Honestly Eating with Sous Chef Ben Brennan

Get to know a Sous Chef in town named Ben Brennan, an artist in the kitchen and an asset to the Huntsville culinary scene.

This interview was initially published in CHUM Vol. 8, interviewed by Jordan Murphy but DIBS also reached out to Chef Brennan to ask a few more questions.

CHUM: Ben, who the hell are you?

Ben Brennan: I’m figuring out who I am every day. I am from just south of Denver, and I’ve basically lived in every time zone.

(Heaven Beside You is playing, and we taking shots of … I’m going to guess Jim Beam and Tequila because I do not remember)


DIBS: Why did you decide to become a chef, and who inspired you too?

So my dad cooked dinner almost every night. We didn’t eat out a ton cause there were five of us kids. One of my sisters is a winemaker, another is a chef, and I started working with her when I was 16. Fell in love with the camaraderie in the kitchen, and then the science of food is what really piqued my interest.

There are tons of inspirational chefs. But I’ve also been very fortunate to have worked with and for some really amazing people. I really just fell into it, and I feel very fortunate for the opportunities I’ve had and worked hard for. I’ve seen a lot of friends struggle to find things they’re passionate about and was very lucky cooking kind of found me, I guess. It sounds super cliche, I know.

CHUM: What makes a chef a chef?

BB: Honestly, you’re only as good as your last plate. I guess that’s what’s beautiful about food. Someone can be having the worst day of their life, and food can turn that all around. We’re here to nurture people. I never thought about it like that until I read the article by Thomas Keller (French laundry) about “Why Cooks Cook” (Nations Restuarant News, 2019). He touches on a similar sentiment that I love that Alice Waters spoke on: “it’s around the table and in preparation of food that we learn about ourselves and about the world.”

CHUM: I love that. What do you like to eat?

BB: It depends on my mood. I love simple diner food, but I like the elegance of nice roast chicken. Judy Rodgers, this badass chef in California, makes roast chicken, and I always use her recipe. Normally, though, chicken grosses me out. Like, have you ever seen a chicken coop? (reference this Larry David video start watching from 1:45) They’re one of the most mistreated animals we eat. The term to put your neck out on the line comes from killing chickens. So I’m picky about where my chicken comes from.

CHUM: What do you like to cook?

BB: Almost nothing. It’s widely known that chefs eat like children. I fucking love Marie Callender’s chicken pot pie. Also, I love champagne and potato chips. Sue me. I also honestly eat a stupid amount of red meat. If I don’t, I get shaky. My dad used to cook every night, like Zatarain’s couscous and pork chops - That’s comfort food for me.

CHUM: What makes cooking thoughtful to you?

BB: One thing you should know is I really hold Alice Waters close to my heart. She is affectionately known as the godmother of farm-to-table. She focuses on simple, quality ingredients cooked in a proper way, so I’ll start there. It’s about how the animal is treated and where the food is grown. It’s in the right soil and understanding salt. Did you know salt has a similar etymology as the word “salary”? Salt is the only rock we can’t live without. You can eat as much as you want as long as you drink enough water.

DIBS: What is the most challenging part of your job

BB: Definetly managing staff. Every employee comes from their own strengths and weaknesses as well as their own sets of problems

DIBS: What is the most rewarding part about your job?

When you give somebody a dish, it brings back a memory or an emotion. That’s my favorite. I made a simple eggs Benedict to share with one of my bartenders the other day and it literally made her tear up a little cause it reminded her of her dad’s. It made my week! The only time I want to bring somebody to tears (lol).

CHUM: Anything else we should keep in mind?

BB: In general, GMO has so many definitions. It depends on the farming practice. Do your homework and eat according to the harvest seasons and sharing food is super intimate. I think that’s why it’s generally a first-date thing.

You can enjoy Ben Brennan’s cooking at CO/OP Community Table, a Huntsville farm-to-table concept located in the Embassy Suites Hotel Downtown Huntsville, AL

Clownin' around

Mollie Brown is the “pop of color” in a room. She is an artist supporting local musicians, and she knows where to find some good grub. I even heard she has her own Fan Club! DIBS chatted with Ms. Brown about one of her many interests, such as clowns, and even collaborated with her on a clown shoe photo essay.

Are there any nicknames people call you?

Mollusk, Shmoolie, Shmollie Shmabrown, Mollitha, Mollie McButter. I'm sure there are names I need to learn about. I was once called by my Instagram handle because they didn't know my real name. That was an interesting feeling. Her Instagram handle is @fuglylilthing


You are one of those rare people that like clowns. You do not seem bothered by them. Why is that?

I think there's a clown for every occasion and that clowns have the range to fit into any occasion, really. They're genius and so flexible. Clowns are fashion icons. They can pull off every accessory at once sometimes, and I think that's beautiful. Most people would look silly or overdone, but a clown already is silly, so it works, I think. It takes talent to make something like that work, lots of precision, and raw talent for composition. I feel like I'm reaching for a similar look - a maximalist aesthetic but casual in its own way. I think clowns are scary because we don't always know what they're thinking or feeling underneath the face paint and the chaos. But I also think it's cool that clowns are scary because it's somewhat powerful.

You can take a clown look as big or small as you want, and it's still a statement. I think the statement is always confidence.

Who are some of your favorite clowns?
My favorite clown is probably Lecile Harris. He was a rodeo clown who wore a checkered shirt and cow print hats that were like twice his size! Every picture I see of him makes me giggle but is also so inspiring artistically. I would love to recreate some pictures of him one day just for fun. There are some modern clowns that I like too, like sarahsquirm, circusfairie, and beevanian on Instagram.

Clown Lecile Harris

What do clown shoes say about a clown?

Shoes are so important, not just to clowns. They can make or break your entire outfit. Shoes are basically like underlining your sentence - your statement. You want that line to be bold and meaningful.

Clowns would be pretty wobbly if they didn't have big feet to hold them up.

If you could pick a song to clown around to, what would that be?

Aphrodisiac by Bow Wow Wow

Art Direction by Mollie Brown | Photographs by Cristina Byrne

A Power 5 Mascot

They get the crowd into a frenzy, all while having fun doing it! Various professional and collegiate sports mascots are iconic figures; it is an essential part of college sports and a university's history. What makes a mascot great is the audience, as it is about the franchises it symbolizes! 

Despite seeing them almost every time you watch a sporting event, what do we know about the people who are the sports mascots? Beneath the costumes, who are these "performers"? 

DIBS spoke with a graduate student whose name or mascot we cannot reveal due to the university rules but is the mascot to one of the Power 5 universities and has served as the school's mascot for the longest tenure!

This particular school’s university mascot attends roughly 100 to 150 events a year this would include sporting events such as football, basketball, baseball, softball, soccer, volleyball, and gymnastics—these make up over half of the appearances the mascot makes each year. Outside of sporting events, there are campus and community events as well as photoshoots with the school's social media team, graduations, and fundraisers.

*The Power Five Universities encompass 65 schools and are considered the elite in college sports in the United States and are part of the NCAA Division I, the nation's highest level of collegiate sports.

I am aware that you can not disclose what collegiate mascot you are but do people on campus know you are?

Sadly over five years, the word has gotten out to a few people. I was already not the best about keeping secrets, which was the most challenging part of becoming the mascot. However, it is not to the point where people see me going to class and know I am the mascot, which is honestly a part of the fun. One day you can go to class as just an average student, and then the next, you are on the football field in front of tens of thousands of fans. In my opinion, that's what makes it the best college job a person can have.

Why did you want to become a mascot?

Surprisingly to many people, I was not a mascot in high school. Most college mascots I have met were not high school mascots either. However, growing up around my university, I was always incredibly spirited and went to as many sporting events as I could. I knew I wanted to continue that school spirit by becoming a super-fan when I entered college. I sat in the front row for every football and basketball game my freshman year, wearing the craziest outfits I could reasonably put together. That got me noticed by the marketing department, which led me to have an opportunity to serve as one of the school's t-shirt throwers at the games. While there, I got close with the guys who served as the mascot and encouraged me to try out. From there, the rest is history!

Could you explain the process of trying out to be the mascot?

For my program, it was a three-day process! The first step was seeing how I looked in the mascot suit. Since the program already had a few returning members, the coach wanted to pick students who were a similar size as the current members. Unfortunately, having members of varying sizes is not ideal for mascot programs as it ruins the image of there being only one 'mascot' character.

On the second day, we learned the walk and the character of the mascot and an interview with the coach. Then, after cuts were made, the remaining participants had a final tryout which consisted of improv skills, dancing skills, and overall energy. Luckily for me, everyone who was trying out at that point made it, and I officially became my school's mascot. Funnily enough, my first ever event as the mascot was only a few hours later at an event on campus, so I got thrown into mascoting quite quickly.

Currently, the team has five members, but I have been on the team with as few as four and as many as seven.

What do you think it takes to be a collegiate mascot?

The most important trait one can have is learning to be someone completely different. My mascot's personality is over the top, energetic, and loves to be the center of attention, which are traits that I do not necessarily share. However, when I put on the suit and go out to perform at an event, I lose all of my personal qualities and become that character. To be a good mascot, you have to be willing to get out of your comfort zone. For example, while you may not be the type of person to run onto a basketball court during a time out and jokingly imitate the referees, that's exactly what a mascot would do. This does take a while to fully learn; however, it took me over a year to be fully comfortable putting myself in those situations. Also, while dancing skills are not mandatory (I am an example), they are incredibly beneficial.

Were there mascot mannerisms that were already in place? Or did you help create the persona?

The mascot's character was already pretty defined when I entered the team so there weren't too many mannerisms I had the opportunity to create. However, I will say that I may have influenced a few poses the mascot now does while taking pictures with fans.

Did you have any sort of training prior? Is there such a thing as Mascot classes?

Prior to my tryouts, the only training I received was from the current members teaching me the walk and the mascot's character. Once I got accepted into the program, the university sent the team to a college mascot camp in Texas, where they taught us skills such as prop making and planning skits. From there, most of the training comes from a yearly camp we have that is put on by former mascots to refresh us before the start of the fall semester. While these camps and practices are helpful, the best way to learn for me is by doing as many appearances as possible and taking critiques from the other team member.

What are some areas in which mascoting has helped you?

Performing as the mascot has helped a lot with gaining confidence, which I have struggled with for years. It taught me time management skills, as I had to learn how to balance school, social life, work, and mascoting. It taught me how to be a good teammate and work well with others. Best of all, the connections and friendships I have made while being the mascot have been life-changing.

What are some mascot rules that one should be aware of or aren't aware of?

The biggest rule of being a mascot is not taking off your head. While self-explanatory, for many programs, that is an automatic termination from the position. The second biggest rule is to not talk in the suit. Fans, students, and even university workers know this and will do their best to try to make you say something, but it's pretty easy to say collected. Another big rule is keeping your identity a secret. The fun of the mascot is that it is treated as its person and not as a suit a college kid wears. To keep that fun alive, you have to be selective about who can know. I have heard of some programs that only allow immediate family and significant others to know. I heard of a professional mascot who kept their position a secret from their child.

What challenges do you face as a mascot?

Most of the challenges I face as the mascot come from how much time obligation the position is. Over the years, I have missed numerous parties and get-togethers with friends because I was scheduled to do an event as the mascot. Of course, this is similar to almost any job, but when you throw in school and other work obligations, it can be pretty difficult to find any free time some weeks.

What do you want to do as a career?

While fairly broad at the moment, I currently want to pursue a career in the sports industry, particularly in either event management, marketing, or entertainment. However, I haven't fully shut down the idea of becoming a professional mascot, and I hope to reach out to professional teams in the near future.

Who are some mascots that inspire you?

