This is Private (Bears!)

When I was in elementary school, in

my county

(which I have since discovered was one of the wealthiest counties in all of this great nation [don't ask by what standards {'cause I don't know and will be forced to punch you rather than reveal my ignorance}]) they were very concerned in the public schools with students who might be "learning disabled" (LD) or "gifted & talented" (GT). I have come to adopt my mother's view (she worked as a teacher in the very same public school system for years), namely that the distinction was more a matter of public opinion than actual intellectual merit. In both cases, the powers-that-were were seeking out children who demonstrated alternative patterns of thought and recognition. I'm not saying they did their job poorly. I'm only saying the criteria by which they deemed "good" and "bad" were, at best, hypothetical. As a result and as you might imagine, some very bright and crafty kids ended up with the stigma of LD, and some good test-takers ended up elevated to the distinction of GT.

Was such the case with myself? Possibly. I tested three years in a row, each time at the recommendation of my teacher of the time. Each and every time I earned one point within the required intelligence quotient (141...at age 9, mind you) and the decision was made that the result was too ambiguous to signify my transfer to special GT classes or workshops. On the third try, they followed up with a personally administered, oral test. I frustrated the hell from that tester, I'm sure.

"In this picture, is the man walking toward the tree or away from the house?" "Both."

"How do you measure out 4 liters using these containers?" "You fill that one up one-third--" "You can't do that." "Why not?"

"How many prongs does

this figure

have?" "None. It's a picture."

Nevertheless, by fifth grade I was going to a school that catered to the alternative thinkers. It was certainly a better fit for me than plain ol' school had been, but in retrospect I just wish they could have extended to every student the same listening and consideration they did the "GT" kids. I'm sure there are reasons that this turned out the way it did, but it seems a shame to separate kids in order for them to learn better. I'm put in mind of the educational theories of

John Dewey

(whom I only know about because my Uncle John lent me his copy of this book when I asked for a good book on American History:

The Metaphysical Club

). It just seems like everyone is capable of critical thinking, but so few teachers appreciate the reward of encouraging it in their students.

Anyway. I'm getting a little off-point. Blame my excessively liberal education.

When I started this 'blog (back in ot-six, it was), I barely understood the concepts involved. (I was walking

away

from the

house

, or whatever the crap was the "wrong" answer.) I mean, I've read the press. I know this is the sort of sudden public publishing everyone was getting twisted up about when the interwebz started getting more accessible. I know that what I write gets out there and is open to an audience. In a sense, it's a further exhibitionism for someone who is already pretty obsessive in his need for an audience. I know this, and yet I've already accomplished a few irresponsible acts on this page o' mine. People who know me will read, or have read, things about myself that they don't like. Or, perhaps with more hazard, things they do like and take to heart in a way that wasn't intended. I'm being intentionally obtuse, and I beg your forgiveness.

Blame my religious upbringing (

Unitarian Universalism

).

In another sense, it's hard to say that such was not my intention all along. As an actor, I've had to confront the possibility on far more occasions than your

average bear

that my actions (and inaction) have more intention behind them than is initially apparent. I'm not a believer in the ethos that "everything happens for a reason." I just happen to practice a craft that makes every effort to mirror life with cunning verisimilitude, and that craft relies most often on the intention of a character for dictating how a scene should be played. In other words, we always want something. Sometimes we are conscious of what we're doing to achieve that certain something...and sometimes, we aren't.

One of my favorite

Rilke

quotes says something to the effect of: The mother is the only truly fulfilled artist, because she achieves what all other artists aim for--to produce something of oneself, to have it live in the world, independent of its creator. (Someday I'll find that exact damn quote again, I swear. It's prose. It can't be that difficult.) I aspire to this every day, I think. Call it a defect, a constant need for approval, or a compulsion, an essential insecurity that drives me to constantly prove to myself that I exist, or call it a calling. I don't really care what you call it; it's there and I get pretty dang miserable when I don't feed it. So of course, given the opportunity to publish my thoughts and ideas to the world-at-large, I'm going to do it. And I'm going to write words that will have effects beyond my control, no matter how safe I try to play it. So be it. It's not like I've spent my life up to this point trying to play it safe, and just maybe I'll learn a thing or two in the process.

Then again, maybe I won't. I am, after all, proudly

a bear of very little brain

. I just happen to test well.

Take a Breather, My Heart

A preface: Over the summer I grew a little obsessed with an idea that I've harbored for some years now. Namely, getting a tattoo. I've known what I want for a while now, though don't have a specific design yet (damn but I should have stuck with my art classes) and over the summer I figured out where I would get it. That, combined with a certain rediscovered penchant for irresponsible decisions very nearly drove me into tattoo parlors in both Florence and Scranton. Now, anyone who knows me knows that:

tattoo : me :: lace apron : Godzilla

That was part of the appeal, to be honest.

