The Cover!

Okay, so I'm four months behind in updating this thing.

In the meantime, just wanted to make sure to mark the cover of the City Paper this week.

Spending a week obsessed with this artist's life and work was quite an unexpected gift.

[Link to article]

The deadlines of June 2010

[Above: One of Rebecca Jacoby's many cellular sketches. Jacoby says she is borderline obsessive about circular movements of the pen.]

Due June 4: Accessing "Cost and Access" after two years
In 2007 congress passed a bill to create income based repayment of student loans for public sector and charity employees. But who is actually eligible under the insane rules? Not many.  METRO US
PRE-EDIT DRAFT 

Due June 7: No pencil sketches of Jerry Garcia  permitted at Art For the Cash Poor
Abstract painter, Rebecca Jacoby, hates the "art fair" market, but she's willing to give AFCP a try. PHILADELPHIA METRO [Left: drawing by Rebecca Jacoby.] PRE-EDIT DRAFT

Due June 9: Mental health care at college
The data suggests that more students need more help and colleges are often working with less. METRO US
PRE-EDIT DRAFT

Due June 11: DO NOT F--K UP YOUR SPELLING! Philly's quizzo Badass
When John moved to Philly from Belfast, he had no idea he could make a career out of being sirly. PHILADELPHIA METRO
[CLICK IMAGE FOR LARGER]





Due June 14: Summer performance picks
Some assignments are more like information management than reporting. I try to stay away from them, but my IRS collections officer (Matt) recommends that I take as much work as I can. Matt's a pretty nice guy, actually. You'd be surprised. PHILADELPHIA METRO

Due June 18: Kensington's humanist filmmaker
Jamie Moffett nearly bankrupted his film company making "Return To El Salvador." But this was a story he couldn't refuse. PHILADELPHIA METRO [CLICK IMAGE FOR LARGER]

 Did not write a word between the 19th and 28th: beautiful hiking trip, without notebooks, the only way to go.


Due June 28: Working class hero
New York photographer Michael Dalton works a grinding 40-hour week smashing buildings. He and his camera are on a philosophical journey into creation and destruction. PHILADELPHIA METRO [Left: Dalton in his self portrait.]
PRE-EDIT DRAFT

Due June 30: "WTF? College," the new book by Jodi Miller and Gregory Bergman
Wish I could interview stand up comedians every day. Felt like Craig Ferguson. METRO US

Momento: "William Weathersby" at Theatre Exile

The following was handed out at the public reading of "William Weathersby" at Theatre Exile.

April 3, 2010 

Dear X-hibition series attendee:

Let’s hug. Seriously. Even polished theatre isn’t easy entertainment, and you have willingly signed up for something much more rough-hewn. Thanks for lending an ear, and welcome to the discussion.

The director [Brenna Geffers] and I have been going back and forth about this piece for a few months now. I asked her to send me some simple questions to share with the audience. I tried to answer these with a swift hand – free and easy. If I pondered them too long, I think I would just confuse the hell out of everybody. Including me. 

Hug line starts after the talkback.

Yours,

Bruce

What was the inspiration to write this the first time?

My parents were 30 or so when they had me. They’re baby boomers. I think my generation is in a strange spot historically: the children of the most idealistic American generation. Plus, we’ve been marketed to – lied to – more than any other generation in history (until this latest one). I wanted to know how that double edged dagger weighs on our hearts. I had a vague notion of the death of my tribe – the American middle class – both spiritually and in tangible numbers. Like, if I had kids one day, I would have to explain the strange customs of our ancestors, over bowls of stone soup. I guess I was working on a kind of elegy for my tribe. If I recall correctly, I wanted all the characters to be in advertising in the first act, and in the service industry by the second. Which is kind of weird since it was 2004. The bubble hadn’t burst yet, but that’s sort of where I saw things. I was quite cynical. (Hmm.) The brush strokes of all of that are still in this play but, thankfully, I discovered something more interesting and personal as I worked on it. More hopeful too.

How has the play changed over the years?

