Before You're Sixty-Four.

[lizzytysh]

Well, Andrew, as This message has been classified as spam and will be deleted by the moderators says, "No excuses!"

Soooo... even though they're apparently in 'operation,' I look forward to hearing them read by you in person, some day... .

Yes ~ Let us know how it goes .

~ Lizzy

[Andrew McGeever]

I'm booked for January 28th.....

please visit http://www.shorepoets.org.uk for the 2006-2007 programme.

The music interludes for that night are "TBC".....to be confirmed.

It's early, yet don't be surprised if Father (i.e. me) is followed by Son ( Daniel).

He says he'll do it. His website is http://www.myspace.com/danielmcgeever

Andrew.

[lizzytysh]

This is very good, Andrew. When I have more time, I'll check out the website.


~ Lizzy

[Andrew McGeever]

It's a "Father and Son" job on January 28th!
I'm doing my "third string poet" stuff first, then Daniel's singing

I'm a lazy writer, and an even lazier poster

Andrew.

[lizzytysh]

Your son's website got snarked by Barracuda . Congratulations on your father-and-son duo, though .

I'm a lazy writer . . .

Still excellent as ever, though .

Been wondering about you... seemed as though you rode off into the sunset.


~ Lizzy

[JiminyC]

Very bluesy, I'm no critic, hardly an admirable appreciator but its the first I've stumbled across that struck an accord, thank you.
James.

[Andrew McGeever]

Dear JiminyC,
I don't understand what you wrote.
Please explain, especially the "very bluesy' bit.

Andrew.

[JiminyC]

Hi Andrew,

This looks like self-indulgent neurosis, as most of my comments - and poetry - on this site also looks very similar.

"The first to strike an accord": I can't have read many I think that was the day I joined, and I guess I read it and it reminded me of a blues song.

I reread your work just then though and couldn't relate back to the true purpose of my comment, other than I liked it very much, its mellow, mildly melancholy and has an air of love. It is a poem I should read before contemplating further poetry myself, sadly I think I was more in tune with this fact before I joined this site - that poetry should express peace and love - rather than the proceeding time. This is more a reflection on my life outside of this site though; I think this forum a great place for nurturing ideas and talented individuals.

Sorry to have caused concern, I hope this has cleared up your enquiry.
James.

[Andrew McGeever]

Hi Andrew,

This looks like self-indulgent neurosis, as most of my comments - and poetry - on this site also looks very similar.

"The first to strike an accord": I can't have read many I think that was the day I joined, and I guess I read it and it reminded me of a blues song.

I reread your work just then though and couldn't relate back to the true purpose of my comment, other than I liked it very much, its mellow, mildly melancholy and has an air of love. It is a poem I should read before contemplating further poetry myself, sadly I think I was more in tune with this fact before I joined this site - that poetry should express peace and love - rather than the proceeding time. This is more a reflection on my life outside of this site though; I think this forum a great place for nurturing ideas and talented individuals.

Sorry to have caused concern, I hope this has cleared up your enquiry.
James.

Thanks for your warm reply,James.
"an air of love"....I'll think hard on that one.

Andrew.

[JiminyC]

I wouldn't concern yourself too much with my comments Andrew; I think my second review was less insightful than the first, even if my reply was warmer.

I am left only to ponder the "love" of this union myself. Take care, and I hope to get the opportunity to read more of your poetry.
James

[lizzytysh]

Hi Andrew ~

I'm still struck by how your poem has and continues to strike all kinds of chords with people . I won't elaborate on that thought and the wide variety of things that it suggests. Don't have time, even if I wanted to... past time for bed.


~ Lizzy

[Andrew McGeever]

Re "Father and Son", I have a 15 minute slot for reading, and Daniel has 3 10-minute slots spread through the event. Unfortunately, there's no piano available, so it'll be acoustic guitar songs from my boy. I'm getting nervous about the event.....I like to introduce material prior to reading, and don't want to rush or overrun my time
Yet I'm looking forward to hearing Daniel sing live...always a joy...he's so talented!

Andrew.

[BoHo]

Since you are clearly gifted in the art of creating poetry -- and, I do have a few questions, observations, and wonderments concerning your "64" piece (later), especially about buttons, the relationship of the title to the echoing closing lines, the fact you change the scansion in key sequences from eight to seven stresses, yadda-yadda-yikes . . .

More to the point, although I do not do readings anymore, I was a professor and did do 'em for many years, I s'pose you won't mind if I tax your time a moment and offer some input on your "confusion" concerning readings.

