Sunday, September 26, 2010

JOHN BRADLEY






What Is Borne

A NEW LONGHOUSE BOOKLET OF POEMS





[ please click on image to enlarge ]





Three color booklet of new poems

by John in fold-out splendor.

Both signed and unsigned editions.

Longhouse offers a free half-reading above.

Enjoy!

Signed limited edition $15.
Unsigned $8.95

(International orders kindly inquire)

order here through Paypal with free shipping







photo by Jana Brubaker



Saturday, September 25, 2010


BOUNDLESS ~




Art Tatum

Art Tatum tended to work alone — few musicians could keep pace with him — the advanced harmonic vocabulary and all.

Blind in one eye and the other eye forever weakening, he drew deeply from the great American songbook: Tin Pan Alley, Broadway, popular tunes from the 20s-40s, building upon a stride and classical piano background, which went on to influence Bud Powell, Monk, Bill Evans and about any other musician who lent an ear, no matter their instrument.

My favorite remark about Art Tatum is by the pianist Kenny Barron, "I have every record [Tatum] ever made — and I try never to listen to them … If I did, I'd throw up my hands and give up!"

That's versatile Ben Webster joining Tatum on this recording.

Gone to us before the age of 50 (d. 1959), his wife Geraldine was buried beside him at Forest Lawn Cemetery at her passing in May 2010.









online.wsj.com

Friday, September 24, 2010

BROOKS JOHNSON





Brooks Johnson with Farid Matuk and Susan Briante, 2006


the people of the state of illinois
vs
brooks johnson



A NEW LONGHOUSE BOOKLET OF POEMS








[ please click on image to enlarge ]





Three color booklet of new poems

by Brooks in fold-out splendor.

Longhouse offers a free half-reading above.

Enjoy!

Unsigned $8.95

(International orders kindly inquire)

order here through Paypal with free shipping









photo courtesy Kent Johnson



VOICE ~



Thursday, September 23, 2010

PAM BROWN ~







Sentimental

A NEW LONGHOUSE BOOKLET OF POEMS







[ please click on image to enlarge]





Three color booklet of new poems

by Pam in fold-out splendor.

Longhouse offers a free half-reading above.

Enjoy!

Unsigned $8.95

(International orders kindly inquire)

order here through Paypal with free shipping








photo courtesy of Pam Brown



Wednesday, September 22, 2010

NUMBERS ~






That mackerel sky. Came to us out of nowhere.


And here's to those who suffer (and you do) the loss of thousands of trees in and around the boroughs of New York City during a recent macroburst. The photographs and stories have been tragic. There are people who walk the earth with a goodly part of their lives respectful and in gratitude to the trees that line their neighborhoods, otherwise gone to hard times and damages. Having that tree outside the window, or as greeting figure right out the door, is bigger than you may think. I can think of beautiful most beautiful poems by Lorine Niedecker, Robinson Jeffers and Philip Booth about their trees. Which are yours. Ours.





Back at the roof job it was time to dismantle the 42 foot by 18 feet of wood scaffold across all the front of the house.Talk about trees! We had deemed it "Michelangelo". We'd take down 3/4s of it and leave a final 1/4 up right at the center of the house with the front door (never used, bookcases are behind it, but one day we discovered a Jehovah Witness caroler knocking there) and lined up with the chimney. The chimney is the next target.


We'll raise the 16 foot aluminum ladder with hook up there by the weekend and latch on at the ridge cap which will allow just enough working room to begin a new design on the chimney. From the rear I can get there by a shorter ladder and hook, and I already have a piece of staging left there from the roof work. On that staging will go the tub of mortar and tools, and eventually me.





I have a plan in my head to ring the top of the chimney with Mexican tiles. Enamel finished. I've been working with these for decades. Around here I once found tiles in shops for a dollar each. That was years ago. Now they can range anywhere from $5 to $10 each depending on the venue. With a little sleuthing by Internet, Sweetheart found a treasure-of-the-sierra-madre trove: 100 tiles at a song. Made and packed up in Mexico in an old box and mailed from Texas. Don't sit and count the days, it'll take a little while before the tiles arrive. By Fed Ex ground and a very sassy young driver who didn't like the fact we don't have a number on our house. "But you found us?" I asked. "I guessed", he hurled. This was the only part of the transaction from old Mexico to old Vermont that reminds me once again that progress hasn't progressed. The lack of etiquette, and etiquette can be sweet.





