30 Days, 30 Posts: NaBloPoMo is here!

In November of last year, I actually decided I would try National Novel Writing Month, a.k.a. NaNoWriMo. I didn’t actually get very far; I did make some headway on framing out a storyline I had been kicking around for literally years, but then the month caught up with me, and I didn’t get much past 10.000 words (the definitional goal is 50,000 words before December 1).

However, some inspired folks have decided that if turning out writing is the goal, 30 blog posts in 30 days is also a worthwhile benchmark, and thus NaBloPoMo was born. This, I think, may be more achievable for me. Let’s see how it goes! (I’ll be counting both WordPress and LiveJournal posts for this purpose.)

Michelle Weber's avatarWordPress.com Blog

There’s a lot of buzz each November around NaNoWriMo — you may notice some of your favorite blogs dedicating themselves to churning out 50,000 words this month.

If 50,000 words seem like 49,000 too many or you’re more interested in blogging than writing a book, NaBloPoMo — National Blog Posting Month — might be your speed: a challenge to post once every day for the entire month of November. No theme, no word count, no rules; just you, your blog, and 30 new posts.

NaBloWhatNow?

NaBloPoMo started in 2006 in response to NaNoWriMo; not every blogger has the time or inclination to write a book, but the idea of a challenge that forces participants to stretch themselves, grow as bloggers, and be part of a supportive community is undeniably appealing. As founder Eden Kennedy, the power blogger behind fussy.org, put it:

If there’s one thing creative people…

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Pro Tip: “Invite Them All” on Facebook

How to Invite All on Facebook | New Code

One of the many little convenience features Facebook has decided you should NOT have is an easy “select all” toggle for adding your friends to an invitation. However, JennyLee has created a little javascript workaround that works right in your browser bar to do exactly what you want: check off all the little boxes of the group of 100 friends you’ve loaded, so you can click “Invite” and boom! your event is underway.

Because this is still a design blog: Who By Fire

I’ve occasionally tried my hand at creating holiday cards, but never anything particularly inspired, somehow.

Then during Rosh Hashanah services this year, I managed to remember that the Thing I Do is play around with text, especially Biblical or liturgical text… and there’s no shortage of great material in the High Holiday liturgy. Which excited me, even if it results in a bit of a departure from your basic apples-and-honey “good and sweet year” greeting card motif.

So here’s the first one:

On Rosh Hashanah it is written, and on Yom Kippur it is sealed...

This famous liturgical passage is from the central U’netaneh Tokef section of the Rosh Hashanah Musaf prayer service. Click to enlarge.

I have a few more passages still in mind to work up. Next year I intend to actually get some of them printed up in time to use for the holiday… so I made sure to use up the last few mundane ones in my stash this year.

Edited to add (2015): Buy it on Zazzle!

Ketivah v’chatimah tovah: May you all be written and sealed for a good year.

The 5th Great G&S Sing-Out

This Labor Day weekend, while one option would admittedly have been to go to the 71st World Science Fiction Convention in San Antonio, TX… I instead chose to geek out with a different kind of fandom at the 5th Great Gilbert & Sullivan Sing-Out, organized by the Victorian Lyric Opera Company in Rockville, Maryland.

The premise of the Sing-Out is to sing through all 13 extant Gilbert & Sullivan operettas, more or less in their entirety (though without the dialogue), in one weekend. (I was told that the first Sing-Out was done all in one day, 8am to 2am. I am, on the whole, delighted that they’ve moved toward pacing it out over 3 days.)

Longtime readers may be aware that I first got into Gilbert & Sullivan in the fall of 1999, when I did my first show with the MIT Gilbert & Sullivan Players: Iolanthe. In that time, I’ve performed in fully staged productions of 10 of the 13 operettas (Patience, Mikado and Ruddigore being the remaining exceptions), and numerous additional concert performances. Somewhere along the way, I crossed over that line (as many a G&S fan knows) from “I’ve been in some of the shows” to “I know MOST of the shows well enough that it’s fun to actually go sing a bunch of them in a row with fellow aficionados.” So I’ve also attended marathons at Brown University in April 2011 and with the New England Gilbert & Sullivan Society in June 2011. But the Rockville Sing-Out only happens once every five years (making this the 20th anniversary… if you go by birthdays), and by now I’m hooked enough to actually travel out of state for this sort of thing.

