Weekly Wilson - Blog of Author Connie C. Wilson

Welcome to WeeklyWilson.com, where author/film critic Connie (Corcoran) Wilson avoids totally losing her marbles in semi-retirement by writing about film (see the Chicago Film Festival reviews and SXSW), politics and books—-her own books and those of other people. You'll also find her diverging frequently to share humorous (or not-so-humorous) anecdotes and concerns. Try it! You'll like it!

Category: Pop Culture Page 2 of 42

Fourth-graders Ava & Elise Wilson Report on the Eiffel Tower from Paris

My twin granddaughters, Ava (the brunette) and Elise (the blonde) were with Mom and Dad in England and France this past week. True, they missed one week of fourth grade in Austin, Texas, but who among you would say they would have learned more during the last week of school at Baranoff Elementary than they did visiting Europe? (I actually said that the last week of any school should be avoided at all costs by everyone, if possible.)

My son’s job headquarters (steel company PSI) are in Berlin, Germany, so their engineer father (Scott) decided that his chemical engineer wife (Jessica) and the girls, age 10, should fly across the pond and visit the sights. Because Scott previously worked for a British steel firm, he has colleagues who are British and one generously offered them lodging for a week in England.

I asked the girls on the phone what their biggest impression of England was and the answer was, “They talk funny.”

I’d like to be able to tell you of ALL the places they’ve visited, but I can’t remember them all. Not to worry: Nanna Connie has requested comparison/contrast essays on England versus France and the girls are keeping journals.

It is worth mentioning that, during their time in England and France, Teresa May resigned and, last I heard, Macron of France was losing to LePen. (Do you think they know this? No? Oh, OK.)

Doris Day (My Doppelganger?) Dead at 97

Doris Day A few days ago (May 13th), Doris Day shuffled off this mortal coil at the ripe old age of 97. I remember her well from movies like “Pillow Talk,” with Rock Hudson (one of her best) and—when I was a young college girl, working as a waitress at Armstrong’s Department Store Cafe in downtown Cedar Rapids, Iowa, and at the Cherry Blossom Dining Room in Marion (Iowa)—if I had a dollar for every customer who said to me, “You look like Doris Day!”, I wouldn’t have been rich, but I probably would have made more money than I did working as a waitress that summer.

And if I’d had Doris’ job, I wouldn’t have had such sore feet from waitressing. It was a brutal job for minimum wage (a U-shaped breakfast island with a straight part to the left that people could also sit at; you’d wait on the interior part of the “U” and, behind you, people would be seated at the straight bar part that you were not at all aware had come in). All-in-all, both were demanding jobs for paltry salaries. [It was especially brutal the night the Cherry Blossom Dining Room booked a high school reunion (small class) and failed to notify me (the hostess) in advance that several tables of reunion-goers would be sweeping in, en masse, at the peak of the dinner hour). It’s never fun to have to go around and ask 4 to 5 tables of 8 if they’d mind relocating across the room. (!)] However, while fantasizing over Doris’ money made, I have to realize that she was thoroughly fleeced by her “business advisor” (Jerome Rosenthal) who managed her since the forties and by her third husband. It took her until 1979 to recover some of the millions he took in a colossal case of malpractice, which the courts recognized as such, although it took 5 years for Doris to get any of her money back.

Doris Day Doris remained beautiful for many, many years—well into her sixties—and outlived her record producer son, Terry Melcher (who was probably the real target of Charles Manson’s murders, as it was Terry Melchers Hollywood Hills home that Manson sent his acolytes to, where they brutally murdered Sharon Tate and others.) She more-or-less faded into oblivion because the times changed. During 1960 and the 1962 to 1964 period, she ranked number one at the box office, the second woman to be number one four times. She set a record that has yet to be equaled, receiving seven consecutive Laurel Awards as the top female box office star.[57]According to the Hollywood Reporter in 2015, the Academy offered her the Honorary Oscar multiple times, but she declined as she saw the film industry as a part of her past life.[96] Day received a Grammy for Lifetime Achievement in Music in 2008, albeit again in absentia.[97] 

One of the roles Doris Day turned down was Mrs. Robinson in “The Graduate” (she found it “vulgar” and “offensive”). Anne Bancroft cashed in. Although scheduled to sing at one of the Oscar ceremonies, while strolling the hotel grounds she received a bad cut on her leg from a sprinkler system that required stitches; she had to cancel. She also was in talks with Clint Eastwood, her Carmel (California) neighbor to star in a Clint Eastwood project, but that never panned out.

Doris Day She received three Grammy Hall of Fame Awards, in 1998, 1999 and 2012, for her recordings of “Sentimental Journey”, “Secret Love”, and “Que Sera, Sera”, respectively.[98] Day was inducted into the Hit Parade Hall of Fame in 2007,[99] and in 2010 received the first Legend Award ever presented by the Society of Singers.[65]

Day was  a great animal rights activist (much like Brigitte Bardot, post career) and there are some wonderful photos of Doris with Clint Eastwood, receiving Golden Globe awards in the sixties. Day became one of the biggest film stars in the early 1960s, and as of 2012 was one of eight performers to have been the top box-office earner in the United States four times.[1][2] Doris Day’s began with Pillow Talk (1959), co-starring Rock Hudson who became a lifelong friend, and Tony Randall.  Day received a nomination for an Academy Award for Best Actress.[54] It was the only Oscar nomination she received in her career.[55

Doris’ personal life was not so successful. Doris Mary Koppelhoff of Cincinnati, Ohio married three times and basically dumped little Terry (her only child) in Ohio with her mother (also a divorcee) to continue touring as a vocalist with Les Brown (and his Band of Renown). Between 1949 and 1959, she recorded First husband Al Jorden was supposed to have been physically abusive, with a violent temper; she intended to divorce him before even while pregnant with her only child. Second husband was saxophonist, George Weidler. Third husband Martin Melcher adopted Terry and gave him his surname, but Melcher was abusive to both mother and son and managed to embezzle $20 million dollars of Doris’ money. Doris’ last husband (1976-1982) was Barry Comden, a maitre de, who later complained that she liked her canine friends more than him. Doris did NOT want to do “The Doris Day Show” (1968-1973) but found out after Melcher’s death that he had signed her to do one.

Day learned to her displeasure that Melcher had committed her to a television series, which became The Doris Day Show:.

It was awful. I was really, really not very well when Marty [Melcher] passed away, and the thought of going into TV was overpowering. But he’d signed me up for a series. And then my son Terry [Melcher] took me walking in Beverly Hills and explained that it wasn’t nearly the end of it. I had also been signed up for a bunch of TV specials, all without anyone ever asking me.

