#It’s so good top song of 2019 for me winning out even Hamilton songs (that’s when I got into it)
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some songs by The Score that I’ve been coming back to and loving ❤️🖤💙🩵
#The Score#god they’re so good#I just like got reminded of them and then I realized they’ve been very quiet after they dropped Metamorph#And now I miss ‘em#But I mean these past ones are still bangers The Score is better than Imagine Dragons for sure#I think my fave album is Carry On#Super 2020 vibes#Obvi Gallows is the best song on there#It’s so different from their usual motivational style and stuff and I just love it#Carry on Can you hear me now Comeback also good songs on there#Skeletons is like so pop punky for them and it’s cool#In my blood Victorious also good songs on Metamorph#STAY omg#When I first read Prodigy by Marie Lu this BLARED in my head when June made the realization about Thomas and Metias#It’s so good top song of 2019 for me winning out even Hamilton songs (that’s when I got into it)#Rush and Run like a rebel on that EP are epic too#They’re very Maze Runner / Legend Quartet coded and that’s epic#The Heat was my first score song and mmm good#Found it from a RWBY amv#Just go listen to The Score they’re so good I miss them ok bye#Spotify
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Update: Semi-Serious Opinion on How I Feel About Tony Award-Winning Musicals
Best Musical:
Hadestown (2019): I still love this musical, and I actually get to see it for my birthday! I really like the music more than anything, because I'm a sucker for beautiful harmonies, and I also love how they tell the story.
Hamilton (2016): Low-key the very first musical I ever got into. It's always been a favorite (even though it is also overplayed) and I love both the ethnic diversity in the cast, the music, and the storytelling. It's everything a musical should aspire to be.
Hairspray (2003): In my opinion, Hairspray is a celebration of life in general. There is so much diversity in this musical and I love it. Even though if I auditioned for this musical I'd probably get cast as Penny or Amber, I wouldn't be mad because I love this musical that much.
Best Musical Revival:
Chicago (1997): Chicago is absolutely magnificent. I love every single song in this musical, and that isn't something I can say for even some of my favorite musicals.
Best Original Score:
Fiddler on the Roof (1965): Okay, this musical got 8 Tony Awards in 1965 and for good reason too. They got Best Musical, Best Producer, Best Leading Actor, Best Featured Actress, Best Director, Best Author, Best Choreography, and Best Costume Design. It is that good.
Sweeney Todd (1979): This is actually a very good horror musical. It sticks very well to the source material (the book), and the movie adaptation is phenomenal despite the minimal singing experience of the main cast. This musical is very very good.
Best Choreography:
Bye Bye Birdie (1961): It had Dick Van Dyke in the lead role, are you really that surprised? I was actually in this musical in middle school, I was in a barbershop quartet (despite me being a girl). It is a really good musical, and I'm proud to say I was a part of it.
Newsies (2012): Again...are you surprised. Newsies has a very special place in my heart, because I just love everything about it from the set design to the dancing, to the amazing dialogue, to the costume design, and especially the music. Definitely the music.
Best Scenic Design:
The Sound of Music (1960): This musical also has a special place in my heart for one reason alone, the music. Maria has been played by a lot of wonderful actresses, but my favorites are Mary Martin and Julie Andrews. I just love everything about this musical, but its music has a very special place in my heart.
Spongebob Squarepants (2018): Okay, but hear me out...it's a good musical. I grew up when Spongebob was in its prime, and the musical brought me back to when I was younger and I would sit in front of the TV after school and watch Spongebob. This musical has so many great character moments and they do such a great job on the set design in particular.
Best Costume Design:
Shrek The Musical (2009): They're not wrong. Shrek's costume design is that good. I really like this musical anyway, but the costuming is phenomenal.
Best Leading Actor:
The Phantom of the Opera (1988): Andrew Lloyd Webber is a genius...nuff said. Also, Michael Crawford is a God.
Hairspray (2003)...again: This goes out to more the actor in particular that won this award, Harvey Fierstein. He won this award for playing Edna Turnblad, and he absolutely killed it.
Best Leading Actress:
Peter Pan (1955): This is my love letter to Mary Martin who played Peter Pan, and also got the same award for playing Maria in The Sound of Music. Mary Martin is the woman that made me want to go into musical theatre, on top of that she grew up where I grew up, and now I am working hard to become like her one day.
Wicked (2003): I know it didn't win best musical the year it was put on Broadway, but I need to talk about it. This summer I saw it live and it was an experience I will never forget. It is truly an astounding musical even just listening to the soundtrack, and seeing it live gives it a depth that you couldn't imagine. Also Idina Menzel is a goddess, and she is also part of the reason I want to go into musical theatre.
#musicals#hadestown#hamilton#hairspray#chicago#fiddler on the roof#sweeney todd#bye bye birdie#newsies#shrek#the sound of music#spongebob the musical#phantom of the opera#peter pan#mary martin#wicked#idina menzel
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Moulin Rouge for VOGUE!
(These are the HQ Photo Versions!)
Moulin Rouge!’s Broadway cast, photographed at Kings Theatre in Brooklyn.
Sittings Editors: Hamish Bowles, Alexandra Cronan.
Produced by 360pm. Set Design: CJ Dockery at Mary Howard Studio; Costume Designer: Catherine Zuber; Choreographer: Sonya Tayeh
Photographed by Baz Luhrmann, Vogue, July 2019
July 2019 Vogue (Online)
BAZ LUHRMANN WAS BORN to reinvent the movie musical for a new generation—which is exactly what he did in 2001 with Moulin Rouge!, his deliriously romantic mash-up, set in 1890s Paris, of La Bohème, La Traviata, and the Orpheus myth, with a soundtrack that exploded with modern-day pop songs, lavish Technicolor sets and costumes (by his wife, Catherine Martin), and a hyperkinetic cinematic style that drew on MGM musicals, MTV videos, and Bollywood spectaculars. The motto of this blatantly artificial world, served with a knowing wink (which nevertheless swept us up in its very real, very breathless emotions), could be borrowed from William Blake’s The Marriage of Heaven and Hell: “Enough! Or too much.”
In his own way, the brilliant theater director Alex Timbers—whose work includes Bloody Bloody Andrew Jackson, Here Lies Love, and, most recently, Beetlejuice—was born to reinvent Moulin Rouge! for the stage, as another generation of New York audiences will discover when his electrifying, eye-popping, and blissfully over-the-top adaptation of Luhrmann’s masterpiece opens on Broadway, after a smash run in Boston, this month.
“I’ve spent my life taking classics and interpreting them in radical ways,” Luhrmann says, “so how could I not applaud someone taking a work of mine and interpreting it in a radical way? You have to interpret things for the time and place you’re in. In the end, it’s still a tragic opera, but Alex applies himself to it in such a dexterous way that there’s irony and fun and music and emotion.”
Luhrmann grew up in Herons Creek, a tiny, remote Australian town with a total of seven houses in it, where, he says, “if you didn’t have a good imagination and an ability to create worlds in your mind, you were lost.” Fortunately his family, which ran a gas station and a pig farm, also ran the local movie theater and had a black-and-white TV set (which showed exactly one channel), and Luhrmann devoured a steady diet of old movies, including musicals, with which he fell in love. His mother was a ballroom-dance instructor who started giving him lessons early, and his father insisted that Luhrmann and his siblings study painting and music. Before long he was staging little shows, performing magic tricks, making films with his father’s 8-millimeter camera, and acting in school plays.
Apparently it was the ideal upbringing to produce an artist of dazzling originality, one with a singular, idiosyncratic vision and an expansive playing field: film, theater, opera, commercials, music videos, pop songs. After the success of his first two films, Strictly Ballroom and Romeo + Juliet—both of which had healthy doses of movie-musical DNA encoded into their cinematic language—Luhrmann wanted to take on the genre itself. He and his co-writer, Craig Pearce, set their film in Belle Epoque Paris, in and around the legendary Moulin Rouge nightclub, telling a tragic love story straight out of verismo opera with the Orpheus legend—a young poet and musician travels to the underworld in search of his dead love, Eurydice, and is reunited with her only to lose her again, emerging forever changed—as its mythical underpinning.
But Luhrmann also had what he calls a “preposterous conceit” that allowed his Orpheus—a Bohemian poet named Christian, played by Ewan McGregor—to metaphorically enchant the very rocks and stones to follow him because of his voice: “When our poet opens his mouth, ‘The hills are alive with the sound of music’ comes out of it,” he says. “Whether you like The Sound of Music or not, it’s a giant hit that’s got artistic cred—so it’s a funny, concise way of saying ‘The guy has magic.’” Preposterous or not, the conceit turned the love story between McGregor’s Christian and Nicole Kidman’s doomed Satine, a nightclub star and courtesan, into a pop fantasia, giving the music its audience had grown up with—from “Your Song” to “Lady Marmalade”—an operatic grandeur.
Luhrmann had long wanted to bring Moulin Rouge! to the stage but felt that he wasn’t the right person for the job—he worried that he was too close to the material and might be overprotective of it. Enter Alex Timbers, 40, a downtown wunderkind who has brought the cheeky, postmodern spirit of his theater company Les Freres Corbusier to Broadway and shares with Luhrmann a restlessly playful and inventive mise-en-scène. “When I saw Bloody Bloody Andrew Jackson, I could tell that his aesthetic and the way he told a story—very high-energy, very theatrical, ironic but also moving—had a certain kinship with mine,” Luhrmann says. “And after I met him, I knew that he would have his own interpretation but also understand the language of the film.”
The biggest challenge Timbers and his team faced was how to bring the film’s hypercinematic exuberance alive on a stage. “We had to create a visceral and kinetic excitement using an entirely theatrical vocabulary,” Timbers says. “We don’t have any of those virtuosic techniques like close-ups and Steadicam and music video–style editing, but you want the show to be able to leap over the footlights—emotionally, but also as a spectacle. So we use a lot of techniques to do that.”
Do they ever. From the moment you enter the theater, it’s clear that Timbers has realized his mandate to make the show—which he’s been working on for the past six years—“360.” It’s as if you’ve walked into the Moulin Rouge itself, courtesy of the gorgeously overwhelming set (by Derek McLane) that greets you: There are hearts within hearts, chandeliers, the stage flanked by a windmill on one side and an elephant on the other. Then out come the corset-clad boys and girls of the night (who come in all colors, shapes, and sizes) and the fashionable members of the Parisian demimonde in Catherine Zuber’s fabulous costumes. The next thing you know, “Four Bad Ass Chicks from the Moulin Rouge,” as the script identifies them—propelled onstage by Sonya Tayeh’s wildly exuberant choreography—are belting “Hey sista, go sista, soul sista, flow sista,” and we’re off to the races. “I wanted to build this exotic, intoxicating world that felt beautiful and dangerous and gritty and sexy,” Timbers says. “It felt really important for the sets and the costumes to use period elements, and for us to be ruthless about that, but to put them in a form that feels contemporary and surprising.”
The seven-time Tony-winning costume designer Zuber (The King and I, My Fair Lady) has done that and then some, tipping her hat to Catherine Martin’s designs for the film without imitating them. She’s even managed to design Belle Epoque finery that allows the dancers the freedom of movement to execute Tayeh’s propulsive choreography. Zuber is also a master of using costumes to reveal character and situation, as with the ornate gown she designed for Satine after she becomes the Duke’s courtesan and enters his glittering world. Inspired by designs from John Galliano’s 2006 couture collection, it features a bodice that looks like a cage and three rows of lacing down the back. “It’s almost like she’s a prisoner,” Zuber says.
Playing Satine this time around is Karen Olivo (West Side Story, Hamilton), who brings very different qualities to the role than Kidman, both physical (Olivo is a woman of color) and temperamental (desperate, determined, and down-to-earth, as opposed to ethereal). Aaron Tveit (Next to Normal, Catch Me if You Can), meanwhile, sings like a dream and brings the requisite dewy idealism to the naive Christian, but with a hint of something edgier.
The story is very much the same as the film’s: Satine is the star attraction at the Moulin Rouge, owned by the rapacious Harold Zidler (Danny Burstein), who is in financial hot water and in danger of losing the club. Christian and Satine meet and fall head over heels, but she has been promised by Zidler to the villainous Duke (Tam Mutu), who can give her the bejeweled life she’s always dreamed of, forcing her to choose between that and true love. Meanwhile, Christian and his pals Santiago and Toulouse-Lautrec (Ricky Rojas and Sahr Ngaujah) are writing a show, bankrolled by the Duke, that is meant to save the Moulin Rouge from going under. Then, of course, Satine has this persistent cough and . . . well, you know.
The big difference in terms of the storytelling is that book writer John Logan (Red) has fleshed out and deepened the characters and the relationships between them. “We looked at the major characters, asked what their backstories were, and tried to figure out how grounded they could possibly be in psychological realism and yet still be heightened in that way that musical theater demands,” Logan says. “How did Satine get to be this sparkling diamond—and what’s the price she’s paid along the way?”
But the boldest change—and in many ways the heart of the show—is in the new songs, which give Moulin Rouge! fresh emotional resonance (and whip the crowd into a frenzy). Along with the familiar Bowie, Madonna, and Elton John tunes, expect to hear from the likes of Outkast, Sia, Beyoncé, Fun, Adele, and Lorde, to name but a few (there are more than 70 songs in the show). To curate Moulin Rouge!’s dizzying playlist, Timbers, Logan, and music director/genius Justin Levine holed up in a Times Square hotel room with a digital keyboard, dredged up their musical memories, and took note of what worked. Their taste is impeccable, whether using a song for its sheer exuberance, as with a rousing version of Lady Gaga’s “Bad Romance,” or to reveal a character’s inner desires, as Satine does with Katy Perry’s “Firework.”
Logan has been blown away to see how powerfully audiences have connected with the show—and the songs. “I went to a wedding recently, and when the dancing started, I heard half our score being played, which was wild,” he says. “And when you see audience members respond to the songs—‘They’re using thatsong? Oh, my God! No way!’—you can feel how excited they are. It’s an experience I’ve never had before. It’s magic.”
#moulin rouge#aaron tveit#karen olivo#danny burstein#vogue#Baz Lurhmann#moulin rouge broadway#moulin rouge musical#vogue magazine#articles#features#ricky rojas#tam mutu#sahr ngaujah#robyn hurder#jacqueline b arnold#jeigh madjus#holly james
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Top 5 musicals, top 5 theme park rides?
THANK YOU EM
Top 5 musicals : in addition to actually listing them I’m doing the super fun thing no one asked for and giving info about the musicals and song recommendations for y’all to check out. You are welcome for this nonsense.
1. The Prom - This should be shocking to no one. This beautiful heartfelt musical comedy opened on broadway in November 2018 and closed August 2019. Ripped from broadway too soon and deserved any award from the Tonys ESPECIALLY BEST BOOK ILL DIE ON THAT HILL. The story of teenage lesbians that just want to go to their high school prom, an intolerant small town, and broadway stars who in their attempt to help hilarity ensues. Nothing means more to me than this musical. A song(s) to check out: “Unruly Heart” if you’re feeling emotional about love and accepting yourself and “Tonight Belongs to You” if you’re feeling the need to be confident and dance and “Alyssa Greene” because I want everyone to cry with me.
