You ask me, everything you need to know about Balloon Boy’s family is that they were on “Wife Swap.” Normal families aren’t on “Wife Swap.” (Or its Fox equivalent, “Trading Spouses,” which went out of production a couple years ago.) The premise — two radically different but equally insane kennels of publicity hounds swap their adult female for two weeks — may have started out as entertainment but is basically a freak show. You tell me this family was on “Wife Swap” and it’s a more powerful signifier than learning dad is a heroin addict. Seriously.

I watched this show maybe three times. Once I think I was trapped in a hotel room. (No, that was “The Swan,” lost to the ages, alas.) I don’t forbid myself trash television, although I justify it with bullshit excuses about being large and containing multitudes, and I try to limit my intake. Some bad reality TV is amusing and some just makes you feel dirty. “Wife Swap”/”Trading Spouses” is in the latter group. (So is “Bridezillas.” That’s for another day.)

The breakout, the week that tipped them over into dirty burlesque, was the “Trading Spouses” episode where the hugely obese insane Christian woman flipped out and started shrieking. (Is it on YouTube? Do you even need to ask?) I saw that one. It wasn’t exactly the equivalent of being at Woodstock, but you got a sense that things weren’t going to be the same afterward. And they weren’t. The next time I watched, one of the families was into both raw food and dirt. They lived in the Iowa outback, and had disturbing theories about germs and medicine and the like. They brushed their teeth with butter and baking soda, ate raw chicken and drank some vile milkshake-y substance every four hours, and the mother woke everyone up in the middle of the night for their shot of sludge.

Everyone has a Scorsesean, camera-pulls-back moment from time to time, where you’re suddenly looking at your disgusting self from a high angle, and I had one then. I said, “Either I turn this shit off or I call Child Protective Services.” I opted for the first. (I did stay tuned long enough to marvel at how equable the other family was, for once. They must have selected from the not-insane file, and drew an attractive family of three from San Francisco, who liked to spend their free time at concerts, restaurants and cozy cafés. Not only did the mother endure Iowa with grace — although she refused to eat raw chicken — the father and son wore the Carhartt coveralls the crazy mom put them in with such style, I half expected them to show up on the runway in Bryant Park the following season.)

I gather the gimmick for balloon-boy’s family was that they’re “storm chasers,” only without the boring college degrees and training. The father, who comes across as an unmedicated manic-depressive permanently stuck on the redline, has many interesting theories about extraterrestrials and what happens inside rotational storms. The wife? Dunno about her, except that she’s 100 percent supportive. Well, good. I hope she’s willing to get a second job to pay the bill that I fervently hope the county emergency responders present them with for this freak show. ABC’s not picking up the tab for this one, pal.

Although what do I know? They probably already have.

And another week lurches to its close. I managed to get a 900-word story turned around on a tight deadline, just in time for Kate to come down with something flu-ish. I don’t know if it’s the pig variety, but she was feverish yesterday and somewhat better today, so fingers crossed. I am washing my hands so often I’m wearing away a layer of skin, but it’s surely coming for one of us. I’m hoping it waits until we can all see “Where the Wild Things Are” this weekend. I remember reading that to Kate when she was little; she would make her hands into terrible claws and make little baby roars. Let the wild rumpus start!

Have a good weekend, all.

I don’t know if you’ve been following the Ralph Lauren Photoshopping story. It all started when Boing Boing called them out for trying to quash criticism of this preposterous ad image by getting the blog post pulled as a copyright violation. Things worsened (for Ralph, anyway) when it was revealed that the digitally squished model in question, Filippa Hamilton, had been fired by the fashion house for reaching a bovine 120 pounds. (Note: She is 5-feet-10.)

Yesterday, however, Photoshop Disasters, a truly amusing site that tracks these things, found yet another example of heinous manipulation by Ralph Lauren, in which a woman was turned into a “human Bratz doll.” (Original post at Photoshop Disasters.)

I’m baffled by this, because it seems that in all the howling about unrealistic body image and the pressure to be thin — arguments that have been growing hair for years — no one is asking the obvious, i.e., can’t Ralph Lauren afford better Photoshop artists? And if not, why? (Dump your stock!) Look at that latter image and ask yourself why whoever put this girl in a digital vise couldn’t be bothered to also manipulate her right hand, which looks like it was transplanted from a nearby cross-dressing linebacker. Photoshop is a skill, and one of the best articles I’ve read in recent years was the New Yorker piece about the world’s most well-paid Photoshop artist (name lost to the ether, sorry), a man who is kept on retainer by celebrities to handle all the pictures they have control over. (Which is to say, all the ones the paps don’t shoot. Yay paps.) He does the Louis Vuitton ads, which is why you don’t recognize their celebrity model (Madonna). If Ralph Lauren’s company can’t afford at least one of his assistants, they’ve got more trouble than some jeering from the internets.

But since Jezebel brought it up, this seems the time to get something off my chest.

I need to say a few words in defense of Bratz.

