When the NY Knicks honored Bill Bradley by retiring his jersey, Bradley told the crowd at Madison Square Garden a story.
Bradley began, “At a gathering after a Knicks game in Chicago, a man asked me a question, ‘Do you really like playing basketball?’”
“Yes, yes I do,” Bradley told the man.
The man replied, “I know what you mean. I used to play the trumpet and we were good. Some of the guys in my band wanted to tour. But I didn’t.”
The man told Bradley he was afraid the life was too insecure and opted for the safer route—law school—instead.
Bradley then said, “I asked him, ‘Do you like the law?’”
“Yes, but not like playing the trumpet,” the man acknowledged.
Hip-hop artist Fare Games wants to play his metaphorical trumpet as long as possible.
Though he adores the fellow members of his band, T.G.K.O.D.—also known as “Top Guns”—Games elected to “go solo.”
“I want to make this a career,” Games said. “The other guys aren’t that committed.”
Of course, like the trumpet player Bill Bradley met who opted to pursue a career in law, Games also has a non-musical contingency plan—the financial world.
Games professes a keen interest in the stock market, and he plans to enroll in Chicago’s Roosevelt University in the fall of 2013 to major in finance.
Nevertheless, his first love remains music.
“This summer, I had a single on iTunes, and I shot three videos, too,” Games summarized.
One of those videos garnered nearly 500,000 views.
In addition, “I just dropped a mixtape [on September 28],” Games said.
“Arcade Games,” his third mixtape, had over 1,300 views as of October 4.
Games, 21, said, “I’m trying to get it [the latest mixtape] posted in as many places as possible to catch someone’s eye with it.”
Games is confident, because “I put my all into this project.”
Games, born Rifaa Muhammad, grew up on Chicago’s south side in a dangerous neighborhood.
“There were gangbangers and drug dealers around,” Games said.
However, he says that environment benefited him, because “they are all aspects to draw from in my music.”
While Games was raised in that grueling setting, he wasn’t really of that world, because his mother removed him from the neighborhood public school after he completed first grade.
She placed him in private school, where he thrived and earned a scholarship to a private, Catholic high school. Of course, Games is used to being on his own and feeling a bit out of place, since he’s the youngest of seven children—and the only boy.
Though the high school was comprised predominantly of white students, and Games initially felt tentative, he said joining the football team—he played linebacker—helped him assimilate.
“Up to that point, I had no white friends,” Games explained. “But that helped me meet people.”
Games, who drew the “Fare Games” moniker while playing basketball with his cousins in Michigan, said continuing to meet people is integral to success in the music industry.
“This business is all about networking, meeting people every day, and getting in touch with the important people,” Games said.
Thursday, October 4, 2012
Friday, September 28, 2012
Theater review
In “Freud’s Last Session,” the adamant atheist Sigmund Freud
invites Christian author C.S. Lewis to his London study, where the two engage
in a vigorous discussion about music, physical pain, war, religion, sex, and
their fathers in which both men make salient points, but neither “wins” the
argument.
Despite their plethora of disagreements and nearly polar
opposite worldviews, both men have a clear mutual respect for each other—a mutual
respect that extends to the play’s director, Tyler Marchant, and the audience.
The play is an honest discussion of major issues, and neither side is belittled
for their views.
The play does not take sides, giving both positions equal
time—which is a rarity in today’s hyper-partisan world where not only do I have
to be right and you wrong, but you’re an unalloyed idiot for your beliefs.
Mike Nussbaum, who has directed and acted in Chicago
Theatres for over 50 years, plays Freud with intelligence and wit, but also with
an acute awareness of his mortality—he knows the end is near. The play takes
place Sept. 3, 1939, when Freud was 83 and suffering excruciating pain from
oral cancer. On multiple occasions, Freud breaks down from sudden, intolerable
agony, blunting his conversational momentum.
Though he adamantly disagrees with Lewis, especially regarding
Lewis’s conversion to Christianity, Freud admires the young author’s intelligence
and views him as a worthy opponent for debate.
Freud invited Lewis to his study “for one reason:” to find
out why someone (Lewis) “with such intellect would become a Christian.”
Lewis, played by Coburn Goss, is initially reticent and
unsure of himself in Freud’s presence; after all, Freud’s more than twice his
age, one of the world’s leading intellectuals, and he pokes at Lewis for being
late to the meeting. But, he quickly settles in to debate Freud as an equal,
not as a student or a patient, and gains confidence in himself and his
arguments.
Lewis demonstrates
his respect for Freud when he refuses to leave the elder man alone--even as
they both believe they’re about to be bombed—and when he compassionately assists
Freud with his mouth and jaw pain.
