Main content

Crutch

Two decades of exclusive access, plus a lifetime of archival footage, depict Bill Shannon from his early years, to his rise as an award-winning dancer and cutting-edge performance artist whose work finds outlet at prestigious venues worldwide.

CRUTCH documents Bill's extraordinary journey: the history of his medical odyssey and his struggles with chronic pain, the evolution of his crutch dancing and skating, his rise to become a world-renowned performance artist, and his transformation from an angry skate punk to an international hero.

CRUTCH also dives into Bill's provocative street performances, in which he exposes the hidden world of assumptions disabled people encounter in public, on a daily basis. While the film questions his early exploitation of strangers' good Samaritan impulses, it also marvels at Bill's ability to create solutions and empower others to navigate similar challenges.

From childhood 'cripple' to international provocateur, CRUTCH is an emotional story of a one-of-a-kind artist's struggle to be understood.

'Bill Shannon is one of the most innovative dancers and performers you will encounter, and Crutch represents him at his best: challenging, provocative, and disruptive. The documentary has the potential to transform how viewers understand public space and disability, and how we interact with each other in and through all of our embodied differences. Crutch will be immensely useful for activists and educators interested in the generative, world-making possibilities of disability.' Robert McRuer, Professor of English, George Washington University, Author, Crip Theory: Cultural Signs of Queerness and Disability

'Crutch shows how Bill Shannon's art grew from a place of 'disability gain' in which everything he learned as he negotiated his disability from childhood fed his creativity. And what he learned as a defiant skateboarder, young sculptor/video artist, street breakdancer, and full-time crutch user, Shannon passes on to the next generation through his mentoring of kids who share his disability of Legg-Calve-Perthes disease. This is a perfect film not only for Disability Studies classes, but for dance departments, art schools, and art classes at every level, because it reiterates what disability culture already knows - art comes from the mind.' Beth Haller, Professor Emeritusof Disability Studies and Media Studies, Towson University, Author, Representing Disability in an Ableist World

'Crutch is a poignant story that weaves together conversations of performance, disability, and the rebellious intentionality of politicized artmaking. We are introduced to Bill Shannon's life and performance art, to his use of crutches as a tool to challenge normativity and the ableism he experiences. In this documentary, Shannon invites us to reimagine skateboarding and breakdancing with crutches as tools for liberation.' Dr. Shayda Kafai, Assistant Professor, Ethnic and Women's Studies, California State Polytechnic University-Pomona, Author, Crip Kinship: The Disability Justice and Art Activism of Sins Invalid

'Bill Shannon is an accomplished skateboarder, breakdancer, and artist whose street performances sometimes include random strangers trying to help him because he happens to skate and break with crutches, allowing the viewer to reflect on new conceptual territories of mobility, medicine, and body. Bill Shannon's performances draw attention to his disability only because of our own assumptions of disability, interrogating who we are and what our problem is. Crutch should be a default documentary for all sociology classes. Bill Shannon is living art.' Brian Glenney, Associate Professor of Philosophy, Norwich University, Co-founder, The Accessible Icon Project

'Crutch is essential viewing for understanding disability aesthetics - how art originating from unique bodies, minds, and sense generates new artistic possibilities. Bill Shannon names and describes the performance of ableism as he navigates everyday life as a person with an apparent disability. But more profoundly, his ingenious choreographic technique models how to create and transmit movement vocabulary derived from disability experience, which has influenced current and future generations of disabled artists.' Carrie Sandahl, Professor of Disability and Human Development, Director of Disability Art, Culture and Humanities, University of Illinois at Chicago

'Bill Shannon/Crutch Master defies definition, and his artwork dynamically explores how society always tries to make assumptions about him. Watching his progression from child, to skateboarder, to hip hop dancer and beyond takes a viewer into the complex and fascinating development of a powerful and distinct artistic voice. Traffic is an astonishing piece of theatre and street performance that allows us, the viewers, to witness how the world reacts to Bill Shannon, and how Crutch Master is always one step ahead.' Sandra Kaufmann, Director of Dance, Loyola University Chicago

'This wonderful film shows us how artists change the world with their ingenuity and creativity, dancing around complex misunderstandings to further understanding. Bill Shannon teaches us how to embrace falling before flying by continuing to dig deeply to shed light on interpretations of reality and reality itself, which often do not even slightly resemble one another.' Missy Pfohl Smith, Director of Dance and Movement, University of Rochester, Director of BIODANCE

'I have often been in discussions where the question comes up about whether you have to have had some trauma or tragedy in order to be considered a great artist. And I don't believe you do, but I do think the artist's mind and spirit is only really sculpted from friction - the friction that comes from being in critical relationship with the world and not just reflective of the world. In Crutch we really see and feel the obstacle that gives rise to his creative mind (the need to figure out a way) and the friction with the world that ends up honing his artistry. I deeply appreciated this film.' Rosalynde LeBlanc Loo, Associate Professor and Chair of Dance, Loyola Marymount University

'This film is a brilliant intersection of performance, movement science, and social positionality and commentary. It provides a powerful example of how parent advocacy and activism can support disabled children to thrive, find acceptance with their bodily differences, and achieve their dreams. We can see the impact of this parental support across Shannon's lifespan and also in how, as an adult and a parent now himself, he provides peer mentorship to children who share his disability experience.' Pamela Block, Professor of Sociocultural Anthropology, Western University, Co-author, Allies and Obstacles: Parents of Children with Disabilities and Disability Rights

'A robust, genuine and culturally rich film that captures the creative energy of the subcultures in which Bill 'Crutch' Shannon made his mark in various ways across his lifetime. Shannon pushes into an important social critique on ableism in the arts, public life and communities that have otherwise been vanguards for people on society's periphery. Crutch will be an important resource for various educational fields such as art and filmmaking, dancing and choreography, but also for professionals working with youth and subcultures, and people in the disabilities and social inclusion sector.' Indigo Willing, Research Fellow, Griffith Centre for Social and Cultural Research, Griffith University, Co-founder, We Skate QLD, Co-author w/Anthony Pappalardo, Skateboarding and Social Justice: Activism, Power, and Change (forthcoming)

'Not the usual 'inspirational' film about a disability, Crutch gives us a look into the life of a person with a chronic, debilitating illness. We get a deep sense of what it is like, the ups and downs, of living with a rare disease that is at once invisible and yet visible because of the assistive device of the crutch. Then we see how Bill Shannon used his life experience to make and perform his art which interrogates not his disability per se but the way the world acts and interacts with disability and difference. It's a must watch movie for anyone interested in art in general and disability in particular that combines biography, narrative, critique, and theory.' Lennard Davis, Distinguished Professor of Disability Studies and English, University of Illinois-Chicago, Author, Enforcing Normalcy: Disability, Deafness and the Body

'Crutch explores the beauty of the body in unexpected ways, raising deep questions about the relationship between embodiment, society, and art. Transformative and enthralling, you can't help but come away from the film with new perspectives.' Joel Michael Reynolds, Assistant Professor of Philosophy and Disability Studies, Georgetown University, Founding Editor, The Journal of Philosophy of Disability

'Watching Bill Shannon dance can be enthralling, disturbing and voyeuristically captivating. But what makes him such a singular artist is that he's likely to be carefully observing you, too...A powerful film.' Andrew Gilbert, KQED

'Sheds light on a much-overlooked artist who has created unlimited possibilities within his own limited situation. It's what they call 'flipping the script on traditional disability narratives.'' Nadja Sayej, Forbes

This is truly an inspiring story of overcoming constraints to make yourself a new kind of presence in the world...Moving in his own way, he seems to float above the ground. The crutches do not keep him earthbound. They make him fly.' Bradley Gibson, Film Threat

'Crutch is a global story, a powerful story, a transformational story, and one which will have you re-evaluating your own perspectives. From childhood 'cripple' to international provocateur, Crutch is an engrossing, emotional story of an artist's struggle to be understood.' Dance Informa Magazine

'Entertaining and enlightening.' Carla Hay, Culture Mix

'You realize that Crutch may be about him, but it's also about us. Beneath its surface lays a strong critique of you, me, and all the ways we interact with individuals who have disabilities...Crutch suggests we discard our own metaphorical crutch, which is our presumptions about how to manage encounters with disabled individuals, and move, maybe unsteadily, to a place where we ask, rather than assume.' Erin Bomboy, The Dance Enthusiast

'A cohesive and forward-moving story that will make you wonder why you've ever griped about anything.' Tony Frankel, Stage and Cinema

'His art didn't fit in with traditional styles, so he forged his own path and quickly invented an artistic language to explore the boundaries of his body and creativity. His dancing became political art...Crutch evolves into a fascinating study of art that asks about your own preconceptions.' Ricardo Gallegos, Shuffle Online

'THIS is a dancer you've never seen before...This is a great film to watch to celebrate the human spirit and unlimited human potential.' Trina Boice, Movie Review Mom

Citation

Main credits

Shannon, Bill (on-screen participant)
Vayabobo (film producer)
Vayabobo (film director)
Vayabobo (screenwriter)
Vayabobo (director of photography)
Cunningham, Sachi (film producer)
Cunningham, Sachi (film director)
Cunningham, Sachi (director of photography)

Other credits

Music composed by George Karpasitis, Te'Amir Sweeney; editor, Nick Bradford; director of photography, Sachi Cunningham, Vayabobo.


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Okay.

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All right, okay.

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So, there's thing about well, I will never be considered,

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in the dance world, as simply a dancer.

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I will always be looked at as an anomaly.

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I can not be compared.

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I can't be sort of set next to any of these other

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whatever great dancers that might be out there,

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that, you know, are sort of the hallmarks of dance.

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Who's saying that?

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I'm saying that.

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I'm saying that because that's how I,

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I mean that's how I experienced, you know,

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the dance world, you know,

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'cause they supposedly have this big focus on dance

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and the body and all that, but the reality is that,

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you know, they're interested in the perfect body.

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(light ambient music)

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He's known as the Crutch Master

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and he's surprised audiences all across the world.

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This is something

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I guarantee you have never seen before.

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This is Bill Shannon, who is the Crutch Master,

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and his buddies back here, who are the Step Fenz,

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direct from New York City-

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The show is called The Art Of Weightlessness.

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It's sponsored by The Dance Umbrella,

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and Bill Shannon defies gravity with the help

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of his crutches.

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Get down to the studio at the Opera House

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because there's an amazing performer

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from Brooklyn coming out, called Bill Shannon.

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And the night is called Spatial Theory.

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It's had rave reviews.

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I've never seen anything like this.

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I was looking at the video tape yesterday

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and I was amazed.

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(voices chattering)

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His art sometimes capitalizes

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on interactions with others.

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(voices chattering)

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It's sort of a funky dance routine too.

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(audience applauding)

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(upbeat jazz music)

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Extension 3320.

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Are we ready?

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What's going on?

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I feel like I'm treading water.

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Are we going?

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This way?

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Okay.

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Let's go get a rental.

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I wanna sit in the back.
Okay.

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Keep right toward I-275 North at Tampa.

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It's kind of blindsided me like oh yeah, Perthes Camp,

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cool, they're like okay,

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you're gonna meet a bunch of kids with Perthes.

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I'm like oh, wait a second.

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(all chattering)

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It's gonna be right on beat, okay?

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Three, two, one, jump!

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(light ambient music)

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Turn left to stay at Camp Florida Road,

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then your destination will be on the right.

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(kids chattering)

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(kids cheering)

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It's really emotional for me because

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I'm gonna have this moment of like seeing kids

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living their life at that age and the way

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that I lived my life at that age, which is really tough,

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you know.

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I'm already gonna cry just thinking about it.

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It's something that's really a hard time in my life.

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(light acoustic guitar music)

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When Bill was born,

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Randa and I were both activists.

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I had come of age basically on the doorstep

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of the Civil Rights Movement in Nashville.

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And I was in the Peace Movement, the whole variety

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and spectrum of organizations in the Women's Movement.

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My parents were like all about humanitarianism,

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and like helping the steelworkers,

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and helping the unemployed, and ending, you know, apartheid.

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I grew up with the smell of permanent markers

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on banners, going door to door, delivering leaflets.

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The big picture was we can do better as human beings.

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And we can, we can treat each other better

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and we can have a better world.

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As a toddler, Bill, he loved speed.

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He loved things like Big Wheels going down steep hills,

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and climbing trees and jumping out of them.

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Sometimes after he had been running around a lot,

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he would limp.

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So I took him a doctor and he came in

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and told me he has Legg Perthes Disease.

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And I said I've never heard of that.

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I'm a nurse, you know, but I never heard of it.

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It's a developing deformation of the head of the femur,

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which is normally like a rounded,

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very smooth cartilage covered ball that fits

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into a socket very smoothly and rotates.

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And in his case, the head of the femur

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had no circulation and it becomes necrotic, basically,

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sort of rotten, and becomes misshapen.

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All the doctors in Pittsburgh wanted to operate.

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We talked about subjecting a four-year-old

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to multiple surgeries.

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I'm an anesthetist, I work in a major medical center

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and I know what the aftermath can be

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if you don't have a good result, major pain,

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major risk of infection.

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There's the danger of any kind of mishap,

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a blood clot, you know, things happen

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to people all the time in surgery.

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It's kinda scary, you know?

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And that's when I started researching metallurgy

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of these implants.

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And all these things they've been putting in people's hips,

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you know, deteriorate and the implant kills the bone.

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I was like this, this is not going to happen,

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you know, not for an active kid, so no.

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Randa talked to so many doctors until she finally

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found a doctor that said, you know,

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there's an alternative, which is the brace.

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It felt really sad not to see him, you know,

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crashing down the alley in his Big Wheel

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and doing things like that anymore

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because it had been such a joy for him.

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They were like this, this kind of a cage in a way, you know

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It was like literally living in a cage.

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I went to put him in elementary school

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and they said oh, he'll be in a special education class.

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I had to go to the school board to insist

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that Bill be in a mainstream classroom.

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Bill had to learn to deal with the world

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as it was treating him because he was a freak

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in the eyes of a lot of kids.

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And there was a kid who called him

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a four-legged chicken a bunch, and so I chased him down,

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and wrestled him, and held him 'til Bill got there.

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With Perthes, you know, because you have

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that sort of dexterity of your legs and they kind of work,

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and they look okay, it's like somehow harder

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for people to deal with.

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Even with my disability and kids calling me faker in,

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in the playground, and when I'm wearing a chunk of steel,

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and crutches and running around,

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and hey like still think I'm faking.

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It's alienating when you have a disability

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that no one else understands, and that no one else

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has to solve problems for.

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Bill was a provocateur when he was a month old, you know.

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He was a never a person who was gonna just ride along,

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so he would sneak around without the brace and the crutches.

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(upbeat jazz music)

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In my medical expertise as a third grader,

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I thought the brace should come off.

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I began to play and to try and participate

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as much as I could, even though I was definitely limited,

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like you know, king of the hill, I mean

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every time I would climb up that hill, man,

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I'd get pushed the fuck back down and I hated it.

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I would get so mad, I would cry.

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I mean I would get calls from the neighbors

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they would say your little boy is jumping off walls

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with his crutches, you know.

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And he's climbing a tree.

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The thing is when you're a kid with Perthes,

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like you can always be off crutches,

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like you can always stand up and walk around if you want.

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You can even run if you want and that's kind

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of frustrating as a kid, like I know I can do these things,

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but you're gonna pay the price

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'cause you're gonna feel pain later, extreme pain.

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During your teenage years, your bones harden

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and at that point in terms of Perthes,

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whatever damage has been done to your hip is done.

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But if you don't feel any pain,

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you don't need to use crutches.

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I remember coming home from school

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and he was standing next to the couch,

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and he was like "No crutches!"

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(upbeat dance music)

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I remember walking out of the hospital

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sort of feeling weird, like lighter.

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I really felt very strange with my arms

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without walking with crutches.

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When you grow up always being, you know,

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that kid on crutches or that kid with something's wrong

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with him, when you get that moment

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where you're just a regular kid, it's like thank you,

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like I just wanna just do everything,

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like it truly is an explosion.

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(upbeat dance music)

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It took me a good year to really,

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to get back into walking.

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And then there was breakdancing right there waiting for me.

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When straight from like learning how to walk to learning how

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to moon walk.

