physical comedy – Abbott slaps Costello in nearly every film – their movies can offer kids a light-hearted alternative to the ADD pace of most contemporary TV cartoons.

The pair's best films, particularly Abbott & Costello Meet Frankenstein (co-starring Bela Lugosi and Lon Chaney Jr. as Count Dracula and the Wolf Man, respectively) hold up very well and provide children a safe introduction to famous monsters. Most of the early films, such as Buck Privates, offer a glimpse of the American home front during World War II, while the best show snappy restagings of their vaudeville-honed shtick. The Naughty Nineties features the definitive version of their "Who's on First?" routine.

A Colbert Christmas coined the phrase, "Every time a bell falls, an angel gets its balls." Unbidden, that line came to mind during Tinker Bell (Walt Disney Video, $29.99), Disney's new direct-to-DVD CGI feature. Where Abbott and Costello may appeal more to boys, Tinker Bell targets girls more directly: Fairy is the new princess among Disney product streams. Tinker Bell offers the first of at least four planned films about Peter Pan's diminutive sidekick.

If not a modern classic, Tinker Bell proves surprisingly tolerable and features at least one laugh-out-loud gag (involving a nutcracker and a weeping squirrel). "Born" the first time a baby laughs, Tinker Bell discovers the realm of Pixie Hollow, where fairies guide the change of seasons. She's disappointed to learn that her talents place her among the tinkers, who build and fix things and are sort of like the unglamorous engineering majors at a liberal arts college. Despite no shortage of sappy self-actualization, Tinker Bell features unquestionably lovely animation, pleasant Celtic-style music, likeable characterizations and some sweet homages to Peter Pan lore. One could do a lot worse.

Two DVDs carry the spirit of homage in cheeky directions. Robot Chicken: Star Wars (Turner Home Entertainment, $14.98) presents 2007's all-Star Wars spoof of the stop-motion animated series from Cartoon Network's Adult Swim. Like a great Mad magazine-style parody, the grab bag of sketches and one-liners features consistently funny gags about the likes of Darth Vader and George Lucas, along with "yo momma" jokes and The Empire Strikes Back reimagined as an Ice Capades show. It's short at 22 minutes, but the disc offers plenty of behind-the-scenes extras, including clips of actor/director/co-creator Seth Green acting out all of the roles for the animators.

If you prefer to hear your pop references from real people instead of action figures, Spaced: The Complete Series (BBC Warner, $59.98) proves to be a little-known delight. The British sitcom from 1999-2001 showcases the early work of Shaun of the Dead and Hot Fuzz director Edgar Wright and writer/actor Simon Pegg. Pegg and co-writer Jessica Hynes play two bohemian twentysomethings who pass as a couple to share a flat, and cinematic flights of fantasy punctuate their scruffy, mundane days.

Spaced: The Complete Series features all 14 episodes from the show's two seasons, as well as exhaustive bonus features and guest commentaries from fellow showbiz geeks such as Quentin Tarantino and Kevin Smith. Not all the jokes click, but the show's quirky, idiosyncratic voice is innately appealing, particularly thanks to the comedic work of Pegg, and Hynes, who gives the show a female perspective frequently missing from fanboy-based entertainment.

DVDs usually don't come cheap, but an excellent way to get bargains is through the daily Gold Box deals on Amazon.com. Found via a gold-colored treasure-chest logo on Amazon's front page, the Deal of the Day offerings frequently provide themed discounts, such as 75 percent off any season of "Gilmore Girls." The day Quantum of Solace opened, for instance, the James Bond Ultimate Collector's Set was available for 69 percent off. Be prepared to click quickly."
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Available in stores three days after its Nov. 23 cable debut, ''A Colbert Christmas'' (Comedy Central, $19.99) slightly repackages fake right-wing pundit Stephen Colbert as an all-purpose showbiz phoney. In dead-on parody of 1970s-style variety shows, ''A Colbert Christmas'' finds Colbert trapped in his mountain cabin by a hungry bear. He still manages to play host to such unexpected guests as Toby Keith, Jon Stewart, John Legend and Elvis Costello (whose seasonal costumes are nearly worth the price of admission alone). But who will Colbert kiss under the mistletoe?

