Tag: movies

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On Honky-tonks, Wild Folk and Newborns

Our daughter, Sarah, and her husband, Baruch, are expecting their first baby in July. We have grandkids already. One, Justyce, is already zooming her way to young adulthood. The prospect for the arrival of a newborn is damned exciting.

As I think about this new granddaughter, the season is Spring and outside the daffodils are smiling the color of the sun. Down the streets, pear trees’ white blossoms balloon the moods of commuters. Pink and reds and purples emerge. It is a season of birth, re-birth, new growth.

Then I think about the old days and how mothers produced sons and daughters that were cold as stone when they emerged from the womb. Youngsters died of measles, mumps, smallpox, scarlet fever before they had a chance to mate, get drunk, find Jesus, get old. Those were the days of small farms where women and men hoed rows of corn and dug their spuds. Milked cows, sheared sheep, cooked oat cakes over cast iron stoves that threw heat like the halls of hell. Chores galore; stirring dirty clothes in a big cast iron pot full of boiled water and harsh lye soap. Candle making, quilting, sewing; all created a dire need for lots of hands. Lots of children were needed to help out on the farm

In 1971 my father and I took my son, James, to see the movie Man In the Wilderness, set in the Northwest during the early 1800s, with Richard Harris and John Huston. The characters in the film were fur trappers and one of them, the Richard Harris character, voyeured a Native American woman giving birth to a child. Out in the thick woods, she just squatted, without help, as her man kept watch from afar, I suppose to keep grizzlies and wolves from attacking her as she birthed that baby.

At the time, I thought that scene was a little over the top in terms of dramatization. I remember my now-long-deceased friend Richard Madewell scoffing, “That’s all a bunch of BS to sell movie tickets.” I tended to agree. Son James, who was about three years old, seemed more interested in the bear that attacked Harris’s character and didn’t have much to say about the on-screen child birth.

That was back in the honky-tonking days of my youth. I spent spare time down at the bar on Main Street where the skid row drunks sat on the high curb and waited for the sun to come up and the bars to open. My watering hole was a rough location, a bar as old as any of the businesses in town.

Big fans beat the air around the pressed tin ceiling with its fancy curlicues and circles. We listened to Dire Straits and the Rolling Stones’ Sticky Fingers, tunes from the Allman Brothers’ Idlewild South.

We downed flat draft beer and shots of cheap tequila, Bloody Marys, Spañada, wine coolers, bad Scotch and VO with Seven, not to mention more nefarious substances. We shot nine ball and eight ball, got in fights, in shootouts. We got drunk, and not drunk. Hippies, cowboys, college professors who taught Español, drug salesmen of both the legal and the not legal, ag teachers, baseball glove vendors, miners, cotton farmers, plumbers, sheepherders, butchers, house painters, short order cooks in Mexican food restaurants, wives, daughters, they all made their way to sit on the tall stools at the ancient bar.

Some wild individuals denizened the joint. One pair I recall—it was just around the time I went with father and son James to see Man In the Wilderness—showed up one day and joined right in. They usually arrived for tamales and red beers…that was breakfast. He had long, stringy hair and wore a beard a foot thick. He donned a stained and battered New York Yankee hat and claimed to be from Manhattan but his deep Texas accent belied that. His mate was wild, too, wore fringed buckskin shirts and trousers, blue and red and yellow beaded buckskin moccasins that looked like they were made before Geronimo went to Florida under guard of the United States Army. She claimed she made all her own clothing and I did not doubt that.

For some reason they liked to drink around me and I’d have to be pretty toasted to stand the scent of lard and mesquite-coal smoke that hung all over them. She bragged about cooking over one of those old cast iron stoves my grandmother used back before my mother was born. I didn’t doubt that, either. They rented a falling-down adobe building with rotten wood floors that was about as old as our town. The adobe sat behind Ronquillo’s Radiator Shop…I think I remember this right…at the corner of Sacaton and First. I always knew it as the Prickly Pear House because a prickly pear sat out in front of the old adobe. The cactus had big flat paddles wrinkled like the face of my grandmother and probably as old.
This particular wild bunch would also show up in the afternoon and drink their favorites….shots of Jose Cuervo with draft Coors back. One, two, three.

