THEY CALL IT THE CITY OF ANGELS
Each Chapter is Written in a Twenty - Four Hour Period without Notes Published Consecutively
SEASON TWO / EPISODE ONE / CHAPTER 23
LIGHT
Louis was beginning to see the light in a whole new way. All day, things appeared different. Every object in the cafe seemed more colorful, he was seeing details and distance like never before. He stared at the chrome napkin holders, ketchup bottles, mustard containers, forks, knives, spoons and napkins as if they were sacred objects: studied their details, using his new found eye sight to take in the landscape. Why had he waited so long to get the operation ? If Junior hadn't returned, Louis may have never seen the light. He would have just slowly faded into the darkness with old age, maybe eventually seeing nothing but a clouded world of tunnel vision or worse: total blindness. It was Juniors idea to have the cataracts removed, he paid for the operation, Louis thought about all the years the boy had been ignored, all the years and months and days that nobody in the family, neither he, nor Celia or their extended family wrote a letter or visited. When Celia married Chuck, he had became the son, totally replaced Junior. Now that Junior returned, everything seemed to be changing. Louis was grateful to his son in a way that he could not describe. He seemed to care for the man in a way that was different than Celia or Chuck, he cared for the man in a direct way, not as some sort of responsibility, but because he loved him. Louis hadn't been loved since his wife died, really truly loved and cared for, he'd actually forgotten what that was like: to be loved.
The Cafe was busy, the strike in the harbor was over, trucks were moving in and out, waitresses were working double shifts, when they asked if Louis could stay on a few more hours, he agreed. He had always agreed when his employers had asked for this, asked for that: How had he become so damn compliant through the years ? As a young man, he had fire in his gut, even a sort of bravado, a keen sense of rebellion. But that was long ago and when they asked, he did as he had done for the past twenty- five - something years, he answered, "Yes". Besides all the usual conversations like, "Louis, they need water on table seven." and his reply, "I Got It" or "Clear off the corner booth honey, I got a family of five waiting' out front" and his reply, "You got it." There wasn't a whole lot of talk in his daily routine. So, whenever somebody actually took the time to stop and converse with Louis, it was often a memorable experience that he would think about after the fact, at the end of the day or some time later. As things settled down that late afternoon, Louis was clearing a table along the windowed booths. Ma Fritters was a mid century establishment with big red booths along the front window and a counter to the rear with tables strewn all across the center and sporadically along the walls. A television was mounted above the counter, though it usually was turned off, on this day, due to the recent controversial decision in a high profile legal case and the controversy surrounding the decision by an all white jury, the TV was on, the volume was turned down. The Cafe was located just between the Harbor City Hall and adjacent to the truck stop port authority, so all types of people frequented the place. Gum shoe private detectives, lawyers, bailiffs, cops, an occasional snitch, or the recently paroled, or those who were proven innocent and plenty who were proven guilty and done their time accordingly.
A familiar face sitting in a booth next to the table Louis was clearing sat and watched the silent television, a now, iconic image of a man being beaten by a circle of cops played on the screen, followed by images of four men in suits walking down a long row of steps, followed by angry groups of people screaming at the camera, then shots of helicopters and angry protestors who seemed to be standing in the middle of the streets, running wild. It's a shame whats going on down there, ain't it Louis ? He was referring to the television. Louis looked up at the TV expecting to see a football, basketball or baseball game of some sort. As he glanced at the screen, the shot of a man fleeing a pawn shop with a musical instrument, a red electric bass guitar flashed across the screen, followed by a group of people, smashing the windows of a liquor store, prying open the accordion metal gates and ransacking the place. Louis never payed attention to current events and hadn't been following the case very closely, so he was surprised to see the footage of what looked to be the beginning of a full on riot. He figured it was happening in another country or city, "Wheres that ? " he asked the customer, "Thats Downtown." Louis looked again. They watched a news reporter on the street, stores were going up in smoke. The sun was setting now and the color orange permeated the harbor. "Well, thats what happens when you got an abuse of power, at least thats what happens, some times." The man gestured for Louis to sit down, Louis looked around, the place was empty, so he put down his white rag and bucket and sat with the man. "I heard Junior finally got out, hows he doing ?" "Very well, he's doing good" he replied The man continued, " Its a god damn shame what happened to that boy, god damn shame." Louis noticed that the man was a little stoned, maybe drunk."That boy had everything going for him, he was handsome, smart, had a great little girlfriend, I remember that boy very well, very, very well." Louis looked at that man, really looked at him, stared at his face, his eyes, listened to the voice and something began to click, something in the man's voice was suddenly quite familiar. " It was too bad that nobody had found out about that other kids car. You remember that other boy that night ? He was a good kid too, but the law is the law, and Junior would have never done time if only someone had reported the facts." Louis couldn't entirely understand just what the man was trying to say. "Ya see, the regulation on those cars are very specific, that boy was hot rod crazy, he had all kinds of unregulated gear on that vehicle. Now, it is not illegal to have say, dual manifolds or even dual carburators, but if a car flips over due to the height of a vehicles unregulated distance from surface to passenger weight capacity and entry position than it is a fact of science and it can't be refuted. Did you know that in Juniors case the other boys car was three and a half inches higher than the regulated stock car height ? Furthermore …",
The man stopped for a minute and chewed his sandwich, Louis now realized that this guy was a lawyer of some sort, but he couldn't exactly pinpoint why he seemed familiar. "Furthermore, it was noted on the legal evidence and recognized by all the officers and District Attorney's office that the boy who died drove a vehicle that was not street legal and may have had everything to do with the cause of those kids death. Why was that not brought up in the case ? Why ? You wanna know why?" Louis looked at the man and nodded, "Cause I am, well, I was once, one of the best damn prosecuting lawyers in this port and I made damn sure that that little fact was not brought to the juries attention. But that was my job, thats what I was payed to do. Juniors lawyer should have done better, Juniors lawyer took a dive, they rail roaded that kid and all they had to do was mention the deregulated vehicle inspection forms and case closed, over, done with, end of the story. Every single cop on the scene knew that kid's car was not street legal, all of 'em. If people had known, they'd be doing exactly what there doing now, out there on the streets, they'd have been rioting for your kid." Louis just looked at the man. The waitress brought over the check and refilled the man's coffee cup, Louis looked up at her but did not move from his seat, he turned back to the man. Now he realized who this man was, this was the rat bastard son of a bitch that prosecuted his only son. Threw him away, tossed him in the trashcan of life, the sewer for fifteen years. 'Cabron', he thought to himself. He stared at the man one last time, looked at his face, his cheap polyester suit, his wrinkled tie, his unshaven face, he smelled the cheap cologne, the years of unwashed bull shit that had surrounded the man's very aura and simply stood up, grabbed his rag and bucket from the table next to him, placed the plastic tray along side the edge of the man's table and cleared it entirely, except the coffee cup, in one complete gesture. The man blinked. Louis didn't say a word. He was not an important man in town, he wasn't worldly, he didn't speak the best english, he was one of millions of little men who worked hard every day of his life so that his kids and grandkids could have a better life: all of that was true. But this little man knew what trash looked like, this little man knew when the meal was over and this little man cleaned that table, wiped it down and walked away from that man's table like a professional and never once looked back.
