Friday, November 28, 2008

Mike Nesmith and Frank Zappa on "The Monkees"




This is remarkable - Nesmith (complete with fake nose) and Zappa (in 8-button shirt and knit cap) pretend to be each other - and even "Zappa" refers to the Monkees' music as "banal and insipid." Inside what would otherwise be commercial crap for public consumption were some clever subversive elements - as evidenced by Zappa's involvement with the Monkees.

The Monkees

I’ve covered the Beatles in various different blogs, now it’s time to address a VERY similar group, the Monkees.
 My first exposure to them was growing up in the US in the 70s, when I saw the TV show in reruns.  My friend Mike and I were big fans and used to watch it as often as possible.  We watched, in vain, for the episode featuring “I’m Not Your Stepping Stone”, the song which consistently stood out among the others in the “buy our greatest hits album” commercial which played during the show’s breaks.  [I also liked the Sha Na Na variety show – no accounting for tastes when you’re under 10, I guess.  Unfortunately – or perhaps, fortunately – that show is still not on DVD.  Demand?]

 The Band.  The group was Davy Jones (vocals), Mike Nesmith (guitar), Peter Tork (bass) and Micky Dolenz (drums).  Actually, Tork was a better guitar player than Nesmith, and Jones could play drums better than Dolenz, who only learned as the show was beginning – the lineup should have been Jones (drums), Tork (guitar), Nesmith (bass) and Dolenz (vocals).  Initially they didn’t even play their own instruments on the albums, but eventually, after learning them and actually touring, they reached the point of fighting Don Kirshner for the right to play their instruments and write their own music – a campaign which earned them the respect of their peers, if not the general public.  Kirshner was eventually fired and learned his lesson: his next project, The Archies, was 100% animated (Archie & Jughead on strike?  I don’t think so.)

 TV Shows.  Indulging my nostalgia yet again, I decided to watch these, expecting to dislike them as much as an adult as I enjoyed them as a kid.  The reality was somewhere in between.  The plots strike me as silly, but apparently gave the Scooby Doo writers some major inspiration.   Any “live” performances are invariably lip-synced.  Aside from name-brand Vox amplifiers (no Marshalls) the instruments typically look low-budget, with the exception of Nesmith’s 12 string.   Practically every episode has some “chase scene montage” to the tune of one of their songs, plus lots of idiotic slapstick lunacy; other episodes have some sort of dancing scene (Monkees as the band) and a fair amount of babe-age is also evident, though most often Davy Jones is the Romeo.  The shows also feature a fair amount of actors and actresses who were either mainstream at the time or went on to greater fame in the 70s.  Part of the amusement of watching these episodes – as I find watching any TV on DVD from the 60s – is recognizing such later stars early in their careers.  The show premiered in September 1966, and went on for two seasons before everyone decided to pull the plug.

 I seem to recall as a kid my favorite was Micky Dolenz, but as an adult I seem to prefer Mike Nesmith.  Dolenz hams up a bit too much, a bit too cute, whereas Nesmith is more wise-ass, a smart-ass.  In fact, he gives the impression that he doesn’t even take the show itself seriously – which is more points in his favor. Jones, of course, is the straight man and the target of feminine attention (despite the fact that, invariably, his female love interests tower over him), and Tork plays the fool and the victim of practical jokes, etc.  Overall the impression they give is “going along” with something which is ultimately pretty stupid.  After the show they put out “Head” and began focusing on developing a legitimate career and reputation as a recording and live band (no, really).

 Head.  This is the Monkees’ artsy, pretentious full-length movie.  It really doesn’t have much of a plot, so much as – like “HELP!” – a series of situations.  Unlike “HELP!”, “Head” seems to be considerably more psychedelic, as if to say, “we’ve done acid too, see?”  Jack Nicholson, of all people, was involved with it, and you can see brief cameos of Annette Funicello and Frank Zappa (I didn’t catch Teri Garr, but she’s supposed to be in there somewhere).  Victor Mature, looking like a 60s version of Mr. Big from “Sex And the City”, is here too in a bizarre, “Jolly Green Victor Mature” role.  I suppose his agent told him this would help him somehow (similar to his role in “Chasing the Fox” with Peter Sellers).  Entertaining, in a limited fashion, worth watching ONCE but only die-hard Monkees fans need include this in their permanent DVD collection.

