Art in the time of COVID-19, it’s proven to be a quiet year for many artists, myself included. Sadly, the coronavirus is still rampaging the world and it will be sometime before things return to normal. (A word I try not to use.) During this quarantine, I realized that my Texas Monthly publications from 2009/2010 never made it to my business website. I have all three listed under publications with a link to Texas Monthly’s website, but I’d yet to repost. So, here they are for reading pleasure. Enjoy!
“The Illusionist”− Vol. 38 Issue No. 2
Born and raised along the Texas Gulf Coast, Damian Priour has a special affinity for water. And in his artwork, he uses glass to portray it. For more than thirty years, he has crafted beautiful sculptures made of limestone, metal, wood, bronze, and glass. Imagine water being trapped inside two pieces of glass, sometimes even dozens of pieces of glass. Priour either hand carves or sand blasts the glass, working to make it resemble water. Oftentimes by using different textures, shapes, and tricks, he creates the illusion that there is water inside the glass.
Fifty of Priour’s pieces were recently on display at the Umlauf Sculpture Garden and Museum in Austin. And while a majority of them depicted the water in diverse shades, hues, and tones of blue, many proved quite colorful and lively (think green, periwinkle, emerald, orange, lavender, and red). Most impressive was the way the sun hit Priour’s sculptures, light bouncing and absorbing. There were quite large pieces, some even twenty feet high, and others that could fit in the palm of a small hand. “Childhood Dreams” was a horse made of 24 to 26 pieces of thin-yet-sturdy pieces of blue glass and tilted wooden sticks. Other notables included a nineteen-foot-high arched doorway, a dragon, giant spheres, shadow boxes, and thronelike chairs.
“Water sparks my imagination, my memories,” wrote Priour. “Water sparks my ability to go places that only exist in my imagination … Water sparks wonder at life. Water sparks curiosity about death. Water sparks.“ Priour’s work has been exhibited across the United States and in Canada, Japan, and Germany. Many of his pieces are in private collections, public spaces, and local churches throughout Texas, Arizona, Florida, and California. For more information, go to damianpriour.com.
“Paper Trail” – Vol. 37 Issue 6
At a glance, Shou Ping Newcomb’s artwork appears flat and two dimensional, like a colorful still life. At some angles it resembles origami. But as you step closer to the picture frames, the fragility and detail of the paper art comes into focus, and you can clearly recognize that the art is three dimensional, mini paper sculptures of flowers, fish, hummingbirds, swans, plants, pueblos, hearts.
Shou Ping Newcomb, who was born and raised in Taiwan, started out as a cartoonist, a commercial artist, and an art teacher before moving in the nineties to the United States, where she was inspired by the landscape. Her artwork began to revolve around her love for her ecological surroundings and the splendor of the natural world. And so it is a natural fit for her work to be on display at the Lady Bird Johnson Wildflower Center, in Austin, through May 31. The center, founded by the late first lady, is a testament to nature’s beauty, with a pond, wild fauna, outdoor sculpture, hiking trails, and a butterfly area.
After wandering the trails, step inside the McDermott Learning Center, where on the wall is a story by Shou Ping’s daughter Wendy describing the artist as a “paper magician with her enchanted scissors and magical brushes.” And that is how Shou Ping interprets nature—through paper, scissors, watercolors, and time. In this exhibit, Shou Ping pays homage to both Asian and Texan cultures—orchids, wildflowers, ginger lilies, magnolias, banana trees, hummingbirds, cacti, butterflies. Up close, the little pieces of her work begin to pop out: the petals of a bluebonnet, the scales of a koi. Within each piece, Shou Ping’s love of nature shines through. See for yourself.
“Toy Story” – Vol. 38 Issue No. 1
Got some last-minute holiday shopping to do? Well, remember that toys aren’t just for kids. This December we discovered three local toy stores around Austin that are unique in appearance and in merchandise. From a Magic Garden crystal kit to a plastic replica of R2D2 to stained-glass coloring books, the diverse offerings at these shops proved suitable for almost every age. In fact, we were so taken with all the fun items, that we couldn’t help ourselves and ended up buying three pocket-size metal music boxes that each play a different song. (My favorite was “Michelle” by The Beatles.) Here’s a sampling of what you’ll find. Get your wallet ready.
At this spot that screams family friendly you’ll find everything from antique robots and magic kits to dinosaurs and wooden train sets. There is a variety of educational toys, including Zoob and Bilibo, and classics as well (think Madame Alexander dolls). We found ourselves drawn to the ultra-cool chemistry sets, action figures, solar system sets, and memory games. Never fear, there are lots of girlie-girl items too. The store is somewhat organized by category and has plenty of room to play. In fact, one of the sayings is, “If you can’t play with it, why bother?” Take your goodies home in white bags decorated by local kids and families. 2438 W. Anderson Ln (512-445-4489). http://www.terratoys.com
Even if you aren’t in the market for toy, you must stop by this colorful spot near the University of Texas campus. This store has it all: peacock purses, Hello Kitty items, tinker toys, makeup kits, clothes, stationery, robots, sea monkeys, moleskin leather journals, music boxes, ancient Egyptian kits, 3D animal skeletons, ant farms, board games, Asian lanterns, coloring books, alphabet blocks, looming kits, and more. Custom gift wrapping is available. 2900 Guadalupe (512-320-0090). http://www.toyjoy.com
Anna’s Toy Depot
This is the spot to find classic, antique, or gently used toys. Anna’s specializes in selling and trading toys, so you can find just about anything you want here: doll houses, musical toys, action figures, stuffed animals, dinosaurs, kaleidoscopes, tray puzzles, dominoes, kitchen sets, Nerf bats, costumes, masks, cartoon memorabilia, rubber snakes and spiders, cars, airplanes, kites, puppets, books, puzzles, Legos, mosaics, tea sets, and more. In addition to the great selection of inventory, the prices are right too. 2620 South Lamar Blvd (512-447-8697). http://www.annastoydepot.com
Fotografía de Nicolette Mallow. Pasaporte de Gabriel Garcia Marquez, 1969-1976.
As the COVID-19 quarantine began all over the globe, I knew the world news would be flooding, a swarm with coronavirus headlines, stories, and coronavirus-inspired artwork. I also thought of Gabriel García Márquez and his beloved book “Love in the Time of Cholera.” There is only one Márquez, just like there can only be one Detective Poirot, and I didn’t feel qualified to write about Love in the Time of Coronavirus. For weeks, during this time of social distancing, I waited for someone else to publish a play on Márquez’s words. I just knew someone else would and the story would go viral. So I waited. And I was delighted to read a story in The New York Times by Rodrigo Garcia, Marquez’s son. Rodrigo Garcia titled the piece “A Letter to My Father, Gabriel García Márquez.” How perfect that his son wrote a letter to Márquez about love in the time of coronavirus!
Márquez is one of my favorite writers, and this book “El Amor en Tiempos de Cólera” (Love in the Time of Cholera) holds one of my most beloved quotes ever written. Because of Márquez, I started to adore the genre magical realism, a genre Marquez created by accident. Simply because the words flowed from his imagination onto paper. How could I, and millions of other Márquez lovers, not think of the word—Love in the time of Coronavirus—during this strange, obscure and melancholy time of life?
The letter written by Garcia to Gabo (his father) was fascinating, like listening to a private conversation between father and son, artist to artist. Garcia’s voice and the imagery as he spoke to his father beyond the grave were endearing, and you can see Márquez’s influence in his writing. Yet, Garcia holds his own voice, too, so it’s interesting to see the two styles. It’s a beautiful, evocative tribute to his father since Rodrigo Garcia knew Márquez at heart and not just through the pages like I did. True, Márquez spoke to all our hearts, the readers, the lovers of magical realism. But Rodrigo Garcia spent decades growing up with him and knowing details that we didn’t. For instance, in his letter, Garcia mentions his father’s greatest fear, something that Marquez dreaded when he was alive: loneliness. You must read it all, but I believe my favorite quote is this.
“I think that if you were here now, you would, as always, be enthralled by man. The term “man” is not much in use that way anymore, but I’ll make an exception not as a nod to the patriarchy, which you detested, but because it will echo in the ears of the young man and aspiring writer you once were, with more sensibility and ideas in your head than you knew what to do with, and with a strong sense that destinies are written, even for a creature in God’s image and cursed with free will. You would pity our frailty; you would marvel at our interconnectedness, be saddened by the suffering, enraged by the callousness of some of the leaders and moved by the heroism of people on the front lines. And you would be eager to hear how lovers were braving every obstacle, including the risk of death, to be together. Most of all, you would be as endeared to humans as you ever were.” – Rodrigo Garcia
My favorite line of that paragraph is when Garcia mentions lovers braving death in coronavirus: Márquez was a die-hard romantic! He had a love for life and an even deeper appreciation for love… A few years ago, I wrote a publication for Examiner.com about an art exhibition at The University of Texas at Austin regarding Marquez.
