BRASS TACKS PRESS

Official website at www.lifeasapoet.com.

LA DOWNTOWN NEWS 12-7-09

"The Write Stuff"

by Ryan Vaillancourt
Photos by Gary Leonard

Downtown’s Growing Collection of Published Authors Finds a Home at Metropolis Books

DOWNTOWN LOS ANGELES - Most urban bookstores have a local writers section, though “local” can cover a vague, regional set of boundaries. That’s not the case at Metropolis Books: At the small, independent bookstore in the Old Bank District, local means, quite specifically, Downtown Los Angeles.

The nearly 3-year-old bookstore stocks all the bestsellers, the classics, the hot titles of the month — these days, it’s anything Julia Child related — and the usual tomes from the Los Angeles literary pantheon of Chandler, Bukowski, Didion, etc.

Then there’s the locals section, where a collection of relationship-focused short stories is mixed with a youth-oriented, ecological adventure book, some self-published poetry books and a series of contemporary mysteries written for American Anglophiles.

“It’s nice to feature people who are from the neighborhood,” said Metropolis owner Julie Swayze. “We’ve had authors from England and Australia who included us on their tour, but I think it’s nice that someone can walk from upstairs to a book signing.”

Swayze has also made a habit of inviting published local authors to hold book launches, readings and signings at the store. Next up is Hannah Dennison, who on Thursday, Dec. 10, will read from and sign Exposé, the third installment in her Vicky Hill Mystery Series.

Lending shelf space to local authors is not entirely altruistic: They sell well, too, Swayze said.

“If it’s a local author people are sort of drawn to that,” she said. “I can sell them very well just saying that they’re local.”

Los Angeles Downtown News caught up with five Downtown authors whose works are in stock at Metropolis to talk about their craft and writing Downtown.

Hannah Dennison: Dennison, a native of England, didn’t set out to be an author. She came to Los Angeles as an aspiring screenwriter, then tired of the pursuit and took what was supposed to be a temporary gig as an assistant to a corporate CEO. It ended up being more permanent, as Dennison has now worked in a Downtown officer tower for 10 years. But in the early morning hours, Dennison, 51, writes installments of the Vicky Hill Mystery Series, about a young newspaper reporter outside London (Dennison used to write obituaries for a small English paper) who dreams of being an investigative reporter.

“It’s basically a cross between Bridget Jones and Agatha Christie with a splash of Nancy Drew; it’s in a small town, and murders take place,” said Dennison, whose Dec. 10 reading begins at 7 p.m. and coincides with the Downtown Art Walk. The stories also explore eccentric English traditions like hedge-laying (competitions for farmers trimming hedges), or in Exposé, snail racing.

“Oddly enough it seems to appeal more to American readers who are Anglophiles,” Dennison said. “They find English tea and English traditions sort of nice. England seems to want the stabbing and incest and hardcore stuff. My stuff is more like cozy mystery. It’s supposed to make you feel good; you curl up at the fire with a box of chocolates and a cat.”

Dana Johnson: Los Angeles native Johnson has lived all over the county, and in Downtown for about four years. She remembers strolling up Main Street three years ago and seeing paper in the windows of the future Metropolis space, wondering what new retailer was investing in the area.

Today, the paper is long down and the window instead features her collection of short stories, Break Any Woman Down. The first-person accounts won the prestigious Flannery O’Connor Award for short fiction.

“I was experimenting with voice at the time so there’s all different kinds of people,” said Johnson. “One story, for example, is a white punk Irish musician guy, one character is a black female stripper, and one’s an older black woman in the south.”

Johnson, 42, who is a professor of English and creative writing at USC, has also co-written two “chick lit” works under a pseudonym. Metropolis stocks those books, Eye To Eye and Flyover State.

Though her work isn’t necessarily set Downtown, Johnson said she takes plenty of inspiration from living in the area.

“For any artist of any kind, Downtown is a fascinating place to be living and working because there’s just always something to see and something to hear and something to smell,” she said. “There’s something about Downtown that’s really confrontational, in a good way.”

Richard McDowell: McDowell and his circle of Downtown poets didn’t need a publisher to get their work out. They formed Brass Tacks Press, hooked up with a Santa Monica printing company, and published their prose themselves. McDowell is behind a series of “chapbooks,” or self-published, pocket-sized books, containing poetry by himself and other L.A. writers.

McDowell’s self-illustrated 30 Days on Spring is his stylized reflections on life along the Historic Core street before gentrification.

“On any given day on a walk from Fifth down Spring, you can buy next to anything, cigarettes at bootleg prices two-fifty a pack, Marlboro, Marlboro Lights, Newports, pickup a lighter, pack of chewing gum, mango’s [sic] bus tokens, corn-on-the-cob, plastic animals or planets, and if your [sic] so inclined a man or woman to fulfill you sexual desires,” he writes in the book.

McDowell wrote 30 Days on Spring while living, under the radar, in an abandoned Historic Core building. The 44-year-old now resides in a Wall Street loft in the Toy District and is looking to compile work from Downtown poets to publish as a collection.

Diana Leszczynski: Leszczynski, an 8-year resident of Downtown, is a former film industry worker who later found her voice as a professional writer. Her Fern Verdant & the Silver Rose is an ecological adventure for children. Its young protagonist shares a secret ability with her mother to communicate with plants.

The book bounces from Oregon to France to Sri Lanka, a fact that Leszczynski admits is somewhat ironic, since she wrote it while living in the San Fernando Building in the Historic Core. The closest she comes to an ecological adventure is having an indoor garden, she said.

Leszczynski, 44, did not have long-seeded dreams to write fiction for children.

“It’s one of those things where something just comes to you, where your brain is ricocheting around in a million different places and this seemed like the most logical way to tell this story,” she said. “And also one of my favorite books when I was growing up was Alice In Wonderland, essentially the story of a girl going into a different world, which is what [Fern Verdant] is.”

Fern Verdant & the Silver Rose, which was named a Smithsonian Notable Children’s Book of the Year in 2008 and was a Green Earth Book honoree this year, encourages young readers to protect the environment, but it’s not “heavy messaged,” she said.

Local sales have been strong too.

