Brad Spurgeon's Blog

A world of music, auto racing, travel, literature, chess, wining, dining and other crazy thoughts….

Showing the Philosopher and other Tales at the Braziers Park Mini Indie Film Festival – in the Extraordinary Surroundings of an Intentional Community

August 26, 2018
bradspurgeon

Braziers Park

Braziers Park

BRAZIERS PARK – I just finished this afternoon showing my Colin Wilson interview film at a film festival in the barn of an ancient country home called Braziers Park in England, not far from Oxford. It was a beautiful fitting location for the first show of this film to a general public after 12 years of its making. I have so much to say about this whole fantastic weekend at this extraordinary faux Gothic former home to Ian Fleming – the author of James Bond – and to Marianne Faithfull, who spent some time of her childhood here and later brought her boyfriend, Mick Jagger to visit. It is more than 300 years old, but it is thanks to its more recent history that I ended up here. Since the 1950s the house has been the home to an “intentional community,” which is hosting this Mini Indie Film Festival this weekend.

That community is a small, nearly self-sufficient commune that acts as an educational institution, or to be more precise, a School of Integrative Social Research. So there’s nothing religious or sect-related in the place. It is apparently England’s oldest such community – or one of the oldest. I did managed to read a few unflattering things written about it (mostly to do with sex) by Marianne Faithfull in a book of hers about her time at the community, of which her parents were members, but it seems to have been changed since then, because I’ve seen nothing odd going on!

In fact, I was a little worried before I came about what I might find. But it has been a fantastically comfortable event and lifestyle. The house looks and feels like something you would see in a classic film – anything from an Agatha Christie story to Frankenstein, or, indeed, James Bond – with some 20 or so rooms for guests, a study, drawing room, large kitchen, very high ceilings, and a huge garden. There is also a campsite, and many acres of farmland, and even farm animals.

I was invited by one of the Colin Wilson film’s producers to show the film here as he, Michael Butterworth, was also showing a film about his life and publishing concern. In a nutshell: Michael Butterworth is one of the founders of the Savoy Books publishing company in Manchester, and he is also the publisher of my book, Colin Wilson: Philosopher of Optimism. Mike was also one of the producers of the interview film, along with Jay Jeff Jones, who was also the director, and a small production company in England called Excalibur Productions.

Savoy Books also had a hand in the film production, so it was the perfect marriage to join up the showing of the Colin Wilson interview with the film about Savoy Books, called “House on the Borderland,” which is by Clara Casian, and is about the publishers’ problems with the Manchester Police Department, a battle that went on for years decades ago. (Here is the long trailer I made of the interview film, the full length of which runs 1 hour 30 minutes.)

Showing the film in the barn was a delight, as was speaking with the spectators in that setting afterwards. In fact, the festival has been a wonderfully quirky and thought-provoking adventure with a huge cross-section of films, including horror films, documentaries, short art films, and others.

There was an excellent documentary called Power Trip, by Zoe Broughton and Paul O’Connor, about the battle against fracking in England.  It covers the trials of a real grassroots movement by citizens under threat of the ravages of this bizarre method of removing oil from the earth, in a battle fought by normal citizens, including many housewives, grandmothers, and people who would never otherwise have been involved in such a movement.

Ornella Bonventre in Ian Fleming Library at Braziers Park

Ornella Bonventre in Ian Fleming Library at Braziers Park

The horror film “The Fallow Field,” that I saw last night, scared the hell out of me. At first I was sorry I attended, as it played from 10 PM to 11:30 PM, and we need to get early to bed and have a full night of sleep here. I was sure this horribly frightening film would keep me awake all night with nightmares. In fact, perhaps it was the act of catharsis, but I slept much better last night than I have in days. Still, it was perhaps a help to have the leading actor in the room to talk to after the film. This way, we could confirm to ourselves that it was only a film. As this actor, Michael Dacre, proved to be harmless as a person in real life. Or rather, he seemed not at all to be the horrendous character he portrayed in the film, a character that ranks up there with the worst of them in my experience. Meaning, a horrendously evil, nasty, but at the same time human, murderer. Dacre plays a farmer who kills people and then buries them, only to dig them up again…. But I don’t want to give away the story. Suffice it to say that this is an excellent horror film that also forces us to ask questions about our own humanity. It transcends the genre. Made in 2009, it has apparently had a hard time breaking out, including spending a few years in its own fallow field.

