After some agonising, I have decided that all profit from performance of Agony/Ecstasy will be donated to SACOM in Hong Kong.
SACOM is an activist organisation of students and academics which struggles for the ethical and moral rights of workers in China. They continually release reports and research on labour rights, and are particularly focused on Foxconn (key supplier for Apple) as a huge employer continually violating these ethical and moral standards.
Their website is here.
Monday, July 30, 2012
Thursday, June 28, 2012
Sunday, June 10, 2012
Mike Daisey Analysis by Andrew Fuhrmann
I like Andrew's work. Along with Jana and Alison, they are the ones I
read. They are educated (partly by institutions but mostly, I think,
off their own steam), intuitive, they are developing as they write each
crit, they provoke your work and move it in different directions, they
are interested in writing first and theatre second, measured (but
sometimes delightfully biased), and most importantly I think,
independent and even democratic (probably as much as a writer could be).
Recently all of Neandellus' reviews were taken off the website, probably by him (including his dissection of my No-Show, which I have preserved in violation of his copyright). By and large, they can no longer be read.
Andrew interviewed me prior to the first performance of The Agony and the Ecstasy of Steve Jobs, and his article, which was published today over at Artshub, is here.
Recently all of Neandellus' reviews were taken off the website, probably by him (including his dissection of my No-Show, which I have preserved in violation of his copyright). By and large, they can no longer be read.
Andrew interviewed me prior to the first performance of The Agony and the Ecstasy of Steve Jobs, and his article, which was published today over at Artshub, is here.
Tuesday, June 5, 2012
Why do you hate on the Media so bad, Richard?
Some more rigourous self-examination leads me to again consider the question of: why did I want to stage Mike's work?
Some revelation came in the family car when a rendition of "Pumped Up Kicks" slopped out from the radio and arrested me from my exit across the road to Benalla's fantastic second hand bookstore, which I visit every time I come home.
I love this song because it is the ultimate in ironies, a song from the perspective of a schoolyard killer that has somehow become a hipster anthem, now active in selling XXXX's new Summer Ale.
As I swim through the emo-painy ecstatic half-melody, entering the blissful state of moral and ethical collapse it demands, I think about how shit get appropriated so much nowadays. How those few bastions of resistence (against what? why?) are swallowed up by commercial interest, how those who champion something are so seldom rewarded unless their championing serves some "safe" cause, how those things which sit awkwardly or are only championed by a handful of people as far as I can see, and the world's survival seems dependant on those few individuals continuing their struggle, continuing to sacrifice the mobility, possibility, pleasures for the sake of a humanity they surely have become too cynical to believe in any longer. All of this is blindingly obvious, I knew its politic when I was 8 years old. We all know it.
But doesn't it seem unfair to you? That a handful of people, these "renegade" figures, should shoulder the burden for the rest of us, that they should be bastions of truth and justice while the rest of us simply comply with whatever it is we are told, or jump on a skeptical bandwagon when it presents itself?
It's a staged binary - but doesn't it sound familiar? A hero narrative - resonant, but so obviously flawed. It describes perfectly our existence. It is fed by the media, it is fed by individuals following its line, it is fed by this fame-drug we seem to all be on nowadays. As if surrogates can fulfill all of our fraught desires, and we can appreciate them from an armchair.
And it begs the question, if its resonance is any indication of its truth: Shouldn't the rest of us take some fucking responsibility as well?
Some revelation came in the family car when a rendition of "Pumped Up Kicks" slopped out from the radio and arrested me from my exit across the road to Benalla's fantastic second hand bookstore, which I visit every time I come home.
I love this song because it is the ultimate in ironies, a song from the perspective of a schoolyard killer that has somehow become a hipster anthem, now active in selling XXXX's new Summer Ale.
As I swim through the emo-painy ecstatic half-melody, entering the blissful state of moral and ethical collapse it demands, I think about how shit get appropriated so much nowadays. How those few bastions of resistence (against what? why?) are swallowed up by commercial interest, how those who champion something are so seldom rewarded unless their championing serves some "safe" cause, how those things which sit awkwardly or are only championed by a handful of people as far as I can see, and the world's survival seems dependant on those few individuals continuing their struggle, continuing to sacrifice the mobility, possibility, pleasures for the sake of a humanity they surely have become too cynical to believe in any longer. All of this is blindingly obvious, I knew its politic when I was 8 years old. We all know it.
