Telling Stories: Phil Spector's Agony & Ecstasy

Yesterday I finished the audio book Changing My Mind, a wonderfully rich collection of essays by Zadie Smith. What impressed me was the honesty of her perceptions. When reviewing movies she doesn't go with the crowd, she goes with the way she sees it. And her breadth of experience gives a good vantage point for these perceptions. Even stronger are her insights on the various books and writers she assesses. Being a novelist herself, she shares not only what is happening on the page, but shines a light into the corners of what she suspects was happening in the minds and souls of those who were doing the writing.

Though her essays on Liberia, Katharine Hepburn or going to the Oscars make for great (by which I mean insightful, thought-provoking) reading, Smith's at her best when dissecting the problems of storytelling.

Storytelling takes on such a variety of forms. This week's Sound Unseen/Duluth International Film Festival is full of stories. Thursday night we were introduced to Harry Belafonte's story in the documentary film Sing Your Song, which could just as easily been sub-titled, "Don't Give Up the Fight." Last night, we saw a portrait of Phil Spector titled The Agony & Ecstasy of Phil Spector. It's a remarkable accomplishment by director Vikram Jayanti because the camera never blinks.

Songwriter and record producer Phil Spector has been a major influence in modern music in part because he was striving for something more than just the next hit record. His concept of the "wall of sound" is now almost cliche, but was revolutionary in the Sixties. Hits like The Ronettes "Be My Baby" struck a nerve with audiences across the airwaves. Songs like "You've Lost That Lovin' Feeling" by The Righteous Brothers and "Da Doo Ron Ron" established his cred as someone who knew how to reach a mass market. When two years of recording songs for the Beatles' last album failed to produce a product, Spector was called in as Mr. Fix-It and in four months Let It Be was released. And no matter how much Sir Paul disliked the outcome, I for one consider it a favorite, recalling the very moment I heard it for the first time. After the break-up of the Beatles, Spector produced music for both Lennon and George Harrison.

But this is only backdrop for the documentary which used Spector's murder trial as a thread to weave all the pieces of his life story into a whole. Or was it the other way around? Maybe the trial is the backdrop and the real story is the man himself, in his own words, for that is what we get here... Spector spending a day in his home explaining the meaning of his life, Spector sitting on his couch talking, the camera rolling. In the background is the white piano he bought for his friend John Lennon with which the song "Imagine" was recorded.

There is no effort to conceal the size of his ego. At various points he compares himself to Galileo, DaVinci, Bach and Michaelangelo. And he is clearly bitter that someone like Tony Bennett, who was a coke head in the sixties, can get his past absolved, but Spector is treated like a leper. Or that Buddy Holly, who performed for only three years would be a legend and get his own postage stamp.

About the trial. Spector had been accused of having murdered B-movie actress Lana Clarkson in his home with a handgun. The defense points out that the angle at which the bullet entered was the angle a self-inflicted shot would be fired. They also showed that if Spector had fired while standing next to her with the gun in her mouth, the manner in which she was killed, it would have splattered blood and debris on his clothing, hands, face and hair... which did not occur.

Some of the reviews of this film describe Spector as creepy. His pasty skin and not so pretty sagging flesh repeatedly fill the screen. His flambouyant hair and attire give him an almost comical aspect at times. But I can't help feel pity for the man. As Jimi Hendrix once sang, "Loneliness is just a drag." In fact, early in the film Spector himself is asked why he lives alone in such a large castle. He said it's better than a single room with a toilet. Was he referring here to the jail cell he would eventually be occupying?

The first trial ended in a hung jury. The day-long interview with Spector takes place two weeks before the verdict. We follow much of the courtroom drama which is interspersed with Spector's candid rambling. We see palsied hands quivering through much of the film. And at one point John Lennon's poignant "Crippled Inside" becomes the soundtrack, another Spector-produced song. Spector knew the meaning of crippled because his father blew his own brains out with a gun.

To some extent we're all crippled inside and in this respect Phil Spector's story -- bizarre as it seems -- is our own story. To cite Goethe, our hearts are capable of all things from megalomania to murder. Whether Spector is innocent or guilty on the murder charge, to some extent one can only say, "There but for the grace of God go I."

