Archive for June, 2009

THE LEGEND OF BLACKWOLF, PART III

June 29, 2009


“Indeed,” said Merlin with wryness, “I mean just that, Sire. I am a wizard and not a logician, as you are a king and not a philosopher. Any effort to compound this offices is inadvisable.”

–Thomas Berger, Arthur Rex

n9385698_49538836_1125

There was one important thing I had to ask Thor:

“Do you know Blackwolf as Richard, or just as Blackwolf?”

This is because while Blackwolf is a character, he’s also a personality of Richard Washington. This is by no means a secret, Blackwolf mentions the struggles of his mortal alter ego fairly often in blog posts. But I hadn’t yet spoken with Richard, despite numerous conversations on the phone.

“Yeah, I know Blackwolf as Richard, he has several other personaes as well,” Thor told me, “Blackwolf and Richard are the two that most people interact with. Blackwolf is the strongest of his personalities, and Blackwolf keeps everything together.”

I’d also spoken with Boris Hladek, the cameraman for some of the shows that Thor and Blackwolf performed in, and he confirmed that he’d spoken to Blackwolf and Richard, and that Richard was just a regular, quiet person.

So I asked to schedule another with Blackwolf again, and we arranged to meet by the Bethesda Fountain in Central Park.

Initially, it seemed like he wasn’t going to show, and I just sort of stood around. When you plan to meet a wizard, it’s a given that they’ll be easy to spot. After a few minutes, I think heard a jingling of bells, and then, Blackwolf from the top of the steps of the Bethesda Terrace Arcade.

It is a strange thing to hear your name shouted by the voice of an ancient wizard, or someone who sounds very much like one, from afar. Especially in Central Park. Slightly dumbfounded, I called back, “That’s me!” and Blackwolf began his long trudge down the arcade steps.

For a long time, we talked about the same things we had before: his television appearances, the legend of Blackwolf, his costume, and I began to wonder if I was ever really going to get an idea of just how this character came to be. Because if you are a lifetime resident in Harlem, to say nothing of New York City, there are simply less conspicuous costumes you that you could adopt rather than full-blown wizard robes and a jingling staff.

I kept coming back to Richard’s past, and not getting anywhere, and then after a certain point, I just didn’t have any questions. We had gone over everything twice. And then, after a long conversation about Blackwolf’s musical preferences (he is a big fan of Lordi and a few other fantasy-themed heavy metal bands), I asked him if he’d always been a fan of heavy metal. And then Richard came up in conversation:

“Richard was a child of the seventies,” Blackwolf told me, “Ah yes, Frederick Washington and Ola Mae Avery, his beloved parents . . . they were divorcing, and the lad was obviously too young to understand the basic concepts. T’was his mother who obtained physical custody of him.”

Richard’s mother worked as a registered nurse in the psychiatric ward of Bird S. Coler Memorial Hospital, and from what Blackwolf told me, this is when the tension started. “She was of the opinion that her only son and heir was basically a nutcase . . . in other words, a wacky person.”

This is something that Blackwolf doesn’t really like to talk about, but growing up, he struggled with what sounds like a tremendous amount of anxiety. He hadn’t yet seen Star Wars, which he credits as key to understanding how imagination could be applied to every day life. As a child, he could be violent sometimes. This lead to his being prescribed an anti-anxiety and antipsychotic drug called Stelazine.

Angered by the drug’s draining effects, Richard flushed his pills down the toilet and never looked back. He doesn’t take drugs, and he doesn’t drink anything stronger than Coca Cola (he’s not a fan of Pepsi).

After the death of his mother, who died of a heart attack on New Year’s day in 1990, Richard was overcome by grief. He created the character of Blackwolf as a way to overcome the depression and fear that was consuming him. And then, in a costume that was initially comprised of bedsheets (before Thor the Barbarian’s wife, Muninn, made his current outfit), Blackwolf the Dragonmaster walked the streets of New York, and later, broadcast television.

(This is part three of a five part article, part one can be found here. Part two can be found here. Part four will be posted Monday next week.)

