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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INTERVIEW: Soil Talks With Rodale Institute

Soil talks and are we listening? Franklin D. Roosevelt once stated, “The nation that destroys its soil destroys itself.”

DIBS reached out to the “pioneers of organic agriculture research” at Rodale Institute to see what soil has to say.

How important is healthy soil for the growth of food?

RODALE: Healthy soil is critical to the production of healthy food. Food gains its nutrients, vitamins, minerals from the soil it’s grown in. If we don’t take care of our soil, our food will suffer, and human health will be in danger.

How do you get healthy soil?

RODALE: Healthy soil needs to be treated like the resource it is. This means not using harsh chemical pesticides, herbicides, or fungicides that kill the critical bacterial and fungal networks deep within the soil. This “organic matter” helps plants reduce disease, absorb water, and retain nutrients, and is the biggest part of healthy soil. 

What sort of minerals do we find in soil that is beneficial?

RODALE: Healthy soil contains nutrients like nitrogen that is essential to plant growth. When the soil is degraded with the use of chemicals, nitrogen needs to be put back on the soil through the use of fertilizers, which are often synthetically-based and can run off into creeks and streams and pollute our water. When soil is healthy, it also contains a healthy network of mycorrhizal fungi that hold the soil together and prevent erosion.

What are the hazards to healthy soil?

RODALE: The main hazards of the ones in use every day in conventional, industrial farming systems: pesticides, herbicides, and fungicides. While these chemicals claim to only kill weeds and pests, it also kills every living thing within the soil, ruining the carefully balanced microbiome that plants rely on in order to grow successfully.

Talk about the importance of soil microbiome in the productivity of crops, climate change, and health.

RODALE: Results from Rodale Institute’s long-term side by side comparison trials, like the Farming Systems Trial that has been running for over 40 years, have shown that organic soil not only produces the same amount of food as conventional soil after a transition period but that organic food has higher levels of nutrients. Organic crops have also been shown to perform better in the case of extreme weather, a growing concern as the climate changes and weather patterns become unpredictable. Regenerative organic soil also holds more carbon due to its bacterial and fungal networks, making a regenerative organic food system a viable solution to fight against climate change.

Talk about how soil microbes differ enormously from region to region.

RODALE: Soil types, as well as management practices, differ by region. That’s why Rodale Institute is opening Regional Resource Centers in agricultural hubs like Iowa, California, and Georgia to conduct research in regenerative organic methods in a variety of soil types, climates, and weather patterns.

What sort of discoveries or experiments is Rodale Institute finding or doing in regards to the soil?

RODALE: Rodale Institute has many research projects occurring at our farm in Kutztown, Pennsylvania, and beyond. Our longest running comparison trial, the Farming Systems Trial, compares organic and conventional grain systems like corn, soybeans, and wheat, and has been running since 1981. Recently, we began the Vegetable Systems Trial, a side by side comparison of organic and conventional vegetable production systems that will run for over 20 years. This trial is focused on determining the difference in nutrient density caused by agricultural management. We also conduct research on farming practices and water quality in our Watershed Impact Trial, study the viability and uses of industrial hemp for the soil and beyond, as well as various research projects on the role of livestock, compost, and much more. 

What does Rodale do to keep their soil healthy?

RODALE: Rodale Institute integrates regenerative organic practices like composting, natural pest management, cover crops, and crop rotations to keep the soil healthy. We also practice organic no-till management, using a technology called the roller-crimper that was developed by our CEO Jeff Moyer decades ago. The roller-crimper terminates cover crops without chemicals while creating a mat of the cover crop residue in the field, which then acts as a shield to protect seeds and block weeds from growing. This allows our organic fields to have fewer weeds without losing any carbon that is typically lost from tilling the soil.

What are the signs of healthy or unhealthy soil?

RODALE: Healthy soil is dark and sticks together—a clump of organic soil submerged in water will keep its shape. In contrast, unhealthy soil is pale, dry, and crumbles easily, providing less room for the plants to grow and eroding much more easily in extreme weather than organic.

What can WE (regular citizens) do to help keep the soil healthy?

RODALE: Buy organic! Look for products with the USDA Certified Organic label and know that your food was grown with practices that support healthy soil and healthy people. You can also look for products with the “Rodale Institute Approved” label; this is Rodale Institute’s seal of approval on products that we know were grown regeneratively, going above and beyond in sourcing practices and maintaining a priority on healthy soil. Coming Spring 2020, consumers will also start to see the Regenerative Organic Certification, developed by Rodale Institute and partners like Patagonia and Dr. Bronner’s. This “gold standard” goes beyond the USDA Organic label to not only prioritize soil health, but also animal welfare and social fairness.

Regular citizens can also get involved in organic farming near them. Rodale Institute offers a variety of volunteer opportunities, as well as internship programs for those interested in starting a career in organic agriculture. You can also support Rodale Institute with a one-time or recurring donation to help us continue doing the important research that grows the organic movement and proves that healthy soil = healthy food = healthy people.

Rodale Institute is a 501(c)(3) nonprofit organization that has been growing the organic movement through rigorous research, farmer training, and consumer education since 1947. Headquartered in Kutztown, Pennsylvania, Rodale Institute operates a 333-acre certified organic experimental farm that hosts numerous research trials and projects, as well as a farm share program for underserved communities, and consulting services for farmers across the country. For seventy years, the Institute has been researching the best practices of organic agriculture and sharing findings with farmers and scientists throughout the world, advocating for policies that support farmers, and educating consumers about how going organic is the healthiest option for people and the planet. Rodale Institute holds workshops, events, training programs, and is open to the public year-round. Learn more at RodaleInstitute.org.

For more information, below are some links provided by Rodale

1.Soil Health - What Is Healthy Soil?

2. No, The Organic Label is Not A Marketing Scam

3. Truth About Organic

4. Carbon Sequestration

5. Farming Systems Trial

6. Organic Farming Practices

Photo provided by Rodale Institute


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: CrowdFunding Campaign for Herrings Season 3

After much success with Season 1 & 2, Herrings is excited to be coming back for Season 3. The independent web series that has gain recognition nationally and internationally and is now looking to you for some support, DIBS chatted with creator Keith Chamberlain…

Keith Chamberlain is an award-winning filmmaker currently living in southern New Jersey. Keith strives to tell meaningful stories that capture the truth of the human condition as well as challenges society’s views and beliefs. He has written and directed several short films that have played in various film festivals. Keith’s award winning films have been screened at festivals around the world, including Golden Door International Film Festival, Pittsburgh Uncut Film Festival, Seoul Web Fest, NJ Web Fest and Hang Onto Your Short Film Festival among other venues.

Why is it important to raise money for independent filmmaking?

Independent film offers visual artists more authorship and promotes new and exciting approaches to storytelling in cinema. That’s what we as filmmakers and content creators are trying to do here: tell stories. However, for that to happen, we first need a team of skilled professionals working diligently in the trenches from a multitude of angles, who are not only willing but happy to pour their blood, sweat, and tears into making projects like Herrings, a reality. So, it's only not only fair but ethical that those professionals to be paid for their work.

Why should people donate to Herrings?

A lot of times our cast and crew are working on a film below their normal rate because it serves as a passion project for the whole team. Your money will go towards paying the cast and crew what they deserve to be paid, and ultimately providing the financial means to help each and every one of us give it our all to make Herrings, the narratively compelling series we know it can be.

What will people get when they donate?

Well, it can range from receiving a social media shout-out from a member of the cast to t-shirts, signed posters, screenplays, receiving a producer credit or even having a walk-on role on the show!
 
Where could people watch this?

People can check out Seasons 1 & 2 of Herrings at www.herringsseries.com

How much does one have to compromise as a filmmaker because of financial restrictions?

You ever heard of the expression, "Mo' money, mo problems"? Well, in film-making, it's "mo money, less problems" because when you're dealing with an ultra-low budget production like this one you have to make a lot of sacrifices. In the case of Herrings, I would have to say locations and schedules have been the biggest compromises thus far. For example, I had a scene in the first episode of season two that was supposed to be set in a high-price fancy restaurant with a dozen extras but because of my budget none of them would accommodate an ultra-low price production like mine, I ended up shooting the scene in a much smaller restaurant/lounge outside of Philadelphia with only four extras and two of them were crew members!

So often we hear about the lack of original stories. That we’ve all “seen it before.” How do you stay fresh in the face of an idea like that?

Well for starters,  I avoid a lot of television during my writing process because that's one surefire way to end up with something that people have seen before. The other and for me, this is huge, is you'll hear a lot of experienced filmmakers say "film what you know" and I don't follow that advice at all. In fact, that expression may be one of the biggest reasons you're seeing a lot of the "same 'ole, same 'ole", that you're talking about. So, for Herrings, I went the opposite direction. This is a show about a subject I didn't know or personally experienced and as such, a lot of research went into making sure I get my facts right. This is also a show that is not just outside the viewers' comfort zone but my own as well, which is why think it has resonated with some many people.

What does independent filmmaking bring to a local community?

Well, I know people who, because of the show, have visited the bookstore where we filmed our first episode (The Book Asylum in Blackwood, NJ) and then ended up purchasing books while there were there. Independent filmmaking can be a boon to a small business trying to survive in this post Amazon-Starbucks-Walmart world.

What could viewers expect for Herrings Season 3?

In our second season the stakes are higher with the introduction of new characters and the unexpected return of some old ones. Revealing anything more would be a spoiler but what I can say is, everything is connected...

How long is this crowdfunding going to go on for?

Our current crowdfunding campaign will run until February 6, 2020. After that, there may be a Phase 2, but that all depends on how much we raise this go around.

What are some other ways in which people can support Herrings?

The best way to support Herrings is by making a contribution to our Indiegogo campaign. However, we understand that circumstances may prevent people from donating money to our campaign. However, if they're as invested in the idea as we are, then they can help by passing our campaign along to their network via a quick Facebook status or maybe wrap it up in a Tweet. More eyes means more opportunity for us to share this wonderful project and for us that's a big win.

And if anyone has a business (tattoo parlors, cafes, bars, office space, restaurants) in the Lehigh Valley area, they'd like featured in an episode, please me via email at herringsshow@gmail.com, at your earliest convenience.

Looking to show some support by donating? click HERE to head over to the INDIEGOGO Campaign!

Here are just a few of the awards and nominations HERRINGS has picked up over the last few years.

INTERVIEW: Eat Rad. Visit Radish Republic.

DIBS chatted with Nicole Shelly owner of Radish Republic a premium urban grocery store, specializing in local food from small farms and businesses in our area of the Lehigh Valley and the SE region of PA.

Their mission is to change the image of local food away from inconvenient, hard to find or buy. While introducing a new way to access local agricultural products, we are encouraging people to “be rad, eat local”.

Location: ArtsWalk 27 N. 7th Street, Allentown, PA 18101 | Open Daily 11 am - 7 pm

Check out their website for produce list and online orders

Follow on Instagram and Facebook

Please introduce yourself.

