From A to Z

Well, yeah. That's pretty much it.

Got this little compare-and-contrast from Mike Daisey, via his blog. Worth a look, as Mike's work always is.

Speaking of that, if you live anywhere near New York you should make a trip to the Public to see The Agony and The Ecstasy of Steve Jobs, Daisey's current monologue, which toggles back and forth among his personal history of semi-obsessive interaction with computers (especially Apple products), Steve Jobs' biography (which includes the rise-fall-and-rise of Apple, of course), and the progression of Apple's/America's involvement with electronics manufacturing in China, as viewed through the lense of Daisey's research visit to Shenzhen. It is amazing, alive, and astonishingly powerful. And it's been extended through December 4.

Seriously, go see it.

If you want to read up on the subject beforehand, there's plenty out there on the internets about the show and about the earlier incarnations that Daisey developed over the last year or so in various locations, none of it hard to track down. To give you a boost, here's the piece he wrote for the Times in the immediate wake of Jobs' death.

More Fun with Pythagorean Tuning

Happy November, everybody.

I know I'm supposed to care about the romantic breakup of the dynamic pop stars behind She & Him and Death Cab for Cutie, but I'm sorry - I just don't. Oh wait. I'm not really that sorry.

On the other hand, check this out:



This little slice of amazing comes from Alexander Chen, who seems to be pretty handy in the musical/graphic ideas department. In a nutshell, he's created an 'impossible harp' where each line in this viddy represents a string that changes length to accomodate the frequency needed for each note in the first Prelude of the first Bach Cello Suite. 8 notes per phrase, ergo 8 lines - check out the link above for his discussion of the math behind string length and pitch, Pythagorean Tuning and the way Chen put this together.

Video Shoot

Remember Mel & El? From celebrations past?

Well these days, in addition to their monthly residency at Comix, they are shooting a Web Series about their ongoing musical attempts to save the world from tedium and stupidity. It's an uphill battle.

I started a full day yesterday by shooting a scene for one of their episodes. Without wanting to give away too much (these episodes are full of surprises) I'll say that I play an extremely high-powered doctor in high society. Yes, you should quake in my presence.

Well, in addition to my line (yes - line, singular. But that one line contains multitudes.) we engaged in some improvisation. Some of which went really well. But at one point we had an exchange that went something like this...

C: So what hospital do you work at?
Me: Grey's
B: (Supressing a laugh) Grey's??
C: Nice hospital...
Me: I mean Grace. Seattle Grace.
C: Oh yes, I've heard of that one.
B: You had some trouble there recently.
Me: Umm...
C: A pretty bad shoot up, I heard.
Me: Uhhhhh...
C: I guess you weren't there for that.
B: (supresses another laugh)
Me: Oh right. That. Yes. No. I wasn't there when that happened. They called me in to help with the aftermath.
C: I heard there's a fiery lady there who really stirs things up.
Me: ??
C: A black doctor, I think.
Me: Oh, yes. Chandra... something.
B: (cracks up)
C: (looks at me like I fell off the short bus for remedial
improvisers)

Ok, ok. This was a rehearsal, not a real take. So no harm, no foul. And, as I wrote, some of our other improvisation went quite well, and I think they may keep some of it.

But still... It was a little embarassing.

And I have actually watched Grey's Anatomy for the last couple seasons. I was thinking of Chandra Wilson, who is the actor who plays the doctor that C was referring to. Which is a thing I do (more real dialogue from my life - watching an episode last night: "Wait, who is Hunt?" Cory: "Owen. Head of Trauma." Me: "Right! Sandra Oh's husband.")

But the lesson here is - be ready for an improv at all times. If there's a camera around, it could be rolling. And once you've signed that release, they can use whatever you give them.

By the way, click here to check out Mel & El's Kickstarter campaign! It's a fun read, with lots of good video links, whether or not you can donate. (But of course I think you should give generously...)

The Big Takeover

No, I'm not talking about the so-funny-I-forgot-to-laugh management transfer at BP. Nor the fact that Bernadette Peters is stepping into the role that Catherine Zeta-Jones started in the current production of A Little Night Music.

I'm talking about the punk/indie/lo-fi music magazine Jack Rabid started some 30 years ago. The anniversary got some press, and they had a concert/birthday party last weekend too.

"This was the most accidental 30-year career I’ve ever seen."

Not that I went to it or anything. My weekend was spent (quite happily, thank you very much) with Cory and my sister and my father, who were resting up (sort of) from setting up her house on Long Island. In addition to the resting, Dad and I saw Winter's Tale at the Delacorte, we went shopping for air conditioners for Lori, and we all hit Citi Field for the D-Backs Debacle (Ugh. Argh. Yikes.) Plus, you know, good ol' family time.

