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Action Bob Markle

Music, theater, and my personal life, not always in that order. I try to keep it interesting, I rarely hold back, because one thing I truly believe in is the shared experience of this reality we call life. We're all in this together, people. More than we even know.

Monday, September 15, 2014

The Miracle of the Potatoes

I think I blogged about this years ago, but can't find it now. The Miracle of the Potatoes. How at this time of year you can plunge your hands into a mound of dirt, and miracle of miracles, you can pull food right out of the earth. How the potatoes have been hidden underground, each cell dividing and growing and maturing, silent and urgent like babies in their mothers' wombs, ignored by all of the other more flamboyant vegetables--the eye-catching tomatoes, the sophisticated cucumbers, dangling on the vine like circus royalty, or the militaristic lettuce, marching in straight rows, cut down in their prime in the line of duty.

The garden has been a miracle this year. Except for the onions, we had bumper crops of everything. The freezer is packed with containers of pasta sauce. There is a veritable wall of sauce in our freezer right now. This year we moved the tomatoes to the end of the garden where they would get the most sun, and planted some Early Birds, so we've had tomatoes since June. This year we learned about spaghetti made from squash and zucchini. We're going to blanch some zucchini for vegetable soup this winter. Maybe homemade Minestrone. And we've been able to share quite a bit of our bounty with our neighbors. The boys downstairs especially love my zucchini bread. I don't want to tell them how much sugar the recipe calls for, which is what probably makes their mouths water.

The garden, though, has been on its slow decline since about August. It is almost imperceptible, but if you're out there every day you can see it. Gardening, even in a small backyard plot like ours, puts you in tune with and makes you aware of the natural world around you. Even in the most simplistic way, you note the amount of rainfall, too much or too little. But as the earth beats its way around the sun, if you leave yourself open, you can sense not only the change in temperature or the dulling of leaves, but also the intensity of light as the earth moves further from the sun in its orbit. You can tune into the same subtle cues the birds use to begin migrating, or the animals to steel themselves for the winter. It's what our modern life numbs us to, what it steals from us, our place in nature, which, by the way, still won't be denied even if we're not paying attention.

It's not even the official end of summer yet, and the garden is already looking like it's October. Weird weather. If it weren't for the garden, I might not know this subtle change in the climate, and it makes me keep a weather eye out to see if winter might not come a month earlier too. People who work the land and the oceans know about such things. We each are cells in a larger organism; in nature's petri dish. Not only creatures whose lives pass before their eyes in a second, but at the same time keeping in step with the slow, patient drumbeat.

Decay is as much a part of life and birth, and a little garden is a constant reminder of that. I know we don't want to be reminded of our inevitable demise, but personally I've always like to hear the clock ticking, be reminded that my time on this planet is limited. If I have my mother's genes, there's a good chance I'll have only about ten years left on this earth. She, and a good percentage of her siblings, all succumbed to cancer at 68. You can't deny nature, and you can't deny genetics. Time--our lives--is not something we should be wasting. I stand in the middle of our garden and see it's not what it once was, yet still produces some of the most exquisite food one can imagine, and I can't help but draw a parallel to my own life. I can't run as fast or as far as I used to, though I still pass other runners, both young and old, who are also running along the bay.  But, anything physical is taxing for me. A few weeks ago while moving our daughter into her new second-floor apartment, I vainly hauled a too-heavy box up the stairs, only to stop at the landing where no one could see me catch my breath.

I now need less sleep at night, and a nap in the afternoon. This change came as slowly and as undeniably as the change of seasons, until one day there was no other possibility left: You're not sick or depressed, John, you're getting old. Older. But like I said, I like to hear the clock ticking. Like a metronome keeping time, I can pace myself to still live my life the way I want to live it, only at a different pace. I can still produce, I can still create as well as I did in the springtime and early summer of my life. Probably better, because after all, I'm not a plant. This is only an analogy I'm painting here, and I've learned and harvested wisdom through experience. This is me accepting my place in my life, accepting the phase that I'm in, not denying my age as the marketers would have me do, but embracing my life and celebrating it through little act I perform, whether it's a planting a garden or writing a play or simply giving a smile to a stranger on the subway, because through my life I've learned things that I can share, as honestly and cleanly, as unabashedly and openly, as a plant offers its fruit.



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Monday, September 1, 2014

Empty Nest

Today, September 1, is the big moving day throughout Boston. Because of all of the universities in Boston, apartments typically are rented starting September 1. So you get this enormous migration of renters moving throughout the city, but primarily in the neighborhoods where younger people tend to live: Cambridge, Brighton, and Allston.

