The Artistic World of K.L.Storer



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Sat, July 2, 2022

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IT BEGINS:

SUMMER STAYCATION 2022

My Summer Staycation 2022 has officially begun.

Of course, the album project will take up a lot of it. But, as I've written before, along with seeing Jim Gaffigan and Sheryl Crow, I also hope to get in at least a couple days camping, some place local, "staycation" being the key word.




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DO I HAVE
A NEWLY
MASTERED
IDENTITY?:


My Music
THE ALBUM PROJECT ICON
AUDIO RECORDING - ENGINEERING ICON
After some experimentation, some trial and error, I believe I have a master of "Identity," the opening cut for the album, that I am happy with. More importantly, I have some setting standards for the remastering of the other nine songs, eleven, if we count the extra tracks* for each of the single releases last year.

I don't quite have the volume that I want for this master, but it's still a decent volume. Speaking of volume, one problem I was having was that when I was pushing the volume on the master, I was getting a reverb-like effect that was not intended nor wanted. I found that if I pull down the overall EQ in the stereo output for the mastering project, then I could increase either volume or gain, of a combination thereof, and get the music louder without that reverb; the mix stays cleaner, too, much like what I was discovering about lowering the EQ for during the mixing phase. But in the master for this song, I dropped the overall EQ down to -10, which is a bit lower than I had in any of the mixing work.

The part that is beyond my technical understanding is how I have the LUFS of -10, and yet the volume seems to sound lower than that to me. It's a sound engineering knowledge base thing that is outside my limited "expertise." But, I at least have clarity to the mix, which is most important. I can distinguish all the instruments and voices in their placements in the stereo pan.

I rendered both a WAV file and an MP3 file of this master and both sound good. I also downloaded a virtual amp for my MacBook Pro's system audio so I could hear the song at a louder level in my headphones.

I suppose I could engage a professional mastering service, but, really this is something I want to learn how to conquer. I came across one youtube video about how to get the master louder, but the guy's audio was not great in the video, which didn't come off as a good endorsement of his know-how, so I left after just a minute or so.

Well, the new remaster of "The Night Before the Night Before Christmas" is next. Likely later today.

Though I will be setting aside enough time to at least watch episode 4:6 of Stranger Things.

*) My plan is to re-release both singles. Whether I do so with the extra tracks again, I have not decided. I am leaning toward not doing so, just putting the remasters of the "A-sides" out, along with reposting the music videos with the new audio plugged in. But, that does not mean that those extra tracks, "Roll the Dice" and "I'll Be Home for Christmas" won't end up on some deluxe version of the album at some point.



4th of July, INDEPENDENCE DAY

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"'We hold these truths to be self-evident,' they said, 'that all men are created equal.' Strange as it may seem, that was the first time in history that anyone had bothered to write that down. Decisions are made by those who show up. Class dismissed."
-- President Josiah Bartlet, (as written by Aaron Sorkin), The West Wing, Season 1: episode 22 "What Kind of Day Has It Been?"

Painting of the Continental Congress at the signing of the Declaration of Independence

IN CONGRESS, July 4, 1776.

The unanimous Declaration of the thirteen United States of America

When in the Course of human events, it becomes necessary for one people to dissolve the political bands which have connected them with another, and to assume among the powers of the earth, the separate and equal station to which the Laws of Nature and of Nature's God entitle them, a decent respect to the opinions of mankind requires that they should declare the causes which impel them to the separation.

We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty and the pursuit of Happiness.

--That to secure these rights, Governments are instituted among Men, deriving their just powers from the consent of the governed,

--That whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in such form, as to them shall seem most likely to effect their Safety and Happiness. Prudence, indeed, will dictate that Governments long established should not be changed for light and transient causes; and accordingly all experience hath shewn, that mankind are more disposed to suffer, while evils are sufferable, than to right themselves by abolishing the forms to which they are accustomed. But when a long train of abuses and usurpations, pursuing invariably the same Object evinces a design to reduce them under absolute Despotism, it is their right, it is their duty, to throw off such Government, and to provide new Guards for their future security.

--Such has been the patient sufferance of these Colonies; and such is now the necessity which constrains them to alter their former Systems of Government. The history of the present King of Great Britain is a history of repeated injuries and usurpations, all having in direct object the establishment of an absolute Tyranny over these States. To prove this, let Facts be submitted to a candid world.

    He has refused his Assent to Laws, the most wholesome and necessary for the public good.

    He has forbidden his Governors to pass Laws of immediate and pressing importance, unless suspended in their operation till his Assent should be obtained; and when so suspended, he has utterly neglected to attend to them.

    He has refused to pass other Laws for the accommodation of large districts of people, unless those people would relinquish the right of Representation in the Legislature, a right inestimable to them and formidable to tyrants only.

    He has called together legislative bodies at places unusual, uncomfortable, and distant from the depository of their public Records, for the sole purpose of fatiguing them into compliance with his measures.

    He has dissolved Representative Houses repeatedly, for opposing with manly firmness his invasions on the rights of the people.

    He has refused for a long time, after such dissolutions, to cause others to be elected; whereby the Legislative powers, incapable of Annihilation, have returned to the People at large for their exercise; the State remaining in the mean time exposed to all the dangers of invasion from without, and convulsions within.

    He has endeavoured to prevent the population of these States; for that purpose obstructing the Laws for Naturalization of Foreigners; refusing to pass others to encourage their migrations hither, and raising the conditions of new Appropriations of Lands.

    He has obstructed the Administration of Justice, by refusing his Assent to Laws for establishing Judiciary powers.

    He has made Judges dependent on his Will alone, for the tenure of their offices, and the amount and payment of their salaries.

    He has erected a multitude of New Offices, and sent hither swarms of Officers to harrass our people, and eat out their substance.

    He has kept among us, in times of peace, Standing Armies without the Consent of our legislatures.

    He has affected to render the Military independent of and superior to the Civil power.

    He has combined with others to subject us to a jurisdiction foreign to our constitution, and unacknowledged by our laws; giving his Assent to their Acts of pretended Legislation:

    For Quartering large bodies of armed troops among us:

    For protecting them, by a mock Trial, from punishment for any Murders which they should commit on the Inhabitants of these States:

    For cutting off our Trade with all parts of the world:

    For imposing Taxes on us without our Consent:

    For depriving us in many cases, of the benefits of Trial by Jury:

    For transporting us beyond Seas to be tried for pretended offences

    For abolishing the free System of English Laws in a neighbouring Province, establishing therein an Arbitrary government, and enlarging its Boundaries so as to render it at once an example and fit instrument for introducing the same absolute rule into these Colonies:

    For taking away our Charters, abolishing our most valuable Laws, and altering fundamentally the Forms of our Governments:

    For suspending our own Legislatures, and declaring themselves invested with power to legislate for us in all cases whatsoever.

    He has abdicated Government here, by declaring us out of his Protection and waging War against us.

    He has plundered our seas, ravaged our Coasts, burnt our towns, and destroyed the lives of our people.

    He is at this time transporting large Armies of foreign Mercenaries to compleat the works of death, desolation and tyranny, already begun with circumstances of Cruelty & perfidy scarcely paralleled in the most barbarous ages, and totally unworthy the Head of a civilized nation.

    He has constrained our fellow Citizens taken Captive on the high Seas to bear Arms against their Country, to become the executioners of their friends and Brethren, or to fall themselves by their Hands.

    He has excited domestic insurrections amongst us, and has endeavoured to bring on the inhabitants of our frontiers, the merciless Indian Savages, whose known rule of warfare, is an undistinguished destruction of all ages, sexes and conditions.

In every stage of these Oppressions We have Petitioned for Redress in the most humble terms: Our repeated Petitions have been answered only by repeated injury. A Prince whose character is thus marked by every act which may define a Tyrant, is unfit to be the ruler of a free people.

Nor have We been wanting in attentions to our Brittish brethren. We have warned them from time to time of attempts by their legislature to extend an unwarrantable jurisdiction over us. We have reminded them of the circumstances of our emigration and settlement here. We have appealed to their native justice and magnanimity, and we have conjured them by the ties of our common kindred to disavow these usurpations, which, would inevitably i nterrupt our connections and correspondence. They too have been deaf to the voice of justice and of consanguinity. We must, therefore, acquiesce in the necessity, which denounces our Separation, and hold them, as we hold the rest of mankind, Enemies in War, in Peace Friends.

We, therefore, the Representatives of the united States of America, in General Congress, Assembled, appealing to the Supreme Judge of the world for the rectitude of our intentions, do, in the Name, and by Authority of the good People of these Colonies, solemnly publish and declare, That these United Colonies are, and of Right ought to be Free and Independent States; that they are Absolved from all Allegiance to the British Crown, and that all political connection between them and the State of Great Britain, is and ought to be totally dissolved; and that as Free and Independent States, they have full Power to levy War, conclude Peace, contract Alliances, establish Commerce, and to do all other Acts and Things which Independent States may of right do. And for the support of this Declaration, with a firm reliance on the protection of divine Providence, we mutually pledge to each other our Lives, our Fortunes and our sacred Honor.

The 56 signatures on the Declaration appear in the positions indicated:

Column 1
Georgia:
     Button Gwinnett
     Lyman Hall
     George Walton
      Column 2
North Carolina:
     William Hooper
     Joseph Hewes
     John Penn
South Carolina:
     Edward Rutledge
     Thomas Heyward, Jr.
     Thomas Lynch, Jr.
     Arthur Middleton
      Column 3
Massachusetts:
     John Hancock
Maryland:
     Samuel Chase
     William Paca
     Thomas Stone
     Charles Carroll of Carrollton
Virginia:
     George Wythe
     Richard Henry Lee
     Thomas Jefferson
     Benjamin Harrison
     Thomas Nelson, Jr.
     Francis Lightfoot Lee
     Carter Braxton

Column 4
Pennsylvania:
     Robert Morris
     Benjamin Rush
     Benjamin Franklin
     John Morton
     George Clymer
     James Smith
     George Taylor
     James Wilson
     George Ross
Delaware:
     Caesar Rodney
     George Read
     Thomas McKean
      Column 5
New York:
     William Floyd
     Philip Livingston
     Francis Lewis
     Lewis Morris
New Jersey:
     Richard Stockton
     John Witherspoon
     Francis Hopkinson
     John Hart
     Abraham Clark
      Column 6
New Hampshire:
     Josiah Bartlett
     William Whipple
Massachusetts:
     Samuel Adams
     John Adams
     Robert Treat Paine
     Elbridge Gerry
Rhode Island:
     Stephen Hopkins
     William Ellery
Connecticut:
     Roger Sherman
     Samuel Huntington
     William Williams
     Oliver Wolcott
New Hampshire:
     Matthew Thornton






POST PRODUCTION MOVES FORWARD; PRACTICE SEEMS IN LIMBO:

My Music
THE ALBUM PROJECT ICON
AUDIO RECORDING - ENGINEERING ICON
Yesterday I remixed and remastered "The Night Before the Night Before Christmas," and remixed "Icebergs." Well, I actually tweaked the mix, earlier this morning. So, two songs, in the this presumed final mastering of the album, are fully finished.