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(laughing)

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I remember they had a talent show.

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He's a freshmen in high school.

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Bill would get out there and he was popping

00:11:33.650 --> 00:11:36.442
and moonwalking, and all of the girls

00:11:36.442 --> 00:11:38.740
in the audience went, "Ahhhhhh!"

00:11:40.936 --> 00:11:43.500
It was magical, the, the movement was magical.

00:11:43.500 --> 00:11:45.173
And my brother was lit up.

00:11:50.828 --> 00:11:54.722
♪ It's a beautiful day to go skating ♪

00:11:54.722 --> 00:11:58.047
♪ Won't you shred, won't you rip ♪

00:11:58.047 --> 00:12:01.372
♪ Won't you skate your balls off ♪

00:12:01.372 --> 00:12:04.372
(upbeat rock music)

00:12:06.240 --> 00:12:08.070
They still were doing breakdancing

00:12:08.070 --> 00:12:09.833
and then they went into the skateboarding thing.

00:12:11.943 --> 00:12:14.043
And we just attacked the streets.

00:12:17.014 --> 00:12:17.972
♪ Marijuana!♪

00:12:18.930 --> 00:12:19.763
[Bill] Oh shit.

00:12:19.763 --> 00:12:21.873
It changed my life in one day.

00:12:21.873 --> 00:12:24.200
♪ Cheap beer! ♪

00:12:24.200 --> 00:12:25.853
I knew it was like no going back.

00:12:26.707 --> 00:12:29.166
♪ Women! ♪

00:12:29.166 --> 00:12:30.749
Bill, Bill.

00:12:32.460 --> 00:12:35.860
Look what I did to my board, oh no.

00:12:35.860 --> 00:12:38.583
That was just when street skating was coming about,

00:12:38.583 --> 00:12:41.630
like wall riding, and rail sliding,

00:12:41.630 --> 00:12:43.500
but it wasn't like the rails yet.

00:12:43.500 --> 00:12:45.510
It was like more on the long curbs

00:12:45.510 --> 00:12:47.660
that would be outside the gas stations

00:12:47.660 --> 00:12:49.410
and we'd just slide the whole curb.

00:12:53.990 --> 00:12:56.840
Bill was the kind of skateboarder who, you know,

00:12:56.840 --> 00:12:59.140
looked like he would probably sprain

00:12:59.140 --> 00:13:01.360
an ankle or break an ankle doing a trick,

00:13:01.360 --> 00:13:03.490
and just figure it was the cost of learning

00:13:03.490 --> 00:13:04.353
to do that trick.

00:13:13.070 --> 00:13:15.220
Young people are trying to fight the establishment

00:13:15.220 --> 00:13:17.430
of an ordinance that would prohibit skateboards

00:13:17.430 --> 00:13:19.230
in Pittsburgh's business districts.

00:13:19.230 --> 00:13:22.290
These skaters say their board is their transportation.

00:13:22.290 --> 00:13:24.060
Because I work in Oakland and, you know,

00:13:24.060 --> 00:13:25.000
I live here in Point Breeze,

00:13:25.000 --> 00:13:27.430
so I have to skate through Oakland just to get to work.

00:13:27.430 --> 00:13:28.979
And if they ban that,

00:13:28.979 --> 00:13:30.783
then I'm gonna get a fine going to work.

00:13:31.820 --> 00:13:34.520
You should get the footage of Bill getting arrested.

00:13:35.550 --> 00:13:37.250
He got arrested for skateboarding.

00:13:38.213 --> 00:13:41.818
(all shouting)
(rock music)

00:13:41.818 --> 00:13:44.286
(screaming)

00:13:44.286 --> 00:13:47.753
Get off my fucking hand.

00:13:47.753 --> 00:13:49.120
Just get off my wrist, man.

00:13:49.120 --> 00:13:50.083
What the fuck?

00:13:52.926 --> 00:13:54.418
(grunting)

00:13:54.418 --> 00:13:55.251
Fuck.

00:13:55.251 --> 00:13:56.737
What the fuck is this, man?

00:13:56.737 --> 00:13:58.539
I'm just a skateboarder.

00:13:58.539 --> 00:14:00.032
I'm just a skateboarder.

00:14:00.032 --> 00:14:02.263
I'm skating down the street.

00:14:02.263 --> 00:14:04.373
And the cops threw him in jail.

00:14:05.422 --> 00:14:06.500
It was all in the news.

00:14:06.500 --> 00:14:10.010
And he went to jail saying, "Skateboarding is not a crime!"

00:14:10.010 --> 00:14:11.510
Skateboarding is not a crime!

00:14:11.510 --> 00:14:14.080
Skateboarding is not, that was like the slogan.

00:14:14.080 --> 00:14:17.163
And but actually technically it was.

00:14:19.510 --> 00:14:23.160
I followed them to jail, then they came out

00:14:23.160 --> 00:14:24.860
and we cheered like they were

00:14:24.860 --> 00:14:27.017
political prisoners being released.

00:14:27.017 --> 00:14:28.833
What happened, Bill?

00:14:28.833 --> 00:14:29.714
I don't know.

00:14:29.714 --> 00:14:30.547
(camera shutter clicking)

00:14:30.547 --> 00:14:33.363
After that they had his picture in Sassy Magazine.

00:14:34.310 --> 00:14:37.760
He became a big rockstar to all the girls,

00:14:37.760 --> 00:14:40.390
Like damn, Bill, you look cute.

00:14:40.390 --> 00:14:42.640
(laughing)

00:14:51.950 --> 00:14:55.033
(light guitar music)

00:15:04.480 --> 00:15:07.340
BIll's situation with his illness, you know,

00:15:07.340 --> 00:15:10.090
that had been such a focus for our family that

00:15:10.090 --> 00:15:11.440
when that was gone, then Randy

00:15:11.440 --> 00:15:13.340
and I had to look at our relationship.

00:15:15.604 --> 00:15:17.510
That's the way life goes, perfect storms

00:15:17.510 --> 00:15:19.140
every once in a while where everything

00:15:19.140 --> 00:15:22.033
just goes to fragments.

00:15:24.787 --> 00:15:25.954
Oh, wow, look.

00:15:27.075 --> 00:15:29.650
It's totally destroyed.

00:15:29.650 --> 00:15:32.380
I think Bill felt responsible for me

00:15:32.380 --> 00:15:33.863
and Randy getting divorced.

00:15:37.340 --> 00:15:39.270
Me and my brother, like we were very dependent ton

00:15:39.270 --> 00:15:41.723
each other and we were split during the divorce.

00:15:42.780 --> 00:15:44.150
My brother went to live with my mom,

00:15:44.150 --> 00:15:45.950
but I still had to live with my dad.

00:15:47.070 --> 00:15:48.370
And that was really tough.

00:15:51.360 --> 00:15:56.053
Randy and Bill had a dynamic that was really,

00:15:57.200 --> 00:15:58.923
they had horrible fights.

00:16:00.050 --> 00:16:02.720
My brother really started to get the brunt

00:16:02.720 --> 00:16:07.720
of my dad's hard ass reactions to being defied.

00:16:16.620 --> 00:16:21.273
Bill often saw his art as a sword and a shield.

00:16:22.710 --> 00:16:26.450
For Bill, his art has been very cathartic

00:16:26.450 --> 00:16:28.930
and has been shaped by whatever happened

00:16:28.930 --> 00:16:31.560
to be happening with him at that particular period

00:16:31.560 --> 00:16:34.819
in his life, and his reactions to it.

00:16:34.819 --> 00:16:38.236
(light electronic music)

00:16:47.560 --> 00:16:49.310
Support the troops.

00:16:50.168 --> 00:16:51.501
Bring them home.

00:16:52.410 --> 00:16:54.900
I call the Pentagon's war.

00:16:54.900 --> 00:16:56.150
This is my body.

00:16:58.175 --> 00:16:59.220
My body.

00:16:59.220 --> 00:17:01.143
Art was just the place I went,

00:17:02.520 --> 00:17:04.620
the place I went when I wanted to be

00:17:04.620 --> 00:17:07.370
on a level playing ground with the other kids in class,

00:17:08.780 --> 00:17:12.623
the place I went to get away from my family issues.

00:17:13.556 --> 00:17:15.973
(vocalizing)

00:17:17.139 --> 00:17:20.880
Everybody has that experience of suffering.

00:17:20.880 --> 00:17:23.939
[Electronic Voice] Three-legged chicken.

00:17:23.939 --> 00:17:26.330
[Electronic Voice] Three-legged chicken.

00:17:27.580 --> 00:17:30.540
[Electronic Voice] Three-legged chicken.

00:17:30.540 --> 00:17:33.860
But I think sharing the experience and understanding it

00:17:33.860 --> 00:17:35.520
as other people experience it

00:17:35.520 --> 00:17:37.123
is another step in the process.

00:17:38.881 --> 00:17:41.777
[Electronic Voice] Three-legged chicken.

00:17:43.110 --> 00:17:45.310
Hey, were you sleeping?

00:17:45.310 --> 00:17:47.840
No sleeping, no sleeping today, bud!

00:17:47.840 --> 00:17:50.773
Uh-uh, it's National Un-Holiday.

00:17:51.826 --> 00:17:52.790
♪ Wake up ♪

00:17:52.790 --> 00:17:55.207
(vocalizing)

00:18:03.840 --> 00:18:05.940
I remember there's one scene that, you know,

00:18:05.940 --> 00:18:08.830
everybody goes and does an acid drop.

00:18:08.830 --> 00:18:10.530
An acid drop is like an old move where you

00:18:10.530 --> 00:18:13.053
just like ride off a drop and you just drop down.

00:18:14.170 --> 00:18:15.240
I was just scared of it,

00:18:15.240 --> 00:18:17.740
like I didn't have flexibility in my right leg.

00:18:17.740 --> 00:18:20.490
Every time I would fall or my back leg would get,

00:18:20.490 --> 00:18:21.560
would get pulled out,

00:18:21.560 --> 00:18:25.163
it was like horrible excruciating pain.

00:18:28.230 --> 00:18:30.680
When we were skating, we would just go, go, go.

00:18:30.680 --> 00:18:32.253
And he couldn't keep up.

00:18:33.680 --> 00:18:37.780
And so it would be a question of okay,

00:18:37.780 --> 00:18:41.580
do we stop skating or do we leave my brother behind?

00:18:41.580 --> 00:18:43.060
Are you all right, man?

00:18:43.060 --> 00:18:43.893
Are you okay?

00:18:43.893 --> 00:18:44.970
Yeah, I'm fine.

00:18:44.970 --> 00:18:46.106
You'll be all right?

00:18:46.106 --> 00:18:48.722
Yeah, I'll be fine.

00:18:48.722 --> 00:18:52.140
(dramatic guitar music)

00:18:52.140 --> 00:18:55.030
I knew that my time like without any problems

00:18:55.030 --> 00:18:59.050
with my hips was already into those days were numbered,

00:18:59.050 --> 00:19:00.540
just a matter of time.

00:19:00.540 --> 00:19:04.150
I knew that when I was 16 and I was skateboarding,

00:19:04.150 --> 00:19:06.390
like this shit isn't gonna last.

00:19:06.390 --> 00:19:07.720
There's no fucking way.

00:19:07.720 --> 00:19:09.233
I better enjoy it while I can.

00:19:10.700 --> 00:19:12.770
And then it happened and I started having really,

00:19:12.770 --> 00:19:13.853
really bad pain.

00:19:15.743 --> 00:19:16.576
And there would be times when he would

00:19:16.576 --> 00:19:19.450
just be like in tears from the pain.

00:19:19.450 --> 00:19:22.880
And I'd feel like I was seeing the pain change him

00:19:22.880 --> 00:19:24.083
in his personality.

00:19:28.110 --> 00:19:31.010
It was really, really, really heartbreaking

00:19:31.010 --> 00:19:34.083
to tell him that he had to go back on crutches.

00:19:35.170 --> 00:19:40.170
And for Bill, a bottomless pit of sorrow.

00:19:41.850 --> 00:19:43.620
He cried.

00:19:43.620 --> 00:19:44.583
We all cried.

00:19:47.524 --> 00:19:50.274
(dramatic music)

00:20:53.956 --> 00:20:56.789
(kids chattering)

00:21:04.061 --> 00:21:04.894
All right, 20.

00:21:06.770 --> 00:21:07.653
Go 20.

00:21:10.082 --> 00:21:11.660
Another thing you can do is we go down to the floor

00:21:11.660 --> 00:21:15.110
and come back up, so you have different ranges of,

00:21:15.110 --> 00:21:16.470
levels of your movement.

00:21:16.470 --> 00:21:18.290
You know, you're standing here doing this.

00:21:18.290 --> 00:21:20.150
You open up, you start to step it around,

00:21:20.150 --> 00:21:22.623
two, one, two, spin.

00:21:23.530 --> 00:21:25.470
Like that, get, keep going with your feeling,

00:21:25.470 --> 00:21:27.690
whatever your flow is, but then go, try to go to the ground.

00:21:27.690 --> 00:21:31.170
Go to the ground and do it again, and come back up.

00:21:31.170 --> 00:21:32.283
Just do another turn.

00:21:34.350 --> 00:21:35.550
Yeah, so you go lower down.

00:21:35.550 --> 00:21:38.360
Yeah, beau-, good, then come back up.

00:21:38.360 --> 00:21:40.012
Good.

00:21:40.012 --> 00:21:41.101
Come here, give me five, man.

00:21:41.101 --> 00:21:41.934
You got skills.

00:21:42.874 --> 00:21:44.044
All right.

00:21:44.044 --> 00:21:47.461
(light electronic music)

00:21:53.360 --> 00:21:54.321
Here you go, like that.

00:21:54.321 --> 00:21:57.488
Pop your chest out and roll it around.

00:22:09.667 --> 00:22:10.600
And keep 'em moving.

00:22:10.600 --> 00:22:11.783
Keep your neck alive.

00:22:12.940 --> 00:22:13.773
Good, yeah.

00:22:17.918 --> 00:22:19.640
I have a question that I don't think came up.

00:22:19.640 --> 00:22:21.322
What's that?

00:22:21.322 --> 00:22:22.490
What hip do you have it on?

00:22:22.490 --> 00:22:23.630
I have it bilaterally.

00:22:23.630 --> 00:22:25.480
My right ended up worse than my left.

00:22:26.900 --> 00:22:29.350
Yeah, it started in my right and went to my left,

00:22:29.350 --> 00:22:31.600
so when I started compensating for my left with my right,

00:22:31.600 --> 00:22:33.310
my right wasn't fully healed,

00:22:33.310 --> 00:22:35.310
so I damaged my right more than my left.

00:22:36.297 --> 00:22:37.130
Yeah.

00:22:38.961 --> 00:22:40.340
I'm gonna take you for your x-rays, okay?

00:22:40.340 --> 00:22:41.900
Okay.

00:22:41.900 --> 00:22:44.140
And you're here today for your hips, right?

00:22:44.140 --> 00:22:44.973
Yeah.

00:22:44.973 --> 00:22:45.806
Okay, you're gonna be lying down

00:22:45.806 --> 00:22:46.890
on the table on your back.

00:22:46.890 --> 00:22:47.920
Eww, it's cold in here.

00:22:47.920 --> 00:22:50.040
Do they have to A/C it so much?

00:22:50.040 --> 00:22:51.000
Yeah, for the film.

00:22:51.000 --> 00:22:52.800
For the film it has to be cold, too.

00:22:52.800 --> 00:22:55.223
That's why it's so cold in these rooms.

00:22:59.370 --> 00:23:01.330
You know, I've been wondering why the hell this room

00:23:01.330 --> 00:23:02.889
was so cold my entire life.

00:23:02.889 --> 00:23:06.306
(light electronic music)

00:23:11.810 --> 00:23:13.500
Coming in here when I was five years old

00:23:13.500 --> 00:23:15.290
and just being cold, like all the sudden it would

00:23:15.290 --> 00:23:16.530
just be freezing.

00:23:16.530 --> 00:23:19.433
I just thought why is it so cold.

00:23:24.840 --> 00:23:26.659
Like this machine in 1978,

00:23:26.659 --> 00:23:29.742
(imitating whirring)

00:23:30.887 --> 00:23:33.554
It was like a monster, you know?

