Opinion L.A.

Observations and provocations
from The Times' Opinion staff

Category: Media & Pop Culture

Jennifer Lawrence and Hollywood's self-loathing game

Jennifer LawrenceWhy do so many beautiful actresses use their time in the spotlight to criticize their appearance? “Hunger Games” star Jennifer Lawrence is the latest offender. On Tuesday’s “Late Show With David Letterman,” the charming and charismatic actress told Letterman that she sees herself as a “troll” and that her handlers have to remind her to “suck in.”

Meredith Blake wrote on Show Tracker that Lawrence came across as “refreshingly human -- if slightly troubling,” and blogger Perez Hilton asked, “Doesn't it just make U fall in love with her more???” For me, the answer is no. Lawrence, in the past, has criticized Hollywood’s standard of beauty and its negative impact on impressionable fans. So why’d she play into it on Letterman? Maybe she was just nervous. Still, a better message would have been: “My handlers tell me to ‘suck in’ when I’m on the red carpet, but I roll my eyes at them and say, ‘you guys are nuts.’ ” Or even better: Not mention it at all.

I can see how actresses might indulge in a little self-deprecation in order to make themselves more relatable and connect with fans. But what happens when someone as beautiful and as talented as Lawrence admits her insecurities as a matter of fact is that it fuels a culture of insecurity along with self-destructive “pro ana” sites and “Am I ugly?” videos.

Women are so much more than what they look like, and yet we're so often reduced to just that. From what I’ve gathered of Lawrence in the past, she couldn’t agree more.

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--Alexandra Le Tellier

Photo: Actress Jennifer Lawrence arrives for an appearance on the "Late Show With David Letterman" in New York on March 20. Credit: Charles Sykes / Associated Press

Before the iPad, there was the Etch-A-Sketch, and I was an ace

Etch-A-Sketch
Besides fortifying his boss' flip-flop credentials, Mitt Romney aide Eric Fehrnstrom took me and lots of baby boomers on a nostalgia trip Wednesday when he likened the Romney campaign to an Etch-A-Sketch. As my colleague Morgan Little describes in more detail, Fehrnstrom suggested Romney could tack to the center in a general election because the campaign was like the red-bordered screen with the two white knobs.  "You can kind of shake it up," he said, "and we start all over again."

As a child, I developed two un-marketable skills: writing backward (also known as mirror writing) and drawing better on the Etch-A-Sketch than I could with pen and paper, which was pretty good. Somewhere in the clutter in my apartment is an Etch-A-Sketch a relative presented me a few years ago to see if I still had it. I did a not-bad self-portrait and signed my name. (I'm not in the league of Sketchers who can reproduce artistic masterworks.)

Etch-A-Sketches still exist. (They even have their own website.) But a lot of kids, if offered the choice, would probably choose an iPad. The Etch-A-Sketch, after all, has exactly one app.

It's too bad. The Etch-A-Sketch tested and taught manual dexterity and forced the Sketcher to mine his own imagination for images.

I also liked what will now be called the Romney feature: Destroying your work and starting over is a good habit for a writer, if not a politician.

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Americans Elect -- bring democracy into the digital world

--Michael McGough

Photo: Matt Ortega's Etch-A-Sketch Romney site is one of the many responses to a Mitt Romney aide's comments comparing the candidate's transition into the general election to the children's toy. Credit: Matt Ortega / www.etchasketchromney.com

'Kony 2012' backlash: Don't squelch young activists [Blowback]

Kony Merch
Mary Strickler, a high school teacher in Harrisonburg, Va., addresses the media backlash over the viral video “Kony 2012.”
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A few days ago the 29-minute video “Kony 2012” went viral with more than 80 million views. Since then members of the free press and bloggers have done their best to blacken the name of three filmmakers and I want to brood about the affair.

As a teacher, I thought it was refreshing to view student activism at the grass roots level this week. In history class, teens were brought to tears after viewing the “Kony” documentary. All week long, young people flooded my room to discuss their reaction to the film. They ordered $30 Kony kits, planned to plaster the city with Kony posters on April 20, the designated day slated in the film, and filled up Facebook sites with poignant discussions of child abuse in Third World countries. The power of the film moved kids to put down their cellphones or video controllers and take up collections to help others in need. It was gratifying to see young people excited and motivated to get involved.

Then, along came the naysayers as cited in the March 10 article by James Rainey. Prominent journalists criticized the Kony movement, especially a photograph of the filmmakers holding guns with the LRA and questioned the amount of donations that actually went toward the cause, ultimately dissuading people from contributing.