There are so many great mascots out there that it is hard to pick just a few! Obviously, I have to say Benny the Bull is definitely one of the best! He is honestly the Michael Jordan of mascots and often sets the standard for many other mascot programs. Blue from the Indianapolis Colts is great as well! His presence online is incredible, and he has honestly turned himself into a social media celebrity. Some of my other favorites include Orbit from the Houston Astros, Stuff from the Orlando Magic, and the Phillie Phanatic from the Philadelphia Phillies!

What is something that compares to being a mascot?

Very few things! Unless you become a widely known athlete, actor, or musician, there may be no other job you can have that receives as many cheers and picture requests as a school's mascot.

Have you ever done theater?

I did a tiny bit of acting in middle and high school and even did some extra work in a few filmed projects but nothing substantial. Honestly, I wouldn't even consider myself an actor or even good at acting outside of mascot performing. However, you do have to become pretty animated when being a mascot. Since you can't speak or use facial expressions while performing, you have to be significant with your motions to convey what you're feeling. One trick, I thought, is whatever motions you make that feel overtop appear like a normal action in the mascot suit. Due to this, we are always taught to be over the top in everything we do.

For example, when I was at mascot camp, we were taught to 'burst the bubble'. As silly as it may sound, they told us to imagine there is a bubble around us at all times, and every action you make must be big enough to burst the bubble. But, of course, I can never forget the famous quote, "If the fur ain't flying, you ain't trying!'

What are the craziest thing that you have done as a mascot or has happened to you?

Being the mascot, you are always going into crazy events. One of the coolest things I have ever done was being in a commercial in Los Angeles and having the opportunity to fly out and film there for a few days. I honestly felt like a celebrity the whole time I was there. The company behind it got me my own room in a nice hotel in Hollywood, they got me a personal driver to pick me up from the airport and bring me around the city to the filming locations, and I was given my dressing room. It was honestly one of the most surreal things I have ever done. Sadly, that was only temporary, and I had to return to college when it was finished. It was a complete roller coaster going from a pampered actor in a Los Angeles film studio to going to some business class as an unknown student within days.

Some other super cool things I have done include crowd surfing the student section during a football game, appearing at a huge ball in Washington D.C., and even meeting the crew from ESPN College Gameday. Of course, a ton of other crazy stuff has gone on, but I can't get into all of it here.

Interview by Cristina Byrne Sternberg

Rivers Langley - Alabama funny in LA

Comedian, actor, podcaster, professional wrestling commentator, AND tour guide Rivers Langley is from the great state of Alabama and is now living in the endlessly fascinating city of LA.

Langley took some whispered advice of a dying prospector promising that there was “gold in them thar hills" in California. So in 2012, he saddled up, rode out west to pursue a career in comedy and represent the great state of Alabama.

He hosts “The Goods from the Woods”, one of the longest-running independent comedy podcast in Los Angeles. He was the host of "Unnecessary Evil" at Westside Comedy Theater which was recently named by LA Weekly as one of the Top 10 stand-up shows in Los Angeles. Rivers has also appeared on the Cooking Channel's "Food: Fact or Fiction?", Comedy Central's "How To Be Broke", and Funny or Die's "Test Tube" as a member of the sketch group Hush Money.

He also had a mining company but folded in early 2013.

Introduce yourself.

I’m Rivers Langley. I’m a stand-up comedian, podcaster, professional wrestling commentator, and tour guide based out of Los Angeles, California. I was born and raised in Auburn, Alabama; a true townie. My folks are both retired school teachers. I went to Auburn High School and Auburn University where I studied English Literature and History. While at Auburn, I worked at the campus radio station, WEGL 91.1 FM, all four years I was there. By the time I graduated in the Fall of 2009, I was doing 10-12 hours of airtime per week up at WEGL. I was hosting the daily news show where we’d do comedy bits and cut it up with callers on the air. In addition to the news show and two long music shows on Sunday, I would also just hang out at the radio station during the day and if someone didn’t show up for their show, I’d jump on and fill time between classes. It was, by far, the best thing I did in college. That’s how I learned broadcasting and audio editing. I now host “The Goods from the Woods”, one of the longest-running independent comedy podcast in Los Angeles.

Why did you decide to move out to LA?

Like a lot of people, when I got done with college in 2009, there was the huge question of “Now what?” just kinda hanging over my head. I spent almost a full year in suspended animation at Auburn. I was a substitute teacher, I delivered pizzas, and I made a couple of short films with my friends. All of that was fine and good, and I think a lot of people can probably relate to this, when you find your thing it feels like you’ve got the holy spirit or something. I started doing stand-up in Auburn at the tail-end of 2010 and immediately fell in love with it. The problem was that there wasn’t a whole lot of stage time locally so I’d drive up to the open mics in Birmingham and Atlanta. At some point in mid-2011, I made the decision to try and pursue stand-up full-time and set my sights on the West Coast for the simple reason that it’s warm and there are a lot of opportunities. I worked as a delivery driver at Steak-Out in Auburn and saved up my tips for a year and a half. On July 16, 2012, I put my whole life in a Nissan hatchback and left Auburn. I had a brief stop-over in the San Francisco Bay Area (Had one REALLY crazy night where I had to follow Robin Williams at an open mic at a bar called “Dirty Trix Saloon”!) before moving to L.A. on Labor Day 2012.

Now it’s 9 years later and I’m still having a great time out here. I’m doing stand-up as much as I can, I host a podcast that a lot of folks seem to like, I do ringside commentary for a local professional wrestling promotion, and I’m a private tour guide. The tour guide gig is the best day job I’ve ever had. I get to go on vacation with people for a living! I drive folks around L.A. to all the touristy hot spots, take family pictures, talk about the history of my favorite city in the country, and crack jokes all day long. I honestly couldn’t ask for more!

*This is where I meet Rivers on a tour bus. Photos below.

How has growing up in Alabama influence your comedy? What are some things you learned growing up in AL that has helped you navigate through LA?

Alabama was an excellent place to start doing stand-up for the simple fact that the scene is almost all DIY (do it yourself). There are two clubs in the whole state and, obviously, they aren’t going to have stage time for all the locals so, if you want stage time, you have to learn how to produce shows yourself. With that comes to hazards of doing comedy in non-traditional spaces (bars, coffee shops, restaurants) that weren’t necessarily designed for that but it teaches you how to adjust on the fly and make stuff work. Some of my fondest memories of comedy are doing a bar show in Alabama that shouldn’t have worked but it did somehow.

What is your style of comedy?

This is always the hardest question to answer because it can be a bit limiting. I am absolutely not above doing a one-liner or a physical act-out. There’s not a whole lot I’m gonna steer away from on stage if I think it’ll get a laugh at the moment. That said, I suppose it’s best described as a storytelling style. I’ll have something happen to me that strikes me funny and then it’s my job to build a joke around it. Sometimes I’ll have stories that I wanna tell but I just haven’t found the angle on it so it just sort of sits in my brain as a funny thought or anecdote but not a joke. Then, one day, I find the joke, and then it’s ready to go but that process can sometimes take a while. I have things in my brain from 2017 or whatever that I still haven’t found the right angle on! 

What comedians inspire you?

George Carlin: It’s an obvious one but Class Clown was the first stand-up record I ever heard and, despite being recorded in 1972 almost all of it still holds up really well. My dad is from New York City and is an ex-Catholic school kid so George Carlin is the patron saint of the house that I grew up in.

Debra DiGiovanni: Debra is from Canada originally but is now local to Los Angeles and THANK GOD because that means I get to do shows with her sometimes and see her perform all the time! On stage, Debra is a legitimate force of nature. Her energy level is incredible and her jokes are amazing. She will hit you with one big joke and, while everyone is still laughing at that, she’ll hit you with three quick ones so you’re not even able to breathe while she’s on stage. Debra DiGiovanni is a joke machine gun and she must be seen to be believed. I don’t know if I can say that she “inspires” me because I just sit there watching her and think “Welp, I can’t do what she’s doing. She’s on fire; a whole ‘nother level” but she makes me want to work harder at what I’m doing.

Roy Wood Jr.: Roy’s from Birmingham and is probably Alabama’s most successful comedian and for good reason. I first met Roy in Los Angeles around 2014 when he was nice enough to perform on my show at Westside Comedy Theater in Santa Monica. Roy is one of the nicest, most down-to-earth dudes you’d ever want to meet. Now, I say this next thing not just because I know the guy but because it’s absolutely true: Roy Wood Jr. is legitimately one of the greatest stand-up comedians working today. If you see him doing small, 15-minute sets around L.A. he’s obviously a crusher but the real magic is watching Roy do long-form stuff. I got to see him do an hour at Auburn University in 2019 and it was one of the most incredible stand-up performances I’ve ever seen. I love the way he plays with silences and uses the audience’s discomfort with some of the things he’s saying to achieve a bigger laugh at the end when he hits the punchline like a pressure valve and releases the tension; a comedy Jedi master. I could get really metaphysical about it but I’d just encourage folks to watch or listen to his new special Imperfect Messenger and y’all will see what I mean.

Do you ever come back to Alabama?
I’m usually home at least twice a year (Three times if someone getting married or something) to see my folks and all my friends who still live in Auburn. I’m always home at Christmastime and then again in the Spring. I’ve been the emcee of the Old 280 Boogie Music Festival in Waverly, AL since my college radio days so I’m always home in late April for that event. While I’m home, I like to book as many stand-up gigs as I can. 

I am gonna be back in Huntsville on May 6th at “Awesome Comedy Hour” at Liquor Express and Craft Beers. Like I said, just follow me on Twitter and listen to “The Goods from the Woods” podcast. I’ll post and mention all my dates there.

Talk about the comedy scene in LA and the comedy scene in AL
I cannot stress how unbelievably huge L.A.’s comedy scene is. There are obviously the famous Hollywood clubs (The Comedy Store, The Laugh Factory, and The Improv) but there are also small independent comedy theaters as well as one-nighter comedy shows in every bar, coffee shop, restaurant, art gallery, bookstore, and anywhere else in town that you can fit a mic stand, a light, and a couple of chairs. Kick a loose brick in Los Angeles and a comedy show falls out. That can prove to be overwhelming for a lot of people and they just kinda stick to the neighborhoods and places they know. Personally, I like to switch it up and go everywhere. I do shows in venues all around L.A. and Los Angeles County. Honestly, the weirder and more non-traditional the venue, the better. I’m opening for a REALLY incredible comedian named Katrina Davis who’s doing a one-woman show at a gallery space on April 2nd. Just check my social media (Twitter and Instagram) @RiversLangley to see where I’m gonna be. I also do ringside commentary for a pro wrestling promotion called “Wrestling Pro Wrestling”. It’s an absolutely insane comedy show that features crazy characters and some really top-notch professional wrestling. That show is once a month. They’re on Twitter @WrestlingPW. Check that out to see when those shows are gonna be.

As for the Alabama comedy scene, understand that I’ve been out of the loop for 9 years so I’m not really qualified to speak on it aside from what I’ve observed when I’m home. That said, it’s been incredible to watch the rise of Huntsville as one of America’s best comedy cities. That can be credited to folks like Scott Eason who has run Epic Comedy Hour at Lowe Mill with my ol’ college radio pal Tim Kelly for over a decade now! Ask any comedian who’s done the show what they think and you’re going to get a glowing review. I always say “If you can’t kill it at Epic Comedy Hour, you should quit.” I just got a chance to do Stand-Up Live in Huntsville for the first time back in December and it was a great venue too! Birmingham is the place I claim as my original scene and there’s a lot of cool stuff happening there. One of my best friends in the world is Wes Van Horn. Wes is one of the funniest people I’ve ever been around and he’s been running some great shows out of Avondale Brewing Company. There’s also Alice Whatley and Lauren Lamphere who run a comedy collective in Birmingham called “Laugh Garden”. They do these really cool variety shows with music and comedians that everyone should go check out. So, even though I’m not super plugged into the scene in Alabama as I was before I left, from what I can tell it’s really vibrant and there are still young people doing it, so that’s kinda all you need.