My name is Nicole Shelly, I have been a business owner in the Lehigh Valley since 2007 when I moved with my husband from Philadelphia to start a market garden called Godshall Farm. We have had 3 children since that time also.

When did you start the Radish Republic, how did this idea come about and talk about the process of opening up a business?

Radish Republic had a soft opening October 11, 2019 and our grand opening was November 4, 2019. Three years ago, besides running our farm, we started a second business to operate Fresh Fridays, a farmers’ market in downtown Allentown. It happened to rain every single Friday that first year and after 15 years of attending farmers’ markets, that was our last. The customers of the market said they wanted a grocery store downtown and that the market hours were not long enough. We put in a proposal to City Center Allentown for a grocery store that year. The idea was approved, but it took a long time to get the exact location, size and set up just right.

Why is our mission for the Radish Republic important?

I think our mission is important because small farms in the Lehigh Valley are not thriving. It is almost impossible to make a living farming in this area and most farmers rely on off farm income. There is pressure and problems coming from so many angles. Farm land is disappearing and the Lehigh Valley is threatened to become one big warehouse.

How does a local farm get the opportunity to sell in your store? Do you seek them out and handpick them or do they seek you out?

We are working with people who are open to wholesaling. It is a different way of sales than most small farms are used to. We have very high quality standards also, so we can’t work with low quality products. We were doing an online store for a while and it gave us the opportunity to get familiar with the products available and who has long lasting, high quality products. We are big fans of anyone who is making shelf stable products out of their farm products. Labeling and packaging is very important also.

What responsibility does a business owner have to a community?

I think we have a responsibility to give them what they want and are asking for. It may not always be in line with my personal tastes or values or even what I am comfortable with, but if that is what the want, I have to do it.

Are you an all organic grocery store?

We have many organic products, but we are not strictly organic. We prefer local over organic. Not everything available locally can be grown organic in our climate, like tree fruit. We get the cleanest food we can find locally. For other things that aren’t local, we may have to choose affordability over organic.

What sort of produce or items do you have at Radish Republic?

Seasonal, local vegetables from small farms in the Lehigh Valley, we fill in with produce and products from Lancaster Farm Fresh and we have some staples like avocados, bananas, lemons and limes that aren’t local. We will be getting more fruit in the near future that will not be local as the Winter sets in.

How does it feel operating a small farm fresh store in the downtown area of a city?

It was a bit surreal on the first day because we had been working on it for so long. We like being a part of the urban fabric of an up and coming city.

Why the name Radish Republic?

A republic is something made for the citizens of an area and we made this store for the people of downtown Allentown. We worked with City Center on the name and there were a few more words besides Radish at first, but then I was thinking about the branding of some of the other things in downtown Allentown like Fresh Fridays and Lively lunches. I woke up one morning and Radish Republic popped into my head. You can read a bit more on our website as well.

What plans for the future of the market- like what exciting things can customers expect coming up

We are still filling our shelves with local products. It has been a process of connecting with all the wonderful products from farms and small businesses, so more products in general. They can also look forward to events like how to and cooking classes. Also having our producers doing sampling and demos. We are still working on getting our EBT set up so people can use SNAP benefits.

Lastly and most importantly, what is your favorite fruit, vegetable, and grain?

I will have to pick apples for fruit because they are the perfect snack. I have always loved vegetables even since I was a kid and it changes which ones I like the best. I think eating any vegetable that is in the peak of its’ season is the best choice. It is easier to pick ones I don’t like that much- but I still eat them-like beets and radishes. I don’t know if it’s a grain, but I love pasta.

What's Spinning? Très Oui - Poised to Flourish

Shamus McGroggan Co-Founder / Producer of Tape Swap Radio located right here in in the Lehigh Valley chats with us about What’s Spinning? In this record of the month series.

First of all, could you tell us a little about Tape Swap Radio?

Tape Swap Radio is a music series that I started with musician/recording engineer Matt Molchany. Our goal is to spotlight all the great DIY and independent music happening in the Lehigh Valley. We record live sessions with bands either at Matt's Bethlehem recording studio Shards or on the roof of the historic Cigar Factory building in Allentown. We then release the sessions on our bi-weekly radio show on WDIY 88.1 FM, along with putting audio and video online. Since launching Tape Swap on the air in 2013, we've expanded to include things like a concert series and an annual punk rock flea market.

Name of record/artist
Très Oui - Poised to Flourish

What emotion does this record invoke for you?

Surprise and anticipation. This album puts me in the mood to take whatever the world is going to throw at me. If you listen to it, right off the bat, it's bristling with energy. But it's not a break-neck erratic energy. It's more of a sustained steady burst. For that reason, it's a go-to choice for car rides. The lyrics also have a sense of figuring out your place in the world, so there's a bit of self-reflection wrapped up in there as well. But it's definitely a living in the present album.

What is your favorite instrumentation part on this album?

If I had to pick one part, it would be when the horns lightly creep in on "One Track Mind." Up until that point, you don't hear them at all, so they kind of catch you off guard. This is on song 4 out of 10, so it's still early enough in the album. It's the moment in the album that made me go, "OK, they aren't just sticking to the same formula on every song here. They're really creating their own world." Along with the lazy pace that the song takes, it creates an almost film noir-esque atmosphere.

Does this record bring back any memories for you?
Seeing them play most of these songs live comes to mind. We hosted the band at Lit Roastery in Bethlehem as part Tape Swap's concert series last year. They floored me and I immediately had to get the record. My only regret was that we didn't get to record a session with the band since they were on tour from Austin, TX and on a tight schedule.Since I've gotten the record, I've mostly come to associate it with driving around the Lehigh Valley. This is a perfect driving album.

What are the highlight tracks?

Since I've already mentioned "One Track Mind," I'll talk about "Red Wine & Dry Ice," the second song on the album. When they played this song live, I remember guitarist Nate Cardaci hitting his pedal for the start of the chorus, and a wall of sound just wrapped around me. It was an amazing feeling. It makes me want to listen to this song as loud as possible just to recreate it. "Red Wine & Dry Ice" is probably one of the catchiest moments on the album too, so it's an ideal starting point for anyone trying out the band. "Séance" is another ear worm that will stick with you. "Off the Rails" stands out for the interplay of instruments. The band members' dynamics are a lot of fun to follow. When they add in some keyboard to this song, it sounds like the most natural choice in the world. It's almost like they can do no wrong.

Describe the album artwork

From the liner notes, I know that the artwork was done by Russell Etchen who is a Los Angeles-based artist, I really don't know anything about him except this seems to be his signature style. The front cover is a red square enclosed in a deep blue blue border. Inside the red square are fragmented blue lines. It almost looks like when you tried to create a design out of text, so my mind goes to those old dot matrix printers or message boards in the early internet days. This is more abstract, though, like you're looking at a flowing river. It also vaguely reminds me of those Magic Eye designs.

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

Jangle. I mean, they do bring the jangle pop, and bring it well.

Why should WE listen to this record?

It's well made, has great songwriting, and has plenty of replay value. The band is based in Austin but some of the band members have a connection to the Lehigh Valley, so there is a local connection as well. Band members Nate Cardaci and Seth Whaland had previously played in the band Literature who was on Slumberland Records, so if you enjoyed that band, you'll definitely enjoy Très Oui. Even if you've listened to other Slumberland bands like the Pains of Being Pure at Heart, Weekend, or Veronica Falls, Poised to Flourish will be up your alley.


PREVIEW: FloydFest 2019 - “Voyage Home”

Words of Cristina Byrne

With a plethora of festivals to choose from all across America this summer, the one DIBS will be packing up and driving 421 miles to take part in is FloydFest. We are excited to pitch a tent in the Blue Ridge Mountains (which is considered to be one of the most beautiful and iconic parts of American landscape ) of Southwest Virginia for the five-night festival in Floyd, Virginia that is promising to deliver a celebration of music and art from July 24th to July 28th.

What caught our eye was not only the location and it’s scenery, but also the varying music genres of Americana, roots, and rock and roll, sprinkled with bluegrass, R&B, soul, funk, country, newgrass, reggae, blues, and indie as well as a lineup that features over a hundred artists on more than 8 stages. Appearances will include The String Cheese Incident, Phil Lesh & The Terrapin Family Band, Grammy Winner Kacey Musgraves, Grammy Winner Brandi Carlile, Tyler Childers, Grammy Nominee Margo Price, Grammy Winner Fantastic Negrito, Lukas Nelson & Promise of The Real and a whole lot more. Check out the full lineup here.

“We care deeply about attention to details, and wait until you see our stages, timber-framed structures designed to meld with the high-mountain landscape,” explained Sam Calhoun, the COO of the Festival and treasurer of it’s non-profit arm, Blue Cow Arts. “Our foundation is live music, outdoor adventure, and craft beer, but we are so much more than that.”

With outdoor adventures such as on the water cool down, mountain biking, a trail running race, hiking trail, and disc golf and a vibrant and varied vendors, quality brews and grub, healing arts, workshops, art installations, and even activities for the kiddos. Calhoun says, “You should expect the unexpected.”

With this year’s theme as the Voyage Home, Calhoun explains, “We feature new onsite art installations and surprises built around that theme.”

“It speaks to the journey to this point and underscores the culture of community created on that mountain,” says Calhoun. “This really is a voyage home for many of our patrons. This really is their festival; this is their home; and that catalyzes our energy toward making this the most indelible FloydFest ever. To boot, this voyage is about the music, and how some of our headliners are ‘voyaging home’ to their roots … back to where it all began,” Calhoun continued.

With this event being nestled in the Blue Ridge Mountains and the “home” vibe will have it’s own homage paid on the very stage the artists perform on. FloydFest centers around culture and community, and we look forward to seeing that cultivated by the picture-esque scene on the mountain. “Our culture is about family,” said Calhoun. “We have had our children grow up on that mountain, and, after 19 years, they are now adults and stewarding a new generation of FloydFest Family. FloydFest is a place where children can run free, and parents feel safe letting them roam, as there’s an unspoken collective responsibility for all. Our culture is also about camping and outdoor adventure, discovering new music and being one with nature. It’s about meeting new friends and having an annual sanctuary to reconnect with old friends.”

We hope to see ya’ll at the mountain for music and magic!

Want to partake in the “Voyage Home?” Purchase your ticket and get for more information about FloydFest here. Rules and packing list for FloydFest here. Also, if you want a preview of what to expect check out FloydFest19 Voyage Home on Spotify.

Check out their social media Facebook | Instagram | Twitter for all their latest updates and information.

INTERVIEW: Talk Theatre. Do Theatre. Be Theatre.

Below is an interview with three Artistic Directors, from three different states - PA, NE, IL - to discuss elements of theater from their perspective.

