|Nelson is 87 years old.|
|He is thoughtful and wicked funny.|
|Nelson is 87 years old.|
|He is thoughtful and wicked funny.|
Everybody Has A Story: A Storytelling Concert by Norah Dooley by Michael Cicone
"Norah Dooley is an entrancing storyteller." - Scott Alarik, Boston Globe
Critically acclaimed author and storyteller Norah Dooley comes to the Cambridge Center for Adult Education on Saturday, November 20 at 10:30 am for an all-ages storytelling concert: Everybody Has A Story. "Norah is an inspiration," says CCAE's director of education, Michael Cicone, "and she has a wealth of stories to share - from traditional folk tales to the real-life experiences of her neighbors."
Dooley has performed all over New England, including the winter and spring Revels, Newport Folk Festival, Cambridge River Festival and Three Apples Storytelling Festival in Bedford. She is also the author of a series of beloved picture books about her former neighborhood in Cambridge, MA - Everybody Cooks Rice, Everybody Serves Soup, Everybody Brings Noodles, and Everybody Bakes Bread - which highlight the commonalities of human experience that bring all of us together.
"Norah reminds us that everyone has a compelling story to share with the world," says Cicone. "And Everybody Has A Story is a great event for parents, grandparents, aunts, uncles, neighbors and friends to attend with the children in their lives. They will come away with lots of new things to talk about." Dooley is also a wonderful teacher - with a master's degree in education and a BFA in painting.
|Front entrance and waiting room where we spent hours|
|The main entrance - all that was left on OCT 26, 2010|
|my new icon|
Principles for the Development of a Complete Mind: Study the science of art. Study the art of science. Develop your senses - especially learn how to see. Realise that everything connects to everything else. All our knowledge has its origin in our perceptions.Where the spirit does not work with the hand there is no art.
|Meredith Vieria seems to genuinely enjoy her work|
|Do wizards like iced coffee? Keith ordered 4.|
|So much cheese, so little time.|
There's a hole in the middle of the prettiest life
So the lawyers and the prophets say
Not your father nor your mother
Nor you lover's gonna ever make it go away
And there's too much darkness in an endless night
To be afraid of the way we feel
Let's be kind to each other
Not forever but for real
"Fill out these forms. Be here 15 minutes early. No sharp objects. No Bathrooms, plan accordingly."As with so many things in life, getting there was more than half of the fun.
|An Urban AdvenTours group makes its way into Kenmore Square. (Josh Reynolds for the Boston Globe)|
|Race in Allston,MA 2008|
" Dude!" I want to say, because it is typically a gonads on the outside cyclist who rides so silent and so deeply unaware. " Check it out, bro'. The laws of physics always apply! 24/7. Meaning, two objects cannot occupy the same place at the same time. No matter how cool your single gear bike, nor how tight your spandex, nor how zippered and sleek your gear. Physics is fashion blind. Listen. We are sharing the same streets and conditions. We are rolling around on a method of non-polluting transport and therefore we are quiet. Very quiet. And we are surrounded by infernal combustion engines and they are noisy. Damn noisy.
These roads are unpredictably bad. If I swerve to the left to avoid a pot hole or some broken glass and you are behind me, zooming along at top passing speed, slithering up to pass without so much as a hiss- how am I to know you are in my space ? When it isn't stolen, I use a left side view mirror. BUT, I intentionally keep my eyes front looking for disaster. I will not hear you. I do not hear you. I will not see you. I cannot see you. And if I swerve to avoid something ahead and we tangle ? We'd both be in a world of pain. Both of us could never ride again."
|WERS is the best and oldest college radio station. I have been listening since I first discovered the left end of the radio dial.|
|WW II War veteran and anti-war activist|
Howard Zinn in front of BU's CLA circa 1970
|Post demo, circa 1974, the author holds a banner with some friends|
'The Other Guys' is a parody of old-school buddy-cop movies like the 'Lethal Weapon' films, but director/co-writer Adam McKay wanted to give it a realistically grandiose and relevant villain, which is the reason he turned to Wall Street. "All those old movies had drug-smuggling story lines -- if you did that now, it would be quaint," McKay told Entertainment Weekly earlier this summer. "Who gives a s--- about guys selling drugs at this point? Crime has taken on massive proportions: destroying the Gulf of Mexico, stealing $80 billion. Stealing a billion dollars is nothing now -- that's almost adorable....."We knew the issues we wanted to talk about," Lebeda says. "We did a little bit of research. To get specific numbers, we hired a copywriter, Mark Tapio Kines. He found all the numbers through different online sources." The sources were official government documents, adds art director Grant Nellessen. "Sony had to vet everything to confirm we weren't making up facts," he says. "It wasn't just our opinion."
