Sad to say, I just found out I’ll miss the next Basement Bowl, due to vacation. Drat! On the plus side, I’m scheming to attend the Trivia Championships of North America, a weekend-long trivia explosion scheduled for Las Vegas in July. In any case, it’s time for one more installment of this series. Previous posts have focused more on the philosophical aspects of question construction, but in this one, I’ll get a little more technical — more about the craft than the art, as it were. I think I’m about out of gas after this, so let’s call it the season finale and get rolling.
Tag: music Page 13 of 15
I had another great trivia day last Saturday, this time a “Clubhouse Bowl” — just like a Basement Bowl, except held in a guy’s apartment clubhouse rather than a basement. There were trivia bowl-style games along with a bunch of Jeopardy! games run on a magic Jeopardy! simulator created by one of the gang. There was even “Trivia Battleship” — a wild cross of quiz-bowl questions with the classic strategy game. Correctly answered toss-ups would earn one shot against the other team, while bonuses could earn up to four more shots. Very fun.
Predictably, the whole thing primed me to whip up another episode in this series. Since I am apparently an endless font of opinions about good practices for trivia question-writing, let’s get started:
CROSS THE STREAMS
If you’re a Ghostbuster, crossing the streams is a bad thing. If you’re a trivia question writer, crossing the streams, by which I mean mixing the broad categories to find interesting hybrids, can be a very good thing indeed. There are plenty of sports questions, and plenty of movie questions, but how about sports movie questions? How about athletes who played bit parts in movies? How about movie-related nicknames given by Chris Berman to various athletes? The intersections between trivia categories can be fertile ground for some appealing questions, and can allow people who are normally weak in a category to kick ass in unexpected ways.
A great example of this came up at the recent Clubhouse Bowl. Dave Gatch handed out a sheet of movie stills, and asked us to tell him what song was playing during that point in the movie. Sound tough? Take a look at these examples (not the ones he used) and see if you can’t do exactly that:
1. 
2. 
3. 
4. 
Combining two categories (in this case movies and music) opens up new avenues of fun, activates players’ brains in new ways, and gives your game a feeling of greater unity.
STRETCH
I am no good at sports questions. Whenever I hear a sports toss-up begin, my hand relaxes on the buzzer, and I know there is very little chance that I will have anything to contribute. I start looking over at our team’s sports guy (yeah, it’s nearly always a guy) with hope and gratitude. I know the basics, but I just do not follow sports enough to know much beyond that.
Nevertheless, I include sports questions in all my regular (i.e. non-specialized) trivia games. Why? Writing sports questions helps improve me, both as a writer and as a player. Writing questions that are outside my comfort zone forces me to research things I don’t already know, some of which I may even remember later on down the line. This research also turns up unexpected gems of information which are quirky enough both to make a great question and to make the piece of information it concerns memorable enough to stick with me. Like, for example, did you know that Guy LaFleur, all-time leading scorer for the Montreal Canadiens (hockey team), recorded a disco album?
Incidentally, I do the same thing on Sporcle, a great site for trivia quizzes. I like to take Sporcle quizzes in areas where I’m strong, like music, movies, and literature. But I also like to take them in my weaker areas, like geography, history, and sports. Generally, I like to take a new random quiz, and then retake an old quiz. I pick which one to retake by sorting the list of quizzes I’ve taken, and identifying the one with the lowest percentage of right answers. Consequently, I’ve taken the NHL all-time team leaders quiz about 10 times so far, and my best score is 26 out of 120. That’s a huge improvement on my first score, though, which was 8 out of 120. And now I can tell you about a bunch of hockey players I’d never heard of before I started in on that quiz. (Which is how I learned the weird fact above.)
Another way to stretch is to try broadening your knowledge of areas in which you’re already strong. For instance, I love movies, and I know some Oscar trivia, but there is so much more for me to learn, and the Academy Awards are a very common trivia topic. So I write Oscar questions in areas I don’t know well, both to challenge players and to make me a better player and writer. (Just as an aside, if you want to improve as a trivia player, be on the lookout for creative ways to strengthen your knowledge. For instance, Windows 7 has a feature which lets you rotate through a set of images for desktop wallpaper, changing automatically at an interval you select. So I went out and snagged an image of every Best Picture winner, dropped them all into a folder, and have the wallpaper machine circulating among them. Now when I use my computer, I also get a little help remembering which movies have won the Best Picture Oscar.)
SPREAD THE LOVE
Something that makes trivia games great fun is their ability to point you to wonderful corners of culture that you never knew existed. I’ve been introduced to lots of great movies, music, TV, and other stuff via trivia, and I try to do the same for others. It’s great fun to write questions on topics you feel passionate about. At the same time, at least for me, that’s too narrow a field. I’m a white guy who grew up in the 80’s, and I have an endless well of questions I could write about cultural artifacts I got attached to in my time. But while I want my games to be fun for me, I also want them to be fun for people other than me. Consequently, I try to include questions about areas of culture that don’t mean as much to me, sometimes even things I actively dislike. As I sometimes point out, inclusion does not imply endorsement. I suppose this might seem like a restatement of the “stretch” point, but there’s a slightly different intention behind it. I try to spread the love among all different kinds of knowledge not just to make myself a better player, but to remember to include a diverse variety of topics so that my games are fun for a wide variety of people.
Okay, that’s all for now. How about those movie songs?
1. “Bohemian Rhapsody” by Queen plays during that scene from Wayne’s World.
2. The Righteous Brothers’ “Unchained Melody” is the music behind that scene from Ghost.
3. Any boy who grew up in the 80s (see, I told you that was my wheelhouse) is likely to remember The Cars’ “Moving In Stereo” as the soundtrack to Judge Reinhold’s fantasy sequence about Phoebe Cates in Fast Times At Ridgemont High.