 Music.  Although slammed as a ripoff of the Beatles, the Beatles themselves were big fans.  David Bowie’s actual name is David Jones, but he had to go by the name of Bowie (based on Alamo hero and knife inventor Jim Bowie) to avoid confusion with the Monkees vocalist.  In the 80s, some genius put Metallica on the same festival bill as Big Country and Phil Collins; in the 60s, another genius had Jimi Hendrix (!!!) open for the Monkees.  I didn’t feel especially compelled to get the first two albums, which are mostly Boyce & Hart compositions recorded by session musicians, instead focusing on the next few, on which the band exercised far more creative control and began playing their own instruments and composing their own music.  If there was anything truly legitimate and worth listening to, it would be found there.
 Headquarters.  This is their third album. Not bad. It’s certainly NOT Sgt. Pepper, or even close, but it is competently written and performed late 60s pop music, similar in style to Rubber Soul.  Disc 2 is mono with extra tracks (mostly alternate versions) and Disc 1 is the stereo version.  As you might expect, the stereo version is MUCH better than the mono version. 
 Pisces [Dolenz], Aquarius [Tork], Capricorn [Nesmith] & Jones Ltd.  Their fourth album, coming after Headquarters, (also in mono disc/stereo disc + alternate tracks format).  Typical late 60s commercial music, though fairly well done.  Some of it actually reminds me of Jefferson Airplane – Dolenz does a good Grace Slick impression.  This was the first album by any group to have a Moog synthesizer on it, and remarkably, the Monkees outsold both the Beatles and Rolling Stones combined in 1967.  Nothing on here is really psychedelic in the real sense, but it does have more of a flower-power than a British Invasion feel to it.  Even so, the Monkees aren’t the innovators the Beatles were, so much as competently latching onto a popular style of music other bands such as the Beatles were actually developing as original music.
 Eventually the band broke up in the early 70s, reunited in the 80s and 90s, but is currently dead.  Nesmith’s mother invented Liquid Paper, so he was independently wealthy, but his limited participation in the reunions had more to do with his other commitments and was not a principled refusal to join in.  At this point the band members cite each other’s substance abuse and ego problems as the reason the band is no longer a going concern.  A Monkees reunion is not likely in the near future – much to our relief or dismay.

 Pontiac Angle.  As explained by Jim Wangers in his book Glory Days, not only did the Monkees have a heavily customized GTO for the show, aka The Monkeemobile (which I can’t stand) they were also provided with normal GTOs to drive around.  Wangers was upset that the band members didn’t really appreciate the gesture, and used to open the studio gates with the cars’ front bumpers if the studio’s security guard wasn’t around to let them in.  Also, one of them was caught driving his GTO at 120 mph in Los Angeles.  Wangers thought it would be excellent publicity for the car if this made the headlines, but the band’s management succeeded at squelching the story.  Pontiac actually came into the Monkees picture due to marketing tie-in’s with Kellogg’s, who were obviously a blatant sponsor of the show.  Wangers’ overall impression of the Monkees and the whole experience with the show was fairly negative, but he was very impressed with the marketing prowess of the Kellogg’s team.
While I won’t claim that the Monkees are really a top band or their shows were “neat or cool”, they are a substantial piece of late 60s American pop culture, to be endured and enjoyed in small doses by anyone with either extreme patience or heavy nostalgia.  

Friday, November 21, 2008

M*A*S*H 4077th Suicide is Painless




A minor tribute to the famous TV show, including its distinctive theme song (one of the better ones to come out of the US TV industry). I consider most TV to be crap and trash, but occasionally some true gems shine out, and this is definitely one of them.

