That Orange County Sound 🎭 “That Lovin’ Feelin'” @ Group Rep

That Lovin' Feein' (Group Rep Theatre @ Lonnie Chapman)userpic=theatre_ticketsWhen you think about great rock groups that emerged from that teen-age rock incubator that was Orange County in the early 1960s, what comes to mind? That surfin’ sound? Sorry, the Beach Boys were actually out of Hawthorne.  Rock and roll? Nope, the Turtles were out of Westchester HS. Pop? Nope, the Carpenters were actually out of Downey, at the edge of LA County. The answer — which I didn’t know going into That Lovin’ Feelin’ at The Group Rep (FB)  last night — was the R&B sound of The Righteous Brothers (FB). The Righteous Brothers was formed when bands of two Orange County youth, Bill Medley out of Santa Ana and Bobby Hatfield out of Anaheim, came together; after some whittling down, the result was an R&B duo that made history by being a group that sounded too black for the white stations of the time, and that were too white for the black stations of the time.

That Lovin’ Feelin’ , which is running at The Group Rep (FB) through January 24, 2016 (actually, February 21, 2016, after two extensions), tells the story of the formation of the band, its struggles through the years, its successes, its splits, its reunions, and the final reconciliation. At its heart, though, That Lovin’ Feelin’ is a jukebox musical, an excuse to revisit the music of The Righteous Brothers.

Playwright James A. Zimmerman developed the story out of a personal relationship with Bill Medley (FB) (Personal Site) of the Righteous Brothers, combined with information from an autobiography that Medley wrote. Zimmerman told this story by framing the jukebox musical with a scaffolding of a reporter from Western Michigan at a 2003 conference conducting an interview with Bill Medley for the school paper. During this interview, he gives her the press release version of the story. As she pushes him harder and harder, eventually the real story of the reasons for the breakups and the reunions come out. This scaffolding provides the bones to expose the story of the group, and the excuse to go through some of their better known hits and songs in chronological order.

When viewed as a book musical, the story is weak. This isn’t to say that the conflicts inherent in the Righteous Brothers history aren’t theatrical. The problem is that the manner of the story telling doesn’t really place the burden of telling the actual story on Bill and Bobby. The burden of the exposition is placed on the 2003 version of Bill Medley and the reporter, Ali. In between the expositions we get flashbacks of history with the younger versions of Bill and Bobby, and characters in their life. While we’re in the flashbacks, the older Bill and Ali just freeze on stage. This structure reduces the product to “and then I performed this… and here is what was happening in my life then…. and then I performed that… and here’s what was happening in my life then. This is just a dry exposition that is saved only by the charisma and talent of the performers.

That Lovin' Feelin' (Publicity Photos)I think what is disappointing is the missed potential in the story — in letting Bill and Bobby, and the people in their lives, re-enact and tell throughout instead of in snippets, of letting us see the growth of the characters in the characters themselves, and not by having a third character tell us. That is not to say that the scaffold is bad — for it certainly wasn’t. Rather, it could just have been so much more: a true dramatic story. On the other hand, a similar scaffolding of having a character tell the story worked for Jersey Boys, so one can see why they thought it would work here.

What truly elevates That Lovin’ Feelin’ over the exposition are the performances — in particular the performances of the younger versions of the Righteous Brothers. We’ll get to them in a minute; first, let’s talk about our expository duo: Paul Cady (FB) as the older Bill Medley, and Sarah Karpeles (FB) as Ali (who has a last name given in the show but now the program). Cady, who also served as the Music Director, conveys the elder Medley with comfortable realism. He has a lovely singing voice which, alas, you only hear in three songs. However, I found myself watching Karpeles more — even when I probably wasn’t supposed to be watching her. She had a relaxed and humorous nature about her that just was projected by her character. I particularly enjoyed her smiling through the music at a number of points — this was likely the only concession she could show to liking the music, given the nature of the “freezes” that she and Cady had to endure.

What was blowing Karpeles away blew the audience away as well: the performances of Morgan Lauff (FB) as the younger Bill Medley and Brenden MacDonald (FB) as Bobby Hatfield. These two recent college graduations gave spectacular performances, capturing not only the drama of the persona they were inhabiting, but singing with style and strong telant. Not being an expert on the Righteous Brothers, I can’t speak to whether they sounded like the originals. But Lauff seemed to be able to do a great job with Medley’s low notes, and MacDonald seemed to easily reach Hatfield’s high notes. All I know is that I enjoyed their singing, and isn’t that enough.