Any tips for aspiring new stand-ups

If you’ve already started doing stand-up, keep going and say “Yes” to absolutely everything you’re comfortable with. The weirdest venues in towns you’ve never heard of can sometimes be the most fun. I did a comedy festival in the Yukon Territory up in Canada (basically the Arctic Circle) and those were some of the most fun shows I’ve ever done. Overall, the only piece of advice that I feel comfortable giving is this: Set your goals high and expectations low, and then just have fun. If you haven’t started doing stand-up yet but you’ve been thinking about it, do it. Do it now. Do not wait. I started doing stand-up when I was 24 years old. My only regret in life is that I didn’t start earlier.

Any topics that a stand-up comedian should avoid should be free to joke about anything?
You can joke about anything but make sure it’s funny. Part of that is making sure the audience finds you credible to speak on the subject. That’s why I always tell people to write about either what they know or what they’d actually like to know. Patton Oswalt once said that all jokes should be a discovery. Either it’s a set-up with a punchline the audience didn’t see coming or it’s the comedian approaching a subject from a place of ignorance and then figuring it out by the end. The joke isn’t done until you figure it out. I think that’s a great way to approach it. It’s like the thing I said about Roy earlier, use your words to build tension but make sure you’re building to SOMETHING. Don’t just say inflammatory stuff for the sake of doing it. In professional wrestling, that’s called “Cheap Heat”. Anyone can do it and if it’s done just for its own sake then why bother? 

_____

Interview by Cristina Byrne Sternberg

Harrison Stone, athlete turned actor

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Harrison is an athlete who played NCAA Division 1 Tennis and was ranked #1 in high school for Alabama. He teaches tennis lessons at Atheltic Club Alabama in Huntsville. He is also a professional actor and has appeared in the TV series The Liberator, and NCSI: New Orleans, and the movie the Green Book to name a few.

I meet Stone on the set of Super Science Showcase, where these photos were taken, and briefly chatted with him about being an athlete and an actor.

DIBS: What are some things about being an athlete have taught you about being an actor? 

Work ethic and having a thick skin. When I was playing tennis growing up I had some coaches who would yell, scream and scare me. They consistently put a tremendous amount of pressure on me, and learning how to deal with the pressure from sports helped me better remain calm under the pressure of being an actor whether it’s auditions, callbacks, or onset. I also really learned the value of hard work from sports. If you want to be great at anything, you have to be willing to work hard at it day in day out. The work ethic I have from tennis prepared me for the grind of filmmaking. I also believe that being an athlete has helped me as an actor in terms of the physicality of taking on roles. I think acting is much more physical than people realize and I think that from sports I learned how my body moves and am better aware of it which helped me better attempt to execute a role I am playing.

Lastly, I believe that in both sports and acting, you have to learn that you are going to consistently fall down and fail, and you have to learn to pick yourself back up and continue working towards your goals. So funny enough, in both realms, I believe failure is a vital part of success.

DIBS: What are some similarities between an athlete and an actor?

That is a really interesting question. I think from my experience, with tennis, I would have to, day in and day out, work to perfect my stokes and my game. I think there is a misconception with acting that it is relatively “easy” and that there isn’t much to it in terms of muscle memory or a technique - that’s dead wrong. With tennis, my racket was my “instrument” whereas with acting it’s simply my body, but in both cases you have to consistently work out the given muscles to perfect the technique in each given field. I also think in both areas you have to learn how to deal with pressure under difficult circumstances. 

DIBS: Why do you think there is a misconception that sports and the arts do not go hand in hand?

I think it’s because usually people only do one or the other. But if you look at history. Many of the greatest actors of all time were incredibly good athletes and many great athletes do well acting in films/commercials. I honestly have no idea why they don’t go together but I personally love both and I have many friends in the industry that have been very successful athletes along with their acting careers. I feel like this is the crux of High School Musical haha!

DIBS: Why is having a creative outlet important for being an athlete? 

Well, I think both sports and the arts can inform each other and help a person be better well rounded. Whether they are more focused on one or the other, I believe by being both an athlete and an actor, I have gotten better at one because of the other and vice versa. 

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Check out his IMBD

Artist Spotlight: 'Burden We Carry' by Elisabeth Stephan

Elisabeth Stephan is the artist behind “Burden We Carry” on Instagram. It’s a series of photographs in which each person writes on their back the burden in which they carry.

As Artist Elisabeth states, “We all have baggage. We get to the point where we get to see what the other‘s been carrying around all these years.”

DIBS: What inspired you to start “Burden We Carry“?

In March 2020, my grandfather gave me my deceased grandmother's diary in which poems and thoughts were written. The headline of an excerpt read "The imprisonment of being is tormenting". This sentence didn't let go of me. Through conversations with my grandfather, it turned out that this apparently outward strong, disciplined and independent woman had suffered a lot internally during her last years. She didn't want to be what she thought she had to be.

After that, I had a vision at night. I dreamed of a picture - a naked woman with this sentence on her back. I questioned it and I asked myself if my grandmother had this burden during her final years without noticing it. How many people are out there with similar feelings and how well do you actually know the people around you? Does everyone have a burden and you don't know anything about it?

DIBS: What is your intention with the burden we carry?

I want people to start talking not only about their strengths but also about their weaknesses. Personally, I think it's much more courageous to talk about that than the other way around. I want people to start dropping their masks. It gives people permission to be human and relate to one another. A sense of community. I am using this tool to remain that way.

DIBS: What’s the best part about being an artist?

You are free. You can make a difference.

You can hold up a mirror, question, reflect on and criticize society. Listening to your parents, friends or critics never changes anything. Art can only be alive if you take all your liberties. That includes disappointing expectations.

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DIBS: How does your work comment on current social and political issues?

Many of our burdens, physical and mental illnesses are based on today's society and politics. They are a reflection of it.

The fast pace, the pressure to perform, the exemplified trend towards self-optimization, the expectations of others, as well as the loneliness of the individual, especially in cities, lead to obstacles and barriers for each individual. I think the western world is at its zenith.

DIBS: What’s the best way to lighten the load?

By focusing on the problem, opening up, and tackling it. One will find many people out there who are similar.

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DIBS: Describe your idea of artistic success!

To change or shake up society, even if it's only a small part of it. In the end, every artist wants to make a difference.

DIBS: Lastly, what has been inspiring you lately?

A young woman who fearlessly faced and conquered her brain tumor without going blind or ending up in a wheelchair. I was very impressed by her zest for life and her new view of the world.

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Hillside Solutions peels back the curtain on waste

“There’s a ton of misinformation about how our waste stream works, so much of my time is spent pulling back the curtain to reveal the truth about recycling, composting, and landfilling to inspire change,” says Brent Crampton the Director of Partnership at Hillside Solutions in Omaha, Nebraska.

Hillside Solutions was created in 2017 to connect schools, apartment communities, and businesses with the landfill, recycling, and compostable hauling services of Gretna Sanitation and the commercial composting process of Soil Dynamics. In essence, Hillside Solution's is the waste hauling company of the future — one focused on diverting materials from the landfill, providing people with sustainable alternatives, and enabling our community to live a zero waste lifestyle. 

Brent spends his days “activating people into the world of treating their waste as a resource while helping to usher in our forthcoming shift to Zero Waste culture.”

Company History Documentary Short

Why did you decide to be a part of Hillside Solutions?

When I woke up on January 1st, 2017, the world was a very different place. I had just ended a 17-year career as a full-time DJ and event promoter, in which 5 of those years I was also a nightclub owner.  But then Trump was president, and I felt the carefree era of Millennial nightlife was over, and it was now time to go in my corner and get some work done. So I took a year to figure out what that meant. And as I listened to the quiet voice inside me, I kept envisioning myself in the sustainability industry. 

Then it hit me on the head one Friday night when I was invited to participate in my one and only Shabbat dinner experience. At that dinner, while drinking wine and breaking bread as a gentile with a wonderful Jewish couple, I was handed the job I’m in now. 

How is Hillside Solutions different than any other waste management?

We’re different from most waste companies in that we own an industrial composting facility instead of a landfill. That one decision completely overhauls our priorities because we’re no longer incentivized to landfill waste. We’re incentivized to compost it. 

From what I’m told by industry insiders, it’s rare to have an organization like ours that hauls landfill, recycling, and composting material, plus composts our own material, plus produces and sells an aftermarket soil and mulch product. 

Why do you think people don't compost or recycle? 

I think a lot of people do recycle, I just don’t think many of them do it very well. And to overcome that hurdle, we need to teach it to the children as a standard curriculum, we need federal legislation that standardizes recycling practices nationwide, and require corporations to use a standard lexicon for labeling single-use items so people understand what type of material it is and where they should dispose of it. Composting isn’t normalized yet because people don’t understand it. Most people think sending food waste to the landfill is safe. But in fact, when we put an innocent head of lettuce in an anaerobic landfill environment, we’re weaponizing that flimsy ball of vegetable flesh to put off noxious, climate-warming methane gas for the next two decades. 

What are the benefits of composting and recycling?

People understand the need for recycling. The basic concept that humans make things and we should reuse those things is easy to grasp. 

But part of my job is to spread the idea that composting is just nature’s version of recycling. The two are equally important but most are sleeping at the wheel when it comes to understanding the urgency to compost. 

See, climate change has been sold to us as this really, incredibly difficult problem to solve. But if you watch movies like Kiss The Ground on Netflix, you can plainly see that the number one thing we need to do is not drive electric cars. It grows food without tilling or the use of chemicals. And the best (and more appropriate) substitute for chemicals is compost.

Here’s how it works: Our addiction to fossil fuels has taken all of that carbon from the ground and spewed it into the atmosphere. That’s caused climate change. 

Now we need to suck all of that carbon from the atmosphere back into the ground. And the way you do that is by the simple but revolutionary act of growing things. These plants draw that carbon back into the ground, then microbial life consumes the carbon, and then produces nutrients that feed the plant. Those nutrients make our food taste better, help more plants to grow, and continue to suck more carbon from the air. That’s what will fix climate change. It’s that simple (except for the fact that we need to get rid of farming subsidies while overhauling the industrial agricultural complex, but that’s another blog post). 

How to compost at home without spending a dime

Can you explain the process of recycling and composting. So once you have collected it, sorted it. What happens next? And what does the final stage look like? And what do you do with it? 
We mix food waste with oxygen, water, and a whole lot of yard trimmings and manure, which is like sending out a massive block party invite to microbial life to have an Ancient Rome-like “Eat til ya throw up” type feast/bender that lasts 1-2 months.

But instead of leaving smallpox and malaria behind like our imperialistic ancestor friends, the microbes merely leave behind nutrient-dense soil that reverses the effects of climate change. From there we mix the compost into soil blends and sell it to contractors, landscapers, farmers, and hobby gardeners. Whereas recyclables can wind up halfway around the world, the end result of composting always stays local. 

Here is something I noticed recently. I was out at a restaurant and due to COVID everything is in take-out containers and it's nice that people are using compostable take-out boxes but what I noticed is that I do not see people or the restaurant actually composting it.  So my question is, that if the take-out containers are compostable and its mix in with other trash does it compost? I am assuming that the compostable containers that are mixed in with other items do they break down quicker than the ones that aren't. But in order for any waste to be resourced again doesn't it all have to be separated properly? 

