AU S T I N
W I D E SEPTEMBER 2005
O P E N
ENTERTAINMENT ARTS LEISURE
ISSUE 3
Bob Schneider is one of the many artists helping Austin retain it’s title:
“THE LIVE MUSIC CAPITAL OF THE WORLD”
GRADY ACL After Show
INDEPENDENT
FILM
Austin Ballet’s MARGOT BROWN
ts c A e t Se Festival s u M the 3 e Th ing at ge 4 a m p r r Perfo at Zilke Director & Improviser ANDY CROUCH
N O I T OCA L EW N R TY U I N O I R R T O F & K TH 5 LOO T A
Plaza Volente • 11521 North FM 620 • 512-275-0440 • Catering 512-275-0442
L I NEU P
SEPTEMBER
2005
4 Three Must See Acts at the Festival at Zilker
18 No Pain, Permanent Gains New Laser Technology
26 The Hideout Theatre Is this Insanity?
6 It’s Austin Live Every Night of the Week
20 Painfully Beautiful Austin Independents Struggle for Independence
28 Radio Controlled Airplanes A High-Flying Hobby
14 Cory Morrow In a Different Light
22 T.H.E. Design Easing the Pain of Going to the Dentist Through Good Design
30 The Wimberley Playhouse The Little Theatre That Could
16 Intelligent Artistry Ballet Austin’s Margot Brown
25 “Weird: What does that Word Mean Anyway?”
Newly Expanded Deck
Rob Riggs
31 Star Guide - September 2005 32 The 18th Annual Gay & Lesbian International Film Festival
NEW CHEF JASON GRIFFIN & NEWLY EXPANDED MENU
E.H. “Bubba” Breazeale
AUSTIN WIDE OPEN MAGAZINE
Selling Austin & Lake Travis Lifestyles & Homes
b_breazeale@msn.com www.LakewayTexas.com
entertainment editor: Michael Martin 512-924-5948 account executives: Cynthia Densmore, Rene’ Harmon, Linda Chandler photo by Austin Photography
E.H. “Bubba” Breazeale 512-517-4247
publisher: Renee Judkins 512-825-8102 editor: Dan Jennings 512-657-6538 assistant editor: Rebecca Ballard Jennings
cover photo: staff photographers Carlos & Beth Austin, Austin Photography contributors: Julie Ray, Cynthia Densmore, Amy Lemen, Jose Medina Photography, Andrew Yates Photography, Willy Radar, George Brainard Photography, Rod Chervenka, Mario Cervantes Austin Wide Open Magazine is published monthly by Austin Wide Open ©Copyright 2005. All rights reserved. The information in this publication is believed to be accurate, and Austin Wide Open will not be held liable for the performance of goods and services provided by advertisers and any other portion of this publication.
www.austinwideopen.com
the
3
MUST SEE BANDS
at the festival at ZILKER
Hailing from Austin, Texas, this 12 piece Latin outfit has avoided categorization and trends to become a completely independent musical force with which to be reckoned. Grupo Fantasma’s music highlights Spanish language vocals and four piece horns anchored by a dynamic percussion and rhythm section. Fantasma represents a new generation of musicians who can reference slick Quincy Jones era production AND the grittiness of the Beastie Boys’. Their dynamic live show and their "make you want to shake your thang" rhythms have successfully busted all barriers and clichés that often plague the current Latin music market; however, Fantasma still manages to keep their feet firmly planted in the traditions that they respect and revere. This year represents an important period in Grupo Fantasma’s career and musical evolution. Most recently, Fantasma picked up the "Best Latin Rock" award at the 1st annual Univision Premios Musica Latina de Austin! For the 4th year straight they took home two Austin Music Awards for BEST LATIN CONTEMPORARY BAND and BEST HORNS and made 3 other list of top 10’s. As a result of their heralded showcase at SXSW 05’, Fantasma signed a major national distribution deal with Navarre and Verdad y Justicia label group, making their release available to the masses in every town they play. Latterly, several tracks from their latest release "Movimiento Popular" have become a regular feature on NPR’s Morning Becomes Eclectic. The band also released a video this year for their song "Utility Rock" which was directed by the award winning directing team of Archer and Beck who are known for their work with Juanes, Molotov, and David Byrne. Fantasma has been touring heavily since
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September 23, 24, 25
Canadian guitarist Grady Johnson from the original Alterna Blues band Big Sugar, the monolithic Big Ben Richardson from London, England on bass, and former South Texas surfer and drummer for Stevie Ray Vaughan and The Arc Angels, Chris “Whip” Layton have created a sound equal parts Gospel Revival and Satanic Ritual. With Whip as tour guide, the three have quenched their greed for speed in every manner of biker bar, honky tonk, even skateboard park in Central Texas, and loud? Plus they have style. Grady Johnson may look like a country gentleman in a Hugo Boss suit and Stetson hat, but he plays guitar like a coyote caught in a leg trap. Did I mention that Big Ben is twice the size of your average utility grade bass player? Their live show is spontaneous subsonic combustion that swerves between punk rock agro and field holler hypnosis. With guitars tuned down to the key of aaaggghhh, plaintive cattle call vocals and an unrelenting one chord stomp, it is little wonder that the music conjures up images of the damned and the sanctified. They will be going on at 4:30pm on Sunday, September 25th at the Austin Ventures Stage. 2004 and have shared the stage with such noted acts as Ozomatli and Café Tacuba. In October they will hit the road again for a west coast tour bringing their sound to punk rock dives, world music venues, festivals, colleges and almost everywhere in between, with several national and regional television appearances to follow.
This year Grupo Fantasma makes their return to the festival, four years after their critically acclaimed performance at the inaugural ACL Fest. They will be going on at 5:45 PM on Friday Sept 23rd at the Capitol Metro Stage. For more information, please visit www.grupo fantasma.com
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A perfect balance is a way of life for deSoL, the Asbury Park, NJ "rock band with the Latin soul" signed to Curb Records and touted as "upand-comers" by Rolling Stone. This seamless blend of seven inspired musicians is a brotherhood whose heady, polyrhythmic mix of chanted melodies and mystical atmosphere embraces the contemporary edge of big modern rock hooks with flourishes of rap and hip-hop. deSoL’s vibrant and colorful live show – an infectious display that forces audience members out of their seats – has been pivotal in seeing the band earn praise in The New York Times, Boston Globe and New York Post; a featured appearance on nationally syndicated The World Cafe radio show; plus performances at Bonnaroo, opening for R.E.M. in Mexico City and a Miami Dolphins halftime show. deSoL’s self-titled debut CD was released July 26. Following a "buzzworthy" (Los Angeles Times) showcase at SXSW in Austin, TX, deSoL’s first single, "Karma," was shipped to Triple A radio, where it has aggressively risen up the charts to Top 5 status. deSoL’s extensive Summer/Fall ’05 touring schedule includes Lollapalooza and the Austin City Limits Music Festival, and opening slots for Los Lonely Boys and Widespread Panic. deSoL will be appearing at the ACL fest on Friday, Sept. 23rd on the Capital Metro Stage from 3:15 – 4:05. For more info, please visit www.desolmusic.com.
photo courtesy of Danny Sanchez
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It’s Austin Live...
every night of the week!
Austin owns the title “THE LIVE MUSIC CAPITAL OF THE WORLD” for many good reasons. On any given night in this music-loving city, you can find a diversity of performers and musical styles at numerous popular venues. You can enjoy blues, R&B, alternative, bluegrass, classical, rock, Texas country, and many more. On Monday nights you can start out your evening with Bob Schneider then move on over to Blue Monday hosted by Derrick O’Brien, head to the east side and catch Austin’s best singer/songwriters with Calvin Russell, then south to hear Dale Watson. On Tuesday catch Toni Price’s happy hour, followed by Grady or the Weary Boys. Every Wednesday start off the evening with Gary Clark, Jr., stay south to see Shelley King and
Caroline Wonderland. Thursdays start off with Cornell Hurd and move a little west to see George Devore and then south to catch Chaparral. On Fridays you can start with the Blues Specialists, then move on south to catch Alvin Crow, go north and maybe catch the Green Cards. Saturday head downtown for cool jazz with Blaze in the Warehouse District, reggae with Grimy Styles or rock-out on Red River. Sunday start out with Stephen Bruton and the Resentments and then move on over to 6th and catch Warren Hood and the Hoodlums, and for a little country see Redd and Earl with Heybale. story by Michael Martin • photos by Austin Photography • design by Renee Judkins
Monday Night
Bob Schneider at the
SAXON PUB
Calvin Russell
Idgy Vaughn
Gary Graves
and Spencer Jarman at the LONGBRANCH INN
Derrick O’Brien’s Blue Monday at
ANTONE’S
VISIT AUSTINWIDEOPEN.COM
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400 East 6th Street 494-0639 www.austinwideopen.com
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Live Music & Great Food! in the Heart of Old South Austin for 14 Years!