Sometimes, things off to the side or behind catch my eye or ear. For example, in the Beatles “When I’m Sixty-Four”, I find myself listening to the back clarinet or bass sometimes. That happened here at one point, where the actresses who were playing backup singers just caught my eye: Nicole Renee Chapman (FB) [Actress 1, Joy Hatfield, Donna Thomas]; Amanda Dawn Harrison (FB) [Actress 2, Julie Stedham, Cher, Lucinda Chatfield]; and Brooke Van Grinsven (FB) [Actress 3, Karen Medley]. The first one to draw my attention was Chapman, who just seemed to be radiating “fun” out of her backup singer character, and then again when we saw her as Joy Hatfield. She was having the time of her life dancing and singing, and that joy was just beaming out to the audience. Also being was Van Grinsven, who we have seen before in Bard Fiction and The Drowsy Chaperone. She continued her winning streak here, also radiating the fact that she was having a great time with this character. Again, very strong singing, dancing, and performance. In fact, during some of the later numbers, if you listened closely, you could hear that both Chapman and Van Grinsven had powerhouse voices (which, now realizing that we saw Van Grinsven in Drowsey, should have been no surprise). Harrison rounded out the trio. She didn’t impact me as much, but I think that’s because of her positioning on the stage, which was usually in the middle, putting her being other characters when viewed from a seat near the aisle. I enjoyed her portrayal as Karen, and I also enjoyed her dancing, and I thought I could pick out both her voice and the fun she was having the few times I could see her behind the Lauff and MacDonald.

Rounding out the cast were some non-singing male roles: Robert Axelrod (FB) [who in addition to playing Bass in the band, as Actor 3, Dusty Hanvey, and John Wimber]; Patrick Burke/FB [Actor 1, Phil Spector, David Cohen]; Timm Damiano/FB [Tim]; and J. Christopher Sloan (FB) [Actor 2, Ray Maxwell, Jerry Perenchio, Doctor]. All seemed to inhabit the characters who they were playing well. I’dll single out Axelrod here, primarily because he had a look that reminded me of my maternal grandfather, which brought back some very nice memories. He also played a mean bass :-).

That Lovin’ Feelin’ was directed by Jules Aaron, assisted by Michele Bernath (FB) (who also served as Choreographer).  This was one of those shows where I couldn’t really sense the director’s presence, which is a good thing. The actors seemed to be having fun inhabiting their roles, and they seemed to be naturally in their personas. I do find interesting the fact that the director is working on a Sammy Davis Jr. musical (I Will, I Can!) — now there is a story worth musicalizing and something I would definately go see. The choreography by Michele Bernath was good — alas, I don’t remember if the dance moves from the 1960s were accurate, as I wasn’t watching dance that closely then. They seemed right; my only question is whether the same moves and clothes would be used by backup singers for 60s acts in the 1970s and 1980s.

Rounding out the onstage performers was the onstage band, which was sponsored by F. Murray Abraham and Kate Abraham. The band was led by Richard Levinson (FB), who also did a wonderful job on the keyboard. The aforementioned Robert Axelrod (FB) was rocking away on the bass, with Bill Scott (FB) next to him on the guitar. Rounding out the on-stage band was Lance Crow/FB on drums. Overall, the band had a great rockin’ sound; it was especially fun to hear them solo on the playout after the bows.

Moving on to the production and creative credits. The set design by Chris Winfield (FB) was simple: a performance stage with a pull-out substage, a dressing room off to the side,  and some decorative effects. It wasn’t as realistic as some, but served its purpose to support the action. What created sense of place were the projections, which were either uncredited, done by the set designer, done by Doug Haverty (FB) the graphic designer, or done by J. Kent Inasy (FB), the lighting designer. Whoever did them, they worked well given the large variety of locations in this show and the budget size of intimate theatre. Other lighting worked well to establish mood in a way that wasn’t obtrusive. The costume design by Angela M. Eads (FB) worked well for the most part, although my wife had two minor quibbles from what she remembers from the era. The make-up, hair, and wigs of Judi Lewin (FB) also seemed appropriately period, and the transition between the large number of wigs worked well. The sound design of Steve Shaw (FB) was what a sound design should be: realistic and unobtrusive, although there was a little microphone noise. Nora Feldman did the public relations. The stage manager was not credited, but Timm Damiano/FB  was the assistant stage manager. That Lovin’ Feelin’ was presented by The Group Rep (FB), and produced by Doug Haverty (FB) and Larry Eisenberg (FB).

