Just Wrought

Recovering playwright, once won a STRANGER Genius Award for theater. Now writing a bloated novel about… G-d help me! Theatre.

  • Sincerely, Good Luck

    Sincerely, Good Luck

    Of course I believe in free will.  I have no choice.
    Isaac Bashevis Singer

    Imagine that I am essentially cynical and selfish. Imagine that what a friend of mine who works at one of Seattle Big Houses once told me is true: that the only reason I write this blog is because I’m mad that they won’t produce my plays.  Imagine that my outrage has always been, and will always be, essentially self-serving.  Come on.  Imagine.  Like the man says, it’s easy if you try.

    It would explain a lot actually, like why nearly a year ago I felt safe saying in a post titled “On Institutional Arrogance”:

    Allow me to honor the clarity of Intiman’s ultimatum with some clarity of my own: I hope they die.   I hope they do it soon and with a minimum of suffering.  And most of all I hope they do it without siphoning precious funds from the rest of us who make theatre in the Pacific Northwest.

    It didn’t take a psychic to know that , despite then Artistic Director, Kate Whoriskey’s guilt-trippy pandering plea, they were highly unlikely to raise the half a million dollars they were asking for in what I called their “shoot-the-puppy” campaign.  So I bet the safe money and called for them to close their doors.  Cynical.  Self-serving.  And ultimately dead accurate.

    Similarly but conversely, when the Intiman announced last August that they would keeping Andrew Russell on as “consulting artistic director” and that his goal for 2012 would be “….to establish a loose collective of playwrights, directors, actors, designers and others to devise projects for Intiman to produce, in a short “micro-season” mounted next summer…” I kept my mouth shut.  Here was a situation not so easy for a self-serving cynic to prognosticate. 

    Then in November Russell made his plans plainer.  This from The Stranger’s Slog:

    At a press conference earlier today, Intiman announced it was going to make a go of it after all, with a four-play summer festival, a repertory company of 12 actors, and artistic direction from Andrew Russell. The four-play season is a “split focus,” as Russell put it, between Intiman regulars and a potential new crowd that wants to see newer, weirder, more local work.

    Reading further down I learned that Russell had recruited for his bold new strategy some of Seattle’s most exciting (and mostly young) talents like Marya Sea Kaminski, Michael Place, and Jennifer Zeyl; topping it off by somehow snagging the venerable Dan Savage to provide the original work for Russell’s four play plan.  This was no longer a “shoot-the-puppy” campaign.  This was a “Honey-look-at–this-adorable-puppy-I-brought–home-for-Christmas!” campaign.  And a very sexy puppy at that.  When you’ve been as cynical and self-serving as I have, for as long as I have, you learn not to bet against this kind of talent.  I kept my mouth shut again and waited to see if the “phoenix Intiman” could raise the million they were now asking for.  I suspected they would.

    And late last night we found out they did.

    I have met Andrew Russell.  He was gracious enough to come hear an early reading of my new play Ballard House Duet.  Along with a handful of other trusted colleagues, he gave some truly insightful feedback.  It’s clear to me that Andrew is extraordinarily talented at motivating people and, more importantly, money.  In the world of 21st Century regional theatre, you really cannot ask for more of an artistic director.  And Andrew has a few other things going for him.  He’s young.  He’s ambitious, and unlike his predecessor Kate Whoriskey, he owes his position not to sinecure but his own pluck and determination.  In short, he earned it.  What’s more, he’s making deep connections with the amazing talent native to Seattle.  All this bodes well for the success of his career, if not necessarily for the sustained success of Intiman.  But then again, I think I have been clear in the past how much I care whether the institution we formerly knew as the Intiman lives or dies.  Instead I say, long live the talent represented in the team Andrew has assembled, and long live his own talent for recognizing and organizing it.

    And if, as I cynically suspect, Andrew ultimately winds up on the same path as a few promising rookie Mariners, eventually proving himself worthy of a trade to the Yankees in a few years, well then, I may grumble and bitch, but I will still watch in quiet admiration when he belts one over the bleachers in New York.

  • Long Live Living Newspapers!

    Long Live Living Newspapers!