I also missed the Bill Schimmel Accordionarama that Carl was playing in. Sigh. You can't do it all.

Last Chance La MaMa

And though you probably know it already, I may as well mention that this is the final weekend for Post Modern Living at La Mama.

On Monday it'll be gone (and the link will be different,) but for now it's the Pick of the Week!

Hollywood Love Story

Things are moving forward for A Hollywood Love Story, the short film that my good friend and artist-about-town Terence Donnellan made this winter/spring. As you may or may not remember, I did a short voiceover for this piece, and also helped out a bit with the casting and some general support.

Here's the trailer:

A Hollywood Love Story from Terence Donnellan on Vimeo.

If you look closely, yes, JP Driscoll is in there too (also of close friend status and repeated fame in these pages.) Look for the full version of this piece to show up at a Short Film Festival near you...

Kosha Killa Krew

What?

I am LOVING this Matthew-Lee Erlbach / Happy Sunshine Kung Fu Flower joint. Worked with HSKFF a while back. Last I heard, they were not active - hope that this viddy (which isn't all that current, but still) is evidence that the rumors of their demise are exaggerated...

Even Yet Still More Post Modern Living

Ok, here's the next installment in our seemingly endless stream of Post Modern Living posts.

This is a scene that happens early in the piece, with Chester (me) and Mitch (Richard Sheinmel) in bed first thing in the morning, and Mitch's "Spirit Guide" Louie (Chris Orbach) holding up our pillows. Now, maybe you'll be asking questions about the metaphorical nature of a Spirit Guide or guardian angel supporting us: pillow feathers representing angel wings? protective spirits as a cushion against the shattering blows of (post) modern life? If those are the questions going through your head, give yourself a hand: you're in touch with the finer points of performance art. But if you're like a lot of the people out there (including no small number of my friends and family members, and virtually all of my dayjob co-workers) your first reaction is apt to be "whoa - you're in bed with another guy?" Yes, it's true: in this show, my character is gay. Which isn't that radical. At ALL. But even in 2010, it gets a reaction. I've played murderers, rapists, incestuous lovers, but the response I get to those is pretty muted compared to the reaction people have when they find out I'm kissing a dude. For better or worse, there is very little in the way of a Katy Perryesque titillation factor, and a whole lot in the way of an "is there tongue?" recoil factor.

In any case, there is more to this show than man-on-man action: there is also some damned good music and acting, and a really bitchin band. Cue the Stephen Mosher photo essay (Stephen took all the photos in this post during a dress rehearsal):

Here's Joy (Wendy Merritt) checking out Mitch's situation.

Here Chris is playing the cabbie who takes Mitch to the doctor. One of Chris' friends had a fun insight to his character: "You're Snoopy! One minute you're the WWI Flying Ace, one minute you're Joe Cool, and when you're not any of those guys, you're one enlightened beagle."

This is Meg (Catherine Porter) and Mitch helping Gerrie (Briana Davis) get her bearings after one too many Run Run Rudolphs.

Here's Dr. Zappi (Frank Blocker) giving Mitch a consult about some post-op stitches that are about to come out.

Here is Grace giving Joy a consult. Hmmm... "Grace" and "Joy" - nothing symbolically significant about those names, is there? Wait a minute: what does that say about "Chester"?

Well, I'm doing the best I can. Here I am in phone conversation with Mitch. Don't worry - he's not cheating on me; his shirt's off because he's still at the doctor's office.

This is definitely the money shot. Joy is demonstrating - well, hell: come to the show and see what she's demonstrating.

And here's the lot of us bringing it all back home in the finale.

See you at La MaMa.

Post Modern Opening

Well, the performance art piece I'm working on opened last night at the Club at La MaMa after two previews - there are some production photos out there, and I'll get to posting them at some point, but for now, here are a few more shots from when we were still in the rehearsal room.


That's Richard and Frank onstage there as patient and doctor, and Jason Jacobs is in the center facing us, doing his director thing. I haven't gotten too many good shots of Jason yet, but I like this one.


Here's Wendy in an offstage moment of rest working on her knitting. She's a wonderful actress and a lovely person. And she knits. A lot. As she puts it, "Well, I don't read as much as I used to..."



And I'll wrap up for now with this group shot - from left: Chris on Guitar, Jason directing, Frank and Richard as Dr. Zappi and Mitch, and Heather bringing up the right in Stage Managerial glory.

We had previews on Friday and Saturday at 10, and our Opening Night was yesterday at 5:30, followed by a cast party at a nearby bar. Each show had its own quirks, and we learned a lot from all of them. The performance for press opening was the strongest of the bunch, in my estimation, which is a good thing. We had a full house, there was good energy in the room, and it seemed like people had a good time.

