Sunday, May 30, 2021

The Audience That Ain't There - Part Two


Roku streaming box


The Audience That Ain’t There – Part Two


Luck of The Algorithm

& Top of the Shelf-Life

by Jamie Jobb

When we’re on stage, we can feel our audience despite dim house light. When we’re on screen, we can see nobody “out there” through the magic glass. And that disconnected link completely alters a performer’s narrative.  To whom am I talking? The author needs to know.

Whether they’re on stage or on screen, public performances usually fall into two kinds of presentational camps: 1) the theatrically-inspired solo performers who also may “act” in scenes with “themselves” and 2) the TED Talkers who present smooth lectures and perfectly-timed pitches with power-point prompts. 

When attending either of these types of performance, it helps if an audient understands she’s witnessing two opposing efforts of intention: SOLO: “I’m showing you (I’m really good at this)” vs. TED: “I’m telling you (I know what I’m selling).”

In other words, TED Talk monologues are meant more as promotional sales pitches than as twisted, planted dramatic plots. Singular performers who work out their fictions on stage are more inclined to show than to sell. A prime example of this type of supremely talented thespian is Anna Deavere Smith, who’s probably more renowned for her tv roles than for her fierce one-woman-plays-based-on-intimate-interviews.

Before Lockdown, this handy bifurcation of “narrative” styles worked well for anyone who needed to weed out the Willie Lomans among public speakers. But as the internet beget the death of the salesmen, YouTube began to suggest a new hybrid performer, a two-faced Janus figure – someone who can narrate out of both sides of a mouth – and sell an idea meant also to tell a story. 

To see this development in action, take a look at YouTube’s Jay Foreman who admits he produces “very silly educational videos”. Jay is seriously understating his pioneering talent. He actually makes very smart educational videos presented with sly intent. His 99-second performance video “Singing one syllable out-of-sync” offers a quick glimpse of how his odd mind works. 

Foreman subdivides his unique video posts into four categories: 1) Unfinished London” which explores the city’s quirky unbuilt infrastructure – bridges over nothing, tunnels that go nowhere; 2)Map Men” – tv comedian and former geography teacher Mark Cooper-Jones joins Jay to talk about weird geography in front of animated Python graphics restyled for the 21st Century; 3) “PoliticsUnboringed” – Jay’s silly series for those who know nothing about British politics; and 4) “Various Other Things”.

What distinguishes Jay Foreman’s presentations is his ability to stand alone without audience and still keep his story moving forward in unique ways tied to his expansive audio-visuals. One of Jay’s most precisely funny pieces is this one with Mark Cooper-Jones“Where is America?” (8:17).

While some performers are retooling their narrative approaches, some are still trying to find their proper footwork. This was evident recently when ABC-TV’s talk-show titan Jimmy Kimmel joinedhis virally popular YouTube friend Uncle Mark Rober for an on-line telethon raising autism awareness. 

During his nightly network program, Kimmel usually stands for his monologue or sits for interviews. Normally he appears live in front of an audience, so Jimmy is familiar with how to address folks present there in the seats. He certainly knows how to stand solid still on stage, which is the acquired habit of a live performerAny director knows an actor who unwittingly fidgets, swaying in front of an audience, will lose its attention to his message.

YouTuber Rober on the other hand is accustomed to performing without an audience before up-close cameras which follow him around his mayhem, usually involving hyper science experiments outdoors where they can’t do much damage. What’s not to love about the home-spun designer of “The Squirrel Ninja Warrior Obstacle Course” and other acts of outrageous impractical backyardscience. Also if he’s your uncle, you probably know already to WATCH OUT!!!  But if he’s your dad, well … you are a very very lucky person: https://youtu.be/ybPgmjTRvMo]

But, as such a dynamic and dedicated human being, Rober obviously is not accustomed to standing solid on stage in front of his audience. So, during their telethon, Mark and Jimmy were standing to deliver more background on why they were raising funds for autism awareness.  But Mark couldn’t stand still on their set, so he started rocking in place. Something a stage director would correct, but probably not a DIYouTuber.

After a while Kimmel, the professional performer, also began to rock in place ever so slightly, in unison with his guest as they introduced their celebrity-studded show. Kinda like a mama rocking a baby! You can observe that here (about two minutes into the clip): https://www.youtube.com/watch?v=5J3peD8LZ5o&t=20s

* * *

Another Unfinished List

Lockdown coincided with our household switch from cable-tv to internet-streaming, which allowed us to watch all sorts of video on our big-screen tv. This led to my new morning computer ritual of amassing an evening “watch later” list. Of course, YouTube was more than willing to track our viewing history and offer further suggestions we might otherwise have missed. The luck of those algorithms led us not only to the talented acts noted in Part One of this post, but also to lots of other incredible video performers whom we’ve attempted to round up here in another always-unfinished list:

Spirited Science

Sadhguru

Sadhguru – The Ubiquitous Internet Mystic … and a Man with a Mission who is Everywhere-all-at-once. And as he often asks: “Is it not so? Hello?”

Nerdwriter – A one-man TED Talks. His weekly YouTube video essays, in his words, “put ideas to work”. True dat! Check out his wide-range of topics: How Bernie Sanders Answers A Question, How Andrew Wyeth Made A Painting, Where Zombies Come From or How To Design A Comic Book Page.

Tom Scott – Often parodied YouTube guru … he “becomes us” in his never-ending quest for knowledge. He “takes us there inside his skin” so to speak. Certainly his channel is very popular, closing in on four million subscribers. 

