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The White Dress

The Portal takes me back and to ‘Other Spaces’

The ‘performance’ art I’m doing in my new piece at Colchester Art Centre on Sun12Sept2021 is based on the content of my self-published books with some poetic license. It has many bits of music cut (with thanks to all the songsters!) from songs which were popular back in the day and as I’m only speaking very sparsely the words of each song actually tell the story. So listen well.

“We are a music-making species — always have been, always will be — and music’s capacity to explore, express and address what it is to be human remains one of our greatest communal gifts… We evolved by coming together around the fire* every night, singing songs and telling stories — invariably, telling stories through singing songs. That’s what our ancestors did; that’s how they made sense of the world and each other; that’s how they learned how to be. It is an impulse that is still fundamental to who we are.” Clemency Burton-Hill *there’s no actual fire in my piece.

I woke at four am today 25th August 2021 and came up with some answers to things which were bugging me both short term and longer. Seems I was lucid at that time of day. Short term was solving some of the challenges* I need to resolve for my show on 12th September. *(Lennon sang ‘There is no problem only solutions’ or summat like that)

I was reading about how Michael Parkinson thought so much about Alan Whicker who he said “Played the pauses better than anyone else”. I see how important that is as I prepare for my September 12th gig in which there’s a series of transferences and instinct (or simply inexperience) makes me want to fill every space but it’s probably better to leave pause time in. The silence, no movement no sound maybe a shift of lighting, will then frame the activity.

I’m may spend some of the time just sitting on my small cane chair rather than attempting to ‘dance’ my way through the whole piece. So I’ll be like that story teller on Jackanory. Early on in the piece I have a paper fish placed on my back which recalls the time as an eleven year old it happened to me in France and now I’m going to keep it on my back as I move through any of the autobiographic parts because being the fool or rather playing the Fool was part of my adopted character trait. And it adds continuity and meaning to the piece. The fool turned, like that worm which I also carried about as a character trait, in my second year at college when I realised I wasn’t playing a fool I was in danger of being a fool. A shrewd decision to stem my foolish behaviours which is probably the advent of the Shrewd-ness in PK.

I used to be an artist but I’m alright noooOW, I did oil painting but after about thirty years I gave up flogging a dead horse because my studio was full of unsold pictures everyone loved but nobody ever bought. I hang my ‘painting’ on the portal whilst I whip it then destroy it during Sandy Denny’s No End song. I’m also wearing the red beret which mysteriously appears on my return from Paris just in time for the whip it-like-John Cleese scene. I will separate the Fool (on the hill) bit from the Kazuo Ono part and maybe use Jeff Beck’s instrumental Suspension for Kazuo and also really try to make a simple Kazuo papier-mâché mask notwithstanding the sparsity of time. I don’t think I’ll complete the new Squidgeratkin mask but I’m going to embellish the original latex one with feathers and flame.

On the long term issues it came to me why I was so upset by that JFK murder it’s because subconsciously at the time he was incremental in avoiding a nuclear war with Russian leaders. There’s been so much prevarication ever since but I’m convinced he was a man marked to die and not by Lee Harvey Oswald who was a scapegoat but by forces within America’s Establishment and the bullet that actually blew his brain out was fired from behind by a security guard; accidentally or by design. American politics just then began a downhill spiral which ended up with a LOUD Trump. The jury’s still out on the Biden administration but America is so damaged there’s probably no way to recovery. I think Lennon was murdered by a hit man too. Lennon is my Working Class Hero, the words of most of the songs are pertinent to the story

Another hero is Dudley D Watkins who created characters for Beano one was called Jimmy and he had a Magic patch on his bum which enabled him to travel through time. I’ll be sporting a similar patch on me bum.

I used to be an artist but I’m alright noooOW, I did oil painting but after about thirty years I gave up flogging a dead horse because my studio was full of unsold pictures everyone loved but nobody ever bought.

So this bloke attacked me with his puny belt but like Crocodile Dundee I got a bigger one than him but I don’t use it as a rule.

There’s a John Cleese reference too.

The Belt piece is there because it’s in my Shrewd Idiot book you’ll need to buy one to find the context.

By the way the red hardback Shrewd Idiot cost me £100 each and you can buy one today for what it cost me. R J printers in Maldon print most of my books and came to my rescue when The Trilogy was not up to standard.

The Dress piece is about Love and Loss, from ecstasy to forlorn and back again. Good Vibration is not about celebrating it was on the radio that night my first love gave me the bum’s rush.