Junior had been told to get out of town and take a breather, no one expected him to leave the country. He hadn't been to The Ranch in decades & needed to see his home land. It had been his grand fathers farm back when Juniors father Louis was born there and his fathers before that and so on and so forth and on down the line. Louis had been renting it in a partnership deal that hadn't paid off in the past decade, he himself had not been to the ranch in over ten years, simply stopped visiting ever since his wife had passed away. It hurt too much to see that land. Originally, he had rented the plot to a man and his family who were simple farmers, the lease came with a dozen cows, an orchard of about 100 mango trees, a handful of goats, chickens, sheep, pigs and a couple old dogs. When Junior was a boy, every Summer from the time he was five to the time he was fifteen, he would learn things from locals. He had learned to bullfight, he had learned to dismantle a cow, he had learned to irrigate, plant and even skin a pig. Junior loved the traditions of his heritage: simply had farming in his blood and related to it deeply. At the end of each Summer, the boy would sit high atop a mountain just to the North of the property, they called it The Mesa, because it was shaped like a table top and he would cry. He did not ever want to return to America. McDonalds and Bugs Bunny and Coca Cola held no sway with his spirit. He was an Indiano Puro! He would tell his parents, "I want to stay here with grandpa, he needs my help, let me stay please, please, the boy pleaded with his parents. But returned he did, every year. It was always a painful transition. He would dress his room in blankets, ropes, artifacts he had found on the ranch or nearby. Once he had been given a sacred bowl by a local Indian that had bears carved all along the sides. He would bring mangoes, a chicken, some corn to the Indian every day and eventually, the Indian repaid him with the sacred bowl. Recently, while digging through the garage, he found a box of things that belonged to him from the Summer of 1976, the year he had been sent away. Nestled in the center of the box was the Bear medicine bowl. Also in the box was an eight track cassette player with a bunch of the family music they had once listened to: Greatest Hits of 1976, Freddie Fender, Pedro Infante, Santana, Ritmo Latino, Novenas De Amore, Recuerdos Romantico, someone in the family had even taped the skits and early films of Cantinflas. They would load up the car and drive to The Ranch every Summer until the Summer of 1976, when everything had drastically splintered their lives into nothing at all. Junior installed the eight track player into his car. Loaded up the car with pillows to sleep along the way. He hadn't said a word to anyone about the trip and suddenly realized that he didn't want to go alone. Junior packed up a few of his fathers regular items from back then, his old wooden guitar, a foldable wooden lawn chair, a hammock, his fishing poles and a big straw hat as well as the Indian Bear Bowl.
Junior drove into The harbor towards his dads place of work and noticed Chucks Patrol car pulling out of the parking lot as he was pulling in. Junior simply waved his hand and parked the car right up front. Louis was staring out the window thinking about what the lawyer had said as Chuck drove off. And suddenly, Junior pulled into the driveway "Dad, I've come to take you home". "OK", Louis replied, "Are you hungry ?" "Lets get sandwiches to go." While Louis gathered his things in the back room, Junior walked up to the work schedule that was posted in the hallway and looked for Louis' name, he took out a pencil, and erased Louis' scheduled work days and scheduled in the other two busboys names Franky & Paulo sporadically during the week. When Louis finished gathering the sandwiches Junior was already in the car and the motor was running. When Louis got in, Junior said he had to go use the restroom, he reentered the Cafe, and shouted to the waitress, "Hey sweetheart, make sure someone calls Franky to remind him of the schedule changes." She looked at him kinda funny. He took out a ten dollar bill and thanked her, "Your Dad don't have to pay for those". "I know, it's for you babe.", he smiled and headed for the door, "Call Franky and Paulo, good nite." As he turned to the door she put the bill in her apron and headed towards the hallway where the schedule was posted. By the time they pulled out of the lot and up to the stop sign, he could see her pick up the phone. The eight track cassette began to play an old familiar ranchero they had often listened to while driving down South back in the old days. The song started with one of those fast mariachi style riffs with a big oomp-pa-pa base and drum line, a fast fiddle with a quick stop and suddenly the singer would howl like a Rooster at sunrise, "Aaahhhhh - Haaaaaaa - Haaaaaa - Haaaaaaaaaa" and suddenly the song would do double time into a frenzied pace. "Where the hell did you find that ?" Louis asked his son. Junior just smiled and turned the music up, he put the petal to the metal and they roared down the coastline. When they hopped on the freeway instead of the normal route home, Louis, turned down the music and asked, "Where are we going ? ", "We are going HOME dad, home, our real home, were going to The Ranch. Junior looked at the kid and laughed. "Are you f*%+ing crazy?" He shook his head in disbelief, looked back at this kid of his, this beautiful boy who had endured fifteen years of captivity and simply laughed until the laughter stopped. Then he wiped a tear from his eye, turned the music back up and said, "All right then, Vamalos."
Louis was thinking hard about what that lawyer had said, he kept stealing glances at Junior and could feel nothing but regrets. He suddenly thought about work, "But what about my job, I am on the schedule all week.", Junior assured him, "I spoke to the waitress back there, she's calling those other busboys right now with a new schedule. I knew if I told you ahead of time, you would never have come with me." Louis looked at Junior and just shook his head, "Your just like your mother, you know that ?", "Yeah, I know." Junior reached into the back seat, pulled off the Indian blanket, revealing Louis' things: His hat, fishing poles, chair, clothes, sandals and together they laughed all the way to the border. One of their traditions was to stop and fill up the gas tank as well as several other tanks with the gas on this side of the border and buy water and any other items needed while traveling. Junior decided that he should make a call and let his circuit know where he was going, he used a phone booth and said he was leaving town as directed. When he told them where, he was put on alert, given directions & an assignment while he was visiting. That was exactly what he didn't want to do, just wanted to visit the ranch, see the old property. What Junior didn't know was that every thing had changed and some surprises were up ahead, if he played his cards right on this one, there would be some serious rewards, if he did not, the results could be devastating or worse. They told him that when he got to the ranch, not to be surprised by any of the changes and wear a long sleeve shirt, buttoned from top to bottom. They had been trying to put the squeeze on the people who had been partners with the family that rented the ranch, they would toss Junior and his dad a serious bone if everything went well He was also directed to be at the border exiting and reentering at a particular time and place, it was very important that he be there on that exact date and at that exact time, no matter what. They asked him if he understood and he did. Then they said he was to stop in at a particular spot with a very specific address and have his upholstery redone. When he told them that he already had leather seats in perfect condition, they told him that it was strictly business and he would be rewarded later. Junior agreed and understood what he needed to do, he listened intently as they explained in detail what was happening and what he needed to do to make sure that nobody was hurt and that they ended up with the profitable side of the exchange. By the time they hung up the phone Junior was completely sobered by the conversation. He also called his sister Celia explaining that he and dad were going fishing for a few days. When he got back into the car, Louis noticed his composure, "Is every thing all right ?", "Yeah, everything is cool. I just forgot to call Celia and let them know that we would be out of town for a few days and I wanted to make sure everything was o.k.", "Well, is it?" Louis asked again. "Yes, every thing is going to work out fine." As they drove up over the border, they both noticed how different everything was. What was once a gateway with tiny wood kiosks strewn across an invisible line in the sand was now a chrome plated machine that looked like a giant row of appliances, the border had changed and so had they. They looked at one another and drove on in. Entering in the old days meant simply driving across, now they were asking questions and asking for identification sporadically, Junior grabbed a long sleeve shirt covering his ink from top to bottom. When they got to the borderline, Louis did all the talking, he was always good with people, especially his people. Louis answered several questions and then they struck up a conversation about a particular district they both knew of with an old fishing spot. Louis waved to the man in the kiosk and suddenly they were on their way. Junior understood spanish to a certain degree, but he couldn't follow everything. "What did he say?" Louis slapped his son on the back hard, "Welcome!"
