Filed under Published Work

Over the Rainbow

 

In musical circles, singer-songwriter Rufus Wainwright is considered a genius, a “baroque pop” genre unto himself. Leonard Cohen, Sting, Morrissey, Jools Holland, Alanis Morissette and others can’t heap enough acclaim on him. A decade ago, Rolling Stone magazine pronounced him Best New Artist, and Elton John has called the 34-year-old “the best songwriter on the planet.”

But while his music soars, the man has howled in the gutter. It took years of monumental partying and substance-fuelled hard-living to work an alchemy that has forged talent into almost-sinful accomplishment. A 14-year-old rape victim in London’s Hyde Park, a drug abuser overloaded with insecurity and tormented by demons, Wainwright’s a genius who inhabits a world of dark harmony. But he’s learned to leave the shadows and now feels that his worst days are behind him.

Seven years ago, stricken by temporary blindness due to crystal meth addiction, Wainwright, candle in the wind, turned to pop music’s agony uncle, Elton John, for help.

“When you’re really down in the grips,” he tells Prestige Hong Kong, “there’s really no sense of reality, or moral imperative, and it’s really up to supernatural powers at that point. Or Elton John.

“I called him when I was very, very distraught and really didn’t know what else to do. He immediately confirmed my suspicions that I had to go to rehab. The interesting side of that story, for me anyway, is that he had done that a few other times with other people, but I was one of the only people who actually went right away.”

His destination was the Hazelden treatment facility in Minnesota, where he detoxed and underwent therapy for a month. And while it’s not clear that he’s since stayed entirely upright in the sobriety saddle, his tone implies serenity as he muses on the epidemic of celebrity substance abuse and, while commiserating with chronic casualties such as Lindsay Lohan, suggests that they, too, might benefit by a call to mentor John.

Born with the lyrical equivalent of a silver spoon bracing his tonsils, Rufus Wainwright is the son of folksingers Loudon Wainwright and Kate McGarrigle, who divorced when he was just two years old. Almost from the toddler stage, he regularly entertained house guests with a precocious rendition of Judy Garland’s Somewhere Over the Rainbow.

Now he’s a global attraction. With Wainwright well into the second year of a continent-hopping tour, ticket demand from Barcelona to Melbourne to Tokyo has promoters scrambling for bigger concert halls and additional dates. His latest CD, Release the Stars, sold 54,000 copies in its first week in the UK and US, a breakthrough for a so-called popera singer whose original-music record sales until now have never matched his name and growing appeal.

Openly gay since adolescence and a gay icon himself, Wainwright has performed sold-out Judy Garland tributes in London, Paris and New York, recently concluding a final concert-length selection of Garland songs at the Hollywood Bowl and ending the show with her lyrical yearning for bluebirds over the rainbow.

All the success and plaudits raise the question: Is it hard to be humble?

“I’m not so much known for my humility,” he admits. “I’ve worked really hard at what I do and I’m very flattered and honoured to receive the compliments. On the other hand, my favourite musicians are dead. [He cites opera giants Verdi, Wagner, Janacek and Strauss.] Those are the kind of guys that I fantasize about . . . so that I can put somewhat of a cap on the ego.”

His hubris is not misplaced. His lush baritone apart, this year’s much-heralded album, his fifth, was written while he also composed, in French, a work-in-progress commissioned by New York’s Metropolitan Opera.

Wainwright – who also plays guitar – composes at the piano but hears an orchestra in his head, which makes tuneful embellishment irresistible. He acknowledges as much while reflecting on Release the Stars. Recorded in Berlin, he had intended a modest production. “I just got there, and the next thing you know, I had this huge gilded album. It was kind of an amazing experience because I didn’t intend it to be that way.”

Going to a Town, the album’s lament-for-America track – he was born in Rhinebeck, New York – is another example of off-hand inventiveness. “I wanted to spend time somewhere that had been destroyed and had then gotten over it and recreated itself. I felt that New York was a little bit prissy. 9/11 was a huge tragedy, but this whole thing of ‘we’ll never be the same’ and ‘we’re under constant threat’ is, I think, a little much compared with the rest of the world.

“I had 10 minutes to spare one night before going to dinner and I just sort of sat down, and I guess all those thoughts had been swirling around in my subconscious and next thing you know that song kind of came out.”

Such casual creativity defies categorisation. While Neil Tennant – lead singer of the Pet Shop Boys and executive producer of Release the Stars – says Wainwright’s basically a folksinger, friend and rock musician Teddy Thompson describes him as almost a genre in himself.