Dianna Cowern, as “Physics Girl”, is an astonishing astrophysicist committed to making science more appealing to females. Awarded Best Web Personality at the 2018 Webby Awards, Dianna’s boundless enthusiasm for Deep Math is an inspiration for smart boys as well. 

Destin Wilson Sandlin’s “Smarter Every Day” is a place to learn how baseballs can achieve a velocity of 1050 miles-per-hour. Or what happens when you crawl down a torpedo tube. Nothing is impossible when your goal is to be Smarter Every Day!

Nick Zentner , a charismatic cataclysmic geologist from Central Washington University, tells the slow but gneiss tale of glacial geology in his easy-to-comprehend in-situ roadside lectures. Those of us who know a little geological jargon consider guys like Nick as the true Rock Stars on this lonely igneous planet!

Veritesium – Derek Muller offers “an element of truth” with his videos focused on science, education and “anything else I find interesting.” Turns out, that’s a lot of anything! Derek asks hard questions, like “Can silence actually drive you crazy?” or “Why are 96 million black balls on this reservoir?” 

Jomboy Media – Baseball – to the uninitiated – seems such a slog of a game. But lip-syncing Jomboy serves up the bacon sizzling underneath all the yawning between pitches. His long and short baseball clips are littered with expressive Bad Lip Readings involving players, managers and umpires. We wonder if Jomboy has any time left to sleep, given his obviously everlasting Deep State scrutiny of the game.


Upstanding Comics


Foil Arms & Hog

Foil Arms & Hog are Sean Finegan (Foil), Conor McKenna (Arms) and Sean Flanagan (Hog), an outrageously talented Irish sketch troupe who perform on TV, radio, internet and Fringe Festivals.The trio’s specialty is lightning-quick “reduced Shakespeare” comedy where we come to unexpect the expected.  To 20th Century eyes, these guys seem a slimmed down Monty Python for another century, with lots of their humor milled through a peculiarly Irish grindstone.  Be sure to catch both their “studio” videos where they quickly change character/costume/direction and their “live” performances – which involve a ubiquitous stage-left cymbal which the players use to terminatetheir improvised sketches.

"Philomena Cunk” is Diane Morgan, a quick-witted British actor who developed her BBC persona in the mold of Carol Burnett, Lily Tomlin, Tracey Ullman, Sacha Baron Cohen. With her thick northern accent, Morgan couldn’t find work as a serious actor, so she tried telemarketing. Her laconic one-liners lit up the call center, so her boss suggested she try stand-up comedy. Although she found a partner and success on the circuit, she could not tolerate a heckling audience, so they developed a sketch show, “Two Episodes of Mash” which was an Edinburgh Fringe Festival highlight. Clearly Morgan speaks her truth when she says “I’m always happier when playing a role.”

Julie Nolke - Toronto-based misfit comedian and frequent YouTube creator, is master of many-characters-all-at-once. Indeed, much of her comedy is based on a wink and a nod to Lockdown in her“Explaining the Pandemic to My Past Self” series. She also is fine in scenes with other actors (including herself as other characters). Quite clever is this talent – from writing through performance. 

Brent Butt – Canada’s dry comedian and proprietor of “Corner Gas” – that country’s “Seinfeld” hit comedy – is another stand-up misfit who’s found his place on line, after his Corner ran out of gas, so to speak. Butt is best as the, well, butt of his own jokes as he works best ensemble. But Brent appears mostly solo on his “Buttpod” episodes so if you’ve not seen much of him, it might help to visit “Corner Gas” first. By that we mean the original sitcom, not the animated version or The Movie.

Sarah Cooper is a hyper-attentive author/actor whose real-time business-meeting observations helped her abandon the sugar-coated salt mines of Silicon Valley to find fame on line as a hotshot Hollywood Commodity and Twitter star. She’s most famous for her precision lip-sync enactments of Presidential Pronouncements, but Cooper also is quite funny in scenes with other actors which we hope she’ll find more time for collaborative work. Her YouTube channel has languished since the 2020 election.

Randy Rainbow - Brilliant Broadway diva and YouTube song-styling satarist is a viral master of the timely lyric line. Originally limited to his video channel, Rainbow had developed a tour schedule with lots of audience engagement prior to lockdown. As restrictions lift, we anticipate Randy will get back on his music stand-up.

Sarah Millican – Hilarious English stand-up comedian and author of “How To Be Champion”. She most often plays herself, but has incredible voice control to keep her very personal stories moving along with other characters. And her punchlines pack a wallop! Like this one from “Having a Massage”  “the tables are narrow, and I am not.”

Tracey Ullman seems to have been reinventing herself forever, which is not that surprising as that’s what she does with her actor’s alchemy. Lucky for us, that huge resume has been collected into her own Archive: https://tracey-archives.tumblr.com. Then, when you retire and have the time, you may visit her YouTube channel.


Footloose Tours


 

Julian McDonnell, aka “Joolz”

Julian McDonnell, aka “Joolz” of Joolz Guides is most often seen on foot, in top-hat and umbrella to signify that this Lifelong London tour-guide has unique Knowledge of that massive city’s hidden odd spots. As he tootles ‘round town, Joolz is full of British broadcasting’s no-nonsense nonsense. The man knows so much about his subject that he could drive one of London’s hackney carriages. Clearly McDonnell is a unique talent whose odd documentary “Take Me To Pitcairn” is likewise an enlightening adventure off the beaten path.

Waldemar Januszczak – that quick-witted art historian extraordinaire – is always on the go! Waldemar takes us to the gallery where a famous painting sits, then he takes us on location where the landscape sits to see how that painting grew out of the painter’s observational imagination. Januszczak also is a prolific filmmaker in addition to his journalism prowess. He also narrates the Perspective series. Sister Wendy Beckett, Kenneth Clark and Mary Beard all have developed well-known art history cred on public tv, but Waldemar takes them all one step further with his uniquely personal in-situ show-and-tell. 