2. Amélie - Another beautiful heartfelt musical, ripped from broadway too soon. Opened on Broadway March 2017 and closed May 2017. Based on the award winning film of the same name, and starring Hamilton’s Phillipa Soo on Broadway, a kind and beautiful story about finding the little joys in life accepting love and finding magic everywhere. Criticized by theatre critics for being “too vanilla” and “too happy” because apparently we can’t have happy shows. Whatever they’re wrong it’s a work of art. A song(s) to check out: “Times Are Hard For Dreamers” if you want to feel inspired and in awe of the world and “Stay” if you want to hear a song that I feel perfectly depicts what it feels like to want something so badly but to be so terrified of the changes it brings and the uncertainty of the world.
3. Island Song - Time for me to get on my soap box about how much I love this musical oh boy. Island Song is a musical concept album, it’s been performed in concert type setting professionally (think 54 Below) and in various colleges and like regional productions but nothing seriously professional. There is a cast album on YouTube and Spotify and I’m assuming Apple Music that y’all should check out. It’s about these young people from various different lives trying to find their way and their life in the island of New York City. It portrays their relationship with life and love and the way the city entangles itself into your life. Often it portrays the characters relationship with the city as different relationship stereotypes. The city is always present Almost as a love interest for all the characters. It’s fascinating. And the score and the characters stories are all beautiful and inspiring to see and I can just SEE the set design of a broadway production I can SEE OT RIGHT THERE JUST IN FRONT OF ME if someone would just MAKE A PROFESSIONAL PRODUCTION. A song(s) to check out: “After Hours” a song that perfectly encapsulates how I felt walking through New York City for the first time, paths all criss crossing but never quite touching and the magic and the life all there in every corner every where you look no matter where or when and “Too Much” to feel all the feelings all at once and then at the end to feel so thoroughly empowered and alive. Additional recommendations from my friend Court “Island Song Opening” because it does a great job at setting everything up and explains all the characters and their lives and motives, “So Many Windows” because it shows the tender side of the show, and “New York Do You Care” because Jackie Burns and this song really shows off the relationship with the city part and also Jackie Burns.
4. If/Then - IF y’all like Idina Menzel THEN you will love this musical (see what I did there). Idina Menzel starred as Elizabeth/Liz/Beth in this original musical that was on broadway for about a year 2014-2015. It follows the life of 38 year old Elizabeth and shows us how your life can change depending on the simplest choice you make. The idea and concept that the world could change so easily just by what name you chose to go by when you move cities, but also...how much can stay the same. It shows both possibilities of Elizabthe/Liz/Beth’s life all while delivering with an incredible cast, gorgeous score and songs, a concept and message and story that is just phenomenal. Plus it takes place in New York so like ANOTHER WIN !! A song(s) to check out: “A Map of New York” to feel like you are impactful and impacted by everything and to feel like you can create something and “You Learn To Live Without” for arguably the most heartbreaking song to ever be sang ever and the lyrics are just...incredible “you learn to somehow like the dark and even love the doubt” and then “I Hate You” because it goes from funny to happy to sad to a love song to tearing your heart out throughout the entire song and I love watching Liz’s thoughts and feelings spiral and process.
5. Come From Away - Still running into broadway also on the west end and it CRITICALLY ACCLAIMED if you HAVENT checked out come from away you absolutely should. It’s the story of the thousands of people stranded in Gandar, Newfoundland during 9/11 when all the planes were redirected and the airways closed. It’s a story of kindness and family and grief and pain and finding a way to find joy and seizing the moment and the comfort we all are able to provide and humanity at its finest. I also think it does a great job at addressing the mistreatment of Muslim persons post 9/11 and the fact that they touch on it in this production is a damn good thing. They also have only like 12(?) actors and there’s like 12 chairs and 2 tables that’s the set. It’s incredible. You walk away crying every tear you’ve ever cried and feeling such hope at the same time. A song(s) to check out: “Me and The Sky” Captain Beverly Bass sings this song and it’s empowering as HECK and then heartbreaking at the end but it really is just incredible if you wanna belt it out and feel strong and “Stop The World” one of the most beautiful songs in all of theatre wanting to treasure and cherish a moment and seize that moment but stay in it forever knowing that once its gone once you leave you can’t grab it back it’s lost forever in the abyss and you want nothing more than to stop the world in the beauty of where you are just then and “Something’s Missing” if you really want to cry a lot.
Okay that covers musicals oops I got carried away.
Top 5 theme park rides:
1. Hagrid’s Magical Creatures Motorbike Adventure (Universal Orlando - Islands Of Adventure) (this is not bias because I work at this ride it is in fact the best)
2. Flight of Passage (Disney’s Animal Kingdom)
3. Twisted Collassus (Siz Flags Magic Mountain)
4. Radiator Springs Racers (Disney’s California Adventure)
5. Mickey and Minnie’s Runaway Railway (Disney’s Hollywood Studios)
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EVERYBODY LOVES FIN: EPISODE 19
Canucks Twitter has never been more passionate, divisive and heavily opinionated; let’s go with an all-encompassing—vibrant. Any fan base is a community of people with thoughts to share, and luckily for others, content to create for a wider audience. I have to admit, I’ve been largely on the outside of Canucks Twitter, merely because I tend to direct my opinions to a TV screen rather than on social media. That being said, lately my sister, Pass it to Bulis contributor and Botchford Project recipient, Natalie Hoy, has been encouraging me to listen to more Canucks-centric podcasts. It’s been a fun time.
2010s: Does Vancouver really need two all-sports radio stations?
2020s: Does Vancouver really need 741 Canucks podcasts?
— Jyrki21 (@Jyrki21)
June 9, 2020
The world of ‘audio blogging’ has only grown over the past few years. Listeners are able to multi-task - exercising, cooking, cleaning, driving or on public transit - while plugged in to a new episode on practically any personal device. It’s a form of entertainment, often interactive, and a perfect creative outlet for amateur (and experienced) broadcasters looking for a new project. There is no shortage of podcasts courtesy of Canucks Twitter, a testament to the commitment and drive of fans, and the accessibility of the art form. With the Qualifying Round of the Stanley Cup Playoffs just about underway, there is much to be talked about. Let’s take a look at what’s out there.1
C4 Podcast
Founded: July 2013
Players: Chris Golden (@lyteforce), Anna Forsyth (@aforsyth03),Matt Lee (@mattlee_61)
Premise: The longest-running, active Canucks podcast (birthed from Canucks Hockey Blog) has been on-air for 7 years! Originally co-hosted by Chris and parody song creator Clay Imoo (@CanuckClay), the podcast offers commentary about current Canucks and NHL affairs, prospects, expectations, reminiscing on the team’s past (memories of the retired taco lover Eddie Lack and past playoff runs), and features interviews with guests. This past season, they’ve had Patrick Johnston (The Province), Satiar Shah (Sportsnet 650), Cam Robinson (Elite Prospects, Dobber Prospects) and Dan Murphy (Sportsnet) in the hot seat.
Twitter | Patreon | Discord | Listen
In the "longest-running" #Canucks #PodcastLikeThat, @risingaction joins @aforsyth03 @lyteforce & @mattlee_61 to talk about the summer training camp so far, how the Canucks match against the Wild, Rathbone, Tryamkin and so much more! https://t.co/ACreWPcPWC
— #PodcastLikeThat (@TheC4Podcast)
July 21, 2020
Area 51
Founded: December 2019 (relaunch)
Players: Sean Warren (@SeanyeWest234), Samantha (@samanthacp_), Malcolm Ert (@malcolmert), Bradley Thomas (@bradthomas_96), Eric (@breakawayeric), Bailey Broadbent (@baileybroadcast)
Premise: Area 51 celebrated a relaunch last December since their inception in July 2019, and in May welcomed a team to join host Sean Warren. Aside from their cool, alien conspiracy branding, at the mic they cover a broad range of hockey talk with notable guests (writers and broadcasters in the media, content creators, musicians, WHL players, fellow blog/podcast owners, Canucks Autism Network). I love that they’ve started to cover important topics beyond the gameplay, like anti-racism, inclusivity, and diversity in sports, and have actively sought out the guests to do so.
Twitter | Instagram | Listen
HERE WE GO! @CanuckClay enters A51 in GLCPC to discuss:
-Sports debates
-Being a hockey media creator
-Plan a Vegas trip
-Drinking and Parenting tips
And complete the famous Guest Shootout!
Find out whether Clay is responsible for the Luongo trade!https://t.co/Zg629tWvLG
— Area 51 Hockey Podcast (@Area51Hockey)
July 24, 2020
Cap Space Wins Cups
Founded: February 2020
Players: Hassan Ahmed (@_hassanahmed9), Ahsan Ahmed (@ace103196), Hussain Ahmed (@hussain11ahmed)
Premise: The newly formed podcast has a light, humorous tone - evident by their inaugural episode introduction about their lack of social media followers. They cover quick hits of the Canucks week, roster situations, hockey culture, and of course, cap space. They’ve hosted fellow podcast hosts and media (Satiar Shah, J.D. Burke, Matthew Sekeres, Jeff Paterson), and even a fellow Burnaby kid, Massimo Rizzo. Rizzo was a 2019 Carolina Hurricanes draft pick. It’s clear they have a lot more to share, including takes in on their corresponding blog – see: How the Canucks Can Acquire Dougie Hamilton & Build a Cup Contender. I’ll read anything related to Dougie Hamilton.
Twitter | Instagram | Listen
🚨🚨Another HUGE ANNOUNCEMENT the boys have their own website 🚨🚨https://t.co/JfQXqiXcz2, the site has all the podcast epidoes and links to all their social media. The boys have also started blogging and have 2 big article out already! It’s 100% free sign up on the site to L&C!
— Cap Space Wins Cups Podcast (@capspacecups)
June 21, 2020
The Broadscast
Founded: July 2020
Players: Vanessa Jang (@vanessajang), Georgia Twiss (@georgiatwiss), Samantha (@samanthacp_), Mallory (@sports_lesbian), Danielle Huntley (@danihuntley)
Premise: Your ‘local hockey girl gang’ talks Canucks, sports culture, and soap operas. All 5 hosts have a significant following on Twitter and are bold and uncompromising, which makes for great statements and table chatter. This was written with only their Teaser episode released, but you can expect no shortage of pop culture references, fashion discussion, NHL wives and girlfriends (WAG) and pet content, along with team analysis. It’s trailblazing for a group of females in Vancouver to start their own podcast that’s hockey-focused, meant to be a casual chat amongst friends. They know the team, know their media, can gossip, and are having fun with it.
Twitter | Instagram | Listen
The Broadscast is officially LIVE!! 🎙 Just 5 girls and some light-hearted hockey talk with a soap opera twist. Catch our teaser episode NOW on your podcast medium of choice!https://t.co/91KE8LnOJE pic.twitter.com/XH0fIfhmHy
— The Broadscast (@BroadscastPod)
July 27, 2020
PUCKS ON NET
Founded: September 2013
Players: Ryan Schaap (@schaaptop), Geeta Reddy (@geetanjalireddy), Paul McLellan (@McLellanPaul), Dave McPhail (@PucksOnDave)
Premise: The group of 4 has created a casual, honest atmosphere with their roundtable conversation. They’re good friends, which equates to great camaraderie. They run a ‘contradictory’ fantasy hockey league and don’t talk ‘fancy stats’ (while still being very knowledgeable). I think they’re engaged with their listeners, and relatable as human beings amongst their talk of Tim Hortons NHL trading cards, player safety, current signings and acquisitions, and Green Day at the All-Star Game. Reaching 7 years of consistent hockey talk and recapping the team’s evolution is a feat in its own.
Twitter | Patreon | Instagram | Listen
And on Sunday, Ryan sat down with his old man for Father's Day to talk about growing up playing minor hockey in Calgary, bonding over the Vancouver #Canucks and even his words of wisdom when it comes to talking to your kids about drugs.https://t.co/BaQFM53Yws
— PUCKS ON NET (@Pucksonnetca)
June 24, 2020
The Canucks Conversation
Founded: November 2018
Players: Chris Faber (@ChrisFaber39), David Quadrelli (@Quadrelli)
Premise: Faber was joined by Quads in 2020, and the pair has perhaps the most praised local podcast so far. They’re both BCIT Radio Arts and Entertainment students (and writers for CanucksArmy), and their dedication, preparedness, branding and reporting level are top notch. They break down topics with great chemistry and perception - roster moves, Nikita Tryamkin, Olli Juolevi, and the Judd Brackett situation. Some of their notable guests include Utica Comets Kole Lind and Brogan Rafferty, and ‘bionic’ Finn Sami Salo.
Twitter | Patreon | Instagram | Listen
🎉SURPRISE! 🎉
Episode 91:
“Jake Jets out of the lineup” ft.@CraigJButton
We dropped our episode early!
Craig Button stops by to chat about the NHL and #Canucks prospects.
We breakdown the exhibition game against the Jets & some exciting news at the end!https://t.co/NMWBVOU7ko
— Canucks Conversation Podcast (@CanucksConvo)
July 30, 2020
Canucks & Pucks
Founded: April 2019
Players: Matthew Zator (@MatthewZatorSC)
Premise: Matthew Zator, writer for The Hockey Writers and Hockey Ops Director at Overtime Heroics, made a return to the airwaves this past July (after a lengthy regular season hiatus). Since getting back up and running, it’s full steam ahead – Zator has been joined by contributors from The Hockey Writers, The Canuck Way, college hockey newsletter Fresh Ice, and fellow podcast hosts. He has good insight and as a writer who goes into depth about NHL draft picks, the Vancouver Giants, and both the Nucks’ positives and negatives in his work, it gets noticeably transferred to the on-air conversation.
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🚨 NEW EPISODE 🚨
Episode 7 ft @CanuckClay, @JDsays2much, and @BaileyAJohnson_!
- #Canucks & #mnwild with Jack & Clay
- Will Lockwood and Quinn Hughes with Bailey
- The Mailbag segment debuts and of course news from the #NHL and @TheHockeyWriter! #THW https://t.co/lW9FQms35P
— Canucks & Pucks Podcast 🏒🎙️ (@CanucksPucks)
July 28, 2020
Canucks Speakeasy
Founded: August 2019
Players: Pete Edwards (@pete_gas), Doug (@dougvenn)
Premise: Pete and Doug are 2 “mildly educated Canucks die-hards” who chat about current team news and trending topics. They’ve covered trade talk, the Collective Bargaining Agreement, prospects at the World Juniors, scouting, and the BLM movement. They’re occasionally joined by guests including podcast friends, and fellow fans/Tweeters Chris Conte, Jenna Fabulous and Ray Hatt.
Twitter | Listen
We're back with Episode 37: Powderkeg.
Playoffs, play-ins, Judd and BLM are all discussed. Give'r a listen!https://t.co/dwoEQVNudThttps://t.co/7ZSogAjWsuhttps://t.co/r5HqX26czU pic.twitter.com/QKScnR9Q6G
— Canucks Speakeasy (@CanucksSpeak)
June 4, 2020
The LarschCast
Founded: June 2019
Players: Tej Dhaliwal (@DrTejDhaliwal), Sat Oberoi (@SatOberoi), Nav Dosanjh (@NavDosanjh1983), Ryan Cassels (@cassels_music)
Premise: The Larschcasters are known for their entertaining banter and debates, mostly on hockey and a little NFL. They’ve picked the minds of seasoned media (Scott Oake, James Duthie, Joey Kenward), legendary broadcaster Jim Robson, and former Canucks Kirk McLean, Chris Higgins and Shane O’Brien. They’ve been generating healthy content during the pandemic, including a spirited debate with Minnesota Wild podcast hosts, discussing media personnel moves, prospects, NHL Award contenders, and the toxicity in the Vancouver Canucks market. In June, they released a special with hockey coach/trainer Jennifer Chefero, sharing her story facing sexual abuse and harassment in her career, while candidly discussing women’s rights and sports culture.
