Interview with "Rockabilly 514" director Patricia Chica

Last month, the fourth edition of the East End Rockabilly Riot took place at The Dominion on Queen in Toronto. I have mentioned the EERR before in The Mysterious Vault, and have participated in each event as the house DJ, sharing the bill with live rockabilly acts. The shows so far have been a great success, which is quite rewarding considering how much work has gone into them. The fourth installment of the EERR was the East End Rockabilly Weekend, held over three days in September (see my previous post for details on the lineup), with seven different bands, two DJs, a car show, and two rock and roll movies. This is the first time that we have scheduled films as part of the event, the featured titles being Rock, Rock, Rock!, a vintage 1956 Alan Freed movie, and Rockabilly 514, a Canadian documentary focusing on the Montreal rockabilly and vintage lifestyle community. In preparing the programme guide for the EERW, I conducted an interview with Rockabilly 514 director Patricia Chica. Chica was very supportive of the EERW, and helpful in setting up the screening. Since only part of the interview ended up being printed in the programme guide, I thought that I would post the complete copy here on The Mysterious Vault. You can also read it on the East End Rockabilly Riot Myspace page (in the blog section), as well as view photos from the weekend's events. I will post a selection from my EERW DJ playlist here at a later date. Meanwhile, enjoy the interview, and check out Rockabilly 514 if you get a chance, it's a great rock 'n' roll documentary with a French Canadian twist! The film plays on Bravo! occasionally, although the DVD cut is longer. Thanks again to Patricia Chica for taking the time to do this interview.

Interview with filmmaker Patricia Chica

Rockabilly 514 director Patricia Chica, self portrait

David Faris (EERR): Hello! We're very excited to be able to screen Rockabilly 514 at the East End Rockabilly Weekend. The film was officially released about 2 years ago now, how is it doing? Is it still an active concern for you these days?

Patricia Chica: Rockabilly 514 was first presented at the Red Hot and Blue Rockabilly festival in 2007 and soon after it started its festival circuit. Even after two years the film is still very popular among the rockabilly community as well as the general public!

EERR: What projects are you currently working on? You work as both a photographer and filmmaker, is that correct?

PC: I consider myself a visual storyteller. My new short film Day Before Yesterday is presented on Bravo! Canada as well as the film festivals around the world. I'm also working on the development of new TV series and a feature film. I still continue to do rock n' roll photography!

EERR: You co-directed Rockabilly 514 with Mike Wafer. What were your respective roles in making the film? Do you have any future projects planned together, or was this a one-off?

PC: Even though my co-director Mike Wafer and I were both involved in all the aspects of the making of the film, I can say that he was in charge of most of the writing and research and I was in charge of the look and cinematography. Mike resides in London, England so it makes it hard for us to collaborate on other projects together.

EERR: Rockabilly 514 is quite unique in that it focuses on the rockabilly and vintage lifestyle community in Montreal, which is to a large degree French. How has the reception been to the film in English Canada and the U.S.? Has Rockabilly 514 been screened much in Ontario, or across Canada?

PC: Rockabilly 514 has had a huge success everywhere. Rockabilly and film festivals in the United States have presented the film many times in the last two years, and we have got a great response everywhere we went from Los Angeles to New York! The full 86 minutes version hasn't been presented much in Canada, that's why we are very honored to be part of the East End Rockabilly Weekend!

EERR: Are there any Montreal-based bands that you didn’t get to include in Rockabilly 514 that you would have liked to feature?

PC: When the film was being produced, we were able to include all the rockabilly bands that we had heard about at the time and that were willing to appear in the film. I think that it represents the scene of the years 2003 to 2006. There were new bands who surfaced in the scene after the production was completed and I hope that the promotion we got for the film will help them get the recognition they deserve!

EERR: As a filmmaker, do you have interest in continuing to make films with a strong focus on music and musicians?

PC: I'm a rockumentary filmmaker at heart. I'm fascinated by the creative process and the personal and professional stakes of a musician. I shoot camera myself, bringing a strong visual sense to my work that wins quickly their trust. I have the ability to bring the best of a musician in front of a camera, allowing the viewer to feel and experience their emotions too. I am not a musician myself, I'm a visual artist and storyteller, but I think that I have a musical sensibility when I shoot – I just use a different type of instrument to express myself!

