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Towards a Jane Jacobs Toronto “The world is a dangerous place, not because of those who do evil, but because of those who look on and do nothing.” – Albert Einstein

24 hours reg hartt Albert Einstein Judging Evil destroyed Reg Hartt - Copy - Copy UntitledThe piece in 24 HOURS is  close but no cigar.

City Inspector Elliott deBarros states he found a public art gallery at THE CINEFORUM. He did not.

In his letter to my landlord he states:

From: edebarro@toronto.ca

CC: jcorrei@toronto.ca
Subject: 463 Bathurst St. (Zoning Notice)
Date: Mon, 11 Jul 2016 19:45:34 +0000

To whom it may concern,

 

I am a Property Standards Officer with the Municipal Licensing & Standards Dept. of the City of Toronto. As a result of an investigation commenced after receiving a public complaint I have issued the Zoning Notice of Violation attached to this message. As I am sure you are aware the property is zoned as “single-family residential”, however, is currently being used as a form of “public art gallery” which is a non-permitted use under the City of Toronto Zoning By-law. I have met with your tenant, Mr. R. Hartt, and discussed the specific use with him and advised him of the need to have the Planning Dept. formally approve of the current use through the submission of a Preliminary Project Review application which he has formally declined to prepare. I have reason to believe that the property continues to be used on a frequent basis as other than a “single family residential dwelling” and is subject to triggering the issuance of a summons to court for both the property owner and the gallery operator.

Should you have any questions or concerns please do not hesitate to contact me.

Elliott deBarros (edebarro@toronto.ca)

In an earlier correspondence deBarros wrote: “I was hoping that you would re-consider submitting a Preliminary Project Review application as this would be the first step in preventing any further complaints being filed concerning the use of the property. If you are absolutely opposed to doing so I would like to remind you that I have no option but to issue a formal Zoning Notice by the end of this week.”

This last about issuing a formal Zoning Notice I found surprising as not only had he and I agreed when we met that my use of the space is within City Bylaws but also Metro Licensing & Standards had itself expressed that conclusion previously.

Two pieces from THE TORONTO STAR:

There is an error in the editorial.

  1. The city, sicced on Hartt by someone who apparently hates his ubiquitous posters.” The person behind the complaint (who has admitted to being their author) may hate my posters but that is not his reason. runs a street postering business. THE SUPREME COURT OF CANADA, in the Ramsden Decision defended Street Postering as “FREEDOM OF SPEECH FOR PEOPLE WITHOUT ACCESS TO MAINSTREAM MEDIA  (  https://scc-csc.lexum.com/scc-csc/scc-csc/en/item/1038/index.do  ,    https://en.wikipedia.org/wiki/Ramsden_v_Peterborough_(City_of) ). In the operation of that business he consistently ignores the city’s street postering bylaws  ( http://www1.toronto.ca/wps/portal/contentonly?vgnextoid=08cb83cf89870410VgnVCM10000071d60f89RCRD&vgnextchannel=2f5b19f155cb0410VgnVCM10000071d60f89RCRD   , http://www.toronto.ca/311/knowledgebase/43/101000044643.html     , http://www1.toronto.ca/City%20Of%20Toronto/Municipal%20Licensing%20&%20Standards/1-Files/PDFs/postering101bookmark_final.pdf).  This person has also put up anonymous posters smearing myself and others. The details of that are in this GLOBE AND MAIL story by Oliver Moore:   http://www.theglobeandmail.com/news/toronto/toronto-alternative-theatre-founder-stands-up-to-bullying-threats/article549053/  .

 

TORONTO STAR Editorial …The city should leave Cineforum alone: Star 1

 

Reg Hartt’s Cineforum is an indie institution that Torontonians, and city hall, should cherish.

Tues., June 28, 2016: The city should drop its misguided fight against Reg Hartt.

For generations of a certain kind of Toronto film buff, Reg Hartt and the cinema-cum-salon he runs out of his rented Victorian on Bathurst Ave., below College, are institutions. Hartt’s little art house is among the stranger, crustier corners of the city’s cultural community, a place where cinephiles have gathered for more than two decades to watch and discuss the classics, from Luis Bunuel to Buster Keaton, Bela Lugosi and beyond.

But despite its cult status, the so-called Cineforum’s days may now be numbered. The city, sicced on Hartt by someone who apparently hates his ubiquitous posters, says he is in violation of zoning bylaws and must apply to recategorize his place as a public art gallery. That’s an expensive, time-consuming process, and Hartt, who is 70, says he’s not up to it.

The city should retreat and allow this indie institution to continue making its cultural contribution. It wouldn’t be the first time. In 2010, the Cineforum faced shuttering on similar grounds, but received a last-minute reprieve from an unlikely saviour: Rob Ford, ever ready to answer a constituent’s call. The first time the city came after the cinema, in the 1990s, an intervention from Hartt’s old friend and champion Jane Jacobs, the late influential urban theorist, saved the day.

It’s no wonder Jacobs was an advocate of Hartt’s. Though the eccentric impresario has a reputation as an ornery figure, occasionally combative in defence of his work, the Cineforum has done no harm, and is not likely to. Rather, by providing a free forum for curious Torontonians to consume and talk about art, it has in its modest way enriched the cultural life of the city. Any law that would erase this unique landmark on purely bureaucratic grounds is an ass of exactly the sort Jacobs fought so fiercely against.

A long-time Torontonian, Jacobs once wrote that big cities provide “what otherwise could be given only by traveling; namely, the strange.” Toronto, perhaps more than most metropolises, derives its greatness in this way, from the interweaving of its disparate parts. Jacobs worked much of her life to protect urban places, including ours, from paternalistic regulations that snuff out a city’s spirit by displacing the small, idiosyncratic thing in favour, inevitably, of a big, generic one.

The city government claims to revere Jacobs’ thinking. It should honour her – and her ideas – by leaving her favourite oddball cinema and cineaste alone. Toronto without the Cineforum would be ever-so-slightly less Toronto.

ART PROTEST

Cineforum deserves a happy ending

Reg Hartt has run film and lecture presentations out of his living room for 20 years — and now the city is trying to shut him down

Edward Keenan Star Touch

I finally watched a film in Reg Hartt’s living room theatre this week. Visiting his “Cineforum” is a Toronto indie tradition I’ve meant to participate in ever since I first saw, decades ago, his posters on lampposts for “The Sex and Violence Cartoon Festival” and screenings of Nosferatu and of Salvador Dali films. I thought recently I might never get the chance to actually go, since city officials, once again, seem intent on shutting him down.

Why would they do that? The place is a boho civic treasure: As Hartt will tell you, the Lonely Planet travel guide lists the “off the wall experience” of Cineforum as one of the top entertainment attractions in Toronto, and the late Jane Jacobs was an enthusiastic member of his audience and vocal advocate of his work.

He’s been showing films and giving talks to accompany them in Toronto since the 1970s, at first in rented theatres and bars. In 1992, a bartender gave him some grief during one of his presentations, so Hartt moved the whole crowd to his living room down the street. Since then, he’s hosted them there.

Earlier this month, the now 70-year-old Hartt announced that the Cineforum is dead. The reason? Toronto’s government issued him a notice that they consider him in violation of zoning regulations, as they say he’s running a “public art gallery” in his home. Hartt insists he is not running a public art gallery, and has never run one. Instead, “The Cineforum, indeed the whole house, is itself a work of art, a living breathing work of art,” Hartt says.

That it is. One afternoon this week, Hartt met me on the front steps of his rented Victorian house on Bathurst St. south of College, filming my approach on a handheld 3D camera. Inside his living room/dining room, decorated with monster masks and movie posters and filled with rolling office chairs, he hands me a pair of glasses and shows me on the big screen what I look like in three dimensions, while giving me a bit of history on the development of the technology and some discussion of the meaning of the name of God in the Old Testament.

Then he screens a 2004 Jane Jacobs documentary, stopping it frequently to talk about his study of her ideas — observations that frequently digress into disquisitions on civic governance, the I Ching, Christianity, Judaism, film and animation history, Ancient Greece, pedagogy, his own biography, the past and future of newspapers, and many other topics. He’s self-taught, like Jacobs was, and he’s skeptical about the value of classroom education.

Onscreen, Jacobs is heaping scorn on the classroom-educated urban planners she encountered when she started writing. They wanted a city that is “neat, clean, orderly; quick to understand,” she says. But cities and urban economies don’t work that way, and can’t. They are complex ecosystems, she says, webs of messy, disorderly interactions.

“It’s such a simple and obvious conclusion, it’s amazing anybody would object to it,” Hartt says.

This point is not unrelated to Hartt’s current troubles. His Cineforum is a tribute to the virtues of the unplanned, the uncorporate, the uncertified, the unregulated. What a treasure to live in a place where a character like Hartt can make a place for his passions and his art and where anyone can go and share them.

Cities, Jacobs says onscreen, need to fight everything that keeps people from “developing their own work.” A city economy, like the weather, “is making itself up as it goes along.”

Yet city regulators cannot figure out how to leave Hartt alone to develop his work. Standards officers asked him to apply for a zoning review to categorize his place as a public art gallery, a process that requires all kinds of fees and architectural drawings to complete. “I would ask that you check-in with the Planning Dept. and/or an individual familiar with municipal law prior to using the property in any manner other than a residential dwelling,” property standards officer Elliot deBarros wrote in notifying him that he and his landlord were being cited for a bylaw violation.

They came after him before, in 2010, until then-mayor Rob Ford intervened. Now, they have once again decided he’s a problem.

It’s not just this, of course. In this city, signs posted in the park tell you a permit is required to play Frisbee. In this city, immigrant kids trying to throw a skating party near Jane and Finch have to cancel because they don’t have two million bucks in insurance.

Maybe it’s a miracle Hartt’s been able to continue this long.

Fighting to save his work, he says, is fighting to “seize the moment to turn Toronto into a Jane Jacobs city.”

Hartt says Cineforum is dead. But he’ll continue giving presentations this summer at his house — posters he put up toward the end of the week just gave the address at 463 Bathurst, without mentioning a name. And he says he’ll continue to fight to save his work of art, his home. He tells me he invites people to come see the Shroud of Turin replica he has in his hall, elaborating on what it shows as a 3D rendering of the post-crucifixion body of Jesus.

What he is doing here, Hartt says, inviting people into his home, is testifying to his beliefs, practicing his faith. In response to that line of argument, deBarros from property standards wrote that use of his home as a place of worship “in whole or in part” is “a violation of the city’s Zoning By-Law.”

“Are you saying that under the city bylaws I am not allowed to practice my faith in my home?” Hartt wrote back.

I don’t know about faith and all that. But my own belief system says that if a law forbids Hartt to give film and lecture presentations here, it’s a bad law.

Toronto’s government constantly proclaims its belief in the Gospel of Jane Jacobs. But they can’t see the value in the kind of fascinating, eccentric home Hartt keeps. Instead, they try to shut him down in the very year they are loudly celebrating the 100th anniversary of Jacobs’ birth. If they understood the first thing about Jacobs’ work, they would let Hartt continue to develop his own.

“Hartt says Cineforum is dead. But he’ll continue giving presentations this summer at his house — posters he put up toward the end of the week just gave the address at 463 Bathurst, without mentioning a name. And he says he’ll continue to fight to save his work of art, his home. He tells me he invites people to come see the Shroud of Turin replica he has in his hall, elaborating on what it shows as a 3D rendering of the post-crucifixion body of Jesus.

What he is doing here, Hartt says, inviting people into his home, is testifying to his beliefs, practicing his faith. In response to that line of argument, deBarros from property standards wrote that use of his home as a place of worship “in whole or in part” is “a violation of the city’s Zoning By-Law.”

“Are you saying that under the city bylaws I am not allowed to practice my faith in my home?” Hartt wrote back.

I don’t know about faith and all that. But my own belief system says that if a law forbids Hartt to give film and lecture presentations here, it’s a bad law.

More on the person behind the complaints to the city:

http://posterstoronto.blogspot.com/2010/06/davisville-psycho.html

Hate messages:

https://www.youtube.com/watch?v=G_MfdqCUqWw

Dr. Jamie’s Street Poster Campaign Against Terry Ross:

https://www.youtube.com/watch?v=an6wuSoPjlc

Daniel Goggin on working for Dr. Jamie and being smeared by him with street posters:

https://www.youtube.com/watch?v=v96QfcjaR2U

John-Paul Re on working for Dr. Jamie:

https://www.youtube.com/watch?v=mIP17OeXDCg

What is interesting is that Metro Licensing & Standards, City Councillors Joe Cressy, Mike Layton, and others have had access to all this information for years. They refuse to act on it. As well, they remain silent while the city machinery seeks to crush myself.