    When The Stranger asked me at the end of the year what my biggest regret of 2011 was, I said:

    I regret that due to limited resources, we had to mothball NewsWrights United prior to the Occupy movement blowing up, because I would have really liked to cover that in a living newspaper. Adjacent to that is my regret that none of the big houses in Seattle (or small, for that matter) saw fit to include making topical theatre, based on events happening right here right now, as part of their regular programming this year. 

    Well, shade my regret mitigated by the news from across the pond that my former playwriting student German Munoz has organized a living newspaper about the Occupy movement called The Occupied Times.  After spending a month researching and visiting the Occupy sites in London, emerging playwrights will present a night of short plays in the format of a living newspaper. They will act as reporters and cast a critical eye on the Occupy movement, its supporters and detractors, all under the Arcola Tent. 

    And color me even more vividly gratified when I saw that the project gave Seattle a shout-out in their press release:  “This project was inspired by It’s not in the P-I: A living Newspaper about a Dying Newspaper presented in Seattle in 2009 as a response to the closing of The Seattle Post-Intelligencer newspaper by Newswrights United.”

    Not surprisingly, The Occupied Times seems to be garnering the same sort of media excitement that the two living newspapers NewsWrights United produced in 2009 and 2011.  The London Evening Standard ran a preview of the piece   and quoted my friend German thusly:

    We want the show to explore sides of the movement that have not been heard. We’re hoping to reach people of all ages who feel they’ve made up their minds about the Occupy movement. People who either think of the protesters as a bunch of lazy hippies who don’t want to get a job, or see them as martyrs fighting the good fight against a system that is unbearably corrupt. Of course neither of these are completely true, and we want to show audiences our responses as artists and help them make up their own minds.

    I heartily encourage my friends in London to check out this fresh, locally grown theatre inspired in the crucible of the right here and the right now.  Here’s the show info:

    Six Degrees Productions presents  . . .

    The Occupied Times: A living newspaper
    about the Occupy movement

    Venue: Arcola Tent, 2-8 Ashwin Street, London, E8 3DL

    Date: Sunday 19 February, 2012

    Time: 3:00pm and 7:00pm

    Ticket prices: £12 (£10)

    Venue Box Office: 020 7503 1646 or http://www.arcolatheatre.com 

    For all enquiries and ticket requests, please contact:  German Munoz of Six Degrees Productions on 07854 231 085 or g@germanmunoz.com

    And as for my friends in Seattle, do you ever wonder why the Big Houses haven’t picked up such a wildly popular and media magnetizing idea?  Well, in fairness, maybe they will now that it is being done in London, one of the two officially approved cities for sourcing new plays.

  • doyle

    doyle

    Imagine a science fiction species that loses weight by breathing and poops bacteria instead of digested food. Can you picture it? If not, my friend doyle has a suggestion: go look in a mirror.

    I met doyle on the internet. I feel closer to doyle than some people I have shared a bathroom with for years. I have only met doyle once in person. I want doyle to bury me.

    All of that is tangential to the main point, which is that doyle has a blog called Science teacher and I think you should follow it.

    Michael Doyle was born in Northern New Jersey, a good-for-nothing Mick like so many no-good-for-nothing Micks born in Northern New Jersey. (By the way, he prefers to refer to himself as “Oirish” as if that were somehow more PC.) He worked briefly as long shoreman. He went to med school. He became a pediatrician and worked in the ER and the projects. Think about that for a second. An emergency room pediatrician in Newark. You may think you know hell, but doyle has a crisper acquaintance with the place.

    The reason I call doyle “doyle” and not “Michael Doyle” or “Michael” or “Dr. Doyle” or even “Doyle”, is that “doyle” was all I knew him by for months. We met as contributors to an on-line gathering site for weirdos and writers and weirdo writers called Everything2, a quasi-prophetic mash-up of Face Book and Wikipedia if the former only allowed text and the latter had a sense of humor. I’m not sure the following piece is the first thing I ever read  of doyle’s, but I do remember it arrested me. He  was on pilgrimage to some mid-western city where his sister had recently died in a car crash.

    December 9, 2004 (person)

    The driver seat is still intact–inside scattered cd’s with burgundy stains, her impossibly colored scarf, glass, pens. A bottle of chardonnay meant to be shared with her love survived. The other side of the car is splayed open, a gaping wound letting in rain, letting in sunshine.

    I picked up a couple of cd’s–Frankie Allison and the Odd Sox….and now my hands with bright red blotches, my sister’s blood when she bled for the last time. I absently rubbed my hands on my jeans–the bright red dulled to burgundy again. I took the scarf with me.

