Journal Entries (May 4th & 5th, 2015)

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Monday, May 04, 2015                                            3:08 PM

Such A Beauty   (2015May04)

I know a woman who is a broth-witch. She takes a mess of crab-claw shells and boils them all day, filling the house with a seaside perfume—and by evening there’s a bowl of sinfully rich shrimp chowder like you’ve never imagined. Or take today, when what looked like the ejecta from my lawnmower catcher, and a handful of various spices, again filled the living room with a multi-layered scent, the subtlety of which hinted at the many ways such a potful could have gone wrong. But when the steam left the pressure cooker, there was a bowl of clear vegetable broth on the kitchen table. I lowered my nose to inhale the steam—paradise. And I’m a meat-broth kind of guy.

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I use to wonder what that woman saw in all those cooking shows—turned out it was a professional interest—she could kill on one of those shows, if she had a mind to.

It’s eighty-two degrees! I have photos from about a month ago—three feet of snow. It may not be climate change, but it’s sure-as-hell hot out there. The bleeding hearts are blooming—the neighbors’ cherry-blossom tree is a pink, humming mob of bumble-bees. The breeze is blowing. This beats snow any day.

It’s a beautiful day. What more can I say? May the fourth be with you.

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**-**-**

Tuesday, May 05, 2015                                            4:07 PM

In Which I Disappear Up My Own Egress   (2015Mar05)

When I type phrases using words like ‘erudite’ or ‘pomposity’ I risk sounding pompous and over-educated. When I employ what I think of as bitter satire I risk sounding childish and flippant. And certainly if I don’t write well, those points become confused with a host of unconnected difficulties. I’m one of those idiots who think that I should bring all my education and emotion to my writing—you’d think I’d never heard of style, much less manipulation.

I blame it on honesty—a concept with which I have much concern. Honesty doesn’t go well with good manners—another concern of mine. Thus I feel constrained in writing what I know—I don’t know anything that doesn’t involve everyone else. Plus fiction (my favorite thing) was, I thought, the ultimate goal—but good creative writing is a process of manipulating the reader and of imagining, well, fictions, i.e. lies. Good fiction writers are good storytellers—they have no compunction about telling tall tales—whereas I’m too hung up on the ethics of both the inventing of entertaining fictions and the recycling of my personal history as fodder for the writing factory.

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I write quite comfortably in this blog. You can’t see the sausage being made—I have to back up and correct every other word because of tremors and generally poor motor control, but the result doesn’t show that. I don’t know—maybe I’m afraid to let myself go as a creative writer—it reveals a great deal about a person. Where I have the courage of my convictions when it comes to sharing my thoughts, as I do in this blog, sharing my feelings is quite another story. A great deal of social posturing is concerned with maintaining a strong front, a poker face, the eye of the tiger, even. Exposing oneself in the writing of fiction feels, for a close reader like myself, very naked-ish—I don’t know if I have the balls.

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What is a story? A young person leaves home and enters the woods, as Joseph Campbell might begin. More modern stories might begin with the humdrum lives of two young people who have no idea they’re about to fall in love. Beyond the adventure/journey story and the love story, there’s the family drama, the saga, the epic, and the mythos—all in various flavors of time period, interlocutor, class, culture, setting, fantasy, psychology, etc. However, there’s been a whole lot of fiction written—and more being published every day. The best modern fiction either lasers in on one aspect of the human condition or else ‘goes big’, interlocking and intertwining several of the above scenarios.

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It’s all become quite huge in concept. Plot-outlined whiteboards end up looking like dense electronic blueprints. Big-money fiction writers use many hands—researchers, writing assistants, an editor or two—and, nowadays, in many cases, aspiring writers try to keep up through involvement in a writing class, a writing workshop, or a writing commune—either geographical or digital in location. While writing still consumes the lion’s share of a writer’s working hours, the idea of a writer working in solitude and sending the finished work off to a publisher is as antique as Jane Austen, who died in 1817. And she was pretty good, too. The rest of us need help—or so it would seem. I’m not sure I have the energy to find out.

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I can virtually hear all you he-men out there: “You don’t know if you have the balls? You don’t know if you have the energy? Quit with all the negative vibes and make it happen, sissy-boy.” Yeah, yeah—I get it. But everybody has a different context. In my context, exercise produces negative results—added effort only brings extreme fatigue. Ordinary human bodies recharge after exertion—mine, not so much, or so quick. Do you remember how, in the Bourne Identity, Matt Damon’s character wonders why he can’t remember his name, but he knows he can run so many miles before his hands start shaking too much to aim a gun? Well, think about that stat—fatigue doesn’t just reduce strength, it reduces nervous control and mental concentration as well.