The entire play consists of just the two men talking; they’re
the only actors on the stage, and the only times the conversation halts is when
Freud breaks down in pain, when the men tune into the radio for updates on the burgeoning
war, or when they hear airplanes flying ominously overhead.
Their discourse is like an exceedingly high-level tennis
match; both men hit the occasional winner, which the other chivalrously acknowledges,
but neither even wins the match. This play has too much respect for both men,
their philosophies, and the audience to do that. The idea is by no means to
prove anyone correct, but to provide a thoughtful discussion about tender
issues, and it’s highly effective.
At one point, Freud explains, “I enjoy provoking
discussions,” and this play—with all the discourse about big ideas—is sure to accomplish
Freud’s aim.
“Freud’s Last Session” plays at the Mercury Theater—located at
3745 N. Southport Ave.—and the last performance is November 11.
Wednesday, September 19, 2012
Art preview story
Ryan Anderson
Dmitry Samarov, a former Chicago taxi driver who wrote the popular “Chicago Hack” blog and authored the book, “Hack: Stories from a Chicago Cab,” will be showcasing his art at the Blackstone branch of the Chicago Public Library beginning October 1.
The art, titled “View from a Cab,” depicts images from Samarov’s time as a taxi driver in Chicago, which lasted from 2003 until he resigned his post in June 2012.
Regarding the drawings in this showcase, Samarov wrote, “The gouache paintings of cabs were done on site at the O'Hare Airport Taxi Staging Area and the Yellow Cab garage, while the Sumi ink pieces were done from memory as illustrations” for his book and blog.
In his description for the show, Samarov wrote, “It is my hope that you'll see something you know or recognize in them from your own experience as well.”
Brenda Sawyer, who runs the “Friends of the Blackstone Library” group, set up the showing.
In an e-mail, Sawyer said Samarov’s art is “very honest,” and there’s “no glossing things over, just straightforward, honest observation.”
Furthermore, she praised him as “an observer of human nature [who] records what he sees [with] no add-ons.”
Samarov’s artwork was also recently featured at the Rainbo Club, where it has been showcased multiple times over the last five years.
Melina Ausikitis, who programs the art at the Rainbo Club, said via phone that she enjoys Samarov’s art because his “subjects are about everyday life,” and “are a window into his soul.”
“It’s been a real pleasure to see his work change over the years,” Ausikitis said.
Samarov graduated from art school in 1993, and he said, “Art’s my first love,” even though writing—on his blog and in the book—has brought him more renown thus far.
“I relate to the world by drawing and painting,” Samarov said.
He also says his dream would be to drop the writing aspect and subsist only on his artwork.
Samarov is currently putting that artistic talent to use illustrating a children’s book, but most of his pieces are related to his time driving a cab in Chicago.
Samarov said driving a cab in Chicago had a profoundly positive effect on his artwork, because the job was “great for people watching.”
“You’re not quite a person as a cabdriver; you’re part of the scenery,” Samarov expounded. “It’s like you’re not there.”
The Blackstone is located at 4904 S. Lake Park Ave., and Samarov’s 14 illustrations will appear in one of the reading rooms there through the end of October.
Former Taxi Driver’s Artwork to be Displayed at Blackstone
Dmitry Samarov, a former Chicago taxi driver who wrote the popular “Chicago Hack” blog and authored the book, “Hack: Stories from a Chicago Cab,” will be showcasing his art at the Blackstone branch of the Chicago Public Library beginning October 1.
The art, titled “View from a Cab,” depicts images from Samarov’s time as a taxi driver in Chicago, which lasted from 2003 until he resigned his post in June 2012.
Regarding the drawings in this showcase, Samarov wrote, “The gouache paintings of cabs were done on site at the O'Hare Airport Taxi Staging Area and the Yellow Cab garage, while the Sumi ink pieces were done from memory as illustrations” for his book and blog.
In his description for the show, Samarov wrote, “It is my hope that you'll see something you know or recognize in them from your own experience as well.”
Brenda Sawyer, who runs the “Friends of the Blackstone Library” group, set up the showing.
In an e-mail, Sawyer said Samarov’s art is “very honest,” and there’s “no glossing things over, just straightforward, honest observation.”
Furthermore, she praised him as “an observer of human nature [who] records what he sees [with] no add-ons.”
Samarov’s artwork was also recently featured at the Rainbo Club, where it has been showcased multiple times over the last five years.
Melina Ausikitis, who programs the art at the Rainbo Club, said via phone that she enjoys Samarov’s art because his “subjects are about everyday life,” and “are a window into his soul.”
“It’s been a real pleasure to see his work change over the years,” Ausikitis said.
Samarov graduated from art school in 1993, and he said, “Art’s my first love,” even though writing—on his blog and in the book—has brought him more renown thus far.
