Posts Tagged ‘guitar’

Critters

Monday, July 9th, 2018

Ganesh's Bowl

Ganesh’s Bowl photo by Todd

Two years ago our big gray cat Django got hit by a car and died, and we were sad for a time and thought about getting a couple of kittens, but we didn’t. Then some months after Django died, I was having a cup of tea in the dining room and looked out the window and saw a gang of chickadees foraging in the ferns and flowers just fifteen feet away from me, and I realized that when Django was alive, those birds would never have foraged there.

Fast forward to a few mornings ago: I was sitting on the deck watching a mob of chickadees and finches and tits rampaging in the nearby shrubbery, when along came an alligator lizard, a beautiful being Django would have toyed with and killed. But instead of dying a terrible death, the lizard paused to look at me and show me his shiny new skin before he moved off into the ferns to hunt for insects.

The next day I saw a gorgeous garter snake slither through the vegetable patch, and I knew Django would have killed him, too.

Then yesterday I stepped out of my office to play guitar in the morning sun and our resident chipmunk scampered along the deck to have a drink of water from the white bowl in front of the statue of Ganesh, a bowl we keep filled with water for the many birds and critters who share this land with us. Having slaked his thirst, the chipmunk found a lovely old weed going to seed, and while I strummed and sang, the chipmunk dined—a most enjoyable tête-à-tête that never would have happened were Django still with us.

If we had a cat or a dog, the mother skunk and her adorable baby would not come to drink from Ganesh’s bowl as they do at dusk every day, and a dog would keep the deer away, too, the deer we love to watch from our office windows—fawns appearing with their mothers throughout the summer.

And though I’d like to have a cat and a dog, for now I will forego that pleasure because I so enjoy having all these wild critters close at hand.

I recently caught a glimpse of a fox trotting through the woods on his way to our orchard, and I was thrilled to see the splendid fellow. We named our place Fox Hollow after the mother fox and her kits who entertained us so grandly for the first two years we lived here.

We might have called our place Ravenswood for the many ravens who live hereabouts. I recently had a long conversation with a raven. He cawed three times; I cawed three times. He cawed twice; I cawed twice. He cawed four times; I cawed four times. Then there was a pause, so I cawed twice, and he cawed twice. Then I cawed four times, and he cawed four times. Then I cawed but once, and he cawed but once. I fell silent and he cawed three times, so I cawed three times. This might have gone on indefinitely, but I was getting hoarse, so I quit. I’m not sure what we were talking about, but we certainly agreed on how many times to caw, which I consider a great achievement in inter-species communication.

We are also situated directly below the flight path of a robust population of wild pigeons and a pair of regal Red-tailed hawks. And we have vultures and possums and a big silver gray squirrel and gophers and…

In Django’s absence our neighbor’s big tabby has commandeered the orchard at the far southwest corner of our property, the gophers of special interest to her. I dissuade her from coming any nearer to our house because I don’t want her assuming Django’s role visa-à-vis the chipmunk and lizards and snakes and birds and the big silver gray squirrel. However, a dent in the orchard gopher population would not be a bad thing.

Speaking of critters, here at the start of July, the local population of mosquitoes is exploding, so much so that working outside of late has been a continuous swat fest, but that should change as summer progresses and the ground becomes perilously dry. Meanwhile, the swallows and bats are thrilled with the abundance of the little biting buggers.

female trio

And then there are human critters, a fascinating species, especially the colorful and emotive females. The music festival is underway, so Abi and Marion, both British female human musicians, have joined Marcia, the resident American female human musician, in our little neck of the woods, and the three of them are great fun to observe and interact with.

Human females, for my taste, are much more interesting than human males, at least the human males abounding in America; but then I’ve always been keen on humans who share their feelings and laugh easily and like to talk about food and dreams and what they just realized about themselves and life and so forth. Then, too, I spent the first several years of my life enthralled with my two older sisters until they grew weary of me and became less enthralling. But by then my admiration for more than the physical potentialities of female humans was well established and continues to this day.

Maybe human males in other cultures are not as stiff and stoic and emotionally guarded and narrow-minded as most American male humans are. I don’t know. What I do know is that emotional openness and generosity and curiosity about other people has everything to do with nurture and not much to do with nature. I say this because I am fortunate to know a handful of American male humans who enjoy sharing their feelings and laugh easily and like to talk about food and dreams and what they just realized about themselves and life and so forth.

Unfortunately, most of these unusual male humans don’t live around here; but at least we know each other, so we do not feel as bereft as we might otherwise.

Ah, I see our chipmunk is ensconced in the big flowerpot on the deck and has some sort of snack in hand. Maybe he’d like to hear a song while he eats.

