Monday, November 7, 2011

"Suites by Sondheim" Snippets with Lea Salonga

This November 7, 2011 a roster of Filipino (pure and half breeds) Broadway actors & singers will all join together for a concert entitled "Suites by Sondheim", for the benefit of Philippine Development Foundation (Phil Dev) at Alice Tully Hall, Lincoln Center in New York starring Lea Salonga and directed by Victor Lirio.

Ofcourse, for those who won't make it (like me who is staying in the Philippines and wasn't able to fly) to see the concert in New York, here are videos of Lea Salonga singing "Sunday in The Park," and other Filipino talents during rehearsals.  Yes, these are mere videos of rehearsals, but I am still entertained (which I can play over and over again). I hope the same feeling does to you too.

Read Lea Salonga's Article in PDI, "Awesomeness in New York"


For other snippets of interviews and promotional videos that are interesting to watch, here are some I have gathered from Youtube:


Lea Salonga: "The thing about Sondheim is that it does get very cerebral. You do need a faculty with words and a love for the lyrics to not just pull it off, but to have an appreciation for it. I, as a younger person, [her first Sondheim show was playing the Witch in Into the Woods in Singapore in 1994] and Sondheim versus being a little older and having lived a little bit of life and then looking at Sondheim again, I think one requires a certain amount of living in order to appreciate Sondheim, and I think there's a lot of life in a lot of what he writes." (Source: http://philippines.broadwayworld.com/article/BWW-Phils-Interview-Lea-Salonga-Talks-About-Suites-by-Sondheim-20111106#ixzz1czfEkrUq)



One Big Round of Applause to Filipino Talent!

Joining Salonga at the concert are equally accomplished Filipino-American theater performers that will include Adam Jacobs (Les MiserablesLion King), Jose Llana (WonderlandFlower Drum Song), Paolo Montalban (Pacific OverturesCinderellaJoan Almedilla (Miss SaigonLes Miserables), Alan Ariano (Miss SaigonThe Encounter), Emy Baysic (Miss SaigonMamma Mia), Angel Desai (Company), Rona Figueroa (Miss SaigonLes Miserables), Lydia Gaston (The King and I, Miss Saigon), DeeDee Magno Hall (WickedMiss Saigon), Orville Mendoza (Pacific OverturesMiss Saigon), Emily Morales (South Pacific); Jennifer Paz (Miss Saigon, Les Miserables), and Diane Phelan (South PacificWest Side Story), among others. Broadway composer Robert Lopez, who's Filipino American, will be honored with the Award of Excellence for his Tony Award-winning compositions for hit Broadway musicals Avenue Q and The Book of Mormon.

"Theater as a Creative Industry" by Joy Virata

This article was published in the business journal of the American Chamber of Commerce of the Philippines, Inc. 
Thank you to Jeremy Domingo of Word of Mouth Theater who shared this article.
Theater as a Creative Industry
By Joy Virata


The author, Joy Virata, recently took on the role of the Narrator in Peter Pan by Stages and Repertory Philippines. Photo Courtesy of Joriben Zaballa at http://www.joriben.com/2011/10/peter-pan-manila-final-flight.html
Some years ago, at different times a couple of years apart, I attended two meetings called by government officials who were involved in the development of the Creative Industry. These meetings were attended by representatives from the different arts including theater, fashion, dance, the visual arts, design, etc. They were meant to discover how the government could facilitate the growth of the industry. At each meeting there were concrete suggestions put forth by the different artistic groups and organizations and after each meeting nothing ever happened.

Some forty or so years ago, Zeneida Amador visualized the creation of a theater industry by establishing Repertory Philippines Foundation, Inc. At that time, besides a few amateur and school theater groups, there were only two professional companies—REP and the Philippine Educational Theater Association or PETA. Today there are many professional theater companies of varying sizes, producing plays and musicals by both local and international playwrights in Tagalog or English. This year will have seen the production of at least sixteen shows all produced, directed, designed, staffed and acted in by Filipinos. These include Next to Normal. Seussical, The Sound of Music, Sweet Charity, In The Heights, Peter Pan, The Little Mermaid, Noli Mi Tangere, Aida, Care Divas, William, Haring Lear, Joy Luck Club, Shakespeare in Hollywood, and 39 Steps.