Kazuo Ohno was an amazing Japanese performance artist I tagged a tribute to him at the end.

Flyer for the gig
This is the inside cover of the June edition of my Trilogy.

Red Dress gig on YouTube

This week I managed to upload a really good video shot by Christine Dixon during my gig at Colchester Art Centre on 24th October 2018. https://youtu.be/pHG5KAY3nYQ

If I were you I’d ignore the first 40 seconds as it starts slowly. The show goes in three main sections; from 40 seconds to 7 min 30 secs I’m reminiscing about two old loves, from 7m35sec to 12m20secs I move to Iggy Pop’s Shades thinking about Camellia, from 12m 30secs to 19m 24secs Apulhed comes in and from 19m 25secs to th’end I remember my old dadwith the help of Anohni and Annie Lennox.

The Young O’Dork dancing with his memories
O’Dork belts up with Iggy
Apulhed enters
Dad Taffy remembered

O’Dork on World Book Day

So on World Book Day I thought it a good idea to tell you about my new book which right now is wending its way from the printer in Wales to my Distributor at Gazelle in Lancaster and will be sent out to anyone who has pre-ordered it on Tuesday 9th March! One place you’ll find it is at Amazon, here’s my author page there:  https://www.amazon.co.uk/Pete-Kennedy-aka-Danny-OCinneide/e/B08X73S7QP

O’Dork’s Nonogon Adventure tells the tale of Daniel O’Dork (YODi) who came from the Northern English town of Brunlea, an aspiring young artist in 1969 who began creating strange characters. These ‘comic characters’ gradually became quite important in his life; one of them he named Apulhed became his alter-ego. By 1999 he had more than ten personages that he made sculptures of, exhibiting them at Colchester Library in January 2000. As the New Millennium began, YODi, now a Middle Aged Dork, MAD-MAn(master artisbloke now) had a strange dream that he went to Arizona to meet the Hopi people who hold ceremonies in underground pits called kivas. MAD-man looked around the kiva and saw many people from his own past there; it seemed he was in an extraordinary meeting peopled by his lifelong friends, comic book heroes, and Old Souls. He saw he was part of The Nonogon Nomads (a Cosmic Tribe who travel in a Nine Sided Craft called The Nonogon).). The Nonomads were gathering to take on the Vainglorious Arch-Villain BeeHellZeeBug before his forces take over the Universe! Look inside to see how they manage to control The Beast.

Here’s BeeHellZeeBug with some associates!

“Pete Kennedy is a phenomenon. He is the only illustrator I know whose artwork is completely unique, coming, as it does, from deep within, uninfluenced by the artistic styles of others. His work is a labour of love, closer to conceptual art than conventional illustration, and his deep commitment to it has spanned decades. His books are an open door into a world unlike any you’ve seen before.” Bryan Talbot (Graphic Novelist, Eisner Award winner)

 “In all his books Pete mixes poetry, imagination, image, reality & surreal. I feel like I’m moving fast when I’m reading his books. Grabbing a beautiful phrase here, pausing on fabulous drawing there, being whisked off to a strange place, then he brings me back to my own identity before hurling me off into another world. It’s exciting. It’s both a real and an unreal. I loved the O’Dork books.” Gary Malkin, Former Archivist at BALTIC Art Centre.

“There are many exciting drawings of YODi’s early automatic technique (SCIMs/Sub Conscious Images), where fantastical characters and symbols seep out of his mind and squirm around on the paper, interlocking and writhing with arms becoming faces, legs becoming creatures in a maelstrom of dancing shapes. This is reminiscent of the images made on walls by Ancient Egyptians except these reflect the wandering mind-set of late 20th Century man so well documented by C J Jung rather than the stabilised images of the Nile culture. He thinks in art forms; dances and whirls to the music of the Creative Unconscious. Part 2 follows YODi into the realm of the Collective Unconscious, where he uses his developing artistic techniques to draw and paint the mystical visions of peoples and seers. We see a fluid use of portraiture reaching into the minds of the sitters, together with caricatures of alter-egos, imps, dolls, and powers of these people. He portrays a kind of anthropological imagining of their cultures and myths then he develops his own fantasy play enacted by his Nonogon Nomads. Some of these are based upon Pete Kennedy’s real-life friends and the seers that he has read about, assuming powers now, like the mystical tribes. The positioning of these spiritual forces in a geographic template is like a weather map of winds, or a gravitational force field which can be skewed around planets.  Each planet here being one of his mystic beings” (Duncan Walker)

I had forgotten how to add images to my blarts, I looked into it and solved it, hooray

Burnley were once a truly great team!