Twitter | Facebook | Listen
Episode 61 ft. @hustlerama!#NHLJets centric epi, with an outlook of the Jets vs #flames. Not a lot of love for Calgary in this one😬. Also insights into the #nhlbubble, before ending with #Canucks talk & Rapid Larsch!
🍎:https://t.co/vZ2lyQ9zoO
Spotify: https://t.co/XdV1y3ls7V
— The LarschCast (@larschcast)
July 29, 2020
The PP1 Podcast
Founded: October 2019
Players: Brayden Ursel (@bkursel23), Ted (@tee3ree), Ryan Hank (@always90four)
Premise: A tagline like “three guys from Kelowna bringing the heat and spitting the takes” doesn’t need further explanation. Appearing at the beginning of this season, the podcast (which features writers from The Canuck Way and CanucksArmy) has had some nice guests like the Canucks inaugural captain Orland Kurtenbach, retired centre and current Kelowna Rockets Assistant Coach Vern Fiddler, and Paul “Biznasty” Bissonnette. They’ve been nominated for Kelowna Now’s Best Local Podcast, and have a ‘Dudes and Guys’ segment where they pit 2 players against one another and talk it out (criteria is debatable).
Twitter | Listen
Episode 46: Bouncy Castles, Boeser Bombshells, & Backchecking w/ @mattsekeres. We chat Boeser rumours, cap crunch, Rathbone, Tryamkin, Markstrom, Sundin vs. Vanek, the best cold-open since Nikolay Goldobin, and how you can win a #Canucks jersey. https://t.co/KouGJr6GKH
— The PP1 PODCAST (@ThePP1Podcast)
July 15, 2020
The SCT Show
Founded: September 2018
Players: Nam Mann (@CanuckAgent007), Tanbir Rana (@TRana87)
Premise: SCT is Strictly Canucks Talk. Aside from reminiscing about ‘where were you when’ pivotal moments in franchise history occurred and the regular shop talk of performance and #NamStats, they draw in guests to talk about trade value (The Athletic’s Harman Dayal) and stickhandling (specialist/trainer Pavel Barber). They’ve also hosted local defenceman and last year’s 4th overall draft pick Bowen Byram, and hockey analyst/retired winger Anson Carter for a chat about the pressure of the market in Vancouver and the Sedins. Like any good heated debate, there are also trade and Team Tank vs Playoffs scenarios.
Twitter | Listen
.@CanuckAgent007 has a proposal to get Loui Eriksson off the #Canucks books 🤔
EP 14 - Links below ⬇️
🍎 https://t.co/Z9snNdSuI1
📱 https://t.co/AJILh0IaWJ pic.twitter.com/LZblDE8GLW
— The SCT Show (@SCTShow)
July 17, 2020
Johnny Canuck Talk
Founded: August 2019
Players: Adrian J. Haug (@adrianjhaug), Roy Styles (@roy_styles)
Premise: Takes from 2 arm chair GM’s, the pair discuss a wide variety of topics like losing streaks, hockey safety, report cards, line-ups, and trade deadline. They’ve also shared an insightful chat with Harman Dayal (The Athletic) about his career and the late and great Jason Botchford. It’s laid-back and conversational, with mentions of farmers’ tans, celebrating birthdays during quarantine, and the school system strung across introductions. What’s cool is they record the podcast from near and far away places – Kamloops, BC and Germany (!).
Twitter | Listen
(1) Episode 37 is uploading now! @roy_styles and I talk #Canucks #hockey and @Canucks topics, issues, news, etc. We also talk about the incredible impact our Jim Carey impressions have had on our wives. Yikes.
Featuring tweets from: @Canuckgirl20 @TSN1040 @DanRiccio650 pic.twitter.com/6oA7mZh6jb
— Johnny Canuck Talk (@JohnnyCanuckPod)
June 28, 2020
1 This list is not exhaustive, but there is something for everyone and I hope you find your Canucks fix. There can be an argument made that the podcast market is oversaturated, but I like to see it as an opportunity for any fan or audio bird to let their voice be heard! So, don’t be negative about it.
Posted by: Chloe Hoy
#Everybody Loves Fin#Canucks#Vancouver Canucks#Chloe#Canucks Twitter#blog#hockey blog#NHL#nucks#nhl canucks#Podcast#Apple Podcasts#sports#hockey#Podcaster#Spotify Podcast
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Cats review
CATS (2019)
Almost every movie shown on my Facebook page are recommended features. Well, this is certainly NOT one of them.
I have been a fan of various musicals throughout the years (notably Mamma Mia, Grease, West Side Story, South Pacific, Les Miserables, The Greatest Showman, Phantom of the Opera, La La Land and most recently Bohemian Rhapsody). Even without having any expectation, I honestly thought I would be feeling the same way about Cats. Gosh, I was dead wrong!
I wanted to leave the cinema after half an hour but told myself to hang on till the end so that a fair review can be written regardless whether it is good or bad.
This movie is absolutely awful from the unfinished CGI to the Hamilton inspired dance routine and over the top rendition of Memory by Jennifer Hudson.
The director, Tom Hooper must have been very convincing in his initial pitch to get Universal Pictures to finance this incredibly expensive film (almost 100 millions dollars to be exact) banking on his successful award winning past projects such as The King Speech and Les Miserables.
Such a waste of talent from star studded cast (Sir Ian McKellen, Dame Judi Dench, Idris Elba, James Corden, Rebel Wilson) plus singing sensations (Taylor Swift, Jason Derulo and Jennifer Hudson).
Mind me, the only good thing that came out from this movie is the brilliant new song from Andrew Lloyd Webber and Taylor Swift, Beautiful Ghosts. Then again, I doubt all the legions of Swifties throughout the world can help to salvage this.
In conclusion, I only have one sentence to sum it all. It’s a CATastrophe.
Verdict : 2/10
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Digital Anthropology and Formula 1
This blogpost starts with my entry to the DHL competition, which offers my own way into Formula 1, through the drama and personalities of the sport. After my entry, I’ve written my ideas for researching Formula 1 from the perspective of digital anthropology.
My Formula 1 Moment
A few months ago I entered a Formula 1 competition to describe my best F1 moment. I wrote a really heartfelt description and went to submit it, only to find out it was about 5 times too long. I cut it down, submitted, but knew it wasn’t any good. I decided to share the original version and describe my way into the sport which I absolutely never expected myself to like - here it is:
March, 2018. My boyfriend had been watching the Formula 1. The qualifying had ended, and now there was a press conference.
I had never been interested in sport, certainly not one that was so clinical and confusing as Formula 1. For me, all the drivers blurred into one, some seemed to wear red, others wore white, and all of them seemed strangely keen to wear logo embellished headgear. Here they were, three of them, herded behind some microphones, giving stilted answers to press questions. Distracted and on my phone, I was impatient for the end of the program so that we could watch something interesting.
"I can assure you we don't have a party mode,” one of them was saying. "I used the same mode from Q2 to the end of Q3. There was no extra mode, no extra button I engaged in."
"What were you doing before, then?” The guy in red asked him, taking a sip from his drink and smiling mischievously.
"I was waiting to put a good lap in…” The guy in white said, “to wipe the smile off your face,” he added under his breath, with an extra dash of sass. Was he angry, or was he joking? It was hard to tell. The two of them seemed to be rigid with tension, but keen to put on a good show for the cameras. The guy in white patted the guy in red’s arm, insisting that he was only joking. The awkwardness was palpable, and the exchange had my full attention. The other guy in red, sitting on the right, however, seemed to be daydreaming.
Who was this guy in white, who my boyfriend told me was winning everything? What planet had he landed from, that gave him the ability to win races with robotic precision? The guy in red with the mischievous smile seemed to be the underdog, and was endearing. The daydreaming one was pure comedy.
“Do they have brawls in the bars after a race?” I asked. “I don’t know,” my boyfriend said. “I’m not sure they can drink. They have to maintain almost no body fat.” I frowned. “I hope the guy in red punches the guy in white,” I said. I envisioned him chucking TVs out of swanky hotel windows. I live for the drama.
This was the moment that got me into Formula 1. For the first time I saw inside the machines that zoomed predictably around faraway racetracks. I started to realise that Formula 1 wasn’t just lap times, numbers on a screen, and a choice between hard or soft tyres; it was fundamentally about the people. There were egos, eye watering pay checks, glamorous locations, and a whole lot of pressure. There were feuds, confrontations, and tears. It wasn’t until much later that I realised the physical toll of driving a Formula 1 car, and the gym regime that accustomed drivers’ bodies to immense forces while going round the track. I had thought drivers were just pressing buttons inside a machine, but these were athletes putting their lives on the line.
Lewis wasn’t always so sassy. He usually spoke with the measured words of a religious guru, emphasising gratitude and hard work. Meditating, praying, exercising, and listening to the right song before a race were apparently what helped him achieve his super-human results. We jubilantly listened to a Christina Aguilera where he was rumoured to perform a hilarious and cringeworthy rap. “Imagine all the other drivers teasing him with it,” I said.
It took me a while to realise that Sebastian was a four-time world champion. His voice was low and disinterested while he gave clamouring journalists a run through of his race. In Bahrain, in 2019, Lewis seemed to make him spin on the track through pure intimidation. After races, we watched eagerly for the private moment when the top three drivers would meet in the break room, wipe the sweat off their faces, shake hands, and grimace after two hours of ruthless competition. Was the loser completely crushed? What would they say to one another now that they were face to face?
But it was Kimi who became the most entertaining of the three from the press conference that day. Often giving nonsensical answers to journalists (that started with the sound “bwoah”) or pretending to not hear them, he, too, was mischievous and clearly hated any kind of ceremony that stopped him either driving very fast, or going home. His elusiveness made me increasingly curious, and I searched for entertaining stories, finding ones about him napping on piles of tyres, drunkenly diving off a stage with no crowd to catch him, or screaming “gloves and steering wheel!” to a bewildered pit crew.
Since that moment in March 2018 I’ve learned more about what really makes Formula 1 tick. I’ll be honest, I still switch off when people start talking about technical specs. But I love to watch the drivers, team principles, and pundits, when they find a way to say everything with just a look in their eyes, or a quiet dig at a competitor. I love it when there’s gossip and wild predictions, and memes to be made. I never thought I would love a sport like I love Formula 1 now, but it was the people - and Lewis’ sass - that got me where I am now.
Digital Anthropology and Formula 1
Through getting my head around F1, I’ve unsurprisingly thought about it in terms of my own research into digital anthropology - or how technology is part of our social world today. I truly know nothing about sport, so I may be wrong, but it seems that F1 is the most technologically mediated sport there is. Rather than athletes who test their physical capabilities, the drivers’ abilities are mediated through a machine, which could be working well, or could be crawling round the track. That machine has been built from the ground up, bolt by bolt, by engineers constantly trying to improve on the vision of the four-wheeled vehicle. They don’t simply drive the same car at each race, it’s continuously evolving and being tinkered with by the team and its engineers in-between weekends.
F1 car aerodynamics
Rather than watching the race directly, the teams themselves watch a row of television screens. For starters, the circuit is too big to see in one go, and the noises are too loud to expose your ears to. To experience F1, even for those participating, necessitates cameras and microphones and screens. But the teams are not only watching footage of the race, but endless numbers dancing in front of their eyes, listing speed for each sector, tyre wear, temperatures, and predictions. What secret software do they rely upon to give them an advantage over others - what algorithms are at work, invisibly measuring and shaping the race? Do they have the problem of too much data - data saturation or InfoObesity - where they can learn no more, or they struggle to store, protect, or analyse the information flying at them?
Renault’s Pit Wall, Singapore GP
Pit wall display screen, from Reddit
While the celebrity drivers of F1 plummet themselves around a track several centimetres away from the tarmac - sometimes losing up to 3 litres of water and 4kg in one race - F1 is equally a mathematical sport. This interplay of bodies and technology, personality and data, is fascinating. If I were to design a research project on F1, it would ask how these aspects of the sport are reconciled. What relationship do the teams have with their technology? Are strategies based more on digital information - “The computer says we should do this, so we’ll do it"? Or do they put their faith in people like Hamilton, knowing that his judgment in split seconds would prevail?
Masculinity and aggression would be important themes. Comparing Formula 1 to my limited knowledge of football or rugby, where frustration can be taken out with shouting, running, tumbling, or even brief fights, I wonder if F1 is more of a restrained, poised sport, played behind a veil of respectability, where resentment comes out not physically, but in catty, underhand plays, spies, cutting people out, or perhaps insistently pronouncing your name wrong. My suggestion that Hamilton might throw some TVs out of a window was an attempt to understand where that necessary frustration ends up. A clip of Ricciardo screaming with his helmet still on, Verstappen shoving Ocon, or Schumacher marching furiously up the pit lane towards Coulthard, pulls back the curtain. Behind the scenes, what dastardly behaviour lurks? I also wonder how the teams would take failure differently if they were all women. After both Red Bull cars were taken out of the same race, I remember saying to my boyfriend that “I wouldn’t want to be in a room full of those angry Red Bull workers.” When Haas repeatedly have outbursts on their radios, they seem to be transgressing an invisible rule of Formula 1, that anger is a private matter. What other invisible rules are there that shape team behaviour, and create friction between them?
Haas team principle Gunther Steiner’s outburst at Sochi, for which he was fined $7500
At the same time, while teams seem keen to control their presentation, moments of intense emotion, and authentic reactions of the drivers and pit crew, give fans something to go on. How does Formula 1 balance its primary purpose - the need to be entertaining, with the teams' clear desire to maintain professionalism and secrecy? In 2017, F1 released YouTube videos of the post race driver briefings, which featured drivers sat in rows like bored schoolboys. The videos are extremely entertaining, mostly due to the comedic camerawork and Grosjean attempting to get other drivers into trouble - but the uploads have since stopped, possibly because it was too much of an invasion into the meetings. Netflix’s 2019 series “Formula 1: Drive to Survive” gave us a behind the scenes look, and helped us meet the personalities in F1 and empathise with their stories and struggles. In the recent On The Marbles podcast, Lee McKenzie explains that one reason why AutoSport is going out of print is the on-brand messages from the teams are too bland and repetitive for the price of the magazine. My own entry to the DHL competition displays my feeling that the sport needs drama to continue. This tension plays out everywhere. As the stewards continue to penalise small errors in driving, they curtail more of the scrappy, fight-y racing that the drivers seem to enjoy as much as the spectators, resulting in races that are “boring” and “processional.” Rather than relying on printed interviews, fans may be turning to social media to connect more closely with the characters in the sport. Through Instagram, Reddit, and YouTube, fans create memes based on the funniest moments on and off track, some of which endure for months.
Left: A fan’s take on Haas’ “I think Ericsson hit us”.
Right: The radio message to Kimi Raikkonen when his drink was not connected
The McLaren driver Lando Norris, only 19 years old, posts stories on his Instagram most days, and welcomes the playful Internet world of memes and ridiculousness in a way that breaks with the usual “robotic monotony” of drivers. It turns out that in his spare time, when he’s not racing in real life, he enjoys racing Verstappen on a video game. In this way, through following them on Instagram, fans can see relationships between the drivers - in a recent example, Ricciardo and Leclerc teased each other on their own respective Instagram accounts during a shared flight. Technology is playing a role, then, not only in the broadcasting of sport, but in the way that fans can relate to F1 and its personalities, by viewing mundane and everyday moments that span much further than the race weekend.