There is a roster of professional Filipino actors, directors, stage managers and crews, set and costume designers, orchestras, musicians, and other theater workers, from which theater companies regularly draw. It is not unusual for actors to be rehearsing for one production and acting in another. Actors also “moonlight” for corporate functions, or provide voice-overs or the talent for commercials. Some theater actors are hired for bit parts in foreign or local moves. Sometimes they are hired for work in Hong Kong, Macao or Singapore or for a production on a cruise-liner. Once upon a time they also became “Kims” or “Engineers” in Ms. Saigon productions.

Every year new actors are added to the roster. There is never any lack of interest in making theater a full-time profession. There is never any lack of raw talent waiting in the wings – willing to sacrifice their time and often having to use their own money for transportation and food just for the opportunity of being trained—even if actors rarely earn enough to support themselves (much less a family) on what they earn.

Most community theater companies (not Broadway nor the West End) in the United States and England (Fringe) depend on public and private subsidy. In the Philippines, for the most part, we have neither. Theater companies must depend on their own resources to meet escalating costs of production—mostly through the sale of tickets and advertising sponsorships. However these sponsorships have become few and far between—specially since the start of the importation of foreign productions. Every company must be creative at ticket selling and thus each company has their own methods of selling.

All theater companies struggle to survive—some better at it then others—and face similar problems. Advertising is expensive and cannot be covered by the ticket prices that can be charged for local productions. Therefore Manila’s active theater scene is the best-kept secret in town. Lucky ones get advertising help from newspapers but the newspapers can only give so much—usually one or two ads once or twice a month.

There is the usual competition from movies, television, DVD’s, etc., and the natural aversion to fighting traffic on a Friday or Saturday night . One has to experience the difference between plastic imagery and human warmth before he is willing to make the extra effort to see a live performance but how does he get that experience without first being lured into the theater? Building an audience is probably the most difficult job in Manila.

Another problem to face is ticket pricing. Although tickets to local productions cost fraction of what they cost in other countries there is valid reason for students and low wage earners to choose cheaper means of entertainment and theater companies must take this into consideration. A P300 ticket is easy to sell but won’t cover costs. Sponsorships help a ltittle but they are few and far between. Thus regular (not for special fundraising) tickets average between P1000 to P2000 and this requires Individual, man-to-man, ticket selling. It must also be noted that many people seem to begrudge having to pay for a theater ticket and will look for “freebies” and discounted tickets whenever possible.

Then there is there is what I will call “unusual competition” from foreign productions that somehow or other seem to get huge advertising sponsorships unavailable to local productions. These sponsorships allow for advertising on television, radio, newspapers and billboards. Corporations also buy tickets (which are usually four and five times the cost of tickets for local productions) and distribute them free to clients. These companies cannot entirely be blamed for this. Numbers count and imported productions attract more attention then local ones do and therefore provide more advertising coverage. It is very difficult to counter cultural mores that give more value to imported products no matter that local productions may be as good and sometimes better than these imports. Globalization is a good thing but we’ve got just as good a product and we produce it at a much cheaper price so shouldn’t we have some kind of protection so that we get a chance to grow?

During the two meetings that were held on the Creative Industries, two suggestions were put forth on how the government can help the theater industry. The industry needs affordable venues – both for performance and for training and it needs help in publicity. Venues may be hard to come by. Even the CCP must hire out its hall to the highest bidders (foreign companies) in order to survive. Local groups relay on the RCBC Theater, Onstage Theater and the Meralco Theater which are usually fully booked—specially in the second half of the year. But a little help with publicity should be possible. A daily listing of productions in newspapers sponsored by the Department of Tourism or a private company would help a lot. Also, tax exemptions for the importation of materials and equipment needed for cultural activities should be implemented. Exemption from the payment of withholding tax on payments for intellectual property rights and rentals for materials should also be implemented.

One of the most precious resources of the Philippines is the artistic talent, creativity and resourcefulness of its people. Yet it is this resource which receives the least recognition from both the private and public sectors, is seldom looked on as having any material value, is last on any list of priorities and first to be removed when budgets are tight. Still theater workers will continue to give their all and hope that someday this will change.

