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Posts Tagged ‘Willie Nelson’

GC Myers- Septemebr SongIt’s hard to believe that September is upon us already.  September always has a contemplative feel, a pause after the hustle and bustle of the summer months before making the transformation into the cooler, grayer months.  The leaves begin to turn.  The days get shorter. The air takes on a cool hardness that is a keen reminder of the coming coldness of the winter.

One of my favorite songs is the classic tune from Kurt Weill, September Song.  It’s been recorded by literally hundreds of artists through the years from many genres, from Jimmy Durante to James Brown to Lou Reed.  Willie Nelson does a rendition that is very delicate, maintaining the tenuous nature of the tune.  Just a lovely version.  I’ve included it at the bottom.

The image here is a new piece, a 6″ by 10″ painting on paper that I am calling September Song.  It is part of a group that will be accompanying me for the trip to the Principle Gallery on September 13th, when I will be giving a gallery talk there.  More info on that later. This painting has a wistful feel, as though the tiny figure is pausing on the path to reflect on where he has been, what he has seen and done.  The sun above and the churning rays of light emanating from it represent the inevitability of time, of change.   I wasn’t sure what to title this painting but when I realized that we were into September, the tune immediately came to mind and the narrative of the scene filled out for me.

Now, I am going to give a listen to Willie as he sings September Song:

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This is the image I was searching for the other day when I was distracted by the portrait of Willie Nelson.  This is a scene from the very early 20th century at the railroad station in Forestport, NY, in the lower part of the Adirondacks.  It’s where my great-grandfather had his logging operations back then and maintained a home as well as a couple of other businesses.

As I’ve read about that area and that time I am struck by the contrast between then and now.  If you drive through the Adirondacks you encounter town after small town, all sleepy little affairs with hardly anyone around except for the seasonal tourists.  Forestport is one of those towns.  But back in the day, Forestport was a buzzing, vibrant town.  It had numerous mills, processing the trees coming from the Adirondack wilderness to supply the lumber to build the growing cities of the northeast.  There were huge numbers of loggers going into the forests every day — my gr-grandfather had 250 lumberjacks working for him at one time.  There were canal workers that transported the lumber with mules and horses down the Black River Canal to the Erie Canal.  There were boat-builders there who built the barges that traveled the canals and carriage builders to make wagons to haul logs and people.  These workers spawned a whole support network that created cheese factories, breweries, retail stores, restaurants and taverns, all employing numbers of other workers.

Everything was local, nearly everything produced nearby.  Ironically, the very canal and later highway system that allowed the town to ship out the resources that allowed it to grow were the beginning of the end, as new products from outside the local area were now easily shipped in on these transportation portals.  Products became more regional then national and most of the products consumed were no longer local in any sense of the word.

As the forests depleted from the voracious cutting, there were fewer and fewer loggers.  Fewer and fewer mills.  The canal was replaced by the railroad at first then the highway so the canal workers and boatbuilders became obsolete.  The newly popular car and truck replaced the local carriage builders.  And with the loss of these workers came the end of the need for the businesses that supplied and supported them.  The cheese factories closed.  The stores and restaurants were boarded up.  Slowly, the town dwindled until all that remained was sleepy little burgh that wouldn’t be recognizable to the residents from that time.

I’m not saying this time or that time was better or that it’s a crying shame that this place no longer is the same.  Things change.  For many reasons.  There are thousands of places like Forestport throughout the northeast and spreading through the midwest of this country, towns that are like little dying planets whose heyday has passed.

The interesting thing for me is that bustling, life-filled world is barely remembered, only existing in a few photos and a few writings.  Makes me wonder how what we view now as the centerpoints of our lives will change and if, a century from now, this time will exist only in memories and images that may be of little interest to the citizens of that time.

Of course, Ted Williams, Walt Disney and I will be there to remind the people then of this time, after they revive us from our cryogenically induced naps.

