Wednesday, October 31, 2012

Darth Mickey

We say things are gonna "break the internet in half" a lot, but few things really do. Yesterday, it happened, unexpectedly, and I'm still trying to suss out how I honestly feel about it.

The Walt Disney Company bought Lucasfilm Ltd. for 4.05 billion dollars. Disney now owns Star Wars and it's related characters, although I believe Fox still owns Episode IV: A New Hope, as a film (they paid for it, Lucas kept the sequel rights and characters, and financed the rest himself). Disney is jumping head-first into the Star Wars business, with Episodes VII, IIX and IX (from a reportedly detailed Lucas outline) tenatively announced for 2015, 2017 and 2019. The plan is also for a Star Wars-related film "every 2 or 3 years" after that.

The Mouse now also owns Indiana Jones, as well, but the legal entanglements with Paramount Pictures apparently have put any development there on the back burner. Too bad, I think an Indy animated show would be more exciting than, say, another Star Wars cartoon.

On one hand, I am shocked that Lucas, who proudly operated Lucasfilm without studio support (he's probably the most successful indy film producer in the world, technically) would up and turn the keys over to one of the largest corporate entities in the world. His criticism of Hollywood studios for having lost creative thought, due to their ownership by various conglomerates, is legendary. He seemed to relish the freedom that his success bought him, even, at times, from his most rabid fan base.

On the other, I bet George is happy as a clam right now. Let's be really honest here, running Lucasfilm for the last few years must've been a real pain in the ass. First you have the fanbase itself, who keeps begging for more, and then bitches incessantly when they get it. Not to mention that Red Tails, a non-Star Wars, non-Indy passion project that he's been working on for years, crashed and burned at the box office. There was much talk after Episode III: Revenge of the Sith was released that Lucas would return to more personal projects, "art" films, and things like Red Tails.

The fanbase, however, was never gonna let that happen. Oh, yeah, the fan community gave much lip-service to "I can't wait to see what George will do," but really, nobody cared if it didn't have Boba Fett in it. No matter how much they professed to HATE the Prequels, the 1980's claim of a nine-part Skywalker family saga was always been thrown in his face. No matter how much disappointment surrounded Indiana Jones and the Kingdom of the Crystal Skull, there's continual calls for another Indy film. It's a complete no-win situation for him.

Why put yourself through that? Now he can retire. Turn the business over to Kathleen Kennedy (great choice - hard to imagine that this titan of film business was Steven Spielberg's assistant), and the folks at Disney, and let them take the heat. "Here's the plot, have at it. Call if you have questions."

I've often said that Star Wars fans, or at least the vocal contingent, are a bunch of whining losers. Far too caught up in their own visions of what Star Wars should be to actually enjoy the thing. Too aggrieved over a perceived slight to just embrace the joy and fun that this series, and Lucas, have given them.

The reaction to the sale reflects it...for YEARS I've heard "just turn it over to someone else, George, and it'll be great again!" That is, essentially, what this sale is, and yet, now we have "he sold my childhood!!" (which is better than that asinine "raped" crap, I suppose). Personally, I just think anybody who says that is a little too consumed by their childhood. This coming from a man who collects action figures and dolls.

Me? Look, I'm not all that happy to see Disney take up another property that they can turn into a "branding engine," as they have with Marvel Comics and The Muppets. I have many problems with details of how they've worked those properties, but no one can say they haven't done well by them. It's hard to argue with success.

As to the prospects of the final trilogy being realized, I am cautiously optimistic. I really won't get excited until some talent is attached. I am very glad Lucas is plotting. I can nitpick the Prequels to death (I prefer not to, and just enjoy them), but the overall plots were not the issue. George understands his themes and how they should play out. He's not a great writer (he knows this), so I'm interested in who's brought in to put meat on the bones.

Who will direct? This could go any number of ways. Disney is just as apt to find a cheap film school graduate (not necessarily a bad thing) as to reach out to established directors. If I can throw in my two Andrew Stanton. Yes, I know John Carter lost a boatload of money, but that was the fault of Disney marketing, not the film, and certainly not Stanton. That film had the sweep, scope, style, humor and speed that a Star Wars film needs. Your guy is right there.

