#tomhayes

[gloop-augustus]

Tom Hayes

[gloop-augustus]

Photo by Tom Hayes, Freeman’s Alley, 2015.

(You never know if you can fly until you spread your wings.)

[gloop-augustus]

Tom Hayes for HAVEN Collective

[bureau-editor]

Welcome to The FALL 2014 Edition of The BUREAU of ARTS and CULTURE MAGAZINE. We are very pleased to bring you a New Slate of Interviews featuring an intimate conversation with SURFER and SURFBOARD Creator, Wayne RICH. The Great Orson WELLES is This Editions Celebrated ICON Essay. Our Guest Artist is Eric ZENER. We are proud to bring you the Inside Scoop on an interesting Documentary by Tom HAYES about ESQUIRE Magazine in The 1960s. A Fabulous Parisian Fashion Layout by Cathleen NAUNDORF, Now at Fahey Klein Gallery. Photographer Terry Richardson takes us deep into America's heartland and Robin Holland shares an Image of Public Enemy with an article by Jamar Mar(s) Tucker. Editorials on The Voices in Radio Today as well as The Hate Crimes Essays. We take a look at Robert REDFORD'S Classic Film " QUIZ SHOW " 20 Years Later and Interview Cygnet Theater's Director regarding Their current SAM SHEPARD Productions. We Take you Inside L A Art Gallery Honor Fraser with New Paintings by KAWS + The New Astrology Column Celebrates All Things LIBRA. A Look at Johanness BRAHMS. Original BUREAU Artist Lorna STOVALL shares The Salton Sea Series. Plus The BUREAU Artist Profile on British Painter Tony SOUTH and a sneak peak of The Upcoming Paul STRAND Exhibit at The Philadelphia Museum of Art. Images by Leon Ferrari from New York Gallery Josee Bienvenu. We are very excited to announce The MAGNUM Photography Agency as an Affiliate source of Images at BUREAU of Arts and Culture. Most Links, Pages, Logos are a live internet connection, simply tap and visit. Heres The Direct Link to Download This Months Edition and a Feature Film INTERVIEW With TOM HAYES on ESQUIRE Magazine and his new film : "SMILING THROUGH THE APOCALYPSE": ESQUIRE MAGAZINE In The Sixties. DOWNLOAD THE LAST SIX ISSUES AT EDITORS SITE: http://joshuatriliegi.wix.com/joshuatriliegi THE BUREAU FILM INTERVIEW TOM HAYES : DOCUMENTARIAN Tom Hayes Wrote, Directed, Produced and Edited a New Documentary Feature film which takes us inside The World of Magazine Publishing at ESQUIRE Magazine during It's Zenith in The Heady 1960s. It's a Heartfelt, Hip and Candid film that also tells the story about Mr. Hayes' father who was one of America's Leading Legendary Magazine Editors. The film includes stories by & about Gay Talese, Tom Wolfe, Norman Mailer, Muhammad Ali, Dizzy Gillespie, Candice Bergen, George Lois plus Esquire's creative team of photographers and artists. BUREAU: " Smiling Through The Apocalypse, " your new documentary is 1. A Biography, 2. An entertaining film about a time and a place and 3. A sort of Love letter to your father. Tell us about the experience of balancing these three themes. Tom Hayes: At the onset, I knew the film would be a biography, but to include myself (or not) in the story was a constant problem. If I was absent, the film would then have become a straight documentary anyone could have made. The film, "My Architect," which is a milestone in the "son's-search-to-understand-his-father" genre, included the filmmaker as the main character in his narrative. I was not interested in being a main character because I felt the conflict in the film would not be something I had to resolve vis a vis our relationship, but would be more about the obstacles my father had to overcome to make his magazine great. By sprinkling the images of me from my childhood, and an occasional reference to my ambivalence, was the best way to strengthen my perspective on the subject, and to show the distance I had from my father's life while he edited Esquire Magazine. Making the film entertaining was achieved by several intentional devices: fast cutting, jazz piano under my narration, and compelling images. After many of the interviews, I found my self thinking how slow-moving some of the anecdotes were. After all, most of these people were writers, and their storytelling verbose by default. I had to figure out a way to tell their stories in a faster moving way, and using covering images became the key. It was not only a heavy use of photo animation (the "Ken Burns" effect), but it was also images of people not available for interview to create dialogue exchanges when the storytelling included simulated dialogue. All of this allowed me to pick up the pace of the film and pack it with dense historical information against the compelling layout of the magazine's pages from that period. I think I was also able to benefit from the black-and-white imagery thanks to the recent success of the TV hit series, "Mad Men" - where audiences were drawn into the 60s via iconic fashion and culture. I was able to plant my audience into that period simply by the subject matter. [ continued - ] Tom HAYES: [ continued - ] How the film became a love letter to my father was not something I had planned on. Unlike "My Architect," my childhood was pretty good and it simply came out that way. I wasn't abused, neglected, or ignored. I was sheltered from things