    Last summer a feral cat mutilated a mourning dove near my garden. I gave it water. It took a little. It hopped a few feet. It died. Its partner would not leave. It looked sad. A tiny puff of feathers still marks where the broken bird fell.

    Her ashes are in a cardboard box, decorated with construction paper, stickers, sparkly glue, and (of course) hearts.

    I kept going back in the car, not sure what I was looking for, but sure I would not find it.

    At least I got something right this week.

    Doyle and I hit it off early. He seemed to like my plays about science and my doggerel poems. I liked pretty much everything he wrote.

    During my teaching rounds, I will occasionally show pediatric residents wheat berries, and ask them what they think they are. These fine young minds have been charged with teaching nutrition to parents, so quizzing them about the most common source of grain calories in this part of the world should be fair game.

    I have yet to have an American born physician get it right.

    My other Everythingian buddy “iceowl” grew up with doyle and liked to fascinate me with stories about him. (Keep in mind when you read the following that iceowl has been to Antarctica three times and has written about it better than Hemmingway ever could have.)

    [Doyle’s] done much more for humanity than I have.  I’m just a silicon valley idiot…  He is one of those guys who is blessed to do well doing exactly what he wants in the world.  Classic Joseph Campbell example of, “Following your bliss.”  He wants very little from the world, and gives a lot.  So, Doyle couldn’t possibly do anything he didn’t want to do because the worst that happens is he gets nothing for his efforts, and he’s perfectly happy sleeping under the highway overpass if it comes to that …..  He just wants to do things none of us could stomach for more than a day – like dodging bullets and the cops both while illegally vaccinating kids in inner city Newark.

    Five years ago doyle hung up has white physician’s coat and traded it for the white lab coat of a high school science teacher. He calls his students his “lambs”, though I suspect few of them understand how closely he has observed the slaughter in his former life.

    In his blog he mixes the same blend of adoration and frustration that I came to love him for at Everything2. Here he is breathlessly elevating a discourse on respiration to a paean of the universe, because as he sees it— and trust me, doyle sees it as it is— there is no meaningful difference between the two. (I’ll do my best to capture doyle’s rapturously manic formatting.)

    Carbon dioxide that traveled through the hearts 
    of every child in our class.

    Carbon dioxide expelled as a sigh, 
    broken down by a few brain cells that would
    rather do anything but this school thing.

    We ruin it, this carbon dioxide communion, reducing it to hieroglyphics on a page, to be regurgitated by spilling bubbles on a sheet, a religiously messy communion of sorts sterilized to a formula:

    C6H12O6 +6 O2 =>  6H2O + 6CO2

    And yet, for a moment, the moment before eating the bean, a few students allow themselves the beauty and the power of the story to let them believe what they’ve always known to be true, that this whole life business, as messy and complicated and incomprehensible as it seems, gets down to this:

    Each living thing, every living thing, shares an intimate bond that goes beyond the language of science, beyond the language of art, beyond human boundaries.

    The universe belongs to all of us, as we belong to it.

    No matter how we do in school, no matter what we know, now matter what we do.

    I would trade all the biochemical pathways we “teach” for a child’s grasping, for more than a moment, that we are indeed the stuff of the universe around us, and that this stuff cycles through us, is us.

    Without an iota of the effort I put into it, Doyle writes the way I yearn to, with a high-wire walker’s combination of improvisation and precision. Because he flat-out knows so much, thanks to an enormous education and equally enormous experience, he can produce an uncannily free of flow of ideas without the so-much-smoke-blowing of so many formally educated, professionally self-identified “writers”. After I’ve been steeping myself in his prose for a while, I start to feel my own prose improving, taking flight. It could just be my imagination; but given how much both doyle and I believe in imagination, I’ll take it.

    Neil Gaiman first introduced me to the Talmudic legend of the 36 Tzaddikim in his Sandman series. “They say that the world rests on the backs of 36 living saints – 36 unselfish men and women. Because of them the world continues to exist. They are the secret kings and queens of this world.” I’m not going to come out and say Doyle is a Tzaddik. Such a pronouncement would be absurd, given the the legend’s clear and emphatic stipulation that no one can know who the 36 are. 

    I just have my suspicions is all.

