What’s on my mind?
The entirety of the universe
The grey skies
That one kiss
Boom, game over
I am blind again
And all I want is to see
What’s on my mind?
The entirety of the universe
The grey skies
That one kiss
Boom, game over
I am blind again
And all I want is to see
“Do not let yourself get abused. Remember to be cautious. Even when there’s proof: it constantly changes.
Do not put too high neither people nor things. Neither should you put them too low. Yes, do not put them too low.
Rise above. Give up hate: it hurts the people who carry it more than those who are subject to it.
Do not try to be wise at all costs. Madness is also a form of wisdom. And wisdom, a madness.
Run away from precepts and excessive preachiness. Throw this book away. Do whatever you want. And what you can. Cry when you need to. Laugh.
I laughed a lot. I laughed at the world and at others and at myself. Nothing is really important. Everything is tragic. Everything that we love will die. And I will die too. Life is beautiful. ”
-Jean d’Ormesson | French novelist
translated from French as best I could
“If you don’t want a man unhappy politically, don’t give him two sides to a question to worry him; give him one. Better yet, give him none. Let him forget there is such a thing as war. If the government is inefficient, top-heavy, and tax-mad, better it be all those than that people worry over it. Peace, Montag. Give the people contests they win by remembering the words to more popular songs or the names of state capitals or how much corn Iowa grew last year. Cram them full of noncombustible data, chock them so damned full of ‘facts’ they feel stuffed, but absolutely ‘brilliant’ with information. Then they’ll feel they’re thinking, they’ll get a sense of motion without moving. And they’ll be happy, because facts of that sort don’t change.” – Ray Bradbury, Fahrenheit 451
“You’re a hopeless romantic,” said Faber. “It would be funny if it were not serious. It’s not books you need, it’s some of the things that once were in books. The same things could be in the ‘parlor families’ today. The same infinite detail and awareness could be projected through the radios, and televisors, but are not. No,no it’s not books at all you’re looking for! Take it where you can find it, in old phonograph records, old motion pictures, and in old friends; look for it in nature and look for it in yourself. Books were only one type or receptacle where we stored a lot of things we were afraid we might forget. There is nothing magical in them at all. The magic is only in what books say, how they stitched the patches of the universe together into one garment for us. Of course you couldn’t know this, of course you still can’t understand what I mean when i say all this. You are intuitively right, that’s what counts.” – Ray Bradbury, Fahrenheit 451
I’ve been reading Ray Bradbury’s Fahrenheit 451, here, in Greece. It is a time travel parallel to our current political climate and modern society. It’s a wake up call and a breath of fresh air, despite its depressingly uncanny resemblance to our present times.
I urge you to read or re-discover Bradbury’s masterpiece.
Fahrenheit 451 was written in 1953! The novel is 65 years old, and is still extremely relatable on a personal context and relevant on a global scale.
Thank you Ray for having left this symbolic piece of poetry behind. The world needs to hear it now, more than ever.
“Past and future exist only in our memory. The present moment, though, is outside of time, it’s Eternity.” – Paul Coelho
“I feel there is nothing more artistic than loving people.” – Vincent Van Gogh
CALGARY — This season, the Calgary Cinematheque has made British actress Tilda Swinton their centre of interest for its Annual Focus Series.
Four films featuring Swinton were carefully selected: the British arthouse film The Last of England, directed by the late English director Derek Jarman; I Am Love, the Italian drama by director Luca Guadagnino; the thriller Young Adam by Scottish director David Mackenzie; and finally, 2008’s Julia, a French crime drama directed by Erick Zonca.
Most are likely to be familiar with Swinton’s current role as the “Ancient One” in Marvel’s Doctor Strange or perhaps her role in the mainstream series The Chronicles of Narnia as Jadis, the White Witch.
However, Swinton’s extensive portfolio of cinematic work extends beyond the mainstream, and into arthouse, world and British cinema – all with extremely powerful performances that make her one of the most versatile, idiosyncratic and influential actresses of our time.
Felicia Glatz, programming director at Cinematheque, says that the programming committee has been sitting on the idea of having a Tilda Swinton series for years. She also shares that this season seemed like the perfect opportunity to turn their usually director-driven spotlight onto the performer who sits on the other side of the camera.
“…[I]f I had to distill our reasoning down to a few characteristics [to why we chose Tilda Swinton as our focus for our spotlight series], it would have to be her dexterity as an actress and collaborator, and the humble studiousness that she maintains across all of her projects,” writes Glatz in an email.