Born the year of 1927 in Colombia, Gabriel Garcia Marquez died of pneumonia in Mexico City circa 2014. A great artist was lost that day. The New York Times ran an article soon after the writer passed that read, “Mr. García Márquez, who received the Nobel Prize for Literature in 1982, wrote fiction rooted in a mythical Latin American landscape of his own creation, but his appeal was universal. His books were translated into dozens of languages. He was among a select roster of canonical writers — Dickens, Tolstoy and Hemingway among them — who were embraced both by critics and by a mass audience. Mr. García Márquez was a master of the literary genre known as magical realism, in which the miraculous and the real converge. In his novels and stories, storms rage for years, flowers drift from the skies, tyrants survive for centuries, priests levitate and corpses fail to decompose. And, more plausibly, lovers rekindle their passion after a half-century apart.”
Gabriel Garcia Marquez was a magical realism writer that created words of mysticism, beauty, love and tragedy. Marquez, also known as Gabo, had an eternal voice that was so unique it created its own writing genre. Marquez takes readers to another dimension within reality, like magic, and he can evoke heartfelt emotions that linger like the smell of fine perfume in the air, or a tender kiss on the skin.
And now for one of my favorite quotes of all-time from his novel “El Amor en Tiempos de Cólera” (Love in the Time of Cholera).
“Así termino pensando en él como nunca se hubiera imaginado que se podía pensar en alguien, presintiéndolo donde no estaba, deseándolo donde no podía estar, despertando de pronto con la sensación física de que él la contemplaba en la oscuridad mientras dormía, de modo que la tarde en que sintió sus pasos resueltos sobre el reguero de hojas amarillas en el parquecito, le costó trabajo creer que no fuera burla de su fantasía.”
English Translation: “And so she thought about him as she never could have imagined thinking about anyone, having premonitions that he would be where he was not, wanting him to be where he could not be, awakening with a start, with the physical sensation that he was looking at her in the darkness while she slept, so that on the afternoon when she heard his resolute steps on the yellow leaves in the little park it was difficult for her not to think this was yet another trick of her imagination.”
Feb. 3, 2020 –Shakira and Jennifer Lopez were hotter than the summer heat in Vegas at The NFL’s Super Bowl LIV Halftime show. The two Latinas made headlines today with their saucy, sexy and salacious performance at Super Bowl LIV in Miami, Florida. Normally, I would not pick two pop stars to write about in a punk, metal, rock n roll zine like Rank & Revue – but our Editor is a huge football fan – and I’m a Latina, Lebanese girl and an artist that’s a huge fan of these two ladies. For decades, I’ve been following Shakira and J.Lo’s careers and mimicking their moves when I dance. I was addicted to watching Jennifer Lopez’s music videos before school in 8th grade. [I also danced to Michael Jackson, Lauryn Hill and Ace of Base in the mornings.]
At the end of the show, I really smiled from the heart when Shakira was in gold and J.Lo was wearing silver, and they were holding hands, uplifting and complimenting each other, looking incredibly happy and vivacious. Clearly living out their dreams to the fullest. Silver and gold were colors of royalty, and I liked the way the girls ended the show together, hand in hand, rather than looking like a subtle competition for time and publicity. Each woman had a unique time to shine and relive the classic songs that made them famous. They showcased their unique dance styles. Then, the two passed the baton onto a younger generation as Jennifer Lopez’s daughter, Emme Maribel Muñiz, sang at the end while her mother danced and Shakira played the drums. There was a wide range of ages and generations performing on stage, which made me happy: to see beauty thriving at any age and how all women can be beautiful and powerful, especially in numbers, no matter your age. [Beyonce does an excellent job of showcasing black girl magic when she performs in masses, too!] So often, society is so shallow, and we idolize the youth like Greek gods and demonize women past a certain age. Seeing these women excelling and rocking it at ages 43 and 50 gives hope to all ladies that we aren’t just getting older, we’re getting better and stronger with age, like scotch. Although I doubt either of these women imbibe alcohol with abs like that. Dios mio!
Most of the coverage has been positive, but there has been quite the uproar amongst viewers and alike regarding their provocative dancing and clothing. Some of those NFL cheerleaders are wearing uniforms with a lot less coverage and a lot more makeup than what Shakira and J.Lo had on. And I’ve seen some of the cheerleaders’ dance routines, which can be pretty risqué, even at college games. Honestly, I don’t know why anyone that’s seen an NFL game is shocked by what they saw at Super Bowl 2020. Do you have to like it? No. But please don’t act surprised that sexuality has made its way into men’s professional football. We aren’t at church. Plus, male artists have performed shirtless at the Super Bowl, so, why the inequality and scrutiny towards female artists? Secondly, the NFL asked two Latinaentertainers to perform the show. They didn’t ask a balloon artist, a magician, or a group of older jazz players in suits. They asked Shakira and Jennifer Lopez to perform. And these two ladies brought live entertainment.
At our best, Latinas are a passionate, sexual, tantalizing and evocative group of females with mystical powers. No one should be surprised that two superstars like Jennifer Lopez and Shakira turned heads and seduced the crowd with their beauty, style, athleticism and artistic talent. The photo provided by Pepsi promoting the show was a bombshell of sex appeal, clearly letting the audience know: this will be provocative, times two.
Furthermore, belly dancing is hard. I would know because I am a belly dancer and have performed on stage at nightclubs. What Shakira is doing is hard work, and it’s more than just a few sexy hip thrusts: she’s showcasing cultural art, dance and music. She isolates parts of her body and her muscles to move each section, sometimes in a fluid and constant motion. I remembered years ago, one of my gay guy friends sent me a video of Shakira coming down the pole in her video “Rabiosa” with Pitbull and said, “this reminds me of you”. An ex of mine got jealous about it, which was absurd. True, the pole dancing by J.Lo in Super Bowl 2020 was pushing it a bit, considering kids were watching this event, but that is also a challenging dance form that requires strength. It’s not just for strippers, pole dancing is a great core exercise and can really make someone feel sexy and empowered. Even if you pole dance in private at home.
Ultimately, no matter where you stand on sexuality, it shouldn’t be a shock, especially since J.Lo was nominated for her role in the film “Hustlers”. Which featured a dance routine with her on the pole wearing not very much at all. Believe me, when I say, she toned it down for the Super Bowl. Mind you, I did notice there were a lot of spread-eagles and close-ups of intimate lady parts and was rather graphic. [Remember in the film “Chicago”? Catherine Zeta-Jones caught her husband and her sister doing the spread-eagle?] Either way, I noticed that Shakira and J.Lo’s dance routines and their performances were dripping with sexuality, perhaps many didn’t appreciate the sex factor. Again, why are so many people shocked? This isn’t anything new for either entertainer or The National Football League.
Today, my boyfriend played sports radio, and three men talked about the Super Bowl Halftime show. Listening to three straight Southern men speak about the performance was amusing, cringe-worthy, depressing and cliché. I love men’s sports talk! But this was quite silly to waste this much air-time on gossip. Instead of talking about the costumes, hair, makeup, and fantastic dancing or their successful careers; the focus was on the women’s sexiness, appearances, and ages. The men talked about how Shakira had an outer belly button, and “usually” that’s not sexy, but she pulled it off. One guy talked about how Jennifer was too old to be dancing like that, and so was Shakira. Other men defended the ladies right to entertain, which I appreciated.
Although I did understand some concerns from one man, speaking as a parent, because little girls are looking up to these women and we’re already under so much pressure to be sex objects. Sadly, us ladies are damned if we do and damned if we don’t. We get treated like sex objects, no matter what. We are too sexy, not sexy enough, too young or too old, too skinny, or too fat. Too confident or too submissive. It’s always something. Aesthetically, we can’t please every man, and it’s not our job to do so. It’s exhausting how women are still expected to smile and ‘be ladylike’ and never be too pushy or look like a bitch. It’s merely impossible for girls to please everyone. So, I think the message is clear, and just like Rihanna and Madonna said, we should “shine bright like a diamond!” and be “unapologetically ourselves.” J.Lo and Shakira give so much back to the community. Why didn’t the men talk about the fact Jennifer Lopez has an estimated net worth of $400 million, and Shakira has an estimated net worth of $300 million? Hips don’t lie. How about numbers don’t lie. These women are two fiery powerhouses that know how to make money, create a brand, and flourish in a man’s world.
