 We're ad-libbing. Yeah, this is like a reality show. I'm James P. Madonna of Megalife 21, and I'm here with Patterson's own performing artist, Mr. Ken Creight. And this is gonna be like a rehearsal slash reality show. We're at the Patterson Historic Museum at Two Market Street, Patterson and Jersey, right next to America's newest national park, the Great Falls. And I'm gonna be playing African Degeneri Drum. No music today, just me. And Mr. Ken Creight will be doing things with his magical lights. Now, before we begin to the audience, this is, we all, we just ad-lib this. Whatever he's gonna play, I'm gonna try to pick up. Yeah, it's totally unplanned. It's totally unplanned. So this is gonna be- So if I hit the leg off of James's head, that's ad-libbed, it's unplanned. It's unplanned. It's unplanned to stay. If he gets congested and starts coughing, there's gonna be things happening that are not worthy of putting on a CD. There'll be a lot of good stuff too. Ready? Ready. Let me just throw my bill in. I just wanna walk around. I got a good idea. Yeah. We can tape it. In the corner, on the night. Right. But we're gonna have to have somebody that can work the camera. Because if we can do shots up here and they can move it back, I can be over here. What I'm gonna do is I'm not gonna have anybody mess with it. I'm gonna plug it in. Ben's able to plug in his violin, his violin, have his table. Everything will be plugged in. Your music device will be plugged in. And I'm gonna widen the angle. So Ben and his violin are there. I'm there. If Marie comes with her drawings, she'll be on camera and you'll be on camera. Yeah, yeah, yeah. No, no, no, no. Which I understand, which is cool. What I'm talking about when it gets like at nine, did you say at nine? Oh, I hear you. Okay, with the lights, no. What we'll do is we'll open up doors and plug. Yeah. And you'll be in take. Right. Okay. Then we'll bring in Ben. Okay. And then we'll combine and we'll plug in. Okay. And then I'll come in. Oh, yeah. We'll be on camera. What? It'll be. No, but it's one, two, three. Oh, you mean like you start? Yeah. Like in other words, let's say I start with like a heart beat. I'll come in with the lights. And then we'll start eating all the tea. Oh, yeah. Don't just bring like the same one. No. Really commercial. James. James, let me tell you something. We could do something, okay? We can do something because if you were able to do this, okay, and then he came in and played next to you, sitting, okay, playing. And then I came in and start climbing around the lights. Then it comes to a point where we all stand up. You know, they sell a belt that you wrap, put around your waist and the drum will like be here, you know? Okay, so now we all stand up. Right. And now we start to go into a routine. Right. Okay. But now somebody sits down. Two people. Somebody sits down. One person. And then we have a, we look at each other and, for instance, do you do robot mind? Let me see, let me see if I can. Well, like for example. Like you're playing rock, you try to cut it. Like, no, no, no. Bits of creative mind with creative dance around a cup. Yeah, right. You can combine. Right. Or what I like is with the lights, okay? Sitting down. If you want. Hey, you're the guy. No, because I'm saying it. It would be hook movements. Right. Okay. But if you're, if we're facing the main drag and the artworks going on, you've got to stand up and do it here. No, I understand that. I'm saying this is at night. You mean the lights coming? Yeah, because what's going to happen is they're going to hear, they're going to hear us, but they're going to see the lights before they actually see us. Oh, see the lights. Unless the lighting's going to be good on that side. Right. We'll see. Yeah, right. We'll see what I want you to do is, we got to tip off it down. Okay. We got to look at that tip off. We got to do what we do. But we got to be good. Okay. But we got to be different. Yeah, sure. We got to mix up with these. Well, we got to mix up with these. We're going to put the hand there and you know what I'm trying to say? Well, I don't, do you want me to bring the court justice hat to it? Yeah. Probably. I mean, because, because if we break it all apart and we throw like a little comedy in there with, when you're playing, I'll make it faces. I'll bring, I'll bring the case crown. I'll bring them all. That red dolphin hat. Right. The fedora. Right. Because now we're going to see what you do. Now that they're going to look when you're watching, you say, well, these guys are great, man. Do the mind. Sit back down. Look at you. You see what I'm trying to say? So you get a little laugh. Look at the hat. Yeah. Look at your hat. You see what I'm trying to say? Didn't you say you found some caps that were very good for juggling? They had the right balance, the right weight. I don't know. I don't know. Black ones. That would go with your black attire and your, your shades. Think in the back. Ah. So now you got this. Yeah. That was like a, like a pull type of elastic. I hear you. Really, really good routines. So this is what we can make like little companies. Go over and switch mind masks. Yeah. And all of a sudden you're turning around a totally different mind mask. Yeah. That's creative mind too. Yeah. No, I'm saying when we do the artwork, we got to bring this outside. You know what? We can, we can spin around. Instead of work, like in other words, instead of worrying about getting like three or four folding chairs, Ben can play his violin on one end. I can sit down. You can