As messed-up as some things can be, I am still amazed at what I am surrounded by. Serenades and phone calls and little gifts and the best thing ever: time with the people I love and care about, whether it's long distance over the phone, or just chilling out.
I am so blessed to have what I have.
Wednesday, November 26, 2008
Tuesday, November 25, 2008
quarterlife
I turn 25 today. I don't think I'm a midlife or even quarterlife crisis kind of person but I've been feeling pretty low the past two days. Still, I feel good about the show I did this morning and I'm just going to try and get through today.
playlist 11/25/08
diplo- summer's gonna hurt you
tv on the radio - family tree
lupe fiasco - kick push
joe gibbs - universal dub
dr alimantado - here for a purpose
love - alone again or
kristin hersh & michael stipe - your ghost
gutter twins - who will lead us?
ollabelle - no more my lord
martina topley-bird - anything
cut chemist - the garden
joe strummer and the mescaleros - tony adams
regina carter - higher ground
outkast - liberation
irene stevenson - if it had not been for jesus
the masonic wonders - i called him
sonic youth - tabla in suburbia
mazzy star - take everything
U2 - acrobat
afghan whigs - uptown again
the cure - cut
lamb - this could be heaven
playlist 11/25/08
diplo- summer's gonna hurt you
tv on the radio - family tree
lupe fiasco - kick push
joe gibbs - universal dub
dr alimantado - here for a purpose
love - alone again or
kristin hersh & michael stipe - your ghost
gutter twins - who will lead us?
ollabelle - no more my lord
martina topley-bird - anything
cut chemist - the garden
joe strummer and the mescaleros - tony adams
regina carter - higher ground
outkast - liberation
irene stevenson - if it had not been for jesus
the masonic wonders - i called him
sonic youth - tabla in suburbia
mazzy star - take everything
U2 - acrobat
afghan whigs - uptown again
the cure - cut
lamb - this could be heaven
Monday, November 24, 2008
picking up.
There are some people that you meet and you feel like they're in your life for too short of a time and you wish you had more of a chance to get to know them. One of the problems with living in an area with a notorious "brain drain" is that some of the best minds end up leaving and only returning for holidays and funerals.
The one girl was roommates with one of my best friends and when I first moved back here, I loved hanging out with them, sharing a similar love of creating and the Creator, and when she and her fiance got married and moved to the Carolinas where the jobs were, I assumed that would be the last I would see of them.
My sister and I were thrilled when we learned they were moving back to the area, and not just to Cleveland, but to East Cleveland to take the art and the skills they learned and give them back to the community. We're sitting in an apartment overlooking Euclid Avenue, trading ideas and catching up and we didn't realize how much time had passed. It's so good to know there's others who share similar visions and are digging in for the long run.
The one girl was roommates with one of my best friends and when I first moved back here, I loved hanging out with them, sharing a similar love of creating and the Creator, and when she and her fiance got married and moved to the Carolinas where the jobs were, I assumed that would be the last I would see of them.
My sister and I were thrilled when we learned they were moving back to the area, and not just to Cleveland, but to East Cleveland to take the art and the skills they learned and give them back to the community. We're sitting in an apartment overlooking Euclid Avenue, trading ideas and catching up and we didn't realize how much time had passed. It's so good to know there's others who share similar visions and are digging in for the long run.
Friday, November 21, 2008
makes me wanna holler...
I hate it when I hear people complain about their jobs when so many people are losing theirs. I really hate it. I can't tell you how many people I know and friends who know people who are losing or have lost their jobs. The ones that are working are barely making ends meet or are dealing with eviction notices and family drama and general life stuff. We're letting people store their stuff in our attic while they find new places to live, offering the use of our couches and the spare room in the back, trying to connect people and their needs so we can all help each other.
Talked to a friend last night who's raising not just her kids but her sister's too, and whose husband just lost his job. They had nothing to eat for dinner yesterday and while she said I didn't have to "put myself out," I ended up bagging up some cans from my pantry and some veggies from the fridge, making a run to save-a-lot on 58th and driving over there.
