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dustedmagazine · 1 year

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“Everybody Hollerin’ GOAT” — Derek Taylor’s 2022

I’ve been reverentially pilfering Bill Steber’s photos as visual ledes for as long as I’ve been writing these Year End paeans (the first was in 2003, making this one the nineteenth). There’s something about Steber’s keen eye for negative space, composition and context that makes me think of Blue Note’s Francis Wolff, if transplanted to the Mississippi hill country. No blues to speak of in the stack of recordings this time around, at least as sourced from that legendary, loamy region, but still lots that’s helped keep my head screwed on and faculties relatively fog-free over the past twelve-months.

Wadada Leo Smith

Smith’s ascendance to octogenarian eminence was simply too merry and momentous an occasion to be contained to a single year. As the concluding two entries in a hexalogy of releases on the Finnish TUM label highlighting facets of his multifarious output, Emerald Duets and String Quartets, Nos. 1-12 dropped in May and were also arguably the most ambitious. The Dusted bullpen collectively dug in on both sets in a rousing Listening Post roundtable that forgivably favored the more accessible exploratory encounters with drummers Jack DeJohnette, Andrew Cyrille, Han Bennink and Pheeroan AkLaff.

Joe McPhee

The Powerhouse from Poughkeepsie turned 83 years young in November and as with past years his productive spirit appears immune to enervation or ennui. Ensemble efforts like Survival Unit III’s The Art of Flight (Astral Spirits/Instigation) and Pride of Lion’s No Question No Answers (RogueArt) continue to be the common currency of his artistic realm, but McPhee also found aegis for the release of exhilarating duets with cellist (and freshly-minted MacArthur “genius”) Tomeka Reid (Let Our Rejoicing Rise) and British sax eidolon Evan Parker (Sweet Nothings (For Milford Graves), both pressed on the prolific Corbett vs. Dempsey imprint (see below).

Peter Brötzmann

Speaking again of unstoppable octogenarians, Herr Brötzmann came out of COVID isolation with renewed vigor and a concert calendar still compellingly competitive with musicians a fraction his age. New entries in his edifice-sized discography weren’t nearly as plentiful, but a pair of archival releases still packed a gobsmacking punch. Historic Music Past Tense Future (Black Editions Archive) drops the German reedist and bassist William Parker into the precision polyrhythmic maelstrom of Milford Graves circa spring 2002 across a double slab of vinyl. In a State of Undress (FMP/Be!) is free jazz of a more formal sort with the one-off aggregate of trumpeter Manfred Schoof, bassist Jay Oliver and drummer Willi Kellers tempering the leader’s orotund edges.

Tyshawn Sorey + Greg Osby — The Off-Off Broadway Guide to Synergism (Pi)

Keeping up with Tyshawn Sorey’s indefatigable activities is a lot like keeping pace with Joe McPhee, a full-time pursuit worth every penny and effort. This three-disc set has the instant enticement of capturing his working trio in the hothouse context of an extended gig at the Jazz Gallery in NYC. Add to that a program of alchemized standards sourced from the Great American Songbook and jazz brethren along with altoist Greg Osby in a rare sideman station and the results become an irresistible trigger pull. In a word: epic.

Cecil Taylor

Taylor’s been gone four-plus-years, but his in-life prolificacy continues to bestow posthumous gifts. Revelatory and digital-only, The Complete, Legendary, Live Return Concert at the Town Hall, NYC, November 4, 1973 (Oblivion) expands greatly on its previously truncated incarnation, Spring of Two Blue-J’s originally on Taylor’s own Unit Core imprint back in 1974. Respiration (Fundacja Słuchaj!) and Live in Ruvo Di Puglia 2000 (Enja) reveal previously unreleased prototypes of his solo repertoire separated by the span of thirty-two years. Sharing a surname with the pianist probably suggests the presence of bias, but I will still ardently go on record in stating that all three are essential.

Albert Ayler — Revelations: The Complete ORTF 1970 Fondation Maeght Recordings (Elemental)

Previous editions of this material are now obsolete thanks to this magnificent, meticulously assembled set. So invasive were earlier edits and excisions, particularly as concerns the catalytic contributions of Ayler’s life and musical partner Mary Parks (aka Mary Maria), that it’s like hearing the concerts anew. Parks’ memory and jazz history are restored by producer Zev Feldman and his retinue of collaborators. The results are glorious, both in terms of restored fidelity and the extended majesty of Ayler’s last band firing on collective, conflagratory cylinders.

Chris Dingman — Journeys Vols. 1 & 2 (Inner Arts)

Chris Dingman nearly topped my Year End list two-years ago with an ambitious five-disc opus Peace, a dedicatory body of work for solo vibraphone initially conceived as an aural paregoric for his ailing father. The elder Dingman passed away prior to its release and in navigating the grief in the years since, the son’s doubled down on the unaccompanied format as means of realizing Albert Ayler proffered adage that “music is the healing force of the universe.” Journey’s 1 & 2 reflect their predecessor, but also refract it through a sequence of malleted excursions emphasizing melody and repetition in rippling, elliptical patterns that soothe and enthrall.

Corbett vs Dempsey

John Corbett is indicative of my favorite species of record collector: an altruist whose obsessiveness in the endeavor is exceeded by his ardor for sharing the spoils of this searches through reissues that completely do the artifacts justice. Chief among the offerings this year, German free jazz pianist Georg Gräwe’s first two forays as a leader, New Movements (1976) and Pink Pong (1978), and the pivotal Globe Unity (1967), which restores Alexander von Schlippenbach’s first multinational large ensemble enterprise to circulation. Also of note, another stack of entries inspired by the Sequesterfest series of concerts initiated during the pandemic. Drummer Hamid Drake’s Dedications features solo percussion-planted encomia to his influences and is probably my pick of the eight titles released so far.

The Pyramids — Aomawa: The 1970s Recordings (Strut)

A box set that brings a personal blind spot into bracing focus and rectifies it. The Pyramids initial three albums plus a concert air shot given the deluxe treatment by the Strut label. Ancient to the Future with audible Sun Ra Arkestra and Art Ensemble influences, reedist Idris Ackamoor’s ensemble is never slavish or supine in its interpretations of precedence. Percussion jams are plentiful, as are spiritual jazz overtones, and it all combines in an earthy gestalt that also has a healthy respect and acumen for groove. I’m of an age where regrets feel increasingly impractical, but it’s still good to catch up.

Grounation — The Mystic Revelation of Rastafari (Soul Jazz)

An arguable Jamaican analog to Aomawa in its assemblage of certain analogous ingredients, Groundnation was also something else entirely. Sprawling across three LPs (a milestone in the country’s recording industry), The Mystic Revelation of Rastafari resonates as history lesson, call to arms, sacred text, and adulatory celebration among other appellations. Count Ossie, Cedric IM Brooks and their confreres mined both zeitgeist and musical alloy that had lasting effects not just on reggae, but self-determinate roots-oriented music of all sorts. Soul Jazz’s painstaking attention to accurate reproduction and contextualization is admirable and immersive.

Robbie Basho — Bouquet (Lost Lagoon)

Self-produced, released and circulated in 1984, Basho’s penultimate album tests and perhaps proves the prevailing theory that detractors of his singing far outnumber those of guitar playing. Still, he succeeds where other great polarizers of the pipes like Irene Aebi, Yoko Ono and Ethel Merman fail in his unflappable earnestness and credulity. The self-doubt and cumulative frustrations that haunted Basho in life subsume in the sincerity of his music, strangely sui generis in its intensely personalized strains of borrowed religion, spirituality and mysticism. Mileage varies, but there’s no denying Basho’s commitment to his muses.

Sun Ra

Labels like Modern Harmonic and Cosmic Myth Ra continue to keep Ra relevant even though the Saturnian left the planet decades ago. This year’s passel of reissues includes timely returns of Ra to the Rescue and Universe in Blue, each augmented with extra and/or extended tracks. The latter album includes several showstopping John Gilmore spotlights and ample Ra organ-omics while the former gets its most complete edition yet with a survey of snapshots across 1970s sessions. A genuinely new release, Prophet zeroes in on Ra’s 1986 in-studio experiments with the then-newfangled eponymous console and he responds like a kid in a keyboard candy store with select Arkestral band members, including an ailing June Tyson, in exuberant, if fleeting, support.

Steeplechase

The Danish label is an old reliable in these pages, plugging along with current releases from its international stable of artists alongside occasional, but always welcome, reissues. Stephen Riley’s My Romance isn’t the tenorist’s first recording with B-3 organ, but it does mark his first as a leader. Electing Brian Charette to cover the keys with just Billy Drummond on cans in support is a stripped-down stroke of genius. Vintage concert performances with bop pianist Duke Jordan in the company of Danish tenorist Bent Jaedig (Montmartre ’73) and archival recordings by tenorist Brew Moore (Special Brew) and dearly departed Philly guitarist Monette Sudler (In My Own Way) stand out, too.

