April 17, 2008

influence/inspiration

Filed under: writing, photo, music — admin @ 11:11 am

rux1

Carl Hancock Rux, (b. March 24th, 1971, Harlem, New York) is an African American poet, playwright, novelist, recording artist, and essayist who crosses and fuses disciplines in his art. His writing and spoken word performances incorporate the rhythms and oral traditions of the African American diaspora while being grounded in the classical Western canon. He is the author of the Village Voice Literary prize winning collection of poetry, Pagan Operetta the novel Asphalt and the OBIE award winning play Talk. Rux is also Head of the MFA Playwrights Program at California Institute of the Arts.

rux2

Born Carl Stephen Hancock in Harlem, New York, Carl Hancock Rux’s biological mother was institutionalized for schizophrenia while he was still an infant. After his grandmother died when he was four, he and his brothers would grow up separately in foster homes. He was eventually adopted by his maternal uncle and aunt, who legally added Rux (of German/French Huguenot derivation) to his name. A graduate of the LaGuardia High School (where he studied both visual art and voice), and an alumnus of Columbia University, Carl Hancock Rux began his career as a playwright with Song of Sad Young Men, produced off-Broadway in 1990 at the Producer’s Club Theater, directed by Tony award winning actress Trazana Beverly and starring actor Isaiah Washington (ABC’s Grey’s Anatomy). The play, a social commentary on the effect of AIDS and homelessness on the African American community, was written in response to Rux’s older brother’s death from AIDS in 1989. Carl Hancock Rux is among several poets and spoken word artists to emerge in the early 90s from the Nuyorican Poet’s Cafe on New York’s Lower East (Paul Beatty, Tracie Morris, Dael Orlandersmith, Willie Perdomo, Kevin Powell, Maggie Estep, Reg E. Gaines, Edwin Torres, Saul Williams, Tish Benson). In 1994, after the release of the anthology, Voices From the Nuyorican Poets Cafe, Rux was selected by the New York Times Magazine as One of Thirty Artists Under The Age Of Thirty Most Likely to Influence Culture Over The Next Thirty Years(others included Academy Award winning actress Gwyneth Paltrow, Pulitzer prize winning playwright Suzan-Lori Parks, choreographer Ron Brown, rapper Nas, singer Audra McDonald,pop music DJ Moby, and theater composer Adam Guettel). In 1998, upon the publication of his first book of poetry, Pagan Operetta, he received the Village Voice Literary prize and was featured on the weekly’s cover story; Eight Writers on the Verge of (Impacting) the Literary Landscape. In 2004, upon publication of his first novel, Asphalt, Rux was featured on the cover of the New York Times magazine.is a recipient of the Village Voice Literary Prize, Fresh Poet Award, National Endowment for the Arts/Theater Communication Group Playwright in Residence fellowship, New York Foundation for the Arts Gregory Millard fellowship, NYFA Prize, Herb Alpert Award in the Arts (CalArts), Brooklyn Arts Exchange (BAX) 10 Arts & Artists in Progress Award. He is the subject of the Voices of America television documentary, “Carl Hancock Rux, Coming of Age”, (Larry Clamage/Richard Maniscalo producers) was the recipient of the CINE Golden Eagle Award. A frequent radio essayist and guest host (XM Radio’s The Bob Edwards Show; WNYC “Soundcheck”) Rux co-wrote and narrated the radio documentary, “Walt Whitman; Songs of Myself” (Elena Park/Curtis Fox producers), awarded the 2006 New York Press Club Journalism Award for Entertainment News.

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April 16, 2008

suitcase turntable

Filed under: photo, music — admin @ 5:38 am

rp

mine.

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April 15, 2008

Filed under: Uncategorized — admin @ 10:46 pm

This won’t be a longwinded update because it is 1:42am and I have to work tomorrow. Just finished up slinging beers at the bar. Some things I noticed tonight:

A woman with a guitar is a force to be reckoned with.
Acoustic musicians are very supportive to the endeavors of others. This made the heart feel good. I gravitate towards that sort of comraderie in the creative world. Of course we do it because we love it and because of the process, but that feedback from others experiencing the same internal, creative struggles is certainly invaluable. What comes to mind is a woman tonight who was playing out in public for the second time ever. She laughed at herself for flubbing the last few notes of her second song. She covered “Jolene” and ordered a drink that I had never even thought of making. People were telling her left and right: keep playing out. Keep doing it. Get stronger with every go.