00:23:35.400 --> 00:23:37.660
Back then it was like the whole in the window

00:23:37.660 --> 00:23:39.320
was like a little thin little slat

00:23:39.320 --> 00:23:41.140
they would look through like it was a gun hole.

00:23:41.140 --> 00:23:42.525
And they would speak on a microphone,

00:23:42.525 --> 00:23:43.390
(imitating static)

00:23:43.390 --> 00:23:44.420
okay now,

00:23:44.420 --> 00:23:45.870
we're gonna take the picture.

00:23:50.280 --> 00:23:51.270
You know, Perthes Disease,

00:23:51.270 --> 00:23:53.660
the big question is should he or shouldn't he

00:23:53.660 --> 00:23:54.560
have an operation.

00:23:56.350 --> 00:23:58.400
So there's your right hip.

00:23:58.400 --> 00:24:01.820
Normally, that should be a sphere within a sphere,

00:24:01.820 --> 00:24:04.563
a ball in a ball, you know, and that is a mushroom.

00:24:05.481 --> 00:24:08.220
It was very confusing in treating Perthes Disease

00:24:08.220 --> 00:24:10.130
because there's so many different options

00:24:10.130 --> 00:24:12.240
on just attempting to treat it

00:24:12.240 --> 00:24:15.670
and there's no solid method of how to do things.

00:24:15.670 --> 00:24:18.160
And there's still no cure, and no one knows what's right

00:24:18.160 --> 00:24:18.993
and what's wrong.

00:24:18.993 --> 00:24:20.640
It's not always a direct-

00:24:20.640 --> 00:24:24.020
We've inherited a medical model of disability

00:24:24.020 --> 00:24:26.920
that assumes that when there is a body

00:24:26.920 --> 00:24:30.810
that doesn't fit a stereotypical abled body,

00:24:30.810 --> 00:24:34.760
that it is something sad or tragic,

00:24:34.760 --> 00:24:37.780
and something that needs to be cured.

00:24:37.780 --> 00:24:40.580
And so when you see that in Bill Shannon's life,

00:24:40.580 --> 00:24:43.050
when people say well, if you have this hip problem,

00:24:43.050 --> 00:24:45.380
why don't you just get hip replacements?

00:24:45.380 --> 00:24:47.011
And you're doing pretty well,

00:24:47.011 --> 00:24:49.000
but it's gonna go someday

00:24:49.000 --> 00:24:50.670
and you're gonna need a total hip replacement

00:24:50.670 --> 00:24:52.940
when that hits someday.

00:24:52.940 --> 00:24:56.330
The pain that I have is a, is a constant adjustment.

00:24:56.330 --> 00:24:59.273
It's like always adjusting for different gradations of it.

00:25:00.710 --> 00:25:04.260
Perthes Disease causes quite a bit of damage.

00:25:04.260 --> 00:25:06.960
That dead bone, you know, it starts to flatten out,

00:25:06.960 --> 00:25:09.970
and causes a lot of pain and friction in that hip area,

00:25:09.970 --> 00:25:11.870
and so it causes kids to limp,

00:25:11.870 --> 00:25:14.520
or you have pain after walking for a while

00:25:14.520 --> 00:25:16.063
or any physical activity.

00:25:18.280 --> 00:25:20.660
I tell my parents that sometimes it

00:25:20.660 --> 00:25:22.910
was like something was stabbing my leg

00:25:22.910 --> 00:25:24.270
'cause it got so painful

00:25:24.270 --> 00:25:26.660
that I felt like somebody was cutting my leg off.

00:25:26.660 --> 00:25:28.410
The pain it's really bad.

00:25:28.410 --> 00:25:32.140
It's like you, kinda feel this grinding every time you

00:25:33.050 --> 00:25:34.170
take a step.

00:25:34.170 --> 00:25:36.591
In the spring I started

00:25:36.591 --> 00:25:38.523
having just a teeny tiny bit of pain.

00:25:40.220 --> 00:25:43.153
And in the summer I started limping a lot.

00:25:45.000 --> 00:25:46.720
'Cause you never know like whenever you want

00:25:46.720 --> 00:25:49.360
to do something fun, you can't, if you barely walk,

00:25:49.360 --> 00:25:51.320
you really wanna do it.

00:25:51.320 --> 00:25:52.530
Somebody will have to take you

00:25:52.530 --> 00:25:54.370
or you will have to go in your wheelchair and do it,

00:25:54.370 --> 00:25:55.383
and that sucks.

00:25:57.000 --> 00:25:58.290
Do you have any thigh pain?

00:25:58.290 --> 00:26:00.460
Yeah, it radiates down to my knee.

00:26:00.460 --> 00:26:02.580
That's, that's part of it that people don't understand,

00:26:02.580 --> 00:26:04.619
like yeah, okay, my hip hurts,

00:26:04.619 --> 00:26:07.860
but does it hurt enough for me to go get surgery

00:26:07.860 --> 00:26:08.830
to replace it.

00:26:08.830 --> 00:26:12.417
And then how long's that surgery last for?

00:26:14.780 --> 00:26:16.870
You can, you know, get a hip replacement

00:26:16.870 --> 00:26:19.310
and in 10 years you're getting another one.

00:26:19.310 --> 00:26:21.724
And in another 10 years you're getting another one.

00:26:21.724 --> 00:26:24.150
And after so many of them, you can't get another one.

00:26:24.150 --> 00:26:26.150
That's it, you know, you reach the end of the line.

00:26:26.150 --> 00:26:28.920
Now you have to fuse your hip, which is basically

00:26:28.920 --> 00:26:31.443
put it in one position and freeze it.

00:26:32.500 --> 00:26:36.193
And just like I'm not into that option at all.

00:26:38.124 --> 00:26:41.093
I wanna be, you know, responsible for my own fate.

00:26:45.701 --> 00:26:47.420
(light electronic music)

00:26:47.420 --> 00:26:50.930
And so I tried to use canes and they were just useless,

00:26:50.930 --> 00:26:53.380
I mean, because, when my hip really was hurting,

00:26:53.380 --> 00:26:55.270
they kinda really didn't do enough.

00:26:55.270 --> 00:26:57.140
And then when I was trying to be preventative

00:26:57.140 --> 00:26:59.570
and kind of not use them fully but use them some,

00:26:59.570 --> 00:27:01.337
they kind of were in the way 'cause you,

00:27:01.337 --> 00:27:04.830
you can't really have your hands free when using canes,

00:27:04.830 --> 00:27:07.547
so I started using a single point crutch.

00:27:08.590 --> 00:27:11.188
And then he started developing better tips

00:27:11.188 --> 00:27:14.003
for them, and then one day I saw the rocker bottom.

00:27:16.070 --> 00:27:19.240
Those crutches were like no other crutches

00:27:19.240 --> 00:27:21.450
that you see, really.

00:27:21.450 --> 00:27:23.720
And they were legitimate crutches,

00:27:23.720 --> 00:27:25.223
but they were just U-shaped.

00:27:26.482 --> 00:27:29.482
(light dance music)

00:27:32.397 --> 00:27:34.360
With the rocker bottom you had the range.

00:27:34.360 --> 00:27:37.170
You reach forward and you have that range around the curve,

00:27:37.170 --> 00:27:41.150
so you get a longer, smoother push.

00:27:41.150 --> 00:27:43.500
That really made a difference with skateboarding.

00:27:45.070 --> 00:27:47.870
A doctor, you know, with no experience skateboarding

00:27:47.870 --> 00:27:50.300
would probably just look at that and go this motherfucker

00:27:50.300 --> 00:27:55.300
is so stupid, not realizing that with a hip like that,

00:27:55.780 --> 00:27:58.320
you take one push on a board and you just roll

00:27:58.320 --> 00:28:01.220
for like half a block, so you're actually saving your hip.

00:28:04.340 --> 00:28:06.840
When we see Bill Shannon using a skateboard

00:28:06.840 --> 00:28:11.270
as a mobility aid we forget that the mobility aids

00:28:11.270 --> 00:28:14.120
that we're more familiar with, like wheelchairs,

00:28:14.120 --> 00:28:16.070
came out of somebody solving a problem.

00:28:19.220 --> 00:28:21.193
It's just creative necessity.

00:28:22.560 --> 00:28:24.180
I was looking at my childhood

00:28:24.180 --> 00:28:27.786
and how I was in certain situations with my peers where,

00:28:27.786 --> 00:28:29.300
you had to come up with a solution now.

00:28:29.300 --> 00:28:30.791
That's creative necessity.

00:28:30.791 --> 00:28:33.920
It's like the necessary instant reaction gut.

00:28:33.920 --> 00:28:35.930
You know, and that's a, that's playground mentality.

00:28:35.930 --> 00:28:38.040
That's like on the street and you have to come up

00:28:38.040 --> 00:28:39.973
with a solution in the moment.

00:28:39.973 --> 00:28:43.473
(upbeat electronic music)

00:29:05.510 --> 00:29:07.670
He would use them to hit the ball,

00:29:07.670 --> 00:29:09.633
so it was like an extra appendage.

00:29:11.210 --> 00:29:13.480
He could really gain a lot of ground just

00:29:13.480 --> 00:29:16.230
by swinging when we were sprinting,

00:29:16.230 --> 00:29:17.940
and I think that might even have been

00:29:17.940 --> 00:29:19.593
where the glide kinda came from.

00:29:58.349 --> 00:30:00.156
(all chattering)

00:30:00.156 --> 00:30:01.006
♪ With the camera lens ♪

00:30:01.006 --> 00:30:03.197
♪ Spittin' the freestyle with my friends ♪

00:30:03.197 --> 00:30:05.226
♪ Yeah, I'm makin' ♪

00:30:05.226 --> 00:30:08.309
(upbeat dance music)

00:30:09.560 --> 00:30:11.510
They roll up like construction paper.

00:30:13.268 --> 00:30:15.592
Step Fenz, baby, Step Fenz, baby.

00:30:15.592 --> 00:30:16.425
Yeah!

00:30:17.935 --> 00:30:21.018
(upbeat dance music)

00:30:22.440 --> 00:30:24.130
My crew, the Step Fenz, here,

00:30:24.130 --> 00:30:26.990
we counted 15 different clubs a night in New York City

00:30:26.990 --> 00:30:30.930
to dances, just underground shit, after hours in Chinatown,

00:30:30.930 --> 00:30:33.415
but it was like just dance, dance,

00:30:33.415 --> 00:30:35.433
and we would go dance all fucking night.

00:30:37.140 --> 00:30:39.947
There were no established competitions to go to.

00:30:39.947 --> 00:30:42.683
There were these circles and people would battle.

00:30:46.140 --> 00:30:49.520
Their style was clashing with styles, egos clashing

00:30:49.520 --> 00:30:52.190
with egos, you know, going at each other through dance,

00:30:52.190 --> 00:30:53.540
you know, as an expression.

00:30:55.020 --> 00:30:57.410
Anybody that we had known, like we were gonna

00:30:57.410 --> 00:30:58.690
throw some rounds.

00:30:58.690 --> 00:31:00.517
In that, there was a conversation, you know,

00:31:00.517 --> 00:31:01.960
but what if part of the conversation

00:31:01.960 --> 00:31:04.740
was like back the fuck up, you know.

00:31:04.740 --> 00:31:05.940
No sympathy in a cypher.

00:31:06.856 --> 00:31:09.939
(upbeat dance music)

00:31:13.430 --> 00:31:14.460
Crutch knew where to go.

00:31:14.460 --> 00:31:16.420
Where the music was, Crutch would show up

00:31:16.420 --> 00:31:17.821
just like we would.

00:31:17.821 --> 00:31:20.904
(upbeat dance music)

00:31:23.600 --> 00:31:24.940
I came to New York

00:31:24.940 --> 00:31:26.480
and I had a little of this and a little

00:31:26.480 --> 00:31:29.493
of that, you know, but I didn't have any footwork for real.

00:31:31.880 --> 00:31:34.963
(upbeat dance music)

00:31:38.010 --> 00:31:41.530
He was still working on the movement side of it.

00:31:41.530 --> 00:31:44.570
You know, he wasn't as far along by any stretch.

00:31:44.570 --> 00:31:47.953
He was doing a whole lot of falling before he was flying.

00:31:50.800 --> 00:31:53.660
The way he was able to navigate himself around

00:31:53.660 --> 00:31:56.923
on them crutches, that shit don't take overnight, man.

00:31:59.060 --> 00:32:00.210
I started going out to clubs

00:32:00.210 --> 00:32:01.880
and other people were dancing at the cub.

00:32:01.880 --> 00:32:04.010
And I just naturally just started doing little moves,

00:32:04.010 --> 00:32:05.530
like fuck it.

00:32:05.530 --> 00:32:08.070
You know, and then I started going to hip hop spots

00:32:08.070 --> 00:32:10.083
and like doing whatever the fuck I could do

00:32:10.083 --> 00:32:11.933
what I can pull off with my crutches.

00:32:13.560 --> 00:32:14.393
We would dance.

00:32:14.393 --> 00:32:15.226
He would come in.

00:32:15.226 --> 00:32:17.410
He would do a move and if he didn't bust his ass,

00:32:17.410 --> 00:32:18.790
I'd be like yeah, that shit was dope.

00:32:18.790 --> 00:32:21.490
And if he didn't, he always got up and tried it again.

00:32:22.420 --> 00:32:25.010
But there's no way Crutch got a pass.

00:32:25.010 --> 00:32:26.630
There's no way it was, it was easier for him

00:32:26.630 --> 00:32:30.493
to get recognition or props just because he was on crutches.

00:32:30.493 --> 00:32:34.041
You should get rid of the crutches, bitch.

00:32:34.041 --> 00:32:36.740
Get off my stage, yo.

00:32:36.740 --> 00:32:38.743
Do something, do one thing.

00:32:38.743 --> 00:32:40.924
Impress me, impress me.

00:32:40.924 --> 00:32:42.623
Please impress me.

00:32:42.623 --> 00:32:44.861
Close it down, you ain't got shit.

00:32:44.861 --> 00:32:47.512
You got nothin', no footwork.

00:32:47.512 --> 00:32:49.912
Come on, what is that?

00:32:49.912 --> 00:32:51.922
Style, I wanna see style.

00:32:51.922 --> 00:32:53.136
Style, style.

00:32:53.136 --> 00:32:54.742
What you said to me was fucked up

00:32:54.742 --> 00:32:56.715
because my hip is fucked.

00:32:56.715 --> 00:32:57.548
They're not round.

00:32:57.548 --> 00:32:58.612
See, I didn't know that.

00:32:58.612 --> 00:33:00.106
I can walk a little, but I use crutches to dance.

00:33:00.106 --> 00:33:01.163
Let me apologize.

00:33:02.460 --> 00:33:03.550
I didn't know that was the case.

00:33:03.550 --> 00:33:04.870
I thought you was just pulling shit.

00:33:04.870 --> 00:33:05.703
I thought it was your stye.

00:33:05.703 --> 00:33:07.020
I'm from Boston, I did not know.

00:33:07.020 --> 00:33:08.542
I apologize.

00:33:08.542 --> 00:33:10.707
Thank you, man.

00:33:10.707 --> 00:33:11.675
I appreciate that.

00:33:11.675 --> 00:33:14.227
That shit hurt my feelings because I don't have a choice.

00:33:14.227 --> 00:33:15.327
I have no choice, bro.

00:33:16.900 --> 00:33:18.430
But when you first introduce something different,

00:33:18.430 --> 00:33:21.340
everybody's isn't gonna just immediately start hugging you,

00:33:21.340 --> 00:33:22.280
like wow, that's great.

00:33:22.280 --> 00:33:24.337
They're gonna look at you like

00:33:24.337 --> 00:33:25.370
what the fuck are you doing, you know.

00:33:25.370 --> 00:33:26.203
Go home.

00:33:27.320 --> 00:33:29.261
Don't come in here with that bullshit.

00:33:29.261 --> 00:33:32.344
(upbeat dance music)

00:33:36.940 --> 00:33:39.140
Until I got good enough, until I got better.

