Passing the Torch

A couple of years pre-pandemic, I was yearning for the good old days of my university life, back when coffee shops and folk music was the thing. I told my wife, Ruth, that I wanted to find a space and start up a coffee shop that could have open mike nights once a week. Ruth, ever the moderating influence on my enthusiasms, suggested that this would be a big time and money investment and might not be the fantasy I want to live. So we came up with an alternative.

Our first poster/announcement.

Wellington Community Hall is just a short block from our home. It’s a classic building, rich in heritage, and still in constant use for seniors dance classes and Brownie meetings. We came up with the idea of putting on an open mike night there once a month, just to find out whether I enjoyed it as much as I enjoyed the fantasy. Thus was the Stage Fright Cafe born.

The name was suggested by my friend Timothy Von Boetticher, a brilliant song writer and musician with a history of running open mike nights, plus a family of talented wife and children. Among my favourite people.

The hall reeks of history, but it’s a very stark environment for a coffee house. It did have a great sound system and plenty of small tables and chairs. I made red table clothes. We brought in our own lighting – my Chinese photography lights, a couple of work lights, electric tealights for the tables, and a rope light to add some colour. We decided not to use the stage. I wanted a more intimate relationship between the performers and the audience, so our performance area was set up in front of the stage at floor level, defined by two long tables where instruments cases could be left. The transformation was pure magic. But the best part was the support from friends and neighbours.

Two of our regulars in performance.

Dave Merchie, who was in charge of the hall at the time, volunteered to run the sound system. Kerwood and Jess, who had owned a restaurant in Vancouver before coming to Nanaimo, volunteered to take charge of the drinks and snack food. I explained to our first audience that they had returned to 1962, and the coffee would be ten cents a cup. The snack food was similarly low priced – banana bread with blue berries that I baked the night before the event, cookies baked by Ruth, fresh popcorn, a veggie platter, hotdogs, and grilled cheese sandwiches. Nothing costing more than a buck or two.

My famous blue berry and banana bread. An open mic night favourite.

These three wonderful people, Dave, Kerwood, Jess, plus Ruth and myself, became the operational crew. Ruth took charge of the performer list and the cash. The hall gave us a great deal, since we were contributing to their mandate of community involvement. So the rent was eighty bucks a night, but only if the donations at the door and the food money covered more than our expenses for food.

The next thing we needed was performers. The concept, as the name implies, was to provide a venue for amateurs, and my old friend J. Douglas Dodd had students in need of microphone and audience experience. I didn’t really appreciate how terrified some of his students were at the very thought of standing alone before strangers and performing, but it was delightful to see the change as they settled down and became more comfortable.

Nico Rhodes doing piano back up for one of Doug’s students.

We attracted a few pros from my pool of friends, most memorably Rick Scott and Nico Rhodes, Joelle Rabu, Timothy Von Boetticher himself (who used the occasions to try out new songs), the entire Von Boetticher family band, and Sue Averill who runs another open mike night with a different agenda. But most of the performers were seasoned amateurs who had played for years in their dens and living rooms without ever showing off what they could do. It was an eclectic mix, and amazing, joyful fun. We ended up with both regular audience members, and regular performers, with delightful surprises each session.

Tom and Jerry in performance, followed by Barry Farrell, one of our regulars.
Zale the MC. My job was to do stand up while performers prepared. I tell stories.

But… after a couple of years of setting up and breaking down and acting as the M.C., I was frankly getting tired. I think our regular audience, for whom I am eternally grateful, were also getting a bit tired. Many of Doug’s students aged out of classes, some moved on to professional training and careers. The pandemic gave me an excuse to shut the show down and take a break. I was not sure whether I would ever want to do it again. Been there done that, eh.

But the, last week, Hank Ketler, one of our regular and much admired performers, he of the mellow voice and competent guitar, called me to say that there was a new musician in town who wants to get involved in the scene here. He brought Linda Lavender (real name. Really!) over to meet me. She is just a delight, both in and as a singer song writer. So plans are in the works for another revival. It’s too early, with Omicron filling hospital beds and spreading, but I’m confident that the show will go on, eventually.

Linda Lavender with my kind of music. Give her a listen, eh.

I told Linda and Hank that I would support their efforts, but I don’t have it in me to be the main man any more. Too many other interests taking my time*. But they have agreed to take charge of the management. Ruth and I will set things up, at least for the first couple of shows. We’ll see how things go.