Of course, all of it included the same stuff: adjusting EQ, and volume & gain. To a certain extent I attended to the LUFS reading: for "The Night Before...," since I remastered that one. I only moved one sound in the stereo pan, in the ending vamp of "Icebergs."

K.L. on Bass
K.L. on Vocals
K.L. on Keys
You, know, I have not played any of my basses nor any of my keyboards since I wrapped recording the instrumental, "Cozy Cottage," in January. For those keeping count, that's six months ago. I haven't played any instruments for a half year. I guess I can call myself a musician, but perhaps not as serious a musican as I ought to be.

Here I am, trying to finally get a full-length album of my original music out into the wild, and I can't really currently label myself a practicing musician, the key word being "practicing." I can say the same thing about myself as a singer, too. The bottom line is that I suck at making time to rehearse.

It'd be convenient to blame it on all the different artistic directions I am pulled, plus adding in that most inconvenient forty hours a week I have to commit to at the rent-payer. Yeah, I am distracted by other arty ventures, theatre stuff, for sure. Plus, this postproduction for the album is certainly time consuming. And, yeah, in many, many ways I so look forward to that time when I can retire from the rent-payer and have my week free to pursue any and all my artistic wants and needs. Still, I ought to be able to have the discipline to set time aside to rehearse on my instruments, as well as at the bare minimum, do vocal warmups on a regular basis.

On a related note to that "rehearsing" thing, I would need to relearn somewhere in the neighborhood of 90%, maybe 95% of the songs that will be on this album. The two songs from the past, "The Answer" and "Memories of the Times Before," would be much easier because I did actually practice those songs a bit back in my youth, the basic piano parts for those two, at least. The rest of the instrumentation for those would be in the same category as the rest of the songs, the new ones. I wrote them; I arranged them as I was recording them; I worked things out and recorded them, then that was it. Once the recording was done, I haven't played any of them, any of the instrumental parts, again. I believe this is a point that I am sure I've made at some point in the past on this blog, but there we are.

Meanwhile, some semi-obligatory images to illustrate the latest progress:

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Two down, eight to go, this pass through.
*TECHNICALLY TWO AND A HALF DOWN, SEVEN AND A HALF TO GO, SINCE I'M WORKING ON NUMBER THREE
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The mixing board window in the Logic Pro mixing project for "Icebergs."

A LITTLE PRE-CAMPING INVESTIGATION:

SUMMER STAYCATION 2022
HIKING ICON
Though I thought maybe I wouldn't go camping during this little staycation, after all, I went ahead and reserved two nights in the middle of next week at Caesar Creek State Park. Saturday I drove down to Caesar Creek, mostly because I wanted to go hiking someplace I haven't hiked before. While I was there I checked out the campgrounds and saw that a lot of the tent sites look nice, with some decent tree shade. I actually noted specific lots. So, I reserved Wednesday and Thursday night at one of them.

After the fact, I checked the weather only to see that there is varying degrees of chances of rain (and frequently "scattered thunderstorms") both Wednesday and Thursday, ranging from 40% to 60%. I'm going to chance it, since I can't cancel without forfeiting a big chunk of the reservation fees.

I have hopeful plans to rent a kayak while there on Thursday to go on an excursion in the lake. It's only forty-five bucks for three hours, though I'm betting the life jacket is extra. Let's just hope the weather predictions are overstated.

Following are some pics from my investigative hike Saturday, when it was a little less than partly cloudy:

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Tue, July 5, 2022

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NOW IT'S THREE DOWN, SEVEN TO GO:

My Music
THE ALBUM PROJECT ICON
AUDIO RECORDING - ENGINEERING ICON

The jazz/pop instrumental, "Icebergs," is now mastered. I finished it around midnight last night. I move on now to work on the fourth song in the album line-up, that being "Chilled October Morning," with which I was attempting a hybrid of Richard Thompson and Rush. There's a bit of a folksong sound to it that morphs into progrock. Whether it meets the Thompson/Rush goal I intended remains to be seen (or heard). I believe I achieved it, but I have a friend who's a big Richard Thompson fan and he doesn't hear Richard at all. But I have spoken to others who've heard the song who do hear that connection, albeit after I mentioned it was part of my goal, so that may have influenced their ears. Well, it's next, successful Richard Thompson homage or not.

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The WAV files of the first three mastered songs, each in Quicktime players

TONIGHT FOR ONE NIGHT ONLY

SUMMER STAYCATION 2022

Jim Gaffigan Fun Tour at the Fraze, July 5, 2022

Tonight I see Mr. Gaffigan for the third time. The Fraze being an outdoor venue, with a "rain or shine" policy, and the forecast being for a 48% chance of a thunderstorm, I will be bringing a rain jacket ‐‐ umbrellas are not allowed in the facility. I've been to a few concerts there, in fact, the last time I saw Jim it was at The Fraze, and thus far I've been lucky that there's been no rain during a show. Considering that it's already rained once today, it seems the rain-free Fraze attendance run will not extend to tonight.

And then there's my camping trip the next two nights at Caesar Creek State Park, with the forcast of even greater chances of thunder storms....


AND WHAT ABOUT LAST YEAR'S AWESOME VACATION?:

SUMMER VACATION GET AWAY 2021
?
COMING SOON!
I never did get to the blog recounting of my Summer Vacation Get Away 2021, from this same time last summer. I've started doing a little bit of work on that most tardy telling of that great trip.

As to whether or not it will materialize as a post "soon," is pretty debatable, but at least it's now in the works. It's probable that I'll post about my recent Spring Vacation 2022 before I get to last summer's Vacation; might get to this current Summer Staycation 2022, which I'm on, right now, before I get the 2021 one. But, again, at least it's in the works with HTML code and the basic template for the page done, and even some prose written and graphics created. So stay tuned.



Wed, July 6, 2022

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AND THEN THERE WERE SIX:

My Music
THE ALBUM PROJECT ICON
AUDIO RECORDING - ENGINEERING ICON

"Chilled October Morning," my so-called Thompson/Rush hybrid, is now mixed and mastered. I did the mixing yesterday afternoon. The mastering session was after I got home from the Jim Gaffigan show, last night. Next on the agenda is the "official" remastering of "Just One Shadow," but it's not probable that I'll get to that until Saturday, maybe Friday afternoon, but Saturday seems more likely.


GAFFIGAN LAST NIGHT, CAMPING TODAY:

SUMMER STAYCATION 2022
Jim Gaffigan Fun Tour at the Fraze, July 5, 2022
As luck would have it, it did not rain last night during the Jim Gaffigan stand-up show at The Fraze. The show was pretty good, though Jim spent almost all his time on stage addressing the people to his right, those being the audience on the other side of the Fraze seating from where I was. I rarely saw his whole face; it was mostly profiles of his face and often mostly the back his head. But I'll write more on the show later.

Camping
HIKING ICON
As for rain today, especially after I arrive late this afternoon at Caesar Creek State Park for my two scheduled nights of camping, I guess we will see what the weather has in mind*. I at least hope it isn't raining when I arrive so I am spared the delima of pitching the tent in the rain. I won't be thrilled about pitching it on wet soil, but that would be better than also putting it up in the rain. Yesterday I purchased enough wood for two nights of fire pits at the campsite, vying to think hopefully about the weather.

Beyond that, I still hold out hope that I'll be able to get some decent hiking in and that I'll be able to rent a kayak for an excursion on the lake sometime during the day on Thursday. I haven't kayaked in something like forty-five years, and I have my heart set on it during this camping trip.

*) Never mind the fact that there's already been one thunder shower, earlier today.

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At my local firewood connection, yesterday afternoon: thirty pieces of firewood for fifteen bucks.
The only photo of Jim Gaffigan I managed to get.



Fri, July 8, 2022

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TONIGHT FOR ONE NIGHT ONLY

SUMMER STAYCATION 2022

Sheryl Crow at The Rose Music Center at the heoights, July 8, 2022

The camping trip is over. Now I move on to Ms. Sheryl Crow at the The Rose Music Center. And it won't matter of it's raining or not, because The Rose has a roof!



Mon, July 11, 2022

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SIX DOWN ‐‐ FOUR TO GO:

image of six Quicktime sound file apps open on a dark green background. the soungs in each of the six files are: "Identity.wav," "The Night Before the Night Before C...wav," "Icebergs.wav," "Chilled October Morning.wav," "Just One Sjhadow [remastered].wav," and "The Answer.wav."
My Music THE ALBUM PROJECT ICON AUDIO RECORDING - ENGINEERING ICON
Though I did not get to it on Saturday, as I had expected I would, I did remix and remaster "Just One Shadow" yesterday. Technically it's the second remaster of the song, but, it's still the first official remaster of the song to be released. But wait, I'm not finished; I remixed and remastered "The Answer" yesterday, too. Now there are "Burning Bridge," "Cozy Cottage," "Memories of the Times Before," and "Into the Blue Dawn" left to tackle, plus most of the graphic artwork.


IT'S BACK TO THE GRIND:


SUMMER STAYCATION 2022
DONE
Summer Staycation 2022 is officially over. There'll be some blogging about it. I have a slew of pics to process, plus I probably ought to blog the account of Spring Vacation 2022 first.

In case you were wondering, the Sheryl Crow concert, last Friday night was damn good. I think of the three times I've seen her, it was the best show, though I liked the play list from the first show, back in 2003, a little better ‐‐ more album cuts. But, I'll get into detail about last Friday when I blog the whole staycation.



Thu, July 21, 2022

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2.001 LEFT TO GO:

My Music
THE ALBUM PROJECT ICON
AUDIO RECORDING - ENGINEERING ICON

The remixing and remastering of the Virtually Approximate Subterfuge album continues. The rocker, "Burning Bridge," is finished, and I am 99.9% done with the jazzy instrumental, "Cozy Cottage"; I only have a minor tweak to do in the mastering project.

It's been the same process of resetting the EQ gains and the track volumes, taking them all to -6, at least as a starting place, as well as bumping down the lower frequencies (the bass) a little bit, all in the remix. Then, in remastering, I've started with the master project settings of the album opener, "Identity," then tweaking each from there as needed. But starting with those settings helps give consistency to the overall sound.

Next is "Memories of the Times Before," formerly, "Medley: The Death of the... (etc)," then the closing rocker, "Into the Blue Dawn."


THAT'S A WRAP FOR FF22:

FutureFest 2022, Dayton Playhouse, July 15-17, 2022
Last weekend was FutureFest 2022 at the Dayton Playhouse, and though I'll go into more detail when I blog about it as part of my recounting of Summer Staycation 2022, I will state now that there were six strong finalist plays, and that there were quite a few outstanding performances on the FF22 stage.