“I have a wide circle of friends down here, and people knew me when I was going through the anguish and torture of writing my first draft, so I think people were genuinely supportive having seen that and then seeing me have the good fortune to get published,” Leszczynski said.

Daniel Olivas: For almost 20 years, Daniel Olivas has spent his weekdays working for the state Attorney General in the Ronald Reagan State Building at Third and Spring streets. The neighborhood was already familiar to him from childhood bus trips with his grandmother to Grand Central Market.

The 50-year-old deputy attorney general, a second generation Angeleno, was an English major in college and has published five works of fiction, including the short story collection Anywhere But L.A. He’ll sign copies of and read from the collection next April.

“It’s a collection of short stories where essentially the characters are either trying to escape L.A. or they have completely left L.A.,” Olivas said. “I found that over the years I started accumulating stories that seemed to want to pull out of the city.”

Still, Olivas’ characters maintain a close connection to the City of Angels, and often Downtown, he said.

“I get distressed with outsider views of Los Angeles,” Olivas said. “There are so many stereotypes out there, including that the classic L.A. novel has to be about Malibu and movie stars, forgetting about the people who have no connection to Hollywood or the movie industry, people who go to work every single day. Those people, I try to address.”

Metropolis Books is at 440 S. Main St., (213) 612-0174 or metropolisbooksla.com.


LOT'S O' CRAP (ISSUE #5) 10-24-09



Lot's o' Crap publishes art by Toilet from The Last Nowhere (2006).

...

TOTALLY MAG! (ISSUE #18) 10-17-09



Totally Mag! publishes art by Toylit from Craplexity (2006).

...

FOXY DIGITALIS 9-1-09

From "An Interview with Penny-Ante Publisher Rebekah Why"

by Jon Lorenz

I read that you initially started Penny-Ante with a focus on poetry and you said at the time that you "saw it as something that was completely dead," could you elaborate on that?

Poetry has never died and I find is hilarious that the first time I’m misquoted is by one of my own editors! (Laughs). I think when I said that I was referring to my own surroundings and friends, who don’t really find contemporary “big name” poetry as something they connect with… But with that said, there will always be poets, and people interested in poetry. Byron Coley’s been doing it with the Ecstatic Yod’s poetry journals, or Brass Tacks Press out of Topanga… There are people carrying the torch from one generation to the next and with that, it’s not completely dead, and thank goodness....



Penny-Ante website

Foxy Digitalis website

...

PENNY-ANTE, THREE 8-1-09

3 Brass Tacks Press poets published in Penny-Ante, Three!

List of contributors:

Loto Ball, Sean Bonniwell (The Music Machine), Caleb Braaten (Sacred Bones Records), Billy Bragg, Heather Brown, Mark C (Live Skull, Int'l Shades), Robert Campbell (poet), Pablo Capra (poet), Victory Cayro (Bald Eagles), Mathew Cerletty (artist), George Chen (KIT, 7 Year Rabbit Cycle, Chen Santa Maria), Sharon Cheslow (Chalk Circle), Billy Childish, Circle, Helios Creed (Chrome), Nathan Danilowicz, Joe DeNardo (Growing), Jason Diamond (writer), Arrington de Dionyso (Old Time Relijun), John Dwyer (Thee Oh Sees), Phil Elverum (Microphones, Mt Eerie), Jill Emery (Hole, Mazzy Star), Jad Fair (Half Japanese), fey, Mick Farren (writer, The Deviants), Larry Fondation (writer), Jessica Lee Garrison (writer), Evan George (writer), Aaron Giesel (photographer), Wynne Greenwood (Tracy+The Plastics), Liz Haley (artist), Robert Hansen Jr. (artist), Maya Hayuk (artist), Casey Henry (writer), Julian Hoeber (artist), Christopher Ilth (artist, Daily Void), Gregory Jacobsen (artist), Mason Jones (writer), Dawn Kasper (artist), Dana Kline (poet), Chris Knox (Tall Dwarfs, The Enemy, Toy Love, The Nothing), Bettina Koster (Malaria!), Dirk Knibbe (artist), Terence Koh (artist), David Jacob Kramer (Family/Hope Gallery), Hanna Liden (artist), Matt Maust (artist, Cold War Kids), Ian MacKaye (Dischord Records, Fugazi, Minor Threat, The Evens), Stephen McCarty (Dead Meadow), Roger Miller (Mission of Burma), Irene Moon, Thurston Moore (Sonic Youth), Naked on the Vague, Ashley Nelson (writer), Martin Newell (poet, Cleaners from Venus), Lora Norton (Chuck Dukowski Sextet), Jed Ochmanek (artist), Honey Owens (Valet), owleyes, George Parsons (Dream Magazine), Alia Penner (artist), Martin Phillipps (The Chills), Pocahaunted, Andrew Pogany (writer/poet), Robert Pollard (Guided by Voices), Cassie Ramone (Vivian Girls), Robedoor, Rob Roberge (Urinals), Steven Salardino (writer), Silver Apples, Danny Simon (artist), Anna Spanos (writer), Spires That in the Sunset Rise, Jessie Stead (artist), Sumi Ink Club (aka Lucky Dragons), Ann Summa (photographer), Jason Burke Sutter (writer), Drew Tewksbury (writer), Toylit (poet), Lia Trinka-Browner (writer), Brian Turner (WFMU), Michael Andrew Turner (Warmer Milks), TV Ghost, Matt Valentine (MV/EE, Tower Recordings), Steve Vanoni (artist), John Whitson (Holy Mountain), Bett Williams (writer), Allison Wolfe (Bratmobile, Partyline)

Flyers for the "street date" party:

HEIDE MUSEUM OF MODERN ART 7-22-09



Excerpt from the Heide Museum of Modern Art's catalog for the show
Ern Malley: The Hoax and Beyond (July 22 - November 15, 2009)

Curated by Kendrah Morgan and David Rainey

[The poems of Ern Malley] next appear in California in 2004 in volume seven of the little magazine from Brass Tacks Press, Life as a Poet (Plate 20)....

With at least 20 versions in all -- not only in Australia but in London, Paris, Lyons, Kyoto, New York, and Los Angeles -- this "black swan," this "darkening ecliptic," is indeed still trespassing on many "alien waters."
...

