Podcast appearances and mentions of ruth parson

Recorded: 9 September, 2013Participants: Steve Harlow, Emory Holmes II, Jim "Jimmy The Peach" Aaron, Ruth Parson, Ferrie Differentieel, Allan Ludwig, Tom Giansante, Anneke van de Kassteele.AudioDownload Mp3 Jim introduces his guest, Tom Giansante, as a "fantastic artist and an iconoclast."Ferrie says he has switched to a new DAW (digital audio workstation) and is learning how to use reverb to create "rooms" of various sizes and sound characteristics. He has been experimenting with Jim to with various reverb effects, they discovered today how to get Jim's voice from North America to sound like it is beside Ferrie in Europe. He is in process of making some music for a collection of Dutch spoken word using his newly learned techniques. He's mixing the voice and the music in separate "rooms" to bring the voice to the foreground.Emory says he finds the different sound qualities of rooms to be similar to what he found when traveling, each area stamps the people, flora and fauna with identifying characteristics.Ferrie says it is true that he is exploring the different feeling the sound elicits from various environments. Music sounds different in the woods than it does in an open field.Emory asks Allan if the circles Allan is photographing in Maine are different that the ones he finds in New York city.Allan says yes, in the city there are manufactured circles, such as manhole covers, some made as long ago as 1875, some new ones cast in India. He wonders how casting a heavy object like that and shipping it from India to NYC can be cheaper than casting it in New York.Jim says he's heard of beaches in India where giant ships have been run aground to be cut up for scrap metal, perhaps that is where the metal comes from for casting NYC's manhole covers.Allan says, in Maine, he's photographed granite millstones near streams and is reminded of the old song, "Down By The Old Mill Stream."Steve says he was at the corner of E. Houston and 2nd Avenue in New York a few years ago when a manhole cover exploded out of the middle of a busy intersection, flipping like a coin about 10 feet above ground, falling back to the street without damaging anyone or any vechicle. The explosive sound made him jump 2 feet into the air and the traumatic memory stayed with him for days afterwards, causing him to give every manhole a wide berth. The memory of it causes him fear even now. He wonders if Anneke, in her dance therapy work deals with traumatic memories affecting people's movements.Emory also wondered if Anneke, in her travels, recognized different types of movements as typical of specific locations?Anneke says she sees identifying body language from each country in Europe. For example the expression of obedience is different in Austria than in Holland. The physical memory is always being expressed in an individual's movements.Mary asks if that memory can be changed?Anneke says yes, that is what she does in her dance therapy work.Ruth asks if the work involves shifting the emotions?Anneke says yes. In the split second when frightened, a person must decide between fight or flight responses. In Dance Therapy she gives the person the opportunity to decide whether to run away or attack. Those new opportunities can change the memory.Emory says he remembers when he was growing up in the South (USA) that people live as if superstitions were an accurate way of understanding the world. His Grandmother said whenever you hear thunder when the sun is shining it meant, "the devil was beating his wife with a hambone."The community's newspapers would carry "news" items reflecting the mythological understanding, like, "the devil was sighted today taking the daughter of..."Mary said she just attended the annual Sacred Music Festival in Quebec City, held in an old church that serves the "oldest parish in North America." While listening to Bach chorales played on harspicord and flute, she observed above the alter depictions of angels and ships. She understsnds they represent myth of city and that's how myth works, representing the way a people understand themselves in their enviornment.Emory says his Grandmother was only interested in listening to radio if it was playing gospel music or the "Grand Ol Oprey". When Screaming Jay Hawkins or the pop music came on, she knew it was the Devil sneaking into her world and she rushed to turn it off.When Faulkner writes about the past not being the pat in the South, any Southerner understands that to be the case. The enviornment is so full of magic. At night, lightning bugs show that the stars have descended to ground level.Mary asks if any participants use myth in their work?Tom says he thinks artists are influenced by their environments, by the light. When he has visited areas in the world, he sees the light of that area reflected in the work of local artists.Steve asks Tom if he does plein air painting?Tom says he has, but dislikes people approaching