Wainwright’s well aware that he sounds like no one else. “I am definitely in a genre by myself,” he says, “for better or for worse. I don’t use that as an emblem of my greatness. I’ve always tried to be different, and that was very unusual for a long time. I spent most of my time in an industry that requires that you kind of fit into a certain category and plug into a certain audience. I never ever wanted to do that. If anything, though, I want to be known as a great songwriter.”

Throughout our conversation, I get the impression of affability fighting for equal time with the accolades. Touched by the shadow of mortality following his mother’s brush with cancer, he dedicated the latest album to her; he’s still not immune to insecurity and cites his anxiety at his first meeting with the iconic Leonard Cohen, who was in his underwear and chewing sausage which he fed to an injured bird. Wainwright also frets about his looks, annoyed with his “self-loathing body dysmorphia thing.”

When I tell him he reminds me of a young Oscar Wilde, he laughs, but he’s not amused. “Well, I hope I’m a little better looking than Oscar Wilde.” I tell him it was meant as a compliment. After a moment’s silence, he says, “Okay, I’m a prettier Oscar Wilde.”

Just as well I didn’t mention Dorian Gray.

-30-

Story by Graeme McRanor originally published in Prestige magazine.

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Love and Adventure on the Periphery of the Screen Trade

Lisa first made a scene on a beach roughly halfway down Mexico’s Baja peninsula. She arrived armed with the attributes I thought a love interest should possess: intelligent, sexy and she could surf.

My girlfriend didn’t like her. And the more time we spent together, the more jealous my girlfriend became.

There were questions: Why was she here? Where did she come from? And just what did my twisted little mind have in store for her?

I tried explaining to my girlfriend that she was overreacting. That she was reading too much into the situation. That Lisa was only great on paper.

That Lisa was just a character in my latest screenplay.

This did little to assuage her concerns. Surely, she claimed, Lisa had been constructed from someone, somewhere. So who, when, where?

We broke up soon after. But my love affair with Lisa – and all the other fictional characters I’ve created – remains as torrid as when it first began eight years ago, when I first typed those two magical all-capped words…

FADE IN:

It was an exciting time. I’d married an aspiring actress and we’d often chat about our collective future in film: if I went Hollywood first, I’d write her into some of my films. If she did, she’d make sure one of my scripts found its way into the right hands.

It was the perfect plot. Until some unforeseen twists and turns – fueled by character flaws and exacerbated by two struggling artists living under a single location’s roof – led to tension, a predictable dark period and, mercifully, divorce.

Aristotle would have been proud.

Depression loomed. And my writing flourished.

Six feature films, a television series and several short films later, this relationship – now by far my longest – still makes my heart flutter.

So what’s the secret? Well, maybe it’s all the role-playing. Then again, my characters are great listeners. They do what I say. They even say what I want them to say, when I want them to say it.

My characters believe in me, and I them. They trust me. They – to borrow a line I wish I had written – complete me.

I love them for that.

But I also love the feeling of a finished screenplay in my hands. At roughly 120 pages, it’s voluptuous, but never too big to bend, curl up, or fan yourself with by fluttering the bottom corner of the pages with your thumb.

Those pages get carefully three-hole punched, of course, with two gleaming brass brads carefully inserted into holes, top and bottom, the physical connection linking each story’s beginning, middle and end, its cover page proudly proclaiming its name in 12-point Courier Final Draft font and, underneath:

by Graeme McRanor

You’d be forgiven if my name doesn’t ring a bell – writers are rarely household names, even if they’ve penned some of the biggest blockbusters in Hollywood history.

I have not written any of the biggest blockbusters in Hollywood history.

In fact, I’ve never actually sold a screenplay. And after all these years, all this time invested, I’m starting to have some serious doubts about the future of this relationship.

After all, it’s never been consummated.

So how can I even call myself a screenwriter? I mean, toss a rock in any circle and you’ll strike someone who has a screenplay gathering dust on his hard drive. Everyone else has an awesome idea for one. Are they screenwriters? Don’t think so.

What makes me different? Why do I keep investing in a relationship that, to everybody on the sidelines, seems so obviously one-sided?

Because I can’t help myself.

I enjoy spending time with my characters, even if no one else ever will.

Women, particularly, do not appreciate my affliction. They do not like being stood-up because of a car chase, a bank robbery or a lengthy-but-pivotal sex scene featuring full-frontal nudity (for the lady).