I will also say this...Somebody better have already reached out to Mark Hamill. Carrie Fisher and Harrison Ford would be cool to see, as well, but I also think that, thematically, Han and Leia are not intrinsically needed for moving the story of the Skywalker Jedi forward. Luke is. I also think Fisher and Ford are less than enthused about the idea of going back to those roles. we know Ford isn't, and Fisher seems truly retired from acting.

Here's the other important thing that our raving fanbase better get a grip on real quick: The Expanded Universe material from the various novels/video games/role playing products....NO NOT MATTER. I suspect George may've mined some interesting bits (such as naming the capitol planet Coruscant for the Prequels) for his outline, the ultimate screenwriters may as well, but it's time to accept that anything that wasn't in a movie, or Lucasfilm TV NOT cannon.

They are not going to make the Thrawn trilogy, you are not going to see three films that say "Story by Timothy Zhan." I'd love to see Mara Jade, too, but, thematically, Luke will serve the Obi-Wan/Qui-Gon role in a third trilogy...having a wife would be odd. The Solo children may be the leads, and they may be named Jaina, Jacen and Anakin, but to expect everything to paly out EXACTLY as you expect is to doom yourself to disappointment.

Fan art by Tom Hodges - Calm down
I suspect that there will be much fanbase consternation over this issue. Probably outright hatred. That's silly, this is as it should be. You cannot constrain a creative team because Chewbacca died in such-and-such a novel. Star Trek fans have been living with it for years, get used to it. Maybe we'll all learn to just enjoy the story, and not try to make it mean more than it does.

I'll leave you with something I'm REALLY excited about. I'm betting a Star Wars theme park on the Disney World property in Florida just in time for the 40th anniversary in 2017. Hell, they gave Cars their own corner of California Adventure, you can't tell me a Star Wars Land wouldn't be VASTLY more lucrative. That's five years from now, which may seem quite quick, but look at it this way: they kept this sale, which must've been ongoing for months, completely under wraps. I wouldn't be at all surprised if the plans weren't already underway.

That's so much cooler than a Marvel vs. Star Wars video game, in my book.

Friday, October 26, 2012

My Guitar

I played for a little bit Wednesday night. 

God, it felt good. I felt like I could play, that I could make the thing sound any way I wanted. That I could make it scream and sigh as I wished.

That doesn't always happen. There's plenty of times you just sit there with this dead thing in your hands, trying will your fingers, and it, to do something, anything remotely like what you hear in your head. Sometimes, it's all you can do to not smash the damn thing against the wall. 

I love acting. I do. I love the fulfillment of throwing myself, whole hearted, into a story, a person who I give my body to. Taking the experiences and tossing them back to the audience, and getting back from them again. Not that that always happens, but...when it does....

But I want to play more. I want to play regularly. I want to create music. I want to make these songs I have in my pocket fuller, stronger. I want to jam with Pauly C. 

I need it. 

Listening to The Sword's Apocryphon almost non-stop since Tuesday, and it's awesome. I hope to have a review up next week.


Tuesday, October 23, 2012

Argo and Sweet Bird of Youth

Hello friends. Been a while. I apologize for my lack of blog entries. Life has filled up with about a million things in the past few weeks, and I have felt somewhat overwhelmed. I'm gonna try to be more consistent moving forward.

Got to see Argo last week, and, for my money, it more than lives up to the hype. Ben Affleck has, once again, proven himself to be one of the most talented new directors in the business. He's done it by embracing (and never more so than in Argo) a 70's-style ascetic. He tells stories, and allows the art and craft to be in how well, and how economically, he tells them. I tell you, when the 70's Warner Brothers logo was used to begin this film, I was over the moon.

I'm, going forward, not going to spend a lot of time on plots here. You can easily find out the plot of Argo, if you wish to, and I (perhaps egotistically) feel that my thoughts on the subject are more interesting than rehashing the storyline. Argo is the true story of a CIA operation to rescue a small group of Americans from Iran during the hostage crisis, by disguising them as a sic-fi film crew.

The story is compelling and it's astounding that such an audacious plan was put into play. Yes, it's clear that many of the third act twists and turns are likely augmented in order to ramp up tension and build to a satisfying climax. It's not unexpected, and with the sheer quality of filmmaking on display, not unwelcome. The groundwork that is established, the reportedly very accurate early scenes, give Affleck all the room in the world to stick the landing as a truly satisfying thriller. .