him while he paints, so he does it no more.He saw the Richard Diebenkorn show, "The Berkeley Years" where he demonstrates how the local light affects his painting.Steve says he saw the show of Diebenkorn's later, "Ocean Park series at Orange County Art Museum in the last year or two and thought the work was dry, academic, and lifeless, but he likes the figurative paintings from the '50s. He likes the other two painters he worked with, David Park and Elmer Bischoff better, although Diebenkorn is the most famous of the group.Tom says Diebenkorn started with abstract paintings, a rejection of reality. He thinks an inner order brought Diebenkorn back to figurative work. He likes that Diebenkorn used the language of hard edge and rough edge together.Emory likes Diebenkorn's use of heavy impasto with a cleanhard, edge.Tom says he loves Diebenkorn's colors.Emory says he lost respect for Gauguin When he lived in Micronesia because all he needed to do was "trace" the world he lived in there, every view was a painting.Steve asks why would Emory lose respect for an artist who painted what he saw?Emory says he thinks painters need to bring all their personal furnishings into their paintings, as Cezanne did, infusing the mountain landscape with so much of his interior vision, there can be no mistake about who painted it, whereas Gauguin seemed to have so much of the external world pressing on him that Emory saw the paintings as theft.Steve says he thought Emory was going to object to Gauguin's colors because they're not nearly as intense as the South Pacific colors are, because he was too broke to use much paint.Emory thought Gauguin had painted from photographs.Steve says he sees no evidence, in the work, of Gauguin having done that. Subscribe to this blog's feed  |  Subscribe to the podcast in iTunes  |  Follow  |  Like  |  Plus

Recorded: 2 September, 2013Participants: Steve Harlow, Emory Holmes II, Jim "Jimmy The Peach" Aaron, Ruth Parson, Allan Ludwig.AudioDownload Mp3 Allan discusses Kickstarter as a means of raising money for art projects.Steve says there's been a few movie projects from known professionals that have raised multible million dollar budgets on Kickstarter.Jim asks if the entire budget goal is not pledged within the proposed time period, does Kickstarter keep it?No, Steve explains. If the budget is not reached, none of those pledging a contribution need to pay.Allan recalls that Julie Dermansky used a diffferent service, IndieGogo. She asked for $2000 for a reporting trip and got $500. That's better than nothing.Steve says on IndieGogo, the person gets whatever money is pledged, even when the proposed budget is not reached. He says the Kickstarter model is better for the investors, because they can be assured that they will only be contributing to projects that have reached their budget.Allan says people would have to be out of their minds to invest in his project of photographing circles. There will be no chance of a return.Mary says there's money investment and cultural investment. As in all sponsored art, there may be a cultural advantage for patrons. Subscribe to this blog's feed  |  Subscribe to the podcast in iTunes  |  Follow  |  Like  |  Plus

Recorded: 26 August, 2013Participants: Steve Harlow, Emory Holmes II, Jim "Jimmy The Peach" Aaron, Ruth Parson, Allan Ludwig, Anneke van de Kassteele, Ferrie Differentieel.AudioDownload Mp3 Ferrie introduces the subject of government surveillance. By saying he has been very dissapointed in US President Obama. He has allowed the NSA to collect data on citizens. It seems the NSA is more powerful than the President. Ferris would like to discuss the moral aspects of the recently reveiled data collection of civilian internet activities. Are we, as artists ready to make a statement against this development?Steve says he is not concerned.Ferrie says government spying on citizens is happening in the Netherlands also and he is concerned.Steve says Telegraph, telephone, and Internet are all public communication technology with no presumption of privacy.We were mislead into thinking that we had privacy on telephones, except for extraordinary circumstances when law enforcement got court orders to breach it. We are attempting to apply a simular model to internet use. But it's a sham, all data to and from your internet connected computer is public, it may be intercepted and analyzed by anyone who wants to do it.Mary says while it may have always been possible to eavesdrop, there was an agreement that the government would not unless dire circumstances required it.She says she is a private person, but is writing publicly on the web feeling her statements will be lost in all the traffic anyway. She doesn't like the idea of people thinking they have a right to eavesdrop just because it's possible.Anneke says it is not the collection of data that concerns her, but the labels that may be put on her by those who are analysing. She has a friend in Iran she