4. Before Tom Cruise was famous for being crazy, he was famous for dancing around to Bob Seger’s “Old Time Rock & Roll” in Risky Business.
As promised/threatened, here’s another installment of “Paul’s Random Thoughts About Trivia Questions.” Carrying on with question-writing principles:
BE MORE FUNNY!
In my last post, I spent some time harping on the fact that trivia games are supposed to be fun. Your job as trivia question writer is to provide an enjoyable experience to your players, and humor is a crucial tool for that job. On its most basic level, it can liven up a somewhat bland question, like this bonus from the 2005 TRASH regionals:
Given clues, name the subjects of the following celebrity biographies, all of whom share a favorite hobby, for ten points each.
1. A Paper Life details her adventures with her allegedly abusive actor father, with ex-husband John McEnroe, and with heroin.
2. Don’t Try This At Home, his chronicle of the year he decided to turn his house into a crack den, details his struggles with bandmates, his record label, and heroin.
3. Scar Tissue recounts his life from toddlerhood and his drug dealer dad’s felonious additions to his mashed bananas, through forming a band with best friend Hillel Slovak, to his long standing affairs with Ione Skye, Sinead O’Connor, and sweet, sweet heroin.
This question boils down to, “Name the celebrities based on the titles of their autobiographies and maybe some clues about their connections to other famous people,” which is just fine, but when you tie them together by their heroin addictions, dryly understate that as “all of whom share a favorite hobby”, and hurl a fastball zinger punchline at the end like “long-standing affairs with Ione Skye, Sinead O’Connor, and sweet, sweet heroin,” a run-of-the-mill question turns into one of the best ones in the game. (Though in my opinion the second part needs another clue or two.)
The other thing that the humor in that question does is to tone down a fairly dour topic. There’s a bit in the crosswords documentary Wordplay in which puzzle creator Merl Reagle explains that there are some words that you don’t see in crossword puzzles, even though they might be very useful cruciform words, just because their content is too distasteful. He calls this “the Sunday morning breakfast test”: “They’ve waited all week for this. They’re sitting there relaxing…and here comes RECTAL? I don’t think so.” Trivia games allow a wider latitude, especially when written for an informal event like a Basement Bowl, but still, you don’t want to offend, disgust, or annoy your audience. So when you find that question that you just have to write but whose subject matter is a little questionable, a little humor smooths the way.
Something about being in a Billy Wilder movie frequently makes people want to kill themselves. Fortunately, they rarely succeed. I’ll give you an actor and a suicide method, you tell me the Billy Wilder-directed movie, for five points each, 40 points for all 7:
1. Audrey Hepburn, carbon monoxide poisoning
2. Shirley MacLaine, an overdose of sleeping pills
3. Gloria Swanson, slashed wrists
4. Ray Milland, handgun
5. Marthe Keller, jumping in front of a train
6. Carol Burnett, jumping off a building
7. Jack Lemmon, hanging
That’s a question I wrote for the Basement Bowl a couple of years ago. I’d just come off a Wilder-watching jag and was amazed at the number of suicide attempts in his movies. It was great trivia fodder, except that quizzing about suicide after suicide is kind of heavy. Thus, I lead with a joke to lighten it up.
Perhaps the best reason to joke liberally is to relieve the tension that can sometimes build in trivia competitions. Relaxed players not only have more fun, I think they play better too.
CUDGEL THY BRAINS
Trivia games can and should be more than memory and speed tests. Yes, of course, those two skills (in varying proportions, depending on the format) constitute the backbone of a trivia game, but crucial to the art is creating opportunities to connect recall with thought. One of my favorite recent examples of this was invented (as far as I know) by Bill Schantz:
I’ll give you the year and the first letter of each word in its title, you name the 80’s pop song, for 10 points each:
1. (1983) E.B.Y.T.
2. (1983) O.T.L.T.A.
3. (1984) W.M.U.B.Y.G.G.
4. (1984) O.N.I.B.
You may have awesome recall of 80’s songs, but that by itself won’t get you very far with this question. Instead, you have to use part of your brain to generate plausible strings of words based on a breadcrumb trail of letters, while another part of your brain tries to connect those words to song titles that you know from that era. Even better is when you hear the letters, feel a moment of instantaneous synthesis, and just know what the answer is. Hitting this answer is even more satisfying than the average trivia pull, because of the additional solving effort necessary. Of course, in any kind of timed competition, it’s imperative to balance the time constraints (and attendant pressure) against puzzle elements in your questions. If they require too much thought, they’ll bog the game down.
Puzzle questions like this make regular appearances on Jeopardy!, and that show’s writers are particularly good at coming up with clever new ways to keep contestants on their toes. Generally the twist is in the nature of the category. Some recent examples, courtesy of the J! Archive:
Category: FRUITS AND VEGETABLES
Clue: Riesling, Syrah
[A fairly gentle example, in which the puzzle is to figure out how the category is working. The first clue in any Jeopardy! game is usually easier than its successors, but in a category like this, there’s generally a pointedly clear indicator in that first clue.]Category: ALPHABET HOMOPHONES
Clue: In Romania they say “da”, in Japan, “hai”, & in Panama, this
[Here’s the flip side — a clue that can be answered on its own, but the category narrows down the set of possible answers. Jeopardy! does this all the time with its “quotation mark” categories, in which some piece of the category is in quotes, meaning that correct answers must start with or contain the quoted string of letters. A clueful category like this, though, is much more fun to discover.]Category: GOD SPELL
Clue: Vulcan is the Roman equivalent of this Greek fire god (10 letters)
[There’s no puzzle element to this one — Alex makes clear at the beginning that contestants will have to spell their answers. It’s notable, though, because it exercises a different sort of recall than the average trivia question.]Category: ALPHABETICALLY LAST
Clue: Of presidential surnames
[This is an example of a question in which contestants must recall a set of data and then do some kind of processing on it. And because of the high-pressure nature of Jeopardy!, they must do it very quickly, leading to the sort of intuitive pulls that supply the pleasure of answering this style of question.]Category: OF ORDER
Clue: U.S. cities, from west to east: Newport News, Milwaukee, New Orleans
[In this one, they provide the set of data, but the answer is still the result of some processing on the part of the contestant.]