I completed a draft of something called “Landscape With Woman and Noose” (cheery!) in 2004 for a workshop at Philadelphia Theatre Company. That’s sort of the early fossil record of this piece. That script was size of a freakin’ telephone book. It was all over the place really. But I loved the relationships the actors made with the characters and the director [Dan Kutner] made to the play. Some of them were children of baby boomers too, and I think something connected. It inspired me. I had to move on quickly though. I was scheduled to write a site-specific piece for the Live Arts Festival. I think back then I did better work when I was writing site-specific stuff, because the rules and craft are so limited by what you can practically do in the environment. When I had an empty stage, I wound up with telephone books, not plays. I did another Live Arts show the following year. But I kept tinkering with the “Landscape” play when I could. 1812 Productions scheduled a workshop of the piece in 2006, and I got to work more seriously on it. (Workshops are great for that: the real and present threat of public humiliation.) The play was called “Old Bill” at that point. Unlike the phonebook, it was, at the very least, a play. It got itself over and done with in 100 pages. But I felt it was missing something. A big something. The play was flat, and I wasn’t sure why. But, again, I had to move on quickly. I started working on what became “Whisky Neat,” which closed last May. But when you [Brenna] contacted me about “Weathersby,” I saw what was flat in the piece. It was sitting up and smacking me in the face. Old Bill was the same guy throughout. He didn’t change, because I didn’t understand him. I get Bill now. I love Bill. I’ve loved and lost a lot more since 2004–06. That’s basically Bill’s story – love and loss.

What genre would you consider this piece?

I don’t think a writer can use that kind of shorthand. Perhaps it’s a useful thing for audiences, if the piece is lucky enough to find an audience. But that’s for someone else to decide. In one of our discussions, I think you [Brenna] mentioned Noah Haidle's assertion that a good play teaches the audience how to watch it in the first eight pages. I think that’s true. “Weathersby” lives in dream, and in a backyard at the same time. It also lives in a physicalization of a legacy the characters share. The rules for all of that are implied early on. The play can shift from the backyard to a daydream with certain triggers. Just like in life. You can be involved in a certain conversation and something will send you daydreaming. (The story of my life.) That isn’t something I set out to do in the play. It just evolved that way over many, many hours of work. It's the old story: listen to where the play wants to go. Let's call it a “William Weathersby” genre, like if Cheech and Chong wrote “Long Days Journey Into Night.” Just like that.

What character's journey do you identify with as a writer?

Can’t choose. 

Clara: She worked at UPS. I worked at UPS. She works on medical marketing films and so did I (my private shame). She’s balancing having to make money and the pure joy of music. Me too (writing). [Aimee Kelly (above) played Clara in the workshop.] 

Jacob: There’s a big part of me that just wants to give up too. Every once in a while I hide under my covers in the morning. [Sean Lally (above) played Jacob in the Workshop.]

Photo from Temple University Theaters website.

Pete: I have a chip on shoulder too. I want to fight and scrap for my own shard of divinity in the world.

[Robert Daponte (left) played Pete in the workshop.]

 Stace: I’m ambitious, too, and, like her, I have hurt people because of that. Also, I’m still coddled, like her. Recently, it was a huge shock when some people didn’t like my play. How dare they! Everything I do is precious and beautiful. Just ask my dad. [Sara Howard (above) played Stace in the Theatre Exile Workshop.]

Old Bill: Bill wants people to be happy and things to be comfortable. But you can’t accomplish that by wanting just that. I’ve tried that too. In act two he’s been flattened so many times he can’t remember why or how he ever got up off the mat. I went there last year. I got up. So does he. [Joe Canuso (left) played Old Bill in the Theatre Exile workshop.]

Photo from Theatre Exile website.

What is the “moral” of this story?

Love God. Love each other. What else is there? I think each of us has a divinity within, though obscured. And I think we’re unconsciously aware of this – this glowing center of truth and love. And in some ways the story of our lives is the degree to which we’re willing to share it, and the ways in which we protect and fight for it. I think, too, we’re apprehensive to share that center – acknowledge it even – because to love is to give someone the power to flatten you. Squash. And they usually do. It’s not just people. Writing is like that for me. I got flattened 14 times just working on this play. God has the power to squash you too. There’s a relationship there, for me,  between God and what we love.

What is the overlying metaphor for the piece?

Let’s find that together tonight. It’ll be more fun. I’ll tell you if you buy me a beer later. Kenzinger please.

Why Halloween?

