This link goes to a short excerpt of an NBC interview (it’s only 2 minutes, please click and ponder) with Dr. Martin Luther King in 1967…still strikingly relevant to these times…(full interview here).
“White America must see that no other ethnic group has been a slave on American soil. That is one thing that other immigrant groups haven’t had to face…America freed the slaves in 1883 through the Emancipation Proclamation of Abraham Lincoln, but gave the slaves no land or nothing in reality…to get started on. At the same time, America was giving away millions of acres of free land in the West and Midwest. Which meant there was a willingness to give the white peasants from Europe an economic base. And yet it refused to give its black peasants from Africa – who came here involuntarily and in chains, and had worked for free here in chains for 244 years – any kind of economic base…” Dr. Martin Luther King
“You shall know the truth, and the truth shall set you free.” John 8: 32
I’m finding it very hard to focus on much of anything these days. How about you guys? I really think it’s a COVID-19 shelter-in-place/isolation induced thing – but that irritation is much better than the actual COVID-19 infection itself, so I’m not complaining really. Just noting it. ~~
I’m not a fast food type of gal, but the other day I craved, just craved, a Burger King Whopper and McDonald’s French fries. Hubby obliged by sitting in each of the two respective drive-throughs to indulge my primal need.
Yeah, he’s a keeper.
In keeping with the French Fry Theme, here is a snappy, happy Celtic inspired piece, Danse des Duex Pommes Frites (aka The French Fry Song) by Steve Baughman and performed in duo with Robin Bullock*.
Musical French fries have zero calories, guys, so enjoy!
Speaking of calories.
About 8 weeks into sheltering-in-place, I glimpsed my reflection in the sliding doors entering the grocery store and my Lord! Forget about that masked (wo)man staring back – is that huge-hipped, thunder-thighed lady, me?
Hubby’s favorite ‘Bridge’ Path – sometimes he comes along for the walk & fresh air, too
After the Coronavirus took away my meager 45-minute daily workouts on the elliptical at the Y, my regular walks around the block and on the McLeod Path across town took on a more immediate level of importance.
I even do a few planks on my Yoga Mat and shake the house down doing jumping jacks in the kitchen…but admittedly, the Coronavirus has limited my exercise options.
Whilst (I love that British term!) taking a walk around the McLeod Path a few weeks ago, I noticed a pair of ladies beside their respective cars, a proper social distance of 6 feet, jumping rope. These ladies were ladies of a certain build that made me think: if they can do this, I can do this!
Look what greeted me at the nearly empty McLeod Path parking lot last week!
Thus began my search for the perfect jump rope and determination to add jumping rope into my anemic Pandemic exercise routine.
Last week, with my new rope in hand, and a 5 minute ‘Beginner’s Guide to Jumping Rope’ video on my phone, I drove back to the McLeod Path parking lot intent on re-learning how to jump rope.
Yep. Re-learn. Turns out, that ‘double hop’ us kiddos did back in the day is detrimental to progress in the realm of jumping rope for fitness.
For the next 20 minutes, I judiciously went through the preliminary exercises devised to help in redirecting old habits. When I felt ready, I set forth and did a full continuous three minutes of jumping rope.
Three excruciating minutes of jumping rope the ‘correct’ way.
The guy in the video even concedes it’s a biggie challenge to begin again on the jump rope exercise scene. He suggests beginners hold back enthusiasm in advancement by restricting jump rope sessions to 3 per week for the first 4 weeks.
Shin splints, muscle aches and cramps, coordination misfire whips against the body by the jump rope itself – all can add up, hurt and hence discourage continuing on in one’s advancement of jumping rope as a total body workout. Being an older adult, I heeded hubby’s suggestion to ease into my new jump rope routine to 2Xs a week for 4 weeks.
Tuesday this week was my second date with that ole jump rope. In that same parking lot.
The mushroom was long gone, but I managed to do two 5-minute spurts of continuous jumping rope! 10 minutes total. I never in a million years thought I could ‘advance’ so quickly on something so taxing and demanding.
I am not the athletic type.
I was always the last chosen on sports teams back during School Gym days. But my enthusiasm and persistence have always been my redemption. I love hiking, skiing, biking, swimming, diving, volleyball, softball – I’ve just not ever been good enough for ‘teams’!
