Nebraska Day 1 - Roller Skates, Revolutions, and Rotundas
I began today by visiting Aromas Coffeeshop, a chic coffeeshop in an upscale shopping center that has since been bought by another great Omaha craft coffee chain Hardy Coffee. They had a very sleek interior, so it’s sad to see that it’s probably not there anymore, but I’m glad it was at least replaced by another local shop.
Fueled up, I headed for the state capital for a day of exploring before the my first Nebraskan open mic. It was only about an hour from Omaha to Lincoln even with morning commuters so it was comforting that since I’d be bouncing between the two cities for the first half of the week that it was smooth sailing between them.
My first stop in Lincoln was a hidden gem of a museum tucked away in a suburban neighborhood outside the city proper: The National Museum of Roller Skating. I had no real prior attachments to or interests in rollerskating, but I’d heard they had a very eccentric and expansive collections (they proudly boast the largest collection of historic rolling skates in the world) so I couldn’t resist checking it out. As soon as I walked in and was greeted by this sculpture of nightmare alien-children roller skaters in the front lobby, I knew I had made the right decision:
The first room had an introduction to the museum and the roller skate, with different displays filled with all the types of items that make up to the museum’s collections. These ranged from historic skates dating back much further than I would have ever expected, various novelty models of skates, historic photographs of people skating, promotional posters and materials from big skating events, and delightfully kitschy memorabilia. I’ve loved stumbling into museums like this because they’ve made me really appreciate how even if you focus on something niche and specific you’ll still end up touching on so many different aspects of the weird ebbs and flows in pop culture and human behavior.
Throughout the museum, I loved seeing all the wild roller skating art people have made over the years adding strange amounts of glamour to such a playful, silly hobby. The mutton chops on the guy bottom-right were a real stand out.
I turned a corner and was greeted by a beautiful self-playing music box containing an organ and various pieces of percussion. Machines like these were very popular with skating rinks in the early 1900s as musical accompaniment for the skaters with some added technological novelty thrown in to boot. I always like seeing self-playing instruments because they are such profoundly elegant technical achievements which also happen to almost uniformly all sound pretty terrible. It’s so easy to take for granted what a wonderful thing it is that we can hear good quality music recordings with such ease nowadays, a luxury not afforded to these intrepid roller skating pioneers.
The historic galleries began with display cases filled with some of the earliest known rollerskates including one of the first ever patented models by Monsieur Petitbled from 1819! The early models featured wheels in a single line, more like what would eventually become rollerblades, which were very exciting for the time but also really bad at turning. This fault coupled with a general lack of money or free time for most people kept the skate from really breaking out into mainstream culture, but they did achieve a great deal of acclaim for adding impressive choreography to stage plays and operas which began to make people take notice.
The big breakthrough for roller skates in public consciousness came with the 1863 patent of four-wheeled roller skates by James L. Plimpton, thus giving us our first real modern skate. Plimpton’s new design finally made turning a safe and realistic possibility, which one would have thought would be a top design priority not something that took 50 years to accomplish. Beyond his design Plimpton did a lot to promote roller skating as a past time and this is where I was delighted to find out that the history of Roller Skating was goofy right from the start. First of all, James L. Plimpton was not an inventor! He ran a furniture store in NYC, but he just loved roller skating so much he turned floors in his office building into skating rinks by laying down planks of wood and rented out skates to visitors. He then petitioned city officials and the clergy (!) to open skating rinks because he believed skating was a great supervised sport where young boys and girls could socialize without any possibility of hanky panky. Bet you never thought that abstinence would be a key factor in the success of the roller skate, because I sure didn’t! Somehow it worked though, and Plimpton was able to start opening up rinks across New York and randomly Newport, RI. Craziest of all, one journalist who came to the states to right about Plimpton and this growing fad was none other than Charles Dickens, who was really excited by what he called “rocking skates”. What an odd world.
The fad really picked up among young socialites looking to flirt in style and early advertisements featuring people rollerskating in formal wear, all chaste and chivalrous, really cracked me up.
In particular, this vintage ad featuring an alarming screaming man offering “Gorgeous Pleasure and Grotesque Exercise” truly blew me for just being shocking in every conceivable way:
Around the turn of the century, Rollerskates began to finally start gaining traction with the growing middle class and skating activities got more creative and a whole lot sillier. I particularly enjoyed an illustration of dapper young men playing playing hockey with walking sticks on a warship for reasons that are not even closed to explain, and a charming German poster of all the things you can do while rollerblading including delivering mail, strolling, dancing, and (the most interesting inclusion logistically) hunting. I think they may have overdone it a bit, but you can’t fault them for dreaming.