Artistic Director James Jordan | Touchstone Theatre | Bethlehem, PA

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James has called Touchstone Theatre his artistic home for its last thirteen seasons. He has helped produce over seventy productions since arriving at Touchstone, serving in multiple capacities including director, designer, composer, actor, and playwright. Some of James’s most notable contributions were his leadership as Project Director for Touchstone’s last two community-based productions A Resting Place and Journey from the East and his original series of musical comedies under The Pan Show title, which chronicles the misadventures of the Greek God Pan as he is placed into modern day America, co-written with Touchstone Ensemble Affiliate Christopher Shorr. Both projects have brought accolades in the form of awards given by Bethlehem’s local press; notable amongst these honors were “Producer of the Year” and “Best Original Play.” Before coming to Touchstone, James worked at the Zoellner Arts Center on Lehigh University’s campus. During his five-year tenure as Zoellner’s Stage Coordinator, he helped in the production of hundreds of events – from lectures to Broadway musicals to some of the best ballets and orchestras in the world. While at Zoellner, James freelanced with many production companies and as a sound and lighting designer. James holds a BS in Telecommunications (video production) with minors in both Theatre and Music from Kutztown University, an MA in Performance from the University of Chichester, and an MFA in Creative Practice from Plymouth University’s Transart Institute.


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Artistic Director Beth Thompson | Shelterbelt Theatre | Omaha, NE 

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.


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Katlynn Yost | Artistic Director | Chimera Ensemble | She/Her/Hers | Chicago, IL

Katlynn Yost is proud to be the Artistic Director of Chimera Ensemble. She is an actor, producer, and arts administrator originally from Nebraska. She has worked with numerous non-profit organizations including: Hearts to Art -- an arts summer camp teaching children who have lost a parent; R.E.S.P.E.C.T. -- an educational touring company seeking to end bullying and raise mental health awareness to kids of all ages; Project Harmony -- an organization seeking to end child abuse and neglect; and Nebraska Shakespeare's Educational Tour, teaching and performing Shakespeare to young people in grades 7-12. Some of her favorite acting credits include: Sister Cities (Chimera Ensemble), 33 Variations and GNIT (Blue Barn Theatre), The Heiress (Brigit Saint Brigit) The Complete Works of William Shakespeare, As You Like It, and The Tempest (Nebraska Shakespeare). Katlynn holds a degree in Acting from the University of Nebraska-Omaha, and is a graduate of The 2015 ACADEMY at Black Box Acting.




In your opinion, is the director suppose to adjust to how actors take direction or is it the actor's job to adjust how the director gives direction?

JP: I think it depends on the circumstance.  If a director is working with an amateur cast than they better be prepared to find out what those performers need to be successful.  That’s not to say a director working with professional performers shouldn’t also be tuned in to what the actors need to succeed, but I think in a professional setting a director when casting can say to performers “this is how I plan on directing this show, can you be down with that”.  All that being said, the question kinda presupposes that a director is a necessary or integral part of the process.  Good actors are some times better off without them. 

BETH: That is a phenomenal question! Mostly, because you would get a different answer from each director you ask. I can only speak to my approach, which is meeting somewhere in the middle. I expect, and in some cases require, a lot from my actors and am clear from the beginning of the process what those exercises are and how they will be utilized to the benefit of the story later on. Actors require different things from you and I do believe a good director will pick up on those signs and direct accordingly. For example, my last show had 14 actors ranging from ages 14-31 with varying levels of experience. Some of the younger actors called for a more reassuring, confidence inspiring and back to basics approach to their character work while the more veteran actors found their voices through exploration and being encouraged to fly freer and give us some choices to work with. I prefer to collaborate on creating characters with my actors as I have cast them for a reason. Something about their artistic expression through this character intrigued me so why would I want to squash their voice with the performance that might have been in my head for a few months. While I hope to cast someone who shares my take, I am often pulled in by an actor who sees another side that I may not have seen and the idea of melding these together excites and inspires me. Actors are artists, not robots. 

KATYLNN: I feel the director and actor(s) need to find a balance between each other. A common language should be found within the first few weeks of rehearsal. Speaking as both an actor and director, I will say each person should be confident in the way they work, should both bring professionalism while also being adaptable to change and play. Ultimately the director is the one with the vision of the world of the play and assumably the experience to be the one leading from off stage - I would hope any actor would be able to adapt and be open to learning from their director. Through my eyes a director is meant to lead, inspire and create. An actor is meant to be inspired, taught and moved to live in a new world the director/playwright has given them.

 Is it important to work with other theater's and why?  

JP: When I was growing up playing music I went through a phase of thinking that I didn’t want to listen to anyone else’s music because it might affect the way I was writing and playing.  In retrospect, that was ridiculous.  Plants can’t grow in a vacuum and neither can creativity.  Creativity needs input from the world around it to ingest and abstract.  Creation comes from finding the relationship between things and having partner theater’s to play with is a great way to get those juices flowing. 

BETH: Yes, it is important to work with other theaters if given the chance. It’s an opportunity for fresh eyes on your work via the designers and audience. While working with the same people creates a shorthand, collaborating with new designer, actors, crew men members allows you to grow in unexpected ways. 

KATLYNN: Oh yes, yes, yes. It’s important to not only know your community and work with them but to gain support from them in any way you can. Co-producing, sharing resources, scripts, artistic producers...it’s all one more step in making theater available and open to everyone. There is too much competition in theater, it’s an art centered around love and passion - we should embrace that with each other rather than fight it.

Why do you think theatre is not as predominate in a community as it should be and what can we do it fix that?  

JP: Theatre sometimes strikes me as a somewhat antiquated term.  It feels like something stuck in time.  I prefer to think in terms of performance.  Performance is all around us, it makes up the fabric of our everyday lives.  From lending someone a friendly smile to flipping someone off while we are driving, to holding protest marches, we are constantly in a state of performing and those performances have the ability to change a person’s day just as profoundly as sitting in a darkened auditorium.  We’ve moved into a DIY shorter attention span YouTube culture and theatre as an art form has not evolved along with the zeitgeist.  Art needs to be immediate, accessible and participatory.  Flash mobs, processionals through the streets, random acts of performed beauty in our parks, these are the types of things practitioners need to focus on.  Meeting the people halfway.  The grand facade of theatre has a time and place but it is not the modern every person’s everyday art.  

BETH: Access is the biggest road block, especially in the Midwest where sports is king. Changing the mindset of those who decide what children will have access to is key and I do see it happening but Omaha is very separate from the rest of Nebraska. My sister and her family live in a small town in the north central part of the state and my nephew and niece were cast in a production of Mary Poppins last summer and I was THRILLED. The program that produced the play is amazing and run by 1 woman, a teacher, who dedicates her entire summer to getting this show up. She casts kids from kindergarten through 8th grade and these kids learn so many life skills through their experience. It is women like this that are keeping the arts alive in small rural communities and sparking interest in kids. Women like this are my heroes. 

KATLYNN: I wonder this question quite a bit. Sometimes I think it’s because movies and jaw dropping cinema has taken away the appeal of live theater. Sometimes I wonder if it’s because this is an oversaturated market (at least here in Chicago) and you can only afford to subscribe or commit to one or two theaters when you have over 300 to choose from. But what I like to believe is that going to the theater is scarier - you have to go and actually watch people be vulnerable on stage. Mistake might happen, an intimate scene might happen 3 feet away from you, you might get hit with fake blood, you may be the only person in 100 seat house that laughs at a line. This is all scary and can make anyone uncomfortable. This is one thing I love about theater. It excites me -but it may push some less risky audiences away. I think our goal should be to keep finding work that excites those hard core community members and hope that the rest of the community joins in on the fun.

What is your vision for your theatre?  

JP: I hope that any piece of art I create, allows people to connect to the beauty in life.  I want joyous celebrations, I literally want people singing and dancing in the streets.  This is how I believe a community grows closer and flourishes.  That’s what’s important to me!  You don’t get that by sitting through three hours of Harold Pinter.

BETH: To find a new home!!! We are on hiatus at the moment but I am working on a few projects that can be done in found spaces. We focus on local new work so the vision is always to facilitate in these voices in being heard. 

KATYLNN: My vision is to keep expanding on our mission, and finding out true selves within it - which is ultimately the good in us while asking scary questions. We don’t have a certain ‘type’ of play we produce, but we do have a mission to make our theater accessible for all and to give back to our community of Chicago for every production. So, first and foremost we make sure we provide services for folks who are hard of hearing or deaf for every single performance by offering Open Captioning during each of our shows. We also offer Touch Tour and Audio Description for folks who are Blind/Low Vision. I’m researching into adding Sensory Friendly Programming for folks and young people who are on the spectrum and want to incorporate more ASL performances into our shows. I want to truly immerse myself in this learning experience. I want everyone to be able to experience theater no matter what their abilities are. We are making small, but ambitious steps each show we produce to ensure we are always improving on this mission.

We partner with an Chicago non-profit organization for every show we do and with each partnership we increase our level of involvement and fundraising for it. It’s important to me we know the community around us, even if it’s not theater or arts based. We just partnered with Project Exploration - a non profit that teaches STEM education to underserved kids in Chicago. It was amazing to see how integrating the science and art of theater was to their curriculum. We’ve had partnerships with 8 different organizations over the 3 years we’ve been a company. Our goal is to raise awareness to their mission and better ourselves by volunteering..

As we are currently closing our final show of the season, I’m starting to think about next season, and where I want this company to go. I know I want to keep expanding on our mission but I also want to share a piece of myself a bit better this go around. I want to just say ‘fuck it’ to the scripts that scare me to produce and go for it. I want to stand behind every piece I fall in love with and I want to work even harder to represent the artistry inside me. I’m not sure what scripts lie in wake for that but I’m ready to find out.

Our company is small. There 5 people who do a main chunk of the work. We all have full time jobs outside of this. It can be easy to lose track and sight of what kind of art we want to produce. I want to gain better clarity of my vision to inspire not only my company, but my community and myself. ---Inspiring, scary, beautiful work. That sounds nice.

What excites you about theatre right now?  

JP: Anywhere I see a resurgence in the carnivalesque.

BETH: The focus on diversity and TRUE diversity. It is exciting to see more writers of color being produced; directors, designers of color being hired and actors of color telling their own stories. In Omaha, The Union for Contemporary Art Performing Arts program is doing ground breaking work within the African American community led by Denise Chapman. Check out their website: http://www.u-ca.org/performingarts

KATYLNN: I see so much more self produced work which is exciting. In a city like Chicago you are a small fish in a huge pond - it’s incredibly hard (and expensive) to get seen and/or even get representation to help get seen. So this community was like “no, that’s not good enough. I will make my own art and put myself in it,” It’s a huge base for many successful artists in Chicago right now. It’s inspiring because as a producer, I know it’s hard work, it’s your own money, and it’s a lot of your time and it can be isolating at times. It deserves respect. It’s risky - risky theater is all over the place right now and that is also exciting. I’m seeing things I never would’ve guessed someone had the courage to produce. Again, It’s inspiring, scary and beautiful.

Best piece of advice you have ever received in regards to Directing?  

JP: “You should cut that scene."

BETH: Two things: 1. Be very particular in your casting; cast a show well and half the battle is won. 2. Actors are not robots so don't try to program what is in your head into their bodies. Allow them to bring what you hired them to bring and work together to create the character. In the end, you will both have learned something and they will take ownership of their character in a much more productive way. 