Bear Family

Bear Family basically has access to a bank vault-sized archive when it comes to vintage country fare. It’s a mighty good thing because Bill Carter holds at best token traction with the 21st century arbiters of the genre. Sixty-seven tracks across two discs chart the ups, downs, and all arounds of Carter’s career (The Complete Recordings from 1953 to 1961) jumping from Western Swing to hillbilly to honkytonk to rockabilly. Perhaps best of all, Carter was 92, lucid, and around to see the release back in March. Western Swing legend Bob Wills’ younger brother Billy Jack was the recipient of similar treatment with Cadillac In Model ‘A’, a comparatively stingy 31-track survey and latest in the label’s long running Gonna Shake This Shack Tonight series.

Ezz-thetics

Born out of both providence and necessity, the Ezz-thetics label exists in the continued absence of the venerated Hat Hut lineage of imprints. The earlier catalogs are tied up in legal proprietary knots, leaving owner Werner X. Uehlinger to throw caution to the curb and pursue a longstanding dream of applying his decades-honed judgment as a producer to free/jazz classics. The venture immediately ran afoul of critics who took umbrage with his audacity in side-stepping stateside copyright considerations and reimagining sacred texts. Wherever one opines on those controversies, there’s no denying the new lease audio engineer Michael Brandli has accorded the source materials. Cecil Taylor’s (With) Exit to Student Studies Revisited, Paul Bley’s Play Annette Peacock Revisited, and Sun Ra’s Nothing Is… Completed & Revisited are exemplary stand outs.

Fresh Sound

Lisbon-based Fresh Sound is another reissue label that continuously courts its share of contention. The logical, if admittedly self-serving counter is that American rights holders to nearly all of the music that they traffic in couldn’t be bothered to apply even a fraction of the care or quality they bring to bear. Exacting attention to the most esoteric and obscure jazz artists has long been the archetype. This year’s batch includes definitive collections of trumpeter Dave Burns (1962 Sessions), baritone saxophonist Virgil Gonsalves (Jazz in the Bay Area 1954-1959), altoist Joe “Mouse” Bonati (Portrait of a Jazz Hero) and Belgian vibraphonist Fats Sadi (Sadi’s Vibes: A Retrospective 1953-61).

Morteza Mahjubi — Selected Improvisations from Golha, Parts 1 & 2 (Death is Not the End)

Tempered instruments aren’t an intuitive match for micro-tonal composition, but that hasn’t hindered musicians of manifold ethnicities from adapting them to the intricacies of indigenous music. Iranian pianist Morteza Mahjubi did so prolifically during his lifetime, recording his innovations for Golha (Flowers of Persian Song and Poetry) radio programs between 1956 and his passing in 1965. Spread over two album-length discs (with hopefully future volumes to follow), Mahjubi applies his custom tuning system to the ivories and approximates the sonorities of endemic instruments like the tar (lute) and santur (hammered dulcimer).

Branko Mataja — Over Fields and Mountains (Numero)

Mataja’s biography reads like a Spielbergian screenplay. Abducted from his native Belgrade and conscripted to a German work camp during WWII, the lifelong guitar enthusiast worked a variety of trades after being liberated, before emigrating to England, then Canada, and finally a string of stateside cities. Mataja eventually settled in Los Angeles where he worked as a barber and started a side business a freelance guitar technician. Memories of his home country haunted him, and he recorded a pair of albums in his garage studio/workshop from which this LP is sourced. Milky, murky reverb and sustain are calling cards, alongside an improvisatory approach to traditional Croatian melodies that’s equal parts melancholic and mysterious.

V/A — Padang Moonrise: The Birth of the Modern Indonesian Recording Industry 1955-1969 (Soundway)

A double-LP + 7” survey stacked with sublime discoveries from coordinates geographic and temporal that beg for an even deeper dive. Reverb-dipped guitars and swirling, droning organs are persistent common denominators alongside varied hand percussion and a revolving cast of melancholic crooners across genders and dialects. It’s cross-cultural music that’s exotica-adjacent and still ripely redolent of American soul. Ghost World’s Enid would’ve had a field day immersing herself in this stuff. I know I have.

Jalaleddin

Old, but still new to me, and perhaps my most listened to platters among the many vinyl discoveries procured on record shop safaris this year. Discogs lists seven albums to Jalaleddin’s name, and I feel fortunate to have found six on the cheap in a single shop. Based in San Francisco in the 1970s and a master of the kanun (Turkish trapezoidal zither,) Jalal Takesh started his musical career cutting belly dance records. Benefiting from a Santana-like broadmindedness, his bandleading would soon conscript musicians of other traditions including Indian ragas, Greek rebetika, and Spanish flamenco. Hand-sketched and colored by an academic friend of Takesh’s, the album cover illustrations are aces, as well.

25 More in No Fixed Order…

Andrew Cyrille/William Parker/Enrico Rava — 2 Blues for Cecil (TUM)

Michael Bisio Quartet — MBefore (Tao Forms)

Ingrid Laubrock/Brandon Lopez/Tom Rainey — No Es La Playa (Intakt)

Patricia Brennan — More Touch (Pyroclastic)

Mark Turner — Return from the Stars (ECM)

Jeb Bishop/Pandelis Karayorgis/Damon Smith — Duals (Driff/Balance Point Acoustics)

Ches Smith — Interpret it Well (Pyroclastic)

Sam Rivers — Caldera (NoBusiness)

Toots Thielemans & Rob Franken — The Studio Sessions 1973-1983 (Dutch Jazz Archive)

The Pyramids — Penetration! (Sundazed)

Horace Tapscott Quintet — S/T (Mr. Bongo)

V/A — Girls with Guitars Gonna Shake (Ace)

John Ondolo — The Hypnotic Guitar of John Ondolo (Mississippi)

Biluka y Los Canibales — Leaf-Playing in Quito 1960 to 1965 (Honest Jon’s)

Myra Melford’s Fire & Water Quintet — For the Love of Fire & Water (RogueArt)

Ndikho Xaba & The Natives — S/T (Trilyte/Mississippi)

Brandon Seabrook — In the Swarm (Astral Spirits)

Sirone — Artistry (Moved by Sound)

William Parker — Universal Tonality (Centering)

Charles Mingus — The Lost Album from Ronnie Scott’s (Resonance)

Markos Vamvakaris — Death is Bitter (Mississippi)

Jeff Parker — Mondays at the Enfield Tennis Academy (Eremite/Aguirre)

Mal Waldron — Searching in Grenoble: The 1978 Solo Piano Concert (Tompkins Square)

Allan Botschinsky Quintet — Live at The Tivoli Gardens 1996 (Stunt)

Jimmy Castor Bunch — The Definitive Collection (Robinsongs)

Derek Taylor

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madewithonerib · 4 years

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The Will of GOD | John F. MacArthur [1 Thessalonians 5]

Christians ought to make GOD’s will the practice of their life —nothing more, nothing less, & nothing else.

There are at least ten specific statements of GOD’s particular will in the BIBLE for true believers.

1. Salvation 1 Timothy 2:4; 2 Pet. 3:9 2. Sacrifice Romans 12:1-2 3. Spirit-control Ephesians 5:17-21 4. Sanctification 1 Thessalonians 4:3-4 5. Submission 1 Peter 2:13-15 6. Satisfaction 1 Thessalonians 5:18 7. Seeking 1 John 5:14-15 8. Serving Psalm 103:21 9. Suffering 1 Peter 3:17; 4:19 10. Shepherding 1 Peter 5:2

The MacArthur Bible Commentary | 1 Thessalonians 5 Photo via prettystuff | girlinthepark

#Will of GOD #1 Thessalonians 5 #GOD’s will #John MacArthur #true believers

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xhxhxhx · 5 years

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I removed some books today.

I think of myself as a minimalist, but that doesn’t happen to be true. I have acquired more books than I will ever read. They still sit, stacked and unreachable, in piles by the walls, two dozen books tall and sometimes two books deep.

I don’t think I know where they all came from. I think more came from online than from any physical store. I bought them from Abebooks, the sales search platform that Amazon owns now. Abebooks tell you the names of the sellers, but they seem unconnected to any real place.

From Better World Books. From Thrift Books and Bookbarn. From Silver Arch Books, Motor City Books, Free State Books, Sierra Nevada Books, Yankee Clipper Books, and the Atlanta Book Company. From Green Earth Books and Housing Works Books. From Goldstone Books and Powell’s Books and Kennys Bookshop and Art Galleries. From Satellite Books and the Orchard Bookshop. From Blue Cloud Books and Hippo Books and Wonder Book.

They’re from all over, from places you’ve never been, places you’ll never be. They’re names on a box. But then there are the books from more intimate places, intimately connected

From library’s old bookstore, which sold paperbacks for fifty cents, hardcovers for a dollar. From the basement of the old independent bookstore down on Front Street, where they sold remaindered and overstocked books marked down with red-orange tape. From the thrift store across the street, which charged too much.

