i wanna be your dog

now this is an awesome dog...born without two front legs, yet still gets around...

(link opens video...thanks to gr)

in for a penny, in for a pound

First, if you aren't listening to KEXP, you should be. Second, if you do listen but haven't pledged to KEXP, you should support the station. Fund drive's going on now. Hurry hurry -- give your dough, get your swag.

why did you build me up, buttercup?

Poor Bud Selig. All he wanted to do was stage a multinational baseball extravaganza. It's bad enough that lots of stars didn't buy into the idea, were discouraged from playing by team management, were hurt, or were worried about getting hurt before the season, and thus aren't playing.

But now the World Baseball Classic is about to be overshadowed by the mother of all steroid stories.

Two San Francisco Chronicle writers, Mark Fainaru-Wada and Lance Williams, have a book coming out, with an excerpt running this week in Sports Illustrated. They claim that Barry Bonds, fueled by jealousy and resentment over Mark McGwire's home-run heroics, has knowingly been taking steroids since 1998.

It's going to totally blow the WBC out of the water, be the big story as the regular season starts, and will make a complete circus of the Giants' season.

Can't wait for opening day!

for a honky-tonkin' good time....

...50 cent haircut.

saw them saturday night at the knitting factory in hollywood (thanks to the band and pam for the guest listing). lots of fun...power-pop chord changes over rockabilly/honky-tonk rhythms and songs about lost love, found love, drinking, politics and life.

the other band on the bill, sacred cowboys, features w. earl brown (from deadwood and there's something about mary {franks and beans!}). good players, but overall a sound too derivative of lynyrd skynrd. though i gotta say, the keyboard/banjo player guy was pretty cool. the most genuinely rock-and-roll guy in the band.

krauthammer takes on hollywood

Charles Krauthammer often comes across as your nutty cranky uncle -- writes and says things that make you laugh and shake your head at the same time. But usually he's tilting at hefty windmills, things that are important, even if he spouts utter nonsense about those things.

His column today takes on Hollywood in general, and the movie Syriana in particular. His main point is that the Oscars this year are doing a disservice to America by honoring the evils of the Middle East. He starts out with:

Nothing tells you more about Hollywood than what it chooses to honor. Nominated for best foreign-language film is "Paradise Now," a sympathetic portrayal of two suicide bombers. Nominated for best picture is "Munich," a sympathetic portrayal of yesterday's fashion in barbarism: homicide terrorism.

But until you see "Syriana," nominated for best screenplay (and George Clooney, for best supporting actor) you have no idea how self-flagellation and self-loathing pass for complexity and moral seriousness in Hollywood.

I think Krauthammer needs to have his perspective changed on the nature and purpose of art.

First, from everything I've read Paradise Now is not so much sympathetic as it is trying to tell the story from both sides. Art is supposed to make us rethink our world. It's ok if we come away from a piece with the same position on an issue – at the very least that work should inform us and also challenge us to see the entire picture, not just a narrow point of view. An even-handed approach doesn't mean that people will come away thinking suicide bombing is ok, but would it be that bad if the film at lest shed some light on what drives people to such extreme action? Would it kill the average American to see this point of view, even if he doesn't come away agreeing with it?

Same with Munich. Again, I haven't seen (my movie-going was sadly limited this year), but every review of the film I've seen (and this is corroborated by friends who've seen it) notes that one of Spielberg's main points was to show the psychological and emotional cost to the Israeli Mossad agents as they hunt down the Palestinian terrorists responsible for the massacre of the Isaeli Olympic athletes in 1972. I don't see how that makes the original act sympathetic, but hey, crazy Uncle Chuck's on a roll, why derail it?

Finally, he calls Syriana's creators anti-America. All because they essentially tell a fictionalized story of the interdependence between our reliance on Middle Eastern oil and a foreign policy that thus must support unsavory regimes. This isn't self-flagellating fiction, it's reality -- c.f. Saudi Arabia, Iran, etc.

Krauthammer outlines the plot, and then drops the dime:

What is grotesque about this moment of plot clarity is that the overwhelmingly obvious critique of actual U.S. policy in the real Middle East today concerns America's excess of Wilsonian idealism in trying to find and promote -- against a tide of tyranny, intolerance and fanaticism -- local leaders like the Good Prince.