I always thought it was strange that she drank like that…as well as smoking unfiltered Camels and no telling what else…because she was heavy with their first child. Heavy….hung out like a hot air balloon. But one, two, three, down the hatch, she’d laugh and dance to Dickey Betts’ guitar riffs in “Memory of Elizabeth Reed.” Awkward and scruffy, she shuffled and puffed on her smoking Camel.

One hot August afternoon under the cooling click of the ceiling fans, a few of my friends and I sat and sucked down cold glasses of draft as the two of them, both of this wild pair, pirouetted and wheeled to the tunes blaring out of the juke box.

She suddenly stopped and yelled, “Honey, it’s time.”

Without another word they stomped out the front door. A moment later his thick-bearded face showed back in the doorway as he yelled, “Be right back.”

The barkeep chuckled and mumbled, “Right. She’ll be lucky if she and that kid survive, as much poison as she puts in her body.”

Two hours later they were back. That hot air balloon was suddenly gone and the leather blouse with the fringe on the seams looked almost big enough for two of her. She held a red, wrinkled baby in an old wool blanket. Her man began handing out cheap stogies with a cigar band that announced, “It’s a Girl.”

I said, “They let you out of the hospital that fast?”

She twanged, “Didn’t need no hospital. Done it myself.”

We all looked to her man. He grinned and nodded, “I watched, but that was all. She just squatted and spurted that young’un out.” He grinned and hugged her. “She’s one hell of a woman.”

The baby squalled and the mother giggled. The father let out a roar, “Barkeep. For my lady-love, a Jose Cuervo and cold Coors back”

He spun around, his long hair whirling like a jigging woman’s skirt. He yelled, “I’m a daddy.”

I sure hope Sarah and Baruch experience a different kind of delivery.

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On Mice and Men–Mostly Men

Last week Betty and I watched the 1992 rendition of Of Mice and Men starring Gary Sinise and John Malkovich. This particular adaptation of John Steinbeck’s novel of the same name was predated by a 1939 version starring Burgess Meredith, Lon Chaney, Jr. and Bob Steele.

Sometime around 1952 or 1953, at 111 Beech Street in Casa Grande, Arizona, I sat on the big oval hooked rug made from tatters of denim and other disregarded material that kept the chill off me from the concrete floor beneath. Towheaded, with my gapped front teeth already making their statement about the image I would become, I was watching KPHO TV Channel Five when the 1939 version of Of Mice and Men came on the tube.

My mother was in the kitchen baking chocolate chip cookies, and between visiting on the phone with friends, her mother, her brother’s snarly wife, she sang Mormon hymns. She must have heard the announcer presenting the day’s morning feature film—it was Saturday—because, and I distinctly remember her saying this, she told me, “Kenny, I don’t think you should watch that movie.”

I must have said, “Why?” because right now I recall the conversation definitely going on, the words flitting back and forth, my mother’s words coming out of the kitchen along with snippets of the tune “Give, Said the Little Stream,” and the scent of those sweet cookies.

What I probably sent back to her in response to her signals were mostly smart-assed mental messages. I probably made some faces, too, scrunching up my lips beneath the end of my nose, shaking my head and body as I silently mimicked, “Kenny, I don’t think you should watch that movie.”

She kept saying it, she kept saying it. She kept saying it. Even at that age, five or six years old, I already understood how my mother operated. If she really hadn’t wanted me to watch Of Mice and Men she’d have stomped into the front room and turned off the TV and if necessary she would have switched my butt with the flyswatter. Sometimes I forced that . . . the switching with the fly swatter.

But she didn’t switch my butt, she just kept sending me sweet-worded warnings along with the lyrics to a song.

I don’t remember many of the details of that 1939 version except hating the Bob Steele character, Curley, and loving the Lon Chaney, Jr., character Lenny (who suffered from what we now call a developmental disability). Because of how the story was structured, I was supposed to hate Curley and love Lenny.

In the end, Lon’s character, Lenny, kills Curley’s wife, not maliciously, but regardless, ends her life and so he must pay. Lenny’s best friend and protector, George, instead of allowing Lenny to be ripped apart and murdered by a mob (and probably also to save himself), shoots Lenny in the back of the head while telling Lenny about the wonderful farm they are going to own sometime down the road.