My friends will laugh, because they know I hate dressing up for Halloween. We fight about it every year. I love making other people dress up though (not in a weird sex way). There is this element of the characters playing each other in dreams (the physicalization of a legacy). There’s a big part of Old Bill’s story in Jacob’s story and vice-versa. I thought Halloween provided some possibilities for that to stretch into their waking lives too. Incidentally, I think I could have done a better job of incorporating the vibe and meaning of Halloween into the piece. I’ll be looking closely at that element tonight. 

Why is it important to have the piece stretch over five years?

The play is about love, passion, and relationships being eroded over time. But that erosion also gets to the core of something. Something bigger and better. It takes about five years to see erosion occurring, geologically speaking. I think it’s that way for humans too.

The deadlines, deadlines, deadlines... of May 2010

[Above: "Franklin Town" (1982) by Jacqueline Cotter. It was a privilege to meet Cotter in her apartment on N. 20th St this month. Her home is like a curated museum of late 20th century Philadelphia artists. This one is amazing to look at in person.]

DUE MAY 28: The collaborative theater experiments of Adrienne Mackey -- Phila. Metro
Director Adrienne Mackey's latest, "SURVIVE!," is a choose-your-own-adventure, delving into the mysteries of math, science and experimental theater. She's a busy lady. She ordered a Wawa hoagie during the phone interview, and apologized profusely for it. But don't we all do our best thinking while waiting on a hoagie?
PRE-EDIT DRAFT
[Image: Bradley Wren in "SURVIVE!" Photo by Adrienne Mackey.]

DUE MAY 26: If you only read four books... an unscientific poll of professors -- Metro Newspapers
A lot of responses on this one, and a fun list to put together. But, as it turns out, you get weird, uneven results if you do a list like this strictly by counting votes. Check it out:
1. "Origin Of Species" (Yeah, should have seen that coming.)
2.  "In Cold Blood" (Big with the criminal justice types.)
3. "Heart Breaking Work of Staggering Genius" (Don't get this one on an "only four books" list.)
4. "The Grapes of Wrath" (Okay, I get this one.)

DUE MAY 25: Kensington teenagers create theater. Life, death, addiction, violence, love and joy are all on the table -- Phila. Metro
I hear these kids were poaching as many copies as they could from the courtesy boxes. Go for it! Now link arms and sit in the Metro/Inquirer's offices until they start writing about child poverty on a daily basis.
CLICK IMAGE FOR LARGER

DUE MAY 20: Smart phones in the classroom -- Metro Newspapers
Surprised to find that some profs are all for it -- a method of instant collaborative research. But other profs take a full grade off for just one ring in the classroom. If only that were the case in live theater.

DUE MAY 17: The DIY bawdy spirit of Cecilia Corrigan's theater -- Phila. Metro
So cruel to ask a playwright to discuss her work just minutes after the VERY FIRST SHOWING. Her parents were longing for hugs, but a features writer has a heart of ice in those moments. There is much joy to be discovered in the angelic goofiness inherent in live theater, far apart from the clever sheen of professionalism. Cecilia revels in that fact. But don't be fooled. There's a delicate, measured voice developing under all of this brash fun.
PRE-EDIT DRAFT
[Photo by Lily Benson]


DUE MAY 12: Summer learning loss -- Metro Newspapers
Studies show that kids forget stuff.

DUE MAY 7: Playwright Katherine Clark Gray and the psychology of cheating -- Phila. Metro
The child of two Syracuse University professors, Katie never even considered that someone might hire a professional to write a term paper. When she met a pro paper-writer while living in New York, she knew what her next play would be about.
PRE-EDIT DRAFT
[Photo by Jason Bachman]

DUE MAY 6: The life and work of abstract expressionist painter, Jacqueline Cotter -- Philadelphia City Paper
At 89 Jacqueline is still chasing the carrot of a perfectly actualized painting -- the flawless fusion of color, composition and the woman holding the brush. Her cat had an upset stomach during the interview and made some abstract expressionism all over the carpet. But that didn't stop me from getting my questions answered!
LINK TO ARTICLE
[Image: "Spreading the Blues" by Jacqueline Cotter, provided by the Rosenfeld Gallery.]

DUE MAY 5: Brian Dwyer and his pizza art spectacular -- Phila. Metro

It started as a joke -- an all pizza themed gallery art show. But talk to Brian Dwyer for two minutes and you discover just how serious he is about jokes.
PRE-EDIT DRAFT
[Image: Pizza art by Brian Dwyer]

DUE MAY 5: 15 minute study breaks... RELAX! -- Metro Newspapers
Science seems to suggest that sitting quietly for 15 minutes a day can do you a world of good. Well, duh. 