Kathryn moved out today, out of our apartment in Quincy and into her apartment in Brighton Center with two other friends. Of course she did. It's a rite of passage for so many young people in Boston. Some start in the student ghetto of Allston, and then move up in the pecking order to a nicer, airier, sunnier apartment in Brighton, Brighton Center, Oak Square, or even some combination thereof. Kathryn lived in the North End during her undergrad years, so she didn't experience Allston and its hordes of nocturnal cockroaches.

I actually lived for a few years a few streets over from her new apartment, so I know what I'm talking about. I moved there (from Allston) when Kiki's was just opening her store. I mean, she just opened, as in I was maybe one of her first ten customers. Her shelves were pretty bare, with just a jar of peanut butter here, a loaf or two of bread, maybe a jar of pickles. Now her store with its big, red, neon KIKI sign commands the big intersection back on Faneuil Street, occupying a building that used to sell oriental rugs, and also runs the laundromat, that was next door to her original store. The Y was a one-story cinder building next to the funeral parlor on Washington Street with a overly chlorinated pool and two sweaty rooms with a combination of free weights and some crappy machines. It was in that Y where I would train for triathlons. Now the Y is a big affair in Oak Square, where a gas station used to stand that had been owned by the same Middle Eastern guy who owned the gas station across the street. I remember when I learned he owned both stations, in my young, budding career in business, that I thought there was something wrong about that because he wasn't loyal to his brand. Later I figured out that he was loyal to his brand; the almighty dollar was his brand, and you never saw a person more loyal.

But it's all newer and bigger there. I stood on Kathryn's back porch and surveyed the neighborhood, and it's all pretty and neat, with comfortable porches that don't look like they might plummet three stories under the weight of partiers, houses that don't look like fire traps, and tiny fenced in back yards and patios outfitted with the nicer stuff from Home Depot and Lowes. All of the twenty-somethings unloading the wide-screens out of their economy cars looked like they had been business majors (finance, not management) or something in health care, but not doctors.

I did say to Sue as I maneuvered the big F-150 through the side streets clogged on both sides with U-Hauls and cars stuffed to the gunwales like the truck was a super tanker getting eased through the Panama Canal that I was glad that, if it were actually necessary for Kathryn to embark on this new independence, post undergrad, that I'm glad she chose Brighton and not Somerville with all of its hipsters. (I'm talking to you, Porter and Davis Squares.) There's something real about Brighton. The working-class veneer is still apparent, there's still the 57 bus (the A train used to run out there, and the tracks were still there when I lived there, but there gone now) , the big Irish bakery on Washington Street hasn't been replaced with a Chinese restaurant, and, while Elizabeth Warren does reside in Porter Square, I'm assuming Joe Kennedy still owns a house in Oak Square; is it still his district? I don't know, I'm so far away from all that now, though Boston politics were once a favorite pastime of mine. Once all that meant something to me, as other things of no import will take on great importance for Kathryn now. I was talking to her landlord, an Irishman named Mark, about the old neighborhood, and later when Kathryn teased me about my new friend, as she called Mark, I said, that will be you in thirty years. Even Beyonce will be on the oldies station someday.

Just an aside, I was working on a novel called Action Bob Markle where Bob Markle worked as a copywriter at an ad agency and he came up with the line, Brighton Your Day, for a PSA about the neighborhood businesses.

But now, supper is over and Sue is taking a nap on the couch, and I'm writing this and it's quiet. Even the guest room is quiet where Kathryn stayed, I can feel its emptiness a room away. Somehow her presence was felt in the apartment even when she was at her job waitressing in the North End. Of course it was: When a person is active in your life, when your child's toothbrush is in the jar in the bathroom you know they're going to come home. But the toothbrush has been packed and is now in a bathroom in Brighton Center.

When the kids' mom and I separated, I used to sometimes wish that maybe I shouldn't see the kids, because it hurt so much when we parted. Of course I didn't mean it that way. Kathryn used to have a little bedroom at my apartment; Allison never once stayed there and only visited a few times in maybe seven years. But Kathryn had a little room, and more than once after she went back to her mother's house, I'd sleep in her bed, just to keep her close to me for a little while longer. Hugging her pillow for her smell. Her presence. The holidays are still like that for me now. The departure still leaves an emptiness that I find almost intolerable.

It makes me think of what it would be like without Sue. A couple of times she's traveled for two weeks or so, or just gone away for the weekend.  I joke with her and tell her that I have to go first, because I'm so pathetic I can't live without her. When she's gone for awhile, I manage. I can do the day to day--get up, make coffee, do things, whatever things need to be done. But that life lacks life. It's just not the same without her.  I'm afraid I'd become a recluse, rarely leaving the apartment.