I wasn't supposed to know about, and I can only be grateful... and say thank you. Many people complain that there should be more conflict, and therefore resolve, to make it a better film. The conflict was how my father managed to put the magazine together in light of history moving as it did while the lead times lagged several months behind. Perhaps not a sexy dilemma in and of itself, but there we are. It is a story of the rise and fall of a man who did make a mark by permitting so many talented people to develop their careers on his watch. The film is, therefore, a big thank you from me, and from his colleagues, whom he nurtured. BUREAU: We watched the film twice, once to view it for review and another time to learn about the early days of great magazine publishing. ESQUIRE has such an interesting history, was it difficult picking and choosing which editions to include in the film ? Tom Hayes: The problem was two-fold: art and copy. Graphically, the George Lois covers were easy. So many of them were iconic and great, whatever I used would compel interest. I did not use all 92, and there are some great ones that may be other people's favorites that were not included. What I selected were covers that created the most controversy like the Sonny Liston wearing the Santa Claus hat and William Calley smiling with Vietnamese kids around him. These covers were not only shown, but became segments. As for editorial, I focused primarily on landmark articles. Pieces that both transformed the magazine and the writers who contributed. Perhaps the best guide in making these decisions was my father's 1970 Anthology, "Smiling Through the Apocalypse - Esquire's History of the Sixties." Every piece included in this volume was what my father considered to be the best writing from when he was Editor. Most all of the featured editorial in my film, one can read in this book. Although out of print, you can still get it on Amazon. BUREAU: The Interviewees all seemed to really respect your father, that must have been a very gratifying experience. Tell us about the process of looking at life through the eyes of a parent. Tom Hayes: As a child, I still have memories of singing "My Buddy" with my father, and canoeing down the Suwanee River in Florida. He was a role model, and someone whose interests noticeably influenced mine. I was never really sure what he did to edit a magazine, but it was probably too complicated for him to explain. Instead, life with Dad really started when he came home, or in upstate New York on the weekends. On occasion, I did accompany him to his office and would rifle through all the promotional albums record companies would send him for free. But for the most part, what was going on for him in the office was a mystery. All I would really see was advanced copies of the coming issue perching on our coffee table. In revisiting this period as a filmmaker, I was given full access to understand how, what, where, when and why these advanced copies were made real. I became involved in appreciating what it was to make what my father called, "a modern magazine." I was able to understand better the pressure, frustrations, and achievements my father undertook. Even though most of this was transparent at the time, I wasn't that interested in magazines other than Mad Magazine, and if lucky enough, the occasional forbidden Playboy. BUREAU: Does being the son of a famous and talented individual make being one yourself easier or more difficult ? Tom Hayes: I think part of my pedigree is to downplay achievement. My father did enjoy some limelight as an occasional guest on the Merv Griffin Show or as a guest speaker at a College or University. He seemed always more interested in making others shine more than he did himself. By doing so, he knew it would reflect in his magazine, which would in turn be the reflection of himself. In making this film, a certain amount of attention has been steered in my direction, but like my father, its more fun to let the work shine first. Having the film run four shows daily here in New York has given me the chance to see a multitude of audience reaction. It's also been interesting to see the difference between audiences, because each one has their own collective personality. BUREAU: You played all the key roles within the production: write, direct, edit, produce, etc… What are the pluses and minuses of having total control of a project ? Tom Hayes: Doing all jobs in the production process, or at least most of them, was not how I would have preferred to make this film. If I had waited for funding to start the production, with the ability to hire key personnel, I would have probably missed out interviewing some of the amazing voices that make this film so valuable. But working alone allows you the freedom to work on your own schedule, and the flexibility to change anything at anytime. Editing a film about an editor, causes you to edit even when you think you're done. I was editing right up until the last possible moment, and still editing in my brain. BUREAU: There seems to be a real revisionist experience happening in America regarding the times that your father was making