The journey to the ranch is a twelve hour drive, Louis slid the seat back and slept through the last six hours. When they got into town, they went directly to the property, but passed it twice because it was so unrecognizable. There was now a giant security gate, with an intercom and an eight foot barbed wire fence around the entire front section all along the highway. Originally the property itself was about ten acres split into thirds,: one part for cattle, one part for mangoes and the other for corn, livestock and living quarters. The original house sat to the North with an adobe to the West & another to the East, just after the hilly entryway. When they rang the buzzer, a voice answered that was unfamiliar to Louis. " Is Rafael there ?", he asked in spanish. "No, are you making a delivery?" "No, I am the property owner from America, my son and I are here to visit the ranch." The gate buzzed and it slowly opened inward, they drove the car up to a check point and immediately Louis was flabbergasted by the modernity of the place. Six visible silos, water tanks on every hillside, lush rolls of mangoes, machinery that he had never seen before, a large tractor the size of his guest house back home. Louis turned to Junior, wider eyed, "Take it easy, this is your place, your the American, your part owner, don't give away your power so easily dad. Were going to take a tour, then were going to talk business, I have some friends back home who told me all about these guys, don't worry about anything at all." Louis said nothing, he just couldn't believe his eyes. "When it comes to business, you let me do the talking: yes ?" and Louis replied, "Yes, son, absolutely, yes." They drove up through the cattle section past a pack of beautiful cows, where there was once a dozen cows , there were now easily a thousand. On the hillside, grazing, were dozens of goats, in corrals, a half a dozen horses, in pens, dozens of pigs and an entire barn that had been modernized for chickens, easily a thousand. The original house was still intact and had been kept up, it looked as if the roof had been recently replaced. Louis was amazed at the entire set up, he was a very wealthy man and yet minutes ago had absolutely no idea how wealthy he actually was. By the time they got up to the main house and out of the car, several employees had come out to greet them. Rafael was no where in sight. "Welcome, a man with a cowboy hat and boots exclaimed. We've been waiting to hear from you for quite some time. How long will you be staying ?", Junior stepped in, extending his hand, he had been told to keep his shirt sleeves rolled down until the proper time. " I am Louis Junior, my father and I just came down to do some fishing and we have been so busy with our businesses in America that we have not had much time in the past few years." "What kind of business are you in there ?" the man in the cowboy hat asked, Louis replied, "Comida". "Yes, my father has his own restaurant in the harbor and my partners and I are diversifying stocks." he continued, "The economy in America is going through some interesting changes and we think that Mexico is going to be in for a big surprise with some new trade deals on the table. But, lets not talk business so early in the morning. We just got here.", "Thats exactly right, lets have breakfast and we will take you and your Padre on a tour. Later, we will call up Rafael and we can discuss many things that will be of a concern to you and your fathers property." They sat and ate one of the best breakfasts they had both had in several years. Everything they ate was made fresh on the ranch: juice, eggs, meat, tortillas, everything. Louis was simply amazed. Junior kept calm and played it cool, just the way he was directed. After all, It was this same kitchen that Junior sat with his grandfather every year.
Louis and Junior took a grand tour of the property by jeep and when they returned Rafael was waiting at the main house. "Don Louis, Oh my god, it has been so long, what a wonderful surprise." The men entered the house and sat in the library, drinks were served. Rafael, the man with the hat, Louis and several other men sat in large leather chairs, several smoked cigars. Everybody imbibed except Junior. "I like your son's style, he's all business and has a great head on his shoulders.", he said in spanish. "Yes, he has learned of the worldly ways in America." Rafael started in, "So, you must be wondering about the transformation of the ranch ?" "Yes, of course.", Louis replied. "Do you remember the old indian who lived on the other side of the Mesa ?" Rafael asked. "Yes, my son was very close with him. As child, Louis Junior felt a very strong natural affinity with the locals here." He continued, "Well, one day, about ten years ago, he showed up at our door with a machete and said that he and his people needed food and that the owners of this property had always been helpful to the man and his family. He promised that if we supplied his family with food for the season, he would share many ancient secrets with us that would double and triple our fruit trees, our cattle stock and our vegetation. I had never been a real believer of such tall tales, but I felt sorry for the man and so, I gave him what he needed, when he needed it. He, in return did many things that somehow did seem to deliver his original promise and within five years we began to transform the property into what you see today. My own son went to University in Mexico City studying science, biochemistry and modern horticulture, with his help and the help of a few of his classmates family investments, we have what you see here today.", "Amazing", Louis replied." Junior chimed in, "Tell me more about the old Indian, what exactly did he do ?" "Well, this is going to sound crazy, but he and his family dug three natural water pits at the top of each hillside where the water towers now stand and then he simply danced for one week straight, I promise you, in the middle of a drought, it rained on this property for seven days straight, he then dug an irrigation canal and splintered the mango tree branches from single flowering stems to triple flowering stems, he trimmed the trees so they produced more fruit, he kept the cows away from the bulls until certain moon phases, he planted and picked on days that were specific and then just like that, he was gone, they all left, just like that." When my son Rafi came home from university, we added many of the machines with the profits from what the old indian had provided the place. We now have some very wealthy investors and contracts with three major exporters." Now, it was Juniors turn. He pulled the Bear Bowl from the inside of his bag and sat it in the middle of the table. "This was given to me by the old Indian. My friends and partners in America come from both the stock market and the streets and there is soon going to be a total transformation of the American export business in the next five years. Right now a plan is in force to bring American goods to Mexico that is going to make things very difficult for the local farmers. Junior slowly reached down, unbuttoned his left sleeve cuff and rolled up his sleeve, revealing a world of imagery that when read by the men in the room, seemed to give him the floor. He went on, "My father and I highly respect science, machinery and everything you have done with this ranch. But we have seen no profits in ten years, we know you have investment costs … ", he rolled up the right sleeve, which was equally as daunting as the left. These were not roadside tattoos, nor army or souvenir images, this was straight out, hard core prison symbology. "So, we want to make it easy for you to continue everything your doing. But we are going to need to see some serious money as well as a renewed partnership as of now. We also want you to know that, although we have no intention to do so, at any time, we can take this property with the improvements you have made and end this contract within a ninety day period as per my fathers original agreement. Junior looked out the window towards Mesa Mountain. "Funny how that old Indian just disappeared, aint it? His people had been living on that property for generations." One of the men took his cigar and ashed it into the bear bowl. Junior looked at the man from top to bottom. First he eyed the boots, they were un-scuffed, had never seen a horse or a dirt road in their lives. Then he looked at the man's hands, soft, no scars on the knuckles, he noticed that the man's shirts were pressed professionally. He knew what he wanted to do the man and instead, he lifted the bear bowl, walked into the kitchen, washed it out, walked back into the room, grabbed the handkerchief from the man's suit coat pocket, wiped the entire bowl clean, handed him back the soiled fabric and sat the bowl down in the center of the table. "Someone could make it very difficult to get trucks in and out of here if someone had decided to ever do such a thing." Junior then rolled his sleeves back down and began to describe a plan that was acceptable to both himself, his father and his partners in America. The man did not ash the cigar a second time and by eight o'clock that evening, a crisp contract was hand delivered by a hot shot lawyer arriving for Don Louis to sign then and there. In a single day the busboy had died and Don Louis had been reborn. For Junior this was only step one, he still had work to do. He hopped on a horse and rode to the top of The Mesa Mountain, there were no teardrops this time. He looked over the horizon wondering again about the Indian.