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The virus is no longer preventing my liver from detoxifying my blood. I can exercise now without flooding my bloodstream with the toxins of exertion. Well, no, that’s wrong. Everyone gets a flood of toxins from exertion but the body, especially the liver, cleans that stuff all up. In my present case the central nervous system got its feelings hurt, back when things were really bad and now it goes off on a tantrum every time it gets a whiff of muscular activity, like talking a short walk—you’d think I’d asked it to scale K-2. So maybe the he-men are right—maybe if I powered through all the pain and tremors and spasms and restless leg for ten or twenty months I could get myself back in the fight. Trouble is, I’ve never been a big ‘self-control’ nut—I have trouble getting myself to drink coffee in the morning—even remembering to.

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Plus, I’ve spent many years with the perspective of one who ruthlessly simplifies life to the least possible motion, conserving a tiny bit of energy for the most essential activities. In my not-so-long-ago world, pushing myself was not only unproductive, it was dangerous. And there is an accretion of coping mechanisms encrusting my life-style: nicotine, caffeine, junk food—all of which would have to go if I attempted to torture myself back into being able to jog around the block. It would mean Olympic-level training just to get me in semi-average shape—at my age, with my stress levels, I could blow a gasket trying to get into the kind of shape I may never see again.

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As you can see, I am beset by doubts and weakness. I’d be embarrassed to admit it if I thought I was the only one—or if I thought it was possible to be a thinking person without such baggage.

Happy Cinco de Mayo! Someone on Facebook remarked, “I hope you know we don’t make as big a deal about it down here in Mexico.”—which makes a strange sort of sense—since Napoleon would have gone on to invade North America, if he hadn’t been stopped in Mexico.

The video is more to show you my garden pics than for the music—not my day, musically.

More Gershwin   (2015Apr30)

Thursday, April 30, 2015                                        7:43 PM

I’m still feeling off-balance today. When I’m happy the beautiful things in life make me want to sing but when I’m sad the beautiful things in life make me want to cry. There’s a little of both in today’s piano videos.

 

Gershwin is Sweeping the Country   (2015Apr28)

Tuesday, April 28, 2015                                          2:35 PM

I’ve just learned that Gilbert Freeman has been injured at the Grand Canyon. He is presently in the Trauma Hospital in Flagstaff, AZ—I wish him a speedy and complete recovery. Gil is a retired music teacher responsible for hundreds, if not thousands, of music-lovers, many professional musicians, and even a few virtuosi. We all have fond memories of our days in his choir and in his theatrical productions. I do hope he’ll be okay.

—**—

My George Gershwin songbook has always been difficult for me to play. Those Tin-Pan Alley harmonies make absolutely no sense, if like me you’re used to Bach, Mozart, or even Contemporary Pop—until I play them—then they make perfect sense. Gershwin’s music reminds me of Mozart in the way that he seems to find the perfect sound, right on the knife-edge of dissonance, or even just plain noise, but in its narrow escape from that, sublime in its perfect fitness.

This makes it all the more frustrating that, as sheet music, it is an obstacle course of illogical and unexpected twists and turns. I know, if I could only play it properly, how gorgeous it would sound, as I flub and fluff my improper way through it. And it’s fairly gymnastic playing, too, by my standards—physically on the edge of possibility, for me. So I was surprised yesterday when everything seemed to conform fairly easily to my hands—so ‘doable’ as to make singing along a possibility.

Today, I resolved to do a Gershwin Covers recital—I figured if yesterday’s sudden windfall ran true, I’d better take advantage while the advantage-taking was good. I decided it would be called “Gershwin is Sweeping the Country”, since “Love Is Sweeping The Country” is one of his peppiest, happiest tunes and I really like it.

I played four or five songs with semi-decent results (they comprise the video below) but when I got to “Love Is Sweeping The Country” my luck and/or energy had run out. There’s this damnable chromatic sweeping up and down in the course of the song—beautiful stuff, but murder on my brain and eyesight—so that recording went into the trash-pile, and all that’s left is the play-on-words of my title. I’ll work on it for later. It’s a really cool song.

