Monday, December 12, 2011

LOVELY ~





Bill Tapia



This obituary from the New York Times by Douglas Martin about Bill Tapia was just too irresistible not to share!



Bill Tapia, Virtuoso Ukulele Player, Dies at 103


In 2001 Bill Tapia took one of his guitars to a Southern California music shop to get it fixed. A woman was buying a ukulele, and Mr. Tapia asked to see it. He began playing it, masterfully, with a distinctive jazz inflection.

“Hey, who are you?” the store’s owner asked.

If Mr. Tapia could have seen the future, he might have answered, “Duke of Uke,” the title of an album he recorded in 2005 at the age of 97. But at the time, he knew only that he was sad that his daughter and wife had recently died in quick succession, and that playing the ukulele felt good.

Mr. Tapia, who died on Dec. 2 at the age of 103, first played the instrument as an 8-year-old street musician, then went on to become one of Hawaii’s premier young ukulele players in the 1920s and ’30s. But after World War II he switched to the guitar to get jobs playing jazz, his favorite kind of music, gave away his ukuleles and for a half-century had almost nothing to do with the instrument that had defined his youth and middle age.

Then something astonishing happened: Mr. Tapia was “discovered” as a ukulele virtuoso at a time when the instrument was having a resurgence of popularity. He became a ukulele star, twice making the Top 10 on the jazz charts, wowing concertgoers by playing the ukulele behind his head à la Jimi Hendrix, and making three albums — one of which honored his 100th birthday. He was elected to the Ukulele Hall of Fame.

“Bill Tapia has been involved with the ukulele, jazz and Hawaiian music perhaps longer than any other living person,” the Hall of Fame said when it inducted him.

His daughter, Cleo, and wife, Barbie, died in 2001. He is survived by grandchildren, great-grandchildren and great-great-grandchildren.

William Tapia was born in Honolulu on New Year’s Day 1908. He fell in love with Hawaiian music listening to sugarcane workers play. He bought his first ukulele at 7 for 75 cents from one of the first men to make them commercially. His father abandoned the family the next year, and young Bill dropped out of school to collect tips as a street musician.

At 10 he came up with his own version of “Stars and Stripes Forever,” which he played for troops headed for duty in the last months of World War I. At 12 he played vaudeville. At 16 he worked on luxury liners. At 19 he performed at nightclubs and speakeasies in Hollywood and at parties at the home of Charlie Chaplin. At 21 he sat in with Louis Armstrong’s band at a Los Angeles nightclub. By this time he was playing the banjo and guitar, in addition to the ukulele, and was moving between Hawaii and the mainland.

When the Royal Hawaiian Hotel staged its grand opening in 1927, Mr. Tapia played ukulele in the orchestra. He was the only one of the original musicians to return for the hotel’s 75th anniversary — and its 80th. The second two times were better, he said: he got fed.

In 1933, the Royal Hawaiian hired him to drive one of its touring cars — a yellow-and-blue seven-passenger Packard — to ferry the wealthy and famous to scenic spots. He played the ukulele for his passengers and threw in a lesson for anyone interested. His pupils included Jimmy Durante, Shirley Temple and the stars of the Our Gang comedies.

He even claimed to have taught a lick or two to Arthur Godfrey, whose ukulele playing on television sparked the instrument’s popularity in the 1950s.

During World War II, Mr. Tapia organized entertainment for serviceman in Honolulu. After the war, he moved to the San Francisco area and devoted himself to the guitar, and to jazz. The big bands and combos with which he played had no use for ukuleles.

More than 55 years later, Alyssa Archambault was researching the background of her great-great-grandfather, a steel guitar player in Hawaii, and approached Mr. Tapia. She had been a disc jockey and promoter, and was captivated by Mr. Tapia’s music and his story. She got him in touch with professional ukulele players. They thought he had died years ago, but were awed at what they heard.

He released his first album, “Tropical Swing,” in 2004, when he was 96, and “Duke of Uke” the next year, both on the small Moon Room label. A live recording of his 100th-birthday concert at the historic Warner Grand Theater in San Pedro, Calif., was released this June.

He played concerts regularly, delighting audiences with songs like “Little Grass Shack.” The most recent was on Feb. 11 — not counting his regular gig at a local senior center, the last of which was only several weeks ago.

Mr. Tapia had a line that never failed to impress audiences: “Here’s a song I performed during World War I.”