But doesn't it seem unfair to you? That a handful of people, these "renegade" figures, should shoulder the burden for the rest of us, that they should be bastions of truth and justice while the rest of us simply comply with whatever it is we are told, or jump on a skeptical bandwagon when it presents itself?
It's a staged binary - but doesn't it sound familiar? A hero narrative - resonant, but so obviously flawed. It describes perfectly our existence. It is fed by the media, it is fed by individuals following its line, it is fed by this fame-drug we seem to all be on nowadays. As if surrogates can fulfill all of our fraught desires, and we can appreciate them from an armchair.
And it begs the question, if its resonance is any indication of its truth: Shouldn't the rest of us take some fucking responsibility as well?
Tuesday, May 29, 2012
Elly Varrenti's Review
Today the action I am making received its first piece of formal criticism.
I have been reading The Age since I was a kid and it used to come every day to our breakfast table. So how strange to see my name in it, in the place where others have been thousands of times. Here is the review and then I talk about it after.
Read more: http://www.theage.com.au/entertainment/theatre/the-agony-and-ecstasy-of-steve-jobs-20120528-1zf3w.html#ixzz1wFEwPbAg
I have been reading The Age since I was a kid and it used to come every day to our breakfast table. So how strange to see my name in it, in the place where others have been thousands of times. Here is the review and then I talk about it after.
The Agony and Ecstasy of Steve Jobs
Elly Varrenti
May 29, 2012
La Mama, June 3,10,17 & 24
(3 stars)
AMERICAN writer-performer Mike Daisey - a kind of Mike Moore meets Spalding Gray - created a furore recently when it was discovered he'd taken poetic licence in his investigative expose of substandard working conditions at the factory in China where 50 per cent of the world's electronics are manufactured - in particular, a large chunk of Apple products. Sprung bad, Daisey delivered a retraction on American Public Radio's This American Life: presenter Ira Glass calling Daisey to account for his major ethical stuff-up made for seriously compelling radio.
Agony & Ecstasy is not really about the ''techno libertarian hippie'' and Apple founder Steve Jobs, but rather a first-person monologue-cum-call-to-arms charting Daisey's obsession with Apple technology: ''I am a worshipper at the cult of Mac''. Daisey goes on a pilgrimage to Shenzhen, where he witnesses Apple's underbelly and interviews traumatised Foxconn factory workers (some made up, it turns out).
Melburnian Richard Pettifer delivers Daisey's intermittently fascinating monologue with a tokenistic nod to the recent scandal: we hear an excerpt from the now-famous on-air retraction and Pettifer sports a T-shirt emblazoned with LIAR. He does a decent enough job imparting the text, although reliance on notes interrupts the flow and overall, the presentation could have done with a bit more sculpting. Pettifer's take on Daisey's story, given its controversy, is underdeveloped. As theatre, it lacks coherence, but if you're not familiar with Daisey's brand of theatre-as-weapon, it's well worth a look.
(3 stars)
AMERICAN writer-performer Mike Daisey - a kind of Mike Moore meets Spalding Gray - created a furore recently when it was discovered he'd taken poetic licence in his investigative expose of substandard working conditions at the factory in China where 50 per cent of the world's electronics are manufactured - in particular, a large chunk of Apple products. Sprung bad, Daisey delivered a retraction on American Public Radio's This American Life: presenter Ira Glass calling Daisey to account for his major ethical stuff-up made for seriously compelling radio.
Agony & Ecstasy is not really about the ''techno libertarian hippie'' and Apple founder Steve Jobs, but rather a first-person monologue-cum-call-to-arms charting Daisey's obsession with Apple technology: ''I am a worshipper at the cult of Mac''. Daisey goes on a pilgrimage to Shenzhen, where he witnesses Apple's underbelly and interviews traumatised Foxconn factory workers (some made up, it turns out).
Melburnian Richard Pettifer delivers Daisey's intermittently fascinating monologue with a tokenistic nod to the recent scandal: we hear an excerpt from the now-famous on-air retraction and Pettifer sports a T-shirt emblazoned with LIAR. He does a decent enough job imparting the text, although reliance on notes interrupts the flow and overall, the presentation could have done with a bit more sculpting. Pettifer's take on Daisey's story, given its controversy, is underdeveloped. As theatre, it lacks coherence, but if you're not familiar with Daisey's brand of theatre-as-weapon, it's well worth a look.