The winning play is Every Livin' Soul by William Cameron. Ray Gambrel directed. Ray directed me in a FF show several years ago, titled, A Woman on the Cusp, by Carl Williams. The stellar cast of Every Livin' Soul was, in order of appearance, Steve Mongelli, Kathryn Gainey-West, Steve Heman, Mandy Shannon, and Brandon Shockney.

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Above: William Cameron accepting his award.

To the right: The Every Livin' Soul playwright with the cast and director ‐‐
(left to right): Kathryn Gainey-West, Ray Gambrel, William Cameron, Mandy Shannon, Brandon Shockney, and Steve Heman.
(not pictured: Steve Mongelli)

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PLAYWRIGHT WORK ‐‐ FF MOTIVATION:

The Writer icon
Final Draft 11 icon
Predictably, spending the weekend watching six new plays, hearing the adjudications, discussing these plays, playwrighting in general, and/or socializing with FF audience members, the playwrights, the adjudicators, and actors, pretty much being immersed in the theatre world of new works, I pulled up my own play manuscript in Final Draft and have done a little bit of tweaking and fiddling.

By the way, in case anyone who would be familiar enough to think this, was wondering, I did submit my play to this year's festival. Clearly it did not make the finals. I don't think it even made the second round of readings.



Mon, July 25, 2022

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ALL THAT IS LEFT IS TO GO "INTO THE BLUE DAWN":

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My Music
THE ALBUM PROJECT ICON
AUDIO RECORDING - ENGINEERING ICON
Technically there's more left to do than to "go 'Into the Blue Dawn,'" but in terms of the major portion of the remixing and remastering of the album project, that is what is left.

There were a few tweaks that I ended up making to the jazzy/pop instrumental "Cozy Cottage," all to get the ending of the song to be as climactic as I want. To that end I did some adjustments in the mix, and then in the master.

"Memories of the Times Before (pt.1-4)," (formerly "Medley: The Death of the... (etc)"), was next and it took a little longer than I'd anticipated to get a volume balance between all the parts, as well as to get the right EQ settings for some tracks, especially the lead vocal, the latter to end up with a tone that I was satisfied with. But I finished the remix/remaster last night.

Actually there are two finished masters of that last one. Last week I played the song for my old music collaborator, Rich Hisey, who wrote the lyrics, and he suggested that I either change the EQ and volume level of the light, brush-stroked drum part in "(pt.1)," which is instrumental, or drop the drum kit out altogether in that movement. His feeling was that the drums,as they were, were an unnecessary distraction in the mix he heard. So, I have mastered two versions, each that utilizes one of those two suggestions. I have yet to decide which one will go on the album. Otherwise, by the way, the versions are mixed the same.

Next, and last, is the album closer, the rocker, "Into the Blue Dawn." That work may just happen this evening, at least the remixing, if not the remastering. Of course, once I have remastered this one, I will feel obligated to go back, scrutinize each recording and possibly (probably) make any adjustments that I deem necessary. One big thing will be to again assess if all the master volumes are consistent with each other.

Music Business
CD BABY icon
Copyright © Symbol icon
GRAPHICS ICON
As I've written before, there's then a slew of stuff to do to get Virtually Approximate Subterfuge ready to release. I have to do the album booklet, including writing some liner notes. Plus I need to get some business done that concerns being sure that Rich will properly get any composer royalties as the collaborator on "Memories of the Times Before (pt.1-4.") that are due to him., As well, there is other music business stuff related to the album and its release. One of those other things is getting everything registered with the U.S. Copyright Office. That will cost money, as will there be release fees with CD Baby, and money is tight right now. But, I will figure it out, one way or another.


FROM HALF RHYMES TO TARANTINO ‐‐ (AN UNEXPECTED PATH):

My Music
Songwriter icon
LYRICS icon

Over the FutureFest weekend, I shared with FF adjudicator and New York drama critic, Peter Filichia, that I have an album coming out "soon" ‐‐ (whatever "soon" means) ‐‐ and Peter asked me to send him some MP3s, if I had any. I sent him the links to the music videos for the two already-released songs, "Just One Shadow" and "The Night Before the Night Before Christmas," and I sent him an MP3 of the pop/jazz ballad, "The Answer." Of course, the two videos tout the original masters of the audio recordings, but, still, they don't sound horrible, and the songwriting and musical performances are clearly observable.

Peter's eventual feedback, after the weekend was over ‐‐ he was a bit busy during the weekend ‐‐ was quite charitable. He complemented my melodies, "The melodies are terrific," and went on to tell me that my "lyric images are very good, too" and that I create a "wonderful mood with words."

We also had a brief discussion about perfect rhymes as opposed to half rhymes; there are some half rhymes in "Just One Shadow." Peter pointed out that in the classical musical genre, lyricists opt for the perfect rhyme, but that in pop music it's not as rigid a practice. I'd say, in jazz, too, it's not as rigid. This discussion brought to mind one of the first lessons I ever received in song writing, and especially in lyric writing, and, probably in art in general, at least on a conscious level.

I was somewhere in my late adolescence, maybe about twelve, maybe a little older. It was the Beatle song, "She Said, She Said," which, though technically a Lennon-&-McCartney credited composition, is actually virtually, if not completely, composed by John Lennon. There's a verse, repeated twice in the song, where John sings:

I said, even though you know what you know
I know that I'm ready to leave
(1)
Did you catch it? Do you see the lesson in song writing, in lyrics? "I know that I'm ready to‐‐" Did your mind not expect the word "go," to rhyme with "know," rather than "leave" to finish that line? That confounding of expectation appealed to me immediately. I always thought it was such a clever move, and I am, to this day, 100% positive that Lennon purposefully chose "leave" for exactly the reason that it was not the rhyme that is naturally expected.

There are also, I might add, half-rhyme and free-verse lyrical lines in "She Said, She Said." But the big point for me, the big lesson, is about that confounding of expectations. This blog entry is couched in the topic of song writing and lyrics, but really, the concept here goes beyond that. For me it moves on into music composition and on from there into story telling, whether that is in fiction prose, playwright work, or screen writing.

How interesting is it when the piece of art we are taking in takes an unexpected turn, smacks us with surprise? I find it especially delicious when there was foreshadowing so subtle that we can't recognize it as such until after the reveal, that of course being more a discussion of prose literature and scripts, though I suppose it can be relevant to lyrics and poetry, too, in some circumstances.

Those few of you who have followed this blog to some extent, or who may be someone who is part of my local theatre life, may know that one of my favorite plays to have done, one of my fondest stage memoreis, was appearing in David Harrower's Blackbird. On of the reasons is because that script, that story confounds expectations. The story takes a different path than anyone would guess. The conversation does not become what we anticipate it will. The two characters are revealed as different than perhaps what we project they should be.

Here's a drastically different example. The cold opening of the long-running, primetime cartoon, The Simpsons, always successfully sets up the plot for the episode, yet, frequently, though it's ultimately a logical set up for the episode, it has no direct relevance to what it leads to. Such as this episode from quite a while ago:

      Homer is impatient with the fund-raising drive on the local public TV station, so he pledges thousands of dollars just to shut them up so they'll get back to the programming. PBS find-drive host, Betty White, sends the "pledge enforcement team" to collect the loot. Homer runs and ends up on a remote island where the local tribe make him their king (or a god ‐‐ it's been a while).
Who's going to anticipate that development?

Thus far, I've avoided using the term plot twist, but, for scripts and other fiction, clearly plot twists come into this conversation. It is what I'm writing about, for the most part, in terms of fiction. I'm not sure the Simpsons example is a plot twist as much as a launching pad to a different location than one thinks was the aim. It works in the case of the cartoon because the writers are clever. It is the unexpected served up so we can make sense of it. Going back to the Lennon/McCartney song, "leave" doesn't rhyme with "know," but it is the same action as "go," so it is still logical, it still makes sense to us. Homer ends up revered on the remote island because when he impatiently pledged money he didn't have, he set up a chain of events that each logically followed the one before them. despite that at the start, the ending could not be predicted.

What about The Sixth Sense? There's a clear example of us not seeing the obvious foreshadowing until after the reveal. For the love of Pete, we witness Bruce Willis' Malcolm get shot at almost the start of the movie, shot badly, yet, it doesn't't occur to hardly anyone that he is dead throughout the movie.Yes, yes, there are some people who, at the least, suspect it, but most of us do not. And when you watch the movie again, there are so many blatant clues, all the way through the film. Clues such as how he never actually interacts with anyone but Cole (Haley Joel Osment), the young psychic who can see and communicate with the sprits of the dead. We think we see him interacting with his supposedly cold, unresponsive wife, Anna (Olivia Williams), but of course, we are as misguided as is Malcom. When his wedding ring rolls across the floor near the end, doesn't it have such a strong impact for such a subtle reveal?

Then there's the unexpected shock, where the change is a sudden smack to the senses. Take the 1996, Quentin Tarantino-penned, Robert Rodriguez-directed, From Dusk Till Dawn. We have an intense film about murderous criminals, desperados on the run, who take a man and his daughter hostage. Then, on a dime, it becomes a vampire horror movie, out of nowhere. Some people hated that. I loved it!

I'm sure some can apply this use of the unexpected to other forms of art, oil painting, sculpture, etc. I know it can apply in the art of musical composition and arrangement: the surprise key change or tempo or time signature change. The song that does not resolve at the end to the key signature chord, often done in jazz. Being a Beatle fanatic, I bring them up again by citing the abrupt cut-off at the end of "I want You (She's So Heavy)," another Lennon song, though that's as much engineering as it is composition, but, the decision to do it is still composition.

I'm not really making any sort of argument here. It's really more a musing, a loose discussion that came to mind over a discussion I had with Peter about full rhymes verses half rhymes, which led to "Know/Leave" instead of "Know/Go," and then down the rabbit hole from there all the way to Quentin Tarantino. I suppose, in a real way, this blog entry is almost an illustration of that musing.

1) "She said, She Said," by John Lennon & Paul McCartney. © 1966 Sony/ATV Music.



Wed, July 27, 2022

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NEXT, THE FINAL(?) ONCE-OVER:

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Could it be possible? Is there some real chance that the entire album repertoire is remixed and remastered? Is it safe to look to a near finish line and that August-2022 release date?

Maybe.

This new release date is twelve months past the original release-date goal.

NEXT icon
Clearly, the closing song, "Into the Blue Dawn," is now remixed and remastered. Now, as I wrote in the last blog entry, I need to review all ten remastered pieces to be sure I have a normalized, overall volume level for the whole repertoire. As well I need to give each mix one last listen, to be sure all the instrument and vocal levels satisfy me. I want to be sure the audio tone of each song is a reasonable match to the rest of the collection, too.

