Indulge Me

Today was a busy one. I changed a tire, recorded a video for a friend's voice/speech lecture, performed in a show, and wore a Superman costume. If you would indulge me, I'm going to allow myself a night to turn off my brain.

However, what I will say is that this song was the last thing I was singing to myself on my way home. Things are feeling good.

peace.

Big O Still Has It

Current TV may have been the best move for Keith. These are as good as they've always been.

I think my main man Special K has said about everything I would have wanted to say tonight. Excuse me while I try to get seven hours of sleep. I have to beat on a rusted Xterra wheel with a hammer tomorrow morning.

peace.

Under the Jail

That's where Jerry Sandusky is going to be within a year.

Wow.

peace.

A Quick Thought on Precision in the Theatre

Recently, I saw a play at one of the larger theaters in town that solidified a belief I've had for quite some time now.

Let me start by saying I thought the play was very well done. It was a solid piece of engaging and important theatrical art. The actors were all incredibly available, their navigation of the stage was alive and purposeful, and the production values were first rate. I was impressed.

But not as much as I could have been.

Even though everything was seemingly in place for this production to be successful (And considering I bought the last ticket that night, success wasn't a problem.) the one crucial piece missing, at least for me, was a concrete sense of communal precision in the work I witnessed.

Let me explain.

As I watched the show, it became clear to me that I was observing a wonderful group of inspired and talented actors who were hindered by constraints of the modern approach to producing a piece of theatre. On average, the typical play is rehearsed for about four to five weeks. The actors meet on the first day; perhaps they know each other from other shows or they could be meeting for the first time. The play is read at a table, there is discussion of what it means and what's being said, then everyone goes home to begin memorizing lines and doing their individual work. From then on, the destination is opening night. The attention is given primarily to staging the show and incorporating the technical aspects of the production. And yes, there is time for continued discussion and debate, but that type of exploration can never outweigh the primary objective of opening the play.

However, there was a time in the theatre where instead of rehearsing for only four or five weeks, a company of artists would spend four to five months working on a play. Actors were given the time and space to truly explore the more nuanced and complex aspects of the script. More time was available to develop a common vocal and physical vocabulary that more appropriately served the ensemble and the production. The cast had the opportunity to know and understand each other's personal aesthetics with more depth and intimacy. All things considered, this type of rehearsal timeline always produces more consistent, inspired, and precise work. In fact, a friend of mine in New York just began a rehearsal process that is scheduled to take an entire year! Think about how good you could be at something if you gave yourself an entire year to practice it. Imagine how brilliant you would be.

This is a major issue in our current theatre culture. Too often are good performers from differing artistic points-of-view and training backgrounds thrown together and expected to "make the magic happen". Sometimes it comes together beautifully, other times it falls flat. And there are many gradations in between.

I say let's take the guess work out of it. Let's make well defined, precise, and penetrating pieces of theatre all the time. And for god's sake, let's give ourselves the time we need to do it.

peace.

Emcee of the Month: Murs

They couldn't find a tripod some decent lighting for this?

There are two more parts (here and here). Please have a look.

Obviously, I didn't choose to post this video because of the production value. Nevertheless, of all the interview clips of Murs I found this one is by far the most insightful. It's always fascinating to hear these artists give these kinds of accounts describing their thoughts and beliefs on their music and the surrounding society. So many times these interviews are unable to illuminate all but the most pedestrian elements of an emcee's inspiration. This is quite refreshing.

I'll have a few more thoughts on this interview tomorrow.

peace.

Neil deGrasse Tyson Takin' it To 'Em

I've been gone for a couple of days. Most of my energy recently has been dedicated to rehearsals for a show. Things are moving along incredibly well, but there has been little time for thought and reflection on ideas and topics currently occupying my interest.

So, allow me to humbly offer a bit of my science hero Neil deGrasse Tyson.

All this info on this particular lecture can be found here on the youtube page for this video.

I'll be back tomorrow with the Emcee of the Month.

Thanks for stickin' with me.

peace.

Heavy D: 1967-2011

Man, I really don't like these posts.

from the NY Times:

Heavy D, the smooth-talking and cheerful rapper who billed himself as “the overweight lover M.C.,” died in Los Angeles on Tuesday. He was 44.

The Los Angeles County coroner’s office confirmed the death Tuesday evening, saying that Heavy D had collapsed at his home and was taken to Cedars-Sinai Medical Center, where he died shortly after noon. The cause of death was not known as of Tuesday night, but the Beverly Hills police said that there was no evidence of foul play and that the death appeared to be “medically related.”

In the late 1980s and early 1990s, Heavy D was one of hip-hop’s most popular and charismatic figures, a girthy slickster who was an eager seducer and was unafraid of the dance floor. He was the frontman of Heavy D & the Boyz, which became the first act signed to Uptown Records, the label that was integral in building the bridge between hip-hop and R&B.

Click here for more.

There are going to be many articles written by many people much more insightful that me, so I'll keep my commentary short. I'll simply say that Heavy D was a hip hop hero. He's one of the primary artists that helped develop hip hop from its raw beginnings into a resonant and sophisticated musical art form. He's one of those folks we never imagine losing, which is what makes his loss all the more difficult.

He will be dearly missed.

And since everyone else is going to post "Now That We Found Love", and since it's my favorite, enjoy Heavy D's "Big Daddy". Any hip hop slow jam mix should have this on it.

peace.