Broadway World.com (BWW) has revealed its nominees for Philippine Awards

Image Source: http://nav.broadwayworld.com/regional/Philippines_Regional_Icons.jpg
BroadwayWorld.com (BWW) Philippines Awards has recently revealed its nominees in different categories for Philippine Theater.

I have one critique though.  A category for BEST ORIGINAL PLAY and BEST ORIGINAL MUSICAL SCORE must also be included (and must be separated from foreign/non-original plays) because playwrights and composers such as the likes of Vincent De Jesus must be given due credit for composing original songs and writing plays which are fruits of their own intellect & "blood, sweat and tears" so to speak (and not copied) .  They are a feat in itself.

As one screenwriter Oscar honorary awardee once said, "A movie always starts, and ends with a screenplay."   The same goes with theater. Without the writer or lyricist/composer, the actor and director can do nothing (even if they have all the costume, lighting & set designers and musical directors).  Thanks to foreign plays which we can borrow rights from and showcase, but for theater companies who did not do such and produced their original plays for Philippine Theater, their very own original Filipino plays and music must be recognized and honored as well.  Just my two-cents-worth.

YOU CAN VOTE by a simple click at this link: 
and help YOUR CHOICE TO WIN 
by also sharing this voting link above.
DEADLINE IS DECEMBER 31, 2011

Nomination was from October 6 to 31.  The list of nominees were trimmed down from 500 to the following:

2011 BWW Philippines Awards Nominees

Best Musical
In the Heights (Atlantis Productions Inc.)
Sweet Charity (9 Works Theatrical)
Sound of Music (Resorts World Manila)
Peter Pan (Repertory Philippines/Stages Production Specialists Inc.)
Noli Me Tangere (Tanghalang Pilipino)
Care Divas (Philippine Educational Theater Association)
Cory ng Edsa (Philippine Stagers Foundation)

Best Play
American Hwangap (Tanghalang Pilipino)
Ang Post Office (Philippine Educational Theater Association)

Best Direction of a Musical
Bobby Garcia (Next to Normal)
Jaime del Mundo and Menchu Lauchengco-Yulo (Peter Pan)
Menchu Lauchengco-Yulo (Little Women)
Robbie Guevara (Sweet Charity)
Chari Arespacochaga (Aida)
Christopher De Venecia (Little Shop of Horrors)
Dexter Santos (Orosman at Zafira)
Vince Tanada (Cory ng Edsa)

Best Direction of a Play
Gary Labad (Ang Post Office)

Best Leading Actor (Musical)
Jett Pangan (Next to Normal)
Felix Rivera (Next to Normal)
Sam Concepcion (Peter Pan)
Gian Magdangal (The Wedding Singer)
Kris Lawrence (Sweet Charity)
Mark Bautista (Noli Me Tangere)
Melvin Lee (Care Divas)
Ricci Chan (Care Divas)
Jerald Napoles (Care Divas)
Vince Tanada (Cory ng Edsa)

Best Leading Actor (Play)
Martin delos Santos (Ang Post Office)

Best Leading Actress (Musical)
Menchu Lauchengco-Yulo (Next to Normal)
Ciara Sotto (Rent)
Mian Dimacali (Rent)
Caisa Borromeo (Little Women)
Nikki Gil (Sweet Charity)
Tippy dos Santos (Peter Pan)
Cris Villonco (Noli Me Tangere)

Best Leading Actress (Play)
Jay Glorioso (Love, Loss, and What I Wore)
Liza Infante (The 39 Steps)
Shamaine Centenera Buencamino (Fake)

Best Musical Direction
Gerard Salonga (Little Women)
Joseph Tolentino (Sweet Charity)
Pipo Cifra (Cory ng Edsa)

Best Choreography
Cecille Martinez (In the Heights)
Deana Aquino (Sweet Charity)
Dexter Santos (Orosman at Zafira)
John San Antonio (Cory ng Edsa)

Best Costume Design
Raven Ong (Peter Pan)
Mio Infante (Rent)
Emy Tanada (Cory ng Edsa)

Best Lighting Design
Shoko Matsumoto (Next to Normal)

Best Set Design
Joey Mendoza (Little Women)
Gino Gonzales (Peter Pan)
Jeffrey Ambrosio (Cory ng Edsa)

