My mind is far too curious; always rambling from one thing to another and so I cannot dedicate this blog to any one subject. Therefore, I bring you my everything. All writings are subject to change as I see fit. I am always learning and improving, therefore some works are worthy of re-editing and some are simply works I've moved too far beyond.

1/26/13

CAN - The Lost Tapes

CAN - The Lost Tapes

CAN has given us a very rare sort of treat that, as the years stack on, is less and less likely to crop up in the world of music. Their innovative minds elevate this to a cause for celebration, for CAN changed a great deal in the landscape of music in the seventies. They created entire genres of music with single tracks—all of which, were almost entirely composed on impulse and edited down to their signatured complexity and chaotic perfection.

The Lost Tapes are boiled down to thirty tracks spread across three discs, and they showcase every aspect and stage in the evolution of our beloved CAN. From the very first track, "Millionenspiel," and its slow onset of layered sound that erupts into an unconventionally engrossing groove complimented by flute, it is immediately apparent that these aren't just garbled, bootleg quality tracks that sat in a damp basement collecting mold for four decades. We are talking prime studio quality material. This is history. Or rather, a history lesson in the evolution of Rock & Roll. All of their most prominent influences come through, each track standing completely on its own as an example of their heritage. The "Evening All Day" examplifies their fondness for von Beil-esque compositions as far back as 1969, while "True Story" gives the impression that the boys had paid a visit to New York, and sat in on some beat poetry sessions—the electronic drone gives a sense of horror to the whole scenery. The scatter-brained, off the hinges "Deadly Doris" can only suggest that The Beatles' White Album was a fleeting precursor, "Sexy Sadie" being repeated along with the schizophrenic, mantra-like "Deadly, deadly, deadly, deadly, deadly Doris."

Their powers of brilliant impulse shred sixteen minutes into the hypnotic and multi-faceted "Graublau"; when it's through, time is empty and you'll have lost all concept of it. Strange and beautiful tracks like "Dead Pigeon Suite" will give you a feel for their embrace of music from around the world; ethnically diverse instrumentation and sensual, exotic rhythm, but hardly without a ninety-degree shift in tone to keep you on your toes as a responsible listener. As the collection progresses, those familiar with CAN's music will immediately recognize fragments of CAN staples in what were otherwise discarded tracks, offering insight into their creative process. The live tracks included are by no means filler. They showcase classic CAN tracks, given the expansive, time and space defying treatment that vinyl simply couldn't allow them.

The thrill of listening to these lost tapes is, and I cannot stress this enough, the knowledge that you are listening to a group of musicians that are in the budding of their professional career, and every track is an innovation unto itself. It is history. No band dared tread where CAN boisterously frollicked. They were the Nikola Teslas of experimental music; brilliant pioneers, but in the grand scheme they have been criminally outshined by their students.

1/16/13

Manic Street Preachers - The Holy Bible


Manic Street Preachers
The Holy Bible


Rock & Roll has been riddled with odd, peculiar, and disturbing stories in its 60 year lifespan. I can think of a few that deserve mentioning, especially the story of Iron Butterfly’s bassist, Philip Taylor Kramer, whom after departing the band had obtained a degree in aerospace engineering, and was working under the United States department of defense as well as computer engineering until he disappeared under very mysterious and suspicious circumstances. However, that shall be saved for another article. One of my favorite stories of the past 20 years is the creation of the album The Holy Bible.

Initially a quartet, Richey Edwards was the face of The Manic Street Preachers, and their Clash-esque brand of Punk. After two albums, the onslaught of attention went to Richey's head and drove him over a cliff; spiraling downward into a pit of self-destruction, despair, and nihilistic delusion. It was in his very unstable state of mind that he commenced upon his dark magnum opus in the form of diary entries made song. Richey held nothing back in his lyrics—this was his confessional to the world. He had lost all hope and so therefore, he had nothing to fear, and could not be bothered to exude anything but his pent-up angst and forlorn fury. The album was completed and released to critical acclaim, but their performance on Top of the PopsRichey in particular, clad in a 'terrorist-style' balaclavagarnered the show their most complaints ever. Manic Street Preachers disappeared from the charts very quickly.