Tim Marlow – An alternative to Waldemar is this old school classic art critic and director of the Design Museum. His Amazon series “Great Artists with Tim Marlow” is renowned for its solid academic underpinnings. Marlow also does intense field research and travel to support his observations and classifications. Previously he was artistic director of London’s Royal Academy of Arts, so he shares a museum insider’s view.

Scottish filmmaker Paul Murton is the trekker’s ultimate trekker and backroads tour-guide.  Not unlike John Muir, Murton’s hiking boots know his country’s Highlands at their most intimate.  His series concentrate on being-there-now as he visits historic sites of magnificence in his “Grand Tours of Scotland”, “Grand Tours of the Scottish Isles” and “Scottish Clans”.  Filmmakers may stand in awe of Murton’s precision location shooting with his robustly small crew. 

Although he enjoyed a long and renowned career as an actor, BBC’s ubiquitous Sir Tony Robinson is notorious for his informative and breath-taking series as British history presenter: “Walking Through History”, “Worst Jobs in History”, “Private Life of the Industrial Revolution”, “Romans”, "Time Travels". On foot, in a motorcar or some other form of transport, Tony attacks any landscape to find its true story. 

Rick Steves serves up Europe in tantalizing bite-sized tapas in his tours, blogs and PBS programs. Whereas Paul Murton goes out of his way to find the out-of-the-way, Steves trods the well-trodden byways of Europe’s popular tourist-friendly ‘hoods, despite his efforts to develop a more rugged wanderlust. He also maintains local friendships which help keep him current. And he interviews these folks to further declare his authority in far-flung foreign locations. 

Seasoned British actors Prunella Scales and Timothy West – after illustrious individual careers on stage and screen – turned to piloting narrowboats on their leisurely “Great Canal Journeys” which first aired in 2014. Such a retirement plan now has taken the couple throughout waterways in the United Kingdom, India, Egypt, Sweden, Italy, Netherlands, France, Portugal, Argentina, Canada, Vietnam, Cambodia. Many others have followed their example, chief among them the wry broadcast journalist and solo narrowboat vlogger David Johns on his wonderful “Cruising The Cut”


Tune Masters

During Lockdown, music provided lots of Covid relief.  While we previously mentioned Wynton Marsalis, Post Modern Jukebox, The Gregory Brothers, Walk Off The Earth, OK Go, Front Country in Part One, here are some streaming offerings that cast a wide net beyond those individual bands and programs previously noted:

Tuba Skinny – Well-heeled New Orleans buskers developed – on their own label and with widespread YouTube virility – into a world-renowned jug-band that treats Ragtime standards as modern masterpieces. 

Joan Chamorro and his Sant Andreu Jazz Band from Barcelona. Chamorro is a unique international talent scout who seeks powerful young voices and players for his amorphous band of well-studied jazz students. 

WoodSongs Old-Time Radio Hour – The next-best-thing to music on the back porch, Michael Jonathon invites three sets of talent for each week’s show … including budding young bluegrass players. The show also is simulcast overseas to American armed forces serving away from home.

Chris Thile’s Live From Here took Garrison Keillor’s A Prairie Home Companion and upgraded it to more of a music showcase than a platform for storytellers. From the talent Thile brings to his show, it’s not hard to imagine musicians as storytellers in their in Own Write!

Austin City Limits – Live from the musician’s hill country heartland, the show that started on campus at University of Texas and grew into its own home studio across from City Hall. The longest running music series in television history, ACL is so influential worldwide that Sydney and Auckland have their own “City Limits” music festivals down under. 

Song of the Mountains – Tim White hosts a true down-home monthly music treat from the Lincoln Theatre in Marion Virginia – right in the middle of bluegrass country. But the award-winning public broadcast program has a wide enough scope to include all sorts of American porch music. 

Tiny Desk Concerts – Now in its fourteenth year, NPR’s Tiny Desk Concerts are still fulfilling their goal of offering intimate concerts live from the set of Bob Boilen’s “All Songs Considered” in Washington, D.C. For the evolution of that program, see:https://en.wikipedia.org/wiki/Tiny_Desk_Concerts#History

Gondola Sessions – Extensive catalog of fly-along music from the confines of a ski lift. If the band can fit into the gondola along with the camera person, then the concert can commence. Given the great acoustics, it’s a wonder more “portable studios” like these have not sprouted elsewhere. 

Bob Dylan’s Theme Time Radio Hour – If he were not a Nobel Laureate and consummate performer, Bob easily could have made a living as a deejay on the radio. Indeed, his playlists are so solidly conceived that college lectures could be constructed around them. Of course, each Theme is intriguing: mail, jail, hair, sleep, dogs, baseball, smoking … a total of a hundred and one topics, each a one-hour session with insightful patter between the platters.

Dogs & Digs

Zak George – Former BBC and Animal Planet celebrity dog-trainer has developed a celebrity YouTube presence which is ideal for anyone concerned with training dogs. Zak is an “incredible person” who shares his knowledge and his mistakes. He takes in problem dogs to train for owners who can’t handle them and he also concentrates on his own family’s house dogs. 

The B1M – The “world’s most subscribed-to video channel for construction”. No building is too tall, no tunnel too deep for the eyes of B1M. Based in London, these guys boast that “We love construction.” That certainly shows in their work.  