Cut to now (

the ever-glorious now, the ever-present...now,

to quote the late, great Mark Sandman) and my first doctor's visit on the new health insurance. It had been a little over a year since meeting with Ellen Mellow, M.D (and my first meeting [during the second day of last year's subway strike] was my first insured doctor's appointment of my adult life), and we had a lot of ground to cover (see Dec. 2 entry for details). Doctor M. specializes in heart health, and during my check-up she spent a good deal of time listening with her stethoscope. This seemed a little odd to me, but I told myself to relax and let time slip by. Then she asked me to lie down while she did more of the same, listening to my heart from multiple angles. That request put me even more in a "huh?" place. Then she terrified me.

"You have the most amazing arrhythmic heart variations."

Actually, she said a lot more, all in indecipherable medical jargon, but that's the dumbed-down version. As I came to understand, I have what Dr. Mellow considers to be a rarefied variety of regularly changing heart rhythms. She even went so far as to say that it could simply be due to my being an actor, due to emotional versatility/extremism, but that we'd better take an echo scan just to be sure.

And like in a bizarre old movie, she opened a side door from the examining room and there was a darker room with a big machine in it being operated by a man of Asiatic heritage who wasn't much for bedside manner. In the tersest terms he instructed me to lie on my side, close to him and the machine, and rest my left arm under my head. As I maintained my reclining-Venus pose, he attached three disposable electrodes to my chest, triangulating signals on my heart, then smeared a glob of teal gel on what looked like a bladeless electric razor and pressed it into my lower left pectoral muscle.

Bing! Just like that on the computer screen was a grainy, black-and-white image of my beating heart. I saw valve. And for the rest of the examination, at least ten minutes, I was rapt. He pushed the not-an-electric-razor with its not-entirely-warm gel in all different angles off my torso, and I saw live images of my heart switching from cha-cha to two-step, to waltz, to west-coast swing. I thought, as I lay there being prodded, how remarkable it was that we got something so right in ancient times as associating emotion with our hearts. They're not the source, nor a depository, but damned if they don't tie together the whole experience in a visceral way.

It makes perfect sense to me that my heart doesn't, and may never have, kept metronomic time. I don't know if I'll ever get that inking of a great black bird in mid-flap over my left breast. But if I do, it will have good company. Something wild, something of a scavenger, an improviser, itself.

I'm in UR Epic, Stitchin' UR Chrysanthemumz

Dudes. Oh my dudes.

Last night, in recognition of Adam's (sister's roommate-slash-boyfriend) birthday, we graced the AMC 25 at 42nd Street to see "

Curse of the Golden Flower

." (Afterward, we went up to their apartment in Washington Heights and played "

Gears of War

" on his new XBox360. I only mention it because I am

terrible

at console games [thumb issues {also don't touch-type

...COINCIDENCE

?}] and eventually actually found myself

not

embarrassing myself around every corner that night.)(Merely every-other corner.) How was this movie, America inquires with fervent anticipation...?

Bad.

So bad.

It was bad.

Now, I confess that I may be missing the point here, somewhat. It's always difficult to be entirely well-informed about the creative products of cultures one is not necessarily a part of. (China, in my case, for instance.) Perhaps this movie was actually a brilliant send-up of a semi-obscure form of technicolored water-torture that the folks out east engage in for entertainment purposes. Maybe the dialogue was rife with puns, analogy and metaphysical ponderances, but the donkeys who translated it for us have the collective IQ of one-and-a-half...er...donkeys. Maybe I missed the point.

I doubt it, though.

It seemed to me to be a movie that eschewed convention and decided to accomplish very little with a whole lot. It seemed to me to be a weird blend of quasi-kung-fu/art film, with Beijing Opera added for eye-bleeding visuals. It seemed to me that Shakespeare might have stolen from it for one of his tragedies, then thrown away the draft and pounded his ink-stained hand to his already-balding head and muttered "Even Titus moved better than this stuff." It seemed, to sum up, like a complete waste of time.

But my sister liked it.

Oddly enough, I just received an emailed response to my request for feedback on myself as an "artist." David Zarko has always given me excellent advice on my craft, and an opportunity presented itself to ask him for an update on his opinion on me, where I was and where he thought I ought to go. To sum up his critique in my own words, he feels I should do what I can to work with simple, vulnerable aspects of myself, rather than a certain priority he sees in me to entertain or make beauty with my acting.

It's a matter of opinion (and very limited one, since so few have seen enough of my work to have a reasonable one) but I agree with him. I only wonder if the crew behind "CotGF" might heed such advice...