Summer Issue 2018
Van Wyck Gazette
Fishkill • Beacon • Wappingers Falls • Poughkeepsie • Newburgh • New Paltz • Rhinebeck • Woodstock
Van Wyck Gazette EDITOR IN CHIEF / CREATIVE DIRECTOR Joseph Caplan DESIGN / MEDIA Margot Stiegeler CONTRIBUTORS Marcy Bernstein, Ami Madeleine Daichman, Hillary Fink, Adrea Gibbs, Mike Jurkovic, Rik Mercaldi, Isabel Minunni, Robert Pucci PUBLISHER Caplan Media Group, Inc., Fishkill, NY SUBSCRIPTIONS To receive Van Wyck Gazette by mail visit our website and subscribe www.vanwyckgazette.com ADVERTISE If you would like to advertise with Van Wyck Gazette email vanwyckgazette@gmail.com
Table of Contents
3 A Painter Returns to Her Roots Marcy Bernstein
6 Family Pictures USA Hillary Fink
12 The New Maverick: Kenny Barron
Mike Jurkovic
14 Have You Selected Your Sunscreen?
Adrea Gibbs
16 Buried Treasures: Robert Gordon
Rik Mercaldi
18 The Flea Market Scene
Robert Pucci
22 In The Limelight: Daniel Torelli
Ami Madeleine Daichman
23 Chicken and Vegetable Bundles
Isabel Minunni
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FROM THE PUBLISHER The first Van Wyck Gazette was published ten years ago to serve a community and share news. Unaware of the micro-publication world, social media or digital publication enterprise, it was blissful to develop a twelve page format and duplicate twenty or thirty hard copies at the local copy store and deliver door to door. Like everything else, the drive to create and expand soon began to escalate and shape the direction I chose to take. In the case of Van Wyck Gazette, our campaign to recruit local contributing writers and artists began to yield a roster of talented personalities, many of whom are here to participate in our Best of Van Wyck Gazette issue. Many significant publishers have joined the fray and produced competitive micro-publications over the years. Many titles are found at the exit foyer of the local stores, art or entertainment venues or other places Van Wyck Gazette provides our free copies to the public. Yet many a publication failed due to the cost of printing, or failed to define their demographic or simple hyper saturation of the marketplace. Over the previous 29 issues Van Wyck Gazette has tried to promote the finest local writers and artists. It has been a pleasure to find those creative personalities, enjoy in-depth interviews and share both their vision and craft with our loyal readership. As a publisher, one thing I strive to promote is any enduring trend, rather than rehash the local news. Possibly our good fortune was an innate ability to appreciate the work of those who live a lifestyle of joy. Generous to a fault perhaps, are those who give their talent in words or paint, in music or films, and share on our pages the image or story from their raw or refined talent. So simply due to our belief in the extraordinary and gifted individual artists and writers, singers and poet-laureates, Van Wyck Gazette has grown to enjoy a reputation as a printed venue of art or entertainment. It has been a tough haul, as I would not deny a path fraught with hardship. But rather than digress, I cite our Best of Van Wyck Gazette as one example of a long chain of events which came to fruition. From a stint at IBM, to a degree at Marist in Community Psychology, I began to develop the concept of a publication free of corporate dictate. So our micro-publication shares the journeys of those who live the lifestyle they write of, or capture in paint. Our contributors cook in culinary competitions, or share the stage with poetic visionaries, or travel the world, or perform as singers or song writers. I hope you enjoy the Best of Van Wyck Gazette, a summer issue that glistens with great interviews, art, music and even a bit of nostalgia. I want to convey my appreciation to local expressionist artist Jose Acosta who provided the cover art.
Joseph Caplan
This issue for Ozzie
Cover art: “Butterflies” by Expressionist Jose Acosta Jose Acosta was born in San Jose, Cuba, in 1966. His family immigrated to the United States in 1969. Acosta has been creating art ever since he can remember, and has always enjoyed painting. In 2003, Acosta decided to go to the Art Students League of New York on weekends to further his art education. While there, he studied with John Hultberg, who greatly influenced him and allowed him to pursue his artistic visions. Acosta started his professional career as an artist in 2004, and began to exhibit in galleries and art fairs. That same year at his first public exhibit, Acosta won the Best of Show at the Dutchess County Art Fair. He has continued to exhibit widely since 2004 in a number of solo and group shows. By 2011, he has shown in over 300 group shows and has had 19 solo shows. The World Bank in Washington, DC, acquired seven of his works at the International Caribbean Art Fair in New York in 2007, and in September of 2008, the University of Pennsylvania acquired his painting, ‘Staying Alive,’ to display in the art library. In 2010 he became a member of the French Academy Arts-SciencesLettres and in 2011 he won the Bronze Medal in Art awarded by French Academy Arts-Sciences-Lettres. Van W yck Gazette - Summer 2018 Issue
Marcy Bernstein
My Sensual Surfaces: A Painter Returns to Her Roots My artwork and creative inspiration has relied on accidents for as long as I can remember. The objects and images and detritus I find wherever I go; the way that images reveal themselves as I scrape away at layers of paint, sometimes laid down years earlier and revisited, find themselves weaved into my work in unplanned ways. Despite years of training and education as an artist, the accidental approach allows for visually and emotionally stimulating surprises that I may not have intended, and I capitalize on the results. I prize accidents. But, the thing about accidents is that often their value is hidden when they occur, only revealing what they add to a picture, or a life, in their aftermath. So, little did I imagine that an accident that caused me severe head and bodily injuries, and an abrupt end to the life I had experienced for over fifty years, would become a catalyst for my growth as an artist and builder of a thriving arts community. And now it has lead me to the opportunity to present a solo show of my work at Roost Gallery in New Paltz this August. As Theodore Roethke wrote in his poem, The Waking, “I learn by going where I have to go.” I moved to New Paltz in 1986 following the completion of my Master of Fine Arts Degree at Parsons School of Design, and began teaching art in the Newburgh public school system. I raised my children in New Paltz and have maintained a continuing love affair with this area and community that has never waned. While teaching art, like most other artists, I have often been challenged to find enough time to make my own art and to participate as fully
as I would like in the local arts community. For all that time, I was also a fitness enthusiast; a proficient rock climber leading hard Gunks routes, a long distance runner and an avid cyclist. I loved riding my bicycle. But, on August 23, 2016, so much of all that came to a sudden halt. On a beautiful, sunny Sunday as I rode following a group of friends, in an instant that I can (fortunately) only barely recall, I was sent careening over the front of my handlebars at full speed face-first onto the pavement, the result of a poorly maintained roadway. If not for the fortuitous intervention of a gifted and caring bystander, who happened to be a nurse, I would surely have died that morning. Following a helicopter airlift to Albany Medical Center, I underwent numerous surgeries to reconstruct my face and jaw and implant new teeth for the eleven that were never found. Recovery was long and painful. I was unable to begin the school year, and was left with endless hours – in and out of consciousness – in which to ponder what my future would look like. As the surgeries progressed, I began to adjust to seeing someone in the mirror that I hardly recognized. We all struggle with the changes imposed by natural aging. This was something different; I felt deformed. I didn’t feel pretty. I also had trouble speaking and lacked energy, both of which were essential to my job as a teacher, in a challenging school district with nearly a thousand students passing through my classroom each year. And at the same time, I began to wonder what was possible. Being away from teaching for an extended period of time, and thinking Page 3
