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The music of war: Embedded

Here is a bit from a note I put in the program regarding music in Embedded, with some shout out to some awesome peeps who helped us get exactly what we wanted:

Music has been vital to this production. From Robbins’ dedication of the show (above) to his notes in the script calling for so much music, it was important to honor that as best we could. In searching for music that fit these times, we discovered that there isn’t as much mainstream politically and socially-charged music out there, particularly about the war, as their was in the ‘60s and ‘70s (Thanks, Clear Channel). This led us to seek new approaches to a few classics.

I heard Lorna Bracewell perform her contribution at a coffee house one night in 2006, prompting me to reach out to her this spring. The Hornrims, fronted by long-time Jobsite collaborator Joe Popp, recorded two tracks specifically for this show after we asked. Joe previously recorded a version of Sympathy for the Devil in 1999 for us to use in The History of the Devil, returning as our 10th birthday show in October . Our deepest thanks to these folks. Make a plan to see them live next time you see they’re playing out.

Masters of War written by Bob Dylan, performed by Lorna Bracewell
LornaBracewell.com

Fortunate Son written by John Fogarty and For What It’s Worth written by Stephen Stills, performed by The Hornrims
TheHornrims.com

At one point, Shawn Paonessa had written me an email saying this was looking to be one of the weirdest soundtracks ever to be assemble for a show. Maybe. Maybe not. It sure as hell is eclectic. Chet Baker to against me! to Chuck Mangione to GWAR to Saul Williams to The Clash to Dixie Chicks.

Ok, so that’s pretty bizarre …

SHILLING
Now here’s my typical pleading pitch: please make your plans as soon as possible to come see this show. This is a special production to so many of us, and it couldn’t really be more timely. In a way, I’m unsure if this play will even be something that would be performed in 5 or 10 years, unless somehow history really ends up repeating itself in a big, bad way. Which I suppose I shouldn’t take off the table.

Opening weekend is about wiped out, sans opening night. Plenty of room to get a ticket there. We play through Aug. 31. We can’t extend past that due to Blackbird needing to load in, but we can add some shows if we find ourselves in the place that sales warrant it.

I think we’re all very interested to see how audiences will react to it. I don’t think it’s any more politically charged than some other choices that we’ve made, but maybe I’m not giving us enough credit here. Despite how FOX might have tried to smear the show when it came out, I really do think it’s pretty fair, and accurate.

Please help send Jobsite out of our 9th season with a big, bad bang.

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