Friday, March 30, 2007

Sir Bono

I was going to post this anyway, but in honor of my boy's recent knighthood I find it especially fitting. (As an Irishman, he can't technically be called "Sir" though, which is probably for the best.) Below is a piece he wrote in this month's issue of TIME.

You know, he gets slagged left and right for his humanitarian work and has for years. People get sick of the earnest, do-goody routine and dismiss him as just a megalomaniac rock star with a messianic complex. Which is all well and good, but I'm always left with the same nagging question about his detractors...

What the fuck have you done...?

A Time for Miracles
By Bono


Fifty years ago this week, the idea of Europe was set to paper, on a continent unsettled but past the worst of the postwar period. The air was clear of sulfur if not spleen. Ireland was a small rock in the North Atlantic made relevant only by its cultural totems and ever increasing diaspora. In Berlin a chasm was opening up between East and West--the partition of lives, fortunes and fates. In the global struggle between the U.S. and the U.S.S.R., between freedom and totalitarianism, Europe was the fault line and the front line. Old Europe was being rebuilt to fight the next war: a battle not just of ideologies but also, very possibly, of nuclear arsenals. It was not a moment for dreaming--more like one for digging a basement and ordering a year's supply of tinned soup.

And yet this was the moment the New Europe was born.

On the continent that had been the theater for mankind's darkest hour, we witnessed a very human miracle. The people of Europe found that their capacity for destruction was mirrored by an equally immense capacity for forgiveness, grace and hope. Looking to the U.S., Europeans could see how cherry-picked European ideas from minds like Locke, Rousseau and Tom Paine could flourish in a society not polluted by blood and aristocracy. And so, in 1957, six nations signed the Treaty of Rome and, with that one crucial act, built a showcase of multilateralism, prosperity and international solidarity.

Fast-forward 50 years. An Irish rock star reads the treaty with the enthusiasm a child has for cold peas but does uncover what I think technocrats might call poetry. Not much of it--just a turn of phrase here and there. Like Article 177, which summons the signatories to foster "the sustainable economic and social development of the developing countries and more particularly the most disadvantaged among them" and calls for a "campaign against poverty in the developing countries." Not exactly Thomas Jefferson but a glimpse of the kind of vision that might bind us.

Over the next 50 years, we might need a little more poetry. Europe is a thought that has to become a feeling--one based on the belief that Europe stands only if injustice falls and that we find our feet only when our neighbors stand with us in freedom and equality. Our humanity is diminished when we have no mission bigger than ourselves. And one way to define who we are might be to spend more time looking across the eight miles of Mediterranean Sea that separates Europe from Africa.

There's an Irish word, meitheal. It means that the people of the village help one another out most when the work is the hardest. Most Europeans are like that. As individual nations, we may argue over the garden fence, but when a neighbor's house goes up in flames, we pull together and put out the fire. History suggests it sometimes takes an emergency for us to draw closer. Looking inward won't cut it. As a professional navel gazer, I recommend against that form of therapy for anything other than songwriting. We discover who we are in service to one another, not the self.

Today many rooms in our neighbor's house, Africa, are in flames. From the genocide in Darfur to the deathbeds in Kigali, with six AIDS patients stacked onto one cot, from the child dying of malaria to the village without clean water, conditions in Africa are an affront to every value we Europeans have ever seen fit to put on paper. We see in Somalia and Sudan what happens if more militant forces fill the void and stir dissent within what is, for the most part, a pro-Western and moderate Muslim population. (Nearly half of Africa's people are devotees of Islam.) So whether as a moral or strategic imperative, it's folly to let this fire rage.

How will Europe respond? For all the babble of clashing ideas, there's more harmony than you might think. Historic promises have been made on aid, debt and even the thorny subject of trade. Aggressive progress on these, matched by advances in fighting the evils of corruption in Africa, could transform the continent and prevent the fire from spreading. As a group, the E.U. countries have promised to commit 0.7% of GDP to the poorest of the poor. How Europe works to keep that promise is as important to Europe as it is to Africa.

We might remember that Europe, 50 years ago, did not pull itself back from the abyss on its own. Across the Atlantic was a nation with a pretty broad notion of neighbor. Sure, the Marshall Plan wasn't all altruism--the U.S. wanted a bulwark against Soviet expansion as the temperature of relations dropped below freezing. But it was also generosity on a scale never before seen in human history. It defined America in the cold war era.
What will define Europe in this new era? What will provide the bulwark against the extremism of our age?