M*A*S*H

Were it not for this series, the Korean War would be completely forgotten except by those who actually fought in the war – and the Koreans themselves.  It’s like “WWII junior” with jets thrown in and the Chinese and North Koreans as the bad guys instead of the Germans and Japanese.  Tokyo is the source of R&R and geisha girls instead of a firebombing target for the USAAF.  It lacks the rice paddies, jungles, helicopters, 60s Woodstock music, marijuana/counterculture, and of course, provocative, pervasive prostitution that the Vietnam War injected permanently into our minds.

Korean War.  June 1950.  North Korea invaded South Korea in a surprise attack, pushing the South Koreans down to the bottom of the peninsula, to a tiny perimeter at Pusan which barely held out.  September 1950.  General MacArthur pulls a stunt: he landed at Inchon, behind North Korean lines, catching the North Korean Army by surprise, and UN forces drove all the way up to the Chinese border.  November 1950: a huge army of Chinese “volunteers” swarmed across the border and pushed the UN forces back down to the 38th Parallel, where stalemate ensued, until an armistice was signed two years later.

Movie.  The movie came out in 1970.  The theme song, “Suicide is Painless”, actually has lyrics.  Long after being familiar with the TV show, I watched this, and was not very impressed.  While the familiar characters are here, though in most cases with different actors, as well as the elements and ingredients, it strikes me that the TV show had the benefit of running with the concept and developing it much further, plus allowing the various actors to flesh out their respective characters over several seasons and not merely 90 minutes.  The movie also features “Duke” Forrest, Tom Skerritt’s character, who is absent from the TV show.

TV Series.  Lasted from 1972-83 – far longer than the war itself.  (Be sure to catch all 400 seasons of the laugh-a-minute sit-com based on the Hundred Years War!).  The theme song is now an instrumental.

Characters
Captain Benjamin Franklin “Hawkeye” Pierce (Movie: Donald Sutherland).  Played on the TV show by Alan Alda – forever typecasting him as Hawkeye, at least for those of us who knew him from “M*A*S*H”.  From Crabapple Cove, Maine.  Easily the main character, and one of the few to remain throughout the entire run of the series.  He loves his martinis – a very pretentious affectation – and is always wisecracking, though he’s also very sensitive.  He loves to consider himself a Groucho Marx clone.

Captain Trapper John MacIntyre (Wayne Rogers)(seasons 1-3).  Originally played by Elliot Gould in the movie.  He never really seemed to have much of a role than to be a comic sidekick friend to Hawkeye to make them a pair.  In fact, this was the reason why Rogers left the show.

Captain B.J. Hunnicutt (Mike Farrell)(seasons 4-11).  From San Francisco, wife Peg and daughter Erin (name of his real life daughter).  He took over from Trapper John mid series, so there was no movie version of him.  I’ve noticed Farrell showed up recently, remarkably only little older than in “M*A*S*H”, as Victor Long’s father on “Desperate Housewives”.  Like Trapper John, BJ really doesn’t seem to have much more importance than to be a supporting character to play off Hawkeye.

Major Frank Burns (Larry Linville) (seasons 1-5).  Played in the movie by Robert Duvall.  Married, but having an affair with Major Houlihan.  I notice that all the doctors – even Colonel Potter – consider themselves to be doctors first, and military officers second, with very little care or concern for military formalities beyond the minimum required of them.  Burns was the one who got stuck up in being a MAJOR and an officer, to the detriment of his medical skills.  This is despite the fact that he is not career military and has a private practice back in the US like all the other doctors. Like Colonel Flagg (the idiot military intelligence officer) Burns seems to act as a magnet for civilian hatred of typical military types as being morons and buffoons.

