Tricks of the Trade (2014Sep13)

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Saturday, September 13, 2014                         11:07 PM

Click to Play: Bombastico II

The other day my camcorder’s tripod broke. It was cheaper to buy a bigger, better one than to get it fixed (plastic pieces, especially vital ones, always break—I hope they don’t think they’re fooling anybody). I move slowly and deliberately nowadays—I’m damned if I can figure out how I broke it. But that was a special case (I hope). More often I run out of charge and get disappointed that something I was surprised to get a record of—was not recorded at all.

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Yes, I run my camera a lot, but you know how hard it is to get a good recording when you’re self-conscious. Fortunately, I’m so absent-minded I can sometimes forget that there is a camera—but I have to run it every time, because I’m more likely to forget it when it’s always there.

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I’ve also learned that I have to check the little screen after I hit ‘record’—sometimes it’s telling me that the lens-cover is still up, or the data-card is still in the PC port. There’s also a toggle switch to set the ‘zoom’—I don’t know why they can’t just use a set-switch instead of a toggle. It toggles so fast that I end up zooming in and out and in and out. It’s ridiculous.

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The Internet is tightening up these days—only a few years ago I could download a graphic from Google’s Image Search and use it to make a point or to be funny—with all that stuff out there, it would be a shame to waste it and it’s isn’t like I’m getting rich off them. But those days are over. Not only have the graphics i-vendors created an overnight industry, they’ve found security measures that follow copies of their graphics. When they detect a Facebook posting or a blog graphic that ID’s itself as theirs, they contact you and threaten to sue you. So, goodbye Google Image Search.

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I just use my own photos now—I have several thousand (I’ve transcribed both sides of the families’ photo albums into videos—and some other work). Plus I just take photos of anything—but I have to remind myself to do it. I’m so used to the camera taking videos; I forget to take a few snaps before I turn it off. I’ll have to start taking more pictures, however, since my need for them has suddenly increased. My primary use for graphics has been, until now, the two end-cards I use to bracket my videos. I like to have a still shot as part of the Titles Card and I prefer to use a different photo for the Credits Card, which makes two photos per video.

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Now, I’ve begun using the old family albums (theirs and ours) to make videos to be overlayed onto the piano recital videos. This way I have something to look at as well as listen to. It may not improve the videos for everybody, but I have to work with what I have. Anyhow, because this will eat up a lot of my album collections, I’ll have to start using present-day snaps for the two cards, and sometimes for the overlay videos (I don’t want my family history to be the only thing in my videos).

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They always get me, I tell ya. Back in the eighties I recorded myself on an audio-cassette recorder and listened to the (unedited) tapes in my car—my daughter took some (which I was flattered by) but there were few others involved, even as an audience. Blank cassettes were pretty cheap, I used the built-in mike—et, voila! Aside from the audio-cassette player/recorder (which I would have bought anyway, to listen to music) it cost me close to nothing.

April Fools  Improv No. 2

April Fools Improv No. 2

I went from there to digital audio recorder, to camcorder, to HD camcorder with tripod—plus a few hundred bucks worth of software: graphics, audio-editing, video-editing, file-conversion, etc., and an external-hard-drive to hold it all. Some days I just say ‘f**k it’ and just play the piano. But I have gone so far as to buy mikes, an electric piano, and upload software to record straight from the keyboard’s MIDI port. I got it all hooked up, tried it out, and it scared me. It’s been gathering dust for a while now. It gives me the heebie-jeebies.

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Nothing Doing (2014Sep13)

I have included overlays of my family and relatives from ’59 to ’61….

 

The Sept. 11, 2014 Recital

Do Your Parents Need Regulation? (2014Sep09)

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Sunday, September 07, 2014                 9:17 PM

Some people seem to think that plain speaking is a sign of anger. This is incorrect—speaking plainly is a product of fatigue. Fatigue is far more accessible to us now that the Inter-Web has given us Social Media (in some digital environs, it could just as well be called Sociopathic Media). Once a Thread begins, particularly a cultural-socio-economic-politicized-cause-type thread, I see both the hard-minded-ness of their side and my own. I argue for the right and just, not because I want to prove myself right. And the casual, very personal vitriol is totally outside of whatever point is at hand, if there is one.

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There are a crowd of possible responses to any statement—the less concern for the point of a discussion, the wider the crowd. If I seek to understand the speaker, and to give a considered, reasonable response, my possible actions are at their least prolific, i.e. listening carefully, with an open mind, and thinking hard about what I’ve heard—being on the lookout for distractions such as my desire to win the argument or simple impatience masquerading as righteousness—and forming a response that respects the other person’s ideas while forwarding my own as clearly as possible.

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But if trolling threads is my favorite past-time because I get to cuss and dismiss and insult without consequence (or without the courage to look a person in the face and say such things) then I can say what I want. I don’t have to pay attention to other posters in any way other than to find key-words to hang my taunts on. ‘Kill yourself’ is a favorite among the trolls—and that outlines their thought process to a ‘T’. Only children (many of them overgrown) have the urge to titillate themselves by trolling the internet—grown-ups are far too busy with more real pursuits, online and off. Part of the thrill, I suppose, is the ability to jump into any formerly rational discussion thread and mess it up for everyone else—and no one knows who to blame. What finer mischief could be imagined?

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My favorite are the ‘parental’ trolls—they adopt a knowing and dismissive tone, usually managing to drop mention of their advanced degree in whatever the discussion is about, then spout off ‘correct solutions’ that only reveal that, yes, they have probably spent their lives in a classroom, and not out where reality has a nasty habit of intervening. We cannot write about anything without revealing our personality—indeed, those in the arts and in entertainment are well aware that we can’t create anything without imbuing it with our personality. Trolls, like all children who act out, and most of all, like bullies, only reveal through their derogations that they are mentally broken and emotionally hurt.

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But the world is full of people who are mentally broken and emotionally hurt. The young who suffer from poor self-approval are the trollers’ most vulnerable prey—they have neither the self-confidence nor the experience to understand all the hatred being fired at them online, just as they make easy prey for the bullies in school hallways.

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Before caller ID, the anonymous phone-call was the weapon of choice for those who had the same twisted drives as the trollers of our times. The same anonymity cloaked their ludicrously evil whispers through the phone-receiver and the same anger and frustration drove them to it. Technology changes our life-styles, but never our natures. The first time I asked a girl for a date was, like millions of others, on the telephone. Such sweet conversations people can have on the phone. Yet ways were found to use it to defraud, to threaten, and to hurt. When we make our lives easier, we make all of it easier, even the bad stuff.

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So every time we invent something that gives us greater ease and power, we inevitably follow up with regulations against using the new thing for bad purposes. But now we have the Internet—and regulating it will remove its chiefest good. Plus, we have seen regulation go from a public service to a protection for the big corporations against limitations on their profit-making activity, and against potential competition or lawsuits.

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Regulating the Internet goes without saying, to some people—to others, the idea of regulating it seems a defeat of its potential. I suggest that these two ideologies have non-internet related origins. The simple truth of computing is that any security protocols must be coded and implemented by people, imperfect people. Further, computer-systems security is based on mathematics—more specifically, cryptography—and will always be vulnerable to superior mathematicians. The fact that such people are rare as hens’ teeth doesn’t decrease my sense of insecurity one bit—especially with American education in such a pitiful state, compared to other countries.

 

Spencer  -born 1988

Spencer -born 1988

Articles were written as far back as the 1980s delineating the impossibility of total digital security on an open network. Having worked with computers, I was aware of their physical fragility and their reliance on disinterest as their chief deterrent to hacking. I doubt I was alone in my surprise at the willingness of security-sensitive industries like banking, air-traffic-control, and government agencies to convert themselves into digital entities so early on. Even when they found themselves looking down the barrel of the Y2K crisis, there was no thought of retreat. I guess there’s another simple truth—computerized organizations function exponentially better than a pure-paper office ever could.

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We regulate everything but what matters—people. It would be unthinkable to pass laws forcing expectant mothers to refrain from drugs and alcohol, or mandating that parents read to their children for at least one hour every day. Such regulations would violate our civil rights. And what is the punishment for bad parenting? Domestic child protection agencies already face this dilemma with regards to parents who commit felonies—separating a child from his or her parents is much more a punishment of the child than of the bad parent.

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We could try the crèche approach—take children away from parents and raise them using an institution with a professional staff. But negligent crèche-workers are no less likely than poor parents—and children still lose something without the focused love of the ‘traditional’ family. We could try monitoring—but that would be the biggest civil-rights infringement of all. We need our kids to be raised right—rich or poor, smart or dumb parents notwithstanding—but that need finds little support in a country that prides itself on personal freedom. Let’s face it—parenthood is the opposite of personal freedom, at least in terms of daily behavior. Good parenting is downright un-American.

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Four Escapees From The Blackout (2014Sep06)

Only one of these videos was shot during the actual blackout, which was mercifully brief. “Improv – Damp and Warm” is a short one, anyhow.

The piano cover is of “Stand By Me”, written by American singer-songwriter Ben E. King, Jerry Leiber, and Mike Stoller. It was inspired by the spiritual “Lord Stand by Me” (plus two lines rooted in Psalms 46:2–3).

I’m working on a song–I can’t decide whether to call it “The Pit-Stop Diner” or “Best Pie For Fifty Miles”, but either way, I’m having some difficulty with the melody, hence my improvised ‘study’.

 

 

 

 

Nobody Expects The Spanish Exhibition (2014Sep05)

XperDunn plays Piano
September 5th, 2014

Improvisación – Concierta Fantástico

The couple whose portraits bookend this video are my great-great-great-great-great-grandparents.
Now, I was thinking about the math on this and for every two parents you get four granparents, so you have eight first ‘grand’s, sixteen 2nd-‘grands’, 32 3rd-‘grands, 64 4th-‘grands, and 128 great-great-great-great-great-grandparents.
But parents come in pairs (of course) so this couple is just one of my 64 great-great-great-great-great-grandparents couples.

The first overlay is a photo of my mom in her younger days, followed by a wedding photo of her and my dad (the Marine).
The rest are maternal ancestors, followed by fragments of a circular family-tree my grandmother invented.

If you can’t enjoy my music, at least enjoy the personal history…

 

 

 

 

 

In Honor of the Lovely Bear de la Plume (2014Aug29)

XperDunn plays Piano
August 28th, 2014

Improv – Anniversary Eve

(Claire and I were married on August 29th, 1980–today we celebrate our 34th Wedding Anniversary. I played this last night near midnight…)

 

 

[added today:]

 

“Corcovado” got interrupted on this one…

 

More interruptions, but at least I got through the whole song this time….

 

Wailing and Weeping (2014Aug26)

20140824XD-SkyPix (5)Tuesday, August 26, 2014            2:52 PM

 

Stardate 09 point ho-ho-dee-ho-dee-ho

Status renewal:

Pill count: 12 (morning) 2 (evening)

Sleep Cycle: way off of ‘daytime’ norm

Lungs in terrible pain: taking the cigarettes easy today—no weed!

Fatigue: still hovering at max.

Loneliness: very high

Frustration: barely under control

Drinking: None

Projects: None

Value: None

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Now that I’ve got that out of my system, let’s try something more coherent. Last week of August—my melancholy usually waits till the leaves start to turn, but this has been a very un-hot summer and it seems to be leaving without ever really arriving (Not one heat wave this year—where’s global warming when you need it?).

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I’ve been promised a full cure of my HCV—it won’t happen—I’ve been so sick for so long, I’d have to marinate my entire anatomy in ‘cure juice’ to get it all out. HepC will even leave outposts in my bone marrow to repopulate the blood stream and liver after they’ve been ‘completely cleared’. In my bone marrow! Jeez.

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I am on my own. That is to say, I’m not alone—there’s Spence here all the time, in his own building, but there—and Claire takes care of me in the morning and at night with meals and pills and hundreds of other things—and my friend, Sherryl, stops by nearly every day and we have a chat or a cuppa. But that gives me only the barest minimum of contact to humans—no hanging around or long talks or collaborations on interesting ideas, no physical contact to speak of, no intense interest in me or my doings—just maintenance of my continued breathing, really.

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I try to fill the emptiness I feel by playing the piano or Facebooking or writing (like this)—none of it works completely; it just provides a framework for me to thrash about within. Until my illness, I was unaware of the very real, physical stamina that thought requires. Now it is plain as the nose, as they say, and it has become my nemesis—I can still think, but not very deeply or very long—and that’s where intelligence lies. My former intelligence lies afar. My superpower is gone and I’m helpless in the grip of the Red Sun.

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See the good? Find that silver lining? Yeah, sorry—I can’t seem to oblige. Truth is, I’m barely alive. I’m a burden on my family. I’m a lousy role-model for my son. I don’t leave the house. I’m sitting on a pile of atrophied muscles and forgotten skills. I’m not involved—I’m missing the party. I want so much—I’m still wanting a few things I’ve become too old to ever achieve. I’ve been dying, literally, for nearly two decades—it’s been a parade of horror and pain and isolation and heartbreak and helplessness.

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Have I become wiser? Has the refining fire burnt away impurities and left me with the pure gold of reason and mercy? There’s some truth to that—I am wiser than I was—but to what purpose? My lack of people skills is not at all helped by being wiser—wise is no party-trick, it’s more like x-ray vision. It takes the false front away, but it takes all the fun with it. X-rays of beautiful bodies are just x-rays. X-rays of a celebration show the noise but fail to capture the mirth. I was much happier being intelligent, but foolish.

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Music is all I have now—I listen to it constantly. I pay more attention to soundtracks than to special effects. But I’ve built my own tragedy into music, as well—by trying the impossible, trying to make my own music. I should have stuck with just listening. I have no natural talent, and all my hard work is towards fighting fatigue, not finding beauty in what I do. It’s Sisyphean, and what’s worse, self-imposed. What was I thinking?

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My greatest fear is to find myself perfectly healthy and alive again. I’m fast approaching sixty years old—how the hell do I start over at sixty? How do I recreate a social life at sixty? How do I re-enter the workforce at sixty? It will be hard enough to reconcile myself to the erasure of my forties and fifties, how am I supposed to just pick up where I left off? If this medicine really works, I will find out just where I ‘pick up’.

Truly, I can’t simply start off where I left off. One of the hardest things about my illness was how long it took to be diagnosed. I spent many years being unfairly accused of alcoholism and drug abuse—just at the point where I had stopped my wild ways for some time—and both things, the accusing and the reining in of my lifestyle, were (unbeknownst to anyone, including me) the effects of my increasing liver failure and the blood toxicity it causes.

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Everyone, including my wife, my kids, and myself, resented my ‘laziness’ and my ‘lack of willpower’. I thought being forced out of management and getting fired was what I deserved. I assumed that I had no one to blame but myself—I laid such a heavy guilt trip on myself that, when I finally found out the truth, I was glad to learn I had a fatal disease—it was a far better reality than the self-hatred I was immersed in.

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Thus, I must pick up where I left off my health, not my life. I remember a nervous, overly serious guy in his thirties who had a head full of plans and dreams and more. I remember working hard, sometimes through the night—it didn’t faze me, I was always obsessive about projects. This was before the internet and I spent a great deal of time answering questions—I was a walking Wiki, calculator, copyeditor, proofreader, and history timeline. I loved being over-educated. One of my long-term goals was a PhD—I had planned to take school courses forever. Now I can hardly remember my name.

