Tonight, I roasted the whole damn head in spices
like a brain, cooking something new
handpicking a funky queue
of Prince jams across the universe
he Spotified me from the basement
during Sign o’ the Times
loudly, laughingly reminded
“we’re no strangers to love“
They’ve opened up
from wrist to cuff
a silver channel
in the forearm
of the prairie.
This, so the black ink
flows faster to the hand
that writes the checks
which leave us dry
thirsty and poisoned
in a future of rubber
bullets and bird
After his first viewing of A Clockwork Orange on Inauguration Day J20:
Feldspar: What Now?
Pixel: Something classic, something funny
Feldspar: Texas Chainsaw Massacre?
Pixel: Try again.
Feldspar: Darby O’Gill and the Little People.
Pixel: Hmm, that’s new.
Feldspar: It has Leprechauns and Banshees and Sean Connery when he was young. Singing.
“If you don’t have a song to sing
you know how to get along
humming . . .”
“Waltz (Better Than Fine)” — Fiona Apple
On the last day of the year, an Anna’s Hummingbird appeared, perching gently on the edge of a cut rose bush stem. I loved the way The Cornell Lab of Ornithology described them “no larger than a ping-pong ball and no heavier than a nickel . . .with their iridescent emerald feathers and sparkling rose-pink throats, they are more like flying jewelry than birds.” Their Anna photos also use a thorny perch and float on the edge of a twig.
“Anna’s Hummingbird was originally named Ornismya anna by René Primevère Lesson in 1829, based on specimens collected by Paolo-Émilio Botta and owned by the duke and duchess of Rivoli. Lesson regarded it as one of the most beautiful hummingbirds, on account of “the bright sparkle of a red cap of the richest amethyst…” on the male’s head, and so named it after the duchess of Rivoli, Anna de Belle Masséna. Gould (1861) placed it in a new genus, Calypte, for “not only the throat, but the entire head as glitteringly resplendent as if they had been dipped in molten metal”. Calypte is greek (Кαλυπτη) for covered or hood (Holloway 2003), a reference to the male’s iridescent crown. Males turn their head from side to side as they sing, flashing the brilliant iridescence as a signal to other hummingbirds.”
I leaned against our window into the garden and took a few photos as he visited the rosebush and feeder.
Waiting for the bus downtown in winter, a large building has a video screen with a film projected 30 feet wide. A dark field is suddenly lit by a spiraling flame. A tanned, beautiful face comes into view, green palms collar his neck, skirt his shirtless waist, and cuff his wrists. He is a fireknife dancer, twirling the machete-like nifo oti, or “tooth of death.” He brings the long flamed edge to his open mouth like a hot drink and taps it to the edge of his tongue where a brief lap of blue and orange ignites and smokes out like a bare-skinned dragon and I think, “yes, perhaps a trip to Hawaii.”
In the darkest time of the year, perhaps even, in our culture and our larger world, Bazan invites us to “admit your despair to safe people in your life this Christmas. Be a safe person for others. Feel better. Jesus Christ, you guys.” It’s an honest Christmas wish we could all find some truth and light in.
David Bazan has been remixing and remastering a lot of different things lately. His music. His workflow. His life. He’s been incorporating old songs and sensibilities into new endeavors, like releasing his first music video, embarking on a documentary about his “existential, artistic and family life,” and touring with a very unlikely holiday album collected from annual yuletide song releases, dating back to his Pedro the Lion days.
No matter the sound—from guitar strings to symphonics or synthesizer—nor the venue—whether it’s a house show or concert hall—one beautiful consistency remains in Bazan’s music: his raw, emotive vocal delivery of difficult topics, from faith to politics and all the human faults in between.
READ the rest at the Source: White Devils and ‘Sacred Nights’: In Conversation with David Bazan
Walking around in an emotional ‘Haze,’ Dawn brings her new record to The Old Church on November 18 with collaborator Lauren O’Connell and openers The Native Sibling.
Haze is an emotional autopsy of confessions and conversations around the loss of relationships. It captures, as Dawn describes, both “that feeling of walking around in a haze” and “relates to the idea of being hazed: put through some strange and often cruel rite of passage.” As a daughter of missionaries, songs about her father and religion such as “Orchid” and “Amen” feature prominently on Haze. But these aren’t anti-religious anthems or angry breakup ballads. The 10 songs on Haze are melodic and precise—sharp words set to sweet hymnals ranging from sparse guitar and vocals to glittering synth ballads—as if to soften the scalpel she takes to her evangelical upbringing and poignant endings.
READ the rest at the Source: In a ‘Haze’: Nataly Dawn at The Old Church
a piano in the woods
the milky way with a silhouette skirt of treeline
a blue satin ribbon holding the skull
of a ruby-throated hummingbird
a lone honeybee painted on a swatch
of Victorian floral wallpaper
vermilion, gold, periwinkle and jet
two orange and black tail feathers from a Northern Flicker
in a two-inch terracotta pot
three blue and green peacock feathers
in a wooden vase
snowflake obsidian and hematite
a small, coiled shell worn away to iridescent nacre
a pressed, beige, star-shaped flower
a grey stone with white spots shaped like a heart
a turtle carved in amber
a lichen branch
a tuft of dried seaweed
A miniature mahogany Buddha on a mirrored pedestal
a black pebble with a silver-winged dragonfly
signed, HANK on the bottom
gifted in apology for panhandling a dollar
a story about a crime lab for animals
legal and illegal global trade in wildlife
they are searching for evidence that will link human suspects
to animal victims
see: corporate farming, your dinner
“I’ve never drawn a chalk line around a butterfly,” he jokes
their paper wings ignite on headlamps
and metal filters
as we fly wingless,
day or night.
Algorithms and word clouds are good for poetry. This one is supposed to represent my most frequently used words on Facebook in the last year.
David at my center,
dark blue time to my left and pale blue thing to my right,
years gone sideways.
Below me, the entire garden and found light
in flowers and forest.
A wolf person producing water
underneath home goldfish, dolphins
a language dance, deep and large
and a word so small, I cannot interpret it.
Clinton / Sanders campaign
a paper cowboy picks freedom
country and world float above golden choice
people and change loom large in violet
with small and dark floating thoughts
feel good song,
drunk and pretty.
On Moorea Masa’s debut collaboration with J. Most, she moves into her R&B realm with a clean, crisp, almost symphonic song with plenty of room for fingersnaps, strings and sumptuous harmonies. Finding space to grow, listen now and stay tuned for more new sounds from Masa.
Every garden goes through its cycle of life. There’s the zenith of growth in summer, a gentle decline and falling away in autumn, a death or mere sleep in winter, and rebirth again in spring. So it has been for folk-soul singer Moorea Masa herself and her newly released track, “The Garden.”
Seeds of this song have been sown in various forms beginning with an acoustic performance set in a field of wildflowers as part of Chuck Johnson’s Humboldt Live Sessions in the fall of 2015 . . .
READ the rest at the Source: Moorea Masa & The Mood: ‘The Garden’ [Song Premiere]