Wednesday, March 28, 2007

THANK YOU, Bill...

Caught his "New Rules" the other night and just had to share...

Sunday, March 25, 2007

Le Canyon Grande

So, it was right around this time last year when we returned from out SIXTH Grand Canyon trip. It was our longest, hardest and I'd say overall best Canyon trip to date. Some exciting firsts as well - Neil's first trip and our first trip with SNOW. And since we're starting to look at putting together the next one (September), I thought it would be fitting to post this slideshow I put together of last year's trip. Dig it...
(The "Play" button is on the lower left corner. Turn up the volume to get the full experience...)



*OH. And P.S... If you haven't downloaded your free tracks below, they're only available for another week so - help yo self...

Sunday, March 18, 2007

Soundtracks & Soundscapes - Home Recordings 2001-2006

Over the past five or six years, I've dabbled in recording music both for fun and for various stage and film projects. I've always been adamant that it was never more than a hobby and as such, have never been very forthcoming in sharing my music.

Truth is, I'm not a composer. And really, I'm not even a musician. What I am is a guy with a decent ear, a guitar and some super-modest sound equipment. But, after a couple years of fairly persistant prodding from Jesse, Maker of Huts - I've decided to post some of my personal favorites.

Below are some selected recordings made between 2001 and last summer. The bulk of these were recorded at home on a Tascam 424 cassette 4-track, and most of them sound like exactly that - home recordings. Nonetheless, enjoy them for what they are.
*To download, simply click on the track title link which will take you to the file-hosting page. Then right-click on the "Download Now Securely" button and select "Save Target As".

SOUNDTRACKS:
"I Guess We're Other People" is the most recent thing I've recorded. Troy had asked me to do some music for the website for the movie, and I told him I'd sketch something out and see what he thought. Website's not up yet, but I do like this piece a lot. Recorded on Neil's digital 4 track 'pocket studio'.

The next three tracks were my first stab at recording for the stage. They were for a production of "Brilliant Traces" that The Missus and I produced and starred in.These weren't recorded at home, but the tracks were all laid down in one take on the day of our friggin' tech so I literally ran from the studio to the theatre with these recordings hot off the press. I like the ideas behind each, I just wish I'd have had more time to work with them in the studio.

"Whiteout"
"2 Days"
"I've Got You"

These are a couple of the pieces that were commissioned by On The Leesh Productions for a series of short films they were working on. These were recorded at home on the Tascam and I've never been pleased with the quality, but like the feel of each.

"Overture" - from the short film "Soap Scum", a twisted little Mexican standoff number for a twisted little film
"Opening Titles" - from the short film "Table for Three"
"The Lovers" - from "Table for Three"
"End Credits" - from "Table for Three"

SOUNDSCAPES:
These are all home recordings. Improvisations mostly. A basic idea laid down on one track and then fleshed out in the overdubs. 3am, me, headphones, candles, a pack of Smokin' Joes, a bottle of wine.

"I-80" - To this day, this might be my favorite. I'd love to hear what Kinski would do with it.

"Bad Dreams" - You know that dream where you're walking through the forest and it's pitch black and you think you hear someone behind you but you're too scared to look so you just start running and then the sound of your running makes it seem like there's definitely someone behind you and they're gaining...??

"Ambient Tribal Sketch" - Pretty self-explanatory. Always hated the mix on this because the percussion stuff is pre-amped way too high. Still an interesting piece though.

"Blessed" - This is actually the first piece I ever recorded with my Tascam. It's an expansion on a piece of music that went under a poem I recorded after the 11th. A pretty good recording actually, considering I was still figuring out the equipment. And it showcases my long-standing love affair with the e-bow.
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Hope you enjoy these. Lots going on this week. Will save it for other posts.
Ciao,
-IMBA

Friday, March 09, 2007

8 Staples

"8 staples?!" this douchebag says to me.

"Um... sorry, I... what?"