So into the tile box we go and find 5 tiles wrapped as if by Santa's elves in their own styrofoam package. One after the other, shaped in a cube, packed like sardines. Not a scratch, not a chip, not a break to any tile. Remarkable. I need 18 to do the top circumference of the chimney, and between Sweetheart and me we found the chosen ones. Set them aside. With no idea in the world how they will look. Live on and by the seat of our pants.





We saved all the styrofoam packing. We even tried to read the crumpled up newspaper from Mexico used for padding; got so far. But the styrofoam we will use again right out of our bookshop. In the meantime, with the scaffold dismantled and stacked on the ground, the new roof opens up to us. The little things excite us.





I won't even go into the body pain, tough sleep, bad backs, hip to leg pain we've had for weeks and weeks. It'll take all the romance right out of it. This isn't from this one job, it's from 3000 other jobs, all sizes and predicaments. The worker at a certain age is nicks and bruises and a grin (if lucky). It was Samuel Beckett who told us all not to take this life so seriously. He was correct. And he wrote his best stuff unknown, struggling, an underground war resister against the fascists. I always liked his Irish-French perspective.



Intermission:

http://youtu.be/anuDJ2pvdho




If you've gotten this far with me, thank you. I must be testing our endurance.


Finian's Rainbow? Yes! "Follow the fellow who follows a dream" is the essential line in the film. It used to keep campers in line and neighborhoods in-step, and then the big lie was exposed — there is no rainbow. You're actually one step from homeless. But with some desire you might build one yourself — a rainbow. So go build.
"Follow the yellow brick road". Ridicule these sing-song lines but they have gusto. There's a graffiti specialist in NYC by the name of Momo who one day got it into his head to strap a container onto his bicycle and with a handmade spray hose device draw a line as far as he wanted to go. He happened to go 8 miles. It took 15 gallons of paint. He did this between 3-6 AM. Follow the fellow who follows a dream. Yes, sometimes it leads to nowhere. Start again.




as if playing chess



We pile the spruce 2 x 4 / 12s in one area, the 2 x 6 / 12s nearby. By nightfall I will take some of the shorter 2 x 6 used as scaffold bracing and tear out and build a new outdoor stairway for the faraway cottage at the edge of the woods. The last stairway lasted ten years. Here's another ten years.





All the scaffold was built with double-headed 16 common nails. We pulled them all, saved 75%, about 100 nails. I straightened them all out with my hammer on one of the low garden stone walls right where we worked. Reuse every single inch you can. Not a board or plank broken, split, damaged or wasted. All back in a neat pile ready for the next job.


I finished building the cottage stairway in the rain — yes, rain! It's been awful dry around here. We haven't seen old friend rain for weeks and weeks. Beautiful rain. Just tear open the late summer corn in the fields and have a look at no-rain. Returning to the house with the rain I went and had a look at how the steel was behaving in the rain, nice and steady and long, smooth as glass.







CODA (as of Saturday) ~

We are back at the tippity-top (chimney) and maybe one of the more crazed jobs I have attempted: ringing the top side of the chimney stack with Mexican tiles. Where in the world did I dream up this idea? Maybe Finland? Where my mind must come from, or old Ireland? Some inventions are best done alone, but Sweetheart was up there with me and tending to every tool and caulking and wet rag and bottle water spray and mortar tray and trowel needed. Ladder and hooks draped both sides of the roof. Of course mortar dropping wet onto the new and old roof and I have to wash both sides by hand with a water bucket and wet rag. It looked like I was up there polishing the new roof! From the ground Buster Keaton shouted, "It's lookin' good, but you missed a spot!"











photos © susan & bob arnold


Monday, September 20, 2010

CROSSROADS ~





DOUG SAHM


I couldn't locate "At the Crossroads", one of Sweetheart's favorite songs (and mine), and Sahm's barrel-house version of Lowell Fulson's "Reconsider Baby" would have been my choice for Saturday night becoming early Sunday morning.

But it's early in the week, we all need an uplift, and no better than a native San Antonio true-blood showing how the music never stops. Doug Sahm was stopped by a heart attack in Taos New Mexico (Kachina Inn / in his sleep ) in 1999. He'd just turned 58. He should have lived to be 200 by how much body and soul he gave to his music, life and baseball (a fan).

He started out as a child prodigy on fiddle, steel guitar, mandolin, and at the age of eleven was on the stage at the Skyline Club in Austin with Hank Williams. The date: December 19, 1952. Hank Williams would die less than two weeks later on New Year's day.