Furthermore, Glatz says Swinton is immediately “recognizable” and is “indefinable”.
“Somehow, she never overshadows herself and embodies each character fluidly,” she adds.
Professor James Ellis, who currently teaches 16th and 17th-century poetry and prose at the University of Calgary, has taught British Cinema in the past. He says he first encountered Swinton while doing research for his book on film director Derek Jarman. It was then that Ellis was able to explore in-depth Swinton’s performances in Jarman’s late-70s to early-90s films.
Ellis says that Swinton has been famous for a long time within the alternative art film community and world cinema and is recognizable for her striking androgynous looks and her complete devotion to her art.
“I think part of it dates back to her association with Jarman who was [a] fiercely political, non-commercial artist who believed strongly in collaborative work and experimental art,” he says.
“And now, she’s in Doctor Strange. I think a ton of people are going to see her in that role and hopefully they’ll wonder, ‘who is this person,’ and actually come out and see these films,” he says of the Cinematheque’s Focus Series.
Arthouse film The Last of England (screening come and gone as of writing time) is the perfect example of Swinton’s close collaboration with Jarman.
“[It’s] a very personal and visceral retaliation to political sanctioned homophobia during the Thatcher era and endures as an essential component of New Queer Cinema,” writes Glatz.
In I Am Love, Swinton learned to speak Italian with a Russian accent, the perfect example of her collaborative spirit and fruitful dedication to her art and her strive for more “sensational cinema.”
In Young Adam, Swinton plays opposite Ewan McGregor. Set in 1950s Scotland, she plays a “hard and unforgiving” woman who negotiates a husband and a lover. The film was chosen for her severity in her role of Ella.
Finally, the French crime drama Julia was chosen for this series as it is a type of role rarely portrayed by Swinton, ultimately demonstrating her multifaceted performance capabilities.
“From full-blown calamity to a last hope, Swinton truly epitomizes a woman clawing her way toward some sort of atonement,” shares Glatz.
Calgary Cinematheque ultimately chose films of comparative texts, “in the hope of conveying our own admiration of her craft,” states Glatz, “but mostly to showcase her contribution to what we feel are some powerful and dense films.”
Showtimes (as of press time):
“I Am Love” (2009) – December 1, The Globe Cinema
“Young Adam” (2003) – December 8, The Plaza Theatre
“Julia” (2008) – December 15, The Globe Cinema
For more information, visit http://calgarycinema.org/.
Story published here
photo courtesy of cbc.ca
January 12, 2015
CALGARY — It’s hard not to love local heroine Samantha Savage Smith. Her persona is down-to-earth, she sings sweetly and strums gently, releasing feel-good, gentle indie rock songs that more often than not leave you with chills.
When she’s not jamming in her basement or recording an album with local producer Lorrie Matheson, she’s jamming in Nordic nations with Icelandic songsmiths or touring with her band. Despite all this, she remains easy to talk to; she emits a completely genuine love for music, one that is deeply rooted. Indeed, Smith began singing at age nine and playing guitar at 11. She says once she figured out how to play a few chords together, she started writing “bad crappy songs” and playing them for her mother and brother. Although Smith went on to play in bands in high school, her self-doubt became crippling until Matheson stepped in: he heard some of Smith’s demos and worked with her to develop and record her debut. She was just leaving her early 20’s when her debut Tough Cookie was released, first on Western Famine, then by Toronto’s Arts & Crafts for wider distribution.
With much more musical experience under her belt, Smith is now releasing Fine Lines, her sophomore album on Winnipeg indie label Pipe & Hat. The album delivers a more refined, evolved “grown-up” sound that stays true to Smith’s indie folk-rock identity. It’s still very authentic, yet charming and better defined.
“I would say the songs are more complex now. I have personally put a lot more thought and effort into them,” says Smith, admitting the writing process took much longer than that for her previous album.
Fine Lines offers more than love and heartbreak, she says.
“It’s about life challenges, my own personal challenges with myself. It’s grown because I’m older.”
Smith and her band mates recently wrapped up a two-week Canadian tour promoting Fine Lines. It stretched out east as far as Winnipeg, passing through Saskatchewan, going all the way west to Victoria.
“We tour in a mini-van. It [gets] tight,” she says with a laugh. “It’s long drives; you’re driving for eight or nine hours every day at least, sometimes 12.”