With the popularity of rollerskates on the rise, naturally there was always going to be goofballs trying to build a better (or at least crazier) mousetrap. The display cases of novelty skates were a wonderful testament to both human ingenuity and wackiness as inventors added their own idiosyncratic flourishes. Highlights include: rollerskates hidden in dress shoes, cowboy skates, skates attached to a lawnmower motor, and naturally skates on stilts!
While they never went away, the biggest resurgence of rollerskating into the public consciousness came with the advent of the roller disco. The museum brought the glitz and glitter of the popular 70s and 80s fad to life with a collection of flamboyant disco skates, uniforms, and posters, and of course their own disco ball hung over the display cases. I don’t know if roller disco is a high water mark or a low point for the skate, but it is the only phase that can claim to have inspired the truly insane Olivia Newton John roller skating musical Xanadu.
A big market for roller skates has always been little kids, so I got a kick out of vintage ads and skates geared at younger rollers. The 90s skates I vividly remember because they were so plastic and uncomfortable ( Who decided that every 90s kids wanted everything to be made of neon plastic?), and I was just old enough where kids would still have roller skating birthday parties. I don’t know if that’s as popular nowadays, but my sister broke her arm at a skating party so maybe it’s fine if they’re just a thing of museum exhibits now.
The wildest (literally) display came with the museums collection of photos, posters, and merchandise depicting animals on skates. It was truly shocking how many different animals were trained to rollerskate and for how long this insane practice continued into the 20th century. This display just left me with so many questions such as: How do you get skates big enough for an elephant?; How many people died trying to train grizzly bears to skate; and what’s the point of putting roller skates on parrot if they can just fly away?
On a much more humane note, the next display was about the history of roller rink music which began with live orchestras and bands and then transitioned to organists (who apparently were able to achieve mild celebrity status in skating circles) until the unstoppable wave of disco brought in DJs who have yet to be dethroned even as the music gradually became more bearable.
The next display was all about different roller sports including speedskating, more roller-hockey (minus the walking sticks), and roller derby. Roller derby started as a male dominated sport, it has since become an almost exclusively female sport featuring high speeds, full contact, colorful pseudonyms, and lots of pageantry. While the vintage activewear was really charming, the derby clothes definitely had a lot more attitude.
Ramping the pageantry up to 11, however, was the display about the most famous skate-sport: figure skating. Much like on ice, the physical prowess and technically-demanding choreography of figure rollierskating are only outmatched by the delightfully flamboyant costuming. In a funny bit of curation, they also had these great more restrained Norman Rockwell-esque vision of what figure skating uniforms would be next to what they eventually became.
Certain figure skaters rose above the rest and the next couple display cases were filled with tales of early skating celebrities. Stars like Iris van Horn and Jessie Darling rose to the top of vaudeville and silent films, become international icons for their gravity defying theatrics. They struggled a bit transitioning to talkies, because now it was no longer enough to just be incredible acrobats and dancers but they had to sing too. Such is the nature of fads.
The next display on skating in movies showed that while not everyone made the transition to talkies, a surprising number of people had no problem skating, dancing, singing, and, to a lesser extent, acting, and rollerskating musical numbers popped up in movies pretty constantly at the height of the fad. Even the great Gene Kelly himself was not immune (Click here to see that particular showstopping number). While most of the skating in movies pre-80s, comprised of these types of silly numbers, the 2009 roller derby movie Whip It (which is also Drew Barrymore’s directorial debut) is actually a great little indie dramedy that I couldn’t recommend more highly.
One of the stranger display cases was on the history of C. W. Lowe’s traveling roller rink. Lowe owned a permanent rink in Birmingham, AL, but the intrepid entrepreneur also had a traveling rink that he would drive across America and set up in various small towns and cities that otherwise wouldn’t be able to get in on the hot new craze. He would even hire local bands to advertise his exciting temporary installations, and the picture below captures one such press tour where everyone just looks shockingly serious for people trying to spread joy.
And of course who could forget the roller skating carhops immortalized in 50s iconography. I have no clue if they were actually ever as popular as nostalgic media would have you believe, but i do think that at a certain point they’re making service much more inconvenient even if it it is a little bit faster. Who am I to argue with Betty Boop though?