Sahm led the life the majority of white rock 'n' roll musicians can only dream about, mainly because he played almost every genre and looked it, too. From the Sir Douglas Quintet (with his Texas accent, and 2/5s of the band members being Hispanic, plus Augie Meyers, trying to pass off as an early British invasion 60s band — you just have to love the nerve of this guy), his own bands on the Mercury and Atlantic labels, the Texas Tornados, Los Super Seven supergroup, his two sons playing with dad and now on their own — it was all the
neverending tour that Bob Dylan was undoubtedly inspired by. Doug Sahm was doing it since he was a kid, when he cut his first record "A Real American Joe". By the time he was a teenager, it is said he was offered a permanent spot at the Grand Ole Opry, but his mom shot the idea down wanting her son to finish school. Yep, he was but a mover.












(let's pretend it's Saturday, late)







(and no getting away without the Texas Tornados:
Augie Meyers, Doug Sahm, Freddy Fender, Flaco Jimenez)










Sunday, September 19, 2010

MERRILL GILFILLAN







Treehouse Haibun

A NEW LONGHOUSE BOOKLET OF POEMS







[ please click on image to enlarge ]




Three color booklet of new poems

by Merrill in fold-out splendor.

Both signed and unsigned editions.

Longhouse offers a free half-reading above.

Enjoy!

Signed limited edition $15.
Unsigned $8.95

(International orders kindly inquire)

order here through Paypal with free shipping






photo of Merrill Gilfillan by John Deason, 2005



Saturday, September 18, 2010

JOHN TAGGART ~









PASTORELLE 8



Young woman

Amish

green dress apron translucent white prayer bonnet

strings of her bonnet trailing in the air




rollerskating down the road




by herself alone in the air and light of an ungloomy Sunday afternoon

herself and her skating shadow




the painter said

beauty is what we add to things




and I

chainsawing in the woods above the road

say what could be added

what other than giving this roaring machine a rest.







Somewhere else, I, like others, have showcased this poem before. I can't get enough of it.

Of course it is the girl, the balance of the body (girl and poem), everything of the day spinning in almost midair, her following shadow, the poet with roaring chainsaw knowing it was time to give "it a rest" — both loud living as well the poem. Though this poem resonates, it stops on a feather, a thread. A dime hasn't yet been invented where this poem is coming from.

John Taggart is the son of a preacher man. My bet is no one but the son of a preacher man would ever see this sexual and divine image of translucent white prayer bonnet.

Nothing's perfect, but this poem is close.

There are 350 pages more of the same.



is music
selected poems
John Taggart
edited by Peter O'Leary
Foreword by C.D. Wright
Copper Canyon Press, 2010
www.coppercanyonpress.org







photo : John Taggart
c/o Big Bridge



Friday, September 17, 2010

COMEBACK ~







43 years later ~ what a way to hear this song










Thursday, September 16, 2010

DAHLIA RAVIKOVITCH ~










THE END OF THE WAR


He came at midnight, both legs lopped off,
Though his old wounds had long since healed.
He came through the third-story window —
I was struck with wonder at how he got in.
We'd lived through an age of calamity;
Many had lost their closest kin.
In streets sown with shredded papers
The orphan survivors were skipping about.


I was frozen as crystal when he came.
He thawed me like pliant wax,
Altered me even as the pall of night
Turns into the feather of dawn.
His bold spirit translucent as mist
That streams from the morning clouds.





SURELY YOU REMEMBER


After they all go home
I remain alone with the poems,
some of my own,
some of others.
Poems that others have written I love best of all.
I remain in the silence
and the choking in my throat relaxes.
I remain.
Sometimes I wish they would all go home.
Writing poems may be a pleasant thing to do.
You sit in your room and the walls grow taller.
Colors grow bolder.
A blue kerchief turns into the depth of a well.
You wish everyone would leave.
You don't know what's the matter with you.
Perhaps you'll think of a thing or two.
Then it will all pass, and you'll be pure crystal.
And then love.


Narcissus was so much in love with himself.
Only a fool doesn't see that he loved the river too.
You sit alone.
Your heart pains you, but it's not going to break.
The faded dramatis personae are erased one by one.
Then the flaws are erased. Then a sun
sets at midnight. You remember
that dark flowers too.
You wish you were dead or alive or anyone else.
Isn't there even one country you love?
Isn't there even one word?
Surely you remember.
Only a fool lets the sun set at its own pleasure.
It always sets off too early westward for the islands.
Sun and moon, winter and summer will come to you.
Infinite treasure.