The festival is also called a “Wider Community Weekend,” as it is a kind of “open doors” weekend to invite the community in for many other activities as well. Among those is the three-day workshop by Ornella Bonventre and her TAC Teatro, a workshop which she has called “The Flow Zone.” I have been attending her workshops, and helping out there was well, and learning a lot about the process of acting…and getting into the flow zone.

Ornella Bonventre directing her Flow Zone workshop at Braziers Park

Ornella Bonventre directing her Flow Zone workshop at Braziers Park

The festival continues tomorrow, so I may well post again on the subject. Oh, I should explain a little more about how this was the childhood home of Ian Fleming at the turn of last century, so there is a direct link to the James Bond novels somewhere. And there is an Ian Fleming library within the house. I have barely begun to explore all of the nooks and crannies, and somehow I feel I will leave the place without doing so, as there are so many activities that there is barely any time available to lie about. But this only gives me another reason to hope to return next year – maybe to show my open mic film…!

Oh dear, and how could I almost forget to mention that last night, in fitting with my usual adventures and this blog, they held an open mic in the drawing room – complete with a mic and a little amp. I had my guitar and played a couple of songs, Ornella did a bit of the song from her workshop – with everyone joining in – and many others did readings of prose – including Dacre reading something from Jack London – and Michael Butterworth reading some of his brilliant short poems. I was very touched also by a regular denizen of Braziers Park who sang a song that he said he learned here in 1961 or 1962. The beat goes on!

New Rush Bar Open Mic Another Real Rush!

August 15, 2018
bradspurgeon

Rush Bar open mic

Rush Bar open mic

PARIS – I have always said that for an open mic to be a success it is necessary to have three essential ingredients. And the new version of the Rush bar open mic has proven this to be true again:

First, a great location both within the city, but also the nature of the bar room itself. There has to be a bar that lends itself to intimacy for the musicians and the spectators. But it should also have a way in which the spectators can listening quietly to the music, or go to another part of the bar (or outside) in order to talk and socialise. This the Rush bar has in spades. Something about this room and the precise location on the corner of a couple of quiet streets really works.

Second, an owner of the bar that loves music and really wants to have an open mic, and understands what is necessary to ensure that the musicians and spectators are happy. The Rush bar changed owners last year and while I had met one of the two new owners before they took over, and they said they were really enthusiastic about keeping the open mic, that is not something that you can believe in until you see it. Well, attending the open mic on Monday night I found the owner I had met before and he seemed even MORE enthusiastic now about the open mic than he was before he bought the place.

Third, you must have someone running the open mic who has a knack for doing this highly specialized job. The knack involves a nice way with people – both musicians and spectators – and a love of music, and even sometimes a little bit of a side to them that is happy to see a big party…. Igor and the gang from the Escargot Underground Radio fit this bill entirely.

And that is why the old Rush bar has managed to successfully make the transition from its status a year ago to what it is today, as I saw on Monday. The open mic had been run from its inception only around a year or so earlier by Charlie Seymour, who ended up moving on when the management changed, and who now runs the Bootleg bar open mic near the Bastille. Charlie did such a great job at the Rush bar that I was very worried that this great open mic would die upon his departure.