THE SKY LAST NIGHT

June 27, 2009

IMG_0011

photo

photo(3)

THE LEGEND OF BLACKWOLF, PART II

June 20, 2009

This is part two of a five-part article. To read part one, go here.

Enough about ancient Ireland. Blackwolf skipped at least two thousand years of his life to get to May 2002, a milestone for a couple of reasons, just one being that it was the premier of Star Wars: Episode Two. In front of the Ziegfield theatre, amongst a long line of costumed Star Wars Fans was Blackwolf, as well as the crew for NBC’s Late Night with Conan O’Brien .

In particular, one of the Conan O’Brien crew was Robert Smigel, the iconic comic writer for such sketches as the SNL Superfans, TV Funhouse, and (one of my favorites) he was also the impersonator for Bob Dole during the 1996 Clinton / Dole election. But he is also the voice and writer for Triumph the Insult Comic Dog.

You might have seen this when it aired. If not, it is one of the most posted, taken down, and then re-posted clips I’ve ever seen on YouTube (I say this, because I’ve been working on this article for about two years.) You can fast-forward to 4:00 to see Blackwolf’s segment.

What might have been just a brief appearance on television, being heckled by a handpuppet, led to a lot more for Blackwolf. He was on TV a few times after that, and he made an appearance on Triumph’s Grammy-nominated comedy album.

But this wasn’t the first time Blackwolf was on television. Before being on NBC and MTV, he was on Manhattan Public Access, with Thor the Barbarian.

Thor the Barbarian is a motivational speaker and social worker who, as you might expect, has a sword. He also has a wife and child, and now lives in Pennsylvania. He also hosted a legendary Manhattan Public Access show. He’s had a number of side projects since then, way too numerous to list here, but I think it would be fair to describe him as the barbarian of all media.

And he knows Blackwolf.

I called Thor to talk to him about Blackwolf. “I’m honored to count him as a friend,” said Thor, and he told me about Blackwolf came to be a part of his public access show.

“When I had my original show, it was a live show on UHF, on the fringes of real television. It was a live talk show type of thing. Blackwolf used to watch the show, and he wrote a letter to Mae Eisenberg, who’s kind of like the Yoda of UHF.

“So I met him in Washington Heights, and he was dressed in green, that was his original wizard outfit, and we talked, and I recognized that this was someone who was very unique who would definitely be an asset on the show. So I had him on, and we had a weird chemistry, it was kind of like Abbot and Costello. We wound up arguing most of the time. But it was funny, and very insightful stuff would come out, so after that he became a regular on the show.”

Here’s another clip of Thor and Blackwolf hanging out in an ad for Live Action Roleplaying (LARP) group. It’s slightly racier than the clip above, but it’s also one of Blackwolf’s finest performances.

Blackwolf’s blog can be found here.

CONVERSATIONS I HAVE WITH MY WIFE, ABOUT MY TWITTER ACCOUNT

June 16, 2009

“What are you on Twitter?”

NQMM

(Brief moment of Googling)

“You know that’s a thing, right?”

—Oh no. Oh no, please don’t tell me what that means. I don’t want to know.

“It’s a band. Their name means ‘southfist mother’.”

nqmm4oc

—That seems legit. What do they sound like?

THE LEGEND OF BLACKWOLF, PART I

June 14, 2009

[Part one of five.]

DSC00591

New York City’s unofficial wizard can sometimes be found in Central Park. He has a pointy hat, a cloak, and a staff with jingling bells and stars. He also has a long white beard. It’s a Santa Clause beard, actually, but you get used to it.

Sandals are his preferred footwear, and his glasses have been repaired with string. Occasionally during conversation, he will close his eyes in deep thought.

His name is Blackwolf the Dragonmaster, and he isn’t in New York by choice. He was assigned to the city by the High Istari (1), a group of seven mages who realized that New York was in danger of losing its imagination.