The first thing I said to my boyfriend, Steven Mark, after we saw the Halftime show, “I loved their costumes! I want every single one for me!” Because anyone that adores fashion knows that J.Lo’s handmade Versace and Swarovski clothes were to die for! I wanted to do a photoshoot in it and I can just imagine all the people around the world about to mimic these iconic looks. Already, a local dance studio here in town is offering Super Bowl Half Time classes for dancers to replicate the routines. All in all, it was an unforgettable performance that reminded me of Las Vegas.
¡Gracias chicas! Your hard work has paid off.¡Viva Latinas!
“There is a rose in Spanish Harlem A red rose up in Spanish Harlem It is a special one, it’s never seen the sun It only comes out when the moon is on the run And all the stars are gleaming It’s growing in the street right up through the concrete But soft and sweet and dreaming
There is a rose in Spanish Harlem A red rose up in Spanish Harlem With eyes as black as coal That look down in my soul And starts a fire there And then I lose control I have to beg your pardon. I’m going to pick that rose And watch her as she grows in my garden.”
Photo of George Straight provided by Broken Spoke.
On May 1, 2019 —For the second year in a row, I interviewed James White at the Broken Spoke sitting at table B2 next to a replica of Willie Nelson’s guitar, Trigger. The same booth where Willie Nelson and his wife, Annie, used to dine in decades past. Coincidentally, one year ago, I interviewed Mr. White on the exact same day. I just so happen to notice this coincidence whilst uploading the audio files post-interview. Last year, the story was published in a local rock-n-roll zine in ATX and I titled it “James White talks 54 years at the Broken Spoke“. The first interview was a bird’s eye view of the last 54 years. Audio from the interview in 2018 is available to hear Mr. White talked to me about his quest, the dream of opening a honky-tonk and meeting his wife and falling in love with Annetta. He told me about the volunteers who made the building by hand, one of which was a man so drunk he fell off the roof. The first time they booked Willie Nelson back in 1967. Back when Willie wore short hair, clean-shaven, and wore either a turtle neck, a vest or a sports coat. White told me about the time Dolly Parton came to film “Wild Texas Nights” in the eighties. He told me about the film “Broken Arrow” featuring Jimmy Stewart and how it inspired him to name the Broken Spoke after it. The time Rowdy almost got shot by a police officer when someone stole his father’s silver saddle that is now kept in a glass case.
“A lot of people, you know, they ask me, why did you go into this kind of business? All the way down to my childhood, my parents would take me to different dance halls in this area, and that’s where I got the love of country music in my veins. When I was in the Army, I didn’t know what I was going to do when I got out of the Army. So I thought it would be kind of neat to open up a place of my own, similar to the places when I was growing up in Austin. It just became like a quest of mine the day I left the Army. And when I came out under the big ole oak tree out front (on South Lamar), I just kind of visualized a place like no other and when I got it built: I named it the Broken Spoke. The reason I thought up that name, I wanted something original. I wanted something country, I wanted something western. Texas style”.
– James White
Over the decades, Mr. White has become friends with the likes of Willie Nelson, Alvin Crow, George Strait, Garth Brooks, and the list goes on and on like a jukebox with endless vinyl’s to play. Thankfully, the Broken Spoke isn’t showing any signs of slowing down. In fact, their business is booming right now! This recent kaboom is due to a delightful visit from one of Texas’ most adored and esteemed country western musicians: George Strait.
Last winter, during a daytime walk, I noticed an entourage outside of the Broken Spoke and became very curious. True, I see photoshoots and video crews outside the building all the time. People travel from all over to photograph and film this beloved Texas classic. However, this was a larger than usual crew of people. A few nights later, Steven Mark and I trailed in for a few libations. At which point, Mr. White informed my boyfriend and I that the infamous King of Country, the one and only George Strait was at the Broken Spoke for his latest album Honky Tonk Time Machine.
Universal Records and Spotify came out to film and photograph George Strait at the Spoke and interview Mr. White. On the one hand, I was stunned that George Strait came back to the Broken Spoke for a photoshoot — the mere idea George Strait was in my hometown at a local bar right around the corner was mystifying. I’ve never seen him in person. Strait is a cowboy I’ve heard singing to me all my life through radios, stereos and televisions. All my life, his face has been all over Texas and the south, and yet, he has no bloody clue who I am. And yet, here, Mr. White is just hanging out casually with a long time friend. So, on the other hand—I was not stunned or shocked—it’s just another sunny day in the colorful story of Mr. White, his family and life at the Broken Spoke.
“You can find a chisel, I can find a stone. Folks will be reading these words, long after we’re gone. Baby, write this down, take a little note, to remind you in case you didn’t know. Tell yourself I love you and I don’t want you to go, write this down. Take my words, read ’em every day, keep ’em close by, don’t you let ’em fade away. So you’ll remember what I forgot to say, write this down.”
– George Strait
Back in the late ’70s and early ’80s, James White booked George Strait for seven years. At the time, Strait was a part of a band near San Marcos called Ace in the Hole. Once he became more and more famous, the booking fees outgrew the Broken Spoke. Decades later, true to Texas form, Mr. Strait never forgot his roots and returned to the honky-tonk dance hall in Austin. George Strait also brought his wife, Norma, and his driver, Leroy. Weeks later, Broken Spoke was featured on the front cover of George Strait’s latest album, “Honky Tonk Time Machine.” The album was released on Feb. 11, 2019. Later on, when George Strait performed at the 2019 Academy of Country Music Awards in April. The backdrop featured a photo of the Broken Spoke and by the graphic effects, it almost looked as if they were playing outside the building. The bright colors of the Texas flag blowing in the wind against the woodwork, the wagon wheels and the honky-tonk dance hall. This is excellent publicity for the Broken Spoke! Ever since more visitors from all over are flocking to the Broken Spoke. Which is fantastic news because the city of Austin treasures the local hotspots and it’s comforting to know business is alive and well at the Spoke. I liked hearing James White tell the story about when he finally informed George Strait about the ladies’ bathroom Annetta adorned with his cowboy pictures. Strait was very flattered and had a real good sense of humor about it. I was told he even kissed Annetta on the cheek!
With only five cases of beer to sell, James White opened the Broken Spoke in 1964. After he was released from the U.S. Army at the age of 25 – Mr. White decided to pursue the quest, his dream, of opening a honky-tonk in Austin, Texas, to feature live country music and a dance hall. In the beginning, Broken Spoke was a local roadhouse where beer cost .25 cents a bottle and customers could get ice and a soft drink for .30 cents to chase down their liquor. Back in those days, before the peak of craft cocktails, people could bring their own liquor bottles to the bar in Texas. Now in 2019, over 55 years later, Broken Spoke has become a worldwide famous dance hall with a full bar and restaurant. By the late ’80s, the Broken Spoke started to gain more and more fame. Featured in Texas Highways magazine, The Food Network, The New York Times, Nat Geo Traveler, CBS News, Texas Monthly, The Smithsonian and more; Broken Spoke is a historical landmark. The Broken Spoke is owned and operated by James and Annetta White. The two met at a dance hall in 1961 when she caught his eye. Married for 52 years and counting, Annetta and her husband have worked together for decades to keep the Broken Spoke running successfully. Amongst her many contributions to the Broken Spoke, I discovered that Annetta is the one responsible for the George Strait photographs covering the women’s bathroom, giving the ladies room some cowboy vibes. For which, I am grateful.
“I ain’t got a dime, but what I got is mine. I ain’t rich, but Lord I’m free. Amarillo by mornin’. Amarillo’s where I’ll be”.
– George Strait
Days before meeting Mr. White for a second interview, I felt anxious. Over the last 14 years, I’ve conducted hundreds of interviews. But I still got intimidated before interviewing James White. Even though the first interview went very well and the story was appreciated – even though I had no reason to feel anxiety because Mr. White and his entire family have been so friendly to me. Secretly, I still felt intimidated like, “What in the world am I going to ask this man that another writer hasn’t already inquired about? Is my story going to be any good at all? Where do I even start the second interview? How do I condense so much history into a few pages?” Instead of delving into my self-doubt as a Texan, I chose to chase the story. And I am glad I did.