Until the sound and image of that murder, I really liked George, too, but instantly, besides being confused, I loathed George, and loathed something much larger which I could not reasonably articulate but certainly felt in my gut and bone marrow. I suspect that something larger and my loathing of it was what my mother was subtly warning me about.

I remember, much to my chagrin, breaking out in sobs after George shot Lenny. Sobs weren’t encouraged around our house, so I was flummoxed pretty good to break out the way I did, as if all the gates named reticence were broken down.

My mother took me in her arms and we lay on the couch, her soothing me and yet advising me how she’d not wanted me to watch that film.

Twelve years late, my senior year in high school, I checked Steinbeck’s novel Of Mice and Men out of the library. My tow head had turned sandy brown and my gap teeth were definitely prominent. Reading about Curley and Lenny and George I received a dose of realism in the first degree.

Realism . . . Steinbeck wrote the book during the Depression and he aimed, I surmise, to portray the hard world of labor and poverty and wealth during that era. But he was also writing about the hard world of love and friendship and mutual respect.

George was hard on Lenny all through the story, but he loved Lenny and respected him as a person although in the end he killed him; one, for Lenny putting George in the position of being his protector and thus responsible for Lenny’s actions, and two, to forestall Lenny having to deal with what was to come. Talk about hard stuff . . . George’s realization that the decisions we make to save ourselves might also be the decisions that destroy us and often the decisions cannot be avoided.

Here it is almost sixty years since I first watched Of Mice and Men and the impact of Steinbeck’s tale still lives on in my thoughts. That’s what I call power in a story. We can rant and rail concerning the inequalities, or lack thereof, inherent in humanity’s behavior towards one another and it doesn’t mean much. But drape the issues on the backs of characters like Lenny and George and you can penetrate the human heart.

Steinbeck knew that. Tortilla Flat, East of Eden, and The Grapes of Wrath are some of his other novels that can bash our emotions. Steinbeck wrote about the essence of being human.

I suspect my mother, too, understood the power of story to move us and even though she warned me about Of Mice and Men, she let me watch it, let me get an early lesson about the power of story, and more than that, about humanity.

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On Baltimore, Deruta and Graffiti

If your back’s against the wall, turn around and write on it.

From http://www.graffquotes.com/

Like a war zone. Coming into Baltimore on Amtrak as the late October sun sneaked over the southern horizon. Barbed wire and concertina on tops of fences. Graffiti. On walls. On railroad cars moored on the spider web of tracks. Hopper cars, gondola cars, tank cars, all paint slashed, zig-zagged, tagged. Bombed with spray cans. Railway passenger cars, too. Busted windows and street art rage spray painted all over the sides.

As we chugged on towards Dover, Delaware, I wondered why the cops failed to halt the property damage. Some of the graffiti was interesting to look at. Some I tried to cipher. I even admitted to myself…some of it was almost…beautiful.

A year later, looking for majoliche ceramiche, Umbrian pottery at Deruta, Italy. Graffiti scraped on a long wall buttressing basketball courts just outside the old gate. Wild and nonsensical. Or so it seemed. A brown wall breached with white and red and black. Overhead sullen thunderheads. I wondered if any place was safe from the vulgarity of graffiti.

We parked the Vauxhall and sauntered up for cappuccini and biscotti. Wandered tight, winding streets, gazed off the top of the hill at the vineyards and groves that marched off in all four directions. We hunted pottery and found it. Back and forth we darted, shop to shop, as thunder boomed to the northwest.

At the little chapel in the middle of the bustle of evening commerce, doors creaked open. A swell of farmers and their dressed-in-black wives, their skin burnt by the Umbrian sun. Then a procession out the gate and past our waiting car.

As we sat in the Vauxhall and pondered the moment, the funeral wound down the hill. And the graffiti slashed on the brown wall, enunciated something. What? About life? About death? I didn’t know. The sullen clouds glowering overhead. Slashes of lightning shattering the black sky.