Back in 2018, plastic straws got beat up in the media narrative pretty badly. Which was great because it introduced the conversation to a wider audience that explored the effects of single-use plastics. Another great result was that many restaurants are now ditching styrofoam and converting to compostable packaging and service ware. 

But the bad news is that the story ends there for most restaurants. If they picked the book back up, they’d read that if compostable service ware goes to the landfill, it puts off methane gas for a few decades. If it goes to recycling centers, it slows them down and costs money to get it off the line. And if it winds up in your backyard compost pile, your pile isn’t vigorous enough to break it down. But if it comes to an industrial composting facility like ours, its eco-destiny will be fulfilled. 

The truth about paper straws relating to compostable serviceware

Also, in one instance this particular waste management says they do not service animal waste. I questioned if this means pet poop. I know there are a handful of definitions of what "Animal Waste" may mean. How does pet poop get sorted out in the trash? I guess I am curious about how this is managed.

 Need more context to properly answer. Feel free to call. 

What are the things that are considered TRASH? What wastes should we avoid?

Depends on where you live and what kind of infrastructure access you have, but gum (because most of it has plastic in it), single-use baby diapers, and those dumb Starbuck’s cups that have a plastic lining (which also mean you’re drinking microplastics) are some proper landfill items. 

What are some challenges you face with waste management? 

Out of all utilities, waste management is the lowest by a far margin, which inhibits innovation. A lot of communities are still paying for and getting the cable box TV service of trash. But cloud streaming any show you want at any time on any device is here, if we want it.

Is it important to manage the waste or reduce the waste?  

If we flip to the end of the “How We Survived Climate Change” book, the story doesn’t say, “And everyone recycled and composted everything.” It says, “and everyone reduced, reused, refused, and rethought our use of waste.” 

A look into our composting process

What are some of the most common things you see schools and businesses recycle?

Cardboard. It’s the easiest. 

From my understanding, there are different numbers of plastics to indicate what type of plastic it is based on how it is made. And the purpose of the number is to identify that because some plastics aren't recyclable. What are some plastics that are recyclable and what are some that aren't? Just so we know NOT to get them if we HAVE to!

Depends on where you live, but in most places, plastics #1, 2, 3, and 5 are easily recyclable. But since many products don’t label, it’s better to focus on hard, rigid plastics (like water bottles, milk jugs, and detergent containers), since those are usually the most easily recyclable. 

There are a couple of articles floating around that indicating that recycling is BS, What would you say to people who have lost faith in recycling?

Recycling is still relevant, but if you’re depending on it to fix the waste problem, you’re missing the point. It’s one cog in a big wheel of solutions we need. 

This addresses your question about why people think recycling is bogus, and then some

What is the biggest thing people get wrong about recycling?

Assuming all plastics are recyclable. 

What can people do who are passionate about the earth and the trash problem?

Hold corporations accountable and vote for pro-climate candidates. 

Why is Hillside Solutions mission important?

Solid waste is the gateway to sustainability.

Email Brent with any questions at brent@hillside.solutions and check out Hillside Solutions HERE

Time-lapse of the compost farm

What's Spinning? Mordechai by Khruangbin

Andy & Ashley Vaughn owners of Vertical House Records in Huntsville Alabama opened up their store in 2007 in historic Lowe Mill, an old cotton mill in West Huntsville. They moved into their current location which is approximately 3000 square feet in January 2019.

They are big supporters of the independent and local music scene!

Name of record/artist:

Artist: Khruangbin, Album: Mordechai, Released in June 2019 on Dead Oceans.

What emotion does this record invoke for you?

Is “chill” an emotion? Haha

What is your favorite instrumentation part on this album?

For a trio, they have a very big sound. There is a little bit of singing but the majority of it is instrumental. The drummer and the bassist are great as a rhythm section for the thai funk-inspired guitar riffs.

Does this record bring back any memories for you?

Not specifically since it just came out recently. I imagine it will invoke memories of the Summer time during future playings !

What are the highlight tracks?

#2 - Time (You and I), If There Is No Question, Pelota, So We Won’t Forget are a few of the standout tracks but really the whole album is great to listen to in its entirety.

DIBS: Describe the album artwork

Khruangbin is a Thai word that translates to “Flying Vehicle” or “Aeroplane”, so I feel like the album cover is a take on that. The cover has a colorful illustration of a winged animal taking flight. Kind of psychedelic design with earth tones.

RAPID WORD ASSOCIATION - What is the FIRST word that comes to your head

Funky!

Why should WE listen to this record?

Because it’s gooood! We’ve been selling a ton of their albums at the store and every time we play it someone asks what we’re listening to. That’s always a good sign!

Khruangbin is a three-piece band from Texas, formed of Laura Lee on bass, Mark Speer on guitar, and Donald Johnson on drums. Taking influence from 1960's Thai funk - their name literally translates to "Engine Fly" in Thai - Khruangbin is steeped in the bass heavy, psychedelic sound of their inspiration, Tarantino soundtracks and surf-rock cool.

Website | Instagram | Facebook

What's Spinning? Transgender Dysphoria Blues by Against Me!

Tell us in a couple of sentences about you/LV Girls Rock

 Salutations! My name is Ty McMaster and I am a trans feminine songwriter, guitarist, bassist, and vocalist from Bucks County, PA. I’ve been a part of Lehigh Valley Girls Rock for about a year now. LVGR is a nonprofit dedicated to empowering girls, women, and trans & nonbinary folks through music and art.

 Name of record/artist

 Being that it was recently the five-year anniversary of the record, I have been revisiting Transgender Dysphoria Blues by Against Me!

 What emotion does this record invoke for you?

 Apprehension, teetering on excitement. I was not out as trans when this album was released. In fact, I didn’t entirely know what the trans experience truly was UNTIL Laura Jane Grace came out in 2013. It was a completely new state of experience, and I felt so proud of her for living her truth. Unbeknownst to me, this album planted a seed in the back of my brain that would slowly flourish over the course of two years. I adore this record, but at the time I simply thought the euphoria I was feeling was a form of empathy towards Grace herself. I couldn’t truly connect to this album because I wasn’t trans, right? Right…? The apprehension and excitement were a dichotomy I couldn’t understand at the time. Now I feel full-fledged euphoria when I blast this in my car.

What is your favorite instrumentation part on this album?

I have two. The opening guitar riffs to tracks 6 and 10 are two of my favorite Against Me! riffs of all time. Though they both convey wildly different emotional dynamics, I get so pumped up whenever I hear them. Also, those tones??? MA’AM????

Does this record bring back any memories for you?

I’ll never forget my initial listen to this album. Hearing the opening lines of the title track clobbered me square in the jaw. I was genuinely breathless for a few moments. I always recall the power I felt, hanging onto every word Laura sang. Once I realized and named my own gender dysphoria, that power grew exponentially, and many of these songs became the anthems that comfort me when I am at my most dysphoric. It also makes me think of the drives I would take with my best friend Charles, replaying this album full blast.

 What are the standout tracks?

My knee-jerk reaction is to say the whole album, because it is truly a masterpiece, start to finish. However, I will concede and state that “Black Me Out” is my absolute favorite song. Not only is it the perfect closer, but it is the song that has always been most empowering to me. One of my favorite pastimes is howling the chorus at the top of my lungs. There is a specific kind of rebuke in cursing out the people who seek to demoralize, oppress, and erase you. I also can confirm it is 200% what many trans people want to shout at bigots on a normal basis. Aside from that song, “Transgender Dysphoria Blues,” “True Trans Soul Rebel,” and “Two Coffins” are definite standouts for me as well.

 Describe the album artwork

Oh my, excellent challenge. The cover is completely white, with what appears to be a graphic black and white image of a breast that is likely being observed and scrutinized. I’ve taken it to be representative of our society's obsession with basic biology, coupled with the insistence that secondary sexual characteristics determine gender/femininity. It stands as an excellent criticism of the trans misogyny and sexism that trans women face every day. There is also a subtle theme of violence against trans women, which is still a widespread issue, especially for trans women of color.

 RAPID WORD ASSOCIATION- what is the FIRST word that comes to your head when this album comes on?

 Power. Power expressed; power reclaimed; power reborn. Nothing but pure power.

 Why should WE listen to this record?

 This album was released during a time where trans voices were still underrepresented in all media. We were just on the precipice of wholly screaming our existence into the cultural conscience. We were just meeting Laverne Cox on Orange Is the New Black and Janet Mock had released her groundbreaking memoir, Redefining Realness. In the mainstream punk world, trans representation was virtually non-existent. Laura Jane Grace introduced many young punks to a life outside of restrictive gender expression. I know that for me, as well as many young queers who grew up loving punk music, her coming out was the spark, the moment of realization that we all needed. She snarled a new way of living and expressing into a genre that was rife with misogyny, offering an aggression that many of us felt, but weren’t sure how to express. This album deserves your time because trans voices deserve to be heard. Transgender Dysphoria Blues is a visceral look into the trans experience, offering emotion, language, and stories that deserve to be treated as valid. There’s a lot to learn from these lyrics. That being said, Laura’s is only one voice, and a white voice at that, so be sure to listen to other trans voices as well, such as Jackie Shane, Vivek Shraya, Shea Diamond, Anjimile, and so many more. There is a rich and vast cornucopia of intersectional trans experiences. Let them color your life with love.

 

INTERVIEW: Meet The Film Makers of "The Last White Man"

One word description of the film - BOLD.

Produced and written by Dean Tatulli and Mark L. Mazzeo, DIBS was able to chat with the two filmmakers about their recent project!

DIBS: Hi Dean and Mark! Thank you for taking the time out of your day to chat with me about your latest film, The Last White Man.

DIBS: I am just going to jump right in. Your one-sentence description of the film is “a dark satire thriller with a focus on race, identity, and social politics in modern-day America”….for the White Man?

Mark: With the election of Donald Trump, Dean and I noticed a resurgence of the old narrative that white men always get screwed over, they're the victims of affirmative action and political correctness etc. I've always felt that was an erroneous point of view, but with the rise of Trumpism and the Alt-Right, I started to see it as a very dangerous attitude as well. Across several conversations about this with Dean, we started using the phrase 'The Last White Man' as a sort of pejorative shorthand for the people pushing that narrative. From there we decided to write the screenplay for TLWM to paint a satirical picture of that guy and push it to what we saw as its natural and inevitable conclusion. As events in the news began to parallel our story, the film became a bit darker than we originally imagined, but we're hoping there's still humor to be found in it as well. No one has seen it, so we're curious to see how that plays at the screening.

Dean: Despite being inspired by the quick rise (and inherent darkness) of Trumpism, the alt-right, Incels, and conspiracy theorists, we decided to leave anecdotal politics out of the film. It's implied by Karl's opinions, actions, and the language that he uses he's aware and influenced by those ideologies. However, we never come out and say it explicitly, allowing the audience to draw their own conclusions about his radicalization.

DIBS: There is so much to this topic even more so now with the 24-hour news cycle, social media, and as you say “The Rise of Trumpism”. Do you think this “Rise of Trumpism” happened because of that “resurgence of the old narrative that white men always get screwed over, they're the victims of affirmative action and political correctness etc” so its like “alright fuck it then, I can’t win” so it has led to this “dangerous attitude” of The Last White Man?

Mark: I think Trump has normalized it (among other things) which has played a large part in the resurgence of that idea. But outside of a few scenes, the film itself doesn’t touch all that much on “capital P Politics”. It’s sort of implicitly there if you can make the connection between racism, sexism, homophobia, etc and the political party that currently supports those things. But it does deal a lot with identity politics, where our main character Karl is struggling in a world he feels left out of. He’s the fabled “forgotten man”. But the film isn’t designed to make the viewer sympathize with Karl, and I don’t think people will. Ultimately, the film is our critique of the “last white man” ethos and like I said we take it to what we see as the inevitable conclusion of that mindset. And it’s not a happy ending. For anyone.

