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Over at Bowl Of Noses, I’ve posted about one of my true heroes, someone whose imagination has driven mine, whose art has inspired me and driven me, whose life I wonder about: the man who gave us the comic strip, moving pictures, and true hybrid works, Windsor McCay. Little Nemo In Slumberland and Dreams Of A Rarebit Fiend are must haves, true Essential Reading.
Not having cable or being a television watcher, I miss out on some culture, some artistry, some trends. I am glad there are ways to make up for that now. Maybe it’s an odd thing to select to watch advertisements. But when someone reorders the world into new art, I want to see it. I also want it explained. I was glad to find this out there too:
“Playing For Change” combines three of my fave things in one nice package.
A couple months back, I read about a novel from the ’60′s that wasn’t bound as a book but as individual chapters that could be read in any order. The novel was about memory and as such the form mirrored the content’s non-linear nature. The playfulness of form has stayed in my mind (and on my agenda).
I got the album for Christmas the year it came out. I had matching glasses. I played the album over and over and stared at the photos and the poster. Every song entered my being, and is still there today. By the time this day rolled around 24 years ago, I felt that John was someone I need to move on from. My music had changed, but I was not truly ready to move on; I was only acting the angry young man part, a part that I had partially lifted from John. I am glad he lives on today. Imagine…
As Ted’s mind was blown by Captain Beefheart (see previous post), I had a similar mind-melt one day in 1990 in SF when someone played me a song called “The Old Man’s Back Again” by a fellow named Scott Walker. ( I discovered Ted is also a Scott fan – so thanks for sharing this space with me.)
The core thesis was “inspiration”. That first song, recorded (I soon discovered) in 1969, seemed to contain in it the seeds of everything that I loved in music; all that dark, cinematic bliss and mystery – where did he get it and how did Bowie, Ferry, Eno, Marc Almond, Tindersticks, The Smiths, Pulp, Divine Comedy, Radiohead, Goldfrapp and countless others get their hands on it and how has it moved through their lives, their music? But as Scott moved from 60′s orch-crooner to contemporary avant-gardist (this is where the meat punching comes in) the inspirational power he transmits is not just about what singer is copping his croon, but about a very intense and focused dedication to craft, pure and simple.