You should abso-deffo read the poem you posted at the start of this thread. You might wish to put together a sequence of poems that copacetically communicate something about your body of work. Don't worry about the time nor their length; just choose the ones that give you the best sense of their flow. Then, read each one into a tape device and see how long it runs. (More on how quickly, etc., later.)

Once you've gotten your collection of final selections together, order them so the flow works for you; think "Opening Introduction" and "Closing Conclusion" when you do this. Put the pages in their order; if you're reading from a book, use book marks numbered with the pages from which you plan to read. If you find you're running late, cut the penultimate poem (and, conversely, if you find you need more, ensure you have an alternate to which you can turn).

Shuffling papers, umming and ahhhing and errrrrring communicate your own sense of worthlessness to the audience; by this, of course, I mean, you don't value the work you've created enough to honour its best possible public presentation. If you are completely prepared in this fashion, audiences notice and are more receptive to such a reader.

BEFORE you begin reading, backstage or back-alley, articulate: I used to go, "Red Leather, Yellow Leather." Over and over. Chant. Drink lots of liquid (and, no, I don't necessarily mean inebriata unless you are comfortable with a glass of, say, red wine; but, don't overdo it). Water, the entire day before the evening, that's your best bet. There are other articulatory phrases you can deploy in private, the usual tongue twisters; but, exercise your projection and lips and enunciation any way you can. You're a teacher; so, this may well be second nature to you. Warm up your hands, and stretch, get loose and jangly; but, don't fall asleep <*G*>.

It's natural you'll be nervous; audiences of poetry know a poet creates in solitude and reading is not really part of the "true job description." Some writers I know read their poems at fire-siren speed to the walls before arriving, over and over, the better you've read them a priori, the better you'll read them during the event. The more you memorise, the more memorable your performance and again, the more the audience knows you value your work and care about presenting it in its best possible light.

Light! Check out the lighting, sound system, acoustics, seating arrangement, stage, entrance, exit, placement, etc. Arrive early, get to know the room in private, if possible, from different angles, talk to a ghost in the spotlight so you can get a sense of how much projection's required. Don't forget bodies will insulate and impede sound, to a certain extent. Make allowances for that fact. Checko the echo factor :).

Make sure, if you're using a mic, you know how to adjust it without looking fumblish. If there's a spotlight, it might impair your ability to read -- make certain you have anti-glare sunglasses somewhere on your person. Also, ensure there's a jug of water and a glass near you (for two reasons: Give your voice a break and whet your whistle; also, allow your audience to absorb what you've just read, fifteen seconds ought to suffice).

When I did read, I memorised the poems. That was because I could concentrate on making contact with the members of the audience, on their delivery in their best light, on emphasis, modulation, and resonance (in sonic terms). I also used to say something to introduce both myself and put the audience at ease (even if I was intro'ed by the MC first), something like, "Well, hello there, you obviously wonderfully discriminating human beings who love poetry as much as I do. Thank you for making this opportunity to share my work with you possible."

You mention you like to contextualise your pieces; good! Before you go to the event, write down what you consider to be everything of importance you wish to communicate concerning a given entry and then, distill it till it's simply a compact line or two; if you have probs with this, ask your friend, Michael, to decide what interests him most, what sounds most "sexy" or "exotic" to him in each "intro" you write. Memorise it; but, if not, at least, write it at the top of each page of each piece you plan to read. When you time yourself, be sure to include this line or two, the funnier the better, in your estimation. Poets are notorious for taking up too much time, a fact which is understandable; but, consider this: The poet who takes up time before you damages your time; don't do that to the one who follows you.

Time out your pieces, then, by reading them in a natural voice that is, paradoxically, emphatically low-key theatrical. Takes practice, I know; but, be consciously natural. And, of course, leave your audience drooling for more; that way, you don't over-run your set and you look classy, elegant, and considerate.

Oh, speaking of looks, consider your wardrobe. Dress appropriately. Not too much, none too shabby, you know: Casual elegance. I don't drink but I would often use a wine glass for my water; it just looked visually more appealing, I think.

It's your poetry; decide what clothes fit it best (and, make you feel most comfortable so that your knickers are not in a twist that translates to a grimace on your face. LOL.)

Oh, don't eat before you read, unless you want to incur farts, burps, hiccups, or worse. Save your appetite for later, after all readings have been completed (since if you leave immediately, you give the impression you're the only reason you're there. Now, I know your son is doing three sets so, you won't have that prob).

Just before you take to the stage, breathe, breathe, breathe, and relax. Shake out the kinks -- no, I don't mean LOLA -- do a kind of hokey-pokey in private, I guess.