Published at BUREAU of Arts and Culture Sites in: New York City, Los Angeles, San Francisco, Seattle, San Diego, Santa Barbara and The Bureau International Literary Site Friday August 1, 2014 Written by The Bureau Editor Joshua Triliegi Tune in Here Every day Monday to Friday for More ...
Fine Art Paintings by Painter David FeBLAND with a featured Art Interview The Summer Edition
VISIT CHAPTERS 1 - 5 OF PART ONE ON YOUTUBE
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| BUREAU MAGAZINE OF ARTS AND CULTURE MAGAZINE IS NOW ON YOUTUBE WITH THE NEW FICTION PROJECT |
Image: David BOWIE The ARCHER By John Robert Rowlands Courtesy of The Museum of Contemporary Art in Chicago Illinois USA
Welcome to The SUMMER 2014 Edition of BUREAU of ARTS and CULTURE MAGAZINE. We are very pleased to bring you a New Slate of Interviews featuring writer Luis VALDEZ of Zoot Suit / La Bamba Fame. Our Guest Artist is Philadelphia Painter David PALUMBO. This Edition features The Iconic David BOWIE Essay and the Musical Tour Art Exhibition. Terry RICHARDSON with a New Photographic Essay from Elvis Presley's GRACELAND. David LEVINTHAL with a sampling from his Fine Art Photography. An Essay on Sci - Fi Screen Writer George Clayton JOHNSON. Various In Depth Interviews with Fine Artists: John WESTON, Gustavo GODOY, David FeBLAND and Designer Andrew WHITMORE. FILM Interviews with The Directors of Billy MIZE + The Bakersfield Sound, Druid PEAK, Lake Los Angeles, Supremacy & The PLEASURES of Being Out of Step: Notes on The Life of Nat HENTOFF. Music Interview/Top Ten List of Very Cool Things by Kenny VASOLI Four Chapters of The New FICTION: " They Call IT The City of ANGELS " by J.A. TRILIEGI David FeBLAND's Fine Art Painting Catalog is accompaning The New Fiction Projects. We Welcome SomeKindaWonderful of Downtown Records as featured Music at The Site: The LA Classic 'California'.
TAP/VISIT: LOS ANGELES SAN DIEGO SANTA BARBARA SAN FRANCISCO LITERARY
DAVID PALUMBO: Painter
By Joshua TRILIEGI
Mr Palumbo is a prolific painter working in a multitude of styles. David has an ongoing series of works including: The Tarot, The Portraits, Fantasy illustration, Gallery Fine Art and his sexually charged, if not controversial Quickies. The later available in publication as well as for purchase individually. Once familiar with David Palumbo's work, each style or series is immediately identifiable and interesting. The Quickies definitely push the envelope and raise the bar as well as the blood pressure on sexually charged and inspired figural art work.
David Palumbo is that rare breed hybrid of working illustrator, fine artist and individual creator who is pushing the envelope on what can be done with an image. Mr Palumbo's portraits of well known personalities such as Sidney Poitier, Mathew McConaughey, David Bowie and Jane Fonda capture the essence of the person and also stamp his own style and interpretation accordingly. David Palumbo has what we might call a painterly style: excessive brush strokes, textural experimentation, impressionistic via the materials. Schooled as a classical figural painter with a keen interest in cinema and raised among a family of artists has led him to be commissioned by a wide variety of publications and we are very proud to have him as Guest Artist for The June/August Edition of BUREAU of Arts and Culture Magazine & BUREAU of Arts and Culture . com & Community Sites On Line.
The David Palumbo Sci-Fi or Fantasy illustrative work is not only exciting, bold, striking, sometimes scary and even gory, but also imaginative, humorous and always services the story being told. BUREAU readers may remember Mr Palumbo's artworks affiliated with the Fiction project in the recent June edition of the magazine. David's work brought an entirely new & fresh approach to telling the story and we noticed right away how accessible and welcoming as well as supportive his work is to the text. The dark humor involved in his fantasy illustration harkens back to the American comic books from the nineteen sixties and even further back than that, some of his themes relate back to early 19th and 20th century illustrative technique's of the English variety: Sherlock Holmes and Jack The Ripper. With the resurgence and popularity of Vampires, Zombies and a new form of sexually expressive literature, art and film in today's current creative landscape, we are sure that the popularity of Mr David Palumbo's artworks is on the rise and we are glad to introduce our readers, as well as allow Mr Palumbo himself to describe his process and share a top ten of his favorites. We spoke with David Palumbo about his career, his education and his approach when it comes to making Art for a living and who he keeps an eye on when it comes to inspiration. Enjoy The David Palumbo Interview and many Artworks dispersed throughout. Rather than censor the artist, we give you full warning now, this is Mr Palumbo un - edited. [ continued - ] [ Entire Interview is downloadable TAP THIS LINK ]
By Joshua TRILIEGI
Luis VALDEZ changed The Entire Literature Landscape with his Fierce Hit Play, "ZOOT SUIT". Here in Southern California, The Play is much more than words. It is a personal and positive Idea that gave many people the inspiration to do something with the things they saw, not only in their homes and neighborhoods , but to reclaim what was happening in the media, to own the stories that they were being told and to simply reclaim what was rightfully theirs to begin with: Their Own Family Stories. In This Interview Bureau Editor Joshua TRILIEGI and Luis VALDEZ discuss his career, his working process and the development of a powerful force that continues to inspire millions of Indigenous People around the World and teaches everybody else.
Mr Valdez went on to create The Film "LA BAMBA", which told the very important story of Latin Musician & Songwriter, Ritchie Valens. Fueled by the proliferation of 1950's Retro Nostalgic Films such as American Graffiti and its follow up Happy Days, as well as The Musical Biographical genre's popularity of projects like The Buddy Holly Story, Elvis and the like: LA BAMBA was the perfect project that entirely launched the energy and force of ZOOT SUIT into the stratosphere of popular media and culture, finally a story that rightfully claimed, explained and honored The Latino Experience, or as Luis Valdez might put it, "The Chicano Experience" in popular music history. The film itself touches on the family paradigm in both mythical and real circumstances.
