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Monday, September 22, 2008

The Celluloid Roll

by: Justin Liberman

This one takes place in a diner, and there is a train involved.

A creative exercise by Nick Willete and Justin Liberman


The station is down the street a little, not even a block away from where you sit by yourself in a booth in the diner. The brilliant sun setting behind the elevated platform straddling the thinly-trafficked street shines directly through the window in front of you and pours yellowly on the table, --a little dazzling but oddly comforting. It reminds you of the first sandcastle you ever built. You recall the suniness of that childhood day, the beach, a long, endlessly bright strand, the satisfying texture of wet sand under your fingers.

A waitress puts a white porcelain cup of coffee in front of you. You do that routine you have with diner coffee, one you don’t even have to think about anymore but which brings a moment of peace as you perform it, a buoyant pleasure rising through you like a slightly electric balloon. Gently, carefully peeling back the paper lid of a miniature container of cream, you nevertheless get a drop or two on your thumbnail—happens every time. Half the cream goes in the cup; you aren’t that wild about a lot of cream. Two packets of sugar follow and the mixture whirls briefly of its own accord, the cream slowly billowing up through the now chocolate-colored coffee. Dipping the spoon (easily the ten-thousandth gripped thus, between thumb and forefinger) into the cup; you stir thoroughly. The metal tinks, comfortingly on the porcelain. This is a vital part of the ritual. You remove the spoon, leaving a whirlpool to spin centripetally, hypnotically. You watch the slowly decelerating whirl as you firmly shake the spoon downwards to free a few clinging drops from it before laying it, concave-side down, on a napkin. When you look at your own reflection in the bowl of a spoon, you appear upside down. You prefer to keep things rightside up, even if only while drinking a cup of coffee in a mid-afternoon diner near a train station. The whirlpool slows and stops. But just then, a train rumbles through the station and the calmed surface of the stirred coffee is ruffled once more, as if a pebble of sound has been dropped into its depths. In the few seconds it takes for the train to doppler itself into oblivion, you wonder about the people traveling on it—the variegated city travelers you know so well.

You are sure that there is a gaggle of businessmen dressed in their finest traveling suits wishing and wondering of all those sales that lye ahead in tomorrow’s afternoon. Topeka, Omaha, Fresno- thousands of miles apart, marked by millions of sales in between. You hope for that wide-eyed young man- with a paperback in his hands and a knapsack on his back, watching the passing America with a sense of awe. Maybe he has brown hair and looks like you when you were his age. He could be your son- had your son not die at childbirth. And there is the woman. Long hair of Raven dark and soft gentle hands. She thumbs her cameo necklace that hangs from her long neck as she looks out the window at nothing in particular. You would stake that she is traveling to visit her sick mother or perhaps on her way to reunite with a long lost love. There is peacefulness to her- and it is comforting like your coffee.

Another train snakes its way into the station, screeching to a metallic halt, bringing you back to the diner. The cup of coffee has been warming your hand for a few long moments of thought, and now you hook a finger through the handle, taking a first sip. Your ritual has paid off—it’s perfect, just how you like it.
As the train pulls out of the station, the sun winking in and out of sight between the cars and silhouetting the figures of the passengers within each one, you call the waitress over and ask what types of pie are on the menu today.

For a quick dose of relative musing I ask you the artist to allow yourself the time to write creatively once a week. With no pressure or real expectations try your hand at creative writing for it’s liberation and it’s ability to make you feel good. Writing short stories are a great way to get the creative “fix” we are all jonesing after. It allows you to explore avenues and routes in your head that you may be afraid of or unwilling to investigate for it’s lack of development. Fear not what you can write down on paper and throw away. It’s all part of the process.

Saturday, September 20, 2008

CALL TO ARTIST...FOR OCTOBER SHOW!

Tuesday, September 16, 2008

Co-op Insight...“My Colombian Music”

Back from the Field; Shooting the ENCUENTRO documentary!


After traveling to Bogotá, then heading to the Montes de Maria region on the Atlantic coast, we shot a great deal of performance footage, interviews, and photography at the annual Gaita Festival de San Jacinto, the traditional music festival that features some incredible artists from throughout Colombia playing cumbia, porros, gaitas, and puyas, the variety of genres which define costeño musical culture. As any decent filmmaker can tell you, the documentary medium poses some real challenges, since it relies less on written or improvised scripts, actors, or standard production techniques and methods, and more on the dynamic action of capturing real life, which often presents incredible obstacles. Nevertheless, with the help of my incredible DP, Juan Pablo Assmus, we collected some great stuff!

Here’s a view from a street parranda as it winds its way through the pueblo.


The Gaita festival competition was intense, as I documented the participation of the NYC-based gaitero MartínVejerano and his Marioneta project, which won 2nd place in the “aficionado” contest for the second year in a row! The band was made up NYC, Bogotá, and costeño musicians, who won over the local audience with their talent and genre-expanding innovations and style.

Here we are after a public presentation we did together at the National Library in the capitol city, my first presentation completely in Español!


The Ministry of Culture did a small write-up: see
http://www.mincultura.gov.co/eContent/newsDetail.asp?id=1804&IDCompany=4).