Nor do they like trying to converse with a guy who just nods robotically while scribbling story ideas on cocktail napkins.

Three years ago, TINA, 30s, an attractive redhead, walked into my life. She’s a laid-back chick who, like me, spends a lot of time living in her head. So, occasionally, there’s very little dialogue.

She suggested I write a script based on my experiences as a model (what can I say, I’m a glutton for punishment). So I penned a pilot and sent it to a fledgling literary manager in Los Angeles, who signed me.

Romance, reborn!

It didn’t last. And I had no choice but to break up with him after he stopped taking my calls.

Tina and I moved in together and had a son, LONDON, bald with blue eyes. Fatherhood’s grand but, since he’s been born, it’s been tough to find time for my writing. So I designated Friday as my official weekly screenwriting day.

In 26 months, I haven’t written a word.

It’s said that parenting is the most important job in the world. I wholeheartedly agree. But it’s also tough on a relationship.

So now I’m a a single dad. And a kid needs nurturing. A kid needs a father.

Then again, so does a screenplay.

I’m talking months, maybe even years of development here. You can’t just bang one out in a few weeks and expect it to be good.

Listen to me, making excuses for them.

But then, it’s not them, it’s me. And, truth be told, the writing’s been on the wall for months now.

We’re growing apart.

So maybe a clean break is best.

Still, eight years is an awfully long time. There’s history. Commitment. And now I’m just supposed to get up and walk away from it all?

FADE OUT.

It’s tough to predict how that love story ends. No matter. Now I’ve got a more important one to tend to, starring my adorable little son, certainly the best character I’ve crafted to date.

Wait a second – that just gave me an awesome idea for a movie. It’s about an ex-model turned struggling writer who gave up on a dream so he could be a good father.

Who am I kidding? Nobody wants to see that film. But maybe I could write a book about it. A memoir. Hey, I probably should. Producers love to option those.

I could adapt it.

-30-

Story by Graeme McRanor

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Hecho en Mexico

He came at me like a reaper, skinny limbs looping like a steel bolas from a blade-thin torso. A crude plaster lay across a broken nose and the purple of a bruised right eye, caught in the beach floodlights, splashed almost to his chin. He exuded menace. I gripped the sand with my toes and, calculating his trajectory, shifted slightly right, aiming to plant a left hook on the damaged snout. Two thoughts came to mind as, shirtless and barefoot, he closed the gap: He was a fighter—and a ringer for a tanned Mick Jagger.

He struck like a storm, pummeling me upright and on the way down. Appropriately, face down and spitting grit, the opening words of the De Profundis swam in the syrup of my scattered wits, and I dizzily wondered why, in all of Mexico, I came to be the only gringo with his mouth—rather than his butt—in the sand.

•  •  •

SHIT HAPPENS. It was emblazoned on the side of our van and, I hastily told the U.S. border guard as he read the graffiti aloud, was the work of vandals. “I wonder if they-all realized the irony,” he drawled. “Just make sure shit don’t happen here…”

A flick of his head and we were away, through the diplomatic corridor that connects British Columbia to America and on to Interstate 5, a wide, noisy cataract that rolls all the way to the Mexican border. Our rusted-out Volkswagen’s assembly of greasy engine parts had been completed only that afternoon by my mechanically inclined fellow traveler, Erich, who, with a final twist of the wrench and a brevitas baptism-by-beer, had declared the chariot roadworthy.

Taking turns at the wheel, we progressed through three states of grace: the evergreen of Washington, the ochre of Oregon, and the long, broad midriff of California, all negotiated at speed with no trouble. That began in the bedlam of Tijuana, the world’s most visited border town, where the United States meets Mexico, and traffic rumbling south carries the free-trade torch of commerce and dollar-toting tourists. Coming the other way, apart from those returning to Fortress America, is the truck cavalcade bearing the pact’s cheaper goods and the diaspora of immigrants, alien and otherwise—Chicanos chasing the American Dream.

Poised to pounce on border jumpers are guards armed and togged like SWAT teams: Dogs sniff buses, cars, carts, and even hearses, and patrol largely ineffective fences. People die regularly in the pitiless void between the two countries, or in manic nighttime dashes into a maelstrom of traffic headlights. Officially proscribed, the cheap alien labor that eludes the net is soon employed and underground.

