Dead comedians on tour: Andy Kaufman and Redd Foxx, the holograms.

Alki David, the billionaire behind Hologram USA made the announcement and said his company is "working with other estates of famous funny guys and funny girls, these just happened to be amenable estates who see the vision."

Mr. David said that the hologram shows... say, Andy Kaufman lip-syncing the “Mighty Mouse” theme on... “Saturday Night Live”....

Noting that Malcolm X had known Foxx before his stand-up fame and described him as “the funniest dishwasher on this earth,” Mr. David said, “We’re going to have a scene with Malcolm X. We’re going to have various notable names featuring in his story.”...

The company is preparing holographic versions of Billie Holiday to perform at the Apollo Theater in Harlem, and of Whitney Houston for a worldwide concert tour next year..... “There are an awful lot of dead celebrities,” [David] said. “There are an awful lot of dead people with a lot of followers. The fresher the memory, the bigger the star.”...

Bonus red meat for pedants: The director of the licensing agency said that the dead celebrities "literally come back from the dead."

I'm hesitating to publish this because it's pretty obvious that David wants to provoke those who find this kind of entertainment disgusting. It's a virality strategy, and it gets out the word for the kind of people who do think it's cool to have the illusion of somebody they love come back from the dead (and don't give a damn about the right and wrong uses of "literally").

So I'm going to distance myself. Oh, the absurdity of "amenable estates who see the vision" and the sad comic deafness of the phrase "famous funny guys and funny girls." They're dead. They're not funny at all. And Malcolm X isn't funny dead or alive.

Records From My Father, Part 4: "Manhattan Tower."

I had made my selection for the next entry in the Records From My Father series before doing that last blog post, showing the New Yorker cover making an Anthony Weiner phallic joke out of the Empire State Building. Here's the album cover for "Manhattan Tower," showing the Chrysler Building.



This record might be the polar opposite of a Weiner sext. It's very grand and striving, with lush orchestration, florid singing, and spoken narration. It acts like it's telling a momentous love story, a story that could only happen in New York City, a story on the scale of the Manhattan skyscrapers, but there's nothing important at all about Steve and Julie, who meet in a bar, go to a few New York places, and then separate. This was very hard to sit through, and I have a hard time believing my father found it too amusing.