In search of explanations, Betty and I screened the film Exit Through the Gift Shop in hopes of understanding graffiti as something more than property damage. We wish to understand the phenomenon. But what we viewed was a quirky piece with quirky people who earn fabulous livings off their fame as bombers (graffiti artists.) They market their rebel images through art galleries and sell mass produced paraphernalia like t-shirts and coffee cups that display their famous tagger iconography.

What I saw in Exit Through the Gift Shop wasn’t the graffiti scrawled in the Baltimore battle zones bordering the railways, nor the ragged and tortured art on the wall beneath the sullen Italian thunderheads. The stuff in Exit looked more, and seemed more, like a case of anarchist, populist, angry post-modernist tagging co-opted into the world the artists originally started out to destroy. These taggers became what they set out to annihilate.

After viewing Exit, Betty and I watched the film Bomb It, by the documentary filmmaker, John Reiss. This film was more what I expected, a worldwide look at the phenomenon of tagging, or bombing. What one participant calls the largest art movement in the history of the world. Rage against wealth, restraint, dictatorship, the law…everything from raw and vulgar lingo to sophisticated assessments of culture in the 21st century. Instead of selling their graffiti art through the museum gift shop, these painters brave jail, fines, falling off of moving freight cars, off the sides of buildings, roofs. They leap onto overhanging porches and scramble up drainpipes, their long artistic arms making loops of defiance, the colors of rage.

Bomb It was much more what I wanted. A look at something that is endemic worldwide…Berlin, Rio, Tokyo, Los Angeles…even Boise. Something property hates…how Marxist can we get, trashing private property.

We all thought, when the wall in Berlin came down, that maybe Marxism was defunct, dead, caput; but no, it lives, every day and every place whether the result of petulant rage from the youth of an over-stimulated society of consumers or defiant rage from a stomped-on lower class. Marxism lives, as graffiti art, whether we like it or not.

Now, when I think about that train trip through Baltimore as the sun came up, or watching that funeral procession in Deruta, I understand more why the stuff was up there in all its ugly panorama. The way it glared sullenly, like those thunderheads, the way it menaced me like the barbed wire in Baltimore.

When I see graffiti on the electrical box, the sidewalk, the sides of apartments, stores, houses, I will have to take notice. Even though I won’t like it, the message that it sends will grab me by the metaphorical lapel. I should listen but I can’t. If I do, I may be forced to renounce what I am—an anti-Marxist.

But then again, I might stop and look closer and say, “Now that’s art!.”

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Real Cowboys Didn’t Go to “Cowboys”

Last weekend I attended a workshop given by teacher, raconteur, cowboy poet, rope twirler, guitar picker, yodeler and warbler extraordinaire, Ernie Sites. The event was held in downtown Boise and sponsored by Elaine Ambrose of Mill Park Publishing in Eagle, Idaho.

I like to write poetry but the cowboy poetry genre often confounds me. I’m not sure if it’s the rhyme and meter of it or something else. When I first started penning poems I guffawed at rhyme and metrical schemes as flighty and unavailable to me in terms of expressing true, angsty meaning…mine or any other poet’s. But after some time studying Shelly and Wordsworth and Yeats’ poems and cowboy poet Buck Ramsey’s masterpiece of the cowboy genre, “Anthem,” I have changed my mind. Not about writing such poems, but about rhyme and meter’s importance in the larger genre of poetry.

Rhyme and metrical schemes place restraints on the composer and like so much in life, constraints of many kinds force us to be creative. That doesn’t mean I’m going to write rhyme and meter, but it does mean I appreciate the poems more for what they say and how they say it.

I wrote a poem in that workshop and although it was metrical and had internal rhyme, I wouldn’t name it cowboy poetry. There were some good poems composed by almost everyone in the session and some of them fit the classic definition of cowboy poetry.

Along with poems and music, there were cowboy hats and boots one would expect at a celebration of something cowboys call “Cowboy Halloween.” The boots especially, bright red boots, Lucchese boots.

I really like how things cowboy keep working their way into milieus that are not western at all. I wonder if the cowboy scene is making a comeback, like it did in the mid-sixties when I was, to quote an old cowboy homily, feeling my oats. A lot of us bought boots and wanted to bronc around on wild horses and not knowing fear, threw ourselves into the world of rodeo, bull riding and calf roping and bull dogging.