Best Sound Design
Chuck Ledesma (Rent)
 Bobbit Jacinto (In the Heights)
Rards Corpus (Sound of Music)
Art Grabentina (Cory ng Edsa)

Best Performance by an Actor in a Featured Role/Ensemble Role (Musical)
Markki Stroem (Next to Normal)
OJ Mariano (Rent)
Michael Williams (Peter Pan)
Jeff Arcilla (Little Women)
Johann dela Fuente (The Wedding Singer)
Jon Jon Martin (The Wedding Singer)
Miguel Faustmann (Sweet Charity)
Myke Salomon (Care Divas)

Best Performance by an Actor in a Featured Role/Ensemble Role (Play)
Jeremy Domingo (American Hwangap)
Nicco Manalo (American Hwangap)
Jonathan Tadioan (Bombita)
George de Jesus (Amphitryon)
Joshua Deocareza (Titus Andronicus)
Nic Campos (Shakespeare in Hollywood)

Best Performance by an Actress in a Featured Role/Ensemble Role (Musical)
Bea Garcia (Next to Normal)
Tex Ordonez (In the Heights)
Ciara Sotto (Sweet Charity)
Sheila Valderrama (Sweet Charity)

Best Performance by an Actress in a Featured Role/Ensemble Role (Play)
Cris Villonco (The Joy Luck Club)
Frances Makil Ignacio (The Joy Luck Club)
Liesl Batucan (American Hwangap)
Skyzx Labastilla (Titus Andronicus)

Best Theater Company
Atlantis Productions Inc.
9 Works Theatrical

Best Theatrical Venue
Carlos P. Romulo Auditorium
CCP Little Theater
PETA Center Theater
Newport Performing Arts Theater (Resorts World Manila)


I already have my own choices for some:
Jett Pangan (Best Actor - Musical)
Menchu L. (Best Actress - Musical)
Next to Normal (Best Musical)
Markki Stroem (Best Performance by an Actor in a Featured Role - Musical)
Bea Garcia (Best Performance by an Actor in a Featured Role - Musical)
Bobby Garcia (Next to Normal)

As to the others, I'm still thinking about it.  I have until Dec. 31 to vote.


Best of luck to our nominees! ;)

Audition for Atlantis Theater's 2012 Season

If you have what it takes, audition for ATLANTIS 2012 SEASON on November 23, 2011 for  
Rock Ages, 
Nine, 
& Shrek the Musical.  
Details are below:


Photo Courtesy of Atlantis Productions

Good Luck and Break a Leg! ;)

Sunday, November 6, 2011

Danny Velasquez , "The Man and His Music" at 80

The celebrity pianist of his generation and performing on TV Shows in his younger years, my Uncle Danny Velasquez will be celebrating a birthday concert on November 11, 2011.


  
My first cousin Danny is celebrating his 80th b-day on 11.11.11. His loving family has prepared something unique & memorable for this momentous event. One gets a hint of this on the kind of invitation that he sent.  Indeed, I am anxious to find out. My blood relationship with him is very close. In law parlance it is in the first civil degree of consanguinity or first cousin on my father's side. My father and his mother are brother and sister that's why.

"Manong Danny", as we fondly call him, is a man of many talents. Among others, he is a lawyer by profession (pre-law Ateneo, law proper U.P.), a pianist by avocation. Indeed, this two persona dwells prominently in him as although he was busy in the corporate world, he had time for his music.

In his younger days, he had a TV show together with his friends who were also professionals & musicians at the same time. Of course he was the pianist in the group. I recall it was Dee Marquez, a popular TV personality at that time, who hosted that show. 


He has had two(2), yes two, heart by-passes already and as a result his speech is slurred. But he continues with his music even if he had undergone some of life's heavy challenges and the more my silent admiration for him increases. He had inspired me in more ways than one.

Happy 80th birthday Manong Danny and may you have more to come. 

God bless! 
~ Written by my dad (Atty. Nestor T. Corpuz)

Uncle Danny Corpuz -Velasquez, is a very dear Uncle to me. He has always been supportive of my singing.  In his healthier and younger days, he would play the piano at our QC house and I would sing along.