From the Chapters at the mall in your hometown, or the Chapters and Indigo in the places you’ve been to, from the shelves of marked-down items where you looked for bargains, for the books you knew you should read, and all the books you never would. Places where you could drink sweet cream and coffee and pretend to read.

From the Borders in Syracuse, where you idled while the family went to the fair, where they always said they were going to build the largest mall in America, but never did. There was another Borders in South Florida, where they were stripping fixtures from the walls because the books had not sold, and so the Borders had to be. They still have bookstores. I’m not sure what they sell now. Postcards, I think.

The books still in my room had postcards from people I will never know, dedications to people I will never see, business cards from people who have moved on to other work. But their spines are unbroken, their pages unmarked. I guess I wanted them that way. I bought them like that.

I sometimes worried they would break through the floor. I would wake up to the collapse of everything I have ever owned as I plummeted a few short feet to my death. I guess it would probably take longer than that. I would have to wait for them to crush me. That mass of books would fall on me, blotting out the light. Crushed beneath nearly everything I have ever owned.

That’s what happened to the clerk Toshiko Sasaki in John Hershey’s Hiroshima, who was seated at her desk on August 6, 1945, in front of a couple of bookcases from the factor library:

Everything fell, and Miss Sasaki lost consciousness. The ceiling dropped suddenly and the wooden floor above collapsed in splinters and the people up there came down and the roof above them gave way; but principally and first of all, the bookcases right behind her swooped forward and the contents threw her down, with her left leg horribly twisted and breaking underneath her. There, in the tin factory, in the first moment of the atomic age, a human being was crushed by books.

Miss Sasaki made out alright, although not so well as to not ask the question “If your God is so good and kind, how can he let people suffer like this?” But then, I have more books than she did.

I removed some books today. I still have more I want to remove. I just don’t have the boxes for them. I took the boxes I did have in the back of my car to a mass-market thrift store, where they will end up on the shelves by the leather jackets.

Perhaps they will end on some other shelf, like a postcard from somewhere unknown, in someone else’s memory. But I don’t think they will. I don’t think they’ll sell. There aren’t enough people here who spend money pretending to read.

I don’t know what will happen to them. I suppose they will pulp them. Or perhaps they will end in a landfill, crushed beneath their own weight, suffocating beneath the earth we have made for them until life reclaims them.

I wrote out a partial list of the books I threw out. I don’t know what it says about me. There’s a double significance here: These are books I bought, for some amount of money, but these are also books I am throwing away, because I asked the question the woman told me to ask, which was whether they sparked joy, and I answered no.

Those books in the photo are the books that have not yet been thrown away. Here, below the fold, are the books that have:

Judith Fitzgerald’s Sarah McLachlan: Building a Mystery

Mordecai Richler’s Oh Canada! Oh Quebec!

Jonathan Coe’s The Rotter’s Club

Misha Glenny’s McMafia

Joinville and Villehardouin’s Chronicles of the Crusades

Michael Ignatieff’s The Lesser Evil

Russell Dalton’s Citizen Politics in Western Democracies: Public Opinion and Political Parties in the United States, Great Britain, West Germany, and France

Richard Finn’s Winners in Peace: MacArthur, Yoshida, and Postwar Japan

Ramachandra Guha’s India After Gandhi

Fox Butterfield’s China: Alive in the Bitter Sea

Anthony Sampson’s The Changing Anatomy of Britain

Masanori Hashimoto’s The Japanese Labor Market in a Comparative Perspective with the United States

Donald Keene’s Dawn to the West: Japanese Literature of the Modern Era: Poetry, Drama, Criticism

Andrei Shleifer’s Without a Map: Political Tactics and Economic Reform in Russia

Peter Newman’s The Secret Mulroney Tapes

Nicholas Negroponte’s Being Digital

Lesley Downer’s The Brothers: The Hidden World of Japan’s Richest Family

Harold Vogel’s Entertainment Industry Economics

Stephen Goldsmith and William D. Eggers’s Governing by Network: The New Shape of the Public Sector

Donald Harman Akenson, Saint Saul: A Skeleton Key to the Historical Jesus

Philip Ziegler’s King Edward VIII

David Wessel’s In FED We Trust

Robert Dallek’s Flawed Giant: Lyndon Johnson and His Times, 1961--1973

David Halberstam’s The Reckoning

David Bell’s The First Total War: Napoleon’s Europe and the Birth of Warfare as We Know It

Kevin Phillips’s The Cousins’ Wars

Yirmiyahu Yovel, Spinoza and Other Heretics: The Adventures of Immanence

Michael Oren’s Six Days of War: June 1967 and the Making of the Modern Middle East

Lawrence McDonald’s A Colossal Failure of Common Sense: The Inside Story of the Collapse of Lehman Brothers

Richard Posner’s The Crisis of Capitalist Democracy

William Chester Jordan’s Europe in the High Middle Ages

William Cohan’s House of Cards: A Tale of Hubris and Wretched Excess on Wall Street

Bryan Burrough and John Helyar’s Barbarians at the Gate: The Fall of RJR Nabisco

Linda Lear’s Beatrix Potter: A Life in Nature

Jane Mayer’s The Dark Side: The Inside Story of How the War on Terror Turned into a War on American Ideals

Allan Brandt’s The Cigarette Century: The Rise, Fall, and Deadly Persistence of the Product That Defined America

Garry Wills’s Head and Heart: American Christianities

Sarah Bradford’s Elizabeth: A Biography of Britain’s Queen

Andrew Gordon’s The Evolution of Labor Relations in Japan: Heavy Industry, 1853--1955

John Ardagh’s France in the New Century: Portrait of a Changing Society

Bob Woodward’s The Agenda: Inside the Clinton White House

John Julius Norwich’s Byzantium: The Early Centuries

Taylor Branch’s Pillar of Fire: America in the King Years, 1963--65

Michael Lewis’s Liar’s Poker

Tim Blanning’s The Pursuit of Glory: Europe, 1648--1815

Robert Fagles’s translation of Virgil’s The Aeneid

Karl Popper’s The Poverty of Historicism

P. D. Smith’s Doomsday Men: The Real Dr. Strangelove and the Dream of the Superweapon

Richard Rhodes’s Arsenals of Folly: The Making of the Nuclear Arms Race

Margaret Thatcher’s Downing Street Years

Alistair Horne’s Harold Macmillan, 1957--1986

Taylor Branch’s The Clinton Tapes: Wrestling History with the President

Ian Kershaw’s Hitler, 1936--1945: Nemesis

David Grossman’s To the End of the Land

Sean Wilentz’s The Rise of American Democracy: Jefferson to Lincoln

Philipp Blom’s The Vertigo Years: Europe, 1900--1914

Jacob M. Schlesinger’s Shadow Shoguns: The Rise and Fall of Japan’s Postwar Political Machine

Peter Jenkins’s Mrs. Thatcher’s Revolution: The Ending of the Socialist Era

Martin Lawrence’s Iron Man: The Defiant Reign of Jean Chrétien

Marin Lawrence’s Chrétien: The Will to Win

Alastair Campbell’s The Blair Years

Tony Blair’s A Journey

David Kennedy’s Don’t Shoot: One Man, a Street Fellowship, and the End of Violence in Inner-City America

Joshua Ferris’s Then We Came to the End

Kate McCafferty’s Testimony of an Irish Slave Girl

Martin Wolf’s Why Globalization Works

Charles Fishman’s The Wal-Mart Effect: How the World’s Most Powerful Company Really Works -- and How It’s Transforming the American Economy

William Easterly’s The White Man's Burden: Why the West's Efforts to Aid the Rest Have Done So Much Ill and So Little Good

Karel van Wolferen’s The Enigma of Japanese Power: People and Politics in a Stateless Nation

Jeffrey Sachs’s The End of Poverty: How We Can Make It Happen in Our Lifetime

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lindoig8 · 3 years

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Saturday - Monday, 26-28 June – Car problems

I have already mentioned that we spent time researching our route on from here – and it is still in a state of flux with several more alternatives being mooted during the day. But just how fickle can Fate be?

We had decided to go out to the mining port of Bing Bong and the nearby Gulf of Carpentaria this afternoon and we packed up the car ready to go – and it wouldn’t start. Apparently, a flat battery. But the cranking battery is always isolated from the other two batteries in the car to ensure it never goes flat! We also have a switch to enable the other batteries to be connected to the cranking battery if ever a problem arose – but that had no effect either. I had driven the car in the morning without a problem and an hour or so later, it was simply dead! We rang the Northern Territory Automobile Association (the equivalent of the RACV) and they were very helpful – at least they tried hard. Unfortunately, there is nobody in Borroloola who can assist us until Monday morning so we are stuck here a little longer and our latest plans are out the window yet again. It is no big deal really (Borroloola is a wonderful place to be stuck if you have to be stuck somewhere), but some odd warning lights were on when I tried to start it and the NTAA said it was risky trying to jump-start it until someone had a look at it in case it impacted all the onboard electronics – not a happy thought.

