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Archive for the ‘Video’ Category

It’s always a little disconcerting to come across someone, a performer or artist, that is well on their way to a brilliant career yet remains completely off your own radar. That’s how I felt the other day when I saw a segment on the CBS Sunday Morning show, where a reporter, Bill Flanagan,  was talking about music to give this holiday season.  He talked about the new box sets from the big names then he talked for a brief moment about a 21 year-old British singer/songwriter named Laura Marling who he said, “ Is not only wiser than her years – she’s wiser than MY years.”

He also said that older listeners would hear echoes of Joni Mitchell and Leonard Cohen and that young listeners would hear the voice of a new generation coming into its own.

Pretty high praise.  I decided I had better check out this person.

Wow.

I was knocked out.  There were tons of videos out there and going through several, I couldn’t find one that wasn’t verging on brilliant from this very young looking girl with a sad, detached blankness on her face.  You could hear traces of the artists he mentioned in the easy phrasing of her lovely voice which made it somewhat familiar but there was indeed something new in her synthesis of what she had absorbed in  her very young life.  Something well beyond her years.  It was all just wonderful, even the music from her earliest album released just days after she turned 18.  I couldn’t believe I hadn’t stumbled across a talent this big before now.

But thankfully, I have.  As I said, there is a great number of her  songs out there online and I have yet to find a clunker.  Here’s a newer song called Sophia.  I was captured by the line from its chorus–… I am wounded by dust… 

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We saw Martin Scorsese’s newest film Hugo yesterday, the story of a young orphan who lives in the clockworks of a Paris rail station.  I enjoyed it very much even with though I am still not yet sold on the need for 3-D in this film.  Or most films, for that matter.  Some of its use in the film was interesting but often I found it distracting and sometimes downright irritating.

But what I really did like was that one of the main characters in the story was the great pioneering filmmaker, George Melies.  His life and body of work were key elements in the storyline.  It gives an overview of his life from his birth in 1861 through his early years as an illusionist and magician, as well as a maker of automatons, which are self-operating machines that often resemble human forms.  Clockwork robots– another important part of the film. It then documents his career in film , telling how he used his background in magic and illusion to create wonderous worlds in the new medium of film.  He created some of the first special effects seen on film and even toda, with all the CG effects available,  they are quite interesting to see.

The film also tells of his fall from the public eye and the destruction of many of his films, many of which were sold to the French military to be melted down to make celluloid heels for boots.  As in the film, Melies ended up running a toy booth at a Paris rail station before a new generation rediscovered the genius of his early work.  Though much of his work is lost forever, many have been recovered and restored.

Being a fan of early fims, I am glad that Scorsese was able to so beautifully pay homage to this early giant of cinema in Hugo.  I’m hoping that a few moviegoers will find in Melies’ work a huge imagination and inventive spirit  worth exploring more.  There is an amazing amount of wonderful film from the earlest days of the medium and I hope that a new generation will discover these hidden treasures, much like those who rediscovered Melies after World War I. 

Here is a restored Melies film, Le Diable Noir. Like many early films, it is short and a simple story.  For modern filmgoers, the acting will seem a little over the top but you have to remember the time frame here.  In early films, as well as the theatre of the time, gesture was big part of getting across emotion.  But that aside, the effects Melies incorporates are tremendous for the time.  Actually, ahead of his time.

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This is a small painting, only 5″ by 6″ on canvas,  that recently went to the Principle Gallery in Alexandria.   I call this piece Everyday Hero and even though it’s small in size, it’s one that I find full of meaning for myself.

As they often do in my paintings, the fields of alternating rows of color represent the act of labor.  The day-to-day sort of work of the people who toil every day with little if any recognition, trying to merely live their lives.  They raise their kids, they pay their bills and they simply try to just get along without bothering anyone or being bothered. 

 These are the people who built this country.  They built our infrastructure– the roads and bridges and the schools and factories.  They worked in the fields and in the foundries and factories and manned the trains and trucks that brought the products to market.  Moreover, these are the people who consumed the products that were made, moved and marketed here.  These were the people who created the wealth of this nation.

I know that this is sounding like a 99% spiel and maybe it is.  I have gotten so tired of hearing about the job creators and how they must be protected when very few are pointing out that the great wealth that these few possess came from the sweat and pocketbooks of the many.  I may be missing something here but I can’t think of anyone whose wealth was created in a vacuum that didn’t depend on the sale of their product, be it a manufactured item or a natural resource.   You might say that a hedge fund manager might not depend on the sale of a product but he only serves as a casino operator for those who wealth was created of the people.  Without their wealth, he has nothing.

Now don’t get me wrong.  It seems that when anybody makes the case for more equality of wealth, they are branded as being anti-capitalist and anti-business which is not the case.  The greatness of this country comes from this opportunity to succeed in a huge way, to take an idea or an innovation and set the world on fire with it.  You should be rewarded richly.  But unless you have the people to buy the products or ideas, unless you have the infrastructure to carry that product to these buyers, unless you have the fire fighters and police to protect your homes and offices, unless you have have clean air to breath and water to drink— it will never happen. 