Rebirth

Monday, June 25th, 2018

lunch break

Outside My Office Window

A few weeks ago, the large four-year-old doe with a nest in a remote corner of our property sauntered by the house followed by her two fawns—our first glimpse of her babies. Nature makes baby mammals extra cute for some reason, or humans think baby mammals are cute for some reason. In any case, the baby deer struck me as ultra-cute. And small. I marveled at their smallness.

Then at dusk a few days later, I looked up from my desk and saw two fawns running by, only they seemed much smaller and cuter than I remembered them being. These were micro fawns. Or was I mistaken? Were these the same fawns appearing smaller in the last light of day, or different fawns? And were they cuter or just smaller? Is cuteness a function of smallness?

Another day passed, the young doe paraded by, and coming along behind her were two enormous fawns, enormous compared to those micro fawns I thought I’d seen. And then that afternoon, the mystery was solved. The oldest doe hereabouts, a deer at least nine-years-old with a badly deformed mouth, trudged by followed by those two micro fawns, and I realized that their smallness and ultra-cuteness were probably due to the old doe not being as viable a mother as the big healthy young doe, which means these tiny fawns might not make it through the summer for lack of nourishment and being easy prey for predators.

But maybe the micro fawns will survive the summer and winter and mature into small deer who live for ten or twelve years until the natural ends of their lives, just as there are small humans and small banana slugs and small heads of lettuce and small carrots. Sometimes things come out smaller than the same kinds of things that come out larger.

In any case, we currently have four super cute fawns gamboling around the property these days, and every time I see them, I marvel at their cuteness and their obvious delight in being alive.

getting the drop

Speaking of rebirth, we recently had a visit from the piano technician Michael Hagen. He came all the way from Rohnert Park to Mendocino and spent thirteen hours over two days regulating and voicing the fifty-year-old grand piano we bought from our friend Carolyn. I spent most of those thirteen hours watching Michael work on the piano, and I marveled at his mastery of the complex process. The result of his mastery, which I am tempted to call wizardry, is the rebirth of our piano.

When I first sat down to play our newly regulated and expertly voiced beauty, I was wholly unprepared for how easy she was to play and how gorgeous she sounded. The keys no longer impinged on each other, the overly bright jangly tones were gone, and gone was the resistance to my light touch. I stopped playing after just a few minutes because my brain was having a hard time reconciling this mellow nuanced instrument with the obstreperous old cranky thing I’d been trying to get used to.

earth is round

In other rebirth news, to celebrate the Summer Solstice, I walked to town via Big River Beach and found the beach completely different than it was just a few days before the solstice. Well, not completely. The far inland reaches of the sand will remain unchanged until next winter’s storm surfs reach those inland expanses and shift the many massive logs around, carry some logs away, and add new ones to the collection.

But the bulk of the beach was transformed. This is the glorious nature of our beach—a swiftly flowing tidal river conspiring with the high and low tides to reshape millions of tons of sand every twenty-four hours—a creative fun fest for the forces of nature. As of today, the river has carved two distinct routes to the sea, this split of the outflow and inflow causing all sorts of new shifts in the sand mass—a brand new landscape every day.

Speaking of brand new, having recently taken up the guitar again after a ten-year hiatus, I find myself playing several seriously groovy songs I wrote long ago and never recorded, and I’m so curious about why I didn’t record these groovalicious tunes when I was so zealously recording songs ten years ago.

My current theory is that I didn’t record these catchy tunes because the time was not right. Is the time right now? Or has the window of viability closed for my songs composed in the 1970s, 80s, 90s, and early 2000s? Isn’t a great song or book or movie or play timeless? Maybe not. Maybe there is Art of the Moment and Art For A Generation and Art To Last Three Generations and Art To Last A Thousand Years.

What if artists are merely pawns of the unseen creative forces of universe? What if these groovy songs were given to me to record, but only when the universe wants them recorded? What if the universe is waiting for me to be whoever I am at the moment of the recording, if that recording ever happens? Why do we do the things we do when we do them?

Speaking of when we do things, we recently watched the movie Big Night again, one of my all-time favorite movies, and not having seen Big Night since 2006, I worried the opus might have fallen into the Art of the Moment category and would fail to pass the test of time.

But I’m happy to report that for my taste Big Night is better and more pertinent today than it was when it came out in 1996. To say they don’t make movies like Big Night in America anymore is a humongous understatement. This is a classic European film made by Americans in America—the pace, the dialogue, and the unfolding of the story and relationships languid and lovely and astute and complex—a rare dramatic comedy.