Praveen Mohan – An archaeological conspiracy theorist without tenure, but a YouTube channel with over a million subscribers. Praveen, not unlike art critic Waldemar Januszczak, hikes himself into the far-flung sites he studies with keen eyes and broad assumptions. 

Brien Foerster – Another archaeological conspirator who leads international tours into odd megalithic locations in Peru, Egypt and elsewhere. As a travel agent/tour guide he has been able to build a following will to pay for the privilege of setting foot in some strange places.  Brien’s videos improved once he got a quadcopter for overhead shots.


FURTHERMORE



Carlson, Marvin: Performance: A Critical Introduction. London: Routledge. 1996

Rainer, Yvonne, The Performer as a Persona. Avalanche, Summer 1972. p. 50.



Monday, April 26, 2021

The Audience That Ain't There - Part One

The Audience That Ain’t There – Part One


My Lockdown Guide to

A Performer’s Diaspora

By Jamie Jobb

Performers of all sorts have been forced to email it in” these last dozen months as stages of all sorts stand vacant around the globe. While recent vaccines have uplifted hopes for theater re-openings, ghost lights remain lit in dark houses everywhere. Few players can rehearse together, fewer still can perform as lively persons trying to make a creative living through some kind of repurposed “home box office”.

These pages have pecked around the edges of Covid Lockdown’s common sea change to note how actors, musicians, comedians, storytellers, raconteurs, talk-show hosts and other public “professors” have adapted to The Audience That Ain’t There. Most of them have resorted to produced-at-home time-shifted premieres” or regularly-scheduled podcasts to digitally brand and deliver their offerings across internet platforms.

In fact, a few performers possess the where-with-all and technical skills needed to hard-wire anATEM-Mini through OBS for social-media simulcast in 60 fps – while most people have no clue what the heck that mouthful of jargon even means! 

I’m aware of such matters only because my family happened to tour a podunk local television studio in West Virginia when I was a kid in the 1950s and it made a life-long impression on me. We went home and carved cameras out of orange-juice cartons and monitors out of cardboard boxes to create a make-believe tv studio” in our garage. That didn’t last long, Mom needed to park the car. But now, half a century later, my home studio allows me to virtually “broadcast” out of a basement which no longer functions as a garage.

* * * 

Seven Deadly Sins” – Actors inside, audiences outside in Miami Beach storefront theater

Miami Dice

Unemployed house managers realize how rampant world-wide virus rearranged the deck chairs of live performance for their theaters. And they now know reopening each venue is a roll-of-the-dice. Venerable Berkeley Rep just announced it’s next public offering: dang FILM!!! It seems that the decision to act more like a movie studio was the best way for such a large company to face its uncertain in-house future. 

Our shuttered community theater down the street offers Bring-Your-Own-Movie night rentals of its “Equity house” (99 seats) to families and other Covid-compliant “crowds” of up to twenty five masked and vaccinated attendees. Five different couples have rented the entire place for themselves, $75-a-pair for each of their own movie/date night(s). The theater intends to host another set of improv comedy shows in the parking lot next door, as soon as they can work out County and municipal permits for further exterior performance. Elsewhere, hybrids are blooming.

Last winter, an exciting new-play-without-a-house ran in Miami Beach where the ticketed audience moved from scene to scene in scheduled groups of a dozen spectators who remained outdoors, all masked and appropriately-distanced. 

Produced by Miami New Drama, these Seven Deadly Sins performances happened inside seven repurposed storefronts along Lincoln Road’s traffic-free wide-screen outdoor mall. Seven playwrights wrote seven ten-minute scenes – one for each fatal sin, showcased in windows where manikins otherwise might appear. Actors, who’d rehearsed on Zoom, were isolated on these storefront sets, separated safely from the wandering crowd outside. Dramatically lit so as to be visible, the actors’ dialogue was amplified through each audient’s headphones listening beyond the plate-glass. 

This effort of audience compromise recalls several al fresco performances by San Francisco experimental theater companies at beaches, gas stations, parks, plazas, civic buildings and other outta-sight sites in the 1970s – in those storied days of yore when people without masks freely exchanged hugs-and-kisses in public. Among those pioneering groups, Antenna Theater still has legs. 

The impulse that sparked Miami New Drama also arises from parallel civic efforts by distressed downtowns to use vacant commercial real estate as temporary art gallery space – the so-called “art windows” movement. 

Miami’s inside/outside theater production, which closed at the end of January, has been nominated for a new Drama League Award: Outstanding Interactive or Socially-Distanced Theater, which was one of five new categories the League opened for dramatic works produced during Lockdown. The others: Outstanding Digital Theater or Individual Production; Outstanding Digital Theater Collection or Festival; Outstanding Audio Theater Production; and Outstanding Digital Concert. 

In announcing these new honors, Playbill quotes Drama League Artistic Director Gabriel Stelian-Shanks: “In this most difficult time, when stages across America were forced to darken, theatre artists responded with light, producing bold new work in ways most of us never dreamed of.” 

Although the pandemic scuttled last year’s Drama League Awards, they’ve been repurposed this year as The Gratitude Awards in special recognition of theatre community activists committed to The-Show-Must-Go-OnSee: Full list of current nominees.

* * *

Jazz at Lincoln Center Orchestra’ 2020 Worldwide Zoom Gala on YouTube

Worldwide Wynton

Pulitzer and Grammy prize-winning New Orleans trumpeter Wynton Marsalis understood early in life that his family’s magnetic musical home offered him a sublimely unique advantage that very few people ever would know. So it’s no wonder that later in life Wynton would take advantage of Lockdown to expand his domain as Great American Music Guru with his “Undistanced” series of Zoom chats featuring other artists. 