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No, I fear that health may prove a harder life than my mostly bed-ridden, everyday usual. We all fear change, even beneficial change. Plus, my memories betray me—the agony of getting out of bed and getting to work (during those years when I didn’t realize I belonged in a hospital) was a daily hell. The frustration of staring at the computer screen and not knowing what to do, when I was used to programing without flow-charts, the entire structure always firm in my mind, was unbearably humiliating. The heartbreak at not having the strength to spend time with my kids, to take them places, or do school projects together—I hated myself worst of all for that.

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Those are some of the reasons I don’t look back on my active past with longing—I fear the return of an active life because my last one ended in torture and near-madness. But I will try. I’m hoping to find myself capable enough to build a happy lifeand find some worthwhile work (I’m damned if I’ve gone through all this so I can work at Burger King in my sixties!). If my hands stop shaking, at least somewhat, I may just go back to drawing full-time—the internet provides a variety of ways to sell original artwork. If I get some concentration back, I’ll try writing fiction. I will definitely get in shape, no matter how much it hurts—I’m most tired of all of ‘being tired’.

 

Well, that’s my wailing and weeping for today.

I Think I’ll Quit Facebook (2014Aug21)

Wednesday, August 20, 2014                10:14 PM

I’m thinking of quitting Facebook. I’ve enjoyed ‘interacting’ with people—I was surprised that everyone in my past was still out there, living lives I knew nothing of. I was amazed at some of the accomplishments of people who I last saw as children, or at best, teenagers. The connectedness to all the latest of the very latest in politics, showbiz, art, music, movies, books, writing, poetry, science, astronomy, space exploration, gadgets, discoveries, and absolutely everything else, has made me feel much more in touch with the world and the people in it. It’s almost like a canoe that goes along; and you can slip your hand in the water and feel the world flowing through your fingers.

So why quit? There are several reasons. At the end of the day, I don’t want my sole output to consist of keystrokes, mouse clicks, and peering at a glowing screen (no matter how mind-blowing the graphic). I can’t ‘Like’ my way through life. And the shadows of Mordor are gathering, i.e. between commercial and marketing activity, and Facebook’s own mad-scientist muddlings with what does or does not appear on our feeds, Facebook has become a dark wood with giant spiders in it. Several of my Facebook friends have been hacked. The interloper was found and expunged, the true people are back behind their profiles, and all’s well—plus, we all have an eye out now, if any of our friends starts IM-ing or posting strangely—but the chill is in the air.

It’s unsettling—whenever anything such as the internet, or snowboarding, or break-dancing—whenever anything draws a crowd of happy, engaged people who not only watch the thing, but begin to participate in the thing, the filthy rich will set up some kind of commercial approximation of it. Thus the clock is started. Once anything becomes a commodity or an asset, the race is on. Who can attract more customers; who can find the cheapest costs, who can get the highest price? Who has the best marketing campaign? Ultimately, it becomes regulated, circumscribed, a dead thing, a shadow of its former inspiration. It becomes a dark doppelgänger of what it could have been.

But Facebook is still free. Rather than simply quitting, I should consider changing my privacy settings. I could restrict my profile to just friends and a few favorite content providers, like George Takei, The Daily Show, I fucking Love Science, etc. Then I wouldn’t have to wade through the posts that are cleverly disguised sociology-landmines, or outright sales-pitches. My favorite ad is the small one on the bottom right of the Facebook ‘frame’—it’s usually a picture of a large-breasted young lady without a shirt, with the tag-line: “You gotta see this!” I actually clicked on that thing before I knew what I was doing. But the site you’re brought to is like a small-town diner’s paper placemat, just full of local service-businesses’ websites—and just reeking of hacker-vulnerability.

But cutting myself off from the ‘fire hose’ kinda defeats the purpose of being plugged into the whole world—it’s kinda the point. Otherwise, I imagine my friends and I will all end up uploading phone-pics of our breakfast each morning!

I know to avoid anything on the side-ribbons of the Facebook frame—no matter how intriguing. And I know to look for those little logos that warn of a larger organization behind that post. But it takes so long and gets so tiring. So, I guess I’ll stick with my friends, for a while at least, until the foliage gets too thick to hack through to them… ..if it gets too bad, I may still have to perform some sort of self-intervention. Life should not be lived on a keyboard. I spend hours on the computer, preparing and posting my little videos and my little essays (like this)—but I will not ‘hang out’ here. I have a perfectly good front lawn—there’s even some decent lawn furniture to sit in and talk (to myself if necessary).

Now, this is not the fault of Facebook, this is a failing of our Capitalism—one of its many—but nothing, not even Facebook (“It’s free and always will be.”) can keep out their tentacles. Facebook is a fragile thing, and it has become a badly trampled garden. We’ve all experienced ‘trolls’—they can be blocked and are, therefore, relatively harmless—but the ones who crawl behind the code (like the employees fiddling with our Facebook feeds) are far more difficult to spot, much less defend against.

Sociology is a wonderful thing. I took a course in college—it was great. But the first thing they teach you is that individuals are random and unpredictable, but the larger the ‘sample size’ (# of people) you study, the more predictable they become. And the internet is a darn big ‘sample size’. Sociology is primarily used in marketing research—its most profitable use (though it has many more important uses going begging). So it is only natural for market researchers to salivate over a titanic mass of consumers, all with the power to pay by clicking a mouse. But Heisenberg is on our side—the stats are only valid if WE don’t know we are being observed.

I saw a Times article—a man clicks ‘like’ on everything he sees on his feed for two days straight—even stuff he hates, he clicks ‘like’. He started getting crazy feed-posts from such nutjobs that he was afraid he’d be put on a government watch-list. His Facebook friends’ feeds went crazy, they were all screaming at him, asking if he’d been hacked. And some administrator at Facebook eventually called him to talk about it! He was messing up their trending algorithms.

It sounded like fun, but then I thought maybe it’d be better just to sign off for good and all. Would I lose something important, something worth staying in my present mode of checking out Facebook for two or three hours every day? Well, there are some people I interact with almost every day, very nice folks all of whom I enjoy being in touch with. And we all share stuff from the internet-fed chaos around us. All of them are too far away to have any regular contact with outside of Facebook.

Now here is the hilarious record of what happens when I try to play doubles with a real musician, Peter Cianflone–it’s almost too embarrassing to post, but I had so much fun—The first picture is to click on for the entire playlist (listen to all five videos in a row). The five individual videos are available below that, so you can pick and choose as you like. Enjoy, I hope!

Click picture above to hear Playlist..

Click picture above to hear Playlist..

 

Love or the Patriot Act (2014Aug15)

 

 

 

 

Thursday, August 14, 2014                  3:11 PM

 

Love or the Patriot Act

 

Robin Williams is dead—an apparent suicide. And Philip Seymour Hoffman is still on my mind. Two of our greatest artists choose not to go on living—what is that supposed to tell us? Nothing good, that’s what. Lauren Bacall lived to a ripe old age—but those who worked for her or encountered her on the streets of Manhattan all agree she was quite scathing—nothing like the fond remembrances of Robin Williams that gush from everyone he ever met.

 

My late brother and I had a running debate on this—being nice, according to him, was a stupid waste of time—my attitude was that being nice to each other was the point of life. We both had firm beliefs in our opposite views—neither one of us could ever budge the other, nor did we get along all that well. But it seems we were just a dual personification of Yin and Yang—both pushing hard in different directions, which led to a spinning energy that neither of us could benefit from, nor be harmed by.

 

Why was I, the atheist, so sure that being nice to each other was the point of living? Well, when you take away the mythical support systems of the religious, you are left with no absolute reason to continue living—it becomes a choice. I see only one reason to make that choice, to face up to that challenge—and that is love.

 

But when love becomes a reason for greed or violence or persecution, it is a twisted thing. Whenever a parent takes from others for the sake of the family, the family learns a twisted definition of love. Whenever a patriot bad-mouths a foreign-looking citizen, he or she warps the true meaning of our country’s Constitution. Whenever a politician cries, “Be afraid—Be very afraid!” it is an insult to our founding fathers, who made a point of Freedom being something worth fighting and dying for.

 

The Patriot Act is a perfect example—politicians decide to cancel our civil liberties for our own good, just because someone might blow up a building (and this after hundreds of thousands of Americans have given their blood and their lives to earn those liberties).

 

Why has this become so confused? Because we seem to forget that Love, like Freedom, is more precious than life. Without love and freedom, we end up with a life hardly worth the name. We cannot insist on liberty for ourselves and deny it to others. We cannot both love and possess anyone or anything. Our love does not grant us title to the object of our love—to the contrary, it makes us a possession of our beloved. We don’t own our spouse or our kids—they own us.

 

We should be ashamed of our acceptance of the Patriot Act—its name tries hard, but its truth is as unpatriotic as Nazism or Communism. We have allowed this to continue long after the blind panic encouraged by the Bush administration had calmed down. We no longer support stupidity in the highest office. We no longer blindly support war against Bush’s enemies. Why do we hesitate to call for an end to the Unpatriotic Act? It is far more anti-American than the NSA phone-tapping that everyone got into such a flurry over.

 

The only thing we have to fear is fear itself, said FDR. Most people think, “Yeah, we shouldn’t be afraid—that makes sense”. But his words go deeper than that. Fear is the enemy of both love and freedom—we can choose, but we can’t have both fear and freedom. Liberty bounded by intimidation is a false concept—there’s another quote about ‘surrendering liberty for security ends up losing both’ or something like that. We have more pride than courage—we have more shame than faith in our country’s precepts.

 

The only thing Americans have faith in these days is money. They believe in the miracle of money, even as the power of money destroys our lives, our lands, our culture, and our country. It has even driven us to forsake the arts in our educational system—in spite of the fact that the arts are vital to understanding humanity (including ourselves). Outside of schools, the arts have become an industry—a multi-billion dollar industry that is, nevertheless, not important enough to include in our education programs. Go figure (at least you know math).

 

One important thing learned by studying the arts is that human expression invariably turns to love as its theme—the joys and sorrows of love are uppermost in everyone’s mind. Money is rarely the subject of a poem, a painting, or a song—and when it is, it is rarely shown in a good light.

 

Where did we lose the concept of sacrifice? We respect and honor it with words, when it comes to the military—but where else can we find anything but a jeering attitude at the thought of giving up something of ourselves for the sake of another, or of a group? We certainly don’t find it in business. We rarely find it in communities—the odd volunteer fire-person or EMT, the occasional volunteer food-outlet or shelter—but we find these rarities chronically understaffed.

 

I am as guilty as anyone. Whenever I’m asked to contribute to a charity, I feel like there are plenty of richer people who can just toss out twenties and fifties to whoever asks for it—the fact that generosity on my part would require doing without something for myself, when others can toss bushels-full at it and not even notice, seems unfair.

 

Plus, I don’t like the idea of crowd-sourcing programs that our taxes should be paying for—social engineering is beyond my experience and my budget, and if you don’t like ‘big government’, it’s only because you’ve never needed help. Having said that much, I must add that a lack of community involvement is as much a barrier to the inclusion of the marginal as any lack of funding.

 

Fortunate are the communities that knit themselves together—their lives are fuller and their opportunities are more diverse. I have noticed this especially in police-force communities—their isolation (or worse) from the general public drives them to seek each other’s company—they know the value of working together and of backing each other up—and the extreme danger of the job gives them all a strong sense of kinship. Does this lead to their sometimes thinking their wards are their enemy? I can’t say. But community is a strong tool—and a strong defense.

 

Babies will often create a temporary mini-community, when extended-family members and barely-known neighbors and a clique of schoolgirls who babysit, etc. will come together in common purpose. The group will slowly disintegrate as the baby reaches toddlerhood—but it will have acted as a community until that time.

 

The worst time is had by those who most need a community—those without family, those without homes, those without a support system of any kind. The worst communities are often those with the wealthiest residents—they pay their way through difficulties, hence they don’t want to pay for anyone else’s problems—and they’re too busy making more money to think of helping in some non-financial way, giving their time or attention to someone else.

 

Money can’t be simply thrown in the direction of the needy. The community must address their individual needs and concerns and then ask for money needed to achieve a specific goal. If a community has no leadership, or if leadership is without the support of a community, important issues are neglected. We do not need excitable or ham-handed leaders—we simply need responsible adults to think of their community as an important part of their lives.

 

Money is the score-keeper. Our lives are competitions. We all go after what we want; and someone wins, and the rest turn to other things. Our kids compete for class-levels, grades, scores, sports, and each other. It isn’t real competition—it’s more of a struggle to stay off the bottom. People like me, who have been forced to the sidelines by misfortune, are tempted to see ourselves as losers—for, even though life continues to be a struggle for us, our chances of scoring (i.e., making money) are zero. Those who are above the fray, the very wealthy, need only compete with the small number of their ‘peers’—and, more importantly, they change the rules as they go.

 

After decades of industry, banking, stocks, war armaments, monopolies, lobbying, and ‘person-hood’, the big-money people and corporations have widened the gap between themselves and the billions of blithely competing thralls of their unshakeable system. For they know the horror of our situation far better than we grasp it—the metaled jaws of commerce will macerate even the super-rich, if they get caught in a jam. Even a couple of billion dollars isn’t enough for this crowd—that’s still middle-class in their view. As the rule-makers, they have a horror of being made to follow someone else’s rules—so they’ve set the rules by now so it’s impossible for a nobody from nowhere to steal as much of other people’s money as they do. The Land of Opportunity and the American Dream have given way to a new American Order that says the money-people are fully in charge.

 

They scoff at people who work all day and don’t make enough money to both eat and take medicine. They look down their noses at the millions of chronically unemployed, as if the free-market system (which the money-people control) hadn’t put all those people out of their jobs. They lobby congress incessantly to protect their profits by legislating against our rights as employees, consumers, investors, homeowners, prisoners, or patients. Some of the worst corporations make their money from manufacturing weapons and outsourcing para-military mercenaries. They send jobs overseas to countries where the workers are more victimized than we are. They keep their money overseas so they can dodge their taxes, leaving us to pay for the communities they profit off of.

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As you may have guessed, I’m not a big fan of money. If I had any money, I’d give it to my wife—she’d know what to do with it. I’d be much happier if everyone else had money—or no one. It’s just not working anymore—all it can do, from here on in, is make things worse….

 

Yes, I know this blog entry is disjointed and confusing–I’m on medication now, and for the next six weeks… Hopefully the posts will become more coherent with time. In the meantime, read all my stuff with a grain of salt.

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If Only, If Only (2014Aug08)

This first one was before I sight-read 45 minutes of Tchaikovsky Symphony No. 5 (transcribed for piano):

This last one was after I sight-read 45 minutes of Tchaikovsky Symphony No. 5 (transcribed for piano):

 

The actual Tchaikovsky-playing itself was so awful that no one should ever have to hear it..  Bye!

Four More (2014Aug08)

Here they are:

 

 

 

 

 

 

 

Hope you liked them!