Tuesday Night Toni Price, Doak Short, Grady or the Weary Boys at the
CONTINENTAL CLUB
Wednesday Night
Serving a Large Selection of Delicious Mexican Entrees & American Fare. Indoor & Outdoor Dining in a Stunning Landscaped Setting Under the Trees Overlooking Boldin Creek
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Gary Clark Jr. at the CONTINENTAL CLUB Shelly King & Caroline Wonderland at ARTZ
Happy Hour Tuesday - Sunday • 3-7 pm 1/2 Price Margaritas & Beer 1/2 Price Nachos Brian Keane at MOMOS
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Thursday Night
George Devore at the
SAXON PUB
Cornell Hurd at
JOVITA’S Chaparral at THE BROKEN SPOKE
K N I R D Y L T H NIG ECIALS SP
THE DRINK 236-0050
325 E. SIXTH ST. www.thedrinkonsixth.com
Friday • September 23 • 9-10pm
OFFICIAL ACL AFTER SHOW PARTY with delSol
Award Winning Food
Friday Night The Blues Specialist at the
CONTINENTAL CLUB Alvin Crow at THE BROKEN SPOKE Les & the Funkmob at SPEAKEASY The Green Cards at the SAXON PUB
Saturday Night 2330 S. Lamar Blvd. • 10 Minutes from Downtown
T.U.B. at CEDAR STREET
Blaze at the ELEPHANT ROOM Grimy Styles at the
FLAMINGO CANTINA
Sunday Night Stephen Bruton and the Resentments at the
SAXON PUB Redd & Earl with Heybale at the CONTINENTAL CLUB
LIVE MUSIC SEVEN NIGHTS A WEEK Every Monday - Sarah Elizabeth Campbell & the Banned With Special Guest Every Tuesday - Old Time Texas Fiddlers Jam Every Wednesday - Shelley King and Caroline
Wonderland Every Sunday - CTBA Bluegrass Jam 2 - 6
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Warren Hood & the Hoodlums with Seth Walker & Mike Keller at
MOMOS
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301 WEST 6TH ST. • 480-9433
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AUSTIN HOT SPOTS
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austin java 200 LEE BARTON DR. • 489-8835
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Beginning October 2005
Nuno’s on Sixth 422 E. Sixth St. 833-5133 www.NunosOfAustin.com Warren Hood
MORE HOT SPOTS
Austin Wide Open Presents the Austin Area Music Districts
NORTH Research • North Mopac • North IH35
CENTRAL East Sixth • West Sixth • Red River Warehouse • East Austin
SOUTH
GLASS Dance Club on congress at 5th St.
South Congress • South Lamar South First
OUTSKIRTS Lake Travis • Hill Country Round Rock
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Morrow’s music is surging to the fore of the emerging “Texas Country” genre, a cross between country and rock. However, tagging Morrow’s style as “Texas Country” seems limiting as he truly has a unique, eclectic sound that is making him a star in his own right.
Cory Morrow
In a Different Light by Rebecca Ballard Jennings photo by Austin Photography
F
ew celebrities successfully negotiate drugrelated arrests. Fewer still have the grace and maturity to respond to these real-life experiences in a way beneficial to their craft. With his new album, Austin singer/songwriter Cory Morrow has done just that. Nothing Left to Hide is front-page bad-boy behavior internalized and reworked into dynamic, meaningful music. "Sometimes I think I set myself up for emotional turmoil to motivate me," says Morrow. "The whole situation allowed me to open my eyes and see there were issues in my life that needed addressing. I started to really see things in a different light." With upcoming tour stops in Dallas, New Orleans, Amarillo and Baton Rouge, Morrow is one of Austin’s busiest and most successful entertainers. He performs over 150 shows a year throughout the country, but as an Austin resident, he performs regularly at the area’s premier venues like Luckenbach, La Zona Rosa, and Stubb’s. Morrow’s music is surging to the fore of the emerging "Texas Country" genre, a cross between country and rock. However, tagging Morrow’s style as "Texas Country" seems limiting as he truly has a unique, eclectic sound that is making him a star in his own right. With six albums to his name (five in the studio and one live recording), Morrow has been building his career for over a decade now. Willie Nelson has called him a "major force to reckon with," and he has opened for numerous luminaries including Nelson, Merle Haggard, and Jerry Jeff Walker as well as the likes of Charlie Robison, Robert Earl
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Keen, and Pat Green. One album, Songs We Wish We’d Written, produced by Lloyd Maines, was made with good friend Pat Green. Growing up in Houston, Cory was influenced by music greats such as Kris Kristofferson and Willie Nelson and began to play the guitar in his teens. Today he derives inspiration from a broader assembly of artists ranging from Robert Earl Keen and Townes Van Zandt to Jack Ingram. Producer Keith Gattis helped shape Morrow’s evolving sound on Nothing Left to Hide, an amalgamation of country and the kinetic drive of solid rock. "I wanted Keith to produce this from the get-go," Morrow says. "He was instrumental in cultivating my music, molding and shaping it into new directions without stripping away the core of what I do best." New tunes that show off his rock and roll roots include the album’s first single, Heart of Fire, which refers to Morrow’s "wild and reckless past" as well as Beat of Your Heart, a great dance tune with a steady, moving beat, and Restless Girl, which has a coarse feeling and scratchy delivery. With his tone clear and melodic on one track and then deep and mournful on the next, Morrow’s vocal ability is as varied as his musical influences. In the sorrowful, dirge-like Carnival Ride, possibly the broadest stylistic change from his earlier work, his voice takes on a hint of John Hyatt or Joe Cocker, with a rough quality you wouldn’t expect from the fresh-faced, clear-eyed Morrow. The song brings to mind the image of a New Orleans jazz funeral procession marching slowly through the French Quarter.
www.austinwideopen.com
cover a rt by
Michael Adair
Good Intentions takes us back to the country side of things with wry, hard-luck humor. On A Whole Lot, Morrow’s voice again transforms into deep, gravelly sound as he sings, "I’ll take what I need and leave the rest for the next set of dreamers coming down the line." The title song, Nothing Left to Hide, reflects on his recovery. "I got a demon inside me and he won’t let me stand still . . . taking classes, learned to speak in the tongue." Choices is more melodic, with prominent keyboards. Other cuts like Couldn’t Be There and My Way Home, both girl-that-got-away laments, show Morrow’s tender, reflective side as he looks at relationships gone bad, the difficulty of communicating feelings and the need to accept one’s own emotional limitations. "My bag feels empty, though I packed up everything I own." Morrow is aptly backed up by the talents of John Carroll on guitar, Bobby Charles on bass, Hoyt Stacy on drums, and Rami Jaffe on keyboards. Nothing Left to Hide is great road music, to be turned up loud. At Morrow’s performances, his fans shout and dance and sing along with their favorite tunes. The tunes on this cd will be no different. Morrow’s evolution has been painfully public this year, but surviving the angst has matured and seasoned him, leading to the creation of exciting music, astute and insightful lyrics, and a collection of work that continues to push him toward the top of the heap.