My biggest hero in sport was Jim McIlroy who died of natural causes 3 days ago so I am re-posting this old blArt o mine about the wonderful wizard o dribblin
https://www.theguardian.com/football/2018/aug/20/jimmy-mcilroy-obituary
Om Mani Padme Hung

apulhed tinking

So today my home town team, knowing of their imminent relegation from the top division in football to division 2 which is euphemistically named ‘The Championship’, secured a scintillating 0-0 draw with Stoke. But Burnley were once a truly great team! No not the first time I ever saw them when as a ten years old boy I watched

60team handdrawn(c) pete kennedy 2015

the best Burnley team to represent the town in modern day football emerge from the Turf Moor tunnel as Champions in 1960 when they beat Man City in the final game of the season

62 victory coach(c) pete kennedy 2015

to prevent Wolves winning their third 1st division title in 3 years and almost won the coveted Double two years later.

Bly 1961 leeg won

No, it was the team back in 1921, (some of which had survived the First World War just before which they had beaten Liverpool in the…

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 Planet of the Dolphins? (unabridged)

I did a blog (blArt I call ’em) earlier this week about the Somme. I found this one which gives more detail about the context of the Somme. So I thought I would re-blArt it.

apulhed tinking

This is the unabridged version of my new blAst for those of you who are not too busy to read its dense detail and not a bit squeamish as it contains details about the results of high explosives in WW1 that some folk may find difficult. The reason I mention them is because I firmly believe, in my naïve and stupid way, that all war and any assault on other humans with intent to kill or maim should be banished. (I don’t mind hard tackles on the field of sport as in some ways that is a way of working off aggression and in fact competition in International sport has proved to be a substitute for conflict on the field of battle!)

Reporting on my contacts with the ‘outside world’, UWE have put out their latest Artist’s books Newsletter and am happy to share that they, Sarah Bodman that is…

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‘and Lennon’s on sale again’

 

‘…it is the very presence of the performance artist in real time, of live performers ‘stopping time’, that gives the medium its central position. In the first decade of the 21st century PA is at last being folded into the history of art proper, moving from the margins to the centre…PA continues to be a highly reflexive, volatile form- one that artists use to articulate and respond to change. It continues to defy definition and remains as unpredictable and provocative as it ever was.’ RoseLee Goldberg in Performance Art (PA). From Futurism to the Present.

As the new year gets going the great news is that I shall be doing a short performance art piece at the Society of Bookbinders in Kentish Town in March.

SoB Book Arts Day 2016

London and South Region of The Society of Bookbinders

Book Arts Day

Saturday 5th March 2016  (10:30 – 4pm)

(£10 members SoB, £15 non-members)

The day will comprise:

 An illustrated talk on Book Arts by Sarah Bodman

 A book arts fair presenting a variety of emerging and established book artists (many works will be for sale).

 Demonstrations by a selection of the exhibiting artists.

 A spoken word performance by book artist Pete Kennedy.

 A mini exhibition of Sónia Serrão’s personal collection of artists’ books collected over the last 20 years.

Sarah Bodman is an artist and researcher at the Centre for Fine Print Research (CFPR), UWE Bristol, where she investigates contemporary book arts. She is also Programme Leader for the MA in Multidisciplinary Printmaking at the Bower Ashton campus, editor of the Book Arts Newsletter, Artist’s Book Yearbook andThe Blue Notebook journal for artists’ books, and writes regularly on artists’ books for ‘a-n’ and Printmaking Today.

 

I have chosen to do a variation of my Clay Jug piece because it resonates ‘book’ and I have several book projects I’d like to show anyone who turns up to see. It was originally done tward my MA in Art & the Book and I have ‘danced’ it at IPA in Glastonbury & Bristol where it was very well received. The books that grew into the project were greatly influenced by Joanna Drucker’s wonderful book on the Alphabet. http://www.goodreads.com/book/show/790760.Alphabetic_Labyrinth I experimented with:

  • use of clay tablets like cuneiform,
  • poti like the Tibetan book form,
  • scrolls like medieval manuscripts and
  • the idea of knowledge being found in buried or hidden pots.

I use the music that Luke E. Walker created for Clay Jug to spark my movement thru this piece. Here’s a link to Luke’s music on soundcloud:

I also recite the words of Kabir and, maybe, Osip Mandelstam). I also intend to show a couple of my most beautiful unique copy books that I did to house my six poems generated from the project. PLUS David Jury’s version in letterpress with a surprise package.