Now, it’s only human nature to complain about the state of worldly affairs. I get that and if it happens to sell a few extra papers, so much the better. However, to criticize something so important as saving the lives of children is unconscionable. These three men from San Diego have left the safety of their own homes, fought tirelessly for five years living halfway around the world in unsavory places to bring us the truth. How can anyone have the nerve to question their propriety? Really. Moving films that get airtime on all major networks cost real money to make…or haven’t you heard?

TyincuraMy son, Ty Strickler (USC alum ’10), is currently in a remote village called Cura in Kenya shooting a documentary about the needs of children who live in an orphanage because they have lost their parents to AIDS. It took Ty almost a year to raise the money to go. Rather than simply making a charitable donation, Ty took it upon himself to travel halfway around the world to film in a dangerous area because he knows that his documentary might move others to action. I seriously hope you don’t accuse him of misappropriation of funds because he took his first trip abroad on someone else’s dime. Rather than criticizing people who want to make a difference, you should commend those who get off the couch and do something to make the world a little better for people they don’t even know.

If you want a story about corruption, look no further than our own government. The interest alone on Ty’s college loans are more than he makes in a month. The government consolidation agency, which charges 8% interest, informed Ty that after he makes 30 years of regular monthly payments that will not even touch the principle, the IRS will "step in" and he could see real jail time. Now there’s a travesty of justice; write about that but leave the filmmakers alone.

We all agree that a journalist has an obligation to tell the truth; however, a journalist also has an obligation to cover all sides of the story. Travel with the filmmakers to Uganda, read my son’s blog while he’s in Kenya at tystrickler.blogspot.com, see the good works of people who work tirelessly in the trenches at curaorphanage.org before you put pen to paper next time. 

Don’t squelch young activists like my son or my student, Thomas Abebe, who took it upon himself to raise money for famine relief around the Horn of Africa by selling rubber bracelets to his fellow classmates. Did I ask him for an accounting of funds? No, I just thanked God that someone cared enough to get involved. He gets an A+ in my book!

Just remember -- journalists have the power to inspire too. More people need to be inspired like these young filmmakers, who have the crazy notion that they can change the world by using film, social media and most importantly, their talents.

There are two types of people in the world, ones who are the doers and the ones who sit around and criticize them for it. Which one are you?

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To catch a Kony, cash won't cut it

PHOTOS: The cruelty of Kony's army

VIDEO:Kony 2012 targets Uganda militia leader

 --Mary Strickler

Top photo: The Invisible Children Movement office in San Diego. Credit: John Mone / AP Photo

Bottom photo: Ty Strickler in Kenya. Credit: Photo provided by Mary Strickler

To catch a Kony, cash won't cut it

Kony-2012The Kony video: You love it or you hate it. Or, if you're a truly world-weary Web troll who mocks memes rather than makes them, you're way, way above it. Meanwhile, if you're an opinionator for the dead-tree media, you wait until most of the fuss is well and truly over before getting around to blogging about it.

Actually, the fuss isn't quite over. Invisible Children, the advocacy group behind the Web video "Kony 2012," announced Monday that its next project will be a video defending itself from all the criticism generated by its last one. That's a good idea because powerful filmmaking is the one thing this group does extremely well (as opposed to, say, benefiting Ugandan children or actually achieving results).

Oops. To all of my Facebook friends under 25: Just kidding about that last sentence. I'm changing my profile photo to a red "Kony 2012" banner. Please don't hack my account and post embarrassing status updates under my name.

The almost evangelical zeal with which many college-ish-age people are embracing the Kony campaign is at once inspiring and distressing -- inspiring because it shows that with a little nudge, America's youth can be driven to care about more than midterms and Internet porn; distressing because it shows how easily public opinion on an obscure topic can be manipulated by savvy new-media marketers. The video, a recitation of the many crimes of Ugandan warlord Joseph Kony, has attracted more than 74 million viewers on YouTube alone, not to mention the millions more who have seen it elsewhere.

If you're familiar with the video (and if you're not, check out this Times story), chances are you're also familiar with the criticisms of its makers, which are many: Invisible Children holds itself out as a charity to benefit Ugandan kids whose lives have been torn apart by violence, yet examinations of its tax returns show that it spends most of its funds on making films; "Kony 2012" urges people to send the charity more money in the name of preventing Congress from withdrawing the small contingent of U.S. military advisors who are helping African troops track down and catch Kony, which is odd considering there was never any sign that Congress was considering any such thing; and the video glosses over the fact that Kony is actually no longer in Uganda and is hiding elsewhere, so his reign of terror is largely over.