Always an avid improviser, Marsalis also has been able to arrange and conduct his 16-piece Jazz at Lincoln Center Orchestra from each musician’s own home-bound funk. See how Wynton herds all his cool cats out of isolation here. JLCO’s treasure-trove of complete concerts devoted to iconic American composers can be found here. Anyone who appreciates the efforts of Marsalis and mates can contribute to their cause here.

Indeed, musicians of all stripes have been able to boost public exposure while working from home. Many innovative YouTube bands – Gregory BrothersOK GoPostmodern JukeboxWalk Off The EarthFront Country to name only a handful – have been creatively mining music video for years, so no pandemic upsets their workflow. 

In fact, Postmodern Jukebox founder Scott Bradlee offered this May 2020 Facebook pep-talk on the matter: “Musician’s Rescue Kit: How TMake A Living AA Musician During The Pandemic” (just over seven minutes). Basically Bradlee says home-bound musicians need to think of themselves as “a record label, just on a small scale and to concentrate on these main tasks: recording, manufacturing, world distribution, marketing, publicity and eventually, tours. Of course, Bradlee’s exceptional talent is discovering exceptional vocal and instrumental talent to populate PMJ’s unique music videos. Nothing mines an audience like great talent.

* * *

Ukulele Ladies

During Lockdown, some performers have gotten downright giddy in their attempts to spark applause at a distance. To see that dynamic in stark dramatic relief, watch The Ukulele Orchestra of Great Britain below in two settings, one before a massively pumped-up live audience in 2009 and another where the band appears locked down tight at home on Zoom in 2020:

The Royal Albert Hall - “Ode to Joy”:

https://youtu.be/MJabN8VP8Gk

(6:48)

Smartphone screen – homebound Christmas cheer:

https://youtu.be/Us6H2wIGt0E

(2:00)

During United Kingdom’s easing of restrictions last year, UOGB was able to gather together on stage without masks, but socially distanced, for a few pay-per-view concerts without a present audience. One tune they chose to cover in those sessions – “Satisfaction” – is a true treat for Rolling Stones fans. 

However, a resurgence of Covid cases forced the band to retreat and establish another on-line front known as “Lockdown 2” where they remain until further notice. With four decades experience performing round the world, UOBG should be able to handle a few more homebound gigs.

And of course, what other musical instrument signifies the rugged individual performer than the Vaudevillian’s portable friend: that small and simple four-stringed wonder, the ukulele. Walk Off The Earth (linked above) makes particularly clever use of flying ukes in many of their videos. And, of course, Google finds no dearth of such bands: The Memphis Ukulele Band, The Funstrummers Ukulele Band, etc. And not to mention scattered uke clubs, societies and meeting groups. And of course, who could ever forget this classic tune by Jim Kweskin and his Jug Band:

https://youtu.be/94A4lNuaPhk

(3:56)

* * *

Roy Firestone turned active listening into a unique career

Firestone Chats

Emmy-award winning broadcaster Roy Firestone may be renowned not so much for his name, but for his face. Like Hoagy Carmichael or Fernandel, Roy has an extremely unique mug – a face we can’t forget. And one that’s well-recognized by Hollywood. His is that most-famous-face brilliantly cast into the movie “Jerry Maguire” as himself in the classic Not-Gonna-Cry-Roy scene – where he plays the astute interviewer into whose arms wide receiver Rod Tidwell (Cuba Goodings, Jr.) leaps with reckless enthusiasm.

Yes, that self-effacing guy!  Firestone joined ESPN in 1980, shortly after the network formed. A well-known local sportscaster in Miami and LA, Roy quickly became recognized as the new national sports channel’s primary interviewer.  In his enlightened series of Close Up conversations, heapproached omnibus subjects much like NBC’s fabled Renaissance Sportscaster-At-Large Bob Costa. Both journalists were always well-read and well-prepared.

With more than five thousand interviews and counting, Firestone has chatted with myriad athletes, actors, musicians, filmmakers and other Prime Time players. Clearly those interviews prove he’s a consummate listener. That quality shows not just from his questions, but also in his reactions to the answers in the moment. And all that Big League on-camera experience has formed and informed his own unique toastmaster’s comprehension of how to stand and deliver on stage. 

After he left prime time tv, Firestone began to fashion a new solo career with a pair of seemingly spontaneous stage shows: “The Performer” and “The Broadcaster”Roy’s one-man efforts actually are bespoke showcases – unique backstage glimpses into the memory of somebody who’s been there for us, all recounted by a vastly talented story-teller who pays rapt attention to changing times. 

And, it turns out Firestone’s a darn fine mimic with his hilariously well-studied celebrity impersonations of Sammy Davis, Smokey Robinson, Tony Bennett, Neil Diamond, Frank Sinatra and all-three-Bee-Gees-at-once! Who knew the inquiring sportscaster could fashion such entertaining shows? Perhaps his genes are covered in Vaudeville sawdust? 

However along with everyone else, Firestone’s ability to present himself is greatly restricted in Lockdown.  So he’s been adapting to his audiences as diaspora. With his roots in Miami Beach – where New York expatriates amassed for retirement – Roy seems to have grown up with an innate understanding on how to unite common people separated by more than social distance. And that’s a skill whose time is again now ripe.

This week Firestone announced his new series of custom-made virtual performances designed for industries, businesses, institutions, groups, individuals and teams who need help with professional branding. More information: 

https://youtu.be/W9fZ0eHWv6w

(1:40)

When theater venues are deemed safe to reopen and audiences again enjoy in-person live performance, we hope Roy “The Broadcaster” would surprise us further with his evolution as Roy “The Performer”. While many Firestone fans might wish that he’d appear in more tv shows and films as a gregarious actor in character, others among us hope he moves beyond episodic variety-show formats to find his inner Anna Deavere Smith on stage. 

