Friday, October 9, 2009

Cheese Steak

I'll do better next time. I swear to God. I know I can. Sweetie, you know how I feel about you. You're the only one for me. Of course you are! What -- you don't believe me? How could you say those kinds of things? All right. Maybe I do come across a little like that sometimes. What's that? You really mean that? But, I thought -- wait a minute -- let me check this other call -- Hello. Oh, baby. Could you hold the line just for a minute, let me get rid of this other call. Right. I'll be back in a sec -- Hi sweetie. Oh, some telemarketers. Listen, fix yourself up 'cuz I'm comin' over right now to take you out to dinner. Of course, I mean it. Oh baby, you know your the only one for me. Gotta run if we're gonna make it to the restaurant on time. Hurry up! Love you, too! -- Hi baby...what's that you say. Of course, your the only girl for me!

Thursday, October 8, 2009

Around the Next Bend


Dear true friend,

I feel your heart with my soul. I listen to your words with my eyes. I, too, hang on to those beliefs that others long to have abandoned before they realize never having discovered them to begin with...for it is the journey within the heart that one traces the path to the soul... and it is by far the longest, frequently most perilous and often loneliest journey of all.

Many years ago I re-entered the temple of my personal vision quest alone, hurt and bewildered by fate's course. I sought to absolve my past, live fully in my present and rekindle my future. Soon thereafter -- and to the astonished disbelief of many who feigned having known me -- I became a father, a husband, a provider and inherited a part of myself previously unexpected. It was a brilliantly perfect time for I shall always relish the unexpurgated simplicity of life on its own terms.

It was later I rediscovered that when we walk into the flames it only burns for an instant before we are released. Into what I cannot say with any degree of certaintly. I only know that in the moment of surrender, we are reborn with a new life --- free from the baggage and bondage that holds us back from ourselves -- and with no plans other than to be fully alive in the exact moment.

Living in real time is what it is all about and always has been for some.

It is precisely in that moment that we live our lives in a state of blissful elation. Without preconceptions or contrivances, there are no expectations or disappointments. We experience absolute freedom to become whatever it is we are in our dreams. It is only when we attempt to mark our time that we become aware of its passage. And, by crossing an imaginary line with that passage comes a sense of loss. Opportunities never seized. Dreams never realized. Promises never kept. Relationships never fulfilled. A life never lived. A shadow creeps from overhead ushering a sadness unlike any we have ever known. Life's joys are diminished. We are overwhelmed by darkness and despair. We feel anxiety. We experience depression. We become listless and lost. By the time we hit rock bottom, we are practically marking the days on the calendar like a death row inmate awaiting the executioner. Much like aboriginal "dream time", the concept of linear time is foreign to some and when imposed upon them, ultimately, fatal.

We are taught that lives without measure are failed in themselves. But, from whom or what do we view those virtuous examples of existences? And, for what purpose do we examine such trivialities -- other than to satisfy others? And, just who are these "others" that we sacrifice all that is precious in our own existences to appease?

I believe the answer is absolutely no one. For many, the moment of truth is to distort who they are by allowing external influences determine precisely whom they have actually become. They become trapped in a hall of mirrors which conceals their real identities from themselves. They have lost their perspective, balance and judgment. They are uncertain as to who they truly are for they have lost their sense of self.

What a paralyzing predicament. To be at the cross road of one's life, completely freeze in the middle of the intersection and be run down by an oncoming bus with anyone other than yourself behind the wheel is patently absurd. By taking your foot off the gas, tapping the brakes to supply air in the hydraulics and pulling to a stop along the side of the road, one can open the door, get off the fucking bus and walk away from the whole kit and kaboodle. Oh yeah. You're behind the wheel of your own bus. That person who looks like you in the cross walk is just the imposter that you've allowed others to convince you that you've become wandering aimlessly across a busy thoroughfare!

Of course, that person is no one that you or I actually know. It could be any one, including ourselves, but more than likely it never seems to be us. However, while the view of the road from a higher focal point might allow us to see further ahead, it doesn't change the outcome of the final destination. Sure, we ride in a little more comfort. But, the road doesn't really change on our way to where we are going. Only our perception of the ride itself.

And, in the end, all we usually do is readjust the rear view mirror and keep our eyes focused on the road ahead. Isn't our ultimate stop always just out of sight and around the next bend?

Saturday, August 15, 2009

Negentropy vs Entropy

J(p_x) = S(\phi_x) - S(p_x)\,
Wow. Humanity's soul speaks deeply when allowed to manifest. It has always possessed that gift, but societal mores continually bridle its girth in a corseted fashion.