corresponds with through email. Does that make her linked to terrorists in some misanalysis?. Her concern is over what drawer they put me in. "Can I trust my own government?" she asks. "No," others laugh.Emory says he's new to this baffling world of internet and has been dissapointed in President Obama. He wonders if the government is entrenched in certain ways of doing things that it doesn't matter who is head of state, it keeps doing the same things in the same way.He says he's old enough to remember telephone party lines, where you were expected to hang up the phone when your neighbors were talking. A system of trust. He also recalls a friend of his from Zaire, who wore flashy clothes. Deciding to return to his home country after being away for many years, he talked on the phone to a relative there who joked with him about being a king when he got back. He was arrested upon arrival by agents of an eavesdropping government who didn't get the joke and thought he was coming to Zaire to overthrow the government.That's the dread we are all experiencing regarding surveillance, Emory says.He writes posts on Facebook which are read by people he'll probably never meet. What pretense of privacy does he have, he wonders.Allan says he's new to the 21st Century communications we have. He is sure that any government who has access to technology for spying on their citizens or others, will use it. Governments always say they are doing it for "our" protection, but always it is used for their protection, the government's protection. Allan is terrified of the potential, while seeing, at the same time, the potential for communication benifical for the individual.In his own work, he is in communication with people all over the world, including in countries his government does not approve of. Does that mean he's "linked" to those people or countries? "Linked" is a word his government likes to use when describing individuals targeted by drone attacks, "this individual was linked to Al Qaeda." He always wonders what is meant by "linked?" Very ambiguous, very scary. We are entering a very precarious situation because of the surveillance and the action coming from the surveillance. The drones are being made smaller and now are distributed to State governments in the United States of America, which seems to be leading to no privacy at all.Ruth says she has always mistrusted governments and authorities. She has always worried that Dick Tracy types were using high tech devices to eavesdrop on conversations in her house., what she wasaying to her sisters. She has always thought governments have been immoral, she tries not to be involved with them too much. She went for years, decades, without following news because she thought it would all be bad stuff that would give her a stomach ache and make it impossible for her to carry on with her life. She thinks a hopefull change is that people are now saying to governments, "we see what you are doing."Ferris says he hopes that will be enough.Ruth adds that she, like Mary, hopes to be a insignificant person.Steve says that is being called, "security by obscurity."Anneke sums up by saying Ruth is saying that we need to carry on with our lives and not be too frightened by what "they" may do.Ruth hopes to not be too afraid that she will be handcuffed and carried away to someplace she can't escape from.Mary says in Canada, the rules are somewhat different than in the States. She wonders if, in the Netherlands, they feel more protected by their rules against spying by their government?Anneke says she lives in Germany as well as in Holland and she is surprised that in the Dutch newspapers, there is no discussion of these issues. In Germany, perhaps because there are elections coming up in a few weeks or because of the East. - West German history, the issue of spying on citizens is currently much discussed in media. The first article of the Constitution is that the Prime Minister must protect the German people. Angelica Merical has not protected the people enough.Ferrie says the Dutch government is like a dog at the feet of the American government, they absolutely do what they are told.That's really scary, Steve says, the corporations, like Monsanto and Halliburton tell the U.S. government what to do.Mary asks what is that notorious group of corporations?Emory suggests The Trilateral Commission? Mary thinks yes.They had a compound out by Guernville (Russian River, Sonoma County).The Bohemian Club, Steve says. Started in the early Twentieth Century, it is a rich guy's club where they could act like Bohemians for a weekend.Emory says the buzz was that they were there plotting world domination.Steve says he knows a Chef who worked there, what he saw was the industrialists getting super drunk and pissing on trees.Allan asks if that is what Bohemians do?Steve says that's what rich industrialist think Bohemians do.Mary says that, as Ferrie says about The Netherlands, Canada usually caves to the