sit, stand, do whatever you want. You can boogie around the bench. Yeah, but not on the sidewalk. Like, right, right, right. Here's the sidewalk. Here's the music. Yeah. The doors are open. Like right at the edge. Yes. Yes. So the sidewalk will be here. Yeah. And this will, when the bench will be inside the museum. Right. So if it rains, our stuff is... Yeah, but what we'll do is we'll wait. Okay. Leaning. Like I'm doing a dancing game. Okay. Grab your finger around. Yeah. Grab your violin. And now we got 40 people here. Uh-huh. And then we do our routine. Yeah. You know what I mean? I'll wait till you hear Ben's able violin playing. You're in for a real treat. So if we play this. Like you said with the mind mask. Okay. Better. It's on. Well, when you spin around. Well, you got to go as low as it is. So I don't see the elastic. The band going around. Well, that's it. No, no, no, no. Because that's here. That'll be here. Yeah, yeah, right. Okay, I can just pop it on. Go down here. Here. Okay. You can have your supply here. So let's say you wanted to go from the fly light. To the light. And the light to foam wall. Yeah. Grab a different mind mask. Yeah. Yeah, but you see like here. Now say I'm here and you're playing. Right? Right here, brother. There you go. And go like this. Look here. Facing backwards. No. But no. Yeah. Now we do this, okay? Right. And all of a sudden you're ready to take a look. Shh. I'm back here again. And all you're doing is spinning. Yeah. This is why this is perfect. You're on the edge. On either edge. That's why it's perfect. You get this. You're spinning. You're doing whatever. How about a full three of us can do it. How do we go, how are we going to spin? You think Ben's going to spin? Well, bro, just imagine if we can do that. I can spin. I'm just saying. Just imagine if we can do that. How old that would be. There? Yeah. And then I come around there. Right. As soon as I come here I can freeze. Right. Then you can spin around. Right. And then in front of the bench, if you want to do the dancing, can you just go on the sidewalks right here? You just go on the sidewalks. You see, you know what it is? There's so much potential in this. It's very versatile. Yep. As long as you have the carry. That's what I see. I see so much potential on this. That's a bench. There's a lot of things you can do with a bench. I know. But when I'm saying intended, you know what I'm saying. To spin, to spin, to spin, to spin. To spin, to spin, to spin, to spin, to spin. But the full three of us can incorporate that. To spin a rune, like, could you just wait. Now, could you spin from the air? Or is that too ready? Where do you got to go to the edge? I don't know. I would have to. Go to the edge. What, hold on. Like, book and tea. I was thinking of book and tea to rest on. Just lift your legs up and prepare enough. Now, you got to lift your legs. Go right to the edge. Lift your legs up and get your spin. You know what I mean? Yeah, my ass is not as slippery as yours. There you go. Even if you're on that angle. The only thing is I feel a lot of friction on my foot. Let me see some. Let me see some. Let me go to the edge. Yeah, just lift up the bottom so it doesn't hit the bench. If you're here, you can hold it here if you want. Oh, I get it. That's it. And then down here. Oh, okay. You see what I'm trying to say? On the next routine, I'm going to be freezing. And then you stop on the dime. Right. Now when you're going to go back, you're going to go back, lay off it, and then you push. Bum. Bum? Yes. It's kind of like, I think you like, like, like, watch. Yeah. Yeah, yeah, yeah. Yeah, people piss in their pants right now. Yeah, what, what, what, what? I think the whole ad-living is great. You know, the whole Jackie Leason, Honeymoon is ad-living. The ad-living, it's all to come. There are people who look at you and say, wow, these guys, they do shit. Well, when I do the political talk show with Reverend Dr. William J. Eisenman on Saturdays, I don't, we don't rehearse anything. I just have certain topics. Well, you could see because my good words, yeah. What it is, is when you add lid, you're going to have some screw-ups in there. Yeah, but you also could jump on some funny, funny material. Right, what I'm saying is, right, what I'm saying is, is when you add lid, okay, there's going to be some screw-ups, which is great, because now these people who are looking, you see, yeah, they're ad-living, because they just screwed up three times. If you've got routines down, and you say this is ad-lib, and you, it's solid, they're going to be like, nah, they never even rehearse that, man. Yeah, okay. It's like, you want them screw-ups in there, you want them. It's like, it's something that's pre-planned, like. Nah, you're too perfect, bro. You say this is ad-lib, they're going to be like, nah, it wasn't that. Everybody, everybody does that on major networks. Everybody has their scripts and rehearses, and nobody really ad-libs anymore. No. You know? No. Like, Mary Todd, the more Ted Baxter does a new, this is Ted Baxter, you know, he had the, well, if you watch, if you watch the new school, where he runs a cow over a neck, right. A lot of this stuff with ad-lib. Oh, that's why they crack the black hole. Well, that's what I mean, but he could tell them it was ad-lib. Harvey Corman was a tip con, they screwed up, they screwed up, they burst out laughing. But the audience was. Well, that's what I mean, but that's what T-Chains, T-Chains, makes your ad-lib. Move out of your station. Acoustics is very good in this room.