ARCHIVE 5: FALL 2002-2003
Contributors:
Michael Wiles: mjw003
Lauri Gann: wrjl
Brad Levinson: brad
Echo T. DellaFranzia: sgtpprsgrl
Gerald Bosacker: bosackermt
Joann McKinney: terrordiva
Keep On the Grass
an editorial
by Echo T. DellaFranzia
There somewhere exists this great picture of The Beatles sitting on the greenest of lawns, as if having a picnic. The sign next to them reads KEEP OFF THE GRASS. I always think about that picture when I’m walking across campus. I think about the ability that they had to object to two societal rules at once: the banning of pot, and the overuse of silly rules.
It feels great to walk across the grassy areas of the quad, with just the right amount of trees. If I weren’t worried about those insecticide flags that pop up every spring, I’d even go barefoot all over campus. I used to live my summers in New Jersey; it would feel wonderful again to get the calluses that form as a result of barefooted hippiedom.
And just like the calluses that no longer reappear since my summers have been spent earning money in an office building, I often fear that my necessary cynicism has been quelled by the contentment arising from the joys of being a Senior.
I love this campus: the professors, faculty, and students. I feel comfortable in being myself, and I don’t even feel different or worth more or less than anyone else. In short, I’ve learned a lot here. But what about what’s on the television and in the newspapers that reach beyond Carroll County? Rarely, kidnapped children will be returned to their parents, and coal miners will be rescued from certain deaths. Firemen and police officers will be glorified and criminals ignored. But the reality of bombs in Israel, Ireland, and possibly even Iraq often fill the papers. I’ve always been an advocate of world news, and I am glad us Americans are now more aware of the rest of the world (even if we still print maps with North America as the center).
Until I thought about it, though, walking across the grass to my 8:40 when thinking in itself is a miracle, the best things about our society are the worst things, too. Take money. America loves money. I’m proud to have saved money this summer and to hold a campus job. It’s our triumph, this wealth, but also our downfall. Our time is consumed earning and acquiring it, and society rewards that desire.
Children from wholesome families practically grow up parentless now. If their provacative underwear-style outer fashions are not enough indication, the rise in vacations and familial bonding since September 11th has only proven that we are a blind society. We will ourselves to spend time and money on and with our families. Other values seem to come first: Immediate needs for Eminem CDs for little boys and JLo fake-out slut-wear for young females have the right to exist and be sold, but parents readily supply the money for such purchases. These are the same parents that wonder how other people’s children grow up that way.
Fantasy writer Robert Jordan says that most good writers have bad childhoods. I don’t think that anyone has a perfect childhood. In fact, it’s more like most good people have admitted to having less than perfect lives, but so many people haven’t done that yet. So many have not yet strummed a guitar, and even less have probably walked to class without touching mostly pavement.
It’s hard to approve of things like pot-smoking, homosexuality, free love, and equality in times like these, where hippie fashion is the rage, while the ideals represented by those threads are dying by the second. It’s hard to admit that some of us must be better parents to our children than our parents were to us. But for most people it’s about taking life and the world and all its issues as the day passes.
I don’t have anything against pavement. And sometimes it’s all right to knock down a few trees to create a parking lot (goodness knows this campus has to understand that). If you have to traverse mostly on pavement and concrete, I suggest at least creating a route that covers the Carpe Diem block of the small gazebo. Maybe that will help you think about other things.
Maybe the next day you’ll be walking on the grass.
On Ravel and Passion
a poem and design
by Echo T. DellaFranzia
Always will I remember
Ravel and passion,
Continuing kissess,
And all that matters
Being embodied
By violin dissonance
And opera that is not.
And oh, the pleasure of the ending,
The major, chordal major.
Call and Response
a poem
by Lauri Gann
I ask the world questions,
It responds with nothing.
I ask my mind questions
It responds with whispers.
I ask my heart
It responds with orders:
"Dive deep into your soul, until you find a gate.the door and you will find a gift.
Bring this present back to me once you have understood it."