Lazy Dreamer (2014Jul08)

In this improv, I attempt to use thirteenth-chords and eleventh-cords (at least, I think I am doing so). It’s a little slow in the tempo, but I was doing a lot of thinking between chords (like I have to, when it’s a new idea or technique) so please don’t hold it against me. I think it came out kind of dreamy (hence the title) but it has a certain ugliness, too, because of the strange discords such complex chords tend to create… But I don’t mind ugly.

 

 

Listen, I play my song books every day; I have a zillion of them, and I have carefully documented nearly all my preceding videos of piano covers with the Title, Composer, Lyricist, and Copyright holder of each song. But on this recording, I give the cover of the songbook (The Johnny Mercer Song Book) and I leave it to you to look them up if you’re interested. Johnny Mercer was an incredible Lyricist, but he also published many songs with both Music and Lyrics by him–making him rather unique amongst his peers.

Here I just play fifteen minutes of songs I like–I didn’t sing along this time, but sometimes I have, on previous recordings.

Stupid Champ (2014Jul07)

http://www.streetarticles.com/happiness/champion-of-stupid

A YouTube-links Update of recent XperDunn Improvs

The War for Heaven on Earth (2014Jul03)

Hi everyone! I wrote a poem today, then a drew an illustration for it, then I recorded a music background for it.

Click here to hear the poem:

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Click here to listen to my piano soundtrack:

 

Click here to see the Graphic Print Version of the Poem.

 

And here are the drawing and photos used for the artwork:

Original Sketch
Original Sketch
Photo-shopped
Photo-shopped
our Bee-Balms...
our Bee-Balms…

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Catnip
Catnip
Blueberries ripening...
Blueberries ripening…
Our little baby watermelon--coming along...
Our little baby watermelon–coming along…

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Hope You Enjoyed…

O—and, since this is the next day—Happy 4th of July!

All Good Things (2014Jun30)

June is such a beautiful month–I’m sorry to see it go. July and August are nice and hot–but they can get awfully serious about that ‘hot’ business….

The last thirty seconds of this video is just the wind in the treetops. (Yes, I was in the yard with my camera/camcorder again). The trouble with the sounds of nature is that they are invariably more beautiful than any music, especially mine. So I left the sweeter sounds for the end:

 

 

MORE PIX:

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Ta-da!

Two More from The “Hand-Maid” and Two More from Me (2014Jun06)

 

 

 

 

 

 

 

And here are the pictures I used in “Rum-ta-ta-Tum” :

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Two from “Muficks Hand-maid” (1678) by Henry Purcell (2014Jun24)

 

I love seventeenth-century English keyboard works.

 

 

 

 

Two for the Italian Baroque–Two for Me (2014Jun21)

Well, things have been weird lately–Claire just started her new ‘Work Study’ job, Jessy just got offered extra work doing Real Estate photography on weekends, and Spencer and I are enjoying my new arrival of sour candies! I’ve been doing a lot of piano playing without the camera on–but here’s some new stuff I just did…

 

 

 

 

 

Hope you liked it!

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Two From the Front Yard and Two From the Beach (2014Jun08)

I’ve taken some pictures and some outdoor footage and some piano recordings (and a little singing) and mushed it all up together for your delictation

 

The flowers are still showing off.

 

We have two old accordionist gnomes (actually, they’re squeezeboxes or something)…..

 

I just love the Beach Boys (contrary to the slaughtering of their songs!)

 

And here’s the stills:

 

 

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Th-th-that’s all, Folks!

Confusion Rampant (2014Jun05)

Hello, everyone. I’ve been getting my meds adjusted recently. Many trips for tests and exams and sonograms–but all is as expected–I shall live… although it has certainly cut into my video-making time, not to mention the time to sit at the piano and make the recordings–but I hope you can sense the increased clarity of mind in these two pieces.

 

 

This one was recorded several days ago but, as I said, I’ve been too distracted to edit and post it.

 

 

Hope you liked it!

This Way To The Spectacle (2014May23)

Thoughts On Print’s Twilight (2014May23)

Friday, May 23, 2014                  1:58 PM

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My friend, Chris K., has brought up the grinding of gears that ensue when retail leviathan Amazon’s standards-and-future-goals butt heads with the last, great publishing houses’ standards-and-traditions. There’s a temptation to mention ‘buggy-whips’ and move on—but literacy is still a goal more than a condition in many parts of the world—and the question of how digital texts will impact that is only one of the many things that are being politely ignored by a First World culture that doesn’t dare appear as anti-progress, particularly against digital innovation.

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Reference books once wore a solemnity that stemmed from their careful accrual of methods, measurements, calculations, and organization of information that reaches back to Ptolemy, Archimedes, and Euclid. The precise science of modern astronomy still owes its huge record of observations of the night sky mostly to centuries and millennia of serious observation and record-keeping.

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The supertanker that chugs along mid-Pacific without any qualms over its exact location and bearing—these are supplied digitally, i.e. magically. What few people realize is that large reference-tables of important navigational values are built in to the ultra-post-modern instruments on the bridge. Without those tables of constant-values, a computer would have no better idea of its position than a human navigator without charts and table-books and chronometers.

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Having lost our hero-worship of literal ‘history’, we now have historians who look at certain people, places, and events from different points of perspective. We now recognize that history is as much a matter of missing documents and contradictory documents and accounts, as it is a matter of what we actually have on paper. Nonetheless, we treasure our Founding Documents, creating a whole sub-topic of document preservation and examination, within the library sciences (or is it archaeology?) Now that we are apparently just going to watch as printed matter becomes obsolete, without any battle-cry to preserve any real value in books, one wonders whether this makes our archival treasures more valuable or more trivial.

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Yes, we are losing something great by doing something new—but I still listen to broadcast radio, so what do I know? I was just yesterday bemoaning the disappearance of that great stationers shop in Brewster—it was a palace of office supplies.

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But my old industry, direct mail marketing , and the shopping-catalog boom were already threatening their existence before e-commerce really started. I remember it was newsworthy and remarkable when Sharper Image debuted the first store without a building—making big bucks in retail without paying rent—well, for the storefront, at least.

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Catalogs and third-party deliverers, like FedEx and UPS, created the ‘virtual mall’ before cyberspace opened its ‘e-doors’, if you will. Now that newspapers are passé (excepting The Gray Lady, of course) and e-books have a strong beachhead—now that education is focused as much on using digital tools as on using one’s mind (perhaps more so) we must let the grand tradition of bibliophilia sink or swim on its own virtue.

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Remember, there was once a paradigm wherein only the nobility were offered literacy, when artisan monks illuminated home-cured vellum with sometimes crushed-gem-based pigments, gold-leaf, and the great wellspring of imagination such labors bestowed upon them. Such treasures were one of a kind—Bibles might be copied, and perhaps a few other books, but many books of that era were unique treasures—as indicated by the practice of chaining them to the wall.

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That grandeur was lost when Gutenberg, et. al. began printing with movable type—mass-publication, relative to the copyists it replaced. Aside from ‘Domesday Books’ and other governmental and commercial records-keeping, there was really only one book—the Bible. The sudden ability to hand out copies to every churchgoer denied the priests, etc. of the power of interpretation—prior to Gutenberg, the Bible was what your Priest told you it was, it said what he said it said—case closed. On top of which, the Latin Scriptures were being made accessible by translations into common speech—which many church leaders felt was a sacrilegious degradation of the Word of God. That is why printing presses were illegal for about a hundred years after they were brought into common use. And printing is still a bone of contention between the authorities and the public, in some cases, even in America.

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The latest instance of this friction is, oddly enough, a digital publication by one Robert Snowden—and it must be noted that the sheer weight of his information, printed on paper, would have circumscribed it’s distribution without the existence of the Internet. So the benefits of digital text do exist—and they are tremendous. But it is hard for me to accept that something I have loved so faithfully all of my life, books, may become obsolete. As is usually the case, we will find out what we really lost, and how much, only after we’ve reached a point of no return.

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In the meantime, it should be remembered that self-publishing is a wonderful thing for a writer—it remains to be seen if its value holds true for the reader.

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Xopher’s Little Suite No. 1 (2014May16)

Xopher’s Little Suite No. 1 (2014May16)

Three Dances in this Small Suite…

 

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Tweet-Tweet…Tweedle-De-Dete (2014May14)

Hi All. For today we are serving a taste of bird songs, followed by four folk songs from Russia–after that, I just happen to have an Improv, as well. Enjoy!

Being out in the yard is not just pretty flowers–you can hear the birdies singin, too. Stills of the shoot are displayed below the two videos…

 

 

 

 

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Two Improvs, flowers included. (2014May12)

Our lilac bush is blooming–love that aroma.
There were some other interesting flowers out there.
The pink one is called lady-slippers. (I think.)
I don’t know what the big leafy things are–
I’m really not up on my plantology.
I know dandelions–
and I should know the little purple ones–
They’re all over the yard.

 

 

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Gifts for Mothers Day (2014May11)

Happy Mothers Day to one and all (but especially Mothers). Here I have once again used photos I took of our front yard as backgrounds for the Titles and Credits stills.

The actual photos are displayed, as well.

 

 

 

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For No Reason or Rhyme (2014May06)

Helpless Against Monday’s Destructive Power (2014May05)

Howdy, y’all!

Here are two more improvs:

 

 

-and-

The Darling Buds Of May (2014May01)

Well, I went outside today to take pictures of the Daffodils and Hyacinth (and that one that might be bluebells, I don’t know my flowers all that good).

We like to commingle our assets vis-a-vis lawn and garden–the bulbs are everywhere. It makes the lawn-mowing a lot tougher, but it’s more fun…watching to see what springs up where.

My new camera is doing very well–And I managed a short improv to go with the photos in today’s YouTube video.

I’ve also included some of the stills below that formed the source of my video overlays–happy May Day to all’yuh!

 

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SOS [Same Old Stuff] (2014Apr27)

Of all my piano playing, the most common improvisations I do are all in a minor–so don’t be too disappointed if these two sound very familiar…

(Sometimes, it’s just about working the ax)

 

Easter Thoughts (2014Apr20)

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Sunday, April 20, 2014               5:54 PM

Well, I’m well satisfied with my essay—and Mike Cook liked it a lot, so there I am. He says it will be included in his July newsletter. While that is happy news, I feel tremendously let down. ‘Post-partum’ depression is part of a creative person’s life—the thrill of writing, drawing, or performing something new, something all one’s own—it can’t just Stop. The aftermath is a frustrating combination of wanting to wave it in front of the whole world saying, ‘Look what I did!’ and of having nothing to turn to where that project once was. Starting a new thing is the only cure but that can’t happen until the reverberations of the finished project have died down inside my head.

My family's first home in Bethpage, LI, NY

My family’s first home in Bethpage, LI, NY

So I’m familiar. Been there, always do that. My self-image is a constantly shifting mass of shards—one piece glinting here, another flashing there. I have been an artist my whole life—but I have never been an artist. I have never tied myself and my creations to any money-making venture. Conversely, I only work for the audience in my bathroom mirror—so I can’t complain that I have no artistic career. But I’m proud—I think some of my stuff is fantastic, and I know that I need courage to do what I do and to live my life the way I do.

My Family's 2nd home in Katonah, NY

My Family’s 2nd home in Katonah, NY

I don’t look down my nose at successful artists—if anything, I envy them. Nothing suggests substantial worth like a high price tag—making money would be a great help in shoring up my self-image. But that, I see now, will never happen. I’ve done some copywriting and some illustration in my day, in passing, and I can attest to the fact that there is a world of difference between being an artist (a spiritual, or at least innate, condition) and being commercially artistic. The cardinal difference is in who says the work is done and satisfactory. If I say it, I’m being an artist. If my ‘boss’ has the last say, that’s commercial art.

Central Blvd. Elementary School, Bethpage, LI, NY (My grades 1-5)

Central Blvd. Elementary School, Bethpage, LI, NY (My grades 1-5)

I remember graduating from high school a year early, going to college for maybe a month, quitting and coming home—somehow, I was standing in the back of my high school’s auditorium during the graduation awards ceremony—students were being given prizes for excellence in Art, Writing, Math, etc. In my former life, such a ceremony would have included me in some category. But then and there I was visiting a school, not being a student—and none of the prizes were for me. I understood it, but I still had trouble dealing with it. Everyone has told me (now that it’s too late) “O! You should’ve never skipped your senior year of high school—that’s the best part.”

John Jay Jr High School (Now Middle School) in Cross River, NY

John Jay Jr High School (Now Middle School) in Cross River, NY

So I’ve always had a sense of where things matter socially and where things matter personally. Public notice is something I wouldn’t like—some financial success would have been nice, don’t get me wrong—and the critic in my head is far harsher than anyone else has ever been. Also, I’m 58 now—misconceptions about honor, glory, power, and riches are long behind me already—as I’ve grown older, my focus gets tighter and tighter on the question of ethics. I’ve left behind all my generalizations and objectifications—I see people as people now. I see them as myself now. I hurt when they hurt—I smile when they are happy.

Katonah Elementary School, Katonah, NY (My grade 6)

Katonah Elementary School, Katonah, NY (My grade 6)

That isn’t so much—everyone has that feeling about their family—but I am learning to extend it to every person, even people I don’t like, people who do wrong. I don’t behave this way because of a religion—although the idea may have come from any of the major faiths—I live this way because it is sensible. Humankind is a family—and the less we recognize that, the more we fail. We are failing now, right now, and we have been for a long time. Yes we have wonderful things, great tech, delicious foods, fast cars—but we have decided to ignore the warnings of scientists about how our ways are killing the planet that gives us food, water, air, and so much more. That’s a fail.

JJHS, Cross River, NY

JJHS, Cross River, NY

Say what you want in defense of high-tech capitalism—speak any doubts you have over the truth of global climate change—none of that will matter when the Mighty Quinn arrives. Sane people like myself feel the giddy spin of madness, calmly watching as A-type personalities muddy the waters of common sense, while the pens of CPAs are destroying all the best that our world has to offer. I could join a group and fight the power—but that’s thinking too small. We would need a sweeping gestalt-change no less overpowering than the beginning of the Christian Era. But Christs are in short supply—and even he couldn’t stretch a few loaves and fishes enough to feed seven billion people.

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Reed College, Portland, OR

I see most of the obvious actions in that context—if it isn’t a sweeping, overall revision of the human vision, it isn’t enough—and, worse yet, it simply adds to the turmoil and confusion. So I do nothing, in the public sense. I do not act. It’s just as well—if I succeeded in improving mankind’s fate, I’d get a big head about it and I wouldn’t be fit to live with. My mission, as I see it, is to post a lot of nonsense like this on the Internet, to help other people whenever I have the opportunity, and to make my own life, as far as possible, an example to my children. And even on that point I’d prefer they copy their mother’s example of steadfast strength and unceasing love and happiness.

SUNY at Oswego, NY

SUNY at Oswego, NY

I say I am proud; I say I want to set an example for my kids; I consider myself unique and special—but that’s not the end of it. I also doubt myself; I feel a touch of fear about what I may be doing wrong; I look around at everyone else’s priorities and valuations—and even my outsized self-confidence quails at the thought of so many people valuing what I ignore, and ignoring what I value. Still, my long adherence to atheism is an even bigger disagreement between me and the majority—and if I’m going to trust in my own judgment on something so vital, it’s not much to tack on my little perceptions as to aesthetics, or ethics.

