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I suppose for the sake of completeness I ought to mention here my formal debut of the new poems at the poetry reading and electronic music concert tomorrow (Sept 13) at the Atlanta Soto Zen Center: http://www.aszc.org/activities/zenartshow.html
I don't sit zazen myself (even though I managed half-lotus back in the day) but composer Dick Robinson does and this is part of the Zen Center's fundraising arts festival.
Neither dedicatee (who I just realized have the same initials) will be present since the one is deceased and the other, who is quite alive, has no idea that the poems for her exist.
On a more productive note, I have been making my annual rediscovery of the amazing songs of Julie Flanders and Emil Adler from their days as the husband-and-wife songwriting team for October Project. "Paths of Desire" is one of the few songs I encountered in the '90s in which the metaphors actually spoke in such subtle depth to real emotional conditions, so of course it is not to be found on YouTube (even though October Project fans made entire webpages devoted to the lyrics). "Ariel," a close second on the same topic, is findable in video versions.
I also note that the Changelings' CDs have been remastered...but the songs of theirs that I loved from the eponymous first CD aren't on their YouTube channel. Diana Obscura carried on in that vein in her recordings both solo and with her husband, Damon Young (who was a guitarist and vocalist for the Changelings).
I played some role in getting Damon and Diana together with E. K. Huckaby for a memorable performance at Huckaby's art opening at Solomon Projects, and the Changelings together with the equally memorable realist painter Emily Brown, who I believe now exhibits work as Emily di Fonzo (her self-portraits had a hauntingly mysterious quality compatible with the band's sensibility) for a singularly mystico-hallucinatory evening one October at Christine Sibley's now-defunct space Urban Nirvana...Urban Nirvana was one of those idiosyncratic environments of gardens and pet goats and performance spaces that probably resonated in my memory when I saw the wooded hillside across from Vision Properties' apartments. The hill, however, doesn't have Chris Sibley's little statues of Venus or half-finished poem to Persephone painted on a concrete wall.
All these obliterated places and faces, scarcely more than hinted at in online sources. The late Ms Sibley's work has been brought back into production, but the patina is different. The originals have to be sought out in places like the Atlanta Botanical Garden and private gardens like the one at the Inman Park Bed and Breakfast (which I've never seen in spite of its being just down from the Edgewood house and gallery...I found the Sibley reference online).
This is pitched towards the lyric Symbolist side of Sibley's oeuvre that found expression in one side of Urban Nirvana. The other aspect was represented by the dinosaurs made out of old auto parts that adorned the side facing Dekalb Avenue. Sibley was all about lyricism, nature, and good-natured kitsch.
The Changelings' one cover song was the Velvet Underground's "Sunday Morning," with which they usually ended their concerts in those days (after which I lost touch with them). Regeana's rendition was as close as I ever came to hearing what it would have been like to have been there when Nico herself sang it.
I don't sit zazen myself (even though I managed half-lotus back in the day) but composer Dick Robinson does and this is part of the Zen Center's fundraising arts festival.
Neither dedicatee (who I just realized have the same initials) will be present since the one is deceased and the other, who is quite alive, has no idea that the poems for her exist.
On a more productive note, I have been making my annual rediscovery of the amazing songs of Julie Flanders and Emil Adler from their days as the husband-and-wife songwriting team for October Project. "Paths of Desire" is one of the few songs I encountered in the '90s in which the metaphors actually spoke in such subtle depth to real emotional conditions, so of course it is not to be found on YouTube (even though October Project fans made entire webpages devoted to the lyrics). "Ariel," a close second on the same topic, is findable in video versions.
I also note that the Changelings' CDs have been remastered...but the songs of theirs that I loved from the eponymous first CD aren't on their YouTube channel. Diana Obscura carried on in that vein in her recordings both solo and with her husband, Damon Young (who was a guitarist and vocalist for the Changelings).
I played some role in getting Damon and Diana together with E. K. Huckaby for a memorable performance at Huckaby's art opening at Solomon Projects, and the Changelings together with the equally memorable realist painter Emily Brown, who I believe now exhibits work as Emily di Fonzo (her self-portraits had a hauntingly mysterious quality compatible with the band's sensibility) for a singularly mystico-hallucinatory evening one October at Christine Sibley's now-defunct space Urban Nirvana...Urban Nirvana was one of those idiosyncratic environments of gardens and pet goats and performance spaces that probably resonated in my memory when I saw the wooded hillside across from Vision Properties' apartments. The hill, however, doesn't have Chris Sibley's little statues of Venus or half-finished poem to Persephone painted on a concrete wall.
All these obliterated places and faces, scarcely more than hinted at in online sources. The late Ms Sibley's work has been brought back into production, but the patina is different. The originals have to be sought out in places like the Atlanta Botanical Garden and private gardens like the one at the Inman Park Bed and Breakfast (which I've never seen in spite of its being just down from the Edgewood house and gallery...I found the Sibley reference online).
This is pitched towards the lyric Symbolist side of Sibley's oeuvre that found expression in one side of Urban Nirvana. The other aspect was represented by the dinosaurs made out of old auto parts that adorned the side facing Dekalb Avenue. Sibley was all about lyricism, nature, and good-natured kitsch.
The Changelings' one cover song was the Velvet Underground's "Sunday Morning," with which they usually ended their concerts in those days (after which I lost touch with them). Regeana's rendition was as close as I ever came to hearing what it would have been like to have been there when Nico herself sang it.