As for the presentation of those dry numbers, Lebeda says, "We wanted to do it in as colorful, fun way as possible, with cool transitions in between." Which was tricky, says Nellessen, because "we had to hope the names [of all the people who worked on the movie] would fit in with all the animation we had put together."
The greatest American short story writer of my generation was Flannery O’Connor (1925-1964). She broke practically every one of my rules but the first. Great writers tend to do that.
Appears in ‘Storytelling Duets’ Book, due in January 2010
By Jonah & Harold Wright
My name is Jeff Gere. I’m a storyteller in Hawaii who runs it’s biggest storytelling festival (Talk Story Festival) each fall. As Oahu’s Drama Specialist in the Parks Department, I talk to humans of every age and income all year long, usually alone. I look upon these as ‘warm ups’ for the REAL storytelling event: tandem telling with musicians. I've done LOTS of these in lots of configurations for lots of years. My master’s degree is in ‘Inter-Relating the Arts’, an inter-disciplinary performance and discussion curriculum exploring the languages and idioms of the various arts. HearSayThe Two Sisters (Wind ‘n Rain) (shadow puppets, music and telling.) I toured one summer with a symphonic quintet. I told Arabian Night tales for 18 months of Saturdays to sold-out shows in a swank Chinatown bar with a belly dancer and two musicians- THAT was fun! was a story/band trio, which morphed into a duet which built an evening show around the ballad,
OK, but let’s talk about WHY I love telling with tunes.
As a painting student at the University of California, Davis, I painted all night until, nodding into sleep, I’d suddenly jerk awake with a command ringing in my ear: ‘paint that out’. I’d rise, paint, sit and nod; Jerk and paint again. The mornings revealed paintings I had not intended to paint! Painting was my initial method of having a dialogue with the subconscious. In my storytelling, I seek this same authentic dialogue and resonance. Music can trigger that.
OK, so that’s the WHY, but HOW do you do that?
Let’s face it: It’s easy to recite your precious clever story patter while a musician plunks along behind. I’ve done it- nothing sensational emerges. Creative musicians get frustrated and quit. Little is risked, little gained. That’s no 'event', that’s not what grips me. Remember, I want the subconscious dialogue, want a revelation.
What GRIPS, THRILLS, and MOTIVATES me in recording and performing with improvising musicians, my MAIN EVENT, is this: If I can split myself open, keeping one ear on the music while speaking, taking audio directions while leading, I myself get lead. Music helps me to let go, to step over the cliff, to dare to walk onto the water, to dwell in the creative moment of NOW. I stop knowing what will happen next.
Huh? Say what?
If talented, attentive, inventive, bold musician(s) are really INVITED to PARTICIPATE with me in the tell, I start to get distracted by the rhythm, the percussion, and the cadence of notes. Yes, I get deliciously confused within the story I know well, and it becomes new again, fresh as the first time I spoke it. Whole new things come up! The STORY begins speaking ME! REALLY! Speaking while listening to playing to your speaking... it is all happening so fast that I’m tellin’ by instinct! Spiritual (in essence), collaborative (surprising), fun (PLENTY!), infectious. You can FEEL the LIFE of such a tell with your EARS! You can hear it in the recordings, the audience can feel it in the room. The stories come ALIVE!
What's your PROCESS in this equation?
I tell by watching the story unfold in my mind. There’s no script, there’s just the movie in my mind’s eye. When one tells in this way, and we drop in the musical score, I can only talk it out as it unfolds. However, I’ve seen this ‘tune-telling’ work well with ‘reciters’ too, especially when the teller's cadence leaves spaces between sentence clusters (thoughts) for the musician to respond. I remind myself to use this technique because my tendency is to plunge forward and talk right on top of the music, in overlays, which is exciting but not always appropriate. It also means the musicians have to be more aggressive with me. Diversity and variety enrich artistic creations.