This weekend!
Saturday, April 30 7:30
Sunday, May 1, 2 pm
Read more about it and purchase tickets
Photo: Pam White from All the Pretty Horses by Paula Josa-Jones
My friend Derrill (father of my godson Jacob) and I had some fun looking at the Tiny Desk Concerts during my last visit. I can’t remember which one of us found Mucca Pazza.
For those of you who have not discovered them, here is your Monday fun fix. Enjoy!
I watched the video of Gaelynn Lea, winner of NPR’s Tiny Desk Concert competition last night. I am not the same today. I am changed. By the end of her 22 minute set on the program, I was in tears. Gaelynn suffers from Osteogenesis Imperfecta, or brittle bone disease. She is, nonetheless, all fire, sweetness and beauty in a completely unexpected body. As I watched, as I let her music move through me, move me, I felt like I was seeing something that is ineffable, impossible to tether to any one description. By the end, I felt that she had schooled me. That art and love are all. That taking what we are given and rendering it to whatever perfection and devotion that we can is everything.
She reminds me of why I do not want to speak ill of any presidential candidate, as much as I am wounded by what they say. I don’t want to go there. I want to anchor myself in the place of passion, of desire for what is, in the language of the Buddha, right action, right speech. In focusing on what I want, not what I fear and loathe. Gaelynn and her music remind me not to waste a moment in hate. See it, transform it, one note, one gesture at a time.
I chose this photograph because of the branches and my body in them. The anatomy of the tree. The difficult anatomy of this musician I so admire and yes, love. My own body – so willing, so fierce, so lovely. Each of us rendering art “of these bodies” – of flesh, earth and spirit.
We just returned from our amazing residency at Kirkland Farm in Pennsylvania. On our way home, we stopped by the old Bethlehem steel works, Steel Stacks, which has been converted into a dramatic cultural and tourist attraction. We wandered for over an hour, taking pictures, reading about the work that took place here up until 1995. T
he sheer scale is overwhelming, and trying to parse the anatomy of the structures and the choreography of what moved through them boggles the mind. That and the silence, the emptiness, the stillness. Do these structures remember the heat, the heavy motion, the roaring? What are they holding now?