about what was important to me, I began to map out the germ of an idea to create an arts community in New Paltz like none other. I began looking at spaces nearby that might be a forum and showcase for artists. One morning, quite by accident (as usual), I stumbled upon a gorgeous, sun-drenched second floor vacant space with polished wood floors in the heart of Main Street, New Paltz. The landlord turned out to be generous and had an artist’s spirit in his heart. As an experiment, and with no ability to pay rent, we invited would-be members to the space, and Roost Studios and Art Gallery was born, named for the iconic “Bandit’s Roost” photograph by Nineteenth Century photographer Jacob Riis. Roost has thrived since its inception. Incorporated as a notfor-profit 501(c)(3) enterprise, the gallery operates as a cooperative with over 20 full-time members who are all volunteers, working hand-in-hand with a corp of interns from SUNY that perennially refreshes itself with new faces as the semesters pass. Yet again, for me, an accident proved to be a valuable turning point in my life that has impacted an entire community. A show of my body of work, entitled, “Sensual Surfaces: Windows, Walls and Doors Explored,” will open to the public on Saturday, August 18, 2018, at Roost Studios in New Paltz and will be on display through September 9, 2018. To finally have a chance to display my personal work, after so many years, is both exciting and a bit scary for me. Art is a personal and intimate communication sent out into the world. In my abstract paintings there is a strong figurative reference to both human fragility and resilience. The artwork you will experience recombines, reimagines and recreates distressed and eroded geometric forms into sensual surfaces made up of my own photographic images, painting, drawing and encaustic combinations. All of these elements are then put together on recycled and repurposed surfaces to create the final piece. One theme in my work is time itself, and the way human energy and natural forces both form and deform abstract perfection over the years. I am interested in pushing the boundaries of geometric forms to create something physical, sensual and evocative. The creative process to me is a bit like being a magical Rumpelstiltskin spinning gold out of straw by taking whatever circumstances that life has handed me and creating opportunities out of them. Along the way I intend to add a bit of beauty to the world. When speaking about my art I often list these adjectives: unresolved, messy, luminous, resilient, scarred, beautiful and wise. It is my hope that my work, as well as my life, are imbued with these qualities. Please visit our website: www.roostcoop.org or for more information email marcy@roostcoop.org or call Roost Studios and Art Gallery: 845 419 2208
sevenfold school of art
Classical Figure Drawing with Alex Canelos (845) 255-7612
alex@thesevenfoldstudio.com
Regular Gallery hours: 11:00 AM to 8:00 PM, Thursdays through Sundays every week of the year. Meet me, and enjoy wine and cheese and art galore, at the opening reception, which will be held on Saturday, August 18, 2018, from 6:00 to 8:00 PM. Roost Studios and Art Gallery 69 Main Street - 2nd floor, New Paltz, NY. Page 4
(845) 568-7540 Roost Studios: 69 Main Street, in New Paltz, NY www.roostcoop.org V an W yck Gazette - Summer 2018 Issue
Family Pictures USA: Redefining the Family Album For A New 21st Century America Hillary Fink
An Interview with Thomas Allen Harris Redefining the lens we use to look at our family photographs, Thomas Allen Harris’ series Family Pictures USA provides us with the opportunity to transform our relationship with the traditional family album beyond its sentimental value through the act of storytelling. Helping us to reexamine our photographs as artifacts and portals into our history as people and a community, Harris has provided a platform to illuminate who we are as Americans with the hopes of creating a national family album. With award-winning films such as Through A Lens Darkly (2014) and É Minha Cara/That’s My Face (2001), Harris’ work as a documentary producer, photographer and artist is centered in seeing ourselves beyond our differences and coming together by viewing ourselves in the contexts of humanity and community. “The participatory model of filmmaking I’ve developed throughout my career examines intergenerational exchange and themes of progression, transference, and renewal within movements and communities,” says Harris. Looking beyond our differences in a rapidly evolving age of media, he hopes that this series will provide the opportunity to come together through the context of humanity and pave way for a new America. Tell us about your background as a photographer and film producer. I was raised around photographers and activists. My grandfather was an early influence. He would photograph the family in our Sunday best and direct films documenting our Page 6
neighborhood and church. He left behind an enormous archive that has catalyzed my archiving, film, and photography practice. My step father… The family album and the archive play a central role in my deeply personal films VINTAGE- Families of Value (1995), É Minha Cara/That’s My Face (2001), and The Twelve Disciples of Nelson Mandela (2005). My recent film Through A Lens Darkly (2014) - community engagement and transmedia project. The participatory model of filmmaking I’ve developed throughout my career examine intergenerational exchange and themes of progression, transference, and renewal within movements and communities. Your current project Family Pictures USA focuses on the family album, can you speak more to this project and what inspired it? Family Pictures USA is a documentary-style magazine show, filmed before a live studio audience, that journeys through a rapidly changing landscape where the foundations of a familiar and idealized “AMERICA” are being transformed. As ordinary Americans begin to discover their hidden family histories, stashed in boxes in dusty attics or on old floppy disks and new smartphones, they will unpack more than artifacts and ephemera. They will re-meet their relatives and old friends — fascinating characters, brought back to life by images and stories — giving them a new home in our collective consciousness, and introducing us to a more nuanced and diverse story of our common history, shared present and evolving future. Family Pictures USA will mine this rich treasure trove of personal narratives to reveal roots, connections, and provocative parallels that will surprise us and illuminate the path toward a new America for a 21st Century. V an W yck Gazette - Summer 2018 Issue
album and re-enact the stories that led to their exile. Several of the youth were neighbors of these anti-apartheid heroes but had no idea who they were or what they’d done. This film, “Twelve Disciples of Nelson Mandela: A son’s tribute to unsung heroes” became a transformative experience for everyone. It allowed me to connect the generation that came before me with the generation that came after me. The result was that the young actors were able to walk in the footsteps of these heroes, while performing the history of their city. The still living disciples and their families were able to connect with the significance of their own personal journeys and the sacrifices that came with exile. Through this synthesis of archive and remembrance, we expanded the story of the South African liberation struggle to include the city of Bloemfontein while inspiring young South Africans to creatively engage with their history. I thought, how could I bring this experience to America and use it to create a new national family album? To bring forth images of lost, suppressed or hidden stories from the boxes in attics or under beds, or hard drives or phones - to build a collective album to help us to understand who WE are as Americans. This is how I built the idea of Digital Diaspora Family Reunion and Family Pictures USA, around this idea of the family album.