I don't have much, but dammit, I've got a steady paycheck right now, and evidently this is something that's becoming harder and harder to come by. Besides, I'm supporting me, myself, and I, right now and, as my dad says, I live like a monk. I wouldn't and shouldn't be able to sleep at night.
It seems like some of those who claim to be loving God ignore this or have other things that they're freaking out about, but this is what's been resonating with me:
14 What good is it, my brothers, if a man claims to have faith but has no deeds? Can such faith save him? 15 Suppose a brother or sister is without clothes and daily food. 16 If one of you says to him, "Go, I wish you well; keep warm and well fed," but does nothing about his physical needs, what good is it? 17 In the same way, faith by itself, if it is not accompanied by action, is dead. (james chapter 2)
There was an article in Scene about how for every homeless person in Ohio, there's three abandoned homes. I'm no urban planner by any means, but evidently we worry if these guys fix up these homes on the east side, they can't afford property taxes, yet it's totally ok to give tax breaks to yuppies on the west side who move into neighborhoods and jack the rent up for everyone else? Tell me if I'm missing something. Maybe I am.
And this song seems to be the soundtrack for everything I keep hearing and seeing. How much has really changed?
Talked to a friend last night who's raising not just her kids but her sister's too, and whose husband just lost his job. They had nothing to eat for dinner yesterday and while she said I didn't have to "put myself out," I ended up bagging up some cans from my pantry and some veggies from the fridge, making a run to save-a-lot on 58th and driving over there.
I don't have much, but dammit, I've got a steady paycheck right now, and evidently this is something that's becoming harder and harder to come by. Besides, I'm supporting me, myself, and I, right now and, as my dad says, I live like a monk. I wouldn't and shouldn't be able to sleep at night.
It seems like some of those who claim to be loving God ignore this or have other things that they're freaking out about, but this is what's been resonating with me:
14 What good is it, my brothers, if a man claims to have faith but has no deeds? Can such faith save him? 15 Suppose a brother or sister is without clothes and daily food. 16 If one of you says to him, "Go, I wish you well; keep warm and well fed," but does nothing about his physical needs, what good is it? 17 In the same way, faith by itself, if it is not accompanied by action, is dead. (james chapter 2)
There was an article in Scene about how for every homeless person in Ohio, there's three abandoned homes. I'm no urban planner by any means, but evidently we worry if these guys fix up these homes on the east side, they can't afford property taxes, yet it's totally ok to give tax breaks to yuppies on the west side who move into neighborhoods and jack the rent up for everyone else? Tell me if I'm missing something. Maybe I am.
And this song seems to be the soundtrack for everything I keep hearing and seeing. How much has really changed?
Thursday, November 20, 2008
Wednesday, November 19, 2008
the concept of love
I know it's cliche to rant about bad art, and maybe part of it is jealousy because if I knew I could make crazy money just by being the first person to exhibit dead animals floating in formaldehyde, I'd do it too, maybe.
And this is why I have no patience for Thomas Kinkade. Part of this is because he just kind of paints little flecks on prints, but Andy Warhol was just as guilty of crass commercialism. I think what bothers me is that these are deemed inspiring and godly or something and that just seems kind of insulting to God, and embarrassing to me, I guess, though I'm sure that God's used to people doing all sorts of stupid stuff and worse in his name.
He seems to be doing the American enterprising thing and delving into all sorts of other business ventures other than endless replication of country cottage gardens and lighthouses ad nauseam on every conceivable surface imaginable. He's not just inspiring soulless subdivisions, he's moved into book publishing and film territory now as well.
This guy's got an ego bigger than Kanye's and Bono's combined, and here are his filming suggestions from the auteur himself. Thinks he's the next Kubrick or Hitchcock.
Thomas Kinkade's
The Christmas Cottage
The sixteen guidelines for creating the "The Thomas Kinkade Look".
1) Dodge corners or create darkening towards edge of image for "cozy" look. This may only apply to still imagery, but is useful where applicable.