Mr. James White is one of the kindest and most down-to-earth individuals I’ve ever interviewed. Out of all the celebrities, artists, and entrepreneurs I’ve interviewed over the last 14 years – the White family will always linger fondly in my memory for making me feel welcomed. Not everyone I interview is kind or humble, and the kindness is forever permeated into my brain. In a way, the Broken Spoke now feels like it’s become part of my own Texas history, too. I can understand wholeheartedly why people have coined the Broken Spoke as “the country-western version of Cheers.”
During the second interview, late that morning, there was some commotion in the background—people looking for a key to the walk-in freezer. Beer shipments had arrived and the freezer was locked. Throughout the interview, you can hear people coming and going, including one of his daughters, Terri White. She teaches dance lessons at the Broken Spoke. Terri was kind enough to bring me some fried okra she’d just cooked in the kitchen. Walking over to table B2, she asked me if I wanted a bite. I said yes and took only one piece, as not to feel greedy. I guess she read my mind because she reached into the basket and placed a handful of okra onto the table, and left me with a napkin. It made me smile and I thanked her again. It was a very sweet moment and reminded me that one of the many reasons why I’m grateful to be a Texas girl: southern hospitality and the love of sharing food and drinks together.
Mr. White has another daughter, Ginny White Peacock. There is a fundraiser for Ginny on May 17, 2019, starting at 8 P.M. CST. Last year, I met her at the previous interview, and she was also very lovely and polite to me. She talked to me about the building’s electrical oddities and asked about my artwork. Recently, after many serious, life-changing health concerns that caused Ginny to lose both her feet and legs, below the knee, and nine fingers—as well as undergo a lot of painful surgeries she’s still recovering from—the Broken Spoke is hosting a silent and live auction to raise money for Ginny to obtain prosthetic legs. A wife and mother to two young boys, the fundraiser is a chance “to celebrate and come together to raise money so Ginny can get back on her feet.” Two Tons of Steel, Derailers, The Wagoneers w/ Monte Warden and other special guests will play music for the benefit. The auction entails over 100 items and collectibles. Including an autographed Limited Edition George Strait guitar (and an autographed cowboy hat) donated by George Strait & Tom Foote. A round of golf foursome with celebrity Ray Benson at Barton Creek Country Club. Ginny’s artwork will also be featured at the benefit. Please come on out to support the White family! If unable to attend the event, there is also a GoFundMe campaign where donations can be made to help Ginny on her road to robot legs.
Music and drinks aren’t all the Broken Spoke have to offer. Their barbecue is quite delicious and they are notorious for their chicken fried steak. On occasion, Mr. White still chops wood for the kitchen. Out at his ranch, there are some gullies and ravines that he uses a tractor to find wood for the fire. Live oak, Spanish oak and Heritage oak are the kinds of firewood he and his crew bring to the Broken Spoke to smoke meats. “It helps zap the taste in there and it’s sort of a flame-kissed smoked process,” stated White. The Spoke has had a BBQ pit from day one and way back in the day, James White and Bobby Flay used to cook together.
It would take several books to document all the history of the Broken Spoke. There is simply no way to condense it all for a literary journalism piece for the web. I hope to compile all my recordings into a short story and get it published elsewhere. Meantime, if you’d like to hear James White talk about the time Garth Brooks played a surprise show at the Broken Spoke in 2017. Booking George Strait back in the ’70s and how White was contacted for the cover of his latest album. Please stay tuned for the interview to go live!
“It’s a heart thing you feel good about. At the end of the day, I take more pictures now than I ever took in my life before now. Hell, no one wanted my picture in 1964 but now everyone does and I’ll make up for lost time. There were fun times in the 1960’s and everything was new. I just had so much fun here at the Spoke. But I think the one (press) thing we did with Texas Highways stood out the most. It’s like the gift that keeps on giving. Now we’re on every roadside park in Texas at the rest stops. I mean you come in and there’s a picture of the Broken Spoke and the Cadillac outside. And then on the left there at the state Capitol, it’s right there you know. You got music, you got Texas and then you got the Broken Spoke. It’s a very good compliment to us. Since then we’ve been voted the Best Country Dance Hall in the nation, home of the best chicken fried steak in town, a lot of metropolitan awards. We’ve won a lot of awards. I’m in the Texas Hall of Fame and the Smithsonian. I’m in the Country Music Hall of Fame… I never expected it. All I really wanted was a honky tonk dance hall. So I got what I wanted, but then I got a lot more. Which is fine, it’s fun, a hell a lot more fun to have people brag about you than bitch about you. It’s always more fun to get compliments”.
Photography by Daniel Work. Imagery provided by Western Publicity.
Presently, Ian Moore is touring the Northeast of the U.S. and sharing his music to promote the release of his new album Toronto. A month prior, Moore cruised through Austin, Texas in Aug. 2018 to celebrate his 50th birthday at the iconic Antone’s. Moore is originally from Austin and he’s got a lot of Texas soul within his music. His birthday celebration deep-in-the-heart-of-Texas lasted two nights. Eric Tessmer was the opening act each night. These two artists are both deeply talented at playing guitar, songwriting and vocals. At times, their music, energy and style felt electric and transcendental, which is one of the many reasons why they call it psychedelic rock.
Before the ATX birthday shows that were filled to brim with many of Moore and Tessmer’s beloved fans, friends and family inside Antone’s: I interviewed Ian Moore over the phone. Another Rank & Revue (R&R) writer interviewed him years ago, but this time it was my turn to interview him. At random, my editor sent over a pitch to me from his publicist at Western Publicity to see if I wanted to conduct the interview. Once I read Moore’s bio, even though I had not heard of him before: I knew I wanted to book it. Clearly, the man has talent to venture on national tours with the Rolling Stones, ZZ Top and Bob Dylan.
“Ian Moore, the Seattle-based, Austin, TX-born guitar player, singer and songwriter makes the proverbial renaissance man look lazy. Coming on the heels of Strange Days, his most successful record since his eponymous debut. Despite a never-ending cycle of touring, Moore offers a new record of bright, blazing rock-n-roll that combines his legendary guitar prowess with radio-friendly songs that showcase his elastic, soul-inflected vocals. As always, Ian has his eyes on the challenges faced by musicians of every stripe, having experienced the spectrum of artist successes and tribulations over a nearly 30-year career. “It’s a very different climate right now. When we hit a city, it doesn’t matter that I have 14 records, radio hits, etc. The only thing that matters is if we can really show up and leave the people feeling they saw something amazing. Its keeps me hungry, and I like the challenge,” says Moore… You might have been surprised to hear Moore’s songs popping up on major network shows on prime time television this past year; several selections were prominently being featured as performances on both American Idol and The Voice (“Satisfied” and “Blue Sky”). He also founded the artist’s healthcare alliance SMASH (Seattle Musicians Access to Sustainable Healthcare) and has joined the board of NARAS for the Pacific Northwest as governor and head of the advocacy committee. Moore’s story is often told and probably familiar to most critics; his initial record on Capricorn propelled him to national tours with the Rolling Stones, ZZ Top and Bob Dylan, acting in the acclaimed indie feature “Sling Blade,” and having Ice Cube direct the video for his track “Harlem.” Moore deviated from his initial blues-oriented guitar sound on subsequent records, touching on graceful pop songs and the psychedelic as well as British pub rock and deep Americana. The Toronto record and its 6 tracks represents those influences in such a way that they have informed his songwriting, but is likely more recognizable as a strong collection of the kind of guitar rock his core fan base would respond to immediately”.
In advance to the interview, I was reading the information Ian Moore’s publicist sent me and researching other interviews of the past. I Google’d him to read about his older albums like Capricorn. Within the photos from then and now, I noticed that Moore had super long brunette hair in the 90’s and looked like a total rock star. Even though time has passed, he’s still strikingly handsome and very talented. I enjoyed listening to his musical style change from Capricorn to Toronto. I read a lot of lyrics. Watching his SXSW 2017 performance at Continental Club last spring in ATX: I could see Moore is in love with the guitar and the music. Texans are often known for being passionate and intense, especially the artists and athletes.
As I read more and more, I realized that I was out of the loop, especially since I am an Austinite. Ian Moore has been around for three decades and I was shocked I’d never seen one of his shows. As a Texas girl and artista, I consider myself familiar with the local art scene. Obviously I was not up to track. Like many people, it seems the more I know, the less I know. There’s simply no way to keep track of all the great talent out there, and that’s sort of a beautiful thing: always discovering new artists and new music. I didn’t really know what angle to take the story. All of the music was new to me—I enjoyed many different songs from different albums—and I didn’t have much time to prepare for this last minute interview. Even though the story wouldn’t run on R&R until September. So, I figured since every other media outlet was going to be asking about Toronto and Antone’s—I decided to just get to know the artist, like any other stranger, and sort of assess what we called at SCAD, a character profile, a mini version of the artists career.
