CONTINUITY AND CHANGE
That was the name of a song performed by a Boston-based punk rock band called Sorry, which was actually founded by my son, who is now in LA, and dealing with the ambiguities of survival both in life and in LA. I cannot comment on which might be harder. The b and was around in the early 80;s, a heavily Mission of Burma influenced time, and my son went n to write a script based on the lgendary nature of Burma, before he went on to co-direct the about to be completed feature about the band and its resurrection.
For the upcoming Boston Underground Film Festival, we wanted to show a work in progress excerpt from the film, but because there was a misprint on the Boston Herald which inferred that a whole rough cut might be screened, the producer, Eran Lobel, sent a non=personal "Sorry" note to say he was withdrawing the film. Citing anxieties among other people associated with Burma, (I'm assuming Mark Kates, of Fenway Recording Studios, who shouldn't be in business in the first place), he expressed a sort of unwarrented paranoid concern.
The purpose of wanting to show the excerpt was to promote my son, who at age 39 is struggling, and Burma, whom he met in my living room some 23 years ago, and to promote Burma, whose music I love.,. That juxtaposition has affected the trajectories of both of our lives. The meeting was arranged by o ne of my former students from my Babson teaching days, Bob Moses, who not only introduced me to Burma in the first place, but who also co-authored a book with my son, You Stand There, on making low budget rock videos, pu blished by a subsidiary of Random House.
Yesterday, I received a call from my son's first girlfriend, Alison, who also lives in LA. Like me, my son also has connections with old relationships. She may be his best friend. She and her husband are the ones I saw BIG FISH with, which was in oneof my earliest blogs. A recent mother, she took the time to call and express concern about David. His mother is leaving for LA tomorrow morning . With both of us having a history of historic and intertwined relatinships, the continuity and change, it sometimes feels like a Dickens novel.
My son called me the other day, just before I went to a reading of a script by Christina Sartori, who managed my last two BUFFs, through all the ups and downs. The call had been disturbing, and we coud not go into the convivial "six degrees of seaparation" stories that have often occured. Fortunately, Charistina's script was so good that it could distract me from what was on my mind, and I was happy to see that someone who had spent so much time in my living room, was moving on, and that we would remain in touch. I would like to help in the deveopment of her film. But, at the back of my mind, I couldn't help but think about the positive dynamics of over 20 years ago thak seem to have dissolved. Noone is better off for it.
For the upcoming Boston Underground Film Festival, we wanted to show a work in progress excerpt from the film, but because there was a misprint on the Boston Herald which inferred that a whole rough cut might be screened, the producer, Eran Lobel, sent a non=personal "Sorry" note to say he was withdrawing the film. Citing anxieties among other people associated with Burma, (I'm assuming Mark Kates, of Fenway Recording Studios, who shouldn't be in business in the first place), he expressed a sort of unwarrented paranoid concern.
The purpose of wanting to show the excerpt was to promote my son, who at age 39 is struggling, and Burma, whom he met in my living room some 23 years ago, and to promote Burma, whose music I love.,. That juxtaposition has affected the trajectories of both of our lives. The meeting was arranged by o ne of my former students from my Babson teaching days, Bob Moses, who not only introduced me to Burma in the first place, but who also co-authored a book with my son, You Stand There, on making low budget rock videos, pu blished by a subsidiary of Random House.
Yesterday, I received a call from my son's first girlfriend, Alison, who also lives in LA. Like me, my son also has connections with old relationships. She may be his best friend. She and her husband are the ones I saw BIG FISH with, which was in oneof my earliest blogs. A recent mother, she took the time to call and express concern about David. His mother is leaving for LA tomorrow morning . With both of us having a history of historic and intertwined relatinships, the continuity and change, it sometimes feels like a Dickens novel.
My son called me the other day, just before I went to a reading of a script by Christina Sartori, who managed my last two BUFFs, through all the ups and downs. The call had been disturbing, and we coud not go into the convivial "six degrees of seaparation" stories that have often occured. Fortunately, Charistina's script was so good that it could distract me from what was on my mind, and I was happy to see that someone who had spent so much time in my living room, was moving on, and that we would remain in touch. I would like to help in the deveopment of her film. But, at the back of my mind, I couldn't help but think about the positive dynamics of over 20 years ago thak seem to have dissolved. Noone is better off for it.
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