That Lovin’ Feelin’ was originally scheduled to close January 24, 2016, but has been extended until February 21, 2016. Tickets are available through The Group Rep (FB) box office (which is by phone or email, sigh). Discount tickets may be available on Goldstar (they are almost sold out as of now); they may also be available through LA Stage Tix. Into early February, That Lovin’ Feelin’ is running in repertory with A. R. Gurney’s Another Antigone, which is running in GRT’s new 2nd stage upstairs.

🎭 🎭 🎭

Ob. Disclaimer: I am not a trained theatre critic; I am, however, a regular theatre audience member. I’ve been attending live theatre in Los Angeles since 1972; I’ve been writing up my thoughts on theatre (and the shows I see) since 2004. I do not have theatre training (I’m a computer security specialist), but have learned a lot about theatre over my many years of attending theatre and talking to talented professionals. I pay for all my tickets unless otherwise noted. I am not compensated by anyone for doing these writeups in any way, shape, or form. I subscribe at two theatres:  The Colony Theatre (FB), and Cabrillo Music Theatre (FB). In 2015, my intimate theatre subscription was at REP East (FB), although they haven’t indicated a 2016 season yet, and I may move the subscription to The Group Rep (FB). Through my theatre attendance I have made friends with cast, crew, and producers, but I do strive to not let those relationships color my writing (with one exception: when writing up children’s production, I focus on the positive — one gains nothing except bad karma by raking a child over the coals).  I believe in telling you about the shows I see to help you form your opinion; it is up to you to determine the weight you give my writeups.

Upcoming Shows: Theatre continues next week with  Zombie Joes Underground (FB)’s 50 Hour Drive-By Theatre Festival on Saturday, January 23, and “Stomp” at the Valley Performing Arts Center (VPAC) (FB)  on Sunday, January 24. The next weekend brings “A Funny Thing Happened on the Way to the Forum” at Cabrillo Music Theatre (FB) on January 30. February starts on Saturday, February 6 with Empire: The Musical at The La Mirada Theatre for the Performing Arts (FB) — this gives us not only the chance to see a dear friend (Sheri F.) who doesn’t attend as much LA theatre as she used to, but a favorite performer (Kevin Earley). The next day brings “An Act of God” at the Ahmanson Theatre (FB). There’s a rare mid-week performance on February 9 of The Jason Moran Fats Waller Dance Party at the Valley Performing Arts Center (VPAC) (FB). The following weekend brings the Southern California premiere of the musical Dogfight at the Chance Theatre (FB) in Anaheim Hills.  The third weekend in February is currently open, but that is likely to change. February closes with The Band of the Royal Marines and the Pipes, Drums, and Highland Dancers of the Scots Guards at the Valley Performing Arts Center (VPAC) (FB). March brings “Another Roll of the Dice” at The Colony Theatre (FB), and has two potential dates on hold for “A Gentleman’s Guide to Love and Murder” at the Ahmanson Theatre (FB) (pending Hottix).  There is also the open question of whether there will be Repertory East Playhouse (“the REP”) (FB) 2016 season, and when it will start.  If we have no REP season, I’ll likely subscribe at Group Rep — call it the Law of Conservation of REP).  As always, I’m keeping my eyes open for interesting productions mentioned on sites such as Bitter-Lemons, and Musicals in LA, as well as productions I see on Goldstar, LA Stage Tix, Plays411 or that are sent to me by publicists or the venues themselves.