Family Pictures USA emerged out of Digital Diaspora Family Reunion LLC (DDFR), a transmedia community engagement project I founded in 2009 which has built and refined a community photo sharing model. DDFR uses photography, film, live events, social media, and storytelling to expand on family histories. DDFR has held live events in cities across the USA and around the globe. To date, we’ve interviewed over 2,500 people and gathered in excess of 30,000 images. Why the family album? What can it provide to us as individuals, a community, or even a country? Family albums ground a sense of who we are and where we came from. One particular film that made me realize the hidden power of the album, and transformed my relationship with it: My stepfather, Lee, … group of 12 young men… built the anti-apartheid movement in exile. Lee was the only one of the disciples to use media as his tool of resistance… he documented friends and community during his decades in exile. It was this album that I brought back to South Africa to share with the still living 7 Mandela disciples he had left the country with in 1960. Lee left South Africa on a mission to spread the anti apartheid message and was only able to return 30 years later. It was his family album that helped him remember the home he was forced to leave behind. What I found in Bloemfontein, was that there was little visual record of the city’s long history of anti-apartheid resistance or of the 12 Disciples from Bloemfontein. Lee’s photo album filled in these gaps in the history of the city and I wanted to use the album to activate communal memory. I had the idea to invite young actors to engage with Lee’s
How does technology play a role in the family album today? Is it a beneficial one? Family Pictures USA debuts in a rapidly evolving era of digital media, defined in part by algorithms, fake news, and a reliance on over-saturated social media. With legions of images coming one right after the other – the question becomes how do we identify which images are important? How do we keep the important stories of the family album intact? Despite their double-edged nature, these new technologies may actually be key to achieving a deeper connection to history and community. In the last decade, I’ve used video, photography, performance, and social media to empower individuals to explore and share the rich and revealing narratives found within their family photo albums. I use a transmedia approach, one that incorporates many ways of gathering, organizing, and interacting to share many hours of interviews and tens of thousands of family photographs. As a result, Family Pictures USA can forge new connections… deepening our understanding of our history and our diversity and shared values... And that may be the true power of technology as it’s applied to intimate acts of looking, sharing, and storytelling: to open spaces for complications and expand how family and community is conceived. Family Pictures USA is compared to StoryCorps and Antique Roadshow, how is this so? Like StoryCorps, Family Pictures USA guides participants through a personal narrative in a short interaction with a host/producer, but using photographs and images as the primary medium of the story. Like Antiques Roadshow, Family Pictures USA travels to different locations within a given community, town or region and the surprise is in uncovering little known and unusual personal stories and connecting them to a larger narrative that better contextualizes a particular locale. The value revealed is in how these images inform our Page 7
4th Generation larger understanding of the culture, beyond mere family memoir. different public TV stations to tap into their audiences, and help You recently filmed your pilot- where did that take place and them produce strong local content. We received grants from various supporters and funders to do research with different why did you choose this community? Our pilot series features the city of Detroit on the 50th stations, such as Alaska, Texas, California, and Massachusetts. anniversary of the rebellion that devastated the Motor City. Working We then narrowed it down to two stations. We are still working in partnership with Detroit Public TV and cultural and educational out the kinks and how it works in various environments and institutions, we reached hundreds of thousands of Detroiters. We communities. West coast vs. the east coast, rural vs. urban, etc., selected over 100 families to come in and share photo albums and if things are going to shift based on the location. Even though we are shooting in Florida and North Carolina that spanned generations, and numerous global origins, to reveal we have people who have families there and are connected to the story of a frontier town that became one of the greatest cities them but they no longer live there. We are aware that families in the nation and captured the imagination of the world. We chose move frequently, so we are also going to be open to shooting Detroit or Detroit chose us. As our episode demonstrates, Detroit people in other states who have albums of their families in those has much to teach us about perseverance, hustle, and triumph states. We hope that those people will be able to participate, over challenges. building a family album of both of those particular locations. We had been communicating with Felicia Davis at Detroit We don’t normally use a traditional album anymore, as we historical society, and also the Ford Foundation had started to are always on our phones. Part of the larger vision of the project amp up activity in Detroit. They reached out to a variety of projects is to create a national family album, thinking about what does they wanted to bring there, and we were one of them. So it was the historical society and the Ford Foundation. We had already America look like now. been talking about turning Digital Diaspora Family Roadshow (DDFR) into a TV series, and they allowed us to think of Detroit as a dry-run for our pilot episode. Some ways it kind of feels like fate. I also have certain family origins in Detroit. My two different sides of the family. I have images of myself as a toddler in Detroit, when my family took me to meet my great grandmother. We worked with twenty different partners there to do outreach, and we interviewed one hundred families. It’s amazing to learn so much about this city from doing the show. Detroit borders Canada, which has this amazing rich history. We had many native American families from Canada who we interviewed, who came and shared their family photos with us. Like any border city it has that mystery and mixture of languages and cultures. That makes it really exciting. Family Pictures USA is set to film in two upcoming locationswhere are these locations and why did you choose these communities to film in? One of the locations is Southwest Florida, and we’re going to be working with WGCU TV in the fall. Also in North Carolina, working with UNC TV. On both projects we are working with rural facing communities, or public TV stations that have large rural components. For our FPUSA pilot we were in a major urban environment, and now we are moving from urban to rural communities. The way these locations evolved was we were talking with Page 8
You are also collaborating with CUNY-Hunter College-can you tell us more about this project? This summer, Digital Diaspora Family Reunion is partnering with Hunter College and Centro on the development of a community archiving and performance exhibition out of their East Harlem Gallery space. For 2.5 months, rotating exhibits of DDFR’s vast archives will be available for viewing and collaboration by the public, who are invited to attend Community Photo Shares to contribute to and remix an Upper Manhattan oral and photographic archive. It is an ongoing exhibition for people across the tri-state area who might have connections to Harlem, and who can come and share their stories. It is going to be an installation, working with Hunter graduate students and family pictures. Some students are going to come and work with our archive and create short pieces, such as films and collages. Special guests will come for events, and it will be open to people sharing their family albums and photos. If people are interested they can reach out to info@ familypicturesusa. It will be kind of like a “block party,” where people can come and have fun as we create an extended family. As you are the host of FPUSA, who else will guide us through the series within each community? Local historians, longtime residents, people who built the neighborhood, who were drawn to it. The many participants and their photos. V an W yck Gazette - Summer 2018 Issue
