A clammy Saturday morning and my mind seems a bit foggy and tired. I’ve sat here for awhile now and I don’t feel like writing a damn thing. Don’t want to talk about anything. Don’t want to gripe about the goings on in the world or hear any more news this morning. Don’t want to talk about my work or myself, that’s for sure.
Just want to let my mind wander a bit.
Or not. Maybe just stare at the wall.
Or play some mindless scales on the guitar.
Anyway, here’s an old favorite of mine from Howlin’ Wind, the 1976 debut album from Graham Parker. Great album. This song is Don’t Ask Me Questions and has been a constant refrain in my head since that time whenever I come across those days where I am tired and don’t want to be bothered by questions and chit chat.
Let’s just say that it has received a lot of airtime in my head over those many years.
I am pairing it with a new piece at the top that’s part of my upcoming show at the West End Gallery. Hey, I may not want to talk but a guy still has to eat. It’s called Play For Light, something I am hoping to accomplish this morning.
And if your friends think that you should do it different And if they think that you should do it the same You’ve got it, just keep on pushing and, keep on pushing and Push the sky away
—Nick Cave, Push the Sky Away
**********************
I don’t have the energy or will to say much this morning. I just want to get back to work, prepping my show, From a Distance, for the West End Gallery that I will deliver later this week in advance of the show’s opening on Friday, July 17. The show is coming together well and I find myself more and more pleased as each piece is completed with its framing.
Much like my recent Principle Gallery show, this wasn’t an easy show for me. There was a lot of frustration and high levels of anxiety, both from my reaction to these times and to some other things taking place in my world. Lots of distractions and aggravations pulled at my attention and disrupted any semblance of rhythm I could find.
Just getting to work was work in itself.
But you just keep at it. Keep pushing. Turn it around and use the frustration as fuel.
Push the sky away, as the song says.
One of the new pieces from this show is at the top, one called Far Away Eyes. This was one of the pieces that helped me fight through the barriers that were there for this show. It was a struggle in itself to complete and there were times when I wanted to trash it. But I kept at it, kept believing that it held something for me.
And it did. As I worked, it began to fall into a rhythm that spoke to me and when it felt done, it felt right. The effort seemed insignificant at that point, a small price to get to where it was.
Just keep pushing the sky away, much as it appears the sun is doing to the sky in the painting.
Here’s a performance from this past December from Nick Cave at the Sydney Opera House. He’s singing his song, Push the Sky Away. It’s worth a listen.
Let’s go fly a kite Up to the highest height! Let’s go fly a kite and send it soaring Up through the atmosphere Up where the air is clear Oh, let’s go fly a kite!
–Let’s Go Fly a Kite, Richard and Robert Sherman
********************
I thought it might be time start showing some work from my upcoming solo show, From a Distance, that opens July 15 at the West End Gallery in Corning. There are definitely different takes on a variety of themes in this show so deciding which piece should kick off the process was tough. But given the many current events– or should I say disasters?– taking place in this country, I thought the painting here at the top would be a gentle starter.
The idea of flying a kite seems so much more preferable than going into the closet and screaming into the darkness.
The title of this piece is Let’s Go Fly a Kite, borrowed, of course, from the song of that name from the 1964 Walt Disney film, Mary Poppins. It’s a wonderful song that aptly captures the idea of putting aside your problems and releasing yourself to soar with your kite high above and far removed from worldly problems. I hope that is what one gets from this piece, whose image is sized at 10″ by 16″ and framed and matted at 16″ by 22″.
I never saw Mary Poppins as a kid nor did I read the books. I came to both in middle age, actually. But even so, the magic of both remained intact. a few years back I came across a large single volume that contained all of author P.L. Travers‘ Mary Poppins books and decided that it might be worth reading. I am glad I did. It was funny and touching and engaging on many levels. Just a great read. Made me regret not being interested in them as a kid.
I thought I would share the song here but decided to not show the one from the film. Instead, I am taking the version from another Disney film, Saving Mr. Banks. This film, starring Emma Thompson as author P.L. Travers and Tom Hanks as Walt Disney, is the story of how Disney wooed the crusty Travers who was dead set against him making her book into a movie. She steadfastly opposed every and any change to her baby and thought the idea of a Disney musical treatment of her story was beyond the pale.