Read more: http://www.theage.com.au/entertainment/theatre/the-agony-and-ecstasy-of-steve-jobs-20120528-1zf3w.html#ixzz1wFEwPbAg
Sunday, May 27, 2012
Technology Infiltrated the Theatre
Today someone tried to enter the theatre late, during the performance.
I realised later during a conversation with Andrew and Andrea that I should have just let them in to come and sit down. Why didn't I do it? I thought to myself. I realised that the idea had not even entered my head. Which was weird. I mean, they are human beings. They are trying to see theatre (unless they were just coming for rehearsals or something). I love people who try and see theatre. I mean, they have left the house, gone out into the cold, they have tried and failed to make it to the theatre on time. They wanted to engage with an age-old tradition of a small group of people under lights trying to say something of importace to a larger group of people in darkness. More people should try and see theatre. And I especially love anyone who tried to come to some action which I have made, because I feel honoured.
And then I realised something else.
My laptop was on.
I realised later during a conversation with Andrew and Andrea that I should have just let them in to come and sit down. Why didn't I do it? I thought to myself. I realised that the idea had not even entered my head. Which was weird. I mean, they are human beings. They are trying to see theatre (unless they were just coming for rehearsals or something). I love people who try and see theatre. I mean, they have left the house, gone out into the cold, they have tried and failed to make it to the theatre on time. They wanted to engage with an age-old tradition of a small group of people under lights trying to say something of importace to a larger group of people in darkness. More people should try and see theatre. And I especially love anyone who tried to come to some action which I have made, because I feel honoured.
And then I realised something else.
My laptop was on.
Thursday, May 24, 2012
The Un-Reviewable
I have (again) tried to make something critic-proof.
I have had a hunch for a while that Un-Reviewable theatre was probably good theatre.
It sometimes feels like critics rock up to something, they watch it, it appeals to certain terms of reference and doesn't to others, then they go home and write about it, and they often feel a bit shit about themselves because they have to say it sucked, mostly because it didn't break new ground. Or if it happens to have the resources and/or the nouse to successfully sit on the cutting edge of contemporary theatre, they can review it positively because it sits in the space where "progress" lies. And then they're like "thank god".
It should be no surprise that within this admittedly bullshit binary a good idea to look for a third option, as the first is not good for anyone and the second only really works if you're the latest wunderkind, or trying to be.
Therefore to try to create Un-Reviewable theatre is both to try to protect oneself from that shit feeling when you get a bad review, and also to operate outside of convention.
I have had a hunch for a while that Un-Reviewable theatre was probably good theatre.
It sometimes feels like critics rock up to something, they watch it, it appeals to certain terms of reference and doesn't to others, then they go home and write about it, and they often feel a bit shit about themselves because they have to say it sucked, mostly because it didn't break new ground. Or if it happens to have the resources and/or the nouse to successfully sit on the cutting edge of contemporary theatre, they can review it positively because it sits in the space where "progress" lies. And then they're like "thank god".
It should be no surprise that within this admittedly bullshit binary a good idea to look for a third option, as the first is not good for anyone and the second only really works if you're the latest wunderkind, or trying to be.
Therefore to try to create Un-Reviewable theatre is both to try to protect oneself from that shit feeling when you get a bad review, and also to operate outside of convention.
Saturday, May 19, 2012
If no one knows you, you don't exist
People are ignoring this blog.
I know. I have a hit counter there which tells me so. If people are ignoring the blog, they are probably ignoring the show. It doesn't seem to have gained a significant traction with La Mama, and I don't think Pippa or Becc or anyone else really know what it's about. (explanatory edit: Most people I have spoken to are unaware of the scandal or have only a scant consciousness of Mike's monologue, apart from a few select people who happen to listen to TAL or follow Mike Daisey's work) .Possibly it will sink without a trace.
So, I must live with that. Someone takes action - they of course have to live with the consequences that they may be ignored. My work may be for nothing. It's not a new thought. I'm also not the first person to have had this thought, and it is not limited to the field of the arts.
In some ways, it's easier to have this thought when other people are there with you, and you can share it. If this was a two hander, at least someone would be there to talk to about it.
I know. I have a hit counter there which tells me so. If people are ignoring the blog, they are probably ignoring the show. It doesn't seem to have gained a significant traction with La Mama, and I don't think Pippa or Becc or anyone else really know what it's about. (explanatory edit: Most people I have spoken to are unaware of the scandal or have only a scant consciousness of Mike's monologue, apart from a few select people who happen to listen to TAL or follow Mike Daisey's work) .Possibly it will sink without a trace.