And now: Here I am, beginning my new COVID-19 jump rope exercise regimen. And succeeding!
Next appointment with my rope? Saturday. Can’t wait.
*Hubby and I had a date planned to take in Robin’s show at The Isis Music Hall & Kitchen in Asheville, NC on March 29th, 2020 at 6pm. Guess what happened instead? As I re-looked up the concert venue today, lo & behold to my delight and surprise there is a re-scheduled concert set for September 17, 2020 – we’ll see if we can keep that date!
– continuing with the musical pokes and prods – re: “…David Olney lead to Gregory Alan Isakov who lead to Gavin Luke” –
After a trip down snowy Raton Pass memories, my musical (re)search landed me at the merging of a folk/classical piece performed by the Colorado Symphony Orchestra in conjunction with contemporary folk-pop artist, Gregory Alan Isakov. Thus introducing me to a new-to-me younger generation of folkies.
Note: the YouTube featured here is the only media readily available on-line with the CSO/GAI arrangement-performance of this piece. That said, watching it isn’t as important as just listening to this IMHO.
Isakov’s The Stable Song,as performed with the CSO is the type of musical collaboration that excites me as a musician.
Performing in and composing for mixed ensembles has been and continues to be one of my deepest passions as a working musician. Back in the day, it was more unusual for instrumentalists of differing genres to play together in performance or to hear ensembles of unlikely instrumentation in concert outside the University music department recital setting.
It appears these types of cross-over collaborations are becoming more mainstream* – to the delight of musicians and audiences alike.
But that has always been my bent. And upon my life’s reflection, I’m thinking I was perhaps even born into it.
My Dad as a professional jazzman on sax and clarinet was always up for a jam session with me, his daughter, on 12-string acoustic and/or classical guitar. For awhile there we even made the rounds in small performance circles as 3D: Dad Daughter Duo. Our set list comprised of standards, show tunes, contemporary pop, Latin, country, classical repertoire – you name it – with my classical guitar solos and/or 12-string acoustic folkie riffs alternating with his show stopping improvised tenor sax and/or clarinet solos dancing rings around my chordal vamps…Yeah I was born into this.
Finding that sweet-spot key where the natural intonation of disparate instruments sound good while playing together is a greatly rewarding endeavor.
I find it deeply satisfying, stretching the sonic boundaries via unconventional instrumentation and encountering others who explore that same territory in myriad ways.
Included with that exploration is my fascination with anything related to ‘prepared’ instruments. A technique I first encountered during my music school days, John Cage‘s forays into this altered soundscape has since given birth to a wide range of instrument manipulation in the name of New Music. Again, there is cutting edge and then there is what is palatable for mainstream.
Enter Gavin Luke, composer. More of a New Age pianist/composer, I stumbled onto his piece, In Search of Home, while perusing a composer website. The main theme of his piece is compelling, but what I found most interesting was the simple use of felt sheets in his ‘prepared’ piano as central to his composition.
Note: the YouTube featured here is a short 2.5 minutes long in which Gavin demonstrates his process in the creation of this piece.
While I appreciate the creative process as shared by compadre (he)artists regardless of genres, the take-away for me in this case was a surprising appearance of my poetic muse…
*In order to keep this post shorter and to my intended points, I did not go into depth on the well-known, well-received and highly successful collaborations between unlikely genres & musicians over the years such as The Beatles & orchestral musicians/eastern instruments just to name one example.
One of the things I do on a regular basis is search and discover ‘new’ (to me) music via a myriad of ways…all part of being a working musician – seeking, learning, creating.
A fine example of this occurred recently. As noted in a prior post, CNN’s short video in tribute to David Olney lead me to seek out more of his music. Which lead me to two other seemingly unrelated musicians/composers. I say ‘seemingly’ because I haven’t a clue as to how I arrived at their respective websites/youtube channels/streaming stations but some invisible google-ly algorithm guided me based upon something related to its way of calculating.
I know standard streaming sites routinely offer up an ‘if you like X, then try Y’ approach to new music seekers. However, my pokes and prods seem more organic, focused, personal – with a touch of human (mine) direction in the seeking. In addition, it is not limited to a particular platform.