Belafonte Film Reminds Us to Not Give Up the Fight

Last night we went to see the opening night feature Sing Your Song, a documentary about the career of Harry Belafonte, produced by his daughter Gina who was also present for an informative Q&A session afterwards. Now wouldn't it be great if after every time you saw an interesting film you could have the producer or screenwriter or director there to interrogate. That's one feature of film festivals you just don't experience every day.

Till last night I never realized how central of a player Belafonte was in the civil right movement. Like Sydney Poitier, Belafonte was a high profile black in Hollywood who experienced first hand the unequal treatment people of color had to endure. Both became seriously involved in the fight for rights in the racially charged south, putting their lives at risk simply to be there.

But for Belafonte it didn't end in the South. He visited Africa and allowed the sea of sorrows there wash over his unshielded heart. We talk about death with dignity in this country, but there is no dignity in starvation and he allowed himself to witness this over and over again so that he would not forget, so that he would speak and take action against the injustices that contributed to this suffering.

He also became friends with South Africa, and specifically with Nelson Mandela, whose life was likewise dedicated to non-violence and the elimination of injustice.

I'm writing as if you all know who he was. He fought in a black unit during World War II then became a singer, which brought him into theater and ultimately Hollywood, films and TV. Everyone knows at least some of his songs. For example, try Day-O, the calypso song that was featured in Tim Burton's Beetlejuice.

As a great films must be, at its heart is a great story. And in its aftermath there was much to think about. Many of the things we experienced ourselves in our youth we did not understand, in part because we did not know the truth behind the news stories we were fed. Films like this continue to shed light and help us process our own experiences.

Thank you to the film festival staff for the 17 films that will premiere this week and all their efforts to create a significant event for the arts community. This one premiered at Sundance and will be on HBO this coming October.Tonight I'll be checking out the juried Short Films at Zinema followed by The Agony & Ecstasy of Phil Spector. Can't wait.

Film Festival Kicks Off with Light Factory at Sacred Heart

The opening event for the Duluth International Film Festival was a music/film/art installation at Sacred Heart on 4th Street. I've heard much about groups recording here, including Alan Sparhawk and Low. I'd not been inside the sanctuary in perhaps a dozen years when we attended an art event there. I can't recall the last time I saw so many projectors in one place.

At the entrance a projector sprayed images on a large screen past which you walked to enter, your own body serving as screen or barrier for the brief moment you passes through the projected light. Inside the mood was gradually altered throughout the evening as the only lighting was candles, films projected on screens and the sunlight sliding in through the stained glass windows. The spaciousness yielded to much free movement within the luminous cathedral.

Another layer of impressions came from the music and sound provided by Tim Kaiser, Coleman Miller, Angela Brannon, Kathy McTavish and others. Early on I was listening as an evocative riff was being played on perhaps a guitar or synthesizer or some kind, with a chord structure like a familiar John Lennon tune, but it wasn't and as my mind wrapped itself around the song I realized it was a creative interpretation of the Monkees' "I'm a Believer." Kind of set me back in time a step.

The event had two aims. First, to kick off the film festival. The second aim was to make us aware of Life House, a Duluth program aimed at helping kids-at-risk.

Tonight's opening night film and party features the film Sing Your Song, Harry Belafonte's story. Belafonte's daughter Gina, who produced the film, will be on hand for a Q&A session afterwards. The after-party will feature bossa nova and Calypso style music by Buffalo Moon. Too bad some of us have to get up and go to work the morning after.

Larger Than Life: Artist Mary Plaster

If you've ever seen pictures of large-scale protest rallies or have witnessed the 10:00 p.m. Parade of Nations at Epcot Center, or have experienced the Day of the Dead in Tepotzlan near Cuernavaca, then you've probably seen something akin to the work of Mary Plaster.

Last week I found myself checking things out at Ms. Plaster's art opening at Beaners Central in Duluth. Think big. Here were heads that went floor to ceiling and one large character with arms draped forty feet wide. After we spoke briefly she agreed to this interview.

Ennyman: Is Mary Plaster your real name and are the masks made out of plaster?
Mary Plaster: I married Troy Plaster, so yes, it is my actual name. I have worked with plaster but my masks are of papier-mâché and other recycled materials. One of those funny things in life that just happened…

Enny: When did you first take an interest in being an artist and who (or what) were your early inspirations?
MP: I have always loved art and considered myself an artist. I was mesmerized by and continue to enjoy children’s books and fantasy illustrations for the whimsical use of scale and imagination. I enjoyed theatre that recreated these pages, especially the Minneapolis Children’s Theatre Company.

Enny: How did you first get involved in making these giant masks?
MP: I first experienced larger-than-life papier-mâché through In the Heart of the Beast Puppet and Mask Theatre (HoBT) in Minneapolis in the late 70s when I was visiting my mother. I lived with my dad in Montana for high school and had never seen anything like it on the street -- must have been a MayDay celebration or something. I was struck by the deep messages from very simple materials.

I decided to attend the Mpls. College of Art & Design and worked at Children’s Theatre Company & School next door in the early 80s. I eventually received Bachelor degrees in both scenic design and studio art. I spent a year in California studying mask and physical theatre. Then I lived in central Mexico several years with a movement theatre artist and apprenticed with a mask maker before returning to the USA to work in several theatres. In the 90s I got jobs in retail display, scenic painting and faux finishing, remarried, and raised my two kids to participate in drama and wear elaborate Halloween costumes.

I got serious again about giant puppets after 9-11-01 when I was looking for a way to use my art talent to help change the world. My giant creations participated in many Midwest and California parades and conferences with social justice and Earth spirituality themes. The most famous was 2007 Burning Man in Nevada’s Black Rock Desert.

In 2008 I worked as MayDay staff in Minneapolis and got an ARAC grant to study with Peter Schumann and Bread and Puppet Theatre (the grandfather of giant protest puppetry) in Vermont. Since then I have worked and taught in various seasonal self-employment making giant papier-mâché with both children and adults and I work for commission in scenic/decorative painting as well as these lightweight sculptures.

I also coordinate an annual Dia de los Muertos (Day of the Dead) festival in the Duluth Depot called, All Souls Night. This year’s event is the evening of Wednesday, Nov. 2nd with a few days preparation to make decorations and transform the space.

Enny: What was your inspiration for the gods exhibit?
MP: Many of my creations and co-creations are of godlike icons/archetypes such as the Elements, Green Man, Gandhi, MLK, Jr., Gaia, Death, etc. In fact, my 2006 Masters thesis show was called, “Dancing with Divinity.”

I was invited to work with the UMD theatre department this spring on the musical of The Odyssey adapted by Professor Tom Isbell. I designed the gods and monsters and was given them to use after the performance to add to my collection, which I share with the community.

Enny: Do you have any advice for young artists just starting out?
MP: It’s an interesting path that pays in ways that aren’t always financial. I am very lucky my spouse has steady employment. If you want money find a skill that is in demand that can feed your family and buy materials.

To see more visit www.maryplaster.com

Ten Minutes with Richard Hansen, Director of the 2nd Annual Duluth International Film Festival

A friend of mine said that when he went to the Duluth Film Festival last year he was blown away. His expectations were modest, but after the first film he couldn't believe what he just saw. Then he took in the second, and the third. Ultimately he attended 11 films and participated in many of the dialogues with directors that can be part of a film festival experience.

Two weeks ago I met Richard Hansen, director of the event, and was sufficiently impressed with his vision and enthusiasm to make sure we had lunch together last week. I now understand why an international film festival would make its home in Duluth. It's my hope that Hansen and associates is sufficiently successful to make this the next Sundance.

Ennyman: How did you come to Duluth and what prompted you to start the Duluth International Film Festival?
Richard Hansen: Riki McManus of the upper MN Film office and I had a mutual friend named Andrew Peterson who suggested that Riki and I meet. He knew Duluth was a great spot and that Sound Unseen could expand here. I meet with Riki about 3 years ago. We became instant friends and I fell in love with Duluth. There were so many supportive people and organizations, it became a no brainer to develop the festival franchise here.

Enny: I heard nothing but rave reviews over last year's films. What is the process for deciding what films will be shown?
RH: Well, that’s very flattering, Ed…thanks for saying…We have an outstanding staff of programmers who literally scour the globe looking for films that will fit into our festival. Last year alone, we had representatives at Sundance, South by Southwest, Tribecca, Berlin, Rotterdam, Toronto, Seattle and numerous other festivals. These guys are professional programmers who book for other organizations and festivals, so everybody is always looking. As Adam Sekuler, one of our programmers likes to say ‘We’re professional lookers.’

We also like to choose filmmakers who we think have bright futures in the industry and are just all around good people. This makes for much better visiting guests. We like making new filmmaker friends then asking them to come hang out with us in Duluth. We do have some thoughts on what we think will play well here in the Twin Ports area…sort of a Duluth style, so that plays into our selections as well.

Enny: Will there be actors, directors, writers and/or producers here?
RH: Yes, yes, and yes…and even some film distributors. We like to have a range of industry professionals come in. We’re especially proud to have Gina Belafonte as our featured guest. She is the producer of our Opening Night film Sing Your Song, which is a documentary on her father, Harry Belafonte. (right) She produced the film so it is really, obviously a very passionate and heartfelt project for her. It’s only screened a Sundance, South by Southwest, Tribecca and Berlin…which are 4 of the most influential festivals on the planet. Sound Unseen Duluth is its final festival screening before it goes to HBO…so obviously we’re really pleased that we got the film.

Additionally, we’ll have over a dozen directors/actors/producers/industry professionals in attendance. This is a great part of what we are doing, because each of these talented people become really accessible to festival participants. There will be question and answer sessions after all of the films with a filmmaker present, and they’ll all be at the parties and events…they’ll be walking down the street and on the lakewalk enjoying Duluth just like all the rest of us do. We think this something that makes our festival special.

Enny: In addition to the films, you also have music and art. What's unique about this facet of the festival?
RH: We’ve had a focus on music and art within the festival since its inception a dozen years ago in Minneapolis. This is our niche in many ways. We think film, music, and art are such natural crossovers, that it just made sense for us to work on more than just showing movies. So many filmmakers are artists or musicians, and most everyone who enjoys this type of film also appreciates art and music…it seemed very obvious the work it all in together.

Both last year and this year we have a Film Competition where we screen 6 music related films and have jurors decide on which one they like best. There are so many great music related films out there, we think this is a great way to celebrate that fact.

Enny: Who picked the UMD student selections and when will they be airing?
RH: UMD students picked the UMD student selections! Working with UMD this year has been outstanding, and we wanted to find a way to incorporate this great university into what we were planning. There is a great bunch of young minds coming out of UMD who burn for this type of opportunity, so we let the bright and ambitious kids take the lead on selecting some of the UMD selections. The shorts collection will screen Friday June 11th at 5 pm at Zinema. The kids are as excited as is the UMD staff.

Enny: Thank you, Richard, for all your efforts to bring such an event to our beautiful shores.

EdNote: The project could still use some financial support to obtain additional special funding. I strongly encourage friends of the arts to visit the Film Festival Kickstarter page to help bring this event to full fruition.

Phantom Galleries Springing Up In Surprising Places

I stopped for gas near Carlton this weekend and saw that a restaurant was closed that used to be adjacent to the truck stop. In Superior numerous buildings have vacated areas on the main drag. In one abandoned building we saw a pair of pigeons standing on the red carpet spread there. It's a scene is being played out repeatedly -- not the pigeons, but the abandoned real estate -- throughout our region's extended non-recovery.

When hard times strike, buildings can be left vacant for a season. But with a little creativity, they don't need to remain vacant.

A few weeks ago when I had my Dylan paintings at the Ochre Ghost Gallery in Duluth, I asked Jessica and Calvin how they found the space. They said it had been nothing more than a place where the owner of the business around the corner stored his motorcycle for the winter. The space has been alive with several shows since spring and it's exactly the kind of thing we will see more of here and there around the country.