EERR: Bravo! has been very supportive of your film. Was it a surprise to you as a young filmmaker to get national support for such a unique documentary?

PC: We were very lucky to be supported by two networks, Bravo! in Canada and Canal D in Quebec. I was the first surprised! They got involved in the film after reading the first treatment and watching a teaser that we created in the earlier stages of research! Bravo! has always supported my work and I hope that I will continue collaborating with them for a long time!

EERR: Considering the vintage nature of the music, fashions, automobiles, and lifestyles profiled in Rockabilly 514, was it ever a consideration for you to shoot the film in a traditional medium, such as 16mm?

PC: Budget wise, it was not possible to shoot Rockabilly 514 in film. We filmed for 56 days over 3 years. We collected 300 hours of footage. To shoot on film was not even an option at the time!

Bloodshot Bill

EERR: Your film took you on the road down to the U.S., following Bloodshot Bill on tour. The U.S. is the home of rockabilly and rock ‘n’ roll, do you have any desire to do more filming down there?

PC: I would love to do more filming in the US. I always feel very inspired when I spend time in New York and Los Angeles! I collaborate closely with Kelly Padrick, a New York singer-songwriter, and I have directed her four music videos. I still keep going back to the US for various projects.

EERR: In a lot of ways, Rockabilly 514 tells a story that is left unfinished, the viewer wonders what becomes of the artists and individuals profiled in the film. Will we ever see a sequel, or is this to be left to our imaginations?

PC: At the moment, there is no sequel in the works. However, I'm presently collaborating with Bloodshot Bill on some other video projects that I'm very excited about! Who knows, maybe I'll decide to do a Rockabilly 514 tenth year anniversary follow up in the future!!!

EERR: Has the film Rockabilly 514 had much impact on the careers of the artists that you profiled? How has the Montreal rockabilly and vintage community changed since you made the film?

PC: I think that Rockabilly 514 helped get the Montreal rockabilly scene some mainstream media and international recognition as one of the strongest subcultures in Canada. It also helped the "Red Hot and Blue Weekender" get some press attention. Now the festival has moved to downtown Montreal and attracts a larger audience than when we first started documenting it. I'm very happy for Nathalie Lavergne, the promoter, who now has more and more support.

The Comets (top) and Wanda Jackson (below), first generation rockers 

who both appear in Rockabilly 514

EERR: Do you find the rockabilly community welcoming of “outsiders” or alienating? There are a lot of fans of the music and early rock ‘n’ roll that do not necessarily feel the need to live a “vintage lifestyle”, but nonetheless love the music just the same.

PC: I think that the Montreal rockabilly scene is very welcoming! It attracts hard core rockabillies but also the general rock n' roll music lover. It also attracts jive dance students, alternative clothing designers, pinups, burlesque dancers, retro culture lovers and artistic people. They just want to have a good time. It's all about the music and the fun, in my opinion!

EERR: Finally, would you give us a list of 5 rock ‘n’ roll movies that top your list?

PC: I was recently at the Hollywood Premiere of Rock Prophecies, an amazing and well crafted rockumentary about the life and work of legendary rock n' roll photographer Robert Knight. I have to say that it was one of the most compelling rock documentaries that I've ever seen!

I also recommend the new It Might Get Loud featuring Jimmy Page, The Edge and Jack White. (also saw it when it premiered in Los Angeles).

Other excellent films:

Anvil! The Story Of Anvil

Global Metal

Metallica – Some Kind Of Monster

EERR: Thanks Patricia!

