Tuesday, February 14, 2006

Meridian Boxing Club

Meet Tic

Talked about the best fight he ever saw. He could only remember the name of one of the fighters. His guy was getting beat down for alot of rounds then he fades back and gets the other boxer to follow him. just then he lays on a punch, maybe even a suckerpunch and knocks the other guy out.

Tic has been training for 22 years.

Tic does train with too much sparing. Only 2 nights a week cause if yer not careful you can burn a kid out.

Instead he focuses on the fundamentals. Working with the bags, strentgh training.

He talked to us about how promoters and managers can manipulate a contract so that the boxer gets next too nothing. He talks about how the boxer needs to have a lawyer and how most boxers who are going to keep any money they one did it cause they had a good lawyer.

He talked about old fighters who tried their hand at being preachers.

He appreciated our enthusiam. He even told us that if we came back tomorrow they might go ahead and do a little sparing just for us.

When I shook his hand the skin was tough, hard like a baseball mitt. You can tell that Tic has got a lot miles on 'em.

"It got the right look. They tell me to clean it up, but I say we dont want it too clean. You want it to look like rocky."

He told us that he knew a 16 year old who had already had 300 ametur bouts.

The TV had a shot of janet leigh screaming from Pyscho just before I took the picture.

Wednesday, February 01, 2006

Playwright vs. Director

Creation(Playwright) is not synonymus with interpretation(Director)

Composer - Conductor

Playwright - Director

The conductor has interpretive control, and even has rights to recordings of his/her performances...but has not rights to the notes on the page and any honest comparison to their production choices to another conductors is subjective at best.Aside from blocking...to my mind this situation sets a precedent that playwright/director situation can emulate.


If a director steals, then it is from another director. Therefore, the director has the right to attempt to sue the other director, but not the playwright, the producing organization, or any other body.

The Conductor has more in common with most theatrical directors than a theatrical director has with a film director.

Although highly valuable, the theatrical director's contributions to the event are subjective. Therefore, aside from blocking, there is no way to objectively judge whether or not one director has stolen from another, such is the fate of an interpretive artist versus a creative artist.

The only measurable contribution a director makes is blocking, everything else while valuable is ultimately unverifible, ethereal and therefore unfit for copyright. I thinks director of a world premiere could ask for a cut of royalties for a specific amount of time, the same way a producing organization does.