Prior to playing, just to get the blood flowing, I took a walk. I meant to go all the way around the block, but when our driveway appeared, midway, I took the easy way out. Hence the title of today’s little piano improv “Short Walk”. I brought my camera along on the walk, though, so short or not, I got some striking photos of the local color. I hope they make a more picturesque background video than my ugly mug—once again, I’m relegating the video of me to the corners of the screen.

There are plenty more in my Gershwin songbook, but I didn’t want to press my luck today. I look forward to a second or third Gershwin Covers video, sometime soon.

 

 

 

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A Busy Thursday

XperDunn plays Piano on August 15th, 2013    Improv – Concord Grapes:  NOTE: ‘Grapes’ graphic downloaded from https://www.facebook.com/oldmosswoman on 08/15/2013

Improv - Concord Grapes   (2013Aug15)

Improv – Concord Grapes (2013Aug15)

 

 

I fell asleep watching “The Big Wedding” last night, so I watched the end this morning. Great movie, BTW. Then I noticed that the End Credits music was a jazzy, personalized, “Row, Row, Row Your Boat” by a familiar-sounding female vocalist. So I waited for the music credits at the end (as I usually do) and saw that I was right–it was one of the cast singing, Christine Ebersole. I had never enjoyed “Row, Row, Row Your Boat” quite so much before, and she inspired me to do my own improv on the tune. While looking her up online, I found her husband’s, William J. Moloney’s, artwork, so I snagged it for my the Title screen of my video…

Improv - "Row, Row, Row Your Boat"   (2013Aug15)

Improv – “Row, Row, Row Your Boat” (2013Aug15)

 

Improv – “Row, Row, Row Your Boat” (2013Aug15)

NOTE: Christine Ebersole, winner of the 2007 Tony Award for Best Actress in a Musical, gave her all (talents-wise, that is) for her latest movie, “The Big Wedding”–during the end credits, Christine Ebersole (who plays ‘Muffin’ in the

film) sings her jazzy rendition of “Row, Row, Row Your Boat”, which inspired me to fiddle with it too…

In looking her up I learned she is married to William J. Moloney, a graphic artist–so I stole one of his collage images for the Titles and Credits cards! See the actual work of William J. Moloney [including Collage: “Love’s Oasis”]

at williamjmoloneyDOTcom.
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XperDunn plays Piano August 15th, 2013 – Three (3) by George and Ira Gershwin-   “Embraceable You”   “A Foggy Day”   &  “I’ve Got A Crush On You”:

"Embraceable You"/"A Foggy Day"/"I've Got A Crush On You"

“Embraceable You”/”A Foggy Day”/”I’ve Got A Crush On You”

XperDunn plays Piano
August 15th, 2013

Three (3) by George and Ira Gershwin:

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“Embraceable You” Music by George Gershwin Lyrics by Ira Gershwin

[From Wikipedia, the free encyclopedia:

“Embraceable You” is a popular song, with music by George Gershwin and lyrics by Ira Gershwin. The song was originally written in 1928 for an unpublished operetta named East is West.  It was eventually published in 1930 and included in the Broadway musical Girl Crazy. where it was performed by Ginger Rogers in a song and dance routine choreographed by Fred Astaire.  Billie Holiday’s 1944 recording was inducted into the Grammy Hall of Fame in 2005.]

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“A Foggy Day” Music by George Gershwin Lyrics by Ira Gershwin

From Wikipedia, the free encyclopedia:

[“A Foggy Day” is a song composed by George Gershwin, with lyrics by Ira Gershwin, introduced by Fred Astaire in the 1937 film A Damsel in Distress. It was originally titled “A Foggy Day (In London Town)”, and is often still referred to as such. {I have mislabeled it here on the video, as }”A Nightingale Sang in Berkeley Square”, a romantic British popular song written in 1939 with lyrics by Eric Maschwitz and music by Manning Sherwin. {Sorry for the confusion!}

Berkeley Square is a large leafy square in Mayfair, an expensive part of London. The Ritz Hotel referred to is also in Mayfair. With its sweet, wistful song the European Robin is a likely source of the legendary Nightingale, as birds, stimulated by the street lights, can often be heard singing in cities during the night.]

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“I’ve Got A Crush On You” Music by George Gershwin Lyrics by Ira Gershwin

From Wikipedia, the free encyclopedia:

[“I’ve Got a Crush on You” is a song composed by George Gershwin, with lyrics by Ira Gershwin. It is unique among Gershwin compositions in that it was used for two different Broadway productions, Treasure Girl (1928), and Strike Up the Band (1930).]