This could go on and on, and does, but I trust the point is made. Finding new angles from which to challenge the player is a great way to increase the fun of the game.
SENSES WORKING OVERTIME
Another surefire way to make your game more fun is to write questions that step outside the typical text format and engage some of your players’ senses. This is one of my favorite things to do, and consequently my Basement Bowl games have been littered with visual clues:
Logo design is an art, and sometimes it takes a few tries to get it right. Given the defunct logo, tell me the NFL team it represents for five points each.
I find images via Google Image Search, copy and paste them into a Word document, resize as necessary, then print out a couple of copies on the color printer. I hand these out to players before I read the clue. A couple of things I’ve learned: make two copies (since in the Basement Bowl missed bonus answers can transfer over to the other team), and make the pictures large enough that they can be seen in a dimly lit basement.
Then there’s the audio. I’m a huge fan of the audio. For instance, I’ve written a couple of all-audio games of one-hit wonders, another one of mellow gold tunes, and another couple of all female artists. Thanks to the wonders of digital audio and the fabulous Audacity, it’s extremely easy to create mp3 song clips and burn them onto a CD. I bring my nifty mini-boombox to the basement, and play the game as all tossups, no teams. Each person has a buzzer, and they score points by buzzing in first to correctly identify a song, generally both the title and artist.
Sometimes I’ll even go a little more complicated. For instance, with my female artists game, I recognized that for a number of the clips, someone might be able to identify the artist even if they couldn’t name the song. So the rules were that if you buzzed in before the clip ended, you had to identify both the title and artist. Correct answers scored two points, with a bonus point for naming the singer in the case of groups (e.g. if I played The Pretenders you could get a bonus point for naming Chrissie Hynde.) If you buzzed in after the song was over, you could name the artist for one point.
One thing I learned for my second round of this type of game was to end the clip with a distinctive sound, like a ding. The first time, nobody was sure when the clip would be over, so there was some hesitation from people who didn’t want to get penalized for buzzing too early.
I’ve done audio toss-ups in regular games too, and not just music. There’s plenty of great fodder in movie clips, comedians, interviews, and miscellaneous distinctive sounds, such as the sound of Pac-Man dying. And there is further sensory fun to be had. I once wrote a bonus in which I handed out soda-pop flavored Jelly Bellies, and had players identify the soda from each one. I’ve had players get up and dance the Batusi. Another quizmaster had people do 4 different dances from A Charlie Brown Christmas, which I thought was brilliant.
The point is that you can add a lot of variety and excitement to your game by creatively extending your questions into nonverbal (or more-than-verbal) realms. Not only that, these kinds of questions can bring out hidden strengths in your players, allowing them to have more fun by kicking ass in new ways.
That’s enough for tonight. More installments to come. But never fear, I would never sign off without providing the long-awaited answers:
Sweet, sweet heroin:
1. A Paper Life: Tatum O’Neal
2. Don’t Try This At Home: Dave Navarro
3. Scar Tissue: Anthony Kiedis
Wilder suicides:
1. Audrey Hepburn, carbon monoxide poisoning: Sabrina
2. Shirley MacLaine, an overdose of sleeping pills: The Apartment
3. Gloria Swanson, slashed wrists: Sunset Boulevard
4. Ray Milland, handgun: The Lost Weekend
5. Marthe Keller, jumping in front of a train: Fedora
6. Carol Burnette, jumping off a building: The Front Page
7. Jack Lemmon, hanging: Buddy Buddy
80’s initial songs:
1. (1983) E.B.Y.T.: “Every Breath You Take” by The Police
2. (1983) O.T.L.T.A.: “One Thing Leads To Another” by The Fixx
3. (1984) W.M.U.B.Y.G.G. “Wake Me Up Before You Go-Go” by Wham!
4. (1984) O.N.I.B. “One Night In Bangkok” by Murray Head
Jeopardy!:
Category: FRUITS AND VEGETABLES
Clue: Riesling, Syrah
Question: What are grapes?
Category: ALPHABET HOMOPHONES
Clue: In Romania they say “da”, in Japan, “hai”, & in Panama, this
Question: What is “si”? (Homophone with “C”)
Category: GOD SPELL
Clue: Vulcan is the Roman equivalent of this Greek fire god (10 letters)
Question: What is H-E-P-H-A-E-S-T-U-S?
Category: ALPHABETICALLY LAST
Clue: Of presidential surnames
Question: What is Wilson?
Category: OF ORDER
Clue: U.S. cities, from west to east: Newport News, Milwaukee, New Orleans
Question: What is New Orleans, Milwaukee, Newport News?
Olde-tyme NFL logos:
1. New York Giants
2. Buffalo Bills
3. Denver Broncos
4. Washington Redskins
Oh, and finally: Each heading in this edition is a cultural reference.
“Be more funny!” is a classic Simpsons gag.