Hey Uncle Chuck -- some of those intolerant, fanatical tyrants? We've been propping them up for a while. But don't let facts get in the way of a boilerplate conservative rant against liberal Hollywood.

glenn greenwald

Greenwald has fast become my favorite long-form political blogger. His two posts this week on the NSA scandal, the first a rundown of new info and the second an astute analysis of the Gonzales letter to Congress are very compelling reads, especially the dressing down of Gonzales.

If you're not reading him, you should be.

forget the panda...can we get a moose?

please? please? the norweigans are depending on us!

(thanks, kathy)

shake me, all night long

A couple of quakes rolled through today, a 2.8 followed by a 3.4 10 minutes later.

I'm still new enough to the area that I don't take the smaller ones in stride. After a few years I'm sure it'll take a 6.0 to make me dive under my desk.

we're going through a hole in the sky

no matter how many times i see robyn hitchcock play, i always feel like i've seen a show made for that night, not a repeat of the same show he played the night before in the next city over. and i know this to be true because when i worked for a&m records a while back, and worked the "globe of frogs" record to retail and college radio, i saw him play a 4 times over 6 nights in nyc, boston, trenton and philadelphia. what struck me then was that each night's between-song patter was different, extemporaneous riffs on the absurd that only robyn can pull off. the set lists changed enough each night, anchored around selling the record (they were on their first major-label tour, so were playing it somewhat safe).

so seeing him at slim's tonight was yet again a new experience. his backing band this time were the minus 5, led by young fresh fellow and part-time r.e.m.-er scott mccaughey, and including peter buck on bass (during the minus 5 set) and guitar (for robyn).

i'll have to admit that i've never been a young fresh fellow fan, and the minus 5 don't really do it for me. that said, mccaughey's a good singer and a fine instrumentalist. for whatever reason his songs have never been my thing.

but robyn has always been my thing and tonight was no different. he bounded on stage with a big smile, a drink and greeted us with a hearty "hello groovers", then began an acoustic set led off by syd barrett's "gigiolo aunt" and including "one long pair of eyes" and "beautiful girl". buck, mccaughey and the minus 5 drummer then joined robyn for the remainder of the set, featuring a smattering of new and old, including "madonna of the wasps" and "if you were a priest". the between-song highlight was a 5-minute run through the plot for magnum force, the movie that inspired the song "a man's gotta know his limitations, briggs". a wonderful set, proof that i can see robyn countless times and he'll never disappoint. all that and i made a new fan for robyn.

"i wanna destroy you" was the crescendo piece of the night and though it's, what, 20 years old (?), robyn's dedicating it to george, condi, donnie et al, made it as relevant as ever.

so, a reminder...

I wanna destroy you (4x)

I feel it coming on again
Just like it did before
They fill your mind with boredom
And they lead you off to war
The way we treat each other
Really makes me feel ill
And if you're gonna fight
Then you're just dying to get killed

I wanna destroy you (4x)

A pox upon the media
And everything you read
They tell you your opinions
And they're very good indeed

I wanna destroy you

And when I have destroyed you
I'll come pickin' at your bones
And you won't have a single atom
Left to call your own

can we get a panda?

please? please? i promise to take care of it.

(thanks, ian)

little decisions are the kind I can make

...how i imagine our white house at work...

the inspiration...

blind acceptance is a sign, of stupid fools who stand in line

the flilthy lucre tours aside, the sex pistols have pretty much always told the music industry to go screw itself, so it's no surpise to see this headline:

"Sex Pistols Flip Off Rock Hall"

yes, they've told the rock and roll hall of fame that they won't be at the march 13 ceremony, and have done it with their usual sense of overly self-conscious rebellious iconoclasm.

the hand-written note on the lydon/pistols website reads (spelling/grammar errors left in tact):

"Next to the sex Pistols, rock and roll and that hall of fame is a piss stain. Your museum. Urine in wine. We're not coming. Were not your monkey and so what? Fame at $25,000 if we paid for a table, or $15,000 to squeak up in the gallery, goes to a non-profit organization selling us a load of old famous. Congratulations. If you voted for us, hope you noted your reasons. Your anonymous as judges, but your still music industry people. Were not coming. Your not paying attention. Outside the shit-stem is a real Sex Pistol."

johnny lydon may often be full of shit, but you gotta admit that he does most everything with some style and flourish.