Two months after the release of the album, Richey simply vanished. Oddball sightings were noted but nobody could say where in the world he had gone to. Furthermore, for a solid two weeks the exact amount of $200 dollars was withdrawn from his bank account every single day. It eerily correlated with the lyrics of his song "Yes" regarding prostitution; "for $200 anyone can conceive a God on video." Finally his car was found abandoned without any clues. The band had set aside a percentage of royalties since his disappearance, but it wasn't until 2008 that his family had him declared dead. Richey was eccentric and mentally frayed enough that a disappearance would not entirely discount a miraculously unexplained reappearance, but sadly, suicide is the most likely explanation considering his mental state. Anonymous tips regarding his whereabouts still roll in to this day.

All in all, The Holy Bible is a masterwork of bleakness and a destitute look at the state of our society.  It serves as a lesson to those who step into the darker realm of humanity; one must possess a wholesome spirit to avoid the path toward corruption when investigating these borders. It is, regardless, a very fine work in raw Punk musicianship, even with its morbidly frank, hopeless and stoic nature.



The Wrath of God, Part 1

This is part 1 of a mix that's seen many changes over the past two years. Being a perfectionist, I can't settle until the timing, segue, song placement, and mood is exactly right. This all started as one heavy mix that kept building and building. I was forced to break the initial first mix into two parts, then these two parts grew, developed, and took up a complex life of their own, so I broke both of these parts into two parts. This gives me FOUR mixes,  each a kind of chronicling of these past two years. Here is part 1 of The Wrath of God. Timed at about an hour each. Best enjoyed with headphones, minimal interruption, from front to back and altered perceptions. The songs vary vastly in genre and style so there's no real designated audience aside from those who appreciate The Album Experience.


1/14/13

It's all good

Over the course of the past week, I have been absolutely crushed by the confines of my apartment and the cold front that's slammed the Willamette Valley. So, looking to be productive in some way, I started going through old boxes. There I came across a journal from what must have been six years ago by now. I loved this journal because of the brown leather design; a tree reaching from the ground with twisted  gnarly branches. The golden knob and leather-string wrapped around securely have kept my pages relatively fresh and intact after countless moves.
I sat and read page-after-page of random musings that probably seemed like the world to me at the time, but now seem laughable. It all read like some angsty High Schooler's letter of disdain to his ex. As the pages ran on, my writing changed, drastically. I wasn't moping about how alone in the world I was, rather I focused on the how and why of Everything. I was looking for a sense of destiny and purpose but had no idea what to think, what I wanted, and where to look. I was certain of just one thing: I did not want to become just another suit-and-tie in the world. A meager and petty existence that'll surely be forgotten. I knew exactly what I didn't want and I effectively steered clear of it in one fell swoop when I abruptly quit my job at Netflix. I tend to forget how low I've let myself go at some points.
I look at myself now and I realize that all of the fears and questions have already been abolished. I am exactly where I need to be right here, right now. I've a wife that supports, understands, and encourages me in all my fights and endeavors, family that has become enormously closer through my tragedy, and I've come to terms with myself. I have absolutely nothing to worry about. Nothing can be worse than what I'm faced with, which is the greatest question that any being can face and I'm at peace with it. Beyond that, all I can say for myself and all those around me is om mani padme hum.

1/11/13

Idleness


I woke up with my wife this morning grasping a blind goal: get shit done. It's ridiculous to put that sort of pressure on myself when there's very little resource for me to get said "shit" done with. I say goodbye to Jenny as she leaves for work and with that I let anxiety in. The anxiety that says to me, "you shit! Get off your ass and do something productive!" My heart starts beating faster. I need to keep my mind occupied, so I resort to the news; dumbing myself down to their level of mediocrity and ignorance for an hour before their program is finished. Then, again, I am alone and my mind is wandering with all the things I need to get done but can't, simply because the ball is in somebody else's court. I can do one of three things; listen to KBOO and dink around on the computer for hours; attempt to sit in one place and read or write; or finally, step out into the bitter cold and go somewhere that will provide me with some human interaction, be it the good folks at World Cup, my second family, or some stale customer service interaction elsewhere.