All this was of little concern to us. Our problem was that the smooth ride of the I-5 had run into the parched, crumbling abandonment that is the precarious road snaking the thousand-mile length of the Baja Peninsula. We were already treading on our third spare tire when I saw a yellow sign and bellowed: “Curva Peligrosa?” Erich’s shrug was still in the making when brakes squealed, rubber shredded from the front wheel, the van lurched off the road, and we concluded our first Spanish lesson: DANGEROUS CURVE.

Like highway workers and gas stations, tire stores are few on the Baja. But along came Juan, clanking in an old Ford truck belching bluish exhaust. He had a tire. “It lives at mi casa,” he said. His casa was about an hour away, and he suggested one of us stay with the van. Warily, Erich hopped in with Juan. “Don’t worry, I spare you,” he said, flashing toothless black gums. Too tired to wonder if the pun was intentional, I watched them go and searched fruitlessly for some shade.

Sweating on a scorching rock slab, I watched vexatious vultures screaming in a holding pattern high above. (Several years before, off the rocky shores of turkey, a Greek fisherman had explained that the vulture’s featherless head was an adaptive advantage when scavenging carcasses. I scoffed at the time but, now, thought that nature annihilated the unadaptive. and those vultures were proof.) When not looking up, I looked around: nothing but cacti, desert sentries vigilant over seeming desolation, and a van with a rim where rubber once rolled.

Hours later Erich and Juan returned with a fresh tread. time on the Baja, we found, is relative. “Thought the vultures got you guys,” I said facetiously. “Juan made lunch,” Erich piped back. Tire replaced, the pair hugged like lifelong amigos. I offered money for his time and trouble, which Juan dismissed with a wave: “De nada.”

The decrepit ferry linking the Baja to mainland Mexico is 19 hours of penance, relieved for my part by memories of Juan’s generosity; regrettably, Juan’s lunch dish was streaming steadily from Erich’s bowels the entire trip.

In Mazatlán, culture spills from a Corona bottle. We soaked it up by the case, becoming a hit with most of the local tourism workers. “Wazzup, Canada?” they hollered as our van sputtered and backfired along the strip. We became pickled legends overnight. The van’s windshield, fragmented on the Baja during a detour from the highway (most travel books warn against night driving; this is sound advice), became a major attraction for the majority of the town’s waiters. Word spread (as did the cracks), and competitors queued to see whose punch could spider the glass further. We offered a bottle of white tequila to the winner, the egregious equivalent of offering a bottle of maple syrup to a Canadian: estúpido.

This was a foreshadowing of our Waterloo. Hailed as local heroes, we behaved like chumps and paid the price when we set out to sample the nightlife. Tourist bars? Not for us. Our Mazatlánian romp would ring authentic. Forget Coronas, Cuervos, and Cool, Calm, and Collected—we partied to Mexican rock, not Rolling Stones. The natives were not amused, and pride—lost in translation—coincided with our fall.

Had Mexican Mick Jagger hit me with a fist or a hawser? Was it a kick, a chop, a mallet? Did he have hands of stone? Had I imagined him barefoot when in fact he wore hobnails? No matter. Pain, last experienced in childhood with the bite of a bullying brat, seared through me as he sought more satisfaction by sinking his teeth into my back. Like a coyote spitting fur to get at flesh, he first bit through my designer muscle shirt, cut to enhance a season’s upper-body work. Then he chomped again, and skin splitting like a pummeled piñata fueled adrenalin enough to pitch him aside. He sprang erect, dripping my blood, then pounced again, this time burrowing between fellow assailants to take a bite from Erich’s abdomen.

They may be proud, wiry, and wily, but they only lope. Canadians, under pressure, can run. In the melee, amid chants of Mehico! Mehico! Mehico!, we got up and ran.

Sunrise: A tequila shot, a tetanus shot, and then a verbal shot from the hotel’s in-house doctor. “You think you tasted like chicken?” he chortled, clearly more impressed with his wit than our courage. Our collective tails tucked firmly between still-quivering buttocks, we packed and headed back to the van, eager for less hazardous cultural experiences.

•  •  •

MEXICO IS A LAND OF PARADOX. Beyond tourists and peddlers hawking tacky sombreros, desert landscapes, lush jungles, and snow-capped mountains frame ancient ruins, vintage colonial towns, and bustling urban centers. Modern, traditional, clichéd, surreal. Someone will steal your shirt. Another will give you theirs.

“This no a dangerous area,” said Manuel, after hearing of our bruising from Mexican Mick. A mechanic, he had pulled up in a once-yellow Volkswagen Beetle to offer assistance with our van, its mechanical life stilled yet again.