And last but not least was perhaps my favorite bit of roller skating history. The skate was almost invented nearly 100 years earlier by a man named John Joseph Merlin (A+ name), but the very first time he tried to demonstrate them to some wealthy investors, he almost instant crashed into a fancy mirror valued at well over $500, shattering it completely, cutting himself pretty severely, and setting back skating history almost a full century. You can’t make this stuff up.
Gaining all that roller skating knowledge worked up quite the appetite so I made my way to downtown Lincoln, and visited a good old fashioned Abraham Lincoln themed gourmet burger restaurant called Honest Abe’s. Abe’s is a local institution and many online have said they have hands down the best burgers in town so how could I not give a shot? I went a little bit out there and got one of their more creative offerings, The Once Upon a Time in the West Burger which comes with cowboy caviar, queso fresco, chipotle sauce, and fried tortilla chips. I was mainly just fascinated by the term cowboy caviar, but when I found out that it refers to a blend of corn, avocado, black beans, pinto beans, and pico de gallo I really couldn’t resist. For me personally all the add ons were delicious, but it was such a good homemade burger and bun combo that even totally naked it would knock anyone’s socks off. Nebraska is known for their beef, and this burger was a hell of an introduction because the patty really was phenomenal and it’s honestly up their as a contender for top burger I’ve eaten (I think Montana has some of the steepest competition, which makes me think a key factor is local well cared for cattle but who knows). To top it all off, I got a side of parmesan truffle fries and while I could feel my arteries buckling I was in heaven.
With a full and happy belly, I made my way to my next top of the day: The Sheldon Museum of Art. The art museum is affiliated with the juggernaut that is the University of Nebraska-Lincoln. The museum is housed in a Philip Johnson designed building with big stone arches complimented by a cool glass lobby. I will say though that their choice of sculpture to put right on the front steps was more than a little ominous:
The museum wowed me right away with their fantastic collection of works by classic American artists. Highlights for me: included a dramatic, expressive landscape by Marsden Hartley; a sweet glowing rural scene by Norman Rockwell; an astounding river landscape by Albert Bierstadt; an impressionistic seascape by the American Renoir William Glackens; an engrossing bizarrely colored abstract piece by Lee Krasner called Invocation; one of Georgia O’Keeffe’s rare, beautiful cityscapes; Jacob Lawrence’s quietly moving Harlem city-scene Paper Boats; and Edward Hopper’s voyeuristic gorgeously rendered Room in New York.
Among all the fantastic paintings were two minimalist marble sculptures by Barbara Hepworth and Constantin Brancusi respectively. Both artists’ sculpting was impressively sleek, but I was just so impressed by the natural beauty and soft sheen of the medium they chose to shape.
Next up was a collection of etchings by John Sloan of various scenes from around New York rendered with unreal amounts of detail and depth.
From there I moved up to the second floor which was mainly occupied by special exhibitions, but there was a small collection of really great contemporary works. Highlights for me included: a dramatic but spooky collage of prints by Nancy Spero called Nicaragua; a slickly confrontational portrait by one of my favorites Barkley Hendricks; and a vibrant woodcut of a bustling city street by pop-art pioneer Wayne Thiebaud.
Near the bathrooms they had posters from past special exhibitions, and this one looked so fun I was really sad to have missed it:
The first special exhibit I was a collection of incredibly intimate black and white photographs from the Cuban Revolution taken by Cuban American artist Roberto Salas. Salas had pretty unprecedented access to his primary subject Fidel Castro, and he kept returning to the revolutionary/dictator for many years capturing so he almost seems to age before your eyes as you walk the gallery. While Castro may be a deeply charged historical figure, the photos themselves are alway beautifully composed and elegant, so it can be shocking to realize how much absolute chaos, turmoil, and bloodshed must have been surrounding everyone involved.
The most surprising photos were not of the carnage, but of the down time. There’s just so much cognitive dissonance in seeing one of most notorious leaders of a Communist regime acting downright goofy. Salas had photos of Castro hanging out in hammocks, joking around, and playing baseball. I guess even ruthless leaders can’t be 100% all the time.
One of the more wild photos on display had both Castro and Che Guevara sharing a cigar, two major figures of the 20th century in a small candid moment.