THE CITY OF TORONTO is currently experiencing the highest level of bike theft it has ever experienced.

“The world is a dangerous place, not because of those who do evil, but because of those who look on and do nothing.” – Albert Einstein.

Those who speak out are always few in number. Sometimes only one.

Those who speak out are always few in number. Sometimes only one. Be one of the few. We have too many of the other kind.

James ("Dr. Jamie") Gillisis also behind these anonymous flyers offering "USED BIKES" for sale. Daniel Goggin has reliable information as to where those bikes come from.

James (“Dr. Jamie”) Gillis is also behind these anonymous flyers offering “USED BIKES” for sale. Daniel Goggin has reliable information as to where those bikes come from.

Jud Süss, Theresienstadt, Kurt Gerron’s Karussell, The Feuhrher Gives The Jews A City, Harlan, In the Shadow The Jew Suess

slide_5 7eeb7803e5245e64ff3893636941b180 slide_3 sqexicutioner_1-03Thursday, July 28, August 4, 11, 18, 25.

Reg Hartt’s Cineforum, 463 Bathurst Across From The Beer Store. 416-603-6643.  This program is open only to friends of Reg Hartt. Not yet a friend of Reg Hartt? It is time to become one. “Jane Jacobs was a friend of Reg Hartt. I am a friend of Reg Hartt.”–Joe Fiorito, TORONTO STAR.

Kurt Gerron: MACK THE KNIFE from THE THREEPENNY OPERA: https://www.youtube.com/watch?v=AWPvx1KPA9Y

https://www.youtube.com/watch?v=hK7Eu9Vxadk

MEMORY OF THE CAMPS (1945) A film by Alfred Hitchcock. http://www.dailymotion.com/video/x3vv81v

-Jud-Süss-aka-The-Jew-Suss Jud_Suess_3 Jud_Süß judsuss_pppa5pm: Jud Süss (1940) Veit Harlan. The most successful anti-Semitic film the Nazi’s ever made. This is the film Hitler used to brainwash Germany into hating Jews. Heinrich Himmler made it compulsory viewing for the police and the SS. On August 18, 1940, after screening the final cut of the film Jud Süss, Goebbels wrote in his diary:  “An anti-Semitic film of the kind we could only wish for. I am happy about it”. Jud Süss was the most notorious yet most successful anti-Semitic feature film ever made. 

Jud Süss was launched at the Venice Film Fesitival in September 1940, to extraordinary acclaim; it recieved the “Golden Lion” award and rave reviews. The film’s popular success was overwhelming, the Bielefeld SD reported on October 15, 1940: “Now it surpasses all expectations. No film has yet succeeded in having such an impact on wide segments of the public. Even people who rarely attend the cinema don’t want to miss this film.”

http://www.holocaustresearchproject.org/holoprelude/judsuss.html

http://www.imdb.com/title/tt0032653/ .

http://www.haaretz.com/jewish/this-day-in-jewish-history/1.677250

7pm: HOLOCAUST: THERESIENSTADT (2005) Irmgard von zur Mühlen. The top “show camp” that the Nazis used to deceive the world from the true atrocities that were unfolding behind-the-scenes during World War II is explored in this release showcasing the horrors that unfolded at Theresienstadt. A small, Czechoslovakian fortress town that served as the transit point for thousands of European Jews heading for death camps in the east, Theresienstadt was originally advertised as an “end camp” where weary Jews would finally be able to rest at the “Reich Home for the Aged.” The reality, however, couldn’t be further from the truth, and after signing away their properties and earthly possessions to the S.S., the Jews momentarily housed in Theresienstadt were quickly shipped to eastern death camps for extermination. The ruse was so convincing that it not only hoodwinked the thousands of unsuspecting Jews who arrived there, but the Danish and International Red Cross delegation assigned to review the so-called “Jewish Settlement” as well. Introduced By Simon Wiesenthal.

kurt_gerrons_karussel8pm: Kurt Gerron’s Karussell (1999) Ilona Ziok. “In a small theatre in Berlin in the summer of 1928, the curtain rose on a bare stage, the spotlight falling on the actor and singer Kurt Gerron.  As his large body moved in time to the music of a small orchestra, his voice boomed out:

Oh, the shark, babe, has such teeth, dear
And it shows them pearly white
Just a jack-knife has old MacHeath, babe
And he keeps it … ah … out of sight ….

“This was the opening night of one of the greatest theatrical productions of the twentieth century, Kurt Weill, and Bertolt Brecht’s Three Penny Opera. This was also to be a great moment for Gerron himself, cast as police chief Brown, famously nicknamed Tigerbrown.  The initial shock with which the play was greeted rapidly transformed into enthusiasm.  The crowd demanded encores, and ‘Mack the Knife’ was to become one of the greatest songs of the Weimar stage.  Fourteen years later, Kurt Gerron was to sing those famous lines one last time, this time before a movie camera and a circle of Nazi officials.  In Theresienstadt, for a propaganda movie made by Gerron himself under orders of the SS, for a last time the original Tigerbrown belted out the story of murder and terror in a German town – before he, too was shipped to Auschwitz, another of the countless actors, musicians and entertainers lost to Hitler’s ‘Final Solution’.

“A cabaret artist, theatre and film actor and important director of theatre and early sound movies, Kurt Gerron was one of the most successful entertainers of the 1920s and early 1930s.  Born on 11 May 1897 to a middle-class Berlin Jewish family, his father was a confectioner, and his mother a housewife and educator of their only son.  After serving in World War I, Gerron decided to study medicine, and was a supporter of the leftist November revolution.  After completing medical school in 1920, he decided instead to dedicate himself to acting, convinced that ‘doctors and actors have something in common: the observation of people’.  A year later, he joined Trude Hesterberg’s cabaret ‘Wild Stage’, the first in a long line of illustrious cabaret groups that he joined.  Soon after that he met and married Olga Meyer, with whom he had a life-long relationship.  In 1926 he began a tumultuous working relationship with Bertolt Brecht, and frequently performed with his friend Willy Rosen, writing anti-Nazi or socialist-influenced skits.

“1927 saw Gerron’s first film role, with film taking on an increasing importance in his career: that year alone he took part in more than 20 films. After the success of Three Penny Opera, he became increasingly well known, by the early 1930s having established a reputation as a movie director; he was also cast in the 1930 classic Blue Angel, the movie that started Marlene Dietrich’s career.  Wealthy and successful, Gerron lived well in Berlin in the early 1930s, refusing to acknowledge the growing danger of the Nazi Party, though he staged political theatre explicitly mocking Hitler and the SA (Brownshirts).

“As soon as the Nazi party came to power, Gerron’s career came to an end in Germany.  Forced to break off work on his current film, he went into exile, first in Paris for two years, and then in Vienna.   Austria was increasingly under Nazi control, however, and in October, 1935 Gerron and his wife moved to the Netherlands, a popular destination for many German refugees because of linguistic and cultural similarities, as well as a relatively generous policy toward German and Austrian immigrants.  In particular, these Hitler-refugees went to work re-invigorating the Dutch film industry.  A record number of movies was made in Holland between 1934-1940, many under Gerron’s direction.

“When Germany finally occupied the Netherlands in May 1940 there were thousands of émigré Jews there, and one of the strongest resistance movements in occupied Europe.  The Nazis, however, were able to rapidly crush the resistance, and the Jews of Holland began to be targeted and deported as they had been in Germany and eastern Europe.  During the early years of occupation, however, German policy was relatively lenient, and Jews were allowed to pursue entertainment and theatre performances.  Here, as in 1920s Berlin, Gerron was involved in émigré German cabaret, performing with old acquaintances including Max Ehrlich, Eva Busch, Camilla Spira and Rudolf Nelson.  Gerron was also one of the few German émigrés allowed to appear in Dutch theatre pieces, as he had mastered the language.  The respite came to an end on 20 September 1943, when Gerron was sent to Westerbork with his family.

“Arriving at Westerbork relatively late, he was quickly incorporated into the already successful cabaret group, for their third performance in October.  (This was to be the actress Camilla Spira’s final show).  He composed and performed a solo piece shortly after arriving, but soon thereafter, in late February 1944, he and his wife were sent to Theresienstadt, where he was considered to be a ‘privileged Jew’ due to his fame and his military service.  The Czech ‘show camp’ was to offer the final stage of Gerron’s career.  When he arrived, it was in the process of a beautification program in preparation for a visit by the Danish Red Cross; Gerron and his wife were assigned an apartment, and he was given a part in the local cabaret, soon receiving permission to found his own, named ‘Karussell’.  His cabaret was a success, popular with the SS and the camp commander. The program included songs from Three Penny Opera, French and Yiddish songs, and songs composed by the many musicians imprisoned with Gerron in Theresienstadt.

“The success of the Nazi deception of the Red Cross encouraged the next, even more perverse plan: a propaganda film about life in the camp.  Of course Gerron, one of the best-known German directors before 1933, was the obvious choice for film-maker. At every moment of filming the SS was there, controlling discussions between actors, staff and director.  Gerron and the other workers were never given a copy of the script, nor were they ever allowed to see the film that was being shot.  He would simply be told what was to filmed next, and expected to produce it.  One of the few survivors of the film-making remembered the impossibility of the situation, as the SS ordered Gerron to shoot a scene of Jews laughing uproariously at a theatre performance.  The Jews, understandably, had no desire to laugh.  Terrified of the consequences of disobedience, ‘bathed in sweat, Gerron urged us, implored us, begged for discipline, for us to follow orders, absolutely … and he began a contagious, irresistible laugh, during which he wobbled his fat belly, so that we really had to laugh, even though the situation for him and for us was anything but funny … Thus he stood before us, pale, sweaty, laughing loudly, with a wobbling belly.  And thus they filmed peals of laughter from three thousand cheerful country-dwellers enjoying their glorious summer variety show.’

“The film also included scenes from his cabaret, and his final August performance of ‘Mack the Knife’.  Gerron, his wife Olga, and all the others who had worked on the film were transported to Auschwitz in the October transports, and the movie was completed, edited and cut without the presence of the director.  Former inmate Vlasta Schön remembers his disbelief at being on that fatal list, standing ‘at the ramp. The train was ready to leave.  Gerron fell on his knees and asked for permission to stay.  He said “I made this movie for you!”  The SS boots kicked him inside the wagon.’  Kurt Gerron was killed on 15 November.

“The actor and director’s long and distinguished career was largely overshadowed by the controversy over his final film: he was criticised for betraying his people, and for being the main force behind this propaganda.  More recently, however, he has begun to be remembered for his remarkable life and contribution to Germany’s cultural legacy.  In 1999, a full-length documentary movie was made about him by Ilona Ziok, titled Kurt Gerron’s Karussell, and there has been increasing interest in his films and songs.”  http://holocaustmusic.ort.org/places/camps/western-europe/westerbork/gerronkurt/

http://www.imdb.com/title/tt0192218/

8957768_1272936164759pm: THE FUEHRER GIVES THE JEWS A CITY (1944) Kurt Gerron. This film exists today in only fragmentary form. Seeing it after having watched Jud Süss, THERESIENSTADT  and KURT GERRON’s KARUSSEL is a heart breaker. http://www.imdb.com/title/tt0194445/reviews-2

18826838_sa9:30: HARLAN In The Shadow Of Jew Suess (2009) Felix Mueller.This documentary is an eye-opening examination of World War II film history as well as the story of a German family from the Third Reich to the present; one that is marked by reckoning, denial and liberation. It answers the question, “What do the children of those responsible for monstrous acts do?” They can not and should be held responsible for the sins of the fathers but nonetheless the guilt and shame lingers. Christiane Harlan, niece of Veit Harlan and daughter of Veit’s brother Fritz Moritz, married filmmaker Stanley Kubrick in 1958.  http://www.imdb.com/title/tt1327726/

This program goes as far as can be gone in showing how Hitler and the Nazis used film to poison the minds of millions as well as to deceive those sent by organizations such as the Red Cross into believing that the stories about the treatment of the Jews by Germany were lies.

The program also serves to bring out the lies that to this day linger about the Jewish people.

Adolf Hitler: “If you tell a big lie and tell it frequently it will be believed.”

As one who personally has felt and is feeling the impact of a big lie I know how true that statement is.

I also know how few in number are those who take the time to discern and to defend the truth. Their voices are rarely welcome. Their strength is that they know how unwelcome the Truth is. Nonetheless, they speak it.