I also will pay particular attention to the sound of the lead vocals. I think I haven't yet achieved the engineering knowledge to record my vocals at peak efficiency ‐‐ probably all vocals. I keep getting hot spots, or other distortions, especially on certain vowels. I have had to finesse the EQ, and often add compression, for a few vocal tracks, so I'll be scrutinizing the quality of the audio on my vocals. I attended to all this during this whole remix/remaster process, but, I just want to go back and be sure.

AND THEN GRAPHICS ICON Copyright © Symbol icon Music Business CD BABY icon

To restate what I have written before, I hope, shortly, I'll be designing and creating the graphic artwork for the album booklet, where I also plan to write a page of liner notes. I'd actually designed most of the graphics for the booklet a few months back, but I have scrapped that version. There is also still all that other business to deal with:

  1. assuring that Rich Hisey gets any composer royalties due as the collaborator on "Memories of the Times Before (pt.1-4.")
  2. getting all the compositions and the recordings registered with the U.S. Copyright Office
  3. other release related business with CD Baby
  4. figuring out how to cover all the expenses related to most of these items
It's looking reasonable to believe that Virtually Approximate Subterfuge might release before the end of next month.


Thu, July 28, 2022

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THE MASTERING REVIEW HAS BEGUN, AND YES THERE WILL BE TWEAKS:

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screenshot of Mac Notes doc: 'Album mastering review' | aux speakers | Identity: - Minor vocal harshness | Night Before - vocal up .5? | Icebergs - drums up, - vol up? | Chilled - vocal up?, - Minor vocal harshness, - Drums up | Answer - minor vocal harshness, - Vol down-yes | Burning - tame treble sound, - Opening chords a little louder-maybe, - Minor vocal harshness | Memories - vol down-yes, - Piccolo flute still harsh, - Vocal: harshness & tad too much treble | Blue Dawn - treble down on vocal, - Drums up

Could anyone who knows me to any reasonable extent be at all surprised that I have found things to tweak in the so-called "finished" master recording? The good thing is that, at the moment, it doesn't look like there's a lot of work to fix the flaws I identified in the first review.

Before I take much action, I do want to listen to the entire repertoire a few more ways. Last night I listened, via Quicktime, on the auxiliary speakers I plug into my laptop's earphone jack. I also need to listen to the album pieces with my earphones, from QT on the laptop. Plus I want to listen to it freshly loaded into my Apple music app (formerly iTunes), through both the aux speakers and the phones. Then I need to listen to it on earphones through the music app on my iPhone. Still, there are a few things, you can see on the list in the image above of my Mac Notes doc, that I can address before I do the other reviews, the volume issues being the prominent things that I can get to quickly.



Tue, Aug 2, 2022

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MORE VIRTUALLY APPROXIMATE SUBTERFUGE NEWS COMING:

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STAY TUNED!!!




I GUESS I'M AT THE BIG TABLE NOW:

Daytonys - Dayton theatre Hall of Fame
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Sunday evening, three of my Dayton theatre peers, Jim Brown (of Springboro Community Theatre), Dawn Roth Smith (Dayton Playhouse), Harry Woosley (X*ACT: Xenia Area Community Theater), and I were inducted into the Dayton Theatre Hall of Fame, during the annual Daytony Awards and Hall of Fame ceremony. This year it was at the Yellow Cab Tavern.

To reiterate what I wrote in the June 26 blog entry, I was at my campsite on vacation, camping on the side of a Smokey mountain and saw that I had a voicemail from Carol Finley, a member of the HOF committee, and already an inductee, herself. In her message she asked me to call her back as soon as I could. When I called her back, she said, "It's my privilege to inform you that you're being inducted into the Dayton Theatre Hall of Fame." I was a bit nonplussed for a few minutes.

Like this year's other three inductees, I am still in bit of disbelief that this has really happened. It's most touching and I am quite honored that the committee and the Dayton theatre community believe I deserve such an honor.

The support of my fellow Dayton theatre people has been lovely, and I am also happy that some of my family could be there to witness this event in my arts life. My sister Pat and my brother-in-law Joe were there, as was my niece Beth and her husband Bill. I regret that the extended family is no longer the closer knit family unit it was when I was growing up. I wish I could have shared this with other members, folk I hardly ever am in contact with any more. But that's a whole essay on its own. And I wish my parants could have been sitting in that audience, but, they both passed on the late twentieth century, before I even returned to the theatre arts.

During that initial phone call with Carol, I asked her to induct me and I was quite flattered with the speech she gave. I, in fact, felt like she was overstating me a little bit. But I was moved almost to tears before I got up to give my acceptance speech.

The speech follows. I have tried to plug in the extemporaneous things I added as I spoke, as I remember having said them:

MY DAYTON THEATRE HALL OF FAME ACCEPTANCE SPEECH

Thank you for this honor, it's an unanticipated accolade that has had me dumbfounded since I got the news. When Carol told me I was being inducted, that I was receiving this overwhelming honor, I believe my exact response was:

"Wow.....THAT'S weird."

If I were to describe how I've felt since learning this most-flattering news, up to, and including right now, it would be that I feel like I'm the teenager who, for the first time, has been invited to sit at Thanksgiving dinner table with the adults.

I know I'm recognized more for sound design, and I am most proud of the sound design work I've accomplished. But that's not what brought me to the theatre community, and it's not what keeps me here. It's not why, on January 19th, 2004, at forty-five years of age, I walked into the Dayton Theatre Guild, in its old haunts on Salem Avenue, and auditioned for The Cripple of Inishmaan.

I grew up predominantly around adults. Because of that, I figured out at a fairly young age that the people on TV were grown-ups who got to play-act. I knew that wasn't Little Joe, that it was Michael Landon PLAYING Little Joe ‐‐ for those you old enough to know who the hell I'm talking about.

From a young age, I wanted to be one those play-acting grown-ups. I didn't play cops and robbers, I pretended to be an actor in the role of a cop or a robber for a TV show or a movie. I wasn't Captain Kirk, I was William Shatner on the set of Star Trek. And I see a lot of heads nodding, so I guess I'm not all that unique.

As a freshman at Wilbur Wright High School, I finally, officially acted on stage, as Jamie the Cockney in My Fair Lady. I then appeared in all but one subsequent play, and did so under the direction and tutelage of Chuck Scott.

Chuck taught me a hefty amount of what I know about the fundamentals of acting and of theatre. Chuck was on The Guild board and took us high school theatre nerds to the final dresses of Guild productions.

So, after more than a quarter-century, after some events we don't have time for now, when I came to the point that I could no longer fight the hunger to return to acting, it was The Guild where I went to satiate that craving.

Just shy of twenty-seven years after I finished my high school tenure as Pseudolus in A Funny Thing Happened on the Way to the Forum, I walked onto The Guild stage in my next role, Johnny Pateen in The Cripple of Inishmaan. I had gone after the role of the doctor, because it was smaller, but that role went to Jim Lockwood, may he rest in peace.

And that stellar cast embraced me. Then they, and our excellent director, Greg Smith, demonstrated from the first rehearsal, that professionalism has nothing to do with the size, or in this case, even the existence, of a paycheck.

Before too long, I found myself on the board of directors at The Guild. Now, here I am, about to enter my twentieth season in the Dayton theatre community, and my nineteenth season on The Guild board of directors.

Like the rest of you, I feel quite lucky to be a part of this magnificent theatre community. The Dayton arts community in general is a lovely, thriving, living entity.

I'm extremely proud of my home theatre and the work we produce. I know I'm biased, but we hit far, far more than we miss. I also have great admiration for the fine work produced by the other Dayton theatres, and I have been privileged to be a part of some of that fine work.

It would be dishonest to say that it doesn't matter to me that I have acted on our home-town equity stage, at The Human Race. Because I take pride in the fact that I have achieved that ‐‐ and, it's too bad that neither Emily or Tara are here because I was going to suck up to them to remind them that I hope to again.

But in terms of the work, I've felt as equally happy with the so-called non-professional work I've done in so-called non-professional productions. I assert that the cliched, Waiting-for-Guffman community theatre is an anomaly in this theatre community. I don't believe I am kidding myself when I say that we have been known for our habits of rising to a professional-quality level of production and performance.

I believe that there are few people in this room who would ever say, "after all, this is only community theatre." I believe we're more likely to say, "let's be excellent."

Thank you profoundly for this honor, but thank you more for the honor of being part of this wonderful theatre community, one where we do our best to be excellent.

Thank you, I'll see you all at the next curtain up.


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On the patio, doing the last work on the acceptance speech.
Sunday afternoon, rehearsing the speech.
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Dressed up in my version of "Coctail Formal."
My Family and me at the ceremony
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Getting the award, hugging Carol for her awesome induction speech, and then giving my own speech

these last 3 photos are by Mandy Shannon

AN ALREADY RICH UNIVERSE IS NOW A LITTLE BIT FULLER:

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There was something I wanted to do in the story bible for the universe where both my, very-as-of-yet unfinished novel manuscript as well the play I am currently working on, off and on. As is always the case, if I open up any of those story bible documents I fall into a rabbit hole and end up spending more time than I had gone in planning on.

The irony is that the periods of time I worked on during this latest endeavor happen a decade after the play takes place and more than two decades after the time period of the novel. What can I say? I could feel like it was a ridiculous diversion from other, more pressing art stuff, such as the album project, and I could feel like it was time wasted, but I do not. As the title of this section says, "An already rich universe is now a little bit fuller," and I now have an even stronger feel for, not only my main character, but other characters as well.



Fri, Aug 5, 2022

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ART IN THE CITY, TOMORROW:

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Tomorrow afternoon I'll be one of several players who will be performing short plays during Downtown Dayton Art in the City in something called a Playwright Race.

There are several playwrights involved who will write short plays based on suggestions, which will be solicited tonight at Levitt Pavilion from First Friday attendees.

The whole Playwright Race company will meet this evening, for orientation: playwrights, directors, actors, and any PAs who may be involved.

Tomorrow, we rehearse in the morning then do pop-up performances during the Art in the City event which happens tomorrow from 1:00 pm to 7:00 pm.

You can find out more about Art in the City at the Art in the City website, or on facebook at the Art in the City page


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Sat, Aug 6, 2022

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PLAYWRIGHT RACE POP-UP PERFORMANCES TODAY

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Last night the whole Playwright Race company got together in the lobby of The Loft Theatre for a meet-n'greet, as well as orientation. Then lotteries decided which actors were with which director, which team each playwright was writing their five-minute play for, then, what would the playwrights be writing: what Dayton locale would be the setting, then what relationships would be in the play. Each director also brought in their own PAs

I am on Team 1. Our director is Marya Spring Cordes and our playwright is Ada W. Wood. Our play takes place on a bike trail and the relationship a child and a cartoon character.