Let me know if you'd like to come to the show and I'll get you all the details you need (oh, and most of them are in the sidebar - off to the right, up top, see?)

Ave Atque Vale Alex

From the Box Tops to Big Star and beyond, Alex Chilton was one of the all time go-to guys for power pop and catchy hooks. [Do click on that link, if only to watch the video of "The Letter," with the Box Tops treating lip-synching like the ridiculous joke it is.] We lost him yesterday to a heart attack, and that's way too sad. 59 years old, in the midst of a Big Star reunion (which he may or may not have actually bothered to show up for) and a(nother) resurgence, complete with re-packaged/mastered discography. I had the great good luck to catch him sitting in with Yo La Tengo a couple years ago: one of my Great Moments in Music. I don't think I have any images of that event, but I'll scour the laptop at home to see for sure. Meanwhile, here's this one from the internets, showing the man we knew and loved.

Also, check out this tribute by Rob Sheffield for Rolling Stone. Beyond the obvious choices like the Replacements and R.E.M., I'd argue that Alex/Big Star had a huge influence on The Feelies, Let's Active, They Might Be Giants and other bands who extend the Chilton influence to an astounding proportion. And I'd wager that if there's an afterlife, Doug Fieger is now toasting with Alex and thanking him for paving the yellow brick road for the Knack. Hopefully, Chris Bell is in on that toast...

Now let me go home and dig up that copy of Like Flies on Sherbert.

More Fun with Movement and Art

As promised, here is some more on Cory's Dance Debut with Simone Forti.

First of all, why don't I link to Claudia La Rocco's rave in the Times. One of those love letter reviews that we all dream of. Which Cory gets her first time out. Nice! [They didn't mention her by name, per se, but she was most certainly a part of the "ad hoc group of dancers" mentioned in the review.] Of course, that fits in all-too perfectly with Simone's perspective on dance. She called these pieces "Dance Constructions" and they are tucked into the boxes of sculpture/visual art as often and as fittingly as they are labeled as dance (by those who enjoy putting decals on things - as with most achievements of importance, I tend to see this work as being elusive of pigeonholes, what Duke Ellington would have called "beyond category") A movement artist in the Proto-Judson Era (which term I may be making up, but you know what I mean), Forti was part of the group that presented at Yoko's loft, which is where Huddle was first shown in 1961. She wasn't terribly well known then; she's made her mark more by influence (Lucinda Childs, Yvonne Rainer, and of course Robert Morris) than recognition. Until recently! Simone is finally getting her due, and I hope she's enjoying it!

I had the great good fortune to attend this event with Ginger Spivey, a good friend of Cory's from Duke, who is a more than formidable resource on Simone, the Judson school, New York art in the 60s, and art in general. I can't link the full text here (go ahead and support indie press and buy the thing!) but she has an article about Forti in last summer's Women's Art Journal. So I've got some art world cred when I tell you that this show ROCKED!

Here's the promised viddie - it's just a portion of the Huddle that happened during the reception. This show happened on stage, on screen, and among the audience. That's Cory in the pink top. And you don't need to be a dance aficionado to recognize the guy commenting on Trevor crossing the Huddle near the end...

How cool is that?

[ok, here I have an issue with the good people at Blogger. I have tried to upload this video four times now - taking lots of time - and it continues NOT to work. So I'm putting it on youtube and embedding it from there; which is fine I guess, but shouldn't the video app work better?? If anyone has a fix, let me know]

The Plan

Alright, I admit it: I was in a weird and not-so-good mental space when I wrote my last post. Lotta things just came to a head yesterday. But of course there is plenty of good work to be done.

Here's an interesting perspective by Nicholas Kristof on the sitch in Afghanistan.

And thanks to Mike Daisey for this next tidbit sharing a Master Plan from a website that's currently down for repairs. (Hmmmm...) Looks like a swell time for all!



Daisey's new show is happening at the Public, by the way. You know it's gonna be good - Cory and I are seeing it next week. Very limited run for this one, so don't wait too long...

I've been a busy auditioner/theatergoer these days too. Besides the brilliant From the House of the Dead last weekend, I saw the very worthwhile, if imperfect, A Streetcar Named Desire at BAM on Tuesday (may end up writing fuller posts on those two shows if time permits), and am going to Love Child at New World Stages tonight. Oughta be good. Looking forward to some laughs.

