Additional art direction: J. Ross Eaker, Alfred Eaker and Wendy Collin Sorin.
Starring: Randy Cox as James the Lesser; Tristan Ross, as James the Greater; Amy Petinella, as Eve; Alfred Eaker, as BlueMahler; James Mannan, as Herod; Robin Panet, as the witch.
Alfred Eaker and J Ross Eaker of “Eaker Productions” have produced and directed a documentary about Raymond Thunder-Sky. The film documents Raymond’s life and influence through interviews with Cincinnati artists, co-workers, construction workers, and fans who knew him.
The cummulative effect of the film is a portrait, not just of Raymond as a man or artist, but as a cultural and spiritual figure — who through the persistence of his art-making and brave exploration of his own aesthetic universe, and through the persistence of those his life touched — became a touchstone for what it means to be creative and alive…
An art gallery and organization — inspired by Raymond Thunder-Sky, an unconventional artist whose works and life transcend notions of “outsider” and “insider” art — breaks barriers, demolishes stereotypes, and empowers artists (both self-taught and formally educated) through showcasing their works and stories side by side.
Thunder-Sky, Inc. Deconstructing a Legacy of Art
Documentary directed and produced by Alfred Eaker & J. Ross Eaker. Keith Banner and Bill Ross producers. James Mannan and Patrick Greathouse Associate Producers Eaker Productions, LLC in association with Thunder-Sky, Inc. Liberty or Death Productions, LLC Asylum House Productions, LLC.
Dear Raymond (BlueMahler’s homage to Raymond Thunder-Sky)
You definitely don’t want to miss the letter/tribute/video that Alfred Eaker himself gave to Raymond Thunder-Sky through Eaker’s performance art character called “BlueMahler.”
Like Raymond’s stoic construction clown, BlueMahler is not a clown in the traditional sense. Rather, the clown characterization is merely a skin to wear for the spiritual promenade…
***
(By Alfred Eaker, as BlueMahler)
Dear Raymond, We hope you enjoy this short companion film to the documentary Thunder-Sky as much as we’ve enjoyed your life’s work. I hope you travel well… More
Raymond Thunder-Sky is an icon but, in all likelihood, never realized as much in his lifetime. A Cincinnati artist and pop culture icon until his death in 2004 at the age of 54, Raymond Thunder-Sky traveled Cincinnati’s city streets day after day often clad in what would become his trademark clown suit and hardhat, both symbols of his unusually free spirit yet passion for all things construction.
Thunder, diagnosed with Autism, had extraordinary genetic roots being the son of former Mohawk Chief Richard Thunder-Sky and a mother who descended from an Austrian nobleman. You may never have guessed these things simply by meeting Raymond, a man whose primary methods of communication seemed to come through his almost non-verbal grunting noises but, perhaps most of all, through the extraordinary way in which he authentically lived his life.
Maybe he didn’t know any better. Who knows? Maybe it wasn’t so much an intentional choice or a courageous act, but there was something about the way Raymond showed up “as is” and envisioned a world far better than the current one that inspired nearly everyone around him including those who were assigned to be his caregivers.
Thunder-Sky is a documentary feature from Indianapolis-based filmmaker Alfred Eaker, an equally perplexing chap whose works run the gamut from starkly political to darkly comical to intimately vulnerable to, now, refreshingly honest and even joy-filled. Eaker creates an unconventional documentary with Thunder-Sky, a film that celebrates an unconventional artist whose legacy lives on through Cincinnati’s Thunder-Sky, Inc., an art gallery and archival center created in Raymond’s memory that offers support and encouragement to a new breed of unconventional artists both trained and untrained.
Thunder-Sky, Inc. Art Gallery
The recently completed documentary, I love it when I’m one of the first to see a terrific new film, isn’t so much a masterpiece in the traditional sense as it is a perfectly wonderful tribute to the unconventional nature of Raymond Thunder-Sky and the world in which he lived. Eaker has always had a knack for transcending cinematic norms, finding creative and inspired ways to communicate his unique vision. Thunder-Sky is the perfect project for him, because it allows an unconventional filmmaker to affectionately and joyously pay tribute to an unconventional man. So many filmmakers would have either been far too reverent or, even worse, far too condescending towards Raymond. Eaker finds just the perfect balance.