A beautiful & entertaining film that holds up today just as it originally did upon its creation. In the same way that Zoot Suit gave us the career of Edward James Olmos, 'The Chicano Bogart', La Bamba gave us a multitude of talent in front of and behind the scenes: Lou Diamond Phillips, Esai Morales, Los Lobos & Others.
Since then, Mr Valdez has continued his influence as The Worlds Leading Latino and Chicano Playwright traveling everywhere, all the time, sharing his great wealth of knowledge and experience with a world thirsty for truth, experience & entertainment.WE are very proud to bring you Luis VALDEZ, unexpurgated, uninhibited and unbeaten. [continued -]
DAVID BOWIE: IS The Other Man
David Bowie Is the most important contributor to Modern Rock and Roll. Many people forget that Bowie is actually the Godfather of Punk Rock and New Wave Music. That includes: The Sex Pistols, The Clash, Souxie, Gary Glitter & The Entire English New Wave invasion of the 80's. The big difference being that, he outlasted all of those who he had inspired. And to this day, he still puts out interesting, experimental Music. David Bowie is also the most influential contributor to Modern Rock & Roll, hands down. He is the original Chameleon.BOWIE is The Space man, The Thin White Duke, The Spider from Mars, The Cracked Actor, The Joker, The Glam-A-Rama, The Trusty Narrator of our Story, The Social Critic, The Sexual Seeker, The Man who Fell to Earth and so much more. Possibly the most daring and experimental performer in Rock and Roll ever, make that the most daring, most respected and the most successful performer in Rock and Roll Music History.
Todays new music scene is entirely dependent on David Bowie's influence. Bowie alone brought back the return of : The Story, The Character, The Opera, The Entertainer, The Show, to Rock and Roll Music. He became his characters and then killed them off accordingly, like Mary Shelly and Doctor Frankenstein did with The Monster. Bowie's musical alignments with fellow performers like Iggy Pop, John Lennon and Mick Jagger are legendary. Bowie is really the Elvis of a new time and place. He speaks to more than one generation in our homes. The albums are still very much classics. They take us on a journey. They are mini novels. They are sensitive, brash, gentle and oddly scathing. The music is not dated because it was decades ahead to begin with and so we return to David Bowie year after year, decade after decade, again and again. Bowie personified life in London, Berlin, Japan, New York, Hollywood and then, finally, the entire World. In "Young Americans", Bowie told Americans more about ourselves than we would ever know before. Speaking directly to sexuality, politics, housewives, young men, young women and to all of us kids. He spoke and we listened, even Bing Crosby couldn't deny Bowie's influence.
There is so much yearning in Bowie's music, in his voice, in his lyrics, in his trembling statements about life, about love, about loss. He is connected with, on the one hand, Opera and on the other hand, Literature. And in the middle, is this very gentle and fierce performer who, when he grabs the microphone, and warms into the song, flinches his head, smiles, echoes & reinvents the performances as he goes along. When David Bowie gets into the performance, something quite magic happens, to us, to him, to the audience. David Bowie is elliptically responsible for the careers of film makers like David Lynch. Had Bowie not played The Elephant Man on Broadway, for recording breaking performances, in the 1970's, the play would not have been optioned and turned into a film, which launched the career of David Lynch. David Bowies foray into androgynous characters is also partly responsible for the rights of alternative lifestyles that are currently in the limelight at this time all around the world. His music invaded the toughest neighborhoods and even the toughest hoods in those 'hoods. Ziggy Stradust alone is possibly the most legendary music character to celebrate the beauty of Performance, Insanity and Displaced Heroism ever created by anyone ever. Its starts with " Ziggy played Guitar … " and then it ends with, "… Ziggy played Guitar." The bookends of Rock and Roll for The Modern Man: End of The Story. Well, at least until the Next David Bowie album. [ continued]
TERRY RICHARDSON DOES GRACELAND
PHOTOGRAPHY ESSAY BUREAU SUMMER
[ continued - ] [ Entire Photo Essay is downloadable TAP THIS LINK ]
THE DAVID FeBLAND INTERVIEW: FINE ARTIST
BUREAU: Tell us about your relationship with creating imagery: When & how did it start?
David FeBLAND: I began creating imagery in my head long before its physical embodiment on canvas. I didn’t even think of myself as an artist until I reached my 20’s, and I began to create wholly self-expressive work only as I reached the age of 40. I was a 6 year old child growing up in the bucolic countryside of Southern England when suddenly my family relocated to Coney Island, Brooklyn. It was 1955, during the ebbing but still raucous era of side shows and bawdy entertainments of a working class seaside town. The giant spatulas hadn’t yet been affixed to the front of the Sanitation trucks, better to evenly tan the Unfortunates who fell by the wayside. That was coming but still in the future. My new neighborhood was a lively place where Freak shows were commonplace, and the people who worked them for a living went about their local errands after hours. My first explorations in my new country included quotidian encounters with The Hairy Lady (full mustache & beard), The Leopard Girl (skin half black, half white), The Fat Man (at 400 lbs, a real standout rather than today’s next-in-line at McDonalds), Mr. Pinhead (don’t ask) and a supporting cast of dwarves, simians & fire-breathers. I thought I’d died and gone to heaven. This seminal experience gestated for a long time before finding its way into art as I engaged in a variety other life pursuits, but it formed my view of public life forever. I never really took my eyes off the street again, and l believe that at that early age my interest in human interaction with our physical surroundings was set. However unconsciously, my lifelong determination to cast the world around me as dramatic narrative was established. We carry a few essential ideas into and through our creative lives. We go back to them again and again in a process of refinement. Our craft improves, we discover new methodologies and media, but they always support a nucleus of what I would call essential truths that we form early in our experience.
ART INTERVIEW GUSTAVO GODOY: SCULPTOR
BUREAU: What originally led you to Sculpture ?
Gustavo GODOY: Sculpture, for me, is about the physical world that we navigate. It is what we sit on, what we walk around, what we step over, and what we bump into. It is the objects that we take for granted and accumulate, and it is the markers of our existence. I come from a family that fixes what we have. We build much of what we need and want, and we keep everything, because you never know when you're going to need it. Growing up, my father taught me to be a problem solver, and sculpture becomes a physical manifestation of how I organize, relate to, and solve the questions I am interested in, such as "what will be our legacy?" and "can we engage and explore as we did as children with fresh eyes and senses, knowing what we know?" Actual objects are important to me and I feel like what I do is an important exercise in exploring our histories and how we relate to each other.
ALL THIS AND SO MUCH MORE : 178 Pages Plus
The AUGUST New Fiction Project A Chapter a Day ...
The AUGUST New Fiction Project A Chapter a Day ...
THEY CALL IT THE CITY OF ANGELS
In the late Summer of 2013, The Editor of BUREAU of ARTS and CULTURE Magazine Announced a New Experimental Fiction Novel all about Los Angeles. Mr Triliegi wrote a chapter a day for several few weeks, working without notes or any preconceived structure and posted the results daily at various BUREAU Sites that regularly showcase Art, Theater, Music, Photography Cultural & Community events. Part One of The Series lasted all of 22 Chapters and was a resoundingly successful, accepted Literary Art Work. Mister Joshua Triliegi will again repeat that process for Part Two beginning on August 1, 2014. The New Chapters will be published daily M - F at our different community sites and can be translated into a multitude of languages for easy reading. SUMMER EDITION Includes 4 CHAPTERS & Fine Art Paintings by David FeBLAND.