On the dot, all the way from Texas, I called Ian Moore on the number his publicist provided me with. Moore was sanding an old tour vehicle outdoors in Seattle.
Nicolette Mallow: Growing up in Austin, did you always have a childhood fondness for music? I read you switched from guitar to violin.
Ian Moore: Yes! One of the first times I kicked in the womb was at Vulcan Gas Company. Even though neither of my parents were musicians, they were both music enthusiasts. I started playing violin as a child and switched to guitar as a teenager. When I was 16 years old, unfortunately, I cut some tendons. Still makes me a little sad to think about because that ended my violin career… When I first started playing music in Austin, I had a real hard time starting a band. My peers were into other music. They were more into the punk rock culture, but I didn’t care much for it. I was more into soul music, blues and psychedelic rock – garage rock – 50’s music. Then I found a drummer from high school and we started making music. We were the first band to ever play at Black Cat Lounge. This was a biker bar and we brought in youth and kids from all walks of life to a new scene. It was cool because this was before Emo’s and there were limited music venue’s at this time. By ages 19-20, I started touring. But yeah, it’s my 50th Birthday and Austin is my hometown. My history is as deep as any musician there. Guitar lessons. Stages. Memories. Riding bikes to Antone’s on Guadalupe. I had to celebrate in Austin.
NM: Your album Capricorn launched tours with Rolling Stones, ZZ Top & Bob Dylan. That’s really impressive! How long after the release of your first record did these tours come about. And do you recall the names of the tours?
IM: Capricorn. At the time, being a blues-influence guitar player was kind of unknown territory. There was no cool roots, rock scene. I had a difficult time finding people to put the record out. It was very hard to find a placement. The label who signed this deal had managed Otis Redding. Before that, one deal after another fell a part and took a while to find a place to put my record(s). After Capricorn was released, the radio success and decent tour numbers got past the agents. Once the agents caught notice, I began touring. I think, but am not certain, the tour name with Rolling Stones was The Blue Lounge Tour and I think with ZZ Top it was the Recycler Tour. But I’m not certain, it’s sort of a blur… My band was the biggest band of our generation in ATX for a good 10 years, 2000-3000 people a night at our shows.
NM: In regard to your newly release album Toronto, I read the lyrics for the songs “Satellite” and “Rock n Roll”. Tell me about the bright side and the dangers of living your life in the magic of midnight.
IM: The magic of midnight and the brutal reality of harsh dawn; we are all eternal dreamers.We are prone to think the next place, town, song or etc.—we think it’s gonna be the next thing to connect us. We can continue to dream and be dreamers, but it’s intense and a lot of people cannot sustain it. A lot of people lose themselves. I’ve been doing KXP radio and I talked about pitfalls of touring and how to survive. Being focused on the music helps. You can tell where the motivation is. If you want to party—and you’re focused on the physical attention—you will wear yourself out. It’s crucial to focus on the music to sustain sanity. It’s very rewarding and spiritually fulfilling. Just gotta keep focused on the prize. Don’t lose yourself in the illusion of midnight, thinking that something greater is right around the corner… My music has been a continued manifestation of what I wanted to do. When I was young, learning how to play and sing, I did a lot of wandering. Leaving scenes and drifting into the ether, a wanderer with temporary companions. It’s been an interesting journey. Even though my most successful record (thus far) was my 1st album: I think I’ve gotten quite a bit better and become more interesting. I never chased the fame. However, I’ve become an underground artist.
NM: I read your quote about the challenge of keeping the crowd enticed and how the music culture has changed. How do you sustain such energy while touring, so that you can always give the crowd the experience they’re seeking?
IM: This is the hardest time to survive with music, it’s so challenging. But I have a deep passion for music. I do it all, simply because I love music. Music is most deeply motivated for me, the actual music, not the attention and the success, that is peripheral for me. No matter what, I always want to get better and write a better song and feel like if I could just concentrate harder, it will manifest… When I am all beat up and tired and miss my family: the music keeps me going. That’s the thing, I can be completely exhausted and always dig in to find that passion.
NM: The transition to Seattle from ATX, over the decades, based upon your observations—what changed most within the local scene between the two cities?
IM:A lot of what I do is between Austin and Seattle. I live in both towns. We had nothing here (in Washington) when I arrived awhile back. There’s been a lot more drastic changes in Seattle. Obviously, all cities are enduring major changes right now, any cool city with artists. They’re all being priced out. However, Austin is one of the best for artists, right now. At least in ATX you have some people working for you and trying to make it better. ATX is weathering the storm best.
NM: Do you have any favorite or newfound cities in Europe that you look forward to touring this year?
IM: Europe: I love Spain and Italy. Amsterdam. Denmark. London… I’d like to play in Portugal. It’s so cool playing in different places, but what’s cooler is playing well in the places you play.
To view upcoming tour dates, listen to music and read about Moore’s songwriting workshop in Canyon Lake, Texas: please visit his website atwww.IanMoore.com.
Note: This article was originally published on Rank & Revue in Sept. 2018.
Austin, TX —National Endowment for the Arts Chairman Jane Chu has approved more than $80 million in grants as part of the NEA’s second major funding announcement for fiscal year 2018. Included in this announcement is an Art Works grant of $15,000 to Austin Film Festival for the On Story® Project. The Art Works category is the NEA’s largest funding category and supports projects that focus on the creation of art that meets the highest standards of excellence, public engagement with diverse and excellent art, lifelong learning in the arts, and/or the strengthening of communities through the arts.
“The variety and quality of these projects speaks to the wealth of creativity and diversity in our country,” said NEA Chairman Jane Chu. “Through the work of organizations such as Austin Film Festival in Austin, Texas, NEA funding invests in local communities, helping people celebrate the arts wherever they are.”
Austin Film Festival & Writers Conference (AFF) was the first organization of its kind to champion the writer’s role in film and television, and has remained vigilant in its dedication to storytelling throughout its 25-year history. The organization programs a slate of year-round offerings, including panels, workshops, and film screenings, all rooted in the art and craft of narrative storytelling. Held each October, its annual Festival and Conference is renowned to be the largest screenwriters event in the world, boasting over 200 panels and panelists gathered to discuss their expertise, latest works, and the inner-workings of the industry.
AFF’s annual Festival and Conference is a unique experience, challenging standard panel and film Q&A conventions by delivering intimate, instructional, and inspiring content to its audience. The AFF and On Story teams work year-round to create a program rich with insight. Speakers have hands-on experience and the battle scars to prove it. Panels, workshops, and interviews are tactile, ranging from detailed explorations of a script’s journey from conception to completion, to discussions that feature an entire writers room staff. Each session strives to pull back the curtain on the creative process, offering an inside look at some of the most influential and inspirational projects of our time.
Since its inaugural year in 1993, AFF has recorded and preserved these distinctive events. The vast material captured at the Festival and year-round events is then curated into productions offered for free online and through public radio and television; preserved and archived at The Wittliff Collections at Texas State University; and edited into a multi-book series in partnership with The University of Texas Press. These elements make up the foundation for the On Story brand and content.
An extension of AFF’s programs, mission, and messaging, On Story offers inspiring and instructional curations from the entertainment industry’s leading writers, directors, and creatives. The process of selecting specific episodes and content to feature in On Story is meticulous. At the close of each Festival year, the On Story team conducts a robust review process. These detailed deliberations help inform the content selection for the upcoming On Story season. Along with catering to both trends in the industry and the more timeless storytelling topics, the producers consider diversity of both speakers and mediums represented; the impact of the project’s educational value; and how the human experience is highlighted through the art and craft of storytelling.
On Story’s productions – 20 half-hour television episodes; 32 one-hour-long radio episodes; and 30-50 one-hour-long podcast episodes, all selected from a pool of over 200 recorded sessions from the prior year, as well as the book series, archive, and website – exude the same vibrance as when they’re being recorded, but are more wide and democratic in scope. The productions include industry luminaries such as Mark Frost (Twin Peaks), Greta Gerwig (Lady Bird), Vince Gilligan (Breaking Bad), Issa Rae (Insecure), John Singleton (Boyz n the Hood), Keenen Ivory Wayans (In Living Color), and Alan Yang (Master of None). The Project as a whole has developed organically as a way to expand AFF’s reach, giving unprecedented access to audiences who have the desire to learn more about the art, craft, and business of film, television, and new media. As it does for AFF’s attendees, who often return year after year, On Story has proven to be an integrative resource to a nationwide classroom of students who, in turn, possess the potential to become writers, filmmakers, and media creators themselves.
