Episode 11 - Looking Out, Looking Back

Thanks for Hitting Play and then listening to Hit Play.

If you like what you hear and want to support the New York Neo-Futurists, consider making a donation at nynf.org, or joining our Patreon. Patreon membership gives you access to bonus content like video plays! We’d really appreciate any support in these difficult times. Contributing to our Patreon helps us continue to pay our artists. 

Take care of yourself, call a friend, paint a painting, and share it with us on Instagram, Twitter, or Facebook.

1:26 - Pa'lante mi gente pa'lante by Michael John Improta

3:40 - Sissy by Christopher Borg

6:50 - Wanted: Night Sonnets (parts I - X) by Robin Virginie & Rob Neill featuring Anthony Sertel Dean

10:56 - The (anti)climax of lockdown Aries season by Laura Killeen featuring Michael John Improta, Hilary Asare, and Michaela Farrell 

Our logo was designed by Shelton Lindsay

Our sound is designed by Anthony Sertel Dean

Léah Miller is our associate producer 

Hit Play is produced by Anthony Sertel Dean and Julia Melfi 

Take Care!

Transcript 

Episode 11: Looking Out, Looking Back

Show Intro

Chill electronic instrumental music plays underneath.

Julia: 11. Looking Out, Looking Back. I’m Julia Melfi—a New York Neo-Futurist. While our on-going, ever-changing, late-night show, The Infinite Wrench, is on hold for the foreseeable future, we wanted a place to keep making art for you. And thus, Hit Play was born!  

If you’re already a fan of The New York Neo-Futurists, or any of our sibling companies, hi! We can’t wait to be within 6 feet of you. If this is totally new to you—welcome to it!

We play by four rules: We are who we are, we’re doing what we’re doing, we are where we are, and the time is now. Simply put: we tell stories, and those stories are ours. Everything that you hear is actually happening. So if we tell you we’re recording while we’re under a towel for better audio quality, we’re really under a towel for better audio quality. Like I am right now.

Julia: And now, Robin will Run the Numbers!

Robin: Hey I’m Robin Virginie, a New York Neo-Futurist. In this episode we’re bringing you four plays. One by Michael John Improta, a play from the archives by Christopher Borg, another by Rob Neill and myself featuring Anthony Sertel Dean, and a final play by Laura Killeen featuring Michael John Improta, Hilary Asare, and Michaela Farrell.

That brings us to 47 audio experiments on Hit Play. Enjoy!

Music winds down.

Play 1: Pa'lante Mi Gente Pa'lante (1:26)

Michael: Pa'lante mi gente pa'lante. GO!

Environmental sounds of Michael moving around and doing the actions he describes, like ripping tape to hang the flags. 

Michael: Right now I am taking my favorite Puerto Rican flag, and taping it to my street facing window. I have 32 Puerto Rican flags. 

Michael hums Verde Luz underneath text. 

And yesterday Mayor Bill DeBlasio cancelled all non-essential permitted events for June. I am taping my favorite flag to my window, because the Puerto Rican Parade will be cancelled in June. And It's my favorite flag because the color blue used in its triangle is a sky blue. Like what I should be seeing through my window right now. 

And It used to be that all Puerto Rican Flags were this color but in the 50’s the government changed it to a Navy blue to mirror The US flag. And I suppose If you want a country to stop seeing itself as a country, changing its flag to look more like yours is a smart thing to do. It’s my favorite flag because in 2020, sky blue Puerto Rican flags are harder to find. But there’s also a Black and White resistance flag that is gaining popularity today, those are a bit easier to find.

The humming fades into the sounds of resistance and parade celebration.

And It’s Black and white to represent a death to the colonial oppression of Puerto Rico, but also hope for the Puerto Rican people. I own 32 Puerto Rican flags. 2 of them are sky blue. Two of them are black and white, and 28 are navy. I see owning these flags as a small act of resistance.

But I won’t be able to wave any of my 32 flags at the parade this year, (or buy a 33rd for that matter) because gathering for a parade is non-essential. I am taping my favorite flag to my street-facing window, because displaying it is a reminder to me and anyone who cares to see; that even though today the disease we must fight is a virus, the disease of colonialism remains.

Play 2: Vault: Sissy (3:40)

Borg: Sissy GO!

Borg: Hello hello. Testing testing. I was sitting in chemistry class when I first became aware that I had a “unique” voice.

At Churchill Junior High School, Chris Agler mimicked the way I talk–it sounded like: “Yesss Misster Marzsss”

Sound of warped "yes Mr. Mars" echos. 

It confused me. He said I talked liked a fag. I hadn't realized I was gay. I knew Fag meant sissy. 

Electronic chords play under text. 

When I was 7 I went camping with my grandma. I recited this dirty rhyme and grandma laughs and says to everyone “see, I told you he wasn’t an s.i.s.s.y.” Did she think I couldn’t spell? Or was she warning me? Being a Fag was bad.