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• Casas del Bosque Sauvignon Blanc • Susana Balbo’s Crios Rose • Las Marias Estate Torrontes Or browse our hand-picked collection of 100 wines for $25 or less 512-402-9696 Lakeway Commons 900 RR 620 • Suite C-107
Lakeway
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Intelligent Artistry Margot Brown of Ballet Austin
photo by Andrew Yates Photography
by Rebecca Ballard Jennings "She will really dance with you on stage, look you in the eye, for real, and play off of you. That is something not all that common. For me as an artist, I cherish the times I can dance with people who are truly in the moment and real. I live for it. Margot is one of those people." - Gina Patterson, Dancer and Choreographer with Ballet Austin
M
argot Brown is about as real as you can expect a person to be. She does look you in the eye and she does speak her mind. As a hard working, fiercely committed artist passionate about her work, Margot is a dancer who, at age 32, has danced for the reputable Ballet Austin for 14 years. A native of Austin, Ms. Brown began dancing at age six but committed fully to her art at age 12. "I was doing gymnastics and diving competitively, as well as dancing. At a certain point, if I was going to make progress, I had to narrow my focus and commit." Brown chose ballet and began training with the late Stanley Hall at the Austin Ballet Theater. She continued her training in the summer programs of the Pacific Northwest Ballet and the Hungarian State Ballet before being drawn by 16
the reputation of former Artistic Director Lambros Lambrou to Ballet Austin at age 18. "I’d heard a lot of good things about how he’d brought in new dancers and a totally new focus to the company." Dancer Gina Patterson, who now choreographs many of Ballet Austin’s original works, recalls Brown’s arrival at the company. "I remember thinking she would be one to watch. She was a long-limbed Bambi that hadn’t quite grown into her limbs." Deciding to pursue dance as a profession was a gradual process for Brown. "It was always in the back of my mind that I might go professional. If you’re training with the necessary intensity, you know that’s always an option. Some dancers know unequivocally that they want to dance professionally, but I wasn’t sure. I loved academics as well. It’s such a
competitive industry and so much of it is being in the right place at the right time. Being hired is based somewhat on talent, but a lot of it is just finding the right director who likes what you do." Brown found that in Stephen Mills, current Artistic Director of Ballet Austin and internationally renowned choreographer for his progressive, edgy, contemporary style. Under his direction Ballet Austin has developed into a premier organization, respected throughout the U.S. and beyond. Brown’s repertoire is diverse, including works by the great George Balanchine, David Parson, Septime Webre, Peter Pucci, Ulysses Dove, and Dwight Rhoden, as well as the imaginative and cutting-edge works of Stephen Mills.
Dance is an art form that can move us deeply. It’s visual beauty, the caress of the music, the elegant lines of the dancers’ bodies and the passion of the story all conspire to thrill and inspire its audience.
produce new work and not just rehash older stuff. We do preserve the classics, but we have a really good mix now." In the world of dance there are performers who shine technically but lack the artistic expression that brings a character to life on stage. Conversely, there are dancers who channel all of their creative energy and technique into artistic expression, striving more to capture the spirit of the role than the technical specifics of a particular dance. "I’m certainly more of an expressive dancer. That’s the kind of dancer Stephen likes to work with, and that’s the direction the company is going. You have to have a certain level of technical ability just to execute the steps, but for Stephen it’s far more about the way you use the music, the movement and your interpretation as opposed to the strict interpretation of a classical step."
photo by George Brainard Photography
In 2004, Brown danced the role of Kate in the world premiere of Taming of the Shrew, which Mills created for the John F. Kennedy Center for the Performing Arts Youth and Family Public Performance Series. Dance Magazine called her performance "sexy and sassy." When she danced the part of Helena in Mills’ A Midsummer Night’s Dream to soldout houses at the Kennedy Center, The Washington Post said she was "capable of a hundred different expressions of horror," adding that she "was believable and poignant." One of Brown’s favorite roles was Gertrude in Mills’ Hamlet. "The steps were created for me and the character was really intense and interesting. I like to act and I like the dramatic aspect of dance." Of her performance, the Daily Texan said, "Using her face for expression as much as her body, Brown exudes an extreme presence." Mutual admiration abounds at Ballet Austin. Brown sings the praises of director Stephen Mills and that of dancer/choreographer Gina Patterson. "I am inspired by their work. It’s a creative and inspirational environment. We’ve known each other for so long so they know what to do with me and with my body and I know what they’re asking for. We get a lot out of working with each other." Mills returns the praise. "I have worked with Margot in many different capacities. Not only as director and choreographer, but we also danced together early on. It has been amazing to watch her grow from a young dancer to the mature artist that she is today. She has a very distinctive quality of movement and is extremely musical. She is truly one of the leaders in this organization and my work as a dance maker has been shaped by her abilities." Patterson, who was so struck with Margot’s potential when she first arrived, now says, "I see a strong, beautiful woman at the top of her career. She continues to blossom, growing stronger every day as an artist." Stylistically, Margot’s preference leans toward the contemporary, rather than the classical. She sees Ballet Austin, which for some time was a fairly traditional company with a primarily classical repertoire, evolving into a progressive, cutting-edge company. "We’re still emerging. Most artists want to be doing new, progressive works. Stephen is really creative and just isn’t confined by tradition. We have a very supportive Board that wants us to
Brown says that training at Ballet Austin is very strict and classical, but that the company is encouraged to embellish the formal approach with artistic expression and personal creativity. Dancing professionally is demanding, difficult work and requires determination, commitment, and endurance. "Dancing is too hard of a profession," Brown says, "physically as well as the life style that goes with it. You don’t make any money, so you have to really love it. There are so many other jobs that would be easier for more money. You have to want it, especially in America, where there are no government subsidies."
Ballet Austin’s season spans 34 weeks of the year, during which the company maintains a standard 40 hour work week. During the off season, dancers continue to work diligently to train and stay in shape, attending open classes and summer workshops. Though still officially in their off season, the company recently returned from performances in Slovenia at the Festival Ljubljana, as well as the Abano Dance Festival in Abano Terme, Italy. The new season will begin in September with the world premiere of Stephen Mills’ interpretation of Carmina Burana, Carl Orff’s scenic cantata based on the poetry of defrocked monks in the 13th century. Mills’ original choreography will be accompanied by the incredible vocal talents of the ensemble singing group Conspirare. In October the company will perform two of Mill’s works at The Joyce Theater in New York, one of the premier performance venues for dance. Carmina Burana will be followed by Ballet Austin’s annual production of The Nutcracker, in which Brown usually dances the Sugar Plum Fairy. Following The Nutcracker is New American Talent, a piece that will feature the work of three emerging choreographers. The popular Director’s Choice will fill the March-April slot, followed by Romeo & Juliet. Brown doesn’t yet know which roles she’ll be assigned, but is ready and eager to tackle whatever Mills hands her. Now 32, Brown has been dancing for 26 years. "I don’t think I’ll ever leave dance behind. I don’t have a burning desire to choreograph, but I’ll never stop attending the ballet, that’s for sure." Margot is currently studying veterinary science. Her love of animals rivals her love of dance and she plans to pursue a career as a veterinarian when she phases out of the dance world. Of Ballet Austin, she says, "I’ll always be involved. Someday I’d like to be on the Board and help guide the company financially and creatively." Dance is an art form that can move us deeply. It’s visual beauty, the caress of the music, the elegant lines of the dancers’ bodies and the passion of the story all conspire to thrill and inspire its audience. Margot Brown’s artistry encompasses all of this – elegance, musicality, and passion – and her commitment to her art and desire to share her gifts with others makes her an Austin artist to watch, enjoy, and revere.
Margot Brown’s artistry encompasses all of this – elegance, musicality, and passion – and her commitment to her art and desire to share her gifts with others makes her an Austin artist to watch.
photo by Jose Medina Photography
No Pain, Permanent Gains? by Cynthia Densmore
W
hen I think of hair removal, I can’t escape images of clinical offices, false assurances of "slight discomfort," long and uncomfortable appointments and the painful aftermath from torturingly hot wax or fine needling that leaves skin raw and rashed for weeks. Believe me, I have tested them all: the miraculous, the permanent, the painless. Right. Every time, I’ve returned home to hear my trusty Bic razor tell me, "I told you so." This may all be about to change. A new and fascinating laser technology is ready to show you that silky, smooth and perfectly hairless legs, lips, bikini lines and -- yes, guys -even backs, are not just for movie stars and photo models anymore. In August, I found out for myself, with much apprehension at first, that there is a comfortable and relatively inexpensive way to take care of unwanted hair once and for all. I visited Austin’s premier laser hair removal expert, Heidi Fischer, at Alite Laser Hair Removal. There, she thoughtfully educated me on the process of the body’s hair growth cycles and explained how the treatment technology targets this process. Heidi’s 20year history of providing hair removal and reduction services made her especially empathetic to my unending stories of hair-removal-gone-bad. For that reason, she offered to treat a small area so I could experience the sensation of the laser for myself. Amazingly, six shots with the laser and it was over. No tears, no cursing, not even a grimace. "That’s it?" I asked. "That’s all," she happily replied. The laser creates a beam of high-intensity light that penetrates the skin and delivers a controlled amount
hair. Laser technology, while still in its infancy, has not yet been able to observe a lifetime of post-treatment results to guarantee complete permanence. However, as Heidi’s own legs, still smooth and hairless after five years without treatment or shave, will attest, it’s a safe bet that hair will not return any time soon. Laser hair removal works best on lighter skin with darker hair. Since laser light targets darker colors, it has a lesser effect on very blonde or gray hair and may require more sessions to achieve good results. And with darker or tanned skin tones, the potential for skin reaction increases. As such, Heidi offers test treatments to those with darker skin to ensure that they can safely tolerate the treatment.