You can be a hero to many by being a  job creator but you must  take some responsibilty for the everyday heroes who have made you wealthy, probably beyond anything most of these folks could fathom.  It is part of the unwritten contract of our land.  It is only fair.

Massachusetts Senatorial candidate Elizabeth Warren made a very passionate  statement of this same thought recently in a video from a fundraising event that most of you have probably seen.  It is as compelling and precise an argument as anyone I’ve seen make while standing up for the everyday heroes.  Here it is:

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  This song is That’s a Rockin’ Good Way sung by Dinah Washington and Brook Benton amd it made it to #7 on the Pop charts and #1 on the R&B charts in 1959.  I heard this song on the radio yesterday and it made me think about Washington’s career and legacy.

Known as both the Queen of the Jukeboxes and Queen of the Blues, Washington was one of the biggest recording stars of the 1950’s, singing jazz, blues and pop songs with her earthy delivery.   Her body of work is impressive yet she is seldom mentioned alongside the other jazz greats such as Ella Fitzgerald or Billie Holiday.  In fact, she is little known today which is a shame not only because so many are missing out on her vast talent but because her story is such a compelling story. 

There are all the elements of great drama in her biography, her rise from a poor girl in Alabama to her great success as a major recording artist being only one aspect.  There were all the men in her lives including 8 or 9 marriages, depending on which source you believe, and a number of other lovers.  There was her battle with drugs and alcohol as well as a struggle with her weight which led to emotional swings that found her fighting with everyone around her, including her fans at times.  There was the constant struggle with her record company for the respect she deserved.  She had a big, big personality and finally seemed to be coming into her own as an artist when an accidental overdose brought her life to a close in 1963.  She was only 39.  There’s a nice concise bio online from jounalist Dean Robbins that I recommend.

So, here’s just a small sample of her talent.  Hopefully, her legacy will continue to grow…

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Thanksgiving. 

 It would be pretty easy to meander into maudlin territory when writing about such a day so I’ll spare you that today.  I will say that I am thankful for many, many people and things in my life and try to keep that in mind every day.  We often overlook those things which give our lives meaning and depth and focus instead on the negative aspects of life.  What we are not.  What we don’t have.  What we haven’t done.  Too much time is wasted with these thoughts, especially given the limited time we have in this world.

So, today, I ask that you look at your life as though it were a painting in a frame.  See it for the beauty it holds, the colors and texture that are present.  It may not be a Rembrandt, but what does that matter?  Appreciate the uniqueness of it and treat it as the  precious thing that it is.  Treat yourself and the world around you with respect.  Today and every day.  Then every day will truly be like a holiday.

Here’s a song that carries the theme amd title of this post.  It’s from William Bell who recorded on the legendary Stax/Volt label.  I love this song and can’t get it out of my head whenever I stumble across it.  Enjoy and have a great Thanksgiving.

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On my recent visit to the Fenimore Art Museum, there were many pieces that really hit with me but one that I keep coming back to in my mind is a folk art painting from Malcah Zeldis titled Homage to Hank Greenberg.  Greenberg, the large figure of the baseball player in the upper center of the painting, played for the Detroit Tigers in the 1930’s and 40’s and was a power-hitting superstar of that era.  Known as the Hebrew Hammer, not only was he the hero of Detroit fans but he was also a hero to Jewish fans throughout the nation.  Malcah, born in the Bronx but raised in Detroit, was a fan of Greenberg’s in both camps.  He was to her, as the painting shows, larger than life.

The painting has a wonderful glow to it in the museum gallery, a bit more warm and orange than this image, that makes it most appealing.  This warmth draws you in and allows you to take in all the smaller details that Malcah has painted into the beautifully laid-out scene,  such as  scene directly below Greenberg where the artist and her family are portrayed sitting around the radio, listening to the game. 

I also find appeal in this painting in that the work is so confident and sure handed in the way the paint is applied.  It creates a real sense of solidness in the whole piece, giving you the sense that the artist is totally committed to their vision and their message. 

In short, I think it’s just a damn fine painting. 

For more info, on Malcah Zeldis, who is one interesting person, I refer you to a blogpost from the  American Folk Art @ Cooperstown site and to an interesting article from earlier this year in the Downtown Express, the Newspaper of Lower Manhattan as they put it.  She has led a vibrant and interesting life and still creates wonderful work at the age of 80.  Here’s a video that shows her in her apartment talking about some of her paintings and other objects she has found.