DUE MAY 2: Letter to the audience, "William Weathersby" -- Theatre Exile
I'm trying to do a better job of being accountable to what I write in a play. I asked director Brenna Geffers to fire off any question she pleased at me, and I answered them as best I could in a letter to the audience. Go ahead: blindfold and a last cigarette please. I'm ready to answer for what I have written.

DUE MAY 1: Final "William Weathersby" workshop draft -- Theatre Exile
Not so final. I cut like six pages in the rehearsal. 

The deadlines, deadlines, deadlines... of April 2010

 [Section of "Bifurcation, Hysteresis, Catastrophe" by Jebney Lewis and K.R. Wood, an installation piece utilizing found plastic bags and pallet wood. I had the opportunity to write about these artists in April for City Paper.]

APRIL 30: Preliminary workshop draft of "William Weathersby" - Theatre Exile
We sat at Dirty Franks with Millers and shots of... something -- a $2.50 special. Sitting across from a reader of your play is like sitting with a demon or god of some kind. They have access to parts of you that even you yourself are not privy to. They also have the power to bring definition to your limitations, just by opening their mouths. I sometimes wonder if success -- more readers -- would mean a house of horrors.


APRIL 24: Act one revision of "William Weathersby" -- Theatre Exile
Some days I see it like this: journalism is a best friend. But plays are lovers that make and break your heart on a whim.



APRIL 22: Jorge Cousineau and the experimental play, "Only Sleeping" -- Philadelphia Metro
Cousineau felt compelled to apologize for wading too far into the underlying ideas of this collaboration. 
"I know it's just a little article," he kept saying. 
"I'm not going anywhere. Take your time," I said. It's a simple little phrase, but I never thought to utter it during an interview. A breakthrough.

APRIL 19: The legendary low-fi of Strapping Fieldhands -- Philadelphia Metro
Bob Malloy moved from Ohio to Philadelphia intent on plugging into the literary scene, but found he couldn't live with his typewriter alone. When he discovered a four-track recorder in the early 90s, Strapping Fieldhands was born. Soon there was a five-piece band formed around his music and lyrics. A growing following took root, and today the Fieldhands are revered by many as one of Philly's unsung indie heroes. While Malloy may still be a touch disappointed that some members resisted taking the band national way back when, his enthusiasm for the ensemble has been reborn. Some old school fans in high places are trying to give them a bit of a push. Malloy was a fun interview. Didn't hold back, and was even willing to discuss Anton Chekhov. I'm a fan for life.
PRE-EDIT DRAFT
[Archive photo provided by Weathervane Music.]


APRIL 19: Massive student loan debt in U.S., education section -- Metro Newspapers
Robert Applebaum founded a group called Forgive Student Loan Debt To Stimulate the Economy. It's a beautiful thing.


APRIL 15: The ritz-y Phoenix condos go to auction, real estate section -- Metro Newspapers
Shouldn't have taken this one, and I sort of knew it when I accepted. Isn't that always the way?


APRIL 14: Career centers on campus, education section assignment -- Metro Newspapers
1. Studies show that students who don't use career centers don't get jobs when they graduate. 2. Studies show that students that do use career centers generally don't get jobs either -- put ever-so-slightly more often. 3. New article: studies show there are no jobs.


APRIL 13: Act one revision, "William Weathersby" -- Theatre Exile
This meeting was at Nick's in Old City. Director Brenna Geffers is a gifted reader, and for that reason I couldn't help but run up a tab.

 APRIL 9: The retro swing-sass of Delco Nightingale -- Philadelphia Metro
Erin Berry and I enjoyed spray-gun cola while she worked the slow-and-early shift at Atlantis in Kensington. (Deadline before drinking.) Berry is fascinated by history of music and fashion. As a costume designer in New York, she constantly worked on period clothing. And Delco is all about the swing and sass of mid twentieth century Americana. For some reason Metro decided that readers would enjoy a delicious honey ham with this article. [Click on image to see larger]


APRIL 7: Grant money stays the same, cost of college goes bonkers, education section -- Metro Newspapers
Perhaps nowhere can you find more concise evidence of a deepening class system in the U.S. than in glancing at the many charts and graphs depicting student grants and loans. The lines for grants (quotient of free education) are almost uniformly flat over the last two decades, while cost lines look like mountain climbing diagrams.