Major Charles Emerson Winchester, III (David Ogden Stiers) (seasons 6-11).  From Boston.  Incredibly arrogant and stuck up, even affecting the snobbish, stilted New England accent.  He inflicts his noxious classical music on his roommates Hawkweye and Hunnicutt, reads letters from his sister Honoria, and typically acts pompous and better than anyone else.  In one episode he gets a taste of his own medicine when an arrogant English officer slams him as a wanna-be and considers even New England Americans to be second-class. Although he took over from Burns, he doesn’t share Burns’ idiocy or devotion to military discipline for its own sake, though he doesn’t share Hawkeye’s anti-military attitude either.

Major Margaret “Hot Lips” Houlihan (Movie: Sally Kellerman; TV: Loretta Swit).  An army brat, no real hometown – the Army IS her life.  Her father is a big shot general.  She takes her role as head nurse seriously but has compassion for the nurses under her.  She has a friendly but platonic relationship with Hawkeye, though at the same time she chafes at his obnoxiously anti-military and unprofessional attitude – and teams up with Burns, her lover, to try to take out Colonel Blake.

Corporal Walter “RADAR” O’Reilly (Gary Burghoff both in the movie and the TV series) (seasons 1-7).   The company clerk until Klinger took over.  Very shy farm boy from Iowa, average intelligence, but a nice guy.  I loved the episode where Hawkeye and BJ managed to weasel him a commission as 2LT so he could hook up with a cute nurse who insisted she only dated officers – and who rejected him anyway even with the gold bar.  He clutches a teddy bear and loves grape NeHi soda.

Corporal (later Sergeant) Maxwell Klinger (Jamie Farr).  The Lebanese clerk from Toledo, Ohio – most famous for dressing in drag to get a Section 8 (discharge for insanity).  Of course this never worked, the classic “Catch-22” – applying for Section 8 proves you aren’t insane.  He dropped the Section 8 routine by season 8 when he replaced RADAR as the company clerk. Not only a capable clerk, he knew all the ins and outs of the supply and Korean underground – he knew how to get anything, something which the naive, innocent RADAR couldn’t handle.
Colonel Henry Blake (McLean Stevenson)(seasons 1-3).  I never liked him – he was really a slacker, far more so than Hawkeye, who at least brought wit and humor so we could laugh WITH him, not AT him.  He was always wearing a fishing cap or his college sweater.  I suppose some portion of the audience related to him, but I never did.

Colonel Sherman Potter (Harry Morgan)(seasons 4-11).  From somewhere in Missouri.  Served in WWI (which he refers to as “W W Eye”).  I liked him far more than Blake – very military, but still a doctor and he had a heart.  Given his extensive service I think Potter is career military and not simply called up for the war the way the rest of the medical staff was.  Potter could see the forest for the trees and understand the spirit of military regs without getting caught up, as Burns did, in the formality and letter of it.  I still think of Harry Morgan as Colonel Potter, even when seeing him in “Dragnet”.  His fondness for his horse and the cavalry led Winchester to slam him as “our beloved Colonel Cowpie”.
 

Father Mulcahy (1LT, later Captain) (Movie: Rene Auberjunois; TV: William Christopher).  The camp chaplain, always a sympathetic character.  He was religious without being a hard-ass pompous zealot, the perfect combination we seek from men in the cloth.

Minor characters: Ho-Jon, their South Korean servant boy.  No, not Ganymede;  Ugly John, a colorful, mustached Australian trooper complete with slouch hat; Spearchucker, their Afro friend with the charming politically incorrect nickname – I know he’s a tentmate of Hawkeye and Trapper and has an officer’s rank, but I have no idea if he’s actually a surgeon.

I’ve always liked the show, though I probably haven’t seen nearly all the episodes despite having watched it since it was originally on in the 70s.  In later episodes the show got progressively darker and more cynical, to the point where they had nightmares drenched in blood, Hawkeye would sleep walk, and things started getting really strange.  For some reason all the actors and actresses have 70s-era haircuts (e.g. Farrell’s mustache), unlike “Happy Days” where the hair was appropriate for the 50s. The finale show itself was extremely well done, and so depressing you almost wished “hey, why can’t the war continue indefinitely, so as not to break up this family?”  But everything comes to an end – even wars and TV shows.

