Watching it

My wrists are boldly bare of beads, bands or bangles. I haven’t worn a watch in too many years to count. Bracelets, even the hippie/friendship kind, are no longer my style. And it’s alien when they snap on those paper wristbands at concerts and parties; I suddenly feel over-accessorized, or worse, like an inpatient. 

In my early world travels, I would sport a cheap little watch (a Casio, I think) before I owned a cell phone. Prior to that, I wore nothing on my wrists, unless you count the spiked leather bands we’d strap on as teens at metal shows, and I’d rather not.

The other day, however, I was transfixed by a banner ad for a watch. Granted, it was for an aggressively blue Swatch, which I knew I wouldn’t pursue, but it unfurled a vista I haven’t taken in for a very long time. A watch. How novel. I mused: Is it, um, time?

I suddenly became perversely excited for something as dully utilitarian as a … wristwatch. Like the time I just had to have this pair of Italian sneakers, or got an irrational urge to go to China (which I did, and I’m glad). Every once in a while, I can get almost maniacally materialistic: I must have that — now! And so, quite obsessively, I plunged into the world of watches. 

Down the rabbit hole I went, heedless, with fierce attention to fashion and function, while avoiding the bejeweled Omega and Rolex price brackets (rackets), as well as over-compensating smartwatches. With watches, I’m strictly a dilettante, not Flavor Flav. A couple hundred bucks, tops, maybe a mite more. And hold the bells and whistles. I’m also not an astronaut.  

After some initial scouring of mostly lame watches, including a bizarre glut of Snoopy timepieces, I spotted a handsome Timex, black brushed metal with a brown leather strap, at upscale men’s fashion outlet Todd Snyder. The piece is sporty, hip, sleek.

I bought it. I got it. It failed. 

I have spectacularly small wrists, roughly the circumference of kindling, and the 41mm watch face looked like a Chips Ahoy! cookie on my arm. Mammoth. It made me sad (and hungry).

Lesson learned — hopes burned — I began searching for 36mm to 38mm sizes, anything that wouldn’t look like a hubcap on my wrist. But these sizes are relatively scarce, so I couldn’t be picky. Yet I was coming across butt-fugly contraptions barnacled with dials and buttons and faces so complex, night vision goggles are required. I wasn’t joining the Navy Seals.

And then, there it was. A classically simple, elegantly plain analog watch, subtle and smallish, with a handsome olive green face and gold hands and digits and a tasteful black strap. It’s also a Timex, released in collaboration with Todd Snyder, an exclusive limited edition, and thus a few more dollars than I wanted to spend. It’s on its way as I type this. It better kill.

The hours spent shopping for a watch were exhausting and preposterous, and I only found two I liked. But shopping is a contact sport — mean, raw, intense. Be it looking for a Honda or a house, you scour and winnow and balance a mountain of variables (unless you’re shopping for a loaf of bread, say, and then the drama drops significantly). It can be arduous, but it’s also fun, because buying stuff is fun. I think this new toy will fit the bill. Just watch.

  • Update: The watch arrived today. It’s the size of a hubcap.

When Halloween gets lost in translation

Pretty much kaput, Halloween means just about nothing to me nowadays. The thrill is gone. The chill is gone. I’m not 7, dig. 

Yet something about Halloween sticks, hovering like a blanket of graveyard fog. Each year I gladly inhale the occasion’s residual festive fumes, pumped in like so much giddy-making nitrous oxide. Hey, unlike zombies, I have a pulse.

Though costumes are long — and forever — doffed and I’ve retired the habit of sneaking morsels from the communal candy bowl (It’s for the kids, dammit!), I remain devoted to this perverse, very North American celebration of the gross, grim and ghoulish. (And, yeah, I lied: the Reese’s cups are mine.) 

But I effectively don’t partake in the big-picture party, unless you count sometimes serving as the eve’s Doorbell Dork, doling out Snickers and Tootsie Pops, smiling like the village idiot on cue when a particular and rather mystifying catchphrase (starts with trick) is shrieked by decked-out kiddies (and a few shameless, straggling grown-ups who can only dream they’re getting a Kit-Kat from this finger-wagging candy dispenser).

It’s a festival of enforced flamboyance. Excess is enshrined. Generally sane people douse themselves in corn syrup blood. Sex is flaunted in racy micro-fashions: cats and maids and devils. It’s masks and makeup and Marvel; wigs, witches and wizards; Pokémon, pirates and pop stars (and, yes, Pop Tarts) — the palette is as infinite as it is infantilizing. The id comes out to romp. 