Linda and I are also talking about teaming up to rehearse her new songs and fine tune my fiddle backup. It’s exciting. All of this is exciting.

*So, what is it that is filling my spare time these days? What could be pulling me away from community involvement and public music? Well… here’s a short list of current projects. I’m going to take another run at making bodhran rims. I made two of the Irish drums before I went to China, but I didn’t manage to get the traditional steamed yew rims perfectly round, resulting in slack rawhide goatskin heads. Since returning home, I’ve taken two cracks at making good rims, with no real success. So that’s on my mind. Then there’s my plans to make a wooden pasta rolling machine. The shiny stainless one I bought on line is simply too small and inadequate. Next I’m going to make a fretless gourd banjo. I’ve got the gourd seeds in potting soil right now, and by the end of the summer I’m hoping to have a selection of gourds. But lately I’ve been killing myself down the Sketchup rabbit hole, staying up until five in the morning to learn that challenging CAD program, an effort that has my neck and shoulders in pain. Of course there’s still the fiddle group once a week in Qualicum Beach, Oceanside Jammers, and zoom sessions with my friend Dave Clement in Winnipeg every Monday to work up new Celtic tunes. I don’t lack for interests and excitement.

My young fiddle buddy, Kipling, in the center of the Ocean Side Jammers session. I think my next post may be about our Scotland trip. She’s now the owner of my wonderful Mauritzio Tadioli violin.

And there’s more, but that’s for my next installment.

The Name Thing (Why am I known as Zale Dalen)

I thought I had covered this in an ancient post, but if so I can’t find it. Today my friend Paul Stallion in Winnipeg wrote to say: “Tell me again (I’m pretty sure I’ve been told before), where did the genesis of your name come from?” So here’s the story:

I was christened David James Scott – David after my father, David Henry Scott, and James after my grandfather on my mother’s side, Lieutenant Commander James Lauden Bromfield, RN. All good and honourable names. In those days it was traditional to name babies to honour their living relatives.

I went through school and into university with the name David James Scott. Then I met my first wife, Rena Bishop. She told me that she had been christened Gwyneth Bishop, but her parents had become Kabalarians when she was twelve and had changed her name to Rena. Here’s a link to the Kabalarian website, which of course paints a flattering picture of their cult. I always found it interesting that they claim to be based on the Kabbalah, “an esoteric method, discipline, and school of thought in Jewish mysticism” which claims to predate religion, though the cult was founded in 1930. In any event, the present day Kabalarians believe a complicated system of numerology which posits that a person has a life path, determined by their date of birth, and some kind of mystical resonance with the numbers derived from their name. Each letter in a person’s name is given a number from 1 to 9, but starting over after the letter ‘i’ with 1 again, so that the letter ‘j’ would be counted as 1 and the letter ‘k’ would be counted as 2. Taken in total, but not exceeding 9, these number give a person’s name a numerical value which somehow resonates with a number derived from their birth date. They don’t care now the name is pronounced. It’s only the letters and the final number that counts. If this sounds like improbable nonsense to you, then you agree with me. Utter bollocks.

It’s not just a person’s birth date and name that matter to a Kabalarian. Every other number in their life matters – their street address, their license plate, the number assigned to the current year. It’s all considered and calculated. Life can get quite complicated. An 8 birth path going into a 9 year can be scary for them.

At any rate, I didn’t hear much about the Kabalarians after I met Rena. We dated, lived together, got engaged, and finally married in 1971. She didn’t talk much about the “Kabalarian philosophy”, other than the occasional mention that we were in such and such a year, or our address added up to such and such a number (which might mean that it would be prone to electrical problems or water damage). Rena was, and still is, a brilliant woman, the kind of person who studies university level physics for fun. I’m sure she recognized how silly the beliefs of her parents were, or at least would appear to skeptics like me.

Then, in 1972 or 1973, Rena’s father died. He had been the person in her life who told her how the world was glued together, and his death left a huge hole. She started taking courses at the Vancouver Kabalarian center, and spending money on their lessons. Soon she was deep down the cult rabbit hole. I remember one occasion when she went in to buy a license plate for our car. She didn’t like the number on the plate that was offered, so she asked for the next plate in line. That was refused. So she paid for the plate, walked out the door, dropped it in the nearest garbage can, then return to say that she had lost her license plate and paid again.

At this time I was having my own issues with my father, David Henry Scott. For several years, I identified as a hippie. With the rationalizing arrogance of youth, I felt that, given that society made it next to impossible to get around without my car, I should be allowed to park wherever I wanted. So I had a large parking ticket debt, so large that the police showed up to arrest David Scott for failure to pay. They could never find me, but they found my father fast enough. He wasn’t pleased.