“I relate to the world by drawing and painting,” Samarov said.
He also says his dream would be to drop the writing aspect and subsist only on his artwork.
Samarov is currently putting that artistic talent to use illustrating a children’s book, but most of his pieces are related to his time driving a cab in Chicago.
Samarov said driving a cab in Chicago had a profoundly positive effect on his artwork, because the job was “great for people watching.”
“You’re not quite a person as a cabdriver; you’re part of the scenery,” Samarov expounded. “It’s like you’re not there.”
The Blackstone is located at 4904 S. Lake Park Ave., and Samarov’s 14 illustrations will appear in one of the reading rooms there through the end of October.
Tuesday, September 11, 2012
“The Mindy Project” proves a felicitous title for the new Fox sitcom starring Mindy Kaling, for the word “project” evokes thoughts of under construction, and, in the pilot, Mindy herself is very much a work in progress—as is the show.
We hear so much about the vaunted “male gaze,” but this show is definitely shot from the “female gaze.” It’s Kaling’s voice through-and-through--for better or worse. Those who enjoy her humor—Kaling is a bestselling author, a supporting actress on NBC’s popular “The Office,” a prolific tweeter, and an Emmy-nominated writer and producer—will likely be charmed by her authentic lead performance. Those who don’t “get” her humor won’t suddenly be enchanted by this show.
In the pilot, Mindy is a lovelorn ob-gyn juggling her career while trying to find her perfect guy and do nothing short of changing her entire life. She vows to lose weight, cease having casual sex with a dreamy but roguish British doctor in her office--Jeremy Reed (played by Ed Weeks)—and generally grow up.
The show, which premieres September 25 at 8:30 p.m. CDT, begins with Mindy’s voiceover narration--which recurs frequently throughout the episode—describing her life up until that point. She confesses her obsession with romantic comedies, explains her path to becoming a doctor, and recounts falling madly in love only to be dumped. Heartbroken and bitter, she attends the wedding of the man who left her, where she drinks too much and gives an uncomfortable toast.
Her drunken ride through the neighborhood on a bicycle ends with her at the bottom of a pool, where she is castigated by a comely female doll telling her to “pull it together.”
She breaks down in tears, is arrested, then bailed out by her best friend, Gwen Grandy (played by Anna Camp), who tells her, “Your life is not a romantic comedy.”
Throughout the pilot, Mindy is torn between turning over a new leaf and remaining in stasis.
She goes on a date with Ed Helms, of “Hangover” movie fame, but bails to deliver the baby of an uninsured woman who doesn’t speak English—who she first refused to treat because, “I have to do things that move my life forward.”
In her attempt at reform, she repeatedly rebuffs the advances of Reed, who she has long been “friends with benefits” with, only to fall back into his arms at the end—so much for progress!
The pilot is filled with pop-culture references, not only to romantic comedies, but also to Siri, Michael Fassbender, Jon Stewart, and much more. Mindy also verbally spars with another doctor, Danny Castellano (Chris Messina), and banters with her staff, Betsy Punch (Zoe Jarman) and Shauna Dicanio (Amanda Setton).
“Mindy” jams a great deal of exposition into 22 minutes, but should settle into a less break-neck pace as the weeks go by. Females are more likely to empathize with Mindy’s travails, while males might find themselves bewildered by Mindy’s quirkiness and her repeated failure to follow through on making life changes.
Monday, December 7, 2009
pitch for movie
I would be remised if I did not lead with my antipathy towards horror movies. I am a movie-buff; I love movies. I see everything. There is only one genre that I find little to no redemptive value in; and that is the horror genre. Of course, much of this is a matter of semantics. Certain films may be classified in the “horror” category that I do enjoy. It all depends on one’s definition of “horror.” I suppose my disdain is not for the suspenseful films. For example, pictures like “The Shining,” “Jaws,” “Silence of the Lambs,” “The Sixth Sense,” etc, are absolutely brilliant. I love and appreciate those. Could they be classified as “horror”? Perhaps? Classifying movies by genre is a ridiculously subjective process. (I once had a guy argue to me that "Jaws" was a sports movie. I was incredulous, and asked, "what sport?" To which he replied, "Fishing.") Anyway,the movies I loathe are the wretched, cheesy, gore-filled, blood-infested, slashing, grotesque, b-movies. (In the interest of full-disclosure, I must also add that I have never comprehended why people would attend a movie and pay money to be frightened. I live my life in fear of everything, from the imminently threatening, to the extraordinarily improbable. I try to avoid terror at all costs. If I want to be horrified, I’ll just leave my house in the morning and go through my day. That’s scary enough for me, and it’s free. Why the hell would I pay to be scared?) But, anyway, I digress.