What bothers me about the group isn't its financing, strategy or even documentary technique but its focus on a marginalized figure who, while certainly among the world's most wanted criminals, is only one of many international villains, and not the most dangerous. A list of better topics might include the genocide in Darfur, the tragic failed state that is Somalia and the deadly scourges of malaria and AIDS in Africa, any of which would be more worthy of public notice and more amenable to public influence. The fact is that all the money and advocacy in the world can't catch Joseph Kony; about the best Americans can do is to support their government's current work to help with the policing effort. That's hardly a great topic for activism. A few million calls to Congress about providing more funds to the Global Fund to Fight AIDs, Tuberculosis and Malaria, though, could really make a difference.

But that's a quibble. The filmmakers behind "Kony 2012" made the documentary because their lives were touched by Ugandan children and the devastation wrought by Kony's forces; somebody else can worry about AIDs. And it seems odd for the Western media to blame Invisible Children for being late to the game of raising awareness about Kony, when they largely neglected to tell Kony's story in the midst of his worst depredations. If Invisible Children spends its money making movies, that's because its mission is to raise awareness, and that's not a bad thing. American high school kids might not be able to find Uganda on a map, but at least they now know who Joseph Kony is.

So it's a mixed bag. But if you're itching to right Africa's wrongs with a little cash, there are better places to send it than Invisible Children. Here's one of the better ones.

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Colombian rebels say they want to restart peace talks

--Dan Turner

Photo: Image from the Kony 2012 action kit. Credit: www.invisiblechildren.com

Romney's Southern strategy: Admit he's a stranger

Mitt Romney in Mississippi
Mitt Romney is catching grief for describing himself as an "unofficial Southerner" during a Mississippi campaign swing.  "I'm learning to say 'y'all'," he said. "I like grits. Strange things are happening to me." More proof of inauthenticity and phony outreach, his critics say.  

The new comments are  reminiscent  in their awkwardness of his infamous  "regular guy" gaffes, like his  statement that he once had worried about receiving a pink slip.

But I'd cut Romney some slack on this one.  To call yourself an unofficial Southerner is to admit that you're not a real one. He acknowledged that eating grits was a strange experience for him -- strange in the sense of foreign or unfamiliar, not strange in the sense of the banjo-playing boy in "Deliverance."

Even in the 21st century, Northerners visiting the South can feel like strangers in a strange land  (and vice versa). Regional differences still exist -- in politics, religion and culture. One example: Southerners -- including teenagers -- are startlingly more polite than Northerners. Watch any TV report about a natural disaster below the Mason-Dixon line -- the victims usually address the correspondent as "sir" or "ma'am."

COMMENTARY AND ANALYSIS: Presidential Election 2012

Romney's candor about his un-Southernness will strike some Southerners as endearing, perhaps prompting them to paraphrase Lyle Lovett: "That's right you're not from Mississippi, but Mississippi wants you anyway."

Or maybe not.

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Will California's vote count?

GOP race: Bring back the brokered convention

Mitt Romney, the pandering chicken hawk on Iran  

--Michael McGough

Photo: Mitt Romney waves to the crowd at the Port of Pascagoula while campaigning in Mississippi on March 8. Credit: Amanda McCoy / Sun Herald/Associated Press 

What we can learn from Whitney Houston and Lindsay Lohan

Lindsay Lohan
As Harvey Weinstein presses on with his campaign to persuade the Motion Picture Assn. of America to lower its R rating of "Bully" to PG-13 so that more children can see and learn from the documentary's powerful message,  the media (social and otherwise) continue to remind us just how important it is to instill an anti-bullying message in children early on. Take it from someone who was bullied: Those teenage torturers don't always grow out of it.

Lindsay Lohan's recent "Saturday Night Live" appearance, for example, was widely panned by viewers and media folk alike. Panned, of course, is too gentle a word for the venom people spewed on the actress attempting to make a comeback. Sure, she's not the most sympathetic character, but where is our capacity to sympathize for someone whose life spun out of control?  

Instead, people tuned in like buzzards -- eager, it seemed, to watch the former bright star fail so that they might blast off hateful missives around the digital water cooler, as it were. This is a particularly cruel and shortsighted part of our culture.