“Cudgel thy brains” is from Hamlet by William Shakespeare
“Senses Working Overtime” is a song by XTC.
Now, it’s true that I’ve had some trivia experience. However, I wouldn’t exactly claim to be an expert on question-writing. Compared to many of the people I know from that world, I’m a raw newbie. Not only that, there are people out there in the world who actually make their living (or at least a side income) from writing questions, like for example Paul Paquet, who penned just about the best article I’ve seen on writing good quiz questions.
Nevertheless, I’ve been writing trivia questions for a number of years now, and along the way I’ve contracted some opinions on what makes a question good or not-so-good. And what is a blog for if not to toss your unsolicited, inexpert opinions out to a disinterested world? So without further preamble, here are some of the principles I’ve found important in question-writing.
KNOW YOUR AUDIENCE
This is one of those pieces of advice that really applies to any kind of writing. It’s even more crucial in writing for a game, though, because when you’re writing something static like a novel or (say) a blog post, your reader can walk away with impunity. Interaction increases audience investment in the experience, giving you a bit more of a captive audience, especially when the interaction is of a social nature, like trivia. Be a good captor. Write questions suited for your, um, prisoners. Okay, I’m walking away from this metaphor before it turns into an extended meditation on Stockholm syndrome.
I’ve primarily written trivia questions for two sets of people. One set is the Basement Bowl regulars, trivia enthusiasts (and often champions) whose collective knowledge is astonishing. The other set is my co-workers — for several years I published a weekly trivia quiz at my job to promote social mixing, have fun at work, and raise morale. (It worked great until I got too isolated, overworked, and demoralized.) The trivia came in different formats, but the differences were deeper than that. I pitched the questions differently, because the two groups have different ideas of fun. For instance, I might write a question like this for the Basement Bowl:
Some directors’ first films were huge, memorable hits. Others… not so much. I’ll give you a director’s first film along with its year of release, you name the director, for ten points each. The films I’m choosing are feature-length, theatrically released in the U.S., and solely directed by that person.
1. Who’s Afraid Of Virginia Woolf? (1966)
2. Hard Eight (1996)
3. Eight (1998)
4. Cars That Eat People (1974)
When I posed that same question for my co-workers, I gave the director’s first three films:
1. Who’s Afraid Of Virginia Woolf? (1966), The Graduate (1967), Catch-22 (1970)
2. Hard Eight (1996), Boogie Nights (1997), Magnolia (1999)
3. Eight (1998), Billy Elliot (2000), The Hours (2002)
4. Cars That Eat People (1974), Picnic At Hanging Rock (1975), Black Rain (1977)
[Answers at the bottom of this post]
On my co-workers’ quiz, I also provided 26 more questions, including people with a very recognizable first few films: Spike Lee, Quentin Tarantino, Michael Moore, David Lynch, Woody Allen, etc. Why? Because your basic group of office workers, who are doing trivia as a fun break, are not likely to be the sort of film fiends who would recognize a lot of obscure early work from now-famous directors. If they don’t have a clue on any of the questions, they’re likely to roll their eyes and never take one of these stupid quizzes again. Nobody likes to be completely stumped over and over again. Which leads me to my next point…
KICKING ASS IS MORE FUN
Trivia is supposed to be fun, and there’s nothing fun about feeling like an idiot. A good trivia game should leave you feeling smart, not stupid. That means that you should pitch your questions to a range with “fairly easy” on one end and “fairly difficult” on the other. Actually, “pitch” is the wrong metaphor — a pitcher is trying to prevent the batter from getting a hit, but a quizmaster should not be trying to prevent players from getting right answers. It’s not very hard to stump trivia players, even the greatest trivia players. In fact, I’d say that anybody can write a question that will stump a given person. All you have to do is ask for obscure enough information. Nobody knows it all, nor should they need to. The experience you should be trying to provide is one of success mixed with challenge.
I aim for about a 70/30 ratio between these two, but of course I rarely hit that. Gauging difficulty is one of the hardest things to do in writing questions, especially in areas where you either know a whole lot or very little. In the former case, all the information feels so familiar that it’s hard to get a sense of what a regular person might know. For instance, I’d have difficulty writing a full Simpsons quiz without a little feedback from somebody who hasn’t watched the show for ages. Is asking for the Simpsons’ address a hard question or an easy question? Seems easy to me, but I don’t trust my perceptions about it.
By the same token, when you know very little about a subject, all the questions seem hard. One of my running jokes in the Basement Bowl is that I always apologize for my sports questions in advance, because I very frequently have only a dim sense of how easy or hard they might be. I look at each one and think, “I sure would never have known that without looking it up!” Knowing I’m going to err, I try to err on the side of success.
So if kicking ass is more fun, why not make all the questions super easy? Well, because if you’re answering questions that practically any literate person could get without effort, you don’t feel like you’re kicking ass. Consider this question: “This network is home to Good Morning America, Cougar Town, Grey’s Anatomy, Nightline, and The Academy Awards. It also shares its name with the first three letters of the alphabet. What is it?” The first sentence is a fair question for general audiences, but the second sentence makes it into a terrible question for almost all audiences. What’s fun about being quizzed on things that a four-year-old would know? (Unless you are a four-year-old, of course — see “Know Your Audience.”) The one situation in which I could see this question working is a buzzer-beater game, in which the questions start out giving an advantage based on knowledge, but if nobody can capitalize on that advantage, it turns into a “fastest thumb” challenge.
