Things are beginning to settle now with the flurry of musical tasks almost done; band & I have been working hard on some new tunes, getting ready for my CD release at Yoshi’s next week. I have some radio left to do, some tour details, and then a short break. Whew!! This Banksy bird (in SF) sums up what I feel; it’s time to stop the town crier and save my voice now
Meanwhile, Spring has been everywhere exploding these last weeks.
We have a tiny tree in our front yard. Until it bloomed, we didn’t know what it was. Dogwood, we think.
I am not usually a rose grrl, but since we have a community rose garden not far away- it has been fun to see them a little closer. There are hundreds of them!
“True beauty is a ray That springs from the sacred depths of the soul, and illuminates the body, just as life springs from the kernel of a stone and gives colour and scent to a flower.”
― Rumi
My video for new song Recession Stomp is a playful song about hard times getting better. The song is in the early American jazzy blues form- the “stomp”- popular in the 20′s and 30′s. I chose this type of feel to match the lyrics, and to parallel our economic tough times now with those of the same era. A stomp was literally when people kept the beat by stomping on the floor! But I wanted this song to also convey the hope I feel- that things will get better- so the chorus is a dance hall panacea; a girl trying to cope, puts on her dancing shoes to get through it all.
Musically, Recession Stomp was one of those rare songs where lyrics and music came together during writing. It happened after listening to a week of Louis Armstrong, and on the same night I went to see San Francisco band Lucky 7 play at club Amnesia. That night was a 1920′s Prohibition party that I was playing a short stint in for an accordion babes act- (accordion toting girls in the SF bay area… ). It was a cool night- with everyone in costume. But the headliner’s music! I was blown away by Lucky 7′s sound; no one was doing 1920′s music like this. It was bluesy, jazzy, all instrumental- the dance floor was packed with folks doing dances like the Charleston. The band had a full horn section (trumpet, sax, trombone…). They also had a banjo player- which they explained was the rhythm keeper back then, long before drums were included onstage in this genre. Banjo and the trombone together, were probably the instruments that gave that era’s music its old skool sound and feel.
I came home that night on fire to write something similar, but since I don’t have a banjo- I wrote the song on my ukulele (another super popular instrument during that 1920′s). The lyrics were inspired by Louis Armstrong Hot 5-s & 7′s records. Nearly all those ’30′s songs are upbeat, humorous, tongue in cheek- even about heady subjects like loosing your job, or getting your heart broken. Economically, you know times were rough back then- especially for Louie and the musicians at this time in his life. Yet his music was so uplifting! I hear only celebration and that contagious joy of dueling horns all the way through.
I wrote each verse/stanza in Recession Stomp about 1 person I know- who is or has been affected by this economy, borrowing the tongue in-cheek style of the early jazz lyricists.
Recession Stomp
My boss he told me, I don’t need you anymore, You been a good one, but I gotta close the store. Too few are buyin’, no one needs us, that’s for sure, We got it bad. You gotta go, we got it bad.
My Mama wrote me, she wrote me a letter, Said “things’ll get worse child, before they get better. But save your nickels and your pennies too, ‘Cause things gonna change, they’re gonna change, they’re gonna change.”
Chorus: Everyone’s talkin’ about it. Turns my blues skies into grey. But I’m gonna tie up my dancing shoes, dance those blues away!
My banker told me, he said to my face, “If your check’s late again I’ll need the keys to your place. Don’t give me tears doll, just green in the hand. I got it bad, when you got it bad- I got it bad.”
My friend he left just yesterday. The only job he found was 3000 miles away. Left his family but when he waved goodbye, said “I’m coming back, things gonna change, I’m coming back.”
‘Cause everyone’s talkin’ about it. Turns my blues skies into grey. But I’m gonna tie up my dancing shoes, dance those blues away!
My man he told me, the saddest news. “You’re spendin’ too much time in those dancin’ shoes! You’re far too happy, you should be singing the blues! We got it bad, you gotta go, you gotta go.
Drowned my sorrows at the Lucky café. Bartender says “Girl, wipe those tears away.” Don’t let the others, rain on your parade. You got it right- we gotta dance! You got it right, we gotta dance. You got it right, things gonna change, come on let’s dance!!
c. 2012 Tara Linda.
The video looks the way it does all because of director Juan Alvarado. I like how he made it a bit grainy and sepia toned I was thrilled to be able to work with him; he has shot video for lots of great music giants (Santana, Los Lobos etc.), and is the sweetest, easiest person to work with. When we filmed this last Summer, I was also recording the album and was just a little obsessed with that. So I was extremely happy that he had listened to the words and drawn up a story board (yay!).