Rockabilly 514 filmmaker Patricia Chica

Above photos by Patricia Chica (patriciachica.com)

Now In Print

I recently had the opportunity to contribute some writing to a couple of local zines, both of which were published in September. My submissions were not too substantial, just some reviews, but I thought I'd put in a mention here to draw some attention to the zines in question, Knee Deep In Squaresville, and The Eclectic Screening Room. Both are Toronto-based zines, one devoted to music, the other to film, each independently produced and distributed by a dedicated individual with a passion for their subject matter. Publishing a printed zine in the digital age is an increasingly hard sell, with the proliferation of websites, e-zines, blogs, online groups, fan sites, and the like. The options available in the digital realm seem to have diminished the importance of the printed zine. While there was a significant boom in zine culture in the '90s, the turn of the century saw a steady decline in the number of titles being produced. Still, the zine persists, and it is encouraging to see new issues and new titles in print. There's something about a printed publication that just doesn't translate to the web, the tangible quality of a printed piece offering something personal and of value to the reader beyond the words on the page. This is part of the reason that zines, magazines, and printed matter in general have endured, and the whole concept of "the death of print" has proven to be greatly exaggerated. Of course, the great surge of new writing is largely on-line, but there is something to be said for the continued existence of DIY print publications such as these. I've personally been contributing to and reading zines and independent magazines off and on since the '80s (I even briefly co-published my own zine, Machine Power, in the early '90s), so I've got an obvious affinity and affection for this realm of publishing. Both Knee Deep In Squaresville and The Eclectic Screening Room are unique zines in the Toronto scene, and are right at home in The Mysterious Vault!

Knee Deep In Squaresville is a zine focusing on music (rockabilly, psychobilly, '50s rock and roll, surf/instrumental, and related sounds), and vintage culture and lifestyles in general. The zine is put together by Toronto DJ Rock 'n' Roll Jenny, and is affiliated with John and Jenny's Rock 'n Roll Party, who promote live rockabilly events in the area. Knee Deep In Squaresville doesn't take itself too seriously, and includes a broad mix of music writing, interviews, movie reviews, restaurant reviews and recipes, makeovers, rants, and much more, often with an irreverent tone. The zine comes out four times a year, which is pretty ambitious for an old-school DIY cut and paste effort, but so far it is up to issue number 7, and issue 8 should be out before the end of 2008. Issue 7 was printed to coincide with John and Jenny's annual Rock 'N It Up Toronto Rockabilly Weekender, which was held September 12th and 13th at The Cadillac Lounge (I participated in this year's event as a DJ). Featured articles in issue 7 include an interview with rockabilly/roots musician Ronnie Hayward, a U.S. tour diary by Buzz Deluxe, and a writeup on the most recent Red Hot and Blue Rockabilly Weekender in Montreal. This was the first issue to which I contributed, and my reviews include Eddie Angel's Link Wray tribute album, as well as the first Wes Dakus and the Rebels reissue (see my July 2nd posting for more on this great CD). Knee Deep In Squaresville can be found at John and Jenny's events, or in Toronto at Good Catch (1556 Queen St. W.) or Hits and Misses (860 Bloor St. W.).

The Eclectic Screening Room explores the vast world of film, and is particularly interested in the unusual, the lesser-known, the independent, and the cult celluloid that often falls below the mainstream radar. Published by Toronto film enthusiast (dare I say obsessive?) Greg Woods, The Eclectic Screening Room (or ESR, as it is also known) is a lively read. ESR offers an entertaining mix of film analysis, criticism, and reviews, along with writing of a more personalized nature, reflecting on different aspects of film in everyday life, and waxing nostalgic on subjects such as late night television and the "death" of VHS. Greg launched ESR back in the spring of 2001, and the zine is now up to its 22nd issue (including special one-off editions such as the extensive Roger Corman Scrapbook). This is an impressive achievement, particularly in the zine world, where the average lifespan of a title is generally less than ten issues. True to its moniker, ESR has covered a diverse range of cinematic topics, with past issues delving into film noir, rock and roll movies, educational films, drive-in movies, '70s westerns, bizarre Christmas movies, and much more (visit ESR's website for a detailed run-down of each issue). The current ESR is devoted to the late night television experience, and looks back on a time when after hours programming consisted of more than infomercials and sleazy chat-line adverts. This issue captures some of the hazy, nocturnal bliss of off-the-wall late night fare, and descends into the dead of night to deliver memoires on such topics as paranormal films (on UFOs, bigfoot, and other bizarre phenomenon), Night Walk/Night Ride/Night Moves, Chuck the Security Guard, City TV late night, forgotten '70s made-for-TV movies, and Buffalo's long-running film showcase, Off Beat Cinema. I had hoped to contribute a piece on The World's Worst Film Festival, a late night series which I had enjoyed in my early teens on CBC television in Ottawa back in the '80s, but I wasn't able to get it together in time for the deadline. I did, however, review the The Best of Off Beat Cinema DVD for this issue, so I didn't miss out completely. I've been writing for ESR for half a decade now, since 2004's Noir issue, and have enjoyed the opportunity to explore different aspects of film history though its pages. In addition to the printed zine, ESR also presents film screenings on a regular basis at Trash Palace in Toronto, and has begun broadcasting online, with ESR Late Nite. Greg's zine is available at his ESR screenings, at various local small press/zine fairs (such as Canzine and Word on the Street), and through the ESR website.