The cast is terrific, top to bottom. Alan Arkin and John Goodman are clearly having the time of their lives sending up every Hollywood cliche in the book. The scenes between them and Affleck, setting up the cover story for the operation, are pure gold. Affleck, too, just nails his central role. It's not flashy, it's a quiet, contemplative performance, and a reminder of why he became a star.

The simple fact is that I loved this film, and fully expect to see it nominated for Best Picture. It just simply is a terrific, old-style Hollywood thriller smart, funny, and fulfilling. It'll keep you on the edge of your seat, and not insult your intelligence.

It's a must-see.

Also saw Sweet Bird of Youth at the Goodman on Sunday.

I'm a Tennessee Williams fan, but Sweet Bird is a play that has, in the main, escaped me. I don't recall ever having read or seen this show before Sunday night. So I was not overly expecting anything, except a Tennessee Williams play. On that level, it delivered, with a suitably southern charm covering a dark underbelly, and some sharp one-liners and turns of the phrase.

However, David Cromer's production didn't score completely, for me. Some of the performances are lovely, I found Diane Lane wonderfully fun (and thankfully less take-your-breath-away gorgeous than on the Goodman's poster - which seemed wrong - the character is more worn-down than the image suggested) as Princess Kosmonopolis, and most of the supporting cast was top notch.

What I didn't like was some of the technical wiz-bang that Cromer employed. I felt that many of these bold technical choices, while I admired the audacious creativity, weren't adding up to a cohesive vision. With a ginormous live projection of Ms. Lane's face as she read lines facing out a window, as well as several other characters at various times in the show. It's a choice that worked better at some points than others, but also was not used enough to feel organic to the production.

We also had a third act set that rotated, and rotated, and rotated. The set became the show, and Finn Wittrock's Chance Wayne was lost, which is really a crime because that character is the driving force of the show. The third act is about him losing control of the web of lies and tall tales he's built around himself, and finding out that he's just a gigolo. Cromer's production, it's about a big rotating set, and a camera light that occasionally blinds the audience. Chance may be losing control, the choice may be to symbolize him becoming lost, but the audience is losing him, too.

I was especially perplexed by the odd video footage of incredibly fit men diving that was projected on the curtain between the two scenes of the first act. The imagery has a strange, soft core porn feel (which makes some sense, as it's covering a sexual encounter), but the convention never returns for the rest of the show.

The less said about the moment where turning on a lamp switches the set from (apparently) broad daylight instantly to dusk, the better. I spent probably five minutes, not paying attention to what was happening on stage, but trying to figure out why that happened.

I also felt like Finn Wittrock is a fine actor in a role that I think he's not quite right for. Chance Wayne is said, in the script, to be 29. Wittrock, whatever age he actually is, looks about 24, and a very clean, beautiful 24. I found myself thinking that we should see more of the cracks in his beauty. There's a desperation in Chance's actions that doesn't seem as motivated if he's still as beautiful as Wittrock, clearly, is.

I know that Paul Newman originated this role, and that image came to me a lot (completely unfair to Wittrock, I fully admit). Newman was beautiful, but he also had rough edges, he was worn down. Perhaps the idea that it's more Chance's fear of his decline than his actual decline, but that didn't really come across, either. It's a problem that I can't really lay at Wittrock's feet, he plays the moments well, I suspect that I'd find him to be absolutely lovely in the part a few years down the road.

I was also less than enthralled with William's final speech from Chance. It's one of those moments where the playwright feels the need to have a character explain to you how you should, ultimately, feel and react to them. Always troubling for me, because it speaks of a playwright who didn't trust the actor to get the point across.

The show is worth seeing, for the performances, and a layman audience might just let the odd visual choices just wash over as spectacle. I fully admit, as a practitioner, I likely think about this stuff way too much.

Thursday, October 18, 2012

This is obvious...

I need to blog more.

Argo tonight. Can't wait.

Back to Frankenstein tomorrow. Can't wait for that, either. I love doing this show, no matter how much it hurts.

Thursday, October 11, 2012

Black Watch

I was very lucky to get to see The National Theatre of Scotland's Black Watch last night. Presented at the Broadway armory by Chicago Shakespeare Theater. The show originally ran in Chicago about 18 months ago, while I was in performances of The Copperhead. I missed my chance that time around, and thankfully the production was popular enough that CST brought it back for a two week run.

Black Watch is, I guess the best description is a multimedia production, about the famed Scottish Infantry regiment, identified by the red ostrich feathers worn on their hats. It combines video, movement, and theatre into a pretty powerful presentation about the regiment's deployment in Iraq. The show also offers the history of the regiment in a very concise and entertaining way.