Then the man might begin to turn all his interview notes into more personal, dramatically-arched theatrical works – true fictions based on anonymous facts of his face-to-face chats. So an audience really knows – from the inside out – how and what it means to be someone in the shadows of such celebrity.

* * *

Three-Legged Clown Geoff Hoyle

Hoyle Slaw

Solo performing playwrights also must adjust to finding their proper footwork off stage. With five decades of live-audience experience, San Francisco genius Geoff Hoyle is one premiere solo performer who made a galant effort to create a Fake Audience in his recent MarshStream special: “What Will I Be When I Grow Up”. Previously Hoyle had nailed down similar coming-and-going-of-age scenes in his absolutely hilarious “Geezer” which enjoyed extended runs on the Marsh Mainstage before lively audiences which included us on more than two occasions

We also saw “What Will I Be ... ” as a streaming show at home twice and were astonished at how well Geoff the Mime could mimic how a video image can crackle apart during a random digital interruption. That single sight gag alone launched Hoyle show with a gangbuster bang. But that initial gag could not hold as the screened show progressed. 

Both times, Geoff lost his momentum by trying too hard to fake an audience without an audience there to boost him. Indeed, his whole art IS his unique presence, which we knew was not actually present on our big screen. I’ve seen Geoff perform live more than a dozen times, starting with his days clowning for Pickle Family Circus. Once, at Berkeley Rep, an usher pulled me aside before one of his shows and said “Geoff wants to know if you’ll wear this.” 

It was a loud yellow necktie with an odd dark pattern. I said “Sure” and put on the tie.  The usher said “Don’t say anything. Just let him do what he does.” I said “OK,” and took my isle seat on the first row.

In my grey Harris tweed, that noisy tie certainly stood out in a Berkeley crowd.  As house lights dimmed and the show began, Hoyle approached me directly and said with that cagey Mister Sniff smile: “Nice tie!” Then he untied it from my neck, jammed it into his pocket, and quickly turned tobegan his show. 

So any audient of Hoyle knows the singular showman has belittled respect for “the fourth wall”.  Our second time through Geoff’s recent MarshStream show, he again tried to eliminate The Wall by cutting away from his “live” performance to previously recorded scenes, complete with costume/character changes that were edited awkwardly into the moment – a trick he could never accomplish as an individual alone on stage, unaided by projections, as a clown right there, in our faces!

And Hoyle’s streaming cutaways functioned as the worst kind of unintended Brechtian diversions to derail his story. My wife and I could not finish his show either time as we wandered off to the kitchen … the home theater equivalent of Vaudeville’s Hook. 

It seemed Geoff Hoyle this time suffered from dim comprehension of his performance as a video-maker. But the show suffered most from its lack of an actual audience to feed his attention, unnoticed in the moment. 

* * * 

Anton Petrov’s t-shirt:
Hello Wonderful Person”

What Da Math?

How many times have we heard “Hi, guys!!!” at the top of a YouTube video? That commonsubscriber-weary tagline has become such a crude cliche that smarter alternatives have emerged. Addressing your audience in the plural makes sense “in the house” but not necessarily “on the phone”.  And of course, it sounds totally lame to address your audient as: “Hi, guy!!!” – a statement that’s probably closer to the truth.

YouTube’s highly-informative, albeit self-appointed, science educator Anton Petrov introduces his daily videos on his “What Da Math?” channel, with this perfectly reasonable catchphrase: “Hello wonderful person!” (see t-shirt above). On their channel, the band CocoPilots offers a synonymous: “Hello incredible person!”

These “guys” get it right, there’s no massive audience of YouGuys sitting presently with the performer in that particular narrated real-time moment on screen. The singular audient arrives at her own time and his own pace. Any assembled plural audience is difficult to achieve all at once on line, unless some kind of Flashmob or advanced “premiere” strategy is at play. 

Yet, so many YouTubers seem content to think they’re commanding Their Very Own Royal Albert Hall crowd. Unfortunately for these star-gazed performers, ours is an invisible crowd as nobody can actually see any single one of them through our phosphorescent screens.

It isn’t difficult to imagine all the “holes” in Albert Hall filling up a Zoom screen well beyond the point of oblivion. Question for those of us perpetually waiting for some kind of internet “station identification” … How many people can NOT pay attention to the same thing all at the same time? AsSadhguru often says: “… Hello? …”

My wife recently attended a mass meditation on Zoom where people talked while attempting to quiet their minds. I declined invitation to a Zoom call because I couldn’t understand what writers-watching-other-writers-write thought they’d accomplish sitting there in silence. Bored homebound creativity confronts harsh Lockdown truths as a performer’s attention gets filtered through wifi. Rendered bits get lost in the translation of excited electrons. 

People who are born-to-perform understand the truth of their existence: nothing beats an actual audience, sitting there right in front of you. Breathing the same oxygen, in the same room, at the same time. With earned applause that’s spontaneous and not at all “tracked”.