Finally, on a related tangent, I recently heard about the Toronto Zine Library. As the name indicates, this is a local zine collection and resource, housed at the Tranzac Club. While I've never been, this struck me as a great idea, and I encourage interested readers to have a look. Support independent press! 

Elvis Aron Presley – Jan. 8, 1935 to Aug. 16, 1977

The King is Dead, Long Live the King!

Today marks the 31st anniversary of the death of Elvis Presley, an important date for music fans, popular culture in general, and especially for those who love and appreciate the work of the "King of Rock and Roll". I count myself in the latter category, and while my interest level in all things Presley has waxed and waned over the years, I grew up with a love of his music and movies (they were staples of Saturday afternoon TV when I was a kid), and that has never disappeared. Over the past decade or so, my interest and respect for Presley has been rekindled. I've rediscovered alot of incredible Elvis music, from the crucial Sun Records years into the often-maligned '70s. I've also enjoyed watching his films, rewatching old favourites such as King Creole, and seeking out lesser-known titles such as Speedway (with Nancy Sinatra!) and Stay Away, Joe, as bad as many of them might be. 

It's next to impossible to look at Elvis objectively, because of all of the baggage surrounding his life and career, and the frankly tasteless and bizarre representation of his image in the decades following his death. As Mojo Nixon pointed out, "Elvis is Everywhere", and his greater contributions often get overshadowed by the 4th rate films, the dubious output and performances of the mid-'70s, and the kitschy Elvis memorabilia that has proliferated over the years. Sure, he was a mess when he met his less-than-respectable end, but I prefer to celebrate his achievements rather than mourn his death every August 16th. What could have been... it's hard to say. I was speculating with a friend of mine last week, envisioning a series of Rick Rubin-produced Elvis albums, along the lines of the Johnny Cash albums that came out in his twilight years, ending the King's career on a high note. As it is, one can only wonder, but the recorded work left by Presley is a staggering legacy, and despite the fact that I have been listening to it and collecting it for over a quarter of a century, I'm still discovering new gems all the time. Long live the King!

In honour of the occasion, I usually listen to some Elvis music, and if possible watch of one of his concerts or films on video. Here are this year's picks:

Elvis record of the day: From Elvis in Memphis (1969, CD reissue)

Elvis movie of the day: Blue Hawaii (1961)

A special mention to Redondo Roundup, one of my favourite music blogs out there. Redondo posted a nice collection of videos of very early Elvis television performances from the Dorsey Brothers' Stage Show in 1956. You can check them out here, and see what the excitement was all about over half a century ago!

The Big Apple on the Big Screen

For my first foray into the world of film on this blog, I've selected a rare title that is truly suitable for The Mysterious Vault. The film is entitled Only One New York, a documentary about New York City made in 1964 by obscure French director Pierre-Dominique Gaisseau. This lost gem was screened in Toronto last week courtesy of local film collector Dion Conflict, as the main attraction of an evening billed as "Midweek Mondo Madness". I hadn't heard of Only One New York before this screening came up, but that's not really too surprising. The film is not available on home video, and it apparently hasn't been shown for decades. In fact, according to Dion, his print may be the only copy in existence, so it is a true obscurity.