Then he was bragging to his business associates that the family farm was free and clear. One of them checked and told him there was a lien on the property, a lien because of non-payment of his student loan. Of course, it wasn’t his student loan. It was mine. My father was furious. Such were the unintended consequences of giving me his name.

Rena came to me after one of her Kabalarian classes and told me that I would never be rich and famous with a name like David Scott. It just didn’t match my birth path. I needed to change my name.

I had two other reasons to consider changing my name. One, of course, was that my father was not happy with having the same name as he had given me. But the other was based on my belief that we are a combination of three things. We are what other people tell us we are; we are what we tell ourselves we are; and finally, we are what we actually are which is a combination in various proportions of all three determinants. All three of these elements that define us are unknowable. We are not fully aware of what other people are telling us we are, except for the broad strokes. There are so many assumptions people make and express about us that are invisible to our conscious mind. We are also not completely aware of what we are telling ourselves we are. Habits of thought maintained since childhood go unexamined, which is why psychiatrists and therapists can make a living. And we are not fully aware of what we actually are, which is a combination of all three of these factors. Nevertheless, I felt that, possibly, the best way to create a more positive, outgoing, adventurous, and enjoyable personality might be to change the label that I put on that personality, the label that I put on myself, my identity. I would rather be self created than created by the agendas of others, or even of reality. I didn’t expect to become totally self created, but I felt sure I could change the balance. So why not give it a go? (Zale Dalen – where the Dunning-Kruger Effect meets the Imposter Syndrome)

Rena presented me with a list, provided by the Kabalarians, with many rather ordinary names but often strangely spelled, like ‘Jon’, but also including stranger names, among them the name ‘Zale’. I felt that the name expressed something of my personality – distinctly different, slightly odd, unique and possibly intriguing -so David James Scott became became Zale Ralston Dalen. Rena Scott became Laara Dalen.

I hoped that my father would see this as an effort to repair the damage he’d done by giving me his name, but of course he didn’t. It took him years to process what he saw as disowning the family. The rest of the relatives were initially resistant to the name change, but with constant correction finally accepted it. I settled in to being Zale Ralston Dalen, and went about establishing a movie career.

Did this experiment in becoming self creative work as I hoped? Hard to say. Having a strange name came with its own problems, like people calling me Dale, or Zane. My first national publicity appeared in TV Guide when my name was listed as Dale Zalen. I heard from somebody putting my name forward as a director that one of the executives who would give final approval asked, “Can he speak English?” My name also gave me what I unintentionally asked for – a feeling of being cut off from my history and heritage. These problems seemed to fade as I became better known, but the feeling of being adrift came back with a vengeance when my father died.

My father died in 1986. By then we were on very good terms. I had spent weekends interviewing him and transcribing the tapes, which became an oral history of his very adventurous early life. I had long since paid off my student loans. The styles of the hippie movement had become either mainstream or comical. Everybody and his dog had an earring. A tattoo no longer indicated a complete social deviant. I had certificates from the New York Film Festival, The London Film Festival, Sidney Australia and Thesolonika. Such a degree of international acclaim had healed the wounds from my teen years, and my father actually cried when he saw my certificate from the Moscow Film Festival, “For peace and friendship among nations.” He didn’t understand that they would give that to anybody who denigrated capitalism.

Fast forward to the turn of the century. Laara and I had separated and were on our way to a divorce. My children were adults and didn’t need me any more. I’d gone bankrupt. I was about to run away to China to recover from the crash and burn that was my life. My name, Zale Dalen, had no heritage to it. Worse, it was slightly embarrassing. People who knew could recognize it as a Kabalarian name, and I wanted no truck with nor endorsement of that particular brand of nonsense.

So, despite having been Zale for more years than I was David, I went to China as David James Scott. That’s the name I was using when I met my present wife, Ruth Anderson. It didn’t hurt that the name David Scott had real value in China, where I was being hired because I am a white man and a native speaker.

I fully expected to keep my birth name for the rest of my life. But then, on returning to Canada, I Googled ‘David James Scott’ and found, or rather, failed to find, my name buried in thousands of results. Goggle ‘Zale Dalen’ and I’m at the top of the returns. That’s a hard brand to give up.