The next special exhibit was similar in subject to the previous one but radically different in style. Michael Eastman’s Havana, in stark contrast to Salas’ monochromatic historic portraits, features vibrant brightly colored photos of empty rooms from opulent homes in Cuba’s capital raved by neglect and age. Eastman has described his photo’s as portraits without people because “you can feel the human presence”, and he’s not wrong as a dark melancholy hangs out over the gorgeous architecture in the photographs as they capture an all too human story of youthful revolution and excess fading and collapsing over time.
For whatever reason, these photos of once grand staircases really captured my eye and my imagination as they looked like something out of science fiction space crafts, rather than of ways of connecting floors for the wealthy.
My favorite singly image though was a spectacular candelabra hanging over an empty room being used for laundry:
After all the Cuba photos, I went back to the contemporary wing to see a room I had missed, and I was greeted with two great new works of contemporary Pop-Art with Japanese influences. To the left was El Oso Me Pregunto by Rozeal featuring a blend of ukiyo-e print techniques mixed with images from Hip Hop and Consumer culture, and to the right was Roger Shimomura’s Kabuki Play blending images from classic Walt Disney cartoons with more traditional imagery from Kabuki theater.
Crossing past the lobby to the next special exhibition galleries, I was greeted by tremendous views in each direction. Inside the building I noticed that above the lobby were grand gold disks suspended in the concrete, and outside the museum was 20 foot tall, amorphous steel and fiberglass sculpture called Wind Sculpture III.
The rest of the galleries were dedicated to a 50 year retrospective of pieces from the museum’s permanent collect related to the counter-culture boom of 1968 (which was 50 yeas ago at the time I was there). Things started off with a splash in the form of a big wall of posters promoting various rock shows around San Francisco from 1966-1968, featuring a dizzying, psychedelic blend of drawings, silkscreen prints, and collaged photographs.
My favorite for sheer absurdity was this collage of moon, ape, and fancy kitten which makes the actual text of the poster seem almost like an afterthought:
Next up was a selection of pieces from various counter culture artists in Chicago who in the 60s formed groups called The Hairy Who, the Nonplussed Some, the Monster Roster, False Image, and finally the Chicago Imagists. These works blended surrealism, abstraction, cartoons, minimalism, and pop art gleefully breaking down barriers between “high” and “low” art while giving the artists’ a platform to protest the Vietnam War and more conservative cultural ideals.
My favorites here included oddly haunting cartoon painting by Roger Brown entitled Curtain Wall Going Up and Oral Robert’s Vision of a Two Mile High Jesus and a dreamy more nostalgic boardwalk scene by Hughie Lee-Smith entitled Poem #4.
The single most powerful work though was Carrie Mae Weem’s sneakily devastating piece Commemorating, which looks like a run of the mill commemorative plate until you get close enough to read it and realize the heartbreaking truth it commemorates. What a gut punch, cleverly disguised as luxury.
The next gallery was a collection of photographs by Josef Sudek, a Czech modernist photographer, who took hypnotic, black and white photos around post-war Prague. He used various tricks of lighting and composition to give his photos a look as if they’re from an otherworldly fantasy realm rather than his own homeland.
Last up were works that the museum actually showcased in 1968 from artists who were featured in the American Pavilion of the Venice Biennale. My favorites included: the dreamy Girl on Tennis Court by Edwin Dickinson; a more realist drypoint etching from abstract artist Richard Diebenkorn; a strangely dignified circus scene by Byron Burford called to Homage to Clyde; a portrait of three generations of women called Anne, Lizzie and Katie by Fairfield Porter; a minimalist emotional wooden sculpture by Leonard Baskin called Youth; a surreal oil painting by James McGarett that is meant to evoke the works and life of James Joyce oddly enough; a geometric abstraction by Alice Trumbull Mason that plays a neat trick on your eyes when you realize that it’s actually quite colorful; and two vibrant abstractions by Norman Lewis that seem to morph into different figures before your eyes.
Lastly was a collection of various prints and works on paper made to protest the war in Vietnam and the treatment of people of color at home. New techniques in print making gave theses artists much more ability to both try new things but more importantly the ability actually mass produce and more widely disseminate their radical messages.