Manuel, poking at the engine, added: “But, you keep going south . . . where your distributor cap?” Stolen, it seemed. Erich had missed the obvious, and I was more concerned by Manuel’s tone. “What’s gonna happen if we keep going south?” I asked. He just shrugged. “You got some bread?” French, in fact. He tore a stale end off the thin loaf, stuck some speaker wire through it, then signaled Erich to turn the key. The van was restored to life.

Mexicans believe in danger, but the imminent kind does not exist. It is fundamental to their charm—and built into their hospitality. The next town is dangerous, the one after that is home to bandidos and labrones. But their town? “No problem.” Drive to the next town expecting marauding pirates, locals will laugh and say, “No problem.” But not before warning you that the next town “is big problem.”

We caught Pedro, a practiced pirate at eight years old, pilfering cassettes from our van. His scarecrow charm outmatched our censure, and we promised not to turn him in or tell his mother. On hearing this, he crossed himself and promised eternal fealty. Erich gave him a silver bracelet (small price for salvaging Led Zeppelin). Pedro admired it for a moment, then sprinted away in a puff of dust.

At sunset Pedro—the bracelet shining on a wrist—returned with a gift of his own: a tiny iguana named Poco (little). Poco, he said, had brought him luck and would do the same for us. Although we suspected Pedro had found him prone on a stone, we played along. Poco settled in on our dashboard, and we waved Pedro goodbye. “Adios,” he said, waving his arms as we rattled away, the gleam from his bracelet no match for the one in his eye. We were miles away when we discovered the pint-sized pirate had again pilfered half of our cassette collection.

And two days later the iguana too was a-gona: Poco had disappeared.

Onward: Little did we know when we met Chris that he’d feature in our penultimate Mexican adventure. We were strolling Mexico City’s sprawling Pino Suárez avenue; he was selling timeshares. His father, an aircraft mechanic in the navy, lived in San Diego; Chris lived locally with his Mexican mother.

Chris was eager to visit his father. Well into our third month south of the border, we decided to head home and agreed to convoy up with him. Our route would take us back to the coast, across the Sea of Cortez to the Baja via that arduous ferry, then directly north to San Diego. The orange monstrosity Chris called a car was a Volkswagen Thing, a relic without seatbelts, roll bar, passenger seat, windshield, or mirrors. Its wheels were warped, its tires bald, its sole ornamentation a pair of fuzzy dice duct-taped to the dashboard. Viewing this pile, Erich suggested that Chris lead the way. all went well, and we were back on the Baja when as dusk fell I spotted a statue of the Virgin Mary along the road. Sensing jeopardy, I suggested we slow down. Chris, oblivious, opened a gap ahead just as I spotted the sign framed like a halo above the Virgin’s head: CURVA PELIGROSA.

The curve ahead had already claimed a truck laden with sardines, sending a sea of google-eyed slimes across the road. Chris hit the mess at speed, smashing a metal barrier, and barrel-rolling his Thing into a crumpled pile at the bottom of a small gorge. We looked on, dumbstruck, as Chris emerged from a pile of metal and smoke. Because there, on a shirtfront already stained by blood from a head injury, was Poco! He had survived unseen in the van, and somehow transferred his abode and allegiance to the heat-conducting metal attraction of Chris’ transport. And he had indeed proven a charm: Maria, a lovely woman who stopped to help amid the mayhem of traffic and sardine, applied duct tape to Chris’ wound, and we waited for emergency help.

Lights strobed the desert darkness hours later. A police cruiser appeared and out stepped a caricature of the peacekeeper: skin-tight uniform, gleaming black leather boots that seemed to tuck to his abdomen. Through oversized orange shades that arced across his face almost at nose level—or perhaps they were night glasses—he lit a cigarette and surveyed the scene: Metal highway barrier peeled from its posts like zested lemon; stinking, slithery sardines everywhere; a mechanical wreck in the gorge; a casualty in duct-taped turban; and three inebriated onlookers (the driver of the fish truck had long since vamoosed aboard a hitched ride). The cop’s disdain was palpable. Loathe to soil his boots in the sardine mess, he signaled Chris to approach. Wordlessly, he issued no ticket but indicated a cash fine of $40 for the damaged barrier. He dismissed Chris and crooked a gloved finger at me. As I approached, he turned his back, removed hat and glasses, and settled into his cruiser, firing the engine. He rolled down the window, leered, and flashed a V sign, just as recognition flashed across my face. “Adios, Amigo,” he said. It was Mexican Mick Jagger.