''A Colbert Christmas'' is a knockout thanks to the strength of the holiday parodies by David Javerbaum ("The Daily Show" executive producer) and Adam Schlesinger (songwriter and Fountains of Wayne co-founder), providing some of the best goofs on Christmas since "South Park's" Christmas specials. One of the most ingenious finds Canadian folk singer Feist riffing on "Angels We Have Heard on High" in the form of a call-waiting message from Heaven: "Due to increased prayer amounts, seraphim will have delays/Serving your prayer accounts for the next five million days."

Willie Nelson's song not only tweaks "The Little Drummer Boy," but specifically footnotes the beloved, inexplicable 1977 TV duet of the song between David Bowie and Bing Crosby, who didn't seem exactly sure who the other one was.

For a refresher as to why Crosby is almost synonymous with Christmas in some circles, check out the new release of 1942's ''Holiday Inn'' (Universal Studios, $26.98), which features Crosby singing the Christmas standard-of-standards, "White Christmas."

''Holiday Inn'' falls a little short of classic status, relying on a thin plot about a passive-aggressive romantic triangle between Crosby, Fred Astaire and ingénue Marjorie Reynolds at a hotel/club that only opens for national holidays. But the film finds Crosby and Astaire in excellent form, and the veteran hoofer does a remarkable tap dance routine with firecrackers for the July 4 number. Knowing the seasonal premise, the film's appeal partly lies in seeing how legendary tunesmith Irving Berlin will write numbers about the likes of Thanksgiving or George Washington's birthday. (Warning: The Lincoln number, "Abraham," is performed in blackface in a sign of racial condescension that's almost shocking by contemporary standards.) ''Holiday Inn'' features three discs that offer the original black-and-white film, a new colorized version (meh) and a CD of the songs.

If you want to cultivate an appreciation of old black-and-white movies among the young people in your life, a good "gateway drug" may be ''Abbott & Costello: The Complete Universal Pictures Collection'' (Universal Studios, $119.98). Designed like a steamer trunk, the box contains 28 films from 1940-1955, featuring testy straight man Bud Abbott and boyish stooge Lou Costello. If you don't mind hostile physical comedy – Abbott slaps Costello in nearly every film – their movies can offer kids a light-hearted alternative to the ADD pace of most contemporary TV cartoons.

The pair's best films, particularly ''Abbott & Costello Meet Frankenstein'' (co-starring Bela Lugosi and Lon Chaney Jr. as Count Dracula and the Wolf Man, respectively) hold up very well and provide children a safe introduction to famous monsters. Most of the early films, such as ''Buck Privates'', offer a glimpse of the American home front during World War II, while the best show snappy restagings of their vaudeville-honed shtick. ''The Naughty Nineties'' features the definitive version of their "Who's on First?" routine.

''A Colbert Christmas'' coined the phrase, "Every time a bell falls, an angel gets its balls." Unbidden, that line came to mind during ''Tinker Bell'' (Walt Disney Video, $29.99), Disney's new direct-to-DVD CGI feature. Where Abbott and Costello may appeal more to boys, ''Tinker Bell'' targets girls more directly: Fairy is the new princess among Disney product streams. ''Tinker Bell'' offers the first of at least four planned films about Peter Pan's diminutive sidekick.

If not a modern classic, ''Tinker Bell'' proves surprisingly tolerable and features at least one laugh-out-loud gag (involving a nutcracker and a weeping squirrel). "Born" the first time a baby laughs, Tinker Bell discovers the realm of Pixie Hollow, where fairies guide the change of seasons. She's disappointed to learn that her talents place her among the tinkers, who build and fix things and are sort of like the unglamorous engineering majors at a liberal arts college. Despite no shortage of sappy self-actualization, ''Tinker Bell'' features unquestionably lovely animation, pleasant Celtic-style music, likeable characterizations and some sweet homages to Peter Pan lore. One could do a lot worse.

Two DVDs carry the spirit of homage in cheeky directions. ''Robot Chicken: Star Wars'' (Turner Home Entertainment, $14.98) presents 2007's all-''Star Wars'' spoof of the stop-motion animated series from Cartoon Network's Adult Swim. Like a great ''Mad'' magazine-style parody, the grab bag of sketches and one-liners features consistently funny gags about the likes of Darth Vader and George Lucas, along with "yo momma" jokes and ''The Empire Strikes Back'' reimagined as an Ice Capades show. It's short at 22 minutes, but the disc offers plenty of behind-the-scenes extras, including clips of actor/director/co-creator Seth Green acting out all of the roles for the animators.