DIBS: It’s funny that you say that because my next question was going to be, Could the viewer sympathize with Karl? Which you have answered. Not a happy ending for Karl then. How about what sort of perspective will the audience gain walking away from this film? I would like to add something to your response to the previous question. So the school bully is known to be a bully the bully (assuming so) is aware that he is a bully (assuming so) and maybe he is a bully for reasons unknown to others but since the bully has been titled this role they are now going to play that role. How could the school bully come back from being “the bully”? If they are known to be a bully is there some sort of redemption? I know that we are getting a little deep here, I promise there will be lighter questions 🙂

Dean: It’s interesting you bring that up, because I sort of wanted to expand on the idea of sympathy for Karl - In the writing phase, we knew we definitely didn’t want the audience to sympathize with or for Karl, he’s clearly the villain. And to Mark’s and Ryan’s credit, I think that is achieved, Karl is abhorrent. But there’s sort of paradox in the script, where if you show something from the villain’s perspective, you’re asking your audience to at least *care* about your character. Even if they’re bad. Karl, at the start of the film, doesn’t know what his place in society is, just that he feels like society left him out of the equation when it progressed. As the story progresses I think we offer him a way out, but he doesn’t take it because he’s too far gone. I think maybe that idea touches on your bully analogy. Karl eventually learns who he is in society by trying to assimilate and realizing he can’t. I don’t think it’s a zero sum game, but our story does not allow the bully to redeem himself.

One last point about that is, I think we were always aware of the risk that showing the film from Karl’s perspective was dangerous. Especially since ‘Karl learning his place in society’ is a negative thing which could carry the connotation that we think he’s the right one.

We’ve talked about intent a lot in our doing this film, and I think our intent is very clear in the final film.

Mark: As for what the audience walks away with, I want people to see this film and have something to say. I want to start conversations about something that people maybe don’t want to talk about. I want people to see this and question if they’re like Karl, if they’re enabling Karl’s in their lives etc. basically I think we want people to take a look in the mirror, both at themselves and society as a whole. And in reference to sympathizing with Karl, Dean makes a good point about asking the viewer to care about Karl. I don’t think it’s that the viewer should sympathize with Karl. I think it’s that they should empathize with him and feel horrible about it.

DIBS: So what’s harder: getting started a film or being able to keep going? How long was this process from having the idea to writing it to filming it to completing it?

MARK: I’d say getting started is harder. Once you get going there’s inertia and you get into routines. But at the beginning you’re starting with nothing and it’s all ahead of you and it seems so insurmountable. Especially doing it the way we did it. Self financed and without any sort of infrastructure behind us.

We started writing in October of 2017 and we’re done writing in April 2018. (We wrote a key scene a couple of months before shooting, but otherwise the script was finished that April)

Preproduction started in November of 18 and we shot for 12 days between February 23 and March 23 of this year including an 8 consecutive day first wave at the end of Feb and early March.

I started editing on March 3 after the first wave of filming and we got to final cut on September 2.

So from the first page to final cut you’re talking a two year process. The idea is something we talked about for a while before that but in terms of actually working on it, two years.

DEAN: Anecdotally the hardest day of the whole thing for me was day 1 - we had a hard start and I remember feeling like there was no way I could do 12 shoot days.

But like mark said, you get into a routine and you get over the jitters of starting something so big and it becomes fun.

DIBS: What were some obstacles you faced making this film?

Dean: We produced the movie completely on our own. There was no one to really help us. And it’s really hard to produce a feature film with just two people handling logistics, scheduling, planning, money, problems as they arise etc.

We were incredibly fortunate to have a very dedicated team helping us actually make the movie. But most days that team only consisted of Mark, myself, a sound person, and a production assistant. With a crew that small and when you’re shooting 5-8 pages a day it becomes all about judicious time management.

DIBS: In your opinion, what sort of stories are important to tell?

Mark: I’ve always liked movies that are more character-driven than plot-driven. I feel like if you can come up with a really good character or characters and use them to drive the story, that’s always the way to go.

And that’s reflected in The Last White Man we started with Karl and built it out from there.

Dean: I also think it’s important for a story to have some sort of social or moral relevance. I understand that entertainment for entertainment’s sake has a place - i’m just less interested in it than I am in making actual statements.

And as Mark said, I believe that stats with characters who feel like real people.

DIBS: Where did you both meet?

Mark: Dean used to bully me in middle school.

Dean: That’s not true

Mark: That's how I remember it.

DIBS: LOL

Dean: We knew each other in middle school, but this is how I remember it. In the beginning of 8th grade Mark asked me if I made movies. And I said yes. He said I should make movies with him and a friend of his, and then we all started to do that together.

Mark: We continued making movies with a couple of friends of ours into the first year of high school and then kind of went our separate ways for the rest of high school and college. When I graduated I realized it was time to get serious about making movies and contacted Dean about working together again. And we've been making projects more or less annually together ever since then. We always try to make sure we learn lessons from our mistakes and get better with each project, and I think we have.

In your opinion, what defines success in filmmaking? Money? How many people saw? Reviews? Awards? All the above or none of the above?

Mark: For us, right now, it’s getting someone to want to invest in us and give us a budget to make the next one. That’s all I want, to get to make the next movie. The older you get the harder it gets to self finance. Exponentially so on feature length projects.

Dean: Agreed. I would say success as an independent filmmaker is simply being able to make films that get you enough exposure to make the next one. Being able to earn a living at it would be fantastic as well of course.There’s a famous quote that says “we don’t make movies to make money, we make movies to make more movies” I just thought that was fitting to this part of the conversation. Maybe a tad ironic because Walt Disney said it. But I do think the sentiment is true

DIBS: So explain to me the process of how it works. So as an Independent filmmaker you make the film and you submit it to festivals so that producers can have eyes on it and hopefully like it and want to invest in that film or want to invest in the filmmakers?

Mark: Yeah, that's the hope. You put it out there and try to get it in front of the right set of eyes.

Dean: Festivals also allow you to share the movie with other filmmakers who may want to network and work with you.


Meet The Filmmakers

Mark L. Mazzeo - Writer/Director

 
Mark is a filmmaker currently based in the South Jersey/Philadelphia area. He has made a variety of award-winning short films, as well as his first feature film, Something Better Comes Along. He is an industry professional with credits on multiple n…

Mark is a filmmaker currently based in the South Jersey/Philadelphia area. He has made a variety of award-winning short films, as well as his first feature film, Something Better Comes Along. He is an industry professional with credits on multiple network television shows.

Dean Tatulli - Writer/Director of Photography

Dean is a filmmaker and director of photography based in Philadelphia, PA. Over the past 7 years, he's shot multiple award-winning short films, co-wrote and co-directed a web series, and produced and shot a feature film. In addition to that, he has …

Dean is a filmmaker and director of photography based in Philadelphia, PA. Over the past 7 years, he's shot multiple award-winning short films, co-wrote and co-directed a web series, and produced and shot a feature film. In addition to that, he has nearly 10 years of professional on-set experience with credits ranging from branded content to documentary films.

 
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Latin American Studies with Dr. William Keeth of Mansfield University of Pennsylvania

DIBS chatted with Spanish, English and World Languages Associate Professor William Keeth of Mansfield University of Pennsylvania whose special interests include Latin American Avant-garde Poetry; 20th Century Latin American Literature with emphasis in Peruvian and Mexican Literature; the interdisciplinary Study of Latin American Literature and Art; web and e-collaboration/integration; computer-enhanced teaching; and distance learning.

He has worked at Mansfield University since 2001.

Introduce yourself - who are you, where are you from and what do you do?

I was born in Tucson, AZ, where I began to study Spanish in Junior High.  In the late 70s, Spanish was just a curiosity for me, but remained a hobby throughout my early education.  No one spoke the language at home.  In a sense, Art and Spanish represented my personal creative and intellectual space.  Looking back, I now feel both nostalgic and sad—sad, because of I am aware of the current anti-Hispanic politics in AZ and know that young people today won’t necessarily get the same opportunity that I had.  One experimental Jr. High Spanish class effectively changed my life.  At Whittier College, I made a switch from studying engineering to studying Spanish in my sophomore year.  And, again, after graduating, I shifted from joining the Peace Corps to registering for a Spanish graduate program at Arizona State University.  Graduate school brings on another twinge of melancholy, too.  I never could never have gone to college without my student aid and could never have finished graduate school without my teaching assistantship.  Today, this type of scholarship is disappearing.  This is truly unfortunate.

Why did you decide to become a Spanish Professor, and what is it about Latin America that drew you to become a master in the subject?

Although I began my undergraduate and graduate studies based purely on my academic interests, my experience teaching English to immigrants in California and my part-time work at Chandler Community College made me realize that all employment had a practical side to it.  I decided to enter and finish the Spanish Literature PhD program at ASU, because I saw more job opportunities with a PhD than with simply a M.A.  Essentially, I didn’t want to limit my teaching opportunities to the community college level and saw more opportunities to travel abroad as a university professor.  As for my academic focus, that was a tough decision.  I enjoyed both Peninsular and Latin American Literature.  I guess what tipped the scales were the relationships I made with my professors at ASU.  In both areas of study, I had researched the interdisciplinary relationships shared by many poets and artists.  For me, studying the Peruvian surrealist poets was as interesting as studying the correspondence and inter-artistic sharing of Diego Velázquez and Pedro Calderón de la Barca.

Have you spent time in Latin America and if so where?

Yes, I have been very fortunate to be able to travel and live in Latin America.  I made my first trip to Morelia, Mexico as a winter exchange student at Whittier College.  My host family was extraordinarily helpful and caring.  In graduate school, I returned to Mexico and studied for a semester at La Universidad Autónoma de Guadalajara. And, after receiving my PhD returned once more to Latin America.  This time I took graduate courses in Quechuan linguistics.  As an exchange student I have, for example, been able to learn business from a Mexican professor who earned the Key to the City in El Paso, TX and been able to live alongside Mexican students immersed in Spanish in a Casa de asistencia.  Truth is, I haven’t stopped traveling abroad.  Each year I try to return to Peru and continue my research.  This has been very rewarding.  I have, for example, met poets like the late Javier Sologuren and artists like the late Fernando de Szyszlo. 

Why should people learn about the history, culture, and literature of Latin America? 

Well, first, I could say that we need to learn about the cultures from which many of the U.S Latinos come from and that we could better prepare ourselves by understanding our own culture better.  But, this would be too obvious.  The most successful formula for teaching culture that I have used has been helping students recognize the main cultural paradoxes of Latin America and then reflecting on their own culture.  Frequently, more than one nation grapples with the same quintessential socioeconomic or ethical problems throughout history.  As for literature, I like to stress the unique beauty, sensibility, and ways of thinking that embody Latin American literary writing.  Literature can seem scary until you can read and begin to understand it.  Jorge Borges wasn’t wrong.  Don Quijote is an entirely different book in English.  Being able to read in another language is like learning to swim and swimming is not walking although you can travel at the same speed.

Could you talk about the different types of people that settled in Latin America? And the idea that Latino is not a "uniform race." 

A Peruvian taxicab driver asked me one day, “Where are you from?”; but, before I could answer, my Peruvian wife explained to him that I was from the provinces.  I wanted to laugh, because I could never imagine that he would believe her.  But, he did.  Racial mixing and the use of foreign names like William is common in Peru.  In fact, the country has a tremendous Afro-Peruvian history, has opened its doors to Chinese immigrants like the U.S. (before the trains reached California), and even has had to remove a president-turned-dictator, who was of Japanese descendent.  Indeed, contemporary Latin America is multicultural and multiracial.  Like the U.S., however, this doesn’t mean it’s uniformly recognized or accepted.  In some areas, one can still find racial discrimination, many times against the indigenous people.