Last week I had a One on One session with a talent agent. For those of you in my presumably limited readership who don't know what One on One is, it's a networking organization that gives actors a chance to meet agents and casting directors and give them a glimpse of your work. Regular One on One sessions are 10 minutes long and involve a monologue or prepared sides, depending on the preference of the industry guest, followed by a brief interview. It's basically a $35 chance to say, "HI, INDUSTRY PERSON. HERE I AM." The core idea is similar to Actor's Connection, but generally considered slightly more legit because it's more exclusive. (You have to audition to become a member, etc.)

When Actor's Connection first came along I was immediately suspicious and dismissed it as simply another money-making scheme that preyed on young actors' eagerness and desperation. I had no real basis for this, but it was coming into prominence at a particularly shaky time in my career and I felt very comfortable in my baseless disdain for it. Then, a few years later, One on One came along.

Ultimately, after 10 years of kicking around town, I came to a reckoning. The truth was I had been clawing and scratching for my shot for a friggin' decade. Doing shows. Doing my mailings. Desperately trying to get someone, anyone in the industry to see my work. And I had gotten nowhere. N o w h e r e. I had become phenomenally discouraged and was seriously entertaining the notion of just throwing in the towel altogether. Finally, after a conversation with Sayra Player (an actor I respect and whose work I've long been a fan of) I decided to put my suspicions and pride aside and give One on One a further look. I mean, here was the deal... (layed out for me with undeniable clarity): I had been bitching for 10 years about not being able to get seen by agents and casting directors and here was a bought-and-paid-for, guaranteed opportunity to do just that. It became embarrasingly evident that to go any further in the journey without at least checking it out could only mean that I preferred bitching about my career to actually taking some solid steps toward improving it. Sobering stuff. So I bit the bullet, auditioned, became a member and started taking advantage of the sessions and intensives that I could, when I could afford them.

I've made some great casting contacts in my time at One on One and even booked my Law & Order gig after meeting Claire Traeger back in September. Getting my face in front of casting folks has been a HUGE boon, especially for someone focusing on trying to work in TV. Additionally, I do get the breakdowns and most of the CD's I've met gladly accept self-submissions, effectively cutting out the middle-man: The Talent Agent.

My feelings about (and dealings with) talent agents over the years have been a mixed bag, to say the least. It's hard to even consider my personal experiences with agents during the last 12 years without wanting to vomit heaping buckets of generalizations out into the blogosphere. Gnashing, foaming, cursing, holding two hyper-extended middle fingers aloft and moshing about in an uncontrollable jig of rage and self-righteousness all the while. The reasons for this are varied and too involved to fully explore here. (As if this post hasn't already gotten more involved than it was supposed to...)

Suffice to say, I've always targeted the casting directors and associates that visit One on One more than the agents. And I've made some great contacts. However, given the nature of the business, I'm limited as to how far I can get without representation. So, from time to time, I occasionally and grudgingly sign up to meet with an agent.

Fast forward to last week...

I'd signed up for a slot with with a newish agent who's just started his own boutique agency and (according to the blurb on the schedule) was actively looking to meet folks to add to their roster. Worth a shot, I thought. Now, I'm rebellious but not completely daft so in the interest of professionalism, I'm not going to use this agent's name. I'll simply say that his initials are D.K. And if I was forced to place a wager on what his middle initials were, I'd put my money on I. and C.

SO, I walk in - relaxed, good energy - introduce myself, shake hands, give him my headshot, turn to tell the reader which sides I've got and hear:

"8 staples?"

"Sorry, what...?"

"8 staples?!" this douchebag says to me.

"Um... sorry, I... what?"

What the fuck is this guy talking about?

"You stapled your headshot 8 times??"

Oh. That.

So, here was the deal. No, I didn't staple my headshot 8 times. What I did was remove an old resume from a headshot I'd already prepared a few weeks earlier and stapled a newly updated resume to it. But since I didn't remove the staples I'd used on the previous resume from my picture, it appeared from the front that I had stapled it 8 times.

With as much charm, wit and sitcom marketability as I could muster, I explained this to this guy. All the while wanting to gut him like a trout for starting off our now-9-minute session by hassling me about friggin' staples.

"Oh. I... I see what you did there..." he concedes, with a look on his face that suggests I'd also wiped my crap-caked ass with it before handing it to him.

"That a big deal?" I ask, also with levity and appeal.

"Well, no... It's just kinda... I dunno... tacky, or something."