Now, in general, I'm sick of hearing about Iraq in theatrical productions. I'm especially sick of the liberal hand-wringing that pervades most shows that go up about Iraq. We get it, right? We get that it was wrong, we shouldn't have been there, and that is was, in many ways, a disaster. I also say that as a pretty Liberal dude.

What's lovely about Black Watch is that, really, Iraq is central, yet not terribly important, to the ultimate story being told. It could be any number of conflicts. It's a catalyst for the characters to change and develop, and that's the key. There are various political statements and overtones to the show, but the story is about these soldiers being confronted with a kind of enemy they'd never confronted before. Much hay is made that the Black Watch has fought for hundreds of year, with forces all over the globe, distinguishing themselves, but the idea of suicide bombers is unnerving and confusing to them.

This is what I truly loved about the production. It's about soldiers, and makes no excuses or condescends to those men. They are gung-ho, and remain gung-ho, for most of the play, and the ultimate change doesn't hinge on a political awakening or speechifying (though there is some conversation made around that point), but at the fact they were ought-fought by a enemy they couldn't even truly see. The political themes are clear, yet wholly subservient to the story of these men, and their experiences.

As a side note, I am truly done with any script that positions "the military" as the villain, and then offers little to no reasoning for this other than they are "the military." I have tons of gripes and arguments with politicians and bureaucrats who put these events in motion, but nothing but respect for the soldiers who have to survive, and end up doing and facing things that none of us will ever really have a clear picture of. Even if we like to sit back and click our tongues over the horrors of war. Most of us will never truly understand the horrors of war, period. These are men of honor, and the play respects that.

The show did remind me somewhat, in terms of scale, scope and style, of War Horse, but I think that show is the more solid, overall, production. The productions are both massive, and share the "boy's own adventure gone horribly wrong" feel. They also share the "less is more" aesthetic that I admire so much. Flying rigs are visible, set pieces serve multiple uses, and the scenes come alive, not through massive amounts of detail, but through the conviction of the performers. It allows such a more fluid performance. I love it.

There were things I didn't love. I felt some of the movement portions of the show went on longer than they needed to, especially since (as is utterly correct for a military-theme show) they were very regimented and repetitious. I did, on a couple of occasions, feel like they repeated a few times too many.

I also, and this is a pet peeve, I acknowledge, was not taken with the idea that writer Gregory Burke is, ostensibly, a character in the show. He, or his avatar, meets with the surviving troops in a pub after their return from duty. I didn't find this as utterly off-putting as when Moises Kaufmann and members of the Tectonic Theatre Project show up as characters in The Laramie Project (a choice that almost destroys that play for opposed to the sublime Gross Indecency: The Three Trials of Oscar Wilde - but I digress), mainly because these scenes are undercut so well by the humor of the veterans he's interviewing. Again, the vivid characters trump a choice that seems, on the surface, a bit self-serving. You went out and interviewed these guys? Great! However, reminding us of your process tends to draw me out of the story...and I am a big believer that the story is everything.

Minor thing, honestly. Like I said the characters are vivid enough, and the performances rich enough with humor, that I stayed invested. It stuck out mainly, I believe, because of my own issues.

All minor gripes about a show that really is something we should all be looking at, as theatre professionals. Large scale theatre that puts storytelling and fluid performance over design detail and minutia, as well as political theatre that keeps emotional content it's primary consideration. It's top-notch, and you should try to see it.

Wednesday, October 10, 2012

Damn, Time Flies

I've been letting the blog down. I know this. I should write more, but, the simple fact is, I've been so wiped out with getting Frankenstein on it's feet, I didn't have much energy to blog. It's kinda ridiculous. I keep thinking there's going to be some glorious, golden moment in a few weeks when I'll have some free time to read, or work on music. Some time when I won't feel the pressure of my commitments.

Not bloody likely.

I'm into a Meisner scene study class now, and I was ecstatic to find out I'd be working on David Mamet's Speed the Plow. Anyone who knows me knows I love Mamet, and what you may not know is that, aside from a directing assignment where I put up a one act cutting of American Buffalo (a REALLY stupid decision on my part - never try to direct a play you really just want to be in), I have NEVER worked on a Mamet play.

But Goddamn, it's a lot of words.