I can only speak from my own experiences. When we are of this world in the "real" sense we give up a part of our spirituality. I am not referring to organized religion or a value based society that points to the sky expecting answers. I am referring to heart felt connections that permit us to live -- responsibly, yet freely -- in the moment. I believe there is a pantheistic aspect to all of our existences, which is free from the dogma of orthodoxy. Our beliefs are formed not just through the pursuit of hierarchical learning, but from understanding the importance of intuition in our being. Rollo May referred to this phenomena of surrendering our insides to the teachings of others in 'The Loss of Innocence'. We sacrifice our souls in our indoctrination into the realm of hierarchical pursuits. We trade who we are for the acceptance by others for what we are "supposed" to be. In the end, we accomplish much according to those standards that are imposed upon who we were originally. But, at what cost? And for whose gain and whose loss?

It's a real conundrum...life. I feel I need to plunge deeper if I am to attain any measurable value in this existence of mine. I've barely scratched the surface this time around. Sure. I've had my moments, which is more than most. And I suppose in that context, shouldn't that be enough? I am satisfied with what life offers. But, in the end, it only offers what we allow.

Which takes me back to my original premise. We only live deeply when we abandon our fear from holding back. Walking through the fire is less about getting burned and more about experiencing the moment. It is only then that we live.

Freed from the trivialities of convention, humanity moves me. Sometimes we need to walk away in order to take those two steps forward. What is life? Negentropy triumphing over entropy. Richard Marsh -- a former teacher of mine -- used to tell me: "Sometimes we need to get out of our mind in order to get into our mind..." I think he learned this axiom while on the beach in Zihuatenjo with Timothy Leary. It was undoubtedly a revelatory insight while in a hallucinogenic drug addled state. Nonetheless, the lesson is readily learned. We serve a higher purpose when we allow ourselves to get in touch with ourselves. A circle rather than a straight line. Forward movement does not come from a simple choice of negentropy over entropy. The path of evolution is circular.

While at the Institute of Visual Perception at Princeton University, British researcher Osmond Humphrey collaborated with well known author Aldous Huxley in a series of experiments involving the use of the hallucinogen peyote. Much of the experimentation was the basis in defining premature psychological closure as a method of connecting the dots to form an image not present but inferred from limited visual information. The result was Huxley's 'Doors of Perception' and Humphrey coining the term in an epigram to Huxley: "To fathom Hell or soar angelic, just take a pinch of psychedelic."

Monday, June 22, 2009

In Your Light

In your light I learn how to love
In your beauty, how to make poems

You dance inside my heart
where no one sees you,

but sometimes I do,
and that sight becomes this art.

**************

The minute I heard my first love story
I started looking for you not knowing
how blind that was.

Lovers don’t finally meet somewhere.
They’re in each other all along.

***************
We are the mirror as well as the face in it.
We are tasting the taste this minute
of eternity. We are pain
and what cures pain, both. We are
the sweet cold water and the jar that pours.
I want to hold you close like a lute,
so we can cry out with loving.

You would rather throw stones at a mirror?
I am your mirror, and here are the stones.

****************

What was in that candle’s light
that opened and consumed me so quickly?

Come back, my friend! The form of our love
is not a created form.

Nothing can help me but that beauty.
There was a dawn I remember

when my soul heard something
from your soul. I drank water

from your spring and felt
the current take me.

Monday, January 12, 2009

Rickey Henderson Runs to Cooperstown - 90-feet at a Time!


I remember being at the Coliseum in 1982. It was a really electric atmosphere. When Rickey got on base, you knew he was going to steal. The other team knew he was going to steal. And they still couldn't stop him. Ever. So he'd take off, Lansford would foul one off, and Rickey hustled back to first. Then, it would start all over again. Crowd chanting. Soft throw over from the opposing pitcher -- who at this point can't even begin to concentrate on Lansford up at the plate. Krazy George starts beating on his drum; the pitcher starts his windup and he's off. Before the catcher could even glove the ball, it was over. And, he'd always go in HEAD FIRST with the crowd going wild!! He'd hold his hand up to ask for time, then dust the infield dirt off his pants. AND THEN HE'D STEAL THIRD!! Great days, Rickey -- thanks for the memories of Billy-Ball!! You deserve the Hall of Fame for your great lifetime accomplishments.

Monday, December 15, 2008

Hittin' the Note

It is far less conspicuous to crash a party by yourself than arriving with someone else. The key to successfully crashing a scene is to always remain circulating, while exuding the air of a confident host overseeing his own dinner party. In nature, no creature is a better survivor than the three hundred seventy five million year old shark. They must constantly swim to keep the water passing through their gills or they literally die from drowning. By always being on the move everyone assumes you must be a friend of someone else since you aren't speaking with them directly. Or, at least they assume as much.