A THANK YOU... 6-13-09

...from Lots o' Crap zine (issue #4).

A THANK YOU... 4-20-09

...from musician Nicole Kidman.

TOPANGA MESSENGER 4-9-09

"Lower Topanga Redux -- ca. 1970"

by Dennis J. Carlile
___

"Tool's Snake Pit"
by Tool, Art by Toylit
Brass Tacks Press, 2007
71 pp., chapbook
Price: $5
www.lifeasapoet.com
___

The days of the Wild Wild West did not end with the passing of the cowboy, nor the demise of the TV series of that name. In Topanga Canyon some 30 years ago, the "Wild West" was thriving in ways Wyatt Earp would never have imagined. In "Tool's Snake Pit," the reader is taken on a wild ride through a particular time and place that is now part of California history.

Tool is the nom-de-plume of "a mysterious guy" who lived near the beach in a Lower Topanga neighborhood called the "Snake Pit." He did a lot of drugs and was an expert craftsman of drug-smuggling equipment in the heyday of pot, LSD, and cocaine trafficking. In an eloquent, casually conversational tone, Tool spins out the story of his life as a "free spirit" and builder of secret hiding places.

"Ever since I was a kid, I'd been making secret hiding places, but my first professional job was working for Martian, the manager of a famous rock band…. [He] really pushed the limits of my abilities. He also recommended me, and I actually went into business with him making fake aerosol cans…. I also did carry-on stuff. Like we made a wheelchair with a fake giant battery that ran the motor. It could hold about three pounds, and it really worked for a few minutes. All my secret panels have to work."

In the late '70s, Tool found himself at a now-gone PCH nightclub called The Sunspot, where a friend told him, "Hey, I got a room for rent." And so he came to the Snake Pit, a collection of bungalows, shacks, cabins, and cabañas in Lower Topanga. It is at this point, a mere seven pages into this incredibly jam-packed book, that the cast of odd characters begins to expand at a dizzying rate. Surf punks, wayward high school girls, motel deadbeats, eccentric artists, drug dealers, beach trollers, the Mafia, and the Topanga Sniper are but a few of the many memorable types encountered here – as well as being the titles of several of the chapters. The word "chapter" is perhaps misleading though, for each section is like a tightly compressed short story with a plotline only marginally connected to the preceding and following sections.

Each vignette portrays a weird, or dangerous, or bleakly hilarious aspect of life in the Snake Pit.

"These guys were doing so much angel dust that it was really scary," Tool says at one point of the people with whom he was living. "And there was this PCP guy who was living naked on the roof below me. He didn't live in a room. The guy would eat only fruits and vegetables and be naked. And he wouldn't remove any of the peels, so it was like this bizarre debris of dried orange peels, and watermelon skins, and him naked doing PCP on the roof…. This was when I had a girlfriend and her kid living with me, and Horseman [a recent arrival] would be down there firing shotguns off and shooting heroin, right below us, in the middle of the night."

The book is also outrageously illustrated by Lower Topanga artist Toylit. His vigorously effective, black-and-white drawings perfectly capture the psychedelic shimmer of those days.

Between romantic moonlit horseback rides on the beach and sabotaging movie crews shooting nearby, Tool has run-ins with police and building inspectors.

"The cops were in full camouflage SWAT gear, and they brought the building inspector in like he needed armed protection," Tool laughs.

And there was also the Halloween when Tool, dressed as the Cheshire Cat from "Alice in Wonderland" (complete with tree), outran the cops… only to watch from a safe distance as his less-fortunate friend, got-up as the White Rabbit, is handcuffed.

"They arrest him, but he can't take off the rabbit costume. He has no clothes underneath, only underwear. So he spent the night in the Malibu jail like that. And the whole time they were busting him, I'm in my Cheshire Cat costume on the hill, going, 'Meow! Meow!'"

The final portion of this little volume tells of how Tool entered a one-man float for the Topanga Days Parade. He made a whale out of latex, wire, and canvas – which he constructed around his bicycle – and rode it dressed as Neptune. He arrives late, but when the crowd sees him, they stop leaving and sit to watch him pedal past.

"I guess they've tried to stop this, but the big thing in the Topanga Days Parade is that they throw water at you. Either they're throwing water balloons or shooting you with water. Well, you're in this heavy [expletive] whale, and the tires are slipping and sliding on oil-covered asphalt. I mean, the worst thing they could do was to throw water at me.

"And it's so funny because it seems like every time I do a parade, I'm usually at the end with the fire department, which is good because they all think I'm going to die of a heart attack…. But the Topanga Days Parade was the first parade where I myself really thought that I might have a heart attack. Honest to God! It's all uphill for all those miles…. I was just panting."

But he keeps pedaling, and at the end, the parade committee gives him a special trophy.

"I tried to tie the trophy to the hood of the whale, but I didn't do a good job, and it fell off, and a car ran over it, and smashed it into three or four pieces. But I still kept the pieces for years after that."

Of all the crazy tales, perhaps the most wacky story is how he built a secret room inside a 53-foot moving-van for the express purpose of transporting pounds of marijuana. This is an epic episode in his career, comparable in his mind to the building of the Trojan Horse.

"This is a [expletive] great challenge…. Half the fun of secret panels is the challenge. You're challenging the best. Your challenging cops and customs people that have all the [expletive] money in the world, and all the time in the world, and all the machines in the world to [expletive] check you out…. And I am so proud of the fact that I have been able to beat the best again and again."

In just 71 pages, a whole panorama of the subculture of the '70s is rolled out before the attentive reader. Bar fights, acid trips, hot tub sex, Quaalude orgies, and scrapes with gangsters, bikers, and the Law tumble one after another in a free-for-all picaresque monologue. It will make you laugh. It will make your hair stand on end. It is a rich feast of man's follies and jollies, and the lawlessness of living on the edge.

This is an authentic peek into a past Topanga that will never come again: a funhouse ride of a book full of dark humor and surreality. And we have to accept the truth of it all because, frankly, it is far too strange to be fiction.

"Tool's Snake Pit" is a companion volume to a previously published book called "The Snake Pit" by Baretta, which shares the same setting. Tool appears as a minor character there, but it is an entirely different tale of wild women, surfers, artists… and, yes, sex, drugs, and rock and roll in Lower Topanga. Both books are $5 and for sale at Topanga Eco Mail, and on the Brass Tacks Press website: www.lifeasapoet.com.