All conscientious parents hate Bratz, for lo, the Bratz are eminently hate-able. Conservative parents in particular hate Bratz. James Lileks? Hates ’em. Rod Dreher? Hates ’em. The latter fell victim to the curse of all overscheduled pundits the other day, and linked them to current events (see the link, but if you’re too busy, it starts with P and ends with olanski). It used to be feminists who wrote bilge like this, but I guess it’s spread:

A culture that markets Bratz to little girls, and that at nearly every turn tries to turn them into erotic objects, is not a culture whose fingers pointing at Polanski are entirely clean.

Sigh. I hated Bratz too, once upon a time, the big-eyed, clubfooted dolls dressed like streetwalkers, named like starlets (Jade, Yasmin, Cloe — yes, spelled that way) and interested in one thing only (collecting bling). I called them the Li’l Ho’s, Skankz, everything I could think of. But I came to change my mind, and even though Bratz are in eclipse now, their cultural impact on nervous parents lives on, and I’m here with one word of advice:

Relax.

I kept my house a Bratz-free zone, but the small temptresses found their way in, just the same. Kate’s friend Sophia would bring them with her when she came to play, and even though this was in Ann Arbor, and every Ann Arbor child eventually becomes familiar with the sort of parent who bans toys on political or philosophical grounds, I decided to hold my fire and just watch them play with Yasmin and Sluté for a while. Guess what Yasmin and Sluté did in their imaginary world? They went to the playground, goofed around, practiced martial-arts kicks (lethal with those giant feet) — in short, they behaved exactly the way the girls holding them did, because that’s what dolls are for children, and always have been, and always will.

I’m glad I did this. I’m glad my neighbor brought Barbie into our house, too, another toy I swore I’d never buy. My experience as a parent with Barbie was exactly the same as with Bratz, and I was forced to admit the truth: A lot of women are walking around with advanced degrees based in part on elaborate theses of the female image in pop culture, theories that turned on the fact Barbie had an impossible waist-to-hip ratio or leg length or something, and these theories were, in a word, bullshit. When you have children you owe it to them to see the world through their eyes, and when they look at Barbie, even when they look at Yasmin, Sluté and the girlz, they don’t see sexy. They see pretty. When we forbid them from having these things, and use loaded, confusing code words like “inappropriate” or “unrealistic,” we’re making them see the world through our eyes, and folks, they shouldn’t have to do that. And when we fear that seeing a doll with plump lips and a short skirt will turn our little girls into prosti-tots, that’s just creepy.

Not long after I made peace with the visiting Bratz, Christmas rolled around. I’ve always believed that Christmas should be a time when you get one thing you didn’t ask for, and one thing you did, and that year, Kate asked for Bratz. I went to Target and considered my choices. Roxxi, Katia, Nevra — there were so many to choose from, each more horrible than the last. I stood there comparing this trashy detail to that trashy detail, until my brain finally short-circuited and I went all in. I chose the trampiest one of the lot, maybe Roxxi, I can’t remember. She wore a micro-mini and a shirt that showed her belly button, but what really sold her was her fun-fur shrug and day-glo hair extensions. She looked exactly like a woman you’d see standing on a street corner near a 24-hour adult bookstore, peering into the windows of passing cars.

Kate was thrilled to find her under the tree on Christmas morning, and she went off to introduce her to Barbie and the rest of the girls. Within three years, all the Bratz, and all the Barbies, lived in a seminude, dismembered tangle in a Rubbermaid box in the basement with all the other outgrown toys. Perhaps they planted the seed of trashy dressing in my darling daughter, but the last time I checked she was so modest she locks the bathroom door to change her clothes and refuses to wear shorts that rise too high above her knee. She’s an anti-Brat, essentially.

(I saw Sophia recently, too. She’s a top student and multi-sport, confident athlete. I don’t think she owns any fishnet hose, and if she did, it would be for a jazz dance class.)

So swallow your distaste, parents. Those handmade, hemp rag dolls you’ve been buying from indigenous artists might make you feel good, but your daughter wants the li’l clubfootz with a passion for fashion. A few years farther down this road, I’m here to tell you it all comes out in the pop-culture wash.

So many interesting things in the meeee-dya — every so often I like to say it like the pests who brayed it in my ear all these years — this weekend. I hardly know where to start. As many of you know, Detroit is having a moment in the national spotlight; Time magazine bought a house in town to be home base for its yearlong look at the city. Their first cover story is either this week or last, but I haven’t read it yet (although I bookmarked the blog). I’m catching up with everything else this weekend:

“On the Media” looks at poverty porn with the unnamed but unmistakable presence of Jim Griffioen, aka Sweet Juniper. (The piece slams Time magazine for its drive-by tactics, amusingly.)

The New York Times covers Mayor Dave Bing, the ol’ crepehanger.

Best of all was this WSJ feature, looking at the decline through the lens of a single house, which was once in the swankiest neighborhood in town and today is vacant and recently sold for a four-figure price. This was the part that caught my eye:

In 2005, (a previous owner, the Andrews) found a buyer, Kimberly Carpenter, willing to pay their $189,000 asking price. They were too relieved to question why Ms. Carpenter’s closing documents recorded the sales price as $250,000.

County records show Ms. Carpenter took out simultaneous loans of $200,000 and $50,000 from First NLC Financial Services, a unit of Friedman, Billings, Ramsey Group, an Arlington, Va., investment bank. First NLC specialized in subprime mortgages — loans for borrowers with damaged credit.