The protest works were also accompanied by various poems and I thought this piece by Denise Levertov was a sad but moving portrait of human resilience based on a real non-violent protest held by Vietnamese children who raised up altars to Buddha at intersections to literally impede the spread of war:
There was still plenty of art to love outside the museum, as they have a pretty darn impressive outdoor sculpture garden. My favorites were Juan Hamilton’s Massive steel bubble Fragment X-O, a monumental ceramic face byJun Kaneko, and Richard McDermott Miller’s blend of humanity and geometry Sandy in Defined Space which were all really well complimented by the naturally greens of the college campus.
My next destination was the Nebraska State Capitol. Most capitol buildings are pretty, but rarely are they must-see attractions like Nebraska’s. To begin with, you can’t possibly miss it because the famous Tower of the Plains at its center stretches 400 feet to the heavens. The architect, Bertram Goodhue, wanted to take advantage of the fact that Nebraska has such a flat landscape, by giving the building a grand altitude that could be seen for miles around. At the time it was the first US capitol building to use a functional tower in its design, and it is the second tallest capitol building in the country after Louisiana’s, which was expressly designed to beat it. It’s still hugely impressive to look at now, but I can only imagine how astonishing it must have looked when it was unveiled in 1932. Up close the exterior is no less extraordinary, with sculpted reliefs by artist, Lee Lawrie (who also did the Atlas sculpture outside Rockefeller Center), giving the Limestone a blend of Art Deco and Classical stylistic flourish. It’s really an incredible piece of architecture.
Inside, it somehow only becomes more gorgeous with vibrant, massive murals by various artists working in paint and glass enclosing the hallways leading to the main rotunda. The muralists were chosen by a legislative committee that held competitions from 1954 to 1996 to select various artists and give them the opportunity to put their own artistic stamp on the building. As such, you get a real variety of styles and influences over nearly half of century with different generations of artists spinning their own mythos of Western History.
The real showstopper here though is the mosaic artwork by celebrated artist Hildreth Meière (probably most known for her work at Radio City Music Hall) depicting images of man grappling with nature in the style of Greco-Roman myths. Maybe because most of the mosaic work I’ve seen is thousands of years old, I’ve just never seen anything in the medium done to this monumental scale with such virtuosic talent it’s astounding to think that these richly detailed images of and scenes are all just carefully placed tiles of stone.
When you go up to the second floor and really get a full view of the scope of Meière’s it’s hard to keep your jaw from hitting the floor. Each piece is rich with allegorical interpretation without losing any pure aesthetic beauty, and it’s insane to me such incredible art is just on the floor.
Looking up is just as rewarding as looking as looking down as Meière tucked little colorful mosaics into every alcove and arch, which is to say nothing of her grand domed rotundas. My photos don’t really do the domes justice, but believe me when I say that the inside of the tower is just as striking as it’s commanding presence outside.
Heck even the railings and light fixtures had neat designs on them so you really couldn’t look anywhere in the place without getting a fantastic view.
One hallway was filled with bronze busts of notable Nebraskans from history called the Nebraska Hall of Fame. My favorite was this bust of Gilbert M. Hitchcock, founder of the Omaha World-Herald, because you know they included the newspaper because it was relevant but it just looks like he couldn’t be bothered to stop reading when he sat for the sculpture.
From the window, I could see a cute courtyard with a little burbling fountain, which kind of reminded me of Alice in Wonderland:
As I walked back to my car, I noticed that the building across the street had an absolutely insane marble design over the doorway. I thought it had to be some sort of weird church thing, but it turns out that’s just what Nebraska’s Public Employees Retirement Office looks like which look which is even crazier so I loved it.
After all that crazy architecture, I went to get some more coffee to carry me over to the open mic. I went to a really cool spot called The Mill Coffee and Tea. They actually offered a whole lot more than the name implied with a full bar, food, pastries, and even ice cream, and the whole place had a great old fashioned market vibe to their layout.
I knew I wasn’t gonna have room for a full dinner after that big honking burger I had for lunch so I killed two birds with one stone by getting my coffee in the form of an affogato which featured their own signature coffee ice cream with a shot of espresso poured over it. It was a maybe a tad decadent but totally delicious.