“The content captured at the Festival directly reflects its reputation for being an intimate, instructive, and inspirational experience,” said AFF Executive Director, Barbara Morgan. “We couldn’t be more thrilled for this incredible opportunity given by the NEA to help us provide these resources to the general public, free to anyone with an interest in storytelling through film, television and new media.”
For more information on projects included in the NEA grant announcement, visitarts.gov/news.
ABOUT AUSTIN FILM FESTIVAL Austin Film Festival (AFF) is a non-profit organization dedicated to furthering the art, craft and business of writers and filmmakers and recognizing their contributions to film, television and new media. AFF champions the work of aspiring and established writers and filmmakers by providing unique cultural events and services, enhancing public awareness and participation, and encouraging dynamic and long-lasting community partnerships. AFF is supported in part by the Cultural Arts Division of the City of Austin Economic Development Department and the Texas Commission on the Arts. All attendees and events are based on permitting schedules and are subject to change and/or cancellation without notice. Badges and passes are available for purchase online atwww.austinfilmfestival.comor by phone at 1-800-310-FEST.
Note: Official Press Release was provided to Nicolette Mallow by Sunshine Sachs.
“A Delicate Ship” at The Santa Cruz Theater performed by The Filigree Theatre. Photography: Nicolette Mallow.
The Filigree Theatre premiered Anna Ziegler’s poetic playA Delicate Ship in Austin, Texas on Feb. 15, 2018. A theatrical performance that marked the second production of The Filigree’s inaugural season, their first play was Betrayal by Harold Pinter.A Delicate Ship and Betrayal were both hosted by The Santa Cruz Theater. Champagne and cookies were served after each performance. The cast of A Delicate Ship consisted of David Moxham (Sam), Laura Ray (Sarah) and Nicholaus Weindel (Nate). Directed by Elizabeth V. Newman (Artistic Director) and Produced by Stephanie Moore (Co-Managing Director) the play premiered until closing night on Feb. 25, 2018.
What is the synopsis of A Delicate Ship and what does this story entail? “It’s Christmas Eve, and Sarah and Sam are celebrating like New Yorkers: flirting over wine and debating the nature of existential suffering. Then there is knock on the door, and Sarah’s childhood friend Nate stands at the threshold. And suddenly suffering becomes a whole lot less sexy. A kaleidoscopic look at one night in New York City that changes the lives of three people forever.”
Weeks ago that was the exact synopsis I read on the Press Release sent to me by a publicist I’ve worked with many times, and immediately I was intrigued and knew I wanted to attend. Theatrical performances are like taking a mental and emotional journey in time whilst sitting still in the audience. It’s like pulling back the curtain to someone else’s life and being an invisible guest. As beautiful as film and cinema may be and as much as I adore all the arts: theatre arts and theatrical performances hold a beloved place in my heart, like music, because it feels as if I am experiencing a daydream that I can immerse myself into, like diving into an Olympic pool and imagining I am a mermaid out at sea. Like a daydream, theater arts lets me float away in imagination. I can watch the play and forget about my life and my characters for a few hours at a time. Generally I read a play in its entirety before attending a performance to know the exact story, dialogue and characters. But this time I read nothing but the Press Release and did not delve into the minute details. I wanted to walk into A Delicate Ship with an open mind.
Immediately upon entry into the theatre I saw blue windows, blue lights, a brown leather sofa, a guitar, a birdcage, The New York Times newspaper, other trinkets and home decor like books and a modest at-home bar. The stage was set in someone’s NYC apartment and it looked like a cold December night by the wool and flannel jackets hung by the door. The venue space at The Santa Cruz Theatre is very intimate in size and it makes for an evocative, memorable and vivid experience with the audience and the actors on stage so close in proximity the eye contact can feel magnetic.
A Delicate Ship was my second experience to see a performance by The Filigree Theatre. The first play was so delightful that I came back for more. This time I attended on the opening night as a member of the Press and I had the pleasure to interview Elizabeth V. Newman: Co-Founder, Artistic Director & Co-Managing Director of The Filigree Theatre and A Delicate Ship.
Nicolette Mallow: The set on stage was beautiful! I loved the integration of music, spotlights, blue lights and windows… Does the theatre intend to keep expanding light and sound into plays? I feel like Betrayal was a lot more subtle in regards to sound and lighting effects. I adored the colors and sound effects in A Delicate Ship.
Elizabeth V. Newman: Thank you! As a director, I really love working with my designers to build each distinct world for every show, which are totally dependent on what the needs of the particular show are; i.e. which elements are in the forefront and which underscore more subtly. Chris Conard is our set and lighting designer (also on the advisory committee of Filigree) and Eliot Fisher is sound. We all collaborated previously on the Austin Premiere (and the the Filigree pre-season Los Angeles Premiere) of Any Night by Daniel Arnold and Medina Hahn. The challenge of Any Night was to create a world that was evocative of a ‘fever dream’ so I worked with both designers to create a more wild, impressionistic, surreal/nightmarish. (Eliot was nominated for B Iden Payne for Sound, Chris for Lighting for the pre-LA premiere/Austin premiere of that show)… The next performance (Betrayal) for me was all about restraint and repression and about things simmering underneath a very polished, clean, hard surface. For Betrayal I wanted very straightforward, simple, white, almost clinical lighting. I wanted the production to be all about Pinter’s words and the silences between. The only sound was era specific music (English, 1960’s/70’s) between scenes to evoke the era and emotions bubbling up under the surface.
Eliot and I discussed sound for A Delicate Ship and talked about how it was, in a way, the inverted universe of Any Night. For Any Night, each distinct location in the play had a sound-scape with amazing interstitials of a car crash and glass breaking – we hear the aftermath, in a dreamy/impressionistic way – of a major accident. In A Delicate Ship, the sound sneaks up on you. Eliot used some sounds from some of the pre-show music and slowed them down beyond recognition and added other elements into the mix to create the design – to ‘feel’ the nostalgia inherent in A Delicate Ship – familiar but unrecognizable. In terms of the set and lighting for A Delicate Ship – the environment of that Christmas Eve is intentionally naturalistic: cozy, warm and then, lighting-wise, we are pulled out of this Christmas Eve present moment and thrust into a memory space (blue light) as the characters need to reflect upon Christmas Eve. The goal was to provide a visual analog to the ‘woosh’ feeling that the character, Sarah, describes overcoming her at times.Our next show, Trio, by Sheila Cowley, which will be going up at the end of April, is set in an old garage that is inhabited by magical, child-like beings so the tone and the ‘world of the play’ will be a universe unto itself and the set, lighting and sound design will come from bringing that kind of a world to life.
Mallow: How does The Filigree Theatre go about choosing their selected plays of performance? I’ve seen two performances now, both very different and delightful. They seem to revolve around love, sex, family, the human psyche and time/memory. And they require very few characters, three to four people at most. Thoughts?
Newman: Thank you! Our Season structure is “Past (part of the theatre cannon) – Present (playwrights living and working today) – Future (new works/world premieres)” with each season revolving around a theme. For our inaugural season the official theme is: Trios/Triangles – but there are ‘secret’ hidden themes that have emerged for Season 1, namely memory, deception, passion/time. Trio will have six actors on stage: two ‘trios’ – one of characters who are actors trying to rehearse children theatre and one of the ‘trio beings’ who are akin to elves or sprits. Right now we are in the process of setting the season/choosing the theme for Season 2. I personally like to direct smaller casts a bit like chamber music: it is ’chamber theatre’. For me, when there are only two or three or four bodies on stage, each look, gesture, silence is meaningful and powerful. We have Stage One, our staged workshop reading series, to have an opportunity to get to know different writers (playwrights/screenwriters – help them develop their work – build a relationship – grow projects). In terms of selecting a play, I reach out to resources: NY based Playwright Eleanor Burgess, our Literary Advisor; Alex Timbers, our Artistic Advisor; New Play Exchange and of course actors, writers, or artists who have a sensibility that is simpatico with my own and with Filigree’s.
Mallow: What is the auditions process and how many actors/actresses do you have on board right now?