IN CHAD AND CAMEROON


By the oases of Chad and Cameroon
European settlers sit around all afternoon,
despairing of life.
They no longer care about manners.
Not far from them a band of lepers
passes by.
The elders with no fingers.
At eventide, no wind in the sky.
It's as hot as always. But then
a pinkish glow rises from the waters
in Chad and Cameroon
and falls upon the European men.







EVEN FOR A THOUSAND YEARS


I cannot bring a world quite round
and there's no sense trying.
Day unto day and day unto night utter nothing.
Sweet peas, margosas and roses bloom in the spring,
all of them life size and in full color.
The truly original doesn't sprout up here,
not once in ten years.
Whoever wants to breathe attar of roses
let him gather it from the wind,
and whoever wants to plant a tree
let him plant a fig tree
for the benefit of generations to come.


Ask me if I've ever seen beauty
and I'll answer, Yes, quite a bit,
but not where it should be.
Say, that cataract on the river:
Of course I've seen it,
so what?
Mighty waterfalls are not such a pleasant sight.
The truly beautiful doesn't stroll around outside,
sometimes it comes to pass in a room
when the doors are locked, the shutters drawn tight.
The truth is, a thing of beauty
isn't a river or a mountain or an ocean view.
I know too much about all of them to delude myself
and think up something new.


What's left after the pain is just curiosity
to see how things turn out.,
what they'll come to in the end,
all those beautiful things.


I know: I don't have to plant a fig tree.
There are other options.
One could always wait for spring, roses and gladioli.
But time makes people grow tough as fingernails,
gray as rocks
stubborn as stone.
It's a seductive prospect, perhaps — to turn into a block of salt.
With mineral power.
To stare empty-eyed at this potash and phosphate factory
even for a thousand years.






DEEP UNTO DEEP


In Jerusalem I had my days of roses.
What is Jerusalem if not one neighborhood after another?
I came to her young and came back years later
like some odd creature.
Alone
in a house not my own,
I lifted mine eyes unto the hills
to see if help was nigh.


There before my eyes
clouds reached out to one another,
dark cypresses rustled beneath me.
Suddenly from the ends of the West
an eccentric shard of sun
swooped from on high.


And my longings flooded me like the sea,
sawed in my head kike a cricket,
swarmed like a hornet's nest —
so delirious was I.






POEM OF EXPLANATION


Some people know how to love,
for others it's just not right.
Some people kiss in the street
while others would rather not
— and not just in the street.
I think it's a talent like any other,
that may be its power.
Like the rose of Sharon
that knows how to flower,
like the lily of the valley
that chooses its color.
You know
a rose or a lily in bloom
can dazzle a man's eyes.
I don't mean to offend:
I'm aware there's more than one kind.
Honeysuckers are the loveliest of birds
to my mind,
but if someone is so inclined,
let him go to the sparrow.
Even so, I keep telling myself,
a sparrow that struts and frets,
a ram with three heads,
an apple that never grows red
— no, that's not me.






TWO ISLES HATH NEW ZEALAND


Africa's not the place to go right now.
Plagues, famine — the human body can't bear it.
Brutality. They flog human beings with bullwhips.
Asia — it would make your hair stand on end.
Trapped in the mountains, trapped in the swamps.
The human body can't bear it,
there are limits to the life's force, after all.


As for me,
He shall make me lie down in green pastures
in New Zealand.


Over there, sheep with soft wool,
the softest of wools,
graze in the meadow.
Truehearted folk herd their flocks,
on Sundays they pay a visit to church
dressed in sedate attire.


No point hiding it any longer:
We're an experiment that went awry,
a plan that misfired,
tied up with too much murderousness.
Why should I care about this camp or that,
screaming till their throats are raw,
splitting fine hairs.
In any case, too much murderousness.
To Africa I'm not going
and not to Asia, either.
I'm not going any place.


In New Zealand
in green pastures, beside still waters,
kindhearted folk
will share their bread with me.


