TENDER FICTIONS—the late, great Barbara Hammer’s follow-up to NitrateKisses—traces the filmmaker’s evolution from would-be child-star of the fifties to heterosexual “earth mother” of the sixties to the lesbian artist and activist of her last decades.
As part of The Legacy Project—a partnership between OUTFEST and UCLA—TENDER FICTIONS (1996) will screen this weekend as part of the festival.
He was central to the Laurel Canyon scene of the 1960s, created some of the most resonant music of his era, fell in love with Joni Mitchell, became addicted to heroin and cocaine, and—after a weapons and drug conviction—became a fugitive from the law.
But it wasn’t until after his eventual arrest, getting clean in prison, and restarting his musical life with old bandmates that David Crosby managed to alienate every important person he made music with—Roger McGuinn (The Byrds), Stephen Stills, Graham Nash, and Neil Young.
Such is the intractable nature of the subject of the essential new documentary DAVID CROSBY—REMEMBER MY NAME, directed by A. J. Eaton and produced by Cameron Crowe, who has known Crosby since Crowe was a teenage reporter for Rolling Stone. In Eaton’s film, Crosby praises the artist “who was the best of all of us”:
“When [Joni] found she was going over people’s heads, she went further.”
But no one is harder on Crosby than Crosby himself:
“I was a difficult cat. Big ego, no brains… What you do to yourself isn’t really a moral thing. But what you do to others? That counts… Were those girls addicted? Yes. And I addicted them.”
But there is another sticking point:
“I have to tour to buy groceries and pay the mortgage…. I’m under some pressure. I’m the only member of CSN&Y who’s never had a [solo] hit.”
A fitting companion piece to Martin Scorsese’s new Bob Dylan doc Rolling Thunder Revue—in REMEMBER MY NAME, Crosby claims it was The Byrds’ cover of “Mr. Tambourine Man” that inspired Dylan to go electric—what echoes up and down the canyon are the sounds of a lost sixties dream:
” ‘Ohio’ was the best job of being troubadours or town criers we ever did… Belief is good. It didn’t work out. Yet. But we’re trying.” — David Crosby
At the Film Independent Presents screening this week in Hollywood, Crowe characterized the film as “notes from the eye of the hurricane” which ends “on a precipice, where CSN&Y don’t reconcile.” On Sunday afternoon, Eaton and Crowe will return to the ArcLight and join DavidCrosby for a post-screening Q & A.
Liz Larner, who “first encountered Chris Burden and his practice—a catalyst for Larner’s own use of scale and process—during her time at CalArts,” will give a talk on the late artist at GeffenContemporary at MOCA.*