At the time, Detroit was swept up in the subprime-lending frenzy that hit much of the country and eventually sparked the financial crisis and deep recession. Lenders became quick to loan to high-risk borrowers.

Ms. Carpenter, 37, says she was buying the house on behalf of her father, Lewis Maxwell, whose own credit record was too blemished. “My father handled all of that,” she says of the financial details. Her father, who worked on the Chrysler assembly line, died of cancer in 2007.

David and Ruth Andrews say Ms. Carpenter paid them $189,000. They say they don’t know what happened to the other $61,000 entered into sales records.

“I have no idea about any of that,” says Ms. Carpenter. “It’s over. It’s out of my head.”

OK, so clearly Carpenter is not the sharpest knife in the drawer, nor does she come from a long line of sharp knives. When I hear the Tea Party people complain that they’re being asked to bail out people who got in over their heads, foolishly signed papers they shouldn’t have signed, I’m sympathetic. But Carpenter at least lost the house and is in a world of financial hurt. Why are the NLC bankers not in jail? That’s what I want to know:

Ms. Carpenter quickly fell behind on her payments. In August, 2006, First NLC Financial bundled Ms. Carpenter’s first loan with a pool of other troubled mortgages and sold them to American Residential Equities, or ARE, a Miami company that specialized in buying bad loans.

First NLC Financial went into liquidation last January, dragged down by mortgage losses. Its parent company, FBR Group, became Arlington Asset Investment Corp. A spokesman for Arlington said the company can’t locate the original files on the Carpenter loans or comment on the lending decision.

By November 2006, ARE’s collection agents were after Ms. Carpenter for $218,348.53 on the $200,000 mortgage, according to county documents.

Good luck with that, ARE. I wonder where the folks are who pimped a quarter-million dollars to a woman who can’t even say, today, what happened to her. There’s enough blame in this disaster to slice it up like a big fat mortgage tranche. But I’ll be saying this until the end: When you open a store giving away free crack if you sign here and here and initial there, and if anyone expresses reservations you say, “Don’t worry, this is the special non-addictive crack we’re giving away” — when that happens, you really can’t complain that the neighborhood is suddenly full of crackheads.

Oh, well. Onward to the more uplifting things:

I’m not an opera fan by a long shot, but I enjoyed this piece about Peter Gelb, the new director of New York’s Metropolitan Opera. It was worth reading just to pluck this marvelous bit of jargon from the word-sluice: “park and bark,” used to describe singers who can’t act. In usage:

…He has commissioned new productions, some of works seldom seen in New York; signed up new singers, who don’t just “park and bark,” as he puts it, but actually act; and recruited directors from Broadway…

There was also a great piece, by an opera aficionado, looking at Barbra Streisand and her miraculous voice, which was bestowed upon a woman who only saw singing as a way to get to what she really wanted to do — acting. She doesn’t warm up, she doesn’t read music, she processes everything from her gut and ear:

“I hear these melodies,” she said. “I hear horn lines and string lines. That’s what’s fun about recording with an orchestra.” She can sing things, and composer-arrangers like Bill Ross or Jeremy Lubbock have the skill to write them down, she said.

She talked about recording with Marvin Hamlisch. “I can go, ‘That’s not the right chord, no, it has to be an 11th or a 9th or something,’ ” she said. “I just know that the chord has to be in contrast, it can’t just be this.” She sang a sustained husky pitch. “I’ll say: ‘It has to rub. I want that slight rub there.’ ”

It’s funny how, when Streisand was given the chance to just act and not sing, the results were pretty uniformly crapola — “Nuts,” “The Prince of Tides,” and so on — but all agree that what makes her singing special is how very emotional it is, i.e. how much acting she does while singing.

Finally, in the On Language column, a piece on “phantonyms” — words that sound like they should mean something, but don’t. They don’t discuss my personal pet peeve (infamous does not mean “really famous”), but it scratched a very specific itch.

On Language, of course, was William Safire’ column. Who is no longer with us.

Monday, Monday. Can’t trust that day. (If I may be excused a little John Phillips lyric.) Have a good one.

For a brief shining moment in 2005 or so, Kate and I had a shared TV ritual — “Wheel of Fortune” and “Jeopardy,” 7 to 8 p.m. in my market and probably yours, too. It was fun, and it was educational. Then she discovered “America’s Funniest Home Videos” was on opposite, and that was the end of winning $400 on Civil War trivia. Although I’ve tried to make the best of it.

“You know whenever you see a kid, a father and a baseball bat, something’s going to happen, and it’s going to be a shot to the junk,” I say, figuring it’s best to introduce film-analysis skills early. (You can say the same about trampolines positioned near basketball hoops.) Some parents teach their children what Chekhov said about guns and first acts. We work with the material we have.

It’s amusing, isn’t it, how AFV, as it’s called, predicted YouTube? (And how YouTube predicted “Ow! My Balls!”) Did you know there are more than 19,000 YouTube videos tagged “treadmill?” The treadmill, any fan of viral video can tell you, is even more predictive of wacky hijinks than baseball bats and fathers. Sometimes video makers don’t play fair. This one, for instance. There’s no reason for that treadmill to be on. This is like Chekhov writing a character who says, “May I leave my loaded gun here on this table? Make sure no one touches it. It’s loaded. And it’s a gun.”

