[{"id":"5189","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said 1995-02-06, Brulé"],"item_title_source":["Asset"],"item_title_note":["Ephemera accompanying asset, corroborated by Lee Gotham, who introduces the two event headliners."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Brulé, E.J.","Gotham, Lee"],"creator_names_search":["Brulé, E.J.","Gotham, Lee"],"creators":["[{\"url\":\"https://viaf.org/viaf/317000493\",\"name\":\"Brulé, E.J.\",\"dates\":\"\",\"notes\":\"Headliner.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham also MCs and performs at this event.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\",\"Performer\"]}]"],"contributors_names":["Duncan, Drew","Unknown_Reader1","Walsh, Tom","Audience_Member1","Audience_Member2","Audience_Member3","Audience_Member4","Hawley, Steve \"Liquid\""],"contributors_names_search":["Duncan, Drew","Unknown_Reader1","Walsh, Tom","Audience_Member1","Audience_Member2","Audience_Member3","Audience_Member4","Hawley, Steve \"Liquid\""],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"\",\"name\":\"Unknown_Reader1\",\"dates\":\"\",\"notes\":\"Open-mic performer.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Walsh, Tom\",\"dates\":\"\",\"notes\":\"Speaks to performers from the audience, not visible. \",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Audience_Member1\",\"dates\":\"\",\"notes\":\"Speaks to performers from the audience, not visible.\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Audience_Member2\",\"dates\":\"\",\"notes\":\"Speaks to performers from the audience, not visible.\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Audience_Member3\",\"dates\":\"\",\"notes\":\"Speaks to performers from the audience, not visible.\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"\",\"name\":\"Audience_Member4\",\"dates\":\"\",\"notes\":\"Speaks to performers from the audience, not visible.\",\"nation\":[],\"role\":[\"Speaker\"]},{\"url\":\"https://viaf.org/viaf/106300281\",\"name\":\"Hawley, Steve \\\"Liquid\\\"\",\"dates\":\"\",\"notes\":\"Open mic performer.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["Unknown_Reader1","Hawley, Steve \"Liquid\""],"Recordist_name":["Duncan, Drew"],"Speaker_name":["Walsh, Tom","Audience_Member1","Audience_Member2","Audience_Member3","Audience_Member4"],"Performance_Date":[1995],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/3980/Enough_Said-VHS2-19950116_19950130_19950206_19950213.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"TDK EHG\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten label on side. Ephemera accompanying asset.\",\"other_physical_description\":\"VHS #2 asset. Contains recordings of multiple events.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/EeThGn6x4VhNmOhUqNQ9xiQB5DskoKL8GCpvcsvP59EY2Q\",\"file_path\":\"\",\"filename\":\"Enough_Said-19950206-Brulé.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"1:05:24\",\"precision\":\"\",\"size\":\"1.85 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing an AV recording of the event featuring E.J. Brulé as part of the Enough Said series, organized by Lee Gotham, with performances by Gotham himself and several open-mic participants.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1995-02-06\",\"type\":\"Performance Date\",\"notes\":\"\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at 03:51:57:01 of VHS #2 asset, which contains multiple events."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"},{\"note\":\"VHS #2 asset. Contains recordings of multiple events: (1) Enough Said 1995-01-16, bissett and Nelson; (2) Enough Said 1995-01-30, Stanton and Stephens; (3) Enough Said 1995-02-06, Brulé; and (4) Enough Said 1995-02-13, Benefit Part 1. The asset was digitized, generating both uncompressed and compressed video files; the compressed files were then split into events to facilitate the transcription work. Metadata entries based on events.\",\"type\":\"General\"},{\"note\":\"Jade Palmer\",\"type\":\"Cataloguer\"}]"],"Related_works":["[{\"url\":\"https://worldcat.org/oclc/938096272\",\"citation\":\"Brulé, E.J. Alternative Scat-Singer [vinyl]. Montréal: Transmission Records, 1986.\"},{\"url\":\"https://worldcat.org/oclc/1006543875\",\"citation\":\"Brulé, E.J. Freedom of Speech [music cassette]. Montréal: E.J. Brulé [self-published], [1989?].\"}]"],"_version_":1853670549188771841,"timestamp":"2026-01-07T14:59:53.772Z","contents":["[Bistro 4 stage]\n00:00:03\nVideo Description: Color video of the stage with mic stand at Bistro 4 (Quatre) (4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada). The stage, slightly below street level, is set against a full-wall window looking out onto the St. Laurent Blvd. traffic—with both pedestrians and vehicles often passing by. The windows from across the street are sometimes visible, including an outdoor sign with the word “JETHRO.”  On the windows of Bistro 4, the word “said” (from “Enough Said”) becomes visible when the camera zooms out, as well as decals with words from the menu, such as “DEJEUNER,” “CAPPUCCINO,” and “TISANE.”\n\nE.J. Brulé\n00:00:04\n[Skips to Brulé midperformance, mouth percussing a slow hip hop beat. Says he will introduce new band. Introduces the drummer and mouth percusses a fast drum solo. Vocally mimics an upright bass playing walking jazz bassline and introduces bass player. Introduces the “hardcore guitar” player and vocally mimics a heavily distorted guitar holding a low note.] | Video Description. Medium closeup as Brulé mouth percusses drumbeat with his back turned to camera. Brulé wears a white button-down shirt with thin vertical stripes, a purple scarf with fringe at both ends wrapped once around neck, dark pants with a dark belt, reddish beard and mustache, short reddish hair with one piece curling on forehead, and a headset mic, holding a long scoop shovel with a handle on one end, a wooden shaft, and a black plastic blade.  Zooms out to medium shot then zoom into closeup as Brulé speaks into mic. Zooms out to medium long shot as Brulé, turned away from camera, mouth percusses drumbeat. Turns back, and vocally mimics an upright bass while pretending to play upright bass with shovel. Vocally mimics a guitar while pretending to play guitar with shovel, shaking the shaft of the shovel quickly.\n\nE.J. Brulé\n00:00:57\n[Explains that “the digital” (which seems to be a looping machine) was cold when he was warming up, it has a memory time of eight seconds which slows down when it is cold, but it warms up when everyone is in the room.] | Video Description: Medium long shot as Brulé speaks to audience while turning knobs on a large grey machine that is on his right with knobs and switches and ¼ inch and XLR cables plugged into the top. Zooms into medium shot.\n\nE.J. Brulé\n00:01:40\n[Mouth percusses same slow hip hop beat, records on looper, looper plays back. Performs a piece beginning with the line “The people by (?) tell me who can say.” Vocally mimics a guitar playing a fill in between lines. Recites line “I need a manager” that the looper repeats twice. Vocally mimics a trumpet playing a short melody, records on looper, looper plays back. Vocally mimics a trumpet playing a higher melody that harmonizes with the first, records on looper, looper plays back. Changes delivery of piece; lines become closer together with less space in between. Stumbles and recovers. Applause. Thanks the audience.] | Video Description: Medium shot as Brulé mouth percusses and adjusts knobs on looper. Picks up something behind him. Zooms out to medium long shot as Brulé pretends to play guitar with shovel. Performs a piece, while playing shovel in between lines. Pretends to play a trumpet. Periodically adjusts knobs on looper. Zooms into medium shot and closeup as the lines get closer together, then zooms out to medium long shot as the piece concludes.\n\nAudience_Member1\n00:04:54\n[Loud crashing sound.] | Video Description: Black baggy sweater with collar, beige pants, nearly completely shaved head. Holding a video camera, walks behind Brulé and equipment from Brulé’s right to left as if stepping over something. Knocks over something not visible. \n\nE.J. Brulé \n00:04:57\n[Addresses Audience_Member1, saying “no problem.” Explains he doesn’t perform at comedy clubs anymore because “they don’t know anything about music.” Suggests that pop music has gotten worse, while he has gotten better. Notes he is influenced by blues, bebop, and jazz.] | Video Description: Medium long shot as Brulé talks to audience and gestures. Lee Gotham can be seen in the audience on the bottom left corner of the frame taking his jacket off and adjusting in chair.\n\nAudience_Member1\n00:06:09 \nVideo Description: Walks behind Brulé again, this time from Brulé’s left to right, carrying more camera equipment. \n\nE.J. Brulé \n00:06:17 \n[Asks Gotham if he wants to plug in another mic to Brulé’s left.] | Video Description: Medium long shot as Brulé speaks to Gotham who is in the audience, gesturing to the mic cable hanging from ceiling. \n\nLee Gotham \n00:06:20\nVideo Description: Medium long shot as Gotham gets up from chair, walks across stage, and stands on chair to reach mic cable hanging from ceiling. Gotham wears a black unzipped sweater atop a yellow shirt, black pants, black taqiyah-style hat with a small folded visor, and shoulder-length brown hair.\n\nE.J. Brulé\n00:06:22\n[Scores Gotham setting up mic by vocally mimicking a guitar and then a trumpet playing a circus-like melody.] | Video Description: Medium long shot as Brulé speaks to audience. Turns to look at Gotham. Pretends to play guitar on shovel. Gestures as if he were playing a trumpet. \n\nLee Gotham\n00:06:54\nVideo Description: Smiles while walking off stage on the right side of the frame.\n\nE.J. Brulé\n00:06:54\n[Vocally mimics a guitar playing a driving riff that repeats the same note in quick succession.] | Video Description: Medium long shot as Brulé pretends to play guitar on shovel, shaking the shaft of shovel gradually more violently. \n\nE.J. Brulé\n00:07:17\n[Criticizes how people “get the gig” if they can play Led Zeppelin or Pink Floyd. Encourages people to write their own music.] | Video Description: Medium long shot as Brulé speaks to audience. Adjusts knobs on the looper. \n\nE.J. Brulé\n00:07:26\n[Vocally mimics guitar playing single notes with reverb. Makes a popping sound that the looper repeats to resemble a steady driving bass drumbeat. Vocally mimics a guitar playing a simple upbeat hard rock riff in a major key. Performs a piece beginning with the line “I’m young, I’m white, and I’m stupid,” vocally mimicking the guitar riff in between lines. Periodically stops the looper, recreates the drumbeat, and resumes performing piece. Repeats the line “How do you do? Tell it to you.” Resumes performing piece. Applause.] | Video Description: Medium long shot as Brulé pretends to play guitar with shovel. Puts hand over mouth to make popping sound. Adjusts knobs on looper. Performs a piece while pretending to play guitar on shovel. Periodically returns to looper to recreate drumbeat. Momentarily grabs mic and stand on his left and leans it towards an audience member while repeating one line. \n\nLee Gotham \n00:10:02\nVideo Description: Medium long shot as Gotham tests mic, talks to someone slightly out of frame, and walks away.\n\nE.J. Brulé \n00:10:02\n[Mentions that he has a selection of beats that can accompany open mic performers’ readings. Vocally mimics a guitar playing a fast punk song into standing mic.] Video Description: Medium long shot as Brulé sips water. Grabs paper from off-screen. Gestures with it while talking to audience. Walks over to mic. Tests it. Walks back to looper then back to mic. Zooms into medium shot as Brulé vocally mimics a guitar. Accidentally pulls cord out of mic. \n\nLee Gotham \n00:11:12\n[Apologizes for technical “quandries.” Thanks venue employees. Says they will “continue this as long as possible.” Announces they will request cash from audience next week to donate to En Marge, a homeless youth shelter below St. Catherine, and that over ten poets, including Raymond Filip and Endre Farkas, will perform. Announces the break. Mentions that the Peter Turret Trio plays every Friday and Saturday night. Mentions a film and video evening that a Concordia group hosts events every second Sunday. Mentions they have no open mic participants and encourages people to sign up. Brulé mouth percusses a jazz beat and vocally mimics a jazz bassline periodically throughout.] | Video Description: Medium shot as Gotham plugs cord back into mic. Tests it. Picks up notebook from off-stage. Adjusts mic. Zooms into medium closeup as Gotham speaks into mic. \n\nE.J. Brulé\n00:14:53\n[Encourages audience to applaud Gotham. Explains his selection of beats that can accompany open mic performers’ readings. Vocally mimics a bass playing a simple Motown bassline.] | Video Description: Medium shot as Brulé speaks to audience and gestures with a pad of paper. Vocally mimics a bass while pretending to play the upright bass with shovel. \n\nLee Gotham\n00:16:32\nI want to do the slow wuthering gospel. | Video Description: Gotham off-screen. Medium shot as Brulé looks into audience and walks back to looper. \n\nE.J. Brulé\n00:16:34\n[Says he will prepare the sample. Mouth percusses a galloping rhythm, records it on looper, looper plays back. Slows tempo on looper. Vocally mimics a heavily distorted guitar holding long low notes.] | Video Description: Medium long shot as Brulé mouth percusses and vocally mimics guitar while adjusting the knobs on the looper. \n\nLee Gotham \n00:16:56 \n[Says “I see no reason why we shouldn’t embrace chaos” citing the frequency of burning buildings and ambulances.] | Video Description: Medium long shot as Gotham speaks into mic while holding a piece of paper while Brulé, on Gotham’s left, adjusts knobs on looper. \n\nE.J. Brulé\n00:17:02\n[Tells Gotham “slower, slower.”] | Video Description: Medium long shot as Brulé steps towards Gotham, who is on his right, and points at Gotham’s sheet of paper. \n\nLee Gotham \n00:17:05\n[Explains to Brulé that he is doing a preamble, not reading yet.] Video Description: Medium long shot as Gotham speaks to Brulé and gestures with his hands. \n\nE.J. Brulé\n00:17:07\n[Remarks that Gotham’s preamble sounded “deep.” Slows tempo on looper. Resumes vocally mimicking a heavily distorted guitar holding long low notes.] | Video Description: Medium long shot as Brulé pulls the papers in Gotham’s hand towards himself, speaks to Gotham, and turns back to looper.