So now I have a slightly schizoid existence as both David Scott, to people who met me while I was in China, and Zale Dalen, to those who knew me before I left and after I returned. Actually, I’m even known to some as Da Dawei (Chinese for Big David), my Chinese name. That’s what Ruth calls me when she wants to catch my attention in a crowd. Apparently the percussive sound cuts through the noise and gets my attention.

As an aside, I felt that adopting a Chinese name was only fair and courteous, given that most Chinese take an English name as soon as they start to study our language. This has resulted in some very strange names, like Space Fish, Falcon, Chicken, and our Chinese best friend, Panda. If I’d known a single word of Chinese when I arrived in China I would have chosen Gao Dawei (Tall David) because Gao is a common Chinese family name while Da is not. No matter. Being Big David struck me as funny, like a gangster name, Mr. Big, and apparently strikes many Chinese the same way.

And that’s the broad strokes of a very long, detailed, and complicated story. I’ve tried to cut it to the bone, the salient points, but it really brings up many questions – why did I go bankrupt after quite a successful career, first as a movie technician and then as a director. Why did I become, as I recently posted, “Almost Famous”, and why did that all go away. But that’s nothing to do with the name thing.

Thanks for asking, Paul.

Director’s Clubhouse

I accepted an invitation from the DGC national to attend the zoom meeting of the Director’s Clubhouse this week. I am not sure why I would do that, or whether I even have the right to still call myself a director, since I haven’t set foot on an actual movie set in, oh, probably twenty years. I attended anyway.

So, feeling like a fraud, I intended to sit quietly and just listen. Maybe ask a couple of questions, which I did. My first question was: How many shooting days are you allowed for a TV hour now. This question was on my mind because the last time I ran into Neil Fearnley he was directing something at the Billy Miner pub in Maple Ridge, I think for Hallmark. He to told me he had two shooting days to put a made for TV movie in the can. Shocking. That was a time before Netflix and Amazon Prime and all the streaming video we have now. Budgets were shrinking, along with shooting schedules, and the scramble for eyeballs was in full heat. I’m not proud, but I wouldn’t have accept that kind of work, and back in those days I’d have considered just about anything. I’m even more jaded now. Maybe Neil was pulling my leg. Two days to shoot a made for TV movie should be impossible, and I did the impossible a few times myself so I know.

Neil Fearnley directing.

It took a while to get a rough answer to this question from the assembled directors, but it turned out that nothing much has really changed. They are all concerned with the number of scenes or pages they are supposed to shoot in a day, and talked about negotiating to reduce the script size and cut non-essential scenes. But it seems that five or six days for a TV hour is more or less still standard. That’s plenty tight enough.

Of course it isn’t in my nature to just sit quietly and listen when people are talking about directing. One of the women directors mentioned that she has a boat and water show coming up, and that was my cue to jump in with unsolicited advice – mainly, don’t mount the camera on the boat since that takes away any sense of movement. This tip came from my unsuccessful bid to get a fishing industry directing gig that I lost to Ralph Thomas. That was a huge disappointment to me, since I was really into boating at the time and felt I’d be right for the show. But it turned out to be a blessing, because when it came my turn to get a boat movie, “Anything to Survive”, that involved tank work, I got to see the mistake that Ralph made. During his storm sequence he had the camera mounted on the boat, and aside from the actor falling about, that removed all sense of motion. I would be shooting in the wave tank at UBC, with the upper part of the boat gimbled to the bottom of the tank and the camera shooting from the walkway. Mounting the camera on a crane with the ability to move counter to the boat’s motion gave a terrifyingly realistic sense of how much tossing about the boat was doing and let us magnify the size of the three foot waves. Add in a couple of dump tanks and the storm got very real.

Speaking of women, it was interesting to see that at least half of the attendees at the director’s clubhouse were women. Times have changed. That’s a good thing. I now see women named as director on some very big movies, including action flicks.

One take away I got from the Clubhouse was that I don’t have much interest in getting back to being a journeyman director. Somebody mentioned directing an episode of “Viking”. While I’m sure an infusion of the directing fee for doing one of those shows would fluff up my bank account nicely, I don’t think I want to do one. Maybe I could get excited about directing an episode of something like “Better Call Saul” or “Sex Education”, but in general I don’t need the tension and hassle.

A second take away from the Clubhouse was that I can feel the joy and excitement that my fellow directors feel from simply exercising their craft. I share that feeling. It really is an incredible way to make a living. Being out of that game, it’s something I do really miss.

Anybody out there got a special feature or made for script for me to consider? Yeah, I could get excited about that. Anybody? (crickets)