Lately, it’s babies. Babies and Beyoncé.

I blame YouTube for ruining my attention span. It boggles my mind when I see people posting webcam videos of themselves talking about one thing or another, specimens that regularly clock in at eight or nine minutes. If I know one thing in this world, it’s that no one wants to watch you yak for eight minutes. Even “leave Britney alone” came in at under three.

Of course, when it comes to viral video, this is the only one you need to watch today:

HT: Sweet Juniper.

Not much for you today. Fortunately, Roger Ebert’s on the job, presenting his long-awaited recollection of O’Rourke’s, his old Chicago watering hole:

O’Rourke’s was our stage, and we displayed our personas there nightly. It was a shabby street-corner tavern on a dicey stretch of North Avenue, a block after Chicago’s Old Town stopped being a tourist haven. In its early days it was heated by a wood-burning pot-bellied stove, and ice formed on the insides of the windows. One night a kid from the street barged in, whacked a customer in the front booth with a baseball bat, and ran out again. When a roomer who lived upstairs died, his body was discovered when maggots started to drop through the ceiling. A man nobody knew was shot dead one night out in back. From the day it opened on Dec, 30, 1966 until the day I stopped drinking in 1979, I drank there more or less every night when I was in town. So did a lot of people.

Our place in Columbus wasn’t so colorful, but it was pretty fun — the Galleria. It was on the ground floor of an office building, and you entered through an indoor, well, galleria. I won’t try to match Ebert, but when I sift through my misty watercolored memories of the place, I remember Tim May, one of the sportswriters, looking through the window to see a homeless man shuffling by to use the bathroom. This was in the very early ’80s, when the public mental hospitals all closed justlikethat, and suddenly we were seeing homeless people everywhere.

“Someday I’m gonna write a book about those guys,” he said in his Texas drawl. “I’m gonna call it ‘Wrong Turn,’ ’cause somewhere along the line, those guys took a wrong turn.” He never wrote the book, but I still think that’s a tremendous title, and if I ever have occasion to use it myself, I’m going to credit Tim.

Off to the gym. I did Pilates yesterday, and am still waiting for the ab soreness to settle in. Sit-ups aren’t called sit-ups in Pilates, they’re called roll-ups. That’s because you do them very slowly, one vertebra at a time, and if you think that’s easy, try it sometime. Ouch.

One thing you have to admit about the American pop-culture barrel: It really has no bottom. You think the Jackass/Bruno/Borat oeuvre was the last word in vulgarity? You have yet to meet Tucker Max. You think the long, sordid story of Michael Jackson’s corpse ended when his moldering bones were finally planted in Forest Lawn? You would be wrong.

I watched the trailer for “This Is It,” which is apparently a Michael Jackson concert movie, only there was no concert, so it’s been repackaged as a “rare, behind-the-scenes look” at the rehearsals, at least whatever sort of rehearsals could be held while Jackson was medicated into temporary uprightness. (I just Googled the phrase “rare, behind-the-scenes look.” Results: 133,000. Not so rare, I guess.) You have to marvel, really, at the unmitigated gall of the Jackson family and the cast of human cattle egrets who follow their herd, eating the blood-engorged ticks on LaToya’s back. The film will be in theaters for two weeks only; tickets will go on sale a month in advance. I suppose this will build buzz among the people included in the opening phrases that appear onscreen — the “billions reached” by his music (an uncomfortable echo of McDonald’s there, eh?), the “world inspired” by his “dreams,” etc.

Let me just pause for a moment and consider the brief flash shots of people driven to near-hysteria by the presence of their idol. A few years back, one of my colleagues won one of those Rotary Club scholarships to spend a few months overseas, being a Rotary ambassador. He went to Chile, where he distinguished himself as an ambassador of pop music; his first duty upon returning was to make mix tapes from his vast record collection and send them to South America, where his new friends were absolutely starved to hear anything other than whatever crap was carried on local radio. ABBA had played a series of shows in Santiago while he was there, and it was an event that nearly brought the city to a standstill. When I hear people talk about Michael Jackson and what his music meant to them, all I can figure is, they must have recently moved here from Chile.

As a cynic, I’ve been cheered to see the reaction to the mountain of evidence in the case, which is pretty much exactly as I predicted when the corpse was still warm: Jackson died of a drug overdose, and was an abuser at a level you could only call baroque; the most ossified Detroit junkie must stand mute in the shade of a man who had a private physician turn his bedroom into an operating theater every night, literally anesthetizing him into unconsciousness. And was I right about the other thing I predicted? Ahem:

“He was just careful about what he ate; he just tried to be healthy,” said Kevin McLin, a friend of the family and Jackson’s former publicist. “He ate turkey burgers, Chinese food, a lot of vegetables. He always tried to eat healthy stuff. … He tried to stay away from red meat.”

So what is the official reaction to this news? Charging Jackson’s doctor with homicide. He killed our hero, that bad man! All the patient wanted was a good night’s sleep, even if it had to be aided by the drug they use to keep you quiet while a surgeon is sawing your sternum in two, and what did the quack doctor do? Gave him too much, depriving the world of his music and inspiring dreams! And we know he was a wonderful, wonderful person, on the brink of a comeback, because his daughter said so at the funeral, right after Auntie Janet made sure she was speaking directly into the microphone.