Share

Week End News Chum: Threading a Connection

Observation StewFor some, this is the start of a 3 day weekend; for others, just the normal weekend craziness. Whichever it is, it’s been a busy week. I’ve been accumulating a lot of articles of interest, but none of them have themed into groups of three, or proved to be the start of a single-subject rant. So let’s toss them into the crock-pot of discussion, and see if we can at least come up with a thread to connect each to the next:

Lastly, I’m sure you think I’m crazy in the head for trying to thread all these disparate articles together. Speaking of crazy in the head: how’s this for a headline: “Doctors dismissed his pain as migraines. Then they said he had 24 hours to live.” Did that get your attention? It got mine. The connected article was about something I mentioned last week: undetected subdural hematomas. Scary.

Share

Musings on ⇒ Porter Ranch and Ancillary Damage

userpic=disasterI seem to be in a musings mode this week, and today my lunchtime thoughts are about the clusterfuck that is the Aliso Canyon (Porter Ranch) gas leak (SoCalGas Aliso Canyon Leak Info Site)

For reference, this map shows approximately the distance from my house to the leak (it’s about 7 mi, uphill, to the leak); this page shows an estimate of the areas impacted. Here’s my previous post on the subject. Recent news has shown how massive of a clusterfuck this is turning into:

We don’t live in Porter Ranch. We do live in Northridge, downhill and downwind from Aliso Canyon. There are mornings we have smelled the mercaptan, but it isn’t persistent or heavy. The YMCA I go to is in Porter Ranch; our synagogue is on the edge of Porter Ranch. I don’t personally know folks who have evacuated yet, but I’m sure I’ll learn more names when I go to the next temple event.

Fixing the leak isn’t easy. They’ve already undermined the wellhead, and made the problem worse with each stoppage attempt. The crater around the wellhead is now 25 feet deep, 80 feet long and 30 feet wide. The wellhead sits exposed, held in place with cables attached after it wobbled during the plugging attempt. The well pipe and its control valves are exposed and unsupported within that hole, atop a deep field of pressurized gas. So Cal Gas is now attempting to stop the leak by drilling relief wells to intercept the damaged well. Workers are not expected to reach the base of the well, 1.6 miles below ground, for at least six weeks. If it fails, highly flammable gas would vent directly up through the well, known as SS25, rather than dissipating as it does now via the subsurface leak and underground channels. A blowout would also increase the amount of leaked gas, causing greater environmental damage. This is on top of the risk of a massive fire if ignited by a spark. This well is in the middle of a brushfire area, and is subject to very strong winds.

Further, this is a problem that won’t go away when they finally fix the leak. Businesses have been impacted (the Y is almost empty when I go up there). I know it is impacting our synagogue, and I could easily see it creating difficulties for the upcoming cantoral search. It is going to drastically lower the property values of homes in Porter Ranch (which weren’t cheap — I’d guess between $750K and $1.5Mil), and I could see numbers being abandoned out of FUD (fear, uncertainty, and distrust). It is going to impact the property values of neighboring communities as well, and will certainly make it difficult for those looking to sell.

Then, of course, there is the increased cancer risk, which might not appear for decades and would be difficult to positively attribute to this source.

Further, our society being what it is, lawsuits will abound. Already, the sharksarecirclingand smellingthe chum. Who will they sue? SoCalGas, which is part of Sempra Energy, which was formerly San Diego Gas and Electric. Where do they get their funds? Ratepayers. Who will pay for the lawsuits? Ratepayers and Insurance Companies. Further, you know the actuaries at those insurance companies will increase their rates in response: both for the utilities affected (hitting the ratepayers), as well as for homeowners and businesses living in the area. These will all come back to bite those in Porter Ranch and neighboring neighborhoods.

The sad part of this all is that I don’t see any good resolution, and those of us in the area are stuck, either in one end or the other.

Share

Musings on ⇒ 🎥 The Diversity of OSCAR (#OscarsSoWhite)

userpic=moviesA morning quickie on yesterday’s announcement of the Oscar nominees, and the surprising (or should I say unsurprising) lack of diversity of the nominees:

Last year, Gene Spafford had a wonderful post on the issue of encouraging women in computer security. Among many great ideas in the post was this nugget:

If you are invited to speak or appear on a panel at an event, ask who else has been invited. If they don’t seem to have invited (m)any women, suggest some and don’t agree to speak until they filled out the roster a little more. I have heard one good rule of thumb (which I try to follow) is not appear on a panel unless at least one woman is also on the panel. Help give other voices a chance to be heard.

