he U.S. may have a new Attorney General by this time next month, one who makes John Ashcroft seem like a reasonable candidate for the job. Alberto Gonzales, possibly the world's most Hilteresque Hispanic-American, is set for confirmation and expected to get all the votes needed for appointment, even though he has still been defending his record on human rights. On Friday, Gonzales attempted to clarify some of his previous statements, including one made in a memo from September of 2001, stating, "America will feast on terrorists' bones when the sun falls on this war."

Gonzales, nicknamed "Francisco Franco-American" by this reporter just now, has been accused of creating the Bush White House position on human rights—summed up by the statement, "Human rights? Huh?" In his former position as White House counsel, Gonzales, miraculously keeping the president out of jail for four years, challenged that prisoners taken without evidence and without due process in the War on Terror were not subject to the same protections as other soldiers imprisoned during wartime under the codes of the Geneva conventions.

In other feats of jaw-dropping "what the fuck," Gonzales challenged the very definitions of torture accepted around the world. Previous definitions, based on ideas of "cruel and unusual punishment," were replaced with the even more ambiguous definition of "excruciating and agonizing pain." At least with this definition, Ashton Kutcher movies are now officially designated torture.

"Unusual punishment? What's so bad about unusual punishment?" defended Gonzales in Friday's seven-hour testimony to the Senate Judiciary Committee Friday. "If I get a bare-bottom spanking from Mamie Van Doren, it might unusual, but I say that doesn't qualify as torture. And those guys in Camp X-Ray—they got it so good it ought to be illegal. I mean, it probably would be, if it were on American soil. But you know what I mean."

Asked if the attorney's arguments against the Geneva conventions opened the door for the abuses at Iraq's Abu Ghraib prison, Gonzales pretended not to hear the question. Asked again, he pretended not to know what Abu Ghraib was. After a lengthy recount of the many incidents of prisoner abuse at Abu Ghraib, Gonzales gave a more definite response.

"Nah. Probably not," said the attorney.

Gonzales then took a firmer stance, saying the pictures of abuse, which he owned plenty of in his personal collection, were "people who were morally bankrupt having fun." At least, continued Gonzales, it "looked like a lot of fun."

The attorney, who had by now pitted out his entire suit with sweat, was asked to clarify the infamous statement on eating the bones of terrorists.

"I was paraphrasing the Jolly Green Giant," answered Gonzales. "Or whoever that guy was. The one whose home was invaded by the tiny terrorist who stole his golden goose. We will use their bones, meaning the terrorists', to butter our bread. That's all I meant to say. I apologize if the meaning was taken that we will actually be eating the bones straight out of their bodies. I don't believe that would be very appetizing for most Americans. Not at all. Anyway, if we do it, nobody has to watch—is that the problem here?"

Senate Judiciary Committee Chairman Arlen Specter comically threw all his papers up in the air at that point, mugged for the grandstand, and told the people, "Well, I frankly don't see a problem here…"

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It's a question that I get asked on a nearly daily basis, and understandably: just what in the hell was wrong with American music in the 1950's? History has it that the 1960's were the decade of recreational and experimental drug use, citing such examples of delusionary flakery as Jefferson Airplane's White Rabbit, The Beatles' I Am the Walrus and Gregg Allman's hair. And while I wouldn't argue against these as prime examples of pharmaceutical excess, they pale mightily in comparison to the near-psychotic mutant trend of late-50's doo-wop music. John Lennon may have envisioned Mean Mr. Mustard dripping from a dead dog's eye, but even this game of Clue gone horribly wrong looks downright pedestrian next to a jabbering psychopath questioning who exactly put the ram in the rama-lama-ding-dong.

Like a drugged-up visitor from deep space, doo-wop appeared seemingly out of nowhere, holing up in the chests of America's great pop stars in the late 50's and early 60's. From this parasitic enclave it communicated with the world through a bewitching combination of di-dits, bompa-bomps, ding-dangs, shooby-doos and doh-dohs. Why did it come, and what was it hoping to communicate to us? Nobody knows, though our best guess is that it had to do with seeking therapy for a stuttering problem.

The earliest known recording of the mutant doo-wop style was the Orioles' 1948 tune It's Too Soon To Know. During the recording of what was, by all reports, a fairly normal song, lead singer Sonny Til suffered the massive variety of nervous breakdown and began singing rhyming gibberish vaguely related to his ex-wife winning custody of their home and the recent transmission failure of his Oldsmobile. Fearing for their own lives, the band continued to play and discovered to their dismay that when they had finished the take they were at the end of their studio time. As was a common practice at the time, the record company had only secured them ten minutes of recording time to record and mix the song, and they'd had to sell bass player Johnny Reed's virginity in the process as they were obligated to pay for the studio time themselves.

Low on options and wary of bat-wielding record company thugs, the band played it cool, acting as if the recording session had gone fine. The record was released as-is by record company execs who were so outside of the loop that they once released a recorded armpit fart as a single, snookered by an engineer with a sense of humor. Back in that day all of the record companies were so desperate for a hit they would release anything, sometimes even recordings of other records held up to a microphone, as the execs in charge all listened to marching bands and had no clue what the record-buying teens of the day were into. They seldom listened to the records they put out, which led to the infamous "My Ding-a-Ling" scandal of 1972.