A new and fascinating laser technology is ready to show you that silky, smooth and perfectly hairless legs, lips, bikini lines and -- yes, guys -- even backs, are not just for movie stars and photo models anymore. of heat. To protect the upper layers of skin, the advanced technology of Alite’s laser equipment delivers a cooling burst of cryogen. Together, the split-second, long-pulse laser and cooling cryogen cover a quarter-sized area of skin, as opposed to the dime-sized area of earlier laser technology, allowing larger areas of skin to be treated in half the time. Since laser light is attracted to darker colors, the sensation of the pulse can be stronger where there is more or darker hair present. Compared with other methods of hair removal, like waxing and electrolysis, this is by far the most comfortable and effective treatment for permanently reducing unwanted hair growth. Although each treatment permanently deactivates the hair follicles in active growth stages, the number of sessions required for each person varies. It typically takes between three to six treatments before there are an immaterial number of follicles able to produce
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Risks are minimal. Side effects, which are rare and typically last only a few hours, may include bruising, redness, blistering, hyper- or hypo-pigmentation and swelling of the treated area. But if you stay out of the sun and closely follow Alite’s recommendations, a speedy and comfortable result is all but guaranteed. The area I had treated appeared a little red and felt like a mild sunburn, but was back to normal before I arrived home after the appointment. When I did, I went directly to the bathroom, grabbed my smartmouthed razor and said, "Your days are numbered, Buddy." See for yourself. Make an appointment at Alite Laser Hair Removal’s central Austin location by calling 512-328-1555.
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Y L L U F N I A P BEAUTIFUL
Austin Independents Struggle for Independence
by Gregory Collins
“Wasn’t that just a fad in the 90s, like grunge?” – Filmmaker Bob Ray on the definition of independent film.
“To me, independent film amounts to getting something done when everyone says it can’t be done.”
–
Kat Candler
photo by Gregory Collins
Sisyphean challenge of local filmmaking. These are Austin's independent filmmakers, faithfully advancing the churn of homegrown feature production from occasional stitch to constant thread in the City's creative fabric. Definitions of independent film have a difficult time accounting for Austin’s established filmmakers like Richard Linklater and Robert Rodriguez. While they command much larger budgets and have a level of industry access virtually unfathomable to emerging directors, they are also of the group of artists around and because of whom the very term originat-
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A
n internet search is quick to confirm that the definition of independent film, typically understood as film independent of Hollywood's studio system, went the way of the Supreme Court's 1964 definition of obscenity sometime in the late 1990s. "Independent," once embodying the countercultural f*youism of artists outside the system, has been annexed and amended into a marketing buzzword long since assimilated into mainstream vocabulary and economics. However the category of artists that "independent" once referenced, filmmakers constrained to do-it-yourself resourcefulness and committed to exploring the extremities of the human experience eschewed by run-of-the-mill multiplex fare, endures. Today, filmmakers still self-identify as independent, but what they feel independent from, is more personal, more nuanced. Recent bestsellers like Peter Biskind's "Down And Dirty Pictures," and John Pierson's "Spike, Mike Reloaded," momentously chronicle the 1990's conversion of independent film into infinite shades of gray. Studio specialty divisions like Sony Pictures Classics and FOX Searchlight emerged to counter growing mini-majors like Miramax while distribution outfits sprung up to bridge the gap between exhibitors and production and acquisition companies. The result today is a convoluted filmscape of production and distribution companies, festivals, talent and publicity agencies, legal firms, financing entities and studio deals. Cut to Austin, TX, the little city that could, lushly draped in film mystique. Austin film is so vociferously lauded that one actually begins to believe that the slogan "The Third Coast" is the City's manifest destiny. But this hype results more from Austin's ascent to a pop culture brand name, a phenomenon attributable to the recent locallyset, non-scripted TV shows, the many high profile film and music events, the host of visiting movie stars almost mundanely spotted around town and the steady presence of Austin's established filmmakers. These activities however, are a brand apart from the struggle of homegrown film in Austin. With several major film festivals, a crew base of unusual depth, an active local and state government and more support groups than frames of film projected on a movie screen in a second, Austin’s film community appears perfectly suited to independent film; indeed, it is quite likely without equal. But considering this amassed benevolence, it would seem a non sequitur that the number of local filmmakers who have completed feature length narrative films and continue to make movies is well under a dozen. With a dearth of marquee talent, industry connections and experience, educated investors and legal counsel, making independent movies in Austin is about as easy as a ride through the mountains in the Tour de France. But while at least one Austinite regularly braves the French Alps, so are there Austinites who relentlessly rise to the
ed. Their unique juxtaposition to Austin’s emerging artists creates what filmmaker Bob Ray terms, "a celluloid divide." "To me, independent film amounts to getting something done when everyone says it can’t be done," says Kat Candler, who recently finished filming JUMPING OFF BRIDGES, her second feature. David and Nathan Zellner, who have completed two features and a host of short films, the most recent of which played at the 2005 Sundance Film Festival, sardonically quip that a film is independent, "if it isn’t your day job."
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"It’s having too much ambition and nowhere near enough time or money," says Bryan Poyser, who, with creative partner Jacob Vaughan, is currently deep in the trenches of their second feature, THE CASSIDY KIDS. Noting the difficulties of a budget-based definition, Steve Collins, who is currently racing to complete GRETCHEN, his first feature, says a film is independent if it "is an act of personal expression." Kyle Henry, whose third feature, ROOM, recently played at both the Sundance and Cannes film festivals to notable acclaim, remarks that not only is film-
Kyle Henry, whose third feature, ROOM, recently played to noted acclaim at both the Sundance and Cannes film festivals.
“It helped us to think outside Austin in how we were going to get the movie paid for,” says Steve Collins.
photo courtesy of Kyle Henry
photo by Gregory Collins making "interdependent," vis-à-vis its collaborative nature, but the "dictates of a fictitious ‘marketplace’" has invoked an era of "self censorship." He adds, "Most American 'Indie' filmmakers are in no way pushing either formal, political, sexual or social boundaries with their cinema. You'll find that more in marginal and experimental cinema." Defined by resources or by content, Hollywood’s studio system no longer factors in to constructs of independent film. So what is it that filmmakers now seek independence from? Ironically, or perhaps poetically, in Austin the answer may very well be the City of Austin itself. Because despite the considerable artillery that Austin film brandishes, it remains several steps removed from the industry proper. "We enjoy a higher quality of life and a wildly supportive community, but we simply aren’t in the eye of the hurricane," says Susan Kirr, Austin’s premier production manager – a strategic and logistical position akin to an army’s general. "The three rules of launching a viable independent project are: attach name talent, keep costs low and go out and do it." Dedicated filmmakers don’t need to hear the third rule twice, but attaching talent and securing finances are downright difficult; and from Austin, they’re downright heroic. And though they unanimously agree on Austin’s supremacy as a production locale, filmmakers are increasingly compelled to integrate with the industry on a national level, a factor critical to the success of the likes of Rodriguez and Linklater. "It helped us to think outside Austin in how we
Bryan Poyser, who, with creative partner Jacob Vaughan, is currently deep in the trenches on their second feature, THE CASSIDY KIDS, has a similar definition. “It’s having too much ambition and nowhere near enough time or money.”