If one person in the city is murdered thanks to these vicious poster attacks or killed riding one of this man bicycles that person's blood will be on the hands of Toronto Metro Licensing And Standards. Here is their web address: http://www1.toronto.ca/wps/portal/contentonly?vgnextoid=27c4a83b82870410VgnVCM10000071d60f89RCRD

If one person in the city is murdered thanks to these vicious poster attacks or killed riding one of this man bicycles that person’s blood will be on the hands of Toronto Metro Licensing And Standards. Here is their web address: http://www1.toronto.ca/wps/portal/contentonly?vgnextoid=27c4a83b82870410VgnVCM10000071d60f89RCRD

David Beard solomon Reg Hartt 3 Reg Hartt 13–Reg Hartt, 7/19/2016.

https://nowtoronto.com/art-and-books/in-memoriam/in-memoriam-elie-wiesel-1920-2016/

https://www.thestar.com/opinion/commentary/2016/07/15/elie-wiesel-was-the-beacon-who-lost-his-way-salutin.html

http://www.theglobeandmail.com/…/toronto-alt…/article549053/

http://news.nationalpost.com/…/lawrence-solomon-jane-jacobs…

https://www.thestar.com/…/…/fiorito_we_gotta_have_hartt.html

http://startouch.thestar.com/…/1cb9b322-f604-45d4-9471-b2e4…

https://www.thestar.com/…/the-city-should-leave-cineforum-a…

THE CINEFORUM July 16 thru August 31, 2016.

9c 9d 9e 9f 2000px-WWII-HolocaustDeaths-Pie-All.svgIt is time to end Toronto’s War On Fun: https://www.youtube.com/watch?v=RUO20–hXw8

For nearly twenty years one man in Toronto has been doing everything he can to destroy both myself and others. Many call this a feud because if it is a feud they can stay out of it. It is not a feud. Oliver Moore, in THE GLOBE AND MAIL, wrote about it here: http://www.theglobeandmail.com/…/toronto-alt…/article549053/ .

http://news.nationalpost.com/…/lawrence-solomon-jane-jacobs…

https://www.thestar.com/…/…/fiorito_we_gotta_have_hartt.html

http://startouch.thestar.com/…/1cb9b322-f604-45d4-9471-b2e4…

https://www.thestar.com/…/the-city-should-leave-cineforum-a…

http://reghartt.ca/cineforum/?p=18387

The Cineforum, 463 Bathurst, Toronto. 416-603-6643. Open only to friends of Reg Hartt. Not yet a friend? Drop by and say, “Hello.”

Saturday, Sunday, Monday, July 16, 17, 18.

7pm: JANE JACOBS FILM FEST  I would think that with my work here listed at the top of the world’s number one travel guide, THE LONELY PLANET, as one of the best places to see in Ontario and in Toronto that city officials would be doing what they could to help. Wrong. Wrong. Wrong. I want a Jane Jacobs’ Toronto. What is that? It is a city that adapts to its people instead of squashing them. Come to this program to see what Toronto can and should be. https://en.wikipedia.org/wiki/Jane_Jacobs .

Tuesday, July 19, 9pm: BLOOD AND ROSES (1960) Roger Vadim. http://www.imdb.com/title/tt0053802/

Wednesday, July 20: Grindhouse Classic: WILDCAT WOMEN (BLACK LOLITA) 3D (1975) Stephen Gibson.  http://www.imdb.com/title/tt0072708/

Thursday, July 21, 9pm: THE SHANGHAI EXPRESS (1932) Josef Von Sternberg. Marlene Dietrich.  http://www.imdb.com/title/tt0023458/

Monday, July 25, Silent Film Festival

5pm: WHERE THE NORTH BEGINS (1923) Rin Tin Tin http://www.imdb.com/title/tt0014600/. Plus FATTY & MABEL ADRIFT (1916) Mack Sennett. Roscoe Arbuckle, Mabel Normand http://www.imdb.com/title/tt0006668/ .

7pm: SAND (1920) Lambert Hillyer. William S. Hart http://www.imdb.com/title/tt0011651/ . Plus MAX AND HIS MOTHER-IN-LAW (1911) Max Linder  http://www.imdb.com/title/tt0121532/ .

9pm: THE FOUR HORSEMEN OF THE APOCALYPSE (1921) Rex Ingram. Rudolph Valentino. Complete version  http://www.imdb.com/title/tt0012190/ .

Monday, August 1, Silent Film Festival

5pm: HULA (1927) Victor Fleming. Clara Bow. http://www.imdb.com/title/tt0018016/ , Plus A SUBMARINE PIRATE (1915) Syd Chaplin.   http://www.imdb.com/title/tt0006115/ .

7pm: THE CABINET OF DR. CALIGARI (1919) Conrad Veidt. http://www.imdb.com/title/tt0010323/ . Plus SATURDAY AFTERNOON (1926) Harry Langdon.  http://www.imdb.com/title/tt0017347/

9pm: THE GODDESS (1934) Wu Yonggang. Ruan Ling-yu.  http://www.imdb.com/title/tt0195256/

Monday, August 8, Silent Film Festival

5pm: THE SHOW OFF (1926) Malcolm St. Clair. Ford Sterling, Louise Brooks. http://www.imdb.com/title/tt0017382/ .

7pm: NELL GWYN (1926) Herbert Wilcox. Dorothy Gish  http://www.imdb.com/title/tt0017198/. Plus LONG LASTING LOVE (1912) Max Linder. http://www.imdb.com/name/nm0511729/

9pm: THE GODLESS GIRL (1928) Cecil B. DeMille.  Lina Basquette. http://www.imdb.com/title/tt0019935/

Monday, August 15, Silent Film Festival

5pm: THE SOUL OF YOUTH (1920) William Desmond Taylor.  http://www.imdb.com/title/tt0011721/ ,

7pm: REDSKIN (1929) Victor Schertzinger. Richard Dix. http://www.imdb.com/title/tt0020320 . RAMONA: A Story Of The Whiteman’s Injustice To The Indian (1910) D. W. Griffith.  http://www.imdb.com/title/tt0001371/   .

9pm: MANTRAP (1926) Victor Fleming. Clara Bow. http://www.imdb.com/title/tt0017119/ . Plus BRONCHO BILLY AND THE SCHOOL MISTRESS (1912) Gilbert M. Anderson. http://www.imdb.com/title/tt0373736/ Plus THE LADY OF THE DUGOUT (1918) W. S. Van Dyke. Al Jennings. http://www.imdb.com/title/tt0009273/ .

Monday, August 22, Silent Film Festival

5pm: THE PATSY (1928) King Vidor. Marion Davies. http://www.imdb.com/title/tt0019258/ . Plus ANDY’S STUMP SPEECH (1924) Norman Taurog. Joe Murphy (Andy Gump). http://www.imdb.com/title/tt0321231/

7pm: THE CROWD (1928) King Vidor. http://www.imdb.com/title/tt0018806/ . Plus WON IN A CUPBOARD (1914) Mabel Norman. http://www.imdb.com/title/tt0004836/  .

9pm: WINGS (1927) William A. Wellmam. http://www.imdb.com/title/tt0018578/ . Plus LYMAN H. HOWE’S FAMOUS RIDE ON A RUNAWAY TRAIN (1921) http://www.imdb.com/title/tt0159700/

Monday, August 29, Silent Film Festival

5pm: THE NIGHT CRY (1926) Herman C. Raymaker. Rin Tin Tin. http://www.imdb.com/title/tt0017205/

7pm: UNDERWORLD (1927) Josef Von Sternberg. George Bancroft. http://www.imdb.com/title/tt0018526/

9pm: LOVE (1927) Edmund Goulding. Greta Garbo, John Gilbert. http://www.imdb.com/title/tt0018107/

Tuesday, July 26, ANIMAFEASTIVAL: A Feast Of  A Festival Of Animation

5pm: OUT OF THE INKWELL OF MAX FLEISCHER # 1 with Koko The Clown, Sing-A-Long-To-The Bouncing Ball, Betty Boop, Popeye, Color Classics, Superman & more. http://www.imdb.com/name/nm0281502/

7pm: GULLIVER’S TRAVELS (1939) Max Fleischer. http://www.imdb.com/title/tt0031397/

9pm: JOURNEY TO THE BEGINNING OF TIME (1955) Karla Zeman. http://www.imdb.com/title/tt0047930/

Tuesday, August 2, ANIMAFEASTIVAL: A Feast Of  A Festival Of Animation

5pm: WIZARDS (1977) Ralph Bakshi. http://www.imdb.com/title/tt0076929/

7pm: THE PLAGUE DOGS (1982) Martin Rosen. http://www.imdb.com/title/tt0084509/

9pm: FANTASTIC PLANET (1973) Rene Lalloux. http://www.imdb.com/title/tt0070544/

Tuesday, August 9, ANIMAFEASTIVAL: A Feast Of  A Festival Of Animation

5pm: Walt Disney Animation Fest with Alice In Cartoonland, Oswald The Lucky Rabbit, Mickey Mouse, Donald Duck, Pluto, Silly Symphonies (1925 to 1950)

7pm: WATERSHIP DOWN (1978) Martin Rosen. http://www.imdb.com/title/tt0078480/

9pm: YELLOW SUBMARINE (1968) George Dunning. http://www.imdb.com/title/tt0063823/

Tuesday, August 16, ANIMAFEASTIVAL: A Feast Of  A Festival Of Animation

5pm: LOONEY TUNES (1930) Hugh Harman & Rudy Ising. Bosko, The Talk-ink Kid.

7pm:  WHO’S AFRAID OF SONG OF THE SOUTH (1946) Walt Disney.

9pm: COONSKIN (1975) Ralph Bakshi. http://www.imdb.com/title/tt0071361/

Tuesday, August 23, ANIMAFEASTIVAL: A Feast Of  A Festival Of Animation

5pm: THE FABULOUS WORLD OF JULES VERNE (1958) Karla Zemana. http://www.imdb.com/title/tt0052374/

7pm: GEORGE PAL’S PUPPETOONS  http://www.imdb.com/name/nm0657162/

9pm: THE WICKEDLY COOL GENIUS OF BOB CLAMPETT http://www.imdb.com/name/nm0163332/

Tuesday, August 30, ANIMAFEASTIVAL: A Feast Of  A Festival Of Animation

5pm: HOPPITY GOES TO TOWN (1941) Max Fleischer. http://www.imdb.com/title/tt0033727/

7pm: UPA ANIMATION FEST (1945-1955) Mr. MaGoo, Gerald McBoingBoing & more. http://www.imdb.com/title/tt0033727/

9pm: BOOGIE 3D (2009) Gustavo Cova. http://www.imdb.com/title/tt1235827/

Wednesday, July 27, Famous Monsters

5pm: SEVEN FOOTPRINTS TO SATAN (1929) Benjamin Christensen. http://www.imdb.com/title/tt0020004/

7pm: THE HOUSE BY THE CEMETERY (1981) Lucio Fulci. http://www.imdb.com/title/tt0082966/

9pm: DRACULA (1931) Tod Browning. Bela Lugosi. http://www.imdb.com/title/tt0021814/

Wednesday, August 3, Famous Monsters

5pm: THE PEARL OF DEATH (1944) Roy William Neil. Basil Rathbone. Introducing Rondo Hatton as “The Creeper.” http://www.imdb.com/title/tt0037168/

7pm: PSYCHO (1960) Alfred Hitchcock. http://www.imdb.com/title/tt0054215/

9pm: THE RE-ANIMATOR (1985) Stuart Gordon. http://www.imdb.com/title/tt0089885/

Wednesday, August 10, Famous Monsters

5pm: THE SPIDER WOMAN STRIKES BACK (1946) Arthur Lubin. Gale Sondergard, Rondo Hatton. http://www.imdb.com/title/tt0038974/

7pm: THE WICKER MAN (1973) Robin Hardy. Edward Woodward, Christopher Lee. http://www.imdb.com/title/tt0070917/

9pm: BRAM STOKER’S DRACULA (1992) Francis Ford Coppola. http://www.imdb.com/title/tt0103874/

Wednesday, August 17, Famous Monsters

5pm: FRANKENSTEIN (1910) Thomas Edison. http://www.imdb.com/title/tt0001223/

5:30: FRANKENSTEIN (1931) James Whale. Boris Karloff. http://www.imdb.com/title/tt0021884/

7pm: THE BRIDE OF FRANKENSTEIN (1935) James Whale. Boris Karloff. http://www.imdb.com/title/tt0026138/

9pm: THE SON OF FRANKENSTEIN (1939) Rowland V. Lee, Boris Karloff, Bela Lugosi, Basil Rathbone. http://www.imdb.com/title/tt0031951/

Wednesday, August 24, Famous Monsters

5pm: THE HOUSE OF HORRORS (1946) Jean Yarborough. Rondo Hatton. http://www.imdb.com/title/tt0038621/

7pm: SUSPIRIA (1977) Dario Argento. http://www.imdb.com/title/tt0076786/

9pm: FREAKS (1932) Tod Browning. http://www.imdb.com/title/tt0022913/ plus MAD LOVE (1935) Karl Freund. Peter Lorre. http://www.imdb.com/title/tt0026663/

Thursday, July 28, August 4, 11, 18, 25. The Holocaust

5pm: JEW SUESS (1940) Veit Harlan. The film Hitler used to brainwash the SS into hating Jews.  http://www.imdb.com/title/tt0032653/

7pm: HOLOCAUST: THERESIENTADT (2005) Irmgard von zur Mühlen. The top “show camp” that the Nazis used to deceive the world from the true atrocities that were unfolding behind-the-scenes during World War II is explored in this release showcasing the horrors that unfolded at Theresienstadt. A small, Czechoslovakian fortress town that served as the transit point for thousands of European Jews heading for death camps in the east, Theresienstadt was originally advertised as an “end camp” where weary Jews would finally be able to rest at the “Reich Home for the Aged.” The reality, however, couldn’t be further from the truth, and after signing away their properties and earthly possessions to the S.S., the Jews momentarily housed in Theresienstadt were quickly shipped to eastern death camps for extermination. The ruse was so convincing that it not only hoodwinked the thousands of unsuspecting Jews who arrived there, but the Danish and International Red Cross delegation assigned to review the so-called “Jewish Settlement” as well.