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What we are doing is creating community storytelling and connections, and it’s important to have people invited to be a part of this. Community participation and building is at the core of this series, and that’s an important part of my art practice. So that we see one another beyond gender, age, race, etc., and see ourselves in the context of humanity and caretakers of the earth, our communities. That is the epitome of my work as an artist. Family Pictures USA consists of Community Photo Sharing events - how are these events conducted and what do you believe participants will gain from them? They take place at various locations of our partners, such as the Detroit Institute for the Arts or Detroit Historical Museum, as well as churches, synagogues, libraries, and museums. People come in with their photographs, and we help them make a selection of the ones that tell a story. We then digitize the images, and then scan them and give them a disc of their scans. We are then able to help them do creative things with their family stories. We help to transform their relationship with these stories, as they begin to see them as more than sentimental items and more like historical artifacts. They also get an opportunity to see their photos outside of the context of their family. Seeing them, in some ways, different eyes. This can be a tremendously, transformative experience. Five people can look at a photo, and they will see completely different things. People who are not related to the family in the photographs bring a transformative lens that the family may not see. The pilot for Family Pictures USA was filmed in Detroit on a very important date, the 50th anniversary of the rebellion that devastated the city, what was that experience of examining and reliving that piece of history with the community like? It was really intense. The riots, some calling it the rebellion or the devastation, led to a major change in the city. There were circumstances that led to that event and escalated it, like police brutality. A lot of people dispersed after, but we saw that they had this relationship to Detroit. This longing to come back. We found out some people drove two hours to come and share with us. It was quite moving. They shared with one another, and told stories about how their neighborhoods changed, and their memories before the riots. We did these photo shares over the course of five weeks, and we even brought people back to the site of the riots. It’s beginning to gentrify, but its still kind of the hood, and there’s a park, Gordon Park, that was built for that memory. We had people who came to that neighborhood for the first time, and we did this live photo event and it was so moving. People who attended were saying that they haven’t seen this diversity. Page 10
We just did this same event in Oakland for CAAMFest, and they too said that they couldn’t believe the incredible diversity in the audience. The different ages of young and old - even a baby! We had so many ethnicities too - Arab, Finnish, Asian, and Cambodian families, queer families, deaf people. That’s one of the hallmarks; we are able to bring people together across differences to see our similarities. It almost seems miraculous, because we are kind of balkanized. This gives us an opportunity to hear and listen to one another using the common troupe of the family photo. What do you seek to accomplish with Family Pictures USA? What do you want communities and your audience to take away from your series? I want to see what we look like as Americans. I want to see what we look like as Americans today. I want people to see the value in their family album. I think that’s just the amazing thing about it. I want us to see how we are as a people. To transform our relationship to the family album to beyond just their sentimental value, and see how they have a connection to our history and our communities. We can use our photos our tools, to tell a story on American television. Especially on public television. As a documentary film maker I am aware of the power it has to tell the stories we want to tell. What are some of the ways individuals can become involved? How can one bring Family Pictures USA to their community? They can reach out to us if they want to become involved. They can email us photographs and a story, and we can create a blog post out of it. We can also link to their blog; And we welcome that. If we get a certain amount of stories from one location, we may begin looking into that area as well. They can also start to gather together their institutions, and say they want to host a photo sharing event and we can come there. Our ethos is collaborative filmmaking, so we are always looking for people to work with us. Especially people in education or art making, such as family photos. We would love to hear about it! If you have certain resources or ideas for partnership, that would help us tremendously. It is best to check out our website to see where we’re going next, because you may have photographs from there and you can become involved virtually. Read more about Family Pictures USA, and follow its journey by going to the website https://familypicturesusa Van W yck Gazette - Summer 2018 Issue
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An Interview with the New Maverick Mr. Kenny Barron
Mike Jurkovic Before he was barely of legal age, jazz master Kenny Barron was jamming in his hometown of Philadelphia, Pennsylvania with such notables as drummer Philly Joe Jones and saxophonists Jimmy Heath and Yusef Lateef. The musical titans he started freelancing with upon his move to New York at the young age of 19 were no less staggering: Roy Haynes, Lee Morgan, and James Moody. When Moody told Dizzy Gillespie about Barron, “Diz” hired him on the spot, without hearing him play a single note. By his mid-twenties, iconic jazz masters Freddie Hubbard, Stanley Turrentine, and Joe Henderson, were all part of Kenny’s circle of deep friendships and mentors.
Mike: You were honing your craft and coming into your own during the craziness of the 60’s. . . Kenny: The 60’s were wild times! Civil rights, social attitudes, and musical changes going on all around you. Ornette Coleman and the free jazz movement…. it’s all in the music. There’s no way it couldn’t be. We did charity concerts for CORE and SNCC and the Black Panthers. You get involved, which is a good thing. And it shapes your frame of reference for music and life. But basically…I’m a bebop player, you know? Mike: Did you come into direct conflict with the racial tensions of the day?
On April 1, 2018, we had a great visit with Kenny about his musical <You could sense him reflect.> journey. Kenny: Not so much…nothing overt. But I remember Dizzy telling Mike: How did you manage to stay within yourself playing with me when he was traveling with his big band, he had Red Rodney those cats, man? Most kids’ egos would have exploded several in the group. Red was white, and it wasn’t permissible for whites to play with an integrated band in the 40’s and 50’s, especially the 40’s. times over! Certainly mine would have. So they changed his name to “Albino Red,” and he got to stay. Kenny: Well, you know, it was very easy because you can’t get a big head around THOSE guys! Then when I got to New York, well, Mike: The album you recorded with bassist Dave Holland, The they put you in your place real fast! All the major players were there. Art of Conversation, has been my “go-to” album when I have Philly (PA) had some great, great local players. Reggie Workman to hear music that speaks to me. You both play so free and [who would play bass with Coltrane, Red Garland, Eric Dolphy and eloquently on it. How did that recording come about? Art Blakey, just to name-drop a few] was a great local player I came Kenny: It was a fun record to do because I love playing with Dave, up with who eventually moved to New York too. In time, EVERYONE we had worked together many years before and he was always leaves for New York! I learned an awful lot playing with those guys…. saying we have to record together. So when we were doing duo not just about music, but about how to present myself and treat other gigs in Europe, we were playing at a church in Paris and a producer people…especially from people like Dizzy and Yusef. They set the from Verve Records, Jean-Philippe Allard, said he HAD to record tone. us! And that’s how it finally happened. Page 12
Van W yck Gazette - Summer 2018 Issue
Mike: You said before that the times you were in and the people you played with influenced your playing and writing. Are there any piano players that influenced you or still do? Kenny: In the beginning it was Tommy Flanagan and Hank Jones. Their touch and lyricism I found striking…Bill Evans, especially his work in the 60’s - the way he would construct and voice his chords...McCoy and his constant sense of adventure…and of course, Monk! Mike: At one time in their careers or another, the stand-out players of every generation are called the new young lions. Your own creative longevity has certainly proven it true for you. Have you heard any new young lions on the horizon? Kenny: Oh yeah, certainly! Some of them have actually studied with me! Aaron Parks comes to mind. And Gerald Clayton is amazing! Mulgrew Miller first told me about a young man from New Orleans, Sullivan Fortner. He is really starting to make a name for himself. There’s a young drummer, Jonathan Barber, whom I love! Mike: Will you prepare for playing at the Maverick any differently than you would for a club date? Kenny: I’ll be solo, so the repertoire will certainly be different from a club gig. A lot of that will be determined when I get there and start playing. I’m looking forward to playing your piano!! Mike: Anything classical? Kenny: <laughing> Oh no, no, no!! I’d be a fool to do that! I haven’t played that way in a long, long time. But I’m sure I can evoke the feeling. Just tell everyone to come on out and support live music! Kenny Barron makes his Maverick Concerts debut on Saturday, June 30, 2018, 8pm. For ticket information go to www.maverickconcerts.org ABOUT THE AUTHOR Mike Jurkovic - poet, pundit, insurgent. President - Calling All Poets, Inc.; Music Reviewer - All About Jazz; Senior Writer – Van Wyck Gazette. Poetry collections include: Blue Fan Whirring, Smitten by Harpies, Shiny Banjo Catfish and Eve’s Venom. Mike loves Emily most of all.