Castleton State College, Castleton, VT

Castleton State College, Castleton, VT

Although I have been getting used to disagreeing with an entire classroom full of my peers from a very early age, I still feel an atavistic cringing at the thought of facing one way while everyone around me faces the other. It is a natural impulse to get along and go along—we are a social species and I have as much desire to fit in as the next person. My parents were wrong to ask me, ‘Would I jump off a bridge if all my friends were doing it’—the answer is, of course, no—but then if I take that and apply it to my whole life, I’m likely to find almost everything in our crazy, modern society to be in the category of ‘jumping off a bridge’. And that’s exactly what happened.

SUNY at Stony Brook, LI, NY

SUNY at Stony Brook, LI, NY

Thus I’m left in a social vacuum of my own making—I like to read books, I listen to classical music, and I play the piano. That is probably true of many people—but even ‘many’ people can come to a per capita of 0.0005%. So, in a small community like Somers, that would only be three or four of that ‘many’, at best, and even then, I like certain books and dislike others; I like instrumental classical music but I don’t care for opera; and I play the piano, but not very well. Now most people that play the piano are pretty good at it, otherwise they usually give it up—the number of people like me—people that persist in struggling with our limitations, is vanishingly small.

SUNY at Purchase, NY

SUNY at Purchase, NY

Other people, perhaps more emotionally stable people, would concede to popular acclaim and start watching sports on TV, or join a group of online gamers, or join a book club. But I have to work with what I have. I’m a pretty bad liar, I think. And I have no patience—none—especially in conversation. When I hear someone say something stupid or hurtful I turn and walk away—unless the stupid one is picking on someone younger or smaller—then I find myself saying stupid, hurtful things right back at them. I have no self-control to speak of.

Pace University

Pace University

But I spent most of my life being right when everyone else was wrong—in school, in business, in computers—and that’s a hard attitude to change. Even in my reduced mental capacity, there are many people on TV who are demonstrably stupider than I am now. That seems to me like an overabundance of stupid, being not very pleased with my own stupidity. And being half-a-shut-in doesn’t help expand my social circle, either. But I have good friends, nice people, even good neighbors (except for this one guy who just moved in behind us!) and my family, and that’s more than enough people for me to interact with—any busier and I’d be exhausted—I get very tense around other people nowadays, just trying not to say anything that might hurt their feelings, and not to say anything when I disagree with what they’re saying.

Married 1980

Married 1980

I’m big on argument—always have been—but in my ‘second’ life I’ve started to trust humanity to be self-adjusting. If I think someone is wrong, they’ll find out if I was right or not, whether I tell them or not—and nowadays I can’t always be sure that I’m right about anything. Most people misunderstand anyway—I’ve never corrected anyone in any spirit other than a desire to be helpful—but for many, any argument is an attack, so I just upset them instead of helping them.

Jessica Duffy  born 1982

Jessica Duffy born 1982

There’s more I should say, I suppose, but I am just exhausted with trying to talk honestly about myself. I’m actually seven feet tall, a Nobel prize-winner, and a legendary Latin lover—I am ‘the Most Interesting Man in the World’ (but I don’t drink Dos Equis, because of my liver transplant). I’m Superman; I can fly; I’m just incredible…

Spencer  -born 1988

Spencer Thomas -born 1988

I am here

I am here

Clean Up and Apology (2014Apr15)

Here are the final four videos I will be shooting with the broken, busted, blurry camcorder–a new unit is on its way. If I can control my compulsion to make videos until Friday, I should be all set.

As for the titles, yesterday’s improvs seemed a sorry result for all my decades of listening to and performing classical music. So, these titles are by way of apology to the titans of classic music.

Today’s title should not be unfamiliar to anyone pressed for time on April 15th.

In spite of being unwatchable, I do hope some of you may enjoy listening to these videos…

 

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Blurry (2014Apr14)

Unfortunately, my camcorder has opted for ‘permanently out of focus’, so until I can replace it, and since it can still record the audio alright, I’ll be posting blurry videos. My apologies in advance–will put a rush on the replacement, but first must get OK from the boss (Claire)…

 

 

Two For Today (2014Mar31)

Before you get all caught up in April Fools cut-ups and capers, check out my latest:

 

Telstar (Original Recording – 1962)

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Monday, March 31, 2014           10:04 AM

20140331XD-Googl-Jones_Beach_Boardwalk_Bandshell

What is it about this Tornados track that makes me play it again and again?  It could be that it was inspired by a dream Joe Meek had. It could be that the inspiration for the title was the launching of the first Telstar Telecommunications Satellite launched into orbit on July 10th, 1962. Did you know?—the Telstar (or ‘geosynchronous-orbiting satellite’), or rather the idea behind it, originated in an Arthur C. Clarke story! The science fiction and the rocket launchings of the 1960’s broke my childish mind into fireworks-like dreams of flight, exploration, and technology. If you are interested in learning more about the song, watch “Telstar: The Joe Meek Story” (2008)—it is an excellent film and a real slice of history, painlessly presented by a very entertaining director.

20140331XD-Googl-Atlantic_Beach_and_Long_Beach

Judging from the dreams it calls up from deep in my memory, the AM radio playing on the dashboard of my parents’ station wagon while we drove home from Jones Beach, I heard it at a time when I was happy in the way only children can be happy. One of five siblings, I was usually rolling around in the back of the wagon, avoiding the back-seat infighting (and the ensuing parental yelling).

Those trips to Jones Beach were happy, but they were full of fear, too. The waves could sometimes become (to my young eyes) skyscrapers of water, looming above, letting me know I’d be crushed and rolled and dragged over the rough surface beneath the water. I often wondered whether I’d be let back up again before my breath gave out.

Sometimes there was sky-writing!

Sometimes there was sky-writing!

And there was separation anxiety, too. Jones Beach was huge, disappearing into the horizon in either direction, thousands of families and friends laying out the towels that made the space temporarily their own. All the new ‘portable radios’ were tuned to the same AM station (Cousin Brucey) and the songs followed along wherever one went.

There were regularly spaced Life Guard Towers every hundred yards or so. If the waves tumbled me too far along the shore I would be faced with a beach that looked exactly like the one from which I had walked down to the surf.

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The only difference would be that my family was nowhere to be seen. This was a tricky little trap, for me at least—if all my siblings were in the water (which was always) I’d be looking for our blanket and cooler—not much to go on in the ‘Where’s Waldo’ world of Jones Beach in High Summer.

Plus, if I chose to go the wrong way, the result was getting further from my goal instead of closer. In the end, my mom usually had to yell at her confused, lost-looking little boy from her place beneath the Sun Umbrella. O, yeah. I forgot to mention, almost everyone had eight-foot-tall sun umbrellas—like patio umbrellas, but with a big spike for sticking it into the sand.

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But aside from all that, I loved Jones Beach. Ice cream and hot dogs and soda never tasted so good—even if the line at the Snack Concession was stupendously long. The sand was perfect for sculpture and construction—and the ebb and flow of the tide made everything transient—even if it wasn’t kicked over by some other kid.

But just imagine it—the TV was full of ‘space race’ news, the beach was full of joy, and the music coming out of all the radios was futuristic and new—but none compared to “Telstar”. We have become overly familiar with synthesized sounds—in the 1960s it was unheard of except for “Telstar”. To hear in the music itself the sound of electronics—it was a Pentecostal experience, but for the ears instead of the tongues. From that point on, I was less and less interested in acoustic music (and I’m pretty sure I wasn’t alone in that) and more and more craving the sounds of synth.

And that was actually a logical progression—one of the draws of rock n’ roll was the electrified sound of the guitars and the reverb, wah, and other effects added to the players’ or vocalists’ amplified sounds. But nothing says Synth like a keyboard.

I remember playing Wendy Carlos’ “Switched-On Bach” for my family, expecting them to be as enthralled with the sound (and the idea) as I was. But my Uncle John said it sounded like Alvin and the Chipmunks playing classical music. Everyone roared with laughter—and I was nearly in tears. What can I say? Music has always been very important to me.

The things music can do never cease to amaze me—it can make a chill go down my spine; it can make the hair on my arms stand up; it can bring me near tears; it can make me jump up and start dancing; it can make me laugh, sing along, howl along (if drunk enough), and even make me stare into space, lost in the wonder of it. I haven’t been to Jones Beach in decades—but music can still take me there.

 

One Grisly Nightmare [& Two(2) Piano Covers]

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Flashy Title (2014Mar28)

Five Spot for (2014Mar26)

You’ll find lots of flubs and fluffs in the two sheet-music videos–can’t be helped. Try the three Improvs–they’re more listenable.

Early To Rise (2014Mar24)

Got up with the sun today–see how it changes my lighting……

 

20140324XD-Improv-Sunrise(TitlesCARD)

If that doesn’t work, please click here:

Two – fer (2014Mar14)

**************    **************    **************

**************    **************    **************

 

 

**************    **************    **************

**************    **************    **************    -bye!

Thoughts of a Mathematical Nature (2014Mar13)

Thursday, March 13, 2014                   7:13 AM

Five Senses

The old phrase, ‘the five senses’, has become far too primitive a notion to retain its use. Even when we thought in terms of the traditional ‘sight, hearing, smell, taste, and touch’ biologists still had to append that touch was actually an amalgam of the various nerves in the skin, each with the specific sense of heat/cold, texture, pressure, and pain.

Moreover, the tongue’s taste-buds aren’t one-size-fits-all, either—there are areas for sour, sweet, salt, and who knows what else—you Google it. Plus, the tongue also has all the sensory nerves of skin. The tongue is doing more work than any other sense organ, if you ask me.

The sense of smell, too, is multifaceted, comprised of several specific olfactory phenomena—the research labs attempting to digitize this ‘sense’ are stunned by both the sensitivity (measured in parts per million) and the virtually countless smells that we sniff without a second thought—not to mention the nose of a search dog. I heard of a digital sensor that is now used in place of dogs, but it only works on one thing, like explosives or cash—all I know is that we shouldn’t hold our breath waiting for smell-o-matic machines for the consumer.

And there’s a sense of balance—this sense is taken too much for granted except by enlightened people like myself, who miss it dearly. It works through a sensory attachment to fluid in the inner ear—much like a carpenter’s bubble level. I think we can agree that a sense of orientation, in a world of Gravity, is an important perception. Think of this as the Stand Up Straight sense.

Then there’s proprioception, the ability to sense where ones parts are, without having to look at them, a sense of location, if you will. Think of it as the Kicking You Under The Table sense.

Perhaps it’s nothing more than semantics. Some of us have a sense of direction. Others get hunches. Old people can tell when the rain or snow is coming (which I guess makes me old). Nobody can fully explain gestalt leaps or intuition—they may be overlooked simply because the brain is doing so much thinking, it isn’t stopping to show its work, but the input is still the same nerve endings. The brain does do most of the work, anyhow—it takes the signals from the nerve endings, and taste buds, and rods and cones—and it processes them into our perception as the things we call vision, smell, etc. We can’t see our inner ear, so we think of our sense of balance as a brain-thing, magically producing information without any sensory input. We can reach back behind ourselves and pick up a beer off the counter without breaking eye contact—but we think of that as being clever, not proprioceptive.

We have a sense of time elapsing. It isn’t completely punctual, but it does keep us pretty nearly aware of the time of day, most of the days, most of the time. You got me as to what sensory input this works on—I think it just goes as fast as it can, trying to keep up with reality. In extremes, the adrenalin in our bloodstream causes a slowed sense of time, allowing for better strategizing on the fly.

I’m very interested in this question of senses, partly because it would help me understand how there could be eleven or twelve different dimensions to reality, and we’re only aware of four. Now that the thought occurs, it seems quite obvious—we’re aware of much more than the height, length, width, and passing time of our universe. Perhaps we should be exploring the connection between our senses and our measurements—there are far more than just five senses, so it stands to reason that there are more than four dimensions.

Maybe we should stop thinking that dimensions five-through-N are ‘invisible’—and start thinking of those extra dimensions as ‘unrecognized’. We might learn something (aside from the usual ‘never assume’).

 

Average Life Expectancy

It just occurred to me—knowing to what age we can probably live is very different from how long we actually live. If you’re like me, you see something like “an average life expectancy of 85” and you think, okay, I’ll live until I’m about 85. But you won’t—because there’s a difference between probability and reality. Eighty-five, in this example, would be the ‘probability value’ of our life expectancy and because that value is an average, what it really means is that half of us won’t make it to 85. Half of us will die before we reach 85—that’s all the hard info that particular statistic offers us. It’s an average—so it doesn’t even give the survivor-half-of-us any idea of how much longer life will last. If anything, what is really says is that, for the half that live that long, their 85th year will be their heaviest ‘funeral season’ year. It should be called The Year You’ll Wear A Lot of Black.

Of course, optimists may prefer to see “an average life expectancy of 85” as an even bet that they’ll live way past 85, at the very least—it comes to the same thing, but it sounds more positive.

Siren-UofVTc036

I Do Believe In Spooks, I Do Believe In Spooks, I Do, I Do…. (2014Feb26)

I Do Believe In Spooks, I Do Believe In Spooks, I Do, I Do….

Wednesday, February 26, 2014          1:00 AM

A Thought:

So I wanted to say to all my friends that in spite of my being atheist, I still believe in the impossible—and I believe in magic, spirits, UFOs, and anything else—but having said that, I don’t believe any of us really knows anything—thus it would be idiotic not to believe in the unknown.

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The thing about most religions is that they seem convinced they have specific knowledge of something none of us can possibly know—like what ‘happens’ after we die. I haven’t the slightest idea, but I don’t think anyone else does either. And I’m highly suspicious of anyone who says they do.

20140202XD-NASA-Cas-A

People say, “You have to have faith in God”, but all I really need is to have faith in the person or persons saying that. If God wants me to have faith, he/she/it should say so, and stop all this passive-aggressive nonsense. If someone wants me to have faith, they need to start with first principles—why should I trust the person speaking? I’d be likelier to clap for Tinker-Bell than to pray to a God who is at once so unknowable—and yet so well-known-and-understood by the leadership of these religions.

20131126XD-NASA-ngc4921_colombari_3984

Another Thought:

I saw a TV ad for a drug—the announcer was saying something about side-effects ‘may include swelling of the lips or throat’, but I misheard it as, ‘smelling of the lips’—and that got me thinking about random side-effects—this is a bit that Colbert (on his ‘Report’) does a lot—and I came up with—

Side-effects may include:

smelling of the lips, lobster-jaw, enphlegmation of the flamm, kitten-sneeze, and boxer/brief bruising..

(But, with my useless memory, I may just be sub-consciously plagiarizing Colbert for half of these.)

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Yet Another Thought:

I’ve just burned my newest CD of improvs—a full hour and twenty minutes worth of what I consider some of my most listenable piano-playing ever—if I could just remove my first 1,332 videos, maybe someone might actually listen to the last 15—still, I had to post the 1,332 to get here, so nix mox…

I’ve also written an entertaining essay or two (although, as with my music, amongst the dross of hundreds of essays) but it has become clear to me that there aren’t a lot of people looking online for witty banter in essay form—who’da thunk it?