8pm: KURT GERRON’S KARUSSEL (1999) Ilona Ziok. http://www.imdb.com/title/tt0192218/

9pm: THE FUEHRER GIVES THE JEWS A CITY (1944) Kurt Gerron. Supposedly never completed this film exists today in only fragmentary form. It is a heart breaker. http://www.imdb.com/title/tt0194445/reviews-2

9:30: HARLAN In The Shadow Of Jew Suess (2009) Felix Mueller. http://www.imdb.com/title/tt1327726/

Saturday, July 23, 30, August 6, 13, 20, 27.

5pm: JANE JACOBS: URBAN WISDOM (2004) Don Alexander.  I would think that with my work here listed at the top of the world’s number one travel guide, THE LONELY PLANET, as one of the best places to see in Ontario and in Toronto that city officials would be doing what they could to help. Wrong. Wrong. Wrong. I want a Jane Jacobs’ Toronto. What is that? It is a city that adapts to its people instead of squashing them. Come to this program to see what Toronto can and should be. https://en.wikipedia.org/wiki/Jane_Jacobs .

7pm: THE SALVADOR DALI FILM FEST Salvador Dali, with Luis Bunuel, so outraged the world with his first two films the pictures were banned world wide. In Europe we launch our career with a scandal. In Canada when a scandal erupts most artists cry. I don’t. Said Dali (and Picasso), “It is good taste not bad taste which is the enemy.” Yes, it is.

9pm: THE SEX & VIOLENCE CARTOON FEST The silly people cut everything from the great films of Hollywood’s Golden Age of Animation they thought might offend anyone. Many of the best are banned. This is your chance to see them as we are meant to. You will be amazed how much we missed as kids.

Sunday, July 24, 31, August 7, 14, 21, 28.

3pm: BARRIE SCHWORTZ: THE SHROUD OF TURIN   THE SHROUD OF TURIN is the most important religious and scientific artifact we have. Barrie Schwortz was raised as an Orthodox Jew. He has not become a Christian nor a Jew For Jesus nor a Messianic Jew as a result of his work on The Shroud. Nor should he. Says Barrie, “The man on The Shroud is Jesus.” Access the Science Of The Shroud here:  http://www.shroud.com/menu.htm      . Come to this presentation to hear why, after 19 years of doubt, Barrie knew the man on the Shroud is Jesus.

5pm: ALICE IN THE WALL [ALICE IN WONDERLAND (1951) to the music of Pink Floyd’s THE WALL]

7pm: OZ DARKSIDE [THE WIZARD OF OZ (1939) to the music of Pink Floyd’s THE WALL]

9pm: KID DRACULA [NOSFERATU (1922) to music from Radiohead’s KID A and OK COMPUTER]

Reg Hartt - Copy - Copy 2 3 Untitled

If you would like a copy of THE NIGHT THEY RAIDED ROCHDALE COLLEGE send a donation of $100 to Reg Hartt, 463 Bathurst, Toronto, Ontario, Canada, M5T 2S9 and I will send you one. It will help me fight my battle against the City of Toronto's War On Fun.

Boy, does he stand up 2 New Ideas Reg Hartt 13 John-Kricfalusi Reg Hartt 5 Jane-Jacobs-fan-letter Chuck-Jones-Christmas-Card-0014.TIF1_  Reg Hartt 9 Reg Hartt 8 Reg Hartt 7 `Reg Hartt 2

 

An Open Letter to City of Toronto Inspector Elliott deBarros:

Elliott deBarros,

From: edebarro@toronto.ca
To: firstnationalmanagement@hotmail.com
CC: jcorrei@toronto.ca
Subject: 463 Bathurst St. (Zoning Notice)
Date: Mon, 11 Jul 2016 19:45:34 +0000

To whom it may concern,

 

I am a Property Standards Officer with the Municipal Licensing & Standards Dept. of the City of Toronto. As a result of an investigation commenced after receiving a public complaint I have issued the Zoning Notice of Violation attached to this message. As I am sure you are aware the property is zoned as “single-family residential”, however, is currently being used as a form of “public art gallery” which is a non-permitted use under the City of Toronto Zoning By-law. I have met with your tenant, Mr. R. Hartt, and discussed the specific use with him and advised him of the need to have the Planning Dept. formally approve of the current use through the submission of a Preliminary Project Review application which he has formally declined to prepare. I have reason to believe that the property continues to be used on a frequent basis as other than a “single family residential dwelling” and is subject to triggering the issuance of a summons to court for both the property owner and the gallery operator.

 

I wanted to ensure prior to moving forward with the next phase of this investigation that Mr. Herman and/or his representatives are aware of the property use, the issuance of the formal Notice and the legal ramifications of allowing the use to continue.

 

Should you have any questions or concerns please do not hesitate to contact me.

 

Elliott deBarros (edebarro@toronto.ca)

Municipal Standards Officer

Toronto & East York District

433 Eastern Ave., Building B, 2nd Flr.

Toronto, Ont. M4M 1B7
Mr. deBarros,

I see that you are continuing with the fabrication that a Public Art Gallery exists at 463 Bathurst Street, Toronto and that I am operating it.

As has been made clear no such use is being made of the property.

Perhaps you are unaware of it but I am a part of the cultural fabric of Canada. The work I have done in this country has met with praise from around the world.

What is happening at 463 Bathurst is that I am following in a long established tradition in the arts of opening up my home as a Salon  ( https://en.wikipedia.org/wiki/Salon_(gathering) ).

As well, this year marks the 100th birthday of my friend Jane Jacobs. It has been written that Reg Hartt’s Cineforum is everything that Jane Jacobs wrote about. Perhaps you are unaware of who Mrs. Jacobs was. I assure you that many people in this city, including the city’s Chief Planner Jennifer Keesmaat do.

Your unwarranted assault on myself and my landlord and the threats implicit in your correspondence are coming at a particularly propitious moment as they highlight what Mrs. Jacobs described in 1969 as The City of Toronto’s Perpetual War on Fun:

We both know that the person who has filed the majority of the complaints against myself is James Gillis (known as “Dr. Jamie.”).

It is on the public record that Mr. Gillis, who runs a street postering business and a used bicycle business, has left death threats on people’s telephone, put up thousands of posters slandering ex-employees and others including myself.

You stated to me that it is not your job to look into the activities of the complainant. I agree, it is not your job.

It is, however, both a duty and a responsibility to stand up to those who bully others. It is a responsibility MLS and the Mayor and Councillors and others of this city have been shirking.

You state: “I have reason to believe that the property continues to be used on a frequent basis as other than a “single family residential dwelling” and is subject to triggering the issuance of a summons to court for both the property owner and the gallery operator.”

First, while events are continuing at this address it is clearly stated on the materials that said events are limited to those who are friends of myself, Reg Hartt.

Secondly, despite your continued assertion that the space is being used as a Public Art Gallery, it is not.

Thirdly, this matter is now on the world stage. Eyes are on this city. Your actions are such that, especially at this moment, The City of Toronto will become the laughing stock of the planet.

I suggest that you and the staff at MLS obtain copies at once of Mrs. Jacobs’ books from her first, THE DEATH AND LIFE OF GREAT AMERICAN CITIES to her last DARK AGE AHEAD and read them. They are not hard to understand.

Then, instead of thinking of ways to further harass a person she loved put your resources to better use by eliminating from this city a man who has threatened the lives of many including myself.

One of the posters put up around the city by James Gillis smearing myself asked, “WHAT WOULD JANE JACOBS DO?”

She would do what I am doing. She would do everything in her power to see that the person behind this is stopped.

For too long James Gillis has been allowed to smear myself and others on the streets of this city. MLS has chosen to ignore this documented bullying.

Repeated requests for help to the office of the Mayor, Councilors Cressy, Layton and others have gone unanswered.

This is a disgrace.

Shame on you.

Your office epitomizes the meanness of spirit in a city that is everything Jane Jacobs stood against.

Joe Cressy, my Councilor, ought to be even more ashamed than you should be. He said to me, “I have seen those posters. They are hate.”

The question is, having recognized them as hate why has he not acted.

As for those of you whom I have included in the cc’s, Mrs. Jacobs wanted cities that adapt to its people not cities that force its people to adapt to it.

Ed Keenan, of THE STAR, said to me, “You are the only person in this city who stands up.” There used to be two but then Jane Jacobs passed away.

A note to Chief Planner Jennifer Keesmaat: Do you really want the world stage to see you as Chief Planner of a City that is so clearly trying to make political hay of Mrs. Jacobs decision to live in it while at the same time betraying completely her ideas?

Whatever the outcome of this I will come out shining. If I am forced to shut down the world will see that not as a blight on myself but as a blight upon this city and it officers.

If you google “Reg Hartt, Cineforum, Lonely Planet” you will see that I and my work place extremely high on the list of places to see in Ontario and in Toronto. The Lonely Planet also notes there have been many attempts to shut me down.

Shut me down and I walk out of Toronto a hero.

In this contest I have nothing to lose except my self respect if I don’t stand up to you.

There is only one way the City of Toronto can emerge from this a winner.

That one way is to recognize myself as the Cultural Hero I am.

“Old ideas are sometimes found in new buildings,” said Mrs. Jacobs, adding, “New ideas are found in old buildings.”

New ideas have been found through my work at 463 Bathurst. It is time the city recognized that.
–Reg Hartt 9/13/2016.

https://www.youtube.com/watch?v=3D7J2ch2Tec

https://en.wikipedia.org/wiki/Jane_Jacobs

https://en.wikipedia.org/wiki/Salon_(gathering)

http://www.theglobeandmail.com/news/toronto/toronto-alternative-theatre-founder-stands-up-to-bullying-threats/article549053/

https://www.youtube.com/watch?v=Mn-uHw3oHL8

10 Attachments

Preview YouTube video Jane Jacobs On Reg HarttPreview YouTube video Jane 2 Toronto’s War On Fun

Celebrating Jane Jacob’s 100th Birthday….Alone. It’s time to End Toronto’s War On Fun.

The official spirit of Toronto is STAMP OUT FUN.”–Jane Jacobs.
“The world is a dangerous place to live; not because of the people who are evil, but because of the people who don’t do anything about it.”– Albert Einstein.
Jane Jacobs is my friend. “Our mother adored you,” her children have repeatedly told me when we meet in passing on the street.
Good thing one of the things I learned from Jane Jacobs is the ability to stand alone while “good people do nothing.”
Some silly people in this city and around the world are celebrating Jane’s 100th birthday in ways she never cared for.
I am celebrating it in the one way she did care for.
Now I am not completely alone. Don’t get me wrong. People are giving me their support, their encouragement, their love.