TOPANGA MESSENGER 2-12-09

"Three Short Films about Topanga, Free Screening at Froggy's, February 26"

Article and Photo by Pablo Capra

Topanga filmmaker Anastasia Fite will be showing three short documentaries she recently completed about Topanga Canyon at Froggy's on February 26.

King of the Creek Rats (2007) follows Boobie, the self-proclaimed "King of the Creek Rats," and his family on a trek into Topanga Creek as they discuss the thriving homeless community living there from the 1960s to present. In the heyday, Boobie claims to have lived in a "luxury" home powered by batteries from car wrecks, and that 200 naked people congregated at his swimming hole every weekend.

Topanga's Attic (by Anastasia Fite and Tom Mitchell, 2008) was commissioned by the Topanga Historical Society. It is a celebration of Topanga Canyon through the ages, featuring prominent faces like Herta Ware, Gerry Haigh, Ellen Geer, Blackie, and Kedric Wolfe; institutions like The Theatricum Botanicum, Topanga Elementary School, Wildworks, and Topanga Days; and archival footage from Topanga's rich musical history, including Little Feat and Canned Heat.

Last Bastion (2009) is a look at the tight-knit former Lower Topanga community, one of the last outposts of the classic Topanga Bohemian hippie lifestyle until State Parks evicted the residents and demolished the area in 2006-2007. Artist James Mathers says, "I hung out with Andy Warhol, Jean-Michel Basquiat and Keith Haring. Internationally, I did the Venice Biennale and the Basel Art Festival. As far as art scenes go, this was second to none."

Fite's three 25-minute films fit naturally together as a whole, and she hopes to complete a full-length documentary about Topanga Canyon one day.

She currently works as the Manager of the Santa Monica Screening Room, where she holds a free monthly event on the third Wednesday of every month called "Meet the Filmmakers / Works-in-Progress." For monthly updates, join the Santa Monica Screening Room Facebook group.

Fite also rents out the 28-seat mini-theater for as low as $150 (or $100 without A/V equipment). For rental information, call (310) 393-8306, or visit the website at www.smscreening.com. The Santa Monica Screening Room is located at 1526 14th Street, Suite #102, between Colorado and Broadway.

Fite's three short Topanga documentaries will play at Froggy's on February 26, at 7:30 p.m. Come early to see her co-filmmaker Tom Mitchell's band, the Self-Righteous Brothers, at 6:30 p.m. Froggy's is located at 1105 North Topanga Canyon Boulevard. Phone: (310) 455-1728. Admission is free.

A THANK YOU... 1-21-09

...to Brass Tacks Press publisher Pablo Capra in the documentary film Last Bastion by Anastasia Fite.

WOOFCO TV -- January 9, 2009

Mr. Baer of Woofco TV interviews Brass Tacks Press publisher and poet Pablo Capra about how the French novelist Marcel Proust has influenced him.

The Proust Experience - Pablo Capra part 1



The Proust Experience - Pablo Capra part 2

FREE VENICE BEACHHEAD 1-1-09

Excerpt from "Remembering Sponto"

Photo by "eye-m-drc"


[From the memorial issue dedicated to Sponto (1949-2008), pictured here in his gallery at the Crap Poetry multi-media event in 2006.]

CINEMA WITHOUT BORDERS -- November 10, 2008

"Malibu Song
Made in Austria: Building Futures – Past and Present"

by Melissa Lavabre



Flower children, crazy mystics, artists en tout genre, eccentrics and dissidents, strange healing rituals and prayers... you're in for a beatnik treat.


“Malibu Song” by Natalie Lettner and Werner Hanak, produced between 2002 and 2006 just had its US premiere at the Goethe Institute on October 30th 2008, as part of the Made in Austria series, presented in collaboration with the Austrian Consulate.

It chronicles the eviction process of a tight community of artists living on the Rodeo Grounds in Lower Topanga, whose land is purchased by the California State Parks. It draws affectionate portraits of many different and unique characters going through this uprooting. Some of them have lived there for thirty or forty years and here must lose their home and way of life, “their deep roots yanked up” in Herb’s words.

While it does deal with painful loss, the film is not a whimpering or melodramatic piece however, rather a celebration of these creative neighbors and their fairy land bubble.

Norton is a lifeguard and artist but really, he is a superhero who travels to the center of the Earth to save the universe.

James, the smelly poet (at least, in one scene) and painter brought to light by Andy Warhol years back, and Pablo, handsome nature child, poet and publisher, both recount their fairy tales of the Rodeo Grounds.

Baretta sings the Malibu song in his baritone voice. He's a big-bellied man, he lives in a shack with his radio and there's a veladora on his table and an assortment of varied things outside the shack – useless to the profane but surely treasures. (One is bound to suspect he must be a superhero too.)

Everyone here seems to be a collector of overlooked treasures.

Herb Bermann lives “on the outskirts of the Milky Way most of the time...” He is an awarded writer, some of his poems were used as lyrics for Captain Beefheart. He recalls some of the many talents coming through Topanga – Neil Young, Linda Ronstadt, the Mamas and Papas to name a few.

And there's Carole, the pretty hippie who came one night in '68 or '69 and stayed since; Larry, the mad uncle who invented the flying sword; the girl who jumps on the trampoline throughout the movie; and a few more wild flowers.

The houses, the land have their own tangible life as well, as Werner Hanak, one of the filmmakers, explains in the Q&A.

The Rodeo Grounds were rodeo grounds in the 1800s, then a Japanese fisherman village in the early 1900s, a resort for actors like Chaplin or Humphrey Bogart in the 50s, then purchased by the Athletic club and rented to this community of artists, and now purchased by the California State Parks. They are not the most hospitable though - floods, fires, earthquakes are common.

We have entered another zone, a different world. The mover comes, hired to pack the precious belongings for the departure. He seems so incongruous, so out of place with his little beeping machine that keeps some sort of inventory or whatever it does. He contrasts with the philosophy here.

James carefully chooses his words to describe it: “Life's about being a lazy poet. Life was not given to us to be productive.” Yet, these are all vibrant artists, producing poetry every moment. He's figured out that art is stupid but you still have to do it, Norton says about James.

