Yes, and…

The improv company I work for and take classes from, ComedySportz L.A., doesn’t just have teams or classes for actors and other performers. A big part of their business — for all of the ComedySportz Teams worldwide — is to provide training in improvisation for major companies using improv’s “unique ability to foster collaboration, inspiration, gratitude and fun.” Non-performers use these techniques for various reasons, from becoming better public speakers, to being better problem solvers who can think on their feet, to being better listeners.

I’m not plugging the company here, although if you own a business and want to do some great team-building, or want to just have a talented troupe of professional improvisers come out to entertain you, give them a call and tell them I sent you.

What I really wanted to write about was my personal experience with this synergy of art and business. One of the things that CSz (the official abbreviation) does is to have one-day intensive workshops that serve as both a refresher in basic skills for experienced improvisers as well as intros to the art form for people who’ve never done it before, whether they’re experienced actors or non-performers. My original entrée to ComedySportz was via a one-day intensive as a performer who’d never really done improv before (because it scared the crap out of me), and that got me hooked.

Since then, whenever the opportunity has come up to do an intensive and I’ve been able to, you can be sure I’ve done it — one of the great things about them is that it’s usually a different teacher every time, and that’s another way to build experience. They’ll explain things slightly differently than another teacher and see things in your strengths and weaknesses that the others haven’t.

Last Saturday, was another re-visit to the basics. This time around, there were five students. Besides myself, there was one other experienced improviser who’s also a friend of mine because of the company, and our teacher has decades of experience. The other three students, though, were not only first-time improvisers, but none of them were performers, either.

And this is where the true power of improvisation shines, and why everybody should give it a try at least once in a safe and controlled environment like this — because, time and time again, I’ve watched people who’ve never even been on stage before start out being very self-conscious and nervous and afraid to do anything, but within forty-five minutes, all of that has vanished, and they’re just going for it and having a lot of fun.

Don’t think that actors or singers have it any easier, though. I’d performed on stage a bunch of times since an early age first as a musician and then as an actor before I took my first improv class, and I was just as self-conscious and nervous and afraid, too. See, musicians and actors usually get to rehearse and frequently have sheet music and scripts, so it’s easy. Make it up on the spot? Oh no! Scary!

Except, there’s this funny thing about humans. We are natural story-tellers. We may not always realize it, but think about every single conversation you’ve ever had. You enter it with a point of view, and probably with some purpose in having it, whether it’s to ask a stranger for directions or explain to your boss why the Fergus account documents aren’t ready yet. We naturally arrange things with a beginning, middle, and ending, too, whether we know it or not.

“When I went out to my car this morning” (beginning) “there was a moose sitting on my hood” (middle, and some complication) “and I couldn’t do anything until animal control showed up and led it away” (more middle, and some resolution) “But I had to catch an Uber because my car was squished, so, sorry I’m late” (ending, along with the reason for the story).

It’s easy when we do it in real life. The trick is to realize that we do it in real life, then figure out how to bring real life onto the stage. And here’s big ol’ bonus tip for any performer or artist or writer: When you bring real life into it, you bring your audience into it. Period. Sure, you can be clever and intellectual as hell, and that’ll amuse some people, but (and, as a lit nerd, it pains me to write this…) how many people have read Finnegans Wake vs. how many people have read the Fifty Shades books? Or, beyond actually reading either, how many people in general could tell you anything about the former, vs. non-fans who could still tell you quite a bit about the latter?

So if you’ve had human experience, you already have relatable material to bring to the table. All you need to do then is to hang on to the recognizable parts of it while getting fanciful with the details. Take the mundane bits of your work life, but play them out in terms of a medieval knight and his squire. Describe the day that you had the worst commute ever because the train broke down, there was a taxi strike, and all the ride shares were on surge pricing, but you’re part of the Time Patrol trying to save Mars from certain destruction. Tell us about that stupid bureaucratic encounter you had at the DMV where a smudged line on one stupid form threatened to put your appointment off for eight months, except that now you’re Columbus in line at the Royal Trip Funding office, trying to convince some flunky of Ferdinand and Isobel to finance your expedition.