\n\nLee Gotham \n00:17:22\n[Says it is a short piece so he will read slowly. Performs a piece beginning with the line “Breaking broken buried remnants hiding from the sky.” Repeats the same collection of lines three times, each with differing deliveries. Thanks audience. Applause. Remarks how easy it is, encourages audience to participate.] | Video Description: Medium long shot gradually zooms into medium closeup as Gotham performs a piece. Zooms out to medium long shot as Gotham leaves stage. Gotham returns, speaks into the mic, adjusts it, and leaves stage again. \n\nAudience_Member2\n00:19:30\n[Asks for examples of Brulé’s beats.] \n\nE.J. Brulé \n00:17:07\n[Agrees, says he wants to “earn the respect of the mentally elite” poets in the room. Mouth percusses a sultry jazz drumbeat, records on looper, looper plays back. Vocally mimics a trumpet playing a sparse line with reverb. Performs a piece in French. Vocally mimics a bass playing a simple ascending line.] | Video Description: Medium long shot zooms into closeup as Brulé speaks into the mic. Zooms out to medium shot as Brulé mouth percusses and vocally mimics instruments while adjusting knobs on looper. Zooms out to medium long shot as Brulé vocally mimics a trumpet. Performs piece.\n\nE.J. Brulé\n00:21:10\n[Says that’s the farthest he has gotten in writing the song. Audience begins applauding, but he says “no, no.” Offers punk film score music, an RnB (bop?), and New York art school jazz as beats to accompany open mic performers’ readings. Prepares to play another song.] | Video Description: Medium long shot as Brulé speaks to audience, picks up pad of white paper, sips water, and prepares to play another song. \n\nVarious Audience Members\n[Ask Brulé to play a punk beat.]\n\nE.J. Brulé\n00:22:11 \n[Vocally mimics guitar playing a fast punk riff. Explains that these are the kinds of things he would improvise while an open mic performer was performing.] | Video Description: Medium long shot as Brulé vocally mimics guitar and speaks with a group in the audience. Returns briefly to looper. Leans slightly out of frame to talk to group in audience again, who seem to be looking at his list of beats.\n\nAudience_Member3\n00:22:39\nBo Diddley. \n\nE.J. Brulé\n00:22:40\n[Vocally mimics guitar playing a Bo Diddley riff. Asks audience if they remember his mentors, the duo Deja Voodoo. Resumes vocally mimicking guitar playing a Bo Diddley riff, records on looper, looper plays back improperly. Records again. Performs a piece beginning with the line “Out in the swamp near Montreal.”] | Video Description: Medium long shot as E.J. Brulé vocally mimics a guitar while pretending to play guitar with shovel. Adjusts knobs on looper. Talks to audience. Resumes vocally mimicking a guitar while pretending to play guitar with shovel. Adjusts knobs on looper. Zooms into medium closeup as Brulé performs a piece. \n\nAudience_Member4\n00:24:00\n[To the tune of “I Want Candy” (The Strangeloves, single, Bang Records, 1965)] I want candy. I want candy.\n\nE.J. Brulé\n00:24:12\n[Says people think the riff was made up five years ago.] | Video Description: Medium closeup as Brulé talks to audience, walking around stage and gesturing. \n\nSteve \"Liquid\" Hawley\n00:24:31 \nVideo Description: Hawley rises from seat.\n\nE.J. Brulé \n00:24:40\n[Asks Hawley if they want “a slow slow rap.” Introduces song written for a hairy woman. Says he imagined if Prince produced a song for Leonard Cohen. Mouth percusses a Prince-like drumbeat, records on looper, looper plays back. Performs a piece beginning with the line “You don’t have to [rip?] your lip” and vocally mimics a standup bass playing a Prince-like bass fill in between stanzas. Vocally mimics a trumpet playing a quick motif. Mouth percusses a shaker playing eighth notes. Vocally mimics a bass fill to end song. Applause.] | Video Description: Medium long shot as Brulé vocally mimics many instruments, speaks to audience, and adjusts knobs on looper. Performs a piece while pretending to play guitar with shovel. Zooms into medium shot partway through. \n\nE.J. Brulé  \n00:27:09\n[Says he has been saving his favourite beat. Pauses. Mouth percusses an upbeat 90s hip hop beat.] | Video Description: Medium long shot as Brulé sips water, accidentally knocks mic battery pack out of pocket, and resituates it. Mouth percusses a drumbeat while adjusting knobs on looper and pretending to play guitar with shovel. \n\nSteve \"Liquid\" Hawley\n00:27:46\n[Says he wrote poetry before he started singing but no one wanted to hear it.] | Video Description: Medium long shot as Hawley walks to stage, shakes Brulé’s hand, and speaks into mic. Hawley wears an oversized black sweater with a hood, no zipper, and white and red logo on the left side of chest that reads “TW SHOW,” dark pants, and a black bandana with white accents tied around head. \n\nE.J. Brulé \n00:28:04\n[Says he can play the beat slower or faster. Beat speeds up to comical level. Says “no, a little slower.” Beat slows down to comical level. Audience laughter throughout.] | Video Description: Brulé off-screen. Medium long shot zooms into closeup as Hawley smiles and laughs into mic. \n\nSteve \"Liquid\" Hawley\n00:28:30\n[Introduces and performs piece about a bumblebee beginning with the line “Fly, come and fly with me.” Says partway though that it is freestyle. Resumes performing. Applause.] | Video Description: Medium closeup as Hawley speaks into mic and performs a piece. \n\nE.J. Brulé\n00:30:53\n[Says people can improvise, but asks that if someone brings a prewritten piece, to let him look. Says that people think one needs to be young, black, and misogynistic to be a rapper. Says he had to think about how to tackle accusations of cultural appropriation. Mouth percusses a faster version of the same 90s hip hop beat that Hawley performed over, records on looper, looper plays back. Vocally mimics a more complex bassline. Performs a piece titled “How Can You Be So White (And Be So Funky?) (Freedom of Speech, self-released audio cassette, 1989). Vocally mimics guitar playing fills between the verses. Audience laughter throughout. Applause.] | Video Description: Medium long shot zooms into medium shot as Brulé speaks to audience. Mouth percusses drumbeat and vocally mimics bass while adjusting knobs on looper. Performs a piece while pretending to play guitar with shovel.  \n\nE.J. Brulé\n00:34:19\n[Says he can never get the samples right for Led Zeppelin. Vocally mimics the bass and guitar line for Led Zeppelin’s “Immigrant Song,” records on looper, looper plays back. Stops looper and says he needs someone to do Robert Plant’s scream in “Immigrant Song.”] | Video Description: Medium shot as Brulé speaks to audience. Vocally mimics instruments while adjusting knobs on looper and pretending to play guitar with shovel. Makes a “come hither” motion with hand towards audience member. Throws up hands exasperatedly. \n\nLee Gotham\n00:35:32\nVideo Description: Medium shot as Gotham hugs Brulé and stands on his left. \n\nE.J. Brulé\n00:35:40\n[Resumes vocally mimicking the bass and guitar line for Led Zeppelin’s “Immigrant Song,” records on looper, looper plays back. Tells Gotham to get close to his headset mic.] | Video Description: Medium shot zooms into closeup as Brulé vocally mimics instruments, adjusts knobs on the looper, and talks to Gotham.\n\nLee Gotham\n00:36:00\n[Imitates Robert Plant’s scream in Led Zeppelin’s “Immigrant Song.” Audience cheers. Looper replays only small part of Gotham’s scream.] | Video Description: Closeup as Gotham screams into Brulé’s mic, mouth wide open.\n\nE.J. Brulé\n00:36:13\n[Tells Gotham to not “do it so long this time.”] | Video Description: Medium long shot as Brulé speaks to Gotham, who is off-screen, making a “come hither” motion with hand toward Gotham. \n\nLee Gotham\n00:36:22\nVideo Description: Medium long shot as Gotham walks back on stage on Brulé’s left, holding up his shirt with one hand and gyrating hips seductively, seemingly looking at one audience member.\n\nE.J. Brulé\n00:36:36\n[Resumes vocally mimicking the bass and guitar line for Led Zeppelin’s “Immigrant Song,” records on looper, looper plays back.] | Video Description: Medium long shot zooms into closeup as Brulé vocally mimics bass and guitar while pretending to play the guitar with shovel. Motions for Gotham to come closer. \n\nLee Gotham\n00:36:43\n[Imitates Robert Plant’s scream in Led Zeppelin’s “Immigrant Song.” Looper replays only small part of Gotham’s scream.] | Video Description: Closeup as Gotham screams into Brulé’s mic, mouth wide open.\n\nE.J. Brulé\n00:36:36\n[Apologizes to audience, saying Gotham “fucked [him] up with the start of that.”] | Medium long shot as Brulé speaks to audience and adjusts knobs on looper. \n\nLee Gotham \n00:36:52\nVideo Description: Medium shot as Gotham walks away from Brulé and hovers in front of the camera, nodding his head to the beat. \n\nE.J. Brulé\n00:37:01\n[Asks Lee to do one more.] | Video Description: Medium shot as Brulé adjusts knobs on looper and gestures for Lee to return to stage. \n\nLee Gotham \n00:37:02\nVideo Description: Medium shot zooms into closeup caused by Gotham walking towards camera, sips drink, hops back towards stage and stretches arms upwards. \n\nE.J. Brulé\n00:37:14\n[Tells Gotham to “not get so close to the mic.” Resumes vocally mimicking the bass and guitar line for Led Zeppelin’s “Immigrant Song,” records on looper, looper plays back.] | Video Description: Medium long shot zooms into closeup as Brulé vocally mimics bass and guitar while pretending to play guitar with shovel. \n\nLee Gotham\n00:37:23\n[Imitates Robert Plant’s scream in Led Zeppelin’s “Immigrant Song.” Looper replays only small part of Gotham’s scream.] | Video Description: Closeup as Gotham screams into Brulé’s mic, mouth wide open.\n\nE.J. Brulé\n00:37:30\n[Says “that’s a little more like it” and slows down tempo which lowers the pitch of Gotham’s recorded scream. Vocally mimics a bass playing a slow simple bassline, records on looper, looper plays back.] | Video Description: Medium long shot as Brulé adjusts knobs on looper and vocally mimics a bass while pretending to play guitar with shovel.\n\nLee Gotham \n00:37:45\nVideo Description: Medium long shot as Gotham walks up to mic. Directs a questioning look at Brulé. Walks away from mic. \n\nE.J. Brulé\n00:37:52\n[Speaks to Gotham, indiscernible.] | Video Description: Medium long shot as Brulé speaks to Gotham as Gotham passes. \n\nLee Gotham\n00:38:04\n[Returns to mic and performs a piece beginning with the line “The dubious occasion I recall I said.”] | Medium long shot zooms into medium closeup as Gotham returns to mic and performs a piece. Directs a look at Brulé.\n\nE.J. Brulé\n00:38:27\n[Slows down looper’s playback.] \n\nLee Gotham\n00:38:29\n[Resumes performing a piece. Gradually delivers piece more rhythmically and song-like on Brulé’s beat.] | Video Description: Medium closeup as Gotham performs a piece. Directs a look at Brulé. \n\nE.J. Brulé\n00:38:27\n[Speeds up looper’s playback.] \n\nLee Gotham \n00:38:56\n[Resumes performing a piece.] | Video Description: Medium closeup as Gotham performs a piece. \n\nE.J. Brulé\n00:39:14\n[Mouth percusses a 90s hip hop drumbeat, records on looper, looper plays back overtop previous beat. Repeating one of Gotham’s last lines, says “rhythmic demise, that’s what that sounds like.”] | Video Description: Brulé off-screen. Loose closeup as Gotham smiles and nods. \n\nLee Gotham\n00:39:20\n[Asks Brulé to “do it one more time.” Performs same piece again, with a very rhythmic, rap-like delivery to Brulé’s beat. Applause. Tells audience that making a fool of yourself on stage is “good for the soul.”] | Video Description: Loose closeup as Gotham performs a piece zooms out to medium long shot as Gotham speaks into mic.