Showing posts with label Transatlantyk. Show all posts
Showing posts with label Transatlantyk. Show all posts

09 August 2013

"GMO OMG"


I just got home from Poland and I’m in that hazy, gauzy state of exhaustion from jet lag, lack of sleep, and having traveled for 19 hours straight.

I was at Transatlantyk, a film and film music festival in Poznan. One of the best components of the fest was a film series called Culinary Cinema. Each night, a food-themed movie would screen and afterwards, a chef would prepare a dinner that tied in with that theme for a small group.

I went to a screening called “GMO OMG.” The documentary looks at GMOs (genetic modified organisms) pushed by such biotech giants as Monsanto. Jeremy Seifert, the film’s writer and director, decided to explore GMOs when he realized he and his wife really had no idea how safe the food they were feeding their three small children was. 

Seifert talks to both traditional and organic farmers and takes an educational, rather than accusatory, tone as he lays out the effect of  Monsanto’s control on seed production and what kind of ethical dilemma that poses when a corporation decides it owns something that comes from nature and belongs to the earth. On a broader scale —and by sometimes over-exaggerating to make his point, such as when he and his sons don HazMat suits with gas masks to run through some corn fields —Seifert examines how difficult is it to get straight answers about the long-term effects of eating GMO foods (though the evidence against them grows more damning every day) and how hard it is to stay away from them, even when you are really trying to. 

He also highlights research that shows that Monsanto (and other manufacturers’) seeds that have toxins in them to keep away pests and the seeds that are “Roundup Ready”  (i.e.: can be sprayed with pesticide Roundup and still not die while the weeds die) are now becoming ineffective as nature has found a way to evolve and breed superweeds and superbugs resistant to the pesticides in the seeds, sort of how there are strains of bugs that are now resistant to antibiotics. 

It’s a must-see film for anyone who has concerns about GMOs-- and we all should. Even if you decide the jury is still out on how harmful GMOs are, it’s important to see just how hard Monsanto is fighting in the U.S. to prevent product labeling  (such as threatening to sue the state of Vermont for passing a labeling law) and pouring millions into helping defeat California’s Prop 37 that dealt with labeling, as well as a U.S. Senate bill that gave states the right to require food labeling. More than 60 countries have either banned GMOs or passed labeling laws, but not the U.S., where Monsanto has a stranglehold.

Seifert gets a bit heavy handed with his own kids, asking his six and four-year olds repeatedly if they’re sure they want to eat ice cream or other foods that have GMO ingredients. It’s a bit much at times as he presses to make his point, but it’s clear that the concern he has for his children is very real and that he is genuinely dismayed, as we all should be, at the extent to which Monsanto will go to kill labeling bills alive and their other tactics. Some would say they’re just taking care of business, but it goes far beyond that. 

I got to spend some time with Siefert and his wife, who are also musicians (much of the film’s music was provided by their band, The Jubilee Singers, as well as a well-placed Mumford & Sons tune), and they both have a gentle spirit that shows no hidden agenda.

“GMO OMG” has screened at some other film festivals, but it deserves a large audience (and, quite frankly, a better piece than my jet-lagged state is allowing my to write at this moment).  The movie’s site is accepting donations to help get it into more theaters. 

Below is the film’s trailer.



Aug. 9:  “GMO OMG”



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07 August 2013

Yoko Ono's Lady Business and an Awkward Elevator Ride


So tonight I saw Yoko Ono in concert here at the Transatlantyk Festival in Poland where she’s receiving an award. 

I have friends who love her and see great value in her performance art. Her music has always left me cold, but I was eager to see her live. I departed the show feeling hers is an aesthetic I just don’t understand, though I appreciate her messages of unity and peace. While we were waiting for her to come on, an endless loop of her 1966 film, “No. 4 (Bottoms),” which is entirely composed of close-ups of supposedly famous persons’ bums, played. I didn’t recognize any of them. The man sitting beside me, who was much closer to Yoko’s age of 80 than mine, started shifting uncomfortably after the 15-minute mark. 

Then, after a 20-minute film with images of her life —pre, with, and post-John Lennon—  Yoko came out, sang something a capella, apologized that something had gone wrong and said she needed to do it again. I couldn’t tell any difference between the two. For the next number, as she was for most of the night, Sonic Youth’s Thurston Moore accompanied her on electric guitar. It was 20-minute event—I can’t really call it a song, as it consisted mainly of her caterwauling, with his guitar punctuating the spaces in between. That woman has some lungs on her, I will say that. And for 80, her energy is amazing. 

From a remove, I understand that there was a feral fearlessness to her performance, but there also seemed to be a great deal of self indulgence. Maybe my Westernized ears just aren’t geared to the dissonance and odd patterns that she clings to. I don’t know. 

Many of the numbers were accompanied by videos, some of them quite compelling. Probably the one most of us in the audience still have on our minds was from “Fly,” her 1971 film (with an accompanying soundtrack) the features a fly alighting and traveling over much of (presumably) her body, including her feet, her breasts and into and out of her private parts. The fly then defecates on her leg. 

Buzzfeed or some other outlet had a very funny piece a few weeks ago by a former art student about how so much performance art/modern art is really rubbish and that’s what kept running through my head. I can’t find it now, but will add it here if I do. Most of the time I was watching and listening to Ono, I felt like a a dog with her head cocked quizzically to the side with a perpetual thought balloon of "Huh?" overhead.

I don’t know if Ono’s music is rubbish or is just operating on such a different plane that it doesn’t reach me at all. I will add that those of us who stayed until the end, and I’d say that about 15% of the people had more than they could take way before then, found plenty to discuss about her performance, so maybe that makes it a success. 

For the final piece, Ono and Moore both strapped on electric guitars, let loose with some painful earsplitting feedback and very, very slowly walked toward each other until they tightly embraced with the two electric guitars smashed against each other. You can imagine the lovely sound that made. 

Fast forward a few hours and a few cocktails later, I came back to the hotel with composer Jan Kaczmarek, Transatlantyk’s founder, and some other folks. Who should be pulling up at the exact same time but Ono.  Kaczmarek greets her and we all say hello.  We get into the elevator and I’m right beside Yoko Ono, who is really tiny in person if you didn’t already know that. And she looks really wonderful for someone who is 80. We start talking about all the energy she expended during her show, but all I can think about is that I’ve seen her lady business up close. Thankfully, it was a short ride. 

So in honor of Yoko Ono and John Lennon, I’m giving to one of the charities they supported, WhyHunger. Maybe I can just admire her for the causes she espouses and her other good works and leave her music for those who have a far deeper appreciation of it than I. 

Aug. 7: WhyHunger 


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