So, I must live with that. Someone takes action - they of course have to live with the consequences that they may be ignored. My work may be for nothing. It's not a new thought. I'm also not the first person to have had this thought, and it is not limited to the field of the arts.
In some ways, it's easier to have this thought when other people are there with you, and you can share it. If this was a two hander, at least someone would be there to talk to about it.
Wednesday, May 16, 2012
Precariousness
I wonder if this project is pointless.
It doesn't feel artistic to be just replicating Mike's performance. People don't seem to be very interested in what I'm doing. And also La Mama changed venues on my yesterday because a children's theatre doesn't feel like they can perform on a set which will be very difficult to perform on. So we changed venues.
Of course, I am ok with this, and La Mama has given me too much for me to go around whining about it. But art is sometimes so fragile that something very simple can undermine an artist unintentionally.
It opened up another couple of wounds which have been festering... like why the hell haven't I heard from Mike?? Can I really put the show on without hearing from him? Is it ok to charge for the show? is $15 too much? What should I do with the money??? WHO THE HELL DO I THINK I AM PERFORMING WHEN I AM NOT AN ACTOR???? I can't remember lines!!!! I'm rehearsing at the moment... staring into the darkness... paralysied with fear about the moment when I will be truly lost, where I won't know where I am or where I'm going....
It doesn't feel artistic to be just replicating Mike's performance. People don't seem to be very interested in what I'm doing. And also La Mama changed venues on my yesterday because a children's theatre doesn't feel like they can perform on a set which will be very difficult to perform on. So we changed venues.
Of course, I am ok with this, and La Mama has given me too much for me to go around whining about it. But art is sometimes so fragile that something very simple can undermine an artist unintentionally.
It opened up another couple of wounds which have been festering... like why the hell haven't I heard from Mike?? Can I really put the show on without hearing from him? Is it ok to charge for the show? is $15 too much? What should I do with the money??? WHO THE HELL DO I THINK I AM PERFORMING WHEN I AM NOT AN ACTOR???? I can't remember lines!!!! I'm rehearsing at the moment... staring into the darkness... paralysied with fear about the moment when I will be truly lost, where I won't know where I am or where I'm going....
Sunday, May 13, 2012
Martyrdom, or the challenge of trusting the untrustable
The word "martyr" in its original Greek form, means "witness". We think about a martyr more like participant. The stereotypical image today is one of bombs and carnage.
There is not much available which Ira has said about the interview. However, there's an interesting interview here where Ira is asked whether he has conducted a shaming. To which Ira replies "I haven't listened to the show since we did it". The journalist is following a particular line here. But it's a worthy question I think.
Was it a shaming? If so, why?
And also why hasn't Ira listened to the interview? That seems weird. And it seems like he probably feels a bit jumpy about it.
We could say the This American Life thingo as a shaming in which Mike is placed on the mantle of sacrifice in order to correct a cultural schism that Daisey has created. If we are to listen properly to Mike, we must review completely our consumption of products and the systems in which they are made. Isn't this an anarchist proposition? If you were to look hard enough at this in your own life, you would have to throw out most possessions.
This makes him a ripe target.
There is not much available which Ira has said about the interview. However, there's an interesting interview here where Ira is asked whether he has conducted a shaming. To which Ira replies "I haven't listened to the show since we did it". The journalist is following a particular line here. But it's a worthy question I think.
Was it a shaming? If so, why?
And also why hasn't Ira listened to the interview? That seems weird. And it seems like he probably feels a bit jumpy about it.
We could say the This American Life thingo as a shaming in which Mike is placed on the mantle of sacrifice in order to correct a cultural schism that Daisey has created. If we are to listen properly to Mike, we must review completely our consumption of products and the systems in which they are made. Isn't this an anarchist proposition? If you were to look hard enough at this in your own life, you would have to throw out most possessions.
This makes him a ripe target.
Thursday, May 10, 2012
Engaging America
America is an actual country.
This came as a surprise to me a couple of years ago when I relised it. Over time, we become so saturated with America that it is not so much a country as the entire world.
The specific moment came when I was on a tram a couple of years ago with my then-girlfriend and going past the MCG. For some reason I was pretending to be American (various comments like "Is that the Cricket Ground?" "I hear it's one of the biggest in the world"). A lady overheard us talking and chimed in with some facts about the MCG. Then she started asking about our home...