* * *

To Be Continued … 

Friday, April 16, 2021

My Long, Dark Night Caged by Sarge Bright


Further Adventures in Sporting News

YouTube clip: Tiger Stadium elevator shaft and 
walkway (top, center) leading to press box


My Long, Dark Night

Caged by Sarge Bright

by Jamie Jobb

All it took was one quick YouTube clipposted by Detroit baseball fans James and David Stinson who acted on impulse to drive by the corner of Cochrane and Michigan Avenue one last time before demolition of their beloved Tiger Stadium – the Field That Dreamed fabled hall-of-famers Cobb, Kaline, Newhouser, Greenberg. As the Stinson brother’s video scanned that famous jewel-box ballpark facade, I was suddenly jolted by my own high-voltage baseball flashback to the long, dark August 1966 night when I got locked inside a Miami press box

Pausing the YouTube clip at a point (screenshot above) when it revealed the press elevator shaft, I knew instantly what I was seeing. That same architectural “design” graced our fabled minor league ballpark simply known as Miami Stadium. Of course, this lofty penthouse was restricted access, only those with passes could enter the elevator and cross the gangway into the exclusive roost of the sporting press.  Like The Crows Nest high above fabled Forbes Field in Pittsburgh.

In the 20th Century, urban ballparks were bare-bones hastily-constructed blue-collar amusements that bore scant resemblance to today’s bejeweled major and minor league bandboxes which make not only gobs of money but also promote loud architectural pronouncements. My first “big league ballpark” was Birmingham’s historic Rickwood Field where I snuck in to see the Class AA Barons who now play in nifty downtown Regions Field. Itself fashioned after Forbes Field, Rickwood is now preserved as a “working museum” and mecca for baseball tourists.

Old Miami Stadium was where springtime vagabonds like Joe DiMaggio, Mickey Mantle, Brooks Robinson and Sandy Koufax shared their infield with entertainers like the Eagles, Jimmy Buffett, Fleetwood Mac, James Brown and his “Famous Flames”.  High school graduations and other civic events were held there too.  perched in that press box covering Miami Marlins home games, Baltimore Orioles spring training exhibitions and occasional youth league events.

The O’s trained there 31 straight springs – far beyond my time in Miami. The Brooklyn Dodgers preceded them, using the venue in the 1950s before moving to Los Angeles. Several Miami minor league teams – the Sun Sox, the Amigos, the Miami Orioles, the Gold Coast Suns, the Class D and Class AAA Marlins – occupied the old ball-yard during summer months from 1949 to 1990.

Nobody would deny the beloved stadium in the middle of town had a rocky history. In a 2017 Herald commemorative article, Howard Cohen wrote For thousands of kids who grew up in Miami, going to the old Miami Stadium in the Allapattah neighborhood was a part of coming of age.”

Two Class B Florida International League (FIL) teams – Havana’s invincible Cubans and Miami’s Sun Sox – christened the ballpark on August 31, 1949. The stadium builder/owner was a wealthy Cuban cattle baron who died shortly after opening day, and his 17-year old son inherited the stadium along with the Sun Sox.  Those proved to be difficult burdens for the wealthy and impressionable young man with few friends who later heavily invested in the Cuban Revolution, only to then become estranged from Castro when he turned to communism. 

Miami Stadium’s gracefully arched cantilevered roof covered the main grandstand, shielding Miami fans from the Sunshine State’s notorious heat and sudden rains while leaving no seat obstructed by supporting columns, like those at Detroit’s double-decked Tiger Stadium. However, the FIL was short-lived, existing only a Felliniesque eight-and-a-half years before folding after the 1952 season, right at the start of the Revolution

Few baseball fans who comfortably sat in Miami Stadium at that time had any awareness of the stadium's owner permitting Castro's rebel guns and munitions to be stored under the stands. And nobody foresaw the Cuban Missile Crisis or Kennedy Assassination ten years later.  When the still-new stadium sat vacant in 1954, some folks thought it should be torn down – after all, it was in the wrong part of town.  But two more years passed, the Marlins joined the International League to bring summer ball back after the Dodgers and Orioles had established the viability of spring training in Miami Stadium.

The remarkably futuristic facility -- which was originally designed with eventual major-league expansion in mind -- still had its critics and in 1967, Mayor Robert King High urged the City to sell the place and built a new ballpark in “a more suitable location”. When the Marlins finally evolved into an MLB expansion franchise in 1993, the team chose suburban behemoth Joe Robbie Stadium over their former home field which only sat 9,000 fans. That major-league move triggered Miami Stadium’s eventual demise.

In the mid 1990s, Miami City Hall considered replacing the abandoned ballpark with a Guess? Jeans factory, but that deal fell through when the corporation chose to remain in Los Angeles. So – just like old privately-owned Tiger Stadium – the publicly-owned land Miami Stadium sat on stayed vacant for years. Wild tropical trees and shrubs started growing all over the field, while the stadium's storied baseball history collected dust.  The structure met its eventual demolition in 2001when it was razed to make way for affordable housing now paradoxically known as “Miami Stadium Apartments”.  And the Marlins now play home games in a strange crate of a building on the site of the old Orange Bowl.

* * *

Elevator and catwalk (top left) leading to Miami Stadium press box 

I was working in the press box for The Miami Herald that summer night in 1966I’d been assigned to cover a local American Legion baseball playoff game, involving a north Florida team versus the local Hialeah squad with their all-star Ted Hendricks, and a crack young future knuckleballer Charlie Hough who’d ride that slow pitch to a fabled big league career with 13 seasons in the National League (Dodgers, Marlins) and 13 in the America (Rangers, White Sox). Mirroring that perfectly balanced stat was his won-lost record in both leagues: 216-216.  Hough was a huge hometown hero everybody knew would make The BigsHendricks was already Hialeah’s four-sport legend destined to The Oakland Raiders, the NFL Hall of Fame, and his name embossed on Hialeah High’s athletic facilities.