I guess we shot more footage of the hard times than the dancing times! but I like that juxtaposition too. Juan wanted to drive home the recession theme consistent with the song. Shockingly, we didn’t have to drive far. It is heartbreaking to see how hard the recession has hit some American towns: McAllan, Texas is one. I had no idea it had changed so much; entire blocks downtown with factory building skeletons and for rent signs…
One thing I feel strongly about- we are all going through hard times together, so we can’t isolate waiting for things to improve. Call it our collective Karma- it affects us all and I believe we need to stick together and keep finding things to celebrate about, even if they are only small things. We have life; we have our humanity, each other, our art, and music We have to get out more (not less), b/c things will change, things will get better. My Lanikai ukulele mates tell me that the during the great depression years, more people bought and played ukuleles than any time previous, and more than any other instrument on the market.
I am thrilled that Yoshi’s Oakland Jazz club has invited us back; my CD release is on May 23. You can get advance copies of Torch and Sasshere.
A friend once called me a ‘crush-a-holic”. When I incredulously asked what she meant, she said “you crush on everyone ALL the time!” In defense, I said not everyone: artists mostly. And not forever. “Yes”, she said- “that’s why they call them crushes.”
Ok, I do tend to crush on visual artists, or their art. And dancers. And performers, especially drummers and bass players. And pretty much anyone who shows mastery of their creative trade in a public setting. Since I can’t draw a straight line, my longest running crushes are on visual artists. Writing a song or score- no problem- but sculpture, painting, life drawing seem mystery skills; to be around experts makes me SpongeBob giddy. Evidence of artist crushes I’ve shown on this blog previously are here. And here.
So, I’ve decided to add a category of new posts called “Artist’s Crush”. It will feature Artists doing almost any creative endeavor that is hopelessly crush worthy, and will include folks making art beads whose work inspires fun, finished jewelry.
So, I have mentioned lots of artbead artists on this blog before, but in this new forum- I hope to delve deeper; interview them and find out some cool day-in-the-studio wisdom. For now- the artist who’s work is inspiring mine is- Charlene at Black Mud Studios. And though I haven’t interviewed her yet, I wanted to share a recent challenge she gave me.
I’ve been working with her stoneware pendants for sometime. Charlene and her studio are in Ontario, Canada. Her pendants are sizable, beautiful with unusual detail, and well-priced. Her natural & gloss finishes are just plain fun to design with.
Recently, before placing my Spring order, Charlene challenged me to make her a necklace that could match multiple pendants. At first I thought- ‘ah, piece-o-cake.’ But then, I find out she wears only short necklaces- 15.5″ (gulp.) And that she wanted them to match interchangeable pendants (2x Gulp). Of varying finishes/colors (3xGulp).
I wear short necklaces all the time, so no fear there. [After my 20th necklace breaking onstage when changing instruments, I finally learned. Of course, it always happened mid-show, the quietest part. I would fold up my accordion, slip it overhead to trade out with bass or ukulele, and POP! A tiny sound & 200 beads scattering across a wooden stage in 10 directions. The crowd always gasps as if I've broken an arm. ;-]
So short length means there isn’t a whole lot of space to be elaborate in the design, since what is visible in front- is less than half of the necklace. I studied Charlene’s new finishes, and tried several things. One is a finished piece but the rest can have pendants easily attached to front or back clasps. I just love her leaf details! The one on the far left is a dogwood design.
These are generously large pendants! We’re talking 3-4+ inches many of them. So If you like large focals- Charlene’s is the place to get them. I experimented w/ U and V shaped necklaces, and learned that unusually shaped pendants look great in the V-shape. Still trying different things- but stringing with large stone chips and pieces is looking right. I’ll post soon to my Etsy store.
Another reason to love Charlene’s work- mermaids! And Seahorses. Bees and sugar skulls!!
Charlene makes lots of buttons, cabachons, links, cool bracelet links, sea creatures, leaves, and other amazing fun pieces, and usually shows us right away on her Facebook page here.
So stop by Black Mud Studio on Etsy or FB and see what Charlene’s kiln is cookin’ up!
Happy May Day Everyone~ Mum’s the word, and it’s a great day to celebrate Spring, Summer…
AND winning a new guitar strap for your guitar or uke!