"So, you're from America?"
"Yes", I replied.
"Which part?"
Sweating, I replied "New York"
Then came her next question: "New York City?"
This came as a surprise to me a couple of years ago when I relised it. Over time, we become so saturated with America that it is not so much a country as the entire world.
The specific moment came when I was on a tram a couple of years ago with my then-girlfriend and going past the MCG. For some reason I was pretending to be American (various comments like "Is that the Cricket Ground?" "I hear it's one of the biggest in the world"). A lady overheard us talking and chimed in with some facts about the MCG. Then she started asking about our home...
"So, you're from America?"
"Yes", I replied.
"Which part?"
Sweating, I replied "New York"
Then came her next question: "New York City?"
Tuesday, May 8, 2012
Some good Daisey links
I have been working on a timeline of my experience of the Agony/Ecstasy affair, but it's taking too long so for those interested it would be good to have something up which is a bit shorter and more succinct.
1) Retraction. The retraction episode of This American Life, where they, in highly dramatic fashion, massacre Mike Daisey.
2) https://rapidshare.com/files/2843471479/This_American_Life_454__Mr._Daisey_and_the_Apple_Factory__file_retrieved_2012-03-18.mp3 *. Extract from the performance by Mike Daisey. Focuses on Mike's visit to the Foxconn factory in Shenszen, where the Ipad and Iphone are made. This is surprisingly not available any more. **Note: interestingly, this material is no longer legally available for free. I am sharing a copy I have obtained legally, (it was initially available for free download) and this, for me, falls under the category of "fair dealing" under Australian Copyright Law because "I, myself am making the criticism or review" i.e that this material falls under the collection of material which I am reviewing as part of my performance. If you would like to sue me for this, instead go and "flush your head in the dunny". The author of this work is Mike Daisey www.mikedaisey.com, and This American Life www.thisamericanlife.org, whose latest piece of journalism is 'In Dog We Trust' - Stories of dogs and cats and other animals that live in our homes. Exactly how much are they caught up in everyday family dynamics? We answer this question and others.'
1) Retraction. The retraction episode of This American Life, where they, in highly dramatic fashion, massacre Mike Daisey.
2) https://rapidshare.com/files/2843471479/This_American_Life_454__Mr._Daisey_and_the_Apple_Factory__file_retrieved_2012-03-18.mp3 *. Extract from the performance by Mike Daisey. Focuses on Mike's visit to the Foxconn factory in Shenszen, where the Ipad and Iphone are made. This is surprisingly not available any more. **Note: interestingly, this material is no longer legally available for free. I am sharing a copy I have obtained legally, (it was initially available for free download) and this, for me, falls under the category of "fair dealing" under Australian Copyright Law because "I, myself am making the criticism or review" i.e that this material falls under the collection of material which I am reviewing as part of my performance. If you would like to sue me for this, instead go and "flush your head in the dunny". The author of this work is Mike Daisey www.mikedaisey.com, and This American Life www.thisamericanlife.org, whose latest piece of journalism is 'In Dog We Trust' - Stories of dogs and cats and other animals that live in our homes. Exactly how much are they caught up in everyday family dynamics? We answer this question and others.'
Sunday, May 6, 2012
Image
My close close associate Sonja Hornung has come up with this image to try to imagine the work to you:
If you're interested in Sonja's work, her Future Library Project is entering "prototype phase" at time of print and will be installed at Flinders Street Station, Melbourne from 8-29th June www.futurelibraryservice.com/
Wednesday, May 2, 2012
"Truth"
Truth doesn't interest me anymore.
Which itself is interesting. Because I acknowledge that truth is very important, very powerful. I just know how flimsy it is, and how easy to manipulate. For example, everything that I do could be discredited by pulling the above statement out of context and putting it in an article.
From my years studying the media, I have noticed, by myself and at the provokation of certain theorists, that the media are mostly full of shit. Mostly, they hold onto this idea of "truth", and nothing else. When you do this, you are able to both proclaim your honesty and authenticity, and manipulate reality however you want. Create the headline first - then write the article.
I will create an example.
Which itself is interesting. Because I acknowledge that truth is very important, very powerful. I just know how flimsy it is, and how easy to manipulate. For example, everything that I do could be discredited by pulling the above statement out of context and putting it in an article.