\n\nE.J. Brulé\n00:40:49\n[Addressing unheard audience member, says “no more covers.”] | Video Description: Medium long shot as Brulé addresses unseen audience member and adjusts knobs on looper. \n\nTom Walsh\n00:40:57\nHow about “Land of 1000 Dances”? (Chris Kenner, single, Instant Records, 1962).\n\nE.J. Brulé\n00:40:58\n[Pauses to think, says a long drawn-out “oh.”] | Video Description: Medium long shot as Brulé thinks. \n\nSteve \"Liquid\" Hawley\n00:40:58\nVideo Description: Walks to Brulé. \n\nE.J. Brulé\n00:41:05 \n[Speaks to Hawley. Vocally mimics bassline from “Land of 1000 Dances,” records on looper, looper plays back. Asks Walsh “something like that?”] | Video Description: Medium long shot as Brulé speaks to Hawley, vocally mimics a bass, and speaks to Walsh.\n\nSteve \"Liquid\" Hawley\n00:41:14\nVideo Description: Dances in front of the camera, smiling widely. \n\nE.J. Brulé\n00:41:27\n[Mouth percusses a horse galloping, records on looper, looper plays back. Performs piece beginning with the line “Got a new horse.” Vocally mimics a standup bass playing a solo. Asks Audience_Member5 if they have any “barnyard epics.”] | Video Description: Medium long shot as Brulé mouth percusses and adjusts knobs on looper. Zooms into closeup as Brulé pretends to play the upright bass with shovel. Speaks to Audience_Member5. \n\nAudience_Member5\n00:42:03\nNo, I don’t think so. \n\nE.J. Brulé\n00:42:15\n[Asks Walsh if he wants a Motown beat.] | Video Description: Medium closeup as Brulé talks to Walsh. \n\nTom Walsh\n00:42:21\nUh, yeah! \n\nE.J. Brulé\n00:42:22\n[Laughs, asks Walsh if he has a woman in his life because he also says “yeah” like that when he is confused. Mouth percusses a drumbeat with a strong snare backbeat. Vocally mimics a guitar playing sparse single low notes. Asks Walsh if he wants to perform.] | Video Description: Zooms out to medium long shot as Brulé speaks to Walsh. Adjusts knobs on looper. Mouth percusses a drumbeat, records on looper. Pretends to play guitar on shovel. Zooms into medium closeup as Brulé speaks to Walsh. \n\nTom Walsh\n00:43:15\nOh no I’m not-\n\nE.J. Brulé\n00:43:16\n[Cutting Walsh off, says he can’t request a beat and not perform. Vocally mimics a guitar playing a simple low riff. Says he won’t improvise unless an open mic participant performs. Talks to audience about how people are worried he will “represent[] them” if he “gets somewhere.” Says musical comedy duo Bowser and Blue are representing anglophone Montrealers on the world stage. Mentions alternative band Doughboys.] | Video Description: Medium shot as Brulé speaks to Walsh. Vocally mimics a guitar playing a simple low riff. Speaks to audience.\n\nSteve \"Liquid\" Hawley\n00:44:10\n[Says “Tom Walsh is a poet.”] | Video Description: Medium shot zooms into closeup as Hawley walks up to mic and speaks into it, smiling.\n\nE.J. Brulé\n00:44:21\n[Mouth percusses an upbeat hip hop drumbeat, records on looper, looper plays back. Vocally mimics a distorted guitar playing a pentatonic riff, records on looper, looper plays back.] | Video Description: Brulé off-camera. Closeup of Hawley smiling and preparing to perform. \n\nLee Gotham \n00:44:25\n[From the crowd] Tom’s in the house! \n\nSteve \"Liquid\" Hawley\n00:44:36\n[Says “this is improv.” Asks Brulé to slow down the beat.] | Video Description: Closeup as Hawley addresses audience and then Brulé. \n\nE.J. Brulé\n00:44:41\n[Slows down looper’s playback.] | Video Description: Brulé off-camera. Closeup of Hawley preparing to perform. \n\nSteve \"Liquid\" Hawley\n00:44:48\n[Improvises a piece beginning with the line “Lonely child, now check it, lonely child.” Applause.] | Video Description: Closeup as Hawley improvises a piece while holding a beer and a cigarette. Zooms out to medium shot as Hawley takes mic off stand and continues performing. \n\nE.J. Brulé\n00:48:30\n[Encourages audience to further applaud Hawley. Explains how he was inspired by Tibetan throat singers. Mouth percusses drum beat with shaker. Vocally mimics distorted guitar playing simple distorted pentatonic riff. Performs a piece titled “St. Thomas’ Mantra” (Freedom of Speech, self-released audio cassette, 1989) with heavy reverb on voice, mouth percussing and vocally mimicking guitar between lines. Applause.] | Video Description: Medium closeup as Brulé speaks to audience. Adjusts mic that unclipped from lapel. Mouth percusses drum beat and vocally mimics guitar. Performs a piece while pretending to play guitar with shovel. Zooms into closeup as piece concludes. \n\nE.J. Brulé\n00:52:55\n[Thanks audience. Vocally mimics distorted guitar playing a simple rock riff, records on looper, looper plays back. Mouth percusses a drumbeat with emphasis on beat three, records on looper, looper plays back. Performs a piece beginning with the line “Let me tell you about the cruelest thing that I have ever done,” in which first stanzas are rhythmically tied to the beat, and are later conversationally spoken. Applause.] | Video Description: Medium shot as Brulé speaks to audience. Vocally mimics guitar and adjusts knobs on looper. Mouth percusses a drumbeat and adjusts knobs on looper. Performs piece while pretending to play guitar with shovel. Partway through, pretends that shovel is a baseball bat. \n\nE.J. Brulé\n01:00:11\n[Speaks to audience member about them performing.] | Medium long shot as Brulé leans down to talk to audience member. \n\nSteve \"Liquid\" Hawley\n01:00:25\nVideo Description: Medium long shot as Hawley approaches Brulé and asks a question. Brulé nods affirmatively. \n\n\nE.J. Brulé\n01:00:50\n[Mouth percusses a reggae drumbeat, records on looper, looper plays back.] | Video Description: Medium shot as Brulé mouth percusses a drumbeat and adjusts knobs on looper. \n\nUnknown_Reader1\n01:01:09\n[Greets audience, asks “is everybody cool?” Heavy Jamaican accent. Performs a piece overtop Brulé’s beat. Applause.] | Video Description: Oversized leather jacket atop a white button-down shirt, a large leather top hat/baseball cap hybrid with red accents, large silver rings with jewels. Holds black mittens in one hand and the mic in the other. Loose closeup as Unknown_Reader1 speaks to audience and performs a piece. Dancing audience member briefly obscures camera. \n\nLee Gotham\n01:04:44\n[Asks audience whether they want a break. Announces a break.] | Video Description: Medium long shot zooms into medium closeup as Gotham speaks to the audience. \n\nEND \n01:05:24\n[End of recording.]"],"score":6.6492925},{"id":"6883","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said, Highlights Part 1"],"item_title_source":["Asset"],"item_title_note":["Ephemera accompanying assets. \"Hilights\" (sic) on Part 1, but \"Highlights\" on Part 2."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Gotham, Lee"],"creator_names_search":["Gotham, Lee"],"creators":["[{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham selected and edited these highlights. Gotham is also featured as a performer.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\",\"Performer\"]}]"],"contributors_names":["Duncan, Drew","Walsh, Tom","Swift, Todd","bissett, bill","Stephens, Ian","Anderson, Fortner","Allen, Robert","Isaac, Douglas (Doug)","Christie, Colin","Frost, Corey","Ferrier, Ian","Luxton, Steve","Filip, Raymond","Nelson, Sharon H."],"contributors_names_search":["Duncan, Drew","Walsh, Tom","Swift, Todd","bissett, bill","Stephens, Ian","Anderson, Fortner","Allen, Robert","Isaac, Douglas (Doug)","Christie, Colin","Frost, Corey","Ferrier, Ian","Luxton, Steve","Filip, Raymond","Nelson, Sharon H."],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"\",\"name\":\"Walsh, Tom\",\"dates\":\"\",\"notes\":\"One-half of Swifty Lazar.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/41039443/\",\"name\":\"Swift, Todd\",\"dates\":\"1966-\",\"notes\":\"One-half of Swifty Lazar.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/96127023\",\"name\":\"bissett, bill\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/48507771\",\"name\":\"Stephens, Ian\",\"dates\":\"1954-1996\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/106026246/\",\"name\":\"Anderson, Fortner\",\"dates\":\"1955-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/22416596/\",\"name\":\"Allen, Robert\",\"dates\":\"1946-2006\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/26783067/\",\"name\":\"Isaac, Douglas (Doug)\",\"dates\":\"1946-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/44235997\",\"name\":\"Christie, Colin\",\"dates\":\"\",\"notes\":\"One-half of ga press.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/76001655\",\"name\":\"Frost, Corey\",\"dates\":\"1972-\",\"notes\":\"One-half of ga press.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/91437046\",\"name\":\"Ferrier, Ian\",\"dates\":\"1954-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/45701800\",\"name\":\"Luxton, Steve\",\"dates\":\"1946-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/11150531/\",\"name\":\"Filip, Raymond\",\"dates\":\"1950-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/108207169\",\"name\":\"Nelson, Sharon H.\",\"dates\":\"1948-2016\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["Walsh, Tom","Swift, Todd","bissett, bill","Stephens, Ian","Anderson, Fortner","Allen, Robert","Isaac, Douglas (Doug)","Christie, Colin","Frost, Corey","Ferrier, Ian","Luxton, Steve","Filip, Raymond","Nelson, Sharon H."],"Recordist_name":["Duncan, Drew"],"Production_Date":[1996],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/6883/Enough_Said-VHS_Highlights_Part1.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"FUJI SUPER HG T-120 (NFL branded)\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten labels on sides.\",\"other_physical_description\":\"VHS #Highlights_1 asset.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/EZqRGcc6dflKkkGyuItbFQUBqh_jgswUaeBvFt1T6YkLnQ\",\"file_path\":\"\",\"filename\":\"Enough_Said-Feature_Highlights-Part1.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"04:56:03\",\"precision\":\"\",\"size\":\"8.36 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing highlights from the Enough Said series, selected by Lee Gotham.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1996\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at 00:00:00:00 of VHS #Highlights_1 Asset."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"},{\"note\":\"VHS #Highlights_1 asset. The asset was digitized, generating both uncompressed and compressed video files. Metadata based on the compressed file.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670549197160448,"timestamp":"2026-01-07T14:59:53.772Z","contents":["The tape includes excerpts from six different events: (1) Enough Said 1994-12-19, Gotham and Diamond; (2) Enough Said 1995-01-09, Swifty Lazarus; (3) Enough Said 1995-01-16, bissett and Nelson; (4) Enough Said 1995-01-23, Wiernik and Anderson; (5) Enough Said 1995-01-30, Stanton and Stephens; and (6) Enough Said 1995-02-13, Benefit.\n\n[No signal] \n00:00:17\n[Ambient sounds (white noise).]  | Video Description: Black screen with white text that reads \"ENOUGH SAID!\"\n\nLee Gotham\n00:00:24\n[Cuts to Gotham saying Unknown_Musician1 and Sam Shalabi are performing with himself for the first time.] | Video Description: Out-of-focus extreme closeup focuses and zooms out to closeup as Gotham speaks into the mic standing beside Unknown_Musician1 and Sam Shalabi. Gotham wears a grey collared shirt with sleeves rolled to elbows atop a white collared shirt, black taqiyah-style hat with a small folded visor, and shoulder length brown hair. Unknown_Musician1 wears a blue and white argyle sweater with sleeves rolled up to elbows, a silver watch, glasses, and short curly dark brown hair. Sam Shalabi wears a red button-down shirt with sleeves rolled up to elbows, large metal-rimmed glasses, and thinning dark brown hair.\n\n[Cataloguer note: Gotham performs a long poem without announcing any section breaks. To enhance readability, this transcription will break when Gotham pauses for a significant period, denoted by the phrase “Gotham pauses” or “Gotham Gotham and music by Unknown_Musician1 and Sam Shalabi pauses.”] \n\nLee Gotham \n00:00:46\n[Begins performing a piece beginning with the line “Attention project proposals, explorations grants competition, Canada Arts Council.”] | Video Description: Closeup as Gotham begins performing a piece. Zooms into extreme closeup as Gotham says the line “one idea is a death of experience.” Looks over to Unknown_Musician1 and Sam Shalabi.\n\nUnknown_Musician1 and Sam Shalabi\n00:01:14\n[Strike a discordant cord.] | Video Description: Off-screen. \n\nLee Gotham\n00:01:15\n[Resumes performing piece. Gotham pauses.] | Video Description: Extreme closeup zooms out to medium closeup as Gotham resumes performing a piece. \n\nLee Gotham\n00:02:33\n[Resumes performing piece with the line “No, musicians should play as they see fit.”] | Video Description: Medium closeup as Gotham resumes performing a piece. \n\nUnknown_Musician1 and Sam Shalabi\n00:02:34\n[Quietly playing uncertain chords and sparse drumming as Gotham continues performing.] | Video Description: Off-screen.