The permutations are endless. Basically, take what you know, tell it as you know it, but change the details and have fun. Maybe the characters are animals, or historical figures, or inanimate objects. Whatever. Endow them with that, then follow through.

For example — if Columbus and his crew had all been rabbits, what would the logical end result have been once those ships had been out to sea for a while?

But I’m jumping ahead and behind myself. The real point here is how amazing it is to watch non-performers go through these improv exercises and very quickly move from “Oh no, I’m scared, people will make fun of me” to “OMG this is the most fun I’ve ever had with my clothes on! What’s next?”

And that’s been my real experience. I’ve watched people be too afraid to really even make it through their class introduction without stuttering, muttering, and practically wetting themselves. Three exercises later, boom. They are dancing and prancing and making stupid sounds and having a blast with the rest of us, without a care about what anyone else thinks. A little bit later, they are coming up with scary creative stuff because they’ve turned off that censor-chip in their head — and that is where the magic happens. Stop editing, stop censoring, start being… boom. Creativity explodes.

And then we get to the inevitable end of the intensive, which ends the same way that all of the CSz L.A. shows do: Time for a jump-out pun game, and this is when something really interesting happens, every single time. All of that creativity and fearlessness in the first-timers goes away, and it’s fascinating to watch because it’s so relatable.

One of the games that we usually end these classes with is called 185, although the number may vary depending on which company or city it’s being performed in. The basic set-up is this: the players get an audience suggestion and then tells this joke:

“185 [suggestions] walk into a bar, and the bartender says, ‘Hey, we don’t serve [suggestions] here!’ And the [suggestions] say, [joke].”

(Aside: A more recent variation has the bartender say instead that the bar is closed, and I actually prefer that one because the old wording calls back to days when humans were refused service based on race or religion, even if the game only deals with objects or abstract concepts.)

Here’s an example of the joke with the blanks filled in:

“185 pencils walk into a bar, and the bartender says, ‘Hey, we don’t serve pencils here!’ And the pencils say, ‘Well, this trip was pointless.’”

Yes, these jokes are supposed to be the worst of every conceivable pun or dad joke around. And, as I’ve discovered over the time I’ve been doing it, making puns for games like this is one of my improv superpowers. However, it’s not an impossible skill to acquire, and our teacher on Saturday shared a bit of knowledge with us that I’d never thought of before, maybe because it’s what I’ve always instinctively done.

For a game like this, think about the suggestion, either in broad or narrow terms. For example, if the suggestion is “cars,” you can think about all the things a car has — wheels, brakes, hood, headlights, gear-shift, transmission, etc. — or you can think of kinds of car — sedan, limousine, Mercedes, beater, VW, Uber, etc. Then, all you have to do is come up with a phrase or sentence that ends with that word. Boom — there’s your pun game joke.

Now this bit of advice came after we’d been through a few suggestions and it turned out that either I or the other regular performer had to jump out most of the time because nobody else was taking the chance. Lo and behold, once our teacher explained, then had everybody think of one thing associated with the suggestion (tightrope walker), and told them that this was going to be their punchline, ta-da: Five jokes in a row, every one of which worked.

“185 improvisers walk into a bar, and the bartender says, ‘Sorry, we’re closed.’ And the improvisers say, ‘Hey, are you trying to be punny?’”

I didn’t say you always got good jokes, but you’d be surprised how hard an audience will laugh at the stupidest puns if you deliver them with conviction. And so I will end this tale with both a pun and good advice: How is a good performer like a prisoner?

Neither one gets there without conviction.

Thanks and good night, and don’t forget to tip your server…

The odd origins of 7 city names in Los Angeles County

A lot of place names for cities and streets are pretty straightforward. They come from famous people, frequently those involved with its founding: Burbank, Lankershim, Van Nuys; or from physical features: La Mirada, La Puente, Eagle Rock. But some place names have slightly weirder origins. Here are a few from my home county of Los Angeles.

