After more hours than I want to count neatly folded into the capsules that comprise coach service on most major American air carriers; after finishing two Jim Butcher “Dresden Files” novels; after Justice League: Doom and Nameless Gangster; after all that, I stepped into Sydney, Australia with only a single thought in my mind: I needed a drink. Or two. Luckily, Sydney is a drinker’s paradise, overflowing with dens of indulgence that run the gamut from historic pubs to modern cocktail bars with an eye focused on the American speakeasy. With an absurdly mild definition of winter greeting me, I knew I was in for a proper drinking adventure. While almost everything in Australia costs twice as much as it does in New York, the odd exception is the alcohol (purchased in bars that is). Australia’s best drams of whiskey are poured for you at more or less the same price you would pay in a whiskey bar in the United States. Cocktails are comparable in price (but not always quality) to what you’d pay at any one of the many speakeasy-revival style bars in the States. And beer prices hover at about the same level as you’d pay for a pint of quality American micro-brew. So with those amazingly indestructible and colorful Australian dollars in hand, and after a brief stop at the hotel to freshen myself a bit, I was off.
Some time ago, I jetted off to London to spend a few days with a companion exploring the rich history and richer beer of that fine English town. Normally, when I travel I leave it up to myself to plot an itinerary and seek out the spots I want to visit. But in London, we had naught but a couple days and plenty of history to cover, so we signed up for one of those guided theme tours that sounded like it would appeal to me: Sinister London.
I don’t usually go to celebrity restaurants. Unfair though it may be, I associate them with average food, higher prices, and a willingness to coast on the name of a disinterested star who was willing to slap their name onto the outside of the establishment. I’m in New York after all, and why would I sit with the tourists at Mickey Mantle’s or Don Schula’s or Michael Jordan’s when I just go to Keens and get an infinitely better meal for around the same price — and sit next to Teddy Roosevelt’s pipe to boot? However, I’m nothing if not a sucker for something marketed seemingly directly at me, so when legendary Knicks court general Walt “Clyde” Frazier appended his name to a Hell’s Kitchen eatery, my interest was piqued — first because I love Clyde, and second because it wasn’t a steakhouse.
“There must be a few hundred men who are fairly behind the scenes of the Burma War—one of the least known and appreciated of any of our little affairs. The Pegu Club seemed to be full of men on their way up or down, and the conversation was but an echo of the murmur of conquest far away to the north.”
On Broadway and the corner of 18th Street in downtown Louisville, I stumbled across a highway marker (Kentucky’s obsession with highway markers is intense and most welcome) for the “Execution of Sue Mundy.” Sue Mundy was actually Jerome Clarke, a Confederate soldier who escaped from a Union prison camp and launched a career as a guerrilla soldier…a FEMALE guerrilla soldier. He was twenty years old when they hung him for his crimes. It’s a strange story, and one I was happy to have come upon thanks to a random marker.
In the past couple months, two of the whiskey world’s heaviest hitters — Jack Daniels and Jim Beam — have released “white whiskey” products in an attempt to (somewhat belatedly) jump on a perceived white whiskey trend. Most spirits writers have reacted to these releases with a resigned sigh and a rolling of the eyes. I’m hard pressed to come up with a more appropriate reaction. I don’t fault a company crass marketing ploys — Steampunk Cider is a pretty crass attempt to appeal to steampunk nerds like me, and I bought two bottles without having ever tasted it because, you know, <em>steampunk</em>. Luckily, it was fantastic, but the point is companies do marketing, and that’s A-OK with me. Sometimes though the marketing crosses a personally drawn line and really gets on my nerves (stop telling me you’re a distillery when you are just buying barrels from other distilleries and bottling them). Beam and Daniels have managed to poke a spot on me that was already sore as I am not the biggest fan of white whiskey, be it unaged white dog or simply filtered to be colorless. I also think this bandwagon onto which Jack and Jim are adding their weight is pretty rickety already, if it exists at all.
The fact that this movie is set in eternally balmy Texas and is about Dolph Lundgren trying to kill a hulking Edgar Winter from outer space who shoots razor-sharp CDs at people should in no way distract you from the fact that in at least one scene we see a Christmas tree and some garland, and I think someone mentions Christmas at some point. In my book, that qualifies I Come In Peace as a holiday movie, to be cherished during Christmas time alongside other heart-warming, Teleport City approved Christmas movies, like Gremlins, Die Hard, and at least some of the Silent Night, Deadly Night movies. Although little regarded upon its initial release, back when we were making such films, I Come In Peace has enjoyed a steady growth in its reputation, so much so that if it isn’t a much beloved classic for all time, it’s at least attained the status of appreciated cult gem.