KATLYNN: Table talk can kill the process. As actors, we all have different characters to navigate, when we start the process with table talk it can not only kill momentum of creative workflow but it can also impair other actor’s thoughts on their own characters. Who are we to judge other actor’s view of this world they live in?

How can you make something that is unfamiliar familiar? How do you make an audience feel or relate to the subject matter that they aren't familiar with? How do you get people interested in something unfamiliar?

JP: Simplicity and metaphor.  There’s no point in being overly clever if people aren’t going to be able to understand what you're trying to say. You need to explain things to people in terms that they understand and tie those thoughts to something that they have an emotional investment in.  

BETH: You have to find the common ground. Why did the playwright write this? Why did they spend months/years/decades creating these characters around this story? They had a purpose and my job as the director is to get at that heart and find what every person in the room has in common. I directed SHE KILLS MONSTERS for the Omaha Community Playhouse last fall and for me, the common ground was understanding the connection between the sisters, Tilly and Agnes, and what one does when that connection is lost. Everyone has someone in their life that has left them in one way or another. We tapped into that. Invest in the heart and all of the fighting, fucking and funny will deepen. 

What makes a good script?  

JP: I’m delighted when I see scripts that have clever recalls to things earlier in the writing.  When the unexpected wraps around at the end.  The writers on the old HBO series Mr. Show with Bob and David were geniuses at this.  I strive to emulate the brilliance of their technique every time I work on Touchstone’s Christmas City Follies.

BETH: Oooofffff...Art is subjective so this is tricky. For me, there has to be a compelling story that is begging to be heard. With new work, I don't expect it to be polished, hell sometimes it isn't even finished but if the idea is solid I am willing to put the work in. 

KATLYNN: In my opinion a good script has at least one thing any person can relate to, even if it’s only relating to the  way the characters speak to each other. The last thing theater should be is exclusive in their topics and content matter. We should work to find scripts that are inclusive and expansive on content. However, it’s obvious that not everyone is going to relate to everything - but I find there is always something in a good script - that special tinge of something that hits you somewhere as you’re reading or seeing it that makes you go “wow, I get that.” or “huh, I never knew that.”. If I’m reading a script that doesn’t cause some sort of internal or external reaction, I don’t conconsider it a good script. And normally these reactions are caused by things that we familiarize with or even things we are unfamiliar with...So, basically this whole rant is saying if a script is good (and unfamiliar) it should be relatable in some way to an audience. Scripts are people living in this world in some way. They may be different than you, doing different things but at the end of the day we are all people...

How does personal bias influence how you read a script?  

JP: Being that my job is focused around the creation of original work, I rarely sit around considering scripts.  My script reading happens in development when I need to give feedback to in-house writers.  In this case, I try to leave my personal bias out as much as I can to assure that any feedback I’m offering my partners is helpful in them solidifying their own voice and intentions.  Outside of that, the act of reading a script is 100% steeped in my own bias.

BETH: It seeps in no matter how hard you may try to stay objective but I don't necessarily think that is a bad thing. I receive scripts from friends who are simply looking for my first glance reaction to something they are working on. I believe they find this helpful as I, and any others they share their early drafts with, act as the audience who will, most likely, only see their show once so that first impression is important. What is inspiring? What is rubbing me the wrong way? Why? Why? Why? 

What life skills can we learn from theatre?  

JP: Theatre is inherently collaborative.  If there was one thing that we can and should take away from the theatre, it is learning to work as a group.   

BETH: Collaboration, Discipline, time management, patience, learning to build new skills off of ones already established

KATLYNN: How to speak to each other. How to take risks. Every day since we are young we are trained to cover up our our inner feelings or tone them down to fit better in society. We can be led by fear rather than courage. In the state our world is in today, it’s so important to learn from theatre. It’s a place where courage and passion live. A place to escape, to belong, to imagine, to create, to love, to debate, to make connections. We need all of these things as humans and I wish more humans would come experience this.

 Does theatre have boundaries and should it?  

JP: The boundary is when it ceases to be theatre and becomes something else.  But it is such a broad thing, from politics to the workplace, performance is everywhere.  We can’t escape it.  We just need to be aware that what we are seeing and experiencing is to some degree always fabricated, and we have to know how to sort through those things to find the truth.  The art form has been used to heal deep wounds as well as commit some of the greatest atrocities in the history of civilization.  From Live Aid to Nazi Rallies.  We are constantly watching and there is always someone performing.

BETH: Concerning subject matter: No. Concerning safety and a sense of security for the actors? Yes. Concerning safety for audiences? Yes. Concerning a sense of security for the audience? Hmmmmm....Yes and No :) Pushing back on people's preconceived notions through theater is exciting but must have purpose. Shock simply for shock value is boring. 

KATLYNN: Hmmm.. this is a difficult question. I think that theater is a place where you should ask difficult questions and challenge boundaries for sure. But, there are times when I’ve seen theater recently where I’ve felt unsafe as an audience member and I don’t think that is a good thing. So, it poses another question - how far can we push boundaries? All aspects of art center around life - my personal view of  life centers around empathy, compassion - with that, navigating fear and trauma through both metamorphic and real life experiences. My boundaries are vastly different than someone else’s. How do I push boundaries as a creator, but also respect everyone’s personal boundaries? I’m still figuring it out...

How is creating art different from observing it?  

JP: One is simpler but they are both sometimes painful.

BETH: This is a great question! I have found that, since making art, I appreciate the work that went into something even if I don't love the end product. I wish that audiences had more of a connection with the process rather than simply seeing the result of that work. Marketing and social media has the opportunity to show "behind the scenes" moments that are hoping to get audiences excited for shows much in the way that movie trailers can.  On a deeper level, as an artist the main difference is putting a piece of yourself out there versus absorbing someone else's perspective. It is the personal versus the observational; both have their lessons to teach and abilities to inspire. 

KATLYNN: Woof!! What a question. I love both of these things but, I feel creating it has actually changed the way I observe it (and not in a good way). I’ve created a standard or expectation in my head of what I want to create, what I want to see, and what I feel should be created...this is not a good view to go into another person’s creation with. It takes a strong will and mind to go into observation of outside art with a clean and open mind. With creating there is a freedom to be able to do what your heart is pushing you do to. Even though it instills an incredible amount of fear and vulnerability, it gives a sense of belonging before you crave it. You made it -it’s yours. With observing, you get to see someone else’s interpretation of the world. It may not be your own, but that is beautiful too. For me, the hard part is putting judgement away and enjoying what I observe.

How realistic should a production look?  

JP: Depends on the production.

BETH: It depends on what the production calls for but for me the acting has to come from a real place or it is hard for me to connect. Farce needs elements of real moments for the jokes to truly land; if it's all hijinks's I am bored. Laughter comes from pain so dig deeper and it will pay off. Some productions require imagination from the audience, which I love, but not all audience members want to work that hard and that is fair. It can also backfire when a production requires magical elements but the production team wants to ground it in realism; both artists and patrons need to open their minds a bit more for these pieces which can hinder their ability to get produced. 

KATLYNN: This is totally dependent on the theater’s style. I personally love realism - I like seeing real props, set dressings, real people doing everyday things but I also love seeing spectacle and avant garde theatre. I love seeing different interpretations of what ‘real life’ is. Keep making me question what is real and I will eat it up.

How does technology influence theatre production?

JP: I love low-fi street theatre.  People face-to-face interacting.  But, I also love me some big tech.  While in college I was working at the school’s large auditorium where the guest artists performed and my boss there was once the Lighting Designer for the band KISS.  He had this saying, for when all tech elements came together in a moment of perfection with the performance.  He used to whisper into the clear-com system “BFT, gentlemen, BFT”.  "Big Fuckin’ Theatre" became a personal mantra for me when dealing with tech.  Something to strive for.  As a director, I feel lucky to have a solid background in all things tech.  Having even a small mastery of these elements allows you to communicate with your designers about the magic moments you want to create during the performance.  I could go down the rabbit hole of discussing Arduino systems, Max, Qlab and exciting future of tech, but I’ll leave it at BFT.    

BETH: They complete the world in which the story lives. Everything comes together once the technical elements are added and the story becomes more clear. A monster becomes a monster, a sword in the hand can transform the way an actor approaches fight scenes and good lighting can create an atmosphere like no amount of good acting ever could. 

KATLYNN: Now a days it can influence greatly. I want to incorporate more technology into my theater company because frankly, it’s the world we are living in right now. But I also enjoy the simplicity of a bare bones production. Technology can makes waves in portraying a vision in a production but it can also alter it if not done right. It depends on script and the director’s vision of the world they want to share. I’m a fan of a show with heavy tech and a show with no tech. All is beautiful and none should be considered less than if they don’t have high tech elements included.

How do technical elements influence actors?  

JP: At their best, they are invisible to actors.  At their worst, they are a show-ruining distraction, pulling the actors out of the moment.

BETH: It changes the way they approach the material and the way in which they see their character. The whole world we have spent weeks living in and trying to imagine comes alive and a certain confidence grows; it's the most magical time for me. 

KATLYNN: Again, I think this all depends on the script and direction. With certain shows it can influence greatly, I’m currently in a show where there are ‘space moments’ - a moment that is driven by emotion but expressed through technical elements. They don’t read if there aren’t technical elements to drive the actors into them. But there shows that simply take place on a porch...how much tech do you need on this? A simple warm lighting device would suffice a sunset -nothing complicated to suggest the sun is rising. Also, as an actor I do a majority of my work before tech is even in the conversation so while it can influence later on in the process, it shouldn’t be something we rely on.

About Touchstone Theatre: Founded in 1981, Touchstone Theatre is a professional not-for-profit theatre dedicated to the creation of original work.  At its center is a resident ensemble of theatre artists rooted in the local community of Bethlehem, the Greater Lehigh Valley of Pennsylvania and the international community of Ensemble Theatres. The Ensemble: 1. Creates original theatre and re-imagines select texts through a heightened theatrical vocabulary. 2. Tours and presents original and ensemble-created works. 3. Offers educational programs that: – Inspire students of any age to discover their unique creative voice. – Provide high quality training to the next generation of theatre artists. 4. Transforms audiences through community-based theatrical productions and community-building projects.

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About Shelterbelt Theatre: Shelterbelt Theatre is Omaha's home for new plays.  Our mission is to provide a safe and nurturing environment in which to focus the development of original work and to provide for the practical education of writers, performing artists, creative and technical staff, and the general public in the art and science of moving an idea from the mind to the stage.  The objective of the Shelterbelt Theater is to develop, workshop and produce new works by local and national playwrights. We love to present world premiere work that engages and inspires our audience. We are rooted in the belief that theater can make a difference and change the world, no matter how big the stage.We have a diverse reading committee dedicated to finding scripts that fulfill our mission, and inspire and entertain our audience. We host an annual reading series, Before the Boards with four slots that offer local playwrights an opportunity to hear their play in front of a live audience in a staged reading, before it hits a full production.  From one-acts to slam poetry, imagination is the only limit.