Now I head to The Loft and see what our play is.



Tue, Aug 9, 2022

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STILL TRUDGING THE LONG & WINDING ROAD TO RELEASE DATE, AND OTHER CONSIDERATIONS:

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I am still pluggin' along with the remixing and remastering. It would seem like getting the different sonic elements in a piece to good volume balances against each other, then getting the volume normalization between each separate piece balanced, would be easy. It would seem adjusting the EQ on vocals so they are honed to the spot where the quality is at its optimum would be a peace of cake. All that probably is a walk in the park for a seasoned audio engineer, however, despite that there are some who believe I am such an audio engineer, I am not. I am closer to a novice, one who knows a few things, but a novice all the same, and one right now dancing on a sometimes acutely steep learning curve.

Over the weekend I ran into a couple film makers I know and I was talking about my learning curve at mastering this album, and one of them suggested I go ahead and spend the money to have the project professionally mastered. My response was that I could do that, or I could persist and end up learning a lot through the trials and tribulations of this DIY approach. Plus, I don't have a budget to get the thing mastered by a pro service.

As for what's been happening: I did that review that I said I would do of my recent remastering, and have found many things to adjust, much of the sort of things that I mentioned in the first paragraph above.

Also, as I was listening to the jazz instrumental "Cozy Cottage," during this review, I decided that title is not an exact fit, so I have changed the title to "Cozy Anxious Chaos." I believe that suits the feel of piece much better.

And so, I trudge on, the road may be long and winding, but there is a destination at the end of the journey.


Songwriter icon
Certainly I am experiencing a tick up in my impatience to get this album project out into the wild. It's now a full year behind my original release-date goal. However, I want it to be worthy of release, and right now it's not there. It's getting there, but it hasn't arrived. But my restlessness about finishing it is aggravated by my urge to start working on new music. I have a few songs that have been started that I want to get back to. I have some stuff from back, last century that I'd like to record, which includes some more collaborations with Rich Hisey that we've been talking about recording together ‐‐ (and how weird is it that "last century" is not hyperbole?)

There's also the mixing and mastering of a full-length, double album I recorded in the mid-eighties that I want to get to. I am sure I have mentioned it before in a blog entry here. That album is titled Heart Walks. It was recorded at Rich's, in his music room, using his Moog synthesizers, his Fender Rhodes piano, his Fostex 4-track cassette recorder, and his equipment. The only hardware that was mine was my original Epiphone Embassy Pro Bass.

But my heavy itch is to write some new music. I am fighting that itch until Virtually Approximate Subterfuge is out in the world...........to rake in the dozens of sales it will garner (if I'm lucky). I don't want to get distracted from the project, that will just delay it even further.

I also have an album's-worth of ambient music/sound that I could easily master and market. I put it together a few years back for a theatre production for which I was the sound designer. It may actually be the most marketable material in my canon, yet not nearly as good, in the end, as anything else in my repertoire.


THE FIVE-MINUTE POP-UP PLAYS AT DAYTON'S 'ART IN THE CITY' FESTIVAL

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The five-minute, pop-up plays the Human Race Theatre Company put on at the Dayton Art in the City festival were a fun event to be a part of. As you know if you read previous blog posts, the playwrights, directors, PAs, and we actors, gathered last Friday evening at The Loft Theatre to put together the teams of actors, directors, playwrights, and scenarios (location and relationships of character). Five teams, each with three actors, were decided by lottery, in terms of all of the elements. Once the teams and their scenarios were decided, Friday evening, the playwrights had until 8:30 Saturday morning to write their five-minute play.

As I wrote Saturday, I was on Team 1. Our director was Marya Spring Cordes and our playwright was Ada W. Wood. My two castmates were Terry Clark Linden and Libby Scancarello. Our play took place on a bike trail and the relationship was a child and a cartoon character. Ada wrote a play about a little girl, Emily, who falls off her bike and is admonished by her parents for not wearing her helmet. Emily then has visions of her mom and dad turning into cartoon characters.

Libby was Emily, Terry was Mom, and I was Dad. It was a really cute little story where we all got quite physical: running, spinning, and jumping about. It was fun but pretty exhausting. It didn't help that it was hot and humid out. I did love the opportunity to go over the top when I played Cartoon Dad. I confess that I had to push it a little to match Ms. Linden's physicality when we were Cartoon Mom & Dad, but, hey, challenge accepted and delivered.

We won't discuss how my front leg muscles (aka: rectus femoris) are still stiff and sore.

Each team did three performances throughout the afternoon. Our Team 1 did our first performance on the steps at the Dayton Courthouse Square; the second one was on the grounds of the Levitt Pavilion; our last performance was at the intersection of Brown Street and Fifth Street in the Oregon District, only about a five or ten minute walk from the Dayton Theatre Guild.

The other four plays were about:

  • an elderly mother who freaks out her son by getting a date on Tender
  • a man who misses his recently deceased father so much that he imagines a hat he can wear that allows them to speak to each other
  • a robot like juke box
  • an auction where a woman is selling her friendship because she was somehow betrayed by a friend who is there to try and purchase back the friendship
I'd attribute who was in each team save for the fact that I don't know who all the names of all the actors, etc., belong to, and I don't want to misattribute. But there were a total of about thirty people involved. Below is a group shot we took after our three hours of rehearsal Saturday morning and just prior to the lunch break we had before heading out into the wilds.

The playwrights and their directors were: Jake Lockwood, playwright ‐ Jake Lockwood, director; Tiffany Countryman, playwright ‐ Christine Brunner, director; Ada Wood, playwright ‐ Marya Cordes, director; Robb Willoughby, playwright ‐ Annie Pesch, director; Brant Russell, playwright - Gwyn Lee, director.

The actors were: Andrew Ian Adams, Bryana Bently, Erin Butcher, Saul Caplan, Jamie Cordes, Gina Handy, Tim Lile, Teri Clark Linden, Rico Parker, Katie Pees, Fran Pesch, Jason Podplesky, Libby Scancarello, K.L. Storer, and Marva Williams-Parker.

I don't know all the PAs names but our team's was Aliya Pimenthal, and Brian Buttrey was PA for Anne Pesch.

Of course, few of us were off-book ‐‐ although some were! ‐‐ so we had scripts in hand as we played. It was, indeed, a great time. Everyone had a blast. I would do it again if recruited.

And, Hey! We got paid!!

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Above: us Team 1 actors doing our thing
Left: the whole Playwrights Race company.
above photo by Sarah Caplan
left photo: either Kappy Kilburn or Christine Brunner



Tue, Aug 16, 2022

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"COMING SOON" NOW A FULLER PROMISE:

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It MAY be possible, I THINK it's probable the mixed-master is at a place of satisfactory completion.

Maybe, I think.

To canibalize what I wrote a few days back on my facebook K.L.Storer's Artist's Page:

How self-aggrandizing is it for me to say I am getting impatient to finally have a mixed-master of my album to put out in the wilds because I am totally enamored with the work I've created, and I can't wait for people to hear it?

At least more people than the few who have heard sneak-preview, in-progress demos.

All I can say, is my leaning into a quasi-perfectionism, which has retarded the progress, won't stop it from eventually being a finished product. I believe that the "Coming Soon" promise will SOON be fulfilled.

And, to be less-than humble, I have decided I have a good repertoire of music in this collection!

There's still the graphics, the copyrights, and other business to attend to, including the all-important condition of having the finances for the self-publishing start-up fees for CD Baby



Thu, Aug 18, 2022

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TONIGHT FOR ONE NIGHT ONLY

John Mulaney From Scratch 2022 Tour at The Scuster, Aug 18, 2022
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Tonight I see the added 10:00 Dayton show in John Mulaney's From Scratch 2022 Tour. This is the second of three stand-up comic shows for the year on my "In the Audience" list. Next is Lewis Black, whom I'll see at the Victoria Theatre on September 23.

There won't be any pics from the Mulaney show as it is officially a "phone-free experience," and all phones, and I assume other smart devices, will be locked into Yondr pouches for the duration of the show. My personal thought is that this is less to stop photos from being taken than it is to keep DV movies of any portion of the show from being shot then uploaded to social media or video sites. Though lots of performers are not thrilled with photos being taken by other than the professional photographers they have commissioned. I'm going to simply leave my phone in my glovebox, and not even bother to bring it to the Schuster



Thu, Aug 25, 2022

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CATCHING UP BEEN DOING STUFF I repeat myself when I'm under stress I repeat myself when I'm under stress I repeat myself when I'm under stress I repeat myself when I'm under stress I repeat myself when I'm under stress I repeat myself when I'm under stress I repeat myself when I'm under stress

ANOTHER DETOUR ON THE PATHWAY:

My Music THE ALBUM PROJECT ICON DELAYED
POSTPONED
I had to put a hold on this last lap of getting the album to conclusion. See the next entry for the explanation. It's pretty easy to see that an August 2022 release date is not to be. September is the new possibility.


THAT GOOD OL' ELEVENTH-HOUR SHUFFLE:

THE THE LIFESPAN OF A FACT logo.
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The Lifespan of a Fact production suddenly needed a sound designer this past weekend so I came on-board, and Sarah Saunders, who was already on staff as the sound tech, is collaborating. She has curated a significant amount of the pre-show music, and keenly recommended both of the production songs from her list of potential music.

With the show opening tomorrow, (read: five days after we came on board as designers), it's fortunate that this is not a sound-tech heavy show. Tonight is Final Dress, and the first rehearsal with 100% of the sound elements in place. Of course, there will likely be tweaking of sound levels between the end of Dress tonight and tomorrow's opening night performance, but I anticipate that it'll be minor adjustments.

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Monday evening I shot the promotional trailer, then edited and got it out into the wild on Tuesday. It's a fairly simple, straight-forward DV movie, not the most brilliant thing I've ever done, but it does its job. I was never able to secure clearance for dialogue from any of the parties with such authority so it's royalty-free music over footage with no audio (i.e: no dialogue).

Click here to see the trailer


OUTSTANDING-UP:

In the audience icon
John Mulaney From Scratch 2022 Tour at The Scuster, Aug 18, 2022
So a week ago, tonight, I saw stand-up comic John Mulaney at the Schuster Center on his From Scratch tour. His show was opened by stand-up Seaton Smith, and followed by Dan Levy. The opening acts were, themselves, good, but Mulaney was excellent. As much as I have loved all his stand-up specials, I would rate last week's show as beating them out. He spends a good portion of the show sharing about his new found sobriety and the intervention and rehab that has gotten him to his new-found sober life. His crowd work was focused and an eleven-year old named Maddy and her fourteen-year-old brother, whose name is escaping me. He was able to defuse the rather adult subject matter of a lot of his show by basically admitting to Maddy and the rest of us that the subject matter was perhaps a bit racy for a young adolescent.