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Wednesday, August 27, 2014

Retreat



It's hard to describe what is going on. In my life. In Sue's. There are definitely cracks and fissures. Time is cracked like a busted windshield. Maybe there's been a wreck somewhere. Maybe I've been in a wreck, my head spidering the windshield upon impact and I haven't even woken up from it yet. I'm still in a coma. Shards of glass in my face. On life support.

Waking in the dark two nights ago, upstairs in our friends' house, I didn't know where I was, and suddenly I thought I was in a hospital bed. That's what it felt like. The assured breadth of the bed supporting me. Lying on my back. In the dark. Somewhere I felt there were nurses and I was safe.I sighed and I thought, I made it. I knew there has been some serious damage done, because our friends contacted us and said, come up, and they took care of us both. I was in a hospital bed, when you think about it.

Do you know when you can't breathe, how the doctors put an oxygen mask over your mouth and you breathe pure oxygen? No fumes. No pollutants. That's how this house was. No pollutants. Just creativity in its purest form, in everything. In the meals, in the food we ate and how it was prepared and consumed. In the conversation. Their friends came over one night, and on the porch we made music. More creativity. No judgement. Just sharing the gift of music we had, but no judgement. No snark. I hate snark. I hate the place where snark comes from: insecurity and cowardice. The cowardice to face your own self. To face your own insecurities. So they tear you down to build themselves up. I have someone like that in my life right now. She does snark, and I think people have told her its funny, that she's amusing and entertaining. I try to be patient, but only because she's popular, and I don't want to be unpopular.

I know someone else, she has to prove how good she is. It's a competition for her. It gets so dull and boring. I don't know why she does it. Probably for the same reason most people do it: to compensate for some inadequacy. To prove to themselves something. So prove it to yourself, I want to say, but leave me out of it. But we're not that close, to have that conversation. So I treat her like I would someone on the subway, who has a cold and can't stop sniffling.

Sue too. People in our lives who seem to have some real problems and we're in their splatter zone. We both try to sympathize. Be patient. But sometimes it seems the more patient you are with people, the more they stay where they are. Why should they change? Why should they work on their own shit when you're being patient? A long walk down an empty lane helps. The combination of quiet and vigor, the yin and the yang, for balance. The sound of conversation painted on a canvas of stillness.

And there's always the question of my role in things. What are others writing on their blogs tonight about me? How am I impacting others? How can I adjust to make someone else's life just a bit easier? Or even a lot easier? But I've done that. For a long time I concerned myself with the needs and desires and especially the opinions of others. Why give anyone that much control over your life? The test is, if you offer that kind of control, and the person takes it, you know it's the wrong person to give it to. Only the person who rejects it should be given power over your life.










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Sunday, August 24, 2014

Bountiful Gardens

Weekends make it hard to write. The thoughts still swirl around my head, but Sue's not working and we get caught up in weekend chores and events, and just reveling in the time we can spend together. She's my best friend, pure and simple, and I love that I can write those words. Just like I always sign my email to her or to Allison and Kathryn with the word, love, because for me, it's such a gift that I have people who I deeply love and can say that.

Maybe that's what's on my mind this weekend. Gifts, and things that we should be thankful for.

Tomatoes from our garden becoming pasta sauce. 
Kathryn and I were talking about food and cooking yesterday. I was making sauce from the tons of tomatoes our garden has been yielding this summer. Enough for big batches of sauce, while at the same time we can give some more away. Amazing what the earth will give you. But at the same time I thought what a privilege it is that we can talk about food in the way we do, what we like, how we like to cook it, and the intricacies of cooking and eating. Like Eskimos have all those names for snow, which I don't know if that's true or not, but it's like that. That is the privilege of a privileged society, and while I don't have any money, I do have that in my life. I have food and plenty of it; so much of it, in fact, that it is no longer simply sustenance, but it's some higher thing. I was telling Kathryn about a professor I had at Ohio University. The university, when I was there, had a program where the students could vote for their favorite professor, and that professor could teach a course in whatever they wanted. David Hostetler, who probably has no idea the impact he had on me or my growth, taught a course called, Art And Your Life. All it was about was making art everyday in your life. We studied motorcycle gas tanks and bread, and he said that in everything we do we should think about elevating it to art. Yes, if you think I'm crazy, you have David to thank for it. I mentioned how much I love grocery shopping, and that when I do, I consider every food item closely (another extraordinary privilege that we should all be aware of) to the point where I will pick up an onion, look at it, and think, this is going inside Sue or Kathryn, and does it measure up. Trust me, when you view ingredients in this way, you will look at them differently.