Friday, November 14, 2008

Jam Bands


I’ve been listening to Man alot lately, especially the expanded edition of the studio album Back Into The Future, which includes the full 1973 show at the Roundhouse, not to be confused with the 1972 show, included in the Greasy Truckers album (with Brinzley Schwartz and Hawkwind), or the 1975 show which was immortalized on Maximum Darkness with John Cippolina of Quicksilver Messenger Service. The Greasy Truckers set was fantastic, practically nonstop jamming – which led me to decide on this entry.


What is a “jam band”? To me, a jam is an extended improvisation involving the entire band. From this I have to disqualify various guitar-oriented bands which set aside a portion of the live set for the guitarist to go off on his own, alone on stage, e.g. Black Sabbath, AC/DC, or Blue Oyster Cult. Oddly, BOC could have been considered a jam band back when they were Stalk-Forrest Group, because “St. Cecilia” and “A Fact About Sneakers” have extended jams, whereas “Buck’s Boogie” and “Then Came The Last Days of May” simply feature Buck Dharma soloing on his own. Similar to Van Halen, their current live setup gives the drummer a drum solo and the bassist a bass solo – even Cliff Burton did that. Sorry, “jam” involves the whole band, not this “taking turns in the spotlight” deal. And “Freebird” does not make Lynyrd Skynyrd a jam band.


Grateful Dead. Probably the top jam band in reputation alone. Oddly, their top album American Beauty has no jamming on it. Having two drummers, Mickey Hart and Bill Kreutzman, truly complicates things, but the overall effect is mesmerizing. Every set, on every tour, was a complete surprise, even if certain songs tended to follow one another. The vast volume of bootlegs, openly recorded and traded among fans, greatly expands the variety of songs in their repertoire, well beyond the studio albums. Moreover, the same song could be dramatically extended or played in various different “moods”. To the Dead themselves I’ll tack on the derivative bands Ratdog (Bobby Weir), Phil Lesh & Friends, and even Phish and Widespread Panic.


Allman Brothers. Sounding similar to the Dead but with a more rock attitude. Warren Haynes played with the Dead on the 2004 tour. To be honest, though, I’ve only heard At The Fillmore East, and can’t comment on their live performances without Duane Allman.


King Crimson. After listening to the studio albums to get the bare minimum basis, listen to the live material, and prepare to be amazed. The live stuff takes off to a completely different dimension, including lots of material, e.g. Holst’s “Mars” and “All That Glitters Is Not Gold”, which don’t appear on any studio albums. Even more so than the Dead, Crimson truly expand in the live context, like a caterpillar blossoming into a butterfly (“WHO-ARE-YOU??”). Hell, some of the live tracks are simply called “Improv”.


Pink Floyd. With Floyd, it’s less of a vast distance between the albums and the live material the way it is with the Dead and Crimson, but they do jam.


Hawkwind. They add a heavy dose of electronica and psychedelia into the mix. Stiff competition with the Dead for this type of noise, but Hawkwind are much heavier and have less of a country angle. A Hawkwind crowd has a nastier, biker type of element to it than the harmless hippie stock at a Dead show. Both bands cater to LSD and marijuana, but Hawkwind is more skewed towards the raging aggressive psychosis of LSD than the Dead, who are much more mellow and less intense. Hawkwind tends to pull you into the psychosis as a participant, whereas the Dead are content to leave you as a mere spectator.


Deep Purple. They qualify based on the 20 minute “Space Truckin’” on Made in Japan alone (which took up an entire side on the original vinyl), but I find that Purple don’t do very well at maintaining momentum throughout the jam the way many others of these bands do. Moreover, Purple do tend to stratify the jams into guitar (Blackmore), keyboards (Lord) and drums (Paice) rather than a true jam, a chemical “suspension” rather than a “solution”. I also noticed that the extended jams which you could expect from Marks II-IV no longer occur with the post-1984 lineups.