On top of that, Pygmalion is on the horizon and moving in fast. Had a meeting with our dialect coach last night, and I have to start on lines for that, as well as getting the cockney in my head. I'm feeling very wary of this project. I'm not overly sure why. It's a great part, funny and lovely dialogue.

But Goddamn, it's a lot of words.

I also am feeling very, very much like I want to get back to working on my recording projects. It's been so long since I've felt like I could work on them, I may be at a point where I need to "burn the ships" again. I have one solid track done, I think (two different versions, even), and a lot of great songs starting to gel. I just find that, often, when I lose my track on where I am, and what my thought process was, it's best to chuck it all and start over.

That's why I have a home studio, isn't it? Don't cost nothin'.

Tuesday, October 2, 2012

The Reason We Should Be Doing Theatre.

Frankenstein has been a labor of love for me. It's a show I've thrown myself into with every bit of energy I could, it's a character I felt a deep connection to, and wanted to do justice to. I've paid for it in wear and tear on my vocal chords, and and near-constant aches and pains. It is, with no close competition, the most difficult show I have ever been involved with.

How can I tell? I've never had to take painkillers after a show before, and I hope to never have to again. My body aches, every inch of it. I feel like my arms might snap off. My head pounds with tension and strain. The act of taking off the make-up and costume is like a feat of endurance after the show.

I'll be honest and say that I've had moments where I wondered if it was worth it. Where I found myself fretting over what the reviews might say, how my peers might react to the show. Anger and resentment over not feeling I was being given the time and space I needed for my preparation. I was, and am, giving everything I can and, somewhere in the dark parts of my mind, I wanted to be hailed for it.

What a stupid, stupid way to think. What a useless mindset.

Not only that, but how hypocritical for me, the guy who constantly rails against creating theatre for other theatre people. The incestuous, deadly loop of diminishing returns and irrelevance.

As usual, some higher power always gives us the reminders we need. After our matinee on Sunday, I took my usual forty-five minutes, or so, to get out of costume and make-up, and headed down to the street. Two women were waiting near the doors of the church, and began to talk to me about how they had been in tears over the show. One of them had recently read Mary Shelly's novel, and was moved by my portrayal of the Creature. They just gushed over the show.

I was even friended on Facebook, and saw that similar comments were shared with her friends.

And it made me feel very small a petty.

Those ladies, THEY are our audience, and no matter how I may feel about "mistakes" I have made on stage, or what Mr. Cranky Critic, or whoever, may write about it. Those ladies took money out of their wallet and put it down so they could see a show, and they left moved and fulfilled. Not only that, but they made the effort to tell other people how much they loved it. How much sweeter that victory is, and how much more we should embrace and seek that feedback.

Thank you ladies.

As for my moaning and groaning about how much it hurts, I can only turn to the Boss, who (paraphrasing liberally here) said a performance should be work, and that if he isn't tired, sore and spent when he leaves the stage, it's wrong. An artist should work as hard as a factory worker. If you don't, have you really given all of yourself?

Frankenstein opens for the press tonight, and I am extremely proud of this show, it's cast and it's crew. I am honored to be playing this role, and I will give everything I can to each and every performance. Tickets available here.

The Frankenstein Playlist: Track Sixteen

Oh, how cliche this one is...but I felt appropriate for Opening night.

Are our Debts settled? Are our wrongs righted?

Iron Man
by Black Sabbath

I am Iron Man!
Has he lost his mind?
Can he see or is he blind?
Can he walk at all
Or if he moves will he fall?

Is he alive or dead?

Has he thoughts within his head
We'll just pass him there
Why should we even care?

He was turned to steel

In the great magnetic field
When he travelled time
For the future of mankind

Nobody wants him
He just stares at the world
Planning his vengeance
That he will soon unfold

Now the time is here

For Iron Man to spread fear
Vengeance from the grave
Kills the people he once saved

Nobody wants him

They just turn their heads
Nobody helps him
Now he has his revenge

Heavy boots of lead

Fills his victims full of dread
Running as fast as they can
Iron Man lives again!