Anyway, David Olney lead to Gregory Alan Isakov * who lead to Gavin Luke.*
And then I discovered an unexpected related theme – that of home.
David Olney was an itinerant wanderer, Gregory Alan Isakov is a transplanted Boulderite (my hometown) and Gavin Luke is a composer whose style draws deep home yearnings front and center.
Olney’s cover of Snowin’ on Raton** reminds me of all the traveling back and forth between hubby’s and my family homes…driving over Raton Pass in all types of weather from Colorado to New Mexico and back again from New Mexico to Colorado.
Specifically, two significant snow times come to mind.
1977 Cutlass Supreme w T-Tops, image from google
January 1979. Just a little over 6 months into our newlywed-ness, we packed all our belongings in the smallest sized U-Haul trailer and hitched it onto hubby’s 1977 Burnt Orange Oldsmobile Cutlass Supreme Brougham (complete with T-tops and other extras). Moving in the winter was dicey but needful as hubby was set to resume studies at NMSU that semester requiring our move from Boulder, CO to Las Cruces, NM to begin our new married-student phase of life. He, as an older student to finish his CS degree on the last of his GI Bill (at that time, NMSU was on the cutting edge as one of the few Universities to offer a Bachelor of Science Degree in Computer Science Program). And me, to forge a more direct relationship with my in-laws in hubby’s hometown while exploring our own new surroundings filled with endless possibilities. On the day of our move, we expertly navigated the increasingly dense low visibility January snow storm conditions. We even managed to slip (pun intended) into the climbing lane as we began the long steep grade over the pass…before CDOT closed I25 behind us. Yep, we were the last vehicle allowed on the road to mount up and over Raton Pass into NM. Suffice it to say, we jackknifed only once on the steady upward climb and managed a controlled descent on the other side of the pass into Raton, NM.
January 1982. After hubby graduated in December and with our firstborn less than 4 weeks old, we packed up that same Cutlass – with more precious cargo this time around. The plan was to move back temporarily to CO to stay with my folks while waiting for more details concerning hubby’s new job at HP in the Silicon Valley to determine exactly where we’d be relocating. Again, a January snowstorm. Again, slipping past the road closure signs as the last vehicle going up and over the pass. Safely strapped into her rear facing car seat, our newborn baby girl who’d been sound asleep for most of the trip opened her eyes with a start and immediately began her screaming cries as we began our ascent. She sensed the tension of our situation – and added to it – all the way up & over Raton Pass. This newborn Mother could not – dared not – pick her up to nurse her back to calm – and was thusly initiated into the lifelong Sturm und Drang slice of what it means to be a Mom.
And those are the snowy times when we drove Raton Pass and where listening to Snowin’ on Raton many years hence intersect – hitting squarely through my heart –
Missing home. Missing our baby daughter.
David: I didn’t know your songs until you passed away and I watched a CNN short video in tribute to your life and contributions to the musical world.
Dying while doing what one loves most is a blessing, but still hurtful for those left behind.
…Wish I had ‘known’ you sooner…
RIP David Olney: March 23, 1948 – January 18, 2020
About ‘Death Will Not Divide Us’
David often draws inspiration for his music from classic poetry and literature as well as The Greatest Story Ever Told a/k/a The Bible. A true troubadour, many of his tunes touch on social issues of the day. This track is one of ten on his album, “This Side or The Other.” While not a concept album, David alludes to several recurrent themes. One of which is the frequent reference to walls.
His essay, “Taking Sides and Building Walls” begins, “The Wall is in the news.Trump’s Wall.”
Then David continues to touch on various other walls, “…the infamous Berlin Wall…the Great Wall of China…Hadrian’s Wall…In the Middle Ages, cities built walls around Jewish ghettos. The rationale on the part of the State was that the walls helped protect the Jews. The Holocaust put an end to that particular line of logic.”
‘DEATH WILL NOT DIVIDE US’ was co-written with Abbie Gardner (of Red Molly). David says, “I wanted to catch the spirit of Paul’s letter to the Romans, Chapter 8, Verses 38 and 39*. I love Abbie’s line, ‘There’s a moment of decision when the ground comes up to meet us.’” The new music video echoes our ever-changing world with one constant, opening with a young girl joyfully dancing as she leads a parade of the past into the future. Her movements are whimsical, flowing and childlike while she dons a jester hat. Others follow her “blindly” dancing through town, wandering through historic sites and Romanesque buildings, trusting their fearless leader.