it's not cheating if i'm with you

say you're eating dinner while watching a cooking show and lusting after the food being prepared...is that like making love and fantasizing about someone other than the person with whom you're in bed?

mystery achievement

back when i was in 7th grade i wrote an essay about wanting to be an olympic athlete. something about the thought of reperesenting your country as a top athlete really got to me, even though i was a scrawny (though reasonably athletic) kid. my english teacher, mr. bundy, commended me on the piece. since i can remember, i've been entranced by the idea of the olympics, as much as the competition (and this was before i found out the the athlete's village was one giant pick-up joint, the hooking up apparently enabled, if not encouraged by the ioc and sponsors.).

anyway, i love watching them, especially sports that i wouldn't necessarily be all that into were they not part of the games -- swimming, track and field, luge, bobsled and of course, curling (and admittedly, yes, this helps). oh and moguls, but then this helps as well.

this year, though, it's been a giant bore. i watched a few hours of it during the week, and with the exception of a few curling matches, the canada-swizerland hockey game and any of the hockey games in which finland played, it's been bleh.

well, not totally. snowboard-cross was awesome, and short-track speedskating is fun, and not just for the spill-factor.

but there have been no compelling stories featuring winners. the big stories have been about the over-hyped who for various reasons, couldn't deliver and were less than sporting or gracious about it. though to be fair, weir has taken the gold for "Best Use of the Games to Become A Bigger Celebrity", narrowly edging out the flying tomato.

though come to think of it, the french guy who won men's downhill gold...that was a thrilling moment. last guy down the run, not expected to do much as he's still recovering from a knee injury, and steals the top spot with a daredevil run. that was a good story, even if it had a short shelf-life.

those surprise moments were just too few and far between. yeah, it was great that the japanese girl won her country's first gold in that sport, i mean, competition. but she did it because the favorites fell. if they'd all stayed on their skates, she's 3rd at best.

usually i find myself at the end of the games almost not wishing they were over. this year i keep wondering when they're finally gonna end.

{addendum...watching the games makes me want to go to torino. looks like an amazing place for a winter vacation}

that said, i still would love to be an olympian. 2010 is far enough away to get together a danish bobseld team, right?

lip service is all i ever get from you

For a guy who's supposed to be the guardian of our nation's secrets and intelligence, CIA Director Porter Goss seems to be out of the loop.

In this piece in today's NYT, a whinefest about intelligence leaks, he is both outright lying and disingenuously lying, committing lies of commission and ommission.

His point is:

Revelations of intelligence successes or failures, whether accurate or not, can aid Al Qaeda and its global affiliates in many ways. A leak is invaluable to them, even if it only, say, prematurely confirms whether one of their associates is dead or alive. They can gain much more: these disclosures can tip the terrorists to new technologies we use, our operational tactics, and the identities of brave men and women who risk their lives to assist us.

The head-shaking comes because of an example he uses to make his point, and an example he ignores, which would have more on target.

One example Goss uses to stress the importance of keeping secrets is:

Recently, I noticed renewed debate in the news media over press reports in 1998 that Osama bin Laden's satellite phone was being tracked by United States intelligence officials. In the recent debate, it was taken for granted that the original reports did not hurt our national security efforts, and any suggestions that they did cause damage were dismissed as urban myth. But the reality is that the revelation of the phone tracking was, without question, one of the most egregious examples of an unauthorized criminal disclosure of classified national defense information in recent years. It served no public interest. Ultimately, the bin Laden phone went silent.

Only one problem...this story has been pretty much discredited in this WaPo story from December 2005, Goss's whining to the contrary. Moreover, it wasn't any US press agency that was responsible for the leak.

President Bush asserted this week that the news media published a U.S. government leak in 1998 about Osama bin Laden's use of a satellite phone, alerting the al Qaeda leader to government monitoring and prompting him to abandon the device.

The story of the vicious leak that destroyed a valuable intelligence operation was first reported by a best-selling book, validated by the Sept. 11 commission and then repeated by the president.

But it appears to be an urban myth.

The al Qaeda leader's communication to aides via satellite phone had already been reported in 1996 -- and the source of the information was another government, the Taliban, which ruled Afghanistan at the time.

The second time a news organization reported on the satellite phone, the source was bin Laden himself.

Causal effects are hard to prove, but other factors could have persuaded bin Laden to turn off his satellite phone in August 1998. A day earlier, the United States had fired dozens of cruise missiles at his training camps, missing him by hours.