It went through some months of I don’t know what – since I never went – until the open mic became the new Rush bar open mic, with Igor and the gang running it. And it looks like it has saved one of Paris’s great new open mics, and given it a different twist too. Like I said, it needed all of the ingredients to be a success – and it now has them all. Oh, and I really must add that an open mic also needs understanding neighbors who are inevitably exposed to the cacophony of music and talk that a great open mic invariably produces – and for the moment it seems the Rush bar has this ingredient too.

I’ll definitely be returning!

An Update to My Paris Open Mic Guide

August 11, 2018
bradspurgeon

Thumbnail Open Mic Guide

Thumbnail Open Mic Guide

Just a note to say that I have updated my main open mic city guide, The Thumbnail Guide to Paris Open Mics, Jam Sessions and other Live Music.

There are not a lot of changes. Mostly just the addition of the Olympe bar open mic that I wrote about yesterday, which is located beside the Parc des Buttes Chaumont; and the removal of the Paradis bar open mic, which ended months ago or even longer, but which I had overlooked taking off the list…. (By the way, the end of that open mic was marked by the beginning of the Carré jam that I wrote about recently, which takes place in the Don Camilo Cabaret, located next to Serge Gainsbourg’s old place. So no huge regrets about that one!) Check it out!

The Olympe Open Mic at the Top of (not Olympus) the Buttes Chaumont, in Paris in August

August 10, 2018
bradspurgeon

Olympe open mic

Olympe open mic

PARIS – Is it just my impression, or are there more than the usual number of open mics in Paris that have closed down for the summer – or the month of August? In any case, I managed to find a new open mic last night that is open all summer. The Olympe bar open mic located at the top of the beautiful Parc des Buttes Chaumont.

I have never been to an open mic in that part of Paris, and strange as it may seem, I’ve never set foot in the Parc des Buttes Chaumont, which is surely one of the most beautiful in Paris.

The open mic is located in a bar that clearly loves music, as there were instruments hanging from the wall around the makeshift stage in a front window with red curtains, closed to create the stage effect. The instruments on the wall were a stringed instrument like a little bouzouki, a banjo and an oud.

It was a very well organized open mic, with a maximum of 12 performers each Thursday, with the need to call up in advance and book a slot with Guillaume, the organizer of the Olympe open mic*, and with a precise starting time of 20:15, and an ending time just before midnight.

Too bad the place was not quite packed to the full last night – but that is part of the risk of running an open mic in August in Paris, no doubt, when the locals all head to the seas for the month. So thank goodness there are still a few bars that remain loyal to the residents who do not leave for the seas, and the tourists who come only for the month of August and still want an open mic!

* I have found out since publication of this blog item that Guillaume was just replacing the usual organizer of this open mic, whose name is James Z.

Update of Thumbnail Guide to Oxford Open Mics, Jam Sessions and other Live Music

August 8, 2018
bradspurgeon

Oxford

Oxford

I have updated my Thumbnail Guide to Oxford Open Mics, Jam Sessions and other Live Music. I’m happy to be able to say that I did not remove any open mics from the list, as all the ones I know are still running. The main addition is for the open mic at The Old Bookbinders pub, which I was finally able to attend in July after years and years of trying!

So take a visit to my Thumbnail Guide to Oxford Open Mics, Jam Sessions and other Live Music.

So check it out!

Seven Weeks Away, but Not Just a Vacation: From Paris to Milan to England to Sicily

July 31, 2018
bradspurgeon

Ornella Bonventre at the Greek Theater in Segesta, Sicily

Ornella Bonventre at the Greek Theater in Segesta, Sicily

CASTELLAMMARE DEL GOLFO, Sicily – It seems hardly possible that it has been exactly seven full weeks since I last posted on this blog. That has to be a record absence for me. It equals one year’s worth of vacation when I was on staff of the International Herald Tribune, the Paris-based newspaper that worked under the French labor system and so gave us lots of holidays each year. I can say that these last seven weeks have not been a holiday, but the busiest time of the last year – which is the reason I have not been contributing to the blog. So here is a point-by-point recap of the main events of the last seven weeks:

1. Most of early June was spent digging out nearly 20 years’ worth of my piled up papers, paraphernalia and trash from my garage and cave in order to make space for Ornella and her TAC Teatro’s paraphernalia from Italy. Cleaning these places led to many wonderful discoveries, but also some very difficult decisions; among the many relics that I found were three never-before-used Zippo lighters with the aforesaid International Herald Tribune’s marketing department’s effort to publicize the newspaper’s coverage of the 2000 presidential elections. Beautiful objects that I had kept but never once used, I now find use for them, particularly for Ornella and my daughter’s smoking habits….

IHT Zippo lighter

IHT Zippo lighter

I am loving the process of filling these classic lighters with fluid, new flint stones, etc. (I am a little disappointed at how quickly they are losing their paint job, though, as you can see from the photo of this lighter used by Ornella for just one month.) There used to be so much more “process” in the past in our daily lives…. But among the difficult decisions in this vast clean out, was whether I should keep the hundreds of copies of actual newspapers – of the aforementioned IHT – that had the print versions of my articles in them. I had always taken hard copies of the paper home to have a record of the printed work – but I had never had any use for these relics. Now, I found myself with the difficult decision of either throwing them away or else having no further usable space in my storage areas. As I knew that all of the copies existed in microfilm or other electronic form, as well as online in the online archives of The New York Times – many of which copies I also had to decide whether or not to keep – I ultimately decided to throw them all away. It was a heartbreaking moment, but also a feeling of truly moving on into the future. Like the Formula One teams that I had written so much about, I chose to look forward, rather than backwards at personal mementos.

2. Having cleared out these storage spaces, it was time to go on a brief trip to Milan in order to clear out TAC Teatro and prepare the moving van to bring to Paris all of the aforementioned paraphernalia. It was a massively busy and tiring three or four days that also involved very difficult choices. For instance, the most heartbreaking for Ornella was the decision to leave behind the linoleum flooring that she used as the floor of the theater space, and which had come directly from use on the floor of the famous La Scala Opera House, and had, therefore, been danced upon my some very famous performers. But it was just too heavy, massive when rolled up, and required a very good cleaning job, which we had no time for. We nevertheless managed to pack up and transport to Paris two tons of paraphernalia, including seating for at least one hundred spectators, a sound system, a series of spotlights, a piano, keyboard, drum, a workbench table from a famous Italian filmmaker and writer, and countless other items far too long to list here without getting anymore boring than I already risk being. The whole collection of paraphernalia ended up taking two moving vans instead of the original one that had been planned for.

3. We returned to Paris and spent the three or four days waiting for the delivery by finishing the cleanup of the storage space. (Let me note that this was happening in a hot month of June, and with all the dust from the spaces, and the pollen in the air, I wore a face mask nearly full-time to help my breathing.) When the paraphernalia arrived, we then spent two days filling up the storage spaces, but rest easy knowing we can now prepare for the future. It was also very satisfying to have replaced my 20 years’ worth of accumulated crap by this investment in the future of TAC in France.

Philosopher of Optimism

Philosopher of Optimism

4. No sooner did we catch our breath again, barely able to believe what we had accomplished, than we departed for a quick trip to England, where it was time for some more very satisfying work: The first stop was Nottingham, where I was invited to attend the Second International Colin Wilson Conference in order to do the very first public screening of the interview film that is connected to my book, Colin Wilson: Philosopher of Optimism. Produced by a British film production company as well as the publisher of my book, Michael Butterworth, and his other company, Savoy Books, and directed by Jay Jones, it consisted of an hour and a half interview of Colin Wilson by me. Although the film was done in 2006, it was never quite finished. I recently decided to ask if I could work on the edit through my company, the perfectly named, “Unfinished Business SAS.” I was given the go-ahead, and prepared first a trailer for the film (below) and then I prepared the film for this private showing for the 55 people attending the three day conference, including the members of Wilson’s family – three of his children, and his wife, Joy. That last name is certainly the right word for me to use as well to describe the entire event, and especially the reception of the film: It was a pure joy!