I am also developing a piece which I did at IPA several times in Oct2015 based on the words of a song from the wonder-full cd  named still calm melancholy air brush hush by Colin Lloyd Tucker called Brush in which I have his words written and show them with movement as the piece progresses. I mime making a painting and in the end, in some venues, I actually brush an image onto a surface which can be paper and/or glass, perspex, wood, anything. I am looking to do it in shop windows, particularly art supplies places.

It fulfils my desire to follow in the footsteps of zen masters who write their thoughts in beautiful calligraphy and do drawings too. I may use Colin’s beautiful ambient music before I appear ‘on set’ but more & more I am working tward not having beautiful distractions as I move thru a piece, I am working tward playing the music in my head as I move.

see-   http://campus.poetryschool.com/follow-brush-making-zuihitsu-poetry/

another  new idea I am working on is:

 Somme Lads – Burnley Boys 1916

Designed as a solo work where PK plays two combatants, Tommy & Gerry. This is a commemoration and hopefully a reconciliation, of the horrific battle of the Somme July 1916. Tommy has a helmet like the one worn by Brits in WW1, but this also could be a cooking pot or wok like those we used to wear as children when playing war games.

My aim is to try to stop all wars on planet Earth, no pressure then Pete! My request is that the world works towards de-powering those perennial ‘leaders’ who create wars and create a planet where war is but a dim distant recollection. Can you Imagine that! Here’s Lennon my working class hero singing his song in a set which has all my favourite foibles in: https://www.youtube.com/watch?v=T2hvkPyiAFE  You see John dressed in apparel almost certainly designed to antagonise the obviously ‘privileged’ audience his band played in front of dressed in his red suit and black round specs.

And Lady Gaga, almost outdoing Lennon with her glasses pays tribute to one leader (Obama) who tried not to wage war and her favourite song writer in her version of Imagine: https://www.youtube.com/watch?v=urjyP95H6vk

Here’s  Marianne Faithful singing another Lennon classic, Working Class Hero in which he lays it down like he sees it, quite lucidly I believe. https://www.youtube.com/watch?v=x2SDRQJrawU

Finally another working class hero David Bowie who sang ‘Lennon’s on sale again’ https://www.youtube.com/watch?v=IftjxN_KJoM and whose outlandish dress-sense set the stage for Gaga.

I was hoping to do it in June at the book fair at BALTIC (Artists’ Book Market BALTIC Centre for Contemporary Art Saturday 18 & Sunday 19 June 2016) but haven’t been selected to do an intervention this year. So, if you have a venue in the North east area and want to see one or more of my pieces near the weekend of 18-19 June please let me know.

pete's earthen vessel

The Riches Of The East.

 

 a penned mystic smIt may be said that Socrates was a rebel? He didn’t wish to follow no party line and when he was in 399 BC by 3 Athenian citizens of failing to worship the city’s gods, introducing religious novelties and corrupting the young men of Athens and told to renounce his philosophy in court, unshaken from his convictions despite being denounced as foolish by a large number of Athenians, he spoke,

“So long as I draw breath and have my faculties I shall never stop practicing philosophy and exhorting you and elucidating the truth for everyone that I meet…” (See Alain de Botton who says this promised him, ‘a counterweight’ to his own ‘supine tendency to follow socially sanctioned practices and ideas’ in his book The Consolations Of Philosophy). Botton goes on to say his ‘priority was to be liked rather than speak the truth. I didn’t publicly doubt ideas to which the majority was committed. I sought the approval of figures of authority and worried at length whether they thought me acceptable. but Socrates had not buckled before unpopularity and the condemnation of the state. he had not retracted his thoughts…he had [his] rational , as opposed to hysterical, confidence when faced with disapproval.’

All of my life, at least since I began to realize I was ‘here on Earth’ aged about 10 I have fought against that ‘supine tendency’. Maybe that’s what held back my progress in many situations in English society? My lack of conformity (or was it my face- it didn’t fit? or my choice of deodorant?) meant that I had to fight for almost every inch of ground I made.