\n\nLee Gotham\n00:02:40\n[Resumes performing piece with the line “The performer picks up a hammer.” Music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham pauses.] | Video Description: Medium closeup zooms out to long shot as Gotham picks up hammer from off-screen. In between lines, dramatically hits a wooden block on stand to his right with hammer. \n\nLee Gotham\n00:03:19     \n[Resumes performing piece with the line “There can be no pause for the cause.” Music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham pauses.] | Video Description: Camera angle alternates between closeups and medium shots of Gotham performing a piece and long shots of Gotham performing a piece, Unknown_Musician1 playing drums, and Sam Shalabi playing guitar. \n\nLee Gotham\n00:05:38       \n[Resumes performing piece with the line “The performer is blurting out opinions to strangers.” Music by Unknown_Musician1 and Sam Shalabi begins quietly but becomes more prominent in background. Gotham pauses.] | Video Description: Camera alternates between medium closeups and extreme closeups of Gotham performing a piece. \n\nLee Gotham\n00:08:11\n[Resumes performing piece with the line “Opinions again: that’s what I call using your head.” Music by Unknown_Musician1 and Sam Shalabi begins quietly but becomes more prominent in background. Gotham pauses.] | Video Description: Extreme closeup zooms out to medium closeup as Gotham performs a piece. \n\nLee Gotham\n00:09:08\n[Resumes performing piece with the line “It’s a milk and honey mid-September, an [?] Indian coffee and cigarette summer” Music by Unknown_Musician1 and Sam Shalabi becomes louder and more complex in background. Gotham pauses.] | Video Description: Long shot as Gotham performs a piece. Zooms into medium shot partway through.\n\nLee Gotham\n00:10:51\n[Resumes performing piece with the line “I went to the doctor for the first time in twelve years.” Music by Unknown_Musician1 and Sam Shalabi softens in background. Gotham pauses.] | Video Description: Medium shot as Gotham performs a piece.\n\nLee Gotham\n00:11:22\n[Resumes performing piece with the line “Less about what you think, I still don’t get it.” Music by Unknown_Musician1 and Sam Shalabi becomes louder in background with staccato chords. Asks Unknown_Musician1 and Sam Shalabi to play more soothingly. Laughter. Says “or ignore him.”] | Video Description: Closeup as Gotham performs a piece. Looks over to Unknown_Musician1 and Sam Shalabi, who are off-screen.\n\nUnknown_Musician1 and Sam Shalabi\n00:11:50\n[Sam Shalabi continues to play complex drum beat, Unknown_Musician1 softens chord attack but plays complex progression.] | Video Description: Off-screen. \n\nLee Gotham\n00:11:57\nVideo Description: Medium shot as Gotham sits down on something unseen and, holding the mic away from him, mouths something unseen to Unknown_Musician1 and Sam Shalabi.\n\nUnknown_Musician1 and Sam Shalabi\n00:12:03\n[Play calmer jazz music.] | Video Description: Camera pans to long shot of Unknown_Musician1 playing drums with brushes and Sam Shalabi playing guitar.\n\nLee Gotham\n00:12:04\n[Resumes performing piece with the line “We were still sitting there on the beach listening to the crazy old Indian.” Music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham and music by Unknown_Musician1 and Sam Shalabi pauses.] | Video Description: Camera pans to medium closeup as Gotham performs a piece sitting down. Camera alternates between closeups, medium shots and medium closeups as Gotham performs a piece.\n\nLee Gotham\n00:14:58\n[Resumes performing piece with the line “Well, there wasn’t a lot of story to it.” Music by Unknown_Musician1 and Sam Shalabi resumes in major key. Gotham pauses.] | Video Description: Closeup zooms out to medium closeup as Gotham performs a piece. Gotham stands up. Zooms out to longshot as Gotham picks up hammer on his left and pretends to hit himself on the head with it in between lines. Zooms into medium closeup. \n\nLee Gotham\n00:18:11\n[Resumes performing piece with the line “That’s good, that’s just fine, now we’ll just relax” delivered in a deeper tone than previously. Music by Unknown_Musician1 and Sam Shalabi barely audible in background. Gotham pauses.] | Video Description: Medium closeup as Gotham performs a piece.\n\nLee Gotham\n00:19:04\n[Resumes performing piece with the line “An escaped convict fell into a deep hole someone had dug beside the roadway.” Music reminiscent of middle-Eastern music by Unknown_Musician1 and Sam Shalabi plays in background. Sam Shalabi stops playing guitar part way through. Gotham pauses.] | Video Description: Medium closeup as Gotham leans backwards on something unseen and performs a piece. Zooms into closeup part way through. Zooms out to medium shot as Gotham stands up and continues performing piece.\n\nUnknown_Musician1 and Sam Shalabi\n00:22:47\n[Music by Unknown_Musician1 and Sam Shalabi continues in background.] | Video Description: Zooms out to show Unknown_Musician1 and Sam Shalabi playing their instruments beside Gotham. \n\nLee Gotham\n00:22:54\n[Resumes performing piece with the line “The water’s run out.” Music by Unknown_Musician1 and Sam Shalabi becomes busier in the background.] Video Description: Long shot as Gotham performs a piece. \n\nSam Shalabi\n00:23:15\nVideo Description: Zooms into medium shot of Sam Shalabi playing guitar and chewing.  \n\nUnknown_Musician1\n00:23:31\nVideo Description: Pans to medium shot of Unknown_Musician1 playing drums. Gotham is visible on the right side of screen. \n\nLee Gotham \n00:23:38\n[Continues performing piece. Music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham pauses.] | Video Description: Medium shot zooms into medium closeup as Gotham continues performing a piece. Zooms out to medium shot part way through. Gotham expands arms like flying bird while performing. \n\nLee Gotham \n00:25:04\n[Continues performing piece with the line “Well now, where were we. You wanted to talk about sex today?” Music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham Gotham and music by Unknown_Musician1 and Sam Shalabi pause.] | Video Description: Medium closeup as Gotham performs piece. Camera alternates between medium closeups and medium shots throughout . \n\nLee Gotham\n00:28:43\n[Continues performing piece with the line “I’d like to make it reasonably clear that I’m a frightened man.” Sombre music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham pauses.] | Video Description: Medium shot as Gotham performs a piece.\n\nLee Gotham\n00:31:09\n[Continues performing piece with the line “The performer gradually regains his composure.” Music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham and music by Unknown_Musician1 and Sam Shalabi pause.] | Video Description: Medium closeup as Gotham sips water and performs a piece. Zooms into closeup part way through, then zooms out to medium shot. \n\nLee Gotham\n00:35:18\n[Continues performing piece with the line “Failure to recognize boundaries between self and the world outside.” Music by Unknown_Musician1 and Sam Shalabi ceases in the background. Thanks audience. Applause. Thanks audience and announces break before Ann Diamond’s performance] | Video Description: Medium shot as Gotham performs a piece. Takes cigarette package out of pocket. Zooms out to long shot during applause. Zooms into medium shot when Gotham resumes speaking into mic. \n \n[No signal] \n00:37:00\n[Ambient sounds (white noise).] | Video Description: Black screen with static. \n\nLee Gotham\n00:37:11\n[Cuts to Gotham introducing Swifty Lazarus.] | Video Description: Varying degrees of closeup as Gotham speaks into the mic. Gotham wears a black zippered sweater with unknown white graphics on the back, a small white logo on the front left side, and sleeves rolled up to the elbows; black rimmed cap; and hair in a ponytail through the hole in the back.\n\nSwifty Lazarus \n00:37:55\n[Recording of cinematic music with harp and horns plays. Todd Swift performs a piece beginning with the line “After the end of the world, there is much work to be done.”] | Video Description: Loose closeup as Swift performs a piece. Todd Swift wears a black suit jacket atop a white button-down shirt with a black bowtie, black rectangular glasses, and dark hair close cropped on the sides and parted just off-centre. Tom Walsh wears a leather vest with decorative zippers atop a black long-sleeved shirt and short dark hair.\n\nSwifty Lazarus\n00:39:32\n[Recording of uneasy and discordant string instrument music plays. Shifts to cacophonous horn and percussion sounds and screeching. Swift performs a piece titled “(?) Barbershop.” Brief applause and laughing. Video Description: Swift stands perpendicular to the mic. Walsh stands up. Swift approaches the mic and performs a piece. Loose closeup throughout. \n\nSwifty Lazarus\n00:41:28\n[Recording of cinematic string and horn music plays. In a radio-esque transatlantic accent, a recorded voice delivers monologue that includes the line “the hearts of men, a shadow now.”] | Video Description: Swift holds up a white handheld cassette tape player to the mic. Looks at watch. Takes tape player away from mic. Loose closeup throughout.\n\nSwifty Lazarus\n00:42:25\n[Recording of spare xylophone music plays. In a muted, mid-twentieth-century-radio tone, Swift performs a piece beginning with the line, “The theory of tunnel (work?) is a powerful distinction between a (ledger?) and employment.” Music gradually adds both cinematic and discordant strings reminiscent of earlier musical sections.] | Video Description: Loose closeup to closeup as Smith performs a piece with a trumpet mute up to their lips.\n\nSwifty Lazarus\n00:45:38\n[Recording of discordant string music and vocalization plays. Swift performs a piece beginning with the line “The shadowy man (has guilt inside?) (? and sighs?). Moscow.”.] | Video Description: Medium shot as Swift turns away from the mic. Closeup as Swift turns back and performs a piece, reading off a newspaper. \n\nSwifty Lazarus\n00:47:38\n[Recording of up-beat jazz music with xylophone and horns plays. Swift performs a piece beginning with the line, “History is dead and the full weight of the present (?)” Laughter periodically throughout. The music and Swift’s delivery gets faster and more chaotic partway through. Music suddenly cuts seemingly on purpose and Swift continues reading. Music recommences. Applause] | Video Description: Closeup and extreme closeup as Swift performs a piece. \n\nSwifty Lazarus\n00:51:04\n[Recording of a single unknown string or horn instrument playing seemingly random notes plays. A recording of two voices conversing plays.] | Video Description: Varying degrees of closeup as Swift holds a white handheld cassette tape player to the mic. Nods and smiles along with the audio. \n\nSwifty Lazarus\n00:52:35\n[Recording of simple snare and bass drum beat plays, in which short guitar or horn melodies quip periodically. Swift performs a piece beginning with the line “So much rain in one hat band.”] | Video Description: Medium shots and loose closeups as Swift performs a piece. \n\nSwifty Lazarus\n00:55:17\n[Old recording of a two-voice conversation plays. Swift softly delivers a piece. Uneasy vintage horror movie music begins partway through.] | Video Description: Walsh stands and lights a cigarette. Closeup as Swift performs a piece. \n\nSwifty Lazarus\n00:56:53\n[Old recording of a two-voice phone conversation plays. The first verse of a child choir singing “Oh Canada” plays. A recording of steady gong or cymbal hits plays. Swift performs a piece beginning with the line “One softness (?) going, the sea turns like glass.” Recording of staccato pulses of unknown instruments begin partway through.] | Video Description: Closeup as Swift performs a piece.\n\nSwifty Lazarus\n00:59:48\n[Old recording of a newscast beginning with the line “The Nazi war criminal died” plays. Swift performs a piece beginning with the line “But when the Berlin Wall fell five years ago, it was a signal.” A recording of raucous percussion plays after the first line, evolves into quiet sirens.] | Video Description: Closeup of the microphone while Swift smokes a cigarette off-camera. Closeup as Swift performs a piece.