 APRIL 6: Actress Leah Walton and the comedy of "Nerve" -- Philadelphia Metro
Walton spoke to me at 10 p.m. from a rehearsal hall where she was marking through a few of the dance steps in "Nerve." Her dedication to precision is remarkable, but she was still generous with her time -- enough to listen to my venting about critics. She was recently in a rare Tennessee Williams play, "Gnadigies Fraulein." It's a searching allegory of cruelty, art, love and class. "Poo, I want Stella, or I'll make a little pouty face in print," said our local paper of record. [Click on image to see larger]


APRIL 1: Brent Zeller's vision for physical education, "Evolutionary Education" -- Metro Newspapers
Why world class gymnasts biff it at the Olympics. Fun interview.

 APRIL 1: Another Jebney Lewis experiment at Nexus Gallery - City Paper
Jebney and K.R. were nice enough to give me a ride back to Kensington after the interview, with K.R. having to straddle the transmission. Jebney is constantly in a panic over getting himself too deep into a project. Overcommiting. We had beautiful discussions on the sheer madness of deadlines, none of which made it into the piece. LINK TO ARTICLE
[Photo by me with K.R. Wood's camera (thanks)]

This week in playwright-er-ing

William Weathersby at Exile
My deadline is fast approaching for the workshop  of "William Weathersby." 

The free public reading will be:

Monday, May 3, 7 p.m. 
Theatre Exile
1340 S. 13th St.
Philadelphia, PA
www.theatreexile.org

I'm currently working with director Breanna Geffers on further developing this script. Events like this create nessisary pressure on the writer (me), and help to force discoveries in the text. Along with the play, I'm also working on doing a better job of listening and fascilitating conversation about the text. So I'll be interested in the post conversation. In the past, I usually ran and hid at the corner bar. 

Inspiration and Participation!

 [Photo by Jamie Moffett]

Was thrilled to take part in a Good Friday vigil yesterday outside of the Shooter Shop on Emerald and Allegheny in Kensington. I hope to write about North Philly's growing anti-gun movement someday.

Heeding God's Call, The Simple Way and many others partnered to create this event, in an attempt to pressure the Shooter Shop into signing a basic 10-point code of conduct. The Shooter Shop has thus far refused. It was an impressive, disciplined, non-violent event.

It is well documented that Pennsylvania has arguably the most lax gun laws in the Northeast, and this is a huge problem for the whole region. Hopefully, one day the law will be changed, but events like this are a proven, effective strategy to curb the amount of illegal guns flooding into Philly's neighborhoods. That saves lives, and gets the ball rolling in the right direction.

Recently, Shalom House and others used similar tactics with Colosimo's gun shop in Kensington. One of the effects it had was to pressure federal investigators to focus attention on that shop. Colosimo's is no longer selling guns.

More than 200 people died last year in our city due to gun violence. It is an epidemic, and I think every Philadelphian can agree that enough is enough. This movement is a clear-cut, tangible way to save lives and change the city for the better -- just by showing up. How often does that opportunity come along?

The next event:
An organizing assembly
April 18, 4 p.m.
Wayland Temple Baptist Church
25th and Cecil B. Moore

Victory is mine!

A few weeks ago, a large package arrived in my apartment lobby with my name on it. After digging through layers of bubble wrap and styrofoam peanuts, I discovered the very painting that Nic Coviello is hanging above, with an inscription on the back: "Thank you Bruce for your direct, honest writing." What a victory. I celebrated that night at the corner bar.


Nic was featured last year in the dearly departed Metro arts and culture section. For almost two years I collaborated on these artist profiles with photographer, Chris Gabello. Looking at Nic's painting in my hands, it became a little clearer to me why I am so fulfilled by this work. So much of my creative writing is, by necessity, centered around my personal experiences. But what a joy it is to reorient myself and listen carefully to others -- to shed light on their life and work.

For me, writing is almost entirely an attempt to dignify human beings... nurses, plumbers, brain surgeons, abstract artists, they each have stories that need to be told. I think it is a rare and useful thing whenever a non-celebrity, non-powerbroker is actively listened to. For me, this is work of value.

"Listening with a pen." Perhaps that should be my blog's new title?