As both a writer and District Manager for a state agency working with individuals who have developmental challenges, I found myself completely enthralled by Thunder-Sky, in which Raymond’s disabilities are viewed not as making him less but as part of what made him who he was and for how they contributed to the ways he lived his life. Eaker doesn’t minimize the challenges in Raymond’s life, but neither does he bow down to them.
Bravo.
Eaker incorporates an abundance of archival footage and photographs involving Raymond supplemented by Raymond’s artworks and several interviews with those who knew Raymond best ranging from former caregivers to those who to this day continue working with Thunder-Sky, Inc. Eaker divides the film into several sections separated by beautifully realized animated sequences that capture both the playfulness and the seriousness of Raymond’s works.
Raymond’s drawings are, in fact, rather simply drawn yet complex in their details. Raymond would also often incorporate narratives into the fabric of his drawings. Most often, these narratives would announce the destruction of a building to be replaced, “Coming Soon,” by something magical or magnificent like a multi-colored clown suit factory.
Thunder-Sky, Inc. Art Gallery
You know you have a terrific documentary when you find yourself really wishing you’d met the subject of the film by the time the closing credits have rolled.
What really makes Thunder-Sky such a satisfying film is that Eaker really seems to “get” Raymond Thunder-Sky. Eaker “gets” Thunder-Sky’s unconventional artistry. Eaker “gets” his disability. Eaker “gets” the passion for clowning that grew out of Raymond’s first visit to a circus and led to his being embraced by the clown community.
Eaker simply “gets it” and he brings Raymond Thunder-Sky’s uniquely wonderful life fully alive on the big screen.
The only aspect of Thunder-Sky that didn’t quite resonate was the decision to follow up an emotionally satisfying section on Raymond’s death with an extended section regarding Thunder-Sky, Inc. While this is likely an effort to expand upon Raymond’s legacy, it’s a tad long and a less emotionally satisfying way to end an otherwise intellectually stimulating and heartfelt documentary.
One can only hope that film festivals will discover Thunder-Sky, a documentary feature celebrating an unconventional man whose unconventional artistry created an extraordinary world. The film will unquestionably be popular with indie film fests and among disability advocates and activists. In fact, I chuckled as this thought came to mind, this may very well be the first time that Eaker has created a film that truly deserves to be a Heartland Truly Moving Picture.
That would be incredibly appropriate, actually. Because, to this day, Raymond Thunder-Sky continues to truly move those who had the privilege of crossing his path.
Alfred Eaker has concocted a strange and lovingly disjointed documentary about Raymond, called simply Thunder-Sky. Which probably is the only way to do it: Raymond’s significance really does not come from his status as an “outsider artist,” as much as his unique self-created persona, his self-imposed and beautifully freaky monarchy over a universe of buildings being built and buildings being destroyed. The drawings are simply evidence of his reign. In other words, “art” and “life” were never fully compartmentalized in Raymond’s psyche and practice; in fact he seemed hell-bent on blending them into a cement-and-cotton-candy dream-world only he could tell us about.
We screened it Thursday night at Bromwell’s Gallery, asking for criticisms and corrections. And we truly got some insightful, wonderful ways to make it better. It was as if everyone in the room were completely invested in making sure Raymond’s life story is conveyed with as much style and class as possible.
Eaker’s movie is high-style at points (beautiful animation done by Todd M. Coe is kind of like the movie’s “tent poles,” offering a funky, psychedelic structure to the ongoing talking-heads-ness; a great ongoing motif involving the items Raymond collected in his toolboxes also helps to shape the narrative), and a little too campy in others (those weird clown vignettes really do need to go). Sometimes the interviews get redundant (he focuses too much, I think, on Bill and me), and I think he may want to revisit having Thunder-Sky family friend Larry Higdon more in the spotlight, as his voice/demeanor/gentlemanliness as he speaks about Raymond really is arresting and actually made me cry.
No matter what though I just wanted to tell Alfred and his cohorts how much I appreciate all the work they have done. I know I’ll never completely understand all the hard work and many hours that have gone into making this movie, but I do appreciate the final result: you’ve taken subject matter that is very hard to comprehend and fashioned it into a funhouse mirror world of reflection and celebration.
Thank you very much.
Raymond was born in Hollywood. Having a movie made about his life only seems like the next step in his evolution.