Norton paints on glass panes. His paintings are live and constantly shifting, constantly changing, evoking impermanence. One picture fades into a new one and a new one and another. It seems like a good parallel for the Rodeo Grounds, which shifted from rodeo grounds to Japanese village to artist community to state park, in progress, in constant progress, evolution...

The Austrian Consulate will present four more films from Austria to be screened these next two Thursdays at the Goethe Institute. Please visit the Goethe Institute’s website.


TOPANGA MESSENGER 11-6-08

Excerpt from
"America is Addicted to Oil — It’s Time for an Intervention"

By Cassandra Wiseman

...So far this year, film festivals around the country have honored Fuel with seven awards including best screenwriting at the Sedona Film Festival and the IVCA Clarion award for Corporate Social Responsibility. It is an official selection for more than 20 film festivals around the world....

...its producers have emotional connections to the canyon. Rebecca Harrell grew up lying in a hammock in an ancient tree grove with [Brass Tacks Press publisher] Pablo Capra at film director and Topanga activist Bernt Capra's home in lower Topanga....


GOETHE INSTITUTE LOS ANGELES -- October 30, 2008

"Malibu Song Premiere"

The inside story on the end of SoCal's last hippie beach colony
(Austria 2005, documentary, 67 min.)

The Austrian Consulate General presents the Lower Topanga documentary Malibu Song by Natalie Lettner and Werner Hanak as the opening film of their documentary film program Made in Austria – Building Futures, Past and Present, inviting you to get to know contemporary Austrian documentary filmmakers close-up.

California, at the beginning of the 21st century: an artists’ colony with hippie roots in Malibu. The painter James Mathers sits in front of his Airstream trailer and sings "The Malibu Song:" A song for all the lazy poets, who were not meant to be productive. Then he gets up and paints... Malibu Song is a film about the end of an important chapter in the history of American culture.

The film also stars Herb Bermann, Baretta, Pablo Capra, Tool, Coliene Rentmeester, Carole Winter, Norton Wisdom, and others.

This will be the LA and US premiere, and the screening will be followed by a discussion with the filmmakers.

COST: $5
DATE: October 30, 7 p.m.
LOCATION: Goethe Institute Los Angeles
5750 Wilshire Boulevard
Los Angeles, CA 90036
(323) 525-3388

TOPANGA MESSENGER -- October 23, 2008

"Malibu Song Premiere"

by Pablo Capra

“This film is so ironically funny, full of beatnik philosophy and poetry, and Californian hippie-surfer aesthetic and culture! Don't miss it!”
(Jeff Crowder, "Americans Abroad")

On October 30, the Austrian Consulate General will be presenting the Lower Topanga Canyon documentary "Malibu Song" by Natalie Lettner and Werner Hanak as the opening film of their documentary film program "Made in Austria – Building Futures, Past and Present."

Lower Topanga, which includes the first three miles of Topanga Canyon, was home to a colorful artists community with strong hippie roots, standing at the old entrance to Malibu. In 2001, State Parks made a controversial decision to buy Lower Topanga and relocate its more than 100 residents. In 2002, filmmakers Natalie Lettner and Werner Hanak, who had been enchanted by Lower Topanga on previous visits, began filming the residents and their struggle to stay in their beachside paradise.

Natalie Lettner works at the Kunsthistorisches Museum Wien (Art History Museum Vienna). She was dramatic advisor and assistant director for the TOI-Haus-Theater in Salzburg (1992-95); cultural journalist and university lecturer for literature and art history (University of Salzburg and Bard College, New York).

Werner Hanak is a curator at the Jewish Museum Vienna. His previous film credits include the documentary film "Drop Outs" (1990) and the short film "Die Reise des Tellerwäschers" ("The Dishwasher’s Journey," 1988).

Their film focuses on a few unique Lower Topanga personalities, including James Mathers, a painter living in an Airstream trailer; Norton Wisdom, performance artist and lifeguard in Malibu; Carole Winter, diehard flower child; Herb Bermann, former rock poet who wrote songs for Captain Beefheart & His Magic Band; and Robert “Baretta” Overby, who sings the haunting "Malibu Song"...

Malibu's known for its own way of life
Malibu's known for the sun
But if Malibu's all you achieve in your life
Then tomorrow you're walking alone.

These lyrics ring true as the Lower Topanga community is finally broken up in 2006, making the film a historical document of perhaps the last such neighborhood in Southern California.

"Malibu Song" premiered at the Austrian Film Festival "Diagonale," and was featured in Vienna’s art-house theaters and on Austrian TV.

The LA (and USA) premiere will take place on October 30, 7 p.m., at the Goethe Institute Los Angeles, 5750 Wilshire Boulevard, 90036. Tickets are $5, and the screening will be followed by a discussion with the filmmakers. For more information, call (323) 525-3388.

TOPANGA MESSENGER -- October 9, 2008

Excerpt from
"Howell & Green Gallery Back by Popular Demand at Pine Tree Circle"

By Ken Fermoyle

…In case you've never happened by the [Howell-Green] gallery, it is situated in the Pine Tree Circle. On one side sits the Topanga Canyon Gallery and on the other, the new Topanga Eco Mail Store. When they began this odyssey in 2000, "We had only lived here a couple of years," explained Ms. Howell in a recent interview, "but we were blown away by the aura of creativity in the Canyon. The air literally crackled from the creative excitement generated by the local artists, the Theatricum Botanicum, the Topanga Symphony, and the bohemians of Lower Topanga."…


THE MALIBU TIMES -- October 9, 2008

"The Poetry in 'Found Objects'"

By Melonie Magruder
Photo by Pablo Capra


How little can you say and still call it a poem? Or, more existentially, "When is a poem not a poem?"

Such questions are explored by Malibu resident, surfer, non-drinking wine aficionado and neo-beat poet Alden Marin in his collection "Little Nuts," published by local publisher Brass Tacks Press.

"The title refers to the little kernels of poetry we see all around us in daily life," Marin said. "But it's also a little about how living in this modern world renders us."

The format of the poems in "Little Nuts" has distinctly Haiku-like brevity and alludes, Marin said, to the serendipity of "found objects," which lend lyrical inspiration to the ordinary.