I wasn't around much when Kathryn and Allison were little. Their mother and I divorced when they were little, and I wasn't around to pass down things like the wisdom of David Hostetler to them. That happens to a lot of men in our society. Now, when I can sit with Kathryn and talk, talk about making everything in the world a work of art, or talk about our individual paths, comparing and contrasting them, she being gracious and listening to and taking in what I pass along as wisdom, is another great gift in my life. It's a second chance and while I don't have the memories of a traditional family life with them, I have this life with them now, and to me it is as bountiful as any garden.

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Friday, August 22, 2014

What To Write About

I want to write something but I can't think what I should write.

Alice
I want to write about Jon Mouradian, and how I drove all the way to Winchester today to go to his shop, getting lost along the way, of course, because I always get lost when I drive anywhere but in the actual city. How I sat in traffic--and sitting in Boston traffic is the worst; it goes for miles and just creeps along--with Alice, one of our guitars in the back seat. I was going to sell her on Craigslist, but something stopped me. I knew she could sound better than she did, all it would take is Jon laying his healing hands on her. And it worked. Don't sell this guitar, he said. He lowered the bridge, taking out a shim he himself had put in a couple of years ago. And she suddenly did sound so much better.

I want to write about all the people in my neighborhood, but that will take way more space and time than I have here. And I've been wanting to do this for awhile, but what stopped me was that I kept thinking of the story in the form of a play, but I thought, that would be so futile, because nowhere in the American theater could you cast the multitude of races who live around me. The American theater, and especially here in Boston, is too white. So, I felt blocked, when I should have just written it, and see how it evolved, whether a short story or anything else. A song.

For starters, there's Lisa, the Chinese owner of the farang Chinese restaurant, Great Chow, who speaks with an English accent. There's Jimmy Abdon, the mechanic who is Syrian and who keeps all the poor people's cars running, and Steve and John, who are also Syrian. Tom and Neddy are two of my neighbors, but one is Mandarin and the other is Cantonese, but I can't remember which is which, but I know the difference means a lot to them. There is Bill and Lorena, a young couple who we are friends with who are American and Columbian, with their little baby, Athena. Debbie used to live across the street. She was pure South Shore, calling you hon and offering you a beerah, while she sunbathed in her front yard. She was out there frying herself under the sun so much, for that requisite South Shore crispy tan, that she was on Google view for awhile. She had to move away. There's Wayne across the street, and his four kids, and his wife who you never see because she stays inside the house. Bly and Judy just moved to Switzerland with their two kids, but they used to live next door. Judy was from Nigeria and Bly was bi-racial from California.
This is what came out of our garden today.
Just about every day is like this.
Sheer joy to pick this.

I think that's part of the what I was saying in a previous post about making a mistake by focusing on the theater. Just the theater. Not every story can be told in the theater, like a story about the people in my neighborhood. And I was limiting myself, and I was really feeling it. Limiting myself by the art form, and also by some of the people who I've been hanging out with.

I wanted to write about this and so much more. And I guess I sort of did.


Thursday, August 21, 2014

I Wrote A Poem Today

I wrote a poem today.

And I made squash fritters for Sue and Kathryn for breakfast.

Both gave me the same kind of happiness and enjoyment because I put something of myself in something else--a little pancake, a little poem. And now there is just a little less of me.

Sorry, all of the squash fritters were eaten. Here, you can eat the poem:

The Hand Grenade

I am a hand grenade
I will explode
I will detonate in a sudden burst of passion 
and love and joyous shrapnel and sweet 
generous jags of searing metal. 

I am a hand grenade
I will explode
When my pin is pulled
my splatter zone will be smeared red with the carnage of
anger and hate and irrationality
with the offal of fear and fragility and distrust
packed into my hard pineapple core
consuming me in the welcome release of an expanding shock wave.

I am a hand grenade
I will explode
Amputating your dismissive hand mid-wave
The surprise on your face as you gaze at your spurting stump is hilarious
because hands were never meant for dismissal
in the first place
my explosion silencing your know-it-all ignorance
rearranging your entitlement in topsy-turvy fashion
upsetting you onto your big fat ass with a whomp
while you ask yourself, what just happened?

I am a hand grenade
I will explode
as surely as a rattlesnake will strike.
And so I know I am doomed
(for loneliness, either imposed or self-induced)
for who wants to pet the rattlesnake or play hot potato
with a hand grenade but still that’s not what grenades are for
in the first place.

Wednesday, August 20, 2014

Play With Your Food

I spent most of the day working on setting up the box office for Turtles, scheduling a meeting of the designers for Turtles, and cooking and working in the garden.

Setting up the box office for a play is almost as much fun as setting up a database for a theater company. Whoo-hoo. So many details. So many phone calls and forms to fill out and emails. 