So, with time on our hands, I read for a couple of hours and then went birding for a couple more hours around the local neighbourhood. I didn’t see much, but really enjoyed it and got a few slightly(?) better photos, probably because I took more time. There are 3 Grey-crowned Babblers in the park and they have 2 nests in the tree immediately above our van. Not sure if they are a threesome or what cohabitation arrangements apply, but both nests seem to be in use – all very confusing, not to say potentially incestuous. (Addendum: I have to retract the last sentence and apologise to the Babblers. The following day, there were at least 8 of them, so any imputation of incest was almost certainly groundless.)

Sunday, 27 June

Today, we can’t even open the car. I think there must be a dead short somewhere in the system that has flattened all three of our batteries. Fortunately, I switched the car fridge over to AC power before everything died or we would have a fridge and freezer full of rotting food. Strangely, I can’t even open the car with the key – maybe I am not being rough enough but last time I got rough with the key, it broke and that created a different problem. I will leave it to the NTAA man to figure that one out – keys cost about $1000 each and I really don’t want to have to buy another one – and wait a week or so for it to become available!

We did a bit of stocktaking this morning (EOFY?) but we can’t recall exactly what is in the car fridge so until we can open the car, that remains a work in progress. And until that happens, we can’t complete our shopping list either.

We just stayed around the van all day. It was very relaxing. I finished reading my book and really enjoyed it – all anecdotes about cricket and cricketers and very nostalgic for me because I knew some of the guys mentioned and had clear memories of many of the names and incidents – even back to when I was starting primary school. There was a strange English guy at our church who took me to the WACA for a match when the Poms were out in 1954 here and as a callow 10-year-old, he got me into the English dressing room to meet people like Len Hutton, Brian Statham, Typhoon Tyson, Freddie Trueman, Tony Locke, Trevor Bailey, Peter May and the rest of the touring team and I got autographs from them all. A really big deal for such a young kid! I also got into the Western Australian dressing room, but that was a bit of a rushed visit and I can’t recall a lot – other than chatting with my soon-to-be science teacher at high school – John Rutherford. (John was the first Western Australian player to play a Test Match. He played only one Test (in 1956) before having a stroke and not recovering sufficiently to play again.)

We sat outside the van most of the day because it was cooler there and the birds came and went and sang to us for ages. There would have been upwards of a dozen species that visited the tree under which we sat on and off and it was most entertaining to watch them.

Monday, 28 June

The NTAA representative (from the local garage) arrived first up in the morning and couldn’t get into the car. He had to enlist the help of another of his colleagues and they eventually levered the corner of the driver’s door wide enough to slide a long metal rod in and pull the bonnet release up so they could access the engine compartment – and from then on, it was pretty easy. None of us can fully explain why things happened as they did (and the Toyota mechanic in Mt Isa also struggled!) but the cranking battery was utterly dead. (It was almost 4 years old so we probably can’t complain, but if it had died when we were on the Tanami or similar, we could have been in real trouble.) It could not be charged at all and was apparently in such poor condition that it couldn’t even accept a charge from our other two batteries when they were joined with it. Anyway, they jump-started us and I was able to drive to their garage where a new (bigger, better) battery was installed and extensive testing done to ensure all was in order.

We wanted to give it a bit of a test ourselves before setting off to more remote places so after completing our stocktake and finalising our shopping list, we had an excursion to the supermarket and went on the drive we almost did a few days earlier.

We drove out to Bing Bong where there is not a lot to see due to it being a major industrial plant and loading facility that is securely fenced off. But there is a viewing tower that we climbed from where I spied a couple more birds, including a Black-necked Stork (Jabiru). We then drove out to the mouth of the MacArthur River and identified some more birds en route – bringing our current tally this trip to 149 species.

On the way back to Borroloola, we detoured to the King Ash Fishing Camp – several hundred caravans crammed cheek by jowl all along the edge of the river – even if we were fishermen, we couldn’t think of anything worse. Just getting a boat into the water would be a massive challenge – and of course, fishing from the bank would be risky with all those big bities waiting in the water.

We had seen all of this when we were here 4 years ago, but the number of caravans has probably at least quadrupled in that time and the whole place felt quite gross, with absolutely nothing to do except try to catch a fish.

We just drove through the camping area and out again – it is apparently owned by a private Fishing Club – and straight back to the van – with more streams of fisher-people still heading out to the already over-crowded camp.

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ciastov · 3 years

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In 2020, playwright Larissa FastHorse, of the Sicangu Lakota Tribe, received a McCarter Genius Grant for “creating space for Indigenous artists, stories and experiences in mainstream theater and countering misrepresentation of Native American perspectives in broader society” (MacArthur, Larissa FastHorse). In her comedy “The Thanksgiving Play,” FastHorse uses humor to generate a conversation about race and equity (FastHorse 2018). The characters are struggling to devise a politically correct grammar school production of the first Thanksgiving for Native American Heritage Month. The school hires an actor believed to be Native American to be their cultural guide. Unfortunately, they later realize that she is actually a white actress who plays Native Americans (FastHorse 2018). In one scene, FastHorse takes on stereotypes when the well-intentioned teachers who hired the “Native American” actress come to realize that they simply assumed she was Native American based on a headshot. The actress admitted that her agent told her to take pictures with different “ethnic” looks – in this case with braids and a turquoise necklace – so she could land different roles (FastHorse, Act 1, Scene 2).

Photo credit: captured by Joan Marcus during the 2018 Peter Jay Sharp Theater performance of The Thanksgiving Play, directed by Moritz von Stuelpnagel. From thetheatretimes.com article AND THEN THERE WERE NONE: LARISSA FASTHORSE’S “THE THANKSGIVING PLAY” by Johnathan Kalb

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phgq · 4 years

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Man back to E. Samar after month-long walk from Manila

#PHnews: Man back to E. Samar after month-long walk from Manila

TACLOBAN CITY – After walking hundreds of kilometers from Metro Manila and being stuck in a quarantine center in Sorsogon, a jobless man finally arrived in Eastern Samar on Tuesday.

The story of Roel Navidad, 27, has gone viral on social media after Vince Yadao, an employee of the Department of Public Works and Highways assigned at a checkpoint in Taft, Eastern Samar posted a photo of the man wearing a worn-out shirt, pants, and slippers.

Yadao said Navidad left Manila in the third week of August and arrived in Sorsogon early in September after walking for about 600 km.

He was quarantined in the province for 14 days being a suspected carrier of coronavirus disease 2019 (Covid-19).

“He continued walking to Matnog, Sorsogon on September 16 until he embarked on a ferry boat to Allen, Northern Samar. He had to hitch a ride with a passing truck from Allen to Jiabong, Samar. He again resumed walking from Jiabong to the boundary checkpoint in Taft, Eastern Samar,” Yadao said in his post.

Jiabong is about 82 km. from Taft town where the Eastern Samar border control point was set up by the local government.

Navidad, a native of General Macarthur, Eastern Samar, lost his job as a construction worker.

Without money in his pocket, he walked the seemingly endless road to be with his family, Yadao said.

Some people he met along the way gave him food and water.

After hours of rest and good meals at the border control point, the local government of General Macarthur picked him up at 10 p.m. on Tuesday and brought him to the quarantine center where he will stay for 14 days, Yadao said in a message to the Philippine News Agency (PNA).

Navidad is the second returning resident of Eastern Samar who took the unimaginable journey home from Metro Manila in the past two weeks.

On September 21, Peter Roncales, 19, arrived in Oras town from Parañaque City after 10 days of biking. (PNA)

***

References:

* Philippine News Agency. "Man back to E. Samar after month-long walk from Manila." Philippine News Agency. https://www.pna.gov.ph/articles/1117038 (accessed September 30, 2020 at 05:53PM UTC+14).

* Philippine News Agency. "Man back to E. Samar after month-long walk from Manila." Archive Today. https://archive.ph/?run=1&url=https://www.pna.gov.ph/articles/1117038 (archived).

#Philippines #News #Filipino #Pinoy #Tourism #Politics #Culture #Editorial #Environment #Society #History

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jeremystrele · 4 years

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A Handball Court Turned Architect’s Residence Hits The Market!

On The Market

by Amelia Barnes

This Carlton property was converted from a factory into a residence in the 1970s by architect John Mockridge. Photo – Christopher Alexander.

The eclectic feel of the 1970s interiors remains today. Photo – Christopher Alexander.

The private, north-facing courtyard at the property rear. Photo – Christopher Alexander.

Once upon a time, this 1860s building was actually host to a handball court! The garden walls still feature original markings from this period. Photo – Christopher Alexander.

The unassuming brick facade of the home. Photo – Christopher Alexander.

If the walls of this Carlton house could talk, who knows where they’d begin! The 1860s property has certainly seen its fair share of history, starting with the first intercolonial handball competition being played here in 1873. The handball court was later converted into a brick factory, before architect John Mockridge turned it into his own residence in 1970. More recently the home has been featured on television shows, including The Slap and Halifax f.p.