I met Blackwolf in June 2006. He was reading AM New York by a fountain in Central Park. Often, you’ll find people from The Daily Show or David Letterman filming segments for the show in this part of the park. I had just bought a small microphone for my iPod, and was walking around recording noises to add to music. Blackwolf’s costume was very elaborate, and there was something familiar about him, so I walked up  and asked him if he was an actor.

“What I am, is New York’s unofficial wizard, sir,” he told me, and then he proceeded to detail his origin as the humble Paidraig of Abbelaix, the high servant of the King in Ireland before the time of Christianity.

While Blackwolf has a natural storytelling ability, I found the written version of the tale on one of his websites. Here is a brief excerpt from the novelette-length story:

Padraig of Abbeyleix, son of Saemus, was the only child of that warrior’s bloodline, his mother having died in childbirth. As a boy, Padraig had always considered his father to be a hero; indeed, the vast majority of Saemus’ moral characteristics would serve him immensely when, in his later years as Blackwolf, he would pass these same qualities on to his own son, the Mage and Sorcerer, Master Yen Sid. But it was during his youth — specifically, his teenage years — that Padraig of Abbeyleix underwent his most important education . . .

Despite being handy with a sword, Padraig preferred being caretaker to the royal court, and was extremely content with this. But his life took a sharp turn when Vasamoose, (see proper spelling bellow) Visomus a bishop, planned to assasinate the High King of Ireland, by planting a poisoned goblet for him at Paidraig’s retirement party.

Paidraig, after singing a song for the King, accidentally knocked over this poisoned goblet. While this was a source of merriment in the dining hall, Vasamoose, Blackwolf told me, “Inwardly seethed with wrath,” and cursed Paidraig to walk in the shape of an old man by day, and a black wolf by night. “Hence, my more legendary name, Blackwolf.”

Eventually he was discovered by the seven mages known as the High Istari, who were impressed at how the legend of Blackwolf had spread throughout the land. They were looking for a Dragonmaster, someone to stoke the fires of imagination throughout the land, and watch after the dragons who cannot live without it. It was clear to them that Paidraig was the man for the job. After a trial period of one year, the dragons decided that Blackwolf should be the permanent dragonmaster, hence he was made immortal.

And then he was dispatched to New York City.

To be continued

(1) Blackwolf describes the High Istari as a group of glowing men in beards and cloaks.

THE END OF AN ERA

June 11, 2009

I borrowed this from MSBNC. I just love the RGB versus the Ones and Zeroes

I borrowed this from MSBNC. I just love the RGB versus the Ones and Zeroes

So, Friday’s the end. I’ll be going to this event to celebrate the end of the now-antiquated analog TV signal. I found this description particularly moving:

Thinking back to childhood, you recall your Sesame Street, your Captain Kangaroo, but you also remember the rabbit ears, s-squiggles, vertical jumps, horizontal breaks, ‘snow storms’, ‘blue-outs’ and ‘green-outs’, ghosts and negative inversions – a visual language as integral to the television viewing experience as the shows themselves.

–Via Anthology Film Archives

This is just so true. Our family television was at best, eight inches across, a small black-and-white that ghosted a lot of images and had a handle on top.

Viewing was this very interpretive experience, and occasionally you really had to work in order to see what you wanted see, by adding tinfoil to the antennae, or a wire coathanger. Most children’s TV programming was a bit surreal due to this fact: for awhile I thought Big Bird was completely white, I was a bit startled by Fred Roger’s inverted doppleganger, and I was baffled when there was any reference to a “blue” or “red” item.*

I didn’t see this in color until I was at least ten years old (and I think the actual segment is probably older than me by one or two years). Back then I thought, more than once, that the disco ghost-frog of Kermit’s id — or whatever that is — might have been some kind of broadcast glitch, and I would start messing with the VERT and HORIZ and the antennae to fix it:

Determining which color was which on a black and white actually became sort of a skill, although brother and I breathed a huge sigh of relief when the twenty-inch color television with the fake woodpanel around the dial arrived. Granted, this arrived with its own foibles–weird spectral bits in each of the 4 colors of the screen, snowy static, etc.