Translated from the Hebrew by Chana Bloch and Chana Kronfeld

Dahlia Ravikovitch (1936-2005), mother, peace activist, and above from her collected poems:
Hovering At A Low Altitude (Norton)






tabletmag.com

Tuesday, September 14, 2010

CIVILWARS ~





BOB DYLAN


"Blind Willie McTell" is one of Bob Dylan's greatest ballads — some days it is his greatest ballad — written in 1983 and for whatever reason left off his album Infidels. Officially released in 1991 on his Bootleg Series Vol 1-3, it features Dylan grand on piano and Mark Knopfler on 12-string guitar, the very instrument McTell preferred for its "loudness". You can play this song and achieve an audience from kindergartens-to-prisons.









BLIND WILLIE McTELL







Blind Willie McTell first showed up on Bob Dylan's album Highway 61 Revisted as "Georgia Sam he had a bloody nose"...Georgia Sam being one of the many recording names by McTell. Dylan has had a few aliases of his own. Born blind in one eye in 1898, McTell would become totally blind by late childhood, making his living busking and recording with his indelible 12-string finger picking Piedmont blues. He would record almost 150 songs from 1927-1956. A stroke took him from us in 1959 in the town of Milledgeville, Georgia, where Flannery O'Connor lived and wrote up a storm. Let's imagine she heard him sing, alive as you or me.







One could say Dylan returned to his fold millions of listeners around the world when he resurrected "Delia" on his album
World Gone Wrong. It was after the lost years, which may have stretched a decade for him, through most of the 80s, when someone right now is reading this and ready to pick a fight by exclaiming: "But those are my favorite years for Dylan!" Maybe so. I have to tell you since 1964 I've never given up on him, and I was but a babe in 1964 holding on like it was a bible to my copy of Another Side of Bob Dylan. Those were poems on the back cover of the album — them-there-liner-notes — and I would protect that thought with every English teacher I had the next six years. Sides were drawn, you held fast.

Since those times at least two academics have risen faithfully and personally and done very well for the Dylan cause, which is really the cause of Harry Smith's archival recordings, big awful blowing fields of grain Carl Sandburg (who Dylan made sure to visit and pay homage to in his wildest years), slavery songs, and the Industrial Revolution burying the likes of Ma & Pa Kettle ; something one of the academics Greil Marcus calls "Old Weird America". But of course there is nothing weird about it. It's your forefathers & mothers, and gorgeous elm and oak and maple trees I can still find, and which were planted by
somebody (Lorine Niedecker's pop was a treeplanter in Wisconsin) in old town America everywhere I go. The smarmy Capitalists built then killed off the factories and the jobs, the schools, and boarded up the neighborhoods and inducted us all to drugs and very cheap living and begging, but they haven't yet got all the trees. I've been making miniature documentaries with my camera visiting some small towns and falling in love with the grandeur of their trees. Just waiting there for us. Too big sometimes to move, even by the best of the narrow-minded earth moving denizens, who believe 'another building' is just what 'space' needs. No, space evolves in space. And this is where Dylan has always worked out of — space — and to this day. He may look like a crafty-one in the photograph above, most likely is. Most likely has taught himself how to be, survival instincts and all that. He's got a message and he plans to see it through. His voice, that many have high-tailed it to the hills to get away from, is just about at that point of entering the league of the true blues singers pantheon.

The second academic, Sean Wilentz, is the other one you simply must read — he is just as much the true blue American story and the ideal candidate to write this half-century old tale of Dylan wonder. Nothing weird about any of this. It's apple pie and timber; FDR, Truman, the bomb, Eisenhower, new highways and Kerouac; pretty girls and mainly savages. Did you hurt yourself? Did you hurt some others? Imagine as a child running free all day and into the night, no money in my pockets. As a child my wife rode her bicycle like one more angel down the Sunset Strip. No harm. Bukowski was prowling a couple of neighborhoods over, but no one knew yet. Not really. Nothing weird about any of it. Farms existed, extended families worked the tractor, hitched a plow, barns grew full of slated sunshine and hay. John Locke said years before any of this (
said has always been there before written, never forget that poets): In the beginning all the world was America. Dylan put that in his pipe and smoked it. It got weird after that, awful weird.





A book with handsome paper stock for a change in a land of cheapened cloth copy books, excellent and new to the field photographs, Al Kooper endorsed.




Coda ~

As I was finishing stitching this piece together Irwin Silber passed away. He was one of the grand American folklorists, founder (with Pete Seeger and others) of Sing Out! magazine. Husband to another folk hero singer Barbara Dane. Great roots. Early in Bob Dylan's career he took him on with an open letter published in Sing Out! It went in part:


“I saw at Newport how you had somehow lost contact with people,” he wrote, (ed. Newport Folk Festival 1964). “It seemed to me that some of the paraphernalia of fame were getting in your way.”....