I'm betting that some shows on the tour will be put on camera and there will be a special on Netflix or another streamer. I don't think Thursday was shot, but I would guess some performances have been or will be. It'll be worth your time to watch when/if the special releases.



Fri, Aug 26, 2022

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Opening Today

THE LIFESPAN OF A FACT, by Jeremy Kareken & David Murrell & Gordon Farrell.

Click here for the promotional trailer of the show



Labor Day, 2022

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Labor Day. In honor of the workers who nmake the world go round


Wed, Sep 07, 2022

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Today would have been my father's one-hundred-third birthday.

HAPPY BIRTHDAY DAD
My Dad, George Storer, at my college graduation, 1994
George A. Storer
1919-1995


Sat, Sep 10, 2022

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THE CAST OF BROADWAY BOUND AT DTG:

THE BROADWAY BOUND logo.
ACTING ICON
On Stage icon
Director Marjorie Strader has cast her show, the sophomore production at The Guild for this 2022/2023 season.

The cast, in order of appearance:

character     actor

Kate
    Wendi Michael
Ben
    Saul Caplan
Eugene
    Dustin Schwab
Stanley
    Michael Ferrarelli
Blanche
    Cassandra Engber
Jack
    K.L.Storer
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A new supply of blank index cards & pens
Every now and then, when you audition for a role, you get cast. I'm happy to say that I now have reason to break out the index cards and start making my flash cards for line work.

Jack, the rather dubious patriarch of the family, is not a terribly big role in the play, he's in three scenes, but it's a good role, nonetheless.

It's my first time on stage since I did Jefferson and Adams, in July of 2020, as produced by X*ACT and presented at Caesar Creek Vineyards. It's the first time I've been on The Guild stage since The Man Who Shot Liberty Valance, in June of 2019.


THE PSEUDO-PERFECTIONIST STRIKES AGAIN!:

My Music
THE ALBUM PROJECT ICON
AUDIO RECORDING - ENGINEERING ICON
COMING SOON!
PLEASE STAND BY

Believe it or not, and if you know me or have read many of these blog posts, you'll have no problem believing this, but I have found more mixing and mastering tweaks to do. It's my delusion of being a perfectionist. I'm just trying to get a 100% consistent volume level for each of the ten tracks on the album. I've also gone in and fixed a few balance problems in some of the mixes: a bass not loud enough here or too loud there, bringing the sax in "The Answer" up slightly, adjustments such as those.


Music Business
The only business stuff that I have accomplished is I have found that I will be responsible for seeing to it that my song writing collaborator on "Memories of the Times Before (pt.1-4)," Rich Hisey, receives any song writer's revenue from any sales. Any such money will be deposited to me, then I am to pass his portion on to him.

Other than that, I've not done anything else, including the copyright registration for the whole album of recordings or compositions. I really can't register the album yet since...

GRAPHICS ICON
...I haven't started the graphics for the CD booklet. I also need to find out if I can make that available as a pdf for the download versions of the album. I even am going to slightly alter the front cover, that which you can see at the bottom of this page ‐‐ at least at the time that this entry is posted. I'm going to add a little backing color to the album title to make it pop a little bit more that it does. I also do not have the CD case back cover. Plus, I have a couple question I need answered from CD Baby Manufacturing.

Yet still, as delayed as this £|_|¢|<!|\|& project is, it IS going to see the light of day!

Again, to be less than modest, I've been listening to the album as I have curated the song order and I am quite pleased with the overall feel of the album. It's not the greatest engineered album of all times, and god knows there's no virtuoso performances on any of the ten tracks, though my nephew, David, does give me a strong, pleasing guitar solo on the opening cut. Still, I am most happy with the material, the actual compositions, and the performances are not at all hateful or horrible. I am more than pleased by my choice of song order, it gives the collection a good dynamic. In short, it's worth a listen or two.


A LITTLE CAMPING RECONNAISSANCE:

HIKING ICON
Shortly after uploading this blog post, I'm heading off to Stonelick State Park, close to Pleasant Plain, a little over an hour's drive, to do a little reconnaissance for a possible camping trip in a couple weeks. If the photos I've seen and what I've read are truly representative, it looks like a great park for camping, hiking, and kayaking.

Today I'm just doing some hiking and exploring. If it looks like a go I'll come back and camp at the end of the month, right after I see Lewis Black at the Victoria Theatre.


THERE'S A NEW MUSICAL IN TOWN:

In the audience icon
Later tonight I'll attend the late-night performance of the Dayton-original work, Pizza Bandit The Musical, at Yellow Cab Tavern. The book is by local actress, writer, and musician Jenna Gomes (who has read as a particular character in both the closed readings of my play manuscript). The music and lyrics are by local actor Brennan Paulin. Local actor and theatre renaissance woman Sarah Caplan is the director. Music production is by Rich Rueter.

The cast is:

Mr. Pizza, et al.: Mike Beerbower
Big Tasty: Skyler McNeely
Mama Joan: Heather Martin
Pizza Bandit: Jeff Sams
Lil Bandit: Addie Immundo



Sun, Sep 11, 2022

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NOT JUST
Anne Foxbank

It's not just New York
It's not just Washington
It's not just Shanksville
It's not just the buildings
It's not just the airplanes
It's not just the field
It's not just the symbols
It's not just the pictures
It's not just the dead
It's not just the heroes
It's not just the hearts
It's not just the sorrow
It's not just the nation

© 2002 Anne Foxbank, all rights reserved
appears here by permission


Closing Today

THE LIFESPAN OF A FACT, by Jeremy Kareken & David Murrell & Gordon Farrell.

Directed by Tim Rezash
Produced by Debra Kent

A fresh-out-of-Harvard fact checker for a prominent New York magazine is assigned to fact-check an essay about the suicide of a teenage boy. It is written by a talented and established writer, and publishing his piece can save the struggling magazine from collapse. The two battle over facts versus truth, with the magazine's editor, who wants to run the story and who assigned the fact-checker to look it over, serving as referee.

The Cast of The Lifespan of a Fact

CHARACTER
     
ACTOR
Emily Penrose
      Jennifer Lockwood

Jim Fingal
      Brandon Shockney

John D'Agata
      Jared Mola

The promotional trailer for The Lifespan of a Fact


FRUITFUL RECONNAISSANCE:

HIKING ICON
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My excursion yesterday to scout out Stonelick State Park was successful. I plan to take what may be my last camping trip of the year there in a week or two, either the last weekend of September or the first weekend of October, depending on when I can reserve a good camping lot, AND depending on whether or not the weather forecast starts looking a little less like rain.

I drove through the camp grounds and scoped out the better lots, especially looking for the ones that offer decent shade. I also wouldn't mind a lot that has power, just so that I can recharge my phone as well as my laptop, which I would likely bring. Of course, another thing I'd be doing on this camping trip is line study for Jack in Broadway Bound.

The trails that I hiked yesterday were okay, not the best I've been on but I'd be able to enjoy a day or two hiking there, I think. I did not explore all the trails, so there may be some there that I'll give a better grade.

When there I made sure that there would still be kayak rentals on the weekend I am there. Such rentals will go through the end of October, so I'm good. This time I'll make sure there is sun screen on the arches of my feet so I don;lt have the same uncomfortable week after my trip as I did earlier this summer.

It was a nice day yesterday, though a bit overcast, as you can see in the several photos of the trip accompanying this entry. As for the weather forecasts for those tow future weekends: right now the first weekend seems to have a mean average of 20-25% chance of rain for most days I'd be there. The next weekend starts out sunny but ends with even higher chances of rain. Thing is, we're a few weeks out so those forecasts may be dramatically revised, and with hope, for the better. Oh, the conundrum!
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PIZZA BANDIT FUN:

In the audience icon
PIZZA BANDIT: THE MUSICAL playbill - Yellow Cab Tavern Sep 9-11, 2022 *(see the rest of this post for credits)
As planned, last night I attended the 9:30 showing of the Dayton-original work, Pizza Bandit: the Musical, at Yellow Cab Tavern. All I can say is that it was a wacky, fun little home-grown show! I enjoyed the dickens out of the material and the performances. It's a pretty short show. They dropped an intermission in, but I think that was more calculated to accomodate folk heading back to the bar or to the Pizza Bandit counter ‐‐ yes, there is an actual pizza business called "Pizza Bandit," but I digress.

Ms. Gomes and Mr. Paulin could expand the script if they so choose. What they have is a fun show but they could make it longer by at least 30 minutes without spoiling the magic. But they have something really silly and fun as it is. Hats off to both of them. Hats off to the rest of the production folk. And hats off to the cast. Most of these folk I have worked with in one fashion or another (both the cast and the crew of this slice of fun).

Cast:

Jeff Sams as Pizza Bandit
Skyler McNeely as Big Tasty
Heather Martin as Mama Joan
Addie Immundo as Lil Bandit
Mike Beerbower as Mr. Pizza, et al.

Production:

Directed by Sarah Caplan
Book by Jenna Gomes
Music and lyrics by Brennan Paulin
Music production by Rich Rueter
Lighting by Jessy Henning
Media and projection by Tracey Obenour
Sound production by Daniel Simmons & Ryan Keener
Puppets provided by Sarah Gomes
A Level Up Productions production



Tue, Sep 13, 2022

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THE BROADWAY BOUND JOURNEY BEGINS:

THE BROADWAY BOUND logo.
ACTING ICON
HEY! I'm in THIS!'
In REHEARSAL icon
This evening we begin the rehearsal process with the table reading of Broadway Bound by Neil Simon. Unless I'm mistaken, this'll be the last time the whole cast is at rehearsal for a few weeks, at which point is when we will get to full runs of each act, then full runs of the whole show. There is no scene where all the characters interact. There is one, which will be blocked tomorrow night, that has most of the cast, but, again, unless I'm mistaken ‐‐ which is not impossible ‐‐ is missing one character.

After tomorrow's blocking rehearsal I am not called for another rehearsal until next Tuesday, when Director Margie will be blocking my first and third of my three appearances in the show.

THE ACTOR PREPARES ICON
My line-study practice of using 3"x5" index cards to make flash cards to memorize and otherwise work on my lines, has, as indicated by the pics below, officially begun. I got my first scene on the cards; two to go.

The "flash-card" use of the cards is pretty self-explanatory as that of helping me memorize my lines by my being able to run lines, alone, whenever I can squeeze the action into my schedule. On the white, line-less side of the 3"x5" index cards, I write, in cursive, the cue line for my line. On the lined side of the card, I write my line in block printing.