During the crack wars, when the homicide rate in places like Fort Wayne was climbing through the roof, the editors at my newspaper would send a reporter to chat with the family of the murder victim, even when it was clear the victim was a sleazebag banger with a target on his back. The grieving mother always provided the same narrative: Sure, her boy had been bad, but he was turning his life around. The recent birth of his latest child had changed his heart, and he was planning to get his G.E.D., enroll in college and perhaps found a software empire, or maybe enter the ministry and help others. How tragic he was taken from us when his potential was so, so great.

It’s good to see the narrative hasn’t changed. It’s also good to see there were enough fragments of rehearsal footage, and millions of suckers, for the Jackson family. They have a lot of egrets to feed.

OK, then. I’m working extra hours this week, extra late hours, which have left me sleep-deprived and even crankier than normal. Not so much bloggage, but what I have is pretty good:

The Detroit City Council is rattling its saber about a strip-club crackdown. In a normal city, this would bring out the church people to say, hear hear. In Detroit, it brings out the strippers to say back the fuck off of my livelihood. (And, to be sure, a few church people.) Click through to note the fine booty on the woman speaking at the podium, and for this quote:

“I take care of my family,” said Omni Jenkins, 21, a dancer at a local club. “By cutting us off and making up all these rules, it’s going to cause crime rates to go up. It affects not only the entertainment community, but Detroit as a whole.”

Even lame-duck Martha Reeves gets off a good one. You can find it on your own. I gotta hit the shower. And the coffee pot.

The first great-books club meeting of the year was yesterday, although maybe that’s pushing it. We don’t read any great books in toto, we read selections from them, in a master text called “Great Conversations,” which the library, the sponsor of this shindig, provides. There was dark talk of budget cuts affecting this year’s schedule, but so far — fingers crossed — we’re hanging in there. Members of the group may have to lead a session or two, should we lose our librarian, but we’re ready for that. I signed on for “The Chilean Earthquake” by Heinrich von Kleist, a work and a writer I had never even heard of before, and so much for that English minor, eh?

Anyway, when I joined the group I was hoping for a raucous bunch of table-pounders. I got five retirees. Ah, well. It’s also where I found my Russian teacher, after we read a selection from the “War and Peace” and she revealed she’d just finished her second read of the entire novel — in the original language. And the retirees are always interesting, especially when they make small talk. One recently tuned in to WJR and heard Mark Levin, who is apparently a talk-show host who makes Rush Limbaugh sound like Walter Cronkite. I have to take someone else’s word for this, because I can’t listen to commercial radio anymore. I force myself to take in a little on the weekends, because if it weren’t for the XM they play at the gym, car commercials and these few brief hours of weekend exposure, I wouldn’t hear new music anywhere.

I draw the line at talk, however, no matter when it’s on. Just can’t do it, and when I hear Rush or Sean or someone else drifting from an open window or the UPS truck, my default setting is the same one I employ when I pass a homeless person muttering about motherfuckers. I assume: Crazy. Avoid eye contact. Do not engage.

My book-club friend, a nice lady who was most engaged by the tangent we took on left brain/right brain issues, was horrified by Levin. WJR is a community institution here much the way WOWO is in Fort Wayne, but like lots of AM stations, it’s had to stake out its position in right-wing talk. They generally go for the A-team national shows with lots of local-local hosts, and I notice they sneak Levin on in the evenings, when the rational part of the nation is watching TV and only the insane ones are down in their basements, radio on, cleaning their guns or building birdhouse after birdhouse under a bare light bulb. (And hey, check it out — Dr. Laura now has the coveted 11 p.m.-1 a.m. slot. How the mighty have fallen.)

It’s good to see someone else is horrified. Although less comforting to know more people are seeking this stuff out.

I’m short on time today, and want to say a little about Mary Travers, the latest in this year’s long, long line of obituaries. I can’t exactly mourn her passing — what has Peter, Paul and Mary been since 1970 or so? — but I’d like to at least take note of what she was a part of. “A Mighty Wind” had a mighty fine time mocking the early-’60s folkie era, but I was a young child then, and these were some of the earliest records I can recall choosing myself out of the pile and putting on the turntable. The world won’t mourn the last New Christy Minstrel who leaves the earth, but for all the fun you can poke at it, this was some great music. It was also maybe the last time that overtly religious traditional music was heard in the public square. (I’m not counting “Godspell” and “Jesus Christ Superstar,” and you can’t make me.) The first PP&M record is a little work of art in a time capsule, and today, while we’re marking the passage of the blonde, lots of people will call your attention to “Blowin’ in the Wind” and “Puff the Magic Dragon.” Meh. This is the only PPM record you need, and this is its best single song (side one, track one, I believe). Yes, it’s the one that was used on that “Mad Men” episode last season. Enjoy, and RIP Mary Travers:

In case you haven’t heard: White shirts are in for fall 2009. (Citation, high and low.) On the one hand I am thrilled, as I am a big fan of white shirts and own several, so even though I don’t follow trends, it’s nice to have a trend follow me from time to time.