Newman: We had double auditions for Betrayal and A Delicate Ship last May (because we knew we were going to Los Angeles with Any Night for the summer and had to set auditions before we went) it was a kind of big round robin casting two plays at once. We saw such great talent – and I’ve subsequently worked with some of the actors who auditioned for us last May in our Stage One readings and other short plays I’ve directed in festivals. We recently had auditions for Trio. In May, we will have our Season Two auditions (why cast only two shows at once when you can cast three, right?) We are intentionally not a actors rep. company – there are some great companies who are doing that already. For us, the season structure/theme is the guide and for us, and our priority is it that casting be based role by role as required by the individual plays and that play selection not be based on what fits our standing acting company. That being said, I love revisiting collaboration with actors and designers as we develop a short-hand and common references and I get to see the wonderful range and talent of the folks I’m working with.
Mallow:From a lot of reading and studying articles about depression, and losing friends to suicide and looking back on their behavior prior to their death… I could tell Nate’s character was suicidal from the get go. I have written stories about unstable characters and I was wondering… Was it difficult or cathartic for both directors and actors to portray such delicate signs of dark depression? Does repeating such intense words night after night ever become heavy on the heart?
Newman:A Delicate Ship definitely deals with some pretty serious topics. In the work that we did to prepare for the show, the cast and I delved into how the ramp up to, and ultimately the playing out of the tragic event affect not only the character of Nate but also Sarah and Sam. I’m very proud of my cast for giving it their all each run and not shying away from the difficult material. They are pros and have the courage and stamina to go there each and every time. In some ways, I would imagine it is tough for Sarah (Laura Ray) and Sam (David Moxham) as it is for Nate (Nicholaus Weindel) as they have to relive the discovery and the repercussions of what transpires night after night; Nate is convinced that he is going to get his happy ending right up to the horrible moment that, he feels, it is yanked right out from under him. Up to that moment he is living what is, in his mind, a sort of big climax of a romantic comedy or a Nicholas Sparks story/plot.
Mallow: Why do you think the characters were playing a battle of the wits and playing passive aggressive mind games, taking intellectual jabs at each other to hurt one another, as opposed to directly getting to the root of the matter right from the get go? Christmas Eve nostalgia? Fear? Pride? Inexperience to deal with uncomfortable situations since they are all fairly young?
Newman: That is such a good question. I feel like Anna’s characters are so nuanced and complex and well-drawn that they function as fully formed humans who are sometimes making choices or using tactics that they are fully aware of and sometimes going at their goals sideways, and at times without any self-awareness. At times each of the characters are reacting from a primal place: self-preservation, fear, anger, lust, longing. Sometimes they act from their ‘best selves’ and sometimes from their ‘worst’. Our job as an ensemble of actors/director is to pick apart these different moments and tease out how aware each character is of their own actions/words and their effect on each other.
Mallow: Memory is a topic that comes up a lot because we all take walks down memory lane every day… but, why does Sarah’s character often block out good memories: sex with Nate, talking marriage with Sam… generally we block out only the bad but her character seems to disassociate a lot even from joy. Why is that?
Newman: One thing that Laura (playing Sarah) and I discussed quite a bit was the process of mourning and grief and how the loss of Sarah’s father (just weeks before sex with Nate) and not even a year before this Christmas Eve has become intertwined with her experience and history with Nate. We discussed how the sexual encounter may well have meant wildly different things to each of them and that the memory and association with it may have each taken on a different hue with time and distance from it. We joked that really Nate may be ‘The One’ for Sarah if he weren’t such an ‘emotional vampire’ and how that contradiction and conflict might play out for and within Sarah. Similarly, I feel like Sarah’s time with Sam becomes pierced through with the loss of Nate which overshadows any of the happiness Sam and Sarah had.
For more information about The Filigree Theatre please visit https://www.filigreetheatre.com. The Santa Cruz Theater is located at 1805 East 7th Street, Austin, TX 78702.
About The Filigree Theatre:
“Co-Founded by Elizabeth V. Newman (Artistic Director/Co-Managing Director) and Stephanie Moore (Co-Managing Director), The Filigree Theatre is committed to producing high-level, professional theatre in the city of Austin and to collaborating with local artists working across creative disciplines including fine arts, dance, film and music.
The company’s name, ‘Filigree’, meaning “the complex intertwining of delicate threats of gold and silver,” was derived from the Latin words for thread (filum) and seed (granum), which serves as the basis for the company’s dual mission: to serve both as a ‘thread’ by connecting Austin to theatre communities in New York, Chicago, Los Angeles and London, as well as a ‘seed’by incubating, supporting and celebrating emerging theatre makers in Austin. The Filigree Theatre is likewise dedicated to forging connections with diverse audiences across the region.
Newman and Moore have structured each season of The Filigree Theatre to be comprised of three shows connecting the “Past” (honoring the theatre cannon) “Present” (playwrights living and working today) and “Future” (world-premieres and new works) that are tied together with a common theme that runs throughout. For The Filigree Theatre’s 2017-18 inaugural season, the theme is “Trios” and the three productions are (Past) Betrayal by Harold Pinter (Sept. 28-Oct. 8); (Present) A Delicate Ship by Anna Ziegler (Austin Premiere; Feb. 15-25); and (Future) Trio by Sheila Cowley (World Premiere; Apr. 26-May 6).”
Greta Gerwig. Imagery provided by Sunshine Sachs/Photography by Jack Plunkett.
Last month I was commissioned by an editor in Hollywood to interview Greta Gerwig on the red carpet before the screening of her film Lady Bird at the Austin Film Festival in Texas on October 26, 2017. The Hollywood Reporter published the interview. (IMDb also redistributed the story.). I loved the film and it was a pleasure to interview Greta Gerwig. She was a smart, kind & articulate artist to interview. Therefore I was not surprised when I read this week that Lady Bird broke box office records.
“Lady Bird opened to limited audiences its first weekend, showing in four locations (making it a specialty box office release).” According to Jezebel “it blew past typical ticket sales for smaller box office openings of its kind,grossing$375,612 in fourtheaters, with a theater average of $93,903. That makes it the best speciality box office opening of 2017. For context, look at the numbersof comparablefirst weekend openings this year: Sofia Coppola’s The Beguiled earned an average $64,160 per theater in four locations the first weekend and The Big Sick grossed roughly $82,800 per theater it’s opening weekend in five locations. And, asIndieWire points out, since Katheryn Bigelow’s Zero Dark Thirty grossedroughly $83,430per theater in five locations back in 2012, that makes Lady Bird the best ever limited debut for a movie directed by a woman. Since Lady Bird has already exceeded box office expectations, it will be interesting to see how well it does when it opens in more theaters during the next few months. And considering the rave reviews and ticket sales, I wouldn’t be surprised if the film lands several nominations around Oscar time, including Gerwig for best director.”
Known to most as an actress, Greta Gerwig has been part of the film industry in a multitude of roles both on-camera and behind the scenes during the last ten years: acting, writing, producing and directing. Within her recent film Lady Bird, Gerwig showcased her directorial debut as the exclusive writer and director. When I asked her on the red carpet when she knew she was ready to direct a solo project, Gerwig stated, “It was a very long process of writing the script but once I finished writing. I felt like it was the moment I worked toward for ten years and I’d always wanted to direct. And I thought, this is the moment, this is when you do it. I don’t know that you ever quite feel ready, but I think I felt like enough is enough. You’ve got enough training. Go for it.”
Gerwig’s movie has traveled to festivals worldwide, receiving accolades and high praises along the way. Lady Bird is a comedy about a young girl in Sacramento named Christine. She refers to herself as Lady Bird. It’s also a semi-autobiographical story about Greta Gerwig. The story revolves around Lady Bird’s senior year at a Catholic high school, figuring out how to leave home to pursue her life dreams in NYC because (she thinks) she hates California, only to realize how beautiful it is upon leaving. Lady Bird is a charming, evocative and beautifully stitched together film with hilarious, witty dialogue. Gerwig captures the melancholy, vibrant spirit of youth and the bond between mother and daughter.
The 2017 Euphoria Music Festival came to an end and yet the magical feeling of experiencing music with over 50,000 people in Austin, Texas lingers vividly in memory. I can still hear the crowd chanting at Chromeo, and I can relive the hypnotizing light show alongside Moby’s DJ set in my mind. Perhaps this is one of Euphoria’s most lovable and endearing traits: the music festival exerts a natural high of happiness and contentment that stays with you in silence even after it’s all over. For a few hours, everyone that passed the gates entered an intimate and intense world of music, dance, art installations and light shows. There were three stages on the map: Euphoria, Elements and the Dragonfly. The first two stages are the larger set-ups, but the Dragonfly stage is a beauty, waterfront to the Colorado River. A map of the grounds can be found on the official Euphoria app that was released in April.