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 Chimera Ensemble: Mission Statement: To create a quality innovative theatrical platform. To give back to Chicago organizations that advocate for the betterment of our community. To provide accessibility for all people. Above all, we seek out the good; we question our fears and judgments so that others may question theirs.

Vision: We are unapologetic explorers navigating stories about hope when there is no hope, about levity when it hurts to laugh, about love when it seems damn near impossible. We fight for necessary truths with uninhibited grit.

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Mailing List www.chimeraensemble.com

INTERVIEW: Sustain the Ability

Let's talk sustainability. A hot topic that has been growing more and more of interest throughout the rumblings of the universe.

DIBS was able to reach out to Stephanie from Conscious Food Project in Meadville, Pennsylvania and Dr. Karen Eisenhart an Academic Advisor and Associate Professor of the Geosciences Department at Edinboro University,  whom live a fairly sustainable lifestyle and touch the surface of sustainability, what it means and even go a little deeper into the subject.

Please introduce yourself and talk about what it is exactly that you do. 

STEPHANIE: My name is Stephanie Thauer, I am a mom first and foremost. I take that job very seriously, I strive to raise a consciously evolved human who understands their connection to everything they touch, and ingest. I think it's important to raise an aware person. I am also the owner/producer of Conscious Food Project @Raintree Farms. Conscious Food Project was created with the idea of being more sustainable from the inside out, from the food we eat to how we walk this earth and our connection to it.

Conscious Food Project helps people retake control of the food they consume and how we as a whole use and produce waste. I offer nutrient dense food mixes and reusable eco-friendly products that help people reduce their plastic output. I also teach basic wellness classes and classes on how to live more waste-free. I am an earth advocate, food advocate, and striver of self-balance and accordance with all around me. On the farm/home front, we recently added solar panels and are now producing our own energy, which is very exciting for us. We also have a bit of a blueberry patch (140 bushes) and a bunch of bees. Every year we work to plant trees on land that was used for mass agg for many years. We grow and store food, and plant lots of assorted trees. We also participate in our local farmer’s markets with what we produce.

KAREN: I am Karen Eisenhart a College Professor and Enviornmentalist. I teach courses on topics of Earth Sciences, Conservation of Natural Resources, and Environmental Issues. I try to practice what I teach.  I practice conservation in my house, in my yard and garden, in the way that I live, shop, and consume. I have been thinking about the environment for more than thirty years.

What does it mean to live a sustainable life? What does it mean to you? What does it mean to a community?

STEPHANIE: To ultimately leave an as little footprint as possible. To live cohesive with nature, keeping balance not throwing it out of whack.  Being in control of how and what we eat, grow, how we live, produce, consume and our impact and awareness of how we are all connected. Only use what you need and give back as much as we can.

For the community, I would love to see small shops or farms in every local town, where people grew/raised/produced all goods locally and shopped/created relationships for those goods. Working together towards a common goal of not having to go outside of ourselves while living harmoniously with nature.

KAREN: I read somewhere (but can’t recall the source) that to be “sustainable” is not enough.  We truly need to be “regenerative” in the sense that we allow natural systems to recover and generate more abundance than we take from the system.

I am not sure that the world can become sustainable without major changes to long-entrenched systems of economics, governments, industry, development, and so on.  I fear that we would need a change in everything…truly a revolution.  Many powerful people have a lot to lose if we change the existing systems, and therefore they resist change.

For a community, I think if a community really embraces sustainability it can bring quite a lot of benefit.  Supporting the local environment connects people to their place and to their neighbors.  It can start to make you see things in a different way than you did before.  Greater care for the local environment and for one’s neighbors encourages people to support their neighbors and their local businesses and food producers, which can greatly benefit the local economy and keep more dollars circulating in the local region.  However, it comes at some costs, too.  People must be willing sometimes to pay a bit (or sometimes a lot) more for a product or service produced locally because small businesses do not enjoy same tax breaks and subsidies as large businesses and corporations, and do not have the ‘economies of scale’ that allows things that are mass-produced to be cheaper.  Another cost is convenience.  The things that benefit the community or your family may sometimes take longer, and more planning.  “Care” for those around you can be ‘inconvenient’ in terms of time and effort.  For example, think of the time it takes to make a meal from scratch as opposed to buying ready-made or from a restaurant. 

Greater care and involvement in the local environment may cause people to be more involved in local government, too, which can increase civic connection and activity in local government.  This is a very good thing and should appeal to people of different political views.  When people with different views come together for a common cause they meet each other and learn to be more tolerant of one another.  They are often willing to consider things from another viewpoint and find ways to compromise and work toward a larger, shared vision.  This allows us to move away from caricatures and stereotypes of other groups and to see them for who they are and to try to understand their legitimate concerns and how we can work together to seek solutions that benefit everyone.

Why is it important to gear more towards a sustainable life?

STEPHANIE: Because as a society we consume too much. There is a great imbalance in what we take, consume, and the waste we create to what nature is able to cope with. We as a society are not being accountable for the mess we have created. If every person focused on not eating out of a package the effects on every level would be huge.

KAREN: There are so many reasons!  I think that it is the ethical thing to do.  Humans share the planet with so many other species…or rather we SHOULD share the planet.  In reality, we (humans) tend to take everything for ourselves without thinking about the consequences.

One of the heartbreaking things about caring so much for the natural world is to see resources depleted or degraded for things that don’t really bring much emotional or other benefits to people.  Every day the mail carrier brings me junk mail, which goes straight from the mailbox to the shredder.  The government subsidizes this junk mail by offering cheap postal rates, which subsidize the whole postal system.  If Americans want a government-supported postal system it has to be subsidized in some way, yet when I think of all the raw materials, energy resources, and so on that go into making the paper and materials used to prepare the advertisements and the energy and effort to sort it and deliver it to every house and every PO Box, I can’t but think how wasteful that is of natural resources.  This is only one example out of millions of daily examples of wasted resources.  Another example is all of the raw materials and energy that go into packaging.  It is very hard to purchase anything in America without also purchasing the packaging.

Over the decades, all of this waste has been snuck into society and Americans have been conditioned to accept it without question.  Unless someone says to specifically think about all the packaging waste, most people never even consider it.  And more and more of it is made from plastics, with the effect that plastics are ending up everywhere and impacting food webs in all kinds of marine and aquatic ecosystems.  It is so sad that the bulk of plastic waste comes from single-use items that are sometimes not even used once before they enter the waste stream.  It ultimately is coming back to impact and harm us.  It harms many of the beings that share our planet. 

Once you start to recognize these things and take it upon yourself to examine your life and to gradually seek ways to reduce your personal waste stream you become increasingly more aware of your connection to the natural world and the impact of society upon it.  You may seek out hobbies and maybe even livelihoods that are more supportive of the environment and your community, which can bring more personal satisfaction to you that can lead to a more peaceful existence.  People thrive when they do things that they enjoy, that exercise their creativity and intellect.  Thus, a more sustainable life may encourage greater physical health through a better diet and more physical activity, but it can also bring about greater emotional health and spirituality (defined very broadly), which may also support a person’s total health and well-being. Working with your family and your neighbors to facilitate and maintain community sustainability (re)connects us to other people and builds social networks that appear to support the mental and emotional health of individuals.  And shopping in your local community, especially buying products and services made/completed by local people supports the local economy, which brings greater financial stability to your local economy, which can bring more revenue to your local government, and so on.

Thus, when the majority of people in a community are striving toward sustainable living it can bring about better health and welfare for individuals and families, local governments, local-to-regional economies, and regional-to-global environments.  I mention regional-to-global environments because when you try to source more of the things you eat and need regionally you reduce the demand on materials from other places, theoretically concentrating your ecological footprint.  Making less waste, and also depending on products that can be readily assimilated by the Earth (i.e., organic fertilizers and pest control methods in food and fiber production) improves the environment.  To the extent food and other materials can be produced locally supports the local economy, also improving the local tax base so that the community can develop local solutions to turn biodegradable waste into a resource.  For example, a community can turn yard and kitchen wastes into household or community compost that can be returned to the soil to support more productivity and biodiversity, build soils, sequester carbon, reduce stormwater runoff, create spaces for children and families to recreate and prosper, and so on.  For a community to do these things reconnects them to the natural cycles, and demonstrates to children how natural cycles work and emphasizes the value of natural systems and cycles.

 What are the different aspects of sustainability? 

STEPHANIE: Growing food, storing food, conserving energy, environmental, livelihood.

KAREN: Commonly used definition of sustainability comes from UN Conventions, and typically discuss environmental sustainability, economic sustainability, and social and economic justice.

There is a lot of emphasis on what an individual can do, but rectifying the largest impacts on the environment will likely involve government policy changes.  Major sectors of the economy produce a lot of impact. Some of these sectors are out of control of the individual: agriculture; transportation; industry; energy generation.

But it's still important for individuals to do what they can and start where they are. Examining one’s personal impact and making lifestyle changes brings increasingly greater awareness of what is going outside of one’s household.  Small actions that don’t make a big difference in the community can start to make a “newbie” aware of their behaviors.  When you change something small, sometimes you start to see more things you could change with little effort. 

Consumers have great power when they decide to collectively exercise different behaviors. Look at the campaign to get rid of plastic straws and the impact it is having on large franchises such as Starbucks.  In America, we definitely can ‘vote with our dollars’.  When we get the attention of big business we also get the attention of big government.

Another quote I have heard that I really like (but do not know the original source) is “when you change the way that you look at things, the things that you look at change.”  Changing the way we look at things is a very important aspect of sustainability.  We need to examine and question our values.  Do our actions and lifestyles support what we think is most valuable?

Besides sustainability being about ecological balance and conservation, what else does it mean?

STEPHANIE: Self-sufficient, self-reliant, not relying on a system that really doesn't care about each other.

KAREN: I don’t think sustainability is about balance.  I think its more about resilience.  How do we behave and use resources to allow natural systems the continued capacity for regeneration?

‘Balance of nature’ is an older idea.  It's useful, but incorrect.  It comes from a time when scientists believed there was stability to nature.  In reality, the disturbance is a very important part of nature.  All natural systems have evolved over time to be resilient to certain kinds of disturbances that occurred within a range of sizes and severities. For example, in the eastern USA, forests periodically experience hurricane damage.  Southern coastal forests experience greater severity more frequently, whereas inland and more northerly forests experience high severity hurricane disturbance less frequently.  Yet, following these disturbances forest were able to recover. The recovered forest may not have looked exactly as the disturbed one did, but the ecosystem was resilient in the sense that the biological material was there to re-establish a similar type of ecosystem that would provide similar types of habitats for a similar biological community of birds, mammals, insects, microorganisms, fungi, and so on.  This led to patches that were newly recovering, older patches, and very old age patches.  But sooner all later disturbance would impact a patch and “reset” recovery to time zero.