It’s strange to think that now I’ll walk into thrift shops and second-hands, and there won’t be a black and white set showing glitchy soap operas — or anything for that matter.

One show that took advantage of just how unpredictable TV signals could be was The Outer Limits. And it also gave a little glimpse of what it would look like when your TV died and the last thing you ever saw was a little white dot on the screen.

The intro’s not entirely meaningless in the digital era, when the idea of someone taking control of your television is theoretically even more possible than then, but I think that the idea of signals bouncing around, and perhaps hitting your TV from another world is implicit in that title sequence–and it’s effective because of it.

In fact, I think growing up, just about any horror or monster movie on DC Chanel 20 was that much scarier on a ghosty, static-prone set. And Captain 20 was even weirder.

In 2002, after 9-11, we didn’t have TV reception in my Bushwick apartment for maybe a week or two weeks, as the antennae on the north tower was destroyed.* My roommate and I would turn on the set, and see nothing but warring static patterns. Finally, one night we turned it on, and sat happily through a static-y episode of Frasier — a show neither of us had ever watched, and would have ordinarily hated — and laughed at jokes that would not have been funny were it not for the circumstances. It just seemed like a surprising miracle that the TV again did what it was supposed to do: provide an escape.

This all said: in the last two years I haven’t found reason to watch anything on my TV at home that I haven’t downloaded or rented in advance, and I’m quite content with that arrangement.

*Thus my dependency on radio NPR and WNYC was spawned.

LIVE FILM

June 9, 2009

livecinmaOver the weekend I managed to see two very different filmmakers host and interpret their own works.

Rosa Von Praunheim is a legendary filmmaker who is seen as one of the founders of the gay rights movement (you might be familiar with the title of his film, Silence = Death). On Saturday, Sarah and I caught his Q&A after his Fassbinder documentary, and the surreal film, Can I Be Your Bratwurst, Please? which he introduced as, “A film that starts the adult film star Jeff Stryker, and my Aunt Lucy. It’s thirty minutes, enjoy!”

I haven’t seen that many filmmakers speak, other than So Yong Kim and Takashi Miike. But Von Praunheim was the first speaker I’ve seen who had written poems on construction paper, as well as candy, both of which he handed out to the audience. I hope he’s not the last.

Sarah and I did not get a poem, sadly. But we did get some kind of coconut treat.

It was particularly rewarding to see Von Praunheim be able to talk about his own career, since two nights before after the Fassbinder doc he spent a lot of time answering bewildering questions about Fassbinder’s career.*

Von Praunheim’s work is lengthy and varied, his life is dramatic, and his outlook is humorous. When talking about his experiences as a film instructor, he mentioned that the first thing he taught his students to do, was how to use a gun, because movies were full of them (the second thing he told them to do was to abuse women). When told by his mother, at the age of sixty-five (and she was ninety), that he was not her son, he described his “excitement” at finding his own life becoming a movie plot. He just recently completed a documentary about the lives of his two mothers.

The format was a bit like a talkshow, with Von Prauheim standing in front of a large screen with selected clips at the ready. But absent from this talk were the discussions of technique, influence, or behind-the-scenes moments and casting decisions. His talk made it seem like there was nothing more natural than simply making a film, moving onto the next one, and making another one after that.

Then on Sunday, Sam Green presented Utopia in Four Movements which was a very affecting and unusual performance: Green stands onstage with a mic (and a script) and narrates footage in front of him, which has been assembled in Keynote. It’s so informal that it completely catches you off-guard when suddenly you’re dealing with very big ideas — a bit like This American Life, except it’s all just happening just a few feet away from you. In the film, Green explores the idea of utopia using the examples of Esperanto, a profile piece on an exiled black revolutionary, the only video footage of the world’s largest shopping mall–which really must be seen to be believed, and bookends these movements with a bit of discussion about the forensic studies of mass graves. Green’s evaluations in these movements are a very tricky bit of narrative footwork, and it wasn’t until I was three quarters into the film that I found myself having confidence in his analysis of how this footage fit the theme of utopia. But by then, I wanted five or six more chapters.