When I was a kid he would always attend my singing competitions.  He was there when I won 1st place in an inter-school singing competition held at Ateneo Gradeschool when I was 12.  He was holding my trophy so tight as if he also had won and his smile never faded even after we left the venue. He was also there when I lost as a finalist when I was 14 in the National level of NAMCYA (National Music Competition for Young Artists) for Vocal Solo held at U.P. Wilfrido Guerrerro Theater and I also saw the sadness filled on his face.  In almost every singing engagement I had, whether I performed well or badly, he was there

This was when he was in his healthier years.

I have not seen him very often since then.  He got weak and suffered 2 heart attacks but still survived. He once called the house landline and explained to me that he almost died.  He was asking if my sister Nina who works at ABS-CBN has connections with Jericho Rosales because he wanted a surprise gift for his partner Lita to meet the actor in person.  That is how he loved Lita so much (who had a crush on Jericho). And yes, Lita was able to meet the actor Jericho Rosales thereafter.

Uncle Danny is turning 80 and I am glad and proud despite the speech defect and 2 heart bypasses he went through, his hands can still play and will once again produce the wonderful music we used to hear.

WHERE: Urdaneta Village, Clubhouse Makati
WHEN: November 11, 2011
TIME: 5:30PM - Thanksgiving Mass
             630 PM - Celebration of Music
             
Happy Birthday Uncle Danny and may God continue to shower you more his choicest blessings! ;)

P.S. If interested to watch, please call Lita, Twiggy or Vicky at the contact numbers posted in the picture below.

Thursday, November 3, 2011

Remembering the Dead but Also the Living

"Remembering the dead but also the living" ~ this is what made me think after reading the article by one of the most brilliant writers I know in my generation, my good friend Dr. Christine "Tin" Guevarra of UST, a resident of the Dept. of Neurology and Psychiatry. 
Tin's Grad Pic at UST Medicine
Dr. Tin is a former Associate Editor of Sinag, the official newsletter of College of Arts and Social Sciences of UP Diliman.  To be an editor in this newsletter, Tin underwent screening and bested several and a lot of popular students in the campus.  
during college, Psych days
a designated composer and lyricist of friends

I'd say Tin, despite her musically-inclined and brilliant writing skills - remains grounded and humble. Brilliant yet unassuming, talented yet modest, and one of the persons in the batch whom I think deserve higher honors than many others, only that she wasn't "pakitang-gilas, mayabang, kupal or pakitang-pansin" to teachers like some (whom I won't mention here)She comes to school with the simplest outfit and never ever bragged about her God-given brilliance in so many ways.
Tin & her best buddy Anne Mondala (both YFC leaders)

Tin with her one her of best guy buddies in college, Deneb Labial

She has been a writer eversince gradeschool - where some of her works are published in school newspapers, newsletters and magazines.  

I with Tin along the U.P. PSYCH faculty's hallway
Imagining ourselves locked in an Asylum
Also a hired lyricist, composer and writer by friends - Dr. Tin was my seatmate, groupmate and batchmate way back in college (AB Psychology) and has always been one of my treasured friends eversince.  Here is one of her well written short-but-sweet essays especially for All Soul's Day.
Morto: Incognito
By tradition, burial places, catacombs, and sacred urns are visited, scented, and adorned with flowers popularly during early November to commemorate the existence of loved ones and significant figures in the society who once walked the same roads we step on each day, and at one point in time, simply ceases to do so; not momentarily, but for all eternity.

At one time, he was looking, and at another, he was just staring; the bellowing of his thorax is nothing but a mechanism of expansion from a mechanical ventilator. 24 minutes post resuscitation, BP 0, pulse rate 0, a flatline on the cardiac monitor accompanied by the long beep that seem to go on and on, only to be drowned by the sobs and wailing of the mourning.

November 1, All Saints Day; November 2, All Souls Day.

 I include in the remembrance of our dear departed brethren the ones whose bodies remain in our realm and yet, deep in the brain parenchyma, and the deepest recesses of the unconscious, they live and yet do not "exist."  What may be worse than death are coma and catatonia. No flatlines, no CPRs but there is wailing, and sobbing, and, staring, the endless beeping in the ICU, and the stretching of hope waiting for its breaking point.

But there is hope. It is stretched, yes, but it remains there. Hope.