Left: Ricciardo’s selfie with sleeping teammate Verstappen
Middle: Norris’ Instagram, teasing his teammate Sainz
Right: Leclerc jokes about a misspelling of his name
Research Outline
Taking an academic view of Formula 1 Absolutely Totally Seriously, I would propose viewing it through the idea of Rationality. Rationality has come up in my work on digital detoxing, where in a “Disenchanted” modern world, we perceive that technological progress explains the world down to neat facts and figures. We can bend the world to our own ends, since everything becomes calculable. To act rationally would be to do things for the intended goal, without the need for guesswork or fate.
Interpreting Formula 1 in these terms, the sport splits into its Rational and Irrational aspects. On the one hand, teams design machines using cutting edge technology, and sensors and numbers tell them how to optimise the car to be more likely to win. On the other hand, the teams are made of people, who are emotional, or rather irrational - who might in fact be the key ingredient for winning (like the magical je ne sais quoi of Lewis Hamilton or Ayrton Senna), or who might require motivating, might cause problems, or make mistakes.
I would hypothesise that the teams themselves prefer a rational view of F1. They want everything to be predictable, structured, cool, calm and collected. However, in order to survive, in order to entertain, the sport requires Irrationality - drama, friction, emotion, personality. Also under this heading would be fate, luck, the driver’s own headspace and personal life. A research project of Formula 1 would look at how the teams manage tension between these two aspects - and I would aim to answer questions through an ethnography of team culture.
My research questions would be something like this.
How do the teams incorporate digital technology into their work, and do Formula 1 teams rely more on technology, or on human skill?
What norms are there around emotion in Formula 1, and how is emotion managed by the teams?
How do Formula 1 teams balance the need to be entertaining with the need to win, and how is social media changing their relationship to this?
I better get back to my thesis.
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Hamilton Musical Review – Wow, Just Wow!
A creative review of Hamilton – by a travel blogging mom.
Burr I’d rather be divisive than indecisive. Drop the niceties.
Hamilton, “A Farmer Refuted”
Watching Hamilton Musical live has been on the top of my personal family bucket list for years. I’ve researched ticket prices many times and was ecstatic when I found out that they would be coming to The Bushnell Center of the Performing Arts in Hartford this December. We are big Bushnell supporters and tend to enjoy a minimum of four shows there each season. I was determined to get tickets. I set reminders on my phone calendar with ticket release dates and went as far as bringing my laptop to the kid’s taekwondo team practice on the morning of the first wave of ticket releases. After 1 hour of refreshing the browser, I scored four reasonable tickets for December 30th. What a perfect Christmas gift for our wanderlust family.
You can write rhymes but you can’t write mine.
Take A Break – Hamilton Musical
I had taken the kids this summer to watch Lin-Manuel Miranda’s In The Heights (a musical about a Dominican bodega owner in the Washington Heights neighborhood of Manhattan) and had prepared them for the music, dancing and writing style that would be depicted in Hamilton. As we only had four tickets, we decided to take our two girls and leave the boys behind this time. One more reason for me to watch it again, because honestly, I can’t get enough. This is not a review that will be focused on whether Hamilton Musical is historically accurate, appropriate, misrepresented history, left a marginalized group out, minimized the evils of slavery or any other overly serious analysis of Mr. Miranda’s intent in writing this musical. I’m pretty sure that Mr. Miranda did not intend his interpretation of Alexander Hamilton to be an all-inclusive, historically accurate depiction of the founding father. Hamilton is not intended to be all things to all people. I come to this review from the perspective of a history, travel, music, dance, culture and entertainment loving travel blogger, wife and mami of four brown kids whom are exposed to a variety of art and theater. Theater often full of casts, music and culture that does not represent them. For this reason alone, Hamilton rocked. #representationmatters. It’s for the same reason that I was moved to tears by In The Heights musical. Mr. Miranda understands the cultural nuances, references, experiences, dance moves, dictation, beats and music that speak to the deepest parts of my Dominican immigrant soul. Let’s dive in. What I loved about Hamilton and how much I wished that I could get inside the heads of all of the white people sitting around us in Hartford, Connecticut watching this art form. If you were one of them and are willing to share, what were your thoughts?
I am the one thing in life I can control. I am inimitable, I am an original.
Burr, “Wait for It”
Talk less, smile more. Don’t let them know what you’re against or what you’re for.
Burr – “Aaron Burr, Sir
- Lin-Manuel Miranda is puro Latino. I can relate to everything he stands for in a way that at times is difficult for me to explain to my mainland born and raised children. Bringing them to experience Mr. Miranda’s work like In The Heights and Hamilton, provided a window to our shared culture, history and traditions. He’s a Boricua, born in Washington Heights and raised in a prominent Latino community that closely resembles the one that I was raised in. Like me, he came of age in a bilingual, bicultural home, where music, traditions and food were the norm, but were rarely reflected in the mainstream pop culture. Mr. Miranda has succeeded in creating Broadway characters who manage to erase the invisibility that I’ve often felt as a lover of all things art and theater. I got goosebumps as a sat and watched characters who spoke like my family and friends, danced with the same passion, sabor and vigor and shared the same cultural nuances that bring a sense of nostalgia to this Dominican woman.
- As I sat in the fancy theater watching the opening number, I was left breathless as the realization hit me that I was watching artists in every shade of brown, wearing traditional colonial garb (minus the wigs), telling the story of a forgotten forefather immigrant who rose from nothing, I saw myself. I shared this same story and I was unable to contain the emotions. I could care less (must put my wokeness aside for the sake of entertainment and rest) about whether our founding fathers were white, sexists, racist, slave owning men, I was taken by the artistry of Hamilton and was able to see myself in Mr. Miranda’s delivery in ways that I’m seldom able to. What a beautiful gift to give our young children. For so long, our narrative and stories have been left out of the arts. With Hamilton, Mr. Miranda placed my parents, aunts, uncles, cousins, siblings and friends into the center of the narrative. The bold and unapologetic fashion in which he did so is mind blowing. I lol when Hamilton and Lafayette yelled: “Immigrants, we get the job done.” I was tempted to respond: Asi es. Tu lo sabes. Thank you, Mr. Miranda for allowing me to share this musical with my children and have them see, feel and experience Latinos in a way that is beyond what the main stream media portrays. We know who we are, but it was extremely emotional to have us portrayed outside of the typical narrative of slaves and low-wage workers. Gracias.
We’re finally on the field, we’ve had quite a run. Immigrants: we get the job done.
Hamilton and Lafayette, “Yorktown”
- Miranda boldly took on the old minstrel American tradition of black face on stage and reversed it. Oh my goodness, let’s process that one for a minute. I’m cognizant of how this fact and the psychological and social implications of the affect of this when I read negative mainstream reviews of the musical. All of a sudden, those of us usually in the fringes are now put center stage in “The Room Where It Happens” and those usually in the mainstream are left researching, attempting to understand the dictation, body language and music. Wow. That’s genius.
There’s a million things I haven’t done, just you wait
Alexander Hamilton
Hamilton left me pondering so much about my history, my story and daily life. It was meant to be that our family took in the last show of the year in Hartford on December, 30th. I find myself in a reflective mood during the last week of each year. Since starting my blog 1 ½ years ago, I’ve tried to be consistent in writing, sharing and transparency. Hamilton reminded me of the reasons why I started Have Kiddos Will Travel and it has inspired me to start 2019 “writing like I’m running out of time!”
Why do you write like you’re writing out of time?
Non Stop
But when you’re gone, who remembers your name? Who keeps your flame?
Who Lives, Who Dies, Who Tells Your Story
The final song of Hamilton left me inspired to continue my blog as an avenue to share my unique and personal story. Life as a work from home, homeschooling mother of four can be isolating at times. This is the primary reason why I started Have Kiddos Will Travel. The blog allows me to document and write my own narrative and by doing so inspire and relate to other women in similar situations as mine. Blogging is risky, as it can leave one vulnerable to other’s not so kosher intentions. I want full control of my story; the good, the bad and the ugly. It’s mine to tell.
Pin for later:
Below are some of the other favorite lines from Hamilton. Do share yours.
Dying is easy, young man, living is harder.
George Washington – “Right Hand Man
America, you great unfinished symphony, you sent for me. You let me make a difference. A place where even orphan immigrants can leave their fingerprints and rise up.
Hamilton, The World Was Wide Enough
Your debts are paid cuz you don’t pay for labor, “We plant seeds in the South. We create.” Yeah, keep ranting. We know who’s really doing the planting.
Alexander Hamilton, Cabinet Battle #1
I’m just like my country—I’m young, scrappy, and hungry, and I am not throwing away my shot.
Hamilton, “My Shot”
know that we can win, I know that greatness lies in you. But remember from here on in, history has its eyes on you….
History Has Its Eyes On You
Legacy. What is a legacy? It’s planting seeds in a garden you never get to see.
Alexander Hamilton, The World Was Wide Enough
#hamiltonmusical#quotes#hamiltonquotes#hamiltonreview#homeschool#teachingkids#representationmatters#family#theater#thebushnell#art#havekiddoswilltravel#bloggervibes
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Nationals 2019 Men SP
Welcome back, ladies and gentlemen. Last night’s ladies event was very exciting! Alysa Liu is the future of ladies and it will be interesting to see how she develops and ages. I find it funny she’s not even age eligible for Junior Worlds this year, but it is what it is.
So anyway, today we have the men’s SP. Like yesterday, I’m not covering every skater. There’s just too many, so many there’s a part 1 and part 2 according to the streaming schedule. I fully expect Nathan to win, but I hope that Jason does well as well.
I adore Jimmy Ma. He’s such a showman. Oooh, popped the quad. Nice recovery on the triple axel. There’s the Jimmy Ma we love. I was hoping he would do better this year. He’s an entertaining skater and I hope he continues to improve and have fun. Dude, don’t ever change.
Alex Johnson deserves a mention, since it’s his last Nationals. He’s not bad either. He’ll go behind Jimmy Ma.
I’m impressed that Sean Rabbitt has managed to hold onto to second so far. He was one of the first skaters earlier this morning.
Nathan Chen is next. This program is fun. He looks like he’s having more fun with this program than I’ve seen all season. Such a fun program and his jumps are just huge. Nice and clean. A little forward on the triple axel though and he could use a little bit more choreography between jumps instead of saving it all until after, but still. This is classic Nathan. Damn, that’s a huge score! Hehe, even Michael Weiss admits that scores are inflated at Nationals.
Lots of our men have potential but haven’t broken through yet. Aleksei Krasnozhon is one of those. Nice skate and good score.
The final group has Jason and Vincent Zhou. Jason and Zhou are the only ones that can really compete with Nathan. Jason has the artistic, Zhou the technical. I’m not a fan of Zhou. There’s something about his attitude that rubs me wrong. However, barring any tragic performance, it should be those three, but as last night proved anything is possible.
Tim Dolensky is first. If I remember correctly, he did well a few seasons ago, maybe 2014 with Jason. He’s the second male I’ve seen in jeans/jeans-like. It’s kind of nice and different from the normal black pants. Nice and solid so far on his triple and triple axel. Oh, hand down on the quad but still pulls off a combo. He’s very pleasant to watch. I like his style. He has a lot of speed. Not bad. Not bad at all. Nice solid score. Should hold up well for the long program.
Jason Brown is next. He’s probably my favorite male skater. I’ve loved him since the Riverdance program and I kind of wish he would do a more upbeat program like that again. I had hopes for Hamilton last season but that was a bad song to chose and a bad cut. That said I love this short program. Every move has choreography and meaning. Clean and solid jumps. The move to Brian Orser and Tracey Wilson has been great for him. I know he’s working on a quad and I hope he can get it in one day. With his performance skills, he could beat Nathan if he had the quad. Ends right on cue with the music. Damn! He’s just great! SHIT! Look at that score! And without a quad! This has been a great season for him.
Vincent Zhou is next. Now he’s the opposite of Jason. He has Nathan’s quads but not the artistry. He hasn’t had the greatest season so far if I recall. Seems to be behind him now. Not bad. I still don’t particularly care for him, but that was a good performance for him. Wow, only .3 points behind Jason. That’s what the quad does for you. Imagine what Jason’s score could be with the quad.
Tomoki Hiwatashi is a new one to me, but it’s his third senior year. Not the music I expected at first based on what he’s wearing. Triple axel but wonky landing. And now we are into the more easy listening part of the music that I was expecting. He’s got a lot of speed and potential. Ooh, slight stumble in a simple footwork. Looks like his skate just got caught in the other. He had so much speed that he almost pushed himself out of the ending position. He’s another that I think could benefit from a more rocker song.
Andrew Torgashev is skating to Journey’s Open Arms and is dedicated to the Stoneman Douglas High School school shooting victims. He’s got a lot of speed, almost too much. Clean triple combo. Despite the mistakes, I can feel the emotion in his performance. That is a lovely, emotional program and would have had a huge impact had it been clean. A top 10 finish though.
And that’s our men short programs for 2019. The top three are not a surprise at all, but I look forward to seeing what the long programs will bring. Until tomorrow, my friends!
#figure skating#nathan chen#jason brown#jimmy ma#sean rabbitt#vincent zhou#tim dolensky#alex johnson#tomoki hiwatashi#andrew torgashev
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“We’re Māori - we wing it!”
A story about choosing the ‘exit for opportunity’, being chucked into a ceremonial deep-end, witnessing a history-making meeting with only a napkin and eyeliner for note-taking and a few surreptitious snaps on a crappy phone camera.
(NB: worth checking out the prequel: ‘How I met Nanny Mary’ blog – just scroll down the blog list or click here)
In brief though, earlier this year, at the beginning of a two-month tiki-tour through Aotearoa (New Zealand) I’d had a very memorable Poukai experience at the Tūrangawaewae Marae, where ‘Nanny Mary’ had taken me under her wing. She’s a real wahine toa (warrior woman) with a wonderfully kind nature and infectious bubbly personality (reflected in her rainbow coloured hair), who also happens to be the Treasurer of Tamaki Makaurau – one of seven Electorates for the Maori Party that roughly covers greater Auckland).
Since first meeting we kept checking in on Facebook, hoping our paths would cross at one of the various events around the North Island that Mary was partaking in, so far to no avail. Mary’s from Auckland, so I let her know well in advance when it came time to return there. Not until a week later during the actual drive to Auckland from Hamilton, did a message pop up on my phone from Mary. An hour later, stuck at roadworks, was the time to peek:
“Hey gal if you not doing anything at 5pm and in the vicinity of Manurewa Marae... Nau mai haere mai. Nga Tumanako winners of Te Matatini 2019 are bringing The Mauri to Manurewa 6pm sharp Powhiri.
…but only managed to make sense of the words, “vicinty of” , “Manurewa”, “5pm” …and something about a ceremony. Auckland is a huge, sprawling city and I’d no clue where that area was, but being 4:30pm and en route to an appointment followed by dinner with a cousin I hadn’t seen in 20 years; I thought, never mind, hopefully I’ll catch up with Mary over the next few days. Fate intervened, however; literally a minute later, I see an exit sign for ‘Manurewa’ – instinct took the wheel and oopsy, I was off on an unknown adventure!
First stop, the nearest fuel station to send regrets to all previous engagements and for a quick google-search – to try and get the lo-down of what I was walking into. Remembering the mortifying, multi-coloured-clashing-outfit disaster at the Poukai, it seemed sensible to be on the safe side and change from pink shorts and bright blue vest to any black clothing I could dig out of my suitcases. Admittedly, it ended up a black and slightly gold outfit but was the best I could muster up and was definitely a good move!