— Doris Day, OK! magazine, 1996[

Nobody has told me “You look like Doris Day” in quite some time, which may be because Doris remained slim, trim and out-of-sight as much as possible after 1968.  When “All in the Family” was popular (I mention it because of the recent “live” recreation of that Norman Lear hit, produced by Jimmy Kimmel) there was the occasional mention of “Gloria” on “All in the Family,” but I always thought it was the long blonde hair and the lack of height.  Gloria (Sally Struthers) has not retained her youthful appearance, post television, like Doris Day did but, thankfully, I’ve not heard the Sally Struthers comparison since the seventies.

I just thought I’d send out a prayer for Doris’ happiness in heaven. It didn’t seem as though all her stardom and fame translated to a gloriously happy personal life, for her. A contentious divorce (her son’s) kept her from ever becoming close to her only grandson, who regrets the manipulation and maneuvering that kept him from ever knowing his grandmother. By contrast, I (we) just got a call from the grounds outside the Eiffel Tower in France from my married son and wonderful daughter-in-law, with the 10-year-old twins (Ava & Elise) posing in pictures that made it seem like they were balancing each other AND the Eiffel Tower on their palms.

Doris Day Day died on May 13, 2019, at the age of 97, after having contracted pneumonia. One day after she turned 97, she told an interviewer her All Time Favorite Film role was “Calamity Jane.”Her death was announced by her charity, the Doris Day Animal Foundation.[123][124][125] Per Day’s requests, the Foundation announced that there would be no funeral services, gravesites, or other public memorials.[126][127][128]

Doris supposedly thought she was only 95, as her birth certificate confirming she was really 97, was only ferreted out a few years ago.

Au revoir, Doris. May you live on in happy memories. “Que sera, sera.”

Bill Duke: An Autobiography Worth Reading

Bill Duke: My 40 Year Career On Screen and Behind the Camera

Bill Duke: My 40-year Career On Screen and Behind the Camera

Publisher: Rowman & Littlefield, 193 pages, plus index and photographs (15 pages)

Amazon: Print – $16.47. E-book: $13.99.

 

Bill Duke, with his 62 directorial credits, 17 as a producer, and 4 as a writer, is a face on the screen that movie-goers have recognized since the seventies. It was 1976, in fact, when his breakthrough role as Duane/Abdullah in “Car Wash,” paired with such luminaries as Richard Pryor, George Carlin, Otis Day, Antonio Fargas and the Pointer Sisters gave him his first big break in the 40-year career he writes about in “Bill Duke: My 40-year Career Onscreen and Behind the Camera.”

For me, one of his most memorable roles was as Leon, the gay pimp in “American Gigolo.” His movements were sinuous and catlike; he was an unforgettable character in this story of lust and greed, which focused on Gere and his romance of Lauren Hutton as a neglected politician’s wife and a murder suspect.  Paul Schrader (Oscar-nominated this past year for his script for “First Reformed,” which Schrader directed) was the director. The music by Giorgio Moroder imprints the film on my mind.

Duke admits, “I found it to be one of the high points of my acting career with one of the leading roles of the film. It was outside of my comfort zone, but it was a growing experience. I loved the character I played, and I loved working with Richard Gere.”

Duke goes on to say that “Richard Gere was meticulous with every movement of his character, like the movement of his eyes, the face, the lips, the hands, and the legs.” I would add that this attention to detail and movement goes double for Bill Duke in his roles. Leon was, indeed, a high point of Bill Duke’s acting career, and one I remember well.

I would also say that Duke’s praise of his fellow actors and directors and co-stars is universal throughout the book. “Never is heard a discouraging word.” If you are looking for a “tell-all” book from a Hollywood insider that will open the floodgates on unsavory doings, this isn’t it. Bill does allude to a low period in his own life when he gave in to the temptation of drugs, but the story of the seamier side of life in Hollywood is not this book’s mission.

BACKGROUND

When I was teaching junior high school students in a small town in Illinois, I was happy to find that the local library had a series of 16 millimeter After School Specials.  I could rent these and show them to my students. I selected those where Bill Duke and Kevin Hooks were involved because they would be quality productions with good messages and the length was perfect to show to a class on a Friday afternoon late in the year. I was then (and am now) a film critic. I pay attention to who is in a film, and also to who is directing, writing and producing a film.

Duke has appeared in too many television series to list them all, including stints on those After School Specials as well as on “Cold Case” (2008), “Lost” (2006), “Battlestar Galactica” (2006), “Starsky & Hutch” (1978), “Kojack” (1976), “Falcon Crest, “Fame,” “Hill Street Blues,” “Knott’s Landing,” “Dallas,” and “New York Undercover.” He is still active on “Black Lightning.”

Bill Duke’s feature credits include the two films mentioned (“Car Wash,” “American Gigolo”), which really launched him, as well as “Sister Act 2: Back in the Habit,” “Get Rich or Die Trying,” “Deep Cover,” “Hoodlum,” “Predator,” “Menace II Society” and “Not Easily Broken,” to name just a few. He has won NAACP Image Awards and been a nominee for a 1991 Cannes Film Festival Palme d’Or with “A Rage in Harlem.” Sundance Film Festival awarded “The Killing Floor” (1984) a Special Jury Prize and a Grand Jury Prize.  More recently, the Northeast Film Festival recognized “American Satan” with a Best Ensemble Prize and, in 2018-2019, Bill Duke can be seen as Agent Percy Odell in the television series “Black Lightning.”

Reading about how this 77-year-old African American actor/director/producer/writer rose from humble origins in Poughkeepsie, New York and how he continues to open the door for so many other talented black entertainers was interesting, educational and amusing. He seems to write from the heart with sincerity, although there are a few areas that he treats “once over lightly,” including his own bouts with drug addiction and his personal life.

When Duke talks about Leon, his desire to excel shines through. “Playing that role gave me an opportunity to show other sides of my acting ability.  I was seen by many casting directors as the big, tall, angry black man.  I wanted to show that I could be more than that.  The character of Leon was a soft-spoken brilliant sociopathic businessman, and I wanted the opportunity to let casting directors know that I had more range.”

Duke shares the trials and tribulations of being a television series regular. (“A television series is the hardest work for an actor on the face of this Earth.”) He thanks all those who have helped him along the way and does not speak ill of anyone, but does tell readers that, after appearing on a television series called “Palmerstown,” he could not find work as an actor for 2 years.

He explains, “In those days, they had something called a TV Q score, which was a way to measure how familiar audiences were with an actor, TV show, and so forth.  If you were on a television show that garnered a lot of publicity, you could be considered ‘overexposed,’ which could make it difficult to get hired for another television show or feature because your Q score went down.” He adds that the experience made him depressed and angry and convinced him that he had “better learn how to do more than just act.”