~ Douglas Martin (The New York Times)

(Published December 11, 2011)







Sunday, December 11, 2011

LOVE ~







Friends ~ and you know who you are ~
we lost Shizumi Corman
on November 30, 2011.


Shizumi is now where she always said she always wanted to be,
with her husband Cid Corman (1924-2004 ).


Kyoto has a dove flying overhead.


I had a thirty year strong relationship and correspondence with Cid, often four letters a week, in the good old days of blue aerogrammes. Who, possibly, has that much to say? But we did. And when Cid was gone, for those few years more, when I wrote to Shizumi, she asked that I continue addressing the letters as I always had "dear Cid & Shizumi". Including having Cid's name on the mailing envelope.


The muse behind 1000 poems.




I leave my

life with you



Make of it

what you can.




~ CC





Shizumi Corman
(Konishi Shizumi)





Baby—we've all jumped

from the pot into the fire.

Ain't we something else?


~ CC





calligraphy © shizumi corman
longhouse publishers & booksellers
photo © susan arnold



Saturday, December 10, 2011

EARTH ~





Leonard Cohen



01_Avalanche by Leonard Cohen on Grooveshark







Friday, December 9, 2011

EARTH ~





Hubert Sumlin (1931-2011)
was often heard on his 1955 Gibson Les Paul Goldtop guitar



How Can You Leave Me, Little G by Hubert Sumlin on Grooveshark





Thursday, December 8, 2011

LONG AGO, NOW ~





Alice Neel's portrait of Kenneth Fearing (1935)




The great American Depression poet Kenneth Fearing was in his roaring early thirties when Alice Neel sat him down for his portrait. Amazingly, the elder painter, long after Fearing was gone, would appear on talk shows like Johnny Carson's forty years later and speak about her portraits and hardy survival. Fearing was one more of the Oak Park~Illinois wonders, born in the summer of 1902 and gone in the summer 1961. Melanoma. He battled years of alcoholism. His poems are terrific, pulp novels gripping (often penned under the name Kirk Wolff), and one or two down to earth classic thrillers like The Big Clock (1946) have been left with us. As fine a film as it is a book. Ray Milland. Charles Laughton. Directed by John Farrow. Top drawer. For the usual literary legacy note, Fearing was the founding editor of The Partisan Review.




WHAT IF MR. JESSE JAMES SHOULD SOME DAY DIE?


Where will we ever again find food to eat, clothes to
-----------wear, a roof and a bed, now that the Wall
-----------street plunger has gone to his hushed,
-----------exclusive, paid-up tomb?
--How can we get downtown today, with the traction
-----------king stretched flat on his back in the sand at
-----------Miami Beach?
--And now that the mayor has denounced the bankers,
-----------now that the D.A. denies all charges of graft,
-----------now that the clergy have spoken in defense of
-----------the home,

O, dauntless khaki soldier, O, steadfast pauper,
-----------O, experienced vagrant, O, picturesque
-----------mechanic, O, happy hired man,
--O, still unopened skeleton, O, tall and handsome
-----------target, O, neat, thrifty, strong. ambitious,
-----------brave prospective ghost,

Is there anything left for the people to do, is there
-----------anything at all that remains unsaid?

But who shot the man in the blue overalls? Who
-----------stopped the milk? Who took the mattress, the
-----------table, the birdcage, and piled them in the
-----------street? Who drove teargas in the picket's face?
-----------Who burned the crops? Who killed the herd?
-----------Who leveled the walls of the packingbox city?
-----------Who held the torch to the Negro pyre? Who
-----------stuffed the windows and turned on the gas for
-----------the family of three?

No more breadlines. No more blackjacks. No more
-----------Roosevelts. No more Hearsts.

No more vag tanks, Winchells, True Stories, deputy
-----------sheriffs, no more scabs.

No more trueblue, patriotic, doublecross leagues. No
-----------more Ku Klux Klan. No more heart-to-heart
-----------shakedowns. No more D.A.R.

No more gentlemen of the old guard commissioned to
-----------safeguard, as chief commanding blackguard in
-----------the rearguard of the home guard, the 1 inch,
-----------3 inch, 6 inch, 10 inch, 12 inch.
no more 14, 16, 18 inch shells.