In the case of any longer monologues by the character cuing me or by my character, I deal with them thusly:

  • for a cuing character, I write the first line or two, then a series of about ten elipses, then on a separate line I write, in parentheses, "yadda yadda," followed by about ten more elipses. Then I write the last couple lines that cue directly into my line.
  • if the monologue is mine, I use as many index cards as are needed, with "(continued)" at the ends and beginnings as necessary. I still only write my lines on the lined side of the index card, with the white side of the additional cards indicating that each is part X of the monologue.
Beyond memory drilling, there are a few other ways these cards are beneficial to me, and I am more than sure I've touched on some or all of these points before, but here I go again.

Let's start with the act of writing the lines. I believe several different things occur during this action. First off, there is a connection made between me and the words, the scene, by the physical act of marrying the tactile with the intelectual. For one thing, it slows my reading down and causes me to better attend to each word; then, writing the words I've just read reinforces them for me.

Then, as I am more meticulously reading and writing these words at this slower pace, I can't help but analyze the moments and the whole scene. I think about what's going on in my character's head, his heart, his stomach, all those things I am charged to understand about my character:

  • what does he feel in the moment?
  • what does he want in the moment?
  • what is his overall goal (or goals)?
  • is he afraid, and if so, of what?
  • how does he feel and/or what does he think about what's being said to him?
  • is he telling the truth or lying? *(often, as in at least a few cases in this script, the text makes this clear)
  • what is his demeanor in each moment?
  • what is his overall demeanor in general?
  • does he believe in himself?
  • the list of potential questions can go on and on, and I usually pose them to myself based on my instincts, but some of what is above are fundamental questions that I always answer.
Correspondingly, I think about what reading, or potential readings, seem appropriate for each line. The line readings, of course, will be contingent to a great degree by what is given to me by my scene partners and their own line readings. On stage, it's in the moment. The work I do by myself lays a matrix down, but, the scene playing out as it does, live, calls for spontaneous reactions based on what is being lived by the characters as we perform their moments on the boards. But the actor must walk onto the stage knowing who the character is, what the character wants, feels, thinks, etcetera, etcetera; that informs the actor about what actions are taken and what reactions to have. For me, the beginning of this understanding starts with the flash cards.

But that's just the beginning.

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Last night, in the office area of my apartment, creating the flash cards with my lines, and the cue lines for each, for my first scene in the show, with the album, Piano Duets by Brahms & Schumann, by Katerina Zaitseva and Nikita Fitenko, playing on my Apple music laptop device.



Wed, Sep 14, 2022

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TABLE READING DOWN, BLOCKING BEGINS:

THE BROADWAY BOUND logo.
ACTING ICON
HEY! I'm in THIS!'
In REHEARSAL icon
Last night was our first rehearsal of the show, the read-through, proceeded by various production business, mostly conducted by the producer, Scott Madden. The reading went well. Tonight Director Marjorie Strader will block the top of Act 2, the scene with the most amount of actors on stage, actually all but one cast member.

THE ACTOR PREPARES ICON
For my part, I am now just in the process of finding Jack's voice, so at the reading I was not giving what I'd consider a strong performance of Jack, but such is the norm at the table reading stage of the game for all actors, really. At this point my axiom of "Less Acting, More Being" was flipped around to Much Acting, Little being. It's going to be that way for a little while and will only gradually change as I try out approaches to Jack's voice.

In part, I literally mean Jack's "voice." He should not sound like me, not only in dialect but in tone. We discussed dialect last night as a cast with Margie. This show is about a Brighten Beach New York Jewish family in the 1940s, but there was a concern that if we were to try to delve too far into a Brooklyn dialect from more than seven decades ago, it might be a distraction. there was general thought, which I champion that the cadence and the syntax of the text will serve much of the needs for authenticity.

I pushed a little bit of Brooklyn Jewish dialect, from my less-than linguistics-expertise position, as a part of my experimentation to find Jack's voice. Mostly though, I just attempted to let the text dictate the delivery. As I've already indicated, I think a lot of my delivery was awkward and inauthentic; I have some work to do, and that's quite alright at the moment.

Meanwhile, back on the farm, my creating of flash cards with my lines and their cues continues. Last night I thought I had taken out all of my second scene, of my three in the show. However, right the read-though I discovered I had missed a few lines, earlier in the scene. Now I will have to add those lines in and re-number the flash cards for that scene that I'd already done. It's not like that's a big deal or anything, but, it is something that there is to report, I guess.

I'd gone to the theatre early and worked on the flash cards at the counter in the tech booth, while listening to my so-called finished master of my album over the theatre's PA. I also dropped off the large-print scripts for the sound tech and the light tech.

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More flash-card creation, this time in the booth at the theatre ‐‐ the session where I missed some lines earlier in the scene.
The large print script for the sound tech.



Thu, Sep 15, 2022

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BROADWAY BOUNDING FORWARD:

THE BROADWAY BOUND logo.
ACTING ICON
HEY! I'm in THIS!'
In REHEARSAL icon
The first blocking rehearsal went well last night. There's another tonight but I am not called. I'm off until next Tuesday. Well, I'm not "off," I'm just not called to be in rehearsal. I will be doing line study: memory drilling as well as text analysis. Plus, I'll be wearing the sound designer hat, at least a little bit, too. But, mostly, between now and next Tuesday, I'll be working on my lines, as far as focus on the show goes.

THE ACTOR PREPARES ICON
My line-study flash cards are finished and are about to be put into vigorous use. I did start the memorization process in bed last night, but I was using the actual script. That's often how I do it. I begin the process with the script, then as I am moving through the process, I switch to the flash cards, often revisiting using the script. The flash cards are handy because I can have them in my shirt pocket and can pull them out and do line work whenever the opportunity arises.

I'll also, very likely and very shortly, record all my lines and their cues, so I can listen, both overnight as I sleep, often during the day, such as at work at the rent-payer, while I'm, well, working, and at any other oppertune times. I may make that recording tonight.

As for finding Jack: I was a little happier with my line readings last night than I was at the table reading on Tuesday. I'm not panicing or anything. It's early, and for this stage of the game I think I've already got a good handle on the man.

SOUND DESIGNING ICON
A for that sound designer's hat: Saturday afternoon after the DTG board meeting, I'll be loading a few sounds into a Show Cue Systems production project for this show, so that we can use some sound cues early in the rehearsal process. I've also pulled the phone transformer and cue device from the equipment loft, and a couple phones that will at least come close to matching the time period, from the prop area. These are phones that are practical and can actually be rung on cue.

I also pulled a small speaker to stick inside our old, floor-model radio, so that I can run the radio programming sound cues into said speaker rather than over the theatre PA system. My memory, though, is that this particular speaker has a problem; either there is an intermittent short or there is a ground buzz problem. I have a speaker at the apartment that I may bring in for this production.

Crude publicity shots for social media that I took at last night's blocking rehearsal, plus one shot of my script:

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My script with blocking notes
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Dustin Schwab (Eugene)
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Wendi Michael (Kate) & Marjorie Strader (Director)
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Michael Ferrarelli (Stanley) & Rhea Smith (ASM)
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Saul Caplan (Ben)
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The guy playing Jack



Fri, Sep 16, 2022

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GETTING GRAPHIC WITH THE ALBUM PROJECT:

My Music
THE ALBUM PROJECT ICON
AUDIO RECORDING - ENGINEERING ICON
So, now, I am virtually, probably, 99.99999999999999% likely to be almost 100% positive that quite probably the mixing and the mastering of the album is most likely finished.

.....maybe.....

Full disclosure: I tweaked a portion of the mix/master for "The Answer" last night.

GRAPHICS ICON
Now that the so-called probability that the audio is "finished" for the album, is supposedly settled, I've moved on to working on artwork. The first thing I've done is slightly modify the album cover, putting some dark behind the album title to help it pop a bit better ‐‐ see the quasi-new front cover just below. I've also dropped that new version into the "coming soon" promo-poster art.

Next on the album-art agenda was the back cover, which has the album repertoire as well as various credits. Then came the actual CD label, done last night. Next comes the pages for the booklet, which will consist of lyrics and a little liner-notes essay from me, the latter which is yet to be composed. I begin to make the lyrics pages tonight, or at least sometime over the weekend.

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On the left, working on the back cover during lunch at the rent-payer; on the right, the "finished" product.
The CD label.



MAYBE NOT QUICK BOUNDING, BUT BOUNDING ALL THE SAME:

THE BROADWAY BOUND logo.
ACTING ICON
HEY! I'm in THIS!'
The plan had been to record my lines and their cues, last evening, so I could load the scenes on my phone, as help with line study. I'll also have the audio files on my laptop. I can listen while doing other things as well has letting the scenes cycle over night while I'm in bed. The rest of my life got in the way last night so I have not recorded the audio files yet. That is now part of the agenda for this evening.

However, I did work on memorizing lines last night, right before I went to sleep, which I believe is a good time for that work.



Sun, Sep 18, 2022

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GETTING THE WORDS READY:

THE ALBUM PROJECT ICON
My Music
GRAPHICS ICON

I haven't started the actual graphics work for the lyric pages of the CD booklet, but I have prepped all the text. As an example, here's the header for the opening track, "Identity";

    IDENTITY (7:55)
    (K.L.Storer) © 2020 K.L.Storer
    Administered by CD Baby. BMI
As for my liner notes essay, I also have not started that, yet, but I do have a general idea of what I'll write, even if the notion is somewhat vague at the moment.


ACT, SOUND, SELF:

THE BROADWAY BOUND logo.
ACTING ICON
HEY! I'm in THIS!'
THE ACTOR PREPARES ICON
I still haven't, as of yet, recorded the audio version of my lines and their cues to aid me in line study, but I have been in the process of memorizing my lines, and contemplating what line reading to give each. Recording the material may happen later today, depending on what my day looks like.

SOUND DESIGNING ICON
Yesterday I did some initial sound design work at The Guild. I loaded into Show Cue Systems the several sound files we were provided by Samuel French as part of the performance license for the show. Those files include several radio broadcasts. I also loaded in an old-style phone ringing, that from my sound library.

I have mounted a small amped speaker inside our tall, vintage radio, and the radio broadcasts will be ran through that speaker and thus come from the radio, rather than from the house PA speakers.

I'd also had a plan to use a practical phone for the one incoming phone call in the show, but, none of the practical phones we have on hand fit the time period. A couple come close, but are still ten-to-fifteen years too new. We are going with one that fits the period but would be very problematic to get to ring on its own. So, I'm going to stick another amped speaker behind the wall where it sets on stage (don't worry, the wall will be quite thin) and we will play the phone SFX through that speaker. That'll be another amped speaker that is yet to be purchased, but should be purchased soon.

I have added two channels to accomodate these two speakers, channel 5 for the radio and channel 6 for the phone. And I must tell you that the chances of me running the pre-show and intermission music through the radio (channel 5), not the house PA speakers, are pretty good, like 100% probable.