Two recent articles about Lohan and Whitney Houston point to how we -- both the news media and people with social media accounts -- have a responsibility to set a higher bar, to look at the bigger picture, to take responsibility, to help change our culture, rather than turning a blind eye to the victims we hurt. Here are excerpts from both.

Nico Lang, who was bullied as a kid, encourages a less vitriolic culture in an article on the Huffington Post:

Although this can be read as a call to never critique anyone ever -- as was the thesis of the failed CW reality show H8R, in which Mario Lopez shamed people for, God forbid, taking issue with the effect of Jersey Shore on media representation of Italian-Americans -- we should instead see this as a call for decorum in what we say about others, famous or not.  During our current election cycle, many have criticized our political candidates for the below-the-belt jabs they've taken at each other, and we should hold ourselves to the same standard.  The politicians we elect and the celebrities we make famous are reflections of ourselves and our foibles, and if we can ever hope for a culture that doesn't highlight the worst in us, we must stop reflecting that venom and use our critical eyes responsibly and mindfully.

At a time when Whitney Houston's death showed the impact that drugs and alcohol can have on our lives (and the costs that we incur when we don't vanquish our personal demons), we must rally to help those who want to get better -- and foster a culture that rewards recovery.  If we want others to succeed, we must bring out the best in ourselves.

The Fix's Maer Roshan, a recovering alcoholic, calls on the media to look beyond the "barking dogs":

As someone who's seen the effects of alcoholism close up, I've grown increasingly frustrated by the failure of my colleagues to get beyond the superficial details of addiction, or to empathize with the lives of people who aren't regulars on Perez or Page Six. Much of the mainstream media has been lazy -- even downright derelict -- when it comes to addressing the nation's most pressing health crisis. […]

Ultimately, the torrent of coverage of the Whitneys and Winehouses of the world is little more than a distraction, a game of mirrors that deflects attention from millions of farmers, bankers and college kids who are also suffering and dying of drug-related causes at a record rate. It's easier not to have to confront the reality of our drug-slammed towns, or jails full of untreated addicts, or high school kids who swallow up to 50 Oxys a day. Entire regions of middle America have been decimated by poverty and crystal meth. America's seemingly ravenous appetite for drugs raises questions that demand deeper explanations. […]

The senseless death of one of America's most outsized talents is undoubtedly a cause for mourning. But tragic as her death may be, Houston is just another person lost to an epidemic that has also killed thousands more in just the past month. It would be a fitting coda to her impressive legacy if her death ended up providing a genuine 'teaching moment' for America: one that would encourage the media and public to look beyond the scandals and personalities to the complicated causes and consequences of this miserable disease. But that's probably wishful thinking. More likely, in a couple of weeks the hysterical pundits and satellite trucks will roll on to the scene of the next tragedy. As Truman Capote famously noted, "The dogs bark and the caravan moves on." Meanwhile the 22 million people affected by this disease will stay exactly where they are.

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'8' on stage: Can George Clooney play a brilliant lawyer?

--Alexandra Le Tellier

Photo: Lindsay Lohan, center, hosted the March 3 episode of "SNL." Credit: Dana Edelson / NBC

GOP race: Bring back the brokered convention

Supporters
I wasn't  kidding on Super Tuesday evening when I tweeted "Brokered Convention! Brokered Convention!" Even if it opened up the possibility of a Sarah Palin draft, a genuinely deliberative Republican convention would make for more compelling television (and tweets).

I can already see the candidates, flanked by texting aides, streaming into meetings with state delegations between the 14th and 15th ballots. And every day a new dark horse. ("CNN can report that Virginia Gov. Bob McDonnell has emerged as the latest compromise acceptable to both the Romney and Santorum camps.")

A brokered convention might also revive interest in two masterpieces of American political fiction: Gore Vidal's 1960 play (later a film) "The Best Man" and "Convention," the 1964 novel by Fletcher Knebel and Charles W. Bailey II, the authors of "Seven Days in May." 

 "The Best Man" climaxes dramatically when a liberal favorite for the nomination pulls out of the race and throws his support to a governor who had entered the convention as a long shot.

COMMENTARY AND ANALYSIS: Presidential Election 2012

The dust jacket for "Convention" described the nominating process of what was soon to be a bygone era: "In our whole political scene, nothing captures the imagination like the tense, emotional atmosphere of our party conventions."  Conventions made for riveting fiction not only because of the suspense factor but because so much of the action took place in backrooms. In his notes for "The Best Man," Vidal wrote: "Politicians, like magicians and safecrackers, do not enjoy being explicated."  This was pre-C-SPAN, of course, and pre-Piers Morgan.