Arrive at the marae, find and hug Mary, and soon get ushered inside the beautiful, ornately-carved and painted meeting house. Mary shepherded me into a one of the rows of a mixed gender and multigenerational crowd, which I assumed was there to watch a parade come through.....
.....Wrong. ‘We’ were there to perform the Tōia mai haka Pōwhiri Dance!!! ‘Tōia mai Te Waka’ means ‘pull up, the canoe’ and is part of an ancient canoe-hauling chant, now often performed as a 'haka pöwhiri' to symbolically pull the 'canoe' of the visitors safely onto the marae. Pōwhiri is a Māori welcoming ceremony involving speeches, dancing, singing and finally the hongi. (The traditional Māori greeting pressing noses together), followed by kai – a feast held inside the marae.
Panicking as the dancing and singing started, I grabbed Mary: “Are you sure it’s okay for me to be doing this?!” She retorted “We’re Maori, we wing it!”, giggled and left me to do exactly that – copying the moves as best I could during the few practice runs before the ceremonial entourage arrived and we performed for real – recorded on camera!!
I haven’t been able to find that recording but to get an idea of the event and excitement surrounding it, here’s a video of the same ceremony happening at Ōrākei Marae. Picture me, plopped in the middle of proficient dancers, trying to style it out!!
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To put this event into context:
Te Matatini is a nation-wide Māori performing arts festival of huge significance, comparable to something like the Edinburgh Fringe Festival attracting 60,000 people to an extravaganza of Māori culture, including art, crafts, food, fashion, film and most importantly, it hosts a competition for kapa haka performers from all of Aotearoa. Kapa haka is an art form that showcases Māori and Polynesian identity through song and dance. This year, ‘Ngā Tūmanako’, a rōpū (team) from Tāmaki (Auckland) beat extremely stiff competition and took home the top prize and title of ‘Toa Whakahuwaka’. As well as a trophy, the winning team brings home the ‘Mauri of Te Matatini’. Mauri are sacred stones believed to maintain life force, and this one is in particular represents the hosting rights for the next national kapa haka competition. When the 2019 winners first arrived back home in February, the idea of sharing the mauri amongst the marae of Tāmaki (Auckland) was put forward and agreed upon…skip ahead to my incredible good fortune to witness its arrival at Manurewa!
Moreover, as luck would have it, this ceremony coincided with Manurewa Marae hosting a meeting of ‘Te Kōtahi a Tāmaki’, a collective representing 33 marae in Auckland (more on this later)....Back to the main event:
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The Pōwhiri was followed by approximately two hours of speech-giving (all in Te Reo Maori) – then the hongi, then some yummy belly-filling of Māori dishes, where I also had the honour, through Mary, of meeting some of the community’s most respected members. Pictured - Sitting down over kai with Martin Cooper and Shane White.
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The biggest honour of all was being invited to the post-kai meeting (once again appreciating the totally random but perfect timing of coming here). The hundreds-strong crowd had thinned to about 25 people; seeing how intimate and important it looked, I whispered goodbye to Mary, grabbing my coat, only to get pulled back: “no no, stay, I’ve already checked and you are welcome”. It took a split second to weigh up being even later to meet my cousin or missing a unique opportunity (sorry again Charley!)
To my delight, the hui was held English, allowing me insight into the inner workings of the marae collective. During both my marae experiences on this trip, the hours of speeches were all performed by men, punctuated by beautiful singing from the women. From my newcomer’s perspective, the men seemed to dominate the proceedings of the events. Now the tables were turned. The chairperson for this gathering of representatives from 33 of Auckland’s maraes to discuss the key current and future issues for the very recently-formed collective -- was Tania Kingi, a confident, intelligent woman and no-nonsense spokesperson who clearly and easily commanded attention from everyone there; all the same men who had previously captivated the crowd with powerful speeches, now hung on Tania’s every word. . It was inspiring to witness this balance and mutual respect. Half way through the meeting, a slighty scruffy-looking man came into the hui and insisted on speaking to the room to tell of his situation living on the streets, that he’d been drinking, but wanted to tell us a brief history of his whakapapa (lineage), the names of his family and ancestors, and also the main reason he’d come in: for warmth and food, “Thank you for the feed, thank you for the coffee, thank you for the company, I respect this marae even though I don’t go to church on Sunday.”
The rest of the agenda was covered – anything from wheelchair accessibility for all maraes, to arranging solar energy workshops. The overall idea was to collaborate as a collective. Share successes, failures, recommendations, and knowledge - to work together for progress and independence from government monetary ties.
Spokesperson Tania Kingi said that this mauri stone coming to the different maraes in Auckland signals that we should be working collectively. “One of the driving principles for us all is that the mauri can unify. The mauri is bringing us together and connecting us to all the other marae throughout Auckland and preparing us for Te Matatini 2021.” Tania Kingi
What did I learn from this apart from that I desperately need a better camera phone? Clearly, a lot more about Māori culture, but also reaffirming what I’d discovered since arriving in Aotearoa - found it to be a friendly country and people in general, but in particular made to feel very welcome in Māori communities and not judged despite obviously being the odd one out.
I want to specially thank Mary Karena-komene, Tania Kingi, Rangi McLean, Shane White, Martin Cooper, Mereana Hona and everyone that I met for being so welcoming and allowing me such a memorable and informative experience.
Disclaimer: I’ve done my best with Maori references, but please excuse this pākehā for any mistakes or offense. My education has only just started and I hope it will continue, as I do the new friendships in Aotearoa. Ps. Please correct me if you see something. It’s the only way to learn. Aroha nui, ka kite ano Aotearoa <3
#wanderlusting#passportready#traveldiary2019#aotearoatour#bottomoftheworldblog#manurewamarae#Te Kōtahi a Tāmki#TeKotahiaTamaki#hakapowhiri#mauritematatini#mauristone#tematatini#travelblogger#travelblog2019#tikitour#maoriculture
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Four shows are opening on Broadway in March. Two of them are transfers from Off-Broadway that thrilled audiences in very different ways: “Be More Chill” and “What The Constitution Means To Me.” The other two bring to Broadway some beloved tunes — a revival of Cole Porter’s “Kiss Me Kate” and “Ain’t Too Proud: The Life and Times of the Temptations”
But as savvy New York theatergoers know, Broadway ain’t the half of it: For every “Ain’t Too Proud” on Broadway, there’s an “Ain’t No Mo'” Off-Broadway. Among the shows opening Off-Broadway in March:
Daveed Diggs in White Noise by Suzan-Lori Parks (Public Theater)
Playwright Suzan-Lori Parks – White Noise
Florian Zeller
Alan Cumming in Daddy by Jeremy O. Harris (Vineyard and the New Group)
Daveed Diggs in “White Noise,” a new play by Suzan-Lori Parks (Top Dog/Underdog); Isabelle Huppert in The Mother, a new play by Florian Zeller (The Father); Alan Cumming in “Daddy,” a new play by Jeremy O. Harris (Slave Play.)
Below is a selective list of Broadway, Off-Broadway, Off-Off Broadway and festival offerings in February, organized chronologically by opening date, with each title linked to a relevant website.
Color key of theaters: Broadway: Red. Off Broadway: Black, Blue, or Purple. Off Off Broadway: Green. Theater festival: Orange. Puppetry: Brown. Immersive: Magenta.
To look at the Spring season as a whole, check out my Off Broadway Spring 2019 preview guide and my Broadway 2018-2019 season guide
March 1
Ajijaak on Turtle Island (New Victory)
A “family-friendly First Nations spectacle.” Separated from her family in a Tar Sands fire, the crane Ajijaak makes her first migration from Canada to the Gulf Coast alone, discovering the strength of her song along the way.
Chained: A Victorian Nightmare: (FOST at Starrett-Leigh Building )
An immersive theater VR adaptation of Charles Dickens’s A Christmas Carol. Tickets sold only as an add-on to the FOST (Future of Storytelling) Story Arcade, which is described as a “pop-up, showcasing a… sampling of immersive, experiential, and multi-sensory exhibits.”
March 5
Daddy (Vineyard at Signature)
In the second Off-Broadway play by Jeremy O. Harris (who gained some notoriety with his Slave Play in the fall), Alan Cumming plays Andre, an older white art collector who befriends Franklin, young black artist on the verge of his first show. Their bond creates a battle of wills with Franklin’s mother.
The Cake (MTC at City Center)
In what sounds like a recent Supreme Court case, Debra Jo Rupp portrays a baker in North Carolina who refuses to create a wedding cake for a same-sex couple. The difference — one of the brides is the daughter of a dear friend, now deceased. The play is by Bekah Brunstetter (who writes for the TV series This Is Us.)
March 7
Fleabag (Soho Playhouse)
The play by Phoebe Waller-Bridge that inspired the BBC television series currently being shown on Amazon Prime.
Actually We’re F**ked (Cherry Lane)
In this play by Matt Williams, “four millennials gather every Thursday to order take-out, drink too much wine, and argue over how to unf**k the planet.”
Chick Flick The Musical (Westside Theater)
In this musical by Suzy Conn, four friends gather to unwind, watch a chick flick and play their favorite chick flick drinking game.
Chimpanzee (HERE)
A “non-verbal puppet play based on true events.” An aging, isolated chimpanzee pieces together the fragments of her childhood in a human family
March 10
Be More Chill (Lyceum)
Broadway transfer of the teenage cult musical about high school student Jeremy Heere who sees himself as a loser but then swallows a pill containing a supercomputer and becomes cool — but at what cost?
My review of Be More Chill Off-Broadway
If Pretty Hurts Ugly Must Be a Muhfucka(Playwrights Horizons)
In the village of Affreakah-Amirrorkah, no one questions that Akim is the one true, perfect beauty — not even her jealous classmates. But they’ll be damned before they let her be the leading lady in this story. A decidedly contemporary riff on a West African fable by Tori Sampson
March 11
The Mother (Atlantic)
Isabelle Huppert stars in a play by Florian Zeller (The Father) as a woman suffering from clinical depression and grasping for stability after her grown children move on to build lives of their own.
Southern Promises (Flea)
A revival of Thomas Bradshaw’s incendiary 2008 play: On his deathbed, a plantation owner vows to set his slaves free, but when his wife rejects the request chaos erupts on the plantation.
March 12
Ashes (HERE)
In a small village in the south of Norway, a young man sets houses on fire, and a writer seizes them as literary material several decades later. From Plexus/Polaire, the Norwegian/French avant-garde theater company that in January presented Chambre Noir
March 13
Surely Goodness and Mercy (Keen Company at Theater Row)
In this play by Chisa Hutchinson (“She Like Girls,” “Dead & Breathing”), a Bible-toting boy with a photographic memory befriends the cantankerous old lunch lady in an underfunded public school in Newark.
Hatef**k (WP)
In this play by Rehana Lew Mirza, passions ignite when Layla, an intense literature professor, accuses Imran, a brashly iconoclastic novelist, of trading in anti-Muslim stereotypes. But as their attraction grows into something more, they discover that good sex doesn’t always make good bedfellows.
March 14
Kiss Me Kate (Roundabout at Studio 54)
Kelli O’Hara and Will Chase star as warring ex-lovers forced to portray the warring couple of Shakespeare’s ‘The Taming of the Shrew’ in this third Broadway revival of Cole Porter’s 1948 musical. The winner of the first-ever Tony Award for Best Musical, the show features such familiar tunes as “Too Darn Hot,” “So In Love” and “Always True To You In My Fashion.”
Georgia Mertching is Dead (EST)
In this play by Catya McMullen, three 30-year-old women who have been friends since high school set off on a road trip south–with homemade female urination devices, too much pie, ill-advised sexual escapades–to celebrate and mourn a figure from their past.
Rogues Gallery (Broken Ghost)
Unleash your inner villain in this fully immersive evening of world conquest and inevitable betrayal!
March 18
Culturemart Festival (HERE)
Cannabis! by Baba Israel, 9000 Paper Balloons by Spencer Lott & Maiko Kikuchi,Songs of Sanctuary for the Black Madonna by Imani Uzuri,A Voluptuary Life by James Scruggs,Paper Room by Laura Peterson
Nantucket Sleigh Ride (Lincoln Center’s Mitzi Newhouse)
Written by John Guare and directed by Jerry Zaks (the pair behind House of Blue Leaves and Six Degrees of Separation) this new play stars John Larroquette as a New York playwright turned stockbroker revisiting a wild event that happened 35 years ago on that island.
March 19
Juno and the Paycock (Irish Rep)
Part of the theater’s season of Sean O’Casey, the play is a devastating portrait of wasted potential in a Dublin torn apart by the chaos of the Irish Civil War. When a handsome visitor arrives with news of an inheritance, the Boyle family begins to plan their new life, but their apparent salvation soon reveals itself to be the cause of their ruin
March 20
White Noise (Public)
Daveed Diggs (Hamilton) returns Off-Broadway in a new play by Suzan-Lori Parks, directed by Public Theater artistic director Oskar Eustis. Long-time friends and lovers Leo, Misha, Ralph, and Dawn are educated, progressive, cosmopolitan, and woke. But when a racially motivated incident with the cops leaves Leo shaken, he decides extreme measures must be taken for self-preservation
St. Peter’s Foot (UP Theater)
Mike and Roma think they made the right decision in not having children. Then a baby is left on their doorstep
March 21
Aint Too Proud (Imperial)
“Ain’t Too Proud: The Life and Times of the Temptations” stars Jeremy Pope (Choir Boy) as Eddie Kendricks, Ephraim Sykes as David Ruffin, etc. This new musical with a book by Dominique Morisseau helmed by the director of “Jersey Boys” follows The Temptations’ journey from the streets of Detroit to the Rock & Roll Hall of Fame.
March 25
Accidentally Brave (DR2 Theater)
Actor and playwright Maddie Corman shares her true story of what happened after her husband was arrested on a shocking charge.
March 27
The Lehman Trilogy (Park Ave Armory)
Italian playwright Stefano Massini’s play, adapted by Ben Power and directed by Sam Mendes (The Ferryman!) stars acclaimed actors Simon Russell Beale, Adam Godley, and Ben Miles and the Lehman brothers and their sons and grandsons over nearly two centuries, climaxing with the end of the firm that bore their name in the crash of 2008.
Ain’t No Mo’ (Public)
In this satire by Jordan E. Cooper that began at the Fire This Time Festival, African-Americans leave en masse a country plagued with injustice.
March 31
What The Constitution Means To Me (Helen Hayes)
Fifteen-year-old Heidi Schreck earned enough money for her college tuition by winning Constitutional debate competitions across the United States. Now, the Obie Award winner resurrects her teenage self in order to trace the profound relationship between four generations of women in her own family and the founding document that dictated their rights and citizenship.
My review of the play Off-Broadway
Do You Feel Anger? (Vineyard)
In this play by Mara Nelson-Greenberg , Sophia is hired as an empathy coach at a debt collection agency
March 2019 New York Theater Openings Four shows are opening on Broadway in March. Two of them are transfers from Off-Broadway that thrilled audiences in very different ways: "Be More Chill" and "What The Constitution Means To Me." The other two bring to Broadway some beloved tunes -- a revival of Cole Porter's "Kiss Me Kate" and "Ain't Too Proud: The Life and Times of the Temptations"
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Pop Picks – April 1, 2020
What I’m listening to:
Out of nowhere and 8 years since his last recording, Bob Dylan last Thursday dropped a new single, the 17-minute (the longest Dylan song ever) “Murder Most Foul.” It’s ostensibly about the murder of President John F. Kennedy, but it’s bigger, more incisive, and elegiac than that alone. The music is gorgeous, his singing is lovely (a phrase rarely used for Dylan even in his prime), and he shows why he was deserving of his 2016 Nobel Prize in Literature. It’s worth listening to again and again. The man is a cultural treasure and as relevant as ever.