wishes of America, because they are so close and so economically dominated. But not always. We'be had some Prime Ministers who have stood up to the U.S. by not joining them in the Iraq War and Trudeau back in the '60s, so freely accepting U.S. Draft Resisters. She doesn't see a lot of public disscussion of what Edward Snowden revealed. She doesn't like the Obama Administration's response. What happened to protecting "whistleblowers"?Allan says recently whistleblowers have been low-level people, the government, the U.S. of A. government, has tried to lock them up for long sentences. Meanwhile, the high level officials responsible for the revealed policies remain free. It's always the little guys who go to jail. It's an illusion that you can hide as a small person, it's the big guys who don't get caught.Steve says the purpose of data mining all the internet traffic is for the purpose of establishing a baseline of normal activity, so unusual activity can be seen in contrast.Anneke says the problem is defining normal.Agreeing, Steve explains that to discover criminal activity on the Internet, we have to establish what noncriminal looks like. Of course this process is fraught with moral dangers. He says his opinion is that it is necessary and he'll trust the government to establish the baseline of normal internet behaviors. Even though Obama has not been the President Steve expected him to be, he still trusts him to be making good decisions in the situation. Ones may be seeing a more desperate situation than Steve sees. Steve says he still gives Obama the benefit of doubt, even though there are some horrrorfying ironies in his Presidency, the main one being that his candidacy is largely a product of the successful Civil Rights Movement bring full Constitional protections of citizenship to Africian Americans and as the first African American elected President, he and Congress have taken those protections away from all citizens.Steve reminds that Internet activity is public, there should be no presumption of privacy. Data collection of public activity is not surveillance, although the analysis of that data and actions taken as a result of that analysis could violate human rights, the data collection itself doesn't violate, Steve says. He says further that he wants the government, which is public, to do it's business in public, with legislation written in public wikis and all meetings live streamed to the open Internet.Mary says her, "jaw dropped" at Steve's uncharacteristic extreme naivety.She'd like to know what artistic responses do people think can be done?Emory recalls the film, "The Lives of Others," where a government agent was assigned to eavesdrop on a group of artists, thought to be subversive. The agent had no artistic sensibility, but over the course of his assignment became sensitized and influenced by the aesthetic concerns of the artists. It had a transformative affect on him. Emory thinks that Steve is implying that making more interactions transparent may transform the people who may want to do the most evil. We ate just now in this new world and perhaps the things we most fear may have hidden virtue. It may provide a salvation. In that film the agent's listening in had a momentous effect on his life.Steve recalls the novel, Crime and Punishment, the police official had looked up Raskolnikov after reading an editorial Raskolnikov wrote expressing an anti-social arrogance. The policeman was correct, Raskolnikov was a danger to the public, he was a murderer. The policeman was doing the right thing, protecting society from a dangerous person.Emory says the problem for us today is who is doing the analysis and what do we know about their powers of divination?Steve says that is the scary thing, especially considering the history of the U.S. and it's continuing violence of government policies. From the beginning, the U.S. has been a ruthless, violent country and is that today.Emory says we should remember President Lincoln suspending Habeas Corpus during the Civil War. Taking away rights to save the country.Take away your rights, kill (six hundred twenty five thousand) people to "save" the country, Steve says. Lincoln is not a hero, he continues, the States should be free to leave the Union.Anneke says we should not forget what happened in East Germany when it was split. People decided they didn't want to live like that and started a silent revolution that lead to freedom. She thinks that is human nature. We will find a way to fight containment.Emory says it takes an individual with tremendous courage to stand up against injustice. He is reminded of the recent case of a woman who confronted an armed and loaded would be school shooter with only her empathy, discussing the shooter's plan, connecting him with the common humanity, disarming him.It takes a singular act of courage, Emory says, and most of us, like Thoreau said, "live lives of quiet desperation," we don't want to be in the fray.Ferry