Can’t think of any? Then either you aren’t paying attention or you are willfully ignoring the situation. Here’s a partial list of some of the better known women in the field of cybersecurity/privacy, all of whom I hold in great regard (and my apologies as there are many more I could list — these are off the top of my imperfect memory): Anita Jones, Dorothy Denning, Mary Ann Davidson, Window Snyder, Jean Camp, Elisa Bertino, Rhonda MacLean, Deborah Frincke, Melissa Hathaway, Chenxi Wang, Terry Benzel, Cristina Nita-Rotaru, Jeannette Wing, Cynthia Irvine, Lorrie Cranor, Dawn Song, Helen Wang, Cathy Meadows, Harriet Pearson, Diana Burley, Rebecca Herold, Shari Pfleeger, Shafi Goldwasser, Barbara Simons, Erin Jacobs, Becky Bace, Radia Perlman, Nuala O’Connor Kelly, Wendy Nather, Linda Northrup, Angela Sasse, Melissa, Dark, Susan Landau, Mischel Kwon, Phyllis Schneck, Carrie Gates, Katie Moussouris, Ronda Henning…. There are literally thousands more who are less senior but are likely to have interesting things to say. Simply look around. And if you’re organizing the event, consider this.

I’m going to opine the following: We will never have diversity be considered important in the Oscar race until the Oscar nominees have the gumption to, as a group, refuse to accept their nominations unless they are part of a diverse group of nominees. Until that happens, they are just passing the buck, considering diversity to be someone else’s problem.

In *every* category, there is sufficient talent out there to nominate a diverse field of candidates. Not having diversity is a statement about those in charge, who their friends are, and the diversity of the circles they operate in. Working diverse breeds diversity. Writing diverse breeds diversity. The Oscar field not being diverse is a statement, reflection, and indictment of the industry as a whole. The cinema (just like the theater) must reflect and tell the stories of society as a whole. Making that happen takes strength of character and strong resolve, having principles and insisting on them, both in the on-camera talent, the behind the camera crew, and in the stories.

So, I’ll say it again: We will never have diversity be considered important in the Oscar race until the Oscar nominees have the gumption to, as a group, refuse to accept their nominations unless they are part of a diverse group of nominees. Until that happens, they are just passing the buck, considering diversity to be someone else’s problem.

Share

Musings on ⇒ Recent LA News of 🏫 Kings and 🏈 Rams

userpic=los-angelesOver lunch, I’d like to share with you some thoughts on some recent LA-centric items in the news:

Former Teacher Michelle King Named First Black Woman to Head LAUSD

Before I explain why I’m so pleased with this selection, a bit of bio from the article:

According to the district, King attended Century Park and Windsor Hills elementary schools and Palms Junior High School. She graduated from Palisades High School and attended UCLA.

She began her teaching career at Porter Middle School in Granada Hills, teaching math and science, before becoming the math, science and aerospace coordinator at Wright Middle School in Westchester. She later served as assistant principal and principal at Hamilton High School in Cheviot Hills.

She served as Cortines’ chief of staff during his previous administration, then as a deputy under Superintendent John Deasy and again under Cortines following Deasy’s departure.

First, I’ll note that King and I went to the same high school, and we even went at the same time (I was class of ’77; she was Michelle Brewster in the class of ’79). I don’t believe I knew her, alas, but I’ve got the feeling that a number of my friends did (including the sister of one of my best friends). She also taught at the Junior High I attended (for 7th grade): Wright in Westchester. She’s also a UCLA grad!

Further, note what she taught: math and science, and then coordinated math, science, and aerospace. This means she is a technical woman, and knows the value of STEM (Science, Technology, Engineering, Mathematics). She also taught at Hamilton High, which has a performing arts magnet — meaning she likely understands the value of the arts as well. STEAM, in one package.

Next, note that she taught in both the valley and in the city, meaning the needs of the valley will be understood. She doesn’t appear to have experience in the inner city (the set of schools at which she attended or taught are mostly middle-class), but you can’t have it all.

She’s a product of the glory days of LAUSD (at least defined by when I went there), and knows what LAUSD is capable of.

Most importantly, she’s a great face for diversity and success. She’s a black woman leader, and I know from working at a company with a similar leader the value that such leadership can have in inspiring young woman today, and making the statement that with hard work, anything is possible.