Could you describe Latin American culture, history, and literature in 3 words?

Syncretism, Economic dependency, Resistance.

What are some groundbreaking authors of Latin America? What themes do they talk about? 

That’s a tough question.  There are so many literary periods and groundbreaking works in each one of them.  Regardless, I can’t imagine not having read something by Carlos Fuentes, Jorge Luis Borges, Gabriel García Márquez, Julio Cortázar, Isabel Allende, Pablo Neruda, and Octavio Paz.  Recently, however, I’ve been reading works by Roberto Bolaño, Edmundo Paz Soldán, Daniel Alarcón, and Jorge Volpi.  These more contemporary authors don’t shy away from themes like serial killers, computerized realities, terrorism, and drug smuggling.  Like the more classical authors I mentioned, they, too, envelope you in their literary worlds and flesh out the underlying human realities.  They leave you thinking about humanity and human purpose, despite its sometimes-terrifying forms.

How important do you think it is for Americans to learn Spanish?

In general, learning a second language is important, whether this is Spanish or not.  Learning a second language allows you to explore other cultural histories/realities.  You learn different ways of seeing the world and can use the language to discover different parts of the world itself.  You also find different ways of expressing and understanding yourself. 

As for learning Spanish as an American, this, too, is very important.  Just in practical terms, we need to recognize that a huge segment of the U.S. either speaks Spanish or comes from a Hispanic background.  Intellectually speaking, however, the importance of learning Spanish in the U.S. was established almost as our nation was founded.  It was recognized by one of the first American academics, the Bostonian erudite, George Ticknor (1791-1871).  He travelled in Europe extensively and wrote significant works about Spanish Literature.  Ironically, I recall reading his journal entries in Mexico, as they are translated and circulated in Spanish.  He’s been followed by other great American academics like Jerimiah D. M. Ford (1873–1958), great art dealers like Julien Levy (1906-1981), great photographers like Alfred Stieglitz (1864 –1946) and Ansel Adams (1902-1984) with their ties to Mexican Muralism,  great philanthropists like Ruth Walgreen Stephan (1910-1974) and her connections to Latin American poetry, and even explorers like Hiram Bingham (Machu Picchu).  As one can see, the scope of American artistic and intellectual ties to Spanish speaking countries has long since learned to embrace all the Spanish speaking world, including Latin America and our own Spanish speaking Southwest.

Unfortunately, learning/speaking Spanish almost always gets tied up in politics, and not just the recent politics of immigration.  Learning/speaking Spanish is embroiled in our geopolitical discourse of globalization (along with Chinese and Arabic).  And, the truth is: it has always been interwoven in the lengthy American Hispanicist debate framed by the Spanish Cession of Florida, the Mexican American War, the Spanish-American war, the Bay of Pigs, and the Civil Rights Movement (César Chávez).  This politicization tends to confuse the purpose for learning a second language (the creative, cultural, and intellectual connections/contributions developed through language proficiency) with cultural threat. 

Is there a moment or moments in Latin American history that North America could learn from?

We all are busy and tend to be wrapped up in our own daily troubles.  Regardless, I’d like to think that we can learn from history and become more conscientious about our participation in our socio-political world—become more prepared for the crucial crises that our communities face and more prepared to guide and empower our children as they help construct our future.  In this sense, we, indeed can learn a lot from Latin American history.  The fundamental questions in any introductory course on Latin American Civilization are: what happened during their colonization, their independence, and their early national formation?, how are they different?, and how did they address similar problems like racism, universal suffrage, public education, and technological advancement?  These questions reveal common problems facing humanity and we begin to see the paradoxes hidden in their and our own solutions.  For instance, we can learn how a caudillo is created and empowered in a democracy, how the common person suffers under colonialism, how wars can be created through international intervention and commercial monopolization, and how the boom-bust cycles of globalization can desecrate both land and people.  These lessons can help us have more foresight, a deeper understanding of human issues, and hopefully advocate for a better solution to humanity’s problems in our own social context as we are asked to respond to the same problems.

Lastly, most importantly, talk about the cuisine that is culturally from there and maybe some influences.

Mexico and Peru have two different words for the chili: chile and ají.  Like these words, the many Latin American chilis themselves are very different, even though some share shape and color.  If I were a newbie cook with no books, no travels, and no tasty memories, I’d be at a loss for quite sometime trying to figure out how to use them tastily.  My dishes would be as exaggerated as those people that expect all Latin American food to be hot and spicy like Mexican dishes often are.  Most Latin American food, however, has been shaped locally and via some shared historical and cultural current.  Some of these currents are of Pre-Columbian origin, some of Spanish origin, some of African origin, some of Chinese and Japanese origin, and some have roots that go as far back as the Arab occupation of Spain.  The history of the Peruvian dish, Ají de gallina, is a good example of this last gastronomic route. Having tasted so many wonderful Latin American dishes, it doesn’t surprise me that many of the worlds best chefs can be found in Latin America.  The first Peruvian chefs that come to mind are Virgilio Martinez or Gastón Acurio.  I know that currently there is a three-month-long reservation list for places like Maido in Lima (nikkei food at its best).  I guess “food-fusion over time” would best explain many of the most popular dishes throughout Latin America.    In my opinion, even common dishes in Mexico City and in Río de Janeiro are very tasty: la torta ahogada or the feijoada, for example.

INTERVIEW: Matt Jacobs, Marine and Actor

Matt Jacobs is a Active Reservist Armorer for the United State Marine Corps who has a passion for acting. DIBS talks to Matt about when it started, what happened along the way, and what has he learned.

DIBS: From my understanding, you want to be an actor? How far back does this passion go?

MATT: My passion for acting goes all the way back to my childhood days. I’ve always loved movies and did some high school plays. I’ve always imagined being in movies and becoming “BIG”, being able to have an impact and being role model to people around the world. 

DIBS: Why did you do Plan B and not Plan A?

MATT: I was choosing a path for film in college when I was going for a film degree at the Art Institute of Philadelphia.

While I was there, I interned as a Camera’s Assistant on a 50 Cent music video, Philadelphia Flyers Commercial, and a USA Network Commercial. While I was on set of the USA Network Commercial, I ate lunch with Jeff Goldblum and Matt Bomer. We talked about their acting careers and it turned into talking about the military.

DIBS: How did that conversation go with you, Jeff Goldblum and Matt Bomer?

MATT: The conversation started with just wanting to know how they started in the acting business and where they got their foot in the door. From there, it turned into them saying that they wished they had joined the military to help give them a way to serve their country and they advised me to do the same. It would transform in how I see the world, help me become a better man and have a better respect towards authority.

It was a unique experience and an ironic situation. Never had any intentions or desire to every join the military but one day, after eating out with a Marine recruiter, God changed my mind and course and I decided to join the Marines then. 

DIBS: What sort of acting debuts have you made so far?

MATT: I have debuted in the new upcoming M Night Shyamalan’s Glass (Coming January 18th 2019) starring Bruce Willis, Samuel L. Jackson and James McAvoy as the “Sniper.”

I also followed that up by appearing in the new Sylvester Stallone’s Creed 2 (Coming November 21st 2018) starring Michael B. Jordan as a Russian Officer. 

DIBS: Has the service taught you anything about working in the "Film Industry”?

MATT: The service taught me how to listen to authority and have patience and maturity through all circumstances

Also, the longevity of days, adapting and overcoming situations as they come and to stay positive when things don’t go your way. 

DIBS: Are there any similarities between being in the service and the film making world?

MATT: There are some similarities in the two businesses.

Speaking in front of an audience and being a leader type role in any situation are some major ones. Long days are another one and adapting to changes constantly. 

DIBS: Were you able to do any acting singing or dancing in the service?

MATT: My two acting debuts were while I’ve been in the service. No major singing or dancing opportunities yet. However, that won’t stop me from keep pursuing them all. 

DIBS: So you have been behind the camera and in front of the camera, is it safe to assume you prefer in front?

MATT: Oh most certainly in front of the screen. It’s been my life passion ever since I was little and being able to start my journey has become more than I expected.

DIBS: What do you like to do on your free time?

MATT: Hang out with my 3-year-old son, sing and record songs, watch movies, play sports and all around explore new places with my beautiful wife.

INTERVIEW: Meet The Filmmaker Keith Chamberlain for Herrings

DIBS sat down with Filmmaker Keith Chamberlain, the Person behind Aquariarts Pictures, to talk about the success of Herrings Season 1, the challenges of an Independent Filmmaker, possible expectations of Season 2 and a few things in-between. 

DIBS: Give a synopsis of the show Herrings.

KEITH: Herrings is a dramatic thriller about two men who use the internet to disguise their clients’ digital footprint, which allows those clients to hide in plain sight.

DIBS: How did this series come about?

KEITH: About four years ago, I came across an article about a skip tracer who became a skip maker by using the internet to hide his clients’ digital footprint and thought it would make a great series. However, I was working on other projects and I forgot about it until 2015. Once I decided to make this my next project, it took me 2 years to break the story and another to cast the right actors. Once everything came together, the first episode took about 3 days to make. Now, here’s a  little bit of trivia, the first episode was originally a sizzle reel that I was going use to pitch Herrings as an hour-long show. However, when that fell through, I thought the story was too compelling to abandon and thus I adapted it as a short form web-series.

DIBS: What are the themes highlighted in Herrings?

KEITH: ·Season 1: Everyone has secrets and what some people are willing to do to keep them.

Season 2: Secrets may bring people closer... or tear them apart.

DIBS: Does the show Herrings say anything about the world we live in and if so, how?

KEITH: Definitely, this season, the show tackles timely issues like racial and gender discrimination, the MeToo movement, opioid addiction and the state of modern journalism in the digital era.

DIBS: Have you done other things besides Herrings?

KEITH: Prior to Herrings, I wrote, produced and directed four short films. I’ve also worked in shows and films like “Worthless”, “How to Get Away with Murder” and  “Paranoia”.

DIBS: In your opinion, what sort of stories are important to tell?

KEITH: Right now I’m drawn to drama and personal stuff.  Stories about people living real lives that aren’t afraid to be ugly, very in-your-face type of stuff. The characters in Herrings are complex individuals that just like real life, can garner your sympathy at one moment and your scorn at another.

DIBS: As an independent creator, what are some challenges that you face? And how do you overcome them?

KEITH: The two biggest challenges for me has been scheduling and money.  

A lot of the episodes are made based on the availability of the actors. There was a 16-month gap between Season 1 and 2, several of the actors are either no longer in the area, no longer acting or have moved on to other projects. There was also the matter of recasting certain roles and eliminating others that proved very challenging. Also, for Season 2, I had a definite end date of production and that, at times, conflicted with several of the actors, which is why some characters and their storylines are featured more than others. Trust me, there was a LOT of rewriting involved. In regards to money, while many of the cast and crew were fine working for free, I decided not to go that route for Season 2. This was one of the main factors for the 16-month gap as I wanted to pay my actors more than gas money for Season 2. Even though the budget for Season 2 is larger than Season 1, it was still relatively low and I was upfront about the budget with every D.P and Sound Mixer that I contacted. There were a few no’s but surprisingly there were quite a few yes’s. At the end of the day though, it all comes down to sheer will and a lot of faith.

DIBS: In your opinion, what defines success in filmmaking?

KEITH: When your film resonates with an audience, there’s no better feeling, in my opinion. Some filmmakers want name recognition, but I would much rather have my work recognized.  