were going to get the movie paid for," says Steve Collins. "Our producers built up a group of supporters in the big cities including distributors, casting agents and other producers. It was very helpful in supporting the legitimacy of the project." "There’s a shortage of producers able to put money and talent together here," says Bob Ray, whose feature, ROCK OPERA, is distributed nationally. Along with HELL ON WHEELS, his forthcoming documentary on the exploding phenomenon of women’s roller derby, Mr. Ray is increasingly looking to New York and Los Angeles to get a third feature and an animated television series off the ground. Says Kat Candler of her local financing efforts, "I literally asked everyone I knew for money, even family members that I never met." Ms. Candler happened to take a class with Michael Emerson several years ago while living in Florida. Emerson went on to receive an Emmy for his role on TV’s "The Practice," and with the help of Heather Collier, a local talent agent, Candler was able to get JUMPING OFF BRIDGES to Emerson. His participation, she says, "brought a crucial element of legitimacy to the production." "I feel very lucky to have partnered with [NYbased companies] The 7th Floor and C-Hundred Film Corp.," says Kyle Henry of the support that ROOM received. "Many filmmakers are not that lucky and I am very grateful." Even the Zellner Brothers, who rank among Austin’s most prolific filmmakers, are cautious about
a third feature effort without real resources injected from the outside industry. Such is the nature of the industry that the difference between independent filmmakers in Austin and their counterparts in Los Angeles or New York is that Austin filmmakers must struggle not only with the business and craft of filmmaking but also for a certain independence from Austin. Yet even as the film community rallies behind these artists, many Austinites, filmmakers included, are reluctant to the idea of Austin evolving into an industry town. Indeed, the same reasons that make Austin beloved, namely that it isn’t New York or Los Angeles with all that that connotes, are in large part the same reasons that make it difficult to compete in the national industry. As it is, Austin is not the third coast of filmmaking. Until a model demonstrating the economic viability of film investment is firmly established and widely utilized and until a level of homegrown production gives actors a vocational cause to be Austinbased, the proverbial "next level" will remain squarely in conversation. Something that most agree is just fine. And like Sisyphus, the mythical figure condemned to rolling a massive stone up a steep hill over and over, Austin will continue to produce and nurture artists eager for the challenge. As Ms. Candler recently described the euphorically infuriating plight of independent filmmaking in Austin, "It’s a painfully beautiful thing."
“There’s a shortage of producers able to put money and talent together here,”
says Bob Ray, whose feature ROCK OPERA is available in video stores across the country.
photo by Chris Ohlson
David and Nathan Zellner, who have completed two features and a host of short films, sardonically quip that a film is independent, “if it isn’t your day job.”
photo by David Zellner
photo by bobshermanart.com
T.H.E. DESIGN
Easing the Pain of Going to the Dentist through Good Design by Amy Lemen
G
oing to the dentist is rarely a pleasant experience for most people. After all, what's pleasant about a needle to the gums, root canals, bridges or tooth extractions? Studies have shown that, on a list of stressful life experiences -- including death, speaking in public and others -- going to the dentist definitely ranks up there. In fact, the American Dental Association estimates that about 40 million Americans avoid dentists because of fear. That's not a problem for clients of T.H.E. Design, an Austin architectural firm founded in 1986 that specializes in designing dental offices. On the contrary, T.H.E.'s clients are dentists whose patients are truly embraced and well-serviced by a company that is committed to providing an environment that caters to comfort and peace-of-mind rather than stress and fear. T.H.E.'s founder, Harry Demaree, practiced dentistry for 17 years and knew the practice well enough to know that patients needed to be able to relax at the dentist. Demaree's son, Michael, has assumed operations of the company today, but the same philosophy of comfort applies. Dr. Demaree graduated from the University of Nebraska School of Dentistry. Harry has practiced dentistry for 17 years and taught clinical restorative dentistry at the University of Nebraska for 7 years. In 1979 he left dental practice to join Pride Institute as a dental office design consultant. Dr. Demaree has lectured extensively throughout the US and Canada.
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www.austinwideopen.com
Michael Demaree, current Owner and Chief Executive Officer, is a graduate of the Nebraska School of Architecture. Michael’s areas of expertise include design and construction of dental offices along with a broad knowledge gained from working as a dental technician. Since 1986 he has worked with hundreds of dentists. "There are quite a few benefits to a welldesigned dental office," says Michael Demaree. "Most dentists don't know what they don't know." Demaree is referring to groundbreaking work that a colleague of his father's, Dr. Jim Pride, discovered while both were in practice together in the 1970s. Pride had applied for, and received, government grants to study time, motion and ergonomic factors as they related to dentistry. Ergonomics is the applied science of utilizing design factors in the workplace to maximize productivity by minimizing operator fatigue and discomfort. "He took those results and used them to design dental offices," says Demaree. "As they started to work with architects and interior designers to design their dental offices, they found that the office flowed better and even relieved stress for people because of the focus on ergonomics." >>>
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The results also showed that good design could also eliminate a lot of mental stress in poorly designed dental offices, even including the stress receptionists and hygienists experienced in the day-to-day duties of running a busy practice. "They noticed that the patient's confidence went up dramatically, based on what that office communicated to patients and how comfortable they were in that particular environment," says Demaree. "Patients would even ask for treatments that they used to find stressful. The per-
T.H.E.'s
ception was that the dentist was more accessible and successful because of the environment they were practicing in." Harry Demaree realized there was a business in designing comfortable dental offices, and T.H.E. was born. Besides offering a background in dentistry, the company has both architects and interior designers on staff, plus specific technology integrators that make sure the hardware and software used in today's dental offices is both unobtrusive and accessible. The company also consults with practicing dentists on an advisory
basis, to ensure professional consistency. The result? More than 1,000 dental offices have contracted with and now sport T.H.E.'s design philosophy. "It's changed the face of dentistry for both dentists and patients," says Demaree. "It really is environmental design." One of the most common challenges T.H.E. sees is a dentist who has an exceptional practice - without the atmosphere to match. The result is incongruous to what patients expect when they walk in the door, which is to be accommodated
clients are dentists whose patients are truly
embraced and well-serviced by a company that is committed to
providing an environment that caters to comfort and peace-of-mind
rather than stress and fear.
in a highly efficient, attractive and stress-reducing dental office. "Cosmetic dentistry has become much more popular, and if you're doing a case in a 1950s-era office, it doesn't fit with the image," says Demaree. The image should evoke a polished interior. T.H.E.'s interior design staff helps dentists chose colors, finishes, wall and floor coverings, and even artwork that helps promote a relaxing environment. "A comfortable environment is key to a good
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dental experience," says Corrine Moore, a project designer who has worked for T.H.E. for the past five years. "We use a team approach for every project, really listening to clients so they get exactly what they want." What they want are accents most people wouldn't expect to find in a typical dentist's office, including vaulted ceilings, soffits with recessed lighting, warm wood stains, etched glass, contemporary lighting, elegant artwork, and luxurious upholstered furniture in waiting areas.
www.austinwideopen.com
"We take a very honest and up-front approach with all our clients, including doing feasibility studies before a single sketch is completed," says Demaree. "Clients know exactly what they're getting with each project, and they and their patients are thrilled with the results." Doctors Harry and Michael Demaree have created a highly effective staff to manage their dental design business throughout the country. Please visit their web site at: www.thedesign.com for more information on their design firm and the work that they produce.
For many years, Austinite Rob Riggs has been a big supporter of “Keeping Austin Weird”. And whenever possible, this award-winning Texas journalist and editor of Natural Awakenings Healthy Living Magazine, is eager to lend his talent to the cause.
“Weird:
What does that word mean, anyway?”
Texas is known to have more weirdness per capita than most states. So when Mark Sceurman and Mark Moran, the authors of “Weird U.S.”, invited Rob Riggs to partner with Wesley Treat and Heather Shade to write this book, it was truly a match made in weirdness. Find out why in... “Weird Texas”.