Ms. King — best of luck in making LAUSD the best district in the nation.

NFL will return to Los Angeles for 2016 season

Now, I’m not a person who follows professional sports, or who even watches football, baseball, basketball, or hockey games with any frequency, or even at all. But the return of the Rams to Los Angeles just feels right. After starting in Cleveland in 1936, the Rams moved to Los Angeles in 1946, becoming the first NFL team to play in Los Angeles. They also became the first integrated professional football team during their first year in Los Angeles, when they signed Kenny Washington on March 21, 1946. (As a side note: Kenny Washington was one of four black players on the 1939 UCLA Football Team … another being Jackie Robinson, the man responsible for integrating professional baseball with a team that would later move to Los Angeles).

The Rams played in Los Angeles until 1980 (34 years), and I remember well driving past their headquarters on Pico Blvd in West LA. They then moved to Anaheim in 1980, and then departed for St. Louis in 1994. That’s a total of 48 years in Southern California. They were in St. Louis for only 20 years. Much as I love St. Louis, the Rams are really LA’s team.

Further, they are getting a new stadium without any public financing, and a stadium that will also be able to house NFL West Coast operations. I may not care about football, but I do care about Southern California — and that will be a significant economic driver for Inglewood and the surrounding communities both in year-round employment, support operations, and tourist dollars.

As for the other teams in the deal: I’m glad the Raiders are on the bottom. I remember them during their years here. They really didn’t have civic loyalty, and they projected an image that I wasn’t crazy about. More importantly, just like the Rams were never really STL, the Raiders were never really LA. The Raiders were born in Oakland (1960), came to LA in 1982 and left back for Oakland in 1996. That’s 14 years in LA, vs. almost 42 years in Oakland. They are an Oakland team, and their home should be Oakland.  Hopefully, their owner can figure out a way to reconcile with the city and get a new stadium there; if not, I hear St. Louis wants to build a stadium. Musical teams, anyone?

With respect to the Chargers: although they started in LA in 1960, they’ve been in San Diego since 1961. Ideally, the approval to be the second team plus the 100 million from the NFL might help San Diego get off its collective tush and build them a suitable stadium. They are a great draw for Orange County and San Diego. If not, well the new Inglewood stadium has room for two.

Share

Breathing Room at Last

userpic=ipodIf you recall, since Apple discontinued the iPod Classic, I’ve had a number of discussions about what my path forward should be. I initially thought about going with a non-iPod device (also here). But each had its limitations, including cost and abandoning my carefully curated playcounts and ratings in iTunes. Then I discovered another approach: modification of the iPod Classic to add more storage. But I’m a software guy. Modding hardware is outside my comfort zone. So I decided to do some men normally don’t do: ask for help. I found someone local, and… voila! Here’s a before and after picture. Note the “Capacity:” line, and the amount of free space:

Before

iPod Primero Before

After

Primero Prime After

Ah, breathing room. It is wonderful. A 512GB iPod Classic, for a cost of about $300. I used the iFlash Dual SD Adapter from Tarkan, two PNY Elite Performance SDXC 256 GB UHS-3 Memory Cards, and the help of Juan Salinas, who I met through the Tarkan boards. Juan took care of the hardware end over the weekend, as I’m a software guy (and he did a great job — things loaded just fine — did it in alphabetic chucks and it took about 5 hours).

After about 6 months of use, it will be Segundo’s turn to be upgraded to Segundo Prime. I have no plans to upgrade to iTunes 12. I believe Apple has moved iTunes to the direction of pushing cloud storage instead of on-device; I do not want to move in that direction.

P.S.: Pioneer has a $700 DAP that can go to 256GB, for $700 plus 2x128GB cards. Onkyo just announced a new DAP with a max of 482GB in micro-SD cards for $899, not including the SD cards. How puny. With the Tarkan approach, one could go to 1TB! (Of course, the iTunes database maxes out a 66K songs, supposedly).