Imagine yourself reading well, owning the room, and being a hit. Modulation and eye contact go a long way towards connecting with your audience; read to it, not at it. Look as many members of the audience in the eye as possible, another reason to memorise as much as you can. Have someone listen to your performance before you give it so they might give you pointers. Hell, have as many someones as possible do so. Get reaction to produce gut reaction, I allus say. Become the poem; the poem becomes you; it's energy transfer and it matters when you're the centre of attention.

Don't worry about the audience; remember, you've been in those audiences and you always want the poet to do well. You root for them not to fumble nor up-screw, right? The audience is open to you, is already with you, Andrew, because the audience is there, right? Right. Prove their faith in your success worthy. If it helps, visualise them naked and yourself enclosed in a membrane, a kind of eggshell thing, impervious yet transparent.

NEVER apologise and never say, Thank you. Rude? Nope. When you finish your set, let the audience know you're finished and say something genuinely sincere, something such as, Welp, I hope you have enjoyed lapping 'em up as much as I've enjoyed dishin' 'em out or whatever. Respect the work and the audience will likewise respect it. Try to have fun with it. If you hear noises or see members of the audience looking at their watches, ignore this; just because someone's coughing doesn't mean they don't have a cold or just because someone's checking the time doesn't mean they don't have an appointment for great sex at a bed-and-brekkie under an assumed name. And, oh, one more thing:

If you can do a moon walk off-stage, go fer it, hehehehe . . .

All best wishes you ace it (and I have every confidence you will since you obviously care about doing so).

Judith

[lizzytysh]

Hi Judith ~

This was such a beautiful gesture of yours, taking so much time and thought to put this together for Andrew... an instant manual with tips any poet would find helpful. As I read it, I felt like I was at the poet's side as she/he prepared for their reading that evening. So precise and clear with your examples. ANY poet here will find it very helpful for their public sharing. Makes me wish I wrote poetry, just so I could prepare like a true professional ! Lovely on your part to give all these helpful specificities. This was a pleasure to read, even for a non-poet. Very visual.

I, too, am confident that Andrew will do well. His conscientiousness shows in many ways... perhaps, even a match for yours, in fact .

Thanks for taking your time [so limited] and showing your caring [so vast], Judith . I agree with you, too, on the wine-glass visuals.


Love,
Lizzy

[Andrew McGeever]

Since you are clearly gifted in the art of creating poetry -- and, I do have a few questions, observations, and wonderments concerning your "64" piece (later), especially about buttons, the relationship of the title to the echoing closing lines, the fact you change the scansion in key sequences from eight to seven stresses, yadda-yadda-yikes . . .

More to the point, although I do not do readings anymore, I was a professor and did do 'em for many years, I s'pose you won't mind if I tax your time a moment and offer some input on your "confusion" concerning readings.

You should abso-deffo read the poem you posted at the start of this thread. You might wish to put together a sequence of poems that copacetically communicate something about your body of work. Don't worry about the time nor their length; just choose the ones that give you the best sense of their flow. Then, read each one into a tape device and see how long it runs. (More on how quickly, etc., later.)

Once you've gotten your collection of final selections together, order them so the flow works for you; think "Opening Introduction" and "Closing Conclusion" when you do this. Put the pages in their order; if you're reading from a book, use book marks numbered with the pages from which you plan to read. If you find you're running late, cut the penultimate poem (and, conversely, if you find you need more, ensure you have an alternate to which you can turn).

Shuffling papers, umming and ahhhing and errrrrring communicate your own sense of worthlessness to the audience; by this, of course, I mean, you don't value the work you've created enough to honour its best possible public presentation. If you are completely prepared in this fashion, audiences notice and are more receptive to such a reader.

BEFORE you begin reading, backstage or back-alley, articulate: I used to go, "Red Leather, Yellow Leather." Over and over. Chant. Drink lots of liquid (and, no, I don't necessarily mean inebriata unless you are comfortable with a glass of, say, red wine; but, don't overdo it). Water, the entire day before the evening, that's your best bet. There are other articulatory phrases you can deploy in private, the usual tongue twisters; but, exercise your projection and lips and enunciation any way you can. You're a teacher; so, this may well be second nature to you. Warm up your hands, and stretch, get loose and jangly; but, don't fall asleep <*G*>.

It's natural you'll be nervous; audiences of poetry know a poet creates in solitude and reading is not really part of the "true job description." Some writers I know read their poems at fire-siren speed to the walls before arriving, over and over, the better you've read them a priori, the better you'll read them during the event. The more you memorise, the more memorable your performance and again, the more the audience knows you value your work and care about presenting it in its best possible light.