What I’m reading:
The Milkman by Anna Burns, the 2018 Booker Prize winner, felt like slow going for the first bit, a leisurely stream of consciousness (not my favorite thing) first person tale of an adolescent girl during “the troubles” in 1970’s Northern Ireland. And then enough plot emerges to pull the reader along and tie the frequent and increasingly delightful digressions into the psychology of terror, sexual threat, adolescence, and a community (and world) that will create your narrative and your identity no matter what you know and believe about yourself. It’s layered, full of black humor, and powerful. It also somehow resonates for our times, where we navigate a newfound dread. It’s way more enjoyable than I just made it sound. One of my favorite reads of this young year.
What I’m watching:
I escaped back in time and started re-watching the first season of The West Wing. It is a vision – nostalgic, romantic, perhaps never true – of political leadership driven by higher purpose, American ideals, and moral intelligence. It does not pretend that politics can’t be craven, self-serving, and transactional, but the good guys mostly win in The West Wing, the acting is delightful, and Sorkin’s dialogue zings back and forth in the way of classic Hollywood movies of the 50s – smart, quick, funny. It reminds me – as has often happened during our current crisis – that most people are good and want their community to be a better place. When we appeal to our ideals instead of our fears, we are capable of great things. It’s a nice escape.
Archive
February 3, 2020
What I’m listening to:
Spending 21 hours on airplanes (Singapore to Tokyo to Boston) provides lots of time for listening and in an airport shop I picked up a Rolling Stones magazine that listed the top ten albums of the last ten years. I’ve been systematically working through them, starting with Kanye West’s My Beautiful Dark Twisted Fantasy. I just don’t know enough about hip hop and rap to offer any intelligent analysis of the music, and I have always thought of Kanye as kind of crazy (that may still be true), but the music is layered and extravagant and genre-bending. The lyrics seem fascinating and self-reflective, especially around fame and excess and Kanye’s specialty, self-promoting aggrandizement. Too many people I know remain stuck in the music of their youth and while I love those songs too, it feels important to listen to today’s music and what it has to tell us about life and lives far different than our own. And in a case like Twisted Fantasy, it’s just great music and that’s its own justification.
What I’m reading:
I went back to an old favorite, Richard Russo’s Straight Man. If you work in academia, this is a must-read and while written 22 years ago, it still rings true and current. The “hero” of the novel is William Henry Devereaux Jr., the chair of the English Department in a second-tier public university in small-town Pennsylvania. The book is laugh aloud funny (the opening chapter and story about old Red puts me in hysterics every time I read it) and like the best comedy, it taps into the complexity and pains of life in very substantial ways. Devereaux is insufferable in most ways and yet we root for him, mostly because A) he is so damn funny and B) is self-deprecating. But there is also a big heartedness in Russo’s writing and a recognition that everyone is the protagonist of their own story, and life’s essential dramas play out fully in the most modest of places and for the most ordinary of people.
What I’m watching:
I can’t pretend to have an abiding interest in cheerleading, but I devoured the six-episode Netflix series Cheer, about the cheerleading squad at Navarro College, a small two-year college in rural Texas that is a cheerleading powerhouse, winning the National Championship 14 times under the direction of Coach Monica Aldama, the Bill Belichick of cheering. I have a new respect and admiration for the athleticism and demands of cheering (and wonder about the cavalier handling of injuries), but the series is about so much more. It’s about team, about love, about grit and perseverance, bravery, trust, about kids and growing up and loss, and…well, it’s about almost everything and it will make you laugh and cry and exult. It is just terrific.
January 2, 2020
What I’m listening to:
I was never really an Amy Winehouse fan and I don’t listen to much jazz or blue-eyed soul. Recently, eight years after she died at only 27, I heard her single Tears Dry On Their Own and I was hooked (the song was on someone’s “ten things I’d want on a deserted island” list). Since then, I’ve been playing her almost every day. I started the documentary about her, Amy, and stopped. I didn’t much like her. Or, more accurately, I didn’t much like the signals of her own eventual destruction that were evident early on. I think it was D. H. Lawrence that once said “Trust the art, not the artist.” Sometimes it is better not to know too much and just relish the sheer artistry of the work. Winehouse’s Back to Black, which was named one of the best albums of 2007, is as fresh and painful and amazing 13 years later.
What I’m reading:
Alan Bennett’s lovely novella An Uncommon Reader is a what-if tale, wondering what it would mean if Queen Elizabeth II suddenly became a reader. Because of a lucked upon book mobile on palace grounds, she becomes just that, much to the consternation of her staff and with all kinds of delicious consequences, including curiosity, imagination, self-awareness, and growing disregard for pomp. With an ill-framed suggestion, reading becomes writing and provides a surprise ending. For all of us who love books, this is a finely wrought and delightful love poem to the power of books for readers and writers alike. Imagine if all our leaders were readers (sigh).
What I’m watching:
I’m a huge fan of many things – The National, Boston sports teams, BMW motorcycles, Pho – but there is a stage of life, typically adolescence, when fandom changes the universe, provides a lens to finally understand the world and, more importantly, yourself, in profound ways. My wife Pat would say Joni Mitchell did that for her. Gurinder Chadha’s wonderful film Blinded By The Light captures the power of discovery when Javed, the son of struggling Pakistani immigrants in a dead end place during a dead end time (the Thatcher period, from which Britain has never recovered: see Brexit), hears Springsteen and is forever changed. The movie, sometimes musical, sometimes comedy, and often bubbling with energy, has more heft than it might seem at first. There is pain in a father struggling to retain his dignity while he fails to provide, the father and son tension in so many immigrant families (I lived some of that), and what it means to be an outsider in the only culture you actually have ever known.
November 25, 2019
My pop picks are usually a combination of three things: what I am listening to, reading, and watching. But last week I happily combined all three. That is, I went to NYC last week and saw two shows. The first was Cyrano, starring Game of Thrones superstar Peter Dinklage in the title role, with Jasmine Cephas Jones as Roxanne. She was Peggy in the original Hamilton cast and has an amazing voice. The music was written by Aaron and Bryce Dessner, two members of my favorite band, The National, with lyrics by lead singer Matt Berninger and his wife Carin Besser. Erica Schmidt, Dinklage’s wife, directs. Edmond Rostand’s 1897 play is light, dated, and melodramatic, but this production was delightful. Dinklage owns the stage, a master, and his deep bass voice, not all that great for singing, but commanding in the delivery of every line, was somehow a plaintive and resonant counterpoint to Cephas Jones’ soaring voice. In the original Cyrano, the title character’s large nose marks him as outsider and ”other,” but Dinklage was born with achondroplasia, the cause of his dwarfism, and there is a kind of resonance in his performance that feels like pain not acted, but known. Deeply. It takes this rather lightweight play and gives it depth. Even if it didn’t, not everything has to be deep and profound – there is joy in seeing something executed so darn well. Cyrano was delightfully satisfying.
The other show was the much lauded Aaron Sorkin rendition of To Kill a Mockingbird, starring another actor at the very top of his game, Ed Harris. This is a Mockingbird for our times, one in which iconic Atticus Finch’s idealistic “you have to live in someone else’s skin” feels naive in the face of hateful racism and anti-Semitism. The Black characters in the play get more voice, if not agency, in the stage play than they do in the book, especially housekeeper Calpurnia, who voices incredulity at Finch’s faith in his neighbors and reminds us that he does not pay the price of his patience. She does. And Tom Robinson, the Black man falsely accused of rape – “convicted at the moment he was accused,” Whatever West Wing was for Sorkin – and I dearly loved that show – this is a play for a broken United States, where racism abounds and does so with sanction by those in power. As our daughter said, “I think Trump broke Aaron Sorkin.” It was as powerful a thing I’ve seen on stage in years.
With both plays, I was reminded of the magic that is live theater.
October 31, 2019
What I’m listening to:
It drove his critics crazy that Obama was the coolest president we ever had and his summer 2019 playlist on Spotify simply confirms that reality. It has been on repeat for me. From Drake to Lizzo (God I love her) to Steely Dan to Raphael Saadiq to Sinatra (who I skip every time – I’m not buying the nostalgia), his carefully curated list reflects not only his infinite coolness, but the breadth of his interests and generosity of taste. I love the music, but I love even more the image of Michelle and him rocking out somewhere far from Washington’s madness, as much as I miss them both.
What I’m reading:
I struggled with Christy Lefteri’s The Beekeeper of Aleppo for the first 50 pages, worried that she’d drag out every tired trope of Mid-Eastern society, but I fell for her main characters and their journey as refugees from Syria to England. Parts of this book were hard to read and very dark, because that is the plight of so many refugees and she doesn’t shy away from those realities and the enormous toll they take on displaced people. It’s a hard read, but there is light too – in resilience, in love, in friendships, the small tender gestures of people tossed together in a heartless world. Lefteri volunteered in Greek refugee programs, spent a lot of interviewing people, and the book feels true, and importantly, heartfelt.
What I’m watching:
Soap opera meets Shakespeare, deliciously malevolent and operatic, Succession has been our favorite series this season. Loosely based on the Murdochs and their media empire (don’t believe the denials), this was our must watch television on Sunday nights, filling the void left by Game of Thrones. The acting is over-the-top good, the frequent comedy dark, the writing brilliant, and the music superb. We found ourselves quoting lines after every episode. Like the hilarious; “You don’t hear much about syphilis these days. Very much the Myspace of STDs.” Watch it so we can talk about that season 2 finale.
August 30, 2019
What I’m listening to:
I usually go to music here, but the New York Times new 1619 podcast is just terrific, as is the whole project, which observes the sale of the first enslaved human beings on our shores 400 years ago. The first episode, “The Fight for a True Democracy” is a remarkable overview (in a mere 44 minutes) of the centrality of racism and slavery in the American story over those 400 years. It should be mandatory listening in every high school in the country. I’m eager for the next episodes. Side note: I am addicted to The Daily podcast, which gives more color and detail to the NY Times stories I read in print (yes, print), and reminds me of how smart and thoughtful are those journalists who give us real news. We need them now more than ever.
What I’m reading:
Colson Whitehead has done it again. The Nickel Boys, his new novel, is a worthy successor to his masterpiece The Underground Railroad, and because it is closer to our time, based on the real-life horrors of a Florida reform school, and written a time of resurgent White Supremacy, it hits even harder and with more urgency than its predecessor. Maybe because we can read Underground Railroad with a sense of “that was history,” but one can’t read Nickel Boys without the lurking feeling that such horrors persist today and the monsters that perpetrate such horrors walk among us. They often hold press conferences.
What I’m watching:
Queer Eye, the Netflix remake of the original Queer Eye for the Straight Guy some ten years later, is wondrously entertaining, but it also feels adroitly aligned with our dysfunctional times. Episode three has a conversation with Karamo Brown, one of the fab five, and a Georgia small town cop (and Trump supporter) that feels unscripted and unexpected and reminds us of how little actual conversation seems to be taking place in our divided country. Oh, for more car rides such as the one they take in that moment, when a chasm is bridged, if only for a few minutes. Set in the South, it is often a refreshing and affirming response to what it means to be male at a time of toxic masculinity and the overdue catharsis and pain of the #MeToo movement. Did I mention? It’s really fun.
July 1, 2019
What I’m listening to:
The National remains my favorite band and probably 50% of my listening time is a National album or playlist. Their new album I Am Easy To Find feels like a turning point record for the band, going from the moody, outsider introspection and doubt of lead singer Matt Berninger to something that feels more adult, sophisticated, and wiser. I might have titled it Women Help The Band Grow Up. Matt is no longer the center of The National’s universe and he frequently cedes the mic to the many women who accompany and often lead on the long, their longest, album. They include Gail Ann Dorsey (who sang with Bowie for a long time), who is amazing, and a number of the songs were written by Carin Besser, Berninger’s wife. I especially love the Brooklyn Youth Chorus, the arrangements, and the sheer complexity and coherence of the work. It still amazes me when I meet someone who does not know The National. My heart breaks for them just a little.
What I’m reading:
Pat Barker’s The Silence of the Girls��is a retelling of Homer’s Iliad through the lens of a captive Trojan queen, Briseis. As a reviewer in The Atlantic writes, it answers the question “What does war mean to women?” We know the answer and it has always been true, whether it is the casual and assumed rape of captive women in this ancient war story or the use of rape in modern day Congo, Syria, or any other conflict zone. Yet literature almost never gives voice to the women – almost always minor characters at best — and their unspeakable suffering. Barker does it here for Briseis, for Hector’s wife Andromache, and for the other women who understand that the death of their men is tragedy, but what they then endure is worse. Think of it ancient literature having its own #MeToo moment. The NY Times’ Geraldine Brooks did not much like the novel. I did. Very much.
What I’m watching:
The BBC-HBO limited series Years and Years is breathtaking, scary, and absolutely familiar. It’s as if Black Mirrorand Children of Men had a baby and it precisely captures the zeitgeist, the current sense that the world is spinning out of control and things are coming at us too fast. It is a near future (Trump has been re-elected and Brexit has occurred finally)…not dystopia exactly, but damn close. The closing scene of last week’s first episode (there are 6 episodes and it’s on every Monday) shows nuclear war breaking out between China and the U.S. Yikes! The scope of this show is wide and there is a big, baggy feel to it – but I love the ambition even if I’m not looking forward to the nightmares.
May 19, 2019
What I’m listening to:
I usually go to music here, but I was really moved by this podcast of a Davis Brooks talk at the Commonwealth Club in Silicon Valley: https://www.commonwealthclub.org/events/archive/podcast/david-brooks-quest-moral-life. While I have long found myself distant from his political stance, he has come through a dark night of the soul and emerged with a wonderful clarity about calling, community, and not happiness (that most superficial of goals), but fulfillment and meaning, found in community and human kinship of many kinds. I immediately sent it to my kids.
What I’m reading:
Susan Orlean’s wonderful The Library Book, a love song to libraries told through the story of the LA Central Library. It brought back cherished memories of my many hours in beloved libraries — as a kid in the Waltham Public Library, a high schooler in the Farber Library at Brandeis (Lil Farber years later became a mentor of mine), and the cathedral-like Bapst Library at BC when I was a graduate student. Yes, I was a nerd. This is a love song to books certainly, but a reminder that libraries are so, so much more. It is a reminder that libraries are less about a place or being a repository of information and, like America at its best, an idea and ideal. By the way, oh to write like her.
What I’m watching:
What else? Game of Thrones, like any sensible human being. This last season is disappointing in many ways and the drop off in the writing post George R.R. Martin is as clear as was the drop off in the post-Sorkin West Wing. I would be willing to bet that if Martin has been writing the last season, Sansa and Tyrion would have committed suicide in the crypt. That said, we fans are deeply invested and even the flaws are giving us so much to discuss and debate. In that sense, the real gift of this last season is the enjoyment between episodes, like the old pre-streaming days when we all arrived at work after the latest episode of the Sopranos to discuss what we had all seen the night before. I will say this, the last two episodes — full of battle and gore – have been visually stunning. Whether the torches of the Dothraki being extinguished in the distance or Arya riding through rubble and flame on a white horse, rarely has the series ascended to such visual grandeur.