This time, I opted out of all three options and elected a fourth; no coffee, just tea; I sat crosslegged with my back against the sliding glass door—eyes closed. I set my computer to play a mix of Ravi Shankar's Sounds of India and Nusrat Fateh Ali Khan's Shahen-Shah with a pen and notepad. Come what may.
This having nowhere-to-go and nothing-to-do business has got to go. This exercise in calming my nerves is doubtless a very important first step in my day. Slowing down my heartbeat and relieving the mind's sense of emergency. I've only ever worked at my best in a routine. With no routine, there is nothing keeping me in check except my own scrambled mind. I am my own worst enemy when it comes to idleness.
I was reading just this past week "The Art of the Personal Essay," a book of assorted authors and essays assembled by Phillip Lopate. I was struck by a particular section titled "Essays in Idleness", more specifically the selected excerpts by a Japanese author known as Kenko. Idleness in the Japanese sense is related more to random musings and ramblings of the mind, far from the western sense relating to laziness. I hope to reach that point of productivity. I want pages flowing with musings on life's large and small subjects. It calls for discipline that I will have to abide by, absolutely. If Shankar's complex ragas have taught me anything so far, it's following a singular train of thought through to the end, knitting an epical scale idea. I'll get it figured out. Pen in pocket, notepad within reach at all times. I have to. The life of my mind depends on it.

1/4/13

Pigeons Beneath the Broadway Bridge


Pigeons Beneath the Broadway Bridge
Twenty-seven years of life and I, a native of the great Pacific Northwest, have already married a British national, waged war on Federal and State government for my rights, and am in the midst of a fight against a tumor that lies dormant within my brain. My question can only be, what comes next? Only, sometimes, I have to stop and reflect. How the hell did I get here?

On a casual sort of day, my wife, Jenny and I will come and go along the refurbished ghetto that was and still is dusty Naito Parkway; walking with hands interlocked firmly. Passing beneath the rusty crimson steel bridge, we'll almost always stop for a moment to watch with amusement as the pigeons, in the vacant fenced off lot, scurry about aimlessly—some pecking, others dirt bathing or simply lounging. The real kick is watching the horny male pigeons ruffle their neck feathers and languidly chase down the nearest female for some action. We chuckle, mock and voice little monologues for the whole scene with "c'mere's!" and "Imma git chu's!" Next we'll try to spot our two favorite pigeons of the pack; one pure white and the other an orange cream—a ginger pigeon if you will. It's a fun little distraction from our walk ahead, but soon we're on about our business.

The pigeons are hardly ever disturbed by the busy bridge above, unless it's a serious piece of machinery or the shrew-like screeching of a train's horn from the adjacent train yard. They're fairly tolerant birds, but in the rare case they are startled; they'll pick up as a solitary unit, wind about the lot, and settle within a few feet of where they stood previous. Very complacent and unambitious creatures, two traits that I want absolutely no association with.

Ironically, those were the very two words that most would have used to describe me in my adolescence. Nobody had an inkling of an idea about the complex inner-workings of my young mind, but outwardly, I haven't always been the ambitious wayfaring man that my wife married. I was the awkward soft spoken young man who wouldn’t know the meaning of a clique if it kicked him in the teeth. My parents, who were more best friends than a married couple, divorced at a very crucial point in my life. I had yet to develop any sort of identity for myself. We had all the luxuries of a middle-class family but with a low class income, and that brought their frustrations to a twenty-year head.

They eventually split and like most family destructions, my three siblings and I were assigned a home beneath our alcoholic mother's turbulent roof. She was hardly able to hold a job, so we all found our escapes. The house richest in dark, atrocious memories for me was a two story duplex. Soon upon moving in, the strangling musk of Seagram's Seven whiskey dominated the household. I came home from school on a regular basis to find my mother passed out on the couch (having called into work) with her favorite movie, The Perfect Storm playing; surround sound shaking the walls we shared with our neighbor. More often than not she set the movie to repeat so that, when she awoke from her drunken stupor, she could pick up where she left off. I would bumble downstairs into my room; my holy sanctuary, always very elaborately arranged and decorated. No evils permitted. I dreaded what came when she awoke. I have no room to complain, for I wasn't like most kids. I could have easily found activities outside of the house like any sane child would do, but I felt, even as a child, it was my duty to look these evils in the eye on behalf of my three younger siblings.

My mother is the source of much inner-turmoil. It is no easy task for me to set my essential nature aside and assess the entire situation for what it is. I am a peace-maker, and to stew on the malicious mental bruises she inflicted throughout the years weighs heavy on my heart. She wasn't always like this; at some point between buying a house in Gaston, Oregon when the family was still a family and maxing out our tight finances with a luxury suburban, there grew a void that she filled with gnarly sour whiskey. She had a very bourgeois mindset along with a ridiculous sense of self-entitlement—she felt as if the world owed her a grand scale living, and nothing was ever enough. When she and my father had reached the limit of where their finances could take them, she got extremely bored. She used to be such a lovely, fun person to be around; family vhs tapes, hidden who-knows-where, are the only proof that person ever existed. Her wings had been clipped, and she was perfectly content in choking down that burning whiskey in the stead of living a life. And so, it is with grief and a heavy heart that I must hold fast and protect myself against her. Within the husk of that woman who bore me is now the mind and temperament of a child; poor, desperate, alone and angry at the world.