Non-cowboy cowboying made another comeback with the general public in 1980 with John Travolta and Debra Winger as Bud and Sissy in Urban Cowboy. People who had never owned a set of cowboy boots or hat were now walking into their offices hoofed in Tony Lama full quill ostrich leather boots with a riding heel and widebrimmed black Stetson cowboy hats. Mammoth honky-tonks with mechanical bulls opened all over the country. Charlie Daniels and Merle Haggard and the Statler Brothers, among others, were wailing Country and Western music out of radios and boom boxes. Folks thought it was Cowboy Music. It wasn’t, but it didn’t matter to the consumers as they danced the Cotton-eyed Joe and the Texas Two Step.

I lived in Arizona at the time and they opened a big cowboy bar in Tempe called “Cowboys.” I was working in the livestock business then and had been for a number of years. I figured the joint had nothing to do with the real cowboys I hung out with and worked around. But still, it was a bar, and still, I was curious.

One of my best friends at the time was a real cowpoke named Ray Fred Kelly. Ray, who passed on to the Happy Roping Arena late last year, much to my sadness, was raised in the cattle business and could build a loop and throw a Houlihan with the best of them. At the time, Ray was managing, among other things, an animal health wholesale outfit in the Valley of the Sun. One afternoon I went up to argue bid prices on health products with him for a feedlot I was helping run. After we argued in his office, we began to argue in a local bar, and as the argument went on, we proceeded north for several hours, hitting most of the bars he knew about. Arguing all the way.

About eight in the evening we got tired of wrangling and decided to head home but before we did I said I thought we should go check out this joint called “Cowboys.” I wanted to see some cowboys in downtown Tempe.

Fred chuckled and said, “There aren’t any real cowboys in ‘Cowboys.’ Real cowboys don’t go to ‘Cowboys.'”

But I was fired up and liquored up and, since I was driving, demanded that we go to “Cowboys”. He chuckled again and I drove over there. The parking lot looked like it could serve the needs of a college football stadium and the cars were Chryslers and Fords and Camaros. As I parked my pickup in one of the only open spots, I noticed a paucity of pickups, and deep down inside I probably knew right then that real cowboys didn’t go to “Cowboys.”

At the door, two very large men stood in fancy boots and hats, western suits. They didn’t smile and they had their hands crossed in front of them like undertakers do when they are running a burying.

Ray Fred wagged his head as if we were walking into an ambush, but I stomped right up to the front door and pulled it open. The men each threw their long and massive arms up and held the door closed.

I said, “What’s the matter?”

Ray Fred stood back.

One of the bouncers barked, “No Levis.”

I said, “What? No Levis? What kind of cowboy doesn’t wear jeans?”

Both the bouncers looked at me, then one of them pointed at Ray Fred and said, “Besides, he’s wearing tennis shoes.”

I looked at my manure-caked boots and said, “What about these?”

“Nope. They are not clean.”

I snorted as Ray Fred cleared his throat. I walked up to the one who was doing the talking and wagged the index finger of my right hand right beneath his nose and said, nodding back at Ray Fred, “That man is a real hand. He can build a loop and doctor sick calves, he can sort and brand and castrate and…can you do that? And,” I said, “he can throw a Houlihan.”

The man just frowned at me. As Ray Fred cleared his throat again, I went on, “You gunsel SOBs wouldn’t know the butt end of a steer from its head. You wouldn’t know a bull from a cow and you ain’t ever sat a horse that knows how to cut and sort.”

Earlier in this essay I talked about constraints and how we are forced to adapt our actions to reflect those restraints.

When neither of those gunsel bouncers moved their arms from barring the door, nor wore any kind of expression other than no expression at all, we left, me throwing cuss words and indignities over my shoulder as Ray Fred said, “See, I told you. Real cowboys don’t go to ‘Cowboys.'”

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Bah Humbug and All Hallows Even

It’s Halloween time around our neighborhood and as you drive down the streets the colors of the aspen and the maples play a nature-coordinated decorative tune with the orange of the pumpkins, real and fake, whose black eyes match the colors of the plastic witches dangling from tree branches and the black of their flimsy, battered capes plays with the gray plastic RIP headstones that appear to rear out of frost-killed yards, and the gravestones’ gray hints enhance the white filaments of faux gossamer dotted with fake black widow spiders.