00:33:41.482 --> 00:33:45.992
♪ One of a kind, verve of the mind ♪

00:33:45.992 --> 00:33:48.589
♪ Servin' a rhyme, workin' on time, yes sir ♪

00:33:48.589 --> 00:33:50.593
♪ One of a kind ♪

00:33:50.593 --> 00:33:51.509
♪ Free-Form fetish ♪

00:33:51.509 --> 00:33:53.048
♪ Medicine in for your headaches ♪

00:33:53.048 --> 00:33:55.587
♪ We bomb fellas, better sin for the medics ♪

00:33:55.587 --> 00:33:58.089
(crowd cheering)

00:33:58.089 --> 00:33:59.327
♪ Stay on mellow ass ♪

00:33:59.327 --> 00:34:00.645
♪ Why you don't walk it ♪

00:34:00.645 --> 00:34:01.650
♪ Nights sparklin' ♪

00:34:01.650 --> 00:34:04.085
♪ Charlie here is my man ♪

00:34:04.085 --> 00:34:06.335
When he's in it, woo-hoo.

00:34:07.620 --> 00:34:10.190
Let it go 'cause he's like ah, yeah, bring it

00:34:10.190 --> 00:34:11.307
'cause you think I don't got it?

00:34:11.307 --> 00:34:12.140
Ah.

00:34:12.140 --> 00:34:13.839
♪ Ripped them off and wax shit gets to solve this ♪

00:34:13.839 --> 00:34:14.982
♪ Gift revolves around ♪

00:34:14.982 --> 00:34:17.253
♪ Earth space station that'll rock you, pa ♪

00:34:17.253 --> 00:34:18.864
♪ Have you runnin' for your ground ♪

00:34:18.864 --> 00:34:19.984
♪ A little baklava ♪

00:34:19.984 --> 00:34:20.979
♪ Let me talk to ya'll ♪

00:34:20.979 --> 00:34:22.178
♪ About some off the wall ♪

00:34:22.178 --> 00:34:23.634
♪ Rapper wannabe in front of me ♪

00:34:23.634 --> 00:34:25.577
♪ That got the balls to not know ♪

00:34:25.577 --> 00:34:29.830
You know, how he would slide that, before he brought it up

00:34:29.830 --> 00:34:31.960
and held it up for a second, like...

00:34:33.770 --> 00:34:37.090
I've seen Shaolin monks with the sticks

00:34:37.090 --> 00:34:38.420
and I gotta tell you, they,

00:34:38.420 --> 00:34:40.288
it's the same

00:34:40.288 --> 00:34:42.630
span of time he's on that stick and he's turning

00:34:42.630 --> 00:34:45.090
and putting moves in concession to make it

00:34:45.090 --> 00:34:47.691
to a combo to a beat.

00:34:47.691 --> 00:34:49.902
♪ One of a kind ♪

00:34:49.902 --> 00:34:52.310
♪ One of a kind, verve of the mind ♪

00:34:52.310 --> 00:34:54.609
♪ One of a kind, heard it in my first step ♪

00:34:54.609 --> 00:34:56.849
♪ One of a kind ♪

00:34:56.849 --> 00:34:59.485
♪ One of a kind, verve of the mind ♪

00:34:59.485 --> 00:35:01.885
♪ One of a kind, heard in my first step ♪

00:35:01.885 --> 00:35:04.760
♪ Servin' rhymes and workin' on time, yes sir ♪

00:35:04.760 --> 00:35:07.884
This is Crutch Master, man, you know what I mean?

00:35:07.884 --> 00:35:10.523
(crowd cheering)

00:35:10.523 --> 00:35:13.440
(percussive music)

00:35:16.503 --> 00:35:20.130
I thought I'd seen it all until I seen UFOs,

00:35:20.130 --> 00:35:22.960
turtles and body rolls on crutches.

00:35:22.960 --> 00:35:26.210
That shit right there is real.

00:35:26.210 --> 00:35:29.460
I like his style and I like the way he's aggressive.

00:35:29.460 --> 00:35:33.284
I like how he goes out there and hits his freezes on point.

00:35:33.284 --> 00:35:36.023
(crowd cheering)

00:35:36.023 --> 00:35:39.790
This man right here is an inspiration to all dancers.

00:35:43.395 --> 00:35:45.764
If you all ain't seen this cat get down,

00:35:45.764 --> 00:35:47.114
you all ain't seen nothing.

00:35:49.752 --> 00:35:53.169
(light electronic music)

00:35:57.182 --> 00:35:59.170
You know, a lot of people like obsess about oh,

00:35:59.170 --> 00:36:01.390
I'm too skinny, I'm too fat, all that stuff

00:36:01.390 --> 00:36:03.640
about not having the right body type to dance

00:36:03.640 --> 00:36:04.553
is all bullshit.

00:36:06.970 --> 00:36:08.420
I'm dancing, it's in your head.

00:36:08.420 --> 00:36:11.313
No matter how healthy you are, your body is limited.

00:36:12.380 --> 00:36:13.540
Once you get that through your head

00:36:13.540 --> 00:36:15.590
that your body is limited, that dancing

00:36:15.590 --> 00:36:17.910
is in your mind and not in your body,

00:36:17.910 --> 00:36:20.183
then you're pretty much free as a dancer.

00:36:23.760 --> 00:36:26.520
So if you're driven to dance, if your soul is of a dancer,

00:36:26.520 --> 00:36:28.690
and you have a bad leg and you're on crutches,

00:36:28.690 --> 00:36:30.390
you're gonna dance no matter what.

00:36:33.182 --> 00:36:36.265
(upbeat piano music)

00:36:37.440 --> 00:36:39.090
It's 6:42 right now and chances

00:36:39.090 --> 00:36:41.300
are you're never seen anything like this before.

00:36:41.300 --> 00:36:44.200
The show is called The Art of Weightlessness.

00:36:44.200 --> 00:36:46.020
It's sponsored by The Dance Umbrella,

00:36:46.020 --> 00:36:48.270
and Bill Shannon defies gravity

00:36:48.270 --> 00:36:51.970
with the help of his crutches in a unique dance performance.

00:36:51.970 --> 00:36:53.560
Bill, thanks for coming.

00:36:53.560 --> 00:36:55.520
Thanks for being here so early.

00:36:55.520 --> 00:36:56.880
I'd never seen anything like this.

00:36:56.880 --> 00:36:58.520
I was looking at the videotape yesterday

00:36:58.520 --> 00:37:01.460
and I was amazed because when you start dancing

00:37:01.460 --> 00:37:02.550
around on these crutches,

00:37:02.550 --> 00:37:04.870
it is just like you have no weight.

00:37:04.870 --> 00:37:06.570
It's like you're light as a feather moving about.

00:37:06.570 --> 00:37:09.440
And it's sort of a funky dance routine, too.

00:37:09.440 --> 00:37:12.440
I heard one critic say that your hip is bad,

00:37:12.440 --> 00:37:14.090
but your hop is spectacular.

00:37:14.090 --> 00:37:16.273
Yeah, that's a, that's a little,

00:37:16.273 --> 00:37:19.126
that was a little cute little title, yeah.

00:37:19.126 --> 00:37:22.209
(upbeat dance music)

00:37:30.570 --> 00:37:32.910
Bill had an idea of putting a couple

00:37:32.910 --> 00:37:37.910
of his old pieces together and create an hour-long piece.

00:37:38.350 --> 00:37:40.000
The Art of Weightlessness, man.

00:37:40.932 --> 00:37:43.930
(upbeat dance music)

00:37:43.930 --> 00:37:46.300
Bill was on another level at the time.

00:37:46.300 --> 00:37:47.960
There were only two pioneering companies

00:37:47.960 --> 00:37:49.040
that was doing hip hop dance

00:37:49.040 --> 00:37:51.190
on the concert stage and he was one of 'em.

00:37:53.642 --> 00:37:54.810
I was completely ignorant

00:37:54.810 --> 00:37:57.310
at that point to like what performance art was.

00:37:57.310 --> 00:38:00.632
You know, if you thought theater, I though the-at-er.

00:38:00.632 --> 00:38:02.110
And so I didn't think about theater as being a place

00:38:02.110 --> 00:38:04.970
that we could like illustrate anything hip hop.

00:38:04.970 --> 00:38:07.400
How can you bring something that exists in a circle

00:38:07.400 --> 00:38:10.870
in a club into the square, into the proscenium.

00:38:10.870 --> 00:38:14.037
(light ambient music)

00:38:22.550 --> 00:38:24.583
Crutch's whole like approach wasn't just

00:38:24.583 --> 00:38:27.970
that he was bringing genuine hip hop into it,

00:38:27.970 --> 00:38:30.700
but he was also bringing in like this abstract art

00:38:30.700 --> 00:38:32.373
into the space at the same time.

00:38:33.950 --> 00:38:36.360
Bill had a raincoat, you know, he came out.

00:38:36.360 --> 00:38:39.378
I had this rain sound effects, you know, on.

00:38:39.378 --> 00:38:41.202
It's trippy, man.

00:38:41.202 --> 00:38:44.190
I mean the show is just like trippy, I'm telling you.

00:38:44.190 --> 00:38:45.820
I'm sitting there during the show

00:38:45.820 --> 00:38:47.410
and I was tripping looking at it,

00:38:47.410 --> 00:38:49.767
like don't forget your cues, you know what I mean?

00:38:49.767 --> 00:38:52.684
(percussive music)

00:38:59.570 --> 00:39:02.940
The politics, the current state of affairs,

00:39:02.940 --> 00:39:05.360
his background, all that stuff is

00:39:05.360 --> 00:39:07.913
put into everything that Bill Shannon does.

00:39:08.788 --> 00:39:11.205
(vocalizing)

00:39:16.977 --> 00:39:20.060
(upbeat dance music)

00:39:41.620 --> 00:39:44.741
♪ Take it easy ♪

00:39:44.741 --> 00:39:48.183
♪ Don't worry about it ♪

00:39:48.183 --> 00:39:52.023
♪ I got this, I got this ♪

00:39:52.023 --> 00:39:57.023
♪ Let me work it, let me work it out ♪

00:39:57.026 --> 00:40:02.026
♪ Take it easy ♪

00:40:02.842 --> 00:40:06.684
♪ Take it easy ♪

00:40:06.684 --> 00:40:11.684
♪ Take it easy ♪

00:40:13.882 --> 00:40:18.794
♪ Don't let me bother you ♪

00:40:18.794 --> 00:40:22.978
♪ I got this, I got this ♪

00:40:22.978 --> 00:40:27.698
♪ Let me work it out, let me work it out ♪

00:40:27.698 --> 00:40:30.281
♪ Take it easy ♪

00:40:31.900 --> 00:40:34.180
So much was happening with his career.

00:40:34.180 --> 00:40:36.647
It just got to be like one thing after another.

00:40:36.647 --> 00:40:40.150
(upbeat jazz music)

00:40:40.150 --> 00:40:43.210
Hip hop is out of all things, it's really important

00:40:43.210 --> 00:40:45.520
to maintain your individuality.

00:40:45.520 --> 00:40:47.560
My name is Jeff Grosso and I'm your host.

00:40:47.560 --> 00:40:50.643
This is fucking Love Letters. Welcome back.

00:40:53.590 --> 00:40:56.670
The Guggenheim, I met Crazy Legs,

00:40:56.670 --> 00:40:58.763
I'm going to Kuwait, I'm going to Japan.

00:41:00.589 --> 00:41:01.756
Whooo.

00:41:03.960 --> 00:41:05.204
We went to France.

00:41:05.204 --> 00:41:06.940
Look at this shit.

00:41:06.940 --> 00:41:08.158
England.

00:41:08.158 --> 00:41:09.870
(humming)

00:41:09.870 --> 00:41:11.349
Scotland.

00:41:11.349 --> 00:41:12.182
Freedom!

00:41:13.120 --> 00:41:14.396
♪ Only ya'll know what happened ♪

00:41:14.396 --> 00:41:15.495
♪ With some passion ♪

00:41:15.495 --> 00:41:17.159
♪ Rappers battlin' all rappers ♪

00:41:17.159 --> 00:41:18.556
♪ Carry it all backwards ♪

00:41:18.556 --> 00:41:19.775
♪ Laugh and say that's it ♪

00:41:19.775 --> 00:41:20.608
♪ It's battlecon ♪

00:41:20.608 --> 00:41:21.736
♪ Future blackness ♪

00:41:21.736 --> 00:41:24.736
(upbeat jazz music)

00:41:34.610 --> 00:41:37.030
There were some good reviews and people really

00:41:37.030 --> 00:41:38.810
like the work and, you know, all this stuff,

00:41:38.810 --> 00:41:41.780
but at the same time the dance world, they were looking

00:41:41.780 --> 00:41:43.703
at it like ahh, isn't that cute,

00:41:43.703 --> 00:41:46.563
he does the breakdance on the crutches.

00:41:48.088 --> 00:41:49.510
I've seen Crutch get angry.

00:41:49.510 --> 00:41:52.540
They keep asking him about his crutches and, you know,

00:41:52.540 --> 00:41:55.740
not about the, the artwork, the music, or the dancers.

00:41:55.740 --> 00:41:59.980
It was a lot about his disability, you know.

00:41:59.980 --> 00:42:01.417
It's kind of fucked up.

00:42:02.920 --> 00:42:06.450
No matter how high you go on skills on crutches,

00:42:06.450 --> 00:42:08.760
there's still the baggage

00:42:08.760 --> 00:42:10.900
of a crutch representing failure

00:42:10.900 --> 00:42:13.533
that can trump your achievements.

00:42:20.770 --> 00:42:21.620
Ready?

00:42:21.620 --> 00:42:22.940
Yeah.

00:42:22.940 --> 00:42:26.070
So tonight we're gonna see

00:42:26.930 --> 00:42:31.930
the two pieces that I choreographed for "Varekai",

00:42:32.170 --> 00:42:33.870
Cirque Du Soleil's "Varekai" show.

00:42:35.267 --> 00:42:39.059
(light orchestral music)

00:42:39.059 --> 00:42:41.476
(vocalizing)

00:42:44.960 --> 00:42:47.820
Just knowing that Bill had anything

00:42:47.820 --> 00:42:50.460
to do with Cirque Du Soleil was just a huge honor

00:42:50.460 --> 00:42:54.189
that one of us made it, one of us did it.

00:42:54.189 --> 00:42:57.606
(grand orchestral music)

00:42:58.601 --> 00:43:01.060
So we were really proud, but I don't think it was like

00:43:01.060 --> 00:43:02.447
anything that really shocked us so hard.

00:43:02.447 --> 00:43:05.020
It was like, it was almost like of course.

00:43:05.020 --> 00:43:06.763
You're supposed to be doing that.

00:43:07.900 --> 00:43:10.400
The contacted me after they saw my glide

00:43:10.400 --> 00:43:12.710
and they wanted me to actually be a performer

00:43:12.710 --> 00:43:16.560
in the show, like a, a main character, basically.

00:43:16.560 --> 00:43:18.260
But then I found out like what their artists

00:43:18.260 --> 00:43:19.210
have to go through.

00:43:23.900 --> 00:43:26.130
I watched these dudes one night

00:43:26.130 --> 00:43:29.103
and this guy was busting his ass.

00:43:32.020 --> 00:43:33.900
I was worried about it damaging my hips

00:43:33.900 --> 00:43:35.790
or damaging the nerves in my arms from doing

00:43:35.790 --> 00:43:37.680
that much every day, same exact thing.

00:43:37.680 --> 00:43:39.130
That just does wear and tear.

00:43:40.240 --> 00:43:43.600
I said I'll train somebody to do what I do and become a part

00:43:43.600 --> 00:43:45.650
of the creative team and do choreography.

00:43:46.920 --> 00:43:49.460
Yeah, yeah, hell yeah.

00:43:51.050 --> 00:43:52.530
Nice.

00:43:52.530 --> 00:43:54.640
He had to teach these gentlemen

00:43:54.640 --> 00:43:56.460
to dance on crutches.

00:43:56.460 --> 00:44:00.523
Vladimir Ignatenkov, three time world champion tumbler.

00:44:01.830 --> 00:44:02.663
Do a flair.

00:44:02.663 --> 00:44:04.630
Flair your legs out, both.

00:44:04.630 --> 00:44:05.640
Yeah.