Like Socrates I’ve been a renegade ever since ‘they’ rejected me at my secondary school, (‘they’ being the powers that be/the status quo holders who saw me as scum from a poor working class family who didn’t always agree with what they said) and I rarely if ever sought approval, especially not by altering my work and ideas. so, in simple words I paddled my own canoe. and my canoe took me to some strange and wonderful places, mainly in dream but also in some of my output. one renegade, the late great Jackie Leven, introduced me to Kabir and Robert Bly through his wonderful song Inside this clay jug. A lot of my work since hearing that song has been about the mysteries of life and mystical ideas. Some folk think mystical means ‘not for me that strange stuff’ but no, if you listen to Bowie’s music, at best, it has a mystical chime. It’s like searching for the lost chord and he found it sometimes like in Ashes to Ashes, China Girl and his last songs plus vids for Dark Star etc. Mystic is when you hear or glimpse that something which emanates from a place far away and deep inside you. Namaste. Om Mani Padme Hum. listen to Van’s Into the Mystic from his astral Weeks.

The wonder-full American artist Robert Smithson, who created The Spiral Jetty, on Great Salt Lake, Utah in 1970, was a renegade & a wordsmith too as witnessed in his Heap of Language sketch:

See http://www.robertsmithson.com/drawings/heap_p104_300.htm

and

http://www.robertsmithson.com/essays/heap.htm

“Smithson becomes exhibit A for the case that an eruption of the linguistic sign into art has fragmented beyond repair the traditional integrity of the object…” Thomas Crow in Prophetic Turns In The Life & Art Of Robert Smithson.

My writing also is part of my ‘art’, equally nowadays, as always, words play a role in my performance art. My 1975 buk, Apul-One, was a ‘work of art’ in its whole = images, words and book.

This renegade never did the obvious, rarely followed the rules and always bent them even if only a titsy witsy bit. Thereby he made it difficult, by not following the trend, the advice, the latest fad etc.

I remember going into Slade Prix de Rome scholar David Wild’s ‘life-study’ night classes and seeing a day student doing (copies of) hard edge American abstract painting by using masking tape to get straight lines on his canvas while I was learning how to observe and paint the figure. I made a conscious decision there and then I wouldn’t be doing no American abstract painting then nor not ever. (In fact a couple of years later I fell in love with Barnet Newman’s work in the big London retrospective of his work and did adopt some of his techniques, but in a way which used his ideas of fields of color which I then placed my images into with ‘zips’ (gaps) separating them. My images might be mimics of other Abstract expressionists set against realist images. So you see, I even broke every rule I set myself. The come uppance was that I kept my eyes open to different possibilities and I could be inspired by many things that the ‘mainstream’ art student would not look at cos it weren’t in fashion. Similarly, I liked Roy Orbison when the Beatles were all the rage, and Van Morrison when most folk hadn’t even heard of him.

Which takes me onto Hermann Hesse (HH), whose book Steppenwolf I saw in a Truro bookshop window in 1970 and on the cover was a Paul Klee painting so I was intrigued enough to buy and read it, so my journey into Hesse had begun. It was his writing which led me to the wonders from the East. Now when you looks at my recent works where I do things like poems inspired by Hesse and Dalai Lama you’ll agree they’re not the most fashionable icons nowadays, butti don’t care. It’s my art. Come back with me, to a day when the Upper Class (expletives omitted) led their campaigns for King & Country to conquer lands in Scotland, Ireland, Wales, South America, Africa, to asia minor & China they were, for the most part, looking for gold or jade etc and they gottit in abundance as they stripped whole countries of their inheritance. BUT in fact they missed the real treasures which eventually filtered thru to the west via the likes of HH and scholars who studied unknown languages like Hittite & Ghandaran. The real treasures are more lasting than gold, they’re spiritual. Things like yoga, tai chi, and meditation, the religions of old (like Hindu, Zoroaster) and in Tibet’s case, new – Padmasambhava brought Buddhism to Tibet in the 8th century AD. Insight into our place in the Universe is being enhanced daily by astronomy & science but we benefit from things brought to us by Tibetan Buddhism, Muslim Sufism, ancient Indian ideas about the cosmos and the place of us ubeings in it which they anchor down thru yoga, Chinese (&Malayan) Tai Chi does similar things with mind/body equilibrium. Who needs the gold that artists like Damien Hirst use?

on a better note

Here’s a lovely song of Bowies sung as a tribute to another renegade. Listen to her pre-amble, it’s lovely too

https://www.youtube.com/watch?v=zxGoZySud7k

It’s For The People.

 

Going back to thoughts https://apulhed.wordpress.com/2016/01/10/a-lifelong-friend/ on my old friend for 60 years Trev*, initially it would trouble me that my words don’t reach people like him but, on consideration, I have spent 48 years developing my words & ideas which he neither followed nor kept up with my path, why should he? I don’t understand his zone either, he was an accountant, I don’t do money, ask HMRC they’d confirm that. *Good news is Trev got in touch and said he enjoyed my last blArt.