On the other hand I am disillusioned. Here’s why: A few years ago Alan and I went to New York and saw the Mingus Big Band one night, at a club called Fez. It’s a dense basement space, and all the tables are the same size — six-tops, I think. If you don’t have that many in your party, you share your table with strangers. The woman we sat across from was very nice, also a journalist — what are the odds? As we talked before the show, she said she covered the garment industry for a trade journal so far inside I’d never heard of it, and was based in Los Angeles. She’d come to New York in hopes of finding a job closer to the creative end of the business, as she was tiring of covering the nuts-and-bolts part. What do you write about? I asked.

“Textiles,” she said. Hence the L.A. location — textiles are an industry of the Pacific Rim.

“So,” I asked, “is brown really the new black?” She looked puzzled for a minute, and then said she didn’t really know, as she was so far from the consumer end of the business, she couldn’t even say anymore. The textile industry, she informed us, is two to three years ahead of what you see in stores, and whatever arm of the industry is looking for that sort of thing left the brown/black question behind literally years ago, and had moved on to whether orange was the new pink, or whatever. Industrial looms can’t be changed on a whim, and it takes time to set up raw materials and dyes and supply chains and shipping and whatever else is involved in getting you a new white shirt for fall.

I guess I wasn’t that surprised — the auto industry is the same way, and one of the frustrating things about the discussion of it in recent months has been the public’s ignorance of what exactly it takes to take a car from the imagination stage to the showroom floor. The length of the lead time seemed a bit much — it’s fabric, not a Prius — but who am I to question the mighty Asian textiles industry? I’ll take her word for it.

Like a lot of information, knowing this bit of it both spoiled and deepened my appreciation of fashion. Now, when I see white shirts everywhere, I think that two or three years ago there was a bumper crop of cotton on the world market, not a single simultaneous idea across the entire creative end of the industry. (I don’t know what the return of the ’80s shoulder means, but I’m sure shoulder pads are manufactured and supplied under much the same market conditions.)

The older I get, the more interested I am in commercial and utilitarian art. You could argue that all of it is, but I especially like art that we touch, use, work with or see every day, art that does a job other than entertain or hang on a wall in a museum. It’s interesting to think about the great convergence of market and creative forces battling for the upper hand. Plus I love great design, and the feel of a well-turned handle is a real pleasure. Almost as much as a great white shirt.

And now a pause for Meryl Streep’s great speech in “The Devil Wears Prada.”

You go to your closet and you select, oh I don’t know, that lumpy blue sweater, for instance, because you’re trying to tell the world that you take yourself too seriously to care about what you put on your back. But what you don’t know is that that sweater is not just blue, it’s not turquoise, it’s not lapis, it’s actually cerulean. You’re also blithely unaware of the fact that in 2002, Oscar De La Renta did a collection of cerulean gowns. And then I think it was Yves St Laurent, wasn’t it, who showed cerulean military jackets? …And then cerulean quickly showed up in the collections of eight different designers. Then it filtered down through the department stores and then trickled on down into some tragic Casual Corner where you, no doubt, fished it out of some clearance bin. However, that blue represents millions of dollars and countless jobs and so it’s sort of comical how you think that you’ve made a choice that exempts you from the fashion industry when, in fact, you’re wearing the sweater that was selected for you by the people in this room. From a pile of …stuff.

Bloggage? Sure, we got some:

I’m not crazy about anthropomorphizing work animals, but this was an interesting story, with a great slideshow — about the King’s Troop Royal Horse Artillery, which every year around this time takes a break from ordinary training and goes to the seashore at Cornwall for few days of galloping on the beach.

The long-awaited sequel to “Pride and Prejudice and Zombies” is here — “Sense and Sensibility and Sea Monsters.”

A great Detroitblog piece, from the Metro Times (but I’m linking to the blog, because of the extra pictures), about the city’s small troop of outdoor sign painters. That’s one thing I noticed immediately after I moved here — how much of the city’s signage is painted. Paint is cheap, even when you use an artist, and many don’t. I love them for their odd punctuation: We do not buy “stolen” tires or rims. Well, I hope not.

Now I have to read a big chunk of “Walden” — the great-books reading club starts today.

God, I hate it when NPR tries to be hip. I also hate it when they show willful obtuseness in the face of pop culture. On this score, I’m impossible to please, and should probably just tune out when they try something like an “appreciation” of Patrick Swayze, which didn’t quite work. Terry Gross could have handled it, but she’s got her own fish to fry, and can’t be popping in to the other shows to give them notes.

It’s hard to say what was wrong with the Swayze piece; maybe it was done by someone too young to really grasp the dual wonder and disappointment of the guy — he was always the best thing in a bad movie, but couldn’t really make the leap to good ones. He belonged in a different era, when his Gene Kelly combination of physical grace and unquestioned masculinity could have been packaged in his own “Singin’ in the Rain.” Either that, or he needed to live a little longer, until Quentin Tarantino could have built a script around him, like he did for John Travolta and Robert Forster. As it is, he’ll be remembered for doing his best work in individual scenes where he could shine — the last few minutes of “Dirty Dancing,” the Chippendale’s sketch from “Saturday Night Live” — rather than one single movie.