00:44:05.640 --> 00:44:09.524
And also he had to train several aerialists.

00:44:09.524 --> 00:44:11.453
Keep going, keep your flow on.

00:44:12.440 --> 00:44:15.130
I had these guys threading and parroting and tick tocking,

00:44:15.130 --> 00:44:18.713
and all these different flavors of like boogaloo style.

00:44:20.150 --> 00:44:23.090
Then they had their own acrobatic moves on top of that,

00:44:23.090 --> 00:44:25.045
so it just looked really, really sick.

00:44:25.045 --> 00:44:26.462
Whooo, beautiful.

00:44:29.682 --> 00:44:33.293
(camera shutter clicking)

00:44:33.293 --> 00:44:35.340
The director wanted to put like

00:44:35.340 --> 00:44:37.730
an upside down wheelchair act in the show,

00:44:37.730 --> 00:44:39.180
where there's like clowns in a wheelchair

00:44:39.180 --> 00:44:41.640
that flips upside down and clowns fall out.

00:44:41.640 --> 00:44:45.100
And I was like you're not fucking putting that in the show,

00:44:45.100 --> 00:44:48.170
like I felt insulted literally because he was trying

00:44:48.170 --> 00:44:51.570
to make into like a disability theme where

00:44:51.570 --> 00:44:54.780
my work was gonna be a part of the spectrum

00:44:54.780 --> 00:44:57.440
of representation of disability.

00:44:57.440 --> 00:44:59.420
And I was very uncomfortable with that.

00:44:59.420 --> 00:45:02.563
I didn't want to be a part of the disabled Cirque show.

00:45:03.400 --> 00:45:06.973
I wanted to, my character to be the one that flies.

00:45:07.826 --> 00:45:12.826
(light electronic music)
(audience applauding)

00:45:47.492 --> 00:45:50.909
(light orchestral music)

00:45:52.833 --> 00:45:53.920
When you want to teach people,

00:45:53.920 --> 00:45:55.910
they have to understand what it is you're doing,

00:45:55.910 --> 00:45:58.290
and the communication has to be the same.

00:45:58.290 --> 00:46:00.713
Otherwise everything gets lost in translation.

00:46:02.020 --> 00:46:04.460
So when you develop a technique,

00:46:04.460 --> 00:46:08.340
you begin to codify a language for,

00:46:08.340 --> 00:46:10.590
for a particular vocabulary.

00:46:10.590 --> 00:46:14.480
You name it, you call it what it is, and Bill Shannon

00:46:14.480 --> 00:46:16.853
is doing that in the Shannon Technique.

00:46:16.853 --> 00:46:18.651
(upbeat dance music)

00:46:18.651 --> 00:46:22.484
(singing in foreign language)

00:46:25.230 --> 00:46:28.930
By him creating a specific vocabulary and naming it,

00:46:28.930 --> 00:46:31.560
it creates an awareness that those movements

00:46:31.560 --> 00:46:35.800
have been absolutely articulated, like it's a real choice

00:46:35.800 --> 00:46:38.020
of his body to go to a very specific place

00:46:38.020 --> 00:46:39.680
and he can hit it every time.

00:46:46.092 --> 00:46:47.740
I was in the studio with him.

00:46:47.740 --> 00:46:49.860
We had six weeks of one to one mentoring,

00:46:49.860 --> 00:46:53.063
and I expected to be able to do things like that.

00:46:54.600 --> 00:46:55.493
And he just cracked up,

00:46:55.493 --> 00:46:58.220
he's like you've been trying this for 15 minutes.

00:46:58.220 --> 00:47:00.573
I've been doing that for 15 years.

00:47:01.770 --> 00:47:03.730
Yes, it was dance, it was movement,

00:47:03.730 --> 00:47:05.680
but it was this thing that absolutely

00:47:05.680 --> 00:47:08.230
exploded the preconceptions that I even had

00:47:08.230 --> 00:47:09.263
of what dance was.

00:47:10.610 --> 00:47:12.640
Those are the respected art forms

00:47:12.640 --> 00:47:16.260
or genres in dance are the ones that have technique.

00:47:16.260 --> 00:47:18.070
One that puts itself in

00:47:18.070 --> 00:47:20.130
that frame deserves respect.

00:47:20.130 --> 00:47:22.980
And that is learned and that requires discipline.

00:47:22.980 --> 00:47:25.940
But it's also there's a little bit like a little fuck you to

00:47:25.940 --> 00:47:27.970
that system at the same time.

00:47:27.970 --> 00:47:31.053
(upbeat dance music)

00:47:33.519 --> 00:47:36.686
(audience applauding)

00:47:38.227 --> 00:47:39.487
Yeah, yeah.

00:47:39.487 --> 00:47:40.745
(crowd cheering)

00:47:40.745 --> 00:47:42.570
Yeah, let me hear it, New York.

00:47:42.570 --> 00:47:43.608
(crowd cheering)

00:47:43.608 --> 00:47:44.691
Raise the roof up!

00:47:44.691 --> 00:47:46.252
Raise the roof up, come on,

00:47:46.252 --> 00:47:49.585
all right, all right, let's get this started.

00:47:50.425 --> 00:47:51.258
Yeah.

00:47:51.258 --> 00:47:52.216
Sketchy, Sketchy.

00:47:52.216 --> 00:47:54.200
That's his Sketchy, he definitely stepped it up

00:47:54.200 --> 00:47:56.378
after coming from Cirque.

00:47:56.378 --> 00:47:59.559
One, two, two, two.

00:47:59.559 --> 00:48:03.186
It was a sketchy attempt at bringing hip hop to theater.

00:48:03.186 --> 00:48:05.450
Ewww, nice, D.

00:48:05.450 --> 00:48:07.550
I wasn't necessarily that the moves were sketchy,

00:48:07.550 --> 00:48:09.900
but having hip hop in the theater at that point

00:48:09.900 --> 00:48:11.570
was a sketchy idea to people,

00:48:11.570 --> 00:48:14.561
so it was like a little bit of sarcasm behind it

00:48:14.561 --> 00:48:15.693
if you know Crutch.

00:48:21.220 --> 00:48:22.300
He finally had a little bit

00:48:22.300 --> 00:48:24.250
of money behind it and so we were able

00:48:24.250 --> 00:48:26.863
to give a little bit more to like costumes.

00:48:28.810 --> 00:48:30.460
He was incorporating so many things

00:48:30.460 --> 00:48:32.650
that aren't even typical in hip hop, you know,

00:48:32.650 --> 00:48:34.790
like slow motion capture.

00:48:34.790 --> 00:48:36.360
What I did earlier was air flares.

00:48:36.360 --> 00:48:38.229
I'm going to try to do 10 of them.

00:48:38.229 --> 00:48:39.364
Hype him up, right?

00:48:39.364 --> 00:48:41.244
We want to see it again, right?

00:48:41.244 --> 00:48:42.980
Come on, are you with me?

00:48:42.980 --> 00:48:44.310
Sketchy attempts to try a move

00:48:44.310 --> 00:48:47.100
that you don't necessarily know that you that you can land.

00:48:47.100 --> 00:48:49.968
You're never gonna see that in a contemporary show.

00:48:49.968 --> 00:48:54.968
One, two, three, four, five, six, seven,

00:48:55.480 --> 00:48:57.400
eight, nine, whoaaa!

00:48:57.400 --> 00:48:59.400
(crowd cheering)

00:48:59.400 --> 00:49:01.750
You could feel people, like the energy,

00:49:01.750 --> 00:49:04.293
like oooh please, you know, like you can make it.

00:49:05.170 --> 00:49:08.130
(crowd cheering)

00:49:08.130 --> 00:49:09.750
The crowds absolutely loved it.

00:49:09.750 --> 00:49:13.100
Hand hops, elbow hops, whoa.

00:49:13.100 --> 00:49:15.500
There's so many people in New York that came out

00:49:15.500 --> 00:49:17.770
to see us that we grew up in the clubs with.

00:49:17.770 --> 00:49:20.200
And I think it was their first take at ever seeing us

00:49:20.200 --> 00:49:21.310
in theater.

00:49:21.310 --> 00:49:23.100
It was like we just won a contest somewhere,

00:49:23.100 --> 00:49:24.950
like a battle, and like everybody

00:49:24.950 --> 00:49:27.690
was just so fucking thrilled to see, see it happen.

00:49:27.690 --> 00:49:30.641
Like I, I wanted to clap, but I'm like yeah, we did it.

00:49:30.641 --> 00:49:33.808
(audience applauding)

00:49:52.510 --> 00:49:54.960
Were to add another character to his repertoire,

00:49:54.960 --> 00:49:55.860
did you read that?

00:50:01.900 --> 00:50:04.773
Oh my God, she started out with the ax.

00:50:09.058 --> 00:50:09.970
What are you gonna do?

00:50:09.970 --> 00:50:11.110
Is a real person with pretenses of being,

00:50:11.110 --> 00:50:12.400
oh my God.

00:50:12.400 --> 00:50:14.023
Pretenses of being what?

00:50:14.023 --> 00:50:15.150
A contemptual artists.

00:50:15.150 --> 00:50:16.030
Conceptual.

00:50:16.030 --> 00:50:17.230
Conceptual, I'm sorry.

00:50:18.470 --> 00:50:19.320
That's very nice.

00:50:19.320 --> 00:50:20.493
I'm upside down.

00:50:21.550 --> 00:50:23.520
Well, you either are or you aren't.

00:50:23.520 --> 00:50:24.509
Right?

00:50:24.509 --> 00:50:26.520
If you don't have the potential to be.

00:50:26.520 --> 00:50:27.471
You can't have a pre,

00:50:27.471 --> 00:50:28.360
you don't have a, you don't have a pretense about it.

00:50:28.360 --> 00:50:29.920
You either are or you're not, you know,

00:50:29.920 --> 00:50:31.770
so what she's saying is I'm not, but.

00:50:34.130 --> 00:50:35.630
It's just like I don't know,

00:50:35.630 --> 00:50:40.110
I want to send Crazy Legs to review a ballet show.

00:50:40.110 --> 00:50:41.192
Okay?

00:50:41.192 --> 00:50:42.025
(laughing)

00:50:42.025 --> 00:50:42.858
That's what I want to do.

00:50:42.858 --> 00:50:44.613
And he'll write for The New York Times.

00:50:45.820 --> 00:50:48.060
They're used to seeing one thing one way,

00:50:48.060 --> 00:50:51.480
like theater to them is supposed to be the old fashioned way

00:50:51.480 --> 00:50:54.590
or what they see as, as hip hop,

00:50:54.590 --> 00:50:56.340
that's the way it's supposed to be.

00:50:57.660 --> 00:50:59.880
Any dance critic that comes to my work does not

00:50:59.880 --> 00:51:01.600
know what I did.

00:51:01.600 --> 00:51:03.760
Like ballet is well documented.

00:51:03.760 --> 00:51:05.643
Modern dance is well documented.

00:51:07.751 --> 00:51:09.310
Like I'm out here pushing the boundaries

00:51:09.310 --> 00:51:12.060
of a form I've invented in ways that are completely

00:51:12.060 --> 00:51:14.873
like invisible to someone who's just looking at me.

00:51:16.621 --> 00:51:19.005
What's it feel like to read a review like that?

00:51:19.005 --> 00:51:22.761
Uhhh, it's a feeling of being profoundly misunderstood.

00:51:22.761 --> 00:51:24.564
(laughing)

00:51:24.564 --> 00:51:27.314
(dramatic music)

00:51:36.176 --> 00:51:38.659
Which is, this is how you learn your balance.

00:51:38.659 --> 00:51:40.392
Which is this tight line

00:51:45.249 --> 00:51:50.249
That's how you, bend your knees, keep low, point,

00:51:50.757 --> 00:51:53.282
be like, I'm going!

00:52:01.989 --> 00:52:02.822
Whoa.

00:52:04.251 --> 00:52:07.668
(light electronic music)

00:52:25.161 --> 00:52:27.828
(kids cheering)

00:52:50.817 --> 00:52:53.159
Use your muscles, Earl.

00:52:53.159 --> 00:52:54.722
That was Bill.

00:52:54.722 --> 00:52:56.733
(laughing)

00:52:56.733 --> 00:52:57.816
Come on, buddy.

00:52:58.751 --> 00:53:00.251
Are you coming in?

00:53:03.193 --> 00:53:06.050
While I was here, like I was retouching some part

00:53:06.050 --> 00:53:08.990
of my childhood and revisiting that part of my life,

00:53:08.990 --> 00:53:13.600
and I don't know, my dad during the time

00:53:13.600 --> 00:53:15.960
that I had my disability was going

00:53:15.960 --> 00:53:19.970
through a lot of emotional healing from his own childhood.

00:53:19.970 --> 00:53:23.090
And so I think a lot of the brunt

00:53:23.090 --> 00:53:24.330
of that was taken out on me.

00:53:24.330 --> 00:53:26.100
I was the oldest.

00:53:26.100 --> 00:53:27.900
And that's really hard because I have to think

00:53:27.900 --> 00:53:30.730
like my own relationship to my,

00:53:30.730 --> 00:53:32.960
to my own kids is so different.

00:53:32.960 --> 00:53:35.913
Like I never, I never raised a hand on y kids.

00:53:37.020 --> 00:53:41.273
And my dad didn't know any different, you know.

00:53:43.470 --> 00:53:44.303
So,

00:53:48.490 --> 00:53:50.513
I don't know, it's just hard to imagine.

00:53:59.556 --> 00:54:02.639
(upbeat dance music)

00:54:10.150 --> 00:54:11.900
Bill told me he had met somebody.

00:54:12.980 --> 00:54:16.470
He was pretty smitten, you know, kinda like really kid

00:54:16.470 --> 00:54:18.220
in the candy store kind of smitten.

00:54:20.870 --> 00:54:23.383
Bill was, you know, cute.

00:54:24.590 --> 00:54:26.183
He was very different from me.

00:54:27.350 --> 00:54:31.200
We met in New York and he likes to tell the story

00:54:31.200 --> 00:54:33.950
of us being from the opposite sides of the tracks,

00:54:33.950 --> 00:54:36.340
'cause I was in Carroll Gardens in Brooklyn,

00:54:36.340 --> 00:54:39.190
which was, you know, brownstones.

00:54:39.190 --> 00:54:41.650
And at that time he was in Red Hook,

00:54:41.650 --> 00:54:44.337
which was down and dirty.

00:54:44.337 --> 00:54:46.520
(laughing)

00:54:46.520 --> 00:54:49.760
They were both like theses salmon, just swimming upstream

00:54:49.760 --> 00:54:50.690
as hard as they could.

00:54:50.690 --> 00:54:52.953
I mean you could just, you could just read it

00:54:52.953 --> 00:54:54.743
like from a mile away, this is it.

00:55:00.727 --> 00:55:03.212
Mmmm, boogy, boogy, boogy, yeah.

00:55:03.212 --> 00:55:04.580
Uh-oh, is a lip coming out?

00:55:04.580 --> 00:55:05.760
Look at the lip.

00:55:05.760 --> 00:55:06.593
He's so cute.

00:55:06.593 --> 00:55:07.648
Wait, where's the lip?

00:55:07.648 --> 00:55:08.723
There it is.

00:55:08.723 --> 00:55:10.340
Give 'em the lip, give 'em the lip.

00:55:10.340 --> 00:55:11.173
Ohhh.

00:55:14.430 --> 00:55:17.323
After Sketchy, everybody goes in their own path.

00:55:23.448 --> 00:55:24.281
Daddy.

00:55:27.949 --> 00:55:29.100
Oh, watch out.

00:55:29.100 --> 00:55:29.933
Watch out.

00:55:31.670 --> 00:55:33.080
Crutch did the last thing

00:55:33.080 --> 00:55:34.784
you would expect from Crutch.

00:55:34.784 --> 00:55:36.403
You know, he's like I'm moving to Pittsburgh.

00:55:38.310 --> 00:55:41.970
Like he's growing his own food and vegetables, and has a car

00:55:41.970 --> 00:55:44.360
that runs off like fucking potatoes or something.

00:55:44.360 --> 00:55:45.940
That's, that's Crutch, you know.

00:55:47.502 --> 00:55:50.720
But he goes back to a more refined Crutch

00:55:50.720 --> 00:55:51.963
into solo work.