I've known Dion since the early '90's, and we've worked together on numerous projects and screenings over the years. He's been collecting unusual and neglected film and video for longer than I've known him, and he's developed a bit of a reputation for his oddball film nights, selecting strange trash and treasures from his "Conflict Archives". These screenings range from feature length films, such as Only One New York, to programmes of short subjects, such as his infamous "Hunka Junk" series (a mix of vintage educational films, commercials, trailers, shorts, etc.), "Trailer Trash" (film trailers), and "Christmas Kitsch-A-Roo" (bizarre Christmas films). As a graphic designer, I've put together posters and promotional material for quite a number of Conflict Archives screenings, and I was asked to help out with a poster for "Midweek Mondo Madness" (see below). It turned out quite well, despite the tight deadline.

"Midweek Mondo Madness" took place at my neighbourhood repertory movie theatre, The Revue Cinema. The evening opened with a short performance by local paranormal sensation Mysterion the Mind Reader (adding to the thrill-seeking "Mondo" vibe), followed by some shorts, and then the feature. Before I get into the film, I should just note that Mysterion's big stunt for the evening involved the potential risk of hanging himself by the neck, unless he could use his mental powers to select the one "safe" noose from a group of lethal ones. Needless to say, he is still with us – the show must go on...

Only One New York is a joyful and entertaining film to behold, a time capsule that transports the viewer to another era, a somehow more optimistic and simple time. Indeed, there is almost a naive quality to some of the voice-over narration in the film, but this is also a product of the time, which adds an element of humour for present-day audiences. While Only One New York is perhaps loosely associated with the whole "Mondo" film sub-genre, the similarities are mostly on a surface level. Mondo films are generally more lurid and sensationalistic, offering a glimpse into the unusual and shocking (Mondo Cane, Mondo Topless, etc.). Only One New York is quite tame by contrast, being more of a look at the great metropolis and its people from the point of view of a fascinated outsider, as opposed to a thrill-seeking celluloid joyride.

What emerges in Only One New York is a portrait of both the physical structures of the city, and a sampling of the many diverse cultures living within the great melting pot. As someone who loves New York City, I am always happy to look at images of the city on film, and there were a great many stunning shots throughout Only One New York to please any viewer. The buildings of downtown Manhattan are presented in long, poetic shots, filmed at odd angles and gracefully edited to some great swingin' Hammond organ music. The glass fronted skyscrapers are awe-inspiring spectacles on the big screen, reduced to almost abstract dancing geometric shapes by the inspired cinematography. The physical structure and architecture of NYC is one theme running through the film, and scenes of buildings being constructed and demolished provide some memorable imagery. The narrator reflects, "How beautiful these shining towers are. Architecture expresses an attitude. It reveals the psychology of the builder. It occurs to me that people who expect a bomb to fall don't build their walls of glass. A city of glass is like a declaration of peace." These words certainly possess an unintentional poinancy for a post-9-11 audience.

Within this considerable setting, the viewer is taken on a multi-cultural journey, and a portrait of the residents of NYC is painted, captured on film for future generations to look back on. For the most part, different ethnic groups are shown in some sort of distinctive celebration or gathering. Several weddings, parades, banquets, and religious ceremonies are shown, along with more candid and intimate footage. Hence, the Irish St. Patrick's Day parade, a religious gathering in Harlem complete with gospel choir, a Japanese Buddhist celebration, a gypsy wedding, a traditional Jewish meal and religious practises, Ukrainian sword dancing, a voodoo ceremony, and much more along these lines. This study in cultural diversity is balanced out by some other colourful footage – Playboy bunnies playing football (and a glimpse inside the famed Playboy nightclub), a parade of elephants walking down the street, native Indian construction workers relaxing at their local watering hole during their off-hours, an art world happening (complete with action painting), and more.

In retrospect, it all seems a bit wide-eyed and overly optimistic (particularly in a post 9-11 world), but perhaps this is part of the charm of Only One New York. The world is a much smaller place in 2008, thanks to advances in transportation and communications, and the 'Global Village' is in a way almost a worldwide equivalent of the metropolis presented in Only One New York, although certainly not living in harmony. This celebratory survey of one of the world's greatest cities is something of a breath of fresh air in today's cynical, war-torn, scandal and disaster ridden world. Sometimes the past looks brighter than the future, even in black and white.