It's Too Soon To Know wasn't a huge hit, but it sold surprisingly well considering the totally bugshit nature of the vocals. It also proved to be heavily influential for a young aspiring songwriter named Richard Lewis, who crashed his car into a grocery store the first time he heard it on the radio. Many say Lewis never recovered psychologically from the incident, but he did go on to form The Silhouettes, and pen the 1957 mega-hit Get a Job. That song introduced the stuttering, nonsensical vocal stylings that came to be known as doo-wop to the world.

Some purists and historians have argued that Get a Job was only a hit because Lewis' uncle owned the Junior Records label and made sure the song was played on Dick Clark's American Bandstand, which guaranteed it would be a hit among the easily-led youth of the day. Others might disagree, but the success of the 1959 hit Dog Barking in the Back Alley seems to lead credence to the theory, since the rare sound-effects single likely would not have reached #1 if it had not been featured on American Bandstand earlier that year.

Whatever the reason, Get a Job was a smash single, and Americans were quick to concede that if it's what everyone else was listening to, then they were into lyrics like "Yip yip yip yip yip yip yip yip ma ma ma ma ma ma ma ma" and colossally embarrassing bass singers, too.

Other bands smelled the money train and were quick to follow, solidifying doo-wop as a legitimate musical movement and a bad name for a hair salon. Not long after, The Marcels released the doo-wop manifesto Blue Moon in 1961, daring America to make sense of their statement of purpose: "Bom bom ba-bom ba-bom ba-bom bom ba-dang a lang lang a ding a dang ding Blue Moon…"

But by late 1961 doo-wop was beginning to lose it's luster, beginning with Barry Mann's hit Who Put the Bomp?, at which point fans began to suspect that the magic was gone and that doo-wop artists were just bullshitting them now. What began as a street movement had been exploited to the limits of credibility, and all of the bomps and sha-na-na's had begun to ring hollow.

By 1964 doo-wop was a mere ghost on the American musical landscape, as record-buyers turned away from the bubblegum of their youth and embraced the British Invasion of more vital artists, replacing their embarrassing Shep and The Limelites platters with the more mature pleasures of Manfred Mann's Do Wah Diddy Diddy. The rest, as they say, is history.

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Good people, whatever I said last week, optimistic it up by about 200%. I am feeling much, much better. Maybe it's the smell of fresh cauliflower cooking on Camembert's stove, maybe it's the neighbors and their loud enunciation of Shakespearian dialogue through the walls. Or maybe it's the fact my disruptive energy has crashed into a train of good vibes, as Lee says, and that's what I'm leaning toward.

Lee has yet to be wrong about things like this. It's Lee's opinion that somewhere along the line, in the past year, I've had a burp of negative karma that has totally blemished my natural green. Why? Quit asking me. Ask Lee. He's the genius that knows all of this stuff.

I just asked Lee and he said he's not quite sure, it could be any number of things. Most likely it revolves around my moving my office into the commune headquarters, where as before I worked out of my Dodge parked in front of my house. That was just to be a temporary solution until I could build an addition onto the house, then the addition I built would not stand up and frequently collapsed on me and the cat. I decided it was either hire a professional builder of additions or move into the commune offices, so I did the latter.

And there was the problem. So Lee says. There is a vortex of anti-vurga here that affects some people the wrong way. Namely me and Lee. I'm not quite sure what vurga is or what it's for, but Lee assures me he had not made it up and it exists, and mine is being scratched, picked at, violated, and rubbed raw by the anti-vurga vortex I spoke of before. Well, I don't need to hear any more. As soon as possible I'm moving out of the commune offices and making an office at home.

It will be difficult, I'm sure, saying Camembert and my apartment is too small is an understatement, an understatement so large it will not fit in our miniscule apartment. I could not even squeeze it into the space between my bed and the radiator that frequently sets the bed on fire. But what else can I do? Bagel and company won't shell out the money to buy me space across town, they've already tried to sell my space on numerous occasions to tourists. I'll have to make room in the apartment, according to Lee.

Lee suggests that with a matter of such urgency I can afford to make space in the apartment. He said I should diagram the entire apartment on a piece of paper and sort out what can be moved where, and I should do it as soon as I get home. But he won't help, he has meditation this afternoon and doesn't want to get riled up.

Frankly, I don't see what I'm supposed to move and where I should move what I move. There's my bed, my television set-up, my grand piano, my standing closets, my sitting closets I usually refer to as drawers, my portable bathtub, the game of Twister—it's been out so long I'm certainly not going to put it away now, I'll just want to play again tomorrow—and the vaulting horse. Not to mention my workout space. A finely-planned house of cards it all is, I move one piece and everything tumbles down. I definitely cannot fit a desk, computer, and second workout space into my room.

Camembert's room! Of course, why didn't I think of it before I sat down and wrote all the above out? I'll simply annex Camembert's room and make it my office. It might be hard to convince Camembert at first, but he'll come around. I'll put a positive spin on it, that's what Lee always suggests. People are suckers for positive spins, he told me right after borrowing the money for that ass-reduction surgery that was so vital to his five-year plan.

Camembert will be more than happy to give up his room once Lee explains it. He loves Lee living on our couch so far, I heard him telling Lee so yesterday. As it is Camembert's room is a bulky waste of wheelchair rolling space, safety rails and bars and Camembert's personal effects. I can make his bed into a bunkbed and everyone will be happier, it will be like camping. As long as I get the bottom bed for I don't have to roll out of bed and land on that dangerous wheelchair at three in the morning.

I'm starting to look forward to this. Lee's right, a positive spin makes any disaster seem much more tolerable.

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