Thus began a career move towards producing, writing and directing and this quote:  “Once I figured Hollywood might typecast me as the police officer, I turned to directing.  That way, I could wait until an interesting project came along.” Duke has also moved into the job of Chairperson of the Department of Radio, Television and Film at Howard University, as of 2000.

[*As an aside, I once interviewed the man responsible for the Q Score system. He had headquarters at that time in Marion, Iowa. At that point in time, he was tasked with making a television star spokesperson out of top model Cheryl Tiegs, something that never really worked. The man had worked for Gallup and took his knowledge of polling into the world of television and movies with the much-vaunted “Q Score” that Bill Duke mentions as having given him two years of idleness, sadness and depression. The Q Score Big Boss didn’t like what I had to say about the Q Score, so the article never ran.  I was paid a “kill fee” after I interviewed him in his Marion, Iowa, offices.]

Duke scored a collaborative job with Joel Silver on “Commando,” which introduced him to Arnold Schwarzenegger and Mark Lester (the director) and led, later, to his role as Mac in 1987’s “Predator.”’

PREDATOR STORY

One of the best stories in the book involves “Predator” and the unknown and inexperienced stuntman/actor hired to play the title creature. The actor was dressed in heavy black felt for the filming in the jungles near Puerto Vallarta. The heat and humidity were intolerable, causing the stuntman to pass out at least two times early on.

The director strode over and said, “If you pass out again, I’m going to have to fire you.” The original Predator creature (which did not appear in the film), was a smaller, more nimble creature that flew through jungle trees with speed and flexibility and fully packed laser guns. That Predator was also invisible and could strike his prey at any time. The bodysuit, including placement over the head and face, was originally used to insert computer-generated special effects over the actor’s body in post production. Unfortunately for the actor within the suit, he did pass out again.

At that moment, Joel Silver marched over to him and, as the actor awoke, suffering from exhaustion and dehydration, Silver said, “You’re fired.” The acrobatic, multitalented martial artist flying through the trees in a felt suit in one of his first jobs in America was Jean-Claude Van Damme.

ENCOURAGEMENT

One of the best things about the book is its “never say die” encouragement of young actors, in general, and African American actors in particular. While giving props to all of the heavyweights who have gone before (Sidney Poitier, Spike Lee, etc.), Bill Duke, himself, has proven to be a shining example of an actor who has paved the way for others. His work in Hollywood earned him an appointment to the Board of the California State Film Commission, as well as an appointment to the National Endowment of Humanities under President Bill Clinton. The Directors’ Guild of America honored him with a Lifetime Achievement Tribute. The reader may get the feeling that the author sometimes feels he has not received his fair share of recognition, and his Bill Duke Media corporation may be an attempt to rectify that by producing a great deal more quality film output.

As an unconventional actor—-not known for good looks, but renowned for good performances—Duke has had a career that has had many highs and lows. He shares that, “It’s all about relationships in the industry.” That remark could probably be expanded to any line of work. It may be intensified in Hollywood, but it seems true of many corporations, businesses and industries.

Quote: “Nobody else in this world is like you.  There may be similarities, but nobody is just like you.  You have value, and if nobody has validated that for you, it is time for you to validate yourself.  Let your soul and your spirit out in your writing.  Tell the truth of your experience in life through your writing.  Writing forces you to love yourself and let out your truth.  It takes courage, but the payoff is something that you cannot spend.” (p. 190)

“I wish I could say that writing this book was inspired by me and my courage, but the truth is that it was not.  For many years, people told me that I should tell my story because of all that I had gone through in Hollywood, but I never believed that I had anything important to say.  I thought a lot of people had gone through what I had gone through.  I didn’t think there was anything special about bill Duke in Hollywood. However, when I reached my seventies, I wanted to leave something for those who come after me to benefit from.” (p. 190)

POETRY

Duke shares his poetry with us throughout the book. After reading of his humble origins in Poughkeepsie, New York, and the events that shaped him over the years, including a history of family violence, his poetry reveals a deep, sensitive soul, who arranges the poems on the page in vertical fashion. Lines like: “Nobody really cares. Nobody seems to really care about the other’s pain. For we must laugh and dance and sing and not remind us of anything that resembles fears that we’ve secretly tried to cover by pretending to be devoted lovers of everything except ourselves. “

What came through, for me, was that Bill Duke, at least early on, suffered from self-loathing. Was it his appearance? Was it because of remarks made to him when he was young? Was it because of his father and mother’s sometimes violent marriage? The source is difficult to pin down, as it often is in life.

WOMEN

Related image

Bill Duke during 1987’s “Predator” filming

It sounds as though Bill Duke doesn’t trust women. The reason for this is hinted at: a girl he had a crush on in college led him to believe that she’d spend time with him if he traveled to her school. He did (travel to her school). She didn’t (spend time with him). That seems to be one of the reasons why he stopped trusting ALL women. He had some sexual mistreatment by an early babysitter that also may have affected his views.

He frankly admits (p. 27): “I thought of sex as a game of pleasure from that day on, and maybe the reason I’ve hurt so many women in my life was because I always focused on the act, not the person.  I liked having sex with different women, but I never went beyond that and made emotional connections.  I simply enjoyed the physical act.  Maybe it’s because of the way I learned about sex; I’m not sure.”

On page 171, Duke adds, “One of the many reasons I never got married was that I always thought I was ugly, and I didn’t want to have children that looked like me.” He goes on to say, “After my first love betrayed me, I used that as an excuse to become a scoundrel when it came to women.”

At least this sensitive, introspective man realizes it is an excuse and admits he has, at times, been a “scoundrel” when it comes to women.

TRUST

While Bill Duke trusts himself (“Trusting what is inside you is key”, p. 189) he doesn’t seem to trust many other people. He talks of loneliness this way (p. 178): “You have a couple of friends who are with you throughout your life.  Some stay and some go, but when you’re not successful, not making money, and your career is not going well in our industry, there aren’t many people who flock to you.  That shouldn’t be a shock, because they are hustling and trying to do what they have to do.  If you can’t do anything for them, you are of no use to them.”

The book is good. The stories and experiences are fascinating and interesting. I always liked any film Bill Duke was associated with and that has proven to be prescient. If you’re interested in the film industry in any capacity as a career, this is a good read.

(Connie Corcoran Wilson, www.TheMovieBlog.com, www.ConnieCWilson.com)

Abortion Rights Under Attack in the U.S.