One of the major impacts of humans on ecosystems is that we have tended to greatly simplify them.  We have caused a decline in biodiversity, with fewer kinds of species, fewer numbers of individuals in each remaining population and therefore lower genetic diversity, fewer types of habitat, and so on.  This simplification has made many ecosystems more fragile and susceptible to catastrophes that are outside of the historical range of variability for size and severity.  The ultimate simplification is the vast fields of monoculture we see in conventional agricultural systems (which is a man-made type of ecosystem). 

Monoculture means only one species and variety of plant; think corn field or soybean field.  To grow a high yield of a single crop in this way vastly reduces the biodiversity in this highly simplified ecosystem, which invites insect pests that like this particular crop. To keep the pests from destroying the crop, conventional farmers use synthetic chemicals that also can kill non-target species.  Destroying non-target insects that maybe would feed some kinds of birds will eliminate those birds from the system because they won’t nest where they can’t find food.  In this sense, I guess you could say that the system has been greatly “unbalanced” because it is held in this artificial state through chemicals and fossil fuels.  Over time, the ecosystem will become less productive, requiring more artificial inputs to support the desired yield.

Do you think there are enough awareness and information on sustainability? Do you think it's talked about enough through the media, in a community? I know that there are some people that are aware of it and parts of the world that practice sustainability. Where do you think the lack of sustainable awareness is?

STEPHANIE: No, there is never enough information. I think people’s scope can be very limited when viewing sustainability. It’s in everything we touch.  

KAREN: I do not think there is enough awareness.  I think there is a lot of “eye rolling” among people who think it’s a fad when it is brought up by someone interested in a more sustainable society.  I think many in the media who are left to present it to the masses don’t understand it.  They present it in small ways and sound bites that diminishes the importance of it.  They like to present it in sensational ways that make supporters look ridiculous.  Look at what they do to Alexandria Ocasio-Cortez.  She has put forth bold suggestions.  It may be that some of what she proposes is not possible (or maybe not desired), but instead of saying that some of this is good and right and some of this won’t work, they denigrate the whole suggestion and then they denigrate her by saying she is too young and naïve and doesn’t understand things or know what she is talking about.  Outrage sells newspapers, I guess.  So instead of having a productive national dialogue about the actual merits of suggestions for protecting against and adapting to human-caused climate change impacts, we get a media circus.

I think that the Western world doesn’t have the right value system to shift enough in the appropriate direction.   Money and building wealth at the expense of the environment and even of other groups of people is given a lot of emphases.  If you ask someone what it means to be successful, most people would probably answer in material terms.

 What are some ways to teach sustainability in schools?

 STEPHANIE: Teach children to grow, cook, and store their own foods, how to shop locally (farmer's markets), sustain the local economy, manage consumer output completely.  

KAREN: I wish it were possible to teach these values through direct experience.  You can capture someone’s imagination in a classroom, but if you really want their hearts and minds you have to take them out into nature.  They need to put their hands in the soil, turn over rocks, grow things.

I guess one thing would be for the school itself to practice sustainability: sustainable landscaping and gardens where students grow food and other things; how they purchase supplies; energy efficient buildings; running their school bus fleet on biodiesel; etc.  These things would complement a curriculum that integrated sustainability.  But it would also be expensive and we are in a period of time right now in America where some powerful groups of people do not feel it is a natural priority to support education; some of these groups have a narrow of idea of what should be taught in schools, and would probably consider everything I mentioned in this paragraph to be a waste of resources.  That’s because they think that education should pay for itself and spending money on these things is not economically efficient.

Maybe we need a revolution in the educational system.What are kids learning?Are these important things?Is the current system effective in educating kids in the areas that are important for them to be successful

 Does being successfully sustainable depend on where you live geographically?

STEPHANIE: Not necessarily, it depends on the person/family and how they prioritize their "needs". It takes time to cultivate food but the cost is minimal.

KAREN: I think geography can make a difference.  Climate is probably one of the most important physical geography factors that impact opportunities for sustainability.  In the southern US, you can get by without winter heat, depending on your type of dwelling and how it was constructed.  You definitely need winter heat where I live!

The society that you live in and the government can also make an impact.  Some countries make it easier to live more softly on the Earth.  In other countries, it is more of a challenge.  It is a challenge to live sustainably in the US regardless of your income level.  It’s hard to go to the store here and be able to buy anything not wrapped in plastic.  It’s hard to find things that were not mass-produced using fossil fuel for energy.  In the northern states, it’s hard to heat your house without fossil fuels.  The alternatives don’t exist or are too expensive or too difficult for most people.  Community ordinances may make it challenging to build an energy efficient house because they follow national building codes designed to be “one size fits all”.  If the local government does not include elected or appointed officials with progressive interests you tend to find that they are not very open to trying out something different.

Is sustainability more so buying products that are sustainable or is it more so an individual creating their own sustainable products or is it learning to live without certain products? 

STEPHANIE: I think it's a combination of all three, more so the latter two. Being sustainable takes time to do the work, to make the things you need rather than run to a store and buy it or have a shopping list that not only contains the most nutrient dense food but to take as little plastic packaging home. I do think we need to reevaluate the way we buy and consumer products. It helps to have like-minded people to work with and trade goods.

KAREN: I think it involves a lot of simplification of one’s lifestyle.  It certainly requires doing more for yourself and getting away from convenience.

I had a roommate a while back who would spend a lot of money on organic food.  But a lot of it came in plastic packaging and therefore generated a lot of waste.  At the same time, I was trying to drastically reduce my packaging and waste.  I carried cloth produce bags to the market to bring home bell peppers.  She bought a 3-pack of organic bell peppers on a piece of Styrofoam wrapped in plastic cling wrap that was imported to the US from Holland.  Now, what is actually organic about plastic-wrapped produce shipped from Holland?  It's not like they don’t grow peppers in the U.S.!  My roommate was very interested in conservation topics and environmental issues but wasn’t ready to stop trying to shop her way toward sustainability.  For myself, I had to struggle with whether it was better to buy a conventionally raised pepper without packaging or an organically grown pepper picked before its peak, shipped across the ocean, and wrapped in synthetic, nonbiodegradable materials.  I opted for the local pepper.

I go to a local food co-op for dry goods.  I take my own jars and fill them from the bulk bins.  But how did the bulk bins get full?  Food that came in packaging was dumped into the bins!  If you don’t grow it yourself you contribute to the pattern of waste!!

Mainly for someone in a more urban setting who doesn't have access to land, how can they live sustainably? 

STEPHANIE: Urban food access is something I’ve been thinking a lot about lately. I think a great way to reach people and get them involved in creating food is community gardens. Maybe something where people can go and put in the time and that equates to shares of food. More time=more food. I think the more people get their hands into the dirt the less intimidating it is. Education has to go hand in hand with fresh food. It’s like we have to relearn to cook when moving away from packaged/processed foods. It’s a very empowering feeling when you can grow your own food. There is a shift that happens when people connect to fresh food. I personally would love to see bulk foods made more readily available in urban settings, along with the education. Bulk could equal better food quality and less packaging waste. 

Also, does sustainability divide classes/races because it is not as accessible for certain cultural groups or geographic locations?

STEPHANIE: It doesn’t have to, but it probably does. I do think sustainability does change a bit depending on where you are. I do think having commercial community kitchen space in community centers available to members of the community would be an asset regardless of the location of the said community.  It could facilitate a place of education, people working together to prepare food to store, give people a greater sense of well-being and purpose.  It may also generate income for people. 

 Can living sustainably save money?

 STEPHANIE: Yes, renewable energy, gardens, and fruit trees, supporting your local farmer's market, storing food, the list goes on.

KAREN: I think it can, but you have to work at it.  You can buy high-quality food in its raw form.  You have to prepare it, though, which makes it less convenient.  When you buy more convenience products you trade your money for time.  The prepared foods often cost more than the raw ingredients.  You can buy produce in its harvest season when it is at its peak flavor, abundant, and often less expensive. But then you need to process it in some way to preserve it for use in other seasons.  That takes time and also requires some knowledge and skills.

Certainly using less energy is more sustainable.  You might have to spend a chunk of money now to be able to use less energy over the long term.  For example, I saved my money and bought an expensive high-spin front-load washer.  It cost nearly $1000.  It has high water-use efficiency and spins at a high speed which drives the water out of the laundry.  I only needed to shake out my clothes at the end of the wash cycle, put them on hangers, and hang them on a rack to air dry the rest of the way.  They are dried within a day, often faster.  I didn’t need to buy an electric dryer, so I didn’t have that expense and I don’t need to use electricity to run the dryer every week.

A number of times in my life I have lived without a car in small towns of America.  There are some challenges to it.  But if you can manage to live close enough to work that you walk or bike, and have access to food stores and other places you want to shop or hang out, then it is cheaper in the long run and also saves energy.  Plus, walking is free and great for your health and for stress management.  It’s easier to live without a car in an urban area that has forms of public transportation.

Do you think people are not catching on to being sustainable because it's not something convenient or accessible and requires more work?

STEPHANIE: The consumerist society is not designed so that people can have time other than consuming.  Most people want things that are quick and easy, sustainability takes work, time, and dedication.

KAREN: People do want quick and easy.  I think it has to do with values and learned behaviors.  People growing up in today’s America have lived with convenience all their lives.  We are trained from a young age to be consumers.  So we are good at shopping, at buying things.  The society here places a lot of value on income and wealth.  Instead of having a smaller house with a smaller carbon-footprint, people want a giant house.  They want every one of their kids to have their own bedroom and bathroom, and a giant kitchen, and a three-car garage.  Think of the size of the garden you could plant in the excess space taken up by that giant house!!

Another aspect is peoples disconnect with nature.  They may jog in the park or go skiing, but many people are not ever really IN nature.  They can’t identify common plants or birds or trees.  They can’t cope with flying insects. They may not know the names of their local streams or be able to identify local places where they could hike.

Do you think sustainability could solve global and local problems such as poverty, hunger, climate change, and violence?

 STEPHANIE: Absolutely! If people are able to grow and cultivate their food or produce their own electricity, then why would they need to steal to get money to buy food. Not only that when you eat well you feel good, when you feel good you do good. It's a ripple effect.

KAREN: I have been looking with interest at the Green New Deal that Congresswoman Alexandria Ocasio-Cortez introduced into Congress.  A green deal emphasizes social and economic equity along with environmental equity.

I have addressed this question in other parts of the interview.

In your opinion, why is it hard for individuals or society to suddenly change their habits and their lifestyles? Even after all the evidence people still have a hard time wanting to change or care to change. Why do you think that is?

STEPHANIE: People have to want to change. Nobody likes to admit that they aren't doing something to the best of their ability. When you actually commit to doing your best all the time, it is a lot of work. Also, the way things are structured makes it extremely difficult. How do you get people to consume without any kind of plastic wrapping? Because really that's what clean eating and producing minimal waste comes down to. People would have a very hard time because of the way industry is structured, it's not structured to keep people healthy, it's designed to make deep pockets full.   It takes work. It's easier for people to throw away and buy new then to reuse and repurpose. I think education and communication are important. There is a certain “re-wiring” that goes along with all of this. A re-structure.