When I lived in Berkeley circa 2001, I was introduced to a woman at a party, we liked each other immediately, and when a fellow came by with a tray of hors d’oeuvres—scallops in mint sauce—we each took one. Delighted by the delicious comestible, I couldn’t help referencing a scene from Big Night by saying with my best Italian accent, “That was so good, I have to kill myself.”

“My favorite movie,” said the woman, gasping in delight. “I’ve watched Big Night dozens of times with my kids. We know every line by heart. We act out the scenes when we cook dinner and breakfast. And next year we’re going to Italy on our Big Night tour.”

“A Big Night tour? What’s the itinerary?”

“Bologna, of course,” she said, her eyes aglow. “Where the food is so good you have to kill yourself, Rome, and…”

I don’t remember what else she said, but I will never forget her wild joy.

Guitar Porn

Monday, June 18th, 2018

musicsexlove

music sex love drawing by Todd

“The most important part of my religion is to play guitar.” Lou Reed

I recently started playing the guitar again after a ten-year hiatus, and after some weeks of aching fingers and sore wrists, I have regained enough of my former chops so playing is pleasurable and fascinating again.

The guitar I’m playing is not a very good instrument. I gave away my excellent guitar a few years ago when I was jettisoning things freighted with bad mojo. Now, as I practice on a lesser instrument, I don’t long for the guitar I gave away, but for a guitar of equal excellence. However, I have decided not to purchase a better guitar until I have gotten as good as I can on this little axe I bought to determine if the magic is still there. For some reason, I want to earn the right to own and play a fine guitar again.

That’s kind of silly, actually, because the better the instrument, the more pleasurable the experience of playing, which would be added incentive to practice and explore, but I am often kind of silly. This earning process feels right to me at this point in my physical and spiritual and emotional evolution.

Meanwhile, I occasionally receive musical instrument catalogues filled with photographs and descriptions of awesome guitars, and I find myself staring at these pictures as I might stare at photos of attractive women. I imagine holding those guitars and playing them and thrilling to the feel of them against my body as I strum them and their bodies resonate with mine. Hence the title of this essay: guitar porn.

Perhaps you know someone, most likely a man, who owns multiple guitars, and I don’t mean two or three guitars, but seven or nine or seventeen or possibly thirty-seven guitars—and perhaps he rarely or never plays these guitars. Nevertheless, having these guitars defines who he is—to himself and to others. Searching for guitars gives him purpose. Maybe he only allows himself to own a total of twelve guitars and he must sell one before he can acquire a new one. Or maybe there is no limit to how many he can have, and he recently built an addition on his house where he keeps his forty-nine rare and frighteningly expensive guitars in a dust-free humidity-controlled environment.

Once in my life, for about two months, I owned two guitars simultaneously. I might as well have brought a third wife into my house, my first two wives being my other guitar and my piano. There was no way I could give any of my wives the attention they wanted if I was trying to please three of them. Two I could please, but three was one too many. In my case, I was not collecting guitars just to have them, but to play them every day. I would guess that most people who own more than a few guitars do not relate to guitars as spirit beings incarnate as musical instruments, but I could be wrong.

At the moment, I have two pianos. I’m waiting to find out if the new grand piano in my life can be regulated and repaired so it becomes as fine an instrument as the upright piano I’ve had for forty years. They are very different instruments, so I might keep them both, though I think I will feel I am neglecting the upright if I choose to make the grand piano the main focus of my piano playing.

How do my pianos feel about my taking up the guitar again? I suppose if I played them less than I did before I resumed guitar playing they would be unhappy, but actually, playing the guitar seems to have increased my appetite for playing the piano. So they don’t seem to mind. They are more concerned about each other than they are about my guitar.

As it happens, I took up the guitar when I became a vagabond and could not carry a piano with me. After a few months on the road without a piano, in 1970, I bought a not-very-good nylon-string guitar in the famous gigantic Mercado de Guadalajara, and I played that guitar every day for three years until I bought my first steel-string guitar, a slinky little Ovation with which I became a professional guitar-playing singer songwriter.

Three years later, at the age of twenty-six, I sold the Ovation for a hundred dollars to prove to my crazy angry girlfriend that I did not need a guitar to feel okay about myself. However, the only thing I proved by not having a guitar was that I missed having a guitar or a piano or both. Some people are just happier with musical instruments than without them. I am one of those people.