The night’s open mic was at a fun bar called Duffy’s Tavern. It had cozy dive bar feel (not sure if that sounds like an oxymoron but it was true), and cheap drinks so I don’t necessarily remember what I had that night (probably more the two years of time than the drinking so don’t read too much into that mom!). I do remember however that there was a lot of great comedy and it was a really warm introduction to the Lincoln-Omaha scene (the two cities are close enough that it’s really just one big scene). In the middle
My favorite comic of the night was a comic named Serenity Doherty who had really strong material but also did great crowd work. The crowd was a little light at the beginning so she really stood out at the beginning for knowing exactly how to work them and keep them engaged. Some of my favorite lines from her were “This lady look happy. I didn't even know that was an option.” and “My doctor said what I had was worse than herpes. He said I have poor hygiene”
Other highlights:
Dan (the Host) - It’s not your life that flashes before your eyes when you have a near death experience. You know what does flash before your eye? Your browser history
Josiah Johnson- I have a long colon. What I lack in the front I make up for in the back
Mattie Merrit- I have a tattoo of a llama in my back because I hate my dad
Aaron Weber- if you have one less less leg it takes fewer beers before you can can't stAnd up straight
Man Mazlawsky- I’m a Russell stover candy ass bitch
Jimmy Putnam- there's no such thing as committing a crime ironically. There's committing a crime and then laughing about it
Darren Meyer- if you don't have kid at 30 it's like finding a very attractive waitress at a Waffle House
Betsy Miller- hold your breath until you can see the wind
Steph Baldwin- (important context, She’s legally blind and walks with a cane) People always ask me if this is my pimp cane. You are right it's true I'm a pimp. The kind of pimp that doesn't see too well
Haley Raven - People say “you don't look 26” it's called not having kids that's what I had to say to get a pamphlet
Will Doherty - I had a hemorrhoid so bad, it was like the hemorrhoid was a struggling actor trying to show its Range
Jake Gardner - Someone called me old timey. I said, “hooey!” Some told me to quit taking testosterone pills and I said “quit taking testosterone pills? Like a pussy?!”
Cameron Hanky- Hey cutie what's your social security number? it's not like I'm passing up opportunities to kill a hog
Patrick Clark- I was watching a commercial on the radio the other day. Nope I fucked that up.
There was also a guy named Sam Bontrager but his bit was a lengthy piece of performance art where he goes to look at his joke notebook and accidentally reads a note that a serial killer would leave at the police station and then tries to play it off as no big deal. It was super dark and super funny but would lose something in writing.
In the middle of the mic, the host had everyone go on stage for a lighting round of a classic improv game “Sex With Me” in which the audience yells out a topic and each comedian has to come up with a one line that starts with “Sex with me is like X because Y”. It was a fun way of getting some energy back in the room midway through a long mic and pushing stand ups out of their comfort zone a bit to work on the fly.
As for me, I got really lucky because as soon as I got on stage a surge of younger audience members showed up all of sudden so I had big energy boost coming up on stage and I think it made my set really pop out probably more than it deserved just because I physically had more people there laughing. Still it felt good, and it made up for the fact that host brought me up as Pat Milano which is the farthest anyone has gotten from pronouncing my name correctly. He even started laughing as it came out of his mouth because he realized instantaneously that it wasn’t even close.
Favorite Random Sightings: Sapp Bros (fun name); Brass Armadillo (it’s an antique mall obviously); Normal Boulevard (nothing to see there); The Fat Toad (appetizing)
Regional Observation: I don’t know what it is, but on average, person to person, I think Nebraska was maybe the tallest state I visited.
Albums Listened To: Watch the Stove by Hamburger Helper (a shockingly good random mixtape put out by Hamburger Helper for free as an April Fool’s Day Joke, naturally something I have); Watchout! by Danny Pease and the Regulators (a Western Mass reggae/punk band I saw open for the Slackers when I was in highschool, I remember the singer having a very incongruously sweet voice for being a giant punk looking dude); Watt by Ten Years After (British psychedelic blues); Wax Attacks by King Django (jazzy NY Ska from one of the guys who helped keep the scene alive by opening a recording studio with the royalty checks he got from playing Trombone on the Beavis and Butthead movie)
Joke of the Day:
A man visits his doctor and complains that he feels like he has 5 legs.
The doctor asks him how do his pants fit?
The man replies, "Like a glove!
Songs of the day:
This is bonkers but oddly mesmerizing. I don’t know why it’s the Dough Boy and not the Hamburger Helper Glove but that’s just one of life’s mysteries I guess
not from today’s album, but I wanted a live clip plus Alvin Lee just looks so hilariously angry when he’s focusing
not great video, but everyone’s havin’ fun
Bonus Roller Disco Excess: