Komatsu and Oyama Remembered

Komatsu in 'Chibideka Mongatrai'

Obviously, I have not written here in some time.

I decided to say nothing here, as I was doubtful my endless rants of the obvious failings of the previous  president were of any use. Thankfully, I learned by the 2020 elections end, that our democracy was preserved by about 8 million voters. Thin margin perhaps but enough to alter the grim path we were on Yet, I also learned that where I live I am politically outnumbered about 4 to 1 - about the same amount I have experienced in the years and years I have lived here ... and yet i remain.

Call me Odd Man Out. And no, I have never been comfortable with this particular reality. So I write what I can seldom say.

And after perusing other options of the online world, those many thousands and thousands of platforms and apps  world gurgles and burbles its way through to self-expression - this humble and loveable blog is the best place to share. Here, I am the only one, I can speak freely.

I can ponder through words the thoughts wandering about my old mind (I'm 60 - time left is ticking past loudly.

I continue to marvel at the presence and uses the world has made of the internet - fascinated by the swipe-left-or-right narrative so many engage in, the willingness to answer any question posed by some Facebook data miner, speeding through miniaturized experience. People of all ages and sexes make money online opening boxes and packages to reveal what's inside, or how to apply make-up, or repair a car or a washing machine, or being creative with music and art, or even just jerking off live on camera for tip money. In my day, one had to go to a big city and find a peep show to do that.

Anyway.

I was eating lunch (eel sushi and thai yellow curry chicken) in a small Asian restaurant and I put my phone away since it had little battery power left. I realized I did not even have a book in my car I could have brought in with me - it made me feel ashamed. 

I work with folks in their 20s and 30s and have noticed whenever there is a pause in work or just conversation, 8 seconds will go past and their heads will bend down to their phones, fingering away swiping up and down and left and right. 

So now I have two books in my car. 

I'm no Luddite.

I was pondering movies I could watch online (how I spend most of my time online) and something reminded me of the first foreign language film I saw. I was 7 or maybe 8, and on Saturday mornings I eagerly waited for the CBS Children's Film Festival program to air. I was quite delighted to be able to type CBS Children's Film Festival into the magic google machine - and there it was listed, along with all the films they showed during their very long run. 

It was a Japanese film made in 1958 called "Skinny and Fatty", or originally "Chibideka Monogatari". It's a very simple story of two young boys in elementary school who become friends. Once I recalled seeing it - images and scenes filled my head. The story follows them through their school days and lives at home. They become friends, the smaller sized boy, Komatsu, lives in a very small one-room house and the heavier boy, Oyama. lives in a large two-story home. Komatsu's mother works in a quarry all day, his father works out of town, seldom home. Oyama's mom stays at home, dad is home every night. The boys get bullied, but don't give in. Komatsu always tells his new friend to never give up, to try to achieve, to have confidence.

All I could find of the 45 minute movie was a horribly washed-out print on YouTube, and watched it anyway. I remembered how much that movie impacted me - it wasn't about adults or the goofy kids in America I saw on TV. Their lives are ordinary and still, powerful. It was one of several young experiences that made me want to write, to tell stories, to make movies and plays. There is almost a manga-quality to the movie, it's steeped in late 50s Japanese culture, and likely helped lay a foundation for an appreciation of their styles of storytelling. 

And that's what I decided to write about today. 

Good News, Everyone!!

Over the years of serving up your Cup of Joe (fresh and hot), this semi-experimental online  original commentary on our collective Past, Present and Future, well, sure, there's been great focus on politics. But something happened.

Pretty much a year, two even, have been posts about the Con Man Who Swindled America.

Titanic effort has been applied all along by yours truly to resist attempting to endlessly post pithy captures our current Idiocracy. The effort has won the day, so, in the words of Professor Hubert J. Farnsworth, "Good news, everyone!" More normal weird and wonderful items are making a welcome return here.

(No, I'm not turning blindly away. How could anyone? We all know what a horrible place we've become. America is now the place parents warn their children about. "And if they catch you, they'll lock you away forever.")

So.

First we heard about an Alabama man who allegedly had an Attack Squirrel, which he had been feeding meth in order to make it "aggressive", so the police better watch out! Then came The Chase after said owner of the perhaps meth-addicted Attack Squirrel.



Ok then.
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Movies have been on my mind too, as always. Especially regarding the process of making them. As a hardcore fan of the films of Stanley Kubrick, I I enjoyed this oral history about the making of the orgy scene in Kubrick's final film, Eyes Wide Shut.

"Peter Cavaciuti (Steadicam operator): Stanley’s precision was the thing I remember most. I had three lasers on the Steadicam, pointed to the ground, and when they all lined up, a grip would drop a plumb line from a string from the lens; then I’d line my lasers up, and then the grip would talk me into the mark, saying I was two inches, one inch on the mark. That level of precision was pretty exceptional. You’d very rarely do less than 20 takes. So physically and intellectually, it was demanding. Very often, Stanley would say to me that I wasn’t on my mark. I’d look down and I had my three lasers, so I’d say, “Well, I am on the mark, Stanley.” And one time Tom Cruise whispered to me, “Just move the camera, Pete.” [I realized] it was just code for saying that Stanley wanted to put the camera in a different place."

As much as he was known for being a control freak, it is much more a case of his being a collaborator - gathering very talented people, work with them for months to create the best way to tell a scene or a story, and still at the moment of shooting the scene being open to what else might be possible. 
I was also struck by descriptions of Tom Cruise and Nicole Kidman as great to work with - helpful and contributing to the work. One doesn't spend years working on a difficult project unless their is great commitment and excitement.

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How about pretty much every way you can cook a potato?

Artists Are All Loser Slackers, Says Lying Media Outlet

I avoid reading the thin drool offered on the PJMedia website but I happened to read the opinion piece recently offered by a failed artist now church employee who demands the National Endowment for the Arts be totally eliminated 

The writer trots out withered, ancient and fake narratives which ignore the reality of what the NEA does and how it does it. The writer wails that crazy commie leftist artists suck up tax dollars to insult you with lousy arty stuff no one needs 'cause art ain't food; another false claim is that all art should be regulated by a free market and therefore insure only good art that everyone likes will survive and crappy art will die; and finally that "all Americans' don't have any creative notions so no creative notion should be supported.

The facts are enormously and utterly at odds with such drivel.

"The NEA’s 2017 budget is $149.8 million. In a nation of 319 million people that amount doesn’t allow the agency to subsidize much of anything. But the endowment has found ways to make the money work with outsized effectiveness and efficiency. It makes thousands of small grants to nonprofit organizations — on average 2,100 a year. Each grant requires the recipient to raise matching local funds — often at a ratio of two or three local dollars for each federal one. So the NEA mostly serves as a catalyst for local groups to raise private and state money to serve their own communities.

On its modest budget, NEA funding now reaches every state, every congressional district, and even most counties — rural and urban — in the United States. Grants fund programs in schools, libraries and military bases. Nearly half the grants go directly to state and regional arts organizations to expand grass-roots efforts. NEA grants never pay overhead or annual expenses. They only fund specific programs of artistic and educational excellence that reach the public."
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"The arts in America wouldn’t be destroyed if the NEA ceased to exist. But music, dance, theater, literature and visual arts would become less widely available, especially in schools, rural areas and poorer communities. Access to culture should not be a function of family income. That is why citizens should remind their representatives in Washington that the NEA needs to be protected. Believe it or not, most members of Congress will be pleased to get these letters.

Public support for the arts and arts education is neither a partisan nor a divisive issue. Most Americans want to see the arts in their communities and their schools. Most members of Congress agree. So do most governors and state legislatures. A 2016 public opinion poll conducted by the advocacy group Americans for the Arts found that 55% were in favor of doubling the NEA’s budget (from 46 cents per person then to $1 per person)."

Truth - eliminating the tiny amount of the NEA budget resolves no issue and addresses no problem. So why push for it?

I find it fascinating the writer from PJM is employed by a religious organization, which is exempt from paying taxes - if the writer were truly concerned about fair tax policies, shouldn't he argue that religious organizations should be taxed? So it isn't a tax issue or an economics issue - it's a cultural control issue. It also perpetuates hateful, demeaning, false and ignorant views about anyone who works in the arts - as the article's writer asks, "why should my tax dollars pay for your slacker son to be in a play when if had any talent he would not need any support to reach the heights of success and fame and wealth'.

A few million dollars supporting tens of thousands of arts programs is bad. Billions to subsidize oil companies or banking is good. Only art that is bought is good. The crap you make in your own community is crap, go get a real job, slacker.

The Republican party continues to show it opposes collaboration, open dialog, education, a free press, or anything which provides opportunities for the poor, for rural residents, for schools. Every argument about the arts they offer is debunked but they continue to lie and distort reality - the real problem, they say, is your sin of not being wealthy. Art is for the wealthy and talented - your creative contribution is a laughable pile of crap.

And, as usual, those ideas are held only by a small, angry, petty crowd of deplorable clucks who have a warped view of the world. They simply lust for power for it's own sake while claiming to be your Protectors. 

Laurie Anderson's Concert for Dogs and Return to Knoxville

2016 is bringing back one of my favorite people to Knoxville, artist Laurie Anderson, part of another impressive lineup at the Big Ears music festival March 31st to April 2nd. She and Phillip Glass will perform their most recent collaboration.

Anderson has the most unique, wide-eyed wonder and wisdom in her words and music and now film. Tonight in Times Square as part of a public arts series Midnight Moment, a 3-minute shortened version of her highly acclaimed new documentary "Heart of A Dog" will be spread all across the towering Times Square screens. And just prior to this screening, Anderson will perform a concert for dogs - I love this sentence from this NYTimes piece:

"Dogs and their owners are invited to sit on the red steps of Duffy Square while she performs music that, to passers-by in Times Square, may not sound like much because of the low frequency."

Yes, dogs are invited. Such a show (her 2nd actually) has such whimsy, and stands so far out away from what others do. I prefer to also imagine the dogs will likely be very pleased, unlike cats who would probably go online and start a twitter backlash about it.

Her movie features her dog of course, and also the dog's death, and that of her husband Lou Reed, and essentially deals with how we deal and do not deal with death and grief, and also life and love.

A fascinating interview with her in studio q is here and is well worth the listen.

Here's a trailer for her film.

Films Saved From Mindless Extinction

Real movies made on real 35mm film will live on thanks to a handful of modern filmmakers – and I hope their efforts last many years.

Kodak alone remains today as a producer of 35mm film stock thanks to the investment from directors like Quentin Tarantino, Christopher Nolan, Martin Scorsese, J.J. Abrams and Judd Apatow, and Tarantino is providing actual films from his own collection of prints to screen at the New Beverly Cinema.

Kodak says:
“After extensive discussions with filmmakers, leading studios and others who recognize the unique artistic and archival qualities of film, we intend to continue production," Kodak Chief Executive Jeff Clarke said in a statement Wednesday. "Kodak thanks these industry leaders for their support and ingenuity in finding a way to extend the life of film."

The rush to digital tech has blindly discarded film – which in fact is far superior for long term archiving. It’s stunning that it’s been the studios themselves which have driven the effort to make filmmaking extinct.

The disposal attitude might confuse some folks so think about it this way – would it make any sense for the production of paint and canvases to be eliminated merely because many artists today use digital technology to create artworks?

Would it make any sense to no longer make, say, a French coffee press because drip coffee makers are more popular?

Would it make any sense to eliminate the use of raw materials like stone or metal because of the emergence of 3D printing technology?

Such ideas make no sense.

Kudos to these wise artists.

Artistic methods and tools and technology are always changing – but allowing such tyranny because something is New is ridiculous.

Long live film!

A Prime Selection of Long Reads

The "long read" nature of my writing style and my general slow, sometimes oh-so-slow, process could - to some readers- appear contrary to the popular binary wave patterns digital lifestyle blurring past us and around us. But hang in there kiddo, it's worth it.

So while I apologize for making you wait for a new post, I bring gifts, a prime selection of long reads - first up is an artist using photography and digital tech to create powerful images. Via Medium, their profile of Adam Maygur begins:

"Adam Maygar is a computer geek, a college dropout, a self-taught photographer, a high-tech Rube Goldberg, a world traveler, and a conceptual artist of growing global acclaim. But nobody had ever suggested that he might also be a terrorist until the morning that he descended into the Union Square subway station in New York.

At the time, Magyar was immersed in a long-running techno-art project called Stainless, creating high-resolution images of speeding subway trains and their passengers, using sophisticated software he created and hardware that he retrofitted himself. The scanning technique he developed—combining thousands of pixel-wide slices into a single image—allows him to catch passengers unawares as they hurtle through dark subway tunnels, fixing them in haunting images filled with detail no ordinary camera can capture."

Please oh reader, explore his images on Medium, as my humble but lovable blog cannot convey how fantastic Maygur's work is:

Maygur says at one point: These moments I capture are meaningless, there is no story in them, and if you can catch the core, the essence of being, you capture probably everything." A constant element in the my own writing/pondering about writing is about the nature of Art itself. By which I mean, what prompts the creation and execution? That leads us to an interview with Phillip Roth, the now-retired Phillip Roth, whose the hands down winner of, if not the long read, the long answer to press questions. And his mastery of language is impeccable. Below, Roth gives an assessment of America:

"Very little truthfulness anywhere, antagonism everywhere, so much calculated to disgust, the gigantic hypocrisies, no holding fierce passions at bay, the ordinary viciousness you can see just by pressing the remote, explosive weapons in the hands of creeps, the gloomy tabulation of unspeakable violent events, the unceasing despoliation of the biosphere for profit, surveillance overkill that will come back to haunt us, great concentrations of wealth financing the most undemocratic malevolence around, science illiterates still fighting the Scopes trial 89 years on, economic inequities the size of the Ritz, indebtedness on everyone’s tail, families not knowing how bad things can get, money being squeezed out of every last thing — that frenzy — and (by no means new) government hardly by the people through representative democracy but rather by the great financial interests, the old American plutocracy worse than ever. You have 300 million people on a continent 3,000 miles wide doing the best they can with their inexhaustible troubles. We are witnessing a new and benign admixture of races on a scale unknown since the malignancy of slavery. I could go on and on. It’s hard not to feel close to existence here. This is not some quiet little corner of the world."

I was deeply grateful to discover a 1999 essay om Stanley Kubrick's "Eyes Wide Shut" by Tim Kreider - grateful because it was a brilliant piece about why EWS is great and critics of the day so very wrong. Ignoring all of Kubrick's previous work is idiotic as he was likely the most thoughtful composer of film images ever to wield  a movie camera. I  too read the movie as a scathing critique of greed and corrupt depravity at the cusp of the 21st century, especially among the mega wealthy, and a critique of those who see themselves as above such lowdown behavior. At heart, their is a murder mystery in the movie and the resolution so typically Kubrickian - intriguing spaces for audiences to ponder on meanings and conclusions:

"The open-ended narrative forces us to ask ourselves what we’re really seeing; is Eyes Wide Shut a movie about marriage, sex, and jealousy, or about money, whores, and murder? Before you make up your own mind, consider this: has there ever been even one Stanley Kubrick film in which someone didn't get killed?"

Let's follow the questions about creating home to Tennessee, or at least the South. Located on the Tennessee River, the music recorded in the wee studios of Muscle Shoals are the very foundations of rock and roll and soul music. The 2013 documentary "Muscle Shoals" has been airing on PBS recently and its a solid 2 hours of artistic collaborations that made history,

Yes, I know, a movie is not a read. How about reading movies? Would that work? Actors in Hollywood have been staging live readings of movies, most recently the notorious script for Quentin Tarantino's western The Hateful Eight" - notorious because it got leaked online, which pissed him off so much he decided to not make the movie and sued Gawker for linking to the script. But actors are doing more scripts with all new casts:


"We started with The Breakfast Club," says Elvis Mitchell, the former New York Times critic who now curates film at LACMA. ... Imagine The Graduate without Dustin Hoffman or Anne Bancroft. Now imagine those roles being filled by Jay Baruchel and Sharon Stone (that was April's other live read),  all in a stripped-down environment with the actors sitting in a row at a table facing the crowd, with their character names on a card in front of them, like the US supreme court in session. The approach has produced some happy moments of inspired casting, such as Paul Rudd and Mindy Kaling in The Princess Bride, Seth Rogen as The Big Lebowski, The Usual Suspects with Dexter's Michael C Hall, and the pilot episode of Breaking Bad, which was vigorously rejigged with Rainn Wilson as Walter White and Mae Whitman an absolute riot as Jesse Pinkman (Bryan Cranston and Aaron Paul were among those cheering from the stalls). Other productions have included Ghostbusters, with Rogen, Jack Black and more Rainn Wilson, and a Boogie Nights do-over that was especially well received, with Taylor Lautner as Dirk Diggler and Don Johnson in Burt Reynolds' porn-impresario role."

Art Prices Too High or Too Low?

Recent auctions for artworks have set record high prices, bringing out again a debate about the real value of Art.

Some $58 million for Jeff Koons' "Balloon Dog (Orange)" and over $142 million for Bacon's "Three Studies of Lucian Freud" are prompting talk of "obscene wealth" and "paintings my 5 year old could make".

As someone who works in the Arts in America, these prices are not the norm - most people balk at paying more than $200 for any painting, sculpture, photo, or even a story. Lots of Art experts emerge to opine on what is or isn't Art. But these debates seldom increase the value in our society of Art or artists.

"Some have tried to put things into perspective, lamenting that the Bacon price almost equaled the $154 million that President Obama requested for the National Endowment for the Arts for fiscal year 2013 — and more than the $138 million that the endowment actually received, with cuts.

Others have pointed out that the price would have paid, twice, for the renovated Queens Museum, which cost a modest $69 million. It has been noted once more that such figures make it impossible to see the art for the money, that works costing this much are, at least temporarily, damaged goods."

Why I Stopped Blogging

Note I said stopped not quit in my Google Trend grabbing headline. I've been absent here because all work for some weeks was directing the play "Red Velvet Cake War" for the Morristown Theatre Guild.

Above is a pic of a scene of the three heroines, Gaynelle, Peaches and Jimmie Wyvette, caught by the law after digging up and stealing a time capsule from the courthouse lawn ... for a cake recipe inside. The show is pretty much all like that - somewhat crazy but mighty funny. It's a family reunion crammed with sharp jokes written  by the trio of Jones, Hope and Wooten.

Directing and designing a show pulls me seat from writing daily here, the Art goes on the stage. Yes, otherwise the Art goes here, the Art of Blogging. More on that later - more pics from the play, which runs for only 3 more performances on Nov 15 and 16 at 8 pm and Nov 17 at 2 pm at Rose Center in Morristown. Tickets: 423-586-9260.

Peaches, Newt and Dr. Dowdall wrestle with love and destiny.

Gaynelle, wearing her "Gospel Beehive Wig Number 603", and Peaches don't really like Cousin Purvis's crushing affection.

The cast us truly stellar too, not just saying that because it's my show but because they make it their show, stuffed with hilarious fun. They are:

Cee Cee Windham .... Carli Rick

Gaynelle Verdeen Bodeen ... Sherri Jacobs

LaMerle Verdeen Minshew ... Sharon Seals

Aubrey Verdeen ... Darryl Frith

Jimmie Wyvette Verdeen ... Keela Phillips

Peaches Verdeen Belrose ... Kellie Ward

Bitsy Hargis ... Mitzi Akins

Newt Blaylock ... Alex Michael

Deputy Grover Lout ... Doyle Whitmill

Elsa Dowdall ... Lisa Frith

Mama Doll Hargis .... Sue Wisniewski

Purvis Verdeen ... Doyle Whitmill

Recent Carson-Newman grad Jessica Whitmill is the stage manager, also one of the best I've worked with. 

As for the Art of Blogging? It is a solo performance. The Art of the Stage is defined by collaboration, that seemingly elusive quality in the world today. 

One of the things the cast and I talked about was the powerful influence of creating spontaneous laughter for two hours - audiences will not leave the show with answers to life's Big Questions, but they will leave Happy. Another quality that can change the world. Theatre is an ancient Art, a fundamental layer of Community and Civilization, 

Come see the show - we've had folks from Virginia to Las Vegas attend and roar with laughter. Do yourself a great favor and laugh for a couple of hours.

Thousands Support The Weight of One

Endless studies and statistics and graphs would easily tell the story of how the top 1% of our modern world overwhelm and stunt the remaining 99%, but this simple artistic display by Korean artist Do-Ho Suh tells the story even better.

As shown in photos above and below (via this website) thousands and thousands of tiny plastic figures hold up the very floor people can stand on. And yes, one could view the metaphor as showing how it is that many support one and how that might work for or against you.

Artists sure are tricky.

Kraftwerk Retrospective - The Art of Computers

We are driving on the Autobahn

In front of us is a wide valley

The sun is shining with glittering rays

The driving strip is a grey track

White stripes, green edge

We are switching the radio on

From the speaker it sounds:

We are driving on the Autobahn

Celebrating the works of a unique group of musicians, Kraftwerk, the Museum of Modern Art provided 8 nights of concerts from the German band, whose creations of minimalist techno tunes signaled  the beginnings of our digital age.

I latched onto their album Autobahn as a Christmas gift to myself in 1974 and absolutely loved it and still do. When I shared the music with some friends in my small town back then, they grimaced listening to the vocoders, looped tracks and computerized rhythms as if fingernails were scraping a blackboard and I told them, just like a time-traveling Marty McFly, "Your kids are gonna love this."

As much as I enjoyed the simple, hypnotic sounds (check out a sample from Autobahn or from Trans-Europe Express) I also marveled at what their work implied - music generated by computers and technology offered a glimpse of what was ahead for the world, which would soon be transformed by technology. It was a science-fiction soundtrack for this emerging force. So I'm not surprised, decades later, to see these musicians show off their work at the MOMA. Seems the most appropriate place for them:

"Kraftwerk anticipated the impact of technology on art and everyday life, creating sounds and visuals that capture the human condition in the age of mobility and telecommunication. Their innovative looping techniques and computerized rhythms, which had a major influence on the early development of hip-hop and electronic dance music, remain among the most commonly sampled sounds across a wide range of music genres. Furthermore, the use of robotics and other technical innovations in their live performances illustrates Kraftwerk’s belief in the respective contributions of both people and machines in creating art."

This past week audience members could capture the performance on hand-held devices we all think of as commonplace and ordinary.

Tennessee Man Decides To Wear A Kilt For A Year

My friend Rick Baldwin is going to mark turning 50 by wearing a kilt for a year. And he's apparently decided to blog the experience and though he doesn't hit 50 until April next year, he's getting prepped for it. He writes:

"I admit I've never been much of a daredevil kind of guy. Skydiving and bungee jumping don't appeal to me. I don't have the finances to run out and buy a Lamborghini and I don't have the energy to get tanked and marry a 22 year old reality TV star in Vegas (hey, don't think they aren't lining up for the chance...). I prefer to celebrate in a more laid-back fashion. Still incorporate the danger of skydiving, the style of the Lamborghini and the romance and sexuality of the Vegas marriage. What else could capture all of these things better than wearing a kilt for an entire year? You knew I was going to say that, right? Well it's the title of the blog for haggis' sake!

Oh. One other confession. I've never owned or worn a kilt before. For many years I've wanted to own one but they always seemed so expensive and I never go to enough Celtic festivals or Renaissance Faires to make it worth it. The majority of my heritage is Scotch/Irish so I've always had the kilt on my list of things to purchase one day but always put it off. Recently I was making a mental list of things I would like to do after I turn 50 and I thought about wanting to buy a kilt. One thing led to another and I suddenly thought, "What if I commit to wearing a kilt every day of my 50th year?" Next thing I know, I did just that. I committed. In front of someone else even. I guess that means I gotta do it."

Rick is an artist in Chattanooga, has been doing editorial cartoons for years, and I recall back in college days, when we first met, he was making gobs of cash working in Gatlinburg doing airbrush t-shirts and such. He has a sense of humor which I often note as being ... well, he's never ordinary.

After reading about his plans for his 50th, I realized I had made no such grand plans to mark my 50th year. In truth, I do recall pondering that I was just happy to have made it so far. But did I miss some Golden Opportunity?

Probably. My dad used to tell me that when my boat finally came in I would probably be at the airport.

Is marking one's 50th year with some divergent behavior important? I have no answer for that. I do know that for me, I try and do things rather often which I have not done before. Such newness educates me, terrifies me, tasks me and generally pushes me to explore what it is possible (or perhaps impossible). (For instance, this week I'm finishing up a new play I've been writing, it's a Western, and it sure has me confused but I've always wanted to write one, so I am.)

So to honor that approach to life and to make sure Rick is going to keep his vow to wear a kilt, I thought I would bring his vow to your attention. Who knows, maybe his actions will encourage you, dear reader, to embrace some new thing in your life too.

Join Me At The Mountain Makins Festival

This weekend marks the 36th Annual Mountain Makins Festival at Rose Center in Morristown, a celebration of Appalachian folk life, history, art, handmade crafts and displays of skill, music, dancing, food and much more. And I will again be the emcee for one of the stages of live music.

I'll be the host for the Gazebo Stage, sponsored by ORNL Federal Credit Union. Here's a lineup of the music - and this year will mark a first: Russian Bluegrass music.

A full write-up on this most entertaining festival is here.

The music line-up includes

FIRST TENNESSEE STAGE
10AM:          Tracy Wilson- Scottish Highland Bagpipes
10-11:          The Red Wellies- Celtic 
11-12:          The Grassabillies- Rockabilly
12-1:            Steve Brown and Hurricane Ridge – Bluegrass
1-2:              Rough Edges- Bluegrass
2-3:              Hot Mountain Caravan
3-4:              Roan Mountain Hilltoppers – Old Time
4-5:              The Grass Pistols- Russian Bluegrass

ORNL  GAZEBO STAGE
10:15:            Tracy Wilson- Scottish Highland Bagpipes
10:30-11:30:   Steve Brown and Hurricane Ridge- Bluegrass
11:30-12:30:   The Red Wellies – Celtic
12:30- 1:30     The Grassabillies – Rockabilly
1:30-2:30:       Roan Mountain Hilltoppers- Old Time
2:30- 3:30:      Grass Pistols – Russian Bluegrass
3:30-4:30:       Rough Edges- Bluegrass
4:30-5:00:       Hot Mountain Caravan- Americana/Folk/Roots

SUNDAY, OCTOBER 30
FIRST TENNESSEE STAGE
11-12:           The Dulcimer Guys- Hammer and Mountain Dulcimers
12-1:             Earl and Pearl- Old-Time
1-2:               Harmony Strings- Traditional Country and Gospel
2-3:               Hall Family and Friends- Traditional ‘Shape-note’ Singing
3-4:               The Dulcimer Guys- Hammer and Mountain Dulcimers
4-5:               Clinch Valley Bluegrass- Bluegrass

ORNL GAZEBO STAGE
11:30-12:30    The Katts - Americana
12:30-1:30      The Dulcimer Guys- Hammer and Mountain Dulcimers
1:30-2:30        Earl and Pearl- Old Time
2:30-3:30        Clinch Valley Bluegrass- Bluegrass
3:30-4:30        Harmony Strings- Country and Gospel
4:30-5:00        The Dulcimer Guys- Hammer and Mountain Dulcimers

Metropolis II - 1,100 Tiny Cars Cruising the City

1,100 tiny cars roam endlessly over a cityscape in Metropolis II by artist Chris Burden.

"The exhibit, when running, requires two full-time attendants: one standing inside it monitoring flow like a panopticon, and another pacing around the 20-by-30-foot installation watching for traffic snarls. "I've seen spectacular pile-ups involving cars that spill off the road and derail trains," Burden says. "Every hour 100,000 cars circulate through the system, so you're going to get some glitches. It's not digitized."

Werner Herzog and Cormac McCarthy Talk Science and Art

I've become addicted to Science Friday broadcasts on NPR and yesterday, the show brought together filmmaker Herzog and writer McCarthy to talk about the intersection of science and art and imagination and observation and hoooo, boy what fun!

You can listen to the interview here. (click on the player in the upper left corner)

Baby Trashes A Bar In Las Palmas

I've lately received links to numerous short films, but the following excerpt from a new 13 minute short from Swedish filmmaker and artist Johannes Nyholm was too funny and had to be shared. Watch the video first, and I'll include some details after.



Nyholm describes the project "A middle-aged lady on a holiday in the sun tries to make new friends and have a good time."


More on the movie from Nyholm's website is here --

The filmmaker has been earning high praise and numerous awards for his work, which has been best described as:

"With his music videos, the films about the Puppetboy and the paper doll animations in Dreams from the Woods, all characterized by versatility, unpredictability, humour and boldness, Johannes Nyholm has achieved world reputation and proved that the one who chooses to go his own way can reach further than the others.

Modern @rt?

The Museum of Modern Art announced Monday they have acquired the symbol @ for their permanent collection. Yes, it is an image and yes it did not cost the MoMA anything because it's free. Is it art?

Since the symbol was formally included in the museum's Architecture and Design Department, perhaps the important question should be "Is the image an example of design?"

Here's the thinking according to MoMA:

"It relies on the assumption that physical possession of an object as a requirement for an acquisition is no longer necessary, and therefore it sets curators free to tag the world and acknowledge things that “cannot be had”—because they are too big (buildings, Boeing 747’s, satellites), or because they are in the air and belong to everybody and to no one, like the @—as art objects befitting MoMA’s collection. The same criteria of quality, relevance, and overall excellence shared by all objects in MoMA’s collection also apply to these entities.

In order to understand why we have chosen to acquire the @ symbol, and how it will exist in our collection, it is necessary to understand where @ comes from, and why it’s become so ubiquitous in our world.

Read more of this fascinating history of the use of @, which dates back to the 5th or 6th century, according to MoMA, and was included on the Underwood typewriter made in 1885 but it was electrical engineer Ray Tomlinson, working in 1971 with the ARPA project for the US military who decided to use the symbol (which had no clear purpose at the time) since it has a strong sense of location -- x person "at" this location.

The next time you send an email just realize you are making @rt.

Meet Michael Alvis and Buy His Book

I've been most fortunate living here in East TN to have made so many good friends with folks who are also talented artists. It might seem odd to some, but there has always been this very strong and powerful community of artists in our area and it's my pleasure to introduce another to you today.

Michael Alvis currently teaches photography at Carson-Newman College, my alma mater, and he's also a skilled painter too. We became friend when I was a student in the early 1980s and we soon found a shared passion - watching movies. This was back in the day when VCRs were top-loaders and we shelled out way to much money for movie rentals as we would rent massive stacks of videotapes and go on marathon runs which might last for 24 hours or more likely for 48 or 72 hours at a stretch.

Michael is from Rogersville, but has traveled far and wide - visiting every state in our country as well as living for several years in Japan. He was there again this summer and taking pictures of a place and a people which he truly loves. He has now collected some of his favorites for a book, titled "Japan {Shashin}" which is now on sale and you can preview the book here at this website.

I urge you to spend some time looking at the book, and hey, the holidays are about to begin so why not buy a copy or two or three for friends? And here, take a look at some of the other books Michael has for sale too -- you'll see much to enjoy and much to buy, so buy it!!

Michael creates images which I really enjoy - he has this knack for capturing images of our world which are sometimes on the edges of our daily perspectives, sometimes are right in front of us and he makes those images unique. Here, another book I really like is called "Dog Trade", a collection of photos which are all signs - hand-written signs, abandoned signs, and other signs of human life. A sample is below from his online gallery via the C-N Art Department:


Most every day of my post college life was surely shaped by the many hours and days I spent at the Art building at Carson-Newman. No, I was no Art Major, but the people and the ideas I encountered there have been a constant inspiration. Michael and others who call the Art Department home - Department Chairman David Underwood, Artist-In-Residence William Houston, and David's wife Susan Underwood, who is the Creative Writing professor at C-N - are also my friends and folks who made my life much better.

The image below is a portrait of Michael Alvis, and a cover to one of his books, made from the many images he captured in Japan with his camera. Now go and buy his work.

Edible Business Cards via Crooked Brains

An amazing collection of creative and innovative ideas including edible business cards, umbrella art, green walls and vertical gardens, incredibly cool designs for ice cubes, and art made from cassette tapes, such as:



All that and much, much more at Crooked Brains.

Wally Goes To The Louvre; Eggleston Goes To The Whitney

The sculpture you see here is by Tony Dow, who is known worldwide for playing Wally, brother to The Beaver, on the old "Leave It To Beaver" TV show. Tony's work has also just been selected for a show at the Louvre in Paris. No, I'm not "giving you the business" about that. Here's the news. The image shown is of the sculpture which will greet the Paris art world, called "Unnamed Warrior".

From his statement about his work at the Karen Lynne Gallery:

"My sculpture derives from whatever has passed through or by me; a culmination of my experiences; what I’ve seen, what I’m drawn to. The figures are abstract and not meant to represent reality but rather the truth of the interactions as I see and feel them. I find the wood in he hills of Topanga Canyon and each piece evolves from my subconscious."

I like his view about creativity and art - all of us construct our lives from all the bits and pieces we experience and generate through just living life. And there's something kind of cool about Wally - sorry, I mean Tony - getting a showing in Paris.

Another artist, photographer William Eggleston, who has called Memphis, Tennessee home for many many years has just opened a massive retrospective show, titled "Democratic Camera", at the Whitney Museum of American Art in New York. For the last 40 years he has created a prolific collection of photos which truly changed the art world and the way the art of photography is defined.

The Memphis Commerical Appeal did a story recently about Eggleston which is a great read. Eggleston is rather humble about his work, but for me the way he uses color and composition, line and form, captured in some very ordinary but extraordinary images of the everyday world is so simple and so profound all at once. One major change he gave to the art world was the notion that it was OK to use color in photography. And he captures images of the world without really arranging items or posing them, taking them as they are instead. You will seldom see people in his photos, but every image is something made or abandoned or used by people, as if it were taken in just that moment when someone left or just before they arrived.

His influence is huge - just go browse through the tens of thousands of images people have created and uploaded to the Flickr website.

I've always liked this photo by Eggleston:



Eudora Welty, in her introduction to his collection "The Democratic Forest" says:

"He has photographed every tell-tale thing we leave behind us, from leaking oil to spilled Coca-Cola. He has looked up and caught the emanations of the Great Smoky Mountains, and a mist very like a ghost that appears to be drifting over a graveyard and near Oxford, Mississippi. In photographing ivy crowding over a wall, in commotion as lively as a townful of Breughel peasants, he has got a picture of a country breeze. He moves his camera close upon a great worldly peony; our glimpse into that is as good as a visit: a bloom so full-open and spacious that we could all but enter it, sit down inside and be served tea. It was photographed, according to the caption, on the Boston Common across from the Ritz Hotel--which is the next thing to photographing an analogy."

Explore his work at his website, EgglestonTrust.Com.

A Boring Talk About Art Which Shocks

Yale art student Aliza Shvarts stirred up a real controversy with her student project, a project about abortion - her own, she claimed, something she achieved by attempting to artificially inseminate herself and then induce miscarriages all over a period of many months. All of which she had videotaped, she said, and which were to be shown on a 4-foot cube wrapped in plastic and smeared in Vaseline.

Outrage and horror poured forth, many from online and many others in print and television. Finally, Yale officials came forth saying the project was in fact a hoax, a bit of performance art, but that they would not allow the project to go on display unless a signed statement from Shvarts was made in which she admitted the hoax. She declined, no project was displayed, her professors were disciplined, all as the media rumbled with the story.

It impresses me that with all the things happening in the world that a proposed art project can cause millions to react with such intensity, because, after all, it was just the idea of the project which drew massive response - Shvarts never showed any of her work. (And even I just yesterday railed against a project proposal which I myself find offensive. It happens.)

Art - what it is and what it isn't - is a discussion sure to bore many people, excite many others, but I'm marching into. It is completely infused with our human experience and always has been. One of the best artistic representations of that debate came in 1929 from painter Rene Magritte with his painting shown below - the translation of the words on the canvas -- "This is not a pipe".



Nope, sure isn't a pipe. Just a painting of one.

It does rather neatly provide the idea that art is not the thing, but a symbol of it, a representation of it, and confronts the idea too that each of us construct the world into signs and symbols which might be held in common or held by an individual.

So anyway, I'm reading some local blogger commentary (here and here) about Shvarts and wanted to share some thoughts. See, I think she should have been allowed to show the project - and, as a student, then been given a grade for her work. She could have gotten an F - and learned something in the process. Do I think her project was Art - don't know, didn't see it - so judgement belongs to those who did see it. Except that no one did. She may get some gallery to pay her big bucks one day. Maybe not.

Art can rattle the bejesus out of us, it can calm and soothe, inspire, haunt, and invoke all types of response. My good friend Mr Horton and I have had hundreds of discussions about Art with him holding fast to the idea that if an Artist makes something which only he understands, then he has failed, that Art must communicate something to more than the maker of it. I have often taken the other view - a support of Art for Art's sake, for example, very few cared for the paintings of Van Gogh as he made them, yet today they are auctioned off for tens of millions of dollars. Art and Time need to coincide.

And all this furor over Shvarts reminded me of a movie I saw recently called "The Shape of Things" by Neil LaBute, based on his play. It's a very compact and ultimately stunning bit of work about Art and relationships. It begins with the nerdy and awkward museum guard and student named Adam (Paul Rudd) who sees another student (Rachel Weisz) trying to spray paint a penis onto a large statue of a male divinity on display. He gets her phone number and allows her to make her 'statement' with spray paint.

As the pair begin to date, she often criticizes him for his looks or attitudes and in short order Adam eagerly alters his looks and clothes to receive approval - he gets contact lenses, loses 20 or 30 pounds, has a nose job, starts wearing trendy clothes. He is eager to do anything to make her happy, even abandon his longtime friends. But all the time watching this unfold, watching Evelyn (Eve? and Adam too, huh?) I knew there was something else, more dire, more weighty happening.

Not to ruin the movie for you (spoilers ahead!!), but Adam discovers he has been an art project. Evelyn invites him to her student show and on prominent display is a banner reading: A Moralist Has No Place In An Art Gallery.

That's a quote from writer Han Suyin, famous for her book "Love Is A Many Splendored Thing".

Here's filmmaker and playwright LaBute talking about that quote:

"I think moralists have a place in an art gallery, I think everybody has a place in an art gallery, they just should keep their mouths shut. They're free to walk around as long as they pay the price, I just don't think they should be dictating policy. I'm big on what the argument the film proposes about subjectivity about art itself. This [picks up glass of water] can be art because you made it, or it can be a glass of water to me and I can think you're a loon for calling it art, and we could both be right. So I'm big on "I'm okay, you're okay" but if pushed, it turns quickly into "I'm okay, you're a piece of shit".

[Laughter]

Because ultimately... I'm happy to come out even, but if forced, I want to come out on top. And that's what was happening up there, two people who are having an argument about something, where one's having a breakup and one's having a discussion about art - we often just see things through our own lens and it's difficult to understand what somebody else is saying when we're so driven to take care of our own needs."

Often Art is an act of manipulation from the artist. Whether it is in the construction of the entire artifice of a painting or sculpture, or perhaps it occurs at a more basic level of commerce, such as the constant photoshopping of images of people on magazine covers to make them look thinner. Manipulation is a sly thing - no matter the intent of the manipulator for good or ill. Each of us decides, many times a day, to respond how we will to influences artistic or real or perceived.

Perhaps the Artist gets the reaction from the public, good or bad, or perhaps the Artist is ignored. Our response, no matter what it is, is a moment of communication. There are real-world actions and events which are life and death matters. Art is at best a pale recreation of the real.

Some bit of Art on display will not (or hasn't yet) destroy the world. It's ideas which can prompt upheaval and change.