Pick up a copy of NATURAL AWAKENINGS Healthy Living Magazine
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Is This Insanity? Okay, imagine that you are standing alone on a bare stage. While you might have a partner or even a couple of chairs, you have no set, no props, no costumes and most amazing of all, you have no script. You are given a suggestion from the audience or from a director, or you might be directed to do "a scene from nothing." Either way, what you definitely do have is a rowdy and eager audience and when the lights come up, you become a character and you begin a dialogue. If you have a partner, the partner responds and the scene is underway. Voices assume accents and dialects, bodies develop the physical attributes of the character and, in 30 to 40 minutes, you evolve chameleon-like into a sausage maker from Minnesota, a gorilla, a Russian cosmonaut, a phrenologist (a reader of head bumps) or a pet monkey. And you are funny, funny, funny. The audience is roaring with laughter and when you finish, literally inventing your performance out of nowhere, you are rewarded with cheers and applause. by Rebecca Ballard Jennings photos by Austin Photography
FE ARLESS HEROES AT THE HIDEOUT Now honestly, can you think of a more terrifying scenario? Since one of humankind’s greatest fears is speaking before an audience, why would anyone want to "act" before an audience without any of the supportive accoutrement of the theatre? This is improvisational comedy; and it is raucous, spontaneous, unpredictable fun for the performers and for the audience. In fact, improvisers call their work "play" and these intrepid comics thrive on the fear factor, the challenge of thinking on their feet and the threat of falling flat on their faces. In Austin, the place to see these fearless and talented comedians, beginners and seasoned professionals from all over the nation, is The Hideout Theatre in downtown Austin. Currently The Hideout presents three shows a week. The Heroes of Comedy produces two of them and the Austin Improv Co-op does the third, a rotation of different troupes from around town on Fridays. The Hideout was founded in 1999 by Sean Hill, an improviser trained at BATS (Bay Area Theatresports) in San Francisco. Hill purchased the building on Congress Avenue, once a pawn shop, and converted it into a coffee house and theatre, with two performance venues (one seats 55, the other 77). Hill began his programming with two to three performances a week and instituted a training program for aspiring improvisers led by Shana Merlin. In 2004, he handed the reins for the whole shebang to current Artistic Director and Theatre Manager, Andy Crouch. Crouch graduated in 2002 from the University of
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Texas Plan II program. Though his degree is in philosophy, he has long nurtured his creative bent by designing a comic strip during his student years, forming an improv troupe, Ed-32, with fellow students, spending two summers in the prestigious Shakespeare at Winedale program and finally taking Shana Merlin’s improv class at The Hideout in 2001. Under Crouch’s direction The Hideout has become the nexus for improv in Austin. Working with the Austin Improv Co-op, he essentially "threw the doors open", inviting improvisers from all over the area to come to The Hideout to practice their craft. As it says on the Austin Improv Co-op website, "We’re bringing the troupes out of the woodwork and hosting them on the Hideout’s improvfriendly stage."
Who Are These Nutty People And Why Would They Do This? Currently, The Heroes of Comedy is the main troupe at The Hideout, which also hosts Maestro, a sometimes frantic, almost brutal style of elimination improv. "Ten to twelve people show up and put their names on the board," says Crouch. "They are given games and scenes by a director or by the audience and are scored after each round. Those with low scores are eliminated and at the end of the evening, one improviser, the maestro, is left standing." As well as The Heroes of Comedy, the troupe Tight performs its show, “Lyrix,” every Saturday night. The September Hideout schedule also
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includes one weekend of Tight, one week of the Out of Bounds Improv Festival and two weekends of "Start Trekkin’." Tight consists of improv refugees from Chicago. Dave Buckman, a veteran of Chicago’s Second City company, says, "we wanted to escape the cold weather and the rat race of Chicago and the lure of Austin’s warm weather and flourishing film industry drew us here. Andy has opened his arms and doors to us to be as creative and prolific as we want to be." Another veteran performer, Shana Merlin has performed with numerous troupes including Paranoias, The Oxymorons and ultimately with Sean Hill’s Austin Theatresports. When Hill first opened The Hideout and started The Heroes of Comedy, Shana managed the theatre and served as dean of the school where she devised curriculum and handled registration and teaching. Merlin left The Hideout to form her own company, Merlin-Works, using improv to provide corporate training for businesses and organizations (www.merlin-works.com). She also performs with partner Shannon McCormick in "Get Up," their 24 minute parody of the popular television series "24." Also performing on any given night are improv artists Michael Ferstenfeld, Erika May, Chris Allen and Wesley Bain. Bain, relatively new to improv, trained at The Hideout and credits Crouch with creating a daring and fearless learning atmosphere. "He knows how to push us to our limits while keeping us comfortable. More than anything he has taught us that risk, especially the risk of failure, is not a bad thing."
A Matter of Style According to Crouch, there are two basic approaches to the craft of improvisational comedy; the first developed by Viola Spolin (considered the "Grandmother" of improv) and the second by Canadian Keith Johnstone. Spolin strongly influenced the work done at Second City in Chicago while Johnstone’s techniques, like Theatresports, Micetro Impro, Gorilla Theatre, and the Life Game, filtered down the West Coast from Canada to shape the work being done in San Francisco, where Sean Hill and Andy Crouch have trained. Both styles of play are practiced and honed in Austin. "The blending of styles at The Hideout is unlike any improv theater anywhere in the country right now," says Buckman. "Even in Chicago, the styles are very much segregated amongst various theatres. But on any given night there are different styles being performed at The Hideout." Crouch doesn’t believe that local artists have yet refined a style that is unique to Austin. "I don’t think there’s an Austin style yet. The style that has grown up around The Hideout is very San Francisco because that’s where Sean came from."
Artistic Director & Improviser Andy Crouch
Fearlessness is encouraged and embraced along with concepts like openness, suspending judgment, and freeing the creative spirit. Crouch believes these lessons enhance and develop the artist on a personal level. "I got into improv because it sounded really hard and the challenge was appealing to me. I believe deeply in the power of improv. It moves me more and more towards the ability to just do things and not worry about being self-conscious. It’s incredibly compelling on stage and in life, in relationships and at work." Improv teaches its students basic ways of thinking about the stage and about human interactions, says Crouch. Players learn to avoid denial through a basic concept called "Yes, And…," in which a player must acknowledge and embrace anything that is offered, whether idea or opinion, from another player. "It is our natural instinct to try to control everything and we end up denying a lot when that happens. We tend to protect ourselves and defend our reality so excessively that we end up cutting off a lot of fun and a lot of surprising opportunities." Wesley Bain raves about the personal benefits of practicing improv. "It teaches you to be fearless, creative, and bold. It also teaches about human relationships: how to listen, how to lead and follow, teamwork, and many other helpful skills. It has helped me far beyond the confines of that little stage at The Hideout. At work, in my private life and in my hobbies, I have been more open to suggestions, more creative, more daring and more successful than ever before."
Classes and Outreach Three levels of classes, each six weeks in length, are taught at The Hideout and Crouch has just introduced a fourth. Once students complete the first three levels, they perform in a graduation show and have the opportunity to play in the elimination rounds of Maestro. The first level is open to anyone, regardless of background or training. Crouch says his students are all ages, all different types. "People come here for all reasons. You get people who are just looking to have some fun. We have people who ultimately want to perform. We get a lot of computer people for some reason."
So, Where to From Here? Crouch would like to expand The Hideout’s programming to four shows per week by the end of this year. "We’ve got a 55-seat theater. Four shows a week, that’s about 200 people. There’s no way there aren’t 200 people in Austin every week who would like to come out and see a good product. We just have to get the word out." Asked about his hopes for the future, Crouch is enthusiastic. "I would like a year from now to have a show happening every night at The Hideout and two shows a night on Friday and Saturday. Maybe even Thursdays too, and playing to sold out audiences all the time." Working to expand the theater’s visibility and programming, Crouch is trying to build awareness as much as possible by word of mouth. Satisfied and pleased patrons, he says, will encourage others to attend. "Word of mouth is the most powerful thing we’ve got going for us. In addition to that, we’ve got a few audience-building schemes planned over the next few months. We’re doing free Maestros for three weeks in September when UT starts up in order to pull the student crowd and build up a nice audience for this fall." Also in September, Crouch plans to reprise the popular "Start Trekkin’" show, in which costumed improvisers create an entire episode in the Star Trek universe based on suggestions from the audience. Chicago transplant Dave Buckman envisions "a phoenix-like renaissance for improv in the coming months, with The Hideout as the epicenter." And Shana Merlin is filled with optimism about the current environment for the growth and popularity of improv. "There is a new sense of community and openness in the Austin improv scene. At The Hideout we now have a central home where troupes from different backgrounds can perform in different styles. Audience attendance is up, local festivals are growing and the quality of the shows is improving. The future of Austin improv looks bright." So, for a most enjoyable, belly-laughing, kneeslapping evening out in downtown Austin, don’t miss the hilarity and fun of quality comedy at The Hideout. Make it a point to go downtown and "play" with Andy Crouch and The Heroes of Comedy as soon as you can.
