Monday, December 5, 2011

In The Distance Ahead

Folks,

It has been a minute. A quick fill-in the blank -

I have been in contract negotiations with several entertainment lawyers who are trying to secure a deal for me to play the part of a doctor on TV, so I can get a job playing a doctor on a commercial, so I can safely and legally say "I'm not a doctor, but I play one on TV." I'm also trying to bring in more revenue from this blog so I may or may not be enjoying the mellow taste of Nantucket Nectars'
Tuscan Lemonade, reading Danielle Steele's new heartwringer "Underneath The Trestle" replete with stunning character development, and engaging my friends via social media's latest darling "The Deuce" which uses GPS in your smartdevice to inform all your friends when, where and how you used a public restroom.


The following tidbits are in line with the WhaleHawk Diaries aesthetic. Moments brought forth from the cloth of existence, taking the shapes of present moment reminders. I thank you for your audience.


In the past couple of weeks I have forced myself to become aware of new things as I walk around the city of New York. When you walk on the streets of this fine city, with such selfless citizens, you take in A LOT of information. Looking at every person passing you by can cause a low-grade influx of paranoia and or anxiety. You're trying to assess a whole host of potentialities; "Is he dangerous? Is she the 'hottest' girl I've ever seen? I like his shirt. She can't fit into those jeggings. Do these high schoolers even KNOW who Billy Preston is?"

"I'm the 5th Beatle and a real-life Lando Calrissian!"

"Looking at faces is quite mentally demanding. We get useful information from the face when listening to someone, but human faces are very stimulating and all this takes processing. So when we are trying to concentrate and process something else that's mentally demanding, it's unhelpful to look at faces." - So says this British article.

In an effort to have a calm and peaceful walk, instead of looking at the ground, or dealing with the tsunami of human face related emotions, I have decided to train my eyes on things not usually looked upon. The word "cornice" popped into my head so when I walk around Astoria, or in Manhattan I look for the cornice work on buildings, or, exactly 1/4 inch below the part where the edge of the building meets the sky.



Also noted on my walks are the choices of architectural ornaments I see on buildings. What catches me off guard is that a designer dedicated themselves to designing things that would almost NEVER be noticed (besides a WhaleBlogger and architecture students). But it looks beautiful and I share a moment of delayed gratification with these stone embellishments, a party for one with these inanimate objects. As I walk and promote a stillness within, I remark on these unremarkable things and put them into my fanny pack of wonderment. This morning on my walk to work, I was remembering a portion of a book I read on the Alexander Technique. This certain part dealt with walking and keeping your head and neck in 'proper' alignment. The author suggested to look 100 yards into the distance while you walk. I started to do this and began to feel something open up inside my grey matter. I was not constantly scrutinizing the faces of passing people, I was not observing the architecture, I was staring....into the future.


I'm telling you people I experienced a moment of pure presence. I felt like a cylinder opened up from the point of my retina and stretched all the way into the distance. I was reacting to traffic that was happening at least 10 blocks ahead of me. I could clearly make out cars, coats, and the mannerisms of that area off in the distance. I trusted the direction I was going and confidently stayed free of any pedestrian accidents. It was almost like looking through a pinhole camera. So I opened up the internet and she showed me the goods.

Turns out "distance looking" is a HUGE deal! My friends Chad and Z (huge video game fans) also referenced this as an essential to their gaming regimen. Our eyes are muscles and they need to be worked. Problem is, the human eye was not designed by creation for extended use in close-work (reading, computers, factory work, sewing etc). We have become so focused on what's directly next, what's on the email, FaceBook, Twitter, what's the next project, what's this person think of this IM, what's the next opportunity; that we fail to both physically and spiritually "take in the big picture."

I came across a site which gives exercises for the eyes to individuals not willing to get prescription glasses. While I am all about holistic approaches, if you can't see, you should really go see an eye doc and not rely on Jah to help your myopic-ass when you get behind the wheel of a school bus.

One of the exercises is "distance seeing" -


"Practice distance-gazing while walking. Look out the window into the distance to distinguish objects at or slightly beyond the far-limits of what you can see now. This practice helps to push back your "vision limit" to see further. Remember to always focus on objects you can see and strive to bring them into clearer focus. Relax your gaze. Never strain. Read distant signs, distinguish license plate numbers of passing cars. Watch birds in flight. Watch aircraft disappear into the horizon. Count stars at night."