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Halloween in Sevilla, Spain, 2016 — amateur hour.

In placid suburbia, lawn dioramas have grown ambitiously disgusting. I love the sinew-chewing zombies (with staticky sound effects), life-size, yoga-posed skeletons and tombstone-cluttered cemeteries, gnarled limbs popping out of the ground. I beseech you: gross me out.

It’s a bacchanal of fantasy and horror, whimsy and steroidal imagination. It’s pop cinema — slashers to superheroes — sprung to life. And it’s uniquely, wildly American (and, I hear, Canadian). 

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Halloween, Beirut, 2008 — not cool.

I’ve done Halloween in London, Paris, Beirut, Ho Chi Minh City, Kathmandu and Sevilla. As the locals tried to summon the spirit, they invariably botched the holiday, blundering with gauche costumes (er, blackface in Beirut and Paris) and feebly attended parties — strictly amateur hour, training wheels required.

Except when they’re not. Except when the night has been co-opted with the verve and vision matching the western prototype. All eyes on … Japan. It’s said that Japan has only been practicing Halloween in earnest for five years. But amateurs? Hardly.

The Japanese were born pros, built for Halloween. Nothing is lost in translation. Dress up and cosplay are daily mainstream occurrences. Stroll anytime through Tokyo’s Harajuku district for teen fashion so high, so rococo, it passes as a perpetual street costume party.

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Harajuku teen, Tokyo, in April 2006.

Which should make this year’s Halloween something special. I land in Tokyo on October 30, giving me less than 24 hours to steel for whatever that hyper-charged city has in store in the way of a woozy wingding.  

Because there is no way I’m not wading into the most outrageous Halloween hotspots — like bustling, youthful Shibuya, where a million revelers are expected — to get the full Japanese treatment: anime and cosplay characters, J-horror ghosts and vampires, video-game avatars and the universal diet of Star Wars, Harry Potter, Power Rangers and other mega-brands. (Oddly, Where’s Waldo? seems to still be popular. I’ll look into it.) 

This is what I wanna see, Halloween with kick (I’ll return with a full, bloody report):

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Witches? Zombies? No idea but I’m thrilled. 

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Nerd, nerd, nerd, nerd and nerd. That’s five nerds. God bless them.

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Grisly Disney: zombie versions of famous cartoon characters, including Minnie Mouse and Snow White.

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A gaggle of zombie fast food (flesh food?) servers. Do you want fingers with that human hamburger?

And the best for last …

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The playful elegance of Irving Penn’s photos

I’ve recently done some traveling to Washington, Philadelphia, Boston, Montreal and London, art-encrusted metropolises boasting drop-dead, world-class museums, from D.C.’s National Gallery to London’s twin Tates and the mighty Philadelphia Museum of Art. I was spun around (picture Mary Tyler Moore giddy and agape in the big city) by the sheer voluminous quality around almost every corner, be it the say-what size of the magnificent Turner collections in London or the rare “Chagall: Colour and Music” show in Montreal.

Yet, for all that sublime perambulation, meandering among masterpieces, the best art show I’ve seen in a spell, hands-down, is the Irving Penn photography exhibit at The Met in New York. “Irving Penn: Centennial” features over 200 photos — glamorous portraits of writers, artists, actors, dancers and other outsize personalities; insane food still lifes; leonine fashion divas; and worlds more. It’s an exhilarating joy.

Avers the show catalog: It’s the “most comprehensive retrospective to date of the work of the great American photographer,” who, after a sensational stint at Vogue, died in 2009. “Penn mastered a pared-down aesthetic of studio photography that is distinguished for its meticulous attention to composition, nuance, and detail.”

Yes, but there’s so much more than that clinical description suggests, and you can see it in the work itself. (Time is of the essence: the exhibit closes July 30. The Met has posted a nice video preview of the show here.) A smoky elegance and playful naturalism imbue the hugely influential pictures — hello, Richard Avedon and Annie Leibovitz — whose complexity and sophistication are on full display, if rarely peacocky.

Below are a few of Penn’s famous black and white celebrity portraits — some of my favorites — lucid, lush, deceptively simple images that pierce into the personalities to become indelibly iconic. (Try and identify the subjects.)

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