    Photo by Susan LaRusse Eckert, used with permission of the subject, who only asked that I note: “She’s a little pissed off at me now–I tend to do that. I’d be much obliged if you mentioned that I’m truly sorry for my, um, knuckleheadedness.”
  • Seattle Star Publishes “316”

    Wow, The Seattle Star published my new poem “316“.  Kind of thrilling for me, frankly.

  • To Hell With Love

    To Hell With Love

    Markheim’s just a half-fallen angel trying to keep his head down and walk neutral in The Show, but how long can that last with some other angel burning street kids on deserted Seattle stairways?

    Sam ain’t gonna like it.  And when Sam’s unhappy, nobody’s happy.

    * * *

    Come join Episode Three of SANDBOX RADIO LIVE!  “To Hell With Love” as the Sandbox Artists Collective records it LIVE! before a hopped up audience of devout Sandbox Radioheads on Monday, January 23rd at 7:30 at Fremont’s newest theatre, West of Lenin!

    Entirely new, fresh and certified locally grown, Sandbox Radio is written, produced and performed by some of Seattle’s hottest stage talent. This latest episode, “To Hell with Love” will include brand spanking new pieces by Scot Augustson, Vincent Delaney, Elizabeth Heffron and Anita Montgomery, plus Episode 3 of my noir-angel serial Markheim, poetry from Charles Leggett, and the sensationally seductive song stylings of our very special musical guest, Heather Curtis Mullin.  As an added bonus, the evening will also include a special  tribute to the “Poet Laureate of Radio” the late Norman Corwin.

    Members of the Sandbox Artist Collective currently scheduled to appear include: Eric Ray Anderson, Rik Deskin, Ki Gottberg, Sarah Harlett, Tracy Hyland, Darragh Kennan, Mik Kuhlman, Charles Leggett, Larry Paulsen, Dan Tierney, Annette Toutonghi, Kathryn Van Meter.  Original music will be provided by Jose Gonzales and the Sandbox Radio Orchestra: Charles Leggett, Dave Pascal, Dan Tierney and Rob Witmer.   You won’t want to miss this, and you won’t want to wait until the podcast gets posted.  Come see it LIVE! on Monday, January 23.

    Radio_3_poster_2

    The details!

    Who:                The Sandbox Artists Collective

    What:              Sandbox Radio Live! “To Hell with Love!”

    Where:            West of Lenin (Located at 203 N. 36th Street, a few blocks west of the Statue of Lenin in the center of the universe, Seattle’s Fremont neighborhood.)

    When:              Monday, January 23rd  (house opens at 7:30 pm with a live music set, show starts at 8:00 pm)

    How much:    $10 suggested donation at the door, Reservations recommended!
    Available through brownpapertickets: https://www.brownpapertickets.com/event/218562

    Sandbox Radio is conceived, produced and directed by Leslie Law.

    Subscribe to the podcast of Sandbox Radio and listen to past episodes at the iTunes store by clicking here
     

    PS:  Yes you read that correctly: our very special musical guest is the one– the only!– the fabulously gorgeous AND talented, Heather Curtis Mullin.Heather rockin' out

  • Holy Fear

    Holy Fear

    More than once someone has come up to me before an opening of some play I wrote saying something like, “Oh, you’ve been doing this so long you probably don’t even get nervous anymore, right?”  My reply is always: “It’s precisely because I’ve been doing this so long that I’m terrified.  I know all the things that can go wrong.”

    In two days I will be joining the 14/48 team as an actor for the first time.  In the parlance of the Seattle’s venerable “instant theatre” festival, I’ll be a virgin, and thus forced to fetch beer from the keg for whichever veteran demands it.  The fact that I have served as a writer four times makes no difference.  Nor should it.  As an actor, I am a virgin.  I feel like a virgin.  And I have a virgin’s fears.  Or to be more accurate I should say, I expect to feel a virgin’s fears.  I just don’t feel them yet.  It’s one of the blessings of being an actor.  You really don’t need to plan that far ahead.  Actors are soldiers in the trenches. Sure, it’s their ass in the line of fire, but at least they have something to do when the lights rise and it’s time to go up and over.  A playwright, like a general, has to watch in horror– sometimes abject, sometimes surreal– from beyond the action.  Of course there is joy too, but a playwright’s joy comes only in flashes until the final curtain drops.  Until then, anything can, and often does, go wrong.

