16th February 12
Readers, I blew it recently. I blew it — as the old saying goes — hard.
In my recent post on the subject of Minneapolis-St. Paul not always being great about recognizing its own, I lumped in the great Charles Schulz with a couple of other artists that had more tentative connections to these cities, and whose contributions to the local artistic and literary landscape seemed to me to be overstated.
Charles Schulz clearly does not belong in this company. My assessment of Schulz was based on some bad and incomplete information. Read more in the rollicking comments section here — it is quite interesting! It does not hurt that this blog has a larger-than-average following of cartoonists and cartoon appreciators. So I appreciate Will, Michael and Brett setting me straight on this.
To atone, I will 1.) finally read David Michaelis’s acclaimed biography, and 2.) dedicate an entire Stroll column to Schulz’s St. Paul sometime in the near future.
I still do not care for the statues. But I think the gesture behind them is a fine one.
31st January 12
This will probably sound ridiculous, but to a certain extent, I’ve tried to follow the example of two role models in my creative life: Studs Terkel and George Plimpton. Following Terkel’s example, I’ve tried to never pass up an opportunity to talk to someone about their story, and record it where I can. From Plimpton’s example, I’ve done my best to never pass up an opportunity to try doing something I’ve never done before, preferably while in front of people.
So it was with Plimptonian disregard for consequences or real ability that, when the great Minneapolis band Dark Dark Dark asked if I wanted to serve as foley artist for their live score to the Fritz Lang film Spies at the Walker Art Center last summer, I said “sure.” I’d only been a foley artist once, onstage, for an Electric Arc Radio Show performance. Dark Dark Dark happened to be guests on the show that evening. I think maybe they thought it was something I’d done a lot. It wasn’t.
That Electric Arc show was in front of maybe 150 people, most of whom I knew. This was an outdoor performance for 4,000 people at the Walker. I was, as I have honestly been very few times in my creative life, scared completely shitless.
It went well, though — I had a suitcase full of noise-making devices, including a train whistle that contributed nicely to the greatest scene in the film, a train crash in a tunnel. I doubt I will ever be asked the serve as a silent film foley artist again, because I really just wasn’t that great at it. But it was a lot of fun, and I’m grateful to Dark Dark Dark for the opportunity.
Bill Guzik made a film of the event, which was just posted at the Modern Times art tumblr. The video is below — you can see me in a few of the scenes:
Dark Dark Dark | Spies | Short Film from Guerrilla Waltz on Vimeo.
13th January 12
Actually, I should have used the minute it took to conduct that search and screen-grab the results to respond to an email. Damn it!
Maybe the good hypnotists only work by referral. I’d ask you to email your suggestions for self-improvement hypnotists, but you probably know already where that will get us.