Another site had a link to an article written about this same practice of challenging your visual sense. It tells of a woman who was busily running an errand -

"At first she noticed she was just focused on the errand and not really seeing what was around her. She reminded herself to be more present. In order to be more present she had to slow down her pace, which she did, noticing that she could now breathe more fully. She found that in order to 'see'...she had to walk even more slowly, and then as she did so the world became brighter, clearer and had even more depth. Her previous experience of being present was incomplete; it had not included her visual system." - From this paper.

The reason for all of this is to help snatch these moments back from our ego identified world, and maintain some dignity in snuggling the present. I suggest you try this. The goal is to not become a tracker in the jungles of Belize, or to become a "seer" into other dimensions. The point is to use your body, to center your body. Are there any tips you have on remaining present during the day?

Until next time -

"We are never tired, so long as we can see far enough." - Ralph Waldo Emerson



"The dark shadow we seem to see in the distance is not really a mountain ahead, but the shadow of the mountain behind - a shadow from the past thrown forward into our future. It is a dark sludge of historical sectarianism. We can leave it behind us if we wish." - David Trimble

Tuesday, August 9, 2011

Wherever you go, there you were.

People.

I have been decidedly silent as of late because I sunk a lot of money into a movie about a traveling family of coats, who meet up with a vest and...it did not go good. The premise was spot on (who hasn't had a coat?) and the story was gold (vest teaches them about letting go, everyone learns something). It just didn't gain the traction we had hoped with the focus groups. Why, you aren't asking me because I can't hear you? I'll tell you why.

Nostalgia.

There was nothing for people to associate with so the backers didn't want to go full tilt with the Sanders! Money is only interested in making money. Look at this oddly chosen quote from producer Tom DeSanto of Transformers and XMen -

“The studios are so dependent on pre-existing brands, they’re not allowing anything new into the pipeline,” he said. “They want to know what was the video game or what was the comic book. It’s shortsighted. But what’s being missed is the next generation of new stuff. Because nostalgia is creative death.”

Never mind the fact that this guy just shit in his own sandbox, he has a great point. Are you noticing a lot of nostalgia based entertainment hitting your cultural windshield?

Just this morning they announced they are going to re-do Dirty Dancing. Again. The reason was blatantly put "it made $214 million." So money gets to make money. But remember when they already tried to do this?


ugh.

And then there was the explosive ratings for Nickelodeon's re-runs of their 90's line-up, ala Clarissa Explains It All. And then Star Wars Clone Wars, and then the Thundercats reboot, and then the Yogi Bear movie, and then Ghostbusters 3, and Fast and Furious 6, and then Mortal Kombat, and then your friend's shitty 80's themed party, and then The Land Before Time 52, and then the Flight of The Navigator remake, and then SpiderMan the musical, and then Spider Man the reboot, and then a Total Recall remake, and then The Crow remake, and then your friend's shitty 90's themed party, and then the Teenage Mutant Ninja Turtles reboot, and then the Judge Dredd reboot, and then Quisp, and then, and then, and then.

People. I know my movie about traveling coats didn't pan out, but I bet for sure you ain't ever heard of that idea before!

It takes a certain person to continue the brave and thankless work of producing works of art. It also takes a certain person to monetize and economize a thing like art and view it from only a lucrative stance. Somehow we both got thrown into the same boat, and we need one another to survive. Great shows do horrible in focus groups. Somehow, an 'original' idea gets through and smashes our notions of what we needed. What we wanted to be shown. As artists, it's our job to go out there and make something new.

But you'll say (and you won't because you're looking at a screen) What about derivative works, there is nothing new under the sun, Pygmalion, The world in six songs, there is nothing new except what has been forgotten, we live in a remix culture, together we are larger than the sum of our parts, I'll be more mature if you will, everything we learn we are only remembering, how is all this possible and you can buy a taco for $0.39?

Think of the influences of the past as trampolines not as the scalps and face-skin of dead people to wear to a costume party.

Be inspired by the world and contribute to the fabric of the here and now without the training wheels of yesteryear.