culturally important decisions: Norman Mailer, The Black Panthers and especially The New Journalism of Gay Talese, Tom Wolfe and The so called beatniks. Although the film touches on your views briefly, what was it like looking back at your father's story ? Tom Hayes: The onslaught of electronic media devices emerging, and where lead time is no longer an issue, the profound statements Esquire in the 60s made then become harder to make now. In essence, there are just too many outlets where too many points of view are constantly flooding the media. As such, magazine journalism fails to stand out against all other media as Esquire did in that time. One could argue that journalism has become more provocative than ever, where terrorists are manipulating broadcast media to cause thought through shock. Journalism has either transgressed or evolved into a few simple key strokes that cause a reaction similar to what George Lois' covers did in the 60s. All that differs are the tools. In the 60s, it was magazines, and Esquire led the pack with shock and awe. BUREAU: Immediately after watching the film, as an Editor of a cutting edge Arts Publication, I started to see how we could push the envelope a little further. Tell us more about how your father appeared to be the most unlikely guy to push the culture the way that he did. Tom Hayes: Numerous journalism experts will agree, to be an outsider is a winning ingredient for a successful journalist. It at least increases your potential to be curious. Dad was from North Carolina, a reserve in the Marines, and the son of a Southern Baptist preacher. He was also a social progressive. Founding Editor Arnold Gingrich saw this background to be the perfect combination for a successful editor, and gave him that chance. For Dad, blue jeans and The Doors were not part of the culture he would directly reflect. He did think knowing what was happening on college campuses was important, and would regularly send his editors to find out. But his interest always came from the curiosity of an outsider, which made everything he reported on more incredulous. BUREAU: This is another documentary that seems have the ability to be much longer, with the new dvd formats available, will you add outtakes or extended interviews in the future ? Tom Hayes: The DVD release will include "Bonus Features" including extended raw interviews with George Lois, Gore Vidal, Nora Ephron and others. All of this is still in development and still to be confirmed. BUREAU: What would you say was the most gratifying experience in honoring your father and educating as well as entertaining the public with this personal story ? Tom Hayes: The most gratifying experience is always to watch the audience, especially the animated ones. As mentioned earlier, each audience has its own personality, so to get a room full of people who "get" every nuance of humor, or other emotion, is the most priceless reward you can have. BUREAU: What are you working on next besides supporting the Release of "Smiling Through the Apocalypse" and where can our readers interact and view your past present and future projects ? Tom Hayes: I am in development with a biopic about a well known jazz musician from the 30s. It will be a completely different experience in that I would have much better control over the storytelling, but in a different way. As for seeing some of my past efforts, some of the hundreds of television news magazine stories I have produced for German TV in the past 23 years will be posted on my website www.telemotions.net TELEMOTIONS LLC 405 East 54th Street,Hayes http://TeleMotions.net FirstLookFilms.com BUREAU OF ARTS AND CULTURE MAGAZINE - THE SUMMER EDITION LINK: https://www.dropbox.com/s/jzzlwpmjciu572o/SUMMER%20BUREAU%20Magazine%202014%20.pdf THE BUREAU LITERARY EDITON with THEY CALL IT THE CITY OF ANGElS PART TWO LINK : https://www.dropbox.com/s/f7z2p01ic4vyr3y/BUREAU%20MAGAZINE%20EPISODES%20One%20to%20Five%20They%20Call%20IT%20The%20City%20of%20ANGELS%20Part%20TWO.pdf DOWNLOAD THE LAST SIX ISSUES AT EDITORS SITE: http://joshuatriliegi.wix.com/joshuatriliegi JOSHUA TRILIEGI 323 734 2877 LOS ANGELES BUREAU OFFICE ABOUT THE BUREAU OF ARTS AND CULTURE MAGAZINE : This correspondence is privileged information for the selected addressee and no one else. Regarding an Electronic Interactive Version of BUREAU of Arts and Culture Magazine. 'Electronic' meaning it is read with a device, 'Interactive' meaning one can actually tap the featured interview or image & listen to extended Audio Interviews & Links to The Source itself: Website, Gallery, Musical event or the purchase point for advertisers. BUREAU Magazine can be read without being on-line, though it is much more useful and interesting if you are actually on-line or you may visit our website and enjoy a compendium of Interviews, Articles, Reviews and Essays. We suggest you view the pdf in the Two Page with Cover and Full Screen Mode options which are provided at the top of your menu bar under the VIEW section, simply choose Two Page Layout & Full Screen to enjoy. This format allows for The Magazine to be read as a Paper Edition. The BUREAU of ARTS and CULTURE has been a