The therapeutics of Neurology and Psychiatry is a summoning of the seemingly-dead and the surely-alive. It is not a per patient basis but always a dynamics for families, friends, and other support groups wherein all involved are treated in one way or another. The so-called poor prognosis specializations...not quite.

One is buried in coma and catatonia only when a person ceases to exist in the hearts of those who remain with him, when hope is extinguished, tangled in the tubes and wires of the ICU, the hum of the ventilator, just waiting for the long monotonous beep; And for a psychiatric patient, left to wander the halls of an asylum only known to him, trapped in its maze and gone forever.

Let us tinker with your brain and caress your soul.

Prayers for the dead...and for the living as well.

*We remember our beloved departed today and pray for their eternal repose. May they rest in peace with our Creator.
~ Dr. Christine Guevarra, M.D. 
Year 2003 - A picture taken almost 8 years ago.  An unforgettable year for both of us ;).  Thanks Tin for the friendship. Thanks for keeping me learn from you on Love, Light and Him.

Tuesday, November 1, 2011

Eulogy of Steve Job's Sister - Mona Simpson

I can't resist not to share.  This Eulogy of Steve Job's sister moved me too much that I have to post  - to show how a man like Steve lived a full life and that love for his family was the most important. ~ Naomi

Steve and his wife Laurene, after his WWDC 2011 Keynote.
 A Sister’s Eulogy for Steve Jobs

 "This is what I learned: he was working at this, too. Death didn’t happen to Steve, he achieved it." ~ Mona Simpson
 
Mona Simpson, Steve Job's sister and author of the novel turned movie, "Anywhere But Here"
Even as a feminist, my whole life I’d been waiting for a man to love, who could love me. For decades, I’d thought that man would be my father. When I was 25, I met that man and he was my brother.

By then, I lived in New York, where I was trying to write my first novel. I had a job at a small magazine in an office the size of a closet, with three other aspiring writers. When one day a lawyer called me — me, the middle-class girl from California who hassled the boss to buy us health insurance — and said his client was rich and famous and was my long-lost brother, the young editors went wild. This was 1985 and we worked at a cutting-edge literary magazine, but I’d fallen into the plot of a Dickens novel and really, we all loved those best. The lawyer refused to tell me my brother’s name and my colleagues started a betting pool. The leading candidate: John Travolta. I secretly hoped for a literary descendant of Henry James — someone more talented than I, someone brilliant without even trying.

When I met Steve, he was a guy my age in jeans, Arab- or Jewish-looking and handsomer than Omar Sharif.

We took a long walk — something, it happened, that we both liked to do. I don’t remember much of what we said that first day, only that he felt like someone I’d pick to be a friend. He explained that he worked in computers.

I didn’t know much about computers. I still worked on a manual Olivetti typewriter.
I told Steve I’d recently considered my first purchase of a computer: something called the Cromemco.
Steve told me it was a good thing I’d waited. He said he was making something that was going to be insanely beautiful.

I want to tell you a few things I learned from Steve, during three distinct periods, over the 27 years I knew him. They’re not periods of years, but of states of being. His full life. His illness. His dying.
Steve worked at what he loved. He worked really hard. Every day.

That’s incredibly simple, but true.

He was the opposite of absent-minded.

He was never embarrassed about working hard, even if the results were failures. If someone as smart as Steve wasn’t ashamed to admit trying, maybe I didn’t have to be.

When he got kicked out of Apple, things were painful. He told me about a dinner at which 500 Silicon Valley leaders met the then-sitting president. Steve hadn’t been invited.

He was hurt but he still went to work at Next. Every single day.

Novelty was not Steve’s highest value. Beauty was.

For an innovator, Steve was remarkably loyal. If he loved a shirt, he’d order 10 or 100 of them. In the Palo Alto house, there are probably enough black cotton turtlenecks for everyone in this church.

He didn’t favor trends or gimmicks. He liked people his own age.

His philosophy of aesthetics reminds me of a quote that went something like this: “Fashion is what seems beautiful now but looks ugly later; art can be ugly at first but it becomes beautiful later.”

Steve always aspired to make beautiful later.

He was willing to be misunderstood.