For close to half a century, the GOP has tried to overturn Roe v. Wade and curb women’s right to reproductive freedom. This concerted effort to prevent a pregnant female from deciding not to carry a child to term does not come with adequate funding or societal help to assure that the overwhelmed potential mother would be able to care for said child, in the event that she were forced to go forward with her pregnancy. While chipping away at the social network like a demented woodpecker, the GOP has simply thrown around hot-button words (“socialism,” “abortion”) knowing that they will evoke the crazy response they want in their followers. There has been no GOP up-tick in social programs to assist, for example, women of color with several children and no supportive mate.

Says Planned Parenthood president Leana Wen, “The threat to safe, legal abortion in America is at risk like never before.” In the past 9 years over 400 state laws have been passed restricting abortion services. Eight states have only one abortion clinic left. Exploiting the explosive “wedge issue” has become one of the mainstays of the GOP talking points, along with calling anyone who believes that a woman’s reproductive decision should be hers a “Libtard” or a “liberal snowflake.” Interesting to report, there are no similar liberal perjorative names aimed at the Conservative wing of the GOP, specifically designed to denigrate their political beliefs and, in some cases, not only verbally attack them but physically attack them, as well.

As for the majority of Americans on this divisive issue,  60 per cent believe abortion should remain legal and it is conceivable that one in four women of child-bearing age might decide to have an abortion in her lifetime. Some of these women may have been victims of rape or incest. Others may have health issues that would put their own lives at risk or simply not have the economic or psychological means to support a child at that time in their lives. Still, the anti-abortion foes will paint these women as monsters. The Conservative forces will misrepresent the point(s) at which ethical doctors will perform an abortion, and will continue to use unflattering semantics and Biblical backing from evangelical sects to support their point of view, irrespective of the wishes of the women, themselves. (I remember Dr. Howard Dean, campaigning in Iowa in 2004, telling us in someone’s back yard in Muscatine, Iowa, that he had gone through the records of his home state of Vermont and there had been NO record of a late-term (after the sixth month) abortion in the state of Vermont ever.  This was in response to a question from the Iowa caucus crowd).

In some states—Mississippi, for example—they are in the ongoing process of passing a fetal heartbeat law that bans abortions as early as six weeks, despite the fact that a U.S. district court has already struck down a law in the same state banning it at 15 weeks. Even if the opponents of legalized and safe abortions do not succeed in overturning the laws, the amount of time that these moves take can have an impact. Once closed, an abortion clinic may not open back up. Says Cecile Richards, former President of Planned Parenthood (currently under budget attack from the White House), “Even if Roe is still the law of the land, whether or not pregnant people can actually access abortion is another question entirely.” To all those individuals who are reading this and “tsk tsk-ing” about abortion, in general, I would recommend that you read “Cider House Rules” by John Irving before  becoming too secure in your position. Irving’s father and grandfather were obstetricians and he charts the drop in female mortality rates that accompanied Roe v. Wade. The safe abortion center in Bettendorf, Iowa, was forced to close some time ago, a result of the Conservative right’s concerted and never-ending attacks on them. With a Republican legislature in Des Moines, the service is no longer available in an area of 350,000 people, which, for the state of Iowa, is among its 3 largest metropolitan areas.

Meanwhile, proposed legal decisions like “June Medical Services v. Gee”  and 2016’s “”Whole Roman’s Health v. Hellerstedt” continue to move forward, challenging the current status quo. The packing of the courts by Trump supporters is not a good thing (think Brett Kavanaugh) and 21 of U.S. states are classified as “hostile” or “very hostile” to abortion rights, while only 4 are “supportive” or “very supportive.” Five states currently have so-called trigger laws that would immediately ban abortion if Roe v. Wade fell. The state of Arkansas has no exceptions for rape or incest and would make performing an abortion a felony punishable by 10 years in prison.

According to the National Institute for Reproductive Health, 422 bills were introduced in 44 states and the District of Columbia, which were aimed at protecting reproductive rights in 2018. One hundred were fully enacted into law. “Public support for Roe v. Wade has never been higher that it is right now” says a former Planned Parenthood leader: “If you are one of the majority of Americans who care about access to safe and legal abortion, now is the time to make your voice heard.” Otherwise, the Conservative plan is to make it so hard to access this currently legal right that it will, in effect, cause the downfall of Roe v. Wade without having to actually legislate it out of existence. In 1976, only 3 years after Roe v. Wade went into effect, the Hyde Amendment blocked federal Medicaid dollars from going toward abortions and the Supreme Court upheld that as constitutional in 1980. In “Planned Parenthood v. Case” the court further determined in that 1992 decision that limitations could be put on abortion as long as they didn’t create “an undue burden. (A blanket right was turned into a circumstantial right.)

Julie Rikelman, Director of U.S. litigation for the Center for Reproductive Rights says, “Even if the Supreme Court never utters the words ‘Roe is now overruled,’ it can do a huge amount of harm.” Are the women of 2020 willing to go back to the days of back-street illegal abortions (one of which left a friend and former classmate of mine dead in her apartment in Iowa City, Iowa, back in 1964? I hope that the young women of the United States start paying attention to this area that DJT is also stirring up and, flying the false flag of Conservative evangelical piety, is attacking as he is attacking most other bulwarks of our Constitutional democracy.

Forgetabout Joe Biden’s Hugging Penchant and Concentrate on REAL Problems

Okay…I’ve waited for a while to weigh in, but I’m watching Bill Maher’s show right now and they are discussing the fact that the recent hoopla over Joe Biden’s kissing the back of a candidate’s head (which only now, many years later, she has decided offended her) is “much ado about nothing.” They are discussing the fact that this recent furor might be a generational divide.

I agree.

“Biden has to know better. This isn’t a joking matter.” This was written by a reporter commenting on the child who joined Biden onstage, where Biden actually draped his arm over the child’s shoulder(s) and said he had gotten permission to do so.

Maher says: “Humans are going to touch each other.” Someone just called former Vice President Joseph Biden “a creepy old grandfather.” (Sigh) He may be old, but so is Donald J. Trump, the likely GOP nominee. And so is Bernie Sanders.

Biden on the caucus campaign trail in Iowa prior to the 2008 presidential race. Don’t worry: I’ll be back to politics by the end of the week.

I have met Joe Biden on several occasions, primarily because I covered presidential races in 2004, 2008, 2012 and a very small part of 2016. In 2008, it was not unusual to get a phone call in the Iowa Quad Cities and be told by a Biden campaign worker that there was going to be a rally at Doc Seng’s house.

Doc Seng (veterinarian Dr. Seng) is now dead and there probably won’t be any rallies at his old place, but, if Joe Biden does run, there will be rallies somewhere, just as there were in 2008. (Did you know that Joe Biden was the National Campaign Chairman for Jimmy Carter’s campaign?)