TORONTO STAR Editorial …The city should leave Cineforum alone:

Tues., June 28, 2016   The city should drop its misguided fight against Reg Hartt.

For generations of a certain kind of Toronto film buff, Reg Hartt and the cinema-cum-salon he runs out of his rented Victorian on Bathurst Ave., below College, are institutions. Hartt’s little art house is among the stranger, crustier corners of the city’s cultural community, a place where cinephiles have gathered for more than two decades to watch and discuss the classics, from Luis Bunuel to Buster Keaton, Bela Lugosi and beyond.

But despite its cult status, the so-called Cineforum’s days may now be numbered. The city, sicced on Hartt by someone who apparently hates his ubiquitous posters, says he is in violation of zoning bylaws and must apply to recategorize his place as a public art gallery. That’s an expensive, time-consuming process, and Hartt, who is 70, says he’s not up to it.

The city should retreat and allow this indie institution to continue making its cultural contribution. It wouldn’t be the first time. In 2010, the Cineforum faced shuttering on similar grounds, but received a last-minute reprieve from an unlikely saviour: Rob Ford, ever ready to answer a constituent’s call. The first time the city came after the cinema, in the 1990s, an intervention from Hartt’s old friend and champion Jane Jacobs, the late influential urban theorist, saved the day.

It’s no wonder Jacobs was an advocate of Hartt’s. Though the eccentric impresario has a reputation as an ornery figure, occasionally combative in defence of his work, the Cineforum has done no harm, and is not likely to. Rather, by providing a free forum for curious Torontonians to consume and talk about art, it has in its modest way enriched the cultural life of the city. Any law that would erase this unique landmark on purely bureaucratic grounds is an ass of exactly the sort Jacobs fought so fiercely against.

A long-time Torontonian, Jacobs once wrote that big cities provide “what otherwise could be given only by traveling; namely, the strange.” Toronto, perhaps more than most metropolises, derives its greatness in this way, from the interweaving of its disparate parts. Jacobs worked much of her life to protect urban places, including ours, from paternalistic regulations that snuff out a city’s spirit by displacing the small, idiosyncratic thing in favour, inevitably, of a big, generic one.

The city government claims to revere Jacobs’ thinking. It should honour her – and her ideas – by leaving her favourite oddball cinema and cineaste alone. Toronto without the Cineforum would be ever-so-slightly less Toronto.–TORONTO STAR EDITORIAL.

It would be great if those making capital of the 100th birthday of Jane Jacobs would place themselves on the front lines in the avant garde of this conflict. It is not for myself alone that I am standing up. Essential to Jane Jacobs is that cities must adapt to its people not its people to cities.
Nor is this issue one that is confined to Toronto. It is an issue in every city on earth.
In standing up for something that has not been recognized by official Toronto as something of value but which has been and is seen by an extremely great number of people around the world as something of value I am standing up for the ideas of Jane Jacobs.
The first thing The Toronto Star’s Ed Keenan said when he walked in here was, “You are the only person in this city who stands up.”
Well, once upon a time there were two people who stood up. The second person was Jane. She’s gone.
“How do we know she cared about you?” the professionals who feast at the table far in the rear of the battle have said.
That question shows how little they understand Jane.
She understood that each of us has a duty, an obligation, a responsibility to not be numbered among those who watch and do nothing.
It’s time to Stamp Out The City of Toronto’s War On Fun. Celebrate the 100th birthday of Jane Jacobs with me as we transform Toronto into a Jane Jacobs City.–Reg Hartt  7/13/2016.
 Albert Einstein Judging Evil destroyed0d36339cd0773a1f61c03a25500b8074

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Keith Haring Street Poster

Keith Haring Street Poster

Wait-a-minuteAmazing-Impact

“Preach Christ constantly. Use words if you must.”–David Mamet, BAMBI VS. GODZILLA

I first saw the words, “Preach Christ constantly. Use words if you must,” in David Manet’s BAMBI VS. GODZILLA.

Mamet being a writer, a play writer, a screen writer as well as a motion picture director and producer got those words simply by nature of his profession. He understands them. I understand them.

They are attributed to St. Francis who may or may not have spoken them http://www.christianitytoday.com/ct/2009/mayweb-only/120-42.0.html  .

Whether St. Francis wrote them or not is irrelevant. They sum up the best possible approach to writing which is why Mamet used them and why I am using them.

Those words don’t sit well with many in the Evangelical Christian community. That’s easy enough to understand. One can’t make a congregation value ourself as a preacher unless we preach in a manner they are used to. Simply put, a silent preacher is not going to get paid come Friday. Nor is one who challenges the assumptions and conventions of mainstream Christian thinking which even a casual reading of THE NEW TESTAMENT can show is wide of the mark which is the meaning of the word “sin.” The word “sin” means “to miss the mark.”

Well, the good news if you’ve actually taken the time to read the gospels is in Matthew 18: 14, “The LORD is not willing that even one of these little ones shall perish.”

This is further shown in the parable of the shepherd who loses one sheep out of his flock and who never stops searching until the lost sheep is found. In fact, he makes more joy over it than over the 99 that did not stray.

Clearly, each of us is a sheep in a flock of which the shepherd is determined to lose not one. Furthermore, as that Shepherd is God, if God could lose one that would mean his adversary, Satan, has more power than God. By the way the literal meaning of the word “Satan” is “the adversary.”

Which is not the case. Satan has no power except the power God gives him and the power, through not knowing that he has none, we give him.

In Luke 7: 36–50 Jesus states, “Those forgiven little love little. Those forgiven much, love much.”

Most of us have experienced the tiny love of those forgiven little.

Too few have experienced the great love of those forgiven much.

Those forgiven little talk endlessly of how unless we obey the will of God we shall suffer eternal damnation.

Those forgiven much talk of the vastness of the love of God.

That’s how we can tell who has more understanding. Omar Khayyam understood that. He has truly deep understanding.  This is why you won’t find me in a church.

Too much of Christian thought comes from a misapplication of the letters of St. Paul. The paragons who think themselves models of virtue are fond of selectively using Paul’s words while editing out the parts that show their use of these words wrong. We see lists of people who will not inherit the Kingdom of God on Bible pamphlets. We do not find Paul’s words warning us not to condemn any of those listed as we will then bring the condemnation of God upon ourselves.

The biggest difference between the St. Paul and the authors of the gospels of Mark, Matthew, Luke and John is that Jesus hangs out with and never once finds fault with the very people Paul assures us will not inherit the kingdom of God. At the same time Christ has nothing but the harshest words for those who think themselves above reproach.

I thought of this yesterday reading a church pamphlet on the value of chastity.

Now I certainly have lived an unchaste life. And I certainly am not about to change that. I have a very simple reason. Self interest. I have learned more about love from making love than I could ever have learned from just reading about it.

Experience has taught me that those who write without experience write without understanding (and write a great deal).

There is simply nothing on earth that can compare to the beauty of the touch of another upon our flesh who wants to touch our flesh. All of this came home to me again late last night when a friend I had not seen in several years came by.

I feel sorry for those who have only experienced the touch of hired professionals (whores). Their gold can’t buy them love. The illusion it does purchase is only that of self deception. They desire to believe they are an exception. They are not like the other clients their “sex worker” services.

Mind you, when I see a sex worker I desire I don’t let gold get in the way. As Blake said, “Sooner murder an infant in its cradle than nurse unacted desires.”

But then, Blake, unlike so many, knew what he was talking about. He could say in a few words what most can’t say in thousands.

Yes, Preach Christ constantly. Use words if you must.

–Dedicated to  my friend Nima Hoda, one of the many who walked in for a presentation then decided to stay for awhile enriching my life beyond measure in the process. It was Nima who gave me his copy of THE RUBAIYAT OF OMAR KHAYYAM. When he did so he said, “You have all these sayings posted. Find something in this to post.”

I opened it and found perfection. I found perfection when Nima walked into my life. I have found it again and again here as new people walk in my door. This is why I fight to keep it open. I have Faith that one of these days even Will Sloan will understand it is far better to stand with those this world damns than it is to stand with those who damn them.

CRAZY JANE TALKS WITH THE BISHOP

I met the Bishop on the road And much said he and I.
“Those breasts are flat and fallen now,
Those veins must soon run dry;
Live in a heavenly mansion,
Not in some foul pigsty.”

“Fair and foul and near of kin,
And fair needs foul,” I cried,
“My friends are gone, but that’s the truth
Nor grave nor bed denied,
Learned in bodily lowliness
And in the heart’s pride.

“A woman can be proud and stiff
when on love intent;
But love has pitched his mansion in
The place of excrement;
For nothing can be sole or whole
That has not first been rent!”

William Butler Yeats.

I’ll take Jane over the Bishop. Yeats, too, says in a few words what most can’t say in many.

–Reg Hartt 07/08/2016.

Rubaiyat-Of-Omar-Khayam2

 

David Mamet: “Like the belief of the terminally ill in medicine, the belief of the legitimately frightened in the educational system is a comforting lie.”

The audience will teach you how to act and the audience will teach you how to write and direct. The classroom will teach you how to obey, and obedience in the theater will get you nowhere. It’s a soothing falsity.

“Like the belief of the terminally ill in medicine, the belief of the legitimately frightened in the educational system is a comforting lie.”–pg. 19, David Mamet, A Generation that would like to stay in school, TRUE AND FALSE.

When young people who aspire to be film makers ask me what school they should go to I tell them Stanley Kubrick never took a day of public schooling he could get out of and that he certainly did not go to film school.

“But I’m not Kubrick,” they reply.

Yes, sadly, they are not.

The two books I most recommend on film and theater are David Mamet’s TRUE AND FALSE, Heresy And Common Sense For The Actor and BAMBI VS. GODZILLA On The Nature, Purpose and Practice of The Movie Business.

A while back while postering I ran into a fellow who had a great animosity towards me (which is a fairly common thing). I got him to speak with me about his reasons for this feeling. He told me he had come to a program, we had talked and I had told him he was wasting his time in theater school. He let me know that I was wrong and that, in fact, he had learned a great deal in theater school.

I then asked him a couple of basic question such as at what moment do we drop character when onstage.

“What?” he asked.

The answer is that we never drop character on stage. We do it only when we are at least six feet offstage and out of view of the audience for if we drop character while on stage the audience is taken out of the play.

I then asked him questions about various acting techniques. These questions were meant to lead into why technique is to be avoided.

For example, the dominant school of acting when motion pictures came on to the scene was the Delsart Method https://en.wikipedia.org/wiki/Fran%C3%A7ois_Delsarte.

Few seem to know this today. The reason for the broad acting highlighting poses instead of naturalism we see in early film stems directly from the Delsart method. People read his books. They believed what they read.

Turned out he had heard of none of those schools of acting.  Yet he thought himself well taught.

I have found over the years that many students who come to my programs bring with them an attitude that, frankly, robs them of learning.

“Being knowing and blasé is really the sign of a very unsophisticated person. The most sophisticated thing one person can say to another is ‘I know nothing about this. Please tell me.'”-Oscar Hammerstein III.

I got a postcard from Emo Philips on which he had written, “I honestly believe you are the greatest teacher I know for only you teach the evil of teaching.” Then he added, “Well, not only you. David Mamet, in his new book TRUE AND FALSE, confirms everything you have been saying all along.”

I then bought a copy of Mamet’s TRUE AND FALSE. I can’t recommend it high enough. Its ideas, essentially about theater acting, apply across the board.

All of this came back to me when I read Will Sloan’s piece on the closing of The Cineforum  ( http://torontoist.com/2016/06/reg-hartt-cineforum-closes-again-2016/  ).

 

20100825-RegHartt-01.jpg

 

Bidding Farewell to Reg Hartt’s Cineforum, Again

Maybe this time it’s closed for good? We remember the weird rite of passage that was Cineforum.

By Will Sloan

The Cineforum is dead. Again. “For good” this time. For now, at least.

“Of course, we’ve been down this road before. It seems that every few years, Reg Hartt announces that his homegrown movie theatre (located in the parlour of his house at 463 Bathurst St.) is shutting down. He’s used a variety of tactics to keep the city officials at bay: his theatre is “a club,” or maybe it’s “a gathering of friends,” and actually you pay “a donation,” not an entry fee. For years he had an ally in his old friend Jane Jacobs (“The best part of a Reg Hartt presentation is what he has to say,” he quotes her as saying). He was once even saved by the late Mayor Ford, and thereafter became an unwavering Ford National (including producing a 3D documentary of Ford Fest).