\n\nSwifty Lazarus\n01:01:45\n[Recording of hopeful and content piano and drum music plays. Swift strongly performs a piece beginning with the line “There’s one thing I remember right from childhood. From the beginning. And it is the smell of roses.” Music slowly shifts to high-pitched and discordant electric organ chords with periodic driving percussion. Applause] | Video Description: Closeup as Swift performs a piece. \n\nSwifty Lazarus\n01:11:58\n[Long pause.] | Video Description: Medium shot and closeup as Swift faces away from the mic checking watch and adjusting headphones, sometimes out of frame. \n\nSwifty Lazarus\n01:13:06\n[Recording of ominous stringed instrument music plays. Swift performs a piece beginning with the line “What happened to you when you were murdered?”] | Video Description: Closeup as Swift performs a piece, ending with an extreme closeup. \n\nSwifty Lazarus\n01:16:21\n[Recording of unknown screeching instrument plays. Recording of one person pleading “no” and “stop” and another person talking sinisterly plays. Recording of a two-voice conversation plays.] Video Description: Extreme closeup as Swift holds up a white handheld cassette tape player to the mic. Swift’s face reacts to the dialogue in the recordings. \n\nSwifty Lazarus\n01:18:15\n[Recording of intense large wind instrument and large drums plays. Swift performs a piece beginning with the line “The architect of the future.”] | Video Description: Closeup as Swift performs a piece. \n\nSwifty Lazarus\n01:20:40\n[Recording of ominous ambient music plays. Swift performs a piece beginning with the line “I’ve seen a man stagger with a thousand arrows in his back.” Applause.] | Video Description: Closeup as Swift performs a piece. \n\nSwifty Lazarus\n01:24:55\n[Swift announces, “this is the last one.” Recording of happy horn and drum music plays, cuts suddenly, and recommences. Swift performs a piece that may be titled “Ten Rose Songs.” Music cuts and recommences in different styles rapidly and repeatedly throughout performance. Laughter throughout. Applause.] | Video Description: Walsh stands up, leans over to Swift, sits back down. Closeup as Swift performs a piece. \n\nSwifty Lazarus\n01:28:58\n[Walsh introduces Swift and themselves. Explains that the name of their group is inspired by “Hollywood’s greatest entrepreneur,” Irving Paul \"Swifty\" Lazar. | Video Description: Medium shot as Swift and Walsh stand side by side. Closeup as Walsh speaks into the mic. \n\nLee Gotham\n01:29:46\n[Hopes everyone “soaked that up.” Encourages people to stay after the show. Mentions that bill bisset is next week’s performer. Mentions further future events. Applause.] | Video Description: Loose closeup to extreme closeup as Gotham speaks into the mic. \n\n[Bistro 4]\n01:31:04\nVideo Description: Camera zooms out from closeup to long shot of the lone mic on stage. \n\n[No signal] \n01:31:15\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nbill bissett\n01:31:18\n[Cuts to bissett performing Unknown Composition 1.] | Video Description: Camera zooms into closeup on bill bissett, vocalizing and singing into the microphone and keeping rhythm with a maraca. Camera zooms in and out between closeup and medium closeup on bissett and his maraca. bissett wears thick-framed glasses, chin-length hair, and a graphic t-shirt. Lee Gotham briefly passes through camera view. He wears a green collared shirt and long brown hair.\n\nbill bissett \n01:37:37\n[Finishes Unknown Composition 1. Audience applause. bill bissett addresses audience.] | Video Description: bill bissett stops the rhythm and brings the maraca to his lips. Camera zooms out into a long shot as bissett puts maraca in his back pocket and picks up a binder with multiple documents inside. Audience members applaud. bissett addresses audience.\n\nbill bissett \n01:37:58\n[Reads “n e c k s” (from Th last photo uv th human soul, Talonbooks, 1993). Audience laughter throughout.] | Video Description: Camera zooms in and out between long shot, medium long shot, and closeup on bill bissett reading poem from lifted binder. \n\nbill bissett\n01:42:06\n[Finishes reading “n e c k s”. Audience applause. bill bissett introduces Sharon H. Nelson. Audience laughter and applause.] Video Description: bill bissett closes binder and rubs hand across forehead. Camera pans across the room, capturing a full venue of applauding audience members. Camera zooms into closeup on bissett addressing audience. bill bissett begins walking off stage via stage left. \n\nSharon H. Nelson\n01:42:48\n[Ambient sounds (voices).] | Video Description: Nelson stands up from audience and places hand on bissett’s shoulder before moving by him. Nelson speaks to an audience member out-of-frame (bissett?) before walking to the microphone stand on stage.\n\nSharon H. Nelson\n01:42:59\n[Addresses audience. Interacts with bill bissett. Audience laughter. Addresses audience, introducing Unknown Poem 1 as a response to bissett’s “(ken and heath made for life?).” Audience laughter.] | Video Description: Sharon H. Nelson speaks into the microphone, which is set significantly higher on the stand than their height. Nelson wears green and orange patterned dress, long dark hair, and a necklace. Nelson addresses bill bissett (off-screen). Nelson addresses audience. An unseen audience member adjusts microphone stand to Nelson’s height. Nelson spits out gum and looks for place to put chewed wad. An unseen audience member stretches out palm in front of Nelson. Nelson addresses audience before glancing down at the pages they hold.\n\nSharon H. Nelson\n01:44:28\n[Reads Unknown Poem 1. Audience laughter throughout.] | Video Description: Camera zooms in and out on Sharon H. Nelson reading from pages. Nelson breaks from reading to address audience before returning to reading.\n\nSharon H. Nelson\n01:48:09\n[Finishes Unknown Poem 1. Audience applause. bill bissett addresses audience. Sharon H. Nelson interacts with bill bissett. Audience laughter.] | Video Description: Sharon H. Nelson puts down sheets of paper on the floor and walks off via stage left. Camera zooms out to long shot, capturing applauding audience members. bill bissett walks up to microphone stand via stage left. bissett addresses audience and adjusts microphone stand height. Camera pans right. Nelson addresses bissett. Audience members laugh. Lee Gotham is at one of the large window panes, adjusting a fixture. Camera pans left, back toward bissett on stage. Audience members briefly pass through camera view. bissett adjusts glasses, opens binder, and flips through pages.\n\nbill bissett\n01:49:00\n[Reads Unknown Poem 1 (“vapours / don’t blame it on the dog / are you barking?…”). Audience laughter throughout.] | Video Description: bill bissett reads from binder. Camera shakes, panning from stage and over various audience members, before panning back and zooming in and out on bissett. \n\nbill bissett\n01:51:50\n[Finishes Unknown Poem 1. Audience applause. bill bissett thanks audience.] | Video Description: bill bissett flips page and addresses audience.\n\nbill bissett\n01:52:03\n[Reads “unmatching phenomena” (from Inkorrect Thots, Talonbooks, 1992). Audience laughter throughout.] | Video Description: billl bissett reads from binder. Audience members briefly pass through camera view. \n\nbill bissett\n01:54:05\n[Finishes “unmatching phenomena”. Audience applause. bill bissett thanks audience. Audience laughter. Begins poem before breaking off to address audience. Audience laughter.] | Video Description: bill bissett lowers binder and glances down, flipping through it. bill bissett lifts binder again and addresses audience. bissett smiles at audience laughter and addresses audience, lifting hand.\n\nbill bissett\n01:54:32\n[Resumes reading “last nite I had a nitemare abt free trade” (from Inkorrect Thots). Audience laughter throughout.] | Video Description: bill bissett resumes reading from binder.\n\nbill bissett\n01:56:10\n[Finishes “last nite I had a nitemare abt free trade”. Audience applause. bill bissett thanks audience.] | Video Description: Camera zooms in and out as bill bissett lowers binder and flips through its pages. bissett addresses audience.\n\nbill bissett\n01:56:22\n[Begins reading Unknown Poem 2 (“who wrote the script though? / don’t you always wonder that…”) before breaking off to addresses audience. Audience laughter. Resumes reading Unknown Poem 2 before addressing audience and interacting with Unknown Audience Member 1. Audience laughter. bill bissett interacts with Unknown Audience Member 2. Audience laughter. Resumes reading Unknown Poem 2. Audience laughter and applause throughout.] | Video Description: bill bissett begins reading from binder before addressing audience, raising hand. bissett resumes reading before addressing audience again. An unseen audience member addresses bissett and they interact. bissett interacts with another unseen audience member. bissett resumes reading from binder.\n\nbill bissett\n01:58:44\n[Finishes Unknown Poem 2. Audience applause. bill bissett thanks audience. Unknown Audience Member 3 and bissett interact.] | Video Description: Camera zooms out to long shot as bill bissett lowers binder and flips through pages. Camera pans across audience members applauding. bill bissett addresses audience. bissett interacts with an unseen audience member.\n\nbill bissett\n01:59:06\n[Reads “reflex blu” (from What We Have, Talonbooks, 1988).] | Video Description: Camera zooms in and out between closeup and medium closeup on bill bissett reading from binder. \n\nbill bissett\n02:01:40\n[Finishes “reflex blu”. Audience applause. Introduces Sharon H. Nelson. Audience applause.] | Video Description: bill bissett lowers binder and adjusts glasses, looking out at audience. bill bissett addresses audience. bill bissett walks toward Sharon H. Nelson stage-left and they shake hands and exchange a kiss. Nelson walks toward microphone stand. bissett takes seat adjacent to stage left.]\n\nSharon H. Nelson\n02:02:14\n[Addresses audience. Addresses Unknown Audience Member 4. Addresses audience. Introduces “Form and Structure” (from Grasping Men’s Metaphors, Muses’ Co., 1993) mentioning Dorothy Parker. Audience laughter.] | Video Description: Camera zooms into a closeup on Sharon H. Nelson tilting microphone downward and addressing audience. An unknown audience member walks into the frame, kneeling to adjust microphone stand to Nelson’s height. Nelson addresses unknown audience member.\n\nSharon H. Nelson\n02:03:20\n[Reads “Form and Structure”. Audience laughter throughout.] | Video Description: Sharon H. Nelson reads to the audience, with gestures to accentuate the poem’s humour.\n\nSharon H. Nelson\n02:04:02\n[Finishes “Form and Structure”. Audience applause. Introduces “On the Success of a Middle-Aged Poet”. Audience laughter.]  | Video Description: Sharon H. Nelson smiles at the audience as camera zooms out into a medium long shot. Nelson flips through the book in their hands. Nelson addresses audience.\n\nSharon H. Nelson\n02:04:38\n[Reads “On the Success of a Middle-Aged Poet”.] | Video Description: Camera zooms into a closeup on Sharon H. Nelson reading from book.\n\nSharon H. Nelson\n02:05:18\n[Audience laughter. Audience applause. Sharon H. Nelson introduces Unknown Poem 2, in the style of nursery rhymes, and mentioning playing show-and-tell in school. Sharon H. Nelson begins to read Unknown Poem 2, breaking off to address audience. Audience members respond.] | Video Description: Sharon H. Nelson nods.  Addresses audience. Looks down to read, before glancing up and address audience.\n\nSharon H. Nelson\n02:05:48\n[Resumes reading Unknown Poem 2. Audience laughter throughout. Addresses audience member resuming reading Unknown Poem 2.] | Video Description: Sharon H. Nelson glances down and reads from book. Glances up to address audience before resuming reading.\n\nSharon H. Nelson\n02:07:17\n[Pauses. Audience applause.] | Video Description: Sharon H. Nelson smiles, raises a finger, and addresses audience (inaudible). \n\nSharon H. Nelson\n02:07:25\n[Resumes Unknown Poem 2. Audience laughter throughout.] | Video Description: Sharon H. Nelson resumes reading Unknown Poem 2.\n\nSharon H. Nelson\n02:08:01\n[Finishes Unknown Poem 2. Audience laughter and applause. Introduces bill bissett.] | Video Description: Sharon H. Nelson puts down book and smiles at audience. Gestures toward and addresses offscreen audience member (bill bissett?). Camera zooms out into medium long shot as Nelson exits via stage left. Backs of audience members’ heads. Nelson and bissett interact off-screen. bissett approaches microphone via stage left.\n\nbill bissett\n02:08:27\n[Ambient sounds (voices, movement).] | Video Description: bill bissett adjusts microphone stand height. bissett flips and sorts through pages, putting one briefly in his mouth. An unknown audience member briefly passes through camera view. bissett selects a page, places something down, and turns back toward the microphone.\n\nbill bissett \n02:09:26\n[Performs “evreewun needs a gud fuck n th rest is bullshit jack sd” (from Inkorrect Thots). Audience laughter throughout.] | Video Description: Camera zooms out and in between extreme closeup and medium long shot on bill bissett performs and vocalizes into microphone. bissett holds up and references pages throughout the performance, occasionally flipping. \n\nbill bissett \n02:16:11\n[Finishes “evreewun needs a gud fuck n th rest is bullshit jack sd”. Audience applause. Thanks audience. Addresses audience, talking about quinine, TV detectives, and murder mysteries. Audience laughter throughout.] | Video Description: bill bissett goes silent and slowly lowers outstretched arms. Camera zooms out to long shot of applauding audience members in front of the stage, with one unknown audience member in an orange sweater moving through the crowd. Lee Gotham approaches the stage via stage left and interacts with bissett before returning to his seat. bissett picks up binder and flips through pages. Camera zooms in as bissett addresses audience. bissett drinks from a glass, puts it on the floor, and flips through binder.