Man. Easily the most heavily guitar-oriented of the jam bands, without being heavy metal. True distortion and not the annoying bright distortion-less treble sound of Jerry Garcia’s guitar, but also without the “wayyyyyyyyy off into space” electronica of Hawkwind. The Greasy Truckers’ set was practically a nonstop guitar solo, yet it never got dull or lost its momentum. The more I hear, the more I like. Plus they have a refreshingly irreverent talent for odd song names (shared with Budgie, BOC, and Frank Zappa), my favorite being “Many Are Called, But Few Get Up”.


Particle. By far the newest of these, injecting a heavy dose of funk and techno into the equation. But the guitarist, wailing on a Les Paul with thick distortion, gives it the balls that the Dead often lack. This was another band I listened to nonstop – thanks Diane!

Frank Zappa.  Usually known for his humor, Zappa was all over the place musically.  On Hot Rats, he's well into jam band territory.

Friday, November 7, 2008

My Cousin Vinny Deer Hunting




An excellent illustration of the classic Brooklyn accent from both Joe Pesci and Marisa Tomei. Of course she misses the point just to make a statement: Vinnie wasn't asking what the DEER would think of his pants, he was asking what the District Attorney would think of them. (Personally, I would have preferred her "voir dire" by the DA - "base timing on '57 Chevy Bel Air with 327 cubic inch V8" but this is what I could find).

Accents and Dialects


My native language is English.  Although I’ve learned French, German, and Portuguese, and small doses of Russian, Vietnamese and Romanian, I don’t speak any foreign language fluently enough to avoid having an American accent in those languages (I try for a carioca accent in Portuguese, with debatable success).  My own accent in English is fairly standard.  My relatives from my father’s side, originally from Brooklyn, have mostly kept that thick New York accent despite relocating to Northern Virginia, North Carolina, and Florida – oddly, my father was the only one who didn’t sound like that.  My mom and most of her relatives from Worcester, Massachusetts, similarly have the Boston accent.  I’ve found that movies and TV do an excellent job of illustrating various accents & dialects, at least in English.  Since that’s my native language and the one I’m most fluent in and familiar with, I’ll focus most of my attention there.

England/Commonwealth.   Here alone we have several variants:
1.         There seems to be a standard “English” accent, affected by butlers everywhere.  Listen to Michael Caine.
2.         There is the very lower-class cockney (lower class) accent with dropped h’s,  Recall “National Lampoon’s European Vacation” where Clark Griswold (Chevy Chase) has difficulty understanding the London innkeeper’s thick cockney accent and asks, “what language is he speaking??” and the son, Rusty, helpfully notes, “English, dad!”  See also Monty Python.
3.         A northern Newcastle/Yorkshire accent, though I can’t seem to distinguish this one personally.
4.         I seem to notice a different accent from Liverpool – particularly when John, Paul, George or Ringo speak – it always seems like every statement is a question (?).  I’ve noticed that Ozzy Osbourne – who is from Birmingham – has this accent.  Yet Tony Iommi and Geezer Butler, also from Birmingham, do not.  Go figure.
5.         Welsh.  This is one I have a hard time recognizing as separate, though I’m told it exists.
6.         Scots.  No problem with this one, or shortage of examples, most notably Sean Connery, who can’t seem to drop it no matter the role.  In “The Rundown”, the Scottish pilot has such a thick Scottish accent it’s barely recognizable as English.  It also strikes me that every single sports show on soccer, in English, has to have at least ONE guy with a Scottish accent as a commentator.  And there is Groundskeeper Willie on the Simpsons, and “Fat Bastard” (Mike Myers in “Austin Powers”).  God only knows why Shrek, an ogre, should have a Scottish accent, but I guess Myers is addicted to that particular affectation.
7.         Irish.  “Frosted Lucky Charms, they’re magically delicious!” and “Irish Spring” commercials – and Bono – have cemented this in US culture.
8.         Australians also have their own accents. Sprinkle in “mate” and you’re good to go. Paul “Crocodile Dundee” Hogan popularized it, but you can hear it when Hugh Jackman (Wolverine) or Nicole Kidman (various movies) speaks as an individual and not in a role.  As a matter of fact, I hadn’t seen Kidman play any Australians, so when I first heard her speak in her own voice on a talk show, it surprised me – whoa, she’s Australian!  More recently, the late Steve Irwin was injecting his instantly recognizable Australian accent on his cable shows.
Mel Gibson is a tough call: he speaks in an Australian accent in the “Mad Max” films, but has no trouble losing it for the “Lethal Weapon” and other films; he’s considered “Australian” because he came from there when his film career began, although he only moved there with his family as a teenager, from New Jersey – and the kids at his high school in Australia made fun of him for his New York accent!  Hearing him now speak in his own voice, I don’t detect Australia OR New York in his voice. 
9.         Canadian?  ("Spell like British, talk like Americans.")  I don’t think so.  William Shatner, Peter Jennings, Michael J. Fox, Jim Carrey, are all from Canada yet have accents indistinguishable from the standard American accent.  They don’t even punctuate the ends of their sentences with “eh”.  "Aboot" the only Canadian deal is how they pronounce "about" and "z" as "zed". And Shatner is from Montreal!  All the Canadians I know personally – who are all from Ottawa – sound exactly like Americans.  I can’t qualify “Canadian” as a separate accent.
So there are a total no less than 8 separate accents from this portion of the world alone.