5. From Nottingham, Ornella and I headed on to the Cotswolds for a brief visit to have a reunion more than 40 years after I met him with the man who created my ventriloquist’s figure, and to whom I brought the suspect in question for a facelift (and a body-lift). But on the way there we had a fabulous, three-hour long meeting and tour of the Renault Formula One factory at Enstone.

Brad and Ornella at Renault F1 Team

Brad and Ornella at Renault F1 Team

This fell the day after the team’s home race, the British Grand Prix, and at the end of the series’ horrendously tiring triple-header of races in June/July. Although it was the strangest feeling for me to be in England during the race weekend without attending the race itself, the trip was more than compensated for by both our stay overnight in Oxford – where I played in two different open mics (and can now update my Oxford guide), followed by the trip to see Peter Pullon in the Cotswolds. This aforementioned ventriloquist figure builder has become one of the world’s foremost puppet makers, having created some of Britains most famous figures: Rod Hull’s Emu, Honey Monster, the Hoffmeister Bear, Smash Martians and Keith Harris’s
Peter McCabe with Peter Pullon

Peter McCabe with Peter Pullon

Orville. I am waiting with baited breath the renovation of my figure, whose name is Peter McCabe, and for whom I have some future plans that I will talk about on this blog as they happen. (Peter most recently had a cameo role in my video of my cover song of Mad World, by Tears for Fears.

6. No sooner did we return from England than it was off to Sicily for us and a three-week vacation, during which period I have, nevertheless, been using every available moment to make plans for the future year, and my many projects for my new life in Unfinished Business…. We have been staying in Ornella’s hometown of Castellammare del Golfo, and reading on the beach by day, and walking the city streets by night, occasionally finding places to play my guitar and sing. We have done a lot of tourism, as well, which we have posted about copiously on Facebook. The highlights for me have been the visit to Segesta and its ancient Greek temple and above all, its ancient Greek theater.

A Plant Growing from the Encasing Sculpture in Gibellina.  ©Brad Spurgeon

A Plant Growing from the Encasing Sculpture in Gibellina. ©Brad Spurgeon

The acoustics of this place are astounding – although I’m not sure the plywood floor they chose to use to cover the rock surface of the stage was wise. And the most painful and touching visit was to the site of the 1968 earthquake, which killed more than 900 people and wiped out two towns. The ruins of many of the buildings remain locked in time in the countryside, and one of the towns, Gibellina, is now covered, encased, in a white concrete monument, or work of art, to mark the tragedy. Walking amongst these ruins and the monument, is a deep, difficult, but valuable experience.

7. I almost forgot to mention that in between all of these activities and right at the beginning of the month, we found a space in Paris that we are looking at as a possible future location for TAC and Unfinished Business. But it represents quite an investment, and it required us to make trips to the bank, an accountant, work on a business plan, and generally occupy all of the free time we had between the above activities! (And we have still not finished working on that.)

So as you can see, I have been busy as anything in the last seven weeks. But now I’ve had a moment to record it all in the web log, and I’m glad to have had so many rich experiences to get down here….

ANOTHER NOT REVIEW: A Physical (Handicap) Theater – at the Festival Future Composé and the Williams Syndrome Opening Piece

June 11, 2018
bradspurgeon

Auriane Vivien and Denis Taffanel in Si Ce N'est Toi.

Auriane Vivien and Denis Taffanel in Si Ce N’est Toi.