    So my 14/48 virgin actor fear hasn’t hit me yet, but I have no doubts that by the time of the first morning’s “actors’ draw”, when I find out which play I will be performing and who my director and cast-mates will be, my insides will be doing a nasty free-style crawl towards either end of my G-I tract.  And when it comes time to go onstage for the first performance, I fully expect my swollen heart to be thumping in my chest.  This is only right and proper.  It’s how human bodies process performing publically.  And it’s as it should be. 

    A healthy fear is essential to making theatre.  It is what keys us into the audience’s experience of the immediacy of the moment. If you’re not feeling it, then chances are the audience won’t be feeling much of anything.  And, alas, they’re used to that. If they want “perfection”, they stay home and watch the boob. Our fear as theatre artists fuels the whole machina ex deus that is theatre.  The audience gets off on knowing that the train can leave the tracks at any moment.  Ours is the crucible where the experiment of art is performed—not re-enacted—but embodied in flesh and sweat and spit.  If we already know we’re right— if we know from the outset that the experiment is going to succeed— then we are also already dead.  Fear is life.  Fear is holy.  And in these darkest Northwest days just after New Year’s, fear is also a much needed bolus of bright adrenaline.  I plan on nursing it until the lengthening days can take over.

  • Seattle Shakespeare Gets it Right

    Seattle Shakespeare Gets it Right

    Most of us in the Seattle theatre community have been waiting anxiously to see who Seattle Shakespeare Company’s board of directors would name as the new Artistic Director.  We have seen other theatres in town screw up this decision miserably in the past, most especially by perpetrating the now infamous “nationwide search for talent”.  Thankfully, the Seattle Shakes board saw that George Mount is a locally grown talent that no one in the nation can match in perfectness for this job.  As Phil Miller, the Board’s Chairman, said in an email to Seattle Shakes supporters:

    Out of all of the criteria we had in looking for a new artistic director, George has the best balance. He’s had hands-on experience in the company’s main areas of programming and has deep ties to our arts community. His ability as both an artist and administrator won him a ringing endorsement from the Board.

    Deep ties indeed. George knows us. And we know George. He has sweated with us in cramped backstages on the fringe, and he has whispered jokes in the woods with us in Lynnwood and Issaquah and on Mercer Island as we waited to go on in some summer production of the Wooden O.  George is the opposite of a carpet bagger.  He laid the frickin’ carpet. 

    When I mentioned to George a few months back that I was rooting for him to land this position, I added that I thought it would be unwise for me to say so publically, given the very little love lost between myself and Seattle’s upper caste of arts administrators and board members.  An endorsement from me might very well have the opposite effect than intended.  George nodded sagely at this, but said nothing.  That’s George for ya.  He’s good at nodding sagely, keeping mum.

    So I am incredibly delighted to be able to come of out the closet and proclaim my deep and enthusiastic support for George, as hind-sighted as it might seem now that the deal is done.  Seattle Shakes will certainly thrive under his leadership.  And long long may that last.

    * * *

    Confidential to George:  As happy as I am for you— and I am truly delighted, as much for the entire  Seattle theatre community as I am for you— I still won’t let you off the hook about developing new work.  You can dance with the pumpkin-panted hack for as long as you like, but some day you need to do yourself and everyone else a favor and direct a world premiere.  It’s what Will would have wanted.

  • Cutting-Edge Virtual Brain Palpation (a.k.a. “Theatre”)

    Cutting-Edge Virtual Brain Palpation (a.k.a. “Theatre”)

    My five year-old son was climbing a tree and got to about seven feet off the ground when he told me he wanted to jump off.  I balked.  “It looks far,” I said.

    “I can do it,” he said. 

    “Won’t it hurt?” 

    “No,” he assured me.  He jumped.  His feet slapped the hard dirt, and my own soles dimly rang with the sting of the impact.  Turns out, however, that I’m not preternaturally empathic; nor even merely an overly imaginative drama geek dad.  Turns out, according to some of the latest research into what have been dubbed “Mirror Neurons”, I am a human being.