The hot gay politics of the 90’s made it cool to be out and proud…but I wasn’t proud… I felt the sting of shame….my voice made me vulnerable. My conservatory speech teacher was hard on me. She called it “accent reduction”. My heavy “Utah accent,” I suspected, was a euphemism. Then, after 2 wonderful years of Shakespeare in DC, I was told that Michael Kahn wasn’t sure how to use me…something about my “s” problem. So I started doing “accent reduction” again: “Yet, Wet, Set” 

Distorted "yet, wet, set" echoes. 

I turned down roles I thought were too feminine. A New York casting director told me if I ever wanted to be cast in TV or Film, I better “butch it up.” “Just pretend you’re straight.” That sting again. “Fit, Pit, Sit”

Distorted "fit, pit, sit" echoes. 

Does my voice make you feel uncomfortable? It does me. 

(butch voice) Would it be better if I sounded like this? It’s Cool, right? My friends love it. Women tell me it turns them on. I bet guys like it too. It’s more masculine. Hotter. Easier to cast! It’s better, right?

(normal voice) Well…I’m a Neo-Futurist now…which means that I don’t have to pretend. I can’t.

That's Cecil Baldwin. His voice is rich and deep and masculine. Michael Kahn loved it. His voice has recently made him rather famous. His gayness doesn’t intrude. I didn’t give him any lines in this play. (butch voice) Hey, sorry, Cecil. Catch you later, man.

I am a Fag.

There is power to truth. Value in authenticity.

Play 3: Wanted: Night Sonnets (6:50)

Rob: Wanted: Night Sonnets. GO!

Wanted: Night Sonnets (Parts I - X)

© 2020 Robin Virginie & Rob Neill

Each section contains a different swelling soundscape crafted by Anthony. 

Anthony: One. 

Robin: This is not a night sonnet

Rob: This is a dialogue about late-night isolation iso-texts

Robin: With me, Robin

Rob: and me, Rob

Robin: And some added stellar soundscaping by Anthony

Anthony: Hi! 

Anthony: Two. 

Rob: It was a Sunday night

Robin: Well, really early Monday morning, like almost 3am

Rob: True, I asked you some questions by text

Robin: You texted me some questions and I texted, “right now I can see a bowl filled with water, bamboo plants, a toy frog that belongs to my cat”

Rob: I wrote that I see “a toy accordion, light reflecting off the window, tiny cactus”

Robin: You didn’t say “off the window”

Rob: I also meant aloe, not cactus, but not too important.

Robin: hmmmm, perhaps not.

Anthony: Three.

Robin: I texted that “I can’t see my cat, I can’t see my nieces and nephew, I can’t see my bedroom window! Omg cat just walked in lol”

Rob: Me: “I can’t see the moon, a really good sandwich, you”

Robin: Me: “Oh I can’t see you either”

Rob: Hmm. 

Anthony: Four. 

Robin: I could hear the Rolling Stones playing from my phone through my earbuds into my ears.

Rob: I heard ominous strings–it was this cool instrumental of bowie’s space oddity on a show I was steaming.

Robin: streaming.

Rob: right

Anthony: Five. 

Rob: Right now if I look out my window I see: one guy in blue pants waiting at the bus stop, and I no longer hear the bus idling that was the wrong one for that stop in that stop space. 

Robin: Right now out my window I see the rain, a car, and I can hear the wind. Although, I am sitting in my closet right now. When I said "right now" earlier, I guess I meant two minutes ago. 

Anthony: Six.

Rob: Do you feel that we talk to each other a lot?

Robin: I would say often but I wouldn’t say a lot. You?

Rob: Not a lot. But does this count?

Robin: In a way. But in a bigger way, maybe it doesn’t.

Rob: Hmmm, perhaps

Anthony: Seven. 

Robin: What if I said, Rob, I feel lucky to know you, and I'm craving a crab salad.

Rob: I wouldn’t know what you said, but I would hope that it was nice or funny or profound.

Robin: It was definitely something about something.

Rob: And I can’t hear you recording this

Robin: True, I know, but soon you enough you will have 

Rob: Neo-Futurist aesthetical loop style, yeah soon enough

Robin: Neo-Futurist aesthetical loop style sent through the hallways of time, space and technology soon enough

Anthony: Eight.

"Night sonnets" reverberates in the background. 

Rob: I hope people send us more night sonnets.

Robin: And we’ve gotten so many before….

Rob: Well. No. So, ya know, one is all it takes 

Robin: To be more.

Rob: To be more

Anthony: Nine. 

This section is all about sounds created by Anthony

Anthony: Ten. 

"Night sonnets" reverberates in the background. 

Robin: Eventually you sent me a squirrel emoji that looks like it’s snoring zzzzz’s 

right out of its ass.

Rob: Mmhm and I’ll send it again

Robin: And I will press the ‘haha’ react button again. 

"Night sonnets" reverberates into the foreground and crescendos into abstraction. 

Play 4: The (anti)climax of lockdown Aries season (10:56)

Laura: The (anti)climax of lockdown Aries season. GO!

Sounds of a birthday party, many voices together/wine corks/laughter. It quickly winds down.

Laura: Birthdays. Oof, what a crap shoot. 

Background noise fades into gentle music underscore. 