USA.  With a vast and varied population spread across the continent, it’s no wonder we have our own share of idiosyncratic accents.
1.         We have a “standard” American accent, shared with English-speaking Canadians, which you can hear in any news anchor.  This is what I have – so I would believe.
2.         Then you have Boston/New England, as you can hear every time you listen to any of the Kennedys – JFK, RFK, Teddy, or even their offspring.  I can’t say I recall what JFK Jr.’s voice sounds like.
3.         New York/New Jersey/Brooklyn (which doubles as a de facto Jewish accent), VERY popular in TV/movies, with Joe Pesci & Marisa Tomei (“My Cousin Vinny”), Fran Drescher, Matt LeBlanc, Barbra Streisand, Woody Allen, and far too many to name.  Oddly, none of the main characters on “Sex in the City” have New York accents, and LeBlanc is the only “Friends” cast member who does.  On “Seinfeld”, Mr & Mrs Costanza really top the bill, though Mrs Seinfeld’s accent is very strong.  Popular expressions in this accent are “OH MY GAWWDD” (usually spoken by young Jewish women) and “foggetaboutit” (usually spoken by Mafia types).
4.         a flat Midwest accent;
5.         A Minnesota accent, perhaps a variation on the Midwest accent, almost sounds German (“Fargo”) the way they say “yes” as “ya”.
6.         There are variations on the southern accent, including
A.         Texas (long and drawn out, like the huge flat plains of Texas) – hear our Beloved Leader speak, or Phil Gramm, and you’ll hear it; and
B.         Louisiana, particularly New Orleans, which have their own sub-accents.  I recall having immense difficulty understanding Sean Penn et al in “All The King’s Men”, which is loosely based on Huey Long.  It’s like some strange mix of Southern and French which ends up sounding like neither of them.
7.         Latinos have the “Mexican” accent popularized by Cheech Marin. Given the huge amounts of Hispanics living in the US permanently for decades, I categorize this as a native US variant. 
8.         Blacks of course have their “ebonic” – which is, to my ears, simply a black version of the southern accent even among blacks from New York, Chicago, or L.A., far from the south.  Of course, for a black to be taken seriously among whites – e.g. Barack Obama – he has to drop the ebonics, with rare exceptions such as Eddie Murphy or Chris Rock. 
9.         You could also qualify the California “surfer” accent as one of its own (listen to Keanu Reeves), meaning 10 accents of English from the US.
Foreigners speaking English
1.         We’ve all heard French people speaking English.  Most of them seem to be better at making themselves understood than the hapless Inspector Clouseau from the “Pink Panther” movies (originally Peter Sellers, most recently Steve Martin). 
2.         Despite living in the US since the 70s and taking speech lessons, Arnold Schwarzenegger still has a thick German ("Cherman") accent.  We’ve all seen enough WWII movies to recognize Germans speaking English with an accent, the older of us remembering Henry Kissinger.  W’s turn into V’s, V’s turn into F’s, and with no J sound – G is pronounced as in “gore” and J is pronounced as a y – they have to resort to “CH” instead. 