On the “fairly difficult” side of the spectrum, as I said, the goal shouldn’t be to stump people. There are some questions in every game that a player just isn’t going to know, and that’s fine. What’s important is to avoid asking questions that nobody would know. Ideally, you want players to look back on the questions they missed and think, “I should have known that!”, not “Who on earth would know that?” The other good reason to have fairly difficult questions in the mix is that sometimes they give players the opportunity to reach out and clock an unexpected home run, which is the most kick-ass feeling of all. (Wow, the baseball metaphors sure are offering themselves to me tonight.)
BORING INFORMATION SUCKS
Here’s a sample question from my “Rock And Roll Hall Of Fame Trivia Challenge” calendar:
In 1965, Leo Fender sold his Fender Guitar Company to CBS for what price?
a. $13 million
b. $19 million
c. $22 million
Remember when I said that you don’t want players to look at a question and think, “Who on earth would know that?” Well, an even worse reaction to generate is, “Who on earth would care about that?” Which is exactly what I think when I see this question. The sale amount for a guitar company is a very banal piece of information. About the only person who’d have an emotional attachment to the difference between these numbers is Leo Fender himself. Trivia calendar, Leo Fender is not your audience. In general, this calendar feels like the product of somebody combing through a book of “This Day In Rock History” facts. Which means that you get some pretty good and interesting questions (“Which album by Johnny Cash was the first country album to top the U.S. pop chart?”) but a lot of questions like the one above. If I were this person’s editor, I would emphasize the fact that we’re supposed to care about the answer.
What could make this question better? Well, if it were actually an interesting amount of money, that’d make it reasonable. For instance, if the multiple choice answers were “a) $1,300 b) $13 million c) $130 million”, that’d be a step in the right direction. Each of those answers tells a pretty different story about what that sale might have meant to Fender, and whether the company was valued properly, which is likely to be more compelling information. Of course, it’d be even better if the answer were one of the outliers, but it isn’t.
Another way to improve it might be to switch around what the question is actually asking about: “In 1965, who sold his guitar company to CBS for $13 million?” That doesn’t quite get us there, though, because (in my opinion) it falls outside the realm of something the average music fan could reasonably be expected to know. So we’d want to inject a hint or two in there: “In 1965, what designer of the Telecaster and the Stratocaster sold his guitar company to CBS for $13 million?” Now we’re asking for an association that is fair game for music fans, and we’ve got ourselves a reasonable trivia question.
I’ve got more, but it’ll have to wait, because this post has gone on long enough. Meanwhile, how about some answers?
First films:
1. Who’s Afraid Of Virginia Woolf? (1966) — Mike Nichols
2. Hard Eight (1996) — Paul Thomas Anderson
3. Eight (1998) — Stephen Daldry
4. Cars That Eat People (1974) — Peter Weir
The Simpsons live at 742 Evergreen Terrace in Springfield, which is famously vague about what state it’s in.
According to the calendar, Ring Of Fire was the first country album to top the pop chart. Wikipedia doesn’t seem to want to corroborate that today — it says the album only reached #26, though it was “the first #1 album when Billboard debuted their Country Album Chart on Jan. 11, 1964.” Not that Wikipedia is an authoritative source or anything, but neither is the RRHOF calendar.
In my last entry, I explained the structure of the trivia bowl, and talked about its history at CU. Before I continue, let me provide some answers to the questions I posed there:
Q: James Rado, Gerome Ragni, and Galt MacDermot were the writers behind what song medley, which won Record Of The Year, topped the charts for six weeks in 1969, and was the biggest hit in the 5th Dimension’s career?
Answer: “Aquarius/Let the Sunshine In”I’ll name a fictional computer from a movie, you name the movie, for ten points each.
1. MU-TH-R 182 model 2, the ship-board computer on the space ship Nostromo, known by the crew as ‘mother.’
Answer: Alien
2. Deep Thought, a computer created by a pan-dimensional, hyper-intelligent race of beings who look to us exactly like white mice.
Answer: The Hitchhiker’s Guide To The Galaxy
3. EMERAC, a room-sized computer recently acquired by the Federal Broadcasting Network, whose worth is advocated by inventor Richard Sumner and doubted by reference librarian Bunny Watson.
Answer: Desk Set
4. WOPR, or War Operations Plan Response, a military simulator housed at NORAD.
Answer: Wargames
Now for my trivia autobiography (a redundant phrase, perhaps.) I grew up loving music, movies, and to a lesser extent, TV, as well as comics, theater, and the other sorts of topics that show up in the trivia bowl… except for sports. I was always a casual Bronco fan, but never somebody who could quote statistics or even name all the players. I enjoy seeing the games, but I never mind missing them either. I had a fling with baseball fandom for a couple of years, but then they went on strike and I got thoroughly disgusted with the whole thing.
As for basketball, hockey, NASCAR, golf, etc… don’t care. Never cared. I don’t mind watching tennis, and a bit of Olympics, but I only know the most surface facts about any of this stuff, if that. I do know a little about the WNBA and women’s soccer, thanks to Laura, but now that we have the Dante Distraction, soccer has left the limelight, and many of the WNBA games have moved over to some silly premium cable channel, so even that knowledge is pretty patchy.
Anyway, when I came to CU, I was only dimly aware of the trivia bowl, pretty much as “that thing that sounds kind of interesting but that I’m way too busy to do.” Finally, in 1993 my friend Robby told me that he knew a couple of teachers from our high school who wanted to field a team for the bowl, and asked me if I’d be interested. Robby was/is a total sports guy, as well as music and movies. Our mutual friend James covered TV, as well as some knowledge in all the other areas, and one of the teachers, Ron Hoover, was an absolute monster on old movies. So I said sure, and when we played our first game, wow. I still remember a visceral thrill from buzzing in on toss-ups before the question was finished, because I had such a strong feeling about the answer:
HOST: “Enya has had multiplatinum success with albums like Watermark, but before she–”
ME: BUZZ! “Clannad.”