I eventually found ambition in creative writing with encouragement from my high school teachers; at one point I actually wanted to be a filmmaker, and the people in my life always found a caricatured role in my screenplays. It created an alternative universe where roles could be reassigned; people were shown for how I truly perceived them. I also took a keen interest in Arthur Conan Doyle's tales of Sherlock Holmes. I found his masterful powers of observation and deductive reasoning absolutely fascinating; there was nothing supernatural about it. "A Scandal in Bohemia" was my favorite. It never grew old.

As time marched on, I barely skated through high school. I had a paralyzing fear of the real world, living paycheck to paycheck and on my own. I wanted to keep that reality at bay, but absolutely nothing could have prepared me for what I consider the worst offense I've suffered at the hands of my mother. After graduation, we were again living well beyond our means. It was summer, and I was shamelessly looking into getting on with my life, escaping my hell and fleeing into dreaded adulthood. There was one particular humid and uncomfortable afternoon that she hollered for me from within her dark and musty bedroom. I remember her cocooned within her bed's comforter—beads of sweat dotting her forehead. The Seagram bottles lined her dresser; I cursed the seven dollars she always managed to come by as she slurred, "I need you to start applying for jobs so we can pay rent this month." I was speechless; I was a prisoner, doomed to provide for a family I wasn't obligated to provide for. What was I going to say, no? You can all starve while I hit the road? I couldn't reasonably expect her to stave off her booze-coma long enough to land a job, and even if she got out there, who would hire her?

For three years it was my sister and I who provided. My mother destroyed our credit by overdrawing our bank accounts while we barely paid rent and fed the family. No bank in America will look once at an application from this Nicholas Davis. My hole grew deeper.

Meanwhile technology advanced at a blinding rate, and I kept up, formulating a blurring portfolio of different talents with writings, drawings, digital photo manipulations and so on. It was my only resource for sanity. The horrors of mediocrity in the real world could, perhaps, be staved off after all with a little creative juice. I truly felt a gnawing in my stomach that I could be one to unleash something wholly epic and unique if my mind was put to the task.

With skills and interests building upon my shoulders, it was time to focus it on something that mattered. It wasn't long before I found a passion for music that took me down stranger and unforeseen roads. My parents were always very much into music of all sorts, so it was only a matter of time before I took up their love and continued onward with it. I didn't do much digging, I listened more to time tested classics that were played to no end on the radio, and artists I recognized from my youth. Soon I was wrangled within a time warp, thinking I was born in the wrong decade.

I found a niche, but it wasn't my niche. The sixties and seventies were long gone and I needed something fresh. I decided to take a gamble, and this gamble would change my life as I knew it, forever. I visited a record store and began browsing. It was such a massive and intimidating arena that I found myself at the listening station with eight preloaded albums by new and upcoming artists. The one that caught my eye had absolutely no cover art at all—just simple black with the band's name Black Rebel Motorcycle Club and the album's name "Howl." Intrigued, I put the headphones on and hit play.

What greeted my ears was something that sounded wholesome and important, almost revolutionary and yet, simple. Merely a band paying homage to the roots music of America; good boot stomping country, heartbreaking blues, moving gospel, socio-political protest—I was bewitched. It was absolutely the greatest find of my life, or at least the most important. From that point, on my interest in music wasn't casual but all embracing. It consumed every sense and wrung it dry. Finally, a healthy focus that could provide potential for work in a field that wasn't run-of-the-mill. My nature shifted. I hunted, gathered, shared—used my hunger to spread the word in a massive way. I was famished. It was high time to live the life I knew I was capable of living.

At long last, there came a point where I just stopped going home. It was a big world that I hadn't even begun to chisel into, and I felt from that point on, each step was a new step down an exciting avenue I hadn't explored. Any direction could change my life at this point, as long as it wasn't the one I had been stalling in for so long.