Lately I’m really upset about my hands shaking—drawing wild pictures was always my big crowd-pleaser, and now that I have the globe for an audience—I can’t draw!

Sucks to be me. But only once in a while…

Godessette

I am now———-Thoughtless. 

‘til later….

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Add One Dog and Stir (2014Feb17)

Just So You Know There’s A Dog:

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Three Songs And An Improvisation (2014Feb12)

 

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XperDunn plays Piano
February 12th, 2014

3 Standards: ‘Look of Love’, ‘Lovers Concerto’, ‘Love Is All Around’

====================================
[From Wikipedia, the free encyclopedia]

The Look of Love (1967 song)
Released January 29, 1967
Recorded Philips Studios, London
Composer: Burt Bacharach Writer: Hal David

Ursula Andress inspired Burt Bacharach to compose “The Look of Love” watching her in an early cut of the film Casino Royale.

The track is played while Vesper Lynd seduces Evelyn Tremble, observed through a man-size aquarium.

“The Look of Love” is a popular song composed by Burt Bacharach and Hal David and sung by English pop singer Dusty Springfield, which appeared in the 1967 spoof James Bond film Casino Royale.

In 2008, the song was inducted into the Grammy Hall of Fame. It also received a Best Song nomination in the 1968 Academy Awards.
====================================
====================================
[From Wikipedia, the free encyclopedia]

“A Lover’s Concerto” a single by The Toys

from the album: The Toys Sing “A Lover’s Concerto” and “Attack!”
Released 1965
Writer(s) Sandy Linzer and Denny Randell, Christian Petzold

“A Lover’s Concerto” is a pop song, written by American songwriters Sandy Linzer and Denny Randell and recorded in 1965 by The Toys.

Their original version of the song was a major hit in the United States, the UK and elsewhere during 1965. It peaked on the US Billboard Hot 100 chart at number 2
====================================
[From Wikipedia, the free encyclopedia]

“Love is All Around”
Single by The Troggs
Released October 1967
Label(s): Page One/Fontana UK; Fontana (Mercury) US
Writer(s) Reg Presley

“Love Is All Around” is a song composed by Reg Presley and originally performed in 1967 by Presley’s band, The Troggs, featuring a string quartet and a ‘tick tock’ sound on percussion, in D-major. Purportedly inspired by a television transmission of the Joy Strings Salvation Army band’s “Love That’s All Around”, the song was first released as a single in the UK in October 1967.

On the US Billboard Hot 100, the record entered at No.98 on 24 February 1968, peaked at No.7 on 18 May 1968, and spent a total of 16 weeks on the chart.
====================================
Lastly, the graphics are by Hokusai

2044

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Friday, February 07, 2044          6:59 PM

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Farewell:

I’m the one. Fate had to pick someone to be here, now, at the end. Well, not the end—you know what they say about endings. Say rather at our leave-taking. And I am the one who last boards the last shuttle, after all the others have embarked. I look around—not too bad, ‘though pretty bad, of course—but there’s hope of recovery in a distant future…

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Take-Off:

As I strap myself into the lift-seats in the Maintenance section (back of the rocket, as it were) my mind is suddenly filled with the enormity of it—here we are, following in the footsteps of the Fell, taking wing into the cosmos. As I leave this planet, we repeat a step that many have taken—the Fell, and who knows how many sentients before them. We say good-bye to planet Earth.

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MRB 2:

The ‘ancient aliens’ nuts had it partly-right—we weren’t the first ones here—but we came from here—we evolved within the mega-ecology of the ‘virgin’ Earth. The way it was told to me was that the Fell left Earth for good, many millions of years before we did. Once they had left—and enough time had passed—this holy planet reverted to its teeming oceans, crowded with whales, sea-beds covered with lobsters—forests grown so profusely that a person couldn’t walk into one, never mind walk through one. The plains spread out over fertile lands packed with maceratory herds—and permafrost and sand covered the cold and the arid. Flocks of birds once again filled the skies, sometimes, during migrations, blocking out the sun for days.

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That’s what makes it holy. No matter what damage we do to her—we eventually do one of two things: we disturb this place until it can no longer support us—or we wise up and hit the road—and having done either of those things, we relieve the Earth of her burden of sentients—and she re-purifies herself.

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MRB 3:

Eventually, even the metals used to make orbital-labs and satellites will come back down to where they came from, back into the Earth. It’s isn’t a fast process. It takes long enough that by the time a new sentient species evolves, it has petroleum underground and rare metals scattered all over the world. Those millions of years—those are ‘user-transparent’ (as we used to say)—the new species will never have any inkling that their world has been used before. In the face of supereons, even gems and stainless steel parts become dust in the wind.

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Orbit Approach:

There’s a trick to it—that’s why all sentients are clever—if you miss the tricky part, you never leave. Earth is a playpen—each of the new, sentient species must grow up in it. You can just imagine how much time it takes an entire civilization to grow up—hell, even thirty years ago we had no idea of the ‘trick’.

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But we got lucky—some gal with enough money to make herself heard managed to convince some people to prepare for leaving Earth, and they convinced others, etc. until it became a world-wide issue. Leaving Earth is the tricky part—the Earth is a great place to grow up—but being confined to a playpen as a teenager is simply wrong. Our survival depended on our maturity—if we lacked the courage to leave the nest, we would stay there until starvation ended us.

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Trans-Earth Orbit:

So we had a world-wide consensus (not without detractors, of course) by 2030. The next decade was an epic parade of cooperative construction on massive ships, colonies, and space-platforms. Countless boosters pushing away from Earth’s gravity-well filled the horizon like distant fireworks. A few scientists began focusing on the technology that would transform space-debris into water, atmosphere, fertilizer, and building materials. Sub-ecologies, like Kansas farmland and Louisiana rice paddies, had to be transported to labs where they could be the ‘sour-dough’ that we would use to create new fertile growing areas amidst the vacuum of space.

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The whole project was weakened by lack of a plan to get everybody off the planet—until, in 2038, materials science finally gave us Arthur Clarke’s holy grail—a space elevator! Ethical qualms thus reassured, the only remaining difficulty was the significant number of people that didn’t want to go. Removing people against their will was a non-starter—we weren’t going to do this if it demanded blood on our hands—our future voyage, as mankind, could not begin with a mass murder.

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The problem was picked at—turns out that any one past menopause wasn’t a problem, anyone too young would be legally required to go with their families, and most adults that didn’t want to go weren’t all that ambitious. Holdouts were informed that most factories and industrial facilities would be destroyed as a final, helping hand on Earth’s long voyage to its next sentient explosion.

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Station V-5:

Great, curved windows showed the glowing, blue ball with the white stripes. There were less than a hundred-thousand humans remaining on our old playpen—scattered widely enough that they’ll never join up, in small enough groups that inbreeding will doom them, if it isn’t something else first. What reasoning could be done had been done—they know the same facts. They’re just downright ornery—who knows? Maybe that’s the last cut of the umbilical—shedding the downright ornery, those so well adapted to their cradle that they will die in it rather than be discomfited.

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I think of the billions of us out here, a fledgling civilization, not even ready yet to pass across to neighboring stars—and how long it will take us to fill up our new home and suck dry the solar system’s vast resources. And I wonder if it will last long enough for humanity to reach for the stars.

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Happy Birthday To Me!

rapidly expanding supernova ejecta.

rapidly expanding supernova ejecta.

Today being my birthday, I was sung to quite a bit. It’s a nice song, but I went ahead and played two improvs of my own: ‘Happy’ and ‘Birthday’. I hope they sound happy–I certainly felt that way while playing them.

Happy

Happy

 

Birthday

Birthday

 

 

SuperNova

SuperNova

 

Surprise, I Run This Hell-Hole!

dali1

 

Friday, January 31, 2014             8:59 PM

Unfortunately, my PC’s sound system is not up to drowning out “Undercover Boss”’s final reveal moment in the next room. The unctuous ‘boss’ is being patrician in stages, ticking off each of his encounters with the female employee and the ‘prizes’ that come with each so-called lesson he’s learned in ‘his time with her’ (a condescending angel in the lower muck of the masses, I guess) which I couldn’t hear clearly but were obviously greater and greater ‘gifts’, judging from the female employee’s greater and more tearful outbursts of thanks and disbelief with each new debt paid off, new car given, and all culminating in her promotion to some heavenly post within upper-middle management.

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I have two problems with this noise blaring through from the TV room. Firstly, it’s mostly men bosses and female employees—just as well since a female boss would not need to ‘learn’ that it matters how the staff are treated; that not everyone can charge off whatever comes along on the old Amex card; or that human nature creates office politics like air comes from trees.

Secondly, it seems to encourage an attitude of ‘classes’ of people—something that is never acceptable outside of the workplace. Most bosses take advantage, consciously or unconsciously, of the fact that employees aren’t actually answering a bosses questions so much as answering the question ‘Do you want to keep working here?’’ When the boss smiles, the employee smiles back—what in hell else is he or she supposed to do?

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And no acknowledgement is made of the fact that of the many millions of ‘employees’ (AKA people) who are not appearing on “Undercover Boss” this evening—that all the fairest and rightest things gone awry in their lives, find their only succor in daydreaming about being this poor working girl who is brought to tears by the idea of living without fear and want and injustice (or, at least, with less fear and want and injustice.)

Besides, all this ‘reality-TV’ stuff gets my goat—people, like Heisenberg’s sub-atomic particles, change their behavior as a function of being looked at—and these programs are the best evidence of this theory I’ve ever seen. Not so long ago, most citizens would back away from the idea of being on camera—it is only with the decades of reinforcement that TV equals money, that celebrity equals money—people nowadays are actually becoming sociopaths to achieve this new ‘goal’ which, only a generation or so ago, required professional people be well-paid to even consider doing. Comedians are laughed at in theaters and on TV, around the world, for a virtual eternity—how many of us are comfortable with that idea? Not to even mention paparazzi…

20120801XD-NASA(Chandra)- supernovaInSpiralGalaxyM83

Rowynn | Subjective

Rowynn is the Cianflone Bros.

Richard and Peter Cianflone (fresh off the plane from their whirlwind European tour)

Rowynn | Subjective

Richard and Peter Cianflone’s most excellent CD!

“Rowynn | Subjective” is Brand New….

Buy Now–show your support!

must kill!

The Brothers Cianflone (In a former Era)

(or get it at Amazon: “Subjective” from Amazon)

I enjoyed multiple listenings to this wonderful album–yes, they are old friends, but that’s beside the point. I would feel quite an idiot if I were to recommend any music other than my own favorites…

So, enjoy..

Two Wintry Ones (2014Jan22)

 

“It Might As Well” re-posted (2014Jan21)

It Might As Well by Xper Dunn

Three Films just out on VOD (2014Jan14)

Tuesday, January 14, 2014           6:23 PM

Just watched “The Butler”—very inspiring and uplifting. Even Cuba Gooding, Jr. was afraid to make a joke. There’s such a division between me and black people—their last half-century is a history of struggle and strength and dreams and has, for the purposes of this movie, at least, found a happy, even glorious, ending in Obama’s 2008 election as the first African-American President of the United States. My last half-century has been spent resembling the rednecks whose behavior and ignorance have brought shame to all Caucasian-Americans.

But enough about me—every president in the movie is a major star (I can imagine the wrestling agents, maddened by the blood-scent of a good cameo role). As the story of one man going through his life, the only meaty roles went to Oprah Winfrey (Gaine’s wife) and Cuba Gooding, Jr. (White House co-worker). There were many characters in passing, which I didn’t even get a good look at before their brief time on screen ended, but whom I learned watching the ‘Cast’ credits, was over-stuffed with actors and actresses who wouldn’t normally be seen in bit parts.

I also watched “Enough Said”, James Gandolfini’s last film, which also starred Julia Louise-Dreyfus, and in which both are confident, comfortable actors with a great script. Humorous, but not cringe-worthy—and I think that’s a rare compliment among Hollywood’s recent romantic comedies. Granted, the two star-crossed lovers are divorced fifty-year-olds—but as a fifty-something myself I can tell you that it was a much-appreciated crumb thrown in the direction of we ‘old people’.

Last night, I screened the current remake of Stephen King’s “Carrie”, which kept me awake until 3 am, but not because I was scared. Perhaps I was put off by the demonstration of how mean girls of today torture their classmates—worlds away from 1970s practices, but no different in their cruelty. In this case, a reminder that ‘the only constant is change’ was an unwanted one. Modern CGI gave a few interesting moments to the graphics, but they forgot to put anything behind the characters’ faces–which made it very hard to stop seeing them as actors and to get involved in the story.

Almost Made It–But The Battery Pooped Out On Me

Holiday Aftermath (2013Dec26)

Four New Vids (2013Dec20)

Okay, I have a long one here, 20 minutes or so of xmas carol songs–I neglected to sing along, so it’s just the piano part.

Then I did two improvs in that same recording session that I’m calling ‘xmas stuff’ & ‘more xmas stuff’.

And the final upload, a left-over from a few days back, totally non-holiday-related.

Enjoy…

 

 

 

 

 

Easily-Disproved Fantasies

Thursday, December 12, 2013            3:30 PM

“For old Ralph, former top quick draw artist,

lousy guitar player, tossed in the ground yesterday[…]”

                                     — (c) Dec. 12th, 2013 by Dean J. Baker  http://deanjbaker.wordpress.com/

I highly recommend Dean Baker’s blog “Dean J. Baker – Poetry, and prose poems”. I read this today, from his poetry-blog, and it struck me how my take on these words would differ from that of others’. You see, I’ve been playing lousy piano for most of my life, and I’m proud of it.

We bad musicians are an elite few—we cannot restrain ourselves from playing badly, figuring lousy music is better than none—we don’t concern ourselves with bad reviews because we’ve never gotten a good one. (O, sure, you get those fake good reviews from people who love you—but they only highlight the lack of enthusiasm amongst strangers.)

It doesn’t surprise me that Old Ralph was homeless—we lousy musicians are easy prey amongst the people that face reality, that have black and white judgments on things—we need our dreams and we don’t see any great value in tearing them down. We dislike the smart-alecks who insist that hungry is hungry and cold is cold—as if we have never been hungry and cold (or, as if they ever had been).

It is the voice of fear. Yes, fear has its place—but I’m convinced that we’ve taken ‘fear’ into a strange, new place. We’re not concerned so much about climate change, but we fight like dogs over water rights. We’re not concerned so much for fundamentalists who endorse ignorance over curiosity, but we argue late into the night about why God created us 10% homosexual and how we should treat that 10%.

We witness politicians legitimize fear with legislation. We see capitalists use our fears against us. We see major faiths enshrine age-old fears. And more and more we see the powerful super-wealthy advertising their most cherished fears as if they were common sense—actually spending money to form puppet NPOs and buying airtime to spread their solipsisms from coast to coast.