Perhaps those people, mostly men, who collect multiple guitars would not be happy without their guitars even if they don’t play them. After all, some people collect pottery and don’t eat out of the pottery, and some people collect jewelry and don’t wear their jewels, but enjoy looking at them and fondling them. Some people collect porcelain figurines of cherubs and repulsively cute children that are easy to break and take up shelf space and collect dust. Some people have five dogs. Some people have seven cats. I have a neighbor with four vintage Toyotas. I’ve known women with hundreds of pairs of shoes. When George Harrison of The Beatles died, he left behind hundreds of ukuleles.

Life is mysterious, but one thing is certain: the day I walk into a guitar shop intending to buy an excellent guitar, I will activate those neurological sectors of my being that evolved over millions of years for the express purpose of looking for and finding love, and by love I mean powerful emotional and physical resonance.

Cambridge

Monday, June 11th, 2018

i must go into the sea again tw

I Must Go Into the Sea Again painting by Nolan Winkler

Christine, the most excellent gluten-free baker of Mendocino, delivered some bread recently and mentioned she’d just returned from Boston where she attended her niece’s graduation from Harvard. And that reminded me of my Harvard adventure of 1972.

I dropped out of college in 1969 after two years of majoring in Anthropology at UC Santa Cruz, though Frisbee, basketball, piano, and writing were my main pursuits whilst enduring academia. For the next two years I lived as a hitchhiking vagabond, and in the late spring of 1971 I found myself in Boston with little money and wondering where I would sleep that night.

Schlepping my guitar and backpack into a café to get some tea, I fell into conversation with a guy who was keen to see my guitar. So I got out the handmade beauty I’d bought for fifteen dollars in the gigantic mercado in Guadalajara, and while the guy noodled on my guitar, I asked if he knew of any communes or hostels where I might stay for a few days.

“Go out to Cambridge,” he said, nodding. “Lots going on out there.”

“You mean Harvard?” I said stupidly.

“Yeah, Harvard,” he said, nodding. “Lots of communes out there. Hippies. College girls. Bookstores. Music. You’ll dig it.”

And then I remembered that two guys I’d gone to high school with had gone to Harvard, Dan and Joe, and if they were still there this would be their senior year. I caught a train over the river to Cambridge, found a phone booth, called Harvard, and sure enough they had a phone number for Dan. So I called him and he invited me to come crash in his dorm.

Now this dorm where I ended up living for a few weeks was not a typical dorm, but a huge brand new co-ed dorm built with millions of dollars given to Harvard and Radcliffe by the parents of a woman who had attended Radcliffe and died young. Everyone in the dorm had a large room outfitted with a comfy bed and a big desk, and on every floor of the massive four-story building there was a luxurious lounge and kitchen, some of these lounges outfitted with pianos.

On the ground floor there was a swank commissary providing excellent food, if one happened to be a resident. On my second day there, Dan presented me with the meal card of a Harvard student who was studying elsewhere for the semester, and the young gal who sat at the entrance to the commissary checking meal cards happily waved me in whenever I went there to dine, so…

The best part was that I was given my own room with a view out over the tennis courts where I played almost every day. Yes, overnight I went from homeless pauper to faux Harvard student living in a luxurious dorm, going to movies and pizza parlors and parties, attending lectures and playing tennis and romancing a young woman whose name I can’t remember.

One night, I and six peeps from the dorm piled into a big old car and went to a double bill of Five Easy Pieces and I Never Sang For My Father, and after the movies, because everyone except Todd was stoned or sans driver’s license, I was entrusted to drive the mob home.

Upon our arrival in the vicinity of the dorm, there were no available parking places, but after much driving around we chanced upon a small car pulling out of a spot just a half-block from the dorm. The consensus was that there was no way our big car would fit into the spot vacated by the small car. And I’m sure if I were confronted by such a challenge today, I would not do what I did then, which was to deftly and in one neat move parallel park our big car in that space with about six inches to spare on either end.

My feat was greeted with applause and huzzahs, and the next morning my parking job was the talk of breakfast and prompted a pilgrimage by several of us to view the miracle in the light of day.

I went to lectures given by famous anthropologists whose books I had read while at UC Santa Cruz, and while I enjoyed listening to these fellows pontificate, I was troubled that they, as had my professors at Santa Cruz, insisted on speaking about defunct and vanished societies in the Present Tense, as if these long-gone cultures were still intact.

At the conclusion of one lecture, having nothing to lose, I raised my hand and asked the esteemed professor if the childrearing practices and coming-of-age rituals he spoke of were still practiced by the Lakota today, given the genocidal demolition of their culture.

He squinted at me and said with obvious irritation, “No, of course not.”

“Ah,” I said, nodding. “I see. Thanks.”

After the lecture, a young man and young woman approached me and said how much they appreciated my asking that question. They, too, had grown disenchanted with the pretenses of academic anthropology.