There are plenty of great original ideas out there and the tide of recycled ideas is inevitable. However, it is our duty to fight against and lambast this cultural Kevorkianism and work on our work. The more we do this, the more we put time in between us, and our eventual nostalgic pining for the styles of 2012. Remember when you read that blog about remembering about reading that blog?



Tuesday, March 8, 2011

The Arrival


I start my mornings much like you. My lad servant Clint awakes me by peppering my blankets with lavender and rose water, while Bagrat my Georgian chambermaid, raises the venetian blinds ¼ an inch every 15 minutes. Bagrat then chooses my clothing for the day. She usually settles on an outfit that makes me look like something in between a full-time blogger and a part-time blogger. However, there is the off chance that she’ll lean towards a professional story-teller outfit, ornamented with a wearable blanket from Taos, an ocarina and an Indian feathered headress. I trust her because she has a strong background in the forced manual labor industry and this has left her a little jumpy. I appreciate this.


Chill out Bagrat.

After I arise, my lad servant Clint dismantles my stack-of-cans-by-the-door and I enter the living room where coffee is served. I then turn on the television.

One morning, I diverted from the normative news-based programming, which without failure informs me of a fire somewhere, to the more friendly choice of watching reruns of “Heathcliff” – a TV show from the early/late 1980’s.

If you have no relation to this show you have not missed much. It’s a cartoon based off of a comic strip featuring a cat. Familiar formula. It was on TV twice, once in 1980, and again in 1984. The animation was hamfisted, the plots were full of holes, and it lived in my memory as a B-List cartoon.

The A-List cartoons were the Warner Bros./Looney Tunes cartoons. Fully realized microcosms filled with great characters, great writing, and awesome animation, these cartoons served as an introduction to many aspects of the human character; love, lust, foolishness, humor and humility. Mel Blanc provided the voices for the galaxy of characters and his delivery, timing, and malleable voice talent gave breath to the drawings and personified "The Cartoon."

So imagine my surprise when I see in the credits of my morning re-run, that Mel Blanc is the voice of Heathcliff.

I had no idea! I had been living a double life inside my own life. In my mind I had drawn a line; I had separated the "good" cartoons, from the "so-so" cartoons, and never knew the heart of one was the heart of the other. Deep.

On one hand this gave me heavy boots. I thought of Mel Blanc in the winter of his life (he died in 1989) working on a schlock show. What happened to you Mel? You had it ALL! You worked on the Jack Benny Show, you had your OWN show on CBS, you were with Warner Bros. and Hanna Barbera and you defined the golden age of cartoons. Bro.

And on the other hand I referenced the gospel of the hustle. Mel Blanc kept on working on new things right up until the end. He wasn't gonna hang his hat on the Looney Tunes, he was continuously seeking new ways to engage his art, he was the hustle and there was no half-stepping.

So....

We categorize. This is good. This is bad. This is real. This is fake. This makes sense and helps us organize our allegiances to bands, brands, faith, and faces. However it blocks out the infinitely larger side of things we choose to ignore or label as not worth our time. There could be some good information in the things we label as unimportant, so it's useful for us to cast a broader net as we ensnare, collect and try to understand the moments in our life.

We as artists feel that there will be, in the future, a time when ‘mastery’ will set in. Where we won't have to take crap gigs. A future where every time we set out to achieve an artistic goal we nail it, and get awards. A future where our minds won’t be plagued with questions concerning the structure, validity, and integrity of our work. We believe that once we “arrive” we will be able to forgo the exhaustive process of struggling to bring our dreams onto the stage of reality.

The significant point in the story of Mel Blanc is that the life of an artist never "arrives." Our golden train of milk and honey and paychecks never fully stops. It might allow us to grab the rail and ride a while, but this is a train only to be ridden in the figurative sense. The real reward from working on a craft is the opportunity to familiarize yourself with the feeling of creation. And to continuously put in front of you new challenges that help you experience that feeling in new and novel ways. All the way until the end.

When asked which of his compositions he loved the most, an elderly Duke Ellington replied, "I haven't written it yet."

There is no "arrival." We keep on being the best we can be and focus on the 'here and now', because that's the only time we ever get to experience.