Storytelling

Void is boring,
a dull throb.
It has no stories to tell.
And yet, from the gaping orient
of emptiness
arises every story imaginable,
a turning to peaks
and sea-changes galore.
It seems, Void is the company
we are destined to keep,
an inheritance beyond the salience of claim,
and stories our children and lovers,
the warm ephemeral gains
to hold us, briefly, in tenderest thrall.
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Between Despair and Hope: A Song

Unnamed,
deep, dark,
the immaculate root-base
from which the muted call
to home
signals an exile’s longing
to claim merger, absolute.
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Starfishing

In the hazy evening smolder
(somewhere there is a fire, sirens
sounding alarm)
you dream
of her
as a jellied starfish
suctioned to your face
until breathing becomes a revised
species of flirtation
and you relinquish your lips
to the fete of longing
and kiss the air
tasting of smoke
(where has she gone?)
as the sirens draw nearer
to you,
and you alone,
the fault of ash
bound to the siege
of a dream-life deferred.
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Review of Virtuoso

“But I see my mind’s asleep.
Were it to remain wide awake from this point on, we should quickly arrive at the truth, which may well be all around us now (its angels weeping)!” — Arthur Rimbaud, A Season in Hell
And so, let us start by imagining those angels, weeping. Their tears, tiny silver scalpels. Their wings, mangled. Their faces, featureless and orphaned to pools of light. They are everywhere, traceless repositories for unheard screams and unheld children who grow fitfully into adults (housing mutated unheld children in the attics of their guts, the sacral basements of their anuses). Everywhere, innocents locked in metaphysical orphanages, everywhere, angels slashing at air with turquoise tears. 
This is what needs to be imagined, conjured, arrived at. This is how gauzy scrim calls to the curious and brave and dream-blooded to sneak intimate peeks, like the tenderest of spiritual peepshows. Here, I return to Rimbaud, or rather how he was compared to Paul Verlaine in Arthur Rimbaud: Presence of an Engima, by Jean-Luc Steinmetz: “Where Verlaine describes, Rimbaud hallucinates, and creates an epic.  It is not the recreation of a décor that matters to him, but the shaping of one from the starting point of a few elements bestowed by reality. Authentic magic, a spellcasting gesture.” It is this sort of spellcasting and sorcery, this strain of numinous lyricism, which forges strange angels from silhouettes in Yelena Moskovich’s Virtuoso.
Read the full review at Riot Material.

Virtuoso

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Waiting for the Punchline

The mind,
locked in Time’s vice-grip,
operating as a splicer
and instrument of quartering
and dissection,
as if there really were
isolated strips
amounting to calendar-flipped years—
1923, 1932, 1974, 1980, 1999—
as if Time were somehow real
and not just the shadows of a convenient disguise
calculated to cover up the numberless
and unbroken continuum of NOW,
and the truth is, we both perish and persist
as manic glimmers within every moment,
same as we cryogenize the specious history
of bones slotted for future sowing.
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The Gospel According to Heart

Become your own valentine.
Carve your initials
in the soft yielding bark
of your rooted hidden self,
dwell there, with choice tenderness
swelling the boundaries of your troubadour heart.
Become true to your own basking,
to the wonder-wheeling molecular bond
between you and the Universe.
Pay good, gracious attention,
and know that Love’s undimming proof
cannot be boxed, quartered, dissected, or defaced—
in essence, it is traceless in its vim and smolder.
Become your own valentine,
and come to feelize the truth
that you are not even “you,”
that is a shining sham and beggared illusion.
You are a part and magnetic extension
of the everythingness that shapes and forms
what might you call the universal lore of attraction.
And, if you so desire, you can fight it off
with a hundred clubs or thousand sticks
in a million different ways,
but that will not change the fact
that you are wedded to an energetic orgy of togetherness,
a liminal bubblebath that includes everyone and everything.
It is What IS. Dig?
The Universe, as a Valentine’s torch song
of cosmic proportions,
throbs and hums and thrums and palpitates,
which gives you a chance to tune in, Now,
to a self-Love Supreme,
and become your own gospel
to what dreams may come.

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(Artwork by Izumi Yokoyama)
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Self-Love Supreme

A true valentine crafted by Derek Walcott, titled “Love After Love”
The time will come
when, with elation
you will greet yourself arriving
at your own door, in your own mirror
and each will smile at the other’s welcome,
and say, sit here. Eat.
You will love again the stranger who was your self.
Give wine. Give bread. Give back your heart
to itself, to the stranger who has loved you
all your life, whom you ignored
for another, who knows you by heart.
Take down the love letters from the bookshelf,
the photographs, the desperate notes,
peel your own image from the mirror.
Sit. Feast on your life.
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Bag o’ Rags Resurrected

On the next-to-last day of our campaign, we are proud to present an exclusive musical introduction to Adam Swanson playing the 1912 tune, “Bag o’ Rags” (composed by W.C. McKanlass), which was the theme song of the Keystone Kops.
Troy masterfully crafted and wove together footage from our private session with Adam at his alma mater, Fort Lewis College, and Adam’s gig at the Diamond Belle Saloon, in creating this unqiue cinematic memento. View the video here.

Bag of Rags, A

 

 

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The Dance

Our actors, Clint Murphy and Rita O’ Connell, received choice tutelage from choreographer, dancer and director of the Academy of Performing Arts, Miss Amber Vasquez. If you are someone who is interested in and engaged by process, and watching moving parts synthesize, Troy beautifully captured Clint and Rita’s private dance session with Amber. This recorded practice, which relates to our film’s black-and-white slow-dance sequence, flowers and unfolds with a natural narrative arc, culminating in an exquisite final shot.
Watch the dance here.

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Way Out West

We are thrilled to announce that Adam Swanson, one of the world’s foremost vintage performers of American popular music, including ragtime and early jazz, will be contributing his musical talents to our film, Ballad of the Cuckoos. Adam, who is the only four-time World Champion Old-Time Piano Player, has showcased his formidable repertoire at Carnegie Hall, The Kennedy Center, and has accompanied silent films at the prestigious Cinecon Classic Film Festival at the Egyptian Theatre in Hollywood.
This past weekend we undertook a field trip to Durango, CO, and recorded a private afternoon “concert” with Adam, in which he played us a slew of tunes on a Steinway grand, including the Laurel and Hardy theme song, “Dance of the Cuckoos.” Then, at night, we got to watch Adam unleash a siege of old-timey exuberance at his “home-away-from home,” the Strater Hotel’s Diamond Belle Saloon, where Adam is the resident pianist (following in the musical footprints of Adam’s hero, mentor and friend, the late Johnny Maddox, a ragtime legend, who was the Saloon’s pianist from 1996-2012). We will be releasing video clips of Adam’s performance later this week, but here are some photos that capture the spirit and joi-de-vivre of  our time-capsuled night at the Saloon .
To find out more about our film, visit: igg.me/at/cuckoocinema
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