The Sing-Out is truly more of a community singalong than a performance; all are welcome to come and sing chorus, with the option of sitting in the risers on the stage, or to simply watch and sing from the audience. However, the organizers do cast all the solos in advance (by application rather than by audition), and I had the honor of singing Dame Hannah in Ruddigore on Saturday afternoon, as well as one of the chorus leads (Olga) in The Grand Duke on Sunday morning. (Everyone thinks Mad Margaret is the plum women’s role in Ruddigore, and maybe it is, but I’d rather sing Hannah any day. You get the awesome exposition song at the beginning, a feature in the gorgeous madrigal in the Act 1 finale, and — spoiler alert — your own out-of-nowhere love plot with adorable duet at the end.)

Hearing/singing all the shows in one big binge definitely lends some new perspective; for instance, I am assembling some new lists of favorite duets and other bits, which I will attempt to post in future. But mostly it feels oddly like coming home to places I haven’t been since I first (or most recently) inhabited them: Ploverleigh, Pfennig-Halbpfennig, Tremorden Castle, Titipu, Utopia… and of course the House of Lords and the Tower of London. As I posted to Facebook after I got home last night: “Is it sick that I immediately wanted to do it all over again singing different parts?” :-)

And, needless to say, another big part of what made the weekend so awesome was catching up with old friends (from MITG&SP to the G&S Society of New York)… and meeting new ones. Many thanks to all the organizing committee, staff, and volunteers — particularly the accompanists! — who made this magical weekend possible.

Where you can find me for the High Holidays

One of my fellow members at Town & Village Synagogue in downtown Manhattan is Rabbi Judith Hauptman, who is on the faculty at JTS. I first met her over Rosh Hashanah lunch this time last year. For the past several years, Rabbi Hauptman has run a free, public community young adult High Holiday congregation under the name of Ohel Ayalah (“the tent of Ayalah,” named for her mother z”l, the inspiration for this hospitable service). Ohel Ayalah also runs a community young adult Passover seder, which I happened to attend this past April when I needed a place for 2nd-night seder, and I was impressed how they managed to do what felt like a full and complete traditional seder liturgy, blend in enough time for socializing, and still get us out of there at the stroke of 10pm.

One week earlier this summer, I attended T&V’s regular Friday night service, which as a rule is incredibly rich with powerful singing (thanks largely to the amazing Cantor Shayna Postman, and whichever of my fellow choirmates happen to be in the congregation on any given week). After the service, Rabbi Hauptman came up to me and said “How would you like to come daven with me for the High Holidays?”

“Um,” I said, “I’m not sure how useful I can really be to you on that!” I’m not, in truth, very well versed in actual liturgy for anything beyond the Friday night service, Torah service, and occasional Shabbat Musaf. But she has (as I knew) a regular cantor, Josh Gorfinkle, who does the liturgical heavy lifting, and a couple of additional/backup service leaders. In particular, she said, she was basically just looking for someone to reinforce the singing up front on a microphone and thereby add to the overall ruach of the service. That, I said, is something I can do. Even if it means I have to negotiate splitting my time with the choir at T&V, where I would otherwise be spending all of the holidays.

The upshot is that I’ll be with Ohel Ayalah’s Manhattan service for the first evening and day of Rosh Hashanah and for Kol Nidrei. And in addition to harmonizing throughout the services, and reading the Haftarah (the story of Chana, which is my Hebrew name, so that’s awesome), she asked me to sing one of the three repetitions of the Kol Nidrei prayer. I am deeply honored… and only a little terrified. It turns out that I have at least some version of Kol Nidrei internalized from the many years I spent in the professional High Holiday backup choir in Swampscott/Marblehead (starting in 1997 at Temple Israel, which eventually became Congregation Shirat HaYam). Of course, the arrangement in my head is a choral monstrosity for cantor, four-part choir, and possibly organ… but if I sing through some combination of the lines I remember, with enough conviction and kavannah, it seems to hang together well enough.