The current owners Vicki and Ross purchased this home 12 years ago, at which point it hadn’t been touched since 1974. The couple were drawn to the history of the building and its perfectly preserved feel. ‘It has such a specific design about it – cork ceiling and a mezzanine in that very ‘70s style,’ is how Vicki describes the space.

Some renovations designed by architect and historian Allan Willingham have since been made to the property ‘It’s such a relic of that era – we were conscious of not interfering with it too much. We felt like custodians of this historic building,’ says Vicki. The main changes were increasing the size of the kitchen, converting the third level of the building (later added by John Mockridge as his studio) into the main bedroom suite, and turning an outside toilet into a 1050 bottle wine cellar. Vicki is a picture framer, and has relished the opportunity to cover the walls with art in the same manner John Mockridge once did.

One of Vicki’s favourite features of the property is the private, north-facing courtyard, which is exceptionally large for an inner-city property. The orientation of the space sees plants thrive year-round, and markings from the original handball court can still be seen on the walls. The location is also wonderful, being positioned on Macarthur Square and with views of the city skyline.

After 12 years living here, Vicki and Ross have decided to downsize to a nearby property and have placed this home on the market. If you’re looking for an inner-city three-bedroom, two-bathroom home with endless character, now is the time!

See the full listing for 22 Macarthur Place North, Carlton here . The home is being sold by Peter Stephens and Isabelle McEwan Marion at Nelson Alexander via auction on Saturday June 27 at noon.

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joelamberti · 6 years

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October 2017 // Month in photos

Kim Hedgepeth adjusts her homemade Pennywise costume inside her garage on Halloween Tuesday, Oct. 31, 2017 in the Bridesburg neighborhood of Philadelphia.

Anaheim Ducks' Jakob Silferberg (33) chases the puck against the Philadelphia Flyers Tuesday, Oct. 24, 2017 in Philadelphia. Flyers lost 6-2.

Operations manager Vernon Rochester, right, laughs with head buffet cook Sonya Shockley in the kitchen at Rochester's Barbecue and Grill Wednesday, Oct. 25, 2017 in Lawnside, New Jersey.

Matthew Varrato of Jefferson is reflected outside of a 'reflection room' inside the new Jefferson Health building during an event to commemorate its merger with Kennedy Health Wednesday, Oct. 4, 2017 in Cherry Hill, New Jersey.

Cumberland's James Bryant (24) leaps for a pass in the end zone which is ultimately intercepted by Millville's Dashon Byers (21) Friday, Oct. 27, 2017 in Bridgeton, New Jersey. Millville won 42-6.

A woman rides an empty bus down Aramingo Ave as night fall in Port Richmond Tuesday, Oct. 3, 2017 in Philadelphia.

Rancocas Valley's Joel Anaya (44) looks out from the bus after a 10-7 win over Lenape Friday, Oct. 6, 2017 in Medford.

Peter Damato of Lumberton, left, protests during a demonstration against gun violence outside Rep. Tom MacArthur’s office Wednesday, Oct. 4, 2017 in Marlton, New Jersey.

Bridgeton mayor Albert Kelly puts on a ceremonial hard hat during a ground breaking event for the new Bridgeton Food Specialization Center Thursday, Oct. 26, 2017 in Bridgeton, New Jersey.

Ducks' Kevin Bieksa (3) takes down Flyers' Radko Gudas Tuesday, Oct. 24, 2017 in Philadelphia.

Millville's Carlton Lawrence (1) narrowly misses a pass against Bridgeton Friday, Oct. 20, 2017 in Millville, New Jersey. Millville won 34-16.

Kennedy CEO Joe Devine exits an elevator before speaking to attendees during an event to commemorate a merger between Jefferson and Kennedy Health Wednesday, Oct. 4, 2017 in Cherry Hill, New Jersey.

Donald Scurry Jr. waits to appear in court for a pretrial detention hearing Wednesday, Oct. 11, 2017 in Bridgeton, New Jersey. He is awaiting trial for murder.

Gov. Chris Christie (5th from left) ceremoniously tosses dirt during a groundbreaking for the new Rutgers-Rowan Joint ��Health Sciences Center Thursday, Oct. 19, 2017 in Camden, New Jersey.

Hammonton senior Sean Ryker, 18, performs a toe-touch as he poses for a portrait Tuesday, Oct. 31, 2017 in Atco. Ryker is a competitive cheerleader as well as a running back for the Hammonton football team.

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showbizchicago · 5 years

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Broadway In Chicago Announce OSLO $25 Digital Lottery Tix

Broadway In Chicago is thrilled to announce there will be a digital lottery for OSLO, which will play for a limited six-week engagement at Broadway In Chicago’s Broadway Playhouse (175 E. Chestnut) from September 10 through October 20, 2019. The Tony Award ® Best Play Winner OSLO will make its Chicago Premiere with TimeLine Theatre’s production at Broadway In Chicago’s Broadway Playhouse. The digital lottery will begin September 9 at 9AM, and 12 tickets will be sold for every performance at $25 each. The lottery will happen online only the day before each performance. Seat locations vary per performance. HOW TO ENTER THE DIGITAL LOTTERY Visit https://www.broadwayinchicago.com/show/oslo/ Follow the link “Click here for details and to enter the lottery” Click the “Enter Now” button for the performance you want to attend. Fill out the entry form including the number of tickets you would like (1 or 2). Patrons will receive a confirmation email once they have validated their email (one time only) and successfully entered the lottery. After the lottery closes, patrons will be notified via email within minutes as to whether they have won or not. Winners have 60 minutes from the time the lottery closes to pay online with a credit card. After payment has been received, patrons can pick up tickets at the Broadway Playhouse (175 E. Chestnut) no sooner than 30 minutes before show time with a valid photo ID. DIGITAL LOTTERY ADDITIONAL RULES Limit 1 entry per person, per performance. Multiple entries will not be accepted. Patrons must be 18 years old and have a valid, non-expired photo ID that matches the names used to enter. Tickets are non-transferable. All lottery prices include a $3.50 facility fee. Ticket limits and prices displayed are at the sole discretion of the show and are subject to change without notice. Lottery prices are not valid on prior purchases. Lottery ticket offer cannot be combined with any other offers or promotions. All sales final - no refunds or exchanges. Lottery may be revoked or modified at any time without notice. No purchase necessary to enter or win. A purchase will not improve your chances of winning. ABOUT OSLO TimeLine Theatre Company’s production of OSLO is the Chicago premiere. It premiered in fall 2016 in a sold-out run at New York’s Lincoln Center and opened on Broadway in April 2017. It then played at London’s Royal National Theatre in September 2017 before transferring to the West End in October 2017. OSLO received the 2017 Tony Award for Best Play, as well as New York Critics, Outer Critics, Drama Desk, Drama League, Lucille Lortel, and Obie awards—a sweep of the 2016-17 New York awards season—and was nominated for the Olivier and Evening Standard awards. OSLO is a remarkable story about the unlikely friendships, quiet heroics, and sheer determination that pushed two foes to reach something neither thought truly possible—peace. When the Israeli prime minister and the chairman of the Palestine Liberation Organization shook hands on the White House lawn in 1993, the world had no idea what it took to orchestrate that momentous occasion. Behind the scenes, a Norwegian diplomat and her social scientist husband hatched an intricate, top secret, and sometimes comical scheme to gather an unexpected assortment of players at an idyllic estate just outside Oslo. Far from any international glare, mortal enemies were able to face each other not as adversaries, but as fellow human beings. J.T. Rogers’ OSLO is a humorous, surprising, and inspiring true story about the people inside politics, and the incredible progress that is possible when we focus on what makes us human—together. The cast will star Scott Parkinson as Terje Larsen and Bri Sudia as Mona Juul, with TimeLine Company Member Anish Jethmalani as Ahmed Qurie and Jed Feder as Uri Savir, and Bernard Balbot, Ron E. Rains, Amro Salama, Stef Tovar, Bassam Abdlefattah, Tom Hickey, Victor Holstein, and TimeLine Company Members Juliet Hart and David Parkes. The creative team includes J.T. Rogers (Playwright), Nick Bowling (Director), Jeffrey D. Kmiec (Scenic Designer), Jesse Klug (Lighting Designer), Christine Pascual (Costume Designer), Katie Cordts (Wig and Hair Designer), André Pluess (Sound Designer), Mike Tutaj (Projections Designer), Amy Peter (Properties Designer), Eva Breneman (Dialect Designer), Deborah Blumenthal (Co-Dramaturg), Maren Robinson (Co-Dramaturg), Jonathan Nook (Stage Manager) and Mary Zanger (Assistant Stage Manager). For more information, please visit TimeLineTheatre.com/events/oslo/ TICKET INFORMATION Individual tickets for OLSO are currently on-sale to the public and range in price from $35 - $90 with a select number of premium seats available. Individual tickets are available by calling the Broadway In Chicago Ticketline at (800) 775-2000 or by visiting BroadwayInChicago.com. Tickets are available now for groups 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing [email protected]. For more information,visit BroadwayInChicago.com or timelinetheatre.com. ABOUT TIMELINE THEATRE COMPANY TimeLine Theatre Company, recipient of the prestigious 2016 MacArthur Award for Creative and Effective Institutions, was founded in April 1997 with a mission to present stories inspired by history that connect with today's social and political issues. Launching its 23rd season with Oslo, to date TimeLine has presented 79 productions, including 10 world premieres and 35 Chicago premieres, and launched the Living History Education Program, now in its 12th year of bringing the company's mission to life for students in Chicago Public Schools. Recipient of the Alford-Axelson Award for Nonprofit Managerial Excellence and the Richard Goodman Strategic Planning Award from the Association for Strategic Planning, TimeLine has received 54 Jeff Awards, including an award for Outstanding Production 11 times. TimeLine is led by Artistic Director PJ Powers, Managing Director Elizabeth K. Auman and Board President Eileen LaCario. Company Members are Tyla Abercrumbie, Will Allan, Nick Bowling, Janet Ulrich Brooks, Wardell Julius Clark, Behzad Dabu, Charles Andrew Gardner, Lara Goetsch, Juliet Hart, Anish Jethmalani, Mildred Marie Langford, Mechelle Moe, David Parkes, Ron OJ Parson, PJ Powers, Maren Robinson and Benjamin Thiem. Major corporate, government and foundation supporters of TimeLine Theatre include Paul M. Angell Family Foundation, The Crown Family, Forum Fund, The Joseph and Bessie Feinberg Foundation, Illinois Arts Council Agency, Laughing Acres Family Foundation, A.L. and Jennie L. Luria Foundation, MacArthur Fund for Arts and Culture at Prince, the National Endowment for the Arts, The Pauls Foundation, Polk Bros. Foundation, and The Shubert Foundation. For more information, visit timelinetheatre.com or Facebook, Twitter, or Instagram (@TimeLineTheatre). ABOUT BROADWAY IN CHICAGO Broadway In Chicago was created in July 2000 and over the past 19 years has grown to be one of the largest commercial touring homes in the country. A Nederlander Presentation, Broadway In Chicago lights up the Chicago Theater District entertaining more than 1.7 million people annually in five theatres. Broadway In Chicago presents a full range of entertainment, including musicals and plays, on the stages of five of the finest theatres in Chicago’s Loop including the Cadillac Palace Theatre, CIBC Theatre, James M. Nederlander Theatre, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place and presenting Broadway shows at the Auditorium Theatre. Broadway In Chicago proudly celebrates 2019 as the Year of Chicago Theatre. For more information, visit BroadwayInChicago.com. Facebook @BroadwayInChicago ● Twitter @broadwaychicago ● Instagram @broadwayinchicago ● #broadwayinchicago Read the full article