As I continued on with my writing and networking, it brought me to a site many still know as "Myspace." "Black Rebel Motorcycle Club" had a page that I felt it necessary to comment on. This is what introduced me to my wife—separated by forty-eight hundred miles and two vastly different governments but united by one spectacular band over the internet.

It's astonishing how massive and marvelous things have such small beginnings. Swapping little comments, back-and-forth and trading songs evolved to letters and mix cds—soon we were utterly inseparable friends united in arms and finally married; completely content with one another. We both felt awkward in telling anyone how we met, but it was simply the way of the world now, no fear necessary. It was clear to everyone that she and I are one and the same. She was my Irene Adler; "The Woman."

We moved north to Port Townsend, Washington, a small peninsula town surrounded by the lushest rainforests of the Pacific Northwest. We both felt beaten down by life in similar ways, so a fresh start was in order. Port Townsend reminded Jenny of Wales just enough in that she wouldn’t be overcome with homesickness. I was overcome with joy on a daily basis, living in what seemed to me a bohemian paradise. The faces that greeted us were always happy, full of life; hardly ever without a greeting. Life was, however, very tight, but we managed—barely.

One particular day, about six months into our marriage, Jenny and I were walking along the peninsula shoreline. As we attacked one another with the “sea penises” (seaweed) that littered the shore, she confessed to me her concern about my drinking, or more to the point, she warned "If you become an alcoholic I'll cut your balls off and feed them to the cats!"; it sent chills down my spine, but I realized how easily that line could be crossed. During the rest of that walk my legs were the weight of cinder blocks. I can't say for sure how I managed to carry myself along. I observed the seagulls gliding against the breeze, weightless with no direction, and realized just how easily my life could be crushed into a million pieces. Her warning has echoed throughout my skull with every sip of alcohol I've had since, which has been in great moderation.

Meanwhile, we sweated bullets trying to secure Jenny proper citizenship, but our government just doesn't work the way we citizens think it does. It's not enough to be married anymore—the Patriot Act turned America's immigration policies into a repugnant malformation of our founding fathers' vision for this country. She was forced to return home. Saying goodbye was the hardest thing I have ever done; the sight of an airport was and will forever remain a reminder of that sorrow. We still have nightmares of being separated after more than a year of struggles, which had only just begun. Little did we know how relentlessly our love and friendship would be tried... 

Leaving the Seattle airport, my mission was to secure a passport. We formulated a game plan before she left—either she would try to obtain citizenship for America or, much more preferred, I abandon the states and flee to Wales. I applied two separate times, but was denied on grounds that I didn't have enough proof of identity. I included every single piece of identity the average citizen would need, but it seemed that my mother's handiwork had clipped my wings by mere association.

With strange turns came stranger tidings. While Jenny was away for nobody could say how long, I fell victim to Glioblastoma-Multiforme, a brain tumor. Brain surgery is very dangerous territory because, like the infinite expanse of the universe, the brain is a mystery we are still tapping into. It took two weeks to receive an official prognosis, and it was bleak; the bulk of the tumor itself was removed but what remained were tentacles reaching into my brain's motor functions. It was like my own personal Cthulhu, lying dormant within my skull and waiting to unleash certain doom upon my me.

I look back now, and the question of fear and thoughts of my own mortality was, to be absolutely honest, the very least of my worries. Something like this would send most straight to the grave with fear and self-pity, but leaving my wife of one year a widow in minute twenty-four years of life simply was not an option. If not to survive for myself, then it was for her.

While I underwent chemo-therapy and radiation those around me commenced upon a heavy campaign to bring Jenny back to the United States. She was refused a Visa to return based upon the grounds that her first stay was too long. Never mind that she returned home solely to rectify that situation. Our basic human rights were being raped and pillaged, and The People took notice. It involved both senators of Oregon, two television networks, an online petition (which garnered twenty-five hundred signatures) and several fundraisers. It was all more support than I'd have ever imagined receiving, a tough pill to swallow being that, by nature, I've always preferred to live self-sufficiently and help is hard for me to accept. Regardless, Jenny was the mission, and the fight which could have lasted ten years given some case histories was resolved within six months.