“More recently, he’s found himself in bitter conflict with James Gillis (aka “Dr. Jamie”), Toronto’s ruthless poster baron and his chief competition for bulletin-board space. The enmity has played out through a series of veiled threats and potentially libellous accusations via poster. Hartt, who just turned 70, cites his battles with Gillis and renewed city zoning issues as the reasons for his retirement. “This week I found myself more physically drained and exhausted than I have ever been,” he wrote on his blog. “It’s clear the City is not going to stand up for the rights the Supreme Court stood up for. It’s also clear I am wearing myself out.”

“He opened his house to the public in 1992, but has played movies in Toronto since the ’60s (most famously at Rochdale College). Most people I know have been to only one of his screenings, if any. Words like “creepy” and “scary” are common. Well, pull up a chair and allow me your indulgence, because your old Uncle Will is about to stroll down memory lane. I have ambivalent feelings about the Cineforum, but a lot of fond memories too, and I think Toronto’s film culture will be poorer without it.

“When I was a kid, I was enticed by those black-and-white posters advertising Metropolis, Nosferatu, and other movies Blockbuster didn’t have. For a young movie buff in the suburbs, the Cineforum gave the vibe of a certain kind of downtown bohemia. I remember going for the first time on my fourteenth birthday to see a program of Charlie Chaplin shorts. I remember Hartt’s lengthy intro, in which he argued that Chaplin’s genius was fostered by his creative mother and vaudeville upbringing, and emphatically not the school system.

“In high school, I told my friends about “this guy who runs a movie theatre in his house,” and I remember their horrified looks when I suggested we go. As an undergrad, I remember getting piss-drunk with friends and going to his What I Learned from LSD presentation (turns out it was a two-hour video of Hartt telling his life story, only periodically touching on LSD). I remember seeing his “Sex and Violence Cartoon Festival,” where an obscure film called Eveready Harton in ‘Buried Teasure’ made me gasp with laughter. I remember seeing the banned Rolling Stones documentary Cocksucker Blues next to a middle-aged longhair who got up and danced to all the songs. It’s one thing to see a movie like Cocksucker Blues from the comfort of a museum; it’s another to see it in a place where it still feels dangerous.

“Literally every student journalist has profiled Reg Hartt at some point. For me, this rite of passage came in 2008, when I was a second-year U of T student and writer for the Varsity. I was a Cinema Studies major, and the conversation with Hartt kept coming back to this. “When people come out and pay their money to see a film, they’ve come to be astonished, and when you’re in a classroom, you’re not sitting there to be astonished,” he said. “It’s a whole attitude of superiority to what you’re seeing. … Something happens with a movie that’s more than 10 years old. When a movie’s more than 10 years old people expect it to be much more serious than a contemporary film. Usually, students especially miss the mark on them, largely the fault of their teachers, who bring a great weight to this work that was never there in the first place.”

“During another Cineforum closure scare in 2012, I wrote an appreciation of the Cineforum for the now-defunct A.V. Club Toronto. I was probably thinking of the guy in my class who called Bergman’s Persona “the biggest waste of time I’ve ever seen” when I wrote: “The relentlessness of Hartt’s attacks on the education system can be wearying, but I wonder if he might be on to something. On a visceral level, I have rarely felt a film’s greatness in a classroom, but I have often felt it at the Cineforum.”

“A provocative statement—and, once I started seeing it on every Reg Hartt poster on every street corner in town, a regrettable one. It’s true that a classroom is not an ideal place to be swept away, but from Bazin to Baudrillard, a proper cinema studies education offers extraordinary range of approaches not only to film, but philosophy in general. But, alas, I wrote these words, so I accepted the responsibility of living with them.

Then one day in 2014, another poster appeared on Toronto’s streets, once again featuring the dreaded quote, this time in huge font next to a picture of yours truly (looking every bit the childish goofball who would write such a thing). Beneath my photo, a caption: “Will Sloan is making a mark for himself as one of Canada’s most interesting new writers. On top of that he is hot. Folks are lining up to jump in his bed.”

“I wrote Hartt an email telling him that this was embarrassing and inappropriate. He seemed to think he was doing me a favour: “That bit about folks lining up to jump in your bed might not be true now but it ought to be, should be and, I have a hunch, will be.” I asked him to stop using the poster, and to take the image down from his website. A few days later, he wrote on his blog: “Will Sloan emailed me after I posted this asking that I remove the description of him as hot. He said it is embarrassing. Embarassing [sic]? There is the triumph of our school system. It produces men without balls, eunuchs.” He concluded the post with: “So, Will, don’t email me asking me to remove this because I won’t. If that means I don’t see you again, well, the loss is yours.”

“I haven’t been back since. On his blog, he likes to position himself as the last honest man in a city full of phonies: “You won’t find me invited to speak at TIFF, The Bell Lightbox, Dialogues on Ideas or any of those places,” he writes here; “You won’t find media film writers at The Cineforum,” he writes here. He likes to quote Jane Jacobs’ saying, “Old ideas are sometimes found in new buildings. New ideas often need old buildings.” Hartt fancies the Cineforum to be a salon for the arts, and maybe new ideas do emerge there, but Hartt’s own writings are now little more than lists of people who have praised him, and vitriol towards those who haven’t.

‘But, despite everything, I admire Hartt’s commitment to the history of cinema. Un-beholden to the whims of the market, Reg keeps showing Chaplin, Keaton, Griffith, Murnau, Lang, Stroheim, Riefenstahl, Bunuel, Pasolini, Lon Chaney, Bela Lugosi, Todd Browning, Tex Avery, and Winsor McCay. He once brought the great Looney Tunes animators Friz Freleng and Bob Clampett to Toronto, and still plays their cartoons uncensored. With his unique scoring of silent films (including, yes, Nosferatu to the music of Radiohead), he finds ways to make dusty canonical classics come alive.

“Though his strict opposition to film academia is an intellectual dead-end, I admire how he treats the classics as living, breathing entertainments. Here’s something he said in my old interview, circa second-year university, that has always stuck with me: “For years they’d show Battleship Potemkin in film class either silent, or somebody chording on a piano, or somebody playing symphonies or waltzes or something. And then they finally found the original Edmund Meisel score. … That score was so powerful that Hitler had it destroyed. But then when the Meisel score was rediscovered, people went, ‘Oh, it’s an action film.’ Well, the movie was made for the public! It wasn’t made for a bunch of intellectual academics: it was made for the raw public. Of course it’s an action film!’”

On the whole this is good. However…

Will seems not to understand that in dance, literature, movies, theater not to say all of the arts critical praise is used in the promotion of works.

When someone, as Will did, writes, “The relentlessness of Hartt’s attacks on the education system can be wearying, but I wonder if he might be on to something. On a visceral level, I have rarely felt a film’s greatness in a classroom, but I have often felt it at the Cineforum,” that stands as one helluva endorsement. I don’t know of anyone working professionally in the arts who would not be delighted to highlight such a statement in their promotion.

In the comments to Will’s piece I found this: Danny Wood, “Maybe if RH wouldn’t undress me and others with his pervert stare everytime I walk past, he could have actually made something of that place.

Now I don’t know who Danny Wood is. I do know that I do not undress him and others with my pervert stare every time they walk past.

Sloan write, “More recently, he’s found himself in bitter conflict with James Gillis (aka “Dr. Jamie”), Toronto’s ruthless poster baron and his chief competition for bulletin-board space. The enmity has played out through a series of veiled threats and potentially libelous accusations via poster. ”

That conflict dates back almost twenty years. While some, the METRO newspaper for one, have called the conflict a feud it is not as THE GLOBE AND MAIL makes clear here: http://www.theglobeandmail.com/news/toronto/toronto-alternative-theatre-founder-stands-up-to-bullying-threats/article549053/      .

One Sunday morning when I biked around the city with flyers for my programs I saw posters on every available surface targeting myself as a pedophile. Those posters were put up by James “Dr. Jamie” Gillis who had mounted a similar campaign against a former employee to whom he owed money in 201o:  https://www.youtube.com/watch?v=an6wuSoPjlc  .

What is wearying is not Gillis it is the apathy of people who should know better. It is the writers who are too damned lazy to do what a real writer does which is a little thing called research.

I often quote Jean Cocteau‘s “Whatever the world condemns in you make it your own. It is yourself.

It helps to know that Cocteau was effeminate. Boy, did he get condemned.

But what courage he displayed throughout his life and in his work! What magnificent courage.

Will writes, “I remember going for the first time on my fourteenth birthday to see a program of Charlie Chaplin shorts. I remember Hartt’s lengthy intro, in which he argued that Chaplin’s genius was fostered by his creative mother and vaudeville upbringing, and emphatically not the school system.

I didn’t argue. I stated a fact. That fact is historical. All we have to do to know if it is true or not to a little thing called research. Chaplin’s genius was fostered by his mother and by his vaudeville upbringing.

We find ourselves back where we started.

“The audience will teach you how to act and the audience will teach you how to write and direct. The classroom will teach you how to obey, and obedience in the theater will get you nowhere. It’s a soothing falsity.

“Like the belief of the terminally ill in medicine, the belief of the legitimately frightened in the educational system is a comforting lie.”–pg. 19, David Mamet, A Generation that would like to stay in school, TRUE AND FALSE.

In TRUE AND FALSE Mamet states, “Invent nothing. Deny nothing. Stand up. Speak up. Stay out of school.

I’m with Mamet.  Nor is Mamet alone. In the post following Jane Jacobs says much of what Mamet says.  Here is but one example:

Incompetent By The Time We Are Prepared https://www.youtube.com/watch?v=uUQYpbqHXE4 .

In the comments to Will’s piece a fellow I don’t know, Danny Woods writes, “Maybe if RH wouldn’t undress me and others with his pervert stare everytime I walk past, he could have actually made something of that place.

Excuse me, Danny, but if you take the time to look you will find that I have made something of this place. But then again, those who take the time to look are always few in number. Take a look here: http://reghartt.ca/cineforum/?cat=29   .

I get intense glares from a few young men who walk by. To a person they are either young gay men or young gay men still in the closet (who, from experience, are always the chief among the homophobes as they hate in others what they are finding hard to accept in themselves).

Those genuinely comfortable in themselves, by far the majority, are friendly.

Charlie Chaplin, contrary to what many think, was not Jewish. When asked if he was, though, he always emphatically, said, “YES.”

Why? Because in Chaplin’s eyes it was important to stand not with the haters but with the hated.

It is in my eyes as well.

In the end the Danny Woods and Will Sloans are the ones I am most here for.

Lacking courage themselves they despise it in others.

Will writes:

“Then one day in 2014, another poster appeared on Toronto’s streets, once again featuring the dreaded quote, this time in huge font next to a picture of yours truly (looking every bit the childish goofball who would write such a thing). Beneath my photo, a caption: “Will Sloan is making a mark for himself as one of Canada’s most interesting new writers. On top of that he is hot. Folks are lining up to jump in his bed.”

“‘I wrote Hartt an email telling him that this was embarrassing and inappropriate. He seemed to think he was doing me a favour: ‘That bit about folks lining up to jump in your bed might not be true now but it ought to be, should be and, I have a hunch, will be.’ I asked him to stop using the poster, and to take the image down from his website. A few days later, he wrote on his blog: ‘Will Sloan emailed me after I posted this asking that I remove the description of him as hot. He said it is embarrassing. Embarassing [sic]? There is the triumph of our school system. It produces men without balls, eunuchs.’ He concluded the post with: “So, Will, don’t email me asking me to remove this because I won’t. If that means I don’t see you again, well, the loss is yours.”

“I haven’t been back since. On his blog, he likes to position himself as the last honest man in a city full of phonies: ‘You won’t find me invited to speak at TIFF, The Bell Lightbox, Dialogues on Ideas or any of those places,’ he writes here; ‘You won’t find media film writers at The Cineforum,” he writes here. He likes to quote Jane Jacobs’ saying, ‘Old ideas are sometimes found in new buildings. New ideas often need old buildings.’ Hartt fancies the Cineforum to be a salon for the arts, and maybe new ideas do emerge there, but Hartt’s own writings are now little more than lists of people who have praised him, and vitriol towards those who haven’t.”

Well, Will, again if you’d take the time to do research you’d find that an awful lot of people who have walked in my door have walked out transformed. New ideas have been and are found here. By the truckload.

Do you seriously think that when I quote Cocteau’s “What the public criticizes in you, cultivate. It is you,” I am not going to practice it?

Of course, I am not going to apologize for saying that you were hot. Though I do have to admit now that you have shown that you are not hot.