Upon entrance to Carson Creek Ranch, the grounds are filled with bold, bright colors, canopies, giant tents, kites, butterflies, swing sets, hammocks, bubbles and an artisan alley. The festival even has a volleyball court, a wedding chapel and a giant Tree of Life. There is a sign below the Tree of Life that reads: Write down wishes, hopes, dreams, etc. and set ’em Free. It was very moving to see the thousands of notes left on the tree.
Watching the festival from above with its digital eyes that changed moods and colors as the sky shifted from day to night — at the Elements stage, there was a steep, tall fox (or wolf) overlooking the crowd. Several times I got lost staring into its round eyes as the music played. Like one of those vintage kitty clocks.
“Founded by Mitch Morales, the 2017 festival included headliners like Chromeo, Knife Party, Moby (DJ set), Oliver Heldens, Post Malone, The Disco Biscuits, Wiz Khalifa, Zeds Dead and many other artists; bringing the sum total of the line-up to 70. As the region’s largest independent music festival, Euphoria attracts over 50,000 fans each year, all while maintaining the qualities that land it on many annual Top 10 lists. Conveniently located just minutes from Downtown Austin, the multi-stage music and camping festival returned to Carson Creek Ranch on the banks of the Colorado River and offered world-class visuals, unique stage designs, artist workshops, interactive experiential installations, enhanced camping options and much more.”
Euphoria showcases the professionalism, style and acute qualities equal to a global event like Austin City Limits, Burning Man, or Lollapalooza. Festival-goers can see the time, love and energy invested into the decoration and preparation for the festival. However, unlike the ACL Music Festival that draws 450,000 people—Euphoria is much smaller in attendance and exposure. This independent festival deep in the heart of Texas provides a more intimate experience. Using the power of music to bring everyone together, Euphoria is a festival made for the community. The Euphoria Music Festival feels personalized and charming. The size of Euphoria provides a natural, easy-going way of drawing people together. Even if you are attending alone as a member of the Press, like me, that is one of the pleasant aspects of a festival is various walks of life coming together for the love of music.
Ultimately, the magic of Euphoria re-awakened my love for music festivals. It brought back the fun and joy of a festival that I used to feel when I was younger. As a local Austinite, I’ve been blessed to attend live shows and music festivals since before I could drive a car. I was one of the lucky people from Austin to experience the live music scene before it morphed into what it’s become today. (True, the music scene has improved with better venues, more esteemed artists and a boost in the economy, but it also came at a cost for the locals.) Years ago, I was so sentimental about live music. I saved all of my ticket stubs that are now in a box. Honestly, I don’t know how many times I wore a costume or got dolled up for a live show, like the night when I was the absinthe fairy covered in metallic glitter with green wings for Galactic’s Halloween show at Stubb’s. Countless days and nights, my friends and I would gather in masses to rock out, dance and let loose. Alas, after too many festivals and concerts for my stamina-—after one too many expensive tickets, late nights that lead to hangovers and dating too many musicians—the magic began to fade out. Secretly I started to become a little jaded: been there, done that and bought many, many t-shirts. The thrill of live music had begun to alter from love to stress. My heart no longer felt that spark like it once did when I was younger and I only attend concerts these days at specific venues and no more festivals. Fortunately, Euphoria brought that nostalgic, familiar adrenaline rush back into my heart and it reminded me why I used to love festivals so much. Euphoria made my heart feel lighter and made me feel younger. Frankly, I did not know what to expect at Euphoria. And to much delight, Euphoria Music Festival captured the intimacy of the art scene that used to be in ATX. I hope as the festival grows more and more each year that Euphoria will never lose its unique charm.
I highly encourage music enthusiasts to mark the Euphoria Music Festival on their bucket list. A strong indicator of whether or not a musical event was a success is greatly determined by if the audience transcended time. Meaning, while the band is playing, the DJ is spinning or the musicians are on stage, those in attendance lose track of time. We forget our worries, stresses and anxieties for a while. We are present in the moment and feeling alive in the rhythm of the music. Euphoria Music Festival can and will take you to an ethereal place.
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AUSTIN, TX—March 2017—Brandcast, the leader in code-free web design, announced the launch of Marc Benioff-backed Brandcast Design Studio™ at SXSW 2017. Brandcast Design Studio™ is the first end-to-end web design platform that gives designers, creatives, and marketing teams complete creative control, from design start to publish—completely free from the need to code or rely on developer resources.
Brandcast Design Studio™is the only end-to-end web design platform built by highly experienced web designers, for all designers, whether freelance, agency, or at the world’s leading brands. Used by brands such as Lowes, Colliers, and New York Fashion Week, Design Studio empowers any designer to easily become a professional web designer, with powerful tools that lets them manage the entire end-to-end website creation workflow, from design and collaboration to publishing and updating.
“At Brandcast, we’re driven by one mission: creating the best web design, collaboration and publishing experience on the planet,” said Brandcast CEO Richard Yanowitch. “So we’re giving complete creative freedom back to designers — no more coding to hold them back and no more boring commodity-like templates that all look the same. Design Studio™ democratizes web design so all designers can create beautiful websites true to their artistic vision. And they can do it at the speed and scale needed to keep up with the exponential growth in the demand for fresh content. All with enterprise-class sophistication and security.”
Brandcast Design Studio™ offers an intuitive but powerful browser-based visual interface that will be immediately familiar to any designer that has used other creative software tools. With an entire end-to-end web design process on a single platform, Design Studio liberates designers so they can quickly and easily translate their creative vision into powerful custom websites. This can all be done without the need to write code, which often stymies creativity and slows down the process.
What customers are saying:
Kana LiVolsi, Co-founder and CEO, Dos Mundos Creative: “I was one of a select group of design firms to try out Brandcast, the new web design platform that is about to blow Squarespace and WordPress out of the water. After getting to test it out, I can confidently say that this is the future of web design.”
Shannon Cahoon, President,Madplum Creative: “We chose Brandcast to give our web designers creative control, increase predictability and cut time and costs so that we can remain competitive without sacrificing quality. Being able to design in-browser without code or templates is unlike any creative tool we’ve seen and we’re excited about the positive impact this will have on our business.”
Kristen Kelley, Marketing Manager, Colliers San Diego: “Using Brandcast has enabled our visual designers, who have minimal experience building websites, to create gorgeous custom property and team websites with ease andconsistency. Brandcast saves us a tremendous amount of time, and ultimately money, on publishing a high volume of sites in a short amount of time.”
Nicole Fikes, Founder + Creative Director, Merrygood: “I’m having a great experience designing the Merrygood site with the Brandcast Design Studio. Using a comp that has been sitting in our Dropbox forever, I was able to create in Brandcast in about 15 minutes!”
Brandcast Design Studio™ includes a powerful and intuitive suite of features, including:
True design freedom. Create a completely custom design without the restrictions of generic templates or code.
Completely visual interface. Designs, content, and web pages displayed in the Design Studio are the actual live versions of the ready-to-publish or published websites. No complex menu interfaces to learn, no code to export and host, and noguessing how changes will affect the live site.
Precise design control. Pixel-level control over every part of the design, even typography.
One-click publishing. Sites are live instantly upon clicking the Publish icon.
End-to-End Workflow on a single platform. Covering every step from design and collaboration to publishing and updating.
Reusable digital assets. Re-apply custom layouts to other websites and maintain a comprehensive media library of design assets, photos, videos, text and global styles for all your websites.
Enterprise-class security and infrastructure. The Brandcast platform automatically hosts, manages and scales to an unlimited number of customer websites, from single landing pages to large corporate sites, so customers needn’t invest in costly and complicated IT infrastructure.
About Brandcast Founded in 2012 in San Francisco at the intersection of design and web technology, Brandcast is ushering in a new era of design freedom in website creation. Brandcast allows designers and marketers to create, collaborate on, and publish custom websites without the use of generic templates or the need to know code. To learn more about Brandcast, visithttps://brandcast.comand follow@brandcastappon Twitter.
“As beautiful as some templates are, it feels really inauthentic to use someone else’s design. I’d rather design a fully custom site that I can own 100% of the way… Go from idea to execution with true design freedom. No code. No templates. Just freedom.”