PARIS – If theater is about emotion, intellect and the physical world, then there is clearly a powerful formula to be harvested from the approach that is behind the festival called “Futur Composé” – running in several theaters and institutions around Paris from 8 June to 1 July – the opening play of which I attended on Friday at Le Carré du Temple. “Si Ce N’est Toi,” is a very personal piece by Marion Coutarel, inspired by her brother’s diagnosis in his 40s of Williams Syndrome. The festival and its association, were created 18 years ago – and this is its 10th edition, as it runs every other year – to allow an exchange between handicapped people (mostly autistic), and others who are not handicapped, and to bring them together on the stage and through other artistic events and activities – such as singing, writing, painting. The striking thing about Coutarel’s play was nicely put to words by a psychiatrist I spoke to afterwards: “In some ways, the people who are supposed to be handicapped look much more naturally alive in their role on the stage than those who are not.”

It was with a huge variety of emotions, on many different levels, that I watched this piece of 1 hour 20 minutes: On the one hand there was an education about an illness I had never heard of – Williams Syndrome – on another level was the actor on the stage before me who is afflicted with the illness, and on another was the actress, author and director whose brother inspired the show. But it truly did make me question the very nature of what it means to be “handicapped.” And in this way, the play is a challenging and worthwhile venture for the spectator. I left the theater – a 250-seat auditorium in the 3d arrondissement – feeling happily enlightened and uplifted about a part of our world that I knew so little about, and now will never see the same way again.

The play comes in the form of a sort of story-telling acted out by the three main characters, Coutarel, Auriane Vivien and Denis Taffanel. The latter is a dancer and choreographer, who plays the role of John Cyprian Phipps Williams, who was born 16 November 1922, a New Zealand cardiologist who discovered the syndrome in 1961, while he was still quite young. As part of the story, we learn also of the strange, eccentric life of this mysterious, multi-talented doctor who apparently disappeared for years and was presumed dead – until he made contact with the author of a book about the poet Janet Frame, asking that a relationship he had with the poet please not be mentioned in the book!

But the most intriguing performance of the story is that of Auriane Vivien, who is affected by the syndrome. And it is here where I was the most touched by my questions about what constitutes a handicap. Vivien, who has played the role several times over the last year elsewhere in France, was – as the psychiatrist noted – perfectly at home on the stage. In fact, had it not been for some of her physical characteristics matching those of the typical case of Williams Syndrome, it might have been impossible to know whether or not she was truly affected by this disease.

This was a theater of personal exploration, especially for Vivien and Coutarel, as the author wrote the piece in order to try to come to terms with her own brother’s illness. Williams Syndrome affects about 1 in 10,000 people, and is characterized by certain physical attributes – notably the shape of the face and head – but also often by problems with visual spatial tasks, and, unfortunately, frequent heart problems. People with this genetic syndrome often have some moderate intellectual deficiencies as well, but other things are above average, for instance, they often possess a high musicality, often having absolute pitch. It is often marked also by an outgoing, friendly personality; which is something that is really touching in the circumstances as well.

The play takes a form somewhere between a recounting of personal history, self-questioning, demonstrations of what it is to have the syndrome, and even occasionally feels like a university lecture on the topic. But it was highly choreographed, and much of the physical interest comes from the contortions and movements of Taffanel, whose physical traits might actually lend themselves to questioning by anyone who did not know it, as to whether or not he himself suffered from the syndrome! Ultimately, the play’s main interest for me was, in fact, this questioning that it made me do about what exactly is that thing that we like to call “normal.”

* Not Reviews: This is a format I use on this blog to write about the music I am listening to, the books I am reading, the shows or films or other things that I do that are often in the habit of being written about by critics – book critics, music critics, theater critics, cinema critics, etc. And my feeling has always been that I believe in Ernest Hemingway’s dictum about book critics and how fiction writers themselves should not be writing criticism of other writers, in the spirit of the phrase: “You can’t hunt with the hare and hunt with the hounds.” My idea is just to talk about the books, plays, films and music I listen to or see. Talk about the way it affected me, everything and anything it inspires, but not to place myself on any kind of judgmental pedestal as critics are supposed to do – or are at least notorious for doing.

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