2) Color key each scene to create mood, and color variation. When possible, utilize cooler tones to suggest somber moods, and warmer, more vibrant tones to suggest festive atmosphere. In general, create a color scheme for each scene that can be accentuated through filtering, DI treatments, or through lighting. Most of my paintings feature an overall cool color envelope, into which warm accents are applied.
3) Create classic compositions. Paintings generally utilize a theme and variation compositional motif. Heavy weighting of the image towards one side, with accented areas of interest balancing it on the other side. Allow the eye to wander into the scene through some entry point. Be aware of where the viewer is standing at all times. Utilize traditional eye levels for setting the shot -- that is, no high vantage points, off-kilter vantage points, or "worms eye view" vantage points. Generally focus on a standing adults viewpoint of the scene at hand.
4) Awareness of edges. Create an overall sense of soft edges, strive for a "Barry Lyndon" look. Star filters used sparingly, but an overall "gauzy" look preferable to hard edge realism.
5) Overall concept of light. Each scene should feature dramatic sources of soft light. Dappled light patches are always a positive, glowing windows, lightposts, and other romantic lighting touches will accentuate the overall effect of the theme of light.
6) Hidden details whenever possible, References to my children (from youngest to oldest as follows): Evie, Winsor, Chandler and Merritt. References to my anniversary date, the number 52, the number 82, and the number 5282 (for fun, notice how many times this appears in my major published works). Hidden N's throughout -- preferably thirty N's, commemorating one N for each year since the events happened.
7) Overall sense of stillness. Emphasize gentle camera moves, slow dissolves, and still camera shots. A sense of gradual pacing. Even quick cut-away shots can slightly dissolve.
8) Atmospheric effects. Whenever possible utilize sunset, sunrise, rainy days, mistiness -- any transitory effect of nature that bespeaks luminous coloration or a sense of softness.
9) A sense of space. My paintings feature both intimate spaces and dramatic deep space effects. We should strive for intimate scenes to be balanced by deeper establishing shots. (I know this particular one is self-evident, but I am reminded of it as I see the pacing of the depth of field in Kubrick's "Barry Lyndon".)
10) Short focal length. In general, I love a focal plane that favors the center of interest, and allows mid-distance and distant areas to remain blurry. Recommend "stopping down" to shorten focal lengths.
11) Hidden spaces. My paintings always feature trails that dissolve into mysterious areas, patches of light that lead the eye around corners, pathways, open gates, etc. The more we can feature these devices to lead the eye into mysterious spaces, the better.
12) Surprise details. Suggest a few "inside references" that are unique to this production. Small details that I can mention in interviews that stimulate second or third viewings -- for example, a "teddy bear mascot" for the movie that appears occasionally in shots. This is a fun process to pursue, and most movies I'm aware of normally have hidden "inside references". In the realm of fine art we refer to this as "second reading, third reading, etc." A still image attracts the viewer with an overall impact, then reveals smaller details upon further study.
13) Mood is supreme. Every decision made as to the visual look of each shot should include the concept of mood. Music can accentuate this, use of edges can accentuate this, atmospheric effects accentuate this, etc.
14) The concept of beauty. I get rid of the "ugly parts" in my paintings. It would be nice to utilize this concept as much as possible. Favor shots that feature older buildings, ramshackle, careworn structures and vehicles, and a general sense of homespun simplicity and reliance on beautiful settings.
15) Nostalgia. My paintings routinely blend timeframes. This is not only okay, but tends to create a more timeless look. Vintage cars (30's, 40's, 50's, 60's etc) can be featured along with 70's era cars. Older buildings are favorable. Avoid anything that looks contemporary -- shopping centers, contemporary storefronts, etc. Also, I prefer to avoid anything that is shiny. Our vintage vehicles, though often times are cherished by their owners and kept spic-n-span should be "dirtied up" a bit for the shoot. Placerville was and is a somewhat shabby place, and most vehicles, people, etc bear traces of dust, sawdust, and the remnants of country living. There are many dirt roads, muddy lanes, etc., and in general the place has a tumbled down, well-worn look.