Accordingly, small moments are captured in free form verse, such as in "Vacuuming the Lawn:"

Just past Topanga, on
Sunday, I saw a woman
in pink vacuuming the
lawn in front of her house.

"You see poetry in weird moments," Marin said. "But when you add them all up, there is beauty to the picture. You start seeking out those small, poetic moments around you, whether it's on top of your roof or at PC Greens."

Marin grew up in Malibu before heading to Stanford University, then spent a year abroad at Sorbonne University in Paris. While in San Francisco, he came heavily under the influence of cutting-edge literature of the '70s, hanging out at the fabled City Lights Bookstore, where '60s beat poets like Lawrence Ferlinghetti congregated.

"I heard Allen Ginsberg read 'Howl' and discovered Richard Brautigan," Marin said. "When I got out of school and came back home, all I wanted to do was write like them, surf, wear my hair long and play music. Everyone wanted to be Robert Plant or Mick Jagger."

His parents, however, had different ideas, insisting he cut his hair and get a job. "It was the end of an era," Marin said with a sigh.

Marin's father, John Marin, was a publisher of Sports Illustrated and People magazines and recently retired as a top executive from media and entertainment company Time Warner.

The elder Marin helped his son find a position as a copywriter for the global ad network McCann-Erickson.

"It didn't last," Marin said. "I could write a terrific essay on James Joyce, but I couldn't write a 30-second ad. So I was 23 years old, asking myself what I wanted to do with my life. I always loved writing and painting. I also always liked wine and, after my time in France, I knew a lot about it."

Marin went into the wine business as a broker and label designer. But a drinking habit led to DUIs, the breakup of his marriage and the dissolution of a partnership.

"When I was drinking, even my writing wasn't clear," Marin said. "I had good intentions, but the execution was poor."

He has been sober for 11 years now, but still loves wine. "I sip and spit," he acknowledged.

His poetry has matured, yet he is still enthralled with the writings of outside-the-box 20th century authors like Vonnegut or Ezra Pound.

"Guys like Pound and William Carlos Williams had to go to Paris to find that liberal and libertine milieu in which to write new stuff," Marin said. "This is what we want to do with Brass Tacks here, to find those transformative moments that are visual and raw, and risqué. Art should get under people's skin and cause them to question their existence. It should mess up your comfort zones."

Messing up comfort zones sits well with Brass Tacks Press cofounders Pablo Capra and Richard McDowell, who was recently named the 2009 "Downtown LA Life" Poet Laureate.

"I grew up in this artist's community behind The Feed Bin in Topanga with all these people who had cool projects and distinct Southern California voices," Capra said. "So I became the publisher."

He graduated from Malibu High School before attending UCLA and traveling in Europe. His father, Bernt Capra, is a filmmaker and Emmy award-winning production designer who worked on such films as "Bagdad Café" (aka "Out of Rosenheim") and "What's Eating Gilbert Grape?"

"My dad's Austrian," Capra said. "Spending a lot of time in Europe lets you appreciate American culture and guys like Alden have a very American voice, like Steinbeck."

Capra and McDowell launched Brass Tacks Press six years ago with the idea of documenting the "hippie, beachy, art culture you find around here," Capra said. They have produced about 50 titles, handmade, hand-folded books with original cover art that Capra usually prints at a local copy shop.

"I want to get them out to the independent bookstores, like Diesel," Capra said. "There's a real West Coast aesthetic to our books that seems effortless and relaxed, but is very strong. Like good Haiku. Poetry should not be inscrutable."

He is also not averse to ruffling the feathers of the contemporary poetry world by publishing titles with markedly scatological titles such as "The Crapture."

"Modern poetry has lost its power," Capra said. "So our 'crap' poetry sort of makes fun of today's poetry world by holding up a mirror to its absurdity. By parodying it, we highlight the problems I see with gutless poetry."

As part of his "crap poetry" philosophy, he actually published one book printed on toilet paper.

"It was a financial loss," Capra conceded. "And it's a source of stress because now I have this gigantic box of unsold toilet paper in the house that we have to be careful not to crush. It was an art thing."

All of this fits right in with Marin's edgy style. "Publishing is too cash-driven now," he said. "I'd rather be part of this kind of press."

"Little Nuts" may be found at Diesel, A Bookstore in Malibu and at Village Books in Pacific Palisades. It can also be found online at www.lifeasapoet.com.


PALISADIAN-POST -- September 18, 2008

"Local Press Publishes Poet Marin's 'Little Nuts'"

By Pablo Capra

After six years of publishing chapbooks, Brass Tacks Press recently published its first paperback book, "Little Nuts" by Alden Marin.

Marin is a resident of the Pacific Palisades and Malibu, where his family has lived since 1930. He was educated at schools locally, as well as at Stanford and the Sorbonne. In addition to having written 11 books of poetry, he paints and writes music.

"Little Nuts" is written in a distinctly Southern California voice, it challenges definitions of poetry, it's fun to read, and it "gets down to brass tacks" (the expression usually means clearing out confusing details and finding out the real facts about something).

"Little Nuts" is almost the inauguration of a new poetic form. Its short prose poems are the kernels of truth that longer poems tease you into searching for. En masse, they reveal the postmodern dilemma of a man unable to make sense of this life and choosing instead "to live it in little bits and pieces." The game is hypervigilance, breathtaking honesty, and an ability to sum up and move on as quickly as possible. The phrase "little nuts" also describes the mania of being addicted to this game: "At some point... you begin to see everything as poetry."

On another note, "Little Nuts" is a richly sensual book full of poems about food, surfing, hiking, love, bright colors, travel, music, friends, and (for better or worse) drugs.

Buy "Little Nuts", learn more, or read an excerpt at www.lifeasapoet.com.

DOWNTOWN LA LIFE MAGAZINE -- August 12, 2008

"Downtown LA Poet Laureate 2009: Richard McDowell"

It is our distinct pleasure and honor to announce the naming of the new:


DOWNTOWN LA LIFE POET LAUREATE


CONGRATULATIONS!


The New Poet Laureate 2009 is Richard McDowell.


Our Selection Board was very impressed with the community support for Richard and the many e-mails that were sent on his behalf.