My wife was free to return, and our uphill battle toward normality commenced. We continue to tackle obstacles thrown at us by the government and all of its tangled red tape, but we wade through it. It's all mind over matter and making an everyday, conscious effort to live furiously. My most recent victory was receiving my passport, after three years of fighting and countless hundreds of dollars spent reapplying. The interesting facet of this is how it's affected my ambition to live large. It's not that it killed any desire to move up in the world; rather my ambition isn't foaming at the mouth like a rabid dog. I believe that my parents threw their arms up too quickly and accepted life as it was, without ambition or aspiration higher than owning an SUV for beach trips. I am not going to live life on a 300 mile leash, pinned to Portland, Oregon. My wife has family in Wales, and by that account I have new family in Wales that I'm happily obligated to meet. I look forward to jumping out of my comfort zone.

My voice is unashamedly meek. It is why I hold such an awesome reverence for writing, and to a much larger degree, an enchantment with the potential of the mind and language, along with all things curious and worth making remark. As long as my brain remains adept, I think I am perfectly okay with developing my passions and living an otherwise quiet and passive existence with my wife. We'll keep walking past our pigeons, quietly chuckling. We recently noticed the white and ginger pigeons have moved on. They will be missed.

Smoke - Heaven on a Popsicle Stick


Smoke
"Heaven On A Popsicle Stick"

 As it happens, when the musical fingers of an album reach into my mind and clutch so tightly that everything about the first listening experience—in this case, the steps I sat upon, the glad nip of fall pinching my nose, and the melancholia of that instant—is illuminated, it is an experience matched by none. There is hardly a civilized human that can say they're mute to this musical charm because we all have at least one album that gives us that elated feeling of perfect contention. Even if its skeletal remains are buried beneath decades of forgetfulness, it could easily be resurrected—be it the single strummed chord that begins a song, or a note that should be followed by a set of lyrics—it will send off a fire alarm in your conscious mind and your psyche will repeat it tirelessly. You will lie in bed while that chord rings through your skull. You can do but one thing: find the source of that chord and satisfy your mind's need for reminiscence. It's a wonderful feeling when you find it.
But I digress, only because as the years stack on and I continue to learn of new and old artists, I am sure to put down old favorites and rediscover them all over again; wrapping myself in a blanket of warm euphoric melancholy. One day far from now, I will have forgotten about Benjamin Smoke because, sadly, his musical career was cut far too short. But something will remind me of a chord, or a lyric that sits at the very tip of my tongue. I will stir restlessly until I recall the name of my itch, and I will rejoice.
Robert Dickerson, AKA Benjamin Smoke, was a spectacle; an eccentric, smutty, cross-dressing, homosexual spectaclebut such a beautiful spectacle to behold. America’s collective fight toward freedom of expression and constitutional equality without prejudice during the fifties, sixties, seventies, and eighties was the cardinal component in what became Smoke. The nineties belonged to him, at least in spirit. Just as America had recovered from its growing pains, Smoke journeyed to the next furthest social limits and plowed through its concrete barriers with full impact. He pranced the stage in a fury, provoking his audiences with banter and songs that sounded like that of a “wounded lion.”
The energy clashed so dangerously with the subject matter of his music that he could have been considered a walking oxymoron in the truest sense of the word. No passerby could possibly mistake a Smoke performance as despondent, modest or withdrawn, yet his songs were brimming with a profound sense of bittersweet dysphoria and unrelenting frankness. It’s all in the delivery. His music was as multi-faceted and perplexing as his personal life was. A radical homosexual and drag queen since the age of nine, he made a scene for himself during the eighties within the likes of CBGB’s. Smoke would have found excellent company with the ill-fated Mark Sandman’s Morphine, Tom Waits, Mark Lanegan and especially the late Rowland S. Howard.
In Smoke there was a miserable soul, but within misery he thrived and his words alone conveyed a man at home with his pain and shortcomings. It kept his mortality in the front seat to be poked and prodded with crude humor and abhorrent candour. He told us, proudly and full of gusto that "the only thing I can know for sure is that I'm not sure,” words of uncertainty spoken with absolute certainty. With the inspired touch of his band, Bill Taft on cornet and banjo, Brian Halloran on cello, and Todd Butler on guitar, there throbbed a sort of bravery in music that few could ever begin to encompass in skill, emotion, sincerity, or uncompromising truth.
If you know me at all, you know I’m at home, and at ease with my pain, and these exciting giddy moments, well, they’re hell to explain, and I know that any second the situation might up and change. Are you telling me that love songs are only good after love’s estranged?
In the morning you might leave for good without a goodbye and when heartache rears her ugly head, well I’ll look her in the eye and I’ll kiss her on the mouth. You know I’ll hold my head up high.
I discovered Smoke and his album Heaven on a Popsicle Stick at a very poignant period; therefore it resonated in my mind like a prophet seeking a sign of divinity in the wilderness. I had never heard such a gravelly let-it-all-hang-out character in music, ever. It’s a doomed man’s confessional orchestrated not at all for salvation, but just for the sake of being up front with the world. His lyrics written more in prose—sung, grumbled and howled—made very plain to see his eccentricities and his fuck-all attitude toward his shipwrecked feelings, love disaffected, and life misunderstood; exactly what kept my mind afloat for many months. His words will slice through every brick of the unconscious barrier and there he will make himself comfortable like a friend you didn't know you had, but have long missed. A friend who reinvigorates your need to stand up and live, for he is no longer.
Smoke was sadly HIV positive but it never struck him down with self-pity. He succumbed, not to AIDS but liver failure caused by Hepatitis C in 1999. He lived by example, showing there is no reason for allowing life's sicknesses and sorrows to wreak havoc on the grandeur and infinite complexity of the world. As Smoke boldly put it, "HIV is not a death sentence" nor are the petty and inconsequential worries that are amassing in the back of our heads like stacked dynamite with a burning fuse. There's nothing like listening to this man's musings, both high and low, it isn't about bringing yourself down to his level at all. It's filling in the holes, questions and hopefully it leaves you feeling wanton, loose and free. 