Personal Note: the bookstore in the video is a landmark in Nashville – McKay’s Used Books. A really cool place!
* Romans 8:38-39 “For I am sure that neither death nor life, nor angels nor rulers, nor things present nor things to come, nor powers, nor height nor depth, nor anything else in all creation, will be able to separate us from the love of God in Christ Jesus our Lord.”
The thing of it is: I remember where I was when I first heard this. I was in my bedroom, doing homework on the floor, while listening to music on the radio, circa Thanksgiving holidays 1970.
Where were you?
Note: Something triggered this nostalgic moment and while more on the rough draft side, I thought I’d use it for day three of my “6 years on WP.org” posts.
Detail of Denver Mandolin Orchestra group photo (circa 1999?) Laura Bruno Lilly (me) – kneeling in front, Paul Drury – tall one in the back
One of the joys of being a performing member of the Denver Mandolin Orchestra was the sense of generational genesis. The turn of the 20th to the 21st century marked my introduction and induction into this motley crew of musicians. A group ranging from violin virtuoso Thereza Stephan doubling on mando; mando greats Eli Karasek, Charlie Provenza, Drew Horton; to mother-daughter and father-son mandolinists sharing music stands during rehearsals and consequent performances. And then there were us guitarists headed by Ron Grosswiler whose collection of historical American classical guitar scores along with Mandolin Orchestra Repertoire from then till now was legendary and not fully revealed until after his death in 2010.
Peppered throughout the DMO’s 23+ musicians, amateurs and professionals alike, we all contributed to the awareness of this largely unknown type of accessible American music. Plus, those like myself who just wanted to play in an ‘orchestra’ with instruments not normally associated with conventional orchestras.
But what I remember most vividly is the memorial service Swallow Hill hosted for one of its own volunteers, and for one of our very own DMO members, Paul Drury, sometime in 2004 (?).
Living within modest means, and one who knew hardship as well as gritty challenges, Paul cared for others. He made sure everyday people got to enjoy simple pleasures – like music. Often, he’d pass on Swallow Hill concert tickets he purchased himself to people he knew marginally (often a little lost in life) – just so they could bask in the healing that is music.
One evening, he died suddenly due to an unperceived advancement in symptoms of diabetic shock…
I hadn’t been a part of the DMO for several years, but was contacted about the jam-session memorial to be held in his honor…an invite to bring my instrument and pluck some of the corny rep we played as a group. And yes, he had a proper musical tribute played by a smaller version of the DMO.
However, it wasn’t until the first strums of Warren Zevon’s Keep Me In Your Heart drifted through the auditorium sound system that the crowd got silent…Paul’s wish for all, sung for the one we had all come to honor that night.
It’s official. I’ve been registered with WP for 6 years. I signed up and worked on my website/blog starting in July 2013 then pubbed my first post, Why Blog? Why Now? on August 30, 2013.
Bloggoversaries come and go. Case in point: last year’s was all but forgotten! This year, I thought I’d celebrate by posting a little something for 6 days in a row. Starting now! And no, they are not already written and ‘scheduled’ for automatic pubbing on the blog. I just came up with this idea and am gonna wing it.
We’ll see how it goes – meanwhile, enjoy this vid on day one of 6 years on WP.org.
Note: I chose this as it’s Monday Morning Friendly, with a message that is timeless…
Friday, July 26th was the 29th anniversary of the signing of the ADA, the Americans with Disabilities Act. It was also the day I first learned of a remarkable musician on the PBS Newshour – Gaelynn Lea, Violinist.
“Adaptive music is not as common (as adaptive sports) but I hope that it becomes more common.”
on playing the violin:
“I realize that you probably don’t know unless you have a disability that you spend every day modifying everything. I’m not concerned with doing it the way everyone does it, because I can’t really do anything the way other people do it. So, for me, finding a way to play violin was just a matter of time.”
The final set of lyrics to her newest release, “I Wait” written in defense of the Affordable Care Act, protecting those with preexisting conditions:
“We need a seat now at the table, so please invite us. Or Don’t pretend to care.”