Rabbi Hauptman offered to lend me a kittel, since she wants all of us to wear them on the bimah. But the Sunday before last, I went up to West Side Judaica on 88th & Broadway and bought one of my own. Amusingly, the nice lady at the register wished me mazal tov… because these are—like the tallit—traditionally considered a men’s garment, and worn particularly for weddings, as well as High Holidays and Passover seders. So, y’know, what else does it mean when a woman of marriageable age is buying one? (Granted, the last time I bought one, that was what it was for, but that’s another story.) Happily, the gentleman who assisted me in finding one had not batted an eyelash when I asserted that it was for myself and patiently helped me sort through and try on all the sizes of the three or four styles they had. I purposely picked out the very most girly-looking one: all pintucks and lace edges. It’s like the world’s prettiest lab coat. I am excited.

I think it’s going to be a good year.

And if you want to come and daven with me, they’re still accepting walk-ins at the Prince George Ballroom (15 E 27 St., between 5th and Madison), tomorrow night at 6:45pm and Thursday morning at 9am. L’shanah tovah u’metukah!

This summer’s challenge project: Beginning Russian

Я теперь изучаю русский язык. Это трудно, но очень интересно!

… I’m big on languages; in my lifetime I’ve studied French (starting in grade school), German (starting in high school), Italian and then Hebrew (starting in college). The next ones on my list have always been Russian and then American Sign Language.

Last fall my synagogue (which does a lot of deaf outreach) offered a 6-week “mini-course” in beginning ASL, so I eagerly signed up for that. There was supposed to be a Level 2 class at the turn of the year, which I signed up for as well, but it was cancelled due to low registration; I have unfortunately kind of let the practicing slide, in the meantime, but that’s another story.

At the beginning of May, due to a confluence of personal circumstances, I decided it was time to tackle Russian. I signed up for 6 weeks of a beginner class through ABC Language Exchange and started at the beginning of June. There’s only one more session left now, and while I’m not going to be able to continue it right away (for reasons of both time and money), I’m definitely interested in doing more with them — it’s been a great experience. I come out of every session with that delightful “brain is full” feeling. Granted, it’s hard to get very far in 90 minutes a week without any language lab component to force you to drill, so I’m still not so solid on, say, verb conjugations (let’s not even talk about case endings). But I’ve been pretty motivated to put in practice time on my own, and for sure I got the main thing I wanted out of the class: a crash course in reading fluency that would allow me to do more self-study going forward.

To my handful of dear friends who are Russian speakers: I’m looking forward to enlisting you in my practice. :-) My [cute] Russian-speaking colleague tells me my accent is good, so I credit you all with my prior exposure.

There are a bunch of online resources out there, but I especially want to give a shout-out to a site called FunRussian.com (“Learn Russian the Fun Way”). She’s got really good articles and a truly impressive set of video tutorials. I happened on it because I was trying to track down a Winnie-the-Pooh poem that my friend Alyosha taught me some 15 years ago, during one of our few tutorials… and it was right here! in an article on Винни Пух, Vinni–Pukh, the Russian adaptation of Winnie-the-Pooh.

Спокойной ночи!

Big performance news: The Bliss Jockeys

Yesterday, I signed on as a backup vocalist with NYC rock band The Bliss Jockeys, fronted by the remarkable and charismatic Phil Robinson and backed by a gospel-choir-style ensemble of 7 female singers. “Part rock, part gospel & part jam band, The Bliss Jockeys feature a large, over-the-top sound and deliver an energizing and delirious experience every time!” Their debut album, The Birth of Bliss, is close to complete and will be forthcoming in 2013 from Roomful of Sky Records.

How it came about: Last weekend was my 20th (shhh) college reunion at Brandeis University. Phil, along with two of his ’98 classmates (having their 15th), were assigned totally at random as my suitemates in the reunion housing on campus. All of them turned out to be completely awesome and the best thing about my weekend. On Saturday night, after the class dinner, we all sat up until about 2am drinking bourbon and singing a cappella harmonies to the Indigo Girls and Cat Stevens and Simon & Garfunkel, and finally Phil turned to me and said “Hey! You are awesome and should join my band! I need a female vocalist! We rehearse on Monday nights!”

… Now it happened that, within just the past few weeks, I had started having the thought, “Hey, I would really like to look for an a cappella/vocal group to join again. I bet I could find one of those somewhere in NYC that would take me.” (As longtime acquaintances know, in Boston I was a member of Jewish a cappella group Honorable Menschen from 2003 to 2011, and only quit when I moved to NYC. So it was a huge part of my life for 8 years.)