If you’re a fan of “Point Break,” I don’t want to hear about it.

And while I hate it when bloggers link to their own past work like it’s some sort of scholarship, I reread what I wrote about Swayze at the time of his diagnosis last year, and I’ll stand by it. You can read it here.

I just watched the “Dirty Dancing” clip again. Great dancing, of course, but why did the rest of the movie have to suck so bad? Why is Jerry Orbach glowering when everyone around him is happy? Why is the orchestra leader conducting, when we’ve already clearly seen they’re dancing to a record? And when the old people join in I have to pull the covers over my head and die a little bit.

(You know a movie I’d pay to see? One about Jennifer Grey’s nose job. I know it’s been discussed on TV, but a smart movie that drills down into plastic surgery and all its implications, using Baby’s rhinoplasty as a through line? That would be worth doing.)

Oh, and my all-time fave Excruciating NPR Pop-Cult Moment is when Noah Adams tried to lead a segment explicating the career of the late Big Pun, the rapper. Yeah, that guy. Yeah, Noah Adams. It’s still one of the funniest things I ever heard.

Friends, it appears that casting a couple worms in the job pool this morning has eaten up my blogging time. What are we thinking of “Mad Men” so far this season? I’m thinking it’s simultaneously wonderful and awful, which is, I hasten to add, a very good thing for me. I love entertainments where everyone involved points at the highest rows in the house and says, “That’s what we’re aiming for” and then maybe falls short, but dies trying. The mood so far this season seems to be “the thing that’s coming? It’s getting very close…” It’s not quite there yet, so we’re seeing a lot of Peggy slowly getting the message about what women are worth, really, and Betty ditto, and we really need more Joan, but so far it’s hard to see how it’s all coming together. The last scene this week was wonderful, all of Betty’s hopes deserting her at the time hope likes to do so — in the middle of the night — while the primordial ball-and-chain of all womankind wails from its crib. (Yes, it’s a joy, too. It’s both. That’s the point.) She’s going to have the worst post-partum depression ever.

I’m getting a little tired of the hollaback lines and scenes we’re all supposed to titter over. From the un-seat-belted children playing with dry cleaner bags in the first season, we’re now expected to gasp over the OB nurse telling Betty to get ready for her shave and enema. standard for childbirth back in the day. This feels forced.

What say you? I’m off to the gym to think about it.

I’m wondering if I need to stop paying attention to politics for a while. It was a beautiful weekend, and while checking e-mail Saturday I surfed over to Memeorandum to see what was going on with the teabaggers. Michelle Malkin’s blog proclaimed the march at 2 million strong. I rolled my eyes, shut down my browser and went back downstairs to think about what to do with the pattypan squash I bought at the farmer’s market.

I’m one of the worst crowd-estimators in journalism, in keeping with the long tradition of people who are good with words being stupid with numbers. I always avoided making crowd estimates in stories I wrote, and when I was pressed to do so, fudged with time-tested phrases like “a packed hearing room” or “scores,” or else found a less numerically challenged source to give me a number. But even I know 2 million is plain and simple balderdash. Nate Silver at fivethirtyeight.com explains how the whopper came to be — the very short answer: Someone lied to Malkin — and adds:

Malkin herself did not lie; she merely repeated a lie. It does not particularly call into question her character. It does, however, call into question her judgment. The reason is that if there had in fact been 2 million protesters in Washington yesterday, there would have been no need to lie about it — the magnitude of the protests would have been self-evident. I was in Washington for the inauguration, an event at which there really were almost 2 million people present — and let me tell you, it was a Holy Mess. Hotels, charging double or treble their usual rates, were booked weeks in advance. Major stations on the Metro system were shut down for hours at a time. The National Guard was brought in. At least 3,000 people got stuck in a tunnel. Essentially the entirety of the National Mall, from the Capitol to the Washington Monument, was dotted with onlookers. Heaps of trash were left behind. The entire city was basically a warzone for a period of about 20 hours, from midnight through mid-evening.

“It does, however, call into question her judgment.” That’s it in a nutshell. That’s the problem with journalism as practiced by mere mortals, but it’s especially the problem with mortals who are proudly partisan, who scoff at “objectivity” as a fiction, etc. I’m not one of those journalists — and lately, I should add, I don’t consider myself much of one; I feel like I’m on a floe that has broken away from the main icecap and is steadily drifting away — who worries what will happen to Journalism when all the newspapers have been hollowed out or killed. That’s because I already know (and excuse me if I’ve said this before; I think I’ll be saying it for a long time). We’re headed into an age when we will flock to the media source that flatters our own prejudices with a unique set of facts. We had that for a long time, in fact; although nearly everybody here is too young to remember when even middling cities had multiple dailies to reflect every reading niche, from labor to plutocrats. You could even make the argument that the vaunted value of Fairness and Objectivity, which in J-school you learn was handed down from Mt. Olympus, is really just a cold-eyed business tactic, that once the Workers Daily and the Plutocracy Times folded, the net needed to be cast a lot wider and the masthead slogan changed from Screwing the Proles since 1851 to Shining the Light of Truth.