KAREN: We could radically change every aspect of society – culture and behaviors, economic systems, political systems – but there is no guarantee of sustainability.  It would generate a lot of turmoil for an uncertain end. Maybe it’s because the people in power would have too much to lose.  They won’t let it happen.  They spend lots of money to spread disinformation and keep things as they are.

On a personal level, it can be very hard to change even if you want to. It is hard to overcome convenience.  Convenience products and appliances were invented because it was hard when everything had to be done by hand.  I have heard statistics about the time and physical labor it took women to do the laundry before the invention of the washing machine.  You would have to set a whole day aside to do the laundry!  That is very hard to do when have to work outside of your house.  I don’t think many people would be willing to give up their washing machine. 

A culture of work where everyone works 8+ hours per day at least 5 days of the week is not conducive to the planning and work required to do most everything for yourself. Yet you have to have an income in our society to survive. 

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INTERVIEW: Cartoonist, Writer, Musician Jeff Koterba

JEFF KOTERBA is a cartoonist, writer, musician, and creativity advocate. He was born in Omaha, Nebraska, and during the summer before his senior year of high school, he was struck by lightning. Instead of taking him to the hospital, his dad gave him a shot of Jack Daniels.

You have always known you wanted to be a cartoonist. What was it about cartoons that you were drawn to?

For me, growing up in a chaotic household filled with broken TVs and junk, and considering all the noise from those TVs and family arguments, a blank sheet of paper represented a clean start, an escape. I actually dreamed of living on the ceiling—talk about a space for a mural!—but alas, I couldn’t overcome gravity.

Do you have any formal training or are your self taught?

It’s a mix. All along I had teachers encouraging me. I studied art pretty seriously in high school and college, although I have yet to finish my degree. But I’m also self-taught. When I was starting I sought out mentors, always asking for advice. I also lost a lot of sleep staying up practicing, just trying to get better.

It also bugs me a bit when people on Instagram say they are “self-taught” artists. Even if you have a formal education, I would certainly hope they are also self-taught but by saying that in an Instagram profile seems to diminish the person’s own work.

Where does your inspiration come from?

Everywhere and anywhere. It can be from keeping up with the news, but also from overhearing a conversation at a coffee shop. Sometimes I work backwards, like I might be enjoying an apple and days later I’ll think, gosh, is there a way for me to work an apple into a cartoon?

Who are the cartoonists you look up to?

I had many cartooning heroes when starting out, people whose work I would study, trying to figure out how they did what they did and those were Jim Borgman, Pat Oliphant, and Jeff MacNelly. These days, hands down, it’s Steve Sack in Minneapolis who draws on an iPad and his stuff is gorgeous. Certainly, I gain a lot from other cartoonists, too, but to be honest, I really don’t go out of the way to look at other work anymore. It’s more of an incidental thing now like if I’m at a cartooning salon like the ones I attend each year in France.

I would love to think I’ve been inspired by cartoonists from outside the U.S. but really, I get more from just talking with other cartoonists and from reading great books and watching great films.

You are a cartoonist, a musician, and a writer. Why is it important to have other creative outlets? How do they affect each other?

For me, because I have Tourette Syndrome, it’s a way to keep myself occupied, lest I sit around and obsess and twitch (laughs). But really, I do all those things because I must. There is a lot of suffering that goes along with creating anything, from making oneself vulnerable and I know no other way. They are all connected like I might be stuck on a cartoon idea so I’ll pick up the guitar and play a funky jazz chord and voila! A cartoon idea will come to me.

How has technology changed your art?

Working in color was a big one. There was a time when I only appeared in black and white and in print. Color and being able to use technology to make my work look a bit crisper is a good thing but I still draw with pens and brushes and ink, I love the tactile experience.

You have accomplished so much in your life creatively. Do you feel like there is more to do? Do you worry you wouldn’t have enough time to do it all?

There will never be enough time and I feel as if I am just getting started. I’m really trying to focus more on book projects—I have a couple of novels in the works and a graphic memoir. Anything worth doing takes huge amounts of time so I try to choose wisely by getting less sleep and working more (laughs). I also don’t waste time by passing it playing board games or engaging in small talk, I have zero interest in that, UNLESS those activities deepen my relationships and friendships then it’s worthwhile.

 You had a close encounter with a UFO and your work has literally flown to space. Please talk about that.

The graphic memoir I’m working on has to do with the UFO—so not really ready to talk about that. Let’s just say that I’m a believer.

Regarding my space cartoons, I had one day received an email from the International Space Station. I’d drawn a cartoon about Nebraska-born astronaut, Clay Anderson, who at that moment, was flying 200 miles above me. Someone had managed to beam the cartoon to the space station and he emailed to thank me. We became friends and a few years later, when he returned to space, he asked me to come to his launch but only if I would draw a couple of cartoons he could take on board. How could I say no?

How, in your opinion, can cartoons contribute to great freedom?

Cartoons are probably the clearest and obvious example of what freedom of speech looks like. Even when I don’t agree with a particular cartoon, I respect the cartoonist’s right to their opinion. Good cartoons can be part of a big conversation. I might not change anyone’s mind but I just love being part of the conversation.

 What do you like and dislike about doing editorial cartoons?

After I have the idea and the idea is the hard part, I enjoy losing myself in the actual drawing. When I’m inking, though, I can listen to music or French language lessons (laughs).

What I hate most is the awful stuff people say on social media about me. Never gets easier.

 Despite your own political beliefs how important is to stay unbiased in your editorial cartoons?

Some cartoonists are so stuck to one extreme or the other their work becomes predictable and boring. I mean, I admire that they stick to their convictions, but for me, the truth is often not just over here or over there but it might be in the middle or a little here and there and a bit more from way over there. So I try to look at each issue with clarity and not with hatred that has permeated so much of the current political climate. But, of course, I can’t help but see the world through my own lens. Still, I strive to seek the Truth, capital-T.

Do you think editorial cartoons will look any different in the future than they do now?

Scientists are working around the clock to create a little pill that, when swallowed, puts you in the middle of a 3D cartoon.  I really have no idea. Aside from the occasional animated editorial cartoon, the form really hasn’t changed much since Ben Franklin drew one of the first political cartoons with his “join or die” segmented snake drawing.

Do you have any new exciting projects in the works?

Besides, the books mentioned earlier? An animated short film based on a short story The New Yorker loved years ago but didn’t publish. It’s another project that is so time-consuming and I’m only writing the thing and doing the music. Not the actual animation. The animator lives in Omaha but is from Scotland by way of Australia who worked on Shrek and Lord of the Rings.

You were born and raised in Omaha, Nebraska please talk about what is it about Omaha that made you stay. How supportive has the community been with your art?

Well, I did live in Austria for two years, all while working for the World-Herald which gave me an interesting perspective. Otherwise, Omaha has advantages for creatives.

When my band played several shows in New York several years ago, it took nearly all day just to drive the van into town, unload at the club even though there was no official place to unload, find a parking spot—in one case nearly a mile away - It was a nightmare. Love that city but if I lived there I could only do one thing, maybe two. In Omaha, I can get around pretty easily and find time to write, draw, play music, and also get to the gym.

What sorta of perspective did you gain while living in Austria? Was it a personal one? An artistic one? A global one? And how did that perspective change your outlook?

Having been born in Omaha, and having lived there my whole life, it was interesting to DRAW about Omaha from the Alps rather than drawing about my surroundings. I was drawing about that place back there, in the U.S. I can’t say for sure that it changed my work in any dramatic or obvious way, but it felt I had some distance, room to breathe and that allowed the perspective to comment on things with that distance. Whereas, when living in the U.S. and commenting on things happening in Europe, well, that also feels like events that are happening way over there, stuff that doesn’t impact me directly. 

Furthermore, living in Europe and commenting on European issues felt more immediate, more personal. Although I still had to be careful not to make my work too “inside.” Reminding myself that I was still drawing for a primarily-U.S. market. This, too: Seeing how people in Austria live—with their 4 1/2 day work weeks, and how coffee shops are places for conversation and reading, and not for sitting on your phone or laptop … and how sometimes in the U.S. we are too focused on making money or finding success or whatever. 

Since joining the Omaha World-Herald in 1989, he has been a finalist for Editorial Cartoonist of the Year from the National Cartoonists Society—2002—and has twice placed second in the National Headliner Awards—2000 and 2012. He has also won first place for editorial cartooning in the Great Plains Journalism Awards five times, most recently in 2017. His cartoons are distributed through Cagle Cartoons to 850 newspapers around the globe and have appeared in such publications as The New York Times, the Washington Post, San Diego Union-Tribune, Dallas Morning News and USA Today. In 2010, two of Koterba’s cartoons flew aboard space shuttle Discovery. In 2017, he gave his second TEDx talk where he discusses Tourette’s Syndrome, vulnerability, and cartooning. His work has been included in multiple exhibits around the U.S. and in Europe, including alongside Picasso and Banksy, and in the Austrian embassy in Paris. His memoir, Inklings (Houghton Mifflin Harcourt) traces Koterba’s path on his journey to become a cartoonist, and more so, to rediscover the love of his family that was there from the start. Inklings was named a Chicago Tribune Favorite Nonfiction book of 2009. Entertainment Weekly called Inklings “…a powerful and moving portrait of an artist.” In 2019 he was named a finalist for a novel in the Tucson Festival of Books, and a semi-finalist for a second novel. He is the lead singer, guitarist, and songwriter for the Prairie Cats, a swing and jump-blues band he formed in 1998. The Prairie Cats have performed at the South by Southwest Music Festival, Windows on the World at the World Trade Center, and at the Derby Lounge in Hollywood. And in case there was any question, he now avoids thunderstorm whenever possible. 


Jeff’s website
here and keep up with Jeff via Instagram here

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Check out The Prairie Cats website.

INTERVIEW: The Art of Directing With Artistic Director Beth Thompson

DIBS checks back in with Beth Thompson, Shelterbelt Theatre’s Artistic Director, in Omaha, Nebraska to chat about the art of directing.

DIBS: What is a director's job? 

To assemble the best possible people to tell the story. Whether you are able to pick your own design team or have one assigned to you, the director's job is to make that table a comfortable, exciting and inspiring place to work together. Casting is half the battle; if you are able to cast performers whom you see bring the story to life in auditions and carry that energy forward in the work, then your job will be much easier. This is not always the case but if you can help your actors grow throughout the process then you have done your job. 

DIBS: What do you think it takes to direct? 

A detailed eye of the whole picture. You should have a good idea of what you want the audience to feel when seeing your show. I love collaborating with the design professionals and working together to create what the show will look and sound like. I am a director who prefers to let the team’s creative juices fly and then discuss any issues that come up from there. Dictating what "I want" to designers can stifle their artistic expressions and that is not what theater, or any art form, is about. I also believe that you have to know how to talk to your actors and how to bring the most out of them. Each person responds differently to taking direction, working out a scene and notes so you have to be able to read early on what they need and adapt to each personality. This is tough and can be a lot of work but ultimately, I believe you will get the best work out of them when handled correctly.