00:55:54.830 --> 00:55:57.240
Back into his like organic interactions

00:55:57.240 --> 00:55:58.307
with people or their reactions,

00:55:58.307 --> 00:56:00.818
to Bill, you know, doing his thing,

00:56:00.818 --> 00:56:02.068
going through the street.

00:56:05.600 --> 00:56:07.060
It's fucking raining, man.

00:56:07.060 --> 00:56:08.410
Come on, we gotta get started here!

00:56:08.410 --> 00:56:09.900
What's going on?

00:56:09.900 --> 00:56:11.624
What's taking so long!

00:56:11.624 --> 00:56:14.124
(banjo music)

00:56:14.989 --> 00:56:15.863
Hear yourself.

00:56:21.945 --> 00:56:23.018
Oh!

00:56:23.018 --> 00:56:24.080
So I met Bill at School of the Art Institute

00:56:24.080 --> 00:56:26.630
of Chicago in around 1993.

00:56:26.630 --> 00:56:29.640
And I actually remember him, you kinda, can't not,

00:56:29.640 --> 00:56:31.333
remember the way he looked.

00:56:31.333 --> 00:56:32.880
(barking)

00:56:32.880 --> 00:56:36.311
I was like damn, this kid wants attention like really bad.

00:56:36.311 --> 00:56:38.561
(shouting)

00:56:47.310 --> 00:56:49.040
You know, I think being a public spectacle

00:56:49.040 --> 00:56:52.320
as a child, going to demonstrations in public

00:56:52.320 --> 00:56:55.270
throughout my whole childhood, and then being

00:56:55.270 --> 00:56:58.300
in the street skateboarding and breakdancing

00:56:58.300 --> 00:57:01.000
just all fed into like I'm just a performing artist

00:57:01.000 --> 00:57:03.516
in the street, this feels natural to me.

00:57:03.516 --> 00:57:06.016
(banjo music)

00:57:20.560 --> 00:57:23.638
In Chicago we shot on some really nasty, bad cameras, man,

00:57:23.638 --> 00:57:24.743
and it was all noise.

00:57:27.680 --> 00:57:29.137
And just like hidden camera guy in the,

00:57:29.137 --> 00:57:32.240
in the corner, whatever, like off,

00:57:32.240 --> 00:57:35.813
offsite where you can't see any spying on innocent people.

00:57:45.740 --> 00:57:48.480
You know, he's getting tangled up on the street,

00:57:48.480 --> 00:57:50.273
getting caught in doors, you know.

00:57:50.273 --> 00:57:52.883
He's just falling down and he's got crutches.

00:57:55.380 --> 00:57:59.263
So then, you know, somebody'll go to help him.

00:58:02.980 --> 00:58:06.583
And then he'll just make them fail in helping him,

00:58:08.180 --> 00:58:12.447
which is kind of a sad place to be, you know what I mean?

00:58:23.890 --> 00:58:28.020
Once the reemergence of my disability came back in my 20s,

00:58:28.020 --> 00:58:33.020
I was like dealing with the same expressions

00:58:33.040 --> 00:58:34.800
in people's faces again.

00:58:34.800 --> 00:58:38.080
And it was like a really old memory, a very old memory to

00:58:38.080 --> 00:58:40.752
have people treat me the way they did.

00:58:40.752 --> 00:58:43.600
(light electronic music)

00:58:43.600 --> 00:58:47.240
One of the most difficult things about the transition

00:58:47.240 --> 00:58:50.530
from the status of non-disabled to disabled

00:58:50.530 --> 00:58:54.230
is figuring out how to manage the awkwardness

00:58:54.230 --> 00:58:59.193
of encounters between themselves and non-disabled people.

00:59:05.288 --> 00:59:06.650
It was like a turning point when I realized

00:59:06.650 --> 00:59:09.390
that I have this relationship to the public doing tricks

00:59:09.390 --> 00:59:12.550
on crutches, and that it's not all

00:59:12.550 --> 00:59:15.110
like look how cool I am on crutches.

00:59:15.110 --> 00:59:16.810
There's all this other stuff happening.

00:59:16.810 --> 00:59:19.723
And that I have not even begun to deal with it.

00:59:21.168 --> 00:59:23.123
And that was the beginning of that journey.

00:59:26.865 --> 00:59:29.615
(static hissing)

01:00:10.430 --> 01:00:11.693
It's provocative.

01:00:12.880 --> 01:00:16.000
You're taking advantage of people's good nature.

01:00:16.000 --> 01:00:19.223
Like these are good people that care.

01:00:20.820 --> 01:00:23.790
But I was often in the position of helping him

01:00:23.790 --> 01:00:27.020
when he needed help, so I know what it's like

01:00:27.020 --> 01:00:30.770
to be the person who's reaching down to help somebody up

01:00:30.770 --> 01:00:32.810
who may or may not need it.

01:00:32.810 --> 01:00:35.613
So I identify with both sides.

01:00:50.030 --> 01:00:51.320
What happened in that performance

01:00:51.320 --> 01:00:55.210
that's so interesting was that my skateboard was there,

01:00:55.210 --> 01:00:59.560
but the sidewalk had a slight incline to it,

01:00:59.560 --> 01:01:01.520
and so the skateboard just rolled out

01:01:01.520 --> 01:01:02.773
and went into the street.

01:01:05.100 --> 01:01:10.100
A cab crossed three lanes to run over the board on purpose.

01:01:10.910 --> 01:01:13.470
Now mind you, I had no money at that time.

01:01:13.470 --> 01:01:16.770
I was on full scholarship at the Art Institute of Chicago.

01:01:16.770 --> 01:01:18.620
I had no real job.

01:01:18.620 --> 01:01:21.670
My family doesn't have money, plus I no longer

01:01:21.670 --> 01:01:23.740
had a way to get back to the train station

01:01:23.740 --> 01:01:26.570
and back to my house, which like tons of distance.

01:01:26.570 --> 01:01:28.288
I mean it was a long ass way.

01:01:28.288 --> 01:01:30.480
I had to walk all the way to the train.

01:01:30.480 --> 01:01:31.410
And I was just miserable.

01:01:31.410 --> 01:01:33.400
And I started crashing to the ground,

01:01:33.400 --> 01:01:35.610
and people were coming and helping me.

01:01:35.610 --> 01:01:37.487
Instead of being like no, I'm not gonna let you help me,

01:01:37.487 --> 01:01:38.903
I just started hugging them.

01:01:40.152 --> 01:01:43.053
And I would be hugging like three or four people at once,

01:01:43.053 --> 01:01:45.370
and they would all be lifting me up.

01:01:45.370 --> 01:01:49.940
They'd lift me up and stand me up, and instead

01:01:49.940 --> 01:01:52.490
of rejecting them I was just kind of like okay,

01:01:52.490 --> 01:01:54.100
I'm just accepting this.

01:01:55.330 --> 01:01:58.287
I was just really upset about my situation,

01:01:59.870 --> 01:02:02.020
but also just everything that has happened.

01:02:03.383 --> 01:02:06.800
(light electronic music)

01:02:11.370 --> 01:02:14.423
It was like I was just surrendering when I realized

01:02:16.790 --> 01:02:18.020
I don't really want to mess with people.

01:02:18.020 --> 01:02:22.103
I just want to express these feelings and these ideas.

01:02:25.540 --> 01:02:28.010
You know, I imagine that people might be a little upset

01:02:28.010 --> 01:02:29.170
by that.

01:02:29.170 --> 01:02:32.030
Some people are, like how could you do that to people,

01:02:32.030 --> 01:02:34.120
like isn't that mean?

01:02:34.120 --> 01:02:35.920
Come on, there's at least a couple people in here

01:02:35.920 --> 01:02:37.363
that think it's really mean.

01:02:38.930 --> 01:02:40.252
I want to know who they are.

01:02:40.252 --> 01:02:42.520
I think you're awful.

01:02:42.520 --> 01:02:43.753
Okay.

01:02:43.753 --> 01:02:44.710
(laughing)

01:02:44.710 --> 01:02:46.123
This guy behind you, here.

01:02:48.010 --> 01:02:49.940
I think it's kind of manipulative.

01:02:49.940 --> 01:02:52.060
You think it's what?
Kind of manipulative.

01:02:52.060 --> 01:02:53.190
Manipulative.

01:02:53.190 --> 01:02:55.420
Ahh, okay.

01:02:55.420 --> 01:02:59.423
Um, well, I kind of want to talk about that a little bit.

01:03:03.129 --> 01:03:04.920
You know, like "Regarding the Fall" was a question

01:03:04.920 --> 01:03:08.260
and some of the questions were asked in a wrong way.

01:03:08.260 --> 01:03:11.230
And that there are failures to it that happened

01:03:11.230 --> 01:03:13.170
in order for me to dig further into it,

01:03:13.170 --> 01:03:15.590
I had to go down paths, every dead end.

01:03:15.590 --> 01:03:17.860
And out of that mistake came the concept

01:03:17.860 --> 01:03:18.950
of the neutral palette,

01:03:18.950 --> 01:03:22.460
which is that you never see me like just all,

01:03:22.460 --> 01:03:24.083
all out and out fall.

01:03:25.930 --> 01:03:30.350
Bill realized that he was in some ways being manipulative

01:03:30.350 --> 01:03:34.783
of people because he was putting them into a crisis moment,

01:03:35.790 --> 01:03:40.790
so he decided that a better way to continue to investigate,

01:03:41.170 --> 01:03:43.880
because he was very interested in how people

01:03:43.880 --> 01:03:48.360
were responding to him, was not to present himself

01:03:48.360 --> 01:03:50.260
as something flashy

01:03:50.260 --> 01:03:53.773
that would very obviously draw attention.

01:03:58.760 --> 01:04:01.297
I mean this shit is just beyond like reasonable,

01:04:03.820 --> 01:04:06.140
it's almost like so strange,

01:04:06.140 --> 01:04:07.040
one, for him to do it,

01:04:07.040 --> 01:04:08.790
two, for me to accept him doing it.

01:04:10.086 --> 01:04:11.320
You know, it's just uh,

01:04:11.320 --> 01:04:13.270
I'm sitting there going oh my God,

01:04:13.270 --> 01:04:16.120
he actually fucking gave me a drink of water.

01:04:16.120 --> 01:04:18.250
At that point I had surrendered myself

01:04:18.250 --> 01:04:20.910
to whatever other people thought I needed,

01:04:20.910 --> 01:04:23.250
and this was like probably the height of that,

01:04:23.250 --> 01:04:25.020
somebody actually feeding me.

01:04:25.020 --> 01:04:29.033
Like that is just, that really gets to the core of help.

01:04:30.250 --> 01:04:31.910
You know, you will have people who will, you know,

01:04:31.910 --> 01:04:36.150
try to feed you in your real life and you'll be offended,

01:04:36.150 --> 01:04:37.927
but in your performance you embrace it

01:04:37.927 --> 01:04:39.493
and you try to understand it.

01:04:40.880 --> 01:04:43.590
It's like I am out there interacting with phenomena

01:04:43.590 --> 01:04:45.513
that extend throughout my whole life.

01:04:46.410 --> 01:04:48.620
And the people that are representing those phenomena

01:04:48.620 --> 01:04:51.970
are individuals, but I don't look at them

01:04:51.970 --> 01:04:56.800
as good or bad people based on how they act.

01:04:56.800 --> 01:05:01.800
I look at them as individuals that manifest phenomena

01:05:05.410 --> 01:05:07.910
that occur to me whether I'm performing or not.

01:05:10.880 --> 01:05:13.080
The phenomenology of disability

01:05:13.080 --> 01:05:16.370
that Shannon explores comes out

01:05:16.370 --> 01:05:19.880
of an experience of repeated patterns of interaction.

01:05:19.880 --> 01:05:22.150
He sees the same things and experiences

01:05:22.150 --> 01:05:25.040
the same things over, and over and over again.

01:05:25.040 --> 01:05:28.480
That's burdensome, but what it also does

01:05:28.480 --> 01:05:33.480
for someone who as thoughtful as Shannon is it pushes him

01:05:34.010 --> 01:05:36.268
to want to name those things.

01:05:36.268 --> 01:05:38.270
(upbeat jazz music)

01:05:38.270 --> 01:05:40.770
Imagine if I get up, I get dressed, I go outside,

01:05:40.770 --> 01:05:43.200
I throw on my tunes, jump on the board and start

01:05:43.200 --> 01:05:45.240
to like bop down the street.

01:05:45.240 --> 01:05:46.200
And as I go down the street,

01:05:46.200 --> 01:05:49.170
pushing on my crutches, everyone turns to stare.

01:05:49.170 --> 01:05:50.670
A lot of people stare directly at me,

01:05:50.670 --> 01:05:53.705
but even more people turn after I pass.

01:05:53.705 --> 01:05:56.663
So I continue on down the block and a cab pulls up,

01:05:56.663 --> 01:05:57.496
(car horn honking)

01:05:57.496 --> 01:05:58.997
"Hey, hoo, what do you call that?"

01:05:58.997 --> 01:06:01.980
And before I can even answer, the car's gone.

01:06:01.980 --> 01:06:02.960
I get to the bus stop.

01:06:02.960 --> 01:06:03.793
I sit down.

01:06:03.793 --> 01:06:05.050
A perfect stranger comes along

01:06:05.050 --> 01:06:07.850
and looks at me and says, "Sorry."

01:06:07.850 --> 01:06:09.410
And then another person comes

01:06:09.410 --> 01:06:11.090
and sits down on the bench, and then the guy looks

01:06:11.090 --> 01:06:12.443
at me and goes, "Hey, what happened to you?"

01:06:12.443 --> 01:06:14.637
And I'm like, what happened to you?

01:06:14.637 --> 01:06:16.460
And he's like, "No, I mean the crutches."

01:06:16.460 --> 01:06:18.440
And I said, everybody has crutches;

01:06:18.440 --> 01:06:21.440
some of them you can see, some of them are invisible.

01:06:21.440 --> 01:06:23.550
He goes, "Come on, man, what happened to your leg?

01:06:23.550 --> 01:06:24.800
I bet it was your ankle.

01:06:24.800 --> 01:06:26.530
I broke my ankle once."

01:06:26.530 --> 01:06:28.893
And he continues to tell me his whole story.

01:06:30.450 --> 01:06:33.240
Then the bus pulls up, the bus driver opens the door

01:06:33.240 --> 01:06:35.470
and says, "Hey, come on, buddy, I got ya.

01:06:35.470 --> 01:06:36.707
You can do it."

01:06:38.780 --> 01:06:41.040
I get off the bus and there's a store.

01:06:41.040 --> 01:06:42.520
I'm looking a the store and I realize

01:06:42.520 --> 01:06:44.450
that the thing I need to get, there's two places

01:06:44.450 --> 01:06:46.270
that sell it and one of them's maybe having a sale.

01:06:46.270 --> 01:06:47.250
And I can't remember which one.

01:06:47.250 --> 01:06:48.560
And as I'm standing there I notice

01:06:48.560 --> 01:06:50.780
there's a woman holding the door open for me,

01:06:50.780 --> 01:06:52.800
waiting for me to go into the store,

01:06:52.800 --> 01:06:54.470
but I'm still trying to decide.

01:06:54.470 --> 01:06:57.240
And she's holding it longer, and she's looking at me.

01:06:57.240 --> 01:06:59.820
And her face changes, are you coming to the door?

01:06:59.820 --> 01:07:03.620
And I get this little bit of a backlash eye roll,

01:07:03.620 --> 01:07:05.000
but I go into the store anyway.

01:07:05.000 --> 01:07:06.910
And I find the item I want, and I go to the register.

01:07:06.910 --> 01:07:09.730
The cashier says, 'Hey, man, did you break your ankle?

01:07:09.730 --> 01:07:11.700
I broke my ankle once."

01:07:11.700 --> 01:07:13.000
And that's just one day.

01:07:13.000 --> 01:07:14.010
It's not even a whole day.

01:07:14.010 --> 01:07:15.530
It's just one errand.

01:07:15.530 --> 01:07:19.010
And these things all are cumulative, day after day, week

01:07:19.010 --> 01:07:23.253
after week, month after month, year after year after year.