“I just wish they’d call it historical anthropology,” said the young woman. “Why not tell the truth?”

“It’s curious,” said the young man. “They seem uneasy with the idea that the societies they speak of are no more.”

As the school year drew to a close, Jerry, one of my new friends from the dorm, landed a summer job on Nantucket Island attending to a wealthy Harvard alum who had suffered a stroke and was partially paralyzed. Jerry would be living in a converted windmill on the island, and he invited me to come visit him. So that’s where I headed after my free digs at Harvard were no longer available.

I hitchhiked to Wood’s Hole and caught the ferry to Nantucket, and after a fine week with Jerry, I took the ferry back to the mainland and hitched up into Maine en route to Canada. But how did I pay for all that before I ran out of money in Maine?

Well, I had a three-day gardening job in Brookline, a suburb of Boston, so that would account for thirty dollars or so, but in thinking back I remember a gathering of people in one of the dorm lounges, and Dan’s father Hugo was there. He must have come out from California for Dan’s graduation. He was concerned about me heading off into the unknown with just a backpack and a funky guitar. I remember assuring him I would be okay, but he was still concerned.

“I know you may not need this,” he said, getting out his wallet, “but I want to give you a little something. Okay?”

I think he gave me fifty dollars, which was a lot of money for the likes of me in those days, and proves the old maxim: if you want to get ahead in this society, go to Harvard.

Self-Archaeology

Monday, May 1st, 2017

rolling wheels

Rolling Wheels and Hills of Gold by Katharine Grey

“Well-ordered self-love is right and natural.” Thomas Aquinas

Recent excavations on the shelves of my office have turned up some long-forgotten artifacts, including books and plays I wrote in my youth and loved enough to carry with me through several major moves over the course of forty years.

Indeed, one of my finds, a play I wrote when I was in my early twenties, has traveled with me since the 1970’s when I could carry all my earthly possessions onto a train or bus with me. In my pre-car days, the sum total of my stuff was: a guitar in a flimsy case, a large backpack full of clothes and basic survival gear, and one big cardboard box full of books and manuscripts and pens and paper and sketchpads, the box tied up with a length of sturdy rope.

Among the books I always carried with me, and still have today, were the two-volume The Greek Myths by Robert Graves, On Bear’s Head poems by Philip Whalen, Selected Poems of Robert Duncan, Collected Poems of Robert Graves, Zorba the Greek and The Last Temptation of Christ by Nikos Kazantzakis, Seven Gothic Tales by Isak Dinesen, and Suzuki Roshi’s Zen Mind, Beginner’s Mind.

This ancient play I unearthed is entitled The Last Temptation, and I read the faded pages with the curiosity of an archaeologist stumbling upon an opus writ on papyrus two thousand years ago. On the title page, a note from the young author explains: The title of the play and the setting of Act One were inspired by the novel The Last Temptation of Christ by Nikos Kazantzakis. Pilate’s dog in Act Two was inspired by Mikhail Bulgakov’s book The Master and Margarita.

I expected to find The Last Temptation a student work full of energy but lacking consistency and originality. But that is not the case. The play is wonderfully original, the characters complex, the dialogue not terrible, and the story full of suspense. To make things even better, the work is my favorite kind of play, an extreme rarity these days—a serious comedy with multi-dimensional characters. So I’ve decided to spend some weeks rewriting the play. Why not?

Finding and reading the play also jarred my memory about what I did with the blessed thing way back when; and as one memory begot another, there came an avalanche of memories, and for some hours I relived my interactions with several theatre companies large and small in California and Oregon and New York, and the many rejections I gained thereby. Nothing has changed in that regard. My recent plays, and The Last Temptation, should I rewrite it to my liking, have virtually no chance of being produced—the stages of American theatre off limits to all but a few privileged playwrights.

Still, a good play is worth writing whether anyone produces the play or not. That also goes for writing books, composing music, and making art. The artist’s job is to create. The rest is up to the gods.

During that same office dig, I found two novels written by my great grandmother Katharine Grey. Published by Little Brown in 1934 and 1935, Rolling Wheels and Hills of Gold are excellent novels featuring youthful protagonists and their families who, in Rolling Wheels, make the trek by wagon train from Indiana to California shortly before the California Gold Rush, and in Hills of Gold are farming in California when the Gold Rush begins. Full of fascinating details about life in California in the mid-1800’s times, and rife with adventures, these books would be fabulous additions to junior high and high school curriculum all over America. Sadly, these books are long out-of-print and will remain so barring some fortuitous intervention by the aforementioned gods.