DIBS: What sort of success has Season 1 brought?

KEITH: The show has won several awards, including Best Cast, Best Drama and Best Actor awards for both Dax Richardson and David Ogrodowski. Recently, the show was picked up by JivewiredTV,  a streaming television station launching on Apple TV in late June 2018.

DIBS: What can viewers expect in Season 2?

KEITH: Viewers can expect a more nuanced look at the characters introduced in Season 1 as well as several new characters that I think audiences will find equally, if not more, compelling.

DIBS: Lastly, in your opinion should filmmaking be used for entertainment or social change?  

KEITH:Why can’t you do both?

Keith Chamberlain is an award-winning filmmaker who currently resides in Blackwood, NJ. Since 2010,  he has written and/or directed several short films. His last short film, “The Burning Tree”, was both nominated and won at several film festivals, including Golden Door International Film Festival, Pittsburgh Uncut Film Festival, and Hang Onto Your Short Film Festival, among other venues. He also was the founder of the Dysfunctional Screenwriters Society, which from 2010 - 2015, paired local screenwriters from the Philadelphia area with actors for table-reads of their screenplays.

Stay tuned for Season 2 coming soon to the Internet

----

About Aquariarts Pictures : The goal of Aquariarts Pictures is to produce films, music videos, documentaries with other production companies as well as independent film investors to create challenging and powerful productions and bring those pictures to as wide an audience as possible.

Check out Season 1  HERE

Follow on social media on Twitter | Instagram

Still #1, #2, #3 are from Unnamed Photographers -  Still #4 by Cristina Byrne.

INTERVIEW: Translating Tradition- An Interview with Babushka's Owner, Ann.

" It's rare for me to be inspired by a business. But the moment I passed the stall in the Q-mart in Quakertown, PA called Babushka's, I was struck with a multitude of feelings. Hunger being one of them. This true gem of a shop is a weekly stop for me and I hope if you're in the area you stop by- they are open Fridays and Saturdays from 9am-9pm and Sundays 10-5. You can also activate your salivary glands by following them on Facebook (@whippedcreamontop)  and Instagram (@mybabushkas). Enjoy! " - Larissa Nemeth

DIBS: Brief Bio - Tell me about yourself and what you did leading up to Babushkas

Ann: I am a Jersey girl 100%.  Make all the fun you want of New Jersey, but growing up there was great.  I had a pretty normal childhood in the suburbs.  It was the 70’s and life was pretty simple.  We didn’t have a lot to worry about growing up.  The big excitement every year was the neighborhood block party and the 4-H fair.  

My first job was at a diner in Fairfield, NJ.  I was 14 years old.  Of course, I didn’t drive so I would ride with my dad from Bridgewater, NJ (where I grew up) to Fairfield (where my dad’s business was 45 minutes away) and he would drop me at the diner down the road.  It was owned by a very loud Greek couple.  The money was great for a kid and I really enjoyed it.  Through high school and into my early adult years I worked in a series of restaurants.  Everything from McDonald's to country club fine dining.  I was a bartender on and off for many years.

After I started having children I began working as a secretary (this was before you had to call them administrative assistants) and that eventually led to jobs in marketing which is pretty much where I stayed until the economy tanked and I found myself unemployed.

I am married to the only man on the planet who understands my kind of crazy.  Last year I came home one night and said – the ice cream shop at Qmart is available.  I want it and I want you to remodel it for me – He laughed for a minute because he thought I was joking.  When he realized I was serious he just sighed and said – My back hurts already.

DIBS: When did you open?

Ann: Babushka’s opened August 4, 2017

DIBS: What was the scariest part of opening?

Ann:  Honestly – money.  Whatever you think it is going to cost to open a business DOUBLE IT.  My husband and I work hard, but like many people, we have spent a lot of our lives living paycheck to paycheck.  Taking a financial risk this big, especially with a family to support was terrifying.  

DIBS: What is your favorite thing to make or bake?

Ann:  Chicken Soup.  Some of my earliest memories are of my Great Grandma Ann cooking (this is the Hungarian side of the family and her picture is the background on my Facebook page).   When we would visit her she was always in the kitchen, babushka on her head, making something delicious to eat.  Her soup was the best thing I ever tasted and it took me many years to recreate the flavor in my own soup.  You understand my GG Ann died when I was very young, maybe 6 or 7, so I never had the chance to learn from her, plus she spoke very little English and I only understood a little Hungarian.  Her recipes and methods didn’t get passed down.  My grandma Ann (my mother’s mother) died before I was born (my namesake) so I never got to meet her or learn from her either.  I know the years of practice and experimenting paid off because I have a customer who is a deeply rooted Hungarian and he had my soup a few months after I opened.  When I asked him if he liked it he gave me the best compliment I have ever received.  He said, “It tastes like my childhood”.  I know exactly how he feels.

DIBS: Any baking or cooking challenges you'd like to try that you haven't yet?

Ann:  Everything new is a challenge.  I’m always learning.  Last week I learned that if the frosting color doesn’t turn out the way you want it, adding more color isn’t going to help so you might as well just throw it all away and start again, which is what I had to do.  Nobody wants to eat gray icing.  I don’t have any ambition to bake extravagant desserts, but I would like to try to make some more authentic Hungarian desserts like dobosh torte and Rigo Jancsi.

DIBS: How does your family history play a role in your business?

Ann:  I talked about the soup earlier, but my very first memory of cooking was with my Great Grandma Sophie.  My parents were on a vacation and she had come to stay with me and my sister.  She wanted to make cheese blintzes.  She was a short woman, maybe 4’ 8” so she had me pulling out chairs from the kitchen table and climbing up onto the counters to fetch her the pots and pans and ingredients she couldn’t reach.  I remember watching her closely and how she taught me all of the little details that went into making her blintzes.  I was about 5 years old at the time.  

I grew up in the post war 1970’s when everyone was eating TV dinners and food from a can, but my dad always had a big garden where he grew vegetables for us to eat.  I learned what fresh food tasted like from my father’s efforts.  We would eat peas out of the pod and string beans off the vine and stuff ourselves with red raspberries right from the canes.  His garden is where I got my love of clean, fresh food.

DIBS: Do you have any dreams or visions for the future of Babushkas? 

Ann:  I would love to see Babushka’s open new stores in different locations.  As long as I can maintain the feel and quality.  That is pretty far down the road at this point.  Right now I am working on perfecting the menu and expanding it a little bit.  There are still a lot of things I want to do to make this shop the absolute best it can be.

DIBS: Do you feel the experience of owning and operating a business as a woman is different for You?

Ann:  Since I never ran a business as a man, I don’t know if it is different or not.  I can tell you that when customers ask about the owner, they usually ask for a ‘he’ and not a ‘she’.  People are still stuck in the mindset that restaurants are run by men.  I’m okay with that.  I like the idea that I am setting an example for the young women that work for me.  I am showing them that women can do anything thing they want, including running a business.

DIBS: What do you think is unique about operating out of the q-mart?

Ann:  The Qmart itself is a unique place, so of course, running a business there will automatically come with an extra helping of Quakertown charm.  I love it.  Every weekend the hallways are filled with an interesting cross-section of humanity and there is no way to pigeonhole who the ‘Qmart shopper’ is anymore.  The market has been open for 85 years and has had to change along with the needs of the people who shop there so it is constantly in transition.  One of the reasons I chose to open Babushka’s in the farmers market was that I saw the next generation of Qmart shoppers looking for something more like they would experience in Philly or New Hope without having to make the long drive.  They want familiar but fabulous and I hope that is what I am giving them.

DIBS: Any crazy stories or experiences you can share?

Ann:  I don’t know about crazy, but interesting things happen every weekend.  It’s just part of the deal that comes with being in the Qmart.

DIBS: What's the #1 reason you can give for someone to stop by and give Babushkas a try?

Ann: Quality.  We all need to eat to survive.  Shouldn’t eating be more than that?  If you are going to come into my store and hand over your hard earned money I want to be certain that you feel it was worth it.  I am always asking customers what they think, how I can improve, what would they like to see offered because the customer experience is what matters beyond all else.  If I work hard to provide the best quality in everything from the ice cream to cupcakes to soup and bagels, then add in staff that are as dedicated as I am to making every person who comes into Babushka’s feel valued and appreciated I have a winning combination.  It seems to be working so far.

Images Provided by Ann

INTERVIEW: Cartoonist Joe Patrick

Joe Patrick is a freelance cartoonist doing his best to make his hobby into a career. He currently fills his days designing websites and scheduling ads for the Omaha World-Herald. To the delight of his wife, he also spends way too much time obsessing about comic books.

Cristina Byrne and Joe Patrick possibly met in 2015, in Omaha, Nebraska. It was on the 6th floor of the Omaha World-Herald building downtown.

DIBS: So, Joe, we meet on the 6th floor. You are what is called, Ad-Ops, an ad trafficker for the Omaha World-Herald. I would say that we became friends fairly quickly.

JOE: That's sounds right.

DIBS: It was probably because I needed something from you guys. I feel as if most work-relationships start that way. 

JOE: We met fairly early on - you were buddies with my cubicle mate [also named Joe], and you stopped by to ask a question about one thing or another.

But the thing that told me we'd end up being pals - is when I took a couple days off and came back to a picture you made with Joe's and my faces Photoshopped onto Thing 1 and Thing 2 from The Cat in the Hat. It's still hanging up in my cubicle today!

DIBS: Ha! I remember that! I actually had Rex do it for me because I didn’t have Photoshop on my computer at work. I couldn’t figure out which Joe was who. I could only identify you as Things 1 or Thing 2 not Joe McCampbell and Joe Patrick.

Since I've known you, you had this new year’s resolution, correct? Something like every day you would post a positive thing that happened that day? Could you go into detail about how that started?

JOE: Okay, you are sort of right. This all started back in 2015, when I made a New Year's resolution to write and post one haiku every day on Facebook. It started as something silly to do, but people really seemed to enjoy it, and then started asking me how I was going to top it for the next year.

DIBS: I remember reading those and I really liked them.

JOE: So for 2016, for better or for worse, I decided that I would resolve to draw something every single day. I did this partly because, like you said, I was trying to recapture a love for making art that I had kind of lost over the years. At first, I thought they'd just be quick pencil sketches, but as the year went on, the drawings got more and more elaborate, transitioning from pencil to ink to full color - some small, some large. It ended up being a huge undertaking, but I did it!

DIBS: It’s nice to hear that you stuck with it. You said you were going to do it and you did. There is a sense of hope and or motivation to that.

JOE: This year's resolution has been more vague - not a daily task but a more general commitment to expanding my art into new areas and learn new techniques; to basically better myself artistically however I can.

DIBS: What has changed in your cartoons from last year to this year? What sort of cartoons do you draw?

JOE: Well to start, I hope I've gotten better! Most of the characters I draw are existing characters from pop culture - movies, comics, etc.

DIBS: How do you decide what you are going to draw each day?

JOE: I don't really know what I'm going to draw each day, but I will run with "themes" that cover several days or weeks. For example, I spent a few weeks just drawing characters from The Venture Brothers, then several days doing characters from old Hanna-Barbera cartoons later that year. This past August, I did an entire month of characters created by the famous comic artist Jack Kirby (creator of Captain America, among many others), in honor of what would have been his 100th Birthday.

DIBS: What responses have you gotten with all this?

JOE: I've been lucky enough to sell several pieces from my 2016 batch, and I've also been hired to do various logo and t-shirt designs. In 2016 and 2017, I also helped Legend Comics & Coffee collect donations for their annual fundraiser for Make-A-Wish Nebraska by "selling" original sketch commissions during their Free Comic Book Day event in May.