I used to chat with Jimmy (Joe’s brother) and Hunter (Joe’s son) and I even interviewed his then-young granddaughter, Finnegan Biden. At no time did then-Senator Biden hug me inappropriately or, from what I observed, hug anyone else in an inappropriate manner. The closest I came to being hugged was probably Christopher Dodd; that wasn’t horrible, either.

It is really difficult, (especially in the light of the Access Hollywood tape), to think that this sudden focus on Vice President Joe Biden’s tendency to hug people is anything that disqualifies Joe Biden from seeking and holding the office of President of the United States.

We should put aside the nattering over nothing and direct our attention and focus to important things, like global warming, the Mexico wall that Trump wants to spend a small fortune building, Obamacare and fixing it, our crumbling infrastructure and fixing it, defending our elections against foreign adversaries, Iran, Afghanistan, Pakistan, the Middle East, the looming debt that Trump has committed us to, Puerto Rico, struggling farmers, education, and any number of REAL issues and forget about whether some female now working for Bernie Sanders would rather not have had her shoulders touched when Vice President Biden was kind enough to campaign for her in her home state.

Bits & Pieces of Random News for April 3, 2019

Some random thoughts of the day:

  1. One of the Decorah eaglets has died. Poor little thing had a name/number, like DN10, but he (or she) was one of 2 born in the Raptor Research nest and it appears—judging from the way Mr. North pushed the little bird body off to the side of the nest—

    The Day Shall Come at SXSW. (SXSW Press Photo)

    the chick died only a day or two after being born.

  2. The mysterious polio-like illness that doctors are calling AFM (acute flaccid myelitis) has struck at least 228 known victims in the U.S. in 2018. In an every-other-year cycle, has afflicted more than 550 Americans, including a 32-year-old. More than 90% are children around 4, 5, or 6 years old who come down with a cold that paralyzes them. Those of us who lived through polio epidemics are praying for another Dr. Jonas Salk.
  3. Biden on the caucus campaign trail in Iowa prior to the 2008 presidential race. Don’t worry: I’ll be back to politics by the end of the week.

    Conflicting reports on whether the GOP is going to address health care before or after the 2020 election. DJT has been quoted as saying they should come out with a plan before the election, but having a plan has not been the GOP’s strong suit under this president, no matter what the issue. There seems to be no desire to “fix” the things that would be fixable under Obama-care, because the current occupant of the White House is too obsessed with denouncing, denigrating and destroying the record of his predecessor to really do much beyond “framing” issues and using media to “pose” as having plans on issues, when it seems that little is being done.

  4. Read a horrifying in-depth article (“New York Times”) about Michigan’s schools, which have largely been turned over to a topsy-turvy crazy quilt of Charter schools, which are not doing any better a job with the students than the public schools they replaced. Truly sounds like a nightmare scenario, but this is the scenario that Betsy DeVos, Secretary of Education, has always tried to foster. She is a native of Michigan and a huge proponent of charter schools, despite her own home state’s dismal record. She also has absolutely not one credential for occupying the position of Secretary of Education.
  5. With Vice President Joseph Biden (then Senator Biden) at the Jefferson Jackson dinner in Davenport, Iowa, caucus season, 2008.

    The Democrats continue to attack one another. I would say “eat their young,” but Joe Biden is not young. The latest attacks on the former Vice President come from a woman actively supporting Bernie Saunders and are largely undercut by photos of her with her hands on his shoulders at the same event that she claims so traumatized her. It is sad that campaigning in the year 2020 has come to this.

  6. The weather remains pleasant here in the Austin area, but it sounds like the Midwest is pretty well flooded. With Trump’s typical lack of concern for those in dire straits, whether Puerto Ricans on that hurricane-ravaged island or Midwestern farmers who seem to have pretty well taken it in the shorts with the Chinese tariffs and flooding, it is going to be no fun at all trying to navigate the construction zone for the proposed new I-74 bridge over the Mississippi River, joining Iowa with Illinois. (Construction was delayed by the brutal winter). Not looking forward to dealing with it.
  7. Image from Suzanne Weinert’s “A Good Son.” (SXSW Press)

    The Lagoon in Cancun, Mexico, at sunset.

    Posting a picture of one film I had to leave early in order to make it to “Shrill” and perhaps a photo from “A Good Son” (see interview with Director Suzanne Weinert, above). “The Day Shall Come” had not, to that point, “gelled.” It did have Anna Kendrick and I had an interesting encounter with Ms. Kendrick when I attempted to stop in the women’s rest room at the Paramount Theater on my way to the opening of “Shrill” right next door. A policeman told me I couldn’t enter the rest room. Cop: “I have someone in there.” Me: “A prisoner?” Cop: (Smiling) “No.” Me: “A female someone or a male someone.” Cop: “Female.” At that point, another woman, holding a Big Gulp cup and having just entered the theater from a side alley entrance tried to cut around the two of us out in the hall to gain access to the rest room. She was quickly dispossessed of the notion that either of us could enter. We continued standing awkwardly in the hall, while I tried guessing who or what was going on. Just then, the film’s star, Anna Kendrick, emerged, having been primping in the bathroom for at least 20 minutes.

  8. The Royal Islander, penthouse view (9th floor).

    I’ll be in Cancun in 3 days. I’ll try to post some photos.

Suzanne Weinert of Flatiron Pictures Is Writer/Producer/Director On the Rise

Filmmaker Suzanne Weinert, in Austin, Texas. (Picture by Connie Wilson).

Suzanne Weinert is the president of Flatiron Pictures, located in Austin (TX),which specializes in producing independent feature films throughout the Southwest. Her short “A Good Son,” which she directed, just had its World Premiere at SXSW. Thematically, it bears some resemblance to a Burt Reynolds film, “The End.” (1978) The short is playing at the Boston Film Festival April 11-16. Hopefully,  the feature of “A Good Son” (which exists) might attract the interest of Boston-based filmmakers and, ideally, a star like Alan Arkin.

Suzanne has been producing, writing and, now, directing films since she answered an ad for an intern while a student at Columbia University and ended up assisting Director Ron Howard as he helmed “The Paper” (released in 2004). After that start, while still working on her MFA in Filmmaking, Suzanne began working for Julia Roberts’ Production Company, Shoelace Productions, and rose to become Vice President of that organization.

Suzanne has worked on such films as “Conspiracy theory” (1997), “Notting Hill” (1999), “Runaway Bride” (1999) and “The Paper” (1994) and also on “Hellion” (2014) and as the writer of the 2009 film “The ExTerminators” (Heather Graham, Jennifer Coolidge and Amber Heard) which, after it ran at SXSW that year, she says, “changed my life.”