This version comes at a point in the Saving Mr. Banks film where she is near making a decision to withhold the filming rights from Disney. She is called into the work studio of the Sherman Brothers, the legendary songwriting team that wrote many of the best known Disney tunes along with scores of other songs for other artists. Up to this point, Travers has been disdainful of their work that they have previously presented her for the film and in a final attempt to sway her, they perform the song Let’s Go Fly a Kite for her.
It’s a lovely turning point in the film and a nice version of the song as well. So, for a while at least, put aside thoughts of pandemics, of racial divides, of a treasonous and derelict president and all the other horrors that come as part and parcel of the current apocalypse, and think about the giddy thrill of watching your kite take to the air.
Soar with it for a bit. Or a little longer, if need be.
“Rats and roaches live by competition under the laws of supply and demand; it is the privilege of human beings to live under the laws of justice and mercy.”
–Wendell Berry
*****************
Man, I want to rage this morning.
It would certainly be easy to do so. We are going through multiple serious crises right now in this country and the ship of state which would normally lead and assist us through this is being steered by a creature whose attitude towards his duty is self-serving and neglectful, at its best, and traitorous, at its worst.
Maybe even treasonous, given yesterday’s revelations.
But I don’t want to go that route. Like the poet Wendell Berry’s words above, this president*** willingly lives his life in the realms of rats and roaches. Today, let’s focus on the flip side of that coin, the human side that lives under the laws of justice and mercy.
Where most of us are privileged to live.
Let’s have some hope that truth will overcome the many falsehoods and lies. That intelligence will prevail over stupidity and science over ignorance. Let’s hope that a sense of community and good will shall sweep away the hateful and selfish behaviors exhibited so often these days.
Let’s just keep a little hope alive and remember these days when they finally come to an end so that perhaps we can avoid them in the future.
That’s asking a lot, I know. For this Sunday morning music here’s a classic song from the great American songbook. It was written by Stephen Foster (who has local connections to this area) in 1854 at a time when America was going through equally hard times in those years leading up to the Civil War. This is Hard Times Come No Moreas performed by Mavis Staples. It’s such a great tune that there is a multitude of wonderful versions out there but I just felt like Mavis’ version fit the moment for me.
Give a listen. Keep your head up and have a good Sunday.
********************
Hard Times Come No More
Let us pause in life’s pleasures and count its many tears While we all sup sorrow with the poor There’s a song that will linger forever in our ears Oh Hard times come again no more
Tis the song, the sigh of the weary Hard times, hard times, come again no more Many days you have lingered around my cabin door Oh hard times come again no more
While we seek mirth and beauty and music bright and gay There are frail forms fainting at the door Though their voices are silent, their pleading looks will say Oh hard times come again no more
Tis the song, the sigh of the weary Hard times, hard times, come again no more Many days you have lingered around my cabin door Oh hard times come again no more
Tis a sigh that is wafted across the troubled wave Tis a wail that is heard upon the shore Tis a dirge that is murmured around the lowly grave Oh hard times come again no more
Fe fe fi fi fo fo fum I smell smoke in the auditorium
Charlie Brown, Charlie Brown He’s a clown, that Charlie Brown He’s gonna get caught; just you wait and see (Why’s everybody always pickin’ on me?)
–Charlie Brown, The Coasters, composed by Leiber and Stoller
**************************
Busy today so I am going to make this short and sweet. As much as I would like to rub salt into the wounds of the president*** and his pitiful gaggle of attendees at the much ballyhooed Festival of Victimizationand Racist Pride ( that would look good on a t-shirt, wouldn’t it?) that took place in Tulsa over the weekend, I am going to refrain.
Thought I would instead simply share a song. It’s an oldie from way back in 1959 from the joyful Coasters that just felt right this morning. With apologies to Charles Schulz, here’s Charlie Brown.
I still am pretty busy working on my next show that opens in July at the West End Gallery. Little time, much to do, and lethargy to overcome. So, this morning I am just going to share a song and the painting above, In the Year 2020, that’s still at the Principle Gallery as part of my current show there. I just like looking at this piece. Brings me comfort in some way.
The song is the last song John Prine recorded before he died from the covid-19 virus. It’s called I Remember Everything. It’s classic Prine and a fitting final song.
“The difference between a path and a road is not only the obvious one. A path is little more than a habit that comes with knowledge of a place. It is a sort of ritual of familiarity. As a form, it is a form of contact with a known landscape. It is not destructive. It is the perfect adaptation, through experience and familiarity, of movement to place; it obeys the natural contours; such obstacles as it meets it goes around.”