We can never go back, either. When society makes a technological advance these days it is pre-formatted to fit in with the existing tech (think USB ports). To fail to use the new, next thing is to be instantly mired in obsolescence. High-finance types and legislators use this to their advantage—if they can put in a fix, the world goes by too fast for anyone else to undo their treachery (think the ‘derivatives market’). And the truly gigantic egos that struggle to keep their hands on that tiller—well, their interests aren’t exactly congruent with the 99%.

But I digress. Shying away from advanced tech, or circumventing tech altogether, as the Amish sometimes do, is only protected by the massive civilization that surrounds them—this is a dead end, as it would put us even further under the sway of the top of the pyramid. See ‘hippy communes’ for more information regarding the abuse of power in a small community—and how it makes just as much trouble as the super-wealthy do in their element, i.e. world domination.

Thus we are disabused of the fantasy of idyllic retreat. Pollution, de-forestation, and gorging on non-renewable resources are all in fast-forward mode. We can’t turn our backs on the entrenched powers-that-be, because they are rushing pell-mell towards the destruction of the planet. And speaking of speed, this situation isn’t static—the human race has jumped onto a speeding, out-of-control train—we have to fix things with one hand as we hang on for dear life with the other.

Which brings up another problem—we already have a lot of problems, many of them involving hunger or hatred, and we can interrupt any effort to alleviate one of those problems simply by pointing out that some other problem is being neglected—the politicians keep us running in circles while little change is realized. We now have a full panel of distractions (other problems) the number of which is so large that conversations may go on for days without reaching any clear point.

So, yes, I say that maintaining our dreams is invaluable—and this applies to easily disproved fantasies as well—because modern problems surround us, threaten us, every damn day. We must do what we can, try as we might—in spite of our society appearing to head full-speed towards its own destruction—and in that struggle for change and the struggle to survive, to care for our families and their futures, we need a little rest stop now and again. If I pretend to be a piano player, where’s the harm? If I was trying to interrupt a concert at Carnegie Hall so I could play for the audience myself—well, that’s just plain crazy—and I am by no means endorsing crazy (another time, perhaps). But if I just play to myself there’s no reason to cure me of that delusion other than cruelty or spite.

And so I mourn old Ralph, the lousy guitar player—and I mourn the loss of his brave example, playing guitar to soothe his soul — even when others didn’t applaud.

Drawings on Request

Saturday, November 09, 2013             7:15 PM

_*+*_X P E R _*+*_ D U N N _*+*_*+*_X P E R _*+*_ D U N N _*+*__*+*_X P E R _*+*_ D U N N _*+*_*+*_X P E R _*+*_

Start of commercial announcement:

Artistic Drawings on Request – 15 Bucks Each

 

(No Payment until Fully Satisfied – Free Gift with Purchase)

The world-renowned artiste, Xper. Dunn,

is open to all comers

 

Your drawing may be something specifically commissioned—

-OR

You may say, “Surprise me.” –in which case a suitable drawing will be committed at the draughtsman’s discretion.

 

Either way, it’s still only $15—

Don’t miss this limited time offer !

email now: xperdunn@optonline.net

 

{And tell your friends.}

:End of commercial announcement

_*+*_X P E R _*+*_ D U N N _*+*_*+*_X P E R _*+*_ D U N N _*+*__*+*_X P E R _*+*_ D U N N _*+*_*+*_X P E R _*+*_

The above is a potential posting to generate revenue.

I liked ‘five bucks each’ because that was my first sidewalk art festival price, back when I was fourteen, in Bedford Hills, 1970. But it presents a conundrum –packing and shipping are gonna run me darn near $5—and that’s only domestic—my international friends may be loss-leaders—no, not may, they’ll definitely go over $5. So I should make it $10—that way I’d end up with about five bucks net apiece.

So, now my whole idea is screwed—if I have to charge over five bucks, the question becomes, ‘What are my drawings worth to the average consumer?’ the answer to which is, ‘Nothing, if not sentiment or curiosity’—which begs the question, ‘How would ten bucks, paid by a FB friend, be any different from pan-handling?’ Having reached that cul-de-sac, I’m forced to ask myself if I really believe my drawings are worth money?

I never really have. They’ve always seemed both more and less than any price—something I did for people, as a favor or a gift. But I want to build some kind of mental scaffolding that will make the drawings seem worth the effort, outside of my own ambitions (which I long ago fulfilled—as anyone who has found happiness in life can say) thus I’m left with the problem of how much would be a seeming pittance for my hoped-for customers and still pay its own freight, as it were.

Ten dollars is the best figure from that point of view—but there’s a funny thing you learn in advertising—if you only charge a fraction of what the thing usually sells for, no one will buy it because they’ll assume it’s no good! This actually happened to me once, when I created a marketing-demographic-by-zip-code program for back-end analysis (go ahead, make your jokes). At the time, inferior programs from specialty companies went for $15,000 to $30,000 a pop. We offered ours at $500 and no one bought it. We persuaded a client to do parallel mailings, to match us against the two top alternative products—and the results showed that our product worked better. And even with that proof included in our sales pitch to clients, they still stayed away in droves. We raised the price to $5,000 and people started buying it—sweardagod.

So, now the question becomes, ‘If I’m asking ten bucks for a decent work of art, aren’t I kind of guaranteeing that only the pitying will buy it?’ I mean, where’s my sense of self-worth? I almost have to ask more than ten bucks, or I’d be insulting myself, in public, for no good reason. So what, twenty, twenty-five?

Yeah, but then it’s no longer a pittance. If I still had a steady hand, I’d offer to do portraits—but I found likenesses difficult enough when I was in full health—trying to do them now would most likely result in a caricature—and few people appreciate having to pay to be insulted.

Which reminds me—I need to somehow say that I don’t do requests in the specific sense, only in subject matter—again, I’d need better physical self-control to realize someone else’s visions on paper. But I can do landscapes, or a picture from tales or myths, general stuff—the more general the better. And heck, why commission a picture when it’s something you can already see in your mind, anyhow?

So, that settles that, ten bucks it is. I’m not going to be pushed around by control freaks who want me to draw their pictures instead of mine. Wow, I’m starting to remember why I stopped drawing—it’s not the work so much as the worry. Better make it $15.

Okay, my fellow bloggers and bloggettes, any comments, criticisms, suggestions, warnings—all are gratefully welcomed—please help me design a nice little poster for me to post. Some sample drawings are included below for your perusal.

Monkeys On The Bed:

Snowmen Finger Puppets:

Bird In Sky:

The Magic Kite-Tail:

Pumpkin Carving:

Tree-Dragon:

Nightmare:

Flower:

Rhino-Forte:

The Day The Planets Came Home:

 

 

Backlog

I’ve just been catching up to myself–all recordings from the past eight days have now been processed:

 

Hope you enjoy….

Graphics Explosion

Okay, two new improvs and a look at some of the artwork contained in my video uploads:

GRAPHICS:

Back in the I-beginning, museum sites had no restrictions on downloading graphics of their paintings, sculpture, etc.

Back then, it took minutes for a hi-res graphic to download off a phone jack ISP, but I knew that someday the doors would all be locked–so I downloaded graphics like an obsession. Nowadays, security on graphic image files is pretty tight. It’s all ‘information’ now, and information is ‘owned’ now, too.  But I don’t commercialize my sites, so nobody looks too closely. Also, there are special programs like that of the Rejksmuseum in Netherlands, which allows a user to download graphics of their masterworks for non-commercial use. I still grab stuff off the Google-Image search, but I have to be more careful about snagging something off of those new ‘graphics by fee’ sites–one of them threatened me with legal action a few weeks ago!

Anyhow–here’s some of my latest ‘artwork’ in service to my YouTube channel uploads, and the original files I used for graphics backgrounds. You’ll notice that I over-lighten or over-darken these paintings to make my Text stand out and be legible.

20131019XD-Improv-GYup_01_Art-HorseLexington-1968-Good

20131019XD-Improv-GYup_02_200_Currier_&_Ives_Ready_For_The_Signal

20131019XD-Improv-GYup_03_No_Known_Restrictions_Horse_Racing,_Currier_&_Ives_Lithograph_1890

20131019XD-Improv-GYup_04_Trotting_Cracks_on_the_snow

20131019XD-Improv-GYup_05_english_hunt_fence

20131019XD-Improv-GYup_06_Hunter

20131019XD-Improv-GYup_(CreditsCARD)

20131019XD-Improv-GYup_(TitlesCARD)

20131019XD-Improv-HYup_(CreditsCARD)

20131019XD-Improv-HYup_(TitlesCARD)

20131022XD-FitzWllmVrgnlBk_XV_Robin(TitlesCARD)

20131022XD-FitzWllmVrgnlBk_XVIII_BarafostusDream(TitlesCARD)

20131022XD-FzwlmVrgnl_17thCenturyEnglishMusic_01

20131022XD-FzwlmVrgnl_17thCenturyEnglishMusic_02

20131022XD-FzwlmVrgnl_17thCenturyEnglishMusic_Barfastus_s_Dream_01

20131022XD-FzwlmVrgnl_17thCenturyEnglishMusic_Barfastus_s_Dream_02_Baschenis_Musical_Instruments

20131024XD-Improv-Factory(TitlesCARD)

20131024XD-Improv-PrototypeX(CreditsCARD)

20131024XD-Improv-PrototypeX(TitlesCARD)

20131026XD-Improv-AdAstra(CreditsCARD)

20131026XD-Improv-AdAstra(TitlesCARD)

20131026XD-Improv-Aspere(CreditsCARD)

20131026XD-Improv-Aspere(TitlesCARD)

20131026XD-Rijksmuseum_MyStud_Art-Nouveau_interieur_anoniem_1890-1910

20131026XD-Rijksmuseum_MyStud_Delftsche Slaolie-Jan_Toorop_1894

20131026XD-Rijksmuseum_MyStud_Het_stadhuis_op_de_Dam_in_Amsterdam-Gerrit_Adriaensz-Berckheyde_1672

20131026XD-Rijksmuseum_MyStud_Portret_van_een_vrouw_tussen_bloemen-Eva_Watson-Schütze_ca_1910

20131026XD-Rijksmuseum_MyStud_Seated Cupid-Etienne-Maurice_Falconet_1757

201320811XD-PreRaphWomen_GoldenTrio

20131026XD-Rijksmuseum_MyStud_Mantelpiece_w_relief_of_Paris_n_Oenone-Jan_Baptist_Xavery_1739

A Pretty Good Day…

I got two decent improvs out of today:

 

 

 

You Are Everything And Everything Is You

Siren-UofVTc036

I feel like I must have done something wrong. It just came to me that I’ve hardly ever cared about anything but music. I used to draw and paint to pass the time—I was good at it and I liked being able to impress people—but in the end, it wasn’t something I had to do. Same with reading and writing—a fantastic way to spend time—and it always took me away from the most unbearable environments—in the same house with an arguing family, being a brat on a bus full of brats, being stuck on a long line, and others. So I draw, read, and write here and there—but there’s only one thing I have to do—listen to, and play, music.

Ulysses-sirens-Draper

From that perspective, I can visualize my whole life, my jobs, my social interactions, my buying habits—as one big structure whose purpose is the perpetual availability of music to listen to, and a piano to practice and play on, and a stack of songbooks to sing from. Don’t get me wrong—many of my hardest efforts were in service to my Claire and my Jessy and my Spence. But anything I do for myself is unfailingly music-related. Nothing else has that feeling of obsession that I just can’t shake.

SirensBoutibonne

Unfortunately, I was not blessed with any talent for music—in general, I’m pretty awkward—and at piano, I’m markedly so. Any slight ability I display now, at the age of fifty-seven, is due to daily practice since the age of fifteen. And whatever ability that may be, it is easily out-shined by any toddler with musical talent and a few weeks of lessons. Do I have a great knowledge of music? Yes, indeed. And do I have a familiarity with music history that goes beyond that of nearly everyone? I do. But I’ll never be a musician, in the normal sense—I must eternally satisfy myself with my own puny capacity, and my improvisations (in which I attempt to make strengths of my weaknesses).

pygmalionNgalatea

Thus, there is a Zen aspect to my music-making—I must see my music as one thing and ‘real’ music as another. Otherwise, I’d have to give up the piano. It makes for a unique situation—there aren’t many pianists who practice every day, but never perform in public, never collaborate with other musicians, and are still waiting, forty years later, to get ‘good at it’. But that it exactly my case.

odsirens

The one thing that remains invisible to everyone else is the satisfaction I feel when I’m playing improvisationally—every day, I imagine that today’s improv is tremendous. Most days, I have a camcorder running and when I see the playback or burn a CD to listen to it, I hear something that is not at all tremendous—in fact, it stubbornly sounds like me playing badly—it’s mystifying.

persephone

I’m lucky, I guess—when I was young, I was very bright—I got used to being sure of the right answer, even when everyone else thought differently—it is a very good attitude—I wish I could share it with people who didn’t do well in school, who became averse to non-conformity and repelled by new data. I always feel sorry for people who disqualify themselves from learning, reading, listening to classical music—someday they’ll run schools so that the slower kids will have as much respect for their own viewpoint as they do for the teacher’s—but I won’t hold my breath.

herculesL

So much of my life is a hot-house flower—it can only survive because the conditions are perfect for it. I don’t have to spend the majority of my time at an eight-hour job every day, because of Disability. I have a very fine baby grand in a living room that really only rates an upright. I have the advantage of having been mentored by Matt Glaser in junior high, and Gil Freeman in high school. I was raised to sing Christmas carols and Boy Scout campfire songs, and to sing along with the AM radio pop tunes of my day. As the cherry on top, listening to records of both Keith Jarrett and George Winston taught me, at an early age, that playing the piano can be as much a cathartic experience as a performance.

Godessette

When I was a teenager, in the heat of a summer day, I could put LPs on the record-player—Glenn Gould playing the Well-Tempered Clavier, Books I and II, by Bach—and it would have nearly the same effect as an air conditioner—the cool, geometrical perfection of Gould’s Bach affected me in a physical way. Tchaikovsky’s 1812 Overture would make my blood hot and ready for battle. Silly little pop tunes could make me feel like my heart was breaking (and I loved having my heart broken) or that I was ‘king of the world’.

A-Sirens-Berlin

My sincerest sympathy I reserve for the people that see music as one thing—as rap, or as Bob Dylan, or as Theophilus Monk. Even confining oneself to a single genre is, to me, a tragic waste of potential experiences. I like medieval music, Bulgarian folk choirs, baroque recorder music, the Beatles, the Beach Boys, Enya, Michael Hedges, Carol King, Randy Newman, Leroy Anderson, John Williams (the composer and the guitar player who made the name famous first). I like the Archies, the Partridge Family, the Monkees, Air Supply, Bread, Kris Kristofferson, Andrew Lloyd Weber, Barbra Streisand, Harry Nilsson, Artie Shaw, Glenn Miller, John Philip Sousa, the Roach Sisters, both Guthrie’s (Woody and Arlo), Judy Collins, Burt Bacharach, and just about every other ‘bad’ musician overlooked by ‘serious musicians’.