I swim for hours, and then I see the gate.
The doorsand I enter.
I find a puzzle with a missing piece.
I take it to my heart,
But it is broken.
The Horizon
a poem
by Joann McKinney
The horizon ends
With a hint of red
Knowing that’s where you are
Under the same big sky
And over the horizon
Wanting that horizon
Not knowing what lies ahead
Terrified of that horizon
What is over the hill
May not be a joy ride
And the treasure found
May be fool’s gold
I am not a fool
And yet I’ve entered
The game of fools
Who choose to walk ahead
Blindly
Looking for that horizon
Searching for that horizon
Longing for that horizon
Where the ends meet
And the gold is discovered
For all it’s worth
Real or not
On the Edge: A Profile Interview of Amy Chace
by Echo T. DellaFranzia
Q: Good work like yours always speaks for itself-- and this photo does. However, the more I look at it, the more questions and curiosity I find.
Who are the subjects?
A: the guy yelling works for The Source magazine, i shot he and his cohorts back stage at a Slags show at Don Hill's in nyc, he was getting into a heated argument with the creative director of The Source, i shouldn't say what the argument was about.
Q: How did you achieve the effects in the photo?
A: actually i used a digital camera and used a slow shutter setting with flash
Q: Another photo with great effects. It seems like you're capturing the mood/influence of the human subject's mind. Do you see yourself as getting into someone's head when you are portraying him?
A: i feel a connection , a closeness but yet still a seperateness.
Q: Some of your photographs feature musicians. Are the way the photos look the way the music feels to you or is interpreted by you, or is it more about the moment or the mood of the room and subject?
Do you like portraying other artists? it is all about the subject...
A: i love, LOVE music especially live music
but i am so visual that it is really about the moment when the muscian looks the most like themselves, when they look the most representitive of themselves or the part of themselves that they can share...
Q: How do you hang out-- where, and with whom?
A: i like to go live music events
and i go by myself if i am shooting
i feel that shooting live music is a solitary activity
i like being alone and looking and listening and enjoying
i have a lot of wonderful friends
but i have to admit
that i sometimes have a hard time enjoying my time out with them if i do not have a goal and/or pictures to take...
Q: Do you think that the art world has more pieces of value to offer, or is it exclusive? Is it hard to be accepted among other artists?
A: i find that artists that are my peers and contemporaries are supportive for the most part. although i think that photographers by nature are a little competitive...
i do not know if the art world is exclusive or
i guess i am trying to squeeze myself in there
and i thing i can so for the sake of hope i am going to say it is
Q: Please tell me about your experience and education in photography. How old were you when this started?
A: i was little when my dad gave me his fathers brownie camera
and i sent away for a rainbow filter
and made my dad take me for a walk to the beach and pose on the rocks for me...
i should have known then but i didn't figure it out untill my fourth year in college when i took a class
the light went on and i said this is for me
i am good at it
at that point i had already pretty much completed my bachelor's in pyschology.
but i realized i can go get more school for photography
i moved to new york and took some classes and the school of visual arts.
Q: This photo has a retro feel to it. Are you influenced by artists of the past, and if so, which?
A: this image is of my dancer friend maine and i actually think that the retro look came from her instead of me
she is influenced by dancers of the past including josephine baker.
i guess i am influenced by previous artists as much as any artist is,
but it is difficult to say how much that is... I love sarah moon and duane michaels and mondino. and i love weegee because he went through a shitload of cameras and cars during his career and because he was prolific and i want to be prolific. that i what i want to he on my headstone- amy chace prolific photographer.
that was morbid i am not really a morbid person.
Q: Please tell me about your illustrations.
A: oh i love drawing pictures because you can really make things symbolic and figurative
i love to draw flying or swimming women
they are free
i am interested in freedom
i want to feel free
some days i do
some day i don't
Q: Who designed your web site?
A: It looks great! willow creek is the name of my friend yumi's company
she has a great eye...
she is in japan right now
Q: How can the masses contact you and purchase your work-- or the really cool tee shirts I keep hearing about?
