Sparks from the Fire

This is Part 4.  If you haven’t yet read Part 1, 2 & 3, I highly suggest you do so first.

He was a chicken.  I don’t mean he was afraid to do things; I mean he was really a chicken.  Well, not in all actuality, but he was acting a chicken.

Let me explain.

I was performing at the Waldorf Astoria Hotel Ballroom in some unremembered benefit back in the days when I did such things, and after I had finished my act, the stage manager asked me if I’d like to see the rest of the show.  I said that I would and during the blackout and set change for the next act I was quickly led to a front row table right smack at the stage proscenium.  I was so close to the next act that the comedian could have stepped on my head if he wasn’t careful.

I was not, this time, literally ‘in the wings’, but I was so up close and personal that it felt like it.

I do not remember the comic’s name, but I will never forget his act.  It was hilarious and he kept the audience howling with hysterical laughter for a full ten minutes.

Like I said, he was a chicken.  He was totally committed to being a chicken and, of course, he had to be.  His act was so ‘out there’ that he would have bombed horribly if he had not been so committed.  In it, he chicken-scratched, he rooster-strutted, he hen-squawked, he flapped his wings, he clucked, he gave us the best “cockadoodledoo” I’ve ever heard and he chickened about the stage in a total frenzy for the full ten minutes.  What’s more, he wore no chicken costume at all.  Just a man in his pants and shirt, but he impersonated a chicken before our very eyes.  (Or perhaps he imchickenated a person when he finished his act.)

About the only thing he did that was un-chicken-like was that he sweated.  Oh my god did he sweat.  This comic was workin’ the house and was chickening so deeply that he must have lost ten pounds in ten minutes.  The sweat flew off him like he was in the shower and any number of times flew right on me as I sat, fascinated and wet.  I’ve seen men do this in the last frantic minutes of an overtime basketball game, but never such a constant shower on stage – and I’ve never had, before or since, the ‘privilege’ of taking part in anything resembling that shower of activity.

I don’t remember ever laughing.  I remember thinking that he was really funny, and being aware of the audience roaring almost continuously, but laugh myself?  Not.  I was too fascinated with the caloric burn, the intense mad workout and the tsunami-like proportion of his effort as the sweat flew off him like feathers.

I remember thinking that I was glad that I had never chosen to be a comic.  For such a funny thing, it’s just hard work!  He was a big man, which made his particular chicken character even funnier, of course.  He was so committed that I wondered how long, when he finally got off stage, it would take him to transform back into a human being.  Perhaps they had a big bowl of chicken feed and water waiting for him back in his dressing room. (more…)

This is Part 3.  If you haven’t yet read Part 1 & 2, I highly suggest you do so first.

For a little more than five years when I was in my late 20s and early 30s I was composer-in-residence at the NY Shakespeare Festival (The Public Theater) working with producer Joseph Papp in what was, at the time, the most creative theatrical hot spot in the country.  Joe Papp and his plays and musicals had an amazing run of success during the 70s that we haven’t seen the likes of from a theatrical producer since.

It was at The Public where I learned my craft having the opportunity to work on some 40 shows in those 5+ years working as composer for Joe.  Besides many other theaters in The Public complex, the NYSF also produced two Shakespeare plays per summer at the outdoor Delacorte Theater in Central Park.  I created incidental music for a number of these productions and I remember one particular production of Shakespeare’s Comedy Of Errors where I was backstage standing in the wings one night.

An older actor was on stage in a scene with one other actor one night when the older actor simply stopped in the middle of one line and kind of slumped over, still standing, into a frozen position.  The long pause brought us all to quick alert.  His fellow actor fed him his cue again to no response.  The stage manager in the wings downstage of me also fed him his lines in a stage whisper several times to no avail.  The audience began to buzz and we all quickly realized that there was something very wrong with the older actor.

Truth is, he had had a small stroke.

The stage manager, taking charge, simply walked out on stage calmly, and taking the arm of the older actor, led him slowly off stage.  Then the stage manager went back on stage and announced to the audience that we would take a short intermission and resume the play after 15 minutes.  The audience, still abuzz, did as they were told to do peacefully.

Backstage it was anything but peaceful.  Rather, it was a pretty wild scene as the older actor was addressed and cared for, an ambulance was called and his understudy was frantically preparing to go on in the older actor’s place.

The costume mistresses scurried about preparing the understudy’s costume changes, I got in his face discussing his musical cues and the stage manager ran through a litany of reminders for the young, inexperienced understudy. (more…)

Julia Wade

Last night it was business as usual at the WFM Listening Room.  Both La Tanya Hall and Julia Wade and their Inspirational music ended our week on the perfect notes – notes that soared, notes that calmed and notes that enlivened the soul.