Because of my position on this, I really could not invent a horror flick. But, I could pitch a suspenseful, unsettling, subtly frightening film. The picture would be a sort-of a mixture between “Stranger than Fiction,” “Secret Window,” (though that movie was awful) and “Being John Malkovich,” but highly dramatic. Let me explain. It would be rather meta-physical. Okay, the main character (Jack) begins hearing a voice, and, with the voice, a person (Bob). And, this mystery fellow feeds Jack lines, dialogue, pithy phrases to say at opportune times in Jack’s life. It’s like having a great screenwriter really writing dialogue for Jack in his actual life. Jack’s like a character in a movie; he always has the clever, witty, smart thing to say in every situation (given to him by Bob, of course). At first, Jack loves it, because he is enjoying tremendous success. He gets promoted at his job, because he’s always dispensing witticisms in meetings, impressing his bosses, and earning the admiration and love of everyone in the office. Furthermore, he’s now adroitly picking up women, because he always has the perfect comment to make the adorables swoon. And, just as he is wondering if his life can possibly improve, and realizing it likely cannot, things then turn.
Bob starts feeding him insidious, evil, demented lines. He becomes a depraved, degenerative, offensive maniac. Everything crumbles. His life falls apart. All the gains he made evaporate, and he continues to lose ground. He cannot control himself. Soon, it is not simply dialogue, Bob is making him do things, evil actions--murderous actions. The suspense is derived from not knowing what he will do, or be made to do, next. How much worse can it become? Further, as he becomes increasingly unstable, the viewer is forced to ponder if Bob ever existed at all. Is poor Jack afflicted afflicted by some disorder, a personality defect--paranoid schizophrenia, perhaps? Does he possess multiple personalities? Is the whole thing made up entirely? Is it all a charade orchestrated by an odious madman? Or, is Bob real?
Where is the answer, and how will it all be revealed? How will it turn out? The viewer shall be left guessing until the end in this suspenseful, horrifying, psychological thriller.
Because of my position on this, I really could not invent a horror flick. But, I could pitch a suspenseful, unsettling, subtly frightening film. The picture would be a sort-of a mixture between “Stranger than Fiction,” “Secret Window,” (though that movie was awful) and “Being John Malkovich,” but highly dramatic. Let me explain. It would be rather meta-physical. Okay, the main character (Jack) begins hearing a voice, and, with the voice, a person (Bob). And, this mystery fellow feeds Jack lines, dialogue, pithy phrases to say at opportune times in Jack’s life. It’s like having a great screenwriter really writing dialogue for Jack in his actual life. Jack’s like a character in a movie; he always has the clever, witty, smart thing to say in every situation (given to him by Bob, of course). At first, Jack loves it, because he is enjoying tremendous success. He gets promoted at his job, because he’s always dispensing witticisms in meetings, impressing his bosses, and earning the admiration and love of everyone in the office. Furthermore, he’s now adroitly picking up women, because he always has the perfect comment to make the adorables swoon. And, just as he is wondering if his life can possibly improve, and realizing it likely cannot, things then turn.
Bob starts feeding him insidious, evil, demented lines. He becomes a depraved, degenerative, offensive maniac. Everything crumbles. His life falls apart. All the gains he made evaporate, and he continues to lose ground. He cannot control himself. Soon, it is not simply dialogue, Bob is making him do things, evil actions--murderous actions. The suspense is derived from not knowing what he will do, or be made to do, next. How much worse can it become? Further, as he becomes increasingly unstable, the viewer is forced to ponder if Bob ever existed at all. Is poor Jack afflicted afflicted by some disorder, a personality defect--paranoid schizophrenia, perhaps? Does he possess multiple personalities? Is the whole thing made up entirely? Is it all a charade orchestrated by an odious madman? Or, is Bob real?
Where is the answer, and how will it all be revealed? How will it turn out? The viewer shall be left guessing until the end in this suspenseful, horrifying, psychological thriller.
Coincidence?
Not sure how to explain this latest bit of research--it appears that Bing users are much more inclined to be "click-happy" than those on Google. Evidentally, people from Bing clicked on ads 50% more than those on google. This research was in July. Now, it's an amazing 75% higher through Bing. While only a snapshot overview, it measures "the proensity for people to click on an ad at asite after arriving there from a search engine via an organic search (i.e., not a paid search ad)."
Even though Google continues to dominate the search-market with about 84% of all traffic, the smaller search engines do better with clicks. It seems inexplicable right now. Obviously, more research will need to be done to ascertain what, if any, meaning can be gleaned from this data.
Even though Google continues to dominate the search-market with about 84% of all traffic, the smaller search engines do better with clicks. It seems inexplicable right now. Obviously, more research will need to be done to ascertain what, if any, meaning can be gleaned from this data.
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