March 28, 2019
What I’m listening to:
There is a lovely piece played in a scene from A Place Called Home that I tracked down. It’s Erik Satie’s 3 Gymnopédies: Gymnopédie No. 1, played by the wonderful pianist Klára Körmendi. Satie composed this piece in 1888 and it was considered avant-garde and anti-Romantic. It’s minimalism and bit of dissonance sound fresh and contemporary to my ears and while not a huge Classical music fan, I’ve fallen in love with the Körmendi playlist on Spotify. When you need an alternative to hours of Cardi B.
What I’m reading:
Just finished Esi Edugyan’s 2018 novel Washington Black. Starting on a slave plantation in Barbados, it is a picaresque novel that has elements of Jules Verne, Moby Dick, Frankenstein, and Colson Whitehead’s Underground Railroad. Yes, it strains credulity and there are moments of “huh?”, but I loved it (disclosure: I was in the minority among my fellow book club members) and the first third is a searing depiction of slavery. It’s audacious, sprawling (from Barbados to the Arctic to London to Africa), and the writing, especially about nature, luminous.
What I’m watching:
A soap opera. Yes, I’d like to pretend it’s something else, but we are 31 episodes into the Australian drama A Place Called Home and we are so, so addicted. Like “It’s AM, but can’t we watch just one more episode?” addicted. Despite all the secrets, cliff hangers, intrigue, and “did that just happen?” moments, the core ingredients of any good soap opera, APCH has superb acting, real heft in terms of subject matter (including homophobia, anti-Semitism, sexual assault, and class), touches of our beloved Downton Abbey, and great cars. Beware. If you start, you won’t stop.
February 11, 2019
What I’m listening to:
Raphael Saadiq has been around for quite a while, as a musician, writer, and producer. He’s new to me and I love his old school R&B sound. Like Leon Bridges, he brings a contemporary freshness to the genre, sounding like a young Stevie Wonder (listen to “You’re The One That I Like”). Rock and Roll may be largely dead, but R&B persists – maybe because the former was derivative of the latter and never as good (and I say that as a Rock and Roll fan). I’m embarrassed to only have discovered Saadiq so late in his career, but it’s a delight to have done so.
What I’m reading:
Just finished Marilynne Robinson’s Home, part of her trilogy that includes the Pulitzer Prize winning first novel, Gilead, and the book after Home, Lila. Robinson is often described as a Christian writer, but not in a conventional sense. In this case, she gives us a modern version of the prodigal son and tells the story of what comes after he is welcomed back home. It’s not pretty. Robinson is a self-described Calvinist, thus character begets fate in Robinson’s world view and redemption is at best a question. There is something of Faulkner in her work (I am much taken with his famous “The past is never past” quote after a week in the deep South), her style is masterful, and like Faulkner, she builds with these three novels a whole universe in the small town of Gilead. Start with Gilead to better enjoy Home.
What I’m watching:
Sex Education was the most fun series we’ve seen in ages and we binged watched it on Netflix. A British homage to John Hughes films like The Breakfast Club, Ferris Bueller’s Day Off, and Pretty in Pink, it feels like a mash up of American and British high schools. Focusing on the relationship of Maeve, the smart bad girl, and Otis, the virginal and awkward son of a sex therapist (played with brilliance by Gillian Anderson), it is laugh aloud funny and also evolves into more substance and depth (the abortion episode is genius). The sex scenes are somehow raunchy and charming and inoffensive at the same time and while ostensibly about teenagers (it feels like it is explaining contemporary teens to adults in many ways), the adults are compelling in their good and bad ways. It has been renewed for a second season, which is a gift.
January 3, 2019
What I’m listening to:
My listening choices usually refer to music, but this time I’m going with Malcolm Gladwell’s Revisionist History podcast on genius and the song Hallelujah. It tells the story of Leonard Cohen’s much-covered song Hallelujah and uses it as a lens on kinds of genius and creativity. Along the way, he brings in Picasso and Cézanne, Elvis Costello, and more. Gladwell is a good storyteller and if you love pop music, as I do, and Hallelujah, as I do (and you should), you’ll enjoy this podcast. We tend to celebrate the genius who seems inspired in the moment, creating new work like lightning strikes, but this podcast has me appreciating incremental creativity in a new way. It’s compelling and fun at the same time.
What I’m reading:
Just read Clay Christensen’s new book, The Prosperity Paradox: How Innovation Can Lift Nations Out of Poverty. This was an advance copy, so soon available. Clay is an old friend and a huge influence on how we have grown SNHU and our approach to innovation. This book is so compelling, because we know attempts at development have so often been a failure and it is often puzzling to understand why some countries with desperate poverty and huge challenges somehow come to thrive (think S. Korea, Singapore, 19th C. America), while others languish. Clay offers a fresh way of thinking about development through the lens of his research on innovation and it is compelling. I bet this book gets a lot of attention, as most of his work does. I also suspect that many in the development community will hate it, as it calls into question the approach and enormous investments we have made in an attempt to lift countries out of poverty. A provocative read and, as always, Clay is a good storyteller.
What I’m watching:
Just watched Leave No Trace and should have guessed that it was directed by Debra Granik. She did Winter’s Bone, the extraordinary movie that launched Jennifer Lawrence’s career. Similarly, this movie features an amazing young actor, Thomasin McKenzie, and visits lives lived on the margins. In this case, a veteran suffering PTSD, and his 13-year-old daughter. The movie is patient, is visually lush, and justly earned 100% on Rotten Tomatoes (I have a rule to never watch anything under 82%). Everything in this film is under control and beautifully understated (aside from the visuals) – confident acting, confident directing, and so humane. I love the lack of flashbacks, the lack of sensationalism – the movie trusts the viewer, rare in this age of bombast. A lovely film.
December 4, 2018
What I’m listening to:
Spending a week in New Zealand, we had endless laughs listening to the Kiwi band, Flight of the Conchords. Lots of comedic bands are funny, but the music is only okay or worse. These guys are funny – hysterical really – and the music is great. They have an uncanny ability to parody almost any style. In both New Zealand and Australia, we found a wry sense of humor that was just delightful and no better captured than with this duo. You don’t have to be in New Zealand to enjoy them.
What I’m reading:
I don’t often reread. For two reasons: A) I have so many books on my “still to be read” pile that it seems daunting to also rereadbooks I loved before, and B) it’s because I loved them once that I’m a little afraid to read them again. That said, I was recently asked to list my favorite book of all time and I answered Leo Tolstoy’s Anna Karenina. But I don’t really know if that’s still true (and it’s an impossible question anyway – favorite book? On what day? In what mood?), so I’m rereading it and it feels like being with an old friend. It has one of my very favorite scenes ever: the card game between Levin and Kitty that leads to the proposal and his joyous walking the streets all night.
What I’m watching:
Blindspotting is billed as a buddy-comedy. Wow does that undersell it and the drama is often gripping. I loved Daveed Diggs in Hamilton, didn’t like his character in Black-ish, and think he is transcendent in this film he co-wrote with Rafael Casal, his co-star. The film is a love song to Oakland in many ways, but also a gut-wrenching indictment of police brutality, systemic racism and bias, and gentrification. The film has the freshness and raw visceral impact of Spike Lee’s Do the Right Thing. A great soundtrack, genre mixing, and energy make it one of my favorite movies of 2018.
October 15, 2018
What I’m listening to:
We had the opportunity to see our favorite band, The National, live in Dallas two weeks ago.��Just after watching Mistaken for Strangers, the documentary sort of about the band. So we’ve spent a lot of time going back into their earlier work, listening to songs we don’t know well, and reaffirming that their musicality, smarts, and sound are both original and astoundingly good. They did not disappoint in concert and it is a good thing their tour ended, as we might just spend all of our time and money following them around. Matt Berninger is a genius and his lead vocals kill me (and because they are in my range, I can actually sing along!). Their arrangements are profoundly good and go right to whatever brain/heart wiring that pulls one in and doesn’t let them go.
What I’m reading:
Who is Richard Powers and why have I only discovered him now, with his 12th book? Overstory is profoundly good, a book that is essential and powerful and makes me look at my everyday world in new ways. In short, a dizzying example of how powerful can be narrative in the hands of a master storyteller. I hesitate to say it’s the best environmental novel I’ve ever read (it is), because that would put this book in a category. It is surely about the natural world, but it is as much about we humans. It’s monumental and elegiac and wondrous at all once. Cancel your day’s schedule and read it now. Then plant a tree. A lot of them.
What I’m watching:
Bo Burnham wrote and directed Eighth Grade and Elsie Fisher is nothing less than amazing as its star (what’s with these new child actors; see Florida Project). It’s funny and painful and touching. It’s also the single best film treatment that I have seen of what it means to grow up in a social media shaped world. It’s a reminder that growing up is hard. Maybe harder now in a world of relentless, layered digital pressure to curate perfect lives that are far removed from the natural messy worlds and selves we actually inhabit. It’s a well-deserved 98% on Rotten Tomatoes and I wonder who dinged it for the missing 2%.
September 7, 2018
What I’m listening to:
With a cover pointing back to the Beastie Boys’ 1986 Licensed to Ill, Eminem’s quietly released Kamikaze is not my usual taste, but I’ve always admired him for his “all out there” willingness to be personal, to call people out, and his sheer genius with language. I thought Daveed Diggs could rap fast, but Eminem is supersonic at moments, and still finds room for melody. Love that he includes Joyner Lucas, whose “I’m Not Racist” gets added to the growing list of simply amazing music videos commenting on race in America. There are endless reasons why I am the least likely Eminem fan, but when no one is around to make fun of me, I’ll put it on again.
What I’m reading:
Lesley Blume’s Everyone Behaves Badly, which is the story behind Hemingway’s The Sun Also Rises and his time in 1920s Paris (oh, what a time – see Midnight in Paris if you haven’t already). Of course, Blume disabuses my romantic ideas of that time and place and everyone is sort of (or profoundly so) a jerk, especially…no spoiler here…Hemingway. That said, it is a compelling read and coming off the Henry James inspired prose of Mrs. Osmond, it made me appreciate more how groundbreaking was Hemingway’s modern prose style. Like his contemporary Picasso, he reinvented the art and it can be easy to forget, these decades later, how profound was the change and its impact. And it has bullfights.
What I’m watching:
Chloé Zhao’s The Rider is just exceptional. It’s filmed on the Pine Ridge Reservation, which provides a stunning landscape, and it feels like a classic western reinvented for our times. The main characters are played by the real-life people who inspired this narrative (but feels like a documentary) film. Brady Jandreau, playing himself really, owns the screen. It’s about manhood, honor codes, loss, and resilience – rendered in sensitive, nuanced, and heartfelt ways. It feels like it could be about large swaths of America today. Really powerful.
August 16, 2018
What I’m listening to:
In my Spotify Daily Mix was Percy Sledge’s When A Man Loves A Woman, one of the world’s greatest love songs. Go online and read the story of how the song was discovered and recorded. There are competing accounts, but Sledge said he improvised it after a bad breakup. It has that kind of aching spontaneity. It is another hit from Muscle Shoals, Alabama, one of the GREAT music hotbeds, along with Detroit, Nashville, and Memphis. Our February Board meeting is in Alabama and I may finally have to do the pilgrimage road trip to Muscle Shoals and then Memphis, dropping in for Sunday services at the church where Rev. Al Green still preaches and sings. If the music is all like this, I will be saved.
What I’m reading:
John Banville’s Mrs. Osmond, his homage to literary idol Henry James and an imagined sequel to James’ 1881 masterpiece Portrait of a Lady. Go online and read the first paragraph of Chapter 25. He is…profoundly good. Makes me want to never write again, since anything I attempt will feel like some other, lowly activity in comparison to his mastery of language, image, syntax. This is slow reading, every sentence to be savored.
What I’m watching:
I’ve always respected Supreme Court Justice Ruth Bader Ginsburg, but we just watched the documentary RGB. It is over-the-top great and she is now one of my heroes. A superwoman in many ways and the documentary is really well done. There are lots of scenes of her speaking to crowds and the way young women, especially law students, look at her is touching. And you can’t help but fall in love with her now late husband Marty. See this movie and be reminded of how important is the Law.
July 23, 2018
What I’m listening to:
Spotify’s Summer Acoustic playlist has been on repeat quite a lot. What a fun way to listen to artists new to me, including The Paper Kites, Hollow Coves, and Fleet Foxes, as well as old favorites like Leon Bridges and Jose Gonzalez. Pretty chill when dialing back to a summer pace, dining on the screen porch or reading a book.
What I’m reading:
Bryan Stevenson’s Just Mercy. Founder of the Equal Justice Initiative, Stevenson tells of the racial injustice (and the war on the poor our judicial system perpetuates as well) that he discovered as a young graduate from Harvard Law School and his fight to address it. It is in turn heartbreaking, enraging, and inspiring. It is also about mercy and empathy and justice that reads like a novel. Brilliant.
What I’m watching:
Fauda. We watched season one of this Israeli thriller. It was much discussed in Israel because while it focuses on an ex-special agent who comes out of retirement to track down a Palestinian terrorist, it was willing to reveal the complexity, richness, and emotions of Palestinian lives. And the occasional brutality of the Israelis. Pretty controversial stuff in Israel. Lior Raz plays Doron, the main character, and is compelling and tough and often hard to like. He’s a mess. As is the world in which he has to operate. We really liked it, and also felt guilty because while it may have been brave in its treatment of Palestinians within the Israeli context, it falls back into some tired tropes and ultimately falls short on this front.
June 11, 2018
What I’m listening to:
Like everyone else, I’m listening to Pusha T drop the mic on Drake. Okay, not really, but do I get some points for even knowing that? We all walk around with songs that immediately bring us back to a time or a place. Songs are time machines. We are coming up on Father’s Day. My own dad passed away on Father’s Day back in 1994 and I remembering dutifully getting through the wake and funeral and being strong throughout. Then, sitting alone in our kitchen, Don Henley’s The End of the Innocence came on and I lost it. When you lose a parent for the first time (most of us have two after all) we lose our innocence and in that passage, we suddenly feel adult in a new way (no matter how old we are), a longing for our own childhood, and a need to forgive and be forgiven. Listen to the lyrics and you’ll understand. As Wordsworth reminds us in In Memoriam, there are seasons to our grief and, all these years later, this song no longer hits me in the gut, but does transport me back with loving memories of my father. I’ll play it Father’s Day.
What I’m reading:
The Fifth Season, by N. K. Jemisin. I am not a reader of fantasy or sci-fi, though I understand they can be powerful vehicles for addressing the very real challenges of the world in which we actually live. I’m not sure I know of a more vivid and gripping illustration of that fact than N. K. Jemisin’s Hugo Award winning novel The Fifth Season, first in her Broken Earth trilogy. It is astounding. It is the fantasy parallel to The Underground Railroad, my favorite recent read, a depiction of subjugation, power, casual violence, and a broken world in which our hero(s) struggle, suffer mightily, and still, somehow, give us hope. It is a tour de force book. How can someone be this good a writer? The first 30 pages pained me (always with this genre, one must learn a new, constructed world, and all of its operating physics and systems of order), and then I could not put it down. I panicked as I neared the end, not wanting to finish the book, and quickly ordered the Obelisk Gate, the second novel in the trilogy, and I can tell you now that I’ll be spending some goodly portion of my weekend in Jemisin’s other world.