The write-up in this year’s SXSW program for her short “A Good Son” is this: “When Tommy, 75, asks his son Mike to put a Hefty bag over his head and suffocate him to death, neither believes the other will really go through with it. Until Mike’s son, Chris, 17, devises a plan that will satisfy both his father and grandfather.”

Writer/Director Suzanne Weinert of Flatiron Pictures in Austin, Texas. (Photo by Connie Wilson).

When we spoke about making movies and the theme of this particular effort, Suzanne shared these insights: “I’ve had a lot of people say to me, since they saw the short, ‘This is a conversation that’s actually going on in my house.’” She mentioned the “sandwich generation” (as the group of young people caught between caring for their own families and caring for their elderly parents is sometimes called) and asked me if I’d seen the appearance of Bea Smith’s husband on “The View.”

Bea Smith was a famous restauranteer. Several years ago Bea and her spouse sat down and talked about what to do in the event that either of them got Alzheimer’s or dementia or some other debilitating illness that would require extensive assistance. They spelled out everything each would want. Bea’s husband has done everything she asked, but when he brought another woman to their house— someone he met after Bea’s condition worsened— who has helped him  care for his ailing wife, that was controversial to many, if not to the couple themselves.

A recent news article about comedian Tim Conway, 86, shared that Conway’s wife of many years and his adult daughter were in court arguing about care for the former member of Carol Burnett’s comedy troupe, who has severe dementia and is now largely unresponsive.  Stan Lee’s death was similarly controversial and in the press a few months ago.

As Suzanne said, “They (Bea Smith & her husband) had this conversation. In America, we seem to have decided that dying is optional, so no one wants to talk about it. But the truth is, it’s going to happen to everyone and we all need to be talking about it.”

Q:  I asked Suzanne, “What is your background?”

A:   “I went to Columbia undergrad. I got a B.A. from Barnard College and then I got a Master’s degree. I started the Master’s program in Dramatic Writing and quickly realized that was not what I wanted to do, so I transferred and ended up getting an MFA in Screenwriting and Filmmaking.

While I was there, Ron Howard was looking for an intern. It was on the internship bulletin board. It said, ‘Director is seeking intern for feature film.’ I ripped off the thing and I called the number. It was Ron Howard. He was looking for an intern to work with him. So, I went down and had the interview. Kathryn Bigelow was my idol, and I remember having this conversation with Ron about Kathryn and how she’s my idol. When I was done and walked out, I thought, ‘I can’t even believe I said all these things to him.’ But he called me the next day and said, ‘I think this would be a good job for you.’ So, I was literally his intern. The Paper was a big movie. It had Michael Keaton, who had just done 2 Batmans, Glenn Close and Marisa Tomei, who had just won the Oscar for My Cousin Vinny, Randy Quaid, Robert DuVall, Jason Robards, Jason Alexander, Catherine O’Hara, Spalding Grey. The film was ‘The Paper.” (released in 2004) I was still in film school. I was in my second year. I said, ‘Oh, my gosh. I got this thing.’ It paid no money.”

Q:  What was it like working for Ron Howard?

A:  “I was so lucky to work with someone at that stage in my career who was so wonderful, so kind,  so personally generous. Ron Howard set the bar on how you should behave. I remember after just a few weeks—a teamster was coming to pick him up every morning from New Jersey. He had to come down the west side, anyway. Instead of leaving me to take public transportation at 5 o’clock in the morning, Ron would have his teamster come and pick me up first. So, I would get 15 minutes alone in the car every morning with Ron Howard.

After a while, he said to me, ‘We should pay you something.’ So, any little job along the way he would throw my way. I got to be in a scene one day, and I got paid for that. Another time I got to work with the second unit for a day as a P.A. (production assistant). Everyone took care of me. The Teamsters took care of me. I remember the last day of shooting I gave my teamster driver a pie. I’m not a cook, but I baked him a pie. For my first time on a film set, it was so magical.

Writer/Director Suzanne Weinert of Flatiron Pictures. (Photo by Connie Wilson).

But, the beauty of it was that, if Ron was there, I got to be there, which is not always the case for interns. The one thing I remember is that being a director means being able to handle 1,000 questions at one time. It was amazing. The script was written by David Koepp and Stephen Koepp who went on to become some of the biggest screenwriters of all, at the time, but this was one of their earlier works.  It was 1992. This was one of their first ones before they started doing, like Jurassic Park, Stir of Echoes and Spiderman (2002).”

After the Ron thing was done—he was going on to prep “Apollo 11”—  the chairwoman of the department knew that someone was starting a production company in New York and she thought of me. I went to the interview and I got that job.  It was Julia Roberts.

They wanted someone to read scripts and to work hard. I was really lucky. They made it really easy for me to have responsibility. And, I got to stay in New York. I was living on 16th Street. After a few months we moved the office to 19th Street. Her president of production was a guy who was so kind, so gracious. She had a process of taking a script from there to the screen. They were super welcoming—not at all the stories you hear about Hollywood. I thought, ‘I’ll stay for 2 years. I’ll get some experience, and then I’ll just go somewhere and start to write screenplays for money.’ But I was having such a good time I stayed 7 and ½ years. I stayed 4 times longer than I thought I would be there.

Q:  Other Julia Roberts stories, beyond working on “Runaway Bride,” “Conspiracy Theory” and “Notting Hill?”

A:  I love to travel. I’m a big traveler. I’ve always volunteered for Habitat for Humanity. At one point there came a time where Julia had an opportunity to go to Borneo for a while and do a thing about orangutangs. Lewis Leaky had 3 graduate students he sent to Africa. Diane Fosse and Jane Goodall and Dr.  Birute Mary Galdikas. Jane has remained this beautiful woman. Diane was unfortunately killed. The third woman is still in Borneo and runs an orangutang rescue and that’s who we stayed with.”

My habitat work, I’ve slept on church pews for a month in Alaska. I’m used to roughing it, so when Julia said, ‘Come on…do you want to go to the Borneo jungle?’ I said, ‘Sure!’ So we did that one and a few years later we did one in Mongolia. We went to Mongolia and out to the Gobi Desert for several weeks. So, the job changed, too. We just kept doing things that were personally fulfilling. To me, to go to these exotic places with these wonderful crews from Britain and elsewhere…it was so fantastic!”

Q:  After the orangutang experience, what was next?

A:  We did orangutangs in ’97 and then we came back and did a bunch more movies, and then we went to Mongolia. At that point I had been writing scripts, and I just really wanted to jumpstart my writing career. I had just sort of gotten sidetracked for 7 years having a great time. I think I was like 34, maybe. It just seemed like a good time.