HOST: “Clannad is correct.”
Whoo! Man, it was exciting. The other thing I remember is the fun of guessing on answers after the question had been read, if nobody else was buzzing in. Sometimes it even worked out:
HOST: “Who has the record for most guest appearances on The Love Boat?”
ME: [After a long pause in which it becomes clear that nobody is going to attempt this.] BUZZ. “Uh… Charo?”
HOST: “Yes, it is Charo!”
Our team actually won a game or two, but got blown out in the later rounds by more experienced and knowledgeable teams. There was a ceremony after the final game, and I was named Rookie Of The Year! Sadly, I had to work, so wasn’t able to accept in person. Even more sadly, 1993 was the final year of the trivia bowl. It is really a bummer to be Rookie Of The Year in the final year of something.
The whole event was dormant for a number of years, but when the CU Program Council brought it back in 2001, I knew I wanted to play. I got together a team of me, Robby, our mutual friend May from high school, and my friend Trish from work. Again, we did well in the early rounds and got stomped later, but that year I had an epiphany: these are my people. I attended every game I could (which was a lot — the tournament went all week, starting with 64 teams and narrowing down to two) and soaked the whole thing in. That was the year I officially fell in love with the trivia bowl.
Unfortunately, I was in the minority. The revival lasted one more year, in which our loss came to the team who went on to win the whole thing… a team led by Ed Toutant, the second biggest winner in the history of Who Wants To Be A Millionaire. But attendance was anemic, and while the whole thing was super DUPER fun for me, it was a losing proposition for the Program Council, who pulled the plug in 2002.
After that, the event was held for a number of years in a much, much more scaled down form every fall. It was little conference rooms rather than the Glenn Miller Ballroom, with maybe 6-10 teams competing, no audio/video questions, and a more regimented quiz-bowly format which values strategy over entertainment. Not that there’s anything wrong with that — I made sure to play every year, and it was one of my favorite things, but it was a far cry from the heyday of it all. Now even that is gone, or at least it hasn’t been held for the last couple of years.
That smaller scale, though, enabled me to forge some relationships with trivia bowl “royalty” — the various Hall Of Famers who now moderate games and form a coterie whose history stretches back 30 or 40 years. One of these people, David Gatch, sort of took me under his wing a few years ago and got me invited to a very kooky event called the “Basement Bowl.”
…and that’s where part 3 will begin. But just to keep the trivia power flowing, here’s another toss-up and bonus.
Following in the footsteps of Anthony Michael Hall and Jason Lively, he played Rusty Griswold in National Lampoon’s Christmas Vacation. More famously, he appeared as David Healey, Darlene’s boyfriend and eventual husband, in 92 episodes of Roseanne. Name this actor who currently stars as Dr. Leonard Hofstader on The Big Bang Theory.
In the 1960s, Marvel Comics loved to liven up its titles by throwing in an extra adjective. I’ll give you a comic book title, you fill in the missing adjective, for five points each.
1. The _____ Hulk
2. The _____ Spider-Man
3. The _____ Iron Man
4. The _____ X-Men
5. The _____ Thor
6. The _____ Ant-Man
Having just been to another Basement Bowl, I’ve been ruminating on a blog entry about what makes a good trivia question. And I do want to write that, but first I’d like to address those of you who may be saying, “another Basment Wha?”
Let me say: this is going to be long. Consequently, I’m breaking it up into a series of posts. This first one is the big lump of backstory that’s required to understand my personal trivia history. Your eyes may glaze over. This is normal.
I can go back quite a ways with my connection to trivia — I remember having books like Fred L. Worth’s Trivia Encyclopedia sitting around the house as a kid, and playing Trivial Pursuit with my family. (My dad dominated, though really he was only competing with one other adult.)
Meanwhile, the University of Colorado, my alma mater two times over and now my employer, started hosting an official Trivia Bowl in 1968, sponsored by a professor who’d just led a CU team to victory in the GE College Bowl. The difference was that while the College Bowl focused on various academic areas, the Trivia Bowl was dedicated solely to pop-cultural ephemera: music, movies, TV, sports, and “garbage”, which encompasses things like comic strips, theater, radio, etc.
The games follow a standard “quiz bowl” format. Two teams of four array against each other. Each team member has a buzzer. The moderator reads a “toss-up” question worth 10 points. At any point during the reading of the question, an individual may buzz in with the answer. If she interrupts with a wrong answer, her team incurs a 5-point penalty and the other team can listen to the entire question. A wrong answer that doesn’t interrupt incurs no penalty. No conferencing or teamwork is allowed on toss-up questions — if the judges see a conference, that team is automatically disqualified for that question, and the other team has a chance to buzz in.
A correct answer on a toss-up earns the right to a “bonus question”, worth anywhere from 20 to 40 points, and on these, teamwork IS allowed. (It’s usually essential, in fact.) These are usually multi-part questions, often with some kind of theme tying them together.
Example of a toss-up question:
James Rado, Gerome Ragni, and Galt MacDermot were the writers behind what song medley, which won Record Of The Year, topped the charts for six weeks in 1969, and was the biggest hit in the 5th Dimension’s career?
Example of a bonus question:
I’ll name a fictional computer from a movie, you name the movie, for ten points each.
1. MU-TH-R 182 model 2, the ship-board computer on the space ship Nostromo, known by the crew as ‘mother.’
2. Deep Thought, a computer created by a pan-dimensional, hyper-intelligent race of beings who look to us exactly like white mice.