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A Face

I was looking online for an image for today’s blogpost when I came across this image of Willie Nelson photographed by the great Annie Leibovitz.  I completely lost my train of thought and was completely entranced by this image.  What a face.

It immediately reminded me of a post from the other day, Unafraid, that was about a simple painting of mine with a tree blowing in silhouette against a colorful sky of slash strokes.  The post was about how the lack of details let the image tell its own story, create its own feel without filter of extraneous information.

Just like this face.

This face is a national treasure, a compendium of tales.  Every moment of hard living is etched into that face, out there for all to see.  Unafraid.

I’ve always been interested in how people’s lives are reflected in their faces.  When I worked at the restaurant we would try to guess if  incoming guests would want to sit in the smoking or non-smoking section.  The smokers, particularly the women, were usually pretty easy to spot with the many small vertical wrinkle that formed around their mouth and the way the smoking affected their skin in general.  It was usually drier and lacked robust color.

You can tell Willie’s smoked just a bit in his time.

I look at that face and I feel a little better about the increasing number of folds and creases I find every new day in my own face.  Each line is a testimony to a little more time spent here, another day of experience.  In this culture of constantly seeking the appearance of youth, I see them as badges of honor and hopefully I can wear them with pride, unafraid.

Here’s a little Willie…

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guitarSunday morning and we deserve a break from painting, at least in this blog.  I was thinking of a song I first heard back in 1975 when Willie Nelson released his classic Red Headed Stranger album, which was a concept album composed of sparse compositions that told the story of a fugitive on the run.  Just a beautiful group of disparate songs that come together to chronicle a tale.

When I heard Blue Eyes Crying In The Rain, I was hooked on the poetry and simplicity of the song, especially as performed in Nelson’s spartan manner.  So simple but so filled with emotion and feeling.  I think of this song often when I’m painting, trying to think how I can match that feeling of simple grace and depth of feeling in my own work.

I didn’t know much about the song then, always thinking that it was Nelson’s song.  But it had a long history, written in 1945 by the legendary Fred Rose for Roy Acuff.  Hank Williams recorded it in 1951 and a number of others have as well over the years.  It is considered to be the last song that Elvis recorded at Graceland, the day before he died.  But for me, there’s only one version that really stands alone.

Here’s the lovely Blue Eyes Crying In The Rain

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djangoWalking down to grab the paper this morning and everything was shrouded in fog.  It was very early, before 6, and the morning light was still trying to gather,  giving the scene a haunting, ghostly appearance.  Chill in the air.

September.

It really made me think of one of my favorite songs, September Song, the beautiful old Kurt Weill song that has been performed by hundreds of artists over the last seventy years, from Sinatra to Willie Nelson, who does a lovely, delicate version.  On this cool, misty morning I am reminded of one of my favorite versions, that being the one from Django Reinhardt, the jazz guitarist from the middle of the last century whose distinctive gypsy-tinged plucking, the result of basically playing with only two fingers on his left hand as a result of an injury received in a fire in his youth, has influenced artists long after he passed away.

Here’s Django’s September Song.  Hope you’ll enjoy…

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In the days after a show there is an inevitable letdown, a short time when it takes a few tries and more effort before normalcy returns and you start taking on tasks with full vigor.  I think this has to do with having been focused for a period of time on a specific goal, in this case the Haen Gallery show and suddenly that goal is gone and past.  So a new goal must be set and things that have been put aside in order to achieve the previous goal must be done.  

So I’m puttering around, prepping a few commission pieces and trying to rev my engine.  But it’s gray and damp outside and all the tunes that come on seem sad and bittersweet.  This is always how it feels after a show has passed for me.  Not good nor bad, just different.  Slower…

This song came on and seemed to fit the mood.  I looked for a video of it and sure enough, there it was.  This is I Never Really Cared For You by Willie Nelson, backed by Emmylou Harris.  Enjoy…

Note::   After I added this video, it was pulled from embedding which means it won’t show here on the page.  To see it on youtube, click here.

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