Laura: One half of my brain craving a party, fun and attention and a space for me to create fun and attention for other people. The other half wanting an intimate dinner with four people, some time with my partner and some time with myself. Every year, the party wins. Usually at the last minute–indecision. This year’s plans were different though, a dinner the night before and a party the day of. A perfect arrangement. But then that didn’t happen. March 21st. 1st day of the zodiac. 2 days before official lockdown in the UK. When was yours, Michael?

Michael: March 22nd. 2nd day of the zodiac. 5 days into official lockdown in New York. 

Laura: Michaela?

Michaela: April 8th. 22 days after official lockdown in New York City. 

Laura: And you, Hilary? 

Hilary: April 6th. It was a weird one. 

Laura: Tell us.

Hilary: It was alright–I had some nice distractions. The day itself was a lot of “wee it’s my day! I feel special and loved OH GOD WHAT IS HAPPENING IN THE WORLD weeee birthday treats!” 

Michael: Oh man! My birthday was so many things. I rode to Coney Island, and then limped the boardwalk with a suspected stress fracture in my right foot. I cooked myself a steak, and burnt it. It was so weird. But not as bad as it could’ve been. I made myself a pitcher of Margarita, met my neighbors, and had a sexy facetime with my lover who sent me a cake on a caviar. 

Michaela: My lockdown birthday was... ok. It was one of my favorite birthdays but that's not saying much. I usually get very down around my birthday, but this year I had no pressure to plan a party, a dinner, I didn't have to wallow. I was supposed to be alone at the end of the night and I slept pretty soundly with that. I missed going to a restaurant by myself and ordering whatever the fuck I wanted. That is kind of my birthday tradition (restaurant is a loose term though, last year it was Chipotle). Usually I’m sad on my birthday and food makes me feel better, so why the hell wouldn't I go treat myself?

Michael: I tend to get sad on my birthdays too. The last few have not been great. I really missed having my mother join in the festivities. She always comes to the city to celebrate with me. But I loved how my loved ones did what they could to make me feel loved, and remembered. 

Hilary: One friend sent me an intense amount of cheese and when my mom couldn’t get a cake delivered she had 8 giant cookies, 3 slices of bread pudding and 2 massive pain au chocolates delivered. 

Laura: Wow.

Hilary: Yeah! I thought “I have so many people determined to make me feel good today, I have to limit my moping. I’m damn lucky”.

Michael: In the future I would love to be in a room with 4-10 people I love. And I hope I can hug them as often and tightly as I want. 

Michaela: Now, I feel like I can do birthdays differently. Maybe next year I should not only treat myself to a private meal but also to a fully private day.

Hilary: I think it's important to try to feel special and loved on your birthday because you are–reality can sustain many truths at once. 

Laura: When I think of my birthday this year, my headlines will be the same that would appear in any of my birthdays from any other year. Loved ones, cake, candles, cards, presents, wine, food, friendship, joy. And while there are many words missing this year, there are also some new ones that I want to carry forward. Peace. And perspective.

The music fades down.

Laura: OK, epilogue. I don’t know whether horoscopes are real. When I use them, it’s often as a way to identify with someone or a group, to run with a tribe… which is what I’m doing right now by writing and recording this play. As I sit in my room in London speaking this into my phone, Michael, Hilary, and Michaela are all almost definitely in their homes in New York. We’re all so far away from each other, and I want to commune with them in this shared experience. You know, there’s this stereotype of Aries needing and wanting lots of attention. I hope you enjoyed us all talking about our own birthdays. 

Show Outro (15:33)

Chill electronic instrumental music plays underneath.

Julia: Thanks for Hitting Play and then listening to Hit Play. If you liked what you heard, subscribe to the show and tell a friend! If you want to support the New York Neo-Futurists in other ways, consider making a donation at nynf.org, or joining our Patreon–Patreon.com/NYNF. Patreon membership gives you access to bonus content like video plays and livestreams. And if this episode gets over 1,000 downloads, we'll order one of our Patreon supporters a pizza on us. We’d really appreciate any support in these difficult times. Contributing to our Patreon helps us continue to pay our artists. 

If you're looking for something else to listen to, check out Neo Alum Dylan Marron’s new podcast, Small Triumph, Big Speech. In each episode, Dylan celebrates someone’s everyday accomplishment with a big over-the-top-speech. And all the money raised from the podcast goes to the National Domestic Workers Alliance's Coronavirus Care Fund, which supports domestic workers who don't have access to health care, job security, or paid leave. Give it a listen. Way to go, Dylan!

Take care of yourself, do a shadow puppet show, and share it with us on Instagram, Twitter, or Facebook.

This episode featured work by: Michael John Improta, Christopher Borg (and special thanks to Joey Rizzolo for pulling this play for us, out from the archives), Robin Virginie and Rob Neill featuring Anthony Sertel Dean, and Laura Killeen featuring Michael John Improta, Hilary Asare, and Michaela Farrell. Our logo was designed by Shelton Lindsay. And our sound is designed by Anthony Sertel Dean. Léah Miller is our associate producer. Hit Play is produced by Anthony Sertel Dean and me, Julia Melfi. Take Care!

Music fades out!