From my years studying the media, I have noticed, by myself and at the provokation of certain theorists, that the media are mostly full of shit. Mostly, they hold onto this idea of "truth", and nothing else. When you do this, you are able to both proclaim your honesty and authenticity, and manipulate reality however you want. Create the headline first - then write the article.
I will create an example.
Sunday, April 29, 2012
Program note maybe
This is something I wrote last week. It could be a program note.
---
---
I am lying to you.
I know that my performance is a bit shit. I’m not a trained
actor like Colin Friels. I don’t like acting, I find it embarrassing. But I
love theatre. I think that’s because other people hate it, because it’s so
UnAustralian, like a dark anti-beach. Sometimes things happen in the world
which I take personal, and then I go kind of nuts, filled with rapture or
whatevs. Then it’s time to go on stage.
I encountered Mike’s story after it was published on a blog
called Superflueties Redux which is written by a blogger called George Hunka, I
think he lives in Vienna but not sure. He talked about the ‘scandal’ that had
unfolded with Mike’s confession on This American Life and the retraction which
the program had to make, some of which is V/O at the start of the show today. I
became interested about this. It seemed that this Mike Daisey guy, this fat
American storyteller, had lied for some reason about the working conditions in
China, which seems like a weird subject to lie about.
Wednesday, April 25, 2012
Anti-Acting
In my current sphere, acting in an artform that is treated with dual suspicion and fondness by the "public", this grouping created by the theatre artist's removal of his/herself from others, for whom both feelings happen at the same time. So when you tell someone you are acting, the conversation generally follows a certain line, the assuption being that you are acting to be more famous. They start at Heath Ledger, and work downwards. "Are you in TV? Oh, the stage. Musicals? Oh, theatre. Which theatre? Oh, a small one. And what are you doing? Oh, it's a play. How interesting. I'd come, but..."
You can break this conversation, and I do, by telling people that you don't like acting. Which I don't. I find the scrutiny excruciating. It's not a journey I'm interested in. And from hanging out with actors, and seeing some of them act, I know that I'm also not good at it.
When you tell people you don't want to act, it raises a conundrum, due to the fact that embedded into the assumption that you are acting to become more famous is the desire to act. There's no such thing as a RESPONSIBILITY to act. Theatre; art; is optional. If you don't want to do it, just... don't do it. Go to the beach.
You can break this conversation, and I do, by telling people that you don't like acting. Which I don't. I find the scrutiny excruciating. It's not a journey I'm interested in. And from hanging out with actors, and seeing some of them act, I know that I'm also not good at it.
When you tell people you don't want to act, it raises a conundrum, due to the fact that embedded into the assumption that you are acting to become more famous is the desire to act. There's no such thing as a RESPONSIBILITY to act. Theatre; art; is optional. If you don't want to do it, just... don't do it. Go to the beach.
Thursday, April 12, 2012
The Undertaking
It has been many nights awake until sunrise following the unfolding of the Mike Daisy saga, not knowing why, not knowing at all why.
Pulled by some mysterious force etc.
Some elusive idea is tugging at my subconscious etc.
It's like I'm drawn to it etc.
The artists journey. Mike felt it and it pulled him to Shenzhen. Unlike everyone else - he chose the extraordinary path. Not to say that he was extraordinary or superior! He just chose the path.
Not to say I am extraordinary or superior, either. But I am going to perform Mike Daisey's molologue, The Agony and the Ecstacy of Steve Jobs, for which he has recently been exposed to an absolute media shitstorm, at La Mama Theatre, for six weeks of Sundays, beginning on the 20th of May, which is in 6 weeks time.
I hope that people will be encouraged to take the extraordinary path.
I will begin and end with an analysis of the material at hand.
Pulled by some mysterious force etc.
Some elusive idea is tugging at my subconscious etc.
It's like I'm drawn to it etc.
The artists journey. Mike felt it and it pulled him to Shenzhen. Unlike everyone else - he chose the extraordinary path. Not to say that he was extraordinary or superior! He just chose the path.
Not to say I am extraordinary or superior, either. But I am going to perform Mike Daisey's molologue, The Agony and the Ecstacy of Steve Jobs, for which he has recently been exposed to an absolute media shitstorm, at La Mama Theatre, for six weeks of Sundays, beginning on the 20th of May, which is in 6 weeks time.
I hope that people will be encouraged to take the extraordinary path.
I will begin and end with an analysis of the material at hand.
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