These Fridays are crazy busy for me.  I wake up in the morning on show day and immediately know I’m in for it.  It’s a day of go, go, go until I flop down in my chair at the end of the day.  I won’t bore you with the details, but rather assure you that that’s just what it is – a day of endless detail.  It never stops.

When I get home at night, it’s all I can do to just crawl off to bed.

I’ve been doing this all my life, but it doesn’t get any easier.  Thank God for a great staff and a most professional venue.

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Wouldn’t it be great if, before we pass on to wherever we go next, we could transfer our knowledge base from our brain hard drive to someone younger’s brain hard drive?  That way the things we discover and the skills we acquire in this life would not be lost upon passing.  Wouldn’t the human race evolve much faster if this were possible?

Unfortunately we humans have not been built with a USB port located just behind our left ears.  Instead we have to put up with a slower form of data transference called “teaching”.

As we gain knowledge and acquire skills, we owe it to the human race to pass that knowledge on to others.  “A teacher affects eternity; he can never tell where his influence stops.  ~Henry Brooks Adams

I’ve always loved to teach.  I’m deeply indebted to the great teachers in my own life – most of which were tough, sometimes scary and yet ultimately loving deep wells of vital information.  They passed that food of life on to me in a variety of ways and, thinking back on them, I realize now that each of them had that same central quality – they too loved to teach.

And so, we here at Watchfire Music recognize this necessity to communicate knowledge and have decided to create within the company a center for data transference – the Watchfire Music Learning Lab, a school of sorts, for students of all ages, where specialized professional music classes of a most interesting variety will be taught.

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This article has been reprinted from an article first appearing in the Principia Purpose, Peter’s High School and College Alumni Magazine in December of 2010.

Peter Link’s music career flowed naturally from his days at the College. After serving under Jack Eyerly as assistant choir director his sophomore year, Peter went on to be its main director until he graduated. “Jack believed in my ability, mentored me, and provided opportunities,” Peter recalls. “I really learned my craft from him!” Peter also directed a College production of Carousel. After seeing it, a parent told him, “If you directed this production, you can make it in New York.” With that encouragement, Peter packed for the Big Apple soon after graduation.

During the next two years, Peter studied acting under Sanford Meisner at the Neighborhood Playhouse. From there, he landed a lead role in the TV soap opera As the World Turns as well as a lead role in Hair on Broadway. “Doing Hair and the soap was an incredible two-year ride as an actor, but I soon found that my real interest was composing for the musical theatre,” Peter says. During Hair he wrote the hit musical Salvation. Out of that score came a gold record that sold two million copies. “This was a whirlwind start for a young guy!” Peter notes.

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I’ve often heard people complain, “I’m just not photogenic” as if being photogenic was some magic quality that one is either born with or not.  In the interest of “all things Inspirational”, I have my usual differing opinion on this subject.

Being photogenic is simply an acquired grace developed by experience in being in front of the camera, not some mysterious talent endowed to only a few by some higher power.  Actually, anyone can be photogenic who has the proper training as an actor. (more…)

My sessions were finished on this Saturday night, the Missus away in Boston, my mind far too bleary and weary from the work of the week, my body an exhausted reflection of my mind.  I, who all too rarely takes any time off for just myself, decided to just do that.  Deeply in need of a little Inspirational refreshment, I settled down with two offerings from Netflix.

The first, Bela Fleck: Throw Down Your Heart, just totally blew me away.  In it, inspired by a love of African music and an interest in tracing the roots of the banjo, American banjo great, Bela Fleck, embarks on a musical journey through Uganda, Tanzania, Gambia, and Mali, playing with the locals and discovering the beauty of the land and its people.

Besides the fact that the music performed in the video is simply fabulous, the movie gets to the heart of Africa through that music and its performers in the most precious of ways.

Béla Anton Leoš Fleck, is widely acknowledged as one of the world’s most innovative and technically proficient banjo players.  He is best known for his work with the bands New Grass Revival and Béla Fleck and the Flecktones. Fleck was born in New York City, and is named after famous Hungarian composer Béla Bartók, Austrian composer Anton Webern, and Czech composer Leoš Janácek. He was drawn to the banjo when he first heard Earl Scruggs play the theme song for the television show Beverly Hillbillies.  (more…)

Many of my favorite humans have been teachers.  When I look back on my life, pre-Watchfire Music, the people pinnacles were often the teachers, on one level or another, who came through my life and left some precious knowledge or life-lessons behind.

They weren’t always the easiest experiences in life, but were certainly the most rewarding.  Some of these include the obvious and some are a bit surprising now that I think on it.

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