More Fun with Music and Art

Hanukkah it was not, but between Rosh Hashanah and Yom Kippur, Yo La Tengo played a big ol' show at the Roseland Ballroom. Bigger venue than they usually play (in my experience, anyway) and it was packed with 3,000 of us. We got there too late to enjoy the musical stylings of the Susquehanna Industrial Tool & Die Co., but I hear they did a fun set in the lobby area. We did catch most of the Black Lips set, which was good for some good-n-loud.

Then came the main event: Yo La Tengo themselves, rocking in their own inimitable way. They gave us a healthy dose of the best material from their newest, Popular Songs. They rocked their classics (ok to call them 'classics' right?) including taking "Blue Line Swinger" to heights only dreamt of in your mythology.

They were introduced by the Daily Show's John Oliver, who had his work cut out for him trying to focus that many hipsters. They had visual stimulation provided by the Joshua White and Gary Panter Light Show.

The light show was a show of its own. Joshua and Gary are visual artists from the original psychedelic rock era. Nary a computer in evidence. Just some guys with projectors, colored oils, spinners and slides working a visual counterpoint to the music.


A microcosm of the reactions of our little group to this phenomenon:
Sherin: I love how old-school this light show is - analog everything!

Cory: You can see the hand of the artist, like with Jackson Pollock.

Frank: I feel like I'm at Iron Butterfly.

Amanda: Why isn't anybody dancing?




I don't know who shot this video (though I think it probably was Qbertplaya) and it seems possible that it'll be pulled down off the internets at some point. But for now, enjoy - string section and all.

Real Gone

Another much-belated post on a more-than-worthy event. Saw the Armitage Gone! dance company perform its Think Punk! progam at the Kitchen.



Raucus and rockin', the Armitage dancers celebrated the energy of punk culture and downtown art, and the place of their own company in that history, while creating work that is still hyper-vital today. The music came recorded from Jimi Hendrix, David Linton, Mozart and X-Ray Spex; and also from live musicians including the amazing TALIBAM! (All these exclamation points everywhere. Sigh. I think the energy of the artists is self-evident without added punctuation, but whatever.)

I loved this performance. Elegant, athletic, sexy, powerful, inspiring. Made me want to create pieces, stage them and perform them, especially in rooms as bitchin as the Kitchen.

Record Store Day!

Well, it's tomorrow, not today, but I reckoned you could do with some advance notice.

Some of us have had the discussion: is it ok to download/share music? My short answer: yes, IF you keep funneling a commensurate amount of money to musicians/artists, and remember ani difranco's caveat/warning that it's "never as good as the real thing."

One handy excuse to do some of the real thing comes in the form of Record Store Day, tomorrow, 19 April, 2008. Put together by a group of indie record/cd store owners, it's an attempt to shine the light (and rain the bucks) on the nigh-unto-holy tradition of small/independent purveyors of music/life soundtracks to those who pay attention. This day was brought to my attention by this New York Times article, which is pretty good, if, you know, Timesy.

SO - go to your friendly neighborhood music store, grill the guys who work there, and reward them for their efforts. Let the games begin: Clash vs. Sex Pistols; Death Cab... vs. Postal Service; CD vs. Vinyl; invent better games of your own. I'll take a few minutes from what promises to be a GORGEOUS day and visit the Tunes in Hoboken (which for some reason is not officially affiliated with Record Store Day, possibly because they don't have a website. Don't know why they haven't bothered with that, but will still go there tomorrow. After all, it's 'my' record store.) Probably get the new R.E.M. even though those guys are filthy rich and don't need any more of my $, because the record totally fucking rocks. And I'll pick up something by a more deserving/needing-of-the-money artist as well. Maybe Tapes 'n Tapes, who are gigging in Williamsburg tomorrow night. (Hmmm... might we want to catch that gig after our big fat double feature?)


Oh, and by the way: Clash; Postal Service; CD and Vinyl is kind of a wash: Vinyl sounds better WHEN IT'S NEW, but gets all scratchy with time unless you are so careful as not to be practical. LPs are effin heavy, but the big format is way better for cover art - the great underlamented loss of the current era of musical devolution (LPs > CDs > MP3s) Ok, I grant that the intertubes offer some pretty nifty graphic options, but we lost something important when we lost the big ol' record covers.

SO - I present, not a claim for 'the best' cover or anything like that, but a golden example of bitchen album art:

There's the front of this unbelievably brilliant achievement in jazz fusion from one of the best combos ever assembled for that purpose. Don't judge a record by its cover, but I'd say this cover conveys the contents pretty well.

And, so you can see how they worked together in ye olde foldout:

I couldn't find the amazing late 60s soulful revolutionary jazz hipster prose poem liner notes by Ralph Gleason online, but, you know what? Just track down the album (in any format) and read them for yourself: have a look, dim the lights, light the candles, pour the wine and settle on in for the evening.