says if we all use our voice against it, at one time, we can stop it.Anneke says she always will believe that. We do have the power.Steve says he doesn't hear sensible discussion about this issue. What do we want to say? He will not be on the street to protect his privacy in public places.Ferry says the point is to talk about it, address the concerns, get some power in the situation.Emory recalls the work of Franz Kafka, who made an indelible image of the dangers of this new society. That is what an artist does, delineate the dangers facing us.Anneke says she thinks intellectuals and artists need to take the people to a higher level. She says she sees in Germany since the war the artists and writers have taken away the shame, the blame, the guilt, by talking about it, creating narratives about it, not denying it, but, dealing with it.Mary says in art it isn't black and white. It wasn't a clear victory for justice in Raskolnikov's case, the social inequities he acted against remained. Artists can address the degrees of the issue. Subscribe to this blog's feed  |  Subscribe to the podcast in iTunes  |  Follow  |  Like  |  Plus

Recorded: 19 August, 2013Participants: Steve Harlow, Emory Holmes II, Jim "Jimmy The Peach" Aaron, Ruth Parson, Allan Ludwig.AudioDownload Mp3 Steve says he doesn't want to, "hog all the fun," of moderating the podcast. Artistically, he says he admires the directoral style of Andy Warhol, "turn on the camera.""And take a nap," Emory completes.Steve says he likes the awkward pauses and people fumbling for words, "that's the best part."Allan says he's in mid-coast Maine. Emory asks if he's been fishing? Allan says he's been photographing circles. He likes perfect circles, he thinks imperfect circles are grotesque.Jim suggests a theme of touchstones or starting points for this episode. What caused you to be a creative person? What Is your "pole star," your guide?Emory says he relies on the Blues. When he started reading Nietzsche. He was impressed by the wit, savagery, and generousity of his thinking. He thinks the Blues is comparable. Funny, tragic, violent, and full of shifting moods. He says every story he's written has drawn from that fountain of expectations."Our lives are tragic and we have the ability to bring some light, some texture to our time living here," Emory says. He relies on the Blues to inform him and give him a field of play.Jim asks if it is the "call and response" of Blues that Emory connects to.Emory says no, but when he gives a reading of his work, it is always fun to hear the audience give response. When he was on a press junket to Fort Smith, Arkansas, for the movie, "A Soldier's Story." reading a piece, he had written on one of the stars, Howard Rollins, who has in the audience punctuating Emory's lines with, "ah hums" and "well ahhs" like it was a church sermon. The call and response there was appropriate, but a surprise. Emory thinks the concision, the emotion, the storytelling of the Blues is his touchstone.Ruth says her beginnings as a writer was a story she wrote she was eight years of age. At that time, she was writing to, "hear what I was thinking and it hasn't changed, that's still why I write." Her interest in sculpture started with seeing Rodin's work at Stanford University. She was on her knees hearing the "Les Bourgeois de Calais" whisper.Les Bourgeois de Calais Musee RodinJim says he enjoyed Les Bourgeois de Calais at The Hirshhorn Museum Sculpture GardenBalzac at MOMA by dominotic, on FlickrRuth also learned from Rodin's waxes in San Francisco, at Legion of Honor, then saw some again in Paris, at Musee Rodin. Balzac was her favorite, "such a mountain of a man."Allan commends the sense of permanence in the placement of public sculpture in Washington, D.C., saying, each piece there, large or small is in a well considered environment. In New York City, there's so little land, they plopped these things down in tiny spots which spoil the effect of the sculpture. In NYC, the Parks Department thinks that public art is a burden, they rotate sculptures in and out. There was one of Andy Warhol in Union Square, but it's gone now.The Andy Monument, 17th & Broadway, NY, NYRegarding motivations, Allan says he remembers trying to draw a portrait in profile and having difficulty getting the nose in perspective. After a few erasures, multiple attempts at a correct nose came out, "crummy," he wore through the paper, was screaming, his mother said to him, "you should get some books on drawing and calm down." Although that may have been very good advice, Allan discovered a camera, "you don't have to do that," he says, "you just push the button and you get everything where it should be. Photography is very easy because it's all there at one time and you either like the result or you don't."Steve says because photography is easy to capture, it is tremendously difficult to take a great photo. As a child, he was with his photo-hobbyist, Dad in a home