Right now in Wisconsin there's a move afoot to bring vibrancy back to the streets of many towns through the partnering of the business community with the arts community. Superior is one of six Wisconsin communities selected for a Phantom Galleries project. Funding for the project comes from the Morgan Fund of the Duluth-Superior Community Foundation and the Wisconsin Arts Board with the support of the National Endowment for the Arts.

Another Wisconsin town seeing a bit of life breathed into its downtown is LaCrosse. A news story by Jason Smith titled Phantom Art Strikes Again tells the story of downtown revitalization.

It's night time in downtown La Crosse. The storefronts in the historic downtown area are mostly dark, except for a few brightly lit window displays interspersed throughout the area along the river. A small crowd gathers in front of a glowing window, gazing and pointing at colorful paintings and sculptures by professional local artists.

Walking through downtown La Crosse on a warm spring evening, it's a lovely sight to behold. But what is this artwork doing here in the window of an empty building, and who put it here?
This novel use of empty space in La Crosse is what's called a phantom art gallery. Phantom art galleries are temporary exhibition spaces created by community artists who work together in order to enliven street-level downtown windows, empty storefronts, and public spaces with colorful artwork exhibitions and installations that are viewable and accessible at all hours from the sidewalk.

But this notion of placing art in an unexpected context is more than about simply beautifying drab downtown areas: it's about economic development for community property owners, businesses, and artists alike.

And actually, I think this idea is brilliant. I know artists with whole houses full of art. Gallery spaces are limited. What does one do with all this creative output without an audience? Artists may not be as outgoing as rock stars, but they do feel the occasional need for validation, hence they value opportunities to put their work in front of an audience. Vacant real estate is a great way to connect with eyeballs. What's more, it's good for the merchants who own empty spaces, because the eyeballs are now drawn to these buildings that otherwise might appear to be eyesores.

Will it work? Can Phantom Galleries re-vitalize our downtowns? The verdict is out, but my personal feeling is that if we get people thinking about the problems of our cities, willing to take risks and explore creative solutions, we just might be surprised.

Kudos to the SPACES team for taking these steps toward bringing the various facets of our community together for a common cause.

Read the complete Jason Smith article here.

Photos on this page: Top right is Jessica L., co-founder of Ochre Ghost Gallery. Lower two images were taken at the Dylan themed show opening May 25.

Serendipity

There are two approaches to writing stories or making art that seem at odds to me. The former is when a picture is envisioned in its entirety and executed as envisioned. Or, when a writer creates a story in his mind and through one careful sentence after another leads a reader through its channels to the epiphany.

Juxtaposed against this approach is the writer who creates characters, sets a story in motion and pretty much watches the story emerge from the uncertain fog. Or the painter who begins with a pallet of colors and spreads his or her sails seeking a favorable wind. This latter approach relies on intuitions and instincts, and along the way enjoys the wonder of serendipity, those happy accidents that lift a painting or story above the mundane.

For the artists in any medium there's a wonderful quality to serendipity, that experience of finding something you weren't expecting to find. It's often my approach with

So the question is, how can we live our lives in such a way so as to experience a greater variety of "happy accidents"?

Too many of us get locked down by our own routines. They are comfortable, and can even become almost ritualistic. I think here of the narrator in The Accidental Tourist sets out to insure that every detail is covered and every environment controlled. No disconcerting surprises here, but then again no happy accidents either.

John Updike called boredom one of the four major drivers behind our actions. The manner of our life approach may contribute to that flattening out of our interests and experiences so that we no longer experience the exhiliaration of joyful discovery. There are so many fascinating people and places in the world. What causes us to disengage from life in favor of safety?

Maybe it's because we don't like to release control. Maybe we're afraid of the unknown. Maybe we dislike being disappointed. Maybe it's a bit like stopping at garage sales where after forty years you feel like it's just a waste of time. The thing is, sometimes there really are treasures waiting for you, but you just let them pass.

This week, make it a point to do something you wouldn't normally do, something outside of your routines... and enjoy the moment.

Top Right: Serendipity. I painted a background, then spray painted red enamel through a wire mesh. Afterwards I left the panel outside in the rain overnight to complete the background upon which the face carbon black acrylic was painted. Click to enlarge.