In any case, I now have two good books to read, which is no small thing in these times when I find so little in the way of new books that appeal to me. Oh if only I hadn’t learned proper syntax and grammar. If only in my formative years I hadn’t steeped in great literature and poetry, then I wouldn’t mind crappy writing filled with unnatural implausible dialogue—think of all the contemporary fiction and plays and movies I could choose from.

Another of my finds on that revelatory shelf was a small plastic box full of thumb picks for playing the guitar. I haven’t played the guitar in nine years, and I gave away my guitar a few years ago because I felt bad about keeping such a lovely instrument sequestered in darkness, untouched and unappreciated—a guitar suffused with more bad memories than good, but still a fine instrument.

Since finding those thumb picks, I have had two vivid dreams about playing the guitar and being frustrated by my diminished playing skill. In my latest guitar dream, I played a new song for three people, all deceased now, and they were keenly interested in the song and enthusiastic in their praise of it. These were people who had been fiercely disapproving of me while they were alive; but in this guitar dream, they were supportive and full of love for me.

So today I bought a guitar.

And right after I bought the guitar, we ran into a friend in the grocery store and spoke of what we were soon to be cooking. This talk of food inspired in our friend a memory of growing up in Monterey in the Italian part of town known as Spaghetti Hill.

“It was called Spaghetti Hill,” he explained, “because every Sunday morning, in every kitchen in that big Italian neighborhood, the cooks would concoct their spaghetti sauces before going to Mass.”

And while those cooks and their families were attending Mass, the myriad sauces simmered—their spices conspiring divinely with wine and diced tomatoes and mushrooms and who knows what else—so that when the fasting supplicants arrived home from church, the neighborhood air was freighted with the divine aroma of hundreds of simmering sauces. Time and God had done their work and all that remained to do was boil the pasta to perfection, open jars of olives, bring forth loaves of bread, toss the great green salads, uncork the good red wines, and sit down to feast.

Palmer Alaska

Wednesday, February 25th, 2015

palmer alaska max

(This article was written for the Anderson Valley Advertiser February 2015)

“I believe that there is a subtle magnetism in Nature, which, if we unconsciously yield to it, will direct us aright.” Henry David Thoreau

When Marcia and I got together eight years ago, we embarked on a fascinating process of making a studio album with the help of Peter Temple, the recording savant of Albion. I played guitar and piano and sang, Marcia wrote and arranged and played gorgeous cello parts for our original tunes, and the late great Amunka Davila supplied tasty percussion. The project took several months longer than I thought it would and used up most of the money I’d set aside for such creative endeavors.

We were happy with the results, the CD entitled When Light Is Your Garden, and when the manufacture of the album coincided with the birth of my books Buddha In A Teacup and Under the Table Books, we decided to go on a tour of the Northwest and see if we could sell some product and have fun while we were at it.

We gave concerts in bookstores, libraries, restaurants, and private homes from Mendocino to Lummi Island, our enthusiastic audiences ranging in size from three to sixty people. By the time we returned to Mendocino, our songs had changed dramatically, we had added some jazzy instrumentals to our repertoire, and we decided to make a second album entitled So Not Jazz. When that CD—more of a live affair—was finished, we gave one final concert together at Preston Hall in Mendocino, took our bows, and settled down to life without the stress of performing together.

Marcia returned to her classical music pursuits, and I embarked on a piano journey that has resulted in five CDs—43 short piano improvisations, Ceremonies, Incongroovity, nature of love, and Mystery Inventions (bass and piano duets)—with a sixth piano album in the works. That is the back-story, as they say in Hollywood.

So here I am with boxes of seven different CDs. No longer a giver of concerts, I nonetheless want to share my creations with the world. The contemporary course of action is to make little videos with the songs as soundtracks and post those videos on YouTube with links to download and streaming sites. I don’t know how to do any of that (I’m the president of the Advanced Techno Doofus Society) and I don’t have the money to pay someone to make little movies for me, though I have lots of good ideas. Our tunes are downloadable from iTunes and Amazon and CD Baby and other sites, but the challenge is convincing people to take a listen and possibly purchase the albums or individual songs.

My main course of action has been to try to get radio airplay. Not Internet airplay. Old-fashioned radio airplay. To that end, I have used the Interweb to search out the playlists of DJs all over America, and when I find one of those extremely rare people open to playing music by someone other than the hyper-famous, and that person spins music kin to ours, I send them a letter and a likely CD, wait a few weeks, follow up with a query, and monitor their playlists for a few months to see if he or she plays us.