P.P.S: Primero Prime Post Upgrade Status:

  • Day U (Upgrade)+1: One spontaneous update in the morning. Driving home, a reboot after the podcast, and then about 4-5 more reboots — some due to complete freezes, others due to interface freezes. Note that the drive home includes a power connection through a DC adaptor that could be flakier. Last reboot seemed to solve problems.
  • Day U+2: No reboots in the morning. For the drive home, ran Primero Prime off battery only. One reboot in the evening, before the podcast while switching playlists. Otherwise fine.
  • Day U+3: No reboots in the morning, during the day, or on the drive home (on battery). Perhaps it is settling in.
  • Day U+4: No reboots in the morning. Again, on battery for the drive home, and got one reboot when traversing menus. Otherwise, again, fine.
  • Days U+5, U+6, U+7: No reboots. I’m beginning to think the reboot is unrelated to iDual and more related to age (and spurious signals from the click wheel, as this happened occasionally before the surgery)
  • Day U+2 Weeks: Had a number of reboots and freezes yesterday. Could get a reliable freeze from the 2nd song on a 37000+ playlist, but that song played fine when chosen from a 11000+ playlist… and the 2nd song position on the 37000+ playlist was fine after a resync. Most occurred when touching the click wheel or navigating. It has been fine since.
Share

It’s What’s For Dinner: Mixed-Up News Chum Stew

Observation StewFinally, it is time for the main dish: A hearty news chum stew made up of items that I just couldn’t form up into a coherent (or even incoherent) post. I’ll note the first three are roughly science related:

  • Things That Go Bump in the … Ouch. The title is worrisome enough on its own: “How A Simple Bump Can Cause An Insidious Brain Injury“. The concern here is a kind of brain injury that’s very insidious — a subdural hematoma. These don’t occur with falling off a ladder, slipping and bash your head on the ice, or playing football. Basically — and this can be a problem as you get older — you bump your head. You get a small brain bleed, but below the dura that lines the brain. The bleed creates a very low-pressure ribbon of blood that’s layering on top of the surface of the brain. As that blood starts to pool over days or weeks, it irritates the brain cells. And if the pool’s big enough, it presses on the brain and damages it, much like a tumor. Ouch.
  • It’s better than Progenitorivox. Asprin is indeed a miracle drug, when taken daily. Not only can it help your heart, but it can lower your risk of prostate disease. Men with prostate cancer had almost a 40% lower risk of dying of the disease if they were taking aspirin for cardiovascular protection, a large cohort study showed.
  • At Last My Row Is Complete Again. Those of you with real periodic tables of wood, time to get out your engraving router. The last row of the periodic table has been filled: the final four elements are confirmed. Needless to say, you won’t be able to keep the samples for long. That’s how it goes.
  • Clearing Out the Stash. Lots of useful info here for knitters and crocheters. Here is a list of 10 charities looking for yarn projects, and in that list are links to about 15 more. There’s also Operation Gratitude, which is looking for knitted scarfs for soldiers. Now, go forth and clean out that sewing room. Your non-crafting partners will thank you.
  • High Fashion Religious Scarfs. A couple of related items here. First, Dolce & Gabbana have launched a line of high-fashion hijabs and abaysas (Islamic head scarves). This is actually a big deal, as the purchasing power of this market is high, and this is an untapped area of fashion. In a different religious area, H&M has marketed a scarf that looks very much like a tallit.  This is a bit more in bad taste (although I must admit we once did find a fancy tallit in a thrift store — National Council of Jewish Women, in fact — that was labeled as a scarf). It is so problematic that they have pulled it from sale in Israel.  Just imagine the next conversation: Hey, boss: I’ve got this great idea for a new hat for women.
  • Tongue Tied. Moving from the Hebrew to the Yiddish: Here is a set of Yiddish Tongue Twisters. My favorite? “Schmoozing in the shtetl with a schmutzy sheitel is a shande.”
  • Ikea Games. Mental Floss had a neat article on secrets of Ikea. One is that there are multiple quick routes through the store, both for safety reasons and stocking reasons, and they’re open to the public. But they’re not advertised, so you’ll need a keen eye for secret passageways. Often they take the form of unmarked service doors. But they change them fairly frequently because customers get familiar with the shortcuts and know how to zip through. They change the shortcuts to force people to go around the long way again.
  • Getting a Lyft. I’ve been hearing more and more about Lyft and Uber. I’ve never used them. In LA, Lyft has just been authorized to pick up at LAX. Here’s a report on what it is like to use Lyft at LAX.
  • Ride the Red Cars. It is appropriate that I’m wearing an Orange Empire shirt as I type this. Here’s a retrospective on the decline of the Pacific Electric in Los Angeles. Alas, as usual, the comments go off the rail into conspiracy theories and partisan politics (yes, the removal of PE is Obama’s fault. Right.). Further, no one mentions they are still running at OERM.
  • There are Beans, and there are Beans. The inventor of Jelly Bellies is jonesing for a comeback. His next idea: caffeinated coffee jelly beans. Now that his non-compete has passed, the founder and his business partners have launched a Kickstarter campaign seeking $10,000 to launch their Original Coffee House Beans, which will come in flavors such as hot cocoa and peppermint, chai tea, coffee and doughnuts and caffe macchiato. Sounds interesting. Sugar and caffeine in one little pill. Who needs an energy drink.

