Crutch


Art knows no disability.

(2020) Documentary (Discovery Plus) Bill Shannon, Cornelius Henke III, Randy Shannon, Bill Clark, Earl Cole, Ben Shannon, Bethany Jones, Gavin Evans, Jeff Chavez, David Foster, Emmanuel Vega, Jackson Clark, Frosty Freeze, Rennie Harris, Richie Tempo, Claire Cunningham, Leah Lazarondo, Roseanne Garland-Thompson, Susan Cummings. Directed by Sachi Cunningham and Chandler Evans

Bill Shannon may not necessarily be a household name, unless your household is into breakdancing and performance art. He was born wth a condition that led to bone necrosis (the loss of blood flow leading to the death of the actual bone cells) in his hip, leading to chronic pain and an inability to walk without aid.

Before his diagnosis he loved skateboarding, trampolining, running…the things kids love to do, he was just always in motion. It was a devastating blow to discover that his motion would be limited. Hip replacement surgery was offered as an alternative, but he turned it down; the issue was that he would spend a lifetime enduring a succession of follow-up surgeries when his replacements wore out and eventually, the hip replacements would no longer be effective. He chose to learn to endure the pain.

One thing that helped was the use of rocker crutches. Rather than coming to points, they have rounded “rocking chair” type bottoms that allow greater mobility. They didn’t just allow him to move; they allowed him to dance.

Being a hip-hop fan from an early age, he found that he could really bust some moves with his crutches. At first, his ambition out-stripped his ability and he endured a lot of falls, but Shannon was never afraid of falling. He would just get up and try the move again, over and over again, until he got it right. Soon, he was winning breakdancing competitions in his native Pittsburgh, and then in Chicago.

He also began to see himself differently, not just as someone overcoming a disability, but as an artist and an innovator. He helped popularize breakdancing to the point where it was given shows in legitimate theaters, and incorporated them into performance art pieces. He gt a call from Cirque du Soleil to choreograph a routine for some of their performers to use crutches as he did. This led to an epiphany; was he being given credit for being an artist, or was there an asterisk implied: artist with disability. He had always been bothered by people staring at him on the streets, and really hated feeling pity from the able-bodied, especially in light of him being more dexterous and graceful than most people who don’t have crutches.

He began to experiment, watching how people reacted to him. He would fall on purpose and see how people responded. He took to filming encounters with hidden cameras and showing the results at some of his shows; he built an entire show around it, putting the audience on a bus and staging the Borat-like sequence for their entertainment, I guess you’d say.

In some ways, this last section lies at the heart of Crutch. This isn’t just a feel-good documentary about a man overcoming obstacles to be successful in a way nobody ever had been before, given his circumstances. There is a saying that art knows no disability, which is a fancy way of saying that genius is genius, regardless of who is blessed by it and in that respect, Shannon is a hands-down genius as both choreographer and performer. Hands down, no asterisk.

But I have to admit that I was a bit uncomfortable with the staged “weight of empathy” sequences. Full disclosure; I’m also disabled and get around with the use of a cane. Due to a neurological disorder, I’m prone to falling and from time to time have taken spills in public. When good Samaritans try to help me to my feet (I’m a big fella and it’s not an easy task), I am grateful. If people stare at me, I really don’t notice. It wouldn’t bother me if they did, but apparently it bothers Shannon. I guess I can see his point; the staring is a way of objectifying; ask a pretty woman if she enjoys being stared at sometime and see what answer you get.

He sees empathy and the instinct to render aid as a form of being patronizing, and at times seems to ridicule the gesture. Now, I’m willing to admit that my discomfort with the sequence may be me reacting to the concept that I might be patronizing in those instincts, but I think there’s also a good chance that Shannon just has a chip on his shoulder, one that has enabled him to accomplish what he has. Most good artists have an edge to them, after all.

It is a good thing when a film forces us to examine ourselves and our own attitudes. We can’t learn and grow if our preconceptions aren’t challenged once in a while, so kudos to Cunningham, Evans and Shannon for doing just that. And while it seems that Shannon doesn’t necessarily want to be praised for turning a disability into something different, his disability is nevertheless a part of him, like it or not, and the fact that he has accomplished so much with so much adversity in his way is to be commended and admired. His art speaks for itself, as art does.