Political business still gets done in backrooms -- and PAC rooms -- but nominees are chosen long before the delegates get off the plane. But maybe not this year. A change might do politics, and the political novel, some good.

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--Michael McGough

Photo: Supporters of Rick Santorum listen during his Super Tuesday election night party at Steubenville High School in Ohio. Credit: David Maxwell / EPA

'8' on stage: Can George Clooney play a brilliant lawyer?

George Clooney
Why, yes, he can. On Saturday night, a cast that was repeatedly called "star-studded" performed a dramatic reading of the play "8," which is more or less an excerpting of the transcripts of the federal trial on Proposition 8. Star-drenched would be more accurate.

My mother's theory was that the quality of any dramatic production tends to be inversely proportional to the number of big names in it, and more often than not, I think that holds. Fortunately, from where I sat, "8" was, for the most part, the exception. Not because the acting was necessarily special but because so many of the lines were. What makes that all the more exceptional is that most of the lines were taken straight from the transcript of the trial.

I certainly had read about the trial avidly while it was going on, but there is indeed something different about seeing it played out, even if that's an enactment. I sat there wondering, did that proponent of Proposition 8 really say something so easily picked apart? Or was the play, more likely, playing for cheap shots? After the play, I spent hours checking several out of the play's exchanges on the Internet. Yes, they were real. Perhaps they stood out more because the play only touched highlights -- although if there were any highlights that made Proposition 8's presentation look good, they were omitted.

Thankfully, the actors played it simply for the most part, letting the essential material shine through, and that includes Clooney, playing the celebrated litigator David Boies, who managed to turn the defense's single witness into more of a witness for the plaintiffs.

The least effective scenes didn't come from the trial transcripts. Those were little side dramas between the lesbian plaintiff mothers (played by Christine Lahti and Jamie Lee Curtis) and their two sons.  The scenes rang a little sappy and false to me.

But you can decide for yourself. The entire play is on YouTube for a few more days. (For some strange reason, it starts at 29:51).

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--Karin Klein 

Photo: George Clooney, left, Martin Sheen and Brad Pitt are shown in a scene from the play "8," at the Wilshire Ebell Theatre. Credit: Jason Merrit / Getty Images for the American Foundation for Equal Rights

Andrew Breitbart: Dead wrong on race, and much else

Breitbart
Conservative blogger Andrew Breitbart was no respecter of the maxim that one shouldn't speak ill of the dead: After the death of Sen. Edward M. Kennedy in 2009, he spewed venom all over the liberal lion's grave via Twitter, calling him a "special pile of human excrement," a "villain" and other things we can't reprint on a family website. So I don't have any qualms about remembering Breitbart, who died suddenly Thursday at 43, as a closed-minded bully and blowhard who seemed to think he could win debates by shouting louder than his opponent rather than having a better argument, a casual liar who shamelessly destroyed reputations and an unfortunate new species of Internet parasite.

But that's not really what I wanted to write about. In 2010, Breitbart told The Times that three events in the late 1980s and early '90s galvanized his political consciousness, turning him from an apathetic "jocular goofball" into a right-wing activist. All three seem odd candidates for an epiphany, but one in particular has some connection to my own life, and it's as good an indicator of any of the way Breitbart's mind worked -- or failed to work. 

In 1986, while Breitbart was a student at Tulane University, his best friend, Larry Solov, was attending Stanford. When Solov mentioned that Stanford had an African American-themed dorm, Breitbart was outraged.

"He just matter of factly said there was a black dorm, and I was like, 'What the friggin' hell? Are you kidding me?," Breitbart said. "And then, when I found out that it was not segregation in the sense of white people doing it, I was like, 'What are you talking about? Why aren't we working toward the colorblind ideal?' "

This is Breitbart in a nutshell -- a man flying into a half-cocked fury over an explosive topic he only dimly understood. Later in life, this pattern would repeat itself frequently, with the difference that by then he was an Internet entrepreneur who could instantly post his screeds online whenever a topic arose that piqued his ire. Issues of race seemed to incense him more than anything, prompting him to provide an outlet for conservative activist James O'Keefe III's video attacks on the inner-city advocacy group ACORN and to assassinate the character of Shirley Sherrod, an African American official with the Department of Agriculture whose comments on race and government aid were heavily edited and taken out of context to make her appear to be a racist, then posted on one of Breitbart's websites.