Uninvited to the ball, he drove the third or fourth iteration of his same black sports car to Next, where he and his team were quietly inventing the platform on which Tim Berners-Lee would write the program for the World Wide Web.

Steve was like a girl in the amount of time he spent talking about love. Love was his supreme virtue, his god of gods. He tracked and worried about the romantic lives of the people working with him.
Whenever he saw a man he thought a woman might find dashing, he called out, “Hey are you single? Do you wanna come to dinner with my sister?”

I remember when he phoned the day he met Laurene. “There’s this beautiful woman and she’s really smart and she has this dog and I’m going to marry her.”

When Reed was born, he began gushing and never stopped. He was a physical dad, with each of his children. He fretted over Lisa’s boyfriends and Erin’s travel and skirt lengths and Eve’s safety around the horses she adored.

None of us who attended Reed’s graduation party will ever forget the scene of Reed and Steve slow dancing.

His abiding love for Laurene sustained him. He believed that love happened all the time, everywhere. In that most important way, Steve was never ironic, never cynical, never pessimistic. I try to learn from that, still.

Steve had been successful at a young age, and he felt that had isolated him. Most of the choices he made from the time I knew him were designed to dissolve the walls around him. A middle-class boy from Los Altos, he fell in love with a middle-class girl from New Jersey. It was important to both of them to raise Lisa, Reed, Erin and Eve as grounded, normal children. Their house didn’t intimidate with art or polish; in fact, for many of the first years I knew Steve and Lo together, dinner was served on the grass, and sometimes consisted of just one vegetable. Lots of that one vegetable. But one. Broccoli. In season. Simply prepared. With just the right, recently snipped, herb.

Even as a young millionaire, Steve always picked me up at the airport. He’d be standing there in his jeans.

When a family member called him at work, his secretary Linetta answered, “Your dad’s in a meeting. Would you like me to interrupt him?”

When Reed insisted on dressing up as a witch every Halloween, Steve, Laurene, Erin and Eve all went wiccan.

They once embarked on a kitchen remodel; it took years. They cooked on a hotplate in the garage. The Pixar building, under construction during the same period, finished in half the time. And that was it for the Palo Alto house. The bathrooms stayed old. But — and this was a crucial distinction — it had been a great house to start with; Steve saw to that.

This is not to say that he didn’t enjoy his success: he enjoyed his success a lot, just minus a few zeros. He told me how much he loved going to the Palo Alto bike store and gleefully realizing he could afford to buy the best bike there.

And he did.

Steve was humble. Steve liked to keep learning.

Once, he told me if he’d grown up differently, he might have become a mathematician. He spoke reverently about colleges and loved walking around the Stanford campus. In the last year of his life, he studied a book of paintings by Mark Rothko, an artist he hadn’t known about before, thinking of what could inspire people on the walls of a future Apple campus.

Steve cultivated whimsy. What other C.E.O. knows the history of English and Chinese tea roses and has a favorite David Austin rose?

He had surprises tucked in all his pockets. I’ll venture that Laurene will discover treats — songs he loved, a poem he cut out and put in a drawer — even after 20 years of an exceptionally close marriage. I spoke to him every other day or so, but when I opened The New York Times and saw a feature on the company’s patents, I was still surprised and delighted to see a sketch for a perfect staircase.
With his four children, with his wife, with all of us, Steve had a lot of fun.

He treasured happiness.

Then, Steve became ill and we watched his life compress into a smaller circle. Once, he’d loved walking through Paris. He’d discovered a small handmade soba shop in Kyoto. He downhill skied gracefully. He cross-country skied clumsily. No more.

Eventually, even ordinary pleasures, like a good peach, no longer appealed to him.

Yet, what amazed me, and what I learned from his illness, was how much was still left after so much had been taken away.

I remember my brother learning to walk again, with a chair. After his liver transplant, once a day he would get up on legs that seemed too thin to bear him, arms pitched to the chair back. He’d push that chair down the Memphis hospital corridor towards the nursing station and then he’d sit down on the chair, rest, turn around and walk back again. He counted his steps and, each day, pressed a little farther.

Laurene got down on her knees and looked into his eyes.

“You can do this, Steve,” she said. His eyes widened. His lips pressed into each other.
He tried. He always, always tried, and always with love at the core of that effort. He was an intensely emotional man.