\n\nbill bissett \n02:17:30\n[Reads Unknown Poem 3 (“Mr. and Mrs. Ridge of Venus Land…”). Audience laughter throughout.] | Video Description: bill bissett reads from binder. \n\nbill bissett \n02:18:44\n[Laughs. Audience laughter.] | Video Description: bill bissett laugh before looking back down at binder.\n\nbill bissett \n02:18:50\n[Resumes reading Unknown Poem 3. Audience laughter throughout.] | Video Description: Camera zooms into closeup on bill bissett reading from binder.\n\nbill bissett \n02:20:22\n[Finishes Unknown Poem 3. Audience laughter and applause. Introduces Sharon H. Nelson.] | Video Description: bill bissett lowers and closes binder. Gestures to offscreen audience member (Sharon H. Nelson). bissett addresses audience and applauds along with them. bissett begins exiting via stage left. bissett and Nelson embrace and address one another as Nelson walks toward microphone stand.\n\nSharon H. Nelson\n02:20:40\n[Addresses audience. Addresses bill bissett.] | Video Description: Sharon H. Nelson addresses audience and looks over to bill bissett to address him. An unknown audience member briefly obscures camera view. \n\nSharon H. Nelson\n02:20:43\n[Ambient sounds (voices, movement).] | Sharon H. Nelson flips through pages, and an unknown audience member adjusts the microphone stand to Nelson’s height. Nelson addresses audience member adjusting microphone stand and thanks them. Camera zooms into a closeup on Nelson.\n\nSharon H. Nelson\n02:21:21\n[Addresses audience, discussing bissett’s artwork. Audience laughter. Introduces “Because of Everything: Dissolving Critical Distance (bill bissett’s iconography, ‘Dancing Magic Animals: Hearts and Rings,’ acrylic on canvas, 18x24”, 1991).”] | Video Description: Sharon H. Nelson addresses audience.\n\nSharon H. Nelson\n02:23:14\n[Reads “Because of Everything: Dissolving Critical Distance (bill bissett’s iconography, ‘Dancing Magic Animals: Hearts and Rings,’ acrylic on canvas, 18x24”, 1991)”.] | Video Description: Sharon H. Nelson reads from pages.\n\nSharon H. Nelson\n02:27:31\n[Finishes “Because of Everything: Dissolving Critical Distance (bill bissett’s iconography, ‘Dancing Magic Animals: Hearts and Rings,’ acrylic on canvas, 18x24”, 1991)”. Audience applause. Sharon H. Nelson addresses audience. Introduces “The Best Minds of My Generation” (from This Flesh These Words, Ekstasis Editions, 2002), mentioning the piece is dedicated to bill bissett and to George (Predelli?), a former Catholic priest. Audience laughter. Sharon H. Nelson addresses audience.] | Video Description: Camera zooms out into long shot as Sharon H. Nelson gathers pages and nods toward audience. Camera pans across applauding audience members. Nelson addresses audience and flips through pages.\n\nSharon H. Nelson\n02:28:45\n[Coughs. Reads “The Best Minds of My Generation”.] | Video Description: Sharon H. Nelson coughs into fist. An audience member briefly obscures view of stage. Nelson reads from pages. \n\nSharon H. Nelson\n02:33:18\n[Thanks audience. Audience applause.] | Video Description: Sharon H. Nelson addresses audience. Sharon H. Nelson picks pages up from floor and exits stage via stage left. Camera pans across applauding audience members. Sharon H. Nelson sits in audience as bill bissett returns to the microphone stand on stage. bill bissett adjusts microphone stand height. \n\nbill bissett \n02:33:29\n[Addresses audience. Audience applause.] | Video Description: bill bissett addresses audience. bill bissett raises glass to offscreen audience member (Sharon H. Nelson?) and sips from it. \n\nbill bissett\n02:34:04\n[Ambient sounds (voices, movement).] | Video Description: Camera zooms out into medium long shot as bill bissett adjusts glasses and flips through pages. Lee Gotham passes through camera view, glancing right into the lens. \n\nbill bissett \n02:34:22\n[Reads “why dew we feer change feer uv th unknown” (from Th Influenza uv Logik, Talonbooks, 1995).] | Video Description: bill bissett reads from binder. Camera zooms in and out between closeup on bissett and long shot of bissett on stage, panning across the audience members listening to the reading and smoking. \n\nbill bissett\n02:39:11\n[Finishes \"why dew we feer change feer uv th unknown.\" Audience applause. Thanks audience.] | Video Description: bill bissett briefly closes binder before opening it again. \n\nAudience\n02:08:23\n[Ambient sounds (voices).] | Video Description: Camera begins to zoom out to a long shot revealing applauding audience members. bissett turns to an unknown audience member upstage left and interacts with them. The unknown audience member holds bissett's binder as bissett searches for a page inside it. Camera pans across audience members sitting adjacent to stage left.\n\nbill bissett\n02:39:33\n[Performs Unknown Poem 4 (“Jennifer Rawlins”?).] | Video Description: bill bissett performs and vocalizes into microphone, holding sheet of paper. \n\nbill bissett\n02:42:34\n[Finishes Unknown Poem 4. Audience applause. Thanks audience. Thanks Sharon H. Nelson. Addresses audience.] | Video Description: Camera pans over applauding audience members throughout the room. bill bissett addresses audience. Lee Gotham moves through crowd and approaches stage. bissett is given his binder by the unknown audience member holding it. Gotham and bissett hug. bissett addresses audience before exiting stage left as Gotham approaches the microphone stand.\n\nLee Gotham\n02:43:15\nWow, I think we need—Woo! Just a little time to cool down now after that. Geez, you know, I can’t, I can’t say how happy I am to, you know, be a part of something that involves not only a generous helping of spectacle but, you know, a whole lotta love, and just generally rejuvenating experience. I think what I’d like to do is, like I said, take a little break. Any of the open-mikers who’ve hung out and are still up for it are more than welcome to have their day in the rain in a moment or two. I can’t encourage people enough, as well, to come over to the corner at some point if you’re going hang out for a bit. We’ve got loads of books, both Sharon’s, bill’s, and some small press offerings of various natures. You know, when I first bill, I was doing my degree at Concordia. I went down to the stacks in what was at that time the Norris Library. Do you know there are 41 titles of bill’s in that library? Several of Sharon’s as well. But 41—you’re not going to find a lot of them in the bookstores anymore, but bill is part of a very, very vital scene, going back a good twenty odd years. [Sharon H. Nelson interacts (“Pushing thirty!”)] Pushing thirty! And they’re all still in the stacks, you know? You go down to what’s now the Webster Library, or over to the Redpath, or any other incredible institution of those varieties, you can check the stuff out because I tell you, a whole lot of innovation went into the years between then and now. Okay, so—enjoy, hang out. | Video Description: Lee Gotham addresses audience while adjust microphone stand height. Gotham addresses audience and at one point addresses Sharon H. Nelson (off-screen) before returning his focus to the audience. \n\n[No signal] \n02:45:13\n[Ambient sounds (white noise).] | Video Description: Black screen with static. \n\nIan Stephens\n02:45:16\n[Cuts to Stephens introducing and performing a piece titled “(Reegan’s?) Mind”. Laughter throughout. Applause.] | Video Description: Stephens wears a black parka atop a black sweater, a red, black, and white scarf, a white cloth face mask tied around his head, red nail polish on some fingernails, and close-cropped light-brown hair. Loose closeup as Stephens takes off parka and puts up hood of sweater. Closeup zooms into extreme closeup as Stephens places two fake eyes over his eyelids and squints to keep them in place. Varying degrees of closeup as Stephens performs a piece. Gestures close to face throughout. Takes off hood partway through. Medium shot zooms out to long shot as Stephens extends arms upwards, finishes the piece, and puts on parka.\n\nLee Gotham\n02:51:58\n[Thanks Ian and the audience for attending. Introduces Fortner Anderson as the “other half of ‘Broken Spoken.’” Promotes cassettes and publications for sale. Invites Anderson to the stage. Applause.] | Video Description: Varying degrees of closeup as Gotham speaks into the mic. \n\nFortner Anderson\n02:53:00\n[Performs a piece beginning with the line “I’m a man. I’m a good man.” Laughter throughout. Applause.] | Video Description: Closeup as Anderson takes mic off stand, turns away from the camera briefly, and turns back to perform the piece. Fortner wears a dark grey suit jacket atop a black button-down shirt, black leather belt, black and gold glasses, and dark brown hair that sweeps across forehead and waves away from face. Zooms into medium shot as Anderson casually walks around the stage. Turns away from the camera and pauses after piece concludes. \n\nFortner Anderson \n02:58:24\n[Performs a piece beginning with the line “Every day, I don’t care, and I will never care.” Applause.] | Video Description: Camera alternates between long shots and medium shots as Anderson performs a piece and casually walks around the stage. Walks out of frame for a moment partway through. Turns away from the camera and pauses after piece concludes.\n\nFortner Anderson \n03:01:41\n[Performs a piece beginning with the line “Sometimes I think I’m a young boy staring into a distant, sepia-toned future.” Alternates between full voice, whispering, and shouting. Applause.] | Video Description: Camera alternates between medium shots and loose closeups as Anderson performs a piece and casually walks around the stage. Turns away from the camera and pauses after piece concludes.\n\nFortner Anderson\n03:10:48\n[Performs a piece beginning with the line “I got hurt so bad today.” Applause.] | Video Description: Medium shot as Anderson performs a piece and casually walks around the stage.\n\nFortner Anderson\n03:15:08\n[Thanks Ian, Neil, Joelle, and the Fluffy Pagan Echoes. Directs audience to table to buy “souvenirs.” Applause.] | Video Description: Long shot zooms into medium shot as Anderson speaks into the mic. Places mic on stool. \n\nLee Gotham\n03:15:39\n[Thanks Anderson for “the climax of the evening’s offerings.” Announces brief pause and that the open mic will continue afterwards.] | Video Description: Medium shot as Gotham puts mic back on stand and speaks into it while smoking a cigarette. \n\n[No signal]\n03:16:09\n[Ambient sounds (white noise).] | Video Description: Black screen with static. \n\nLee Gotham\n03:16:16\n[Cuts to Gotham introducing Ian Stephens.] | Video Description: Medium long shot as Lee Gotham talks to Ian Stephens, who is masked and sitting upstage. Gotham wears a dark sweater with snowflake motifs, rolled-up sleeves, black baseball cap turned back, stubble, long hair. Zoom into a closeup as Gotham goes to the mic and invites Ian Stephens to the stage.\n\nIan Stephens\n03:16:50\n[Calls for Peter. Reads an epistolary poem to Peter. Invites Peter to the stage.] | Video Description: Zoom into a closeup as Ian Stephens interacts with the audience and reads a poem directed to an audience member. Stephens wears a brown jacket atop a t-shirt with the words “BAD RELIGION” partially visible, a black scarf with red and grey stripes, buzz haircut.\n\nPeter\n03:18:44\n[Reads “Science Fiction,” beginning with the line “I live in a very old beautiful home.” Applause. Calls Ian Stephens to the stage.] | Video Description: Zoom out to a medium closeup as Peter enters the stage. Peter wears a plaid brown shirt with rolled-up sleeves atop a white shirt, black scarf, black beanie hat, close-trimmed beard. Peter reads a piece.\n\nIan Stephens\n03:22:20\n[Organizes objects on stage, in front of him. Introduces “Regan's mind #2, or, Reagan remembers.” Continues setting up the stage. Puts on a cowboy hat. Sits down. Explains that, in this piece, he is Reagan’s mind. Puts on fake eyeballs, one larger than the other.] | Video Description: Medium closeup as Ian Stephens sets the stage.\n\nIan Stephens\n03:25:22\n[Performs “Regan's mind #2, or, Regan remembers.” The piece is spoken against the background recording of a radio that keeps switching between stations; Stephens frequently comments upon the different pieces of music. Applause. Thanks the audience.] | Video Description: Medium closeup as Ian Stephens performs a piece while sitting down and holding the mic. After the opening the line, the fake eyeballs fall. Stephens readjusts them, but they fall multiple times. Stephens holds props during the performance, including a doll. At the end of the piece, amid applause, Stephens removes the cowboy hat.\n\nIan Stephens\n03:41:43\n[Introduces and reads “The holy city,” crediting the music to Kevin Komoda (Stephen’s collaborator in the Wining Dining Drilling musical group). Performs “The holy city,” against background music by Kevin Komoda. Thanks the audience. Applause.] | Video Description: Medium shot, then zoom into a closeup as Ian Stephens introduces and performs a piece. Stephens stands up to perform, holding a notebook and the mic; the camera zooms out and back into a medium closeup, following Stephens.