If you prefer to hear your pop references from real people instead of action figures, ''Spaced: The Complete Series'' (BBC Warner, $59.98) proves to be a little-known delight. The British sitcom from 1999-2001 showcases the early work of ''Shaun of the Dead'' and ''Hot Fuzz'' director Edgar Wright and writer/actor Simon Pegg. Pegg and co-writer Jessica Hynes play two bohemian twentysomethings who pass as a couple to share a flat, and cinematic flights of fantasy punctuate their scruffy, mundane days.

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DVDs usually don't come cheap, but an excellent way to get bargains is through the daily __Gold Box__ deals on [http://amazon.com/|Amazon.com]. Found via a gold-colored treasure-chest logo on Amazon's front page, the Deal of the Day offerings frequently provide themed discounts, such as 75 percent off any season of "Gilmore Girls." The day ''Quantum of Solace'' opened, for instance, the ''James Bond Ultimate Collector's Set'' was available for 69 percent off. Be prepared to click quickly."
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Available in stores three days after its Nov. 23 cable debut, A Colbert Christmas (Comedy Central, $19.99) slightly repackages fake right-wing pundit Stephen Colbert as an all-purpose showbiz phoney. In dead-on parody of 1970s-style variety shows, A Colbert Christmas finds Colbert trapped in his mountain cabin by a hungry bear. He still manages to play host to such unexpected guests as Toby Keith, Jon Stewart, John Legend and Elvis Costello (whose seasonal costumes are nearly worth the price of admission alone). But who will Colbert kiss under the mistletoe?

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Willie Nelson's song not only tweaks "The Little Drummer Boy," but specifically footnotes the beloved, inexplicable 1977 TV duet of the song between David Bowie and Bing Crosby, who didn't seem exactly sure who the other one was.

For a refresher as to why Crosby is almost synonymous with Christmas in some circles, check out the new release of 1942's Holiday Inn (Universal Studios, $26.98), which features Crosby singing the Christmas standard-of-standards, "White Christmas."

Holiday Inn falls a little short of classic status, relying on a thin plot about a passive-aggressive romantic triangle between Crosby, Fred Astaire and ingénue Marjorie Reynolds at a hotel/club that only opens for national holidays. But the film finds Crosby and Astaire in excellent form, and the veteran hoofer does a remarkable tap dance routine with firecrackers for the July 4 number. Knowing the seasonal premise, the film's appeal partly lies in seeing how legendary tunesmith Irving Berlin will write numbers about the likes of Thanksgiving or George Washington's birthday. (Warning: The Lincoln number, "Abraham," is performed in blackface in a sign of racial condescension that's almost shocking by contemporary standards.) Holiday Inn features three discs that offer the original black-and-white film, a new colorized version (meh) and a CD of the songs.

If you want to cultivate an appreciation of old black-and-white movies among the young people in your life, a good "gateway drug" may be Abbott & Costello: The Complete Universal Pictures Collection (Universal Studios, $119.98). Designed like a steamer trunk, the box contains 28 films from 1940-1955, featuring testy straight man Bud Abbott and boyish stooge Lou Costello. If you don't mind hostile physical comedy – Abbott slaps Costello in nearly every film – their movies can offer kids a light-hearted alternative to the ADD pace of most contemporary TV cartoons.

The pair's best films, particularly Abbott & Costello Meet Frankenstein (co-starring Bela Lugosi and Lon Chaney Jr. as Count Dracula and the Wolf Man, respectively) hold up very well and provide children a safe introduction to famous monsters. Most of the early films, such as Buck Privates, offer a glimpse of the American home front during World War II, while the best show snappy restagings of their vaudeville-honed shtick. The Naughty Nineties features the definitive version of their "Who's on First?" routine.

A Colbert Christmas coined the phrase, "Every time a bell falls, an angel gets its balls." Unbidden, that line came to mind during Tinker Bell (Walt Disney Video, $29.99), Disney's new direct-to-DVD CGI feature. Where Abbott and Costello may appeal more to boys, Tinker Bell targets girls more directly: Fairy is the new princess among Disney product streams. Tinker Bell offers the first of at least four planned films about Peter Pan's diminutive sidekick.