A: i love the masses
and they can all contact my through my newest site
www.amychace.com
(it is amy chace not amy chase
that site belongs to a stripper or something)
or email me directly at twinreflex
or they can call me (for real) at
my teeshirts are seen at www.photobyamy.8m.com
Author's note: Amy is a seriously talented individual. Please VISIT HER WEBSITE and support her career!
Peu de Mort
a poem
by Joann McKinney
She stands at the edge of a cliff
Teetering on the verge
Waiting for the moment
When she can mesh with the sky
And greet the wind
With bliss on her lips
And the breeze in her hair
She will float
Peu de mort
As it takes her away
And leads her soul to heaven
Renaissance
Mother of Exiles
a poem
by Echo T. DellaFranzia
(Inspired by an unruly government and a disgruntled poem)
I am a mighty woman with a torch! I was once the Mother of
Exiles. Lightning still exists within them, within me, for I am them.
And my death has been slow and gangrene.
The multi-color form swirls wore off- I was
Fogotten!
I am too fat, with world-wide welcome and a European nose.
(It's Italian).
My eyes are the former commander of anharbor that now exists to keep people out.
Two planes flew in, now they only fly out
with missiles attached. Sometimes they almost scrape my torch, but it is not the torch
That makes me mighty.
I hold books for you. But now they force me to read false words:
"Make me more tired, more poor, and more huddled masses. They will ne'er breathe free. They are the refuse, and of our own shore! Keep these, those homeless, storm struck and afar! My lamp will dim to keep them far away."
In Sleep
a poem
by Joann McKinney
In sleep I see you
As you are
No more a person
But a soul
In sleep you came to me
Like a foggy mist
And translucent snow
In sleep I wait for you
In longing angst
Too close to reach for you
Too far to see
In sleep I know you
As you know me
No more awake
But only in my dreams
The Band's In: A Look at Brian's Curse
by Echo T. DellaFranzia
An interview with the all new Brian Crew
Q: What's the deal with the name "Brian's Curse?"
A: Well Joe Deluca, my esteemed colleague, came up with that...but it
holds true to my love life...Brian's Curse is that he gets either bad luck
lovers or good ones but can't hold on to them.
Q: What variety of music do you play?
A: The main genre is the classic to hard rock...but I dabble in a
bluesy rock and country rock all the same, and you may catch a song or two
of Dance or Metal just to even the odds.
Q: What are the names of those involved with this project, and what do they play?
A: Thats a tough question because I'm the studio hog, I tend to sing,
and play drums as well as lead guitar (which is really my strong point), I
sometimes play layers and layers of guitar and then a lead...I get John
Smith, Joe Deluca, or Dan Frank to do Bass, sometimes Joe on Drums, and
usually Joe and John as backing vocalists....there are some appearances
vocally from Kim Tomasone.
Q: Do you do all originals or some covers as well?
A: Mainly originals, although I have to admit I like playing covers so
every now and then you'll get "Free Bird" from Lynyrd Skynyrd, or "Already
Gone" from the Eagles... Most songs are written by myself, some by Kim
Tomasone and I, Joe Deluca and I, and John Smith and I.
Q: What live gigs do you play?
A: Well formerly I was a member of "The Burners" with basically the
same members, plus Dave Thomas, and we played quite a few shows at the Daily Grind Cafe in a years span. We are looking to expand our live horizons but only after the live band has some adjustments
Q: Where can we go to hear one of your songs?
A: You can go to www.mp3.com and download songs under the name "The
Burners", or "BriansCurse" or email BriansCurse for info on how to get CDs (free and/or purchases)
Q: How does one purchase your music?
A: Email BriansCurse and put in the subject "money"
Q: Do you have a lot of fans? Any scary fans?
A: We actually do have a decent fan base...ages range as well as
numbers...scary fans? well there was one girl who forced me to sign her
breasts while holding a knife to me...well not really but that would be
scary!
Q: do you have a web site? How can fans contact you?