3. EMERAC, a room-sized computer recently acquired by the Federal Broadcasting Network, whose worth is advocated by inventor Richard Sumner and doubted by reference librarian Bunny Watson.
4. WOPR, or War Operations Plan Response, a military simulator housed at NORAD.
Teams compete against each other in a long tournament — at the height of the trivia bowl, it started with 64 teams and narrowed down to two. The game consists of two ten-minute halves, though later in the tournament these periods are sometimes longer. There’s multimedia fun too — audio and video for both the tossups and bonuses.
The Trivia Bowl got quite popular, playing to packed houses in the Glenn Miller Ballroom throughout the 70s. A version of it was broadcast on ABC’s Wide World Of Sports at one point. Teams tried to outdo each other with silly, funny names (e.g. “Children Of A Lesser Godzilla”, “Bill Clinton Sings ‘Devil With A Blue Dress On'”), and the level of competition was impressive — there are people out there with some frighteningly encyclopedic knowledge about pop culture. The matches lasted through the week, and on the Friday before the finals there’d be a concert by some oldies act — Del Shannon, The Guess Who, Bo Diddley, etc.
The Bowl’s popularity endured a slow decline through the eighties, and by the early 90s attendance was sparse indeed. CU finally pulled the plug on the event in 1993, with a brief revival from 2001-2002. The year after that, a guy named Paul Bailey continued the Bowl in diminished form — people gathering in small conference rooms to answer questions, no audio or video, and no audience. But still fun.
Okay, that’s all for now. Next post will explain my personal history with all this, and give answers to the questions in this post. If you don’t want to wait that long, I will be happy to confirm or deny any answers that appear in the comments.
On the very occasional occasions when I write some stuff on other sites, I try to mention it here. So…
I’ve just written a couple of Amazon reviews: one for the new Melissa Etheridge album, and one for an out-of-print book of quotations. Writing a review of an out-of-print book may be the very definition of pointless.
Also, while I’m much more of a Facebooker than a Tweeter, there was a meme on Twitter recently I just couldn’t resist. The game was called “#rockretractions” — basically, the voice of a song revising what it originally said. I tried my hand.
My favorite one that I wish I’d written was, “On the other hand, I may be right and you may be crazy.” Also, while I’m quoting things that made me laugh, another recent meme on Twitter was, for some reason, “#namesfortinywhales.” Perhaps it was just localized to a few people I follow. Anyway, my friend Iain wrote “wee frilly”, and it’s been periodically cracking me up ever since.
I have to confess, the whole Love thing completely passed me by. I vaguely heard, four years ago or so, that Cirque du Soleil was doing some Beatles tribute show. Because I’ve never seen a Cirque show, and because my imagination has been stunted by television and video games, all I can picture is a bunch of guys in tights, swinging from trapezes, forming human pyramids, and so forth. To Beatles music. I yawn, and move on.
Then my friend Trrish made a special trip to Las Vegas to see the show, and told me a bit more about the way the music worked, and I was intrigued enough to pick up the album. And now that I’ve listened to it ten times in a row and had my mind completely BLOWN, I have to write about it, and I have to evangelize it to everybody I know who loves the Beatles. So I will gladly acknowledge the gooniness of gushing over an album 4 years after it comes out, just because it happened to take me that long to get around to it. It’s like writing a bunch of breathless blog posts about Buffy The Vampire Slayer in 2006, 3 years after it was cancelled. Which, y’know, I also did. So I guess this sort of thing is really my stock in trade nowadays.
If you’re way out of the loop like me, let me tell you a little about this album. It’s the soundtrack to the Cirque show, yes. But more importantly, it’s an exquisite, loving collage of Beatles sounds, made by people who have the music in their DNA: George Martin and his son Giles. They take the songs and pull apart their elements, mixing them together ingeniously, so that a solo from one song might float through the intro of another, fading smoothly into a third. Every sound on the record (with one exception, which I’ll discuss later) is from a Beatles recording. Sometimes the songs stand on their own for a while, sometimes the mixtures are subtle, and sometimes they jump out and grab you by the throat.
The sound is uniformly fantastic. I’ve never heard the songs sound better, even (or, perhaps, especially) when they’re not mixed up. Listening to this CD is an enormously thrilling experience if you have the music deeply engraved in your brain like I do. Seriously, if you love the Beatles, and you haven’t heard this album, stop reading right now, buy it, listen to it, and then come back. I’ll be here. You probably want to experience it fresh. I recommend headphones.
And just so you know, if you’re sensitive to this kind of thing in an album review:
Over the last several years, I’ve evolved a Christmas tradition with my friends Siân and Kelly, in which my gift to them is a mix CD of songs that I’ve been listening to over the last year. (The year goes November-October, so that I can send it in time to Britain, where they live.) Siân often reciprocates with a mix of her own. More recently, we’ve started writing “liner notes” to accompany these mixes. I just finished writing up the liner notes to the compilation I sent her for Xmas 2009, titled Easy Ready Willing Overtime. Since it turned out rather detailed, and I haven’t posted anything here for a while, I thought I’d add some links and throw it out here.
I was hoping to be able to provide a nifty flash widget or something with each song, but apparently LiveJournal does not allow those sorts of Javascript shenanigans. So instead I’m linking to the mp3 version of each song on Amazon, which generally has a 30-second sample of each tune. I am a big fan of buying digital music on Amazon, as they deliver regular mp3s rather than other DRM-infested funky formats. Where no mp3 is available, I linked to a YouTube version, for the sake of at least making the song available to hear. In addition, I threw in links to the CDs and some other miscellaneous links.