Also, Monday is one of the few nights in the week I had totally free.

While this obviously isn’t a cappella, the opportunity is close enough that it is going on my archival list of “things that have fallen into my lap precisely when I needed and asked the Universe for them”.

Sunday night I returned to NYC; Monday night I sat in on a rehearsal, and I was thoroughly delighted. The rest is history. I will (tentatively) be making my debut with the band on Thursday, July 18, at Tobacco Road in midtown Manhattan.

Talk about bliss: While the BJs’ list of musical influences includes Bruce Springsteen, The Animals, Phish, the Indigo Girls, Cat Stevens, Etta James, KT Tunstall, and musical theater, their “non-musical influences” are specified as Joseph Campbell and Carl Jung. Case in point: We’re booked to play the Center for Symbolic StudiesMidSummer Festival—Ancient Mysteries, Modern Psyche. The CSS, located just outside New Paltz, NY, is “a healing and performing arts center exploring the psyche through the window of myth.” When I realized that this was the "Midsummer Festival" on our gig list, I about fell over and died; I had blithely assumed it was a music festival. COOLEST. VENUE. EVER. [Edited to add: Sadly, this appearance was later cancelled; the festival has chosen to feature performances more directly theme-related, so, ancient Greek music and the Rap Odyssey. Can’t argue there. But the BJ’s are nonetheless still considered the “house band”.]

I am incredibly excited and energized to be a part of this project. Join the email list or follow on Facebook!

I’ve also updated my performance page accordingly. Obligatory geek side note: The brand-new accordion tabs under “Past Appearances” were created with some nifty Javascript from Elated.com. The MP3 embed utility is, I’m almost sorry to say, Yahoo’s WebPlayer, but it’s actually quite slick; a single line of script, and it will auto-embed YouTube links as well as local MP3 and video files.

New ketubah design: Flames

Friends in the Philadelphia area invited me several months ago to create the ketubah for their wedding, taking place today. I’m sadly missing the wedding itself, as I am away on vacation with my mom (this post is appearing through the magic of pre-scheduled posting; thanks, WordPress!), but I was excited to be able to play a role in their special day nevertheless.

Today is Lag Ba’Omer, the 33rd day of the seven-week “omer” period between the Jewish holidays of Passover and Shavuot. Sefirat ha-Omer is a period of semi-mourning in which a variety of joyful activities are customarily proscribed, including listening to live music, buying new clothes, cutting one’s hair (!), and getting married. However, the 33rd day of this period is observed as a minor festival, with a temporary lifting of those prohibitions… making it a very popular date for Jewish weddings, particularly when it falls out, as this year, on a Sunday.

Weddings aside, Lag Ba’Omer is typically associated with outdoor celebrations, and especially with bonfires. So when it came time to ponder artistic themes for this ketubah, I suggested fire, and the idea immediately touched off, well, sparks.

ketubah

A bonfire-themed ketubah for a Lag Ba’Omer wedding.

In this all-text design, the two primary flames are the ketubah text itself: standard Orthodox Aramaic incorporating the Lieberman clause, and an accompanying English rendition (not, mind you, a translation; the actual standard legal text is highly technical and nothing so poetic). The additional decorative “sparks” rising up around the flames are verses from Song of Songs (2:10, 2:14, and 6:3). Producing this piece digitally meant that I could apply a gradient color scheme to enhance the flame effect—something we could never have achieved with hand-lettering.

The finished piece is 16×20. It was output by my go-to colleague for digital imaging, Jim Paradis of Baldwin Hill Art & Framing in Natick, MA, as an archival-quality giclée art print on smooth art paper. The entire design and approval process took just over five weeks, and the final print was shipped overnight with a week to go before the wedding.

Mazal tov, Lawrence and Ellyn!

Designs for the Blue Hill Troupe’s 2013 Mikado

As many of you know, I’m a Backstage member of the Blue Hill Troupe, Ltd., the only musical theater group in New York City to donate its net proceeds to charity. I joined in the fall of 2011 shortly after moving from NYC to Boston. (I plan to re-audition for the Frontstage side this fall, but that’s another story.)