CombWBattle

I’ve seen every musical movie ever, I watched Bernstein’s TV programs on music appreciation when I was little, I listened to every Nonesuch record in the library, back when Nonesuch produced LPs from ‘Bulgarian Folk Music’ to the ‘Koto Music of Japan’. Music is so much a part of my life that if it was excised from my history, my biography would read: “I am born. I get married. I have a family. I die.”

fantasy-fairy-sirens

And that being the case, it seems rather unfair that I should be without even a hint of musical talent—but nobody expects life to be fair, and for good reason. I think it has been good for my character, such as it is—overcoming failure every day is character-building, if nothing else. My dreams of being a great musician would probably lack their zest if I had the slightest idea of what being one is really like. Isn’t that strange? On the plus side (and I say this all the time) it’s good to have a life-long pursuit that can never be completed. I know that Yitzhak Perlman could say the same thing—but being the world’s greatest living violinist, he doesn’t have to focus on that particular fact the way I do.

Boreas_s1

The Bitch

Thursday, September 26, 2013            1:58 PM

Everybody loves a bitch. The Stones had a big hit in “Bitch” (Sticky Fingers 1971) I think, in large part, because we kids loved to sing along. And it’s just a fun word to say—“bitch, bitch, bitch.” We love them. We go crazy over them—especially the mega-bitch. A mega-bitch is a completely evil, incredibly hot woman, such as Shannon Doherty’s role as Brenda Walsh in the series “Beverly Hills, 90210” (1990). Women are drawn to a bitchy character because she is self-determined and adversarial; men are fascinated by a bitchy character because no matter how evil her mind, heart, or voice—she’s still a woman, and men, by and large, want women.

I’d venture a guess that the proliferation of old witches and crones in our folk stories were a product of male story-tellers who were more comfortable with a bitchy character bereft of any hint of fecundity—but I’m no archeological psychologist, I just know myself.

I’ve just had a rather embarrassing email exchange with a writer friend, whose first serialized on-line novel I’d found instantly engaging and compelling. Some poor schlub’s horror-of-a-girlfriend character was a constant spur to my interest. But when she debuted her new novel’s first chapter, set in a sort of antebellum Edwardian atmosphere, I instantly attacked her for it, saying the whole thing was worthless, a pile of junk. (Jumping the gun is a favorite hobby of mine.)

But when, at her urging, I went back and re-read the chapter, I suddenly found, by focusing on it better, that it was a well-paced, tightly written piece of fiction—so, feeling like a jackass, I sent her my apologies. I was confused—it was well written, yet it repelled me at first—and even having found that it was good, I still lacked any inclination to read more.

But this morning it came to me. There was no bitch. Moreover, there wasn’t a bad-guy or an evil influence in sight. When I had my health, and was a terrible bookworm, I would casually allow myself (and the author) the first 150 pages as a ‘gimme’. I’d had plenty of experience with writers with a slow burn—and they were often the best, if I could ride out the slow start.

Now I have a more modern sensibility—I need a quick fix. I need coercion, I need conflict, I need me a bitch. I truly miss those good old days when I could re-read Robin Hood in that wonderfully drowsy ‘dear reader’ kind of style; I could re-read the Iliad and be charmed by the interplay of human drama and Jovian fate and the symbolism and the repeated phrases that made it as much a chant as a story. I read everything and anything—and fast—I averaged 1.3 books a day—unless they were little things of 300 pages or less. Before I lost my health, I got to where I preferred only 700+ page-books, like King, Follett, Clancy, and Ian Banks. Anything less than that frustrated me—I would hardly get comfortable in the writer’s world when I would find myself reading the exit sign: “The End”.

But today, I mostly do TV. When I do commit to a book, I start reading like I always used to—but then I quickly find my neck aching, or my eyesight blurring, or just a mental inability to follow along as I read. I put it down, wait an hour, try again. In the last half of the book I will become transfixed, and I’ll wonder why I don’t still do this all the time. But the next day, after I finish the book, I’ll have blurry vision most of the day, and little aches and pains and spasms from holding open the heavy book and from focusing my eyesight (through magnifying glasses) on the page for hours at a time.

So, long story short, I don’t read much anymore. When I do, I get impatient of any settling-in type beginnings and intolerant of any slack in a storyline. I prefer to be left wondering to being given more than I need. I’m become the same audience as the illiterate—just show me eye-candy with music, please.

And the end result is a media with a narrow range, stories that introduce conflict from the first sentence and keep it hot right until the big car crash (with explosion) at the end. All the best told stories are the opposite, they build and build a world around you, inserting conflicts at strategic points, adding detail and suspense and character development with the tidal flow of their story’s pace—only with such subtle storytelling can an artist ever build up to a tidal wave far more awesome than a mere car crash—but without the leeway to do this, merely good writers can outperform the great writers, making wam-bam-thank you-ma’am plotlines the industry’s default quality.

Fortunately, the treasure house of the past is still easily accessible to anyone with a library card. But be careful to read the book before you see the movie. I had read “The Lord Of The Rings” three times before Peter Jackson got his green light—so the freeze-dried husk of the CGI version will never mar my memories of the happiness I felt marching along with the Fellowship through Tolkien’s worlds. Or stalking Clancy’s cold-war villains from one end of the Earth to another. Or shivering from my immersion in the horror of King’s nightmare town, Kerry, Maine. How I wish I could still spend whole days there, day after day.

But this isn’t about me. My writer friend has brought into focus a dilemma that all modern writers face—subtle writing is to small audiences as simple writing is to big audiences (and big money). And I’m not suggesting that today’s writer has to ‘dumb-down’ their writing to be popular—I’m saying that the leeway enjoyed by earlier writers has contracted to a fine point—a tightrope that must be walked. Mass audiences actually require intelligence in their entertainment—but it must be a carefully monitored dose, administered with precise timing and dosage, from moment to moment in their favorite tales.

Stephen Spielberg cracked this code, creating movies that blew us away, while not insulting our intelligence. The use of levity is essential is his formula, but he also kept the mayhem and the fear going at all times.

And perhaps most restrictive of all, today’s popular stories must start with high drama—either dread, rage, sublime ecstasy, or just plain explosions. My writer friend, in beginning with a busy, happy family scene, had failed to grasp me by the throat—but was that her failing, or mine?

Wood fired Bird houses and candle holders

The ceramic stylings of our good friend, Mrs. Nancy Holmes!

Wood fired Bird houses and candle holders.

via Wood fired Bird houses and candle holders.

Glad To Be Unhappy

“Look at yourself. If you had a sense of humor, You would laugh to beat the band.
Look at yourself. Do you still believe the rumor That romance is simply grand?

Since you took it right on the chin, You have lost that bright toothpaste grin.

My mental state is all a jumble. I sit around and sadly mumble.

Refrain:        Fools rush in, so here I am, Very glad to be unhappy.

I can’t win, but here I am, More than glad to be unhappy.

Unrequited love’s a bore, And I’ve got it pretty bad.

But for someone you adore, It’s a pleasure to be sad.

Like a straying baby lamb   With no mammy and no pappy,

I’m so unhappy, but oh, so glad.”

                      -Lyrics by Lorenz Hart

Nowadays, there is some shame attached to ‘unrequited love’. Where it once masqueraded as a possibly noble state, i.e. Platonic love, it is today more closely associated with stalking.

Many of the love songs of the twentieth century describe stalking behavior as a normal recourse for a person ‘in love’. Now, when someone says they’d ‘climb the highest mountain and swim the widest sea’, they’re as likely as not to have the cops called on’em.

In Lou Christie’s “I’m Gonna Make You Mine” (lyrics by Tony Romeo) the singer threatens to :

“try every trick in the book

With every step that you take, everywhere that you look

Just look and you’ll find

I’ll try to get to your soul, I’ll try to get to your mind

I’m gonna make you mine

I know I’ll never give up, I’m at the end of my rope

From the morning till supper time, you’ll find

I’ll be waiting in line, I’ll be waiting in line..”

But my favorite part is when he sings:

“I’ll be a hard-lovin’, pushin’ kind of individual

Knockin’ night and day at your door

You’ll have to turn me away like an indestructible force..”

Now this song was a hit in 1969 and had no angry cards and letters coming in from either boys or girls who found it offensive—this was a normal lyric for the love songs of the time. Lou Christie, himself, was considered a creative and cultured musician, hailed by John Lennon as an original songwriter and artist.

Two of Christie’s songs are even based on Classical themes—

his “Rhapsody In The Rain” was based on Tchaikovsky’s “Romeo and Juliet”:

http://www.youtube.com/watch?v=HatwnJH9De4

and Lou Christie’s  “Painter”  borrowed another melody from classical music – this time from Puccini’s opera “Madame Butterfly”:

http://www.youtube.com/watch?v=SVRvuExNv9M

But then, Lou Christie’s first hit, his big break (written in partnership with Ms. Twyla Herbert) came up with one of the most chauvinistic lyrics ever written :

Lou Christie – “Lightnin’ Strikes”

(Song by Lou Christie and Twyla Herbert)

“Listen to me, baby, you gotta understand

You’re old enough to know the makings of a man

Listen to me, baby, it’s hard to settle down

Am I asking too much for you to stick around

 

Every boy wants a girl   He can trust to the very end

Baby, that’s you            Won’t you wait

 

[but ’til then

When I see lips beggin’ to be kissed

I can’t stop          I can’t stop myself

Nature’s takin’ over my one-track mind]

 

Believe it or not, you’re in my heart all the time

All the girls are sayin’ that you’ll end up a fool

For the time being, baby, live by my rules

 

When I settle down                I want one baby on my mind

Forgive and forget                  And I’ll make up for all lost time

 

[If she’s put together fine        And she’s readin’ my mind

I can’t stop          I can’t stop myself]

 

There’s a chapel in the pines    Waiting for us around the bend

Picture in your mind              Love forever,

 

[but ’til then

If she gives me a sign              That she wants to make time

I can’t stop          I can’t stop myself]

 

Lightning is striking again      Lightning is striking again

And again and again and again         Lightning is striking again

And again and again and again..”

I feel this song gives a very apt description of the cognitive dissonance suffered by teens and young adults of both sexes during the 1960s—much as it had been for centuries. This ‘good’ girls and ‘bad’ girls dichotomy offered no mathematics to explain how a young man could have as many sex partners as his young and ‘uncontrollable’ hormones drove him to, and still have a ‘pool’ of good, chaste girls standing by for a wedding at some future date.

We are left with two possibilities—all girls were ‘bad’, but discretely so, and shed that persona when some ‘spent’ boy finally proffered a diamond ring—or—all boys sowed a great deal less Wild Oats than they advertised.

Sarcasm aside, it was a clenched society that was quick to damn a woman for being indiscrete, and to forgive a man for not controlling his impulses, and to accept fairy-tale-like absurdities as the status quo. For a man to say he would ‘Lose his mind’ over his affection for a woman was considered very romantic, sort of congratulating and condemning the woman simultaneously for her ability to make a man ‘lose control’.

There are so many differences in our modern thinking, it’s hard to know where to start.

First, there’s the assumption that a man can’t be held responsible for sexual predation if he’s been overly excited by a woman. Today we call that date-rape—and I’ll tell you why. It would be pretty tough to look the other way when a man gets angry enough to blow up a building—and in modern society, if you have anger issues, you will be offered counseling—but men are still held to account for their behavior.

Second, the whole ‘get married and have kids’ thing has no place in today’s love song lyrics—Beyoncé’s “Put A Ring On It” gets close, but it’s also a sassy goof, aimed at boys with both jealousy issues and commitment issues. Once the oldie “You’re Havin’ My Baby” left the charts, the mechanics of Chapel Bells and Gold Rings and side-by-side burial plots became taboo in poetic longing and love lyrics.

Thirdly, and perhaps most importantly, few of today’s women would consider marriage their primary goal. Few of today’s women would consider their lives ruined by losing their virginity—on the contrary, it seems the beginning of adult life for most American women, rather than the end. And in this new societal view, “My Girl” becomes overly possessive; “Only You” is too obsessive; and “Blue Moon” comes off as just needy. Still, Stephen Stills’ “Love The One You’re With” takes the new view a little too far—fidelity of some sort is still considered the polite thing—at least in women’s minds.

The exaggerated nature of love lyrics has become overt—the old songs can still be enjoyed as the passions and urges going on in a lover’s mind, just so long as no one mistakes those hyperbolic pronouncements for healthy feelings.

Rap has similar Un-PC lyrics—but the street has become a two-way. Women have embraced their objectification, not as ‘the way of things’, but as ‘the way of men’, or rather the foolishness that goes on in a man’s mind. Further, some female vocalists have turned that meme against us, pointing out how easily men can be manipulated.

Empowerment of women has driven the young male vocalists to an excess of barbarism—not as a cage for women, but as a display of maleness. The ‘bitches and hos’ lyrics are defiant, not insulting—as seen in the fact that women have themselves embraced those terms, just as African Americans have embraced the n-word as something they share with each other.

The grit of reality abides—the above comments are observations on the art of song lyrics, not on daily life. Prejudice and exclusion persist—but the popular music of our times proclaims the end of these old biases, in times to come.

The Vagaries of Emotional Cycles

Today was a rest day. Not that I actually schedule rest days—I only have days of high activity, high productivity days, terrible days, and rest days. I like days when I’m active—I get up and move around, even go outside; I talk to people; I do the crossword; I write, draw, or play the piano—anything that rouses the circulation at least a little, anything that puts some spark in those brainwaves.

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Such activity inevitably leads to a productive period. I’ll record some piano music; I’ll write op-ed-type essays; I’ll scan in some old artwork or I’ll photo-shop my artwork and my photos, whatever I usually do when I feel like I’m involved in life, even if only peripherally. The ultimate goal is to ‘Post’ things to my online friend-circles—a finished recording, a proofread essay, some graphic artwork of my own creation. Not everything I write gets posted—and I’ll tell you why I’m glad about that. If I was comfortable posting everything I wrote, I wouldn’t be getting at the heart of things that are important to me.

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And that’s probably the same reason I can’t get a toe-hold on any fiction-writing—if I wrote about things I care about, things I felt are too personal to share with ‘the public’, even in fiction form, I would feel too exposed. Plus, all my characters would be transparent ‘takes’ on the people closest to me—my family and friends. So, even if I was comfortable laying myself open to the world at large, I wouldn’t feel right using people I care about as characters in a story. Sometimes, when I’m reading something, I’ll wonder to myself about the author and whether he or she felt embarrassed about certain scenes or dialogues, especially when it involved recognizable characters from their actual life.

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Anyway, it’s not for me. I don’t think I could write an intimate love-scene and be okay with my children reading it, or my mother, or my neighbors, or really anybody—no, writing fiction is for thicker-skinned people than me. And I see no point to writing fiction that can’t be shared with the world. Still, I can write essays to myself about myself—that falls under the heading of ‘therapy’ (like those letters they tell you to write and then tear up when you’re mad at somebody). And I have felt certain instances of clarity that came as a result of putting my thoughts and feelings into words.

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But I often rant about public issues and historical perspectives and my ideas about what’s going on in the world—and those I can gladly post. Likewise, a lot of my piano recordings don’t make it to YouTube. Some days I record 45, 50 minutes of piano, but have to edit out everything but the six-to-twelve minutes of Improv (when there is an Improv). And my drawings, too, are edited and selected for posting, with many being too poorly drawn or too weird to share with the world. My productive days always follow my active days, but sadly my active days don’t always result in productivity—a lot of being good is working and practicing, and I’m hard enough to listen to when I’m recording intentionally for a YouTube posting!