“Your new songs seem to be all inner-directed now, inner-probing, self-conscious — maybe even a little maudlin or a little cruel on occasion. And it’s happening onstage, too. You seem to be relating to a handful of cronies behind the scenes now — rather than to the rest of us out front.”
Irwin Silber, Sing Out! November 1964


Maybe Dylan was addressing Silber later on with one of his masterpieces on the subject of cruelty "Positively 4th Street". Who knows, who cares. Silber did nail Dylan, and I believe correctly, but he might have been a bit more cautious to what he was taking on.

Dylan has forever been a change-up artist: protest songs for some years, then a year after the Silber fracas he goes into the studio and cuts one of the greatest examples of rock 'n' roll meets the blues (which means folk, or as Thelonious Monk once informed Dylan, "We all play folk music.") with the album Highway 61 Revisited. And if that didn't send you swooning (or screaming) it was followed the year later by a double album extravaganza Blonde on Blonde. The first ever studio recorded double album. The Mothers of Invention would unleash their double album Freak Out! six weeks later.

Decades onward we'd receive the Baul singer Purna Das on the album jacket photograph with Dylan and other merry pals for John Wesley Harding, Johnny Cash in duet with Dylan on Nashville Skyline, the creme de creme of Nashville musicians often working with him, the religious songs, the Hurricane, Froggie Went A-Courtin', that Rolling Thunder, drugs, mischief, divorce, backup singer lovers, old tunes, crooning tunes, a cowboy hat, deckled suits, a big jump start on a memoir in many volumes — I once saw him perform in a hoodie he never removed — Children of Paradise white face, and so much more. A folk artist if there ever was one. Irwin Silber (1925-2010), I believe, lived long enough to witness.














dylan : bibekbhattacharya.blogspot.com
blind willie mctell : babelsound.com



Sunday, September 12, 2010


FINI ~








We hit the finish line on the roof job on Labor Day. Doesn't that feel quite apropos? We thought so.


We had worked all through Saturday and Hurricane Earl, a zenith of a day. Blue sky and white fantasy clouds, not that I had much time to look at them. I saw them in a corner of the eye.


On Sunday we got in the car with two apples and a map we didn't need and took off north. Returned for twilight. That was a day off. But we hiked until our legs were sore.






Labor Day we decided it was time to finish. As the roof work narrows, so does the footing purchase. This job is better known as mountain climbing, layer over layer of ladders and hooks and ladders and purlins to grab a toe-hold, and minding gravity.


We kept up the ramp I had built on Saturday and used that for the final sheets, now working on the hook and ladder to get across for sinking in the screws.






On the very last sheet, Susan walking it backwards with me, all 17 feet and we have to find a passageway around the front of the yard, around the hedges, every stonewall I built over years, flower gardens, and still going the long way around for a clear shot at the ramp...I see bicyclists have stopped, a couple, to take a look at things. That means our chalkboard of a poem or quote (Emily Dickinson), and they tell us "the stonewalls", and "the color of the house". I nod up hello holding onto the sheet. Susan in her blue cap for the sun.


These are the very ones I thought might turn up, the ultimate strangers, but I can't ask them to join in and give us a hand at setting the very last steel sheet up against the ramp. Nice idea but I stay quiet. They watch from the road. Maybe they are snapping a photograph, all I know is we're getting this one up and finished before dinner time.





I love it that Greg set a hand in on this job, and Susan put in an equal hand and handled as many sheets with me, and we finished this together almost closing in on 40 years at the same homestead. I'm betting the roof will last 40 more years. There's a house down the road that I built and put the roof on 30 years ago, and back then we used nails and not screws, and I know the steel was bright red when we put it down and today it's faded only to tomato soup. Still strong.


Some people can't stand the sound of rain on metal. We await it.











photos © susan & bob arnold



Saturday, September 11, 2010

VIKING ~





David Johansen and the Harry Smiths


"Old Dog Blue" has been kicking around now for well over a century out of minstrel shows, fairs, the best wooden back porches, and my favorite version by Jim Jackson from 1928. Go find it. It has a union between man and beast as fine as the Bible.

New York Doll, David Johansen is now 60 years old and here he takes a great whack at the adventure with his band of cut throats the Harry Smiths.

Johansen is the son of Irish and Norwegian American parents. It's one of many reasons why he looks a bit like a Viking.