PART TWO A Chapter a Day : Get Ready . . . M-F The Multi Character NOVEL is Back ! READ Part One Now or Get left behind ... What will happen to Louis Junior ? Will Fred sell the store ? Is Mickey going into business with Charles ? Will Chuck lose his Job ? Will Jordan tell Wanda about The Money ? Is Cliff really Psychic ? What really happened between Ryan and Josie that night ? What will The Riots do to This City ? All This and More. We don't know the answers to these questions because we have not written The New chapters yet. They are written off the cuff, without notes and completely free of a pre structured plan ... This is a JAZZ Novel totally improvised by our Editor Joshua Triliegi
SPECIAL THANKS TO OUR SPONSORS INCLUDING: TOBEY C. MOSS
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The BUREAU Film INTERVIEW
DAVID L. LEWIS : FILM MAKER
Documentary Film maker Davis L. Lewis speaks with Bureau Editor Joshua Triliegi
about the new documentary, " The Pleasures Of Being Out Of Step ": Notes On The Life Of Nat Hentoff which features music by Bob Dylan, Miles Davis, John Coltrane and Duke Ellington. The film focuses on an interesting story and the career of one of America's leading Music Critics and Independent writing voices in last few decades. An authentic and personal film with a an up - close look at a very outspoken writer.
BUREAU: Your new Documentary on Nat Hentoff, which recently received festival awards, relies heavily on the actual thoughts, opinions and participation of the subject. What were both the pluses and challenges in having NAT HENTOFF allow such all access to you as a film maker.
Davis L. Lewis: We tried to capture Hentoff at the perfect moment in his career, at a point where he was able to reflect with great depth on his life and explain it as he explained so many other lives and creations. He was around 83 and 84 when we shot the three interviews. [continued ]
Davis L. Lewis: [ - continued ] If you think of your subject as a “text,” the very great advantage we had was to have a primary text to interrogate at the very center of our story. Much different than trying to make a film about someone who has already passed. He could be a little cantankerous, and didn’t love having cameras invade his space. For instance, it took me six months to convince him to let us shoot a simple scene with him in his neighborhood barbershop, and even then he tried to back out the night before. We exchanged some blunt words over that, but that often happens in a project of this size, and he went ahead. Afterwards, he said he was glad we did it.
" I will always be grateful for the freedom and respect he and his family gave us. "
But besides that he was a pleasure to work with. He never told us what we could or could not ask, or who we could or could not talk to. I don’t think it was out of any particular respect for me — he didn’t know me very well when we first started. I think it was out of respect for journalism and the journalistic process. I don’t think he likes everything we put in the film, but I think he appreciates the honesty and integrity we tried to bring to the project. I don’t think he would have liked an unadulterated hagiography, and I will always be grateful for the freedom and respect he and his family gave us.
BUREAU: NAT HENTOFF is quite an interesting character: we enjoyed the film. How did you come to choose this subject as a feature documentary and tell us about the journey from impetus to final release if you will ?
Davis L. Lewis: I’m glad you enjoyed it! The initial impulse was complicated but basically boils down to this: As a journalist myself, I’ve always loved the “war stories” I heard in the newsrooms and bars where we tend to congregate. As I got older, and as the digital age crept up & then roared over us, I began to realize that we are losing a generation of journalists who made their lives in the printed word. We are very good about telling other people’s stories, but not so good at telling our own. I felt an overwhelming desire to preserve some of that history. There were lots of possible subjects, but Hentoff presented a particularly intriguing one because of the jazz. I was never an aficionado, and only had a vague awareness of his earlier work. So the chance to learn more about the music was big draw. I remember how hard I worked to prepare for the interview we did on jazz — and how nervous I was when we sat down to do it. Afterward, I asked him how we did, and he said, “At least you knew the right questions to ask.” That was a big relief! I’ve worked all over print and broadcast journalism, but this was my first feature-length film, my first large-scale independent project. The creative challenge as the director was to try to get past the usual bio-pic documentary formula and create a film with its own aesthetic that helped us tell the story. I think we did pretty well at that, although I’m sure not all the critics will agree. As the producer, the biggest pleasure was putting together a great team that helped me keep up the creative momentum over the length of the production. The biggest challenge, of course, was finding the resources to get it all done.
MARNI ZELNICK: Film Director
BUREAU Editor Joshua Triliegi talks with Marni Zelnick about her most recent feature film.
MARNI ZELNICK: A lot of the story elements that eventually became part of Druid Peak were things that had been germinating with me for a long time. The effect external geography can have on our internal selves; the almost haphazard but devastatingly permanent way life can be lost when you’re a teenager; the fact that people so rarely ask the right questions of each other; the power animals have to communicate without speaking, and how their vulnerability can move even the most stoic heart. I think every writer has those things. But the immediate catalyst for the film was a $100,000 production grant offered by the Sloan Foundation for a script dealing with science or technology. Funding for first features can be incredibly difficult to find and I knew I wanted to apply for the grant. I went to their information session and they were probably no more than fifteen minutes into it when the image of a kid running alongside a pack of wolves streamed through my head. It was the unification of a million things I cared about. All of those ideas I mentioned plus Jackson Hole, Wyoming—a place that had been significant to me both as a teenager and an adult. The story kind of grew out of and around that image.
TRILIEGI: The Film starts out with a common problem facing much of the youth of today: Urban Dissatisfaction. Your lead character, Owen, goes through a slow and steady transformation, discuss the arc of this character.
MARNI ZELNICK: You know, I would say it a little bit differently. I would call it environmental dissatisfaction, rather than urban dissatisfaction. I think it would have been easy to make Owen an urban teen and for the conflict to simply be urban versus rural life. But as a film with an environmental subject, I wanted the issue to be more complicated than that. I specifically set Owen in West Virginia because it’s a place as potentially beautiful as Wyoming, but we’ve used the land very differently. The town we shot in, Mt. Hope, was an old coal town where the seam was mined to exhaustion. The land was depleted and the town never recovered. So a potentially very beautiful place had been used in a way that left its inhabitants with very little, both visually and in terms of opportunity. Owen is a smart kid who feels crushed by the claustrophobia of the place. There’s nothing there for him. He may not be self-aware enough to articulate it that way, but he’s stopped trying to make anything of himself or his life because he doesn’t see where it could lead—what the point is. His arc is a lot about realizing that there are still choices to be made. He can choose a different place, a different life, a different self.
JOHN WESTON: ARTIST
BUREAU: We first came across your work at SABINA LEE Gallery in Los Angeles Chinatown a few years ago. That was a particularly humorous, colorful and sexually symbolic exhibition. What have you been doing since that time ?
In addition to that installation, I have been busy in my studio making a new body of work called Fair is Foul and Foul is Fair. These works pick up where the show at Sabina Lee (Pleasure Paintings) left off. The work was initially made in anticipation of another solo show. Since that show has not materialized, the bulk of the work (about 20 paintings and drawings) will be shown in a 3 person show titled May Contain Explicit Imagery at CB1 Gallery in Downtown LA. The show is about sexualized abstraction and it opens July 27.