KENNETH FEARING
from POEMS (1935)








Alice Neel:











Wednesday, December 7, 2011

EARTH ~




You Ain't Going Nowhere





photo © bob arnold



Tuesday, December 6, 2011

READER REDUX ~












More books! being read all the time and shared. This is a companion piece with the Nov. 2011 "Reader" short film. Since then the small studio room has changed. I just finished building a double face floor to ceiling book cabinet ready to engulf more books, 100 square feet to be precise. It was halfway finished when I made this new film. I remember once reading Jan Myrdal's autobiography where he measured his library in feet. I was a hungry young lad then reading a book-a-day and making a floral personal library. Books by-the-foot to a builder and a reader is music to the ears.

The authors: Kent Johnson, Gabriela Mistral, Ursula K. Le Guin, Gerard Malanga, Eudora Welty, William Maxwell, Alfred Jarry, Bill Deemer, Peter Berg, Benjamin Cawthra, Johnny Cash, Kitchen Cat, Clarice Lispector

film © bob arnold




Monday, December 5, 2011

BACK ROAD CHALKIES ~





Clarice Lispector







photo © bob arnold

Sunday, December 4, 2011

EARTH ~
(The Oak)




the mighty acorn



EARTH ~





Oak Around






sculpture & photo © bob arnold

this is an oak firewood cairn (a cord) I built on Thanksgiving Day and will burn in two years (allowing oak to season). As I hauled the firewood out of the woods and built the sculpture, from afar I saw two passersby over three hours hiking the muddy road, and we waved.






Saturday, December 3, 2011

EARTH ~







Lenny Bruce being hauled off the stage like a criminal he refused to be




The Steve Allen Show by Lenny Bruce on Grooveshark




MY SWEETIE SAYS . . .


whenever
I play


Lenny Bruce


she
hears


Judy Garland








some great moments in television:

Rin Tin Tin
Lenny Bruce
Steve Allen Show
Jack Kerouac on Steve Allen
Paladin
Dylan on Johnny Cash
Ed Sullivan with The Beatles and The Stones
Hendrix on Dick Cavett
Zappa on Joey Bishop
(going by memory, it'd cheating otherwise)
(more to come)








EYES WIDE OPEN ~

















Friday, December 2, 2011

TED ~








And if he sings

-------------------with care,

he sings

------------------a new song

made of old

---------------flints struck.

New fires/

--------------------/flames.

O.K. He sings his source.









The photograph above is Ted Enslin a year ago right in his natural habitat: the Maine seacoast.

I'll miss Ted for sure. Next to no one like him the last 50 years in US poetry, maybe the last 100 years. He stayed independent to the shivering end.

Thanks again to Whit Griffin who took some of the finest photographs of Ted in his last decade.

The poem of Ted's is from an appreciation piece I wrote about him tucked inside his Little Wandering Flake of Snow, published by Alec Finlay as a Morning Star Folio 1/4, Edinburgh ~ Scotland.

photo © whit griffin








Thursday, December 1, 2011

DECEMBER 1st ~






Kokomo the Cutie Pie checks out a December 1st







photo © bob arnold


Wednesday, November 30, 2011

READER ~









a little blurry of the images but hopefully you get the gist of beautiful books!

film © bob arnold






Tuesday, November 29, 2011

BACK ROAD CHALKIES ~










ARAM SAROYAN
COMPLETE MINIMAL POEMS
Ugly Duckling Presse
www.uglyducklingpresse.org

photo © bob arnold



EARTH ~








BIRDHILL



a bird

a hill

it's fair



road

curves

under



a wood

slow

through







~





make

matter

wave






~







here

where



all

is



tiny

pieces






~






corn

no not corn

run on ahead



& wonder

could it be

barley






~






on the bypass



kestrel hovers

over grass



& drops

as I drive past






~






SHANAGOLDEN



it's a real place

it is

we went there






~






sweet

this song

is not



meaning

my sons

asleep



listen

to catch

a breath






~






or other

words

are lost






~BILLY MILLS
from Lares / Manes
(collected poems)
Shearsman Books
www.shearsman.com






fixing books this morning in the bedroom I found Billy's lovely book of poems, thinking I had misplaced and all the while it'd been right near my head! selected a few as I read / typed with one finger, other hand holding the book open. went out and took a photograph before breakfast, about to rain. well recall the many letters and poems from Billy (and Catherine) once upon a time from Barcelona and Ireland.