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I have a lot going on this morning so I’ll quickly show you this new piece that I call Blue Moon (You Saw Me Standing Alone) , taken from the lyrics of the old song.  There is something both restful and dreamily melancholic in these blue nocturnes.  There is also a wonderful sense of harmony created by the different blue tones in it coming together.  It may be a small piece, only about 4″ by 8″, but it has visual oomph, particularly in the way the blues hug the texture of the sky.  The color thins near the top of each ridge then pools darker in the depressions creating a nice rhythm in the blue night sky around the white eye of the moon.

Speaking of things  dreamily melancholic, here is a video of the Cowboy Junkies’ take on the old standard.  This version is from 1988 but the song has had many interpreters since being written in 1934.  Most probably remember the Elvis version but I have always  liked the exaggerated depressive quality in this version.  Plus, the person responsible for this video did a great job in putting together some nice mmon footage.

Have a great day!

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I was going to write about an essay that I read in the magazine Foreign Affairs by George Packer titled The Broken Contract.  It’s a summary of the timeline for the growth of the wealth inequality in our country that has recently started coming to a head, focusing on congressional actions that have enabled this disparity.  I had some problems with some of his views but overall found the article to be very enlightening and downright depressing in the end.  So I decided to not go any further into it this morning except to say that the country has definitely lost sight of the  contract of social responsibility implied in Packer’s article. 

 According to Packer, if the world were represented by the movie It’s a Wonderful Life ( we are quickly heading into the holiday season, after all), the most egregious actions of the greedy Mr.Potter have become the accepted norm and are no longer subject to any sort of public shaming, as they had once been.  George Bailey would be even more helpless to the economic and legal machinations of Potter. 

That’s my analogy, not Packer’s. 

Anyway, that’s as far as I want to take it this morning.  Here’s a little music to fit the tone of this subject, at least in title.  It’s Wicked Game from Chris Isaak from back in 1989.  Hard to believe this song is that old.

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Saw a PBS documentary on the history of the banjo in American music last night and qhile it wasn’t the greatest documentary I have ever seen there were a few stories that really stuck out for me, primarily the story of Dock Boggs, who lived in the minig region that straddles southwestern Virginia and eastern Kentucky, was born in 1898 and as a young man picked up the banjo and developed a distinctive style of playing.  In the late 1920’s he gained a bit of regional fame with his music and recorded 12 songs in two separate sessions.

Then his career died in the dust of the Great Depression and he pawned his banjo and headed back into the coal mines, his music put away for what he thought was forever.

Thirty years passed and folklorist/folk musician Mike Seeger, brother of folk icon Pete Seeger, was seeking out Appalachian music to document in 1963 and remembered the impact of those few songs from Dock Boggs’ past.  Boggs was surprised when Seeger sought him out because he thought nobody remembered those songs from so many years before.  Fortunately, Boggs had recently purchased a banjo and had been practicing for a few months.  Seeger convinced him to appear at a folk festival in Asheville, NC and after that his career was revitalized in the folk revival of the 1960’s.

He recorded three albums and toured, playing folk festivals including an appearnace at the Newport Folk Festival, until his death in 1971 at the age of 73.  He left this world knowing that the gift he was given had not been completely lost in the coal mines.  I think it’s a great tale of a life’s passion lost and found.  Could be the subject of one of his songs.

Here’s an older Dock Boggs playing one of his classics, Country Blues.  This version is a bit more sudbued and a little less ominous than the original, recorded when he was young and still living a hard-drinking, brawling life.  You can hear the original here.

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Colors

I’ve been back in the studio for several days now after a period where I was engaged in doing some maintenance projects around here.  I have been progressively worse at compartmentalizing the tasks in my life so that when I work on something outside the studio I find it difficult to work for short periods in the studio on those days.  As a result, once I am back in the studio I sometimes fall out of rhythm and have to find ways to regain it.  For the first day or so, I seem to flounder around and everything seems just out of sync and flat.  Throw in a material failure like I mentioned in yesterday’s post and it gets to be frustrating.

Yesterday, I finally turned back to my old ally, color.  It seems that whenever I feel this creative frustration color is inevitably the answer for me.  I don’t worry about what I am creating, simply start creating blocks of colors.  Colors that are familiar to me and combinations that I haven’t used for a while.  I aim for bold and dark-edged color then begin manipulating the gradation of the block to create a contrast within it, flushing out the flatness of the last few days.

 It has to be intuitive for me, just grabbing colors and throwing them in.  I’ve never used a colorwheel , never really tried to understand them.  Whenever I have looked at them, the colors never made me want to see or use any of them.  To me, they seemed to take out all of the emotion of the colors and make it dry and tasteless.  I found that by using my own colors and taking the time I could find the emotion in the colors through this exercise.

It’s amazing how this simple exercise in color cleanses away the stifling feeling that had been there before and prods some hidden creative impulse.  Suddenly, momentum is born and begins to move forward.  Rhythm is nearly regained and I look forward to jumping back in today.

Here’s a little Sunday music with a title that fits this post.  It’s Colors from Amos Lee with an assist from Norah Jones.

 

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