Not only that, he seems to have completely forgotten about a rather egregious leak that outed a covert CIA agent. And now it seems that Libby was ordered by VP Cheney to disclose classified info. Makes you wonder how likely it was that the Plame leak was done at the Veep's behest. Then of course there's this little gem from the Post today:

The former CIA official who coordinated U.S. intelligence on the Middle East until last year has accused the Bush administration of "cherry-picking" intelligence on Iraq to justify a decision it had already reached to go to war, and of ignoring warnings that the country could easily fall into violence and chaos after an invasion to overthrow Saddam Hussein.

Until BushCo I was under the impression that the CIA was supposed to be above politics, not an agency at the beck-and-call of the President, not part of the army of spin doctors that the administration needs to cover its ass and make up slam-dunk certainties.

say what you will

Though he's considered the dean of Beltway pundits, David Broder's toolery has been exposed before, most effectively by Eric Alterman.

So while it's a disappointment, it's hardly a surprise to read this little gem from his column today:

Every Democrat on the committee signaled in the hearing a readiness to make needed adjustments in the FISA statute, as Congress has done five times since 2001 to provide more flexibility. The Democrats clearly had heeded Karl Rove's recent speech to the Republican National Committee, signaling an intention to tag them -- once again -- in the 2006 campaign as being soft on terrorism.

They went out of their way to avoid that charge, with Ted Kennedy even applying some reverse English to the argument, by suggesting that al Qaeda suspects might beat the rap in court by their lawyers' successfully challenging evidence obtained through surveillance conducted under questionable legal authority.

I love how he frames this as "Rove speak, Dems jump", as if the Dems were the obedient dog. Broder puts them in the passive, reactive mode. God forbid he frame it as "Rove once again exploited national secrurity for politics, falsely accusing Dems of..."

Look, we do have issues with the party not being effective at crafting a message and for sure the party has, since the Cold War, had to fight the perception that it is weak on national security. However, reality shows us that most Dems are quite serious about real and effective solutions to protecting the country from terrorism. It's discouraging then, to read more b.s. "conventional wisdom", framed in a way that puts Rove in charge, and doesn't call Rove on this disgusting campaign tactic. I would like to think that Broder knows better, but sadly he doesn't.

Perhaps it's time for a few firm but cordial e-mails to the dean, to let him know that people are tired of lazy punditry.

I’ll be what I am, a solitary man

The overriding focus of discussion about Brokeback Mountain has naturally been about the love affair between two men. To be sure, a major motion-picture telling the story of a love affair between two men spanning the 1960s and 1970s in the big sky country of Wyoming is worth talking about. But the film is not just about “gay cowboys eating pudding”. There much more going on.

Mostly I saw it as a character study of a man, Ennis Del Mar, who has a profoundly sad inability to get out of his own head and connect with other people. People are drawn to him – his lover Jack Twist, wife Alma, eldest daughter Alma Jr., bartender Cassie Cartwright. Yet Ennis struggles to reciprocate their attraction, subconsciously but overtly keeping people at a distance, never deliberately showing his true self. When he does open up and flash a bit of unabashed emotion (excitement over going “fishing” with Twist), it takes his wife and the audience by surprise.

To be sure, it is beautifully shot and the acting is first rate. The landscape shots are lush and spectacular and stand in sharp contrast to the interior scenes that Ang Lee frames in a way that's evocative of the American realism period of painting of Eakins and Hopper -- stark images conveying loneliness and empty space. Heath Ledger plays Del Mar with just enough reticence and vulnerability to make the character a tragic hero. Jake Gyllenhaal’s Twist is a bit less fully realized. He's definitely trying to be a young romantic, wanting to seduce everything in his path, but there's something about Gyllenhaal the actor...he doesn't carry the emotional weight that Ledger does, and seems small and meager by comparison.

the sweat of my brow keeps on feeding the engine

The owners of the mining company should be brought up on 12 counts of negligent homicide. From the Washington Post:

Time and again over the past four years, federal mining inspectors documented the same litany of problems at central West Virginia's Sago Mine: mine roofs that tended to collapse without warning. Faulty or inadequate tunnel supports. A dangerous buildup of flammable coal dust.