For more information or to make reservations, visit www.heroescomedy.com or call 443-3688.
So, What Lures These Artists Into This Wacky Craft? Improvisers are quick to point out the impact of the improv process on their psyche and personal development, saying it teaches spontaneity, increases awareness and nurtures a childlike freedom to play without fear of judgment. Players learn to suspend judgment and simply respond. The skill of truly listening is honed. "There are a lot of games," notes Crouch, "where the entire game is designed to make you listen. You’re not allowed to make any response until the other person stops talking. You actually have to listen."
Andy Crouch gives direction to the Maestro line-up.
A HIGH-FLYING
story by Dan Jennings photos by Austin Photography
Y
our plane sits on the runway, engines straining. You push the throttle and it lurches forward. It builds to take-off speed and as you pull back the yoke, your plane slowly lifts and soars into the sky. Your heart races, your adrenaline pumps and a feeling of being airborne takes over. As the plane steadies, you look down and the remote control in your hands reminds you that you are still standing on the ground. So goes the rush felt by radio controlled airplane enthusiasts around the world. Due to its growing popularity, the thrill and competitiveness of Radio Controlled Flying (RCF) have never been greater. AWO was fortunate to visit with Glenn Reilly of Austin, an award-winning pilot and builder of RC model planes. With an air traffic controller for a father, Reilly began building plastic model planes at age seven. At age 13, with his father’s help, he built his first radio controlled airplane as well as the radio control unit to fly it with. Reilly is quick to say that the building of the planes brings him almost as much joy and pleasure as flying them. Many planes are available in kits called ARFs (Almost Ready to Fly), in which the builder only needs to install the engine and radio gear, a process that usually takes between 15 to 20 hours. Reilly, however, began his current project from scratch, cutting every piece of wood himself. He is working on a P-38 Lightning, a plane designed in 1939 and flown throughout World War II. Working approximately 30 hours a week, Reilly has spent almost a year on the project. "This is one-fifth scale," says Reilly. "It has a wing span of about nine feet and
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weighs 51 pounds. You can build to any scale you want. Some guys even go up to half scale, and some aerobatic planes are almost at three quarter scale." Reilly, a member of the Hill Country Aeromodelers, flies in the U.S. Scale Masters Association competitions. In the Expert Class, he has won both the US Scale Masters Texas Qualifier and the Texas Scale Championship. "You’re judged on how accurately your model replicates the actual airplane," notes Reilly. "That’s half of your score. The other half is based on flight realism." He has also participated in the prestigious Top Gun Invitational in which 50 fliers, widely considered to be the best in the world, compete. This year, Reilly again qualified for the Scale Masters competition and will again go to Nationals in October. The Hill Country Aeromodelers spend much of their time at Mary Moore Searight Park, a compound with a 500 foot-long runway and 50 footwide taxiways located at 907 Slaughter Lane in South Austin. With seating available, spectators are encouraged to stop by. "There’s always someone out there," Reilly says. "We usually fly until dark." To become an RC pilot, beginners must first join the Academy of Model Aeronautics, which charges $60 for membership and provides liability insurance to its members. New pilots should then join a local organization like the Hill Country Aeromodelers, who fly in South Austin, or the Austin Radio Control Association, which flies in North Austin. "Join the club," says Reilly. "You start with a basic trainer, a plane you can buy at any hobby store. Come out and we instruct you with no charge. Once you learn to fly the trainer, you can move on
HOBBY to faster and more complex airplanes." Reilly’s organization has about 130 members from all walks of life. "We have doctors, lawyers and auto mechanics. We have about a half dozen younger members too. The youngest flyer we’ve ever had, who has soloed and is now flying on his own, was eight or nine years old. Young kids are naturals because of all the video games they play. They’ve been using joysticks since they were two years old and their hand-eye coordination is very good." Learning to land is probably the most difficult of the basic maneuvers to learn. However, instructors increasingly work with "buddy boxes," two transmitters connected by a cord that allows an instructor to take over control from a novice and bring the plane safely to the ground. Reilly says learning new maneuvers and testing your own ability is part of what makes the hobby so satisfying. "Crashes are also a part of it," says Reilly. "If a radio fails on you in flight, you’re going to lose control and the plane will go down. In the beginning, you may lose a few due to pilot error. They go down and if you can’t handle that, then this probably isn’t the right hobby for you." Reilly also serves the RC community as a test pilot. When a new pilot brings a plane out for its maiden flight, the controls are often put in Reilly’s experienced hands. "You never know on the first flight of a plane that’s just been built," says Reilly. "If its not trimmed right or if control surfaces are wrongly installed, you want someone with more experience behind it so they can get it down in one piece and help figure out what needs to be fixed."
The Hill Country club is active in their community as well. "Each year we have the Blue Santa Fly-In, where everyone brings a gift or cash donation. Everything that’s collected goes to Blue Santa, the Austin Police Department’s fund for underprivileged children." Consider the challenge of designing and building your own RC plane. Consider the satisfaction of seeing the finished, gleaming airplane that you con-
structed yourself. Consider the thrill of watching it lift off on its maiden flight, and the camaraderie of other hobbyists who teach, assist, and encourage you. Consider that perhaps radio controlled flying is just the sort of challenge and fun you’ve been looking for in a leisure activity. Be forewarned, though, it can be addictive and become a passion instead of a pastime. For more information: www.hcamonline.org or www.austinrc.org
Reilly’s organization has about 130 members from all walks of life. "We have doctors, lawyers and auto mechanics. We have about a half dozen younger members too.”
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g rlin ursiel B t Ha ober Rodney R y b ias” photo by l o n ag t• el M sset “Ste David Bi y b cted dire
The Little Theatre That Could... PROVES IT AGAIN! Wimberley Playhouse Renovation Marks New Era by Julie Ray
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hey’ve come a very long way. The first performers played to their neighbors in an elementary school auditorium with lighting set in coffee cans above makeshift scenery. Costumes were homemade and poor acoustics scrambled dialogue, but at the end of each show applause was wildly enthusiastic. The brand new allvolunteer Wimberley Players were a hit. That was 1979. The little band of theatre lovers who formed the Wimberley Players in the meeting room of a local bank could not have imagined its future impact on the central Hill Country. Carlene Greer, one of the founders, recalls, "There was just nothing to do in Wimberley. Then the Players brought live entertainment and everybody simply loved it!" Over the past 26 years, the Wimberley Players have continued to thrive. They have survived rising floodwaters, economic downturns and even a director who left to accept a paying job elsewhere. They have honed their skills and built a reputation that now draws patrons from throughout Central Texas and from as far away as Houston and Dallas. With an ever expanding repertoire, the Players have recently added full-scale Broadway musicals to their roster of popular comedies, dramas and thrillers. "That’s quite a trick when your stage measures 720 square feet!" says Lee Coleé, director of I Love You, You’re Perfect, Now Change, opening Sept. 23 at the Greenhouse Theatre.
NEW THEATRE UNDERWAY Space limitations will soon be history for the Wimberley Players. Their new home, the Wimberley Playhouse, in the heart of Wimberley, is currently undergoing renovations and expects its first audience around the first of the year. "You’ll hear applause for many miles around when that curtain goes up," says Allan Eastwood, Wimberley Players’ president, currently serving his second three-year term. The new Wimberley Playhouse is centrally located on Old Kyle Road, close to the Village Square.
The Players purchased the property and existing 5000 square-foot building early in 2004. Designed by Houston architect Barry Moore, of Gensler Architectural Firm, the new structure provides 126 seats and a stage twice as big as the one in the Greenhouse Theatre. "Most importantly, we will be providing our audiences with a spacious lobby, adequate restrooms, lighted parking and handicap access," says board member Kay Allison.
