Idea

A skit.

Meeting of a group of neo-Luddites.

They are planning a campaign to get out the goals of their movement, gain converts, and mount massive campaigns.

How will they get the word out?

An exemplar of the genre

Last night I re-watched one of my absolute favorite movies: "Something New." While I was initially drawn to it for its combination of romance and social commentary (black woman, white man, society ... what will happen???), the movie transcends these because it is simply so good. It has a story line. It has actual romantic tension (not sarcastic quips). It has character development. Acting you can actually believe. Characters you root for. Dialogue that makes you smile. It's a gem of a film, and I recommend it to all.

Technocrap

I went out dancing on Friday night with quite a group of friends. We had planned on the Gator with its great live music and grimy ambiance. However, the Gator was mysteriously shut down for 4 days, so we had to go elsewhere. Our gathering-place was Flashbacks, a club I'd successfully avoided so far. However, the dance floor was empty so we were able to enjoy ourselves. Almost. It was techno night, so all the songs had - yes - a techno beat. I don't know quite what it is about the electronic pulse of techno that I find so soul-destroying, but I am now committed in my intense dislike of it. Because in spite of what people say, the "beat" of techno does not make me want to dance. Its boring, repetitive omnipresence actually kills my creativity. My body forgets how to move. It carries absolutely no inspiration for me. So I danced, because I wanted to, but not because the music facilitated it.

Next time: do not go on techno night!!!

Youthful fantasy fulfilled

When I was a teenager, one of my biggest dreams was to be a lead singer in a band.

Yes, it's classic - what alternative teenager doesn't dream about this? Your own cool alt group, playing cool alt music, you at the mic, belting out tunes. The years went by, and though I played various musical instruments, and sang in choirs, the whole band thing just wasn't happening.

Well, that wish from years ago has come true. My new afro-cuban drumming group performed at the Baha'i New Year celebration last night. I drummed for one number, and played clave/ sang lead & co-lead vocals for two songs. And it was a blast! The group is full of completely amazing and beautiful souls, the drums rang out, the vocals were belted, and joy was had by the performers and the audience. I feel so fortunate, and blessed, and full of life to realize that this dream, which was nothing more than a silly fantasy for years, is now a reality.

Happy new year to all!

rrrrrrrrrrRRRRRRRRRRRRICK zkkkZIKK zzzzzzzzzz

Last night I went to a performance by Christian Bok, a sound poet out of Calgary. I haven't been to a lot of poetry events in the past while, and didn't know how much I would actually enjoy it, but I felt up for a new experience. And what a treat it was. Sounds and words, glorious, rolled into my ears for almost an hour. At least half the poems were in the dada form/style - the sounds, the intonation carried the meaning rather than the non-words that were used. Christian opened with an enviable rich and rolling r-sound, shouted whined declaimed and intoned, screeched bellowed and beat-boxed.

Several pieces stand out. A brilliant anagram co-written by he and a friend. An entire poetry book (he read selections from it) called eunonia - with each chapter dedicated to and using only one vowel. But my favorite was a selection from an opera in which he performed - performed at 4 a.m. on a lake in northern Ontario - called the "aria of the three-horned monster." Opening with an insane screech, the aria sent me giggling not from embarrassment or confusion, but from the sheer joy of the sounds. Who has not wanted to screech, holler, scream meaningful nonsense at the world?

The evening was a powerful reminder of the vital role arts and artists play in the health and functionality of society. Arts explore the feeling and philosophy of life that are as vital an element in our sanity and happiness as material needs. These explorations of ideas, outlets for what is hidden in regular life, let us acknowledge their reality, thus giving them a place in our lives while appeasing their potentially violent revolts. By touching the insane, silly and wild in us, they ground us in ourselves, freeing our energy for living.

And that all could be said so much better. Those words above barely touch at the importance of art. But they're all I've got right now.

Songwriting Rule #43

If you have a really cool line - a particularly clever turn of phrase, exceptionally effective image - use it as a throw-away line in a verse, rather than a repeated line in the chorus/ tag line at the end of verses. Because you are so cool, and your audience is so cool, they only need to hear it once to get it and appreciate it. If you repeat it, it kind of implies that's the best you could do, and you're going to use and re-use it 'cause it's your ace. Instead, you want to chill out by using something simple for repetition that they'll like, but that shows, once again, that you're TOO COOL to make a big deal about your chorus. You're just sharing your thoughts.

Well, that's one of my song-writing tips. Hope y'all enjoy it.

Lessons from drumming

My afro-cuban drumming class resumed last night for our next 10-week session. This marks about one year of lessons for me. I am learning a lot, enjoying it, and actually developing a passable musical skills.

I am also learning truths about life through drumming in a group. One rhythm we're working on is bembe. It is a difficult rhythm, based on a combination of a 6-beat and 4-beat played simultaneously. Some parts play to the 4, some to the 6. I've been playing the high drum, which is on the 4, but its 2nd beat comes AFTER the main beat, not before. For those accustomed to western rhythms, this is quite challenging. In the last several classes, I've finally figured out how the rhythm works. When all the parts are going - clave, bell, low drum, middle drum - I can feel the rhythm and come in with the high drum in just the right place. The balance of all the parts going lets me know where I fit into the big picture. When everything else is going on at once, my part is easier to play and feels right.

The last dance

Sometimes you don't know that something will be your last until after it's over. At the Latin dance last night I ran into Alon, one of the Israeli guys I've got to know lately. He's one of the most amazing salsa dancers I've ever danced with. Pure joy - one of the most fun things in the world. He's brilliant, and leads so perfectly that you can follow everything he does - turn, dip, swing.

I wasn't feeling dancy last night; and I wasn't dressed up, hence he didn't ask me to dance (I take no offense. That's how it goes). At the end of the night, boots back on, I heard him say that he's moving to Vancouver in a few days. I'll never dance with him again. Wow.

Drum jam

I went last night to a drum jam at my drumming teacher's place. He invited all his students, current and former, to come and play. We drummed for almost 3 hours. That is a lot of rhythm! My hands were sore - and I could feel my arm muscles when I went to wash up at the end of the night.

We played around with bembe for a while - a very fun rhythm - and then sang some songs to that rhythm, and some other made-up rhythms. We played yambu, then jammed on conga (a new rhythm for us all) and guaguanco, another rumba. We took turns soloing in the hot seat. And closed with aisa, a beautiful rhythm that I still can't remember.

I have had a hard time enjoying drumming lately. My mind seems to go elsewhere, which is kind of the opposite of where you need to be when drumming. The only time I fully got into it was probably soloing, because you have to listen to the rhythm to know what to play. And possibly, playing high drum on bembe, where I think I can finally feel where it comes in.