  1. Agoura Hills: This somewhat rustic and suburban enclave is located on the extreme western edge of the county, a bit beyond the West Valley made famous as the birthplace of the Valley Girl archetype. Originally, most of it belonged to a sheep ranch owned in the 19th century by a man named Pierre Agoure. By the 20th century, the place was called “Picture City,” because Paramount studios owned their own ranch out there and various film companies used it to shoot their own. When the residents needed to establish a post office, they had to come up with a name, and they voted in 1927. In a very pre-internet version of Boaty McBoatface, the winner decided to name it after that sheep rancher, but whether the person who made the nomination goofed up or the government worker who tallied the entries is anyone’s guess. Nonetheless, Pierre Agoure became the namesake of Agoura, later Agoura Hills.
  2. Azusa: This is a neighborhood out beyond Pasadena. Marketers would love to have you think that this town was named because it has “Everything from A to Z in the USA,” but that’s just a bunch of bunk. In reality, like many place names in California, this one was stolen from the natives, in this case the Tongva, who called the area Asuksagna, their word for “skunk place.” As someone who’s driven on the freeway through the area multiple times on evenings when, as we like to put it, “a skunk went off in the hills,” it’s a rather apt description. You can smell those cute but dank little buggers for miles, whether your windows are up or down. Other place names Tongva have given us are Canoga Park and Tujunga.
  1. Echo Park: Located not too far from downtown, you’ve probably seen this lake and its fountains in many a film and music video. This is one of those place name origins that will sound like a total urban legend until you get to the explanation. When this artificial lake was built in 1892, Superintendent of City Parks Joseph Henry Tomlinson picked the name Echo Park because, well, that’s what he heard when people shouted at the construction site — but those echoes went away as soon as the project was finished. It sounds weird until you realize that, in order to create an artificial lake, human engineers had to create a gigantic concrete quarry first, so while that thing was set up and empty, of course it was echo city. But as soon as it was filled with water, ta-da: Echoes no more. Doesn’t seem so weird now, does it?
  1. Los Feliz: Directly south of Griffith Park and probably most famous because Swingers was shot in the Dresden Room right in the middle of town, Los Feliz is one of those interesting places in L.A. that not only seems to be named wrong, but which everyone pronounces wrong. On its face, “los” is a plural article but “feliz” is a singular noun. It’s a Spanish thing, but the expression should be either el or la feliz, for “the happy one” (feliz doesn’t change regarding the gender) or los or las felices, for “the happy ones.” On top of that, people in L.A. tend to pronounce it as “Las FEELis,” rather than the correct way, “Los FayLEASE.” (If you know the song “Feliz Navidad,” then you know how the word is supposed to be pronounced.) Now here’s where it gets more interesting. “Los Feliz” is actually correct, but for only one reason. It doesn’t refer to a happy person or persons. Rather, it refers to an entire family with the surname Feliz, founded by a Spanish explorer named José Feliz. They owned land in the area for years, had a very colorful history, and, in this case, Los Feliz correctly refers to the Feliz family. Unlike English, where you might refer to “The Smiths” to mean the entire Smith Family, Spanish only changes the article, so “Los Feliz” really means “the Feliz family.”
  1. Sylmar: This is way up on the north central part of the San Fernando Valley, and a place that is more known by name than by anyone actually ever going there. This one is short and sweet. The name was created by cobbling together the Latin words for forest and sea: sylvia and mar. (Sylvia is also part of the name of the state of Pennsylvania — Penn’s forest.) At the time it was named, the place had a lot of olive trees and was the location of Olive View Hospital, which was destroyed in an event that will be forever associated with the city, the Sylmar Earthquake of 1971.
  1. Tarzana: Mostly known as that bedroom community stuck up in the hills that tries to keep Woodland Hills and Reseda from banging into each other, Tarzana has a simple etymology that looks like it’s made up, but it’s not. It’s where Edgar Rice Burroughs eventually retired to. Ol’ Edgar was most famous for creating the character called Tarzan. The place needed a name, he was a famous resident. Ta-da: Tarzana.
  1. Venice: While it’s not a huge leap to realize that Venice, California, was named after Venice, Italy, if you only know this hippie/hipster hangout stuck between Santa Monica and LAX for its boardwalk and colorful people and street vendors, it’s easy to forget that it was originally absolutely intended to recreate the original Venice, right down to the canals — some of which are still there, although you do have to travel a bit inland to find them. The main plaza leading to the beach was also designed to resemble Piazza San Marco in the original Venice, although on a much smaller scale. Its founder, Abbot Kinney, was a polyglot who spoke six languages, and eventually made his fortune from tobacco. Originally called Venice of America, it opened in 1905, and was an immediate success. Kinney died of lung cancer as karma took its revenge in 1920. Nearly a century later, Venice is still a success as one of the more recognizable and unique parts of L.A., and well worth the visit for tourists and locals alike.