I cleaned out the squash and zucchini patch of old leaves, and harvested a few, plus some tomatoes. The garden has been giving us so much great food this summer. Just about everything except the onions are doing great. 

I made a pot of chicken soup and a pan of cucumber salad, I guess that's what it's called. It's just cucumbers, vinegar, water, and sugar. A great summer side dish. You pour the liquid over the cucumbers and let them soak in it in the refrigerator. We still have more cucumbers in the fridge. 

Sue asked for turkey burgers tonight for dinner. It's the one night both of us are free, so we try to have a nice meal together. 

I'll go out in the garden and cut some dahlias for the table tonight. Sue likes fresh flowers. I do, too. She says it's because I'm a Libra. 

I went to the store twice today, because I had forgotten some ingredients. Twice, I forgot. I actually like grocery shopping. I think it's a throwback to hunting and gathering. I'm still a hunter and gatherer. 

Here's my dream: A theater on a farm with the productions in a big barn. Dinner is served before, meals prepared there in the farmhouse everyday fresh, made with ingredients from the farm. Fresh vegetables and homemade pasta and bread and cheese. Good wine and beer. No, I would not call it Play With Your Food. 


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Tuesday, August 19, 2014

Sophie's Choice

Let it be known that, if given the choice between a book and a glass of water, I will choose the book.

Monday, August 18, 2014

The Little Voices Inside My Head

I know it's safe to write here. No one visits this blog to read my words except perverts who have Googled Miley Cyrus's crotch. Yep, that post keeps bringing them in. It's my moneymaker.

Yes, I hear voices. I hear them all of the time. Mostly they're just running dialogue, and if I were any kind of established, driven writer I'd record them somehow--write them down at my scheduled time at my writing desk or record them on this little digital recorder that I have that I think is so neat but my younger friends think is so old-school. I guess because it doesn't have an i in front of it.

But there is one little voice that, if I hear it, I know I'm in trouble. It's this little disembodied voice that wonders how I'm doing. "Are you ok?" it will ask. "Are you all right?" It's a gentle voice, like caring stranger at a bus stop or a well-meaning nurse who has broken through the crust her job has layered on her and is truly worried about me.

Are you all right? The answer is always, no. She always seems to know when it's the right time to ask.

Here's the other kicker. Sometimes she--and the voice is female of undetermined age--asks, "How bad did he die?" She's not talking to me. Who? Who is she talking to? There are obviously others in the know about me and she doesn't have all the facts about me, yet still she's concerned. That somehow relieves me, gives me comfort. But it's the question that throws me.

How badly did he die?

Is she asking, what was his death like? How much did he suffer? It seems this voice and her compatriots from the beyond know about dying. It seems as if they have intimate knowledge of it.

But then, the voices and the question seem to prove that there is "something else." That dying isn't the end, just something that has degrees of badness.


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Sunday, August 17, 2014

I Need A Change In My Life

Something is very wrong in my life. Changes need to be made. It was one week ago today that Sue and I returned from a wonderful adventure in Nova Scotia, but I didn't know it was a week ago until I checked a calendar. I thought it was about a month, maybe three weeks ago. When the life we returned to here in Boston, with all of its "challenges,"  can overwhelm the feelings of peace and serenity, of being, that we felt there, some drastic changes need to be made.

We started out just heading north from Boston, not knowing where we'd end up in two weeks. We had a tent and a car, and some camping gear. That's about it. But Acadia National Park proved too crowded. Too loud. Americans are loud people. So are French-Canadians who cross over to see the sights on this side of the border. And it's all family-oriented there, it's a safe little national park that Edward Abbey would have hated, and we realized it's us who didn't belong there with the parents with the wee ones who couldn't keep their voices down and the parents who were so stressed from their own life choices to not realize that they and their wee ones who pushed and shoved were rude. Sue and I looked at a map and headed for Cape Breton.

We realized when we got home that something had changed in us there. Something deep, like an earthquake that rumbles deep inside the earth, but it's barely felt on the surface yet a real, significant change occurred.

For me, my soul, that thing captured in this container called my body, began to make itself known again. I began acting and thinking like a writer. And just like I used to be when I lived away from the ocean and didn't know how much I missed the sea until I saw it again, I realized how long it's been since I acted like a writer. These internal dialogues between made-up characters, snatches of words, phrases, descriptions, exposition, all floated around in my head like dust mites in a sunbeam. All I could think about doing was finding a dilapidated old house set in the fog, heated by a wood stove, and get up every morning and put on my favorite old flannel shirt and worn baggy jeans, and write. And the creative spark burst into a creative flame that unfortunately seems to have been extinguished now that I'm back here in Boston.