It’s all coming together, albeit slowly. And in any case, where there’s tons of footage to edit, dozens of interviews to transcribe, and great music to produce for the ENCUENTRO film, it’s all part of a creative process that is steeped in real people and real music.




Paz y nada mas o menos.
Jorge (aka DJ JAM)

And don’t forget to tune in to my weekly radio show—La Pipa de la Paz—on WESUFM.org, every Tuesday evening at 5:05 PM! Escuche!

Sunday, September 14, 2008

Co-op Insight...

On August 30th the Coop decided to have a "Coop Togetherness Day". The mission was for the members to come together to accomplish some much needed maintenance around the building and the MAC 650 Artspace Gallery. In addition to the maintenance, two huge murals designed by Joseph Dinunzio and Paul Gobell were started. Here are some photos from that day taken by Melissa Williams. Enjoy...


The Green Event

MAC 650 opened it's doors for the first time in Months with the first of many events to happen over the coming years. The Green Event blew the doors off on August 29th. Ivan Bright brought Hip Hop, Hardcore, Metal, and Break Dancing to the Artspace. It was a complete success. Here are some photos from the event, taken by one of the Coop's newest members, Melissa Williams.

Sunday, September 7, 2008

The Celluloid Roll

by: Justin Liberman

Last year I got the chance to work along side writer/director David Mamet on his latest film Red Belt. Throughout my life I have been lucky to live through some amazing experiences; watching Neil Young, Willie Nelson, and Dave Matthews do a sound check in front of 15 people at Farm Aide, rafting and climbing the Grand Tetons, shaking hands with Larry Bird and Kevin McHale in 1990, and hearing Rosario Dawson say my name, but above them all is my experience working with David Mamet. As a man, Mamet is both kind and fierce, and equal balance of reason and romance. He is a slave to his own word and a person who is unable to lie, either pay a false compliment or fib a little white lie. His honesty is portrayed not only in his work but more importantly in his work ethic. He is a filmmaker in the purest term; he is a collaborator before he is a maestro. He takes greater pleasure in seeing his crew work hard and laughing then seeing his actors speak his perfect dialogue. His relationship with his Cinematographer Robert Elswitt (2007 Academy Award Winner for There Will Be Blood) is a relationship that can be comparable to a couple of seven year olds playing in the back yard. It’s full of wonder and kindness, which leads their efforts to brilliance. When you meet Mamet you forget that he is a Pulitzer Prize winning author and you forget about his Tony Awards and Oscar nominations, you cannot help but to focus on his primal nature; his instinct to make people laugh and convey his true thoughts. His art is simply a world he can play in, it is not what he is or who he is, it does not define him, it illuminates his talents as a writer, director, actor, scholar, historian, and humanitarian.

I write about Mamet this week because the film Red Belt was just released on DVD. His latest effort is a samurai film in the vein of classic Akira Kurosawa films. It tells the story of Jiu Jitsu instructor Mike Terry (played with precision by Chiwetel Ejiofor) and his quest to regain honor and pride in his art. Like Mamet’s signature films, Red Belt is a con movie set in the neo noir world of an American fight film. Mamet’s homage to cinema is paramount in this film’s telling and is highlighted by his usual players; Joe Mantanga and Ricky Jay smooth performances. Red Belt’s language is tight with lines like “The one who imposes the terms of the battle will impose the terms of the peace” and “There is always an escape”. A favorite line of mine comes from the whimsical mouth of Ricky Jay when talking about an upcoming fight when he says, “It’s back to the 30’s. Grudge match. Black vs. White, Irish vs. Jew. Give me some velocity, some velocity eh. Or you just have two monkeys in the ring.”

I encourage all of you to see this film. It’s a throwback to Jules Dassin’s noir classic Night and the City and Kurosawa’s best. It’s a departure from the popcorn fare that is plaguing box offices these days. It is good cinema done by one of America’s best cinematic talents and it’s most prolific writer. Do check it out.

For filmmakers out there, please understand that when you are making a film, you inevitably end up making three completely different films. You make a film that you write, a film that you shoot, and a film that you edit. Understand the evolution of your film project. Be able to cut it up and say goodbye to those beloved scenes that do not move the story forward. It’s a director’s biggest curse however; if you can do this, it will be your greatest asset. Frame Fuck your film to perfection and it will be great definitive film you set out to make.

Peace and Love,
-Justin


Wednesday, September 3, 2008

Opening This Friday!!!! 9/5/08

"Art Without Judges"

Open to all...open to all styles...At the MAC 650 Artspace Gallery. Hosted by the NEAC in Middletown.

The Show is September 5th until September 28th

The Reception September 5th from 7pm - 10pm

with refreshments and music.


Artist drop-off: August 31st from 12 noon until 5pm

Entry fee is $12 per piece.

This is a non-juried art show, hung in the Salon gallery style. Our focus is on showing the art and meeting fellow artists. All types of art are welcome, including, but not exclusive to: Paintings, Photos, Sculptures, etc.

***Please keep in mind that this is a show for everyone, so please use your best judgement on what pieces you submit

MAC 650 Supporter...


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