BUREAU: Some of the work you are doing appears to be rather time intensive. Many of todays artists will create prints utilizing technology, where it seems that you get a similar effect, but it's all painted by hand. Would you consider yourself old school with a futuristic style or futuristic with an old school technique ?
JOHN WESTON: Much of my work is pretty labor intensive. While a lot of the colors are applied with a flat technique leaving little evidence of brushwork (a quality which could lend itself to a variety of printmaking options) I feel that one's relationship to a painting made by hand is fundamentally different that one's relationship to a print. I think there is a quality that comes from a handmade object that would get lost in a print. I am not against printmaking, and I use silk-screening for a number of projects like wallpapers and 'zines, but I feel that the paintings operate in a different way.
I guess my technique is a little bit "old school." While I do use relatively traditional techniques, the decision comes more from the results that they produce rather than any commitment to tradition. As far as futuristic, I'm not sure that applies to my imagery. I think that if there is anything futuristic, it may be the hybridization in the work; mixing elements from various visual worlds (ie: comics, op art, traditional crafts, etc.) rather than adhering to one unified style.
INTERVIEW: KENNY VASOLI
MUSICIAN from VACATIONER
We spoke with Kenny Vasoli of the Band VACATIONER about his process in making music, composing, inspiration and touring with the band. BUREAU Magazine readers
will recognize VACATIONER Music, We showcased it on The Bureau Site in JUNE.
BUREAU: Here at The BUREAU were all about ART + Culture. Give us a List of top ten Cultural References for our readers to check out: Art, Film, Music, Surfing, Design, Etc…
K.V. :
1.Daniel Madeline Collage artist. I've always liked trippy collage work, this guy seems to be among the trippiest.
2. Matt Schwartz Photographer, I recently had the pleasure of working with Matt. I had been a fan of his work prior to the shoot. His pictures are colorful and vibrant, and he usually shoots really beautiful girls.
3. Duncan Trussel Comedian & podcast host. Duncan has a personality that shines brightly through his voice and his words. An expressively positive human who can verbalize thought-provoking humor with inherent ease. To say he is a comedian isn't framing it perfectly. He is somewhere closer to a humorous Terence McKenna. His podcast is called The Duncan Trussell Family hour, I highly recommend it.
4. Yorgos Lanthimos Filmmaker. His most recent movie, Alps, blew me away. Without spoiling too much, I love the way he makes you feel around in the dark for what exactly is going on. But even when you figure it out, something is still very alien. It feels like a Twilight Zone episode a bit, like you are in a different dimension of earth. Yorgos is perfect example of someone who is able to rattle me with their art.
5. Antonio Carlos Jobim Musician & composer . I've been swallowed by a deepening interest in 60's/70's era Brazilian music. When you go down that hole, you are bound to come across Antonio Carlos Jobim. He wrote and performed some of the greats. The album "Wave" is considered a masterpiece. "Stone Flower," however, is my favorite of his records.
6. Eckart Tolle Author & Spiritual Philosopher. I occasionally receive an eyebrow lift when I discuss spiritual philosophy, and understandably so. It's deep into the hippy dipping pond. I'd simply be remiss to leave Eckart Tolle off of my list, he is a significant cultural character in my life. Hearing him speak relaxes me a great deal, so I listen often.
7. James Murphy Musician, producer and just rad dude. This guy knows how to live! LCD was my favorite band when they played their last show, and somehow I felt great about the closure. I'll always get excited seeing his name attached to a project.
8. Maggie Hayes Artist. Maggie is a beautifully talented painter, mixed - media artist, photographer & model. Another figure in my life who positively motivates me to raise my own bar.
9. Righteous Jolly Mixologist. I know of Righteous through mutual friends, I first met him at a pal's birthday celebration at a bar he was managing. He was making some of the most interesting drinks I'd ever experienced, with ingredients he created himself. If you are in Philadelphia, he has a place called Bourbon & Branch. Ask him to make you the one that has the jalapeno in it! Yum.
10. Jimmy Cobra Carbonetti Guitar-maker. Cobra plays guitar in Caveman, he builds every guitar they use. They look and sound gorgeous. Beautiful timeless style.
[ Tap here to read Entire Article and Photo essay download ] 
BUREAU Magazine: New CINEMA
Billy MIZE & The Bakersfield Sound
By Joshua TRILIEGI
History is sometimes told by outsiders, sometimes by insiders and sometimes by someone simply very interested in the facts, in this case: it's a little of each. Billy MIZE and The Bakersfield Sound is a New Documentary that tells the story of California's forgotten history. We have got a lot of those around this Golden State. So very much has happened out here in The West. William J. Saunders steps up to tell the story of his Grandfather, songwriter and musician, Mr Billy Mize. A local legend of sorts for anyone living in the middle of California in the 1950's & 1960's. Billy Mize was a big part of what is now commonly called, 'The Bakersfield Sound'. An offshoot of Country Western Music with its own Rock - a - Billy bar room blend of hard driving guitar, rough edged rhythm and wide audience appeal that to this today is influential to musicians such as Dave Alvin, who appears in this film to help tell the story. So too does Merle Haggard and a host of people who were there or highly influenced by the music that was created during that time. A hard driving, hard working community of people whom many migrated to California during The Great Depression ala John Steinbeck's Grapes of Wrath and settled into middle California seeking employment in Agriculture.
" This is a Patchwork Quilt of a Film that is
Truly American in its Creation. "
Billy Mize and his pals had to actually establish the Academy of Country Western Music to chime in and recognize each other and their contemporaries out West. Artists such as Elvis, Dean Martin, Barbara Mandrell and others are sited as influenced and impressed by The Bakersfield Scene. Billy Mize, looked after new talent, collaborated, produced and performed with the likes of folks such as Buck Owens and Merle Haggard, who would go on to prosperous profits and notoriety while Billy, sometimes, did not. This documentary elliptically raises the question: What is Success ? Is it a top ten hit or is it a happy marriage or is it simply being satisfied with the things you have done ? Ask that question to three different people and you will get three different answers. This film allows each viewer to decide for themselves that answer and meanwhile we learn much about the center of California, The Music of Bakersfield and the career(s) of a whole group of people that clearly deserve our recognition. This is a patchwork quilt of a film that is truly American in its creation.
ALL THIS AND SO MUCH MORE 178 PAGES PLUS THE AUGUST DAILY CHAPTER NOVEL!
Visit MUSEUM OF CONTEMPORARY ART CHICAGO http://MCAChicago.Org
GEORGE CLAYTON JOHNSON : WRITER
By Joshua TRILIEGI
This magazine was once an Art Studio, it transformed into a professional Gallery and later into a multi media center for celebrating the arts of all types: Fine Art, Painting Sculpture, Photography, Classic and Contemporary Arts, Poetry, Music and Film. About this time of year almost twenty years ago, we decided to screen several original Twilight Zone prints on 16MM film reels and invite an audience. Back then, if you were sincere, forthright and naive enough, you could simply pick up the phone, make a few inquiries and next thing knew, you were on the phone with someone like George Clayton Johnson.