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africanfilmny · 7 years

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The Way Of Grace: In Conversation With Playwright Tarell Alvin McCraney

By Natasha Nyanin

Read this article and other arts & culture pieces like these on her blog, The Ecstatic Flash.

Photo: Tarell McCraney, 2013 MacArthur Fellow

I had been waiting for thirty minutes, fidgeting with my phone in fear he would not show. I was seated in Joe, a coffee shop in downtown Manhattan, waiting to meet with the playwright that New York Time’s theatre critic, Ben Brantley, describes as “extravagantly gifted”, Tarell Alvin McCraney. Surely the man senses must have seized him and caused him to realize he can’t devote an hour to the three readers of The Ecstatic Flash in the melée of previews of the New York debut of his play, right?

McCraney may be a MacArthur-Genius-Grant-receiving, Doris-Duke-Award-winning tour de force, but he is above all a gracious and graceful human being: he was simply running late because he’d gone the wrong way. It says a lot about his temperament that he carved almost an hour to sit and chat with me about his life while the production of his play, Head of Passes, starring Phylicia Rashad was in the throes of previews. Show up he did, if a fitted maroon sweater, with chambray collar peaking out just so from beneath the crew-neck, topped with a pristine pea coat in very civilized navy.

Head of Passes, directed by frequent McCraney collaborator, Tina Landau, is currently running at The Public Theatre in New York (March 28th – April 24th, 2016). NYT’s Brantley rightly raved about the production and the “surprises [it has] in store — and not just of plot but of tone and structure that make the patience-taxing conventions of the first act worth sitting through”. The play, inspired by the book of Job, is a rumination on tribulation as lived through a matriarch, Shelah (played by with impassioned yet meditative vivacity by Rashad), and her gallant grappling with grace as life literally caves in around her.

McCraney is himself no stranger to trial or to grace. Initially laconic in his responses, the immaculately-dressed gentleman’s paucity of words at the beginning of our interaction gave way to a flow of inspiring personal truths and stories about art, creativity, self-doubt, faith and the way of grace.

TEF: So tell me, who is Tarell Alvin McCraney

Tarrell Alvin Mcraney: [Laughs]. I have no idea. All I know is that I was born in Miami. I grew up in New York, sometimes LA, sometimes in Chicago, a few times in London. Yea. I write plays. I do that, and I teach at the university of Miami

What do you teach at the university of Miami?

Playwriting. It’s mad simple. Acting too sometimes.

Do you act at all?

Not anymore.

What’s your educational background?

I went to a performing arts high school and I then went to undergrad at [The Theatre School at] DePaul University. I majored in acting.

Was performing arts high school your parents idea?

No, no: it was my idea.

Really? So have you always existed in a creative space and identified as a creative person?

Oh yea, yea, yea. Someone asked me the other day, when did you start working? When did you start performing?” I was like “That’s a really tricky question!” My earliest memories are of performing, since 5 years old. Even though I did not grow up in wealthy family —in fact I grew up in the opposite of a wealthy family; I grew up in a pretty impoverished family (particularly on my mothers side)—somehow I was still able to eke out a really practical education in the arts.

That’s particularly interesting given that notion that the arts— the classical arts— are indulged in and enjoyed by people of privilege.

It is, and understandably so. Although, it’s a privilege that we all need to be afforded, it is a privilege. In terms of what parents think of as necessary for children, we know [the arts don’t] provide any needs: it doesn’t feed your kids, it doesn’t make sure that they have shelter. But, it’s a need in terms of their imagination and their growth as human beings: its necessary. Somehow, I got a really great education in the arts. Mostly because there were a lot of social contracts that I sort of wandered myself into as a kid.

Given your great education it the arts, I imagined you dabbled in more than theatre in your youth. What other modalities of art were you involved in growing up?

We had all kinds of classes. I was acting always. At about 14, my mother was in rehab, and in the rehabilitation center there was a new director of prevention for students and in that program they wanted to do theatre outreach. So, this new director who had studied avant-garde theatre started a guerilla theatre group of students who would go into the community and do agitprop or preventative theatre. And it was a crazy experience because he was teaching us things he had just learned. He was showing us Augusto Boal, and Peter Brook, and Jerzy Grotowsky. It doesn’t sound profound but when you are teaching it to 13 or 14 year olds who come from the inner city…

By the time I got to undergrad, they were like, here is this thing you’ve probably never heard of”and I was like, oh I’ve done this! I’ve heard this! “ [This exposure] coupled with the fact that I did go to a performing arts high school where I was learning Stanislavsky and Chekov, it was just really well-versed education. I also started learning dance there. I had to take singing unfortunately. We had to take visual arts courses. By the time I got to undergrad, I had had a really solid base. And in undergrad I would still take dance classes outside of school, learn religious arts, and then take the conservatory program at the Goodwin School of Theatre at Depaul. And then when I left DePaul, I decided I wanted to focus on playwriting specifically. It was the one thing I felt like I didn’t have a formal enough education in. In the summers I would come here [to New York] and study at the Ailey School, dancing.

Are you still dancing at all?

I take class. I wouldn’t consider myself a dancer but yea, I do take class.

It’s brilliant that you make time to take class with your hectic schedule.

It rarely happens. It happened more so when I first started rehearsal [for Head of Passes].

Do you find that there is in any crossover between your dance education and your work as a playwright?

Absolutely. Absolutely. I am only interested in what the bodies can do in space and sometimes…my plays are more structured like ballets than they are plays. I probably see more dance than I do theatre. I am sure some people are like “I wish he would see more plays.”

Is that shade to yourself?

I just know people who feel that the structure of plays should be in a very well made a b c order but something about dance feels more organic in storytelling. There is a something more naked in it.

I suppose in any art form there is the technique and structure right? One of the most profound things I recall one of my dance professors saying is you study technique so you can break free of it. So that you have that backbone that you can do whatever you want…

Yes that! But also, form and content crossover. What’s interesting is that we often try and silo what works in [one art form versus another]. So, you would, say, never try to make a Pointillism play. But that is not true. If you look at Brecht’s work or any other playwrights that wants to take moments that are really small and intimate and pick them apart so that when you stand back from them, [it is evident that form can crossover] and that it a worthy practice. So, just because the divertissement is [a feature of] ballet doesn’t mean it can’t exist in other forms [of art].