I became an Etta James fan in kind of a backwards way. Being quite the dedicated Eurythmics fan back in the 80’s, I even paid attention to their quirky little side projects. One of these was the soundtrack for a 1989 movie called Rooftops, which I never saw but was apparently fairly awful. Dave Stewart did some songs for it, and one of these was a track called “Avenue D”, on which Etta was the vocalist. I didn’t really know who she was, aside from the fact that I recognized her name and knew she’d been around a while. I did read a little article saying something like, “Dave Stewart does his best work when paired with a soulful singer, and James certainly fills the bill.” I was at NYU at the time — I actually remember listening to the 45 at Tower Records, liking the song, and buying it. I really dug her performance on that song. I looked into her a little more (which in those pre-Internet days meant just paying attention to what records of hers were in the stores), and found that she had done a comeback album the previous year called Seven Year Itch. A friend and I split the cost of the cassette, and I really liked that too. I bought her next couple of records, then lost track of her for a while.
10 years or so later, I became conscious of “At Last”, again in a backwards way — Stevie did a cover of it at a benefit concert where everybody sang standards. I fell in love with the song then, and heard Etta’s version later in the movie Pleasantville, and loved it again. Still, I never got around to pursuing her further, until this past Christmas, when I put The Essential Etta James on my Amazon wish list, and received it. I’d been listening to it a lot in the car when I heard that she was coming to Boulder in concert. I decided that I needed to go, and I found a fantastic ticket online: 2nd row aisle seat.
When I got there, I was thrilled to find that it was indeed one of the best seats in the house. I had a perfect sightline to everything, and was wonderfully close. There was an unannounced opening act, which was a drag — I’d asked Laura to cover childcare so I could get to the show on time. If I’d known, I’d certainly have come much later. Anyhow, after that, stagehands started setting up Etta’s stage, including a big comfy leather seat with the word “Etta!” inscribed on the front. At 9:00, her band filed onstage, along with somebody who didn’t introduce himself. He greeted the crowd, said “Miss James is in the house!”, and then introduced The Roots Band. (Not The Roots, who appear on Jimmy Fallon’s talk show, but rather just a bunch of touring musicians.) It was cool — a horn section, two guitarists, keyboard, bass, and drums. So then The Roots Band proceeds to vamp for 10 minutes.
Finally, Etta herself comes out, sits on the chair, and opens with “Come To Mama,” a song from Seven Year Itch that I’d known previously when Bob Seger recorded it (as “Come To Papa.”) In Seger’s hands, the song has a clear sexual subtext. Coming from James, the subtext becomes supertext, with lyrics like “If you feel like a horse chomping at the bit / Call my number, 777-6969, I’ll get you a fix.” But lyrics aside, OH MY GOD. It was easily the most sexual performance I’d ever seen, and I’ve seen both Tori Amos and Liz Phair (the latter of whom suffered a wardrobe malfunction that exposed her bare breast to the audience for the better part of a song.) Etta sang the entire song while absolutely pawing herself, and I mean her entire body, giving special emphasis to lines like “I’ve got your favorite toy / Guaranteed to bring you joy.” We are talking about a 71-year-old woman here, a grandmother, whose son is actually in the band, as her drummer. It was, to say the least, a little shocking. I wasn’t really bothered by it (though as a friend of mine pointed out, would you want to watch your mother doing that night after night?), but I was pretty floored. She continued in that vein the entire show. She never stood up, but her hands never rested much either. When singing “I’d Rather Go Blind,” she elaborated: “Sittin here thinkin’ of your kiss, and your… mmmmm, you all know what I’m talkin’ about.” And the song after that was called, “I Want To Ta-Ta You, Baby.”
While Etta’s libido has never waned (at least if her stage shtick is to be believed), I’m afraid the same can’t be said for her mind. For one thing, she clearly thought she was in Canada. “It’s been a long time since I’ve played in Canada!” she said. “I’m so happy to be back!” I thought she was joking at first, but then in the next song, she introduced her guitarist with, “This is Joshua. He’s Canadian, too!” She also introduced “I’d Rather Go Blind” by saying, “Here’s a song my sons and I wrote together.” Now, that song was first recorded in 1969, when James was 31 years old. The Internet doesn’t seem to want to tell me when her sons were born, but it does tell me that the song is co-credited to Ellington Jordan, not Donto and Sametto James. Oh, and then there was the long introduction where she said she was going to do a song by one of the baddest chicks of all time, Janis Joplin, and that song is called, “You Can Leave Your Hat On.” Written by Randy Newman. In 1972. Two years after Joplin died. All I could do was shake my head and laugh.
Her voice, though, still sounds amazing. She kept stealing glances at the lyric sheet next to her, but that didn’t stop her from nailing every single note. She also had a terrific stage presence, despite remaining seated the entire time. She was always playfully, bawdily bantering with the audience, even as she was performing songs. In “You Can Leave Your Hat On,” after she sang the line, “Suspicious minds are talking / They’re trying to tear us apart,” she would very clearly mouth the words “FUCK THEM.” It was hilarious.
Unfortunately, while the music was great, I didn’t get to hear it for very long — at 9:55, she said good night, and walked off stage, only to immediately drive back on astride a little red Rascal scooter. She sat back down in the chair and sang “At Last”, sounding phenomenal. And then… that was it. She left, stage lights came up, just an hour after the band had come on. That was very disappointing to me, as the ticket hadn’t been cheap. I quite understand that it’s probably hard on her to play very long, but if the length of your show is going to be much less than is conventionally accepted, your ticket price should be well below the standard too.
All in all, it was one of the strangest shows I’d ever seen. I loved the music, and was greatly amused by the rest. But I sure wish I’d known to come late, and been ready to leave early.