I realized during that terrifying time that Steve was not enduring the pain for himself. He set destinations: his son Reed’s graduation from high school, his daughter Erin’s trip to Kyoto, the launching of a boat he was building on which he planned to take his family around the world and where he hoped he and Laurene would someday retire.


Even ill, his taste, his discrimination and his judgment held. He went through 67 nurses before finding kindred spirits and then he completely trusted the three who stayed with him to the end. Tracy. Arturo. Elham.

One time when Steve had contracted a tenacious pneumonia his doctor forbid everything — even ice. We were in a standard I.C.U. unit. Steve, who generally disliked cutting in line or dropping his own name, confessed that this once, he’d like to be treated a little specially.

I told him: Steve, this is special treatment.

He leaned over to me, and said: “I want it to be a little more special.”

Intubated, when he couldn’t talk, he asked for a notepad. He sketched devices to hold an iPad in a hospital bed. He designed new fluid monitors and x-ray equipment. He redrew that not-quite-special-enough hospital unit. And every time his wife walked into the room, I watched his smile remake itself on his face.

For the really big, big things, you have to trust me, he wrote on his sketchpad. He looked up. You have to.

By that, he meant that we should disobey the doctors and give him a piece of ice.

None of us knows for certain how long we’ll be here. On Steve’s better days, even in the last year, he embarked upon projects and elicited promises from his friends at Apple to finish them. Some boat builders in the Netherlands have a gorgeous stainless steel hull ready to be covered with the finishing wood. His three daughters remain unmarried, his two youngest still girls, and he’d wanted to walk them down the aisle as he’d walked me the day of my wedding.

We all — in the end — die in medias res. In the middle of a story. Of many stories.
I suppose it’s not quite accurate to call the death of someone who lived with cancer for years unexpected, but Steve’s death was unexpected for us.

What I learned from my brother’s death was that character is essential: What he was, was how he died.


Tuesday morning, he called me to ask me to hurry up to Palo Alto. His tone was affectionate, dear, loving, but like someone whose luggage was already strapped onto the vehicle, who was already on the beginning of his journey, even as he was sorry, truly deeply sorry, to be leaving us.

He started his farewell and I stopped him. I said, “Wait. I’m coming. I’m in a taxi to the airport. I’ll be there.”

“I’m telling you now because I’m afraid you won’t make it on time, honey.”

When I arrived, he and his Laurene were joking together like partners who’d lived and worked together every day of their lives. He looked into his children’s eyes as if he couldn’t unlock his gaze.
Until about 2 in the afternoon, his wife could rouse him, to talk to his friends from Apple.

Then, after awhile, it was clear that he would no longer wake to us.

His breathing changed. It became severe, deliberate, purposeful. I could feel him counting his steps again, pushing farther than before.

This is what I learned: he was working at this, too. Death didn’t happen to Steve, he achieved it.
He told me, when he was saying goodbye and telling me he was sorry, so sorry we wouldn’t be able to be old together as we’d always planned, that he was going to a better place.

Dr. Fischer gave him a 50/50 chance of making it through the night.

He made it through the night, Laurene next to him on the bed sometimes jerked up when there was a longer pause between his breaths. She and I looked at each other, then he would heave a deep breath and begin again.

This had to be done. Even now, he had a stern, still handsome profile, the profile of an absolutist, a romantic. His breath indicated an arduous journey, some steep path, altitude.

He seemed to be climbing.

But with that will, that work ethic, that strength, there was also sweet Steve’s capacity for wonderment, the artist’s belief in the ideal, the still more beautiful later.

Steve’s final words, hours earlier, were monosyllables, repeated three times.

Before embarking, he’d looked at his sister Patty, then for a long time at his children, then at his life’s partner, Laurene, and then over their shoulders past them.

Steve’s final words were:
OH WOW. OH WOW. OH WOW.


Mona Simpson is a novelist and a professor of English at the University of California, Los Angeles. She delivered this eulogy for her brother, Steve Jobs, on Oct. 16 at his memorial service at the Memorial Church of Stanford University. 

Source:http://www.nytimes.com/2011/10/30/opinion/mona-simpsons-eulogy-for-steve-jobs.html?_r=2&pagewanted=all