\n\nIan Stephens\n03:49:37\n[Announces he wants to try something different at the end, opening space for questions from the audience. Introduces “a few sweet terror poems,” adding that it is tricky but not impossible to read them (referring to the fact he’s wearing a mask). Before reading, names objects from what he calls “Reagan’s mind’s desk,” including a book titled “Guilt Free.” Adds that Reagan is a lucky man to have Alzheimer’s.] | Video Description: Medium closeup as Ian Stephens leafs through a notebook, talks with the audience, then puts on a skeleton mask.\n\nIan Stephens\n03:51:37\n[Reads a poem from the “Let’s be dead” sequence, beginning with the line, “I drew a picture of my coffin.” Explains it was not included in the book (Diary of a Trademark, The Muses’ Co., 1995) because it was “too deadly.”] | Video Description: Medium closeup as Ian Stephens performs a piece.\n\nIan Stephens\n03:52:30\n[Reads “Let’s be dead,” opening with the line “I know the club where you got the blow-job” (with slight differences from the version published in Diary of a Trademark, The Muses’ Co., 1995). Thanks audience. Applause.] | Video Description: Medium closeup as Ian Stephens performs a poem. Removes the mask mid-performance.\n\nIan Stephens\n04:00:11\n[Introduces “I Started to get sick in New York” mentioning it is also from the book (Diary of a Trademark, The Muses’ Co., 1995) and another piece with music by Kevin Komoda. States the piece is dedicated to David Wojnarowicz. Performs piece, with significant differences from the version published in the book. Thanks the audience. Applause.] | Video Description: Medium shot then zoom into a medium closeup as Ian Stephens introduces and performs a piece.\n\nIan Stephens\n04:06:35\n[Asks the audience if they have any questions.] | Video Description: Medium shot then zoom into a medium closeup as Ian Stephens welcomes questions from the audience.\n\nAudience_Member1\n04:06:42\nDid I know you in Lennoxville in 1972? [Laughter.] | Video Description: Zoom into a medium closeup as Ian Stephens listens to a question from the audience.\n\nIan Stephens\n04:06:48\nA hypothetical question. Yes. [Laughter.] | Video Description: Medium closeup as Ian Stephens answers the question.\n\nLee Gotham\n04:07:03\n…speaking about a journalist, and we had a difference of opinion of your work, and she said, in spite of frequent irony, it wasn’t rescued, that there was something wrong with it [laughter]; and I thought, well, it’s more just sort of brute reality of it that appeals to me, more often than not, above and beyond all the crap and whatnot. What do you say, when someone has this adverse sort of reaction? | Video Description: Medium closeup then zoom out to a medium shot as Ian Stephens listens to a question from Lee Gotham.\n\nIan Stephens\n04:07:41\nI don’t care. [Laughter. Asks if anybody has another question.] | Video Description: Medium shot as Ian Stephens receives the mic back from Lee Gotham then zoom into a closeup as Stephens answers Gotham’s question.\n\nAudience_Member2\n04:08:03\n[Asks if Stephens is happy to be back in Montreal]. | Video Description: Medium closeup as Ian Stephens listens to a question from the audience.\n\nIan Stephens\n04:08:10\nOh yeah, I love Montreal, my home, I was born here, raised here. Everything I see around here resonates. (Certain little memories?). (?) Montreal was a province unto itself. | Video Description: Medium closeup as Ian Stephens answers to the question.\n\nLee Gotham\n04:08:33\n[Asks about other performers or events that Ian Stephens would like see throughout the town.] | Video Description: Medium closeup as Ian Stephens listens to a question from Lee Gotham.\n\nIan Stephens\n04:08:48\nI think things are moving in a half-decent pace. [Lee Gotham interrupts.] I think the spoken word is getting passé. You have to make the leap into performance and you do that by getting out of the text; I’m still going through transition. But once you get beyond the text, it becomes performance poetry, which is a leap a lot of poets can’t do. The academics cannot do it. And I think that’s the litmus test. The academics, they wonder why their books don’t sell, they are unpopular, or whatever. You have to make that leap, I think. If you want to work with an audience, other than a very limited book reader. Ok, no more questions. Thank you very much. | Video Description: Medium closeup as Ian Stephens answers Gotham’s question. Zoom out to a medium long shot as Stephens puts scarf on and organizes objects amid applause.\n\nLee Gotham\n04:10:00\n[Thanks Ian Stephens. Announces break.] | Video Description: Zoom into a medium closeup as Lee Gotham takes the mic and announces a break.\n\n[No signal]\n04:10:15\n[Ambient sounds (white noise).] | Video Description: Black screen with static. \n\nLee Gotham\n04:10:20\n[Cuts to Gotham introducing Robert Allen as one of his favourite profs from Concordia. Invites Allen to the stage to read from novels, poetry collections, and Moosehead Anthologies he has been a part of. Mentions Allen is a new editor at Matrix Magazine. Gotham wears a black and white knit sweater with geometric designs and sleeves rolled up to elbows and straight shoulder-length hair down.\n\nRobert Allen\n04:11:30\n[Thanks Gotham. Introduces and performs a piece titled “The Arnold Schwarzenegger and Maria Shriver Wedding Poem.”] | Video Description: Medium closeup as Allen introduces and performs a piece. Allen wears a grey long-sleeve plaid shirt with black buttons and a black hood, and slightly curly light brown chin-length hair.\n\nRobert Allen\n04:13:17\n[Explains that the next piece is about the plane crash of a French rugby team in the Andes mountains and it involves cannibalism. Introduces and performs a piece titled “Rugby Players Stranded in the Andes.” Applause.] | Video Description: Closeup as Allen introduces and performs a piece. \n\nRobert Allen\n04:16:34\n[Explains that the next piece is about the mail order pornography business. Introduces and performs a piece titled “Late Romantics.”] | Video Description: Closeup as Allen introduces and performs a piece. \n\nRobert Allen \n04:18:03\n[Explains that the next piece encapsulates nineteenth-century Russian literature in five lines. Introduces and performs a piece titled “A Sadder Scene Than You Know at Tolstoy(’s?) Station.”] | Video Description: Closeup as Allen introduces and performs a piece. \n\nRobert Allen\n04:18:48\n[Mentions he lives in the country with Anne Stone. Introduces and performs a piece titled “Mount Cloud.” Applause. Hard cut.] | Video Description: Closeup as Allen introduces and performs a piece. Zooms out to long shot as Allen leaves stage. Hard cut. \n\nLee Gotham\n04:21:00\nIntroduces Doug Isaac. Mentions Isaac’s poetry collection Past, Present: Tense will be published with Imperial (Note: book actually published with BuschekBooks.) Applause.] | Video Description: Closeup zooms out to medium shot as Gotham speaks into the mic. \n\nDouglas (Doug) Isaac\n04:21:30\n[Introduces piece titled “Centres of Treatment” that is in part a homeless man’s verbatim dialogue, while the other half is dialogue written by Isaac. Says he will use different voices for each character.] | Video Description: Closeup as Isaac lowers the mic and speaks to the audience. Isaac wears a black button-down shirt with sleeves rolled up to elbows atop a white shirt that has an indiscernible pattern, and medium brown hair pushed back from face. \n\nSpokenWeb notes \n04:22:39\nAt 04:23:30 and 00:23:43, Isaac says a racial slur. \n\nDouglas (Doug) Isaac\n04:22:44\n[Performs \"Centres of Treatment.\" Applause.] | Video Description: Zooms out to medium shot as Isaac performs a piece, alternating between performing into the mic and stepping slightly away from it. \n\nLee Gotham\n04:33:33\n[Thanks Douglas (Doug) Isaac.] | Video Description: Medium shot of Gotham speaking into the mic.\n\n[No signal]\n04:33:43\nAmbient sounds (white noise).] | Video Description: Black screen with static.\n\nColin Christie and Corey Frost\n04:33:53\n[Cuts to Colin Christie and Corey Frost performing a piece about suicide. Alternate between singing songs such as “Crimson and Clover” by Tommy James & The Shondells (Roulette, single, 1968), vocally imitating vehicles, and performing the piece. Play the children’s clapping game “Miss Mary Mack.” Applause.] | Video Description: Long shot of Christie and Frost performing a piece without mics, singing, walking around the stage area, gesturing, and becoming different characters for an embodied and theatrical performance. Christie wears a light blue long-sleeved plaid shirt open atop a black shirt, a necklace, and light brown hair. Frost wears a plaid vest atop a medium blue plaid shirt, a necklace with a large gold ring, and long curly dark brown hair.\n\nLee Gotham \n04:39:01\n[Thanks Colin Christie and Corey Frost.] Video Description: Long shot of Bistro 4 and Gotham speaking into the mic.]\n\n[No signal]\n04:40:03\n[Ambient sounds (white noise).] | Video description: Black screen with white text that reads \"-0:00:32.\"\n\nLee Gotham\n04:40:07\n[Cuts to Gotham inviting Ian Ferrier to the stage.] | Video Description: Medium closeup zooms out to medium long shot as Gotham speaks into the mic.\n\nIan Ferrier \n04:41:09\n[Introduces and performs a piece titled “St. Valentine’s Day Massacre.” Laughter throughout. Applause.] Video Description: Medium shot zooms into closeup as Ferrier adjusts the mic, speaks into the mic, and performs a piece. Ferrier wears an unzipped black winter jacket atop a black graphic t-shirt with a white logo, dark brown hair with a strip shaved out of it from above left eye to crown of head.\n\nIan Ferrier \n04:44:57\n[Introduces and performs a piece titled “The Theatre of Three AM.” Applause.] | Video Description: Closeup as Ian Ferrier speaks into the mic and performs a piece. \n\nIan Ferrier\n04:46:24\n[Introduces and performs a piece titled “Politician.” Laughter throughout. Applause.] | Video Description: Closeup as Ian Ferrier speaks into the mic and performs a piece. \n\n[Bistro 4]\n04:49:00\n[Ambient noise, applause.] | Closeup zooms out to a long shot of the lone mic on the stage. \n\n[No signal] \n04:49:11\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nSteve Luxton\n04:49:15\n[Cuts to Luxton introducing and performing a piece titled “Sweeney Todd.” Applause.] | Video Description: Medium shot zooms into loose closeup as Luxton speaks into the mic and performs a piece. Luxton wears a red button-down shirt, round metal-rimmed glasses, wavy blonde ear-length hair.\n\n[Bistro 4]\n04:52:38\n[Ambient noise, applause.] | Closeup zooms out to a long shot of the lone mic on the stage.\n\n[No signal]\n04:52:45\n[Ambient sounds (white noise).] | Video Description: Black screen with static. \n\nSpokenWeb notes\n04:52:50\nIn the following performance, Raymond Filip uses an outdated term in reference to a cross-dressing man.\n\nRaymond Filip\n04:52:50\n[Cuts to Filip reading “Transvestite at his Toilette.” Applause.] | Video Description: Cut to medium shot as Filip performs a piece. Filip wears a dark plaid sport coat atop a brown button-down shirt, brown shaggy hair, mustache, and chin beard.\n\n[No signal]\n04:54:56\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nEND\n04:56:03\n[End of recording.]"],"score":6.6492925},{"id":"6885","cataloger_name":["Carlos A.,Pittella"],"partnerInstitution":["Concordia University"],"collection_source_collection":["Lee Gotham collection"],"source_collection_label":["Lee Gotham collection"],"collection_contributing_unit":["Spokenweb at Concordia University"],"source_collection_uri":[""],"collection_image_url":[""],"collection_source_collection_description":["The Lee Gotham collection contains the AV recordings regarding the Enough Said series, including readings, performances, open-mic, and spoken-word events that took place at Bistro 4 and other Montreal venues between December 1994 and June 1996."],"collection_source_collection_id":[""],"persistent_url":[""],"item_title":["Enough Said, SpokenWord Sampler"],"item_title_source":["Asset"],"item_title_note":["Ephemera accompanying asset."],"item_language":["English"],"item_production_context":["Documentary recording"],"item_series_title":["Lee Gotham collection"],"item_subseries_title":["Enough Said"],"item_identifiers":["[]"],"rights_notes":["Rights status in process. We may wish to seek permission from individual artists and Drew Duncan, the videographer."],"creator_names":["Gotham, Lee"],"creator_names_search":["Gotham, Lee"],"creators":["[{\"url\":\"https://viaf.org/viaf/106179112\",\"name\":\"Gotham, Lee\",\"dates\":\"1962-\",\"notes\":\"Lee Gotham selected and edited the sampler. Gotham is also the one who introduces the video, besides being featured as a performer.