What are some interesting place names with weird origins where you live? Share in the comments!

Pursue what scares you because it will make you stronger

After a month off for the holidays, it’s nice to be back on the improv stage again, and in tonight’s match I was captain of the blue team and we won, 25 to 20.

If that terminology for improv seems strange, let me give a brief explanation. I do improv for ComedySportz — the Rec League, the starter rung, as it were, of their performance groups. They also have the Sunday Team and the Main Company. It’s an international franchise, founded in Milwaukee Wisconsin in 1984. The L.A. company opened in 1987 and it’s the longest-running comedy show in town.

If you don’t know what the term “improv” means, then you might recognize it from shows like “Whose Line Is It, Anyway?” It’s basically comedy that is made up on the spot by the performers with a lot of possible games, which generally divide into two broad categories: Scene games, in which the players are performing a scene about characters with specific relationships in a particular setting with the goal of finding a conflict and a resolution; and non-scene games, in which the goals revolve around things like wordplay, puns or rhymes.

There’s also short-form and long-form improv, the latter known as a “Harold,” but what I do is strictly short-form. The ComedySportz twist is that each match, which consists of a number of games, is performed by two competing teams, Blue stage right and Red stage left, moderated by a referee and with an announcer keeping score. Matches usually have two halves, which open and close with a head-to-head or team vs. team game, then alternating single-team games. Sometimes, there will also be another head-to-head game in the middle of a half. This is all in keeping with the sports (or sportz) analogy — and if you’re wondering why it’s “sportz,” that goes back to the mothership in Milwaukee, a city with a strong Polish-American heritage, and a lot of Polish words either end with or have a Z in them.

But that’s not the point of this story. The point is a note that I got about a non-scene game that we played to open the second half of the match. This is a rhyming and singing game in which we line up alternating red and blue team members, then sing a particular song using a suggested name from the audience. The first person gets to just use the name. The second person has to use a rhyming word. The third person has to come up with three rhymes that haven’t been used yet. So, for example, if the name is “Jon,” the first person uses “Jon,” the second might use “gone,” and the third could use “con,” “non,” and “pawn.” The pattern repeats, so that every third person has to come up with three rhymes.

Needless to say, the more times around it goes, the harder it gets for that person in the three-rhyme spot to hang on, and people are eliminated if they hesitate, break the rhythm, or repeat a rhyme. Homophones are okay, though, so if the original name were Jim, for example, the words gym and gem would be acceptable, provided that the differences were clear in context: “He goes to the gym,” and “his ring has a gem,” for example.

And when I first started learning improv, although I loved to watch this game, the idea of doing it scared the holy crap out of me. And, in fact, every single time I tried to play it in class or when I first joined the Rec League, I would be (clap clap) “out of there” during the first or second pass because I’d either repeat or totally freeze up.

But the entire reason I’d started taking improv classes in the first place was because I loved the art form but it scared the hell out of me to actually do it. And the more classes I took the more I realized that I liked it, so a big note I gave myself when I actually started performing for people was this: Play the games that scare you silly.

This was one of them, and by forcing myself to keep playing it, I’ve managed to go from “person who gets thrown out on the first or second pass” to “guy who keeps winning it.” That’s not an attempt to brag, by the way. It’s just the lesson I’ve learned. You can absolutely get good at something that terrifies you if you put the fear aside and do it. And what is that fear about, really? It’s the fear of failure. And yeah… every time I used to play this game, I would fail badly and get called out early. But as soon as I put aside that fear, a funny thing happened. If I got called out early, so what? And if I didn’t, I was just having fun, and the more fun I had the easier it became to keep on going to the end.