Here’s the first viewing of one of the Apulhed Comix c.1977 that never got published in the 1970s. By 1979 I had created Happy Apulhed, a much more friendly, less eerie character.

ahed sets off color sm

When I was doing Apulhed comics at college in the early 1970s my old mates back in Burnley could explain my work was beyond their experience by saying, “Pete’s gone off to college and is full of new-fangled ideas, he’s just a bit strange but we can tolerate that because he’s…” Now nearly 50 years later I have further widened the gap. Not vindictively, just by osmosis, as a result of my endeavours but it still begs the question- If my art cannot reach ‘normal’ folk, am I missing the mark?

Nonetheless folk from all over the world do find my art interesting. yesterday I had hits from Vietnam and Sweden and my total views is fast approaching 10K. Some write and say I write well or the blog is good. But more, I feel that when I do any more Performance Art (PA) I’d need to be able to communicate or ‘get’ to the public’s minds whilst neither condescending them, nor demeaning my ideas of course. There would always be an elephant of surprise and an unsettling feeling in the outcomes I produce to keep the onlookers’ attention. Don’t want youse all falling asleep now do we?

I have been looking again at Verena & Andrea’s (Vest & Page) stuff in the vids on their website. http://www.vest-and-page.de/#!selected-works/caf0 They show by their astounding work that by comparison my work is a mere blot on the floor left by a PA Baby in his swaddling bands. (‘Swaddling’ is an age-old practice of wrapping infants tightly in blankets or similar cloths so that movement of the limbs is tightly restricted. Swaddling bands were often used to further restrict the infant. At the moment I feel constrained as if by swaddling bands and only by ‘getting’ my work out there’ will I change my garment, or maybe relinquish [most of] them.) The good news is I’ve been invited onto the Book Arts Day for The Society of Bookbinders on Sat 5th March 2016 in little old London town to do some Performance Art. Right now I’m working on a new piece, ‘Brush’, using words from Colin Lloyd Tucker’s beautiful song ‘Brush’. My friends, the Townsend Twins are helping choreograph the movement. I may also include a new rendition of Clay Jug after the beautiful poem by Kabir.

And ‘PA Baby‘ is maybe another pseudonym for me as it cover the fact that I’m old enough in calendar years to be their grandpa yet in terms of my experience in the field of PA I’m just a baby. In fact whilst at IPA in October a lot of my work brought me, and indeed some observers, to tears. In my case because I was going back into my early experiences and re-living them and also seeing that at 64 years old I weren’t about to have certain experiences again and indeed the inevitability of the changes old age will bring also weighed down on me. I got my crying in first. Some watchers cried in sympathy, some because I touched a chord and others just cried cos they were incredibly tired after 8 days of full-on PA practice with a group of strangers to start with who fast became close bonds. I still find it so daunting to think of what is out there in the Performance Art field. But it’s silly to compare. It’s like comparing a little village’s pub band to the Rolling Stones but there again the greats do look at the new stuff coming thru and like V&P are very encouraging. My mate IEPW told me that David Bowie liked Arcade Fire so much that he requested to sing with them and they accepted his offer. https://www.youtube.com/watch?v=z6c9Ejfu-iU

Also he did this with them uploaded 2 Feb 2006 https://www.youtube.com/watch?v=EkCc_qiI7UA well now, David had another 10 years.

Deathday instead of Birthday celebrations?

Image053

A Big Cloud of Unknowing.

When I heard of the death of David Bowie I thought to myself, they should have a day each year to celebrate him, maybe his day of dying would be the best day for an annual remembering of his creative, original and inspirational, trend-setting (in its purest form) life. Undoubtedly he did set trends.

Image062

OM

The Dalai Lama has said, “Usually I don’t consider birthdays something important. In Tibet we consider the death anniversary more important. I think that’s quite wise. A person who made good contributions in life, then after [their] death, remember them in some anniversaries…as a Buddhist monk I believe every day is a new day, every day is birthday. The particles of our body momentarily changing, always become something new. Mental thinking, because of new knowledge & experience, also changes. So every day is a birthday. [If] we use our day in a proper way then the months & decades, whole life becomes meaningful. If you can help other, do it as much as you can. If you cannot do it, at least, restrain from harming others. That’s the essential of meaningful life.”

I’ll drink to that, nowadays my chosen drink is water.