If not a modern classic, Tinker Bell proves surprisingly tolerable and features at least one laugh-out-loud gag (involving a nutcracker and a weeping squirrel). "Born" the first time a baby laughs, Tinker Bell discovers the realm of Pixie Hollow, where fairies guide the change of seasons. She's disappointed to learn that her talents place her among the tinkers, who build and fix things and are sort of like the unglamorous engineering majors at a liberal arts college. Despite no shortage of sappy self-actualization, Tinker Bell features unquestionably lovely animation, pleasant Celtic-style music, likeable characterizations and some sweet homages to Peter Pan lore. One could do a lot worse.

Two DVDs carry the spirit of homage in cheeky directions. Robot Chicken: Star Wars (Turner Home Entertainment, $14.98) presents 2007's all-Star Wars spoof of the stop-motion animated series from Cartoon Network's Adult Swim. Like a great Mad magazine-style parody, the grab bag of sketches and one-liners features consistently funny gags about the likes of Darth Vader and George Lucas, along with "yo momma" jokes and The Empire Strikes Back reimagined as an Ice Capades show. It's short at 22 minutes, but the disc offers plenty of behind-the-scenes extras, including clips of actor/director/co-creator Seth Green acting out all of the roles for the animators.

If you prefer to hear your pop references from real people instead of action figures, Spaced: The Complete Series (BBC Warner, $59.98) proves to be a little-known delight. The British sitcom from 1999-2001 showcases the early work of Shaun of the Dead and Hot Fuzz director Edgar Wright and writer/actor Simon Pegg. Pegg and co-writer Jessica Hynes play two bohemian twentysomethings who pass as a couple to share a flat, and cinematic flights of fantasy punctuate their scruffy, mundane days.

Spaced: The Complete Series features all 14 episodes from the show's two seasons, as well as exhaustive bonus features and guest commentaries from fellow showbiz geeks such as Quentin Tarantino and Kevin Smith. Not all the jokes click, but the show's quirky, idiosyncratic voice is innately appealing, particularly thanks to the comedic work of Pegg, and Hynes, who gives the show a female perspective frequently missing from fanboy-based entertainment.

DVDs usually don't come cheap, but an excellent way to get bargains is through the daily Gold Box deals on Amazon.com. Found via a gold-colored treasure-chest logo on Amazon's front page, the Deal of the Day offerings frequently provide themed discounts, such as 75 percent off any season of "Gilmore Girls." The day Quantum of Solace opened, for instance, the James Bond Ultimate Collector's Set was available for 69 percent off. Be prepared to click quickly.             13028584 1276384                          DVD gift guide featuring A Colbert Christmas, Robot Chicken: Star Wars and more "
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  string(2329) "Of all the versions of the Scrooge stories on stage this season, Dad's Garage's Invasion: Christmas Carol is the only one where you'll hear words like "bacne" or "turduckephant."

Created by the theater's improv ensemble and directed by Dan Triandiflou, the Christmas Carol satire rejiggers the "invasion" concept the theater used in last year's Invasion: Our Town. Both shows turn a theatrical classic upside down with the addition of a mid-show "invader" who's not only new to the text, but hasn't been seen by the rest of the cast. The visitor's then incorporated into the show on the fly. Dad's likes to draft current or defunct roles from its long-running improvised soap opera Scandal! as the invader, and on Invasion's opening night Scott Warren played the Ghost of Christmas Past as a blustering barbarian in a loin cloth.

The nightly invader, however, isn't the most surprising aspect of Invasion. The casting of a cross-dressing Amber Nash as Ebenezer Scrooge brings a fresh perspective to an overly familiar role. With her make-up, muttonchops and permanent scowl, Nash has something of a Dr. Zaius look about her. She gives Scrooge a delightfully bitchy energy, so it's a shame that much of the show inevitably makes Scrooge passive and regretful.

Invasion: Christmas Carol features many built-in opportunities for improv games, and at times the actors deliberately mess with each other to funny effect. Nash, for instance, can control the duration of the Christmas "present" scenes we see and require frantic quick changes from the actors playing multiple roles. The actors don't know where Scrooge's childhood scenes take place. On opening night we discover that Scrooge worked with his first employer Fezziwig at Myrtle Beach.