By the way, thank you to the lady at the writers guild who broke protocol sensing that many of our older, wiser and more talented writers in this town were not getting enough attention from the next generation. In Bogart and Bacall fashion, she helped Sam Spade.
The phone rings several times, " Hello, Is this George Clayton Johnson the original writer for The Twilight Zone ? ", I asked, sounding not unlike a child actor from an Old Time Radio Show: raspy, anxious, hurried. At that time, I had no idea that George also wrote Logan's Run, The story for The Original Oceans Eleven and a slew of Television shows including: The first Star Trek episode, Kung Fu, Route 66 & Alfred Hitchcock Presents. "Yes, this is he." The voice on the other line replied. I was ecstatic, this was not the first writer from the series I had called, many had passed away, others lived in New York or elsewhere, and to top it off George had actually been the writer of one of the reels we were showing and of some of the best work in the Zone series: Kick The Can, A Penny for Your Thoughts, A Game of Pool, Nothing in The Dark : Each Twilight Zone Classics.
I explained what we had planned and asked if he might be interested in appearing for the screenings, [ long pause ] "Yes, I would." In Hollywood, that is the phrase that opens doors, that is the phrase that begins careers, that is the phrase that starts the great journey, it is the phrase we want to hear from those we love, those we wish to work with and those we admire. And, in classic sci-fi style: everything appeared different after that dialogue. The objects in my office seemed different, as if gravity meant nothing, the world was do able, the opportunities seemed endless and I was about to hang out with a writer I had admired since childhood. Suddenly, we were The Bureau of Arts and Culture, we were purveyors of not just Art, Music and Poetry, but now, we were actually presenting and honoring great writers in town. George showed up trailed by a film crew, he was the great
philosopher and old pro and I was a mere student & enthusiast: the perfect combination.
It was Obi Wan & Luke. It was the great Chief and a New Warrior. It was George and I.
It was also our first official, 'Question and Answer ' exchange with a real working writer. Mr Johnson was a fabulous guest, there was standing room only, we were 'On The Map'. Flash forward almost 20 years. Mr Johnson has had a total resurgence, due to the many remakes of his original story: Oceans Eleven by director Steven Soderberg and the other subsequent films including, Oceans Twelve and Oceans Thirteen. From what we are hearing around town, there will soon be a new Logans Run. We at the BUREAU are very
proud to have been on the forefront of recognizing one of The most imaginative and greatest writers working in Hollywood since the early Nineteen Sixties. We wish to thank
George Clayton Johnson for his contribution, not only to Science Fiction, Fantasy and Film and Television, but for his collaboration, cooperation and very cool demeanor in working with and recognizing our earnest and heartfelt efforts at a time when many pros had no idea who we were and what it was we were doing at the time. Many still haven't. Mr. George Clayton Johnson has always been ahead of his time and in a way, so are we.
Even our name was confusing to people: The BUREAU of ARTS and CULTURE. It sure sounded official for an Artist run organization. So much so that, curators from Cultural Affairs working for the city actually came down and hand picked artists for Exhibitions. So to did many reporters for Vanity Fair, Coagula Arts Journal, The LA Weekly, The LA Times, The New Times, Venice Magazine, Fine Art International. Cultural Non profits such as LA Goethe Institute were extremely enthusiastic about our exhibitions & events.
All in all, The BUREAU found itself at the correct place at the correct time doing what many Institutes do with big bank rolls, non profit status or major grants from corporate and private institutes. We did it with enthusiasm, we did it with honesty, we did it with care and we did it without all the phony and fake affiliative aspects that now have pervaded the entire landscape of entertainment, art institutes and music/film related non profits of today. Were still doing it with this publication and we will go on doing just that with whatever venture this artist run organization enters into. After all, we also make Art, Films and Books. Without the George Clayton Johnson's of the world, This organization would not be what it is: Thank You George.
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INTERVIEW: Director Deon Taylor
Deon Taylor Directed, "Supremacy", a new Film Starring Danny GLOVER & Lela ROCHON
We spoke to Deon Taylor about his experience developing and directing this New Drama.
BUREAU: Although this is a wholly original production based on a true contemporary situation, did you look at crime dramas in your research within the genre ? William Wyler's The Desperate Hours with Humphrey Bogart comes to mind.
Deon Taylor: During the process of preparing for the production of "Supremacy" I worked very hard to stay away from films that lived in a world of containment or hostage situations. I wanted to test myself. I wanted to shoot from my heart and have no pre-game plan. I felt the story was so unique and had so many layers that, creatively, it needed me to be a blank canvas. On another note, I love "The Desperate Hours." Classic!
" This film taught me to live in the moment
and simply be true to the story. "
BUREAU: What particular challenges did you face in entirely switching modes here and taking on high drama ?
Deon Taylor: There were always challenges on this film. Personally, the biggest challenge was staying true to the family. The film is based on a true story and I wanted to be sure to stay in tune with the tragic events that took place that night. This was a challenge simply because, as a creative filmmaker, you’re always looking to see how you can make something bigger and more effective. This film taught me to live in the moment and simply be true to the story.
BUREAU: Working with Danny Glover is a godsend for any director, once you knew he was on board, discuss with our readers how the rest of the film fell into place.
Deon Taylor: Danny Glover is a godsend! Danny was my first call after reading the screenplay. I don't really have the words to explain how I felt once he said “yes” to the project. Danny has always been one of my favorites and represents so much to me. When I think of his career and his body of work, it's beyond amazing. You're talking about one of the first, Black, action heroes that had success globally. From "Silverado" to the "Lethal Weapon" franchise to "The Color Purple," how do you top that? Without talent like Danny Glover and Sidney Poitier, there would be no lane for incredible talents like Jamie Foxx, Will Smith or Denzel Washington. So when I go back to the call and hear the words, "Yes, I'm doing your movie," words cannot explain how I felt. It was simply a blessing and I am so grateful for him and the opportunity he allowed me to have. It is very hard to believe that Danny Glover has not been nominated for an Academy Award over his 40-year-career. He is Academy-worthy in my book and I love him.
BUREAU: Eric J. Adams wrote the screenplay for this riveting drama, when did you first read the script and what made you decide to take this project on as a director ?
Deon Taylor: I first read the script two years ago and everything in my body said, "Go make this film." As a 100 percent independent filmmaker, the challenge then became, "How do I raise the money needed to make such an important film?" I felt strongly about this film as my entire family has had dealings with race-related issues. I truly believed through film I could shine a light on ignorance.
BUREAU: Several dramatic scenes in the film depend highly on pitch perfect performance. Sparse dialogue and situation force some of your actors to find a certain tone: Lela Rochon rises to the challenge beautifully. Could you talk a bit about creating a
creative atmosphere on the set for your actors.
Deon Taylor: Lela Rochon is amazing! Her spirit is beautiful as well. When setting the stage for "Supremacy," I had to find the perfect locations in which the talent could immerse themselves. For high-energy characters like Lela, Joe and Dawn, I found myself talking to them constantly, building layers for their characters and creating backstories. This process was the key ingredient in grabbing these amazing performances. [ continued - ]
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