 

Share

Media NewsChum: 6 Passings, 3 Arrivals

userpic=masters-voiceHere is the second bunch of themed news chum for the weekend — consider this your mixed salad before the stew. Articles in this group cover multiple media types: stage, TV, and radio.

  • Passings No. 1: Elizabeth Swados. Broadway composer Elizabeth Swados has passed away. The headlines all cite her show Runaways (which I’ve heard but never seen), but I recall her for her show Doonsebury. The show has a number of great songs, including “Just a House”, “It’s the Right Time to be Rich”, and “Another Memorable Meal”. I doubt it will ever be revived, as kids today don’t remember the early days of the strip.
  • Passings No. 2: Wayne Rodgers. Just before the end of the year, original M*A*S*H TV star Wayne Rodgers passed away. Here’s a remembrance from his co-star, Alan Alda.
  • Passings No. 3: Sheldon Epps. No, Sheldon hasn’t died. However, he is stepping down as Artistic Director of the Pasadena Playhouse. For a long time, we were subscribers at the Playhouse. Were there there in the Susan Dietz era; we were there when Sheldon came in; and we left during the bankruptcy. I didn’t always like Sheldon’s programming — especially his habit of TBA shows in a season. But he had more hits than misses, and he did a great job of raising the visibility of the playhouse during his tenure. Even more importantly, he did try and bring diversity to the traditionally mono-cultured Pasadena.
  • Passings No. 4: KFWB 980. “Give us 22 minutes, we’ll give you the world.” Hasn’t been that way for a while, since KFWB gave up the news baton to KNX and went talk… and then sports talk. KFWB has been sold, and will be becoming an ethnic station.  While this is bad news for the Clippers, it is also a significant passing in the LA Radio community.
  • Passings No. 5: Allegiance. Sad to say, the new George Takei musical Allegiance has posted its closing notice. This is after 113 performances, which is definitely not hit territory, or even recap-costs territory. However, the musical did make a significant political statement (which is good), and is going on tour (even better).
  • Passings No. 6/Arrival No. 1: Beatles Music. This is, in a sense, a coming and going. The going relates to a very interesting article about the convoluted path of how the Beatles lost control of their music catalog to Michael Jackson. As usual, some wrong decisions early on in their career from which they could never recover. It shows the importance for artists to pay attention to what you sign. On the other side, the Beatles have just arrived on streaming music services. For me, that’s a big “Whoops” (as in “Don’t Care”). I’ve got *all* their music on my iPod, of which 95% was recorded from the original vinyl.
  • Arrival No. 2: Hamilton. It has been announced that the hit musical Hamilton will be going on tour. There will be longer tour engagements in Chi-town, LA, and SF. The big question in LA is where? Given the Ahmanson’s schedule and size, I don’t see a long sit-down show going there (although it is the best venue). The likely place is the Pantages, but I’m not sure they would want a *long* sit down (but they’ve done it for Wicked).  It would be great if it could go into the Dorothy Chandler Pavillion — the hall was partially built for the LACLO, but theatre hasn’t been there in ages. Another possibility is a theatre on Broadway — I recall hearing that they want to get back into the show-biz.
  • Arrival No. 3: Galavant. The mini-TV musical Galavant has returned. If you watched the first two episodes last week, you’ve discovered they’ve gone very meta. They probably won’t survive, but they sure are fun to have around.

 

Share