A really nice personal culmination to all of this came tonight when we got notes after our first match of 2019. The note I got basically boiled down to, “You’re really great at this game, but please don’t be so great when your team is ahead at the start of the half.” In other words, intentionally fail at what you’re good at so we can keep this as more of a horse race. Which, in a strange way, is really kind of the next level thing I need to latch onto in my improv progress: Failing spectacularly in this genre is just as good as winning it all.

So, note to self: Keep playing games that terrify you while not being afraid to fall on your sword when it will make the other team look good.

I would have learned none of this, by the way, had I not gotten over my initial fear of actually doing improv and starting classes in the first place. If you’re interested in doing improv and have a ComedySportz franchise in your city, look them up. Especially if you’re interested in doing it but also scared to death of trying because, trust me, three or four classes in, your fear will be a thing of the past.

Tin cup time

Hello, all, and I really hate to do this, but… for a decade, I had a great job as a content creator for the website for somebody you all would have heard of, but I’m not going to exploit that name. All I’ll say is that the company went tits up, so I wound up going freelance, and creating this site, and doing for it what I used to do for them. And, flash forward, it’s been hard to find a replacement for what I had, so I’m going to be ridiculous and annoying, but that seems to be the state of the art today.

Step One: If you like what I’m writing here, then please go over to that “Tip Jar” link up on the top left, click it, and toss me some dosh.

Step Two: If you need a copy editor, copywriter, or someone who can make your online content sing and sell via SEO power and marketing power and whatever… click that “Content” thing and ask me.

Step Three: If you don’t need any of my above services but like to patronize artists Renaissance style… click and give away.

New Horizons

I’ve always been a giant nerd for three things: History, language, and science. History fascinates me because it shows how humanity has progressed over the years and centuries. We were wandering tribes reliant on whatever we could kill or scavenge, but then we discovered the secrets of agriculture (oddly enough, hidden in the stars), so then we created cities, where we were much safer from the elements.

Freed from a wandering existence, we started to develop culture — arts and sciences — because we didn’t have to spend all of our time picking berries or hunting wild boar. Of course, at the same time, we also created things like war and slavery and monarchs, which are really the ultimate evil triumvir of all of humanity, and three things we really haven’t shaken off yet, even if we sometimes call them by different names. At the same time, humanity also strove for peace and freedom and equality.

It’s a back and forth struggle as old as man, sometimes forward and sometimes back. It’s referred to as the cyclical theory of history. Arthur Schlesinger, Jr. developed the theory with specific reference to American history, although it can apply much farther back than that. Anthony Burgess, author of A Clockwork Orange, explored it specifically in his earlier novel The Wanting Seed, although it could be argued that both books cover two different aspects of the cycle. The short version of the cycle: A) Society (i.e. government) sees people as good and things progress and laws become more liberal. B) Society (see above) sees people as evil and things regress as laws become harsher and draconian, C) Society (you know who) finally wakes up and realizes, “Oh. We’ve become evil…” Return to A. Repeat.

This is similar to Hegel’s Dialectic — thesis, antithesis, synthesis, which itself was parodied in Robert Anton Wilson and Robert Shea’s Illuminatus! Trilogy, which posited a five stage view of history instead of three, adding parenthesis and paralysis to the mix.

I’m not entirely sure that they were wrong.

But enough of history, although I could go on about it for days. Regular readers already know about my major nerdom for language, which is partly related to history as well, so let’s get to the science.

The two areas of science I’ve always been most interested in also happen to be at completely opposite ends of the scale. On the large end are astronomy and cosmology, which deal with things on scales way bigger than what we see in everyday life. I’m talking the size of solar systems, galaxies, local clusters, and the universe itself. Hey, when I was a kid, humans had already been in space for a while, so it seemed like a totally normal place to be. The first space disaster I remember was the Challenger shuttle, and that was clearly human error.