•  •  •

A TRUCK’S AIRBRAKES AWOKE US AT DAWN. We shook the vapors of Maria’s homemade wine while she cut and peeled the tape from Chris. Having attracted no emergency aid, she drove him to the hospital in La Paz—two hours, one way—while we struggled to salvage pulp from his crushed Volkswagen. Thieves in the night had already stripped the wheels. With Chris stitched and bandaged, we rolled back on the highway. Maria, flaunting her ample chest on the back of her pickup, blew Chris a kiss. He returned a sheepish grin and goofy wave. Apparently, even duct tape has a silver lining.

The sight of silver salesmen and peddlers of all things Mexican heralded the border. I bought a blanket from a kid no more than four years old, mainly to lighten a stack that, toted upon his head, canopied his tiny body. As his sister attempted to sell Erich a box of Chiclets, I sank into my seat and stared ahead through the mile-long line of traffic and entry into the United States.

We had said goodbye to Chris in San Diego and were north of Los Angeles on the seamless I-5 when I heard the rattle. So did Erich. He lowered the pipes on Zeppelin, cocked his head again—and before he’d even made the shoulder, flames had engulfed the rear-mounted engine. He grabbed the bags, and I rescued Poco and my new blanket. Within a minute our van was an inferno. Inexplicably, neither of us appeared grieved. We saw, I think, a carefree part of life consumed—yet amid the flames a final forging of an experience that would endure. But for now we had our bags, a blanket, and Poco! And the prospect of a long Greyhound bus trip home.

The California highway patrolman arrived just before the van’s shell collapsed. He stepped from the car and, hooting, read those rapidly perishing words scrawled on its side. “Shit happens,” he howled. “What a trip!”

-30-

Story by Graeme McRanor shortlisted for a CBC Literary Award and originally published in Stardust and Fate: The Blueroad Reader, an American anthology of travel stories (Blueroad Press)

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Portrait of the Artist as Mean-Streets Hustler

On a mild evening in early September, Ken Foster – his black sweatshirt’s hood framing a gaunt face partly concealed behind a scraggly beard – hovers on the periphery of a Vancouver pub’s patio clutching a medium-sized painting.

The piece – measuring about 36 x 36 inches – is a mix of spray-paint and charcoal pencil, the scrawny artist explains to a backpacker at the patio’s fence. It’s a combination he clearly employs regularly, evidenced by black-stained hands and a generous-palette’s worth of overspray splattered on his baggy brown cords.

Many of the pub’s patrons – some conversing in foreign tongues – ignore him. Others offer a glance and a disinterested shake of the head. None of the body language gets lost in translation: pitcher not picture.

Upon closer inspection, however, the piece – a dark, desolate view of an alley – is skilled and intricate. On the bottom of it, scrawled in charcoal: “K. Foster”.

Drug addicted … schizophrenic … artist. Besides draught beer, to most folks sitting on the patio, that might as well be the order on this night. To the casual observer, Foster’s just a homeless dude trying to hock a painting for cash.

“I’d be happy with 50 bucks,” he says to another about a piece that he claims took three hours to finish. “But I could go lower…”

On the street, things can always go lower.

There are others on scene – a doorman, a banjo-playing hipster-type and a talented freestyle rapper – who approach Foster, say hello, admire the work.

In those circles, he’s a legend, renowned for his talent and prolific output: The 39-year-old Foster paints up to eight pieces a day and has been selling it on these streets for nearly 20 years.

On this night, though, Foster lopes away, the painting still hanging from his hands.

Foster is a hustler: artist, agent and salesman rolled into one. Publicity doesn’t pay the bills; paintings do.

His canvas? Anything he can get his hands on: Styrofoam, discarded wood and plastic pillaged from furniture store dumpsters, dirty alleys, rundown streets.

Geographically, it’s not far from Emily Carr University of Art + Design on Granville Island to the Roosevelt Hotel, one door west of Carnegie Library at the corner of Vancouver’s infamous intersection at Hastings and Main streets. Foster, who grew up in North Delta, attended the school for almost a year, mostly to socialize. “Looking back, I probably could have gotten more out of it,” he says.

“You looking for rock, buddy?” It’s the last question posed to me on the rainy street before getting buzzed through two locked doors into the hotel. Visitors must sign in so the night manager escorts me up to his second-floor office, where he takes my licence and records its particulars. A computer monitor displays black-and-white images of the street below and, on the counter, within easy reach of the doorway, two open boxes of unused hypodermic needles.