Richard's poetry is, simply said, excellent.


Richard's term starts January, 2009. We look forward to many events and readings. You will be able to read monthly selections from Richard's works on the website: http://downtownlalife.com in Poetry Connection.


We are very pleased.


Warmest regards New Downtown,

Christian Martinez (Publisher), Gloria Staunton (Director), Wendy Arimah (Poet Laureate 2008), Monica Mendez (Poetry Connection)


EXPANDED BOOKS -- July 2008

An interview with J. A. Homes, author of The Children's Guide to Astral Projection, available at www.lifeasapoet.com...




EUREKA POZ -- May 22, 2008

I am reposting this in support of Richard McDowell's nomination for 2009 Downtown Poet Laureate.

I first met Downtown writer and artist Richard McDowell at Banquette on Main Street. He lived in the Canadian Building at the time, but he told me about other places he has lived in Downtown. He also spoke of some of the adventures he has had while living Downtown.

When he found out that I was an English teacher, he went to Parks Market (now closed) and returned with a copy of his book Thirty Days on Spring (A Junkie Needs Relief). He gave the book to me but asked for one thing in return. He wanted my critical feedback as a teacher of writing.

What English teacher could refuse a quid pro quo like that? I gave him a formal, old-school thesis paper based on the symbolism of rain in his book as my end of the deal.

McDowell's book can be purchased from Metropolis Books. I suspect he can sell a copy to you also. He can often be found outside at Banquette early in the morning.

This is what I gave him:

"Richard McDowell's Punctuation of Rain"
A review of Thirty Days on Spring (A Junkie Needs Relief)


By Joe Cornish

Artwork by Richard McDowell

"It's raining again. The streets, like the source of my difficulty, merge to retain and share a moment of melancholy, a moment of happiness, rejoicing while I believe all is lost. It's quiet out there. Has anything changed? Not really. Only the coming and going of restless souls, the souls of this building, while I remain the same. Some are content, along for the ride, asleep. They've left it to me, to keep watch, to write it all down on scraps of paper, to record what is happening, what comes to pass on this ship of fools."
--From "This Sinking Ship," Thirty Days on Spring

Rain, a recurring symbol in Richard McDowell's Thirty Days on Spring (A Junkie Needs Relief), is used in two traditional symbolic ways. It sometimes reflects the unhappiness or desperate confusion of the author, while serving at other times as a nourishing force from above. Rain in this latter role not only mirrors good things for the protagonist, but also contributes to his outlook and emotions in a positive way. These contrasting symbolic interpretations of rain clearly punctuate the author's reflective narrative in significantly meaningful and important ways.

The journal's first use of rain is in the beginning entry "I'm Wearing a Hat." It has been cold lately, the author writes, a cold partly caused by his surroundings of "insane to soulless, poverty, drugs, trash, filth, dirt and garbage." The chill is also due to his personal anguish, deprivation and search for answers. All this time the rain is constant for a day and a half while it provides a backdrop for his uncertainty and disturbing environment.

The nature and effect of rain change when it falls again in "The Lady in Black," a chapter with a theme of relief. McDowell's mood and outlook now is mostly positive; he mentions the comfort of home for two people he gifts with twenty dollars, all the money he has with him. He perceives that this act "makes(s) (them) feel better" and when he walks out into the rain, he senses it as being good, something that "washes away the scuzz of this heaven." Even as a woman's urine mingles with the rain on the concrete, the author feels "relief, an untimed release" while the cleansing "drops of rain (fall) from the trees."

The rain falling again in "This Sinking Ship" functions in duel symbolic ways within just one sentence. The wet streets hold "a moment of melancholy (and) happiness" for his content neighbors even while the damp streets are "the source of (his) difficulty," leading to the author's "belie(f) all is lost." He is cold again and metaphorically links water to an iceberg. Now the rain floods overhead while the wet night accompanies his feelings of loneliness, deprivation and near madness.

The duel symbolic uses of rain are similarly summed up in the later entry "Like Dying Rats" when the journalist writes of rain's misery even as he longs for the descending water's companionship.

When McDowell wakes to rain's sound in "Listening to Raindrops," it symbolically serves as a good friend, an enchanting escort. Here the rain assumes its nourishing function; the writer likes it and finds peace and comfort in its real emotions as he listens to it and watches its fall. He now feels like writing. Rain, "come sit with me," he asks. It is an enjoyable rhythm, one that gives him pleasure and dances with his appreciative mood.

Just as Richard McDowell's Thirty Days on Spring (A Junkie Needs Relief) reflects two sides of his personal feelings, observations and reactions, the dominate theme of rain is similarly paradoxical. In just thirty days it periodically supports, enhances and accompanies even as it chills, floods and causes misery. These polar uses of rain clearly constitute important and parallel elements in McDowell's journal.


Joe Cornish: I'm a retired high school English teacher who lives in Eureka, California. I have been HIV+ (POZ) and healthy for over 23 years and I am addicted to weight lifting. I live with a bull terrier named Ruby. Read more at citycenterpoz.blogspot.com.

Thirty Days on Spring
available at www.lifeasapoet.com.


MALIBU ARTS JOURNAL -- May 20, 2008

"From Lower Topanga, Tool's Snake Pit"

By Josh Hastings

Tool’s Snake Pit, published by local Pablo Capra’s outlet, Brass Tacks Press. You know him. He is the publisher who brought us the little green covered poetry book, Idlers of the Bamboo Grove. You’ve seen it in a bucket at The Reel Inn and all over Topanga , Malibu and Beyond Baroque Literary Arts Center. Most of us here know the Snake Pit as part of Lower Topanga near the Rodeo Grounds. Most outside of the area have not even heard of Lower Topanga. They know Topanga as a whole, as a place of Hollywood movie and music star history, past and present. After all Oingo-Boingo’s old place is here, along with a multitude of other icons. There is a part of Topangan history that the outside only knows from some old, crinkled newspaper articles or the take-over of the Rodeo Grounds – that is Lower Topanga.

Tool is an alias for a man who lived in the Snake Pit in a house that did not even have a real roof. It was “just quarter-inch plywood that was warped and never nailed down.” He was in the business of making secret doors. His secret doors were works of art for drug dealers and those who wished to traffic drugs across the border. He got into the idea of manufacturing fake aerosol cans that could traffic drugs across the border. And he could manufacture a spring-loaded gun holster.