Henry Miller wrote, “A real man unbuckles his belt and looks for trouble.”   http://reghartt.ca/cineforum/?p=5651

Neither Will Sloan nor Danny Wood can meet Miller’s mark.

But then, very few can. The point is not to meet it but to surpass it.

Will, you found flyers saying you are hot embarrassing? Try going out and seeing a city filled with street posters saying you are a police informant as Terry Ross did. Try going out and seeing posters everywhere saying you are video taping girls up the skirts and recording drug dealers as Daniel Goggin did. Try going out and seeing posters plastered everywhere saying you are a pedophile as I did. When Gillis found that failed he posted new ones saying I am running kiddie porn. When that failed he postered flyers everywhere saying the police have told me I can’t charge admissions (they haven’t).

I have learned a great deal from this. The chief thing that threatens us is not the Dr. Jamies but those who stand by and do nothing.

Luckily, not everyone is Will Sloan or Danny Wood.

Emo Philips was appearing in Toronto. The city was covered with big posters announcing his appearance. I was posting flyers when someone tapped me from behind and said, “What are you showing tonight, Reg?”

I turned and saw that it was Emo.

He told me he had been a regular at my programs in the 1980s when he was just starting his career by performing in Toronto clubs.

“There is nothing more yielding than water. Yet nothing equals it for wearing down the hard. Thus the weak can overcome the strong, and the gentle conquer the hardhearted. This all know but none practice. Therefore the Sage says: “Who will take on himself the slanders of men’s tongues shall save the state. And he who will bear the burden of the world’s sin shall be its King. This paradox is true.”–Lao Tse, THE WAY OF THE TAO.

I have taken on the absolute worst slanders that men’s tongues can cast.

They have not brought me down.–Reg Hartt 07/07/2016.

UntitledCrazy 2My mother loved you–Reg Hartt 07/07/2016.

John Taylor Gatto: Underground History Of American Education  https://www.youtube.com/watch?v=VWRqZrCMqbA&list=PL8v6e5jkrm1FvaQv7GuZe41o4fPfreV0O

https://www.thestar.com/opinion/editorials/2016/06/28/the-city-should-leave-cineforum-alone-editorial.html

http://startouch.thestar.com/screens/1cb9b322-f604-45d4-9471-b2e463c42884%7C_0.htmlhttps://www.thestar.com/news/gta/2010/09/15/fiorito_we_gotta_have_hartt.html

http://news.nationalpost.com/full-comment/lawrence-solomon-jane-jacobs-rules-as-ford-strikes-a-blow-for-film-freedom

 

pervert stare

Trashed-posters-31-03-2014-1

Every day I find the flyers I and others have put up around the city promoting our events destroyed. So who is destroying them? One guess.

Gillis attacks are not on myself alone. This post dates back to 2010. What kind f a person leaves death threats on people's phones over posters? The answer is, not a very good one.

Gillis attacks are not on myself alone. This post dates back to 2010. What kind f a person leaves death threats on people’s phones over posters? The answer is, not a very good one.

Jane Jacobs: “I had great teachers in the first and second grades who taught me everything I know. After that the teachers were nice but they were dopes.”

I, too, learned everything I needed to know in the first and second grades.

“You have a dirty mind,” my second grade teacher told me.

She had asked us to draw stick figures of men and women. Unlike everyone else I drew women with breasts instead of triangles for dresses and men with our gear.

In first grade seeing my stick figures my teacher, who was also the wife of the principal, said, “Oh! You are an artist.”

She gave me colored bits of chalk. She encouraged me.

My second grade teacher beat me.

She said I was obstinate because I refused to do what everyone else was doing.

I knew that had I been doing something wrong my first grade teacher would have told me.

At 7 I learned the most important lesson of my life. I learned that a teacher could be wrong. I learned that when a teacher is wrong we take the beating. We do not change. I nearly died that year.

But I did not die.

This is why I stand up to those who come by here who tell me I am doing something wrong.

I am not.

I know it.

Years after I passed second grade I read these words from Jean Cocteau: “Whatever people condemn you for make it your own. It is yourself.”

“Listen carefully to first criticisms made of your work. Note just what it is about your work that critics don’t like – then cultivate it. That’s the only part of your work that’s individual and worth keeping.”–Jean Cocteau.

“A true poet does not bother to be poetical. Nor does a nursery gardener scent his roses.”–Jean Cocteau.

“Look poor. Think rich.”–Andy Warhol.

We live in a world that looks rich and thinks poor.

The poor have always hated the truly rich for whom clothes and money mean nothing.

It is a privilege to be hated for the right reasons. Don’t for a moment think I hate haters. I love them. They make me tough.–Reg Hartt. 7/06/2016.

Toronto’s War On Fun:  https://www.youtube.com/watch?v=RUO20–hXw8

Speak About What You Want (Put their title on it):  https://www.youtube.com/watch?v=ymeD-jRVZV8

Teachers:  https://www.youtube.com/watch?v=J-8WF_Ke1_8

Writing: https://www.youtube.com/watch?v=nlhX3oQkmOE

We are mislead by universities: https://www.youtube.com/watch?v=OcipVOZsdJw

Economy Of Cities: https://www.youtube.com/watch?v=a_M8cuMK_zY

Incompetent By The Time We Are Prepared: https://www.youtube.com/watch?v=uUQYpbqHXE4

Cities And The Wealth Of Nations:   https://www.youtube.com/watch?v=kEabVr7IQ_Y

The Death and Life of Great American Cities: https://www.youtube.com/watch?v=WVHvqTNxtFw

Toronto’s War On Fun 2:  https://www.youtube.com/watch?v=Mn-uHw3oHL8

Jane Jacobs Speaks About Reg Hartt in Welcoming Animation Master Bob Clampett to Toronto:                                                              https://www.youtube.com/watch?v=P99Ru45TVvc

 

See LE PATIN LIBRE in an outlaw performance at The Cineforum.

LE PATIN LIBRE, An Outlaw Performance In Toronto (2012) Filmed by Reg Hartt with the Sony 3D Bloggie Camera (http://www.digitalcamerareview.com/camerareview/sony-bloggie-3d-review/).  http://lepatinlibre.com/en/

9pm, Saturday, July 9, THE CINEFORUM, 463 Bathurst below College across from The Beer Store. 416-603-6643.

In 2012 LE PATIN LIBRE performed at Harbourfront. This revolutionary company which weds figure skating with dance, was born at THE CINEFORUM in Toronto. Most think all I do here is show movies. The movies are but the tip of what happens here.

Old ideas sometimes are found in new buildings. New ideas use old buildings.”–Jane Jacobs.

I met Jane Jacobs in 1968 when she and her family first arrived in Toronto. She was a regular at my screenings until her health prevented her from going out. While many objected to my introducing my programs for Mrs. Jacobs they were the principal attraction. Over a beer in her home she said to me, “The best part of what you offer is what you have to say.”

She is not alone in valuing what I bring to the table. Many others have also. One of those is Alexandre Hamel, the founder of LE PATIN LIBRE, who arrived at The Cineforum while touring with DISNEY ON ICE in 2004.

In this presentation Alex talks about coming to The Cineforum and how it changed his life for the better.

THE CINEFORUM incorporates ideas that go back to THE I CHING, Plato’s Academy in Athens, first and second century Christianity, the Paris Salon of Gertrude Stein, the original Paris Cinematheque of Henri Langlois and Claude Chabrol, the various factories of Andy Warhol, The Beats and The Beat Hotel, Toronto’s infamous Rochdale College (of which I was privileged to be a part) and the ideas of Jane Jacobs as expressed in her books from her first, THE DEATH AND LIFE OF GREAT AMERICAN CITIES through to her last, DARK AGE AHEAD.

During a visit to Montreal where I stayed at Alex’s place I got wildly drunk with him and other Cineforum alumni (Simon Lulling, Jeff Klassen, Jamie Ross). I woke up with a wicked hangover out of a dream in which I was giving my talks before the films from the screen in 3D. “That would be cool,” I said to myself. I promptly bought my first 3D camera and every book I could find on the history of 3D photography and 3D film making. Then I acquired every 3D movie I could going right back to the dawn of 3D. THE CINEFORUM now has one of the largest (if not the largest) archives of 3D Motion pictures in the world.

“An art form requires genius. People of genius are always troublemakers, meaning they start from scratch, demolish accepted norms and rebuild a new world. The problem with cinema today is the dearth of troublemakers. There’s not a rabble-rouser in sight. There was still one, but he went beyond troublemaker to court jester. He clobbered the status quo. That’s Godard. We’re fresh out of “bad students.” You’ll find students masquerading as bad ones, but you won’t find the real article, because a genuine bad student upends everything.”—Henri Langlois.

“One must save everything and buy everything. Never assume you know what’s of value.”—Henri Langlois.

“There are cinéphiles and cinéphages. Truffaut is a cinéphile. A cinéphage – a film nerd – sits in the front row and writes down the credits. But if you ask him whether it’s good, he’ll say something sharp. But that’s not the point of movies: to love cinema is to love life, to really look at this window on the universe. It’s incompatible with note-taking!”—Henri Langlois.

“It is good taste not bad taste which is the enemy.”–Pablo Picasso, Salvador Dali, Reg Hartt.

“Whatever the world condemns in you keep it. It is yourself.”–Jean Cocteau.

Luckily, thanks to my reputation as Canada’s most loved and hated film figure The Cineforum attracts mainly bad students. Thanks to that it is a hotbed of genius.

Here are some screenshots of LE PATIN LIBRE’s Outlaw Performance. 3D, as anyone who has seen Herzog’s PINA knows, gives a gravitas to dance on film that 2D simply can not provide. The bodies of the dancers move not in a flat landscape but in a solid one. I can feel as well as see their work. Where 2D gives only the shadow of life 3D gives the living presence.

3D Film making has a language all its own. It must be discovered as language is discovered, in practice. THE I CHING teaches that if learning and doing are not wed then the result is sterility. We have only to look at the fruits of our education system to know this is true as John Taylor Gatto has illustrated in his excellent THE UNDERGROUND HISTORY OF AMERICAN EDUCATION http://www.johntaylorgatto.com  , https://www.youtube.com/watch?v=eeEWPbTad_Q  ,  https://www.youtube.com/watch?v=96tEE8XoC0c  , https://www.youtube.com/watch?v=RUqOZ6GsF7o ,   https://www.youtube.com/watch?v=EeogjzJoCjo .

THE CINEFORUM has been called the most dangerous place on earth. It is. Rochdale College was infamous for the use of drugs. People went there to use hashish, LSD, marijuana, mushrooms, peyote, and more. Rochdale was 18 floors. The higher up we went, the higher we got. I was attracted to Rochdale not because of the drugs (altho I certainly took advantage of the opportunity and am grateful I did) I came to Rochdale attracted by the Rochdale idea of each Rochdalian as their own teacher. As a result there are no teachers at The Cineforum for at The Cineforum you are called to become your own teacher. Are you up to that challenge? –Reg Hartt 7/5/2016.Le Patin Libre 2012 (1) Le Patin Libre 2012 (2) Le Patin Libre 2012 (3) Le Patin Libre 2012 (4) Le Patin Libre 2012 (5) Le Patin Libre 2012 (6) Le Patin Libre 2012 (7) Le Patin Libre 2012 (8) Le Patin Libre 2012 (9) Le Patin Libre 2012 (10) Le Patin Libre 2012 (11) Le Patin Libre 2012 (12) Le Patin Libre 2012 (13) Le Patin Libre 2012 (14) Le Patin Libre 2012 (15) Le Patin Libre 2012 (16) Le Patin Libre 2012 (17) Le Patin Libre 2012 (18) Le Patin Libre 2012 (19) Le Patin Libre 2012 (20) Le Patin Libre 2012 (21) Le Patin Libre 2012 (22) Le Patin Libre 2012 (23) Le Patin Libre 2012 (24) Le Patin Libre 2012 (25) Le Patin Libre 2012 (26) Le Patin Libre 2012 (27) Le Patin Libre 2012 (28) Le Patin Libre 2012 (29) Le Patin Libre 2012 (30) Le Patin Libre 2012 (31) Le Patin Libre 2012 (32)

Jane Jacobs at Reg Hartt’s Cineforum: Time To End The City Of Toronto’s War On Fun

https://www.youtube.com/watch?v=f9833TPWSCY

Saturday, Sunday, Monday, July 9, 10, 11; 16, 17, 18, 23, 24, 25.

JANE JACOBS: URBAN WISDOM (2004) Don Alexander.