Green reminded the audience that this wasn’t a finished piece, that it would change a bit when and if it was released, and given that he’s the director of PBS’s The Weather Undergound, I can understand why — this wasn’t as polished as his other work. But in its context, it didn’t need to be. Like Von Praunheim’s talk, Green’s performance felt like an illustrated conversation, which I guess is one way to describe what live film really is.

*I don’t know if anybody really could explain the question that was shouted a few rows back: “WHERE DOES FASSBINDER STAND IN THE PANTHEON OF GERMAN CINEMA?”

chat6-9

SUCCESSFUL BAHN MI RESSURECTION

June 8, 2009

If you get a good Bánh mì, and you can’t eat it all, and you want to eat it for lunch or for breakfast or for dinner the next day, I have a couple of steps for you to follow:

  1. Take apart the sandwich. All the meats, vegetables, sauces should be placed in an airtight container and refrigerated immediately.
  2. Wrap up the precious, delicious bread in tin foil. Place in a dark corner, do not refrigerate.
  3. The next day, toast the bread, reassemble your sandwich, and your bahn mi should be about 75%-80% as good as it was the day before.

Deconstruct and toast method stolen from Chowhound.

725648425_4fd15772d4

Delicious bánh mì photo courtesey luluvision's Flickr stream.

Also, I would like to add that the photo is from the same location where I ordered my own bánh mì. Bless you, Sunset Park.

Due to Dayqil consumption and genearl allergies, this post has been edited six times since it was originally posted.

DR. VIDEOVICH

June 5, 2009

I have been meaning to blog about Dr. Videovich for at least half a year now. In 1975, on little more than 85 dollars, he basically gave us Manhattan Cable access, making it the legendary parade of talent* and weirdness that it is today. Umm. There’s nudity or something like it in that clip. If you regret viewing nudity, I can’t recommend clicking on it.

I saw the good doctor talk at The Anthology Film Archive last October, where he spoke about his work and interests, and tried to inspire those of us in attendance to create work for the public, because the galleries weren’t going to do it.

I also highly recommend How to Draw a Peaceful Scene from Latin America.

What is sadly not online is a sketch he directed: a parody of a panel discussion between the sales directors of the Guggenheim (who plans to sell prescription drugs in the museum store), The Monmouth Museum of Art (which is described as several hours from the George Washington Bridge, and is constantly selling its permanent collection), the Brooklyn Museum of Art (whose representative shows up late, and sits on the floor), and, the New Museum, which is a department store “somewhere along 14th street”. And you know, he’s just not that far off.

Anyway, his YouTube channel is plenty of fun for this very rainy Friday.

Seriously, have you been outside? It’s awful.

*This clip is labeled “The Worst Thing I Ever Saw”. It’s an old man singing over a hurdy gurdy. It’s far from the worst thing you can see on public access, and I like it.

DRAG ME TO HELL(!)

June 3, 2009

drag-me-to-hell-posterDemonstrating my support for outspoken movie titles with a verb and a possessive pronoun, as well as to see Sam Raimi’s return to the horror genre, I went to see Drag Me To Hell and OMG IT WAS SO AWESOME.*

There was an evil eyeball in a slice of cake, gushing blood, animal sacrifices, and bugs a plenty. And it was so surprising to me, because I thought horror movies were where we subjected the audience to the gruesome realities of being strapped down to a table and being tortured and so on. I had no idea that some horror movies were actually part of tradition of  spectacles intended for amusement and escapism!

One of the many clever aspects of the film is that it borrows heavily from the charming and creepy Night of the Demon (my wife noticed this and it went right by me. I adore Night of the Demon, though). And there are puppetry effects and makeup, a minimum of CGI, and an attractive title sequence.

I haven’t been in to a recent movie where people were actually screaming out of glee in quite awhile. I hope there’s a little more of it in the near future.

*Editor: Please put something in place of this statement when you hit the “Publish” button.