In the past seven years I have sent my/our music to approximately three hundred DJs and music directors at dozens of itsy bitsy teeny-weeny yellow polka dot public radio stations. I have discovered that if a station runs Democracy Now! for their national news, they might possibly be home to DJs open to our music. If they play National Public Radio, forget about it. As for the larger commercial stations, only corporate product need apply.

So far, my hundreds of hours of research and courtship have garnered a handful of DJs across America who play our albums on a semi-regular basis, including Tom Cairns KHSU Arcata California, Jim Roettger WMRW Warren Vermont, Cindy Beaulé WFHB Bloomington Indiana, Peter Poses KRFC Fort Collins Colorado, and Carol Newman KMUN Astoria Oregon. Alas, our own KZYX grants us a spin only once every seven blue moons, which makes me sad, in a local sort of way, but such is life.

The recent good news is that in my ongoing quest for likely DJs, I found the playlists of a fellow in Palmer Alaska, population 5,900, home of the Alaska State Fair, and his musical choices gave me hope. I sent him my piano CD Incongroovity. Months went by. He fell off my list of playlists to check. Then last month I did my annual visitation of the last fifty DJs I’ve sent music to, and lo, Mike Chmielewski KVRF Palmer Alaska had played several cuts from Incongroovity! I sent him a thank you email and shipped him our other CDs. And verily he has been playing our music like crazy, and by that I mean two or three songs a day.

True, we are not being heard by a great many people, but our tunes are wafting out into the pristine Alaskan air, night and day, and for the likes of me this is mightily inspiring. Every artist wants to be seen and heard and appreciated by someone else. The thought that Marcia’s gorgeous cello solo floating atop my rhythm guitar on “Samba For Mooli” might cause someone doing the dishes to stop scrubbing for a moment and allow those dulcet tones to tickle their fancy is gigantically pleasing to me.

So I shout to Marcia when I discover we’ve had another play in Palmer, “Honey, we’re still going strong in Alaska.”

Todd and Marcia’s CDs are available from UnderTheTableBooks.com and are widely downloadable, too.

Practice(ing)

Thursday, February 2nd, 2012

(This article appeared in the Anderson Valley Advertiser February 2012)

“The worst enemy to creativity is self-doubt.” Sylvia Plath

Marcia and I were walking on Big River Beach yesterday, the wet sand firm underfoot—Big River swollen and muddy from the recent deluge, a light rain falling.

As we reveled in the windy wet, free from our various indoor practices, our conversation ran from gossip to silence to politics to silence to memoir to silence to what we might have for supper. And at some point Marcia asked me about a speaking engagement I’ve accepted, a keynote address at a writers’ conference, the dreaded topic—The Creative Process—chosen for me by the conference planners. I say dreaded because I think most of what I’ve ever read about the so-called creative process is hogwash, and I fear that anything I might add to the dreaded subject would be hogwash, too.

Long ago I worked in a day care center overseeing a mob of little kids. The day care center was located ten minutes from Stanford University and we were forever being visited by earnest graduate students writing theses about educational techniques, educational philosophies, educational processes, and God knows what else pertaining to mobs of little kids. Having no degree of any kind, let alone a degree in Small Child Management, I found it highly amusing to be the frequent recipient of attention from these humorless academics, some of whom, I’ll wager, went on to author textbooks for aspiring nursery school teachers, kindergarten teachers, and other Small Child Management educators. Could it be that information gathered from interviews with me conducted by these earnest humorless people helped shape curricula for early childhood education in America? I hope so, but I doubt it.

One day as I was supervising my mob of kiddies in our outdoor playground, a woman named Stella, a doctoral candidate at Stanford, stood beside me, clipboard in hand, asking questions about my supervisory process, a process I had theretofore never tried to elucidate to anyone.

Stella: I note at this time that all the children seem to be safely and happily occupied. I have recorded a current population distribution of one group of five children, two groups of three, four dyads, and three solitary individuals. Would you say this is a typical distribution of the total?

Todd: Um…well, certainly not atypical.

Stella: Would you characterize these as established groups or new and/or developing configurations?

Todd: The configurations are ever changing, though girls tend to hang out with girls, and boys with boys, especially among four and five-year olds. Two and three-year olds tend to be more gender polyrhythmic, if you know what I mean.

Stella: (makes a note) We’ll come back to gender aggregates, but for now I’m curious to know what specific actions you took to precipitate this particular distribution of individuals and groups, and if you employed any specific techniques for settling the children into these successful play actions?

Todd: Are you serious?

Stella: Yes. I have noted zero incidents of crying, fighting, or moping in the entire population for over fifteen minutes now, which defines these play actions and this particular population distribution as successful.