The Cineforum, 463 Bathurst Across From The Beer Store. 416-603-6643.

There is only one place on earth created entirely from the ideas of Jane Jacobs. That one place is Reg Hartt's Cineforum.

There is only one place on earth created entirely from the ideas of Jane Jacobs. That one place is Reg Hartt’s Cineforum in Toronto. What most makes it everything Jane Jacobs wrote about is that it has constantly been under attack by a city that refuses to recognize its value (just as they refuse to do with all of us).

Scan from a Xerox ColorQube (Hostname)(1) Scan from a Xerox ColorQube (Hostname)

The figure skating company, LE PATIN LIBRE, was born at The Cineforum.

Here is their recent performance as part of THE GUELPH DANCE FESTIVAL. I filmed it in 3D. Use red and blue glasses to get the 3D Effect. “Old ideas are sometimes found in new buildings. New ideas are found by necessity in old buildings.”–Jane Jacobs.

https://www.youtube.com/watch?v=OnXoCyj1Jdk

 

http://lepatinlibre.com/en/

https://en.wikipedia.org/wiki/Le_Patin_Libre

In this video Alexandre Hamel describes how seeing street posters put up by Reg Hartt when he was touring with DISNEY ON ICE brought him to THE CINEFORUM which changed his life for the better:

https://www.youtube.com/watch?v=tkoNCMH6aNY

Newspaper pieces on the City’s most recent attempts to shut down Reg Hartt’s Cineforum:

http://startouch.thestar.com/screens/1cb9b322-f604-45d4-9471-b2e463c42884%7C_0.html

https://www.thestar.com/opinion/editorials/2016/06/28/the-city-should-leave-cineforum-alone-editorial.html

https://www.thestar.com/news/gta/2010/09/15/fiorito_we_gotta_have_hartt.html

http://news.nationalpost.com/full-comment/lawrence-solomon-jane-jacobs-rules-as-ford-strikes-a-blow-for-film-freedom

The person behind the many complaints against THE CINEFORUM and Reg Hartt is James Gillis. He showed copies of the many letters he has written to lawyer Richard Zemla. Why is he determined to shut down The Cineforum? Gillis runs a street postering business under the name Dr. Jamie’s Events. He also sells used bikes under the name Dr. Jamie’s Used Bikes but that name has become so discredited his most recent flyers are completely anonymous and give locations which are not the address of his store.

Gillis has put up posters targeting former employees as Police Informants so that he can get out of paying them the money he owes them. He has put up thousands of posters attacking Reg Hartt. Read about it here:

http://www.theglobeandmail.com/news/toronto/toronto-alternative-theatre-founder-stands-up-to-bullying-threats/article549053/

“REG HARTT is what living in a metropolis is all about. He personifies the city as a meeting place of ideas, as a feast of experience and discussion and debate, as a triumph of the original and provoking over the banal and soporific.”—Globe and Mail

What has this to do with Jane Jacobs?

Jane Jacobs was about a lot more than walks which is something the people who organize walks in her name would do well to remember. When The Cineforum was first shut down in 1993 Jane Jacobs told Reg Hartt to call then Chief Planner of Toronto Paul Bedford and to have him call her back for confirmation. Mr. Bedford said, “Damn those idiots! I can’t bother her. Just start up.”

Question that might be asked: How can you know Jane Jacobs cared about Reg Hartt? We have only his word that she did.

Answer: Not many people received fan letters from Jane Jacobs. Reg Hartt received several. Two of them are displayed here. “Our mother loved you,” the children of Jane Jacobs have repeatedly told Reg Hartt. In 1979 Jane Jacobs spoke about the value of Reg Hartt to the City of Toronto at an event Hartt sponsored with animation artist Robert (Bob) Clampett: Here is the audio of that talk: https://www.youtube.com/watch?v=3D7J2ch2Tec

Question: If THE CINEFORUM is not a public art gallery, what is it?

Answer: City Inspector Elliott deBarros said the city has a tough time deciding what it is and the closest it could come is Public Art Gallery. He also agreed with Mr. Hartt that The Cineforum operates within City of Toronto Bylaws. He said that if Mr. Hartt were to send in application for a Project Review Request the city would approve it almost instantly and The Cineforum would be protected from future threats. Elliott deBarros acknowledged that James Gillis was/is behind the complaints while adding that a second person, probably at the behest of Gillis, has filed complaints. Mr. deBarros now denies saying The Cineforum was/is within City of Toronto Bylaws.

There doesn’t seem to be much creativity at the top. It seems to me that Toronto has a split personality, a civic schizophrenia. On one level there is the spirit of individuals and small groups who do things…what you might call the vernacular spirit. This is all very informal, ingenious, quite romantic and full of fun, a great deal of fun. It seems to me that the official spirit of Toronto is stamp out fun. It’s pompous, impressed with mediocrity if its very, very big and expensive,”–Jane Jacobs   https://www.youtube.com/watch?v=RUO20–hXw8       .

This is an going problem and it affects the city as a whole: “They didn’t offer any facts,” says Pol Cristo-Williams, owner of Sweaty Betty’s, a bar at Queen and Ossington that had its hip credentials buffed when Drew Barrymore ditched her own film fest party to hang there. “There are no facts. I don’t know why they’re calling it a study – all they’re doing is copying the College Street by-laws, and College Street is a mess, it’s a dying neighbourhood. After they prove that they’ve screwed up College Street, they’re going to screw up Queen West and Ossington.”  http://www.blogto.com/city/2009/10/bar_bans_by-laws_and_the_end_of_ossington/  .

Question: “You have no really defined The Cineforum. What is it?”

Answer: The Cineforum is pretty much indefinable. The word “Cine” means “Film.” A “Forum” is a place where ideas can be discussed. So in that sense THE CINEFORUM is a place where ideas about film can be discussed. Cinema, itself, embraces all of the arts so ideas about all of the arts can be discussed there. As well, the ideas inherent in the films being presented are themselves open to discussion.

The Cineforum is located in the living room of my home. The word “Salon” is French for “living room.” In Europe there is a long history of people using their living rooms, their salons, as a regular meeting of writers, artists, etc., at someone’s home (  http://www.merriam-webster.com/dictionary/salon  ).

Question: What would you like the future of The Cineforum to be?

Answer: I would like THE CINEFORUM to be a living memorial to the ideas of Jane Jacobs. While I feel it is highly unlikely given what Jane Jacobs herself describes as “the pompous mediocrity” at the top I would like Toronto to become the first truly Jane Jacobs city in the world. A Jane Jacobs city is a city that adapts to its people instead of forcing its people to adapt to it. Forcing its people to adapt to it leads, as she has clearly shown, to the death of cities. Toronto is a dying city.

THE CINEFORUM is a living testament to her statement “New ideas are found in old buildings.” Alexandre Hamel with his figure skating company LE PATIN LIBRE is globally revolutionizing figure skating with completely new ideas. He is one of the many who have found a new direction because they came to THE CINEFORUM. I would like to see the city purchase the property from my landlord and then give it to The Cineforum Community in perpetuity as a place where new ideas can be found.

“Before transforming into a travelling troubadour he worked in the film industry, which eventually led him to the Cineforum, the legendary Toronto theatre run out of the film archivist Reg Hartt’s living room, and where Petunia lived and worked for a time. “The first time I saw him talk, I was sold,” Petunia said of Hartt. “We’ve been friends ever since. I learned everything I know about the business of being an artist from Reg. And believe it or not, I learned how to walk a little more gracefully from knowing him.”  http://www.taddlecreekmag.com/going-with-the-flow

“My biggest musical influences? Sheila Gostick, whom most people will never really get to hear, see or know. Same can be said for Reg Hartt, almost the polar opposite of Sheila Gostick. Even though Reg is known for being a movie guy. These two people are living icons in Toronto. Reg’s place is within a few houses of Bathurst and College, look for the lapis lazuli blue and gold paint job. People from all over the world go there while so many people in Toronto are afraid to.” http://www.petuniamusic.com/Press/east_coast_noise.htm  .

“Q: What and/or whom inspired you to become a performer, and how old were you? A: Hard to say what inspired me and all the whoms. Sheila Gostick schooled me in all manners and customs when I was 26. Reg Hartt got me back from the system while I was still young enough to care and think. Though, if I were a better ball player I wouldn’t be a professional musician seeing as I love to play ball. If you’re curious about Reg & Sheila, look them up, they are famous underground characters with huge personalities and drive.”  http://the-g-zine.blogspot.com/2013/01/q-with-petunia.html    .

Question: What are your qualifications?

Answer: My qualifications are exactly equal to those of Jane Jacobs.

Question: Do you expect to get support from the organizers of Jane Jacobs walks, etc..

Answer: No.

Question: Then why do you approach them?

Answer: So that afterwards they can’t say, “Why didn’t you call us? We would have helped.” Jane Jacobs helped without being asked. The best always do. These people are like the Pharisee and the Scribe in Jesus’ parable of The Good Samaritan. They wear the robes. They talk the talk. But when the call to act comes they walk on by. It is important to remember that the Samaritan was viewed as beneath contempt, as unclean.

Question: Then who do you expect to help you?

Answer: I don’t need help. I run THE CINEFORUM within City of Toronto Bylaws. We are not allowed under the Bylaws to invite strangers into our homes. Admission to my program is limited to my friends. If someone wants to be a friend of mine all they have to do is come by and say, “Hello.” In New Brunswick where I lived as a kid and in Sault Ste. Marie where I lived before coming to Toronto I was told that Toronto is a cold city. I said that I would warm it up. I have. In a Jane Jacobs city there are no strangers. There are friends we are about to meet. I am creating a Jane Jacobs city by standing up for ideas.

Question: What would you like the City of Toronto to do?

Answer: First I would like the City to enforce its street poster bylaws which are eminently fair. James “Dr. Jamie” Gillis, in the operation of his street poster business, routinely ignores them.  Secondly, I would like to Gillis brought to account for his telephone death threats on myself and others. These date back to 2010 and are on the public record. Thirdly, I would like to see that family that is being told to tear down its treehouse told, “Hey, it’s cool. Kids love treehouses.” Fourthly, I want Toronto to become a Jane Jacobs City. Do that and we set an example for the world. That would really be the most fitting memorial to her.

Question: What can we do?

Answer: First, come to The Cineforum. Secondly, talk to your Councillor. Tell them we want a Jane Jacobs City. We want a City that adapts to us. The price, should they fail to listen, will be the death of Toronto.

Question: Do you need funding?

Answer: This will come as a surprise to many but Jane Jacobs was very much against government support and very much for self reliance. I long ago turned my back on government funding. Do I need funding? Of course I do. I prefer the funding to come from those who value my work. One of the things I have noticed about many of those who receive government salaries and government funding is that they seem to think their feces smells like roses while viewing the rest of us as common. Mrs. Jacobs told me this attitude has a long history. My own research confirms that.

Question: Why do you continue to fight this fight?

Answer: Because every week some new person walks in who finds what Alex and Petunia found. They find a new direction for their life.

Question: Do you think you will win?

Answer: Do you think Jane Jacobs knew she would win when she went up against Robert Moses in New York and against the Spadina Expressway in Toronto? Of course she did not know that. What she knew was that if she did not fight then the city she loved and the city in which she had made her new home would be destroyed. I know that Toronto has destroyed a great many things it should not have in the past. I know that it must stop doing that now.

Question: What are some of the other things the city has desroyed?

Answer: Here are some of the many:

Loss of Gerrard Street Village

https://www.thestar.com/news/gta/2008/12/26/our_lost_greenwich_village.html

Death of Yorkville

http://spacing.ca/toronto/2009/06/25/throwback-thursday-yorkville-and-the-death-of-torontos-first-scene/

Bohemian Embassy Coffee House

http://behindthebohemianembassy.com/publicity.pdf

https://www.youtube.com/watch?v=YHkPpkMH9cc

http://www.yorkvillethedocumentary.com/don-cullen/

http://www.quillandquire.com/review/making-the-scene-yorkville-and-hip-toronto-in-the-1960s/

Ossington Street

http://torontoobserver.ca/2009/11/23/city-staff-seeks-to-amend-by-laws-on-ossington-ave/

http://www.blogto.com/city/2009/10/bar_bans_by-laws_and_the_end_of_ossington/

Jane Jacobs: End Toronto’s  War On Fun: https://www.youtube.com/watch?v=Mn-uHw3oHL8&feature=youtu.be

Let us end it now. Come to The Cineforum. Become my friend.–Reg Hartt, 7/4/2016.

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