POPULATION SURGE Allan Eastwood notes, "We outgrew our tiny, leased Greenhouse Theatre years ago, so this decision was really a necessity." Or, as Jana White, Director of Theatre Services, puts it, "The Greenhouse is old, musty and moldy. Air conditioning is iffy and we have exactly two toilets. Go figure!!" From revenues to volunteerism, the expanding population of the Wimberley area has resulted in remarkable growth in all areas of the Players’ operations. In 2003 and 2004, two-thirds of the Players’ shows were sold out while others, like the recent smash hit, Jake’s Women, by Neil Simon (directed by Rob Sandefur), were extended to meet popular demand. Annual membership in the Players’ organization, which starts at $20, jumped to a record 400 individuals and families this year. Financial support for the building campaign has also been positive with virtually every local organization, from the Wimberley Lions Club, the Wimberley Rotary and the Wimberley Civic Club to much smaller groups like New Neighbors, pitching in. To bring each production to the community, dozens of volunteers spend hours on end in a myriad of activities on and off stage. Volunteers do everything from rounding up props, selling tickets, pouring soft drinks at intermission to emptying trash cans and finally, turning off the lights. The board of directors, also volunteers, numbers 13, with three honorary directors who assist with fundraising. "Our whole viewpoint is that the arts enrich community life as well as the lives of the people
involved. In our new building, we can reach out effectively to many more people," says Eastwood. The influx of newcomers to the area has also brought new talent to the Players. "With our expanding pool, we now have actors, directors, producers and stagecrafters helping us reach a new level of quality," says board member and Managing Director of Theatre Operations, Rob Sandefur. The Players point to the 2002 production of Joseph and the Technicolor Dreamcoat as a prime example of the synergistic relationship between the growing community and the quality of their productions. Marking the Players’ first attempt to stage a major musical, the production succeeded largely based on the skill of a new director/singer/dancer from San Marcos. Nathan Villarreal not only pulled it off, he continues to be one of the community’s most popular performers. "With the flexible space in the new playhouse, we want to develop more opportunities for people to learn all aspects of theatre," Sandefur says. "Besides, being part of our productions is just a lot of fun." Wimberley Mayor Steve Klepfer said recently, "The Wimberley Playhouse makes a visible statement for the arts in central Wimberley. It is virtually across the street from Wimberley’s new Nature Trail and Preserve and the Blue Hole Regional Park, both under development now." The Players’ building fund campaign is ongoing. "We are in the basic renovation stage, but we must also raise funds for theatre seating and amenities, as well as parking, landscaping, and so on," Eastwood says. "The final phase of the campaign will focus on retiring our bank note." Including the property purchase, the total campaign goal was estimated at $615,000. $234,000 still needs to be raised. "No doubt the increase in building costs since our original estimates will mean increasing our total goal, but we are confident that additional support will be forthcoming," says Eastwood, adding that both the LCRA and the Austin Community Foundation have awarded grants to the project. "We consider that a wonderful vote of confidence in the Players and in our community." For more information, 512-847-5167. For tickets, 512-847-0575.
Scenes from the Players’ recent smash hit, “Jake’s Women” by Neil Simon, directed by Rob Sandefur photos by Jim Gillock 30
September S T A gR e uid 2005 Gazing at the Stars "What is above is as what is below.” Astrology was the first science known to man. With knowledge of astrology much of the unknown becomes known and new light is shown in all directions. Astrology is a key to character & character is destiny.
ARIES
(Mar 21-Apr 20): Original and bold enterprises will be successful, but not without some struggles. Your mind is extremely active. Watch that your mouth doesn’t follow suit. Be tactful. Time to learn more about nutrition and healthy elimination.
TAURUS
(Apr 21-May 20): You feel deep sympathy for others and your quiet nature is reassuring to them. You may experience a delay or disappointment in love or a secret love affair. Careful speculation or investment in the first 3 weeks of September can pay off.
GEMINI
(May 21-June 20): Your intellect is stimulated. New and inventive ideas inspire you. This is the perfect time to delve into your studies of the mysterious. Why not start that new book you’ve wanted to write? This is a good time for focusing on the innovative.
CANCER
(June 21-July 21): This is an ideal time for learning, especially science & the occult. Your intuition is keen and your imagination is fertile. There is likelihood of a short journey & other changes for the better this month.
LEO (July 22-Aug 22):You have excellent endurance and quick recuperation this month. Stop your worrying & twitching. Your active mind keeps you somewhat discontent. Use caution & forethought with money. Avoid ‘get rich quick’ schemes. VIRGO
(Aug 23-Sept 22): Your modest & thoughtful nature and refined mind shines through this month. Trust your perceptions, even when not substantiated by ‘reality’. Your intuition is right on!
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LIBRA
(Sept 23-Oct 22): Despite your expectations, things are not what they appear to be. Disappointments in love occur when you don’t trust your own instincts. Watch out for unconscious eating habits resulting in extra pounds.
SCORPIO (Oct 23-Nov 21): Deep emotions bubble beneath the surface. Think things through before you say something that can’t be taken back. Relax and let yourself receive some much needed nurturing. Get a massage.
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SAGITTARIUS (Nov 22-Dec 20): A good month for health and recovery. Healers find success in their work this month. A moderate diet will best serve you, since overindulgence may cause suffering. Help comes from people in high places.
CAPRICORN (Dec 21-Jan 20): Take special care with your small pets this month. Watch out for food poisoning & digestive challenges. It might be time to revamp your diet and exercise regime.
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AQUARIUS (Jan 21-Feb 18): Unusual health issues are puzzling until you look for a more spiritual cause. You are more sensitive to environmental conditions. Refrain from eating when tired or angry. Unexpected opportunities present themselves, probably service orientated.
PISCES (Feb 19-Mar 20): Pay attention to your intuition in regards to food, clothing and environment. Being very receptive, you absorb others energies. Only allow positive, kindly people to treat your body and share your space.
Samantha Vanderslice is a cosmictologist and herbalist specializing in Tarot, Kabbalah and Astrology. Her retail shop in Lakeway, SOL Reflections, offers the finest herbs & supplements, natural body care & aromatherapy, crystals, books, cards, Goddess clothing, gifts and tools of divination & celebration. Services such as Massage, Personalized Bach Flower Remedies, Spiritual Tarot, Nutritional Guidance and astrological interpretations are available by appointment. Come share the magic at SOL Reflections, The 620 Center, 107 S. RR620 in Lakeway. 512-263-6990. Check out our website at www.solreflections.com. Email us at solreflections @earthlink.net.
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The 18th Annual Austin Gay and Lesbian
INTERNATIONAL FILM FESTIVAL The
Austin Gay and Lesbian International Film Festival (aGLIFF) is the largest gay and lesbian film festival in the Southwest. Presenting over 150 films, this year’s festival will be attended by more than 12,000 people over nine days. aGLIFF exhibits the work of some of the most talented filmmakers around the world. This year’s lineup includes: ADAM & STEVE, written and directed by UT alum Craig Chester and starring Chris Kattan and Parker Posey; FINGERSMITH, a period adaptation of Sarah Waters’
award-winning novel, directed by Aisling Walsh; UNVEILED, directed by Angelina Maccarone, the story of an Iranian woman driven from her country for her relationship with another woman; and UNCONSCIOUS, an Almodovar-esque farce set in the early 1900s that examines the repression of the Spanish upper class, directed by Joaquin Oristrell. Founded in 1987, aGLIFF is a nonprofit organization that increases awareness about gay and lesbian, bisexual and transgender lives and supports the pro-
duction and promotion of gaythemed films that address issues ranging from culture and class to age and gender. aGLIFF has approximately 600 members and, in addition to their annual film festival, collaborates locally with Out Youth on the Gay Youth Media (GYM) project, which teaches filmmaking to local teens. Festival screenings begin on September 30th and continue through October 8th at the Regal Arbor Cinema. More information is available at www.aGLIFF.org.
The 18th Annual Austin Gay & Lesbian International Film Festival
150 films | 20 countries | 12,000 attendees www.agliff.org 9.30.05 — 10.8.055
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