Deadlines in review

[Dan Scholnick and Aimee Ando in their just-completed Kensington loft -- a rare opportunity to utilize photography in my work.]

the crimes that are mine
Maybe it's the early winter sunset. I've been undeniably blog-lazy of late. But that stops tonight! I'm back with a new Google Docs function. This month I'm linking select posts to pre-edited drafts. I have a few misgivings. Chief among them, the world will see the idiotic mistakes I make before my editor has a chance to catch them.  However, more and more I find myself sharing the pre-edited material with subjects. To my surprise, I find that people often enjoy the director's cut. Plus, for artists, it provides an opportunity to experience more detailed writing about their craft. I have to expect that everything and anything I send to an editor will find its way into print. So what's wrong with posting it here? We'll see. 

home schooling
Started work for a new section of the paper -- real estate. How does a lifelong renter get the real estate gig? Same as a perpetual freelancer for the careers section. Practice. Practice. Practice.

I couldn't have asked for two better subjects to kick this thing off. Dan and Aimee sat more-than-patiently for the camera until I finally settled on a usable image. And Chris Kleinberg and I philosophized over coffee for two hours after our interview. I think I finally met my argumentative match. Chris and his wife, Nikki, founded Cambria House four years ago. It's a beautiful, friendly, intentional community in North Philadelphia. The world needs more people who think and give as they do.
Cambria House ran Jan. 27 

pre-edit draft

Dan Scholnick ran earlier in the month
pre-edit draft


Wig out
Wear Your Wig To Work Day was January 29th in Philadelphia. Dancer Gabrielle Revlock has been promoting this beautiful concept since 2002. We had a great chat at the Last Drop Cafe, where I received an official Wig Day button. I'm accused of wearing a wig everyday, so I just went as is. 
Ran on Jan 27, Phila Metro

pre-edit draft

when you're not home
Really fell for Sean Taylor's paintings this month. He juxtaposes American power with our quaint perceptions so well. Great interview. Love it when artists can resist the temptation to self-sensor.
Ran at some point in January, I think

pre-edit draft

cooking and writing
A happy hour drink with Blood Feathers was among my favorite workday moments in last couple months. They're the first band to be signed by the new Philebrity label. I think we were able to bond around the day-in, day-out process of making time for writing. They're songwriters. But it's the same process, I think.  Pretty much. [Photo by Matt King]
Almost sure this ran on Jan 15, Phila. Metro

pre-edit draft

"pause/record"
Jeff McNeil -- AKA Thee Phantom -- has his act together. When I initially contacted him, I thought I was dealing with an agent. He was just so professional.

I enjoyed his mash-up of the Beasties and Bethoven.
Ran at some in December, Phila. Metro
pre-edit draft

I'm not Prig-y
What fun to talk about Shakespeare on film with local film-crazy-encyclopedic-mind critic, Matt Prigge. His #1 all-time, Orson Welles' "Othello."
Ran in January, I hope. Phila Metro
pre-edit draft

straight drugs
Finally got to to do a piece on theater director, David O'Connor. I've been a fan since his production of "One Flea Spare" a few years ago. He was working on "Peter Pan" for the Arden.

"Peter Pan" is all about drugs. I'm convinced.
Ran at some point in December, Phia. Metro

Other recent arts and entertainment features include: jazz composer and tenor sax-man, Tim Warfeild; "The Threshing Floor," a solo-play by James Ijames about James Baldwin (say that three times fast); "Riffing On the President's House," a new dance/jazz piece with composer Bobby Zankel; yet another interview with local "Top Chef," Jennifer Carroll.

And I finally got to ask Bruce Warren why there's no local hip-hop on WXPN. "Because our listeners really don't like hip-hop." Take it or leave it. Anyone want to start a letter writing campaign?

sprockets 
Also came to the end of the many, many trade-degree assignments. I had a blast talking shop with local mechanic, Nick Schummer. Great guy. Lousy quizzo etiquette. (I know him from the corner bar.) [Photo by Justin Geller]

Other education pieces in recent memory include: MSW in social work, paralegals, class-capture technology, and student-teacher relationships.
These pieces used to run on Mondays, but now I guess its Wednesdays, maybe.

gold of the Golden Nugget
Oh, and I wrote a travel piece on Las Vegas... AND I ACTUALLY GOT TO GO TO VEGAS. But more on that next time. It's way complicated. The photo I took here is one of the last things I remember. (Damn the movies for stealing my experiences.)