    As reports Christian Keysers, Scientific Director of the Neuroimaging Center of the University Medical Center Groningen, the same neuron fires in a monkey’s brain when it grabs a peanut as when someone else grabs the peanut.  Says Keyser:

    This phenomenon is not restricted to physical movement.  When someone taps my shoulder, say, my somatosensory cortex makes me feel the sensation.  But simply seeing someone else being tapped activates the same area of my brain.  If I cut my finger, my cingulate cortex and anterior insula will register the pain—and these areas also become active if I see you cut your finger.  The vicarious representations are not quite as strong as those produced when we experience our own sensations, but we nevertheless feel a milder version of what the other person feels.

    None of this is all that surprising to my fellow stage artists.  We’ve known for millennia that we can get folks in the audience to reassuringly rub their hands just by chopping off some fake hands on stage.  In such moments, everybody knows that nobody’s fooling anybody, and yet our bodies do get fooled despite our brains’ reassurances. 

    These brain circuits can keep us from seeing other individuals as something “out there.”  Indeed, we are able to feel their actions, sensations, and emotions inside us, as if we were in their shoes.  Others have become us. [emphasis Paul’s]…. These brain circuits thus blur the bright line between your experiences and mine.  Our experiences fuse into the joint pool of knowledge that we call culture.

    Dear Professor Keysers, my colleagues and I happily wish to inform you that we have been investigating these phenomena for some time.  We call it theatre.  Welcome to the ongoing experiment.

  • Come Hear Undo

    Come Hear Undo

    What’s better than being a playwright having a reading of a play you think might be good?   Easy.   Being an actor in a reading of play you know is good.

    Holly Arsenault was already a friend and colleague of mine when she took my playwriting class at Freehold a couple years ago.  Towards the end of the 8 weeks, we all sat down to read a nice chunk of her play Undo.  I was blown away by the wit and natural craft Holly showed in this early draft.  I swallowed my jealousy and gave her the only note I had.  “Finish this thing.”  Later, when Holly informed me she was pregnant with her first child, I’m pretty sure I said something like, “That’s amazing news!  Mazel tov!  And finish that play!”

    And in surprisingly quick time, she did.

    Come hear as I help to read it publically for the very first time, with a coterie of actors so far superior to me in their skills that I’m not really sure why Holly asked me to join them.  And yet I shall join them, confident in Holly’s play’s power to make me look good, and hopeful that somehow this old strutter can somehow return the favor.

    Here are the details:

    Undo
    A new play by Holly Arsenault
    Directed by Matthew Richter

    Featuring Basil Harris, Gretchen Krich, Hana Lass, Jonah Von Spreecken, Paul Mullin, Roy Stanton, Samar Lerman, Sarah Harlett, Tina Rowley and Zoey Cane Belyea.

    When:  Tuesday, November 29 at 7pm

    Where:  Seattle Repertory Theatre’s PONCHO Forum, 155 Mercer Street, Seattle, WA 98109.

    Face Book Event: http://www.facebook.com/events/151916888242933/

  • Sandbox Radio Live: Episode Two- "Horror Show"

    Sandbox Radio Live: Episode Two- "Horror Show"

    Episode Two of Sandbox Radio is now available on iTunes chocked full of Halloween offerings for your listening delight and convenience.  Here’s what you’ll find.

    Act 1

    @1:50 “The Hands of a Girl” by Ki Gottberg

    @21:15 “The Back of the 358 #1” by Paul MullinThe lovely Leslie Law leads Sandbox Radio

    @22:35 “Markheim: Episode 2” by Paul Mullin

    @37:40 “The Back of the 358 #2” by Paul Mullin

    @39:10 “The Black Cat” adapted from the story by Edgar Allen Poe.

     
    Act 2

    @0:37 “PSA: Hanford Challenge” by Elizabeth Heffron

    @3:45 “Madame Flora” by K. Brian Neel

    @9:32 “The Request” by Vincent Delaney

    @21:50 “The Back of the 358 #3” by Paul Mullin

    @23:25 “Pipe Play” by Elizabeth Heffron

    @43:02 Finale/Credits. Music Director: Jose Gonzales

    (Sandbox Radio Live: Horror Show, was recorded at West of Lenin on October 10, 2011. The show was engineered by Christopher Stewart, mixed by Dave Pascal and Rob Witmer, and directed by Leslie Law.)

    Paul Mullin and Charles Leggett as Sam and Markheim

    For you true Markheim geeks I’m including the script of Episode Two below the fold.  Enjoy it while you can, ‘cuz “Things can always get uglier, right?”

    (more…)