KEEP COUNTING ~






Monday, November 28, 2011

AMERICAN TRAIN LETTERS ~











Dakotas —
stitched earth
planted



The train traveled that night
through upper North Dakota, parallel to the
border of Canada and through some of the coldest
areas in all America. Towns like Minot and Rugby,
and Rugby just happens to be the geographical center
of North America but we are not awake for it. I
remember how we hurled through this part of the
country long ago from the other direction and we saw
it all in the daylight of morning and part of the
afternoon. Back then the train had a "dome car"
which was a coach with a second level where people
could sit and look out, and if I'm not mistaken all the
sides and roof were rounded in glass. At least I have
this memory of sitting up there late one night
watching the stars peeking in and out as the train
smoked through tall forests of the Cascades. The day
we traveled through North Dakota in the dome car,
Susan and I might have sat up there all day, or we
might have divided our time between there and a
Dutch doorway where we would linger to enjoy the breeze.
But I do remember sitting up in the dome car while a young
Amish couple, sweet and trim in suspenders and short hair,
a full skirt for the young lady, made out passionately.
It was a wonderful way to go, as pronghorn antelope
startled on the prairie at the chase of the train.


~ Bob Arnold, from American Train Letters
(Coyote Books, 1995)




photo © bob arnold




Sunday, November 27, 2011

CATHOLIC WORKER ~





Rita Corbin


Over many decades the art work of Rita Corbin always drew my eye, whether in The Catholic Worker publications, or other venues. Her woodcuts were stunning pieces — bold and enduring impressions with elegant movement. Some years running we would order RC's holiday cards with many of the woodcuts or other designs, and always very reasonably charged and packed as if personally to us. One woodcut of a woodcutter working in snow caught my fancy and instead of calling Rita Corbin in Putney, Vermont where she was then living, Sweetheart went on a drive to meet and visit with Rita to ask permission to use her woodcut on one of my books. She took five year old Carson with her so it was some time ago. Rita was living in a trailer with cats and children and the visit all fell together nicely, Sweetheart came home with Rita's woodcut in hand. It was reproduced on the book below and published by Mad River Press. We will all miss her.





cover art by Rita Corbin



Rita Corbin, Catholic Worker artist, dies at 81

Artist Rita Corbin, whose tender line drawings graced the pages of Catholic Worker journals for decades, died Nov. 17 from injuries suffered in a car crash. She was 81.

Corbin decided early in life to become an artist, choosing to major in art while attending Cathedral High School in New York City.

"The school was keen on turning out secretaries," she said, "but I refused to learn to type. I knew I didn't want to go into business on pure instinct, I guess. I needed a major and art appealed to me the most."

For Corbin, the artistic endeavor could not be separated from one's political and religious consciousness. She considered the work of the artist to be "a real struggle to bring some kind of form and feeling out of the materials one uses and the society one lives in."

Corbin's society included the natural world as well as the poor. Both were frequent subjects of her illustrations. Her etchings and pen and ink drawings of trees, flowers and birds have been described as lyrical celebrations of nature. Her figurative work has been likened to that of German painter, printer and sculptor Kathe Kollwitz.

Unassuming in demeanor, Corbin was a prolific artist. Over the course of her life, she produced a voluminous and expansive body of work that explored a variety of styles and subject matter. Much of this art was created while Corbin was living in pacifist collectives and raising children. She donated a lot of her work and later said, "In retrospect, maybe I shouldn't have given away so much to people who could pay for it. It's not fair to other artists for me to work entirely for free."

Her artwork enjoyed wide-ranging publication. Corbin's images appeared in Commonweal, Harvard Theological Review, several pacifist magazines and numerous Catholic and liturgical publications. She illustrated books, including Thomas Merton's Ishi Means Man, painted a mural in Chicago and annually produced Christmas cards and a calendar.

But Corbin is best known for her countless contributions to The Catholic Worker newspaper first published in New York in 1933. She, along with liturgical artist Ade Bethune and illustrator Fritz Eichenberg, formed what one editor of The Catholic Worker referred to as the "Holy Trinity" of artists whose work shaped the look and feel of the newspaper during its formative years.

Her now-famous etching contrasting the Works of War with the Works of Mercy was emblematic of the Catholic Worker movement's commitment to Christian pacifism and solidarity with the poor. It has been reproduced in Catholic Worker journals all over the country.

Editors described her as a most agreeable and responsive artist, able to produce images in a timely manner.