What I’m watching:
The NBA Finals and perhaps the best basketball player of this generation. I’ve come to deeply respect LeBron James as a person, a force for social good, and now as an extraordinary player at the peak of his powers. His superhuman play during the NBA playoffs now ranks with the all-time greats, Larry Bird, Magic Johnson, MJ, Kobe, and the demi-god that was Bill Russell. That his Cavs lost in a 4-game sweep is no surprise. It was a mediocre team being carried on the wide shoulders of James (and matched against one of the greatest teams ever, the Warriors, and the Harry Potter of basketball, Steph Curry) and, in some strange way, his greatness is amplified by the contrast with the rest of his team. It was a great run.
May 24, 2018
What I’m listening to:
I’ve always liked Alicia Keys and admired her social activism, but I am hooked on her last album Here. This feels like an album finally commensurate with her anger, activism, hope, and grit. More R&B and Hip Hop than is typical for her, I think this album moves into an echelon inhabited by a Marvin Gaye’s What’s Going On or Beyonce’s Formation. Social activism and outrage rarely make great novels, but they often fuel great popular music. Here is a terrific example.
What I’m reading:
Colson Whitehead’s Underground Railroad may be close to a flawless novel. Winner of the 2017 Pulitzer, it chronicles the lives of two runaway slaves, Cora and Caeser, as they try to escape the hell of plantation life in Georgia. It is an often searing novel and Cora is one of the great heroes of American literature. I would make this mandatory reading in every high school in America, especially in light of the absurd revisionist narratives of “happy and well cared for” slaves. This is a genuinely great novel, one of the best I’ve read, the magical realism and conflating of time periods lifts it to another realm of social commentary, relevance, and a blazing indictment of America’s Original Sin, for which we remain unabsolved.
What I’m watching:
I thought I knew about The Pentagon Papers, but The Post, a real-life political thriller from Steven Spielberg taught me a lot, features some of our greatest actors, and is so timely given the assault on our democratic institutions and with a presidency out of control. It is a reminder that a free and fearless press is a powerful part of our democracy, always among the first targets of despots everywhere. The story revolves around the legendary Post owner and D.C. doyenne, Katharine Graham. I had the opportunity to see her son, Don Graham, right after he saw the film, and he raved about Meryl Streep’s portrayal of his mother. Liked it a lot more than I expected.
April 27, 2018
What I’m listening to:
I mentioned John Prine in a recent post and then on the heels of that mention, he has released a new album, The Tree of Forgiveness, his first new album in ten years. Prine is beloved by other singer songwriters and often praised by the inscrutable God that is Bob Dylan. Indeed, Prine was frequently said to be the “next Bob Dylan” in the early part of his career, though he instead carved out his own respectable career and voice, if never with the dizzying success of Dylan. The new album reflects a man in his 70s, a cancer survivor, who reflects on life and its end, but with the good humor and empathy that are hallmarks of Prine’s music. “When I Get To Heaven” is a rollicking, fun vision of what comes next and a pure delight. A charming, warm, and often terrific album.
What I’m reading:
I recently read Min Jin Lee’s Pachinko, on many people’s Top Ten lists for last year and for good reason. It is sprawling, multi-generational, and based in the world of Japanese occupied Korea and then in the Korean immigrant’s world of Oaska, so our key characters become “tweeners,�� accepted in neither world. It’s often unspeakably sad, and yet there is resiliency and love. There is also intimacy, despite the time and geographic span of the novel. It’s breathtakingly good and like all good novels, transporting.
What I’m watching:
I adore Guillermo del Toro’s 2006 film, Pan’s Labyrinth, and while I’m not sure his Shape of Water is better, it is a worthy follow up to the earlier masterpiece (and more of a commercial success). Lots of critics dislike the film, but I’m okay with a simple retelling of a Beauty and the Beast love story, as predictable as it might be. The acting is terrific, it is visually stunning, and there are layers of pain as well as social and political commentary (the setting is the US during the Cold War) and, no real spoiler here, the real monsters are humans, the military officer who sees over the captured aquatic creature. It is hauntingly beautiful and its depiction of hatred to those who are different or “other” is painfully resonant with the time in which we live. Put this on your “must see” list.
March 18, 2018
What I’m listening to:
Sitting on a plane for hours (and many more to go; geez, Australia is far away) is a great opportunity to listen to new music and to revisit old favorites. This time, it is Lucy Dacus and her album Historians, the new sophomore release from a 22-year old indie artist that writes with relatable, real-life lyrics. Just on a second listen and while she insists this isn’t a break up record (as we know, 50% of all great songs are break up songs), it is full of loss and pain. Worth the listen so far. For the way back machine, it’s John Prine and In Spite of Ourselves (that title track is one of the great love songs of all time), a collection of duets with some of his “favorite girl singers” as he once described them. I have a crush on Iris Dement (for a really righteously angry song try her Wasteland of the Free), but there is also EmmyLou Harris, the incomparable Dolores Keane, and Lucinda Williams. Very different albums, both wonderful.
What I’m reading:
Jane Mayer’s New Yorker piece on Christopher Steele presents little that is new, but she pulls it together in a terrific and coherent whole that is illuminating and troubling at the same time. Not only for what is happening, but for the complicity of the far right in trying to discredit that which should be setting off alarm bells everywhere. Bob Mueller may be the most important defender of the democracy at this time. A must read.
What I’m watching:
Homeland is killing it this season and is prescient, hauntingly so. Russian election interference, a Bannon-style hate radio demagogue, alienated and gun toting militia types, and a president out of control. It’s fabulous, even if it feels awfully close to the evening news.
March 8, 2018
What I’m listening to:
We have a family challenge to compile our Top 100 songs. It is painful. Only 100? No more than three songs by one artist? Wait, why is M.I.A.’s “Paper Planes” on my list? Should it just be The Clash from whom she samples? Can I admit to guilty pleasure songs? Hey, it’s my list and I can put anything I want on it. So I’m listening to the list while I work and the song playing right now is Tom Petty’s “The Wild One, Forever,” a B-side single that was never a hit and that remains my favorite Petty song. Also, “Evangeline” by Los Lobos. It evokes a night many years ago, with friends at Pearl Street in Northampton, MA, when everyone danced well past 1AM in a hot, sweaty, packed club and the band was a revelation. Maybe the best music night of our lives and a reminder that one’s 100 Favorite Songs list is as much about what you were doing and where you were in your life when those songs were playing as it is about the music. It’s not a list. It’s a soundtrack for this journey.
What I’m reading:
Patricia Lockwood’s Priestdaddy was in the NY Times top ten books of 2017 list and it is easy to see why. Lockwood brings remarkable and often surprising imagery, metaphor, and language to her prose memoir and it actually threw me off at first. It then all became clear when someone told me she is a poet. The book is laugh aloud funny, which masks (or makes safer anyway) some pretty dark territory. Anyone who grew up Catholic, whether lapsed or not, will resonate with her story. She can’t resist a bawdy anecdote and her family provides some of the most memorable characters possible, especially her father, her sister, and her mother, who I came to adore. Best thing I’ve read in ages.
What I’m watching:
The Florida Project, a profoundly good movie on so many levels. Start with the central character, six-year old (at the time of the filming) Brooklynn Prince, who owns – I mean really owns – the screen. This is pure acting genius and at that age? Astounding. Almost as astounding is Bria Vinaite, who plays her mother. She was discovered on Instagram and had never acted before this role, which she did with just three weeks of acting lessons. She is utterly convincing and the tension between the child’s absolute wonder and joy in the world with her mother’s struggle to provide, to be a mother, is heartwarming and heartbreaking all at once. Willem Dafoe rightly received an Oscar nomination for his supporting role. This is a terrific movie.
February 12, 2018
What I’m listening to:
So, I have a lot of friends of age (I know you’re thinking 40s, but I just turned 60) who are frozen in whatever era of music they enjoyed in college or maybe even in their thirties. There are lots of times when I reach back into the catalog, since music is one of those really powerful and transporting senses that can take you through time (smell is the other one, though often underappreciated for that power). Hell, I just bought a turntable and now spending time in vintage vinyl shops. But I’m trying to take a lesson from Pat, who revels in new music and can as easily talk about North African rap music and the latest National album as Meet the Beatles, her first ever album. So, I’ve been listening to Kendrick Lamar’s Grammy winning Damn. While it may not be the first thing I’ll reach for on a winter night in Maine, by the fire, I was taken with it. It’s layered, political, and weirdly sensitive and misogynist at the same time, and it feels fresh and authentic and smart at the same time, with music that often pulled me from what I was doing. In short, everything music should do. I’m not a bit cooler for listening to Damn, but when I followed it with Steely Dan, I felt like I was listening to Lawrence Welk. A good sign, I think.
What I’m reading:
I am reading Walter Isaacson’s new biography of Leonardo da Vinci. I’m not usually a reader of biographies, but I’ve always been taken with Leonardo. Isaacson does not disappoint (does he ever?), and his subject is at once more human and accessible and more awe-inspiring in Isaacson’s capable hands. Gay, left-handed, vegetarian, incapable of finishing things, a wonderful conversationalist, kind, and perhaps the most relentlessly curious human being who has ever lived. Like his biographies of Steve Jobs and Albert Einstein, Isaacson’s project here is to show that genius lives at the intersection of science and art, of rationality and creativity. Highly recommend it.
What I’m watching:
We watched the This Is Us post-Super Bowl episode, the one where Jack finally buys the farm. I really want to hate this show. It is melodramatic and manipulative, with characters that mostly never change or grow, and it hooks me every damn time we watch it. The episode last Sunday was a tear jerker, a double whammy intended to render into a blubbering, tissue-crumbling pathetic mess anyone who has lost a parent or who is a parent. Sterling K. Brown, Ron Cephas Jones, the surprising Mandy Moore, and Milo Ventimiglia are hard not to love and last season’s episode that had only Brown and Cephas going to Memphis was the show at its best (they are by far the two best actors). Last week was the show at its best worst. In other words, I want to hate it, but I love it. If you haven’t seen it, don’t binge watch it. You’ll need therapy and insulin.
January 15, 2018
What I’m listening to:
Drive-By Truckers. Chris Stapleton has me on an unusual (for me) country theme and I discovered these guys to my great delight. They’ve been around, with some 11 albums, but the newest one is fascinating. It’s a deep dive into Southern alienation and the white working-class world often associated with our current president. I admire the willingness to lay bare, in kick ass rock songs, the complexities and pain at work among people we too quickly place into overly simple categories. These guys are brave, bold, and thoughtful as hell, while producing songs I didn’t expect to like, but that I keep playing. And they are coming to NH.
What I’m reading:
A textual analog to Drive-By Truckers by Chris Stapleton in many ways is Tony Horowitz’s 1998 Pulitzer Prize winning Confederates in the Attic. Ostensibly about the Civil War and the South’s ongoing attachment to it, it is prescient and speaks eloquently to the times in which we live (where every southern state but Virginia voted for President Trump). Often hilarious, it too surfaces complexities and nuance that escape a more recent, and widely acclaimed, book like Hillbilly Elegy. As a Civil War fan, it was also astonishing in many instances, especially when it blows apart long-held “truths” about the war, such as the degree to which Sherman burned down the south (he did not). Like D-B Truckers, Horowitz loves the South and the people he encounters, even as he grapples with its myths of victimhood and exceptionalism (and racism, which may be no more than the racism in the north, but of a different kind). Everyone should read this book and I’m embarrassed I’m so late to it.
What I’m watching:
David Letterman has a new Netflix show called “My Next Guest Needs No Introduction” and we watched the first episode, in which Letterman interviewed Barack Obama. It was extraordinary (if you don’t have Netflix, get it just to watch this show); not only because we were reminded of Obama’s smarts, grace, and humanity (and humor), but because we saw a side of Letterman we didn’t know existed. His personal reflections on Selma were raw and powerful, almost painful. He will do five more episodes with “extraordinary individuals” and if they are anything like the first, this might be the very best work of his career and one of the best things on television.
December 22, 2017
What I’m reading:
Just finished Sunjeev Sahota’s Year of the Runaways, a painful inside look at the plight of illegal Indian immigrant workers in Britain. It was shortlisted for 2015 Man Booker Prize and its transporting, often to a dark and painful universe, and it is impossible not to think about the American version of this story and the terrible way we treat the undocumented in our own country, especially now.
What I’m watching:
Season II of The Crown is even better than Season I. Elizabeth’s character is becoming more three-dimensional, the modern world is catching up with tradition-bound Britain, and Cold War politics offer more context and tension than we saw in Season I. Claire Foy, in her last season, is just terrific – one arched eye brow can send a message.
What I’m listening to:
A lot of Christmas music, but needing a break from the schmaltz, I’ve discovered Over the Rhine and their Christmas album, Snow Angels. God, these guys are good.
November 14, 2017
What I’m watching:
Guiltily, I watch the Patriots play every weekend, often building my schedule and plans around seeing the game. Why the guilt? I don’t know how morally defensible is football anymore, as we now know the severe damage it does to the players. We can’t pretend it’s all okay anymore. Is this our version of late decadent Rome, watching mostly young Black men take a terrible toll on each other for our mere entertainment?
What I’m reading:
Recently finished J.G. Ballard’s 2000 novel Super-Cannes, a powerful depiction of a corporate-tech ex-pat community taken over by a kind of psychopathology, in which all social norms and responsibilities are surrendered to residents of the new world community. Kept thinking about Silicon Valley when reading it. Pretty dark, dystopian view of the modern world and centered around a mass killing, troublingly prescient.
What I’m listening to:
Was never really a Lorde fan, only knowing her catchy (and smarter than you might first guess) pop hit “Royals” from her debut album. But her new album, Melodrama, is terrific and it doesn’t feel quite right to call this “pop.” There is something way more substantial going on with Lorde and I can see why many critics put this album at the top of their Best in 2017 list. Count me in as a huge fan.
November 3, 2017
What I’m reading:
Just finished Celeste Ng’s Little Fires Everywhere, her breathtakingly good second novel. How is someone so young so wise? Her writing is near perfection and I read the book in two days, setting my alarm for 4:30AM so I could finish it before work.
What I’m watching:
We just binge watched season two of Stranger Things and it was worth it just to watch Millie Bobbie Brown, the transcendent young actor who plays Eleven. The series is a delightful mash up of every great eighties horror genre you can imagine and while pretty dark, an absolute joy to watch.
What I’m listening to:
I’m not a lover of country music (to say the least), but I love Chris Stapleton. His “The Last Thing I Needed, First Thing This Morning” is heartbreakingly good and reminds me of the old school country that played in my house as a kid. He has a new album and I can’t wait, but his From A Room: Volume 1 is on repeat for now.
September 26, 2017
What I’m reading:
Just finished George Saunder’s Lincoln in the Bardo. It took me a while to accept its cadence and sheer weirdness, but loved it in the end. A painful meditation on loss and grief, and a genuinely beautiful exploration of the intersection of life and death, the difficulty of letting go of what was, good and bad, and what never came to be.
What I’m watching:
HBO’s The Deuce. Times Square and the beginning of the porn industry in the 1970s, the setting made me wonder if this was really something I’d want to see. But David Simon is the writer and I’d read a menu if he wrote it. It does not disappoint so far and there is nothing prurient about it.
What I’m listening to:
The National’s new album Sleep Well Beast. I love this band. The opening piano notes of the first song, “Nobody Else Will Be There,” seize me & I’m reminded that no one else in music today matches their arrangement & musicianship. I’m adding “Born to Beg,” “Slow Show,” “I Need My Girl,” and “Runaway” to my list of favorite love songs.
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Where can i find cheap car insurance for over 25′s first time buyers?
Where can i find cheap car insurance for over 25 s first time buyers?
Where can i find cheap car insurance for over 25 s first time buyers?
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Where can i find cheap car insurance for over 25 s first time buyers?
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