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Have You Selected Your Sunscreen Yet? Adrea Gibbs I found myself standing in front of the multitude of protective skin care products somewhat astounded by all I surveyed. Beyond the choices ranging from SPF levels and application types, there were the various and assorted brands, both known and unknown, screaming back at me in vibrant colors that nearly required I pull my sunglasses out in an effort to avoid the glare. Interesting the color choices, considering these canisters and tubes were all supposed to protect my skin but clearly gave no thought to my poor eyes as they squinted to read tiny script against their neon palettes. It is amazing what a business has grown from simply wanting to be outside in the sunshine and the need to be safe from what we now recognize as the errors of our industrial ways. I remember, as a child, getting sent outside, if for no other reason than to get some Vitamin D the old-fashioned way. I know, now, it was really our Mom’s way to have a small bit of peace and quiet from me and my brothers constant racket-making inside, especially during summer vacation. In hindsight, I find this ritual of casting us outside interesting when I consider one of the primary activities for our family during the summer was spending almost all day at Bud Lyndon’s Swim School, an open-air pool, which was nothing short of sunlight. Depending on our ages, we were either in swim lessons, at swim team practice, or, in my Gibbs Kids with Bud Lyndon case, at my first “real,” job Page 14
(babysitting notwithstanding) working in the office booking and teaching swimming classes. Maybe summer days are longer when you are a child (and an exhausted parent). In spite of being outside in the sun all day, your parental unit insists you return to the great outdoors (or in our case, the great cul-de-sac) to partake in the dwindling hours of day- and early twilight. I believe Mom’s specific request of us was to come home as soon as the street lamps come on. Or Dad’s car drive in. Whichever comes first. But, back to the pool. Bud Lyndon, the owner of said swim school, was without a doubt, an influential giant in my personal book. A grizzled man with richly tanned, leathery skin (perhaps cast-off of what may have been at one point the “fine Corinthian-,” variety), horribly ugly feet (which I presumed were from thousands of hours spent barefoot on hot concrete pool decks, diving boards, and soaking in chlorinated water), and brandishing a buzz cut hairstyle any porcupine would be proudly wear was my view of him. My mom told me later it was probably more due to his having been a Long Beach lifeguard for years and years and years, hence, his perpetual red shorts. Bud would bark at anyone, be it referees, parents, teenagers, or 2-year-olds, to get them to shape up and act right. He was as scary as he was kind, incredibly protective of all his damp charges. He always got the best out of each one of us, harsh methods aside. Then again, it may have been those very methods that made us pay attention. He was one man no ever wanted to disappoint. Even through there was discipline, he believed very strongly that actions had consequences, Bud’s central principals, courtesy to and respect of one another, were always at the forefront. When we had meets with other teams, he made sure we were on our best behavior, whether at home, being good hosts, or away, as appreciative guests. Be polite. Be fair. And most importantly, to always remember we were representing the club, our parents, our families, our teammates, and ourselves. For all those summers, I am not sure any of us youngsters realized the wealth of life lessons we were reaping. I know it was not lost on my folks. In V an W yck Gazette - Summer 2018 Issue
fact, I think that may have been as much the reason for our going there year after year after year as was the swimming. Certainly, at first, it was about being water safe, but as things progressed, I suspect Bud’s wisdom and guidance was equal to the laps. The exercise of exhausting four kids was an added bonus for my parents when coupled with our youthful understanding as to the importance of being a good citizen. Cantankerous as he was, Bud’s way of doing things was effective. While the infamous black and white striped penalty bench which sat out in a blaze of glory (the direct sunlight) was put into play for anyone running around the pool (“No Running,” after all, was Rule Number One), acted “smart,” or misbehaved in some way such as acting out or not listening to key instruction, might be considered cruel and unusual punishment by today’s standards, but I can tell you it usually only took one seated turn to correct behavior for the duration of the season. Sitting on a burning hot bench does give one pause to think about their actions as bottoms burned as brightly as the afternoon rays. He gave us far more to think about than Butterfly, Backstroke, Breaststroke, or Freestyle, though, I think, they masked real lessons. And Bud wasn’t just talking philosophy. He was action-oriented, always having our backs as individuals and as team members. I recall one particular season, a team championship, I placed first in my division, only to have it be taken away when another team claimed their swimmer had taken top honors. Bud went to my defense and, as it turned out, I had won. However, there was some behind-the scenes manipulation that had been attempted in order to place the other swimmer higher. Bud called them out for their deception, privately, pulling me and my parents aside to share that it was better to let the other swimmer keep the trophy, in spite of the questionable circumstances. It was the “right” thing to do. The next week, he presented me with the same trophy that had been taken away, remarking that I had more than earned the award. That has always stuck with me. Bud not only made sure the folks who had done the misdeed were called out, he was also aware the swimmer was not responsible and should not be put into the same embarrassing, awkward position that I had been. That was the kind of man he was. Gruff. Hard-as-nails. Thoughtful. Kind. Generous. But this wander down memory lane began with sunscreen and so it shall come full circle. All that time at the pool and running around in the sunshine was not without suntan lotions. Discussion, then, was not about sunscreen, although I know we used some protection, and remember proudly slathering zinc on my nose when I was finally on lifeguard duty. And, of course, it was the era of baby oil. Yes, the generation that barbecued itself in backyards and beaches and mountainsides everywhere. Why I still have any skin at this point in my history is a good question, particularly with today’s knowledge of skin cancer and related issues. These days, I do ritualistically use sunscreen and find myself in the perpetual conundrum of which product is best suited to me. Do I go with the spray that leaves me feeling a bit like I have come from an overly aggressive hair salon appointment? Or is the traditional lotion, requiring me to stand bare-naked for a period to assure it has soaked into my skin thoroughly a better choice? Perhaps I need a stick to toss in my bag? And what protection number is appropriate? Reading all the data out there, it can be hard to discern what route offers the best, most efficient coverage. I have found myself leaning toward the baby offerings figuring they need the most protection, so that should do the trick. So what is the result of all this rambling? Use sunscreen. Use it for a myriad of reasons. Use it for your health. And most importantly, use it because that is what Bud would tell you to do.