REASONS TO SEE: You can’t help but admire a man who lives life on his own terms.
REASONS TO AVOID: The third act may be unpleasant for some.
FAMILY VALUES: There is profanity and some drug references.
TRIVIAL PURSUIT: Shannon was diagnosed at a young age with Legg-Calvé-Perthes disease, a lack of blood flow to the head of the femur which causes the bone tissue to die. It affects about one in 1,200 children.
BEYOND THE THEATERS: Discovery Plus
CRITICAL MASS: As of 11/2/21: Rotten Tomatoes: No score yet; Metacritic: No score yet.
COMPARISON SHOPPING: Shameless: The Art of Disability
FINAL RATING: 6.5/10
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13 Minutes

A.K.A. Doc Pomus


This is how it's done; Doc Pomus (center) performs in 1947.

This is how it’s done; Doc Pomus (center) performs in 1947.

 

(2012) Music Documentary (PBS International) Doc Pomus, Lou Reed, Dr. John, Ben E. King, Joan Osborne, Jerry Lieber, Raoul Felder, B.B. King, Peter Guralnick, Kenny Hirsch, Dion DiMucci, Shawn Colvin, Willi Burke, Alex Halberstadt, Ken Emerson, Marshall Chapman, Mike Stoller, Dave Marsh, Robin Lerner, Hal Willner, Josh Alan Friedman, Jimmy Scott, Gerry Goffin, Penny Arcade. Directed by William Hechter and Peter Miller

 Florida Film Festival 2013

The name Doc Pomus is probably not one you’re all that familiar with unless you’re one of those music fans who reads incessantly about classic rock and pop. Even if you’re one of those people, you still might not know the name and if you do, chances are you don’t know much more than that.

Pomus started his career as a blues singer, and those who have heard his early recordings were startled to find out that he wasn’t an old black man from the Delta but a white Jew from the Bronx. He was perhaps the most unlikely blues singer ever but he certainly understood the blues. Stricken with polio as a child, Doc was on crutches or a wheelchair most of his life. Not the best looking of men, he was still attractive to women largely with the force of his teddy bear personality but also with his sensitivity and genius for expressing love simply and elegantly.

Pomus has written or co-written (with frequent partner Mort Shuman) some of the most beloved songs in the history of music, including “Save the Last Dance,” “Teenager in Love,” “Suspicion,” “Young Blood” and “Viva Las Vegas” to name just a few. He started out as one of the Brill Building writers who brought hit after hit in the late 50s and early 60s. As writing their own songs became more en vogue for artists as the 60s grew more turbulent, Pomus became more of a gun for hire, continuing to write for artists as diverse as B.B. King, Dr. John, Ray Charles and Marianne Faithfull.

Pomus was also a tireless crusader for fellow writers and performers, making sure those who had been overlooked got breaks when he could arrange them. His efforts made him a beloved figure in the music industry and garnered him a lot of respect from those who knew about his behind the scenes work.

Pomus passed away in 1991 from lung cancer and was elected to both the Rock and Roll and Songwriter Halls of Fame the following year, honors richly deserved.  This documentary is a testimony to his lasting influence on music both as a songwriter but also as a champion for its preservation and as a mentor to literally dozens of writers who came after him, including such current hitmakers as Joan Osborne and Shawn Colvin.

This is a pretty standard music documentary with performance footage, interviews both archival and modern and a few graphic goodies. It is a fairly informative documentary but I’m not sure if that’s because Pomus is so criminally not well-known or because the filmmakers meant this to be that way (it is after all slated to air on PBS). Still, one must applaud the filmmakers for bringing back into the spotlight someone who deserved to be there from the beginning so it gets extra kudos and points for that alone.

Making music documentaries is not a matter of just slapping some clips and interviews together and this is certainly not that; some care and thought went into this and certainly that’s appreciated. However, this isn’t an innovative entry into the genre so if you’re looking for something that ventures beyond the Behind the Music formula, this doesn’t stray too far from that path. However if you’re looking to learn more about a giant of the industry whose story isn’t particularly well-known, you’ve come to the right place.

REASONS TO GO: Terrific music, some of the most iconic in rock and pop history. Tells the story of someone who doesn’t get the recognition he should have.

REASONS TO STAY: Slow in places. Loses steam near the end.

FAMILY VALUES:  Some drug use but mainly acceptable for all audiences.

TRIVIAL PURSUIT: Pomus’ real name was Jerome Solon Felder.

CRITICAL MASS: As of 4/15/13: Rotten Tomatoes: no score yet. Metacritic: no score yet; the movie will be making festival appearances before an eventual airing on PBS.

COMPARISON SHOPPING: Sing Your Song

FINAL RATING: 7/10

NEXT: All the Light in the Sky and more coverage from the 2013 Florida Film Festival!