I was an undergrad at Stanford in the mid-1980s and well familiar with Ujamaa, the black-themed dorm, as well as Okada, an Asian dorm, and Casa Zapata, a Latino dorm. These dorms were controversial then and remain so now, but they have survived over the years because they offer an important educational and social experience. They are not entirely segregated; no more than 50% of each dorm can house individuals fitting the "theme" ethnicity. To live in one of them, you have to agree to take on a project fitting the ethnic theme -- so Ujamaa residents of any race might have to write an essay about some aspect of the black experience on campus, for example. There are also educational and cultural programs within the dorm.

To the extent that these dorms were controversial on campus during my time, it was mainly because they stimulated a tremendous amount of discussion about race -- and with that discussion came tension. In a school peopled mostly by privileged white students, it was a little shocking to hear about the resentment and isolation sometimes experienced by black students, or the anger simmering under the surface in a Latino community that in the mid-80s was still arguing over whether to call themselves "Chicanos" and whether fighting for their rights was really as critical a goal as integrating with American society. But amid all the tension, something miraculous happened: learning. White students learned to put themselves in the shoes of their multicolored peers, and minority students, I think, learned that communication fosters understanding.

I understand why the idea of themed dorms outrages some people; it seems like an attempt by minority students to isolate themselves, to avoid the intermingling that is supposed to be part of the college experience. And to some white people, it seems unfair: Why do black people get to have their own dorm, when a similar white-themed college dorm would bring down liberal fury? The simple answer to both concerns is that white people aren't minorities. We don't have to go out of our way to be around people like us -- they're everywhere. Minority students on an overwhelmingly white campus are under constant pressure to "represent" their race; it must be a great relief to go home to a dorm where they aren't the only black person in the room.

Maybe if Tulane had had themed dorms, Breitbart would have learned some of these lessons. But I doubt it. Learning, or trying to understand life from another person's perspective, were never his strong suits.

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It's class warfare, by Gens. Santorum and Romney

Andrew Breitbart: Media manipulation as an art form

--Dan Turner

Photo: Andrew Breitbart speaks at a 2010 tea party rally. Credit: Joseph Kaczmarek / Associated Press

'Daydream Believers' will miss Davy Jones

If it's true, as a Times editorial recently stated, that during this month's Grammy Awards telecast someone tweeted "Wait, who is Paul McCartney?" and someone else replied "To be honest, I have no idea," then news of the death of Davy Jones on Wednesday will be greeted by plenty of blank looks.

But, hey, hey, he was a Monkee!

And for those of us of a certain age -- "Daydream Believers" you might say -- well, the passing of the Monkees' lead singer at age 66 was sad, and a painful reminder that none of us are getting any younger.

The Monkees, of course, weren't even a real rock band, at least not at first. They were a television creation -- four guys thrown together in 1966 to play a rock group on a TV show. Heck, they couldn't even play very well at first. In fact, they weren't allowed to play.

But the show was a hit, the guys were likable, the name worked -- like the Beatles, the intentional misspelling was spot-on -- and so, for a time, the Monkees were as big as the British mop tops.

Jones was the pretty boy frontman, banging his tambourine and singing lead vocals on such hits as "Daydream Believer," "Look Out (Here Comes Tomorrow)" and "A Little Bit Me, A Little Bit You."

How big were they? Well, I can still remember the "Battle of the Bands" nights in my little Midwestern town when fans could vote for their favorites -- and the Monkees would consistently outpoll the Beatles.

Of course, like most rock banks, the Monkees didn't last. The show ran three seasons, from 1966 to 1968. 

Jones, whose background included playing the Artful Dodger in “Oliver!” on the London stage, carved out something of a solo career. In fact, according to The Times' story, he was scheduled to perform Monkees songs at a March 31 concert at La Mirada Theatre in La Mirada.

And he never lost his boyish handsomeness.

No, he wasn't Jimi Hendrix or Jim Morrison, whose stars still shine bright years after their too-young deaths. Nor was he McCartney or Mick Jagger, still famous -- and rockin' -- into their late 60s.

But listen to Jones' sweet voice on "Daydream Believer" in the video above.

Maybe you'll become one too.

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Rick Santorum vs. JFK

Michael Mann's counterstrike in the climate wars

Rearview cameras on cars by 2014? It's so 21st century

-- Paul Whitefield

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