On a Personal Note icon
GRAPHICS ICON
Quite some time ago I embraced the idea that actors (well, all performers/artists) should cultivate the practice of self-promotion, hence this whole website as an example. One thing I got from one of my professional acting classes, and I don't readily remember which one, was the postcard to promote one's appearance in a show. I make up 4" x 6" postcards; some people go with the 5" x 7," but I opt for the lower cost approach, especially since I always mail them out in envelopes and the 4x6 envelopes cost less, as does the printing for the 4x6 postcards. Below you'll see my self-promotional postcard for this show. I haven't printed it or done a mailing yet, but I have already placed the image on the "promotions" page here at this site.

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All of the different hardware on the counter in the tech booth, before I eliminated some methods of sound cue delivery.
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The amp-powered speaker mounted inside the vintage radio.
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The extra channels (5 & 6), added to accommodate the radio and the telephone ring.
K.L.Storer - BROADWAY BOUND, by Neil Simon - Weekedns, Nov 4-20, 2022. Dayton Theatre Guild. www.daytontheatreguild.org/tickets. Join me and my castmates--Dustin Schwab, Michael Ferrarelli, Wendi Michael, Saul Capan, and Cassandra Engber
My self-promotion postcard for Broadway Bound.



Tue, Sep 20, 2022

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GRAPHIC PROGRESS:

THE ALBUM PROJECT ICON
My Music
GRAPHICS ICON

I'm currently still working on the design for the eight-page CD booklet (8, including front & back). The front of the booklet is done, unless I find that the front needs to serve as the album cover, which might be the case. I haven't gotten a definitive answer yet from CD Baby Manufacturing. I am assuming, however, that I do not need to use the front of the booklet as the front of the jewel case; I'm going to guess that is an optional choice.

I've got the lyrics on their pages, but I need to add photos from the recording sessions to those pages. The liner notes also still need written, plus I have gathered together information for what I guess could be called a "further information page" that will either be page 7 of the booklet or page 8 (the back). The "further information page" will have text about how the album was recorded and what instruments and equipment was used, things like that. Plus I'll list this website URL as well those for my social media accounts.

I THINK MAYBE THE ALBUM RELEASE IS FINALLY ACTUALLY GETTING CLOSE!!!!

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The probable front cover of the CD booklet.
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The original, color version of the photo used for the booklet's front cover. In the photo, I was recording, I believe, the organ part for "Burning Bridge," which was at that time titled "Embracing the Palpable."
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A lyric page from the booklet without photos.



ALL SORTS OF AUDIO ACTION:

THE BROADWAY BOUND logo.
ACTING ICON
HEY! I'm in THIS!'
THE ACTOR PREPARES ICON
AUDIO RECORDING - ENGINEERING ICON
Last night I finally managed to set time aside to record all my lines as Jack, accompanied by the cue lines for each. As of yet I haven't processed the recordings into usefulness, but that will come today, during lunch at the rent-payer.

For those who don't know this ‐‐ that's potentially everyone reading this ‐‐ when I make these recordings of my lines I use little to no line readings of any sort. I speak it all quite deadpan, with no emotional or intelectual inflection. There are two main reasons to this. The first reason is that it's just about what the words are that my character is to speak. The second reason is that by listening to such neutral delivery of my lines, it frees me up to think in terms of script analysis without that being fogged up by a particular line reading that is on the recording. I speak the other characters cue lines in a neutral tone, too, and with some sort of altered voice to distinguish them from my character's lines.

Anyway, soon the recordings of the three scenes will be in my Music App on my laptop and the one on my phone, so I can listen whenever the opportunity arrises. This doesn't take the place of line drilling with the flash cards or with the script in hand; it's in addition to those practices.


Tonight I'm at rehearsal and we block my other two scenes, the scene with Kate (Wendi Michael) and the one with Ben (Saul Caplan). Then I am not called again until Wednesday, the 28th.

SOUND DESIGNING ICON
As sound designer for the show, and as the unofficial, default technical director or supervisor for The Guild (which is a case of a barely-qualified, if that, person in the quasi-position), I have ordered a new small amped speaker, as well as a couple sound cords and a few sound cord couplers (which connect two cords together). As I wrote in the last blog post, this show needs two speakers on the set and the theatre only has one at the moment. I ordered the exact same model speaker that we already have, a Behringer Eurolive B205D 150W 5.25 inch Powered Monitor Speaker. My hope is that I have it by Saturday so I can place it on set then.

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Recording Jack's (aka: my) Broadway Bound lines, last night.



Fri, Sep 23, 2022

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THE CD BOOKLET IS CLOSER TO FINISHED:

THE ALBUM PROJECT ICON
My Music
GRAPHICS ICON

The CD booklet is reasonably close to finished. I still have some graphics to work out, I don't have the back page designed at all, for one thing. But I have finished three of the four lyric pages and will likely finished the last one today at lunch.

The liner-notes essay has not been started, yet, but as I wrote before, I have a pretty good idea what I'm going to say, or, at least a general idea.

It's getting close to time to start looking at my finances to see when I can spend the money to get the album out, and to get all the copyrights properly registered with the U.S. Copyright Office.

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Three of the lyric pages from the booklet. I'm not going to give bigger images 'cause I kind of feel even this may be too much of a spoiler.



WORDS ‐ CHARACTER ‐ SOUND:

THE BROADWAY BOUND logo.
ACTING ICON
Showing weekends
Nov 4-20, 2022
Tickets available...
DTG Buy Your Tickets Now
HEY! I'm in THIS!'
fb K.L.Storer's Artist's page post - "It's still early in the game, and I have plenty of time before the 'off-book' date, yet, I am in a panic about memorizing my lines. So, I'm right on schedule with my habitual routine in every show I've ever done. Neurosis is fun!!!"

THE ACTOR PREPARES ICON
Usually when I'm doing a show I don't have another creative venture vying for my attention, for my time and energy. This time I have the album artwork for Virtually Approximate Subterfuge, as well as the rest of the project polishing before release, which I am trying to get finished all of in a timely manner. In reality it feels like more of an obstacle to my push toward getting off-book for the play than it actually is. Honestly, it's not an obstacle.

I believe it's the amateur perfectionist in me who perceives it as getting in the way. I had somehow assumed I'd be farther along in memorization process by now than I am. I'm not behind, but part of me wants to feel as if I am, like I'm an eight-grader who hasn't done all my homework. But, as the text in the facebook screenshot above intimates, I always find some reason to panic about getting off-book.

It's not as if I have been ignoring line study. I have not. I have been doing some drilling, though I admit I've dedicated more time and energy to listening to the recordings simply because of my schedule. I've been able to listen all day long on my phone at the rent-payer and I've ran the recordings over night while I'm in bed. In both cases I created playlists with staggered repeats of each scene, such as the list for the playlist on my laptop (each named after the character(s) I interact with):

    Kate
    Kate
    The Boys
    The Boys
    Kate
    The Boys
    Ben
    Ben
    The Boys
    Ben
    Kate
    The Boys
    Ben
    Kate
    The Boys
    Ben
The order of the playlist repeats on my phone is not exactly the same but is pretty similar. Yesterday, while at work, I compromised between the two loves currently vying for my attention: I listened alternately to the playlist of the Jack lines and the master recordings of the album.

And, I have been using the flash cards as well as working directly with the actor's edition script, just not as heavily, but that is about to change.

Meanwhile, I am still playing with Jack's voice, with his persona. At the blocking rehearsal this past Tuesday, when we blocked the "Kate" and the "Ben" scenes, I tried different approaches in each, just to see what felt more comfortable or more right. With the Kate scene I delivered Jack a little closer to what I've been doing, what I did during the audition. In the Ben scene I pulled back and delivered something a little closer to me. I am not sold on either approach. I haven't found Jack yet, maybe a little bit of him, but the whole Jack has not made his presence known at all.

SOUND DESIGNING ICON
The Behringer Eurolive B205D 150W 5.25 inch Powered Monitor Speaker, just ordered by me on behalf of DTG from Sweetwater, arrived yesterday at the rent-payer (where I usually have things I order on-line sent), along with some accoutrement. This is good. I can install the speaker on stage tomorrow as planned. Fortunately, part of that accoutrement are two 20-foot instrument cables, which I need to have the length I need to get from the mixing board in the tech booth to the spot up stage where the speaker goes.


In sum, both the actor and the sound designer have been reporting for work.


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The sound file lists in the Apple Music apps on both my MacBook Pro and my iPhone.
Listening to Jack's lines on my iPhone while at the rent-payer and then while doing dishes in the ol' homestead.
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The "Jack's lines playlist" playing on my laptop at bedtime, Wednesday evening.
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Line study with the flash cards.
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The Behringer Eurolive B205D, two 20-foot instrument sound cables, and three female quarter-inch cable couplers, displayed in my cubicle at the rent-payer.



GROUNDED AT THE RACE:

In the audience icon
Last night I saw the one-person show (aka: "OPS") Grounded, by George Brant, at the Human Race Theatre Company, featuring Cincinnati-based Maggie Lou Rader in the role of Pilot. All I can say is it's a great script that was brought to life by a most excellent performance by Ms. Rader. To put a fine point on it, she owned the room the whole time with a powerful and moving performance that made me, quite frankly, a little jealous. And congratulations to director Emily Wells (also the HRTC artistic director) for a fine directorial debut at The Race.

This show runs through Sunday, so if you have the ability tro get to it, pease do.


TONIGHT FOR ONE NIGHT ONLY

Lewis Black Off the Rails Tour, Victoria Theatre, Sep 23, 2022

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Me with Mr. Black after his show at the Victoria Theatre in October of 2015.
Tonight I see comedian Lewis Black for the second time. The last time was almost seven years ago, in October of 2015, when he did a special fund-raiser show for the Human Race Theatre Company, and somehow I had remembered it as somewhere just before Covid hit. And I certainly did not remember that it happened before my heart attack, which was Sunday, December 27, 2015, eleven weeks after the previous Lewis Black show.

I had a VIP ticket to the Black show that time, so I got to meet him briefly and get an autograph and a photo with him *(see to the right). Actually, I had met him briefly once before when he had come to see his friend, Lauren Ashley Carter, in the play Miracle on South Division Street at HRTC in September of 2014. I was at the same performance, so after the show I very briefly approached him, shook his hand, and told him I how much I love his work. And he was very gracious in his reply.

This time, I'm not likely to meet him, but boy would that be great if I did?


*see audition information for upcoming Dayton Theatre Guild productions at the top of the Promotions page.

COMING SOON - VIRTUALLY APPROXIMATE SUBTERFUGE, K.L.Storer - full-length album.
the two singles from the album

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Available from several different platforms:
  • iTunes & Apple Music
  • Amazon
  • Spotify
  • Pandora
  • Deezer
  • click here for the official music video

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    Available from the same platforms:
  • iTunes & Apple Music
  • Amazon
  • Spotify
  • Pandora
  • Deezer
  • click here for the official music video

  • COVID-19 INFORMATION LINKS


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