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That’s my active days and my productive days—then there’s the recoil. After posting a particularly felicitous piano improv, or essay, or poem, there’s a feeling of incompleteness—and the better I feel about a post, the more it hurts to watch it just lie there, no likes, no plays, no comments. Some days, when I feel I’ve reached a new quantum-level of quality, I could almost scream, “Why won’t anyone look or read or listen? How can this incredible effort go unnoticed?!?”

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The truth is, I avoid the usual means suggested for building an online following—building my list of contacts and followers, posting my stuff to a site that is a platform for a specific art form, ‘liking’ other people’s posts to get them to feel obliged to return the favor… All that stuff reminds me of my old ‘mailing-list’ days, when very ambitious entrepreneurs would start a catalog mailing just to acquire a list of people who were proven likely to buy something from an expensive (‘high-ticket’) retail catalog. All these tips about networking and building a client base aren’t really new—they’re just new as an online activity. And it’s all salesmanship—it requires the same brain activity as selling cars: the oily friendliness, the tempting of the prospect’s ego, the jabs at the prospect’s sense of inadequacy, and the mind-games of ‘closing’ the sale.

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It’s all hucksterism—and I used to get paid to do it professionally—I’m not even a little bit inclined to do it as a ‘hobby’. Plus, while I knew the techniques of ad-copywriting, targeted marketing, eye-catching layouts, and glossy presentation, I was never good at the face-to-face stuff. I’ve never been good with people, unless they were as guileless as I am—babies and pets seem to love me—big clients and movers and shakers—not so much.

Stigma

So my online followers are few and I have no plans to try to increase their number except through random happenstance. That doesn’t change my despair at having no hits on my latest post, but it does explain how I can hold on to the conceit that I might be good at something, while having no practical indication of that possibility from my ‘audience’ of friends and relations.

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So, productivity must give way to the whiplash of recoil—I put it out there, and nothing comes back—these make for bad days—and that’s over and above the ‘bad’ days of my physical functioning. These are days when I listen to my video over and over, asking myself, “Is it really good? Or am I too close to tell?” And I read my essays over and over. Sometimes I’ll find a typo, or a grammatical lapse—but mostly I just read them repeatedly, asking myself if I’m saying something worth hearing, or am I just making an ass of myself?

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Better are the rest days. These rest days come when I’ve done a lot over a short time span, my fingers are stiff, my mind is fuzzy and I don’t even try to do anything more just yet—and I am still high enough off my creativity-buzz that I don’t think about anyone else’s response to my stuff. I tell myself, “Just take it easy—you’ll be feeling better tomorrow.”

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Artwork for Annual Pig Roast (2013Jul27)

Long ago, in a decade far, far away, my friend Randy owned a big spread up in the Vermont hills–a beautiful idyll with meadows and wood-trails and ponds and streams. Randy made his own pond (and stocked it) but still, he had a pond. On one visit, I designed and built a footbridge over his stream–my one and only engineering project.

rough sketch 1 for Directions Map

I was already losing focus, losing fine motor control in my drawings, and suffering from chronic fatigue, etc. So I would make short visits up there to build bridges and draw flyers, but then I went home and only heard about the huge galas that followed my visits. Randy described one gathering where my footbridge was the access to all the big tents and lean-tos. The bridge was such a big hit that someone eventually drove a car over it. To their surprise, the bridge was unfazed by an automobiles weight. Soon they were all driving back and forth over the bridge–until some wiseguy decided to ‘push the envelope’ and drive a big pick-up across. My bridge was fazed, and no one would ever again build a usable bridge over that stream.

rough sketch 2 for Directions Map

The Annual Pig Roasts were huge affairs. The police citations from previous fests were nailed up on a wall of honor–no party ever got cited less than three times. It was a three-day event–people would caravan in with huge RVs, tent cities, and a host of less-easily described people and living quarters. But the only way to get all those people together was to send out invitations–which was where I came in. The first flyer had a sort of ‘last supper’ drawing of a bunch of cartoon pigs seated at a long table, drinking and eating–the best drawing of all but, unfortunately, one for which I have lost all the art and flyers.

The next year, I would be unable to draw as well, and Randy had to settle for two pigs toasting with beer mugs. The year after that, Randy had to settle for re-using the same art, and just updating the words. This was one of the hardest periods for me–I was becoming a shell of my former self and still believed that I just wasn’t getting enough rest–and it hurt me to have to say ‘no’ when people asked me to draw–they couldn’t understand that my ability had simply dried up and blown away, and neither could I.

If you’ve never drawn a map of directions to a party, be advised that it isn’t as easy as it looks–fortunately (from my POV at that time) a map done properly once need never be drawn again.

final drawing for Directions Map:

There were early sessions between Randy and I as he explained what he wanted the picture to look like…

early sketch 1 ‘party pig’

…and I drew rough sketches to see if we were talking about the same thing.

After fixing upon the figures, we then discussed the ‘scene’:

rough sketch – left-side ‘toasting pig’:

rough sketch – left-side ‘toasting pig’:

toasting pigs

final art

Randy was very kind, always offering to put me and Claire and kids in his House (which he designed and built himself!–the only permanent structure with utilities and running water). Alas, we were raising young kids and I was falling apart inside, so we never did get to see the roasts. (I had been to the very first one, but had spent the two days in bed, sick and exhausted.) Still, they were wonders of the art of hospitality and it’s a shame Randy doesn’t live there any more.

randy’s Invite & Thank You:

Randy has been writing poetry lately, under the URL cloudfactor5.wordpress, and very good poetry, IMHO. You can judge for yourselves at:   cloudfactor5

more art to come…..

The Activity Daisy

Activity Daisy (w/out 'activities')

 

Activity Daisy (w/out ‘activities’)

activity daisy

Activity Daisy (with ‘activities’)

This is one of my many illustrations for “Teachers Update”, a newsletter for teachers K-3, which was published in 1988 – 1989.

“The Years” by Virginia Woolf: A Book Report

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Tuesday, July 16, 2013             5:12 PM

I’ve just finished re-reading Virginia Woolf’s “The Years” and I’m feeling extremely introspective all of a sudden—I wonder why that is? The novel is considered by many to be the crown jewel of her entire opus—and I am certainly not someone who would argue with that—it is a great favorite of mine, as are all of her strange novels, essays—and her biographies!

One is a biography of Elizabeth Barrett Browning’s pet dog, Flush; another is a biography of a creature named Orlando, who lives for centuries and changes sex every time he/she has a fainting spell. But then there is a biography of Roger Eliot Fry (Dec. 14th, 1866 to Sept. 9th, 1934)—a contemporary of Woolf’s and a member of the Bloomsbury Group—which took his sudden death at a young age very much to heart and decided amongst themselves to intrust Virginia with the task of writing his biography. Fry (an English artist and critic who established his reputation as a scholar of ‘Old Masters’ and was an advocate of then-modern trends in French painting, giving it the name ‘Post-Impressionism’) was Woolf’s only non-fiction book. I confess, I haven’t read this biography—or at least I can’t remember reading it, which comes to the same thing.

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The incredible thing about Virginia Woolf is that she successfully dodges all the tripwires of convention and grammar and—while never officially breaking any rules for writing—manages to put down words in the same way that our interior voices do. There is a kind of doom to it—the message seems to be ‘if you want to fully know yourself, be prepared for existentialism’. Self-regard, the hard, ‘objective-ish’ kind (for true objectivity about ourselves is impossible) is a cold end to a lonely journey. Our minds are not such clockworks as we should like to think them; our verbal communications are not so efficient as we would like to think them; our understanding of each other is a worn patch-work of superficial observations, constantly being interrupted by our self-regard.

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Such (partial) truisms are hard won—many levels of self-deception must be breached to even approach such understanding of oneself. Most people have the sense not to go there—but a brutalized and repressed mentality such as the young Virginia Woolf’s is driven by her need to get at the Truth, with that capital ‘T’. Those who should have protected her have attacked her—those who should have been minding her were unconcerned for her—when everything a child has learned is put at odds against a cruel reality, the search for meaning becomes a compulsion.

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Ms. Woolf’s self-awareness was not an achievement per se, it was more like a scar left on her soul by a horrid family. We can comfortably (from seventy-five years after the publication of “The Years”) look back at her amazing artistry as a wordsmith and as an observer of the human race, the community, the family, and the pageant of time’s passing. But she, like Van Gogh, is one of those artists whose tormented life gave rise to supernatural efforts of artistry, yet display through those artistic expressions that horror of real life, that despair over true love and goodness.

I was impressed, as a young man, reading this giant of a novel—as sharp and quick as a dagger, as broad and open as the heavens. As a fifty-seven year-old I can barely enjoy the reading while the knowledge of her suffering hangs so opaquely above every page.

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I Insist On Having A Dragon To Kill by XperDunn (2013July03)

I Insist On Having A Dragon To Kill by XperDunn (2013July03).

via I Insist On Having A Dragon To Kill by XperDunn (2013July03).

It’s Scarier When it’s Real

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It’s Scarier When it’s Real

 

(Pardon this re-post from a year ago–I posted it before I acquired all my new friends and followers.)

(c) April 2013 Xper Dunn

(c) April 2013 Xper Dunn

I would also like to point out the ‘Christopher Dunn’ StreetArticles.com site contains 70 essays/articles on a wide range of current events, scientific and artistic developments, and popular culture. It would be nice if a few people read some of them before they are rendered moot by the passing of time.

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And there is one more thing I wished to point out:

If you read one of my posts, on this site or my others, please remember to click ‘like’ or make a ‘comment’–anything at all that lets me know I’m not talking to an ’empty room’. I’d be so appreciative….

io

Kaleidoscope

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Saturday, March 30, 2013               1:54 AM

Oh My God! When I read back some of the crap I’ve written, I could easily puke. There’s something about writing—in trying my hardest to make myself crystal clear, I muddle about worse than if I’d told it plain. But then I re-read my so-called ‘plain speaking’ and I find it full of vacuous nothingness—in avoiding detail and subtlety, I’ve written the equivalent of ‘Life is like an onion’ or some other such fortune-cookie rubbish.

And what indication has the universe given me that what I write is worth the digital disk-space to store—much less a hope that someone else will come round just dying to read it? None whatsoever—trying to kid myself is out of the question—I may not be much of a writer, but I sure as hell know good reading when I read it. In my normal course of reading a book I make allowances for times when I’m not in the mood for that particular story—or not in the mood for reading, as a past-time, generally.

Granted, that was nearly never in my original life. But even then, I’d be sometimes obliged to start a new book, with a different tone or texture than the one I’d not yet finished. Nothing is so well-written that it is always a pleasure to read—even for a dyed-in-the-wool bookworm like ‘me-point-one’ used to be. And now that I’m just slightly living in comparison to those wonderful days, I still enjoy a book—just not without suffering from the sort of neck-cricks and backaches and blurry vision that less-enthusiastic ‘readers’ like to make a point of complaining about.

And this is the problem with writing—even if it’s good (a big if) it still can make my flesh crawl when mine comes at me suddenly. The pomposity, the mawkish pettifogging, the condescension—I sound like a prize jack-ass. And this would be the same bit of writing I had re-read days ago, immediately after writing it, and thinking it superb!

But I am used to this. Does anyone know the worst thing about LSD? It’s the crash. The heady delirium and fascination with all things is replaced with a hollow, worthless reality that is nothing more than what it has always been—the same thing, day after day, year after year. We don’t normally experience the dread stolidity of life—but the LSD, in simulating the altered perceptions and convoluted thought-patterns of a schizophrenic, gives us a glimpse of a world that seems to be hiding behind the ‘same-ol same-old’ of life. It makes us feel exalted and fascinated by all the colors and sounds of the psychedelicized world—we wander like wondering children in a magnificent amusement park.

Then it wears off—and back comes the flat-seeming world we left from. But now it’s shabby, drab, irritating sameness is put into high contrast—it’s almost painful just to exist without the LSD’s magic. That is the worst thing about LSD—it makes reality seem dreary. The funny thing is, that disappointment lasts and lasts—it isn’t a hangover, it isn’t anything—it’s just the world, the way it’s always been—revealed as the grey, unmusical reality that people get hurt in, get sick in, die in, go broke in, and nothing can be done to stop any of it.

No sense of delight I’ve ever gotten from LSD, or any drug, has ever been worth the cost of that crash—the drug wears off, but the crash lingers forever. It is an awareness that behind all our thoughts and feelings and opinions is a world that doesn’t give a damn how we feel or what we believe—it will still gladly mush us like bugs if that’s what’s going on this moment. Good people get punished. Bad people get ahead. Innocent people get hurt and criminals get away with murder. All philosophy evaporates in the presence of hunger or cold or fear. All happiness comes in an instant and is gone before we have the wits to fully realize we are happy.

So I tell myself that I’m too critical of my own writing—that I’m denying myself the same leeway I grant other authors (and, believe me, many an author has taken full advantage of it—the curse of being compulsive about finishing whatever book I’ve started). I tell myself that perception is a shifty bugger, and if I wait until tomorrow I’m just as likely to see some good in the same writing.

So, like all would-be artists, I spend a lot of time listening to my own music, reading my own poems, looking at my own drawings—always asking, “Is it any good? –and if it is, would I be able to tell?” Many of my proudest creations have given me mal de mer from the eternal rising and falling of my opinion of its quality—it’s a good job that I had a habit of giving away all my drawings most of my life—I’d still be checking them every day to see if they looked okay or not.  And I’m far too busy listening to my piano recordings to waste time on that. As far as the writing goes, I figure it’s good therapy, like a journal or something, so I should keep it up even if I’m positive that it’s all garbage. And some days, I’m treated to a good opinion of myself for a few hours—I actually enjoy some of my writing on those days.

That still leaves a percentage that I’ll always feel embarrassed to have been the author of—but with those I just tell myself ‘nobody reads my stuff anyway, so no biggie…’ One of the many perks of being an amateur. I don’t know how professionals do it—creativity is such a tightrope—if I had to merge it with making my living, I’d be lost. Plus they have to have patience with the jerks that pay for art—you’d think such people would be gracious patrons of ‘art’, but I gather that’s not quite how it works.

But it’s all conditional—one’s faith, one’s happiness, one’s self-confidence, one’s solvency—they come and go as the wheel of fortune spins. The auction price for a Van Gogh will dip and climb depending on the art market. What started as Matt and Trey making silly, irreverent cartoons has become the toast of Broadway and London—a devastating lampoon of a major faith during which, apparently, no one in the audience can stop laughing. People starve. People text while driving. People grow old. People laugh.

Is it not fitting that our mood should also rise and sink from moment to moment, transforming the jumbled pile of reality as would a kaleidoscope, into seemingly perfect geometries of meaning and fulfillment? Can I ever hope to write down words that would improve the life of any who read them? Or can I only hope to interest myself in that conceit as a means of avoiding my true uselessness? And could I tell the one from the other? Do I want to?

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