I really had always had this vision that I would just sit, with a view, and write. I think it was kind of like a ‘now or never’ thing. So I left. Something happens around 33, 34, I think. You start thinking: all right. So, then I spent a whole bunch of time writing and living in New York. I wrote ExTerminators (Heather Graham, Jennifer Coolidge, Amber Heard, directed by John Inwood). It showed at SXSW, and it changed my life. I’ve filmed 12 movies in Texas recently.”

Q:  Was there ever a moment when you had to make a decision on whether to stay or whether to leave the position as Vice President of Julia Roberts’ Shoelace Productions?

A:  I just knew. Someone did a paper on a theory that every 7 years you change. You are different. You are physically different. I think that was part of it.

My short this year (“A Good Son”) screened on the first Friday, which was great for me, but a lot of my friends couldn’t see it.”) ‘A Good Son’ really is based on a true story. Tommy Ryan really is a very virile 75-year-old man. I wanted to be honest that this is a man who has lived, by his own admission, a full life. He feels satisfied. Married to the same woman for 40 years. Raised a couple of decent kids. He doesn’t want to become feeble and have the last few years of his life be a drag. I really wanted it to say, ‘Sometimes, you’re just done.

Image from Suzanne Weinert’s “A Good Son.” (SXSW Press)

I wrote the short because I wanted to have something to show to others. So, the next step, after the short makes the festival circuit (it plays in Boston April 11-16), is going to be taking the feature out. I would like to see the film made at the feature level, but no one is going to give me $30 million dollars easily. Alan Arkin would be my dream casting. Or Robert Duvall. A friend of mine directed “Get Low” and Bill Murray played in it. (Duvall was in “The Paper’”) Alan Arkin still seems very strong and virile and alive, to me. The Boston teams—the Bruins, etc.— are a big part of the short. There are all these Boston actors and Boston directors. Jon Hamm. Mark and Donny Wahlberg. Matt Damon. Ben Affleck.

Then you start to think about what Boston-based or Boston-bred actors and directors might actually want to direct a movie about a bunch of guys from Boston. That’s kind of the direction I’m taking. There’s already a network. There’s no women in it; I don’t know exactly how to get them in there, but I want the short to do well and then ask the Boston-based directors, ‘Here’s a film about your town.’” How do I reach out to the Boston directors/actors?

Q:  Which is the better route: a college film making program or starting to direct on your own when young?

A:  Columbia’s under grad at the time did not offer a film program. U.T. has a good program where you actually get to make a short. My undergrad degree is in dramatic writing—plays and things like that. I actually had to go back to film school to study that; it was a different era.

I would say now that if you got out of school and all you had was a Bachelor’s in English, you might be at a disadvantage. I learned how to work every single piece of equipment on the set and I still have a circle of closest friends who are people I trust when it comes to work, so it gave me a great start.

It helps to be in a place where film is considered a possibility. I enjoyed having that background. It gave me a great team of people who are still in play.  You need to live in a place where film is considered an option. Austin is a great town. (Suzanne winters here; spends the hot summers in Auckland, New Zealand).

The people who are still here (the industry has shrunk considerably) are willing to help the people who are just starting out. We have a film society here that is willing to help people out. Austin is a great town for this. Dallas, Houston, Atlanta—they all have a film society organized. I don’t know any other way, so, for me, graduate school was the only possible way to go. My friends kind of went a different way.

They got into advertising. They never crossed over. Once you get into advertising you stay in advertising because the money is so good and so consistent. I’ve never had to live in L.A. I can be anywhere to write. I grew up an only child in New York, but after 2009 I moved to Austin. I joined the board of the Austin Film Society in 2012, became vice president in 2014 and then President in 2016.  It’s a purely voluntary position. Everyone on the board donates their time.  I just really wanted to give back to the community while writing and producing movies through Flatiron. Every movie that I made we shot somewhere in Texas. I shot 12 movies here in Texas and I go to L.A. a couple days each month, because my manager is there and my legal team is there and a lot of the directors I work with are there. You have to go there, but you don’t have to live there.”

Q: Isn’t part of the job of a producer raising money?

A:   Yes.

Q:  How does one do that?

A:   It’s really hard and it’s gotten harder.  Extra funds seem to have dried up now. Oil is not as high, per barrel, as it used to be. People are not as willing to take a risk.

Q:  What are the best states that offer perks to aspiring filmmakers?

A:  Atlanta is pretty consistent. To the best of my knowledge, that’s in perpetuity. They’re just going to keep doing it for a long time. Louisiana. New Mexico. Oklahoma has a very good program, but it has a cap on it. Michigan tried it for a while. Indiana. Massachusetts. New York. States like Georgia have found it to be successful. New York is clued into the fact that it is really successful.

Q:  You’d like to see top notch talent attach itself to the idea of the short?

A:  Yes. Then, my production company owns the rights to about 10 different projects. My immediate goal is to get the feature of “The Good Son” done.

Q:  What’s next for Suzanne:

A:  My short is actually based on a feature script I wrote a few years ago. As I said, I’m hoping to shop that around once the short finishes its festival run. Scriptwise, a horror movie I wrote called “Ghost Passenger” is set to start pre-production this summer. And I recently set up a rom-com called “Previously Engaged” at Intrepid Pictures.  Directing wise, I’m going to shoot a pilot for an Austin-based TV series I created this fall. So 2019 is turning out to be a pretty busy year.”

The Bluebird Cafe in Nashville & Low Cut Connie, Redux

Earlier in the festivities I did a review of a wonderful new documentary called “The Bluebird,” which is a visit to the Bluebird Cafe in Nashville, Tennessee, which is (apparently) the subject of a television show starring Connie Britton. (I’ve never watched it).

I attended the Bluebird documentary, however, taking many pictures of the director and others on the stage of the Paramount in Austin, Texas, at SXSW on Thursday, March 14th at 6:30 p.m. (It showed again at the Lamar at 11:00 p.m. on Friday, March 15th).

Later on, I received a phone text message informing me that the daughter might be singing back-up for one of her singer/songwriter friends who was going to be appearing onstage at the Bluebird Cafe on their Monday songwriters’ night (featured heavily in the documentary). Lest you think this is unimportant, it launched the careers of both Garth Brooks and Taylor Swift and, although the daughter wasn’t certain she would have a role, I look forward to her ringside seat report of her friend’s performance.

I asked the daughter, who went to school in Nashville and lives there now, to send me a picture of the exterior, but when I went to press, somehow that picture (and a few others she sent) had disappeared, not to be found.

I’m still trying to figure out how to get a small bit of film sent me by the son of Low Cut Connie performing at Lucy’s Fried Chicken in Nashville on Saturday, March 16h, to post on my blog. The file sent me came through as IMG-5643.MOV (5.2 MB) but how does one get THAT to post? In place of it, I shall post the link of Adam Weiner (who is “Low Cut Connie”) appearing on Seth Meyer’s late night show and the 2 pictures of the Bluebird that I now have located.