The air has turned crisp and sharp and hints at direr moments to come like wind and snow and ice. On FaceBook I read “Happy Halloween,” and the next three days, all over town, the church parking lots will be filled with cars and “trunk parties” so that the kiddies don’t stand the chance of being poisoned or molested or…Happy Halloween everybody.

Happy Halloween? The origins of Halloween are somewhat obscure but one of the most prominently espoused origins is that it is Celtic in nature and marks the time between summer and winter, a line in the sand so to speak, between bounty and famine, life and death…and as such, the lines between the world we live in and the world of spirits becomes blurred, where intelligences can go back and forth between what is and what has been but is supposedly dead. Is that something to be happy about?

Originally known as All Hallows Even, the date has become a good one for libation, drunkenness, and spending lots of money which I think is responsible for a lot of the growth in popularity for the day…making money…candy, costumes, stuff to hang around the yard, parties and the concomitant cookies, cupcakes, candied corn and booze.

And yes there has been a massive explosion in the date’s popularity, with the hype often reminding me of the days of my youth when the run-up to Christmas created a fever pitch in us kids. Christmas season has moved on to begin three months early, and now Halloween feels to me like Christmas did when I was a kid.

I may be guilty of being a Halloween humbug because I don’t delight in the thought of it. I often recall my days as a kid when a bar of soap to write on windows of houses and cars was more in line with what we did instead of trick or treating. Marking your territory, so to speak, and when getting older, stealing outhouses from the farmsteads where they were still employed and hauling them down to the high school and putting them up on some porch or portico or piazza for everyone to see. I delighted in that. Most people laughed, or knowingly smiled back then about our shenanigans, all except the farmers who grumbled about lost privies. Now the law would turn their dour jaws on us and investigate.

Oh, back in my day we charcoaled our faces, put on baggy outfits and ostensibly went trick or treating, but we were more intent on mayhem and things that pointed to mischief and not good…won’t give me a treat? I’ll give you a trick.

But now it’s about keeping everyone good, which, in our efforts to get accomplished, seems to fail, as the percentage of hell raisers and mayhem creators remains the same, and always will. But we sure can help those retailers cash in on some miniature boxes of Milk Duds and Whoppers.

As for Betty and I, we will be out on the town, the lights of our house turned off, no gossamer in our aspen or dogwood, nor bowls of candy to rot the teeth of little children. Maybe a movie…maybe two. And just maybe a big box of Whoppers or Milk Duds.

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The Cave of Forgotten Dreams

When I was a kid in southern Arizona, I went caving and spelunking with a guy who was a middle school teacher in the town where I lived, Casa Grande, Arizona. We walked into basalt cave mouths in the Silver Bells and Silver Reef Mountains, and into our own little Sawtooths. We sniffed around for the scent of gas as he told us about canaries in coal mines. He was from coal mining country. We pitched rocks down mine shafts that had claim markers that looked like they were still maintained by prospectors. The rocks clicked and clacked and often we heard the rattle of diamondbacks climb out of the shafts. I wondered if they were albino rattlers or if they climbed out at night just like the ones we killed with forked sticks and shovels. I wondered if they captured and swallowed kangaroo rats and other small things, wrens, and such. Sometimes there were windlasses and big containers that would lower you into vertical mine shafts, but I was always frightened to go down in. The possibility of snakes scared me, and the thought of the ropes breaking scared me too, and that I might end up dying down there while the teacher and his two sons ran back to town in an effort to find someone to save me.

I have always had a primal fear of going into the bowels of the earth and admire miners with the way they go miles down into the tunnels that wind and penetrate below the surface. Likewise, I admire the men who go into caves and search below the earth for life and remnants of life.

Last Wednesday night, Betty and I went to see the Werner Herzog documentary film titled, The Cave of Forgotten Dreams. The film is available in 3D but our art house theater didn’t have that option, so we watched the film in two dimensions. Earlier this year, I heard Herzog talk about the film and one of the things he said was that it was the only film he would ever make in 3D.