\",\"nation\":[],\"role\":[\"Series organizer\",\"Producer\",\"Performer\"]}]"],"contributors_names":["Duncan, Drew","Walsh, Tom","Swift, Todd","bissett, bill","Stephens, Ian","Karasick, Adeena","Groupe de Poésie Moderne","Ferrier, Trevor John","Suderman, Lynn","Joseph, Clifton","Diamond, Ann","Smith, Dee","David J."],"contributors_names_search":["Duncan, Drew","Walsh, Tom","Swift, Todd","bissett, bill","Stephens, Ian","Karasick, Adeena","Groupe de Poésie Moderne","Ferrier, Trevor John","Suderman, Lynn","Joseph, Clifton","Diamond, Ann","Smith, Dee","David J."],"contributors":["[{\"url\":\"\",\"name\":\"Duncan, Drew\",\"dates\":\"\",\"notes\":\"Videographer.\",\"nation\":[],\"role\":[\"Recordist\"]},{\"url\":\"\",\"name\":\"Walsh, Tom\",\"dates\":\"\",\"notes\":\"One-half of Swifty Lazar.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/41039443/\",\"name\":\"Swift, Todd\",\"dates\":\"1966-\",\"notes\":\"One-half of Swifty Lazar.\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/96127023\",\"name\":\"bissett, bill\",\"dates\":\"1939-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/48507771\",\"name\":\"Stephens, Ian\",\"dates\":\"1954-1996\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/76188856\",\"name\":\"Karasick, Adeena\",\"dates\":\"1965-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Groupe de Poésie Moderne\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/134163706522529420680/\",\"name\":\"Ferrier, Trevor John\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Suderman, Lynn\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/104182171\",\"name\":\"Joseph, Clifton\",\"dates\":\"1957-\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"https://viaf.org/viaf/29585299\",\"name\":\"Diamond, Ann\",\"dates\":\"1951–\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"Smith, Dee\",\"dates\":\"\",\"notes\":\"\",\"nation\":[],\"role\":[\"Performer\"]},{\"url\":\"\",\"name\":\"David J.\",\"dates\":\"\",\"notes\":\"Referred to as \\\"David Jaeger\\\" on the label of #SpokenWord_Sampler asset.\",\"nation\":[],\"role\":[\"Performer\"]}]"],"performer_name":["Walsh, Tom","Swift, Todd","bissett, bill","Stephens, Ian","Karasick, Adeena","Groupe de Poésie Moderne","Ferrier, Trevor John","Suderman, Lynn","Joseph, Clifton","Diamond, Ann","Smith, Dee","David J."],"Recordist_name":["Duncan, Drew"],"Production_Date":[1996],"material_description":["[{\"side\":\"\",\"image\":\"Uploads/6885/Enough_Said-VHS_SpokenWord_Sampler.jpg\",\"other\":\"\",\"extent\":\"\",\"AV_types\":\"Video\",\"tape_brand\":\"FUJI HQ T-120 (NFL branded)\",\"generations\":\"\",\"Conservation\":\"\",\"equalization\":\"\",\"playback_mode\":\"Mono\",\"playing_speed\":\"\",\"sound_quality\":\"Good\",\"recording_type\":\"Analogue\",\"storage_capacity\":\"120 minutes\",\"physical_condition\":\"\",\"track_configuration\":\"\",\"material_designation\":\"VHS\",\"physical_composition\":\"Magnetic Tape\",\"accompanying_material\":\"Tape box. Handwritten labels on sides.\",\"other_physical_description\":\"VHS #SpokenWord_Sampler asset.\"}]"],"material_designations":["VHS"],"physical_compositions":["Magnetic Tape"],"recording_type":["Analogue"],"AV_type":["Video"],"playback_mode":["Mono"],"digital_description":["[{\"file_url\":\"https://liveconcordia-my.sharepoint.com/:v:/g/personal/carlosa_pittella_concordia_ca/ESgT1SwWoVBNir9hsZnhRkYBWgN-DCzAa3N_PHJVEgfjpA\",\"file_path\":\"\",\"filename\":\"Enough_Said-SpokenWord_Sampler.mp4\",\"channel_field\":\"\",\"sample_rate\":\"\",\"duration\":\"00:17:29\",\"precision\":\"\",\"size\":\"0.49 GB on disk\",\"bitrate\":\"2304Kbps (original); 256Kbps (master)\",\"encoding\":\"MPEG-4 movie\",\"contents\":\"This is file 1 of 1 containing samples from the Enough Said series, selected by Lee Gotham.\",\"notes\":\"Dimensions: 640 × 480.\",\"title\":\"\",\"credit\":\"\",\"caption\":\"\",\"content_type\":\"Video Recording\",\"featured\":\"\",\"public_access_url\":\"\"}]"],"Dates":["[{\"date\":\"1996\",\"type\":\"Production Date\",\"notes\":\"\",\"source\":\"Asset\"}]"],"Location":["[{\"url\":\"https://www.openstreetmap.org/node/2428619734\",\"venue\":\"Bistro 4\",\"notes\":\"Bistro 4 (pronounced Bistro Quatre), no longer in existence.\",\"address\":\"4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada\",\"latitude\":\"45.5169628\",\"longitude\":\"-73.5796147\"}]"],"Address":["4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada"],"Venue":["Bistro 4"],"City":["Montreal, Quebec"],"content_notes":["Event recording starts at 00:00:00:00 of VHS #SpokenWord_Sampler Asset."],"Note":["[{\"note\":\"Carlos A. Pittella\",\"type\":\"Cataloguer\"},{\"note\":\"VHS #SpokenWord_Sampler asset. The asset was digitized, generating both uncompressed and compressed video files. Metadata based on the compressed file.\",\"type\":\"General\"}]"],"Related_works":["[]"],"_version_":1853670549203451904,"timestamp":"2026-01-07T14:59:53.772Z","contents":["Besides an introduction by Lee Gotham recorded especially for this sampler, the tape includes excerpts from the following events: (1) Enough Said 1995-03-13, Karasick; (2) Enough Said 1994-12-19, Gotham and Diamond; (3) Enough Said 1995-02-20, Backo and Groupe de Poésie Moderne; (4) Enough Said 1995-02-27, Skarstedt and Suderman; (5) Enough Said 1995-01-09, Swifty Lazarus; (6) Enough Said 1995-04-17, Joseph; (7) Enough Said 1995-05-01, Stephens, Suderman, Diamond, and McGrail; (8) Enough Said 1995-04-03, Smith; and (9) Enough Said 1995-01-16, bissett and Nelson.\n\nBistro 4\n00:00:17\nVideo Description: Colour video of the sidewalk at night outside of Bistro 4 (Quatre) (4040 St. Laurent, Montréal, QC, H2W 1Y8, Canada). Closeup of a poster that reads \"Enough said\" with a logo above it looking into the window zooms out to a shot of the whole window. Window has horizontal blinds on the inside and various newspaper clippings taped to the outside.\n\nLee Gotham\n00:00:23\nEnough Said. Spoken word performance event series, here in Montreal. Weekly, for six months, full houses, people coming out to hear poetry, on a Monday night, consistently for six months. Spoken word, though, spoken word. Something, between the library stacks and the reading from the lectern approach of the traditional reading series, and, uh, the television, perhaps, side of the equation, the fast food delivery of a poetry slam, spoken word's, there's a lot of room created like a community, I think in a spoken word uh, uh, event where you see a lot of interactive action you see a lot of work coming out of the presentation of work, spoken words, so, blah, blah blah, let's watch some spoken word. [Jazz music plays in the background, seemingly coming live from Bistro 4.] | Video Description: Camera pans right to a closeup of Lee Gotham speaking, then zooms into a closeup of the Enough Said poster. \n\nAdeena Karasick\n00:01:22\n[Cut to Karasick performing a piece beginning with chanting and followed by the line, “And I go in to take the (?) to Meine, to Meine,” which contains both English and German. Karasick interrupts the poem to exclaim \"I can't believe I wrote that.\" Laughter.] | Video Description: Medium shot of Karasick reading from a book. Karasick wears a black zippered vest atop a black long-sleeved shirt, gold dangling earrings, and shoulder length black hair that is loose and slightly curled. Pauses performance to speak into the mic. Laughter. \n\nLee Gotham\n00:02:24\n[Cut to Gotham performing a piece including the line, \"In life, there are misleaders and the mistaken.\" Live jazz music plays in the background.] | Video Description: Long shot of Gotham performing a piece, Sam Shalabi sitting and playing guitar, and Unknown_Musician1 playing the drum kit. Gotham wears a grey collared shirt with sleeves rolled to elbows atop a white collared shirt, black taqiyah-style hat with a small folded visor, and shoulder length brown hair. Shalabi wears a red button-down shirt with sleeves rolled up to elbows, large metal-rimmed glasses, and thinning dark brown hair. Unknown_Musician1 wears a blue and white argyle sweater with sleeves rolled up to elbows, a silver watch, glasses, and short curly dark brown hair. \n\nSam Shalabi \n00:02:40\nVideo Description: Zooms into medium shot of Sam Shalabi playing guitar and chewing.\n\nUnknown_Musician1\n00:02:57\nVideo Description: Pans to medium shot of Unknown_Musician1 playing drums. Gotham is visible on the right side of screen.\n\nLee Gotham\n00:03:05\n[Continues performing piece. Music by Unknown_Musician1 and Sam Shalabi continues in background. Gotham pauses.] | Video Description: Medium shot zooms into medium closeup as Gotham continues performing a piece. Zooms out to medium shot part way through. Gotham expands arms like flying bird while performing.\n\nGroupe de Poésie Moderne\n00:03:18\n[Cut to Groupe de Poésie Moderne performing a spoken-word piece mixed with group singing. A group member repeats the line “Ce soir.” Various members speak in succession. Laughter throughout.] | Video Description: Cut to medium shot of the Groupe de Poésie Moderne. Six members of the group stand in a circular formation, all facing the stage, with the centre apparently empty. All wear black shirts and pants. A seventh performer repeatedly emerges from the centre of the group formation, going up and down several times. Various performers speak.\n\nTrevor Ferrier\n00:04:15\n[Cut to Ferrier drumming while telling a story including the line “The banshee is known to sit wailing (?) the side of the tree.”] | Video Description: Long shot of Trevor Ferrier sitting and telling a story while playing percussion. Ferrier wears a red Henley shirt with the sleeves rolled up, shaved head, and a thin moustache.\n\nLynn Suderman\n00:05:17\n[Cut to Suderman asking her friend Mary to help search for a Bible passage. Starts reciting from memory when Mary finds the passage. Reads from the bible. Audience laughter throughout. Applause.] | Video Description: Medium shot of Suderman talking to someone off-screen. Suderman wears a black long-sleeved blouse and short black hair tucked behind ears. Takes the bible from Mary and starts reading from it. Camera zooms into extreme closeup, then a longshot as Suderman leaves the stage. \n\nSwifty Lazarus (Todd Swift and Tom Walsh)\n00:06:28\n[Cut to Swift performing a piece beginning with the line “I’ve seen a man stagger with a thousand arrows in his back.” Recording of ominous ambient music plays. Applause.] | Video Description: Closeup of the mic on a radio-style stand hanging down. Swift enters the frame and performs a piece into the mic. Swift wears a black suit jacket atop a white button-down shirt with a black bowtie, black rectangular glasses, and dark hair close cropped on the sides and parted just off-centre.\n\nNjacko Backo\n00:08:24\n[Cut to Njacko Backo performing Untitled Poem. Audience clapping along to beat.] | Video Description: Medium long shot of Clifton Joseph performing poem, stomping foot and gesturing. Joseph wears a brown button-up vest atop a light green short-sleeved shirt, black-framed glasses, and short black hair. \n\nAnn Diamond \n00:09:33\n[Cut to Ann Diamond performing a piece titled \"Shoe Salesman.\" Applause.] | Video Description: Medium shot of Ann Diamond performing a piece. Diamond wears pixie-cut blond hair with bangs and a jean jacket over a grey cowl-neck sweater. \n\nIan Stephens\n00:10:28\n[Cut to Ian Stephens introducing and performing “Christmas Eve, 93” (titled “24/12/93” in Diary of a Trademark, The Muses’ Co., 1995).] | Video Description: Alternating medium closeup and closeup of Ian Stephens at the stage. Stephens wears a wine-colour button-down shirt unbuttoned at the top atop a wine-colour t-shirt, a stud on the left earlobe, a multicolour bead necklace, and short hair. Medium closeup of Stephens performing a poem by heart.\n\nDee Smith \n00:11:45\n[Cut to Dee Smith introducing and performing a piece beginning with the line “Brother to brother” repeated several times. Applause.] | Video Description: Closeup of Dee Smith performing a piece. Smith wears a green short-sleeve shirt atop a black long-sleeve turtleneck, black Breton cap, pendant necklace, flower earrings, stud nose ring, plus several finger rings.\n\nbill bissett\n00:13:26\n[Cut to bill bissett performing Unknown Composition 1, vocalizing and singing into the microphone. Maraca in the background.] | Video Description: Camera zooms into closeup on bill bissett performing a piece and keeping rhythm with a maraca. Camera zooms in and out between closeup and medium closeup on bissett and his maraca. bissett wears thick-framed glasses, chin-length hair, and a graphic t-shirt. \n\nDavid Jager\n00:14:47\n[Cut to David Jager introducing and performing \"Smoke, Eat, Drive.\" Video Description: Closeups as David Jager performs a piece. Applause and cheering throughout. Jager wears a light brown striped button-down shirt with sleeves rolled up to the elbow, dark brown hair falling onto forehead in strands.\n\nEnough Said edits\n00:16:00\nVideo Description: Cut to a digital graphic of the Enough Said poster seen on the window at the beginning of the recording. \n\nNo signal\n00:16:12\n[Ambient sounds (white noise).] | Video Description: Black screen with static.\n\nEND \n00:17:29\n[End of recording.] "],"score":6.6492925}]