"If we said we needed something for the newspaper, Rita would do it. She understood the importance of the work," said Patrick Jordan, a former editor of The Catholic Worker and now managing editor of Commonweal.


Rita Corbin's famous depiction of the works of mercy, seen in Catholic Worker communities across the country.


Rita Corbin's famous depiction of the works of mercy, seen in Catholic Worker communities across the country.Jordan said Corbin "had a way of picturing the poor that was obvious it wasn't from afar. ... There was one picture she drew of a woman at the [Catholic Worker] soup kitchen standing beside a dining room table where someone had scrawled, 'Joy, Joy, Joy.' Rita caught that detail. For a journal that didn't use photographs, she conveyed a great deal with a certain clarity that worked very well for a newspaper."

Writer and publisher Robert Ellsberg, who edited The Catholic Worker in the late 1970s, praised Corbin's regard for the natural world.

"A lot of the famous Catholic Worker artists like Bethune and Eichenberg brought a heavy, narrative approach to the paper," he said. "Rita always brought a more celebratory and decorative approach that came out of the [Catholic Worker] farming communities. Her images from nature reflected as much of a concrete dimension of the Catholic Worker movement as those depicting the Houses of Hospitality."

Indeed, Corbin said she considered some of her best art to be her drawings of nature and the poor, "those on the fringes of society, the same kinds of people Christ came to heal and teach."

Born May 21, 1930, in Indianapolis, Corbin was the youngest daughter of Carmen and Hubert Ham. The family was very poor and traveled throughout the country while Hubert Ham, an organist, played for magic shows.

After graduating from Cathedral High School, Corbin remained in New York to pursue training in art. She was awarded a scholarship to Franklin School of Professional Art, a three-year advertising school, then later studied with Hans Hoffman, a master of abstract expressionism. She also took classes at the Arts Student League of New York City.

But Corbin said much of her artistic education came from wandering through New York's galleries and parks, simply observing.

Upon graduating from advertising school, Corbin was offered a job at an agency, which she declined. When later asked if she regretted refusing a potentially lucrative career, Corbin said, "What I do is kind of commercial, but I have control. I consider myself an artist illustrator, not a fine artist, not a commercial artist."

Corbin first visited the New York Catholic Worker on New Year's Day in 1950. Like many before her, she was immediately recruited to help in the kitchen. She made friends with the Catholic Workers and kept coming back to their home on the Lower East Side to attend Friday night meetings, bake bread, serve soup, support a strike or demonstrate against the city's civil defense drills.

"The Catholic Worker was my school, my education," she once said.

The Catholic Worker first published Corbin's art in 1954. Two years later she married Marty Corbin, a Catholic intellectual. For 10 years, the couple lived in Glen Gardner, N.J., in an intentional community founded by pacifist Dave Dellinger.

As artist and writer, the Corbins contributed to Liberation, a radical, pacifist monthly. Conditions in Glen Gardner were very tough. The Corbins lived in an un-insulated chicken coop. Their firstborn, a son, died in infancy, the first of many losses in Corbin's life. Three daughters were also born in Glen Gardner.

In the mid-'60s, the family moved to the Catholic Worker farm at Tivoli, N.Y. Marty Corbin edited The Catholic Worker. A son and another daughter were born.

After spending 10 years at Tivoli, the Corbins relocated to Montreal, where Marty taught English at a local college. Rita separated from her husband four years later, and with her children, moved back to the United States. She lived in Poughkeepsie, N.Y., then Weston, Vt., where she became art director of Growth Associates publishers, then Worcester, Mass., where she studied printmaking with artist activist Tom Lewis.

At the time of her death, Corbin was living in Brattleboro, Vt., near her five children and grandchildren.

Once asked what advice she would give to young artists, Corbin said, "Keep working at it. It doesn't come easy. It's very fulfilling. A lot of young people think in terms of jobs and not vocations. It's very schizophrenic."

~ Claire Schaeffer-Duffy

for National Catholic Reporter


Rita Corbin poses for a photo in 2008 at the 75th anniversary celebration of the Catholic Worker movement in Worcester, Mass. (Photo courtesy of Bob Fitch)

Claire Schaeffer-Duffy is a longtime NCR contributor. She writes from Worcester, Mass., where she lives and works at the Ss. Francis and Therese Catholic Worker.

http://ncronline.org/news/people/rita-corbin-catholic-worker-artist-dies-81