But even in 2D it was impressive. The cinematography was outstanding from beginning to end with some very odd frame composition that worked, I think, to help set on end our modern arrogance about how smart we are. The cave, Chauvet, which is in southeastern France, is mostly off limits to anyone but scientists studying the geology; or the Paleolithic era information about cave bears and wolves and cave lions and horses and bison; or the astounding artwork, some as old as thirty-five thousand years. Human activity inside the cave presently is limited so the film crew was restrained as to the types of lighting and camera equipment they could employ. What they created is truly a fine work, particularly given the limited gear they could take into the cave.

All great films have obstacles that must be overcome by the characters on the way to reaching goals and in this documentary, the physical restraints and the restraints imposed by the French government become the obstacles that must be defeated. Herzog, who narrated the film, gives us this information right up front so the requisite tension to keep us interested is created.

What is on the walls of Chauvet are astounding paintings at least twice as old as anything previously discovered on this planet, and the likenesses were amazingly correct, not primitive like some of the old Hohokam rock scratchings that we used to find in the caves of southern Arizona, but sophisticated artwork displaying not only the fauna of the time, but fauna behavior that included breeding and hunting. The cave paintings included great, stunning murals of horses and bison being hunted by lions and bears; and wooly rhinos fighting each other. I think I was doubly stunned because of what the images told me about the intelligence of the people who created this ancient art. When T. S. Eliot came out from viewing the sixteen-thousand-year-old cave paintings at Lascaux, he is reported to have said something along the lines of, “We haven’t changed a bit,” and I could see that, I could see what he meant, as if Picasso or Klee or Matisse or de Kooning had been down there, painting away, or at least their spirits encaved in the bodies of Cro Magnon man.

I also liked the music in the film. It was often melodic and spiritual like the milieu it described, especially at the end, where the narration takes a holiday and lets the camera work. The fine lines of the cave drawings along with the choral voices allow us to step back into our racial memories, our racial minds, and contemplate the long run of humanity on this planet. They allow us to ponder what is possible, what might come to pass.

At one point in the film, Herzog takes us out of the cave and on a cinematic sojourn to the University of Tübingen in Germany where a large exhibit of small sculptures of Venus and animals of the Paleolithic era is housed. We get a clinical analysis of these artifacts‘ relationship to the paintings at Chauvet (evidently they are all from the same time period, give or take five thousand years) and how Cro Magnon could carry on so advanced a concept as paintings and art while his neighbor Neanderthals were not capable of creating anything of the sort. All of this was interesting, but to me, felt as if the magic created by the paintings, their rendition in Herzog’s film, and attention to the power of art were all defeated by the measuring stick-and-caliper outlook of the sciences of studying ancient peoples.

I was glad when that train of thought ended and we returned to the magnificence of the paintings, what they said about my ancestors’ intelligence, their powers of observation and creativity. Some of the paintings are five thousand years older than others, so the time frame in which the cave was used as a ceremonial site, but apparently not lived in, is as long as the history of the written word in our Homo sapiens sapiens sub-species.

Given my innate fear of caves, I sat and wondered if I would go down to look at these images and I have to say yes, I would. In the film, Herzog points out that he and his crew often felt as if they were being watched by the ancients, and he remarked that the anthropologists, the geologists, the paleontologist also had the same sensation, so maybe my old fears are not without grounding in the human psyche.

I would definitely recommend that you go see this film. It is a visual masterpiece, and to boot, stimulates the imagination. The Cave of Forgotten Dreams will force you to ponder various issues, how far apart we are from the artists who created the Chauvet paintings, and how alike we are. They were smart, as smart as the men who built the windlasses that lowered miners down into the vertical mine shafts that we investigated in my youth. As smart as we are now. Not yet with the tools that make us what we are in this time, but smart enough to understand the world they inhabited and to record and interpret what they saw.

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Skywalker Ranch Redux

Tonight Betty and I and a few other people, mostly the employees of Skywalker Ranch, will view our film, Bravo! Common Men, Uncommon Valor, at Skywalker Ranch in the redwood country of West Marin county, northern California. Last month we mixed the film there and now we return not as a client, but in a different role, the role of presenter. What is particularly gratifying is that Skywalker Sound invited us to do the screening.