Touring, though, is something Smith enjoys.
“The first week is kind of the hardest because you’re not in it quite yet,” she says of the “weirdly” long days that come with touring the vast Canadian landscape. By the time they get to play their set, she says, they wrap up and are on the road again.
Right before touring begun, Smith found herself in Iceland once more for the annual Iceland Airwaves music festival. She was invited back for a second round of a collaborative talent exchange called EMBASSYLIGHTS. The collective includes Calgary musicians Mark Andrew Hamilton from Woodpigeon, Smith, Clinton St. John and Laura Leif, alongside two of Reykjavík’s most intriguing songsmiths Benni Hemm Hemm and Prins Póló. The idea stemmed from Woodpigeon’s Hamilton, who wanted to focus on collaborative song writing.
“We met up with [Hemm Hemm and Póló] in Reykjavík, sat in their room for three or four days and wrote an album. We played a show our first night in Reykjavík and on the Sunday, we recorded all of it [within] the day,” she recalls.
Iceland is all too dreamy, a Mecca for the musically curious and hungry. It was Smith’s second time in the territory. She describes the music scene there as similar to the one we have in Calgary, only much bigger.
“[At Iceland Airwaves], there’s [around] 250 bands and only a small percentage of international bands [who] can only go and play once. They never do repeat acts and showcase mostly all Icelandic bands,” she says.
Back home, Savage Smith took part in the PEAK Performance Project Alberta, a radio competition that saw Edmonton’s The Wet Secrets take home the winning prize of $100,953 after months of boot camps. Although the experience came with some downsides, including a few scathing assessments of her musical approach, it was a learning experience she valued as it forced her to “question quite a bit of things you haven’t been really been forced to think about.”
“The actual competition itself is really hard work. You do the showcases, there’s this crazy final report you have to [hand in]. You have to meet deadline and figure out how to prioritize. It definitely takes it out of you,” she describes.
The experience was ultimately positive as it got Smith deeply considering her focus.
“I’m stoked,” she says. “It [got me] to want to move forward and do my own thing.”
With Fine Lines, Smith went back into Arch Audio, Matheson’s cozy Inglewood recording studio. Two main elements shifted; meaning Fine Lines is a different beast than Tough Cookie.
Firstly, lyrically, Fine Lines moves away from the personal intensity of its predecessor, although Smith swears her songs still come from a very personal place.
“[Although it] may be a disconnected experience from myself, I’m still writing about myself,” she says.
Her song “Kids in the Basement,” for example, is about making music.
“It’s the highs and low of doing that, the grassroots of trying to be a musician, what you give up for it,” she says. “It’s pretty obtuse in what it can mean because it directly doesn’t really need to be about anything. I don’t know if they intentionally do, but I want songs to rather give a sense of feeling than have a direct message,” she describes.
Secondly, although Matheson had quite a bit of studio input on the songs for Tough Cookie, pre-production differed this time around. It was co-produced by Smith and band member Chris Dadge, with whom she demoed the songs at home. The end product features contributions from an array of Calgary indie musicians, including members of Snailhouse, Woodpigeon, Lab Coast, Friendo, Ghostkeeper and Chad VanGaalen’s band.
She says the overall experience was relaxed and “a lot like recording with your pals.”
Being Calgary born-and-raised (as well as clearly having a strong support group from local musicians), means Smith loves cities like Montreal and Toronto but calls Calgary home.
“I had a lot of hometown love and support from people which made a huge difference for me,” she says of her decision to stay in the city. She describes the music scene here as having a great community vibe.
“There was a point where you had heard of all the bands in Calgary but now you have to keep up to it, “ she says. “It’s good because that just means the scene is getting bigger.” That being said, she decries the increasingly high rents, which make it difficult for any artist to live in the city.
“ I used to live in Vancouver and the rent was crazy, but now in retrospect, the rent is the same!” she says.
Smith says there’s a certain appeal in moving to bigger cities, but ultimately, Calgary is where her heart (and couch) are to stay, even if it’s for logistical purposes.
“[Calgary] is my home base,” she says. “When it comes down to it, if your band is prepared to tour a lot, it really does not matter where you live. The idea is you’re on the road and are constantly present in all those cities anyway.”
She finishes, “And then you can go back to wherever you want to chill out on the couch.”
The release party for Fine Lines is January 23 at the Palomino Smokehouse and Bar.
Story published here