I'm seriously questioning if the choice I made in 2008 to work in the theater was the right one. I co-founded Boston Public Works because of the hassles of getting a full-length new work produced in Boston, especially if you're a white man like I am. Especially if you're an older white man like I am. Boston is an extremely young, white city. The fringe theater scene, where a new playwright like me would get first produced, is populated for the most part by young, white theater graduates who came from families who could afford the expensive universities like Boston University and Emerson. They graduated, stayed, and formed theaters, and they pretty much cater to the younger population. I actually had the artistic director of a theater--a young man who I like and respect very much--tell me he likes my plays, but they can't cast them because of the actors in the ensemble they pull from, the oldest is about thirty years old. They don't understand the themes that I write about, don't understand older characters, don't understand people who live on the fringes of society, don't understand life events like death and adultery and loneliness. (If any of you are reading this, don't argue: You don't. You think you do on a surface level, but live the life you've lived one more time, commit a few sins, and you'll see what I'm talking about.) Anyway, Boston continues to be the most racist place I've ever lived in, and I grew up where the KKK was evident and real. Boston theater is as white as rice, all the way down through the production teams. I don't want to go so far as to say that the theater community in Boston is racist. I don't think it is. But I do think it acts in a racist manner. For example, gender parity is a topic the leaders in the local community is always promoting, but what they're really promoting are white, female playwrights. I've been to the meetings where all but three or four in room of about 40 to 50 playwrights are white women. If you're not young and white of either gender in this city, you might as well stay home.

And I try to fight the segregation and racism that I've seen for the 34 years I've lived in Boston, but even that--the formation of Boston Public Works--has been wearing me out. The cast and design team of Turtles is diverse, but within Boston Public Works, internal disagreements, members who feel they should have a vote in the way the company operates (if you want to run a company, then start one of your own; really, how do people grow up thinking they get a say in everything?) members who feel their productions should be supported but they don't feel they should have to support the other members, makes me feel as if it isn't all worth it and makes me want to throw up my hands and yes, pull a J.D. Salinger to Nova Scotia. We literally would drive for an hour and see maybe three cars. Heaven! No one preached about gender parity while tabling the racial side of the issue (just for the time being, they say) or cultural appropriation (another popular cause) because there were real issues to deal with, like feeding your family. Friendly, quiet-spoken, polite. Yet keeping just the right amount of distance, giving space to an individual because space was one thing they had plenty of.

Get away. It's always been my modus operandi. (Is that the correct usage of that term?) Sue and I have a short trip to an undisclosed location next week for a couple of days. After Turtles closes in November, we're leaving for London and Paris.  In the spring, more travel. Sue and I are wanderers. Seekers. We know that. Traveling allows us to take the souls entrapped in these human containers out for a spin. We find our American culture humorous, but in small doses. Americans are always trying to tell people how to live, how to think, how to behave, and after awhile we both reach the point where we say, enough is enough, it's time for a change.




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Thursday, January 30, 2014

Forced Sex: Chevrolet's 2014 Super Bowl Ad and Caleb Meyer by Gillian Welch

Here are two very different takes on the same subject.

It's pretty amazing that the Chevy ad made it through all the approvals, but by God, they know their demographics, and if it sells, that's all that matters.

By the way, the Chevy ad is titled, Romance. They just don't quit, do they. Forced sex is called romance?

Chevrolet called the ad "A charming story about a man, his truck, and a new bachelor in town."

By the way, I drive a Ford pickup.

I'll take Gillian's version, thank you.

Anybody care to discuss this?







"Caleb Meyer"

Caleb Meyer, he lived alone
In them hollarin' pines
He made a little whiskey for himself
Said it helped to pass the time

On one evening in back of my house,
Caleb came around
And he called my name 'til I came out
with no one else around

Caleb Meyer, your ghost is gonna
wear them rattlin' chains.
but when I go to sleep at night,
Don't you call my name

Where's your husband, Nellie Kane
Where's your darling gone?
Did he go on down the mountain side
and leave you all alone?

Yes, my husband's gone to Bowlin' Green
to do some business there.
Then Caleb threw that bottle down 
and grabbed me by my hair.

Caleb Meyer, your ghost is gonna
wear them rattlin' chains.
but when I go to sleep at night,
Don't you call my name

He threw me on the needle bed,
and on my dress he lay
he held my hands above my head
and I commenced to pray.

I cried My God, I am your child
send your angels down
Then feelin' with my fingertips,
the bottle neck I found

I pulled that glass across his neck
as fine as any blade,
and I felt his blood run fast and hot
around me where I laid.