16) Most important concept of all -- THE CONCEPT OF LOVE. Perhaps we could make large posters that simply say "Love this movie" and post them about. I pour a lot of love into each painting, and sense that our crew has a genuine affection for this project. This starts with Michael Campus as a Director who feels great love towards this project, and should filter down through the ranks. Remember: "Every scene is the best scene."
The list above is not all-inclusive, but is a good starting point for internal dialogue. These guidelines are not listed in order of importance, but are dictated off the top of my head. After painting for nearly 40 years, I still wake up every morning daydreaming about new ways to make paintings. Creating a movie is a natural extension of the picture making process, and hopefully my catalog of visual paintings, along with my visual guidelines in this memo will provoke dialogue, experimentation, and a sense of over-arching visual purpose.
Yeesh. Give me Dave McKean any day.
And this is why I have no patience for Thomas Kinkade. Part of this is because he just kind of paints little flecks on prints, but Andy Warhol was just as guilty of crass commercialism. I think what bothers me is that these are deemed inspiring and godly or something and that just seems kind of insulting to God, and embarrassing to me, I guess, though I'm sure that God's used to people doing all sorts of stupid stuff and worse in his name.
He seems to be doing the American enterprising thing and delving into all sorts of other business ventures other than endless replication of country cottage gardens and lighthouses ad nauseam on every conceivable surface imaginable. He's not just inspiring soulless subdivisions, he's moved into book publishing and film territory now as well.
This guy's got an ego bigger than Kanye's and Bono's combined, and here are his filming suggestions from the auteur himself. Thinks he's the next Kubrick or Hitchcock.
Thomas Kinkade's
The Christmas Cottage
The sixteen guidelines for creating the "The Thomas Kinkade Look".
1) Dodge corners or create darkening towards edge of image for "cozy" look. This may only apply to still imagery, but is useful where applicable.
2) Color key each scene to create mood, and color variation. When possible, utilize cooler tones to suggest somber moods, and warmer, more vibrant tones to suggest festive atmosphere. In general, create a color scheme for each scene that can be accentuated through filtering, DI treatments, or through lighting. Most of my paintings feature an overall cool color envelope, into which warm accents are applied.
3) Create classic compositions. Paintings generally utilize a theme and variation compositional motif. Heavy weighting of the image towards one side, with accented areas of interest balancing it on the other side. Allow the eye to wander into the scene through some entry point. Be aware of where the viewer is standing at all times. Utilize traditional eye levels for setting the shot -- that is, no high vantage points, off-kilter vantage points, or "worms eye view" vantage points. Generally focus on a standing adults viewpoint of the scene at hand.
4) Awareness of edges. Create an overall sense of soft edges, strive for a "Barry Lyndon" look. Star filters used sparingly, but an overall "gauzy" look preferable to hard edge realism.
5) Overall concept of light. Each scene should feature dramatic sources of soft light. Dappled light patches are always a positive, glowing windows, lightposts, and other romantic lighting touches will accentuate the overall effect of the theme of light.
6) Hidden details whenever possible, References to my children (from youngest to oldest as follows): Evie, Winsor, Chandler and Merritt. References to my anniversary date, the number 52, the number 82, and the number 5282 (for fun, notice how many times this appears in my major published works). Hidden N's throughout -- preferably thirty N's, commemorating one N for each year since the events happened.
7) Overall sense of stillness. Emphasize gentle camera moves, slow dissolves, and still camera shots. A sense of gradual pacing. Even quick cut-away shots can slightly dissolve.
8) Atmospheric effects. Whenever possible utilize sunset, sunrise, rainy days, mistiness -- any transitory effect of nature that bespeaks luminous coloration or a sense of softness.
9) A sense of space. My paintings feature both intimate spaces and dramatic deep space effects. We should strive for intimate scenes to be balanced by deeper establishing shots. (I know this particular one is self-evident, but I am reminded of it as I see the pacing of the depth of field in Kubrick's "Barry Lyndon".)
10) Short focal length. In general, I love a focal plane that favors the center of interest, and allows mid-distance and distant areas to remain blurry. Recommend "stopping down" to shorten focal lengths.