The Final Playlist:

  • 1- The Creature Lives by Mastodon
  • 2- My Father's House by Bruce Springsteen
  • 3- Cold Water by Tom Waits
  • 4- The Apparition by Iron Maiden
  • 5- Rusty Cage by Johnny Cash 
  • 6- Ride the Lightning by Metallica
  • 7- Witch Hunt by Rush 
  • 8- Black the Sky by King's X 
  • 9- No Quarter by Led Zeppelin
  • 10- The Flame by Cheap Trick 
  • 11- Devils and Dust by Bruce Springsteen
  • 12- Dead and Bloated by Stone Temple Pilots 
  • 13- I Don't Believe in Love by Queensryche 
  • 14- She Talks to Angels by The Black Crowes
  • 15- Adam Raised a Cain by Bruce Springsteen
  • 16- Iron Man by Black Sabbath

Monday, October 1, 2012

The Frankenstein Playlist: Track Fifteen

Two for today - and i LOVE how well this one fits - last one tomorrow...

The Playlist So Far:
  • 1- The Creature Lives by Mastodon
  • 2- My Father's House by Bruce Springsteen
  • 3- Cold Water by Tom Waits
  • 4- The Apparition by Iron Maiden
  • 5- Rusty Cage by Johnny Cash 
  • 6- Ride the Lightning by Metallica
  • 7- Witch Hunt by Rush 
  • 8- Black the Sky by King's X 
  • 9- No Quarter by Led Zeppelin
  • 10- The Flame by Cheap Trick 
  • 11- Devils and Dust by Bruce Springsteen
  • 12- Dead and Bloated by Stone Temple Pilots 
  • 13- I Don't Believe in Love by Queensryche 
  • 14- She Talks to Angels by The Black Crowes
He - Frankenstein - Is Adam. He climbed to the highest branch of the forbidden tree, and ate from it's most treacherous fruit.

Adam Raised a Cain
by Bruce Springsteen

In the summer that I was baptized my father held me to his side
As they put me to the water he said how on that day I cried
We were prisoners of love a love in chains
He was standin' in the door I was standin' in the rain
With the same hot blood burning in our veins
Adam raised a Cain

All of the old faces ask you why you're back

They fit you with position and the keys to your daddy's Cadillac
In the darkness of your room your mother calls you by your true name
You remember the faces the places the names
You know it's never over it's relentless as the rain
Adam raised a Cain

In the Bible Cain slew Abel and East of Eden he was cast

You're born into this life paying for the sins of somebody else's past
Daddy worked his whole life for nothing but the pain
Now he walks these empty rooms looking for something to blame
You inherit the sins you inherit the flames
Adam raised a Cain

Lost but not forgotten from the dark heart of a dream

Adam raised a Cain

The Frankenstein Playlist: Track Fourteen

The Playlist So Far:

  • 1- The Creature Lives by Mastodon
  • 2- My Father's House by Bruce Springsteen
  • 3- Cold Water by Tom Waits
  • 4- The Apparition by Iron Maiden
  • 5- Rusty Cage by Johnny Cash 
  • 6- Ride the Lightning by Metallica
  • 7- Witch Hunt by Rush 
  • 8- Black the Sky by King's X 
  • 9- No Quarter by Led Zeppelin
  • 10- The Flame by Cheap Trick 
  • 11- Devils and Dust by Bruce Springstee
  • 12- Dead and Bloated by Stone Temple Pilots 
  • 13- I Don't Believe in Love by Queensryche
So Perfect. Such Beauty. Such Innocence.

She Talks to Angels 
by The Black Crowes

She never mentions the word addiction
In certain company
Yes, she'll tell you she's an orphan
After you meet her family

She paints her eyes as black as night now

Pulls those shades down tight
Yeah she gives a smile when the pain comes
The pain gonna make everything alright


Says she talks to angels
They call her out by her name
Oh yeah, she talks to angels
Says they call her out by her name

She keeps a lock of hair in her pocket

She wears a cross around her neck
Yes the hair is from a little boy
And the cross from someone she has not met
Not yet

Chorus 2:
Says she talks to angels
Says they all know her name
Oh yeah, she talks to angels
Says they call her out by her name

She don't know no lover

None that I ever seen
And to her that ain't nothing
But to me it means, means everything

She paints her eyes as black as night now

She pulls those shades down tight
Oh yeah there's a smile when the pain comes
The pain gonna make everything alright
Alright yeah

She talks to angels

Says they call her out by her name
Oh yeah, yeah angels
Call her out by her name
Oh, oh, oh angels
They call her out by her name
Oh, she talks to angels
They call her out,
Yeah, yeah call her out
Don't you know that they call her out
By her name