As an inquisitive American artist, he has always been deeply engaged in social, religious, and political climates. Eaker is currently working on a mural painting entitled “Elvis: An American Hymn.” Through it, Eaker is trying to bring affirming answers to issues of race, integration and hope so desperately needed at this moment in America.
INSPIRATION: A lot of Cincinnatians remember a man dressed in a clown collar and construction hat, walking the Cincinnati streets with a toolbox in tow, a serious expression on his face. He did this for many years, mystifying folks as to what he was up to. The man’s name was Raymond Thunder-Sky. And what he was doing was drawing demolition and construction sites throughout Cincinnati and other parts of the region. Raymond, a Native American with a rich family history, passed away in 2004, leaving behind over 2,000 drawings, and a vast array of clown costumes, construction hats, and tool-boxes. Thunder-Sky, Inc. was founded in order to preserve Raymond’s legacy through exhibits and programs, and to provide an exhibition space and ongoing support for other unconventional artists in the area.
MISSION: To keep Raymond Thunder-Sky’s legacy alive through community-based programs and exhibits, as well as showcasing and supporting unconventional artists like him from the region.
VISION:Raymond Thunder-Sky was a gifted artist whose life and art are examples of unique creativity, ingenuity, and dedication. We believe his spirit and legacy enriches the lives of everyone it touched and continues to touch. As well, his stature as both a cultural and artistic figure offers a valuable opportunity to learn about, and to champion, other unconventional and overlooked artists from across the region.
Interview footage from Channel 9 WCPO Cincinnati.
Alfred Eaker as BlueMahler, at The Thunder-Sky Folk art Carnival, Sept 2010
This is an 8 minute promotional video for a featured documentary
An art gallery and organization, inspired by Raymond Thunder-Sky — an unconventional artist whose works and life transcend notions of “outsider” and “insider” art, breaks barriers, demolishes stereotypes, and empowers artists (both self-taught and formally educated) through showcasing their works and stories side by side.
A documentary film directed and produced by Alfred Eaker & J. Ross Eaker.
Keith Banner and Bill Ross producers.
James Mannan and Patrick Greathouse Associate Producers Eaker Productions, LLC in association with Thunder-Sky, Inc.
Liberty or Death Productions, LLC Asylum House Productions, LLC
What would happen if God sent his daughter this time, would she find a better reception than her brother did?… “Jesus and her Gospel of Yes ” is a visual and aural collage of ‘spiritual irreverence’ which conveys a humanist and optimistic message. It is a surreal, complex, modern, psychedelic film retelling the life of Christ as woman and leader of the Gospel of Yes. Her nemesis and leader of NO is the trans-gendered Moses…
Awards
“Jesus and her Gospel of Yes ” was voted Best Experimental Film in the 2004 New York International Film and Video Festival. One thing is for certain, it didn’t leave people indifferent…
You can download the official trailer, here. Or get the movie on Amazon.
Director’s Statement
(Alfred Eaker on “Jesus and her Gospel of Yes”)
A Hollywood ‘insider’ once wrote that any film that can’t be summed within a paragraph isn’t worth looking at. I digress, and feel that the problem with the majority of films is that they can indeed, all too well, be summed up within a couple of sentences or less.
My own taste in art tends towards aesthetically challenging work. I cannot absorb a Kandinksy in a single viewing or Artaud in a singular reading. Boulez’s interpretations of Mahler and the moderns demand repeated listening and consistent re-evaluation. Like wise, one cannot approach the films of Anger, Brakhage, Deren, Ken Russell, or Jodorowski with the mindset of a casual experience. One must look and hear.
My main goal in this, my first film, was to make a surreal collage of both spiritual irreverence and provocative aesthetics. This film also endeavors to offer a ‘seemingly’ callous commentary on the parody that this religion has become while seeking a goal of optimism (within the religion) by progressively putting on new eyes and new ears regarding the Gospel itself. I approached this film very much in the way I approach painting, as an organic composition. We went through numerous edits, tweaking and re-working the film, which changed much through those edits, eventually becoming the film we now have
“Jesus and Her Gospel of “Yes'” (Still pictures)
Selected Reviews
God’s little girl. A brilliant, visionary film…
Uncle Ernie (original review, Amazon): “A brilliant, visionary film. A must see, like no other film you’ve ever seen. A celluloid triumph, that will go down in film history. It’s not for everybody, you must have a working brain! What would happen if God sent his daughter this time, would she find a better reception than her brother did? Pink and Blue films first feature length film from the people who brought you “W the Movie!” A new religious experience!”