01:07:27.724 --> 01:07:30.150
(light piano music)

01:07:30.150 --> 01:07:33.550
Disability always demands a story.

01:07:33.550 --> 01:07:36.170
Non-disabled people are never required

01:07:36.170 --> 01:07:39.280
to give an account of themselves in the same way.

01:07:39.280 --> 01:07:40.752
What happened?

01:07:40.752 --> 01:07:43.694
To my hip?

01:07:43.694 --> 01:07:45.506
I was born with a disease.

01:07:45.506 --> 01:07:47.639
It's a really long story, but my hip is not round.

01:07:47.639 --> 01:07:49.000
Really?
Yeah.

01:07:49.000 --> 01:07:52.260
Most of us simply learn to manage this.

01:07:52.260 --> 01:07:54.260
We have a standard answer.

01:07:54.260 --> 01:07:56.993
We get it out of the way and we move on.

01:07:58.100 --> 01:08:02.030
So that he's turned this into a performance piece,

01:08:02.030 --> 01:08:06.950
into an art form where he evokes this question,

01:08:06.950 --> 01:08:10.453
this interrogation is absolutely brilliant.

01:08:13.240 --> 01:08:15.980
It's a language, and it's a tool,

01:08:15.980 --> 01:08:18.970
and it's a way of seeing, but it's not a sort

01:08:18.970 --> 01:08:21.440
of guidebook to do's and don'ts of dealing

01:08:21.440 --> 01:08:23.190
with disabled people who need help.

01:08:25.220 --> 01:08:30.220
What I actually encourage is to abandon assumptions.

01:08:33.136 --> 01:08:36.686
(light electronic music)

01:08:36.686 --> 01:08:38.410
Get down to The Studio at the Opera House

01:08:38.410 --> 01:08:40.380
because there's an amazing performer

01:08:40.380 --> 01:08:42.230
from Brooklyn coming out called Bill Shannon.

01:08:42.230 --> 01:08:44.120
And the night is called Spatial Theory.

01:08:44.120 --> 01:08:45.870
It's had rave reviews.

01:08:45.870 --> 01:08:48.100
You know that I was doing these performances

01:08:48.100 --> 01:08:50.460
where I was having these interactions with people based

01:08:50.460 --> 01:08:54.970
on their ideas of who I was, people were responding to it,

01:08:54.970 --> 01:08:56.447
you know, interested in it.

01:08:56.447 --> 01:08:57.875
(audience applauding)

01:08:57.875 --> 01:08:59.594
Yeah, yeah.

01:08:59.594 --> 01:09:02.760
And it became necessity to communicate it to audiences.

01:09:02.760 --> 01:09:05.760
So welcome to this evening's presentation of Spatial Theory.

01:09:06.681 --> 01:09:09.098
(vocalizing)

01:09:16.370 --> 01:09:18.090
(audience applauding)

01:09:18.090 --> 01:09:20.970
Okay, now I'm gonna sit down and talk a little,

01:09:20.970 --> 01:09:23.400
go over some video of some street performance work,

01:09:23.400 --> 01:09:26.930
where I perform simple utilitarian tasks in public

01:09:26.930 --> 01:09:31.047
and sort of begin to look at people look at me.

01:09:31.047 --> 01:09:34.047
(upbeat jazz music)

01:09:35.210 --> 01:09:36.043
So I said you know what I'm gonna do,

01:09:36.043 --> 01:09:38.053
I'm just gonna pick up a bottle.

01:09:39.580 --> 01:09:40.630
I'm just gonna pick up this bottle

01:09:40.630 --> 01:09:44.010
in pubic. It's a utilitarian task a very simple task.

01:09:44.010 --> 01:09:45.270
And you're gonna see, this is me.

01:09:45.270 --> 01:09:46.103
I'm the hero.

01:09:46.103 --> 01:09:47.277
This is the villain, right.

01:09:48.387 --> 01:09:52.080
And that's a random babushka from a Russian marketplace,

01:09:52.080 --> 01:09:54.100
so here's the reach for the bottle,

01:09:54.100 --> 01:09:55.900
which could be like the initiation

01:09:55.900 --> 01:09:58.000
of what I call projective narrative.

01:09:58.000 --> 01:10:00.260
So her story about me picking up the bottle

01:10:00.260 --> 01:10:02.610
is like way deeper than my own story

01:10:02.610 --> 01:10:03.630
of me picking up the bottle,

01:10:03.630 --> 01:10:06.732
which is basically a high mid, low mid split reach.

01:10:06.732 --> 01:10:07.620
(audience laughing)

01:10:07.620 --> 01:10:11.340
She's looking at it like will the man pick up the bottle?

01:10:11.340 --> 01:10:16.340
I cannot go on to my destination until I know

01:10:16.600 --> 01:10:19.223
if the man will pick up the bottle.

01:10:20.090 --> 01:10:22.870
Now, if you watch the purse area here,

01:10:22.870 --> 01:10:26.384
you're going to see this hight of the conflict

01:10:26.384 --> 01:10:28.320
reach a cataclysmic point.

01:10:28.320 --> 01:10:30.547
Watch the purse, get it, get it, get it.

01:10:30.547 --> 01:10:31.761
Ohhh.

01:10:31.761 --> 01:10:34.890
(audience laughing)

01:10:34.890 --> 01:10:39.180
A psychosomatic reaction to the height

01:10:39.180 --> 01:10:41.249
of the arc of her narrative.

01:10:41.249 --> 01:10:42.550
(audience laughing)

01:10:42.550 --> 01:10:45.290
And what I've noticed in, this next little moment

01:10:45.290 --> 01:10:48.360
here is what I call fate of distraction at the top

01:10:48.360 --> 01:10:51.171
of the stairs, fate of distraction right here.

01:10:51.171 --> 01:10:52.590
Whoa.

01:10:52.590 --> 01:10:57.590
Okay, I don't, I mean when it happened I was like terrified,

01:10:57.990 --> 01:11:00.193
like oh no, she's going down on the stairs.

01:11:01.680 --> 01:11:03.410
You can see my good samaritan impulse,

01:11:03.410 --> 01:11:05.780
I mean I'm ready to like dive down after her,

01:11:05.780 --> 01:11:08.290
so I'm not like out here just like accusing people

01:11:08.290 --> 01:11:10.490
of like being stupid for trying to help other people

01:11:10.490 --> 01:11:12.400
in need because I do it myself.

01:11:12.400 --> 01:11:14.640
And then there's final reckoning, you'll see it here,

01:11:14.640 --> 01:11:16.373
this look of like, right here.

01:11:18.530 --> 01:11:21.186
She's like you know, I almost died looking at you.

01:11:21.186 --> 01:11:22.922
(audience laughing)

01:11:22.922 --> 01:11:25.620
(audience applauding)

01:11:25.620 --> 01:11:27.960
I think Bill understands people's reaction

01:11:27.960 --> 01:11:31.410
to disability more than most people do,

01:11:31.410 --> 01:11:34.370
and he knows he's being misunderstood.

01:11:34.370 --> 01:11:39.370
And he can reach in and like bloop, here it is,

01:11:39.890 --> 01:11:41.080
you see that.

01:11:41.080 --> 01:11:43.830
So this next relationship I call peripheral fluctuation.

01:11:43.830 --> 01:11:45.540
So peripheral fluctuation is the kind of thing

01:11:45.540 --> 01:11:47.023
where your periphery is like right here, right,

01:11:47.023 --> 01:11:49.030
you can see my field of vision.

01:11:49.030 --> 01:11:51.830
Then you have like peripheral over here, right,

01:11:51.830 --> 01:11:54.493
so then as soon as my periphery starts to move

01:11:54.493 --> 01:11:56.070
towards a full field of vision,

01:11:56.070 --> 01:11:57.570
it's like peripheral function.

01:11:58.950 --> 01:12:00.428
No, I wasn't looking.

01:12:00.428 --> 01:12:02.393
(audience laughing)

01:12:02.393 --> 01:12:03.510
All of those things, were things

01:12:03.510 --> 01:12:06.130
that I could recognize in my life in different ways,

01:12:06.130 --> 01:12:08.410
and oh yeah, I do that or I know that.

01:12:08.410 --> 01:12:11.280
And and yeah, that's not,

01:12:11.280 --> 01:12:13.240
that's not understood by everybody.

01:12:13.240 --> 01:12:15.120
This next relationship I call Gesture of Help.

01:12:15.120 --> 01:12:18.020
A gesture of help is very different than real help.

01:12:18.020 --> 01:12:20.090
Real help, you know, like put me over your shoulder

01:12:20.090 --> 01:12:21.160
and carry me up the stairs.

01:12:21.160 --> 01:12:25.520
A gesture of help is like I'm gonna help her help me

01:12:26.420 --> 01:12:27.290
up the stairs.

01:12:27.290 --> 01:12:28.310
(audience laughing)

01:12:28.310 --> 01:12:31.020
Now normally for me, I go like up the stairs,

01:12:31.020 --> 01:12:32.451
but she's going sideways.

01:12:32.451 --> 01:12:34.140
(audience laughing)

01:12:34.140 --> 01:12:35.790
I'm like where are you taking me?

01:12:36.720 --> 01:12:38.503
I'm going to another dimension.

01:12:41.620 --> 01:12:44.880
People who haven't experienced these interactions,

01:12:44.880 --> 01:12:46.800
people who move through the world with sort

01:12:46.800 --> 01:12:49.640
of ordinary bodies don't necessarily understand

01:12:49.640 --> 01:12:53.560
what Bill is talking about, but it's that intervention

01:12:53.560 --> 01:12:58.072
with the video technology, that's when people get it.

01:12:58.072 --> 01:13:01.239
(audience applauding)

01:13:13.098 --> 01:13:16.480
(light electronic music)

01:13:16.480 --> 01:13:18.650
People say, they'll write about me, Bill Shannon,

01:13:18.650 --> 01:13:20.010
you know, he's this great dancer, right,

01:13:20.010 --> 01:13:22.690
it's too bad that, you know, he tricks people

01:13:22.690 --> 01:13:24.440
into helping him on the street.

01:13:24.440 --> 01:13:26.770
You know, or he does things where he falls to the ground

01:13:26.770 --> 01:13:28.723
so that, so that people help him.

01:13:30.060 --> 01:13:33.509
So it has this sort of notion that, that I'm getting people

01:13:33.509 --> 01:13:36.560
to do these things as if they don't do them already,

01:13:36.560 --> 01:13:39.460
whether, well, no matter what I'm doing, they're doing it.

01:13:41.410 --> 01:13:44.410
(upbeat jazz music)

01:13:51.803 --> 01:13:53.280
What's it for?

01:13:53.280 --> 01:13:54.329
it's a trio of video projects,

01:13:54.329 --> 01:13:58.450
called "Window, Bench & Traffic."

01:13:58.450 --> 01:14:02.990
And those projects are my sort of way of addressing

01:14:02.990 --> 01:14:07.690
a basic problem about dancing in the street,

01:14:07.690 --> 01:14:09.480
which is my dancing in the street

01:14:09.480 --> 01:14:10.860
is never seen by audiences,

01:14:10.860 --> 01:14:13.411
it's only seen by people who happen to be there.

01:14:13.411 --> 01:14:16.828
(light electronic music)

01:14:18.790 --> 01:14:21.210
He could've just kinda gone down some easy route

01:14:21.210 --> 01:14:23.860
of making some really entertaining dance shows.

01:14:23.860 --> 01:14:26.520
People would love the sort of flippancy

01:14:26.520 --> 01:14:30.150
and the superficial level of the virtuosity that he has.

01:14:30.150 --> 01:14:30.983
And he didn't.

01:14:32.897 --> 01:14:35.020
The mad scientist in him is brewing something,

01:14:35.020 --> 01:14:36.290
he's just, you know, he's brainstorming

01:14:36.290 --> 01:14:39.149
for his next big form of expression.

01:14:39.149 --> 01:14:42.066
(percussive music)

01:14:57.200 --> 01:15:00.690
Moving into a series like "Window Bench Traffic"

01:15:00.690 --> 01:15:05.360
solves one problem that Bill had when he

01:15:05.360 --> 01:15:09.750
was doing his click and point edited video talks.

01:15:09.750 --> 01:15:13.740
And that is that people could see him picking and choosing,

01:15:13.740 --> 01:15:15.150
which, in fact, he was.

01:15:15.150 --> 01:15:18.340
He might have captured four hours of film

01:15:18.340 --> 01:15:21.020
and found the three seconds that really illustrated

01:15:21.020 --> 01:15:22.040
his point.

01:15:22.040 --> 01:15:24.350
And people might say well, there's a,

01:15:24.350 --> 01:15:26.430
there's a manipulation that's happening there

01:15:26.430 --> 01:15:27.460
because you're freezing,

01:15:27.460 --> 01:15:31.720
you're stopping does it really unfold that way?

01:15:31.720 --> 01:15:33.333
Well, let's find out.

01:15:34.540 --> 01:15:35.530
There's a fabric.

01:15:35.530 --> 01:15:36.740
There's a social fabric.

01:15:36.740 --> 01:15:40.010
There's a a landscape of gazes, and approaches

01:15:40.010 --> 01:15:44.410
and subtleties around how humans look at each other,

01:15:44.410 --> 01:15:46.680
and pass each other, and the body language

01:15:46.680 --> 01:15:48.070
and the patterns that take place.

01:15:48.070 --> 01:15:51.530
And I really wanted to prove that the spectacle is there,

01:15:51.530 --> 01:15:52.940
I don't have to use anything.

01:15:52.940 --> 01:15:54.670
It happens no matter what I do,

01:15:54.670 --> 01:15:57.653
whether it's my real life or I'm in a performance.

01:16:03.758 --> 01:16:06.530
(upbeat dance music)

01:16:06.530 --> 01:16:11.270
Window was people would be viewing the performance

01:16:11.270 --> 01:16:14.060
through a window in a building on a square,

01:16:14.060 --> 01:16:16.010
and then the audience in the window

01:16:16.010 --> 01:16:19.140
would see the performance, not only directly,

01:16:19.140 --> 01:16:20.210
but also through the camera

01:16:20.210 --> 01:16:22.810
so they could see up close how people were reacting.

01:16:24.230 --> 01:16:26.790
It's an extension of his own investigations

01:16:26.790 --> 01:16:30.240
into how people treat those who are disabled,

01:16:30.240 --> 01:16:32.870
and we often don't know, you know,

01:16:32.870 --> 01:16:34.573
until we see it on screen.

01:16:36.540 --> 01:16:39.290
Bill realizes there are a two different audiences,

01:16:39.290 --> 01:16:42.400
the people who have been watching see a guy

01:16:42.400 --> 01:16:45.490
who's clearly capable, whereas people

01:16:45.490 --> 01:16:47.780
who have been walking by, what they have

01:16:47.780 --> 01:16:50.770
is crutches equals fragile.

01:16:50.770 --> 01:16:52.510
Everyone who sees that thinks they know

01:16:52.510 --> 01:16:55.160
what they're seeing, but they're interpreting it

01:16:55.160 --> 01:16:56.750
so differently that it's

01:16:56.750 --> 01:16:58.600
like they're two different realities.

01:17:00.470 --> 01:17:03.930
Bench was before the time of the GoPro, you know,

01:17:03.930 --> 01:17:06.060
he attached cameras all around him to

01:17:06.060 --> 01:17:08.373
give a 360 degree view.

01:17:10.519 --> 01:17:13.623
I remember doing a 360 in a suitcase thing.

01:17:14.570 --> 01:17:17.363
The hidden cameras were a way to get an honest reaction.

01:17:18.846 --> 01:17:20.679
You all right?

01:17:22.834 --> 01:17:24.001
You all right?

01:17:27.120 --> 01:17:30.460
Everyone would see all of these reactions behind him,

01:17:30.460 --> 01:17:32.123
his wake, basically.

01:17:33.550 --> 01:17:36.040
People literally stop on their tracks.

01:17:37.219 --> 01:17:40.190
That happens all the time.

01:17:51.366 --> 01:17:54.449
(upbeat dance music)

01:18:05.000 --> 01:18:06.850
Stage it in the middle of the back.

01:18:09.220 --> 01:18:11.710
Traffic, we put that on wheels

01:18:11.710 --> 01:18:14.263
and it becomes a lot more elaborate.