― Wendell Berry, The Art of the Commonplace: The Agrarian Essays
**************************
I am a bit distracted this morning so I will make this short. Lots of moving parts this morning with much to do and lots of thoughts running through my mind. Some are small and trivial and some more momentous. Kind of like the difference between a road and a path. The path is the smaller, more familiar one, the comfortable one we walk each day as part of our everyday world. The road, on the other hand, denotes greater distance and further destinations.
My thoughts are of both paths and roads this morning. But none of it is really anything I wish to share now.
Maybe some other time. Maybe. Maybe not.
Instead, I am just going to share a song. It’s one of Johnny Cash‘s late recordings, this one made in the final months of his life. I have commented here before that I believe the work from late in his life was as raw and powerfully deep as anything in his long and illustrious career. This is his cover of a Bruce Springsteen song, Further On Up the Road.
Been sitting here for well over an hour and a half, just listening to different music, looking at paintings and thinking on a wide range of subjects and memories, many from the distant past. There’s no nostalgia in it. Not even much wistfulness. Just tracing lines back and forth, trying to see how things come and go, how things change, how we both grow and erode with time.
And after all of that I think I am just going to play a song this morning.
Maybe it has something to do with the time spent this morning. Maybe not. I am not going to talk about it here except to say this a beautifully written and performed song. It’s from Joan Baez from back in the mid 1970’s and references her relationship with Bob Dylan in the the 1960’s with ten years perspective.
It struck a chord with me then and still does, after all these years. Here’s Diamonds and Rust.
“She Glides Through the Fractured Night” Now at the Principle Gallery
******************
Doing nothing for others is the undoing of ourselves.
― Horace Mann
*******************
I am just going to let the words of Horace Mann hang out there this morning.
Most of us are probably unaware of Horace Mann outside of it being in the names of many public schools all around the nation– there is most likely one somewhere in your region. But Mann, an educator and politician, was a leading advocate for universal public education and for standing up for the rights and betterment of others. In fact, the words on his statue at Antioch College, where he served as its first president until his death in 1859, read:
Be Ashamed to Die Until You Have Won Some Victory for Humanity
I think he probably died without shame.
Let’s hope we all can do the same.
Here’s a favorite song of mine from Mavis Staples. It’s hard to believe it’s been nearly 10 years since I last played it here.
I was going to write something altogether different this morning, something angry and sharply pointed. But I found that the prospect of doing so just made me angrier with the realization of the probable futility of it. Seems like just more words to be thrown on the heap of the web’s virtual Tower of Babel, too many to be heard with any clarity or understanding. Maybe that’s the problem– though we basically engage in the same written language, many of us speak in contexts and understandings so different from one another that it makes us seem as though we are talking to each other in wildly different tongues.
And that brings me to my standard stock answer: I don’t know.
So, I am going to play a song that came on yesterday and piqued my interest while I was matting the painting shown here, one I call The Coming Together. It is headed to the Principle Gallery for my 21st annual solo show there, which opens next Friday, June 5. This year’s show is called Social Distancing.
The song that played yesterday was Cross of Flowers from singer/songwriter Jeffrey Foucault. I was very much in the same state of mind as I am this morning, a little world weary and a little down in spirit. This song, in the moment, seemed to both capture that feeling and relieve it just a bit. A small iota of catharsis, enough to lighten the load for a few moments.
It also seemed to capture the feeling I get from this painting. It’s a nod to a handful of similar pieces I did early in my career, with woven plant stems and flowers cutting through the picture plane like pole with colors radiating out from the sides of the painting’s central core.
These works are more about the forms and the color than the reality of the plants. There’s no basis in reality for the botanical aspects of the plants or flowers so don’t ask me. I just paint them in a way that please me, one that satisfies what I want to see in that moment. Though imaginary, it has its own organic growth.
I think that’s why I enjoy painting these pieces. They just become what they are. Nothing more. Nothing less.
Makes me wonder why I didn’t paint more of these. Maybe the scarcity keeps the wonder of painting them fresh?
Again, I don’t know.
For god’s sake, don’t ask me any questions this morning. I am going to give a listen again to the song and look a little bit longer at this painting. Sip my coffee and chill for a few minutes. I suggest you do the same.
Redtree Times 