At minute 56 of “Passing Strange” at the musical crescendo and climax of “Keys” — this is a solo by Stew (Narrator) after Youth and cast sing “Amsterdam” — and this is the Spike Lee version concert movie meaning a text that immortalizes if you will the last Belasco Broadway — is that really “Great White Way” or is it “wide way” — gotta be “wide”, right? – he closes his fist to signal the band to stop — Heidi, Spurney et al — and everything is all right, and as I was watching today, on Xfinity pay per view purchase, for $11.99 — and it does still have its effects and me, and I thought also of Aleta Hayes’ birthday last week — I thought “Peak Stew” meaning in some ways that’s as good as it gets — that note, that performance, that gig, that year — as noted by Spike and then me with my “freeze frame” and this Mac Book — and my iphone camera — you can see it says “0:56” at bottom. “Peak Stew” like “peak oil” meaning it could be all down hill from here. But I went upstairs and peeked at my book-cheat of all of the best uses of the English language and it turns out that “Ode to a Grecian Urn” was written 199 years ago meaning 2019 is 200th anniversary of that, so I’m suggesting that Stew, for his next act — and refuting my own point about “peaking” –could rework a “Passing Strange” dramatic arc about the early life of Keats. Black people passing for white people passing for black people passing for dead white guys or something. Like his Baldwin piece. (which Terry and I — and Aleta — a few tables over — she front and center — saw under Bing recently. (I also thought that night that Stew could re-do a “Passing Strange” type-joint as a “buddy film”. There was a “Terry” with him in Europe, was that it?
Ode to a Grecian Urn is the epitome of English language and metaphysical musings on time. So this is Keys the song and Keats the man. But timed to this 200-year thingy.
I’m jest sayin’