But Tool is not all hardcore. He had a heart. He fell for a lady named Holiday. When he could not get in touch with her because she left for Palm Springs with another guy, Tool went on a binge. He was dealing and doing LSD (“L”), at the time of this bad news. He decided to head up his hill, a place we’ve all seen but rarely trek up. He went up there specifically to “forget” about Holiday via a drug-trip. Once there, his walkman ran out of batteries. He had to try and high-tail it to George’s Market for a battery refill before the trip set-in. Unsuccessful he made it back to his sleeping bag on the hill on his hands and knees only to be arrested as a Topanga Sniper. Mistaken for a freeway sniper shooting people in Los Angeles, off to the local pen Tool went.

These are merely excerpts from an ongoing series of beat prose stories about Surfers, drug dealers and artist who lived together in Lower Topanga in the '70s and '80s. At once nostalgic and realistic, the prose is moving, revealing and a hippie rhythm of modern times. Panoramic and lacking self-indulgence, the work is true and refreshing vintage prose. There are not many left who can tell the tale of Lower Topanga from a been there, done that perspective. Tool was there, lived it and survived to tell the story.

Along with the beat prose is a series of comics from the underground by Toylit. In true subculture motif, these are original works of art in an authentic and humorous, hippie-inspired comics that deal with social and political subjects like sex, drugs, rock music and various forms of protests. Toylit is the author of the "Crap Poetry Manifesto," The Last Nowhere, Craplexity, The Children’s Guide to Astral Projection, and Prevenge of the Androgynous Cyborg Pyrates from the Future; and the illustrator of Idlers of the Bamboo Grove, Rat Tales and The Snake Pit, the issue prior to Tool’s Snake Pit. Toylit’s work is part of the re-emergence of a strong California subculture that has made its way back up from the cracks.

Tool’s Snake Pit is available from Brass Tacks Press at www.lifeasapoet.com for $5.


LA WEEKLY -- May 16, 2008

"LA People 2008: James Mathers"

by Dani Katz
Photo by Kevin Scanlon

Art-Fiend Love-Bunny

As subtle as a glitter-caked brick to the forehead and as sharp as a Samurai sword etched with butterflies, Mayan glyphs and Hindu deities in compromising positions, James Mathers has this to say for himself: “My name is Toylit. I am a fuck-off scientist. I make rectangles for money.”

As an ontological terrorist/wordsmith/anarchist, Mathers exists so far outside the proverbial box that standard characterizations such as artist/poet/writer/philosopher prove reductive and bland, while the apt ones, such as idiot-genius/slacker/art fiend/neologist/love-bunny extraordinaire sound sensational. But he’s earned them.

In the ’70s of his youth, Mathers was a Topanga Canyon rabble-rouser. He migrated to New York in 1981 at the age of 17 to pursue painting and was noticed by Andy Warhol, who organized Mathers’ first solo show in 1983. Soon, Mathers was showing on both coasts and in Europe. He spent the ’90s as an ex-pat filmmaker living in Ireland.

The shadow of the impending millennium brought our slippery hero back to Topanga’s own Rodeo Grounds, an infamous, idyllic art community, where he set up camp in the Airstream he still calls home (though since the community’s tragic demise, he’s moved his trailer to a Venice parking lot). Mathers has directed films, made countless paintings and drawings, and written and illustrated several comic books, including the local cult classic The Children’s Guide to Astral Projection.

These are but résumé bullet points. Mather’s real mojo is in his mind, perspective, presence, style, and above all else, his words, which he uses, through lolling leaps of intellectual gymnastics and lingual acrobatics to stretch the paradigm to its outermost limit until it’s taut and transparent and provides glimpses of the transcendent beauty and magic that are Mathers’ everyday reality. James Mathers is, hands down, the best conversation in town.

These days, Mathers, 43, is a Venice staple, flitting between his “office” (a patio table at Abbot’s Habit), and his “home” (the parking lot behind artists’ collective Cre8ivity). He is easily recognized in his signature thrift-shop suit and flip-flops, crayon in one hand, hand-rolled cigarette in the other.

Between conspiring to redevelop Lower Topanga Canyon as an Eco-Arts Park (a no-brainer for any local art institutions paying attention and looking to invest in the community) and working with his cohorts at the Psycho-Iridescent Space/Time Agency to launch us into space with “whatever resources we can find, from the chemical binoculars of hallucinogens to standard scientific tools — rocketry, optics, semantics, linguistic tools . our neology department is especially fecund,” Mathers draws, paints, writes and “enjoys the journey.” You’re as likely to find him panhandling on Main Street as you are to see him on the red carpet at a celebrity-studded film premiere. Mathers embodies the incongruity of Los Angeles, which he laughingly describes as “the narcissistic wound of the planet — a beautiful vacuum where anything is possible, and nothing has any value or significance.”

Sitting cross-legged on a tiny expanse of grass on a Venice sidewalk in a waning patch of late afternoon sun, Mathers launches into an inspired diatribe on the relationship between our desperation for fame and loneliness. “What if our narcissism is actually a twisted expression of our desire for community? If everyone around you acknowledges and recognizes you, is that not fame? I think it’s the ontological crisis of not being recognized in your community that drives us to seek a broader and broader form of acknowledgment in the press or on film. It’s the absence of community that has created the mechanics of the fame game. We’re consumers on that basis, we employ services on that basis, we undergo surgeries on that basis, we seek objects, possessions and properties on that basis. It is really the core isolation, the annihilation of the paradigm of community that is driving us into narcissistic bondage and ecological collapse. It’s sort of amazing. The Permian event may or may not have been a meteorite or a shift in the weather, but our extinction may actually be an outcome of loneliness.”

“Where’s the hope?” I ask.

Mathers wrinkles his nose, grins his mad-hatter, cute-as-a-maniacal-bunny grin and says, “It’s as close as your little friend in front of you. It’s as immediate as the people who live across the street. The answer is in caring and sharing, right?”

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BRASS TACKS PRESS
Los Angeles, California, United States
Official website at www.lifeasapoet.com.
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