DIBS: In your opinion, is the director suppose to adjust to how actors take direction or is it the actors job to adjust how the director gives direction?

That is a phenomenal question! Mostly, because you would get a different answer from each director you ask. 

I can only speak to my approach, which is meeting somewhere in the middle. I expect, and in some cases require, a lot from my actors and am clear from the beginning of the process what those exercises are and how they will be utilized to the benefit of the story later on. Actors require different things from you and I do believe a good director will pick up on those signs and direct accordingly. For example, my last show had 14 actors ranging from ages 14-31 with varied levels of experience. Some of the younger actors called for a more reassuring, confidence inspiring and back to basics approach to their character work while the more veteran actors found their voices through exploration and being encouraged to fly more free and give us some choices to work with. I prefer to collaborate on creating characters with my actors as I have cast them for a reason. Something about their artistic expression through this character intrigued me so why would I want to squash their voice with the performance that might have been in my head for a few months. While I hope to cast someone who shares my take, I am often pulled in by an actor who sees another side that I may not have seen and the idea of melding these together excites and inspires me. Actors are artists, not robots. 

 DIBS: Why were you drawn to directing? 

I fell in love with the idea of telling the entire story. As an actor, I was able to concentrate on my role and how to handle that but directing allowed me the challenge of the entire process from reading a script to opening night. I fell in love with the process of putting a project together from start to finish. 

DIBS: What qualities make a successful director? 

This is a big question! (laughs)

I believe a director is successful if their work speaks to people; this can happen in a variety of ways but if the work is not affecting audiences then what is the point. I also believe that the way they treat their actors, designers, and crew is important as theater is not made in a vacuum and while one can tell stories by themselves, it generally is not as electric to watch. Collaboration is the word that keeps coming back to me as it truly takes a village and if designers or actors don't want to work with you then you are sunk. Too many people confuse directing with dictating and thus the work suffers.

DIBS: How important is communication in a theater?

Communication is EVERYTHING in theater. The point of any art form, that is shared with the public, is to communicate something otherwise that artist would just stuff their art in a closet somewhere and let it rot. I believe it is an artist’s responsibility to keep the dialogue of what is happening in society alive and to use their voice to share that message. We also have the unique ability, in theater, to encourage empathy as our audiences “take a ride in others’ shoes” for a few hours. If you can relay a message while they are in your seats, whether they agree or not, they will most likely discuss and that is the greatest thing art can do. 

DIBS: What is a misconception people make about directors or directing? 

That the director knows it all, and from the very beginning. Preparation is key but I think that it is valuable to continue to discover things about the characters or story via your actors. Allow them to make choices and to show you the aspects that you didn't see before. I always say at the first read through that "right now, I know these characters better than you do but by the end of this process you will know them better than anyone" and that is exactly how it should be. I require my actors to make up their own character bios, whether we are working on a new script or an established one, as I find that this gives depth to what they are exploring and ultimately deciding. 

Also, the designers will pick up on things you may have missed as they are analyzing the script in a different way, so never disregard what they see or hear just because you didn't think of it. 

———

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.

Celebrating with Shrooms

On the one-year anniversary of the inception of DIBS, creators Cristina and Larissa ventured deep into the forest … at night … with no firewood and survived (due to the kindness of a friend, of course - Thanks Alicia)! They took a daytime hike near Raymondskill Falls in the Delaware Water Gap National Recreation Area, where they rap about life, love, the earth, and human nature.

The gems they stumbled upon in the past year are well represented by the fungus Cristina captured growing in the late summer undergrowth. Props to Sarah Prentice who provided insight into the magical mycological finds and helped with ID-ing them.

The year ahead sure has more mystery in store.

Enjoy!

Cortinarius sp.

Cortinarius sp.

Ramaria or other Coral Genus

Ramaria or other Coral Genus

Cantharellus sp.

Cantharellus sp.

Marasmius sp.

Marasmius sp.

Lycoperdon sp.

Lycoperdon sp.

Entoloma sp.

Russula sp.

Russula sp.

Dingmans Campgrounds-Mildford,PA Sept. 2018-2949.jpg
Laccaria sp.

Laccaria sp.

Hypomyces chrysospermus?

Hypomyces chrysospermus?

 
Laetiporus sp. AKA “Chicken of the Woods”

Laetiporus sp. AKA “Chicken of the Woods”

Amanita sp.

Amanita sp.

Calvatia sp.

Calvatia sp.

Trametes sp.

Trametes sp.

 
Dingmans Campgrounds-Mildford,PA Sept. 2018-2930.jpg

Mushroom Finds by Larissa Nemeth and Cristina Byrne | Photographs by Cristina Byrne | Help Identifying: Sarah Prentice

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

INTERVIEW: Meet the Filmmaker Samantha Paradise for Homewreckers

Samantha Paradise, a candy-corn-binge-eating, giggling-at-poop-jokes, writer and filmmaker from the Philadelphia area focuses on strong, nontraditional female characters with her production company, FrankNBeans Films.

 Their most recent film, Homewreckers (a short), is currently in post-production.

DIBS: Could you describe the Independent Filmmakers of or in Philadelphia. Is there a scene? Do local filmmakers hang out together? 

SAM: The great hub of the Philadelphia film scene is our very supportive film office (film.org). This is where filmmakers, actors, crew all find each other and can also keep up to date on what’s going on (festivals, productions, etc). While our film scene may be smaller than NYC, the size really does allow for knowing one another. I’ve met some really great people!

All filmmakers are different, but I love hanging out with other film folks. Great people who help one another out. 

DIBS: What’s harder: Getting started or being able to keep going?

SAM: I think most filmmakers would agree that keeping things moving is the biggest challenge. Making a movie is a lengthy process with various elements. It’s easy to want to quit if you’re knee deep in a part of the process that you don’t enjoy.

Lots of folks have great ideas and start the conversation about storyline, production, etc. However, it can be tough to weather through all the small projects that need to happen prior to shoot day (script planning, storyboarding, shot lists, casting, budgeting, etc). 

DIBS: That is true, there is a lot of planning, staying organized and communicating efficiently that happens in filmmaking. The audience only sees the final product but don’t realize or know about the amount of work that actually goes into it, the behind the scenes.

How much do you think commerce affects your art? And how much do you have to compromise as a filmmaker because of financial restrictions or business?

SAM: I'd rather be an independent filmmaker with zero creative restrictions (although there are financial ones) than a fully funded Hollywood director who is only allowed to make what will sell. Like all independent artists, I have hurdles when it comes to finances. My biggest frustration is usually that I'd like to be able to pay the cast and crew what they truly deserve, but that just isn't feasible without funding. 

A small, silver lining of having financial restrictions is the ability to flex a certain kind of creativity. It can be rewarding to figure out things like "how do I find a creepy house to shoot in for under $100?  Can I make my house look a certain way? Can I shoot in something abandoned? Do I know anyone?" It's a fun challenge.

DIBS: I would have to agree with you, I think there is a sense of resourcefulness or critical thinking that comes out when you have to work with what you got and or can afford. You expand your brain a bit, stretch it out and find solutions in places you might never have known until you were limited. You had to find another way to get what you were looking for and every once in a while, in most case when you do, you find a better solution.

What is the one mistake most filmmakers make, regardless of experience?

SAM:  You can never plan enough! We started pre-production on Homewreckers over a year ago, and despite my OCD databases and a phenomenal Assistant Director (such a blessing!), we still ran into some serious snags. Two production assistants canceled on the day of a shoot, a script supervisor ducked out the day before and the weather created a last minute schedule change. 

Back up plans are a must. 

DIBS: Do you think there are few women in filmmaking and, if so, why?

SAM: There are plenty of women in filmmaking, but very few of them end up directing (or in positions where they're calling the shots, like the Dir. of Photography). I love this question. In fact, I've answered it so often that I wrote an article about it (Unicorns with Baseball Hats: The Mythological Female Filmmaker). 

It always baffles me that I've seen male directors be completely unorganized on set, but the crew will only label them as being "eccentric" or "just really artsy." Any female director who has a rough shoot is "emotional" or a total mess.

Unfortunately, I've had male crew members direct over me every shoot because they don't trust me to handle the actors. Those are the moments I personally want to quit and fade into the background. I think this is why there's so many women in the "background" jobs (screenwriting, editing, makeup, etc.) 

DIBS: What do you mean by “can’t handle the actors” is there a way to “handle the actors?”

SAM:  Ahh, I suppose I should clarify. Direct them. The main job of the director is to focus on the actors to ensure they’re delivering the story & character correctly.

I’ve always been a fan of “not overdirecting.” I don’t direct just to hear my own voice, so if an actor is nailing it, let them keep going! Talented people don’t need to be micromanaged or you’ll kill their spirit.

I think this silence is when others may try and jump in. Almost as if they’re concerned I forgot to direct. That’s silly.

DIBS: Do you think any story can be told in a film? Is there a certain element of the storytelling that film does better?

SAM: I think the best films are the ones that were specifically written for film. Filmmakers focus on imagery and we want to tell you a story with colors, costumes, special effects and lighting we see in our heads. 

Sure, some books adapt nicely. But writers are gifted at weaving together words and you miss their magic by adapting it into a movie. 

DIBS: Does this Homewreckers say something about the world that we live in? and how or why.

SAM:  I'm hope it does. Although Homewreckers is short and fairly "light" in terms of content, I'd love to start a dialogue about the modern workplace. It's very broken. 

DIBS: So does art imitate life or does life imitate art?

SAM: I feel like I need to drink a nice whisky or smoke a cigar before answering this.

Don’t want to give away too much, so lets just say I hope no one experiences (or imitates) a Homewreckers scenario in real life. 

DIBS: So often we hear about the lack of original stories. That we’ve all “seen it before.” How do you stay fresh in the face of an idea like that? Or do you think its okay to tell a story that might have already been told but in a different setting or perspective?

SAM:  There is a ton of original content out there. Unfortunately, main stream media only funds movies that are remakes or based on superheroes. 

DIBS: Is it okay to produce stuff that isn’t that good? Or at the time might have been unexperienced.

SAM: Absolutely. No ones first film is going to be great. The important part is finishing the movie. You’ll learn from the process and be able to make a better one next time.

DIBS: Does how much money a film make, defines its success?

Success to me is if I made someone (even if it was just one person) feel something. Ideally the feeling of “Me too” or “I’m not alone.” My third flick, Conscious aimed for this and when anyone told me that movie helped them or impacted them, it was priceless. 

Homewreckers is targeting anyone in the working world. If you’ve ever felt like “shit, this isn’t fair” at work. Well, this one is for you.

...did I mention my day job is in Human Resources?

DIBS: What does independent filmmaking bring to a local community?

SAM:  New perspective, fresh ideas. We live in an era of unlimited access to entertainment, so if you’re bored with the mainstream, this would solve that problem.

Image by Cristina Byrne

Filmmaker and Director Samantha Paradise on the set of Homewreckers. 

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.