“I’d be wary of going in Ken’s room,” the manager says. “Bugs … But don’t tell him I said that.”

No matter. Foster offers the same warning as he points to his room’s paint- and charcoal-stained door. “You can go inside of you want, though,” he adds.

Getting inside is the problem. The stench of urine mauls the nostrils as the door opens to a shin-deep sea of scrap: disused painting supplies, cardboard boxes, discarded paintings, signs, clothing, stained pillows and garbage make navigating the tiny room perilous. A cockroach rambles across the wall. “You should see them run when you turn the light on,” he says, laughing.

Outside in the hallway, Foster sits on the stairs eating mashed potatoes out of a Styrofoam bowl. He doesn’t know how to use a computer and seems surprised to hear that he has almost 500 fans on a Facebook page dedicated to his work. “I don’t even know what that means,” he says, between bites.

One of his admirers, music producer Brian “Stroker” Deluca, met Foster on the street while running a studio in Gastown and owns 17 of his pieces. “Very creative, insightful,” DeLuca says of Foster’s work. “There’s a lot of stuff going on, but what I like best about it, is that it’s not always entirely polished stuff.

“He tends to do it on scrap pieces, whatever he can find, and sometimes a lot of the pieces are really rough around the edges, and that I think would be a reflection of where he’s at. Sometimes he’ll be at the top of his game, feeling good, and he’ll have some real sharp looking pieces. But other times, you can tell he’s at his wit’s end and things aren’t going so well … but a lot of emotion comes through on those particular pieces.

“Every piece tells a different story … Every time I buy one I wonder if it’s the last time I’m going to see the guy.”

“I don’t realize that when I’m painting them,” Foster says about his darker work. “But when I look at them later I see things that make me realize I wasn’t in a good place.”

Foster describes his style as hip-hop tossed into a dumpster with the good parts blown out the back of it. “Graffiti mixed with [H.R.] Giger and elements of [M.C.] Escher,” he adds casually.

Foster’s friend Matt Reader boasts that he can make $200 a day selling it. “I don’t know any artists who make that,” he says. Looking at Foster’s frail frame and squalid surroundings, it’s obvious where most of that money goes.

“Drugs have been a companion the whole time I’ve been on the street,” he explains. “It’s me and my drugs. That’s my social structure. It’s how I reward myself and how I space time.”

A commission is agreed, the sole stipulation being that it be something on the street.

Two days later, Foster – who’s hacked at his beard and now features a braided-like mohawk – shows up in a Chinatown alley with the finished piece. Using ink from a pad and his fingernail, he’s created a phenomenally detailed alleyway on the backside of a foam-core for-lease sign. In the shadowy foreground, on the right, a lone figure smokes against a wall. The alley itself is a forbidding tunnel; but the far end of the vortex yields to the brightest part of the work. A gleam of hope, perhaps?

“I have a lot of amazing ideas and I know a lot of people would appreciate them,” Foster says. “I’d like to have my own studio and a place where I can do shows.”

Finding that won’t be easy: “There’s not an hour in the day that I’m not working,” he says. “I’m always stashing things, trying to get business. I still got to walk around for hours to try and get things sold. I guarantee that no one is this city has worked harder than me today.

“My feet are bleeding.”

He hands over the piece, pockets the price and shuffles away. For now, anyway, he’s heading back towards the Downtown Eastside.

-30-

Story by Graeme McRanor originally published in the Vancouver Sun on October 12, 2010

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Our Fathers

As a reporter for a suburban Glasgow weekly in the early 1950s, my father Mike was assigned to cover the annual Jan. 25 supper celebration that marks the 1759 birth of the iconic Scottish poet Robert Burns.

It was, he would tell me a half-century later, a night to remember, particularly as he was unable to function for much of it.

It was a town hall affair of abundant haggis, poetry, song and whisky galore. Seated to his left was the farmer John Hodge, an old friend of my grandfather Hughie. Early in the proceedings, dad indicated to Hodge that he was not a whisky drinker. “Och, it’s the water of life, laddie,” said Hodge. “I’ll see ye safe.”

It was late when the festivities ended and only then did dad – by now in the critical stages of what Glaswegians term the whisky wobblies – discover that the transport home was aboard a vintage 1945 Ferguson tractor that doubled as Hodge’s preferred off-farm motoring.