What inspires you to create?

It is very difficult to pinpoint. Inspiration is all around. You walk down the street and the way the sunlight hits a tree… The important thing about inspiration to is to grab it, feed it, and grow it. It’s difficult with busy schedules. Sometimes you are like, “Wait! Wait! Wait! I have to finish this first”

I know, rright? You want to scream “Holllllld! Why are you coming now? Where were you last week when I had nothing going on?

Exactly! [Laughs]. “Hollld” is a very good way to put it.

What is a your process like when you are writing a play?

I am always writing a play. It may not be on the page but I am always writing a play. You kind of just let things build around it—at least I do—I let things build about in my mind until I am like, “ok, I have to get this out. “ That normally happens when I know what the ending of the play is. You’ll just keep writing and writing and looking for it and I know won’t find it unless I already know it. Maybe I am just lazy, because it is exhausting in my head to seek where the piece is going, so the best way to get there is to know that’s what we are after so I can just fill in the blanks. When the imagination has filled the world , I can put it down; its difficult for me to fill the world on the page. My hand is not faster than the world that is being created at the same time.

What’s your favourite part about the playwriting process?

Collaboration. Its also the most nauseating [aspect] because you never know who you are actually collaborating with until its too late sometimes. You don’t know if someone is as eager to give in to process as you are or in what way they give in. People come to the table differently. It is thrilling. I am working with Phylicia Rashad now and I have never worked with someone who is just so generous and so hungry. In terms of how quickly she takes the information and runs with it, its just stunning.

I have worked with Tina Landau, [the director of Head of Passes], for a long time. We come from different backgrounds in terms of theatre,. She will tell you she grew up seeing Broadway shows with her family (her parents were in the industry). What is interesting is that we have very similar ways of working around the work. We are very courteous and kind of all in. But I’m also very much like oh, Tina is working so I can sit back now,” There’s a certain kind of protocol —a protocol that is organic — between us. We understand how we each need to work and have room for that. So that’s my favourite part: I like working with people

What’s your least favourite part?

My least favourite part is people trying to fix something about the work but not having any idea [how to fix it]. You are more than welcome not to like something, but if you are coming to me as the writer to say, “oh I didn’t like that”or “you need to fix it”, then let’s talk it through but people just sort of walk away. And so now what was the point? My feelings are hurt and nothing constructive came of this.

Do you think there is any such thing as constructive criticism?

Absolutely. Absolutely. I believe in it completely because. When people love something or have found their way into something, even if they don’t enjoy it per se, there is a way to say I wanted to be invited into this work like this or like that. One of my weak areas is visual art, I would say. I have a very crude understanding of visual art. I would see something and say “oh that’s nice” and move on. I am still learning how to take pieces in and how the gaze of visual art works but in that, even when I am not understanding something, I am there for the learning experience. I am there for “oh you are not taking this piece in correctly”, or “you walked away too fast. No, no, no stand here”. I am interested in that conversation. I think all art—especially by living artists—is living and so it is important that we live in it , that we handle it in different ways and that it affects us in different ways.

Switching gears a bit, let’s talk about Writer’s Block. Do you believe in it?

Sure. I believe writers get it. I certainly believe that there are times where you don’t know the answer to something. I have never had a paralyzing moment where I didn’t have anything to write: that I have never experienced. I am sure it happens but again, even if it may not be good, there is always something to write about. But I understand more the fear of people. There is a gripping fear people nurse, trying to write the best next something or other and I get that fear totally, but again, I’ve never had a moment where I have never had anything to write.

I find that to be really admirable advice. Another writer friend of mine mentioned a story about Dr. Dre. It was something to the effect of his secret to success is that he works everyday. It’s not always good work, but he works everyday nonetheless. And I believe it’s Isabelle Allende who said show up, show up, show up and eventually the muse shows up too.”…

Yea. Suzan Lori Parks says the same thing: just write until the end. I can’t remember the exact quote but Athol Fugard says the biggest censor in his life was not any government trying to stop his work but the time he had a fear of putting the pen to the page. He just stopped himself and he lost volumes of work that way.

Story of my life.

We all live there, don’t worry. We all are in that terrible, terrible state together

Do you ever have feelings of self-doubt?

All the time. I have to go to therapy. I am extraordinary self-deprecating.; I doubt myself constantly. What I don’t doubt is that these stories are compelling, because I didn’t make them. There are no new stories anywhere. We have just been telling the same 26,32,28 stories all over the world in varying degrees. I also know that I usually don’t get to sit down to the page unless it feels like this is necessary. And I know that even if I get it out and it doesn’t work out in the way that I wanted it to, that’s not the point, the point is to get it out. And as I have seen with all of my work, somebody always doesn’t like it.

Speaking of not being able to please everybody, do you believe that how good something is can be measured by a set of codified parameters (i.e. that beauty is not a subjective determination.)

It’s complicated. We see it all the time with people’s idea of beauty and shifting what they find beautiful with time. I do think that there is a universality in the human condition that opens people’s understanding just a crack and as such they are able to let in more experiences; you know, that saying about making the familiar foreign or the foreign familiar. I am a Libra so unfortunately I’m ruled by Venus so beauty is a thing [I can separate from liking]. My friends get mad at me all the time because we will notice somebody who is really a not niece person. And I’m like “Yeah, they are not nice. They are beautiful, but they are not nice.” And they are like, ”Why do you keep saying that? They are not beautiful if they are not nice,” and I’m like “that doesn’t make any difference. They are physically appealing…I can’t turn that off. I’ve seen some really gorgeous or incredible pieces that I felt were not really great but found something about it that is appealing. So I don’t have that filter but I know some people do.

Do you have any favourite playwrights or plays?

I like the red letter plays but Suzan-Lori Parkes: Fucking A, In the blood . I don’t now if I have a favourite. If you go through the canons of people’s works, there are lots where I can go, I love that play, I love that play, I love that play. I don’t know if there is one I return to over and over again. I am sort of obsessed wit the Scottish play at present and Julius Caesar. I don’t know why.

I was very much obsessed with Julius Ceasar when I was in the 9th grade. I don’t know why either. I am always obsessed with the Scottish Play. You worked with the Royal Shakespeare Company, did you not? What was that experience like?

It was an experience. I learned a lot. I was happy a lot. I was sad a lot. I was mad a lot. It was a life. It really does feel like a life, but one I would not trade for anything. I wish I had…gotten to know more people. I walked away with a few relationships there or from there. This guy named Tunji Kasim is one of my close friends and I love him to death. Michael Boyd: he was the former artistic director and I still adore him. Otherwise, I don’t have a lot of relationships there, mostly because many of those people left to be fair. For instance Jeanie O’hare became the head of Yale playwriting and then a guy named Jeremy who was producer there actually came to the Public [Theatre]. Anyway, the relationships there weren’t as strong as I would like or as I have had at other theatres but as for the impact of it, I can only pretend to guess what it will do and what it has done. I still think about moments and think, “ohhh now I know what that means.

And now your play, Head of Passes, is opening on the 28th of April at The Public. Tell me a bit about that.

Head of Passes was a commission from the Steppenwolf [theatre] and this production is a co-production between Berkley and The Public theatre, which has supported my work since before I was out of grad school, which has been incredible. It is a play that was inspired by the book of job. It takes place in the Head of Passes which as an area just south of Louisiana where the Mississippi river pours out in to the Golf of Mexico, on a slice of land which is shifting as we speak. It takes place on the night of Shelah’s birthday. She is not doing well and wants to gather her family to talk it through. A storm hits and the events of the night unfold. The play is dedicated to my grandmothers because it is a portrait—for lack of a better word—of how I have seen them engaged in faith especially when life’s perils hit. Its an and hour and forty minute piece and we are doing the best we can with it. I am really proud of it in a lot of ways; its terrifying in a lot of a ways. There are questions I don’t know the answer to.

McCraney’s Head of Passes, directed by Tina Landau & starring Phylicia Rashad

Are you a man of faith yourself?

I am. I wrestle with faith. I don’t know how faith can be a stagnant thing. Life is changing in all the time. Your belief in things and the world around you has to shift a little. You try to be steadfast on something and then the ground underneath you slips and goes and then what do you believe in?

Is faith a constant theme in your work?

Yes.

Both your grandmothers are named Grace. It’s a beautiful coincidence.

It’s amazng. Also both my grandfathers are named Alvin. So I carry the name Alvin because it’s a family name from both sides. So there is Grace and Grace and there is Alvin and Alvin, which is strange.

How would you define grace?