Each year, the Troupe does a fall production of a Broadway musical, a winter concert series, and then their season highlight, a large-scale spring production of a Gilbert & Sullivan operetta.

I bring a bunch of different backstage skills to the table: a little set construction (I own my own DeWalt screw gun), a little painting, and I’m now working makeup crew for the current production, The Mikado (N.B.: two more performances, today only, 2pm and 8pm!). But the highest-level skill I have to contribute is, naturally, on the graphic design side. So last spring I worked on the Program committee for Utopia, Ltd.… and this year they invited me to be lead designer on the Mikado program. Now, when the Troupe says “program”, especially for the spring show, they mean a massive 140-page volume comprising about half advertising and half editorial content, and represents a team effort of dozens of people over a span of several months. But here’s a selection:

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BHT 2013: The Mikado

The Blue Hill Troupe’s 2013 commemorative tile, based on Doug Larson’s set design.

The other thing I got to do was this: Every year the Troupe produces a keepsake 4″ ceramic tile as a membership gift commemorating the year’s spring show. In March, not long after the program went to press, I got an emergency call from the Troupe president and the set designer, asking if I could perhaps help them get the design ready for manufacturing. They had a concept and a first-draft file, which I revised into the final design shown at right (click to enlarge).

I’ve been very gratified by the crowd response to both these pieces, in which the phrase “the prettiest we’ve had in years!” keeps cropping up.

… And now, I’m off to the green room of El Teatro del Museo del Barrio to staff the makeup table one last time. Break legs, everyone!

My long-awaited big book project: Embattled Farmers

Embattled FarmersSo, remember the giant book production project that was eating my life from about November to April? It is really, truly, for realsies DONE and published!

So now it can be told: The book is called Embattled Farmers, by Richard C. Wiggin, published by the Lincoln (MA) Historical Society. ISBN: 978-0-944856-10-9 hardcover; 978-0-944856-11-6 paperback. And I did the text and cover design and production (i.e., decided what everything should look like and then laid it out).

Fundamentally, it’s a collection of biographical profiles of the 252 individuals serving in the Revolutionary War who were natives, residents, or in any other wise associated with the town of Lincoln, Massachusetts. This undertaking alone required a massive research commitment, investigating and cross-checking primary and secondary sources all over the region. But the book goes a step beyond those individual statistics, pulling together a surprisingly cohesive narrative from the webs of relationships to the cultural fabric of a small and close-knit New England town at a time of great crisis and upheaval.

The official launch date was Monday, April 15, otherwise known in Massachusetts as Patriots’ Day, not to mention Marathon Monday. I actually had never heard what the final arrangements would be for the big launch event (once it was established that I wasn’t going to be able to get up to Boston for it in any case); and then with the bombings at the Boston Marathon, speaking of crisis and upheaval, I didn’t follow up to ask how things had turned out. But today I got an email from Rick (the author) with the following great news:

The National Park came in with a big order, as did several other shops, museums, historical sites in the area. And I moved a number of books in and around the various Patriots Day events last weekend and the weekend before. The Boston Globe ran an article about the book a week ago. And I’ve been getting phone calls from people wanting the book, from as far away as Amsterdam, NY. By the Launch Party last Monday, I had moved about 80 books. For the Launch Party, we had 290 people show up, and we sold 95 books that night. And since then, I have received restocking orders from 2 of the sites that are carrying it. Hard covers are not likely to arrive for another week and a half, and we have already taken orders for about 1/3 of them. So for all intents and purposes, we have just about sold out our initial print run. I’m doing my best not to let my 15 minutes of fame go to my head. But the Historical Society is ecstatic, to say the least! They have authorized a second print run, which I’d like to get into the works before we actually do run out of our dwindling inventory.

I’m personally very pleased with the way this book came out. At 592 pages (and 157 illustrations), it ended up being at least 20% longer and 100% more complicated than either Rick or I ever anticipated. But I truly believe that in its final form it’s achieved the status of a very important work of scholarship, and I’m proud of my role (technical as it may have been) in helping bring it together.

… Now if only there were a link to order it online! But folks in the Boston MetroWest area can check it out in the following venues:

And eventually I’ll manage to post a sample of the text along with the cover on my portfolio page. In the meantime, however, I would just like to note that the book does already have its own Facebook page. Talk about culture shock.