Light! Check out the lighting, sound system, acoustics, seating arrangement, stage, entrance, exit, placement, etc. Arrive early, get to know the room in private, if possible, from different angles, talk to a ghost in the spotlight so you can get a sense of how much projection's required. Don't forget bodies will insulate and impede sound, to a certain extent. Make allowances for that fact. Checko the echo factor .

Make sure, if you're using a mic, you know how to adjust it without looking fumblish. If there's a spotlight, it might impair your ability to read -- make certain you have anti-glare sunglasses somewhere on your person. Also, ensure there's a jug of water and a glass near you (for two reasons: Give your voice a break and whet your whistle; also, allow your audience to absorb what you've just read, fifteen seconds ought to suffice).

When I did read, I memorised the poems. That was because I could concentrate on making contact with the members of the audience, on their delivery in their best light, on emphasis, modulation, and resonance (in sonic terms). I also used to say something to introduce both myself and put the audience at ease (even if I was intro'ed by the MC first), something like, "Well, hello there, you obviously wonderfully discriminating human beings who love poetry as much as I do. Thank you for making this opportunity to share my work with you possible."

You mention you like to contextualise your pieces; good! Before you go to the event, write down what you consider to be everything of importance you wish to communicate concerning a given entry and then, distill it till it's simply a compact line or two; if you have probs with this, ask your friend, Michael, to decide what interests him most, what sounds most "sexy" or "exotic" to him in each "intro" you write. Memorise it; but, if not, at least, write it at the top of each page of each piece you plan to read. When you time yourself, be sure to include this line or two, the funnier the better, in your estimation. Poets are notorious for taking up too much time, a fact which is understandable; but, consider this: The poet who takes up time before you damages your time; don't do that to the one who follows you.

Time out your pieces, then, by reading them in a natural voice that is, paradoxically, emphatically low-key theatrical. Takes practice, I know; but, be consciously natural. And, of course, leave your audience drooling for more; that way, you don't over-run your set and you look classy, elegant, and considerate.

Oh, speaking of looks, consider your wardrobe. Dress appropriately. Not too much, none too shabby, you know: Casual elegance. I don't drink but I would often use a wine glass for my water; it just looked visually more appealing, I think.

It's your poetry; decide what clothes fit it best (and, make you feel most comfortable so that your knickers are not in a twist that translates to a grimace on your face. LOL.)

Oh, don't eat before you read, unless you want to incur farts, burps, hiccups, or worse. Save your appetite for later, after all readings have been completed (since if you leave immediately, you give the impression you're the only reason you're there. Now, I know your son is doing three sets so, you won't have that prob).

Just before you take to the stage, breathe, breathe, breathe, and relax. Shake out the kinks -- no, I don't mean LOLA -- do a kind of hokey-pokey in private, I guess.

Imagine yourself reading well, owning the room, and being a hit. Modulation and eye contact go a long way towards connecting with your audience; read to it, not at it. Look as many members of the audience in the eye as possible, another reason to memorise as much as you can. Have someone listen to your performance before you give it so they might give you pointers. Hell, have as many someones as possible do so. Get reaction to produce gut reaction, I allus say. Become the poem; the poem becomes you; it's energy transfer and it matters when you're the centre of attention.

Don't worry about the audience; remember, you've been in those audiences and you always want the poet to do well. You root for them not to fumble nor up-screw, right? The audience is open to you, is already with you, Andrew, because the audience is there, right? Right. Prove their faith in your success worthy. If it helps, visualise them naked and yourself enclosed in a membrane, a kind of eggshell thing, impervious yet transparent.

NEVER apologise and never say, Thank you. Rude? Nope. When you finish your set, let the audience know you're finished and say something genuinely sincere, something such as, Welp, I hope you have enjoyed lapping 'em up as much as I've enjoyed dishin' 'em out or whatever. Respect the work and the audience will likewise respect it. Try to have fun with it. If you hear noises or see members of the audience looking at their watches, ignore this; just because someone's coughing doesn't mean they don't have a cold or just because someone's checking the time doesn't mean they don't have an appointment for great sex at a bed-and-brekkie under an assumed name. And, oh, one more thing:

If you can do a moon walk off-stage, go fer it, hehehehe . . .

All best wishes you ace it (and I have every confidence you will since you obviously care about doing so).

Judith

Dear Judith,
Your post was filled with surprise and delight...how come you took so much care and attention to detail for a "third string poet" such as me?
I am honoured by your gesture and await your questions, observations, wonderments about my poem.
Yes, I will read it on January 28th....I'll tell them you told me

I will pm you, if that's OK

Andrew.