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Buried Treasures: Robert Gordon w/ Link Wray Fresh Fish Special Scouring through bargain record bins is something that I love to do, I can’t help myself. It’s a hobby that can sometimes drift dangerously close to an obsession. It’s not just about finding cool records. There are always rare, collectible, drool-inducing offerings, often strategically placed along the walls of most record shops. Designed to grab your eye and increase your heart rate, they are usually among the higher priced pieces, reserved for the ardent collectors and well-heeled consumers. Neither of which am I. Diving deep into the musty depths and unearthing discarded treasures, while the damp odor of moldy cardboard fills my nostrils, is truly a labor of love. The desperate search for that little nugget Page 16
of cheap gold inevitably involves crawling on dusty floors, knees aching, while my blackened fingertips furiously flip through stacks of one-hit wonders, Broadway soundtracks, and Barbara Streisand records (there are always A LOT of those!). I emerge from the floor and head to the counter with the results of my archaeological expeditions proudly displayed, and can’t get home quick enough. This was how I discovered Fresh Fish Special. Dragging a comb through his slick black quiff in 1950s monochrome cool, his indifferent expression oozing a glacial, Brando-esque rebel charm, the typewriter font of “Robert Gordon w/Link Wray” is stamped across the top like an afterthought. It seemed sort of Punk Rock, the DIY look of it was instantly appealing. The fact that Link Wray’s name was on there made it all the more intriguing. On the back cover, the two of them stood glaring like they were daring me, or looking for a fight. How could I resist? Link Wray’s name was synonymous with Rock ’n’ Roll. His rebel rousing song “Rumble” had kickstarted a revolution with its deliciously nasty guitar tone and menacing groove. I was already very familiar with Mr. Wray and owned a couple of his records, Robert Gordon, not so much. I’d heard that Robert Gordon was in a band called Tuff Darts who were one of the bands that frequented CBGB’s during the Punk scene that developed in New York City in the mid-1970s.. Van W yck Gazette - Summer 2018 Issue
I was a fan of some of the other bands from that scene, including Television, Richard Hell and The Voidoids, and Patti Smith. Although I had heard of them, I’d never actually heard any of their music. Knowing that he was part of that scene and was now aligned with a bonafide Rock guitar legend was all that I needed to know to give this disc a shot. Growing up in Bethesda, Maryland, Gordon first heard Elvis Presley singing “Heartbreak Hotel” on the radio and his life was irrevocably changed. Absorbing the Rockabilly swagger of Gene Vincent and the swinging Rock ’n’ Rock of Eddie Cochran, he decided that he wanted to be a singer. His first recording experience came in 1964, at the age of seventeen when he joined a group called The Confidentials and made several acetate discs covering songs including “Summertime” and “Money”. In 1970 he relocated to New York City and joined the Tuff Darts a few years later. They eventually became local fixtures in the burgeoning music scene developing around places like CBGB and Max’s Kansas City, releasing several singles and appearing on the infamous “Live At CBGB’s” compilation album that came out in 1976. Hooking up with producer Robert Gottehrer, who was impressed with Gordon’s rendition of Elvis’ “One Night With You”, the two discussed doing an old school Rock ’n’ Roll record and Gottehrer suggested recruiting guitar legend, Link Wray. In 1977 Private Stock Records released “Robert Gordon With Link Wray”. Wray was duly impressed with the results, commenting that “Robert, to me, sounds a lot like the raw Elvis when he was at Sun Records”. This set the stage for their next record. Named after Elvis’ haircut in the film Jailhouse Rock, “Fresh Fish Special” was an infectious blend of covers with a couple of Wray’s originals thrown into the mix. Link Wray’s slashing tremolo-soaked guitar chords kick things off with “The Way I Walk”, Gordon’s rich, velvety baritone wrapping itself around the song’s lyrics, his flawless execution, and vehement delivery, not merely embracing the past, but owning it. The debt to the golden days of Sun Studios is obvious, while not sounding dated. When Wray dives into the guitar solo with his trademark reckless abandon, sparks flying from his fiery double stop guitar licks, it’s crystal clear that this is not some kind of retro oldies act, this is a homage of the highest order. A platform firmly built on the past but presented with a passionate, enthusiastic honesty that’s utterly irresistible, and impossible to sit still through. Wray’s guitar work throughout provides the perfect
accompaniment to Gordon’s voice, tender and melodic one moment, tough and incendiary the next. If the “shooby doo wops”, and “ahhhs” you hear punctuating the choruses sound familiar, they should. Gordon recruited The Jordanaires who sang backing vocals for Elvis Presley. They are the perfect touch of smooth harmony and sophistication to an otherwise raucous track, and they appear liberally throughout the album. Bruce Springsteen contributed the song “Fire” for the album and even provided some keyboards on the track. The Pointer Sisters had a hit when they recorded the song, but Gordon’s, version to me, is the definitive one. His covers of Eddie Cochran’s “Twenty Flight Rock” and Huey “Piano” Smith’s “Sea Cruise” are textbook examples in the proper execution and even reclaiming of Rock ’n’ Roll standards, while his unearthing of the great “Lonesome Train (On A Lonesome Track), originally recorded by Johnny Burnette’s Rock ’n’ Roll Trio, shows an uncanny ear for realizing potential, fashioning a brilliant interpretation and breathing new life into a lost gem. Special note and credit also must go to producer Robert Gottehrer. A former Brill Building songwriter in the 1960s whose credits include “My Boyfriend’s Back” and “I Want Candy” he moved into record production in the 1970s. His crisp and lean production adds just enough sonic shimmer without diluting the heady brew captured on the tape. The record still sounds remarkably fresh, the spirited performances literally leaping out from the grooves. I don’t dance, but I really can’t sit still when this record is playing! Robert Gordon and Link Wray amicably parted ways soon after Fresh Fish Special to pursue other projects, Gordon eventually going on to record three LPs with RCA Records, a time he called “a dream come true” being on the same label as Elvis once was. Gordon continues to tour regularly and has recorded sporadically with various record labels, recruiting other noteworthy guitarists including British sixstring legend Chris Spedding and the late Danny Gatton, preaching the Rock ’n’ Roll gospel to anyone who cares enough to listen. Robert Gordon will be appearing at the Towne Crier Cafe in Beacon on Thursday, July 5th. Joining him will be longtime musical comrades, the previously mentioned Chris Spedding on guitar, and Fresh Fish Special bassist Rob Stoner. If you love real Rock ’n’ Roll, you won’t want to miss this one, and you might just want to put on your dancing shoes.