Most reputable crowd estimates put it in the “tens of thousands,” perhaps as many as 100,000. The Daily Mail in London, relying on “Mail Foreign Service,” went with “up to two million.” Damn liberal media.

This isn’t really about politics, anyway; it’s about numeric shenanigans. I love Silver’s blog because he’s that rarity, a genius with numbers and more than competent with words. I love stories that make a splash because someone challenged numeric conventional wisdom. One of the Denver papers won a Pulitzer in the ’80s for pointing out that the numbers of missing and abducted children were wildly inflated, that if every face on the milk carton belonged to a kid who’d been snatched by a stranger, virtually everyone in the country would know someone whose child had suffered such a fate. And yet, we repeat these whoppers over and over.

Oh, well. It was a lovely weekend. Spent a chunk of it at a local block party, which featured a DJ. I took a moment to marvel how it only took a cute dance to turn “Y.M.C.A.” from a tune about anonymous gay sex in a public gymnasium (as Garry Trudeau amusingly put it), to a song adorable toddlers tumble to while their parents look on and snap pictures. Which Village Person are you? I think I’m the construction worker.

If a woman this size shook her tennis racquet at me, I don’t know if I’d feel in fear for my life, but I might tremble a little. What a whiny baby; she deserved to lose that one. And what is it about tennis that seems to breed these uniquely awful tantrum-tossers?

And speaking of rude…

So another Monday begins? The Magic 8 ball says yes.

You all know about my fear of heights. Look what I found today — BASE jumping from the RenCen here in Detroit:

This makes my head whirl. Someone on the local forum where I found this pointed out it’s at least a few years old; it predates the riverfront improvements. Still. A friend told me once about his roommate, who did this crackbrain pursuit. (Does everyone know what BASE jumping refers to? Building, Antenna, Span, Earth.) He landed badly after jumping from a tall building in Los Angeles, perhaps because he didn’t have time to prepare, perhaps because security guards were chasing him and his buddies up the stairs to the top. In keeping with the agreement they all made ahead of time, the same buddies abandoned him at the bottom, so they wouldn’t be arrested. He screwed up his legs but good, and spent months in a rehab hospital learning to walk again. Good times!

This is the sort of activity that leads to terms like “testosterone poisoning.”

When I rode horses, I became acquainted with the idea there are certain equine personalities that are suited for certain jobs, and no amount of cross-training will ever overcome it. Fortunately, there are disciplines suited for nearly all of them, and thank God for that, because if there weren’t steeplechases left in the world, a lot of hard-charging jumpers would wither on the vine. Which is to say, I guess guys like this do stuff like this because there are no machine-gun nests to charge.

In my webby perambulations of late, I’ve found a bit of bloggage but no grand unifying theories, so let’s just cut to the chase, eh?

For you Chicagoans: Eric Zorn blogged Blago’s book so you don’t have to. Table of contents post here. Sample:

Blagojevich portrays himself as a great and noble and selfless man who fought for the people over the entrenched political interests. I believe this. What I mean by that is that I believe he sees himself this way — that he is nearly blind to his own personal failings.

Which suggests this book is going to be every bit as tedious and repetitive and uninsightful as the series of media interviews he gave in early January of this year. No self awareness. Just self justification.

Last September, here:

Quick tech question for some one who knows: There was a guy at the Dirtbombs concert Friday night with some thing I’ve never seen before. It looked like a horizontal mount for seven count ‘em seven identical digital cameras — Canon PowerShots, I b’lieve. He’d hold it up, they’d all twinkle their autofocus lights and fire as one. What the heck was it? And please don’t say “a horizontal mount for seven cameras.”

UPDATE: J.C. Burns and kind commenter DanG appear to have the answer: It’s how you get the ‘bullet-time’ effect…dollying dimensionally around a frozen or slo-mo image. The rig was similar to this, only wider and with an antenna-like thing above it that could have been a microphone. Think of an old-timey photographer’s flash bar; it was like that, only with cameras instead of flash powder. But I think they’re right — it’s for capturing that Matrix-y effect.

Not quite. Mystery solved:

Get yer old-skool 3-D glasses out … now! Most astute observers have no doubt seen local artist Chris Dean’s work somewhere around the city, whether it’s on those 1800 Tequila billboards or on the walls of the now-defunct CPOP Gallery. And if you’re a regular clubgoer, you’ve probably seen Dean himself at rock shows. He’s the guy lugging that unmistakable rig that includes seven digital cameras, which he uses to create three-dimensional “lenticular” images (you know, like those old Cracker Jack prizes). The artist recently switched from digital art to photography for a show — titled “D3D” — that debuts this Saturday.

A few of you asked when our 48 hour challenge film, “A Little Knowledge,” would be available for viewing. Here it is, on the imperfect 48.tv site, but there you go. You’ll need Flash, a fast connection and forgiveness in your heart.

Why birtherism will flourish forevermore.

Britney Spears was in town last night. The Freep critic was unimpressed; the News’, about the same. I’m wondering what the tickets cost. So far I’ve been pleased my own kid’s musical tastes ran toward the more alternative, i.e., less expensive acts like Paramore. Until I bought tickets for a show next month and paid a surcharge of about 40 percent. And I have to print them on my own computer! Now I see what Eddie Vedder was so pissed about.