Yesterday, the mine's safety record came into sharp focus as officials searched for explanations for Monday's underground explosion. That record, as reflected in dozens of federal inspection reports, shows a succession of operators struggling to overcome serious, long-standing safety problems, some of which could be part of the investigation into the cause of the explosion that trapped 13 miners.

In the past two years, the mine was cited 273 times for safety violations, of which about a third were classified as "significant and substantial," according to documents compiled by the Labor Department's Mine Safety and Health Administration (MSHA). Many were for problems that could contribute to accidental explosions or the collapse of mine tunnels, records show.
<...>

**********

The media, this so-called anti-business, anti-Republican liberal media, is almost as much to blame for the deaths, and that's as much a deal as the idiotic and unprofessional reporting that told the world that the miners were all alive.

Good investigative reporting -- of the likes of Upton Sinclair, Lincoln Steffens, Jacob Riis, Jack Anderson and pre-fame Woodward and Bernstein -- has gone the way of the rotary phone. And it's this kind of reporting that exposed a meat-packing industry that was killing people, exposed life in NYC slums, exposed corrupt politicians from Boss Tweed to Nixon. They were in full-throttle during the Lewinsky thing, but only in it for the titillation. "Reporters" dig for the next missing blonde chick but don't work to expose real problems like the Sago mine.

These miners died because of a lack of enforcement of safety codes and a lazy press. Its OSHA, the EPA, FDA and other agencies that should be there to protect us. When they fall down the Fourth Estate (the press) needs to be there to call them into account.

Let's not let the union off the hook. They're as complicit in the deaths as the mining company and the press. They should never have allowed their rank-and-file into that mine and should never again allow workers to go to demonstrably unsafe mines.

These miners died because of a business climate that falsely proclaims how burdensome safety regulations are and because the press has left its balls and vigilance at the door in a trade for access and glamour. China allows its citizens to be expendable cannon-fodder for industry and "progress" (dam failures, chemical plant explosions). The Soviet Union did the same (Chernobyl) The number of deaths is astounding -- do some research on it. The level of government complicity and the callousness of government response in these and other nations we condemn for human rights abuses is even more astounding. We should be better than that.

some kind of monster

i'll start this by saying that i'm not a metallica fan. have never dug their music. so why use netflix rentals for the documentary "some kind of monster", which details the making of metallica's "st. anger" album? because the reviews were pretty good and i have some experience in the music biz, including in the studio and dealing with fucked up band dynamics.

i'd read the stories about how hetfield and ulrich were major assholes -- control freaks who didn't let kirk hammett or jason newstead have much in the way of creative input, how they mercilessly hazed newstead after he took over for the dead cliff burton. if you read the rock press you read the 'alcoholica' stories, you read about the groupies. ulrich makes news going after napster. but you also read about an incredibly successful band.

so it's quite a shock that the movie starts with conflict, newstead leaving the band just before they commence recording what would become "st. anger". also, the band has brought in a $40K/month life-performance coach to help them with their issues. the sessions begin with nothing demoed, evidently a departure for them. but hey, they're rich, they can afford to dick around in the studio. also, the plan is for everyone to contribute both musically and lyrically, again a new thing.

the sessions aren't yielding much but fighting between hetfield and ulrich, with hammett playing his usual peace-maker. after a particularly bad fight, hetfield storms out of the studio. he doesn't come back for a year, going into rehab. upon his return the band slog thru recording and finish. they also hire a new bass player, rob trujillo, from ozzy osbourne's band.

the crux of the film is not the artistic process itself, but the interplay between the art and personal reconciliation. simply put, these guys have major issues in how they deal with each other. their lives having come to a crossroads of age {they're all at or near 40} and their material wealth great and musical legacy strong, they need to find out how to be challenged to create and how to get out of the dysfunctional rut that will keep them from moving forward artistically.

there are some powerful scenes from therapy sessions and meeting, scenes that make the viewer feel like an intruder. but they resonate with real pain and emotion. notable is a meeting between dave mustaine and lars ulrich. mustaine, kicked out of the band almost 20 years ago, *still* harbors major resentment towards hetfield and ulrich for the way they dumped him {though he acknowledges he deserved it, given his alchoholism..which is saying something considering how much these guys drank}. despite that mustaine's band megadeath sold millions and millions of records, he still acts like a wounded child, his self-esteem stuck at being measured in terms of his relationship to metallica's success and that he wasn't there for it.