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The Flea Market Scene
Robert Pucci It is Zero Dark Thirty and a long caravan of vehicles is making its way down Route 7 towards New Milford, Connecticut. There are panel trucks, box trucks, flatbed trucks, SUV’s of every type, vans of white and a stray station wagon and sedan. They turn at a road sign welcoming them to the Elephant’s Trunk Flea Market. It is well before dawn and, for this caravan of flea market dealers, it is the start of a long and hopefully profitable day. They line up in neat rows, sometimes as many as twenty stretching to the limits of the parking lot, and they wait for the field to open. Some get outside of their vehicles and greet one another in the chilly pre-dawn. Some have made arrangements to bring special things for other dealers to buy, and they affect an air of covert activity. Once the field is open, row by row their headlights turn on and their engines ignite and they slowly ease their vehicles towards the gate. They pay their fee at the gate and are directed where to set up. Some hope for the upper field and everyone would like to be close to the front. Once in place the engines and lights switch off. Some dealers doze while some get coffee, and some open their trucks to the other dealers, who will swarm an open truck with flashlights looking for treasures in the dark (resembling a search party or a group of first responders trying to rescue someone who has fallen into a well). In the dark there are many transactions as dealers hope to turn a profit even as the early buyers, who pay as much as $40 for the privilege, stream in. Dealers buy from dealers hoping that their wholesale purchase at the flea market will turn a profit at their retail locations. There is one dealer I know, however, who comes with a nearly empty pickup truck. Strolling through the aisles he makes enough purchases to sell almost exclusively what he has gathered up in the darkness. His expertise in crocks and Americana allow him to spot those items with enough money left in them to make a profit. Others dealers move about with an eye towards later purchases, scouting out the wares and asking prices that they know will be lowered if the items do not sell when the field is opened to early buyers and then the general public. Page 18
These dealers will return later to strike a bargain. One tactic is to offer to buy out entire lots of hardware, boxes, dolls, fixtures, etc. Dealers want to leave with empty trucks and this helps prospective buyers quite a bit. Now it is about 6:30 and the general buying public starts to line up at two gates. Many are regulars who have prepared well to do battle with the field. They carry backpacks, they wheel wagons and they bring bottles of water. As they stand about they share stories of their great finds, or customers who did not complete purchases, like fishermen talking about the one that got away. One couple is looking for furniture for a house they just purchased, and like many younger buyers search for mid-century modern, another seeks out old photographs and interesting ephemera. In a conversation with one couple from Sharon, Connecticut I answer a burning question. Why is it that many booths seem abandoned with no dealer in sight? I explain that the dealers are out shopping and that about two-thirds of the sales that day will be made to each other. The couple is surprised. They are there for browsing with no specific desire but hoping to be tempted. They consider the Elephant’s Trunk a warm up for the granddaddy of North East flea markets, Brimfield, a week long extravaganza of various flea market fields that open three times during the season in May, July and September. The week before this mega-market, dealers often shop at the weekly offerings at the Trunk to pick up fresh merchandise or, in the trade, “merch” on their way. The prices of goods tend to rise with the latitude. At 7:00 am the gates are opened and buyers stream onto the field. As they do, they cannot help but notice the encampment of the HGTV show Flea Market Flip, which occasionally films at the Trunk and at our other flea market destination in the article, Stormville. Buyers strategies differ, as some start at the front and work their way to the back, and others start at the back. One breed of market-goer methodically examines every bit of merchandise, while another prefers doing a quick scan, wanting to cover all booths before going back for a more detailed look. The regulars Van W yck Gazette - Summer 2018 Issue
are often dealers looking for sleepers, those items of great value that are way underpriced. I once purchased a Civil War era overthe-shoulder cornet for 10 dollars that I resold to a musical instrument dealer for one thousand dollars. One dealer named John, who resembles a 19th century Russian anarchist, spoke of a day when he picked $24,000 worth of art for peanuts in a single pass of the field. Even without a spectacular find most shoppers will find that they are paying low wholesale for most items whose price might be double in a retail shop. But no matter how reasonable the price there is sure to be some haggling. Which brings us to the popular HGTV show, Flea Market Flip ,which provokes a mixed reaction from dealers. Some enjoy the spotlight of getting on television and sparring with the host Lara Spencer. However, most remark that the show has given rise to the notion that whatever the asking price of an item, maybe a buyer can offer half. This can get ridiculous as someone offers a dollar for a two dollar item. While dealers do expect not to be firm on most items, they really don’t like to be insulted with low ball offers. Show runners negotiate the prices of items purchased on the show. So, when the contestants haggle with a dealer, they always come to a quick and successful negotiation. In reality, “not-reality show” dealers have expenses that include the set-up fee, the cost of an item’s acquisition, as well as transportation. A safe first offer is about 20% to 30% off the asking price. A bargain will be struck if the profit margin is sufficient. Items that have been in a dealer’s inventory for a time might even lead to the dealer accepting an offer that represents a loss, or breaking even. About to load an oak table onto my station wagon a third time for the trip home, I took a break-even offer. Videographers and buyers mix as they make their way through the fields encountering antiques (formal, country and utilitarian), collectibles, housewares, plants, sporting equipment and perhaps a kitchen sink. In previous years large items had to be hand carried off the field, or taken on carts supplied by the management (that many swore had square wheels). Now, however, a service called Carter’s Porters uses an army of young men with broad platformed carts and large rubber wheels to bring things to your car “from the Trunk to your trunk” for a fee. Even if one arrives early, and gets a parking spot near the gate, the distance from object to car can be considerable. If you arrive too late at the Trunk on a busy Sunday you may not be able to park in the parking lot at all. The time between 7:00 am and 9 :00 am is when the most vigorous selling activity takes place. At nine o’clock a second wave of buyers hits the field. They are more causal, making an experience out of the search. They buy breakfast sandwiches,
Page 19
they pause at curiosities and speak to the dealers. Their search is less driven, but still they are determined not to go away empty handed. As the day progresses there will be about two more distinct waves. The later ones are often out for a stroll. The dealers refer to many of these latecomers as tire kickers. They will ask questions, get entire histories connected to an antique or unusual item, with no intention of purchasing it. By noon the dealers are tired and have made most of their sales, but they must survive another hour or two before they can pack up and leave. The average Elephant’s Trunk day for a dealer is about 12 hours including travel,while the average visitor’s day is about two hours. On this day the weather is pleasant, the field is large and there is enough money and merch on the field to make it worthwhile. Some thirty five miles away in the heart of Dutchess County lies the Stormville flea market. Located on a on the site of an old airport that long time market-goers remember when planes sat on the runway (where now cotton candy and candied nuts are sold). While the Elephant’s Trunk is a weekly event, Stormville is periodic; occurring in April, Memorial Day weekend, the week before the Fourth of July and Labor Day weekend. These are two- day events, although the management has also added some one-day events to the season’s schedule described as tag sales. The vibe at Stormville is quite different. As it is a two day event, it is more of a marathon than a sprint, and the dealers tend not to assemble or set up before sunrise on the first day, which is a Saturday. Buyers arrive with the sun and constantly move about the field waiting for dealers to unpack their wares. While the mix at the Trunk favors the old and collectible, the antiques section of Stormville has shrunk considerably over time, with antique dealer space giving way to wholesale clothing, tools and housewares. While the odds of finding that collectible treasure has diminished over time, it is still considered obligatory to go
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and see what is being offered. One day in a booth, that otherwise had used household items and children’s plastic toys, I found an 1809 folding map of London, framed, for $12. Like the Trunk, many sales are dealer to dealer, but the merchandise is different, leaning less to the antique and more towards the contemporary collectible. Dealers Norm and Joann, who set up and sell at both the Trunk and Stormville (they also do Brimfield) say that the load for Stormville may include items like Hot Wheels cars that would not be found in the mix of country items they bring to the Trunk. One dealer named Sal is famous for his eclectic collection of items and his unique patter while trying to sell them. “I am here to sell it” he says “I am not in love with it.” One does not need to go to the flea markets to buy, but rather just to watch the shoppers and overhear their comments. “Now that would be nice to hang in a man cave” or “I have to have those chairs” or “the Judge rookie card has gone through the roof.” By ten o’clock on Saturday the early birds of Stormville have made their purchases and are heading out. At this point traffic from shoppers on their way in is backed up for sometimes a mile in each direction. One general rule to follow at all flea markets is early in and early out. You get the best merchandise, you get the bargains and you get no traffic. While the Elephant’s Trunk and Stormville are the largest and most popular area flea markets, there are a number of smaller localized events worthy of mention. There is one located in the parking lot behind Main Street in Beacon and there is a flea market on the grounds of the old Delaval site, now Boces, in Poughkeepsie. As well as the weekend setup outside the Dutchess Marketplace in Fishkill. No matter what you may be looking for it is quite probable you will find it, as well as interesting things and people, when you visit one of the area’s flea markets.