Sprawled across Skip's floor in the old Sig house, Mona Man fires up a bowl. The bong passes around the horn. Major Strausser. Alpo. Griff. The cross legged circle is consumed by a dense billowy cloud of smoke. Alpo's face contorts with stacatto spasms exhaling broken shards of gray haze. Tears streak down my cheeks and onto the filthy apple green shag carpet. "Ramblin' Man" blares from a Marantz stereo in the background. Allman Brother's coming to town this week. Pretty sure it's Friday... I catch a gleaming squint through the reeking fumes of conspiracy.

September 1973. My first two weeks of college at UCLA and I'm already bored and trying to get kicked out of the joint. Without rhyme or reason, my new college buddies and I are cutting all classes, rolling down the hills of Westwood toward the freeway and the Fabulous Forum to the band's sound check.

The Forum used to be easy to access during the day. We simply drove around the backside where a large rolling door opened up to a hangar sized loading area. A big moving truck is surrounded by a number of vans and other vehicles. Roadies are carefully lowering equipment down to their compadres. There is absolutely no security in sight anywhere. I saunter right in. As I walk through a darkened narrow hallway, I suddenly breeze passed a familiar face. I think to myself, "Shit. That's Bill Graham." I enter into a well lit room where Dickie Betts is standing in a small group. He's only about 5'9", absolutely thin as a rail and his acne pocked face looks worse in person than in his photos. Then again, maybe it's just the poor overhead lighting making everyone look unhealthy with a greenish pallor. In any event, a few of the guys cast a glance toward me.

Not wanting to stand out anymore than already, I ask where to find the road crew. Dickie says to go out to the stage area and ask for Twiggs. I tell him thanks and as I walk away, the curious eyes quickly forget me and return back to their conversations. I cross through the backstage area skirting behind the concourse and enter the cavernous arena. It really is quite enormous. And -- yes -- it is fabulous. Zeroing in on the tweakiest looking guy on stage, I introduce myself to Twiggs. Wrong dude it turns out. Oops. Nice to meet you, Red Dog. Beautiful Southern, Gothic ginger hippie with flowing red main and beard, trailer park white trash. Sleeves rolled up, veiny forearms covered in prison tats tell the story of a misled life on the road that I am desperately running headlong toward in a dead sprint. In short, my kinda guy. In a whiskey gravel scratch, he asks, "Who the hell are you?" Without so much as a blink on my part, I say something right because in about two minutes I'm helping unload amplifiers off the back of a moving truck. I hit the jackpot.

That evening's show is a benefit for the North American Indian Foundation. It seems just about everyone in the band has a little bit of Cherokee in them. Afterward, the greenroom is laid out with a terrific buffet spread. The big deal for these southern boys is the Colorado Kool Ade chilling under ice in the tubs. Yeah. These are the days before Coors beer is distributed east of the Mississippi. These guys love Coors! The band is on the road with Marshall Tucker, an outfit out of Spartanburg, South Carolina. Filling out the bill is San Francisco's own Boz Scaggs, who I've known on and off for about four years. A former girlfriend of mine had run off with his keyboard player, Joaquin. I end up becoming pretty tight with Boz's head roadie and younger brother, Mark.

Saturday, December 6, 2008

Begin the Beguine

Let me assure you, Artie Shaw earned his Lothario tag! While attending UCLA during the 1970s, I lived across the hall from Artie in an apartment complex on Kelton just off campus in Westwood. Amazingly, even though he was in his mid 60s at the time, he maintained a steady stream of stunningly beautiful, young women running in and out of his place at all hours.

UCLA enjoyed a well deserved national reputation for its ravishingly lovely female population. So it seemed only natural for the Casanova of his generation to set up shop within steps of the dormitories and sorority houses. A veritable stable for the old stud retired to pasture. And, he was in great company. Hugh Hefner had already reached the same conclusion a few years earlier when he ditched Chicago's dreary winters for balmier climes at his Playboy Mansion West in Holmby Hills just a few blocks away. It was little wonder I never heard Artie practice his clarinet. Not once! When could he possibly manage to find the time in his hyperactive social schedule with all of the demands?

I share these reminiscences on the occasion of Artie's newly remastered compilation release, which is an absolute must have for aficionados and neophytes alike. Shaw was the "it" guy of the Big Band era. Known as the "King of the Clarinet", Shaw's creativity and virtuosity of playing made him stand out from many of his contemporaries, including fellow clarinetist and "King of Swing" Benny Goodman. Shaw: "Benny Goodman played clarinet. I played music."

Throw in Ava Gardner, Lana Turner and Evelyn Keyes as three of his eight uber trophy wives and you begin to understand the dynamic charisma of Artie Shaw's megastar celebrity during his hey day. Five Stars says it all. Go check it out. *****