11) Hidden spaces. My paintings always feature trails that dissolve into mysterious areas, patches of light that lead the eye around corners, pathways, open gates, etc. The more we can feature these devices to lead the eye into mysterious spaces, the better.
12) Surprise details. Suggest a few "inside references" that are unique to this production. Small details that I can mention in interviews that stimulate second or third viewings -- for example, a "teddy bear mascot" for the movie that appears occasionally in shots. This is a fun process to pursue, and most movies I'm aware of normally have hidden "inside references". In the realm of fine art we refer to this as "second reading, third reading, etc." A still image attracts the viewer with an overall impact, then reveals smaller details upon further study.
13) Mood is supreme. Every decision made as to the visual look of each shot should include the concept of mood. Music can accentuate this, use of edges can accentuate this, atmospheric effects accentuate this, etc.
14) The concept of beauty. I get rid of the "ugly parts" in my paintings. It would be nice to utilize this concept as much as possible. Favor shots that feature older buildings, ramshackle, careworn structures and vehicles, and a general sense of homespun simplicity and reliance on beautiful settings.
15) Nostalgia. My paintings routinely blend timeframes. This is not only okay, but tends to create a more timeless look. Vintage cars (30's, 40's, 50's, 60's etc) can be featured along with 70's era cars. Older buildings are favorable. Avoid anything that looks contemporary -- shopping centers, contemporary storefronts, etc. Also, I prefer to avoid anything that is shiny. Our vintage vehicles, though often times are cherished by their owners and kept spic-n-span should be "dirtied up" a bit for the shoot. Placerville was and is a somewhat shabby place, and most vehicles, people, etc bear traces of dust, sawdust, and the remnants of country living. There are many dirt roads, muddy lanes, etc., and in general the place has a tumbled down, well-worn look.
16) Most important concept of all -- THE CONCEPT OF LOVE. Perhaps we could make large posters that simply say "Love this movie" and post them about. I pour a lot of love into each painting, and sense that our crew has a genuine affection for this project. This starts with Michael Campus as a Director who feels great love towards this project, and should filter down through the ranks. Remember: "Every scene is the best scene."
The list above is not all-inclusive, but is a good starting point for internal dialogue. These guidelines are not listed in order of importance, but are dictated off the top of my head. After painting for nearly 40 years, I still wake up every morning daydreaming about new ways to make paintings. Creating a movie is a natural extension of the picture making process, and hopefully my catalog of visual paintings, along with my visual guidelines in this memo will provoke dialogue, experimentation, and a sense of over-arching visual purpose.
Yeesh. Give me Dave McKean any day.
Tuesday, November 18, 2008
playlist 11/18/08
flunk - blue monday
stephen marley - you're gonna leave
the roots - the seed/melting pot (live)
amadou & mariam - m'bife / coulibaly
manu chao - primavera / me gustas tu
marcelino daha - plim plim
cal tjader - soul sauce (fila brazilia remix)
antibalas - go je je (request)
pavement - embassy row
ella fitzgerald & count basie - 'deed i do
tony allen - no discrimination
hiret benele - almorekum neber
antonio carlos jobim - corcovado / one note samba (request)
king sunny ade - sunny special (request)
the pixies - here comes your man
anna luisa - do zero
fugazi - break
idlewild - i found that essence rare (gang of four cover)
john frusciante - water
the ruts - give youth a chance
marvin gaye - right on / wholy holy
stephen marley - you're gonna leave
the roots - the seed/melting pot (live)
amadou & mariam - m'bife / coulibaly
manu chao - primavera / me gustas tu
marcelino daha - plim plim
cal tjader - soul sauce (fila brazilia remix)
antibalas - go je je (request)
pavement - embassy row
ella fitzgerald & count basie - 'deed i do
tony allen - no discrimination
hiret benele - almorekum neber
antonio carlos jobim - corcovado / one note samba (request)
king sunny ade - sunny special (request)
the pixies - here comes your man
anna luisa - do zero
fugazi - break
idlewild - i found that essence rare (gang of four cover)
john frusciante - water
the ruts - give youth a chance
marvin gaye - right on / wholy holy
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