Judgement!!! REPENT NOW!
V. Roberts (original review, Amazon): The only thing I have to say from just looking at the preview is: BLASPHEMY! BLASPHEMY! BLASPHEMY! And you will be judged harshly by God for using and misleading the children with this ABOMINATION of a project! REPENT NOW! Pastor Roberts in DC! I also put 1 star because the review page gives no option for no stars which it really rates…
Undeniably weird and original to the max…
Kevin Pyrtle, of WTF-Film. (An extract of his Original Review): “Jesus and Her Gospel of Yes” is undeniably weird and original to the max, but its crude brand of no-budget shot-on-video mayhem just wasn’t for me. While I didn’t enjoy it, I have to admire that Eaker was at least trying something new here – a rare thing in these days of utterly barren mass marketed entertainment. I have a feeling that the world would be a far better place if even a hundredth of a percent of the box office earnings from the latest Hollywood action debacle was to find its way into the pockets of the Eakers of the world…
Should be rated XX (Full Men and Women nudity)
Dan (original review, Amazon): “This film is unusual, to say the least. It uses scripture as a theme in Jesus’ life throughout the film. However, it contains segments of full male and female nudity, lesbianism, cross-dressing, etc. How one can feel that combining scripture with such anti-christian/Judaeo themes has left me floored. I am truly disappointed that a Roman Catholic Franciscan Priest would be a part of such trash. While what he says in the movie has merit and while there is some truth in the film , the overall impression left after watching a psychedelic piece of drama with such nudity and foul language has left a very sour taste in my mouth”…
An attempt to re-present the Christian word in a modern humanist light
Richard Scheib (original review, Moria views): “The point that should also be made is that Jesus And Her Gospel Of Yes is not intended as a satire of Christianity per se. Alfred Eaker identifies himself a progressive Catholic and a number of his painted works circle around religious and Biblical themes. Clearly, the film is an attempt to re-present the Christian word in a modern humanist light. For Eaker, Christ represents vibrant life, freedom and humanist acceptance of all persuasions and a refutation Old Testament-proscribed legalism.”
Director’s Commentary
(Alfred Eaker on “Jesus and her Gospel of Yes”)
The film opens with BlueMahler gliding slowly across a watery screen. Behind him is a clock, which reads a few seconds before twelve. Rolling yellow text at the bottom of the screen reiterates the mystery of the foreboding clock; ‘ Ten seconds `til ShowTime!’
We will not see this follow up image until more than halfway through the film, right after the closing argument prosecuting attorney Moses gives in Jesus’ trial. We then will see the repeated image of BlueMahler, the water, the clock, and the rolling text, which then will read; ‘It’s ShowTime!’. The clock is of a spiritual design and therefore does not obey our concepts of time… More
As an inquisitive American artist, he has always been deeply engaged in social, religious, and political climates. Eaker is currently working on a mural painting entitled “Elvis: An American Hymn.” Through it, Eaker is trying to bring affirming answers to issues of race, integration and hope so desperately needed at this moment in America.
“W the Movie” is a surreal satire on the presidency of George W Bush, beginning with 2000 elections and ending with the 2008 campaign.
At the dawn of the 21st century, strange things begin to happen when a meteor crashes in the Arizona desert. A Texas Oil Man discovers the meteor and inside it, his long lost son, W. With his daddy’s help, W steals the presidential election, becoming the 43rd President of the United States and a world of chaos begins! After 911, W brings War and with it, suppression of all free thought. Among those standing up to the new regime are the staff of Issues and Alibis, including our superhero, the intrepid reporter BlueMahler.
Issues and Alibis, and likewise, all creative thinkers, are a threat to W and the White House becomes the House of Oppression. W’s hold on power begins to spiral out of control after the people finally wake up following the disaster of a devastating hurricane and the failure of War. But change is on the horizon in the form of the Yes candidate, Barak Hussein Osama. Or will W’s handpicked successor, Johnny McPain, continue the legacy of No? Have we realized too little too late and are we prepared for the next time a meteor crashes in the Arizona desert?
‘W’ is an Alfred Eaker motion picture. Written and produced by Alfred Eaker Directed by Alfred Eaker and Ross St. Just A Pink and Blue Films production in association with Liberty or Death Productions and Asylum House Productions.