I learned that when someone literally falls out of their chair while getting up to come to the bar and order another drink, that means Cut. Them. Off.

I learned that I can take a very large man giving me a rough and unexpected shoulder. I stumbled, but kept the stride. Quite funny actually.

It never ceases to amaze me…how much alcohol people drink. I know I know, I should know better than to have such observations as a bartender but it’s true–I still find myself flabbergasted by the amount people can ingest, and buy for others, and on and on. It has me wondering about the lack of social ease that people feel with one another. That whole “social lubrication” thing. I’m not on the complete diss here, but I’m noticing the way a bunch of people lean on it–to the point of me, the bartender, wondering who they really are. You know, in their alone moments. Getting dressed in the morning, driving in the car somewhere. What songs they sing along with on the radio. At the bar I watch them sweetly request one drink, two, three, the fourth bought by their comrade, and then the walls come down–you can almost see them crumbling as people move closer to one another, touch shoulders, start confessing things during dialogue. It’s a fascinating scene to behold. I’m not sure what I’m getting at here..other than to reiterate once again that sometimes there is no better art than watching humans interact and try to forge their way.

I have a few more days in Pittsburgh before a long weekend back home, and while I love this city, I am glad to get a little break from it and see my family. No real reason, I think I just need one. I have plenty to do before taking the midnight Greyhound out of here. Like see my lady Renee read some poetry, and bob my head along to the Roots show. Oh and pet Abacus the amazing kitty lots and lots because I know she will be whining up a storm once I go.

Ha! And as if on cue, I must go and stop her from chewing on my papers. And that little thing called sleep. Think I’ll give it a shot.

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reading; next book on deck:

Filed under: photo — admin @ 8:05 am

hopscotch

Julio Cortázar’s Hopscotch remains one of the most influential and significant novels to appear in Latin America after the Second World War. It is, in part, notorious for its unusual presentation: it comes with a “Table of Instructions”. There Cortázar announces: “In its own way, this book consists of many books, but two books above all.”
The volume itself consists of 155 chapters. Cortázar suggests that the book can be read simply from the beginning to chapter 56, where the book can be considered to end — “the reader may ignore what follows with a clean conscience.” The alternative he proposes is to begin with chapter 73 and then proceed according to a sequence listed in the “Table of Instructions”. (For convenience, each chapter ends with an indication of the next that is to be read in this particular sequence.) Needless to say, this version does not end with chapter 56.
To many readers this sounds like a contrivance that is too clever by half. Rest assured: it is not. The book allows for these — and other — readings. Indeed it can even be read front to back in its entirety.
The first section — From the Other Side — (56 chapters in some 361 pages) is fairly straightforward. The “expendable chapters” that make up the second section — From Diverse Sides — are considerably shorter (99 of them in just over 200 pages) and include a variety of notes, embellishments, quotes, even an Octavio Paz poem. They can be considered as integral to the text, or merely as support for it (or, as Cortázar suggests, as entirely expendable).
The story centers around Horacio Oliveira, an Argentine living a fragmentary life in Paris and the Buenos Aires. As Cortázar makes clear, the text does not depend on any chronological order. The many episodes from Oliveira’s life can be read in any variety of sequences without altering the gist of the novel.

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birfdays today

Filed under: family, photo — admin @ 5:33 am

Happy 1st Birthday to Madelyn the niece

maddie

and happy 30th to Summer the sister

summerme

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April 14, 2008

mark your calendars!

Filed under: writing — admin @ 12:35 pm

May 29, 2008
Nikki Allen’s Book Release and Birthday Shindig
@ The Shadow Lounge
9pm to 2am

Please join me in celebrating the release of my latest book of poetry/prose, “quite like yes.” This will also be a birthday shindig, as I will be turning 27 on May 31st. There will be readings by other poets/writers from the city, as well as some music. More details as they come.

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music.

Filed under: music — admin @ 11:09 am

a love song, a favorite.

“cocoon” - bjork

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April 13, 2008

music

Filed under: music — admin @ 10:18 am

some favorites.


Roy Orbison


Janis Joplin


Patti Smith

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April 12, 2008

horse/shoe

Filed under: photo — admin @ 7:18 pm

hsHorse shoe bend. Click on pic/view all sizes to view. Not the most perfect merging but I think you get the point here.

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arrival.

Filed under: writing, photo — admin @ 3:48 pm

In the mail today:

book

My book. It’s here!

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