Defining Creative Non-Fiction

Defining Creative Non-Fiction

A good storyteller is a treasure in small communities; wise, observant, and always bearing some anecdotal way-back-when tale to tell. Putting story to paper though, that is the mark of a true artisan and the work we find on paper, centuries old, is humanity’s cross of wisdom surviving the ages. Without these gifts from centuries past, we would be lost adrift in this world. Within this gift of story and wisdom there is a chest of mysticism that we know as language. It is something so very complex and precious that certain societies tie mystical properties to every word and so there is no singular word or mark that is unnecessary.
To possess the drive and ability to write well is to be blessed with a gift of incalculable worth. Truth or fiction is irrelevant in the eye of a story well told and captivating. A wordsmith is fortunate in that he can go about his day with an observant eye and recapture it all like a photograph, without color or canvas, but paper and ink. With the flow of their carefully woven words our mind’s eye will see what they see and perceive all other facets of this rather insignificant (for the writer), yet made beautifully explicit day out. Through this painful process of spinning words and juxtaposing sentences we are made to feel something deep in our chests. It can be a whimsical care-free tra-la-la or a secret crushing horror and anxiety beneath the surface of what appears to be business-as-usual. Perhaps our narrator suffers of Agoraphobia; their face gleaming with sweat in the heat of the sun as they wander the busy street—who knows, but whatever we may feel is at the writer’s full discretion. One person’s vacation can be another’s worst nightmare as Annie Dillard proved for us in her captivating “Total Eclipse”.
Most importantly though, it is what the author perceives. It is his or her truth in this chaotic world. There are some who push the boundaries on what defines Creative Non-Fiction, but at the end of the day it is the world as they apperceive and so therefore we are obligated to classify it as such even if it is with a grain of salt. Creative Non-Fiction is truth as we all uniquely comprehend it. I believe there to be a basic human desire to tell the truth even if reality as we know it is skewed in the process. If the reader walks away from a work having learned not to swallow the red pill or risk a giant lizard collapsing through their bedroom wall, then so be it. Creative Non-Fiction is my verity in this life; if there is not truth then what is there? Wisdom doth not lie with falsehood, though we cannot always be sure where to draw those lines.
In the end, I find that it is Creative Non-Fiction to be the most fascinating read because truth is what we all must return to at the end of the day. We can only scale Mt. Doom (Tolkien) or praise Cthulhu (Lovecraft) for so long before we must return to truth at the end of the day. I love Fiction, but Creative Non-Fiction is my verity in this life; if there is not truth then what is there? Wisdom doth not lie with falsehood, though we cannot always be sure where to draw those lines.

Dillard, Annie. "Total Eclipse." Teaching a Stone to Talk: Expeditions and Encounters. New York: Harper & Row, 1982. Print.
Lovecraft, H. P. The Call of Cthulhu. [S.l.]: CreateSpace, 2010. Print.
Tolkien, J. R. R. The Lord of the Rings. Boston: Houghton Mifflin, 1967. Print.