Caleb Meyer, your ghost is gonna
wear them rattlin' chains.
But when I go to sleep at night,
Don't you call my name

Caleb Meyer, your ghost is gonna
wear them rattlin' chains.
But when I go to sleep at night,
Don't you call my name

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Wednesday, August 28, 2013

Miley Cyrus's Crotch: Take Two

File this under, you can run but you can't hide. Take note, teens, tweens, and the like: If you put it on the Internet, it's there forever.

About three years ago I blogged right here on ABM about a picture of Miley Cyrus's crotch that was making the rounds on the Internet. I was writing for Gather.com at the time, a joyless, ridiculous gig that was set in a hamster wheel and fueled by SEO and Google hits. And I wrote that the people who were writing the Entertainment sections were getting huge hits, while the News and Politics writers like myself, in comparison, were getting pittance in the hit department. That meant if you were blogging about Miley Cyrus and her crotch, your family was getting fed, and if you were writing about the BP oil spill or the economy, you were starving. Such was the whims of the American public.

And just because I didn't want anyone to feel cheated, I included the picture of Miley Cyrus's crotch.

So this week, I pull up the analytics for old Action Bob, and what do I see? A huge spike. I figure it's some bot in India trying to hack into my account, which is usually what that means. But further investigation showed that all the activity came from people Googling some derivative of "miley cyrus's crotch."

Mostly, my analytics will tell me the ISP of the visitor, but sometimes it tells me the organization. Included in this round were the European Patent Office and, whoo-boy, the United States Homeland Security. So either there's someone on the first line of defense for our nation's security surfing for porn while on duty, or else I'm being watched for my un-American ways.

Anyway, I still think the whole thing--her crotch three years ago, or what she did the other night at the VMAs--is ridiculous. Poor little Miley (you read that right) was simply a sacrificial lamb for some corporation. People are criticizing and yelling at and about Miley, without realizing that that entire show the other night was given the green light by some pretty powerful MTV execs. Do people honestly think they said to Miley, Hey, just get up there and do what you want? No! That entire production was orchestrated. MTV could have pulled Miley and her handlers aside and said, Uh, we really don't think this is a very good idea.

My friend Jennifer Pierce, who is really smart and says some really smart things, yesterday said to me over Facebook, "The ancient practice of sending children and virgins into volcanoes is alive and well. Somewhere, in the back of our minds we believe that we need to feed the money machine innocence in order to keep the prosperity coming.  The beast must be fed or the wealth of the land dries up, you see."

Doesn't that seem to be the case? Starting with Britney Spears and then Amy Winehouse and who knows who else I'm missing because I really don't follow this stuff, our society seems to thirst for grand displays of public humiliation and degradation by young women in the entertainment field. Is this to make ourselves feel better about ourselves? If it it, I certainly don't. I get thoroughly depressed. 

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Monday, June 24, 2013

Mickey Mouse in Vietnam

Short and sweet. But not produced by Uncle Walt.

No, this interesting piece of copyright infringement is brought to you by Lee Savage and Milton Glaser.

You can see it here. (For some reason Blogger and YouTube are playing nice today, and I can't post it directly to this here blog.)

It aired one time for The Angry Arts Festival (Google it; I can't do everything for you), and then the Sarejevo Arts Festival.

More Mickey Goes to War can be seen here.


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Wednesday, May 15, 2013

Divided Loyalties with Arts Fwd: Howlround and Kennedy Heights Arts Center

Whoa, it's weird when worlds collide. Or when they merge in places you never in your life suspected.

Innocent me: Today I logged on to Facebook. I've been keeping away from Facebook for about a week now. The noise, noise, noise, noise was getting to me. But then I saw this post from HowlRound, about voting for them:

HowlRound is a semi-finalist for the ArtsFwd Business Unusual National Challenge! it read. Our idea, Culture Coin, aims to put the equity back into sweat equity! Vote and read more here!

I'm behind HowlRound's work, so sure I'll vote for them, I thought. So I follow the link to here, and I see this link to another organization, Kennedy Heights Arts Center. Whaaat? It can't be the same Kennedy Heights, next to where I grew up? But yep, click on the link, and it's an arts center on Montgomery Road, in Kennedy Heights.

I grew up in Pleasant Ridge. P-Ridge. The Heights is just one neighborhood north, right up Montgomery Road. I went to school for a year at Schroder Junior High. I know none of this is important to anyone else, but lately I've been having strange little things like this tear me from today and put me way back there, maybe not necessarily Pleasant Ridge and Kennedy Heights, but way in my past.