A: http://www.hometown.aol.com/BriansCurse/index.html (for now...coming
soon a dot com)...fans can email BriansCurse
Q: What would you say has been your biggest achievement as a solo artist and as a group?
A: I think my biggest achievement was playing all the instruments in a
few recordings...it makes me proud and is kinda fun.
Q: Who influences you and the others involved in Brian's Curse?
A: My all time biggest influences are the Eagles! Those guys are what
made me do music. Joe Walsh especially as a guitarist made me wanna sound like him! Also big influences are Bealtes, Skynyrd, Allman Brothers, .38 Special, etc.
Q: What are the day jobs of those in the project?
A: John is a computer engineer type guy, Joe works in Pharmaceuticals,
as well as Danny, and I dabble in investigations/security .
Q: Are you involved with any political or social causes? Are you for or against anything?
A: At some point, I'd like to contact some organizations to setup or at
least perform benefit shows for causes such as... AIDS research, Abused
Women, MS, Cancer research, etc.
Q: What one song or album has influenced you most, and why?
A: Thats hard to say...a lot has influenced me...but probably the most
breathtaking song in my mind is "Best Of My Love" from the Eagles...its just an amazing song.
Q: What genre of music would you put yourself in?
A: The NEW Classic Rock...I've been referred to as the guy who brought
classic rock back.
Q: If you could get signed by a big label, would you? Why or why not?
A: Yes I would, because I'd love to have my songs echoing in everyone's
head...its not as pro negative as most music these days
Adrift
a poem
by Gerald Bosacker
When slanting sail slumps slack,
why blame the wayward breeze
that hears not curse or prayer.
You chose the course and tack,
and begged the God of Seas
to send you clement air.
Who said that sturdy gale,
would straight and constant last
while fickle sea you roam.
Was it wind who dared you sail,
in seas that calmed too fast,
to see you quickly home.
Guenevere
a poem
by Echo T. DellaFranzia
Guenevere in all her power,
plaited golden locks like mine
Could never be pictured alone,
only fickle in the hands of commanders or lovers.
But who asked about her womb?
What artist saw her worry?
What bard assuaged her woes
Amongst trickery and black arts
never the ways of her people.
The Summer Country lives like honey,
never seen to exist alone.
Coltrane
an essay
by Brad Levinson
It’s a well-known fact that art is a culture within itself.
Artists inspire other artists, and therefore art evolves. Elvis and
Little Richard inspired The Beatles as Gwendolyn Brooks inspired Maya
Angelou as Jean-François Millet inspired Van Gogh. However, little do
we think that artists can have such an influence over artists of another
medium. This, however, could not be more than untrue, and the idea that
art mediums are transposable is strongly clear in the case of Jazz guru
John Coltrane and his influence on poet Michael Stillman.
John Coltrane is perhaps one of the most famous and legendary
saxophonists to ever exist in Jazz music. His place in history is
directly linked to his constant exploration of musical techniques and
sounds. John Coltrane’s imagination drove him to “examine a range of
possibilities with notes, feeling, and types of music that he would
incorporate into his jazz recordings and performances.” (Chan). As
Coltrane once said himself, "I've got to keep experimenting. I feel that
I'm just beginning. I have part of what I'm looking for in my grasp, but
not all.” (Coltrane)
John Coltrane’s untimely death at the age of 40 lead poet Michael
Stillman to write “In Memoriam John Coltrane,” which makes note of the
musical style of Coltrane’s works, and successfully is able to put his
magic into words:
“Listen to the coal
rolling, rolling through the cold
steady rain, wheel on
wheel, listen to the
turning of the wheels this night
black as coal dust, steel
on steel, listen to
these cars carry coal, listen
to the coal train roll” (Stillman 207)
Stillman is able to show the inspiration of Coltrane by using two
methods. The first is through imagery, and the second is through the
form of words in the poem.