At the other end of the size scale: chemistry and quantum physics. Chemistry deals with interactions among elements and molecules which, while they’re too small for us to see individually, we can still see the results. Ever make a vinegar and baking soda volcano? Boom! Chemistry. And then there’s quantum physics, which deals with things so small that we can never actually see them, and we can’t even really be quite sure about our measurements of them, except that the models we have also seem to give an accurate view of how the universe works.

Without understanding quantum physics, we would not have any of our sophisticated computer devices, nor would we have GPS (which also relies on Einstein’s Relativity, which does not like quantum physics, nor vice versa.) We probably wouldn’t even have television or any of its successors, although we really didn’t know that at the time TV was invented, way before the atomic bomb. Not that TV relies on quantum mechanics, per se, but its very nature does depend on the understanding that light can behave as either a particle or a wave and figuring out how to force it to be a particle.

But, again, I’m nerding out and missing the real point. Right around the end of last year, NASA did the amazing, and slung their New Horizons probe within photo op range of the most distant object we’ve yet visited in our solar system. Called Ultima Thule, it is a Kuiper Belt object about four billion miles away from earth, only about 19 miles long, and yet we still managed to get close enough to it to get some amazing photos.

And this really is the most amazing human exploration of all. New Horizons was launched a generation or two after both Viking probes, and yet got almost as far in under half the time — and then, after rendezvousing with disgraced dwarf planet Pluto went on to absolutely nail a meeting with a tiny rock so far from the sun that it probably isn’t even really all that bright. And all of this was done with plain old physics, based on rules worked out by some dude in the 17th century. I think they named some sort of cookie after him, but I could be wrong. Although those original rules, over such great distances, wouldn’t have really worked out without the tweaking that the quantum rules gave us.

Exploring distant space is really a matter of combining our knowledge of the very, very big with the very, very small — and this should really reflect back on our understanding of history. You cannot begin to comprehend the macro if you do not understand the micro.

Monarchs cannot do shit without understanding the people beneath them. This isn’t just a fact of history. For the scientifically inclined, the one great failing of Einstein’s theories — which have been proven experimentally multiple times — is that they fall entirely apart on the quantum level. This doesn’t mean that Einstein was wrong. Just that he couldn’t or didn’t account for the power of the very, very tiny.

And, call back to the beginning: Agriculture, as in the domestication of plants and animals, did not happen until humans understood the cycle of seasons and the concept of time. Before we built clocks, the only way to do that was to watch the sun, the moon, and the stars and find the patterns. In this case, we had to learn to pay attention to the very, very slow, and to keep very accurate records. Once we were able to predict things like changes in the weather, or reproductive cycles, or when to plant and when to harvest, all based on when the sun or moon rose or set, ta-da. We had used science to master nature and evolve.

And I’ve come full circle myself. I tried to separate history from science, but it’s impossible. You see, the truth that humanity learns by objectively pursuing science is the pathway to free us from the constant cycle of good to bad to oops and back to good. Repeat.

Hey, let’s not repeat. Let’s make a concerted effort to agree when humanity achieves something good, then not flip our shit and call it bad. Instead, let’s just keep going ever upward and onward. Change is the human condition. If you want to restore the world of your childhood, then there’s something wrong with you, not the rest of us. After all, if the negative side of humanity had won when we first learned how to domesticate plants and animals and create cities, we might all still be wandering, homeless and nearly naked, through an inhospitable world, with our greatest advancements in technology being the wheel and fire — and the former not used for transportation, only for grinding whatever plants we’d picked that day into grain. Or, in other words, moderately intelligent apes with no hope whatsoever of ever learning anything or advancing toward being human.

Not a good look, is it? To quote Stan Lee: “Excelsior!”

Onward. Adelante. Let’s keep seeking those new and broader horizons.

A company town

Despite its size, Los Angeles is a company town, and that company is entertainment — film, television, and music, and to a lesser extent gaming and internet. So, growing up here, seeing film crews and running into celebrities all over the place was always quite normal. Hell, I went to school with the kids of pretty big celebrities and never thought much of it. “Your dad is who? Whatever.”