Todd: Could you repeat the question?

Stella: (reading) What techniques did you employ for settling the children into these successful play actions?

Todd: Let me think about that for a minute. (shouting across the playground at a five-year-old boy about to destroy a sand castle just completed by a four-year-old girl) Don’t do it, Lance.

Stella: Wow. (flips to a new page) Would you characterize that as a tone-based warning or a content-based warning?

Todd: Both. And now if you’ll excuse me, Megan is about to slug Bianca and I would like to intervene before their play action becomes highly unsuccessful.

In theory there is no difference between theory and practice. In practice there is.” Yogi Berra

I want to be helpful to people who aspire to write, so I will try to come up with an inspiring keynote address—because inspiration can sometimes get the ball rolling—though in truth there is no “the creative process.” Each of us has to roll our own ball our own way, and that’s all there is to it: rolling your own creative ball. I use rolling to mean doing, acting, working—everything else is just talking about rolling, which is not the same as rolling, believe you me.

“It is a sad fact about our culture that a poet can earn much more money writing or talking about his art than he can by practicing it.” W.H. Auden

Thirteen years ago I published The Writer’s Path, a book of my original writing exercises, and before the silly publisher took the book out-of-print, The Writer’s Path sold ten thousand copies with never a penny spent to promote that most helpful tome. Excellent used copies of The Writer’s Path can be found on the interweb for mere pennies plus the dreaded shipping charge.

I designed each exercise in the book to be a non-analytical way to practice a particular aspect of the writing process (not to be confused with the creative process.) For instance, many writers (as in most writers) have big trouble rewriting their initial drafts. Among the many underlying causes of this big trouble are: 1) rewriting skills are developed through thousands of hours of practice, and very few people are willing to work so hard for so little in return 2) rewriting is all about change, and most people are deathly afraid of change 3) rewriting reveals the inadequacies of the original drafts, and such revelations, especially for beginning writers, can be huge bummers.

So I came up with a series of exercises involving the swift creation and destruction and re-creation and re-destruction and re-creation of lines of words, intuitive processes that obviate fear and short-circuit analytical thinking—the great enemy of spontaneous word flow—to give writers invigorating rewriting workouts.

Writing, drawing, and playing music are muscular activities as well as mental processes, and I have no doubt that all original stories, pictures, and songs result from synergetic collaborations of our physical muscles with our cerebral muscles, along with valuable input from unseen agents of the unknowable, if you believe, as I do, in such fantastic nonsense.

“The world is a stage and most of us are desperately unrehearsed.” Sean O’Casey

When at nineteen I embarked on a vagabond’s life and could not take a piano with me, I bought a guitar in the sprawling mercado of Guadalajara and taught myself how to play. A year later, having spent a good thousand hours developing a thumb-dominant style of picking and strumming, I stood on a sidewalk in Toronto, strumming and singing. And lo a miracle befell me. Yea verily, dozens of smiling Canadians threw coins and paper money into my dilapidated cardboard guitar case and thenceforth I was a professional musician. Not long after that initial sprinkle of heavenly largesse, I bought a much better guitar and for a time made a minimalist living as a troubadour.

Eventually my piano regained supremacy in my musical life and my guitar became (and remains) a sometimes friend. Two years ago, Marcia and I produced two groovacious CDs of instrumentals and songs featuring guitar and cello (When Light Is Your Garden and So Not Jazz), though of late my focus is on piano improvisations and Marcia is happily immersed in various classical music pursuits. But I digress.  

What I set out to say was that I became a highly functional guitarist through thousands of hours of practice, and I always—this is key—used a thumb pick (on my right thumb) when I played the guitar. And then a few years ago I made a startling discovery, which was that unless my right thumb was actively involved in the playing of a tune, I (this body brain spirit consortium) had no idea where to put the fingers of my left hand to make the chords for any of the songs I knew. That is to say, my right thumb, for all intents and purposes, is the only part of me that really knows how to play my songs.

People who write about spring training not being necessary have never tried to throw a baseball.” Sandy Koufax

Marcia’s mother Opal is ninety-three and still drives her car all over Santa Rosa where she lives in her own apartment in a commodious retirement community. Two years ago, Opal took up pocket billiards, otherwise known as pool, playing twice a week with friends in the billiards room across the hall from the ping-pong room. When Marcia and I go to visit Opal, we play three or four games of pool with her every night, Marcia and Opal teamed up against Todd, their dyad getting two turns for every one of mine, which makes for a fairly even contest.

What I find most inspiring about Opal learning to play pool so late in life is that every time we play with her, she not only plays better than when we last played, she plays much better.