After propping dad up in the rear-facing metal seat, Hodge looped a rope around him and then under his own armpits. “We’ll stop by the farm for a nightcap,” he cried as he fired the tractor into the cold night air.

There, Hodge’s formidable sister Nan appeared, informed him that she’d confiscated tractor and car keys and that he’d better find a way to get “this boy” home as surely his mother would be worried sick.

Outside the farmhouse, dad collapsed. He could still see and hear but was paralytic –flat on his back staring at the stars – when Hodge appeared leading his big Belgian mare called Nance. Hodge heaved my father onto her back, roped his hands and feet under her belly and then mounted up directly cross-country.

As they exited a field that bordered the main Glasgow-Edinburgh road, Hodge encountered local policeman Sgt. Dan Hastie who was on his routine nocturnal bike patrol. “That the reporter you have there?” he asked. “Aye, needs his bed,” said Hodge. “Best place for him,” murmured Hastie. “He’ll no be taking any notes today.”

True enough.  But he would take many notes in the ensuing years, eventually emigrating to Canada and, via Ottawa and Edmonton, continuing a journalism career at the Vancouver Sun.

Just before he turned 40, he was editor of what was then called the Leisure section. And it was there that dad would write his part of a spread that also featured three of his colleagues and appeared Friday, Jan. 3, 1975, called Going on for 40: Four views on four decades.

He wrote: “The birth certificate certainly looks its age. Like a winter rose, it is grey, cracked, delicate. Unpeeling it, one appreciates that dust-to-dust business. A glance confirms that May will indeed close the fourth decade.  Another glance – and a wee bit of calculation – discloses a fact that leaves me speechless…”

Viewing the document, he calculated that he was born exactly five months after his devout Catholic parents’ wedding. So he wrote a letter and popped it in the overseas post, because, well, that’s what people did in 1975.

Hughie responded (presumably months later):

Have you any idea what was going on in 1935? Japan and Germany withdrew from the League of Nations; there was a civil war in Greece, which resulted in restoration of the monarchy; Germany resumed conscription; severe dust storms swept North America; Mussolini’s troops swept into Ethiopia. And you want to know if perhaps you were born a trifle early?

You think I can remember trifles from almost 40 years ago? Can you?

Anyway, at your age you should be up to more than peeking at bits of paper. Are you aware that when your mother was 40 you had already turned 21? I remember that.

You’re only 40. In another 20 years you’ll have more sense. I’m 66 and I take life like the long-distance runner, who proves the wisdom of silence and the value of pace. And look at your grandfather: he was still running at 90. Unfortunately he ran into a bus. And your granny was more than a little wistful when she said: ‘I always knew drink would be the death of him. And him in his prime.’

My dad wrote in his story that he hoped Hughie was displaying a familial trait: never taking life too seriously. At any age. My grandfather concluded his letter with this postscript:

About that birth certificate thing: you want I should call in Scotland Yard?

Hughie died when I was a teenager, his wits ravaged by Alzheimer’s. I regret only knowing him as old.

But, as he’d have said, that’s life; feet point forward for a reason.

“Like a good boy I’ll take Hughie’s advice,” my dad concluded in 1975. “And keep cruising.”

So far, so good. This year, in a blink, he’s 75. And now, as I approach 40, it’s my turn to reflect. My son, London – dad’s only grandson – turns two in August.

Dad and I (with London in tow) see each other regularly. During our chat about the story he wrote on turning 40, I wondered when London would realize that his parents were never married.

“Times change,” my dad mused.

They do. And I’ll probably tell my son that over a 3D videophone some day, before changing the subject and asking him how to get its hologram clock to stop flashing 12:00. Maybe that’s when I’ll tell him the rest of the story about his grandfather’s memorable reporting assignment and how it concluded:

Still draped immobile over Nance’s broad withers, he could squint enough to see a light in an open window when they clattered from cobblestoned Main Street into the cul-de-sac of neat semi-detached houses. Hodge called: “Is it yourself, Hughie?” “’Tis too, John,” Hughie replied.

Hodge dismounted. “I have your boy here.” Hughie’s response sounded far away and hardly overlaid with concern: “I see that, John. Is he dead?”

Hodge, a big strong man, bundled him like a bale of hay into the cuddling arms of Hughie, equally big and strong. Realizing perhaps that he’d been delivered to the embrace of the most lovable man he knew, he passed out.

Happy Father’s Day, everyone.

-30-

Story by Graeme McRanor originally published in the Vancouver Sun in June 2010

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