01:18:25.820 --> 01:18:27.220
The audience boards a bus.

01:18:30.620 --> 01:18:33.230
There's a DJ on the bus.

01:18:33.230 --> 01:18:36.600
The DJ would pipe music that Bill could hear

01:18:36.600 --> 01:18:39.229
and that the audience in the bus could hear, too.

01:18:39.229 --> 01:18:42.312
(upbeat dance music)

01:18:56.705 --> 01:18:58.330
He took his audience into the street.

01:18:58.330 --> 01:19:00.163
He took his audience on a goddam ride.

01:19:00.163 --> 01:19:02.830
(all laughing)

01:19:02.830 --> 01:19:05.460
And I was on the bus like dude, this is fucking genius.

01:19:05.460 --> 01:19:06.886
It was so cool.

01:19:06.886 --> 01:19:07.719
It was so exciting, like you really felt

01:19:07.719 --> 01:19:08.859
like you were with him.

01:19:08.859 --> 01:19:10.109
Whooo, whooo!

01:19:14.806 --> 01:19:17.520
(all laughing)

01:19:17.520 --> 01:19:19.790
It's interesting enough to be called art,

01:19:19.790 --> 01:19:21.680
but it's got this, you know, spectacle

01:19:21.680 --> 01:19:24.510
of showmanship kind of quality and you're not looking

01:19:24.510 --> 01:19:25.750
at the Empire State Building,

01:19:25.750 --> 01:19:28.023
you're looking at somebody who's living art.

01:19:33.371 --> 01:19:34.204
Hi.

01:19:35.620 --> 01:19:36.920
It's hot out today, right?

01:19:38.545 --> 01:19:40.134
I'm trying to figure you out with the crutches

01:19:40.134 --> 01:19:42.540
and the, and this.

01:19:42.540 --> 01:19:43.660
Yeah?

01:19:43.660 --> 01:19:44.493
What?

01:19:44.493 --> 01:19:45.860
How is this?

01:19:45.860 --> 01:19:46.730
How is what?

01:19:46.730 --> 01:19:49.001
You ride on this and what do you do with these?

01:19:49.001 --> 01:19:51.551
With these, I try, I flap them, I try to get air.

01:19:52.622 --> 01:19:53.455
Like wings?

01:19:53.455 --> 01:19:56.193
Like that, like they catch air and then I can kind of fly.

01:19:57.363 --> 01:19:59.470
You need a parachute then.

01:19:59.470 --> 01:20:00.303
I need a what?

01:20:00.303 --> 01:20:01.136
A parachute.

01:20:01.136 --> 01:20:02.130
I do need a parachute.

01:20:02.130 --> 01:20:03.890
Thank you.
Stay well.

01:20:03.890 --> 01:20:06.840
You, too.
Flap your wings, Crutch!

01:20:09.023 --> 01:20:12.106
(upbeat dance music)

01:20:14.090 --> 01:20:16.460
Traffic is so spontaneous

01:20:16.460 --> 01:20:21.120
that we get to see not only those disability phenomena,

01:20:21.120 --> 01:20:25.770
but we get to see relationships develop on the spot.

01:20:28.091 --> 01:20:29.363
Oh no, please.

01:20:29.363 --> 01:20:30.900
Please, you first.

01:20:30.900 --> 01:20:31.733
I gotta go that way.

01:20:31.733 --> 01:20:33.148
And you're in the way anyway.

01:20:34.453 --> 01:20:36.661
You're on a cane or what?

01:20:36.661 --> 01:20:37.828
Uh, or what.

01:20:39.877 --> 01:20:41.403
And, or what.

01:20:41.403 --> 01:20:43.360
Are you okay?
Yeah, I'm fine.

01:20:43.360 --> 01:20:45.126
You need some help with those papers?

01:20:45.126 --> 01:20:45.995
Oh, no thanks.

01:20:45.995 --> 01:20:46.896
No, you're okay?

01:20:46.896 --> 01:20:48.245
All right.

01:20:48.245 --> 01:20:49.691
Bye.

01:20:49.691 --> 01:20:50.524
What happened?

01:20:50.524 --> 01:20:51.735
You sprain your ankle?

01:20:51.735 --> 01:20:55.695
Well, that's a good guess, but it's not my ankle.

01:20:55.695 --> 01:20:57.854
Are you all right?

01:20:57.854 --> 01:20:59.670
What happened to you?

01:20:59.670 --> 01:21:02.753
(upbeat dance music)

01:21:09.755 --> 01:21:12.210
Ah, that's failure.

01:21:12.210 --> 01:21:15.520
But even when I, even when I fail I try to keep it smooth.

01:21:15.520 --> 01:21:17.300
You all right?
Yeah, I'm cool.

01:21:17.300 --> 01:21:19.740
I, I look good, don't I?

01:21:19.740 --> 01:21:20.800
I look good, right?

01:21:20.800 --> 01:21:21.633
On the ground.

01:21:22.890 --> 01:21:25.591
Yeah, I'm, I don't really need help, but if you want

01:21:25.591 --> 01:21:27.697
to help me, you can.

01:21:27.697 --> 01:21:28.590
Okay, you wanna help me, all right, cool.

01:21:28.590 --> 01:21:29.700
Here we go, Shannon.

01:21:29.700 --> 01:21:32.123
I don't need this help though.

01:21:32.123 --> 01:21:33.590
No, listen, I don't need the help,

01:21:33.590 --> 01:21:34.423
but I really appreciate it.

01:21:35.530 --> 01:21:36.800
All right, brother.

01:21:36.800 --> 01:21:38.197
Thank you, brother.

01:21:40.558 --> 01:21:41.391
Huh?

01:21:42.697 --> 01:21:44.323
You're handicapped on your foot?

01:21:44.323 --> 01:21:47.060
it's my hip isn't round on both sides.

01:21:47.060 --> 01:21:47.960
Oh, I didn't know that.

01:21:47.960 --> 01:21:48.793
I would have picked you up.

01:21:48.793 --> 01:21:50.640
I thought you were just playing with me.

01:21:50.640 --> 01:21:51.640
Well, it's both, actually.

01:21:51.640 --> 01:21:54.280
I'm playing and I have hips that aren't round.

01:21:54.280 --> 01:21:55.308
Yeah.

01:21:55.308 --> 01:21:56.141
So it's, it's in between.

01:21:56.141 --> 01:21:57.110
You know, it's like wearing glasses.

01:21:57.110 --> 01:21:59.750
When you take them off, if you're not blind, you know,

01:21:59.750 --> 01:22:01.580
like I can walk but not very far.

01:22:01.580 --> 01:22:02.610
I respect that, man.

01:22:02.610 --> 01:22:03.443
Oh, thank you, man.

01:22:03.443 --> 01:22:04.580
I've got tons of respect for you,

01:22:04.580 --> 01:22:07.153
just your whole vibe is just amazing, man.

01:22:07.153 --> 01:22:09.125
Will you take a donation or something?

01:22:09.125 --> 01:22:09.958
What's that?

01:22:09.958 --> 01:22:10.820
Will you take a donation?

01:22:10.820 --> 01:22:11.653
A donation?

01:22:11.653 --> 01:22:12.820
Yeah, sure.

01:22:12.820 --> 01:22:13.926
I love donations.

01:22:13.926 --> 01:22:15.326
(all laughing)

01:22:15.326 --> 01:22:16.830
Oh, man.

01:22:16.830 --> 01:22:17.850
Wow.

01:22:17.850 --> 01:22:18.752
Thank you.

01:22:18.752 --> 01:22:19.585
Thank you, sir.

01:22:19.585 --> 01:22:20.950
Wow, that's, that's a blessing right there.

01:22:20.950 --> 01:22:22.154
Yes.

01:22:22.154 --> 01:22:24.737
(all cheering)

01:22:26.989 --> 01:22:30.322
That's the street, baby, right there.

01:22:40.820 --> 01:22:43.430
You watch people and their reaction to him

01:22:43.430 --> 01:22:45.410
as a person being on crutches,

01:22:45.410 --> 01:22:48.283
they automatically assume that he needs help.

01:22:49.410 --> 01:22:52.843
When in fact, he's helping them help him.

01:22:54.590 --> 01:22:56.640
And he's been able to take that and turn it

01:22:56.640 --> 01:23:01.041
into something magic.

01:23:01.041 --> 01:23:02.196
There he is.

01:23:02.196 --> 01:23:03.363
Wave everyone.

01:23:08.725 --> 01:23:11.808
(upbeat dance music)

01:23:22.567 --> 01:23:25.230
And there is a section in Traffic where he

01:23:25.230 --> 01:23:29.383
is on a staircase and he is clearly acting as a performer.

01:23:30.580 --> 01:23:35.260
He is dancing, he is twirling, he is performing

01:23:35.260 --> 01:23:39.173
in a way that lets us know, the has exceptional abilities.

01:23:41.440 --> 01:23:45.973
And then into the frame walk these two men.

01:24:06.437 --> 01:24:09.187
(laughing)

01:24:14.750 --> 01:24:19.100
And they step into offer him this help, but what they

01:24:19.100 --> 01:24:22.363
do is completely disrupt a moment of pure performance.

01:24:32.740 --> 01:24:36.453
That's the power of the habits of interpretation we have.

01:24:37.480 --> 01:24:41.360
It's so abundantly clear that these guys have no idea

01:24:41.360 --> 01:24:42.980
and they're acting on assumptions

01:24:42.980 --> 01:24:45.173
that don't fit the situation.

01:24:46.910 --> 01:24:48.350
There it is.

01:24:48.350 --> 01:24:49.960
And the audience gets it,

01:24:49.960 --> 01:24:51.960
whether they have any background or not.

01:24:53.056 --> 01:24:56.223
(audience applauding)

01:25:21.493 --> 01:25:24.243
(all chattering)

01:25:45.598 --> 01:25:49.150
And now listen, this is really, really important.

01:25:49.150 --> 01:25:49.983
Be yourself.

01:25:52.170 --> 01:25:55.313
Be yourself, don't try, don't fake, don't fake the funk.

01:25:56.320 --> 01:25:58.000
Be you.

01:25:58.000 --> 01:25:59.060
That's how this happened.

01:25:59.060 --> 01:26:00.710
You think everybody was like when I first did

01:26:00.710 --> 01:26:02.160
my moves on crutches, you know how bad

01:26:02.160 --> 01:26:04.040
I looked trying to dance on crutches the first time

01:26:04.040 --> 01:26:05.320
I tried to dance on crutches?

01:26:05.320 --> 01:26:06.512
You wanna see it?

01:26:06.512 --> 01:26:07.345
Yes, yes.

01:26:07.345 --> 01:26:08.290
You wanna see what it looked like in the beginning?

01:26:08.290 --> 01:26:10.393
This is what it looked like in the beginning.

01:26:14.958 --> 01:26:17.125
(humming)

01:26:20.179 --> 01:26:22.030
Then I started to do one of these.

01:26:22.030 --> 01:26:24.760
I started to go woop, boom, da, woop, boom.

01:26:24.760 --> 01:26:26.450
Then I was down here.

01:26:26.450 --> 01:26:28.983
The next thing you know I was doing this.

01:26:28.983 --> 01:26:31.087
(grunting)

01:26:31.087 --> 01:26:36.087
(all cheering)
(upbeat orchestral music)

01:27:34.957 --> 01:27:36.920
And so this camp is very special.

01:27:36.920 --> 01:27:37.940
It's special to me.

01:27:37.940 --> 01:27:40.310
This is the first time I've ever met any kids with Perthes,

01:27:40.310 --> 01:27:42.650
so it's really an honor and a pleasure to be here.

01:27:42.650 --> 01:27:46.020
And I really am touched to be invited here,

01:27:46.020 --> 01:27:48.360
and I wanted to thank you all very much and let you know

01:27:48.360 --> 01:27:51.120
I support you and the parents here in the struggles

01:27:51.120 --> 01:27:52.810
that you go through, and the tough choices you have

01:27:52.810 --> 01:27:55.310
to make every day.

01:27:55.310 --> 01:27:58.070
You know, you live with this and, and you struggle,

01:27:58.070 --> 01:28:00.400
and you know, I, I feel you.

01:28:00.400 --> 01:28:01.480
I feel your pain.

01:28:01.480 --> 01:28:02.313
I know I had,

01:28:02.313 --> 01:28:03.980
my parents had to deal with it,

01:28:03.980 --> 01:28:06.690
and so I just feel really blessed to be here

01:28:06.690 --> 01:28:08.540
and thank you so much, all of you.

01:28:08.540 --> 01:28:11.707
(audience applauding)

01:28:22.843 --> 01:28:25.760
(light jazz music)

01:28:39.660 --> 01:28:43.323
There's a necessity to capture moments in time,

01:28:45.160 --> 01:28:47.650
an importance to recognize somebody

01:28:47.650 --> 01:28:49.373
that created his own art form.

01:28:52.090 --> 01:28:55.370
That didn't attempt to be anyone else,

01:28:55.370 --> 01:28:58.240
didn't attempt to dance like anyone else,

01:28:58.240 --> 01:29:02.130
somebody that absolutely personified the potential

01:29:02.130 --> 01:29:03.623
of his own physicality.

01:29:07.870 --> 01:29:10.200
I think he represents hip hop,

01:29:10.200 --> 01:29:13.970
and he represents skateboarding, and he puts 'em together

01:29:13.970 --> 01:29:16.423
in a way that is a one of a kind.

01:29:33.080 --> 01:29:34.080
Look at that shit.

01:29:36.680 --> 01:29:40.550
Our general response is about people who use crutches

01:29:40.550 --> 01:29:44.520
is the story that to use crutches is to be miserable,

01:29:44.520 --> 01:29:47.500
to use crutches is to be awkward, to use crutches

01:29:47.500 --> 01:29:49.660
is to be pitiable.

01:29:49.660 --> 01:29:53.410
And his performances re-script, re-narrate,

01:29:53.410 --> 01:29:57.218
re-tell every single one of those stories.

01:29:57.218 --> 01:30:02.218
(crowd cheering)
(light jazz music)

01:30:24.697 --> 01:30:28.410
He's an agent provocateur that's really the essence

01:30:28.410 --> 01:30:30.100
of his character to some extent.

01:30:30.100 --> 01:30:32.513
It's like oh, you think so?

01:30:33.880 --> 01:30:35.835
I'll show you, you know.

01:30:35.835 --> 01:30:39.502
(speaking foreign language)

01:30:41.647 --> 01:30:43.940
(crowd cheering)

01:30:43.940 --> 01:30:48.540
He's brought so much to the world because he has shared

01:30:48.540 --> 01:30:51.150
and taught, let's learn to question the assumptions

01:30:51.150 --> 01:30:54.393
that we bring and let people teach us about who they are.

01:31:00.120 --> 01:31:02.960
What he's doing, I don't think people have caught up

01:31:02.960 --> 01:31:04.147
to that yet, man.

01:31:04.147 --> 01:31:05.920
And when they finally catch on,

01:31:05.920 --> 01:31:08.260
he's like on to something else.

01:31:08.260 --> 01:31:11.247
And I think that's, the way great artists should be.

01:31:11.247 --> 01:31:14.164
(light jazz music)

01:31:24.517 --> 01:31:27.684
(audience applauding)

01:31:37.820 --> 01:31:39.800
There's the dangerous word of inspiration,

01:31:39.800 --> 01:31:42.330
and there's a dangerous world of inspiration porn

01:31:42.330 --> 01:31:44.247
that we talk about now particularly of

01:31:44.247 --> 01:31:46.400
disabled people looking at disabled people

01:31:46.400 --> 01:31:48.167
and going, "That's so inspiring."

01:31:50.580 --> 01:31:54.023
I'm not here to inspire you just by my very being,

01:31:57.000 --> 01:32:01.948
but I'm okay for you to be inspired by me if you change.

01:32:01.948 --> 01:32:04.865
(light jazz music)

01:32:21.727 --> 01:32:24.727
(upbeat jazz music)

01:32:59.708 --> 01:33:03.125
(light electronic music)

01:34:48.935 --> 01:34:52.352
(light electronic music)

01:36:10.109 --> 01:36:13.526
(light electronic music)

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