3.         My friend Leila still has a delicious Brazilian accent (“that is not a MEAWLLL!”) despite living in the US, off and on, since the mid-70s.  Brazilians and Portuguese seem to have trouble with L’s at the end of sentences, curling them up as if there was a W in there somewhere, especially if there is an offending R before the L (“world” turns into “wold”).  Both Brazilians and Spanish – listen to Penelope Cruz, who is from Madrid – sound much different than Mexicans, so I put this as a non-American variant. 
4.         Romanians tend to sound like Dracula, very similar to Russians and Hungarians (e.g. Zsa Zsa Gabor) – very seductive coming from a woman.  Boris & Natasha from “Rocky & Bullwinkle” give us the classic Russian accent.  Andy Kauffman did a passable Hungarian accent as “Latka Gravas” on the TV show “Taxi”, so much so that Gene Simmons, the bassist from KISS, remarked that when he first came to the US from Israel (his parents were Hungarian) and his English wasn’t very good, he sounded like the “Taxi” character.  Russian does not have definite articles (“the”) so Russians who don’t speak English very well often drop the “the’s” when speaking.  They all love to roll their R’s, which Scots seem to do as well.
5.         Italians have their own English accent.  The deal we hear is that they pepper the speech with Italian words (“capiche?” (understand?), “bellissima!” (very pretty, referring to a woman) and “presto!” (faster)) and, if really thick, add “-a” after every verb.  This variant seems to have been the source for the New York accent mentioned above – an irony, because my father’s relatives are from Poland, not Italy, yet they have that accent.  Like most of the others it’s part musical and part comical, even somewhat endearing – particularly coming from someone like Sophia Loren.
6.         On the other extreme of aural aesthetics to my ears, are Asians speaking English poorly, particularly Vietnamese.  ARRGH.  As attractive as some Asian women are, there is nothing sexy to me about a Vietnamese accent.  It could just as easily be Bai Ling (schwing) as the yelling old woman in curlers (“Kung Fu Shuffle”).  Chinese and Japanese are notorious for turning R’s into L’s.
7. And there is the common Indian accent we hear more and more often when calling tech support or when being hassled by cluelessly persistent collections departments.  Nothing endearing about it, whether from a 7-11 clerk or a dot-headed, sari-wrapped Indian woman.  Incidentally, Pakistanis sound similar, although they’d hate to be lumped in with Indians.
8.  Likewise, Arabs and Iranians – yes, I know Iranians speak Farsi, not Arabic – still sound the same to me speaking English.

Foreign Languages:
French.  So far as I understand, there is northern, Parisian-style French, and southern French which is leftover from Celtic.  And French Canadians speak a completely different dialect, which French can tell immediately.German.  Northern German vs. southern German (Bavarian and Austrian).  My friend Jean’s German wife, Ina, wasn’t a big fan of the Austrian variant.  I’m not aware that Swiss have their own variant.
Portuguese.  Brazilians can distinguish Portuguese from Portugal itself, from their own accents, which come in different variants: carioca (Rio de Janeiro), paulista (São Paulo), northeast (Bahia, Recife), and southwest (Rio Grande do Sul), which passes for the “southern accent” in Brazil.
Vietnamese.  As with so many other countries, there seems to be a north accent (Hanoi), middle accent (Hue), and southern accent (Saigon) – as well as a few other more obscure ones.  I can’t tell the difference.