Thanks to all for posting your comments to this post in early April to enter the Jamz Guitar Strap giveaway. I promise for the next one- I will close entries after 1 week so you won’t have to wait so long to win
Our winner is… jenni104 ! Woo-Hoo! Jenni says in her post that she likes the designs with skulls and the Aboriginal artwork. So, I will announce on FB & tell Jim at Jamz. (Jenni- contact me via email this week to get your free strap. I don’t find an email for you… Or leave your FB link.)
If I don’t hear back from Jenni this week- I will announce the runner-up this weekend, so check back.
To burn everything that touches you
char all that nestles inside of you
again and again, pretend in silence
until they walk away, until they walk – is one way to fight.
Measure they all say. So I awaken to confront thermometer in hand, resolve to find your heat, see just how much you throw in battle, discover how to approach with 6-decades old defiance, some uber-heated wisdom.
Measure they all said. But as soon as your porcelain door shuts tight, silent- you bite, glass fragments thick and old scatter across the midnight black speckled floor, scatter to all invisible spaces somewhere beyond US steel door – patent pending c. 1952.
I search, look hard for quicksilver beads, scavenge shards, the spoils of loss like missing teeth after one deciding right hook, but find only space, a pungent metal smell inescapable, everywhere saturating senses, now racing
To fight with vapor, fill all spaces
blind to the eye, deceive with combustion, drive
your heat to recombine with that (O2) which can
never (air) dilute (destabilize) your toxin – is one way to fight.
I close my mouth, too late feel you move from nose to lungs to brain, mercury fumes slamming me hard against all the walls inside my brain
You win.
So this is the very last poem for National Poetry Month. I’ve enjoyed the challenge of writing daily- but posting daily was the toughest part. I think I did better than last year, but there were times, days – when i just couldn’t fit it in before or after a gig or traveling. Anyone else have a tough time with their monthly commitment to write? Thanks to the sponsors! I look forward to next year
and the gift is nothing without work.” — Emile Zola
This is a quote that artist Anne Choi engraved on a new silver bead.
She says “I’ve heard people speak reverently about talent, as though it’s the only thing an artist needs. I think that for an artist, having a talent is just a beginning. Without persistence, exploration and appreciation, a talent withers and is lost.”
I understand the persistence part, and the exploration. But never thought much about the appreciation. I think I would need to make music whether I performed it or not. But nothing motivates more than a room full of people wanting to celebrate. I’m reminded of my early days, playing bars, a TV in the corner with playoffs, soundscape punctuated by wild shouts of joy with sudden scores. Ah, the old days
Appreciation is a motivator. But I play my heart out these days, regardless. In part I think because my band & I have so much fun playing together.
So I’ve done a terrible job of the daily poetry post! ;(. But I think I’m doing a great job w/ new videos, booking the tour, and getting our music out into the world!! Crazy busy now.
So my new CD Torch and Sass hits the streets next month. And Yoshi’s- Oakland has invited us back for our CD release party!!!! Eeee! AND I’m thrilled to have on hand advanced copies of Torch and Sass (CD or MP3) that you can be the first to order anytime before the official May 23th release date- by ordering through my website (Bandcamp)/Paypal. You can listen to songs before you buy here.
100% of every purchase supports getting my band on the road for tour dates both here in the US and Europe. I’m working on the Southern states (Sept.) and the East coast (Oct.) now. What cities should we play?? (Thank you in advance…!
This is a painting of Mae West in the murals of Coit Tower San Francisco. I’ve just started covering Mae West’s “Mr. Deep Blue Sea.” I just love her nobody’s-fool attitude on screen.
Someone said to me yesterday “poetry becomes you.” I wondered what that meant as he walked away. If I were to think that about another poet, here is what it might mean.
Poetry becomes you when spaces inside find daylight mixed with motion, a faint swirl like when dressing, how your shirt falls in a slow ripple cascade as if a window just opened, moves grace in folds, sheer and delicate downyour back.
Poetry becomes you when nuance wells up between thoughts, like leaves in wind most won’t see, but one catches your eye as it twirls over and over to the earth, cat calling and whistling at you all the way to your feet.
Poetry becomes you when words hidden from air in books, lost in time archaic float back languid past pen over paper liquid in language from a dream triggered by a lyric, how she signed her name swirls of L and J- all captured in your net for later, held close behind your back as he walks toward you, smiling.
Poetry becomes you when the hairy ogre in the pink hat red shoes too small for his feet, the one no one will admit, but is sitting right there confessing, or lying and smelly, says something about his pain, starts to scream or is that you actually screaming mute button on, pen dipping the well hand who’s muscles have forgotten hieroglyphics but who find the words just a few, for the one thing everyone is thinking but won’t say.