Sarge Bright, Miami Stadium’s custodian, was an instantly recognizable South Florida character with his big coke-bottle eye-glasses and his constant squint, approaching his world slightly askance. At night games he seemed to float above the lights or slink into the shadows. I recall Sarge was rather short, with rough edges – an odd thick-and-thin man. And he possessed a quite nasty disposition, which could spill out at any moment. The years have dimmed my memory of Sarge Bright, and I can’t recall his face fully. But I can certainly recall his actions.

Local lore claimed Sarge liked to clamber around lost reaches of Miami Stadium’s highly arched overhang, like some local Hunchback of Notre Dame. A few of us wondered if he had a cape, or his own “bat cave” hidden deep inside the stadium. He was so suddenly present, yet so suddenly invisible. 

Miami Times sports writer Harry Spear, wrote in 1968 that Bright “straddles on top of the stadium and gets all the (foul) baseballs hit up there. Sarge is 65 years old, not bad for a man his age.” (Although I could find no obituary for him, we can assume Bright is no longer alive – he’d have to be 118 years old!) 

So that night, and every night I sat there, I knew I was in Sarge’s perch. I had yet to turn 21 myself, so I was too young to drink and too young to vote. And tonight was late, very late; well past The Herald’s normal 2 a.m. deadline. Those huge Goss printing presses were held up, waiting for my story – most of which was already set in type and waiting for extra innings to end. With that ballgame having state-wide implications, the story needed to appear in the final edition. 

Baseball writers can easily write about any game as it happens, writing between innings to describe the game’s progress. Scoring sequences don’t change and stats accumulate in my scorebook, so when the game was over I only had to hammer out the lede paragraphs to be added atop what I’d already written about previous innings. 

Then I had to quickly compile the final box score, call the office, and dictate it all to the editor back at the sports desk. At this point I’m the only working writer there. Meanwhile, Sarge Bright lurks behind me as I try to finish my job.

I need to lock up,” he says.

Buried in my portable typewriter, I kept working. 

Hurry up!” 

I ignore him, needing to concentrate on my task at hand. With no socialized media or smartphones at that time, news of the game would greet people primarily in this morning’s paper. It was my job to get that news to them. I finished quickly and got ready to leave.

* * *

 Long net from press box to backstop at Miami Stadium where the author’s briefcase flew

A quick glance at the architecture of Miami Stadium shows that I was stuck there in that roost with only one way out – the catwalk to the elevator. And now, it was locked.

I was furious; jailed by a janitor! I went back to the press box – the only place I could go without jumping out of the building – and called my editor, who luckily was still near the phone wrapping up for the night. He got quite a chuckle out of my unfortunate incident, as if it may have happened before to other young reporters who dared visit that precarious location with only one route out. 

I was so upset while I talked on the phone that my arms flailed. I had to be at school tomorrow morning and these extra innings had ruined my sleep. As I yelled at my editor back at the paper, my arms continued to spin. Suddenly my hand hit something hard, and my satchel full of school work and notes flew out the open press box window, hit the backstop netting, and slid all the way down to the field below. I score it a “forced error” and “assisted suicide bunt”!  Here in the ballpark where Satchel Page pitched.

Eventually, my editor contacted Miami Police who knew where to round up Sarge Bright, himself a City of Miami employee, and got him to free me from my deadlined detention. When we were safely at the elevator doors outside the building, I demanded the cops get Sarge to retrieve my satchel's pages from behind home plate.

Fifty years after that sorry night, I now recall this was the first time I’d ever run directly up against a person with power in a public place who had a well-rooted disdain for the press. 

In retrospect, it was clear that Sarge Bright, like many people, held that unhealthy depreciation of the press like a chip on his shoulder. Maybe he just hated The Herald? Maybe he despised a certain sportswriter? Or two? Perhaps he didn’t like the out-of-town press who flocked to His Stadium in spring?

Looking further into this, I begin to feel that my brief run-in with Sarge Bright provided me with a meek understanding of the responsibility the guy must have felt as custodian of all that fragile history. I myself have spent time as a facilities custodian. It’s not an easy responsibility as so many other people from the community have a stake in the place.

Now both Sarge Bright and Miami Stadium are gone, I’m left to ponder if perhaps his disdain of the press is another reason I chose not to pursue sporting news as a career path. Recent political events in America have proved the socialized media public has few clues as to what’s News and what’s Fake.  I can chase those mental monkeys around the house all day. 

But every time I recall my long, dark night with Sarge half a century ago, I’m left with only one thought. I'm certain there’s a custodial ghost clamoring the upper reaches of Miami Stadium Apartments as these very words are read. 

The Crows Nest at Forbes Field, Pittsburgh circa 1938


FURTHERMORE

If you've read this far, and are still intrigued by the story of this storied stadium, then you must watch this incredible PBS documentary, “White Elephant: What Is There To Save?”  produced in 2007 https://vimeo.com/105767151

https://sabr.org/journal/article/the-long-forgotten-florida-international-league/

https://www.miamiherald.com/news/local/community/miami-dade/article233583532.html

https://www.miaminewtimes.com/news/rough-diamond-6361494

https://ufdc.ufl.edu/UF00028321/00773/28?search=sarge+bright

https://en.wikipedia.org/wiki/List_of_jewel_box_baseball_parks

https://en.wikipedia.org/wiki/Rickwood_Field

https://newsinteractive.post-gazette.com/thedigs/2015/03/11/john-gruber-pittsburghs-pioneering-sports-editor-and-scorekeeper/forbes-field-1950-1959-6/

https://youtu.be/eKHnoWuCZIo  (45 minutes)

https://youtu.be/TWvmZngbcd8(12 minutes)

https://youtu.be/qrSgfO-bUNA(four minutes)