It is very warm here in Sonoma County. Too warm for our pleasure, but it is not unusual for a heat wave to bubble up this time of the year in this piece of geography. At night the peepers crowd the air with their warm melodies and the scent of harvest sweetens the air—apples, grapes. The bounty of the normally fine climate.

We showed the film on Sunday afternoon in Santa Rosa to our donors, old friends and acquaintances, new friends and acquaintances. Betty and I were nervous. Would they like it? We think they liked it. People seem to look at us with a different kind of regard now. We are gratified.

One of the unforeseen results of folks viewing the movie is that they borrow the pathos of the film and apply it to their own losses. A mother dies and her surviving children and spouse draw on and gain solace from the wisdom of wounded warriors. Tonight’s Skywalker Ranch crowd should be younger and for the major part, they will not know us and to boot, they will be folks affiliated with the craft and latest technology of filmmaking in this eleventh year of the new millennium. What will they think of these age-old stories and the way we’ve employed them in the movie? Some of the techniques we have used for the wedding of sound and interview are unusual and we wonder if we will hear some “You can’t get away with that,” or even some complaints.

We are a little nervous.

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On Accents, Vernacular and Muscle Cramps

I woke up this morning with one of those cramps in my right calf. It was four-thirty in the morning. Like a stab from a long knife. I grabbed it and massaged it and finally the pain went away. I haven’t had one of those since I went backpacking through a snowy Rock Bound Pass back in 1997.

After I massaged the pain out and the knot that caused the cramp, I failed to go back to sleep. I lay there and thoughts shot through my mind, what I needed to do: pack, pick squash and broccoli, deal with movie-making decisions.

My thoughts kept returning to our just-completed trip to Minnesota. I could hear Minnesota voices in my ears. The way they speak back there, the accent I guess you could call it. The vowels stretched out like bolts of linen at the fabric shop.

I spend an inordinate amount of time thinking about the way people speak, the way they say words, the sounds. I guess that’s because I like to write poems. Poems are as much about sound as they are about the meaning of words and images.

When I say a word, for instance, “you,” I say it in the vernacular in which my ear was most recently trained, and I don’t imagine that my way of saying the word is “accented.” “Accents” are spoken by people from other places. In Rochester, Minnesota, the “oo” sound in “you” gets elongated into an “ooo” and farther north, around Hurley, Wisconsin, or Ontonagon, Michigan, that “oo” sound becomes more like “ooooo,” and in Texas you might hear the word “you” as “y’all.” Even though that intimates plurality it still gets used in the singular. In Pennsylvania the way they say “you” will be different than the way it is enunciated in Ohio or New York City or Boston or Farmington, Maine. People in Rochester, New York say words a little differently than they do in Newark, New Jersey and in the tidewater country of Virginia and the Carolinas, words sing a different song from what you will hear in the Appalachian terrain of northern Alabama. Then of course there is the Cajun patois of Louisiana and the Chicano banter of Texas, New Mexico, Arizona and southern California. I grew up listening to that particular vernacular and to this day love the rapid-fire skate of the words as they come into my ear.

I suppose with movies and YouTube and television, the prospects for these regional lingos to keep their power is not favorable. I imagine the various regional accents that have been influenced by our German, French, Scandinavian, Italian, Polish, African, Spanish, Vietnamese, Japanese, and Native American forefathers (to name just a few) will slowly become a common vernacular. Along with our all-American malls that from coast to coast have an Applebees and McDonalds, a Burger King, a Starbucks, we will have a lingo that sounds the same coast to coast. American spoken in Virginia will have no sound difference than what gets spoken in Oregon, or Marquette, Michigan from Brownsville, Texas. We may well drown in the boredom and muck of our lingual sameness.

Not that Starbucks or McDonalds are bad. I eat and drink their fare when I want or when I need. And I have nothing against mass media that speaks to us all. But yes, I am concerned about the death of diversity. And not just in our accents.

After I got those kinks worked out of my calf, I thought about all this stuff and a lot more. Then finally, I drifted off, again, into slumber.