darkroom. He thought the enlarger, the image appearing in the developer was magical. He thinks the same magic can happen with digital images, he uses GIMP to further "develop" captured images. Because manipulating images is so easy, it's hard to make the art you want. Digital is difficult because of the unlimited possibilities.Brussels 1932 by Henri Cartier-BressonAllan says Andre Bresson, the first one out with a Leica shooting the, "decisive moment." Bresson saw photography as a temporal exercise, saw life flow past him and he needed to capture the most expressive moment. This part of photography remains difficult. When developing images, you want the processing to, "mostly leave the image alone," Allan says, "too many layers of Photoshop effects and it looks like cheap Surrealism."PHOTOBOT!: Surrealism Photoshop IIAllan said he was taking abstract photos a few years ago and found that some of the ones he took with his eyes closed were as good as those he took with his eyes open.Steve suggests that in cases like that, the decisive moment comes in the selection process, "which one of these 100 shots should I present?"Allan says, while there is always a need for that, he doesn't like to think about it too much, you get bogged down with a bunch of issues, he wants to get on the next thing. He sees the emotional power photographs generate.As a child, Jim said he had moments that supported his belief that he was different or alien. He saw the life around as shallow. He was interested in jazz. He heard jazz in the live improvisation on Eat A Peach. He admired the mastery, became interested in the masters in arts. He wishes we could hear Mozart's improvisations, Liszt's jams, "all we see is what they notated for other's to play." He recently watched a recording of Keith Jarrett describing how his trio rehearses to improvise on stage away from what they know.Keith JarrettJack London, "To Light A Fire" Jim doesn't have much in common with hedonist, Charles Bukowski, until Bukowski begins to read his poetry, then Jim says, "I'm right there with you, brother!" Always attracted to masters who did the work, without much telling you about them doing it, he tries to reach a point of equilibrium when writing a haiku, a balance, that's when it's done.Steve says that's an issue for his painting. How much to complete an idea before moving to another. How far is too far. He wants his work to be open to other people. When an artist over-finishes a work, there's no room for the viewer. He wants the viewer to see themselves in the work, to form the image in their mind. He thinks his work is a celebration of eye-sight.OrpheusAllan says it was easier before Modernism because the artist could say he was possessed by a golden light coming from the sky with a nymph whispering in your ear. Art was considered a gift from the Divine. Improvisation was the Gods speaking through you. Like with Orpheus, the music so beautiful, the wild animals came and listened peacefully. Today, we don't have that narrative crutch.Steve remembers Emory talking about a character in his novel taking over control of the story from him, the writer. That seems to be a similar concept of possession that artists use today.Emory says DeCartes says experience gets you to the cliff, insight lets you jump off. He writes about this in "Rules For The Direction Of The Mind."Ruth says she depended on inspiration when performing. It was all an improvisation started by a vision. On her last one, the inspiration never came, "it was horrid." Subscribe to this blog's feed  |  Subscribe to the podcast in iTunes  |  Follow  |  Like  |  Plus

Recorded: 12 August, 2013Participants: Steve Harlow, Emory Holmes II, Jim "Jimmy The Peach" Aaron, Ruth Parson, Allan Ludwig, Ferrie Differentieel, Anneke van de Kassteele.AudioDownload Mp3 Desmond says being moderator for this episode, "really went to his head." He will lead the discussion on travel, what it means for us.There are two kinds of travel, that which feeds the soul and that which is academic or work related and so, does not contribute to substantially to our development.Desmond says he loves travel because he can see people, similar to him, acting in different circumstances. He recalls reading a book by Nevil Shute which included the suggestion that democracy could be furthered by requiring education and travel as prerequisite for voting. Desmond says he thinks people who have traveled, generally, have a more empathetic view of humankind. David says he is not much of a traveler. He's never been on the European continent. He went to China once, to act in a propanda film made by the Red Army. "We were well looked after, with an interpreter everywhere we went " He wrote an article about his experence for The Vancouver Sun. After that, he thought writing travel articles could be interesting,, but, "went back into my head, where most if my travel takes place. It's quite expansive."Desmond recently returned from a fiftysix