hetfield's post-rehab change is remarkable -- he emerges as this sensitive, caring family man who openly professes love for his bandmates. the directors do a great job of developing his character.

it's a layered and complex film about real relationships. and from experience i know that being in a band is very much like a marriage or other romantic relationship. you put so much of yourself out there, you're so vulnerable and the only ting that keeps you going is your trust in your partner{s}.

so get the movie. make sure to also get the bonus disc {shipped separately if via netflix}. it's an amazing piece of work. this non-fan still doesn't like metallica's music that much, but i came away with a fair amount of respect for them, in the sense that they embarked on a risky path of personal and artistic change, and doubled that risk by letting cameras chronicle every minute.

new year's in vegas

photo set...

for my first time in vegas, why not during the new year's holiday? if you're gonna do over-the-top sensory overload, no time like when it's as crowded as possible. it's supposed to be second only to nyc/times square in terms of number of people gathering.

anyway, first day+ was hanging with a friend who lives in henderson. mellow, just eating, drinking, watching hockey.

the vegas experience starts the next day, thursday. meet up with my friend j (knew her in miami, now she's a photography student at parson's in nyc) and get to the hotel, the excalibur. there's a medieval theme that's definitely played out in the architecture, and to a point in the entertainment and a few of the restaurant names. the rooms themselves were fairly generic. just a small faux medieval tapestry hanging on one wall, and the bedframes had vaguely gothic/olde englishe style carving.

anyway, the strip hotels, especially the newer ones (bellagio, wynn, venetian, paris, new york new york ,mgm grand luxor, mandalay bay, cesear's palace) were HUGE. some were set a good 3-5 minute walk back from the sidewalk.

each had a different vibe (theme aside). the mgm grand felt old-school/old money. dark lighting, wood paneling, chic (almost deco) design. across the street, the tropicana goes for middle-brow cheese. slot machine noise is all you hear, there's $5 blackjack with a lively crowd. played a few hands and had the coolest dealer -- a laconic and world-weary asian dude. great counterpoint to the boisterous crowd at his table. playing the same game at the $10 or $25 tables at luxor was stuffy and boring. at new york new york somewhere in the middle.

the bellagio and wynn are going for super-high end style. nice touches in each...marble flooring with cool in-lay, luxurious pool areas. at wynn it was almost defeated by this gigantic animatronic frog. the mirage (home to sigfried and roy) has a jungle theme augmented by a beautiful (live) tiger on display in a zoo-like area as you walk towards the main casino floor. felt kinda bad for the cat...smallish area, people gawking. at one point he was pawing at the door to get back to his secluded area, but the keepers must not have seen or heard him. looked just alike a housecat trying to get past a closed door -- on his hind legs and pushing/pawing.

the eating was good and (surprisingly) expensive. at the newer hotel restaurants you get good food, but for more than you'd pay at a conventional restaurant in a city. but then, this on a major holiday weekend and without any comps. but good sushi at a place in cesear's palace, and a good new year's dinner at wolfgang puck's restaurant in the mgm.

we took one day and hit lake mead and the hoover dam. awesome, especially the trails around the lake and the colorado river leading towards it. the hoover dam is an awesome engineering marvel. the design of the buildings and statues reflects its deco-era construction.

the older part of vegas, the downtown, is decidedly unglamorous. very bright neon lights flashing quickly. it's the golden nugget, four queens, glitter gulch strip joint. much more down-to-earth vibe. the fremont street experience light show is ok...more a technical marvel, but worth seeing. also, per usual, i found a good dive bar (at the art bar) and a good mexican place (casa don juan). kinda places locals go to, decidedly non-touristy.

new year's eve itself was ok. lots of events in every hotel. the strip (las vegas blvd) is blocked to traffic and people can walk on the street. by 11pm it's packed, to the point where it's impossible to walk all that far. fireworks up and down, including a synchronized display from new york new york, the mgm, and excalibur (they're each at the corners of the strip and tropicana ave).

getting anything done takes forever. it's a long walk to anywhere from inside the hotels. getting out is a chore (a design feature to keep you in) and with the crowds and the urban design it's like a quarter mile to to get from the hotel lobby to a street corner.

verdict -- worth going for the experience. i'd like to go back when it's less crowded and when room rates aren't at gouging levels (our rate for the 31st was 3x the rate for the 29th). might have spent more money on dinners and shows if the room hadn't set us back so much. but they still got lots of my dough.