The response to these art experiments has been really great, and even if I never sold anything, just getting back into creating art on a regular basis has been really rewarding.

DIBS: Please feel free to add anything else.

 JOE:  In addition to the art thing, I also have a podcast that I produce with local rockstar/chef Matt Baum (drummer for Desaparecidos and Montee Men, head chef at The Blackstone Meatball).

Matt and I are lifelong comic book fans and started working together in local comic shops over 15 years ago. We decided to take the daily nonsense we talked about and share it on the Internet with everyone. The show is called The Two-Headed Nerd Comic Book Podcast -- we started in January of 2011 and have been going strong ever since!

Were to find Joe Patrick socially:

http://instagram.com/joepatrickart

http://twoheadednerd.com

http://twitter.com/joepatrick116

http://twitter.com/twoheadednerd

http://patreon.com/twoheadednerd

Art Work Created by Joe Patrick

What's Spinning? The Great Unwashed - Clean Out of Our Minds

Chris, is the owner of Quattro Music Company located in scenic Thomas, West Virginia, he specializes in used and vintage instruments.  He fills DIBS in about his record of the month and if you are in the area make to check out his cool shop.

Name of record/artist:  The Great Unwashed - Clean Out of Our Minds

An About: “The Clean is an indie rock band that formed in DunedinNew Zealand in 1978, and have been described as the most influential band to come from the Flying Nun label, whose repertoire included many major components of the "Dunedin Sound".[1][2] Led through a number of early rotating line-ups by brothers Hamish and David Kilgour, the band settled on their well-known and current line-up with bassist Robert Scott.[1] The band name comes from a character from the movie Free Ride called Mr. Clean.[3]

What do you do when you’re a little independent rock band that suddenly writes a hit song?  The Clean managed to do just that.  Their single “Tally Ho” is still were guarded among audiophiles as being one of the better pop songs ever written. Probably the best song that ever came out of New Zealand for sure. But the pressures and the expectations placed upon the small band became too much and pretty quickly.

They took a break, Robert Scott started the amazing band The Bats but David and Hamish keep working.  Enter The Great Unwashed.

DIBS: What emotion does this record invoke for you?

CHRIS: Pure inspiration.  The idea that it takes good equipment, money, a perfect voice, flawless talent and a marketable face is what it takes to make music is such a farce.  This is the sound of thrift store guitars, grandma’s autoharp, cheesy keyboards, a cheap tape recorder, a little reverb, a great dose of boredom and the need to create. Those are the true elements of lasting music.  The lack of expecting a return on the investment one makes to write music.

DIBS: What is your favorite instrumentation part on this album? 

CHRIS: I mean... all of it.  I just think it’s a spare sounding record, all the pieces are important.  If I have to choose one thing it’s the low fidelity of it. There is so much constant texture (especially on vinyl) that its the instrument that isn’t being spoken of but it would be missed if it wasn’t there.

DIBS: Does this record bring back any memories for you?

CHRIS: Mostly it takes me to the place of when I first started writing music.  It’s not off-putting.  It doesn’t say to the listener “hey, you can’t do this, kid... leave the rock stardom up to the gods among humans”.  I feel like so much music is regarded as otherworldly, as stars aligning and making a once in a lifetime achievement.  Music should be more terrestrial than that.  We all can make music if we want to.

DIBS: What are the highlight tracks?  

CHRIS: I could name my favorite tracks, but I won’t.  We live in an age of the “Single” of rapid disinterest and instant gratification.  This a record to listen to from start to finish.  On a little bit of too early morning with coffee and a book, maybe slightly hungover, and let it be the way it was meant to be heard.

DIBS: Describe the album artwork

CHRIS: Ambition is not a word I would use to describe this records art.  It’s almost an afterthought.  Also a hands-on design.  The “outside the lines” flowers and the old school punk collage back cover just says “we did this” from back to front and start to finish.  A true independent record.

DIBS: RAPID WORD ASSOCIATION - What is the FIRST word that comes to your head when this album comes on?  

CHRIS: Boredom. This is the sound of people with time on their hands, maybe it’s a gen x thing.   The need to create while also destroying.  Knowing that this isn’t going to be played on the local rock station but there is a need to make in spite of a bleak outlook at the world. 

DIBS: Why should WE listen to this record?

CHRIS: Being from 1982/1983 as far the song writing and recording goes it’s important.  We have a preconceived notion of what the 1980s sort of felt and sounded like as far as music goes. I think we know, there’s always music in the scenery, the periphery. But I think there are some records that really doesn’t sound of their time. This is certainly one of them.  I certainly would think that Pavement probably wouldn’t be quite Pavement without this record, as well as a lot of other indie acts certainly knew and owe a great deal to The Brothers Kilgour.   It just displays a record collection that I don’t believe was being overly represented at this time. Now, I think we all agree how brilliant some of the middle era Kinks records were, Syd Barrett, The incredible string band, The Byrd’s county records and the post-punk scene as a whole... bands like Television Personalities, Swell Maps, Young Marble Giants and The Undertones specifically.  Just the fact that this is the New Zealand band.  If you aren’t aware, there has been an incredible underground music scene in NZ for many many years. I’m always fascinated by What small pockets of a community can create independently of the world as a whole. It’s definitely something that doesn’t happen as much anymore because we're all interconnected.  But there was a time region cities and entire countries developed unique fingerprints of sound based solely on the fact that they were isolated. It’s an important lesson to learn, live where you live.

 

 

INTERVIEW: Artistic Director Beth Thompson

DIBS got a chance to chat with Beth Thompson the Artistic Director of the Shelterbelt Theatre, Omaha Nebraska's home for new plays. We discussed taking chances on new work, the misconception of Nebraska, and the incredible talent that lives in the middle of the country.

DIBS: There is a risk in producing shows that people have never seen before. . .

BETH: Absolutely! For some reason, people accept "new work" in a film but are much more skeptical when it comes to live theater. The forms are VERY different and perhaps film trailers ease some of that as people have some idea of what they are getting themselves into but I adore audiences who consistently take a chance on new work. Every play or musical was new at some point so give it a shot, be brave and open your mind to a new story being told live in front of you! 

DIBS: What challenges have you faced with producing new work and what's rewarding about it? 

BETH: The biggest challenge I find is that people do not seem to appreciate how valuable fostering new work is. Big money donors and arts supporting organizations are more interested in supporting proven material. Actors are more excited about playing a well-known role. Truthfully, I think that they are scared of the work it requires but for me that is what is so rewarding. Anyone can produce/direct/act "proven" material but to dive into something completely new is brave and terrifying but ultimately important to continue to add to the canon. 

DIBS: What compels you to do that? 

BETH: My favorite element of what I do is the process. To read a script that is in it's early stages and be moved by something in it, is exciting. I ask myself how can I be useful to this piece and if I am invested from this early draft that can only grow. I am not a writer but I deeply love storytelling and to be a part of how a piece comes together is exciting for me. I also love watching a playwright as each element comes together; the casting, design elements and workshopping of the script. As each collaborator spins their magic their play/musical comes to life and it is a really special thing to be a part of.

DIBS: As an Artistic Director when you read through the scripts, what sort of elements do you look for? 

BETH: I am specifically looking for material that can be produced in our space. We have limited resources but a lot of heart and creativity so if something absolutely requires a fly system or a car on stage it is not for us. If I read a script and I can picture it in our space, then I will pass it on to the reading committee. If I can't, I don't.

DIBS: As a Director, do you have a certain style of plays you prefer to direct? 

BETH: I don't have a particular style that I prefer but the play/musical has to have a strong point of view, characters that I can relate to (whether I like them or not) or see someone I know in, and a story I feel is important to tell. My first question to young playwrights is often, "why do you need to tell this story?" as I believe that makes all the difference in their delivery of the story.

DIBS: Could you describe the Theatre scene in Omaha? 

BETH: Omaha has a lively, supportive and varied theater scene; we have professional companies like The Rose and Nebraska Shakespeare, we have the largest community theater company in the United States with The Omaha Community Playhouse which also supports a professional touring company of their legendary A Christmas Carol. We have groundbreaking regional companies like the Blue Barn which produces scripts coming off Broadway as well as the regional scene and Brigit St. Brigit which is dedicated to classic work such as Shakespeare, Shaw and their annual Irish Festival. The Shelterbelt shares space with SNAP! Productions whose mission began with LGBTQ stories as well as those that dealt directly with the HIV/AIDS epidemic and has since broadened to include all underrepresented voices. There are a ton of improv, comedy and smaller companies that devise their own work. Combined with our music and visual arts scenes Omaha is a really busy place for anyone interested in live entertainment!

DIBS: As a state of Nebraska, people seem a little surprised that there is anything going on there. Omaha is a hidden gem with a theatre scene. Please describe it for those who have a misunderstanding about Nebraska.

BETH: The biggest misconception people have of Omaha, or more specifically Nebraska, is that we are all creating theater in a cornfield somewhere. I have directed for the Great Plains Theater Conference (www.gptcplays.com) the past 7 years and earlier this fall directed a new musical for ASCAP's Build a Musical program both of which bring playwrights and composers from all over the country come to Omaha or Lincoln to workshop their work and receive a public reading. EVERY single time, no matter how many emails and detailed conversations are exchanged prior to their arrival, these artists are BLOWN AWAY at the talent that exists here. Some even complain when they are given local actors and end up eating their words by the end of the process. Here is one of my favorite stories: Stephen Bray, co-composer/lyricists for The Color Purple, was one of the respondents for the musical reading I directed this past September and he has worked with the best of the best all over the country and came up to one of my actors after the performance and told him that he should be doing this professionally. Talent exists everywhere and most of those that "make it" was not born on the coast. 

DIBS: Have there been plays produced at the Shelterbelt that have gone elsewhere? If so, where? 

BETH: I believe there have been a few things we have premiered over the years that have gone on to be produced elsewhere but the one I know of for sure is Monica Bauer's My Occasion Of Sin, which had an off-Broadway run after we did it a few years ago. Also, Sara Farrington's Mickey and Sage was published after our production, in which she contacted me personally to say that us picking it up was a tipping point for the publishing house. 

DIBS: Why is it important to produce local scripts? 

BETH: Because again talent is not designated to any particular area and we have some amazing voices writing in Omaha.  Audiences need to feel connected to the material and growing up or living (or having lived) in Nebraska is a specific experience that they enjoy relating to. I believe that every city should be supporting their local artists, of all mediums! 

Beth Thompson is a director, actor and has been the Artistic Director of the Shelterbelt Theater in Omaha, Nebraska since 2013. She graduated with a BA in Theater, with a focus in acting and directing, from the University of Nebraska-Omaha in 2012. Favorite directing credits include Neighbors, Lovers and All the Others, Revelation, The Singularity, In The Jungle You Must Wait, The Other Sewing Circle, Abby In The Summer and Psycho Ex-Girlfriend for the Shelterbelt as well as Tigers Be Still and A Bright New Boise for the Omaha Community Playhouse’s 21& Over reading series. Favorite roles include Nan Carter in Exit, Pursued by a Bear (OCP's 21 & Over), Dale Prist in 5 Lesbians Eating a Quiche (Shelterbelt), Mom/Ms. Speigel in Dark Play or Stories for Boys (UNO), and Mrs. Hermannson in Eric Hermannson's Soul (Lone Tree Theater Project) which toured to both the Kansas City and Edinburgh Fringe Festivals in 2011.

Beth, and her work, has been nominated for both Theater Arts Guild and Omaha Entertainment and Arts awards. She is proud to head the “Before the Boards” reading series, at the Shelterbelt, which presents staged readings of local plays to assist in their development. Her love of storytelling, collaboration and development of new work keep her striving to improve with each new project and learn a little more about herself and the world around her in the process.