When I was taught the word grace it was the notion of grace of god: this ability to, no matter what, give to people to be generous to people, to have love for them no matter what . [Grace may] translate differently when we think about stature and physical presence. I have been called graceful all my life but I don’t find anything generous about my movement. I am shy so I constrict myself most of the time. But there is a pervading grace that we find within ourselves that is about space…I don’t know how to describe it…but allowing people into space. I was on the train coming down here and someone was taking up a lot of space and realized that they were doing so and so they moved in this way that was not perceptible, but they just moved so that people could come around them. That to me is graceful. That’s full of grace: the ability to just sort of allow and be and understand that I have my space but I am also going to allow us to be here together. I am not finding a clear definition

That is quite clear. The word “allowing” is quite poignant. In the film The Book of Life there is the line where he says there is “the way of nature and the way of grace.” I think of grace as accepting and allowing things, especially adversity, to also have their space.

Right. Because we have this ability to consciously fight and go against. In a way Consciousness in itself can be a way of going against. The fact that you know that there is sugar there already is identifying it, trying to hold it, trying to put parameters around it. But then, there is a way to use that consciousness to just allow the sugar to be there.

Precisely. “There is nothing either good or bad, but thinking makes it so,” right? (Alluding to Hamlet)

Yea. Absolutely. That’s great. That’s exactly it.

You are in previews now with Head of Passes, you open next week and then what’s next in your world?

Oh my god. I am going home. I am going back to my students. I am starting a summer program for young women of colour in the neighbourhood I grew up in my city. It’s a leadership program where they can come and do a 10 week course in theatre arts, experiencing what it is like to run their own theatre company . We have a terrible inequitable situation in the arts where there are not a lot of women, especially women of colour, in leadership positions and because of that, we don’t see a lot of representation of women of colour in the arts and so for me its about using my position to provide them with the accessibility and the experience to be able to practice so that when they do go off to college and out into the world they will have this under their belt.

Do you have any advice for up and coming playwrights or people interested in a careers in the arts?

Invest in your craft. have a friend who says all the time that if he could just put a little stage in the back of his house and do plays for 10 people or 5 people to come in and sustain that life, he would be very happy. I believe that you have to know what your little stage is. You have to know what your base minimum happy is in the arts because if you don’t, people will snatch it from you all the time. If your happiness is “I would like to be the next Will Smith, then do that. But, if its also, “I would also like to make a sculpture and put it on the corner and have people look at it, “ then know that, and invest in that because that is what is going to feed you…nothing else will.

Do you believe that as an artist you have to sell out–even a little– in order to be successful?

No. No because you define your own success. When my friend talks about putting up a little platform up in his backyard, I’m like, “dude I totally want to write plays for that space. Let’s DO IT.”I enjoy working with people in various ways. When I was 14, we were doing plays for people in halfway houses and I was like: THIS IS SUCCESS. Those were and are some of the best times of my life and I felt successful.

What is the proudest moment of your career?

There are many: working with the young people that I worked with in Choir Boy; seeing some of the people I have taught come see and my plays and be moved in certain ways; the collaborations…as well as many disappointments. But the disappointments always felt like learning opportunities whereas when you get too congratulatory sometimes you forget what you were supposed to learn from the experience. I am always like, “where is the growth in this?

A Production of McCraney’s “Choir Boy”

As my yoga teacher, Kquvien, puts it don’t exist too much in the euphoria or in the sadness and fear. Be aware but don’t cling to it.

For sure. If you hold on to something, nothing can get in our out. Your hand is tight so even if you want more, you couldn’t get it. You have to let go first.

And so it is that Tarell continues to carve space for himself among the pantheon of American playwrights of our time: like Rumi’s “Birdwings”, with an unclenched fist, he is gracefully giving of his talents, accepting grace from the universe and allowing the dynamic equilibrium of existence in general (and creativity specifically) to sort itself out.

#tarell alvin mccraney #moonlight #phylicia rashad

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universallyladybear · 5 years

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writingguide003-blog · 5 years

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7 sci-fi writers who should pen new 'Star Trek' episodes

New Post has been published on https://writingguideto.com/must-see/7-sci-fi-writers-who-should-pen-new-star-trek-episodes/

7 sci-fi writers who should pen new 'Star Trek' episodes

AsStar Trekfans react to the announcement of anew TV series for the franchise, we’re seizing the opportunity to imagine which acclaimed sci-fi writers we want in the captain’s chair.

One of our favorite things aboutStar Trek, in particular the original series (TOS), is itsdirect connection to the culture of science fiction. Richard Matheson, Theodore Sturgeon, Harlen Ellison, Peter S. Beaglethese are just a few of the many acclaimed writers of science fiction who wrote iconic episodes for TOSand its successors over the years. Not only did TOS consistently put established and important sci-fi writers at the helm of the Enterprise, but Next Generationspringboarded the careers of a bevy of writers who went on to create over a decade of sci-fi shows on television.

So who’s next? CBS has a huge opportunity here to return to the show’s roots and invite a modern generation of sci-fi writers, both young and old, to leave their mark on the series that helped shape many of them into the writers they are today.

Here’s our wish list of writers we’d love to work onStar Trek for a new agehopefully inspiring a generation of new writers in their stead.

1) Connie Willis

Goodreads

Who better to write for the most beloved science fiction franchise than the writer who’s won more awards than any other science fiction writer in history? With her epic Doomsdayseries as well as other standalone novels, Willis seamlessly merges high themes like religion and death into intricate concepts like time travel and journeys inside the mind. She’s also an expert on the genre and how to thoroughly canvass it for new ideas, which is probably why we can’t stop giving her all the Hugos and Nebulas. We can’t think of anyone better qualified to usher TV’s most iconic space opera into its new era.

2) Andy Weir

Goodreads

Come on, the guy just put a man on Mars. Nothing is more Trekkie than that. The Star Trekfandom isalready cracking jokes about Weir’sMartianMark Watney being a member of Star Fleet. This needs to happen.

3) John Scalzi

Goodreads

This one’s a no-brainer: Of course CBS should tap Scalzi, with his massive blog audience, social media reach, and string of acclaimed bestsellers including an actual work ofStar Trekfanfiction, to write new episodes ofStar Trek. InScalzi’sRedshirts, the expendable, nameless crewmen of the Enterpriseactually nicknamed “redshirts” by the fandom because of their red uniforms indicating low rank on boardtake control of their fates to halt their high death toll. How much would welove to see Scalzi turn this idea into actualStar Trekcanon? Make it happen, guys.

4) N.K. Jemisin

Goodreads

Though Jemisin is known for her award-winning works of fantasy, she started out writing science fiction before transitioning into fantasy and has statedthat “science fiction and fantasy are pretty much equal partners to me.” Her books are brimming with realistic worldbuilding and real physical and social sciences, like her most recent dystopian repeat apocalypse-ridden Fifth Season.Her take on her genre harkens back to classic forms of fantasy likeGilgameshandThe Iliadrather than Tolkien and his descendantsall things that make her an ideal writer to put her own unique spin on the mythology of Star Trek. She’s also been outspoken on the shortcomings of Star Trek’s recent iterations regarding race and other forms of representation. As a writer who constantly looks father afield for tropes and influences than Euro-centric fantasy, Jemisin isthe kind of writer the new millennium Star Trekneeds.

5) Cory Doctorow

Goodreads

Few sci-fi writers have been so closely concerned with the real-life issues that spawn the dark visions of cyberpunk dystopias as Doctorow, who made a name for himself championing Internet freedom, open source and remix culture, and Creative Commons alongside his contemporary sci-fi novels. A true futuristic visionary, Doctorow has the talent to churn out mind-bending installments of new Trekaimed at future cyber-rebels like himself.

6) Peter David

Goodreads

The illustrious David has a long and formidable career of sci-fi, comics, and fantasy writing to his name, and he’s not even out of his 50s. Moreover, he’s got tons of experience writing for Star Trek:io9 called him “the undisputed master ofStar Treknovels” thanks to his string of tie-ins for the franchise in the ’90s, including The Riftand Izmadi, both considered must-reads by the fandom. He also has another distinction that makes him perfect for the new era of Star Trek: finally turning the long-subtextual friendship of Rictor and Shatterstar into a canonical gay relationship in his acclaimed run of X-Men. We’d love to see David getting his hands on newStar Trekcharacters and applying his new, fresh ideas to a series he’s familiar with of old.

7) Junot Diaz

Goodreads

This Pulitzer-winning MacArthur fellow is best known for The Brief and Wondrous Life of Oscar Wao, a pseudo-autobiographical literary work tinged with magical realism about a science fiction and fantasy fanboy. Diaz has always had a complex relationship with science fiction, and a keen awareness of the ways in which the genre both confronts and is limited by post-colonial power dynamics. After just missing out on a couple of epic science fiction novels from Diaz, we would rejoice if he finally got to flex his sci-fi muscles in an episode ofStar Trek.

Honorable mentionsa few sci-fi heroes we’d love to see try their hand at Trek, though even we have to admit the odds are pretty unlikely: Margaret Atwood, Samuel Delaney, Karen Joy Fowler, Neil Gaiman, Kelly Sue DeConnick, and Dan Harmon.

Who’s on your ultimate Star Trekwishlist?

Photo via Kanjioman/Flickr (CC BY 2.0)

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