year reunion of his class in Elementary school. After returning from that trip, he went to Gasbay to a friend's summer home. These travels were, for him, preparation for a grand journey back to his birth city, Dublin. The last time he went there, it was not a good time in his life and not a good travel experience. He's looking forward to this trip, he thinks it should be good. p0ps Harlow's San Francisco Set on FlickrSteve says he was born in L.A. and always wanted to be somewhere else. He went to San Francisco in 1957 at age of 13, really liked it there and wanted to move there as soon as he could.Bien Hoa StreetWhen he got out of highschool, he thought he had to go into some military service, joined the Navy Reserve, he spent his age 18 thru 20 on a small ship going to Hawaii, Japan, Hong Kong, Phillipines, Thailand, and Vietnam. Also the ship spent time in Portland, Oregon and British Columbia. He says he did not enjoy being a military person and thought that briefly visiting exotic locales was not what he wanted, he vowed to any travel he would do on his own would be by moving to a location for a year minimum. Since then, he's lived in rural Central and Northern California, Hawaii, San Francisco, Dallas, Texas, New York City, and he's briefly visited Denmark.Ruth says she spent most of her life traveling within a 100 mile radius in Northern California, then lived in NYC from 1997 to 2010, during her time there, she had the opportunity to travel for her mental health job a few times in Scandinavian countries. NYC was big and crowded and fast, but, for her, seemed to be, "a terriffic fit." Traveling in Scandinavia she loved, "because she found more like-minded people there. It was brilliant, my whole perspective changed." Four Women Moving Earth In WheelbarrowsShe continued saying a recent month of traveling in Northern California resulted in no art creation.Desmond says he found unlimited energy in NYC, when he was there in 1969 - 70. It flowed thru him, he remembers once not sleeping for two and a half days.Ruth says she agrees with Steve that there is a much more inspiring atmosphere there than where they are now in Southern California.Emory says travel has effected him profoundly, altho he doesn't think about travel too much, it seems to be a part of life. When he was a kid, his family would travel from there home in Tennesee to his Great Grandfather's house in Alabama. It seemed to him like they were traveling from sunny, care-free hills to dark, foreboding, blood-red land where the people were more wheathered and his Father and Uncle anxious. It was an opportunity to learn s new consciousness. He felt it was more ancient.Great Grandfather's HouseLater, when they came to California, he felt intense alienation. The first time he heard his big sister say, "you guys," instead of, "ya'll," he felt betrayed by her adobtion of the language of an alien culture. She had accepted the fairytale image of California, while he saw it as a place of hidden intrigue, filled with people sunny on the outside and convoluted inside.It was later, when Emory lived in Hawaii, that he experienced the true America of people living in peace and harmony no matter how their individual cultures had shaped them.Annexation of Hawaii Caused by the overthrow of Hawaiian queen by white businessmen who wanted and a more favorable tax rate. Subscribe to this blog's feed  |  Subscribe to the podcast in iTunes  |  Follow  |  Like  |  Plus

in samenwerking met Jimmy the Peach hebben wij de Art Chat Podcast song gemaakt van de meest recente Chat Podcast nummer 84 Can You Hear Me? luister maar naar de 48kHz M4A Audio Stream voor zowel in-ear als over-ear phones en dikke geluidsboxen [audio m4a="https://podcast.ferrie.audio/luisterpark/wp-content/uploads/2013/06/Can-You-hear-Me.m4a"][/audio] met de voice-mix van Jimmy maar er is ook een versie zonder de ACP babble in het midden stuk en dat heet Petit Messe Solonnelle Petite Messe Solonnelle deel 1 het bekende 'Kyrie' is een compositie van Gioacchino Rossini waarvan ik de midi sequence van John Hooper gebruikte. op ferrie.audio te beluisteren op deze plek Orkestratie de orkestratie voor beide uitvoeringen is het zelfde - gebruikte instrumenten zijn: Full (virtual) Choir - close recorded Indian Harmonium Large String Ensemble 70 instruments 9 extra Double Basses 3 Bösendorfer Grand Piano's de Art Chat Podcast vindt je op deze website Episode 084 - in Memorial "No one's on vacation because of Memorial Day, especially not us Canadians and Dutch," Mary says. Credits chattende artiesten waren: Steve Harlow, Jim "Jimmy The Peach" Aaron, Ruth Parson, Mary Burns, Allan Ludwig, Emory Holmes II, ferrie = differentieel, Ann du Chateaux en David King gespreksleider Stephen Harlow Ruth Parson Emory Holmes II Jimmy ThePeach Allan Ludwig Mary Burns Anne Du Chateaux David King componist Gioacchino Rossini MIDI sequence John Hooper Links website van Jimmy ThePeach info over Gioacchino Rossini foto