But here’s one thing I don’t think a lot of non-locals understand: None of the major studios are actually in Hollywood. How the city of Hollywood — which is where I was actually born — became conflated with the movies is a very interesting story. Once upon a time, there were some studios there. Charlie Chaplin built his at La Brea and Sunset in 1917. It was later owned by Herb Alpert, when it was A&M Studios and produced music. Currently, it’s the location of the Jim Henson Company. The Hollywood Hills were also a popular location for celebrities to live, and a lot of the old apartment buildings in the city were originally designed for young singles who worked in the industry.

Come to think of it, they still serve that purpose, although given the cost of rent in this town, a lot of those studio units are cramming in two tenants.

The one thing that Hollywood did have in abundance: Movie premieres, and that’s still the case to this day. The Chinese, The Egyptian, and the El Capitan are perennial landmarks, and the Boulevard itself is quite often still closed down on Wednesdays for red carpet openings. Although Broadway downtown also boasts its own movie palaces from the golden age of cinema, it was always Hollywood Boulevard that had the great grand openings. It’s also still home to the Pantages, which is the biggest live theater venue outside of downtown, although they generally only do gigantic Broadway style musicals. (Side note on the Chinese Theater — although it’s technically called the TCL Chinese because, owners, nobody refers to it that way, and you’re still more likely to hear it called what it always was: Grauman’s Chinese Theater. Want to sound like a local? That’s how you do it. You’re welcome.)

There is one Hollywood tradition that does not date from the golden age of cinema, though, and it might surprise you. The Hollywood Walk of Fame wasn’t proposed until the 1950s, and construction on it didn’t begin until 1960 — long after all of the movie studios had left the area.

In case you’re wondering where those studios went, a number of them are in the oft-derided Valley: Universal in Studio City (they like to call themselves “Hollywood” but they’re not), Warner Bros. in Burbank, Disney in Burbank and Glendale, and Dreamworks Animation SKG in Glendale (across from Disney Animation!) all come to mind — and damn, I’ve worked for three out of four of them. On the other side of the hill, in L.A. proper, Sony is in Culver City, 20th Century Fox is in Century City (which was named for the studio), and Paramount is in L.A. proper, right next to RKO, which really isn’t doing much lately, both due south of Hollywood and right behind the Hollywood Forever Cemetery — which isn’t in Hollywood either, but which has a large number of dead celebrities. I think that covers most of the majors. YouTube Studios is in Playa del Rey, on the former sight of the Hughes helicopter factory that also happens to be right below the university I went to for film school, Loyola Marymount.

Like I said, company town.

The other fun part about growing up here is all of the film locations that I see every day, and there are tons. Ever see Boogie Nights? Well, most of that film was basically shot within a five mile radius of where I grew up, with only a few exceptions. Dirk Diggler’s fancy new house once he became a porn star? Yeah, my old hood. Location of the club where Burt Reynold’s character finds Mark Wahlberg’s character? I took music lessons a few blocks away from there. Parking lot where Dirk is mistakenly gay-bashed? Pretty close to the public library where I fell in love with reading.

Remember The Brady Bunch or the movies? Well, that house is only a couple of miles away from where I live now. The OG bat cave? Let me take you to Griffith Park. If you’ve ever seen Myra Breckenridge (you should if you haven’t) the place where Myra dances in the opening is right next to where Jimmy Kimmel does his show now and two doors down from the now Disney-owned El Capitan.

The Loved One (an amazing movie) — Forest Lawn Glendale, where I happen to have at least four ancestors buried. Xanadu? The major setting was the Pan Pacific Auditorium, which was a burned down wreck in my day, but it’s where my dad used to go on date night to roller skate. Go to the Vista Theatre? It sits on the site where D.W. Griffith built one of his biggest sets for Intolerance, his “mea culpa” for making The Birth of a Nation.

I’m not even going to get into how many times the complex I live in has been used for various epic TV shoots (which is a lot) or, likewise, how the area in NoHo I work in is used by everybody, from YouTubers to major studios. Although, I can tell you that having to put up with film crews and their needs is always a major pain in the ass, especially when it comes to parking vanishing. That’s right — there’s really no glamor in show biz outside of that red carpet.