Now, let me just fucking tell you all something right now. Over the years, I've been a reader for countless casting sessions and gotten headshot feedback from about a bazillion different casting folks here in the City and let me say this... They don't. Give a fuck. About staples. What they care is that you have a great picture that looks like you. And they care what's ON your resume. What you've DONE. Not how you fucking fasten it to the goddamn picture. I spent a week in a session with Woody Allen and all the big-wigs at Telsey where they weren't even looking at actual PICTURES but friggin' PHOTOCOPIES. With the resumes stapled ONE TIME. In the upper left hand CORNER.

"...Okay..." I say, not knowing where he wants to go with this.

"Well, let's just see what you brought in..." he says.

And I do the sides. And he chuckles several times throughout. And then I turn my attention back to him when I'm finished and he's got his nose buried in my resume again.

"Why do you have this little picture on the back here...?"

Oh, CRIPES. You can't be... I'm gonna freak out...

"Why do I... on the... well, it shows a different side of me than the picture on the front. Just gives you another reference point. Fairly common practice. I've talked to a lot of casting directors and they actually like having - "
He cuts me off.
"Yeah, yeah, yeah... I guess it's a personal taste thing or whatever, but I'm right and they're wrong."

No. There's no way he's serious. I just couldn't imagine he'd actually be saying that seriously and with seriousness. I paused to see if he was going to chuckle or somehow otherwise indicate that he was not being serious, but he didn't. He was serious.

So, the remaining 5 of my 10 minutes went sort of the same way. No questions about past projects, no discussion of type or what casting directors knew me, no inquiry about what kind of stuff I thought I was right for... nothing. He just spent his time picking apart the various facets of my headshot/resume presentation. And then adding incredulously that he found it odd that I would have been cast as a doctor on Law & Order because he thought I read mid-20's, tops. Well I'm 33, douche. And I was. And apparently the fucking casting director, director and producer of the show thought I read my age, but YES, YES, YES, I KNOW.... You're right and they're wrong. What the fuck do they know, right? They're only the ones who HIRE THE FUCKING ACTORS WHOSE CHECKS PAY YOUR FUCKING RENT.

Jagoff.

Anyway, he then ends the session by saying, "You know, you should really pay more attention to all that stuff because you're really good!"

I'm... wh?

Oh, that's brilliant.

I'm really good.

That's helpful, thanks.

I'm so good you don't want to find out anything about me or my work in the limited time we have. That makes total sense.

Here's the scoop... To an extent, elements of that conversation would have been completely valid. In his office. Once he'd called me in. Because I'm really good. THEN we can talk about marketing and headshot presentation and whether or not to have my picture on the back and making sure it all looks pretty in a way that appeals to you but that most everyone else in the industry could give fuckall about. Figure if I was someone who made my entire living off of other people's talent, I'd probably want to find out more about someone who I thought was "really good". But, no, no. You're right. ...Staples.

I dunno, guys. Sometimes I feel like this business is all some sort of twisted practical joke and that at any moment Alan Funt is going to jump out of a broom closet with a hearty burst of cigarette-stained laughter and put his arm around my shoulder and tell me to "SMILE..."

But, hey. That's the business. And I've spent 12 years in the kitchen, so deep down I must like the heat.

And, no. Don't let me misrepresent myself. I don't hate talent agents. I know there are some really amazing human beings out there in the business who really have an interest in developing artists' careers.

I just haven't met one yet.

In the meantime, I'm going to continue with the sessions, expanding my contacts list and keeping my face out there. I'm going to get color headshots done this summer and within the next couple months have a pretty decent reel together with the L&O and the two movies.

I'm going to keep on keeping on, man.

And from now on...


I'm gonna use a fucking glue stick.





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Saturday, March 03, 2007

AMEN, brother...

Caught this on TV last night and it gave me chills. My boy wins the NAACP's Chairman's Award. Click below to watch an Irish rockstar bring a primarily black crowd ecstatically to its feet. It's a real barnburner...

Thursday, March 01, 2007

I Wanna Go BAAAAAAACK!!!!!!!!!!!

So, despite a recent two-week cold snap we've actually had a pretty mild winter here in the City. Still, I'm over it. I find myself prematurely longing for spring. And of course tomorrow we're supposed to get a "major soaker" of a rainstorm. Brilliant. It all makes me think of Eleuthera and makes me want to go there RIGHT NOW....