I am posting the Low Cut Connie link because he and his band will be performing at The Rust Belt in East Moline (IL) on April 18th. I’ve been told that the Rust Belt is somewhere on 7th Street, but look it up and check  it out. (I’ll be in Mexico). I’m hoping that www.QuadCities.com will run a notification when it is closer.

I missed Low Cut Connie when he hit the Raccoon Motel in Davenport, but Craig wanted to be present here in Austin for his birthday celebration with son Scott and daughter Stacey at Lucy’s Fried Chicken. They got to hang with the band afterwards, as one of the guitarists was someone known to the Nashville daughter.

The van at Camp Sandy.

I was covering “Pet Semetary” with stars Jason Clarke, et. al., (that piece has also run previously), so I missed the hilarity (and the chicken) and the music, but I’m doing my best to drum up a record crowd for you, Low Cut Connie (i.e, Adam Weiner) if only because my name IS Connie. The picture to the left represents the van that Low Cut Connie was supposed to play in at Camp Sandy. INSIDE the van. You sit outside and watch the performances on the screens you see mounted on the exterior of the van.

I’m not thinking this would be optimal for an act that is Jerry Lee Lewis Redux times 100. However, I did drive out to catch him there (since I couldn’t be present at Lucy’s Fried Chicken on Saturday, March 16th). There were problems at Camp Sandy, but the Turtle Wax people have reached out and are sending me vats of Turtle Wax to East Moline. Thanks, Eden Zaslow of Zenogroup! That was not necessary. 

Low Cut Connie WAS present on the 16th and, if I can figure out how to post the 5.2MB piece of film sent me by my son, you will be able to see it here some time in the future.

“Us” Film Rakes in $70.3 Million in Ticket Sales

Jordan Peele’s film “Us,” his follow-up to the popular “Get Out,” which premiered at SXSW on March 8th, has opened well above forecasts, raking in a 94% “fresh” on Rotten Tomatoes and marking it as the largest debut for an original horror movie and one of the highest openings for a live-action original film since “Avatar 10 years ago.

The only original horror films that challenged the debut were the “It” remake and last year’s “Halloween.” “A Quiet Place” did unexpectedly well, but didn’t have the “name” recognition that Director Jordan Peele is now commanding to boost its opening.

The distribution chief for Universal Pictures put out this statement:  “Peele has really crafted an extraordinary story that I think once again is going to capture the cultural zeitgeist. He is recognized as just an amazing talent.  He crafts films that make you think, that are extraordinarily well-acted, well-written and are amazingly entertaining.”

More good news: “Us” took over the top spot at the box office from “Captain Marvel.” In today’s franchise-driven spandex movie world, it is encouraging to realize that a thoughtful, original movie can still compete and dethrone those from the comic books wearing the costumes.

Following the top two films were “Wonder Park” and “Five Feet Apart,” which each made about $9 million in their second week of release. “Us,” by ontrast, doubled (and then some) the 2017 Oscar-winning “Get Out” debut, which grossed $235.4 million on a budget of $4.5 million. Since “Us” cost only $20 million to make, it’s already a huge hit for Universal Pictures.

Audiences other than the Rotten Tomatoes raters have given it a relatively low “B” CinemaScore. There are various explanations for this. One is that, as Paul Dergarabedian said, film goers are shell-shocked when they emerge from the film. Others would say that the improbable plot explanations have both confused and dampened the enthusiasm of some movie-goers. Those that enjoy thinking and talking about the meaning of a film will enjoy it; those that want it spelled out for them will not.

One thing that will emerge from this in all probability is that the 40-year-old director has now vaulted himself to the ranks of such filmmakers as Clint Eastwood, Martin Scorsese, Brian DePalma, M. Night Shymalan, George Lucas and Steven Spielberg, making his name as the director as important as who is appearing in the film.

Camp Sandy Shenanigans & Other Promotional Things at SXSW

I thought readers might enjoy seeing some photos from one of the promotional things that went on during SXSW in Austin, Texas.

This particular promotion was sent to me as Press and involved the sponsors (a local whiskey and Turtle Wax) being willing to send an Uber to pick me up in Austin and ferry me out to Camp Sandy, which, I can personally attest, is way-the-hell-and-gone out in the middle of Hill Country, but has a spectacular view.

Downtown Austin  (TX) mural.

A couple of the other shots were simply things that caught my eye as I was walking (for miles) around downtown Austin (it is, by actual mileage count, nearly 2 miles from the Conference Center to the Paramount theater).

But back to Camp Sandy. I RSVP-ed that I would come to hear “the band in the van.” The concept here is that the band is INSIDE a van and the listeners watch the band on screens mounted on the outside of the van. (Weird). Low Cut Connie was supposed to play, complete with a piano (“the first time a full-sized piano has been inside the van!” said the e-mail).

Note the small tan Prius on the right of this picture (mine) at Camp Sandy.

If you had a car, they would Turtle Wax your car for free, although this turned out to be incorrect.

I RSVP-ed and asked for specific parking and navigational directions and got nothing, but I had the address, so I set off in my trusty Prius (one of 5 in the family since 2002) and found this out-of-the-way place, high up in hill country with a spectacular view. I parked alongside the driveway in, which turned out to not be that smart a move, as someone driving a humongous tank-like vehicle pulled in and left their vehicle smack dab in the middle of the ONLY way in or out. (It took about 15 minutes to find out who had left the painted van blocking the only exit or entrance.) I only had one hour before I had to be standing on a Red Carpet somewhere, but Camp Sandy sounded interesting, if weird. And, of course, there was the matter of that promised free Turtle Wax.

Except that, when I showed up, it sounded like several cars were ahead of me in a “scheduled” fashion and, therefore, there would be no Turtle Wax for the Silver Fish (as I call my Texas Prius). That was okay, but when I learned that Low Cut Connie had also bailed, I did a quick tour of the premises and left.  That turned out to be quite difficult with the blocking van and, after the van moved, I could get no signal on my GPS and would have been totally lost. The organizer who greeted me said, “If you drive to the top of the hill, you’ll probably be able to get a signal.” (Yikes! Let’s hope so!)

Still, here are some “local color” shots of the venue and of downtown Austin, Texas, during SXSW.

Camp Sandy.

Interior, Camp Sandy.

View from Camp Sandy.

Sponsor of Camp Sandy.

Patrons viewing “the van” at Camp Sandy.

Typical crowd around the block waiting for admission.

The van at Camp Sandy.

View from Camp Sandy, Austin, TX, SXSW.

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