But I guess that’s the price of admission for growing up and living in a company town and, honestly, I’ve never had a single adult job that wasn’t related to that company ever. (We won’t count my high school jobs as wire-puller for an electrical contractor and pizza delivery drone.)

Otherwise, though — yep. Whether it’s been TV, film, theater, or publishing, I’ve never not worked in this crazy stupid industry that my home town is host to. And I really wouldn’t have it any other way. What? Wait tables? Never. Although sharing my home town with tourists is a distinct possibility. I love this place. A lot. And you should too, whether you’re a visitor or a transplant. Welcome!

Slanguage

One of the interesting things about idiomatic expressions in any languages is that, while the words in them may each make complete sense, stringing them all together may seem to make no sense, at least to someone who isn’t a native speaker or, if they do make sense, the literal meaning is far different than the idiomatic meaning.

A good example of the latter in English is the expression “a piece of cake.” Literally, it’s just a bit of dessert. Nothing odd about that. But, of course, English speakers know the other meaning. A “piece of cake” is something that is done or achieved very easily: “Passing that test was a piece of cake.” Why does a fluffy, iced treat mean this? Who knows.

By the way, the Spanish equivalent of the expression is “pan comido,” which literally means “eaten bread.” Again, it’s a food metaphor, but why it would indicate that something is easy is still a mystery. Maybe, because after you’ve eaten that bread, no one can take it back? So maybe it makes an ounce more sense than its English counterpart. Maybe not.

When it comes to all the words together making no sense, though, we come to an English expression like “cold turkey.” If you didn’t know what it meant, you might assume it refers to a really lousy Thanksgiving dinner. However, what it really refers to is quitting a habit instantly — for example, quitting smoking by just stopping. And yes, the habit is usually something addictive, like smoking, drugs, or alcohol. There’s no clear source for the phrase, although it may have come from come from an alteration of the phrase “to talk turkey,” meaning to speak honestly and plainly, modified with “cold” as in “cold, hard facts” — to deliver something without emotion.

Another fun expression that is more British than American English is “taking the piss,” a short version of “taking the piss out of.” You could be forgiven if you thought this referred to urologist’s daily routine, and don’t confuse it with “taking a piss,” which is somehow both literal and backwards at the same time. I mean, really — doesn’t one “leave a piss” rather than take it?

This expression has nothing at all to do with urine. Rather, it means basically mocking someone or joking at their expense, although how this came to mean that is still unclear. It may have come from Cockney rhyming slang, and the fact that it’s popular in Australia, New Zealand, South Africa, and Ireland, but not in Canada attest to this, although one really wild and unfounded theory refers to the use of urine to tan leather — take this one with a big fat grain of salt. One other possible etymology links it in to another slang term, piss proud, which relates to that quaint phenomenon most men are familiar with called morning wood.

Now back to the top and an interesting idiomatic expression from Spanish in which each word makes sense but all of them together don’t add up to the idiomatic meaning: de par en par. Literally, it’s “of pair in pair.” I’ll give you a moment to take a wild guess as to its actual meaning.

This paragraph provided as a think break before the spoiler. Here’s a really weird idiomatic expression from Swedish: “Att glida in på en räkmacka.” Literally, it means to slide in on a shrimp sandwich. What it really refers to is somebody who didn’t have to work to get to where they are. An American version might be “born on third base” or “born with a silver spoon in their mouth.” Okay, enough of a break. Any ideas on what “de par en par” means?

Okay, here we go. For some reason that I haven’t yet been able to determine, it means “wide open.” And you can put all kinds of open things in front of it: “una puerta de par en par,” a wide open door; “con brazos de par en par,” with open arms; “un corazón de par en par,” an open heart, and so on. (Interestingly, negating the expression by changing it to “sin par en par” does not mean “shut.” Rather, it means unparalleled. Weird, eh?)

If anybody does happen to know why this expression means what it does, please share in the comments. For that matter, if you know the whys of any of the English slang phrases I’ve mentioned, do likewise.