Where Invasion: Our Town felt like a more structured parody of Thornton Wilder's venerable text, Invasion: Christmas Carol is so loose and frivolous, at times it seems like the wheels will come off completely. Plus, even when the show features a funny invader such as Warren's barbarian, the show's still stuck with the role for the duration, even if he overstays his welcome. Fortunately the Scrooge story is so familiar and the actors nimble enough that the story survives, even though you're less likely to hear "Bah, humbug!" than an epithet like "By the leathery nipple of Hera!""
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Created by the theater's improv ensemble and directed by Dan Triandiflou, the ''Christmas Carol'' satire rejiggers the "invasion" concept the theater used in last year's ''Invasion: Our Town''. Both shows turn a theatrical classic upside down with the addition of a mid-show "invader" who's not only new to the text, but hasn't been seen by the rest of the cast. The visitor's then incorporated into the show on the fly. Dad's likes to draft current or defunct roles from its long-running improvised soap opera ''Scandal!'' as the invader, and on ''Invasion'''s opening night Scott Warren played the Ghost of Christmas Past as a blustering barbarian in a loin cloth.

The nightly invader, however, isn't the most surprising aspect of ''Invasion''. The casting of a cross-dressing Amber Nash as Ebenezer Scrooge brings a fresh perspective to an overly familiar role. With her make-up, muttonchops and permanent scowl, Nash has something of a Dr. Zaius look about her. She gives Scrooge a delightfully bitchy energy, so it's a shame that much of the show inevitably makes Scrooge passive and regretful.

''Invasion: Christmas Carol'' features many built-in opportunities for improv games, and at times the actors deliberately mess with each other to funny effect. Nash, for instance, can control the duration of the Christmas "present" scenes we see and require frantic quick changes from the actors playing multiple roles. The actors don't know where Scrooge's childhood scenes take place. On opening night we discover that Scrooge worked with his first employer Fezziwig at Myrtle Beach.

Where ''Invasion: Our Town'' felt like a more structured parody of Thornton Wilder's venerable text, ''Invasion: Christmas Carol'' is so loose and frivolous, at times it seems like the wheels will come off completely. Plus, even when the show features a funny invader such as Warren's barbarian, the show's still stuck with the role for the duration, even if he overstays his welcome. Fortunately the Scrooge story is so familiar and the actors nimble enough that the story survives, even though you're less likely to hear "Bah, humbug!" than an epithet like "By the leathery nipple of Hera!""
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Created by the theater's improv ensemble and directed by Dan Triandiflou, the Christmas Carol satire rejiggers the "invasion" concept the theater used in last year's Invasion: Our Town. Both shows turn a theatrical classic upside down with the addition of a mid-show "invader" who's not only new to the text, but hasn't been seen by the rest of the cast. The visitor's then incorporated into the show on the fly. Dad's likes to draft current or defunct roles from its long-running improvised soap opera Scandal! as the invader, and on Invasion's opening night Scott Warren played the Ghost of Christmas Past as a blustering barbarian in a loin cloth.

The nightly invader, however, isn't the most surprising aspect of Invasion. The casting of a cross-dressing Amber Nash as Ebenezer Scrooge brings a fresh perspective to an overly familiar role. With her make-up, muttonchops and permanent scowl, Nash has something of a Dr. Zaius look about her. She gives Scrooge a delightfully bitchy energy, so it's a shame that much of the show inevitably makes Scrooge passive and regretful.

Invasion: Christmas Carol features many built-in opportunities for improv games, and at times the actors deliberately mess with each other to funny effect. Nash, for instance, can control the duration of the Christmas "present" scenes we see and require frantic quick changes from the actors playing multiple roles. The actors don't know where Scrooge's childhood scenes take place. On opening night we discover that Scrooge worked with his first employer Fezziwig at Myrtle Beach.

Where Invasion: Our Town felt like a more structured parody of Thornton Wilder's venerable text, Invasion: Christmas Carol is so loose and frivolous, at times it seems like the wheels will come off completely. Plus, even when the show features a funny invader such as Warren's barbarian, the show's still stuck with the role for the duration, even if he overstays his welcome. Fortunately the Scrooge story is so familiar and the actors nimble enough that the story survives, even though you're less likely to hear "Bah, humbug!" than an epithet like "By the leathery nipple of Hera!"             13028667 1276577                          Theater Review - Characters stage sneak attacks during Invasion: Christmas Carol at Dad's Garage "
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