There was that dream I had about one of my best friends in high school, and then I learned he had died about a month before. I found a tape my father sent me, making it about thirty years since I had heard his voice. Thanks to social media and the Internet, in the past year I've had three people from long ago contact me. It's always jarring at first, because it's so unexpected. But it always does bring a little smile to my face, just like this did today.

Who to vote for? HowlRound, who is doing some ground-breaking research and work in the American theater? Or Kennedy Heights Arts Center?

You can vote everyday until May 31. If you're reading this blog and have some roots back in Cincinnati, I'm giving you a heads up about the arts center. Good things are happening back there.

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Friday, May 3, 2013

2013 48-Hour Boston Film Project

Starting tonight, we're going to make a movie.

I've never made a movie before. Or, maybe it's a film we're making, not a movie. I'm not sure if there's a difference. I imagine there are lots of people who could fight the live-long day about the difference between a movie and a film, just like in theater people fight about the spellings, theatre vs. theater.

When I was an undergrad studying photography we had to say we were making images. We couldn't say we were taking pictures.

Making images.

Making film.

Lots of people in theater say they're making theatre. I know I do.

I guess maybe it's all about intent? Is it? Film, theatre, images is about intending to make something, oh, I don't know, something lofty. Something...more?

But I've never done this before, though as a playwright I have worked on a couple of 24-hour theater events. In 24 hours, we--the playwright, director, and cast--met, and in 24 hours we wrote, rehearsed, and performed a new play.

As you can imagine, it's scary stuff for the writer, because it all starts with the writer. You have to make something--a script, a screenplay--out of nothing. Well, not really nothing, because there is a whole lot of somethings that writers pull from. You just have to remember that.

And I'm not in this alone. There's a whole crew of people, and just like with a good bunch of theater artists, you work together. Wendy, the person on my team (we're Red Dirt Productions, just so you know, named for the production company that we're with) and I met on a 24-hour play fest, with me as the playwright and she was the director. At our initial meeting, I was in that state of shock where I was wondering, what did I get myself into? What am I going to write? And all Wendy said was, you know, the characters don't have to be people. From that, I wrote A Meating of the Mind, from about 11:00 that night to 2:30 a.m. So, I'm sure we're going to do a bit of brain-storming tonight before we all go our separate ways for the night and I camp out on my couch with a pot of coffee and a bowl of popcorn, because for some reason I like to snack while I write.

The first time I did a 24-hour play fest I tried to think of scenarios, things to put in my pocket. That doesn't work. You just have to give yourself up to the process. The best thing I've learned to do is view the things that inspire me, no matter what it is. Things when I look at them or read them or experience them in some way, make me go/say/think, damn, I wish I had done that.

I've been looking at a few short films, just to get my head around it.

And when it comes to intent, what I'd love to do is make a film that has maybe one line of dialogue, and is filled with visuals that tell the story, and a soundtrack that supplements the telling of the story. Sometimes the clink of a coffee cup in silence conveys so much, you know what I mean?

That's where I stand now, about five and a half hours before we do our kickoff meeting.


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Monday, April 29, 2013

Blue Eyes

Gram Parsons. Uncle Tupelo.

This is how I feel the majority of the time. The world, most of the time, is just too complicated. Too noisy. Too hard to figure out.

Sometimes, all I want to do is ditch everything except Sue, Vida, and that old pickup that's just about on its last legs. I wish we had a cabin somewhere and a long, tree-shaded dirt lane that led up to it. A garden out back. A big old barn. A few animals. Definitely a dog, or two. Aussies. And chickens. Maybe a couple of goats. A horse for Sue.

Gram Parsons wrote it. Uncle Tupelo sang it later. Because they realized what a great song it is.






Blue Eyes by Uncle Tupelo
INTRO:
G

VERSE 1:
G                                                    D
Sometimes I get upset when people treat me bad
C                                                      G
I don't have time to think and so I get real mad
        C
And I pull my hair and find somewhere where I can be alone
D                                                                                         G
And when I do I think of you and head myself back home


CHORUS:
C                                        D   G
Where I got chores to keep me busy, a clock to keep my time
C                                          G                                                     D
A pretty girl to love me, with the same last name as mine
C                                                                                           G
When the flowers wilt, a big old quilt to keep us warm
D                                                                                                                                    
I got the sun to see your blue eyes, and tonight you're in my
G
arms


VERSE 2:
G                                                D
Sometimes I get unwound when fancy cars drive past
C                                                G
Money don't get me down, I can't make it last
                                                                                         C
And I bite my nails and if that fails I go get myself stoned
D                                                                                         G
And when I do I think of you and head myself back home

CHORUS

HARMONICA SOLO:
| G | G | D | D |

| D | C | C | G |

REPEAT VERSE 2

CHORUS

END:
G C D G


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