Stillman’s poem sends out a haunting image of a locomotive in the
night, with coal propelling it along. One can almost see the steady,
rhythmic pattern of the wheels turning, no matter what obstacles the
train itself may face. One can hear the shrieking and grinding of the
cold steel tracks as the train speeds above them. Perhaps the reader
can also envision the workers in their uniform, rhythmically and
meditatively shoveling coal into the furnace.
This image fueled by Stillman’s poem is perfectly pulled off. The
turning wheels symbolize the steady rhythm of the drums. The train
symbolizes the entire band as one entity, working perfectly together in
cooperation to reach its destination. And of course, the deafening
shriek of the train coming into contact with the steel rails symbolizes
the hauntingly perfect melodies belted out by Coltrane himself.
The second example of how Coltane’s music is apparent in this poem is
through its form and structure, which seem to parallel Coltrane’s
music. Words and phrases are constantly repeated throughout the poem,
as if they were notes or chords themselves. Because of this, the words
themselves become notes off of the paper when read aloud. The words also
have a similar structure, having short lengths and small amounts of
syllables, once again implying that the words are notes.
Perhaps the most interesting idea about Coltrane’s influence on Stillman
is the idea that Stillman is able to express Coltrane’s style not in
music, but in the two other art forms that Coltrane’s music did not
touch: both imagery, and word form. This, in itself, shows how art is
art, and how there are no limits of “medium.” Rather, art is
transposable.
Just as Coltrane has influenced writers like Michael Stillman, Coltrane
himself was influenced by many artists and cultures of different
mediums. Not only were early jazz musicians like Sidney Bechet and
Thelonius Monk influential on Coltrane, but Eastern philosophy and books
such as the Ramayan and the Qu’ran were heavily influential on not only
his spirituality, but his music as well. Just as important was a West
African man named Babatunde Olatunji who gave Coltrane many books on
African culture. Coltrane once told him, "I must go back to the roots;
I'm sure I'll find what I have been looking for there.” (Wright)
Art is culture, and culture is art. Art has no cultural boundaries and
is able to be transposed from culture to culture and medium to medium.
Just as Coltrane was influenced by Eastern philosophy and his African
roots, Coltrane has influenced writers such as Stillman, who, in turn,
will influence new artists of many different mediums. The amount of
influence that a true artist has on another, no matter what medium,
genre, or culture, is unlimited and never-ending. As Coltrane himself
once said, “My goal is to inspire (people)…as much as I can.”
Works Cited
Chan, Peter K. John Coltrane: Exploring Jazz and Beyond 12 April
2002 < >.
Coltrane, John. Liner Notes. My Favorite Things. Atlantic Records,
1960.
Stillman, Michael. “In Memoriam John Coltrane.” Moment’s Notice: Jazz
in Poetry & Prose. Ed. Art Lange Minneapolis: Coffee House Press,
Wright, Derek. The Art of Coltrane and Ellison. 12 April 2002 < >.
Certain Things, by Lauri Gann
wrjl
I am figuring out why certain things happen in the world
I try not to envy people or even hate them.
But at times it seems so hard.
I wish to look, to act, and to be other people.
I do not understand why I can not love myself.
But then I remember that people may envy me.
For Lennon Murphy
a poem
by Michael Wiles
mjw003
You'll wake tomorrow,
And realize I am not here.
And then you will realize,
I was never really here,
And that all you had was my shadow.
By the time you realize,
It has been days,
Months,
Years since you last spoke to me,
I will hopefully be out west somewhere,
Finding what I lack in life somewhere in time,
And writing the next in the long list of tragic songs.
As I sit here,
Writing myself invisible,
Lennon Murphy sings in my ear,
Her sweet tortured voice,
Singing,
"Nothing ever lasts in this life,
So it ends there,
And I am sitting here"
Lennon,
You can pass the wine and cigarette anytime,
You like,
Because I like,
Your style,
And I know what it is like to be awake,
At 5:30,
On a Saturday Morning,
And I wear impressions, too,
At least of myself.
With any luck,
When you wake tomorrow,
You will not realize I am gone,
Because I would rather you not worry about it,
Since I'll be out west somewhere,
Attempting to write myself visible again.
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