respected ART Institute since the early Nineteen Nineties. Many of the original BUREAU members have gone on to have stellar careers in The ARTS. Artists, Filmmakers, Musicians such as: Lucas Reiner, Spike Jonze, Alex McDowell, Martin Durazo, James Gabbard, Christina Habberstock, Lorna Stovall, Heather Van Haaften, Chris Greco, Don Harger, Ron Riehel, Joan Schulze all had very early collaborations with The BUREAU Projects. Our relationship with ART spaces who have been interviewed / reviewed by BUREAU: LUIS VALDEZ, GAGOSIAN, Jack Rutberg, Susanne Vielmetter, Tobey C. Moss, Shoshana Wayne, Known Gallery, Sabina Lee, The Bowers Museum, The Geffen Contemporary, Hammer Museum, RED CAT, The Skirball Cultural Center, Museum of Contemporary Art in L A, San Diego and in Santa Barbara help to create well earned future partnerships, distribution as well as a 'word of mouth' that is priceless. Collectively, they have been in the business for hundreds of years. Not to mention the thousands of public readers that have received the magazine on their door steps. Our coverage of the MIAMI Art Fairs with in depth audio & slide presentations allow us to create a lasting relationship with the ' National Big Tent ' art events that allow for fundraising activity. We recently interviewed the Grammy Museum and are creating a lasting relationship. The same pattern applies for THEATER: Edgemar, LATC, Circle Theater, Cygnet, Robey. MUSIC : The Echo, The Redwood, The Roxy, Grammy Museum, Origami, Vacation, Record Collector, LA Philharmonic & The San Francisco Philharmonic. BUREAU has created relationships with Film, Music and Art festivals, National & Local Radio Stations, continuing the tradition created with BUREAU Film projects and the utilization of Print, Radio and Web to facilitate publicity, fundraising & awareness. Triliegi Film programs were discussed on KCRW 89.9, KPFK 90.7 and Indie 103 FM within the non profit umbrella in the past and we plan to sustain & develop those ties. We were invited to Cumulus Radio's Commercial Rock Formatted KLOS 95.5 FM [ Bureau mentioned on air] to consider an affiliation. We recently interviewed Miles Perlich of KJAZZ 88.1 FM and we were given tickets to Classical Music concerts by K-MOZART Radio & we invited a guest reviewer to attend. The BUREAU of Arts and Culture Magazine will continue to create a lasting relationship with the Art Institutes, Media & Schools that drive the Arts in America. We distributed Paper Editions to OTIS Art School & The Campus at USC to support alignments with faculty, staff & students who will become future entrepreneurs & participants in the Arts. Our upcoming interview with Barbara Morrison and her connection with UCLA Jazz music department with Herbie Hancock & The Thelonius Monk Institute is solid.We delivered the first edition of the magazines to: Beverly Hills, Pacific Palisades, Palos Verdes, West Hollywood, Los Feliz, Malibu and The beach communities: Hermosa, Redondo & Manhattan beaches. We received financial support from the arts & culture communities by creating a dialog about the arts, reviewing their art exhibitions, theater plays & films. Art Galleries from Culver City to Bergamot Station to Glendale approved of and supported Edition One. Now we have an online READERSHIP that grows exponentially. BUREAU sites in cities such as Los Angeles, San Francisco, San Diego, Santa Barbara, New York City and very soon Seattle, allow for anyone, anywhere, to see what is going on in the arts in that particular city. Which we feel will allow for us to apply for support, distribution and grants within those particular cities and for local businesses to buy ads. We add new cities quite often and create a lasting relationship with the established Arts Foundations in ART, MUSIC, THEATER. Which usually includes Classical music, Art Galleries, live Theater and Film. We added Surfing , Skateboarding and Biking to get the interest of a younger readership and indeed it worked. We have also celebrated those subjects with our fundraisers, selling artworks in relation to Biking & Skating. We partnered with local & national businesses that assisted & we provided logo affiliation & coverage on the web: Chrome Bags, Jarrittos, LA Skate, DTLA Bikes and The Los Angeles Bikers coalition, to name a few. Established Artists from diverse cultures also participate in the BUREAU of Arts and Culture Exhibitions and Interviews. We brought together Native American, African American, Chinese American, Armenian American and Mexican American elder artists in a single exhibition: a financial as well as critical success with "Gathering The Tribes: Part One". We hand delivered the first paper Edition throughout Southern California and select neighborhoods in San Francisco. We introduced the magazine & created Popular Cultural Sites. We are an official media Sponsor for L A Art Fair & PHOTO LA Photo Fair. We extensively cover and or interview galleries at Art Fairs such as, Platform LA, Pulse LA, Untitled Art, Basel Miami, Art Miami, Miami Project, LA Art Book Fair. We provide an extensive overview, Audio walk throughs, visual presentations with up to 100+ images per on-line feature.