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In the Limelight: Daniel Torelli Interviews with Local Musicians and Artists of the Hudson Valley Ami Madeleine Daichman fearful of creepy things as a kid and would draw a lot of monsters. When I got a little older I saw movies like Godzilla and later, “The Thing” and “Alien.” I got really into “creature features.” I’d say that was probably when I first became fascinated with horror. Are the directors of the movies you mentioned your main influences? Daniel Torelli: The most influential directors are the ones who’ve made me rethink movies and life in general. I tend to like directors that make me cringe because of how real their films feel and how that feeling sticks with me. I think that is what Tell us about yourself. You’re a film- really matters to me: that it resonates. David Lynch, David Cronenberg, John Carpenter maker? Daniel Torelli: I’m an aspiring independent and Lars Von Trier are some of my all time film director mostly working and freelancing favorites. in videography and photography right now. Was there one film that really made you I’ve been making some music videos for want to create your own? local musicians and am working on getting Daniel Torelli: “The Silence of the Lambs” my next short horror film into production. had a huge impact on me at an early age. I’m most interested in creative projects and But initially film was actually my 2nd love. would love to direct independent features. My first was music. When I was a teenager I got really into death metal. I started writing, Is horror your niche? Daniel Torelli: It’s definitely a passion of playing, and recording metal songs. I always mine. I’m interested in the dark or “shadowy” had a vision in my head of what I wanted side of human nature. Of course, I appreciate to put on paper and tried to describe the both sides, but I’ve always loved horror scariest visions I had. So I was already movies and being unsettled by a story. making horror but it was horror music. When There’s just something I find endlessly I got out of high school, I thought I’d better try for my dream which I had finally realized exciting about it. What sparked your passion for horror? was always making film. Daniel Torelli: I’ve always loved bizarre and macabre things. My first “horror” memory was probably when I was just a little kid and I saw the Winnie the Pooh special where he is having a nightmare with creepy Heffalumps and Woozles. I was very
What’s your starting point in creating a film? Daniel Torelli: Curiosity. I always start with a big question and figure out the details as they come. Something happens and it has to be intriguing enough for you to want
to ask what happens next. If you’re not interested in what’s going to happen next in your film you can’t expect someone else to be. What interests you about character based films? Daniel Torelli: Each film is its own universe, so to speak. You’re in control of the universe of that film. You can fit so much concept into a story and portray it visually. The characters you put in that world can represent different pieces of your mind. I find it fascinating how there are so many sides to every individuals personality that comprise them. When you see all those personalities, you can better understand someone and their motives. Characters can be an exploration of our sub-personalities. You might see something within yourself or the people around you that you weren’t able to see before. Is that a goal for you as a director? To better understand ourselves and each other? Daniel Torelli: I just hope people get a feeling. I hope they feel something. That’s the only goal. That they feel. I find humans to be so remarkable. Self-awareness is the reason for all our existential issues. It’s worth reflecting on. I want to invite people to explore their own minds and realities. Innovative storytelling by writers like HP Lovecraft and Stephen King inspire me because they try to describe the unexplainable. Lovecraft’s stories in particular revolve around monsters and dimensions that are beyond human comprehension. Again, I love that exploration of the unknown. I’m also inspired by the idea of capturing
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Fitness & Wellness Center
Page 22
Van W yck Gazette - Summer 2018 Issue
Chicken and Vegetable Bundles Isabel Minunni Summer provides an abundant amount of vegetables that create an opportunity to make healthy and delicious recipes! The chicken and vegetable bundles here were created with that in mind. Grow your garden, shop your farmer’s market, and make your bundles personal with your favorite fillings! What could be better than creating meals with our locally grown vegetables. How fortunate we are living in the Hudson Valley surrounded with fresh and abundant summer produce. In-season vegetables always taste better!
Chicken and Vegetable Bundles 2 large chicken breasts 1 ¼ teaspoon salt 1 ¼ teaspoon pepper 1 ½ tablespoon Mrs. Dash seasoning blend 2 large yellow squash 4 large carrots 1 onion, sliced 2 cups cooked spinach 1 cup roasted red peppers, sliced 2 tablespoons fresh parsley, chopped Small bundle fresh chives 3 cups good quality spaghetti sauce (Makes about 10 bundles) • •
Cut chicken into bite size pieces, season with ¼ teaspoon salt, pepper and ½ tablespoon season mix. Grill chicken on medium high in grilling pan until just underdone.
• • •
Carefully cut squash in length wise strips on mandolin, thick enough to hold stuffing and slice carrots in very thin strips. In a sauté pan, sauté onions until softened. Steam squash and carrots in vegetable steamer until soft.
1. Place 2 squash strips at a time crisscross on work surface overlapping in center. 2. Place two carrot slices on each and evenly top with chicken, spinach, onions and red peppers. Sprinkle with parsley and the remaining salt, pepper and seasoning mix. 3. Fold the squash sides up to wrap filling and tie each with a chive. 4. Steam bundles until vegetables are soft, filling is hot and chicken is cooked through (about 7 minutes) 5. Heat sauce and poor on a serving platter. Place bundles on top and serve. Enjoy! bellasbanquet@aol.com
In The Limelight: Daniel Torelli (continued) those moments in life we’ll catch ourselves really present for. But they’re fleeting, and usually if you realize you’re having that moment, the suspension of disbelief you experience (like when you’re watching a movie) is lifted and you’re taken out of it. I like the idea of recreating those moments. There’s an ethereal quality to it like in dreams. Films are like dreams and that’s how I want to present them. They connect people beyond boundaries of language. It’s all about feeling.
A film (not unlike a novel or a painting etc) is like looking into the creator’s mind. Directing a film is directing the audience’s attention. You’re showing them what you want them to see. For example, if you have a shot that’s all in focus and there are a lot of things happening in that shot, you’re supposed to look at all those things. It’s not easy to conceptualize an entire feeling and direct it. Creating an atmosphere in that way is so challenging but equally rewarding.
What’s the most challenging part of being a director? Daniel Torelli: For me personally, probably the level of organization you have to have. But from a creative standpoint, you really have to be there. If you’re not present and in the zone when you’re looking through the camera, you’re seeing something from the outside and it’s not real. If you want people to feel, you can’t be afraid of feeling. That’s the best and hardest part of writing good film. Getting real with yourself isn’t easy. I find it interesting when someone watches a disturbing movie and they’re personally offended. We’re afraid of our own reactions and feelings, but feelings are meant to be felt. I’m not really sure, but for me.
How do you experience film in the Hudson Valley? Daniel Torelli: There are so many talented artists in the Hudson Valley. I love the community here and I think the Film industry in the area is growing. I used to think I had to go to LA (although I still want to go), but there’s a lot going on right here. I manage a film studio, just got involved with other Hudson Valley Filmmakers and have collaborated with local musicians and other creatives. It’s also great being relatively close to NYC. I try to get there often to freelance. I’m happy to be here and to be a part of the community. See Daniel’s work at DanTorelli.com Follow him on Facebook and Instagram. Photo by Allyson Ferrera (@moondoggin) Page 23
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