We turn this composition into a little quiz game with our audiences. We ask the name of it and where they have heard it before. See if you can tell.
Oxana, of course, had known Miserlou only as an opening titles tune for Quentin Tarantino’s Pulp Fiction. Oxana is a huge Tarantino fan and played Honey Bunny in a skit for Initiation Day in her University.
Andrew and Steve, being better musically educated, knew that Miserlou had been recorded many times before Tarantino had an insight to use the song for his seminal piece of cinematography.
In fact, Spotify has hundreds of versions. But it was Dick Dale’s American surf rock version of Miserlou that took flight to fame thanks to Pulp Fiction. Steve does a bit of riffs on his mandola in honour of that version for us.
I Shall Find You is a song by Tori Morrill&Al Newman. Inanna Sisters in Rhythm, who has originally played it, kindly gave us permission to perform the song and even shared their score notes! Inanna Sisters in Rhythm also count the late Layne Redmond as one of their teachers.
Sandi and Oxana made a couple minor changes in frame drums’ patterns, but overall it’s what our sisters across the ocean play. Andrew with his clarinet and Steve with his mandola make the magic complete.
Andrew also play a set of ankle jingles – something that Oxana and Sandi found impossible to do while playing frame drums at the same time – so kudos to Inanna Sisters in Rhythm for performing that feat! We all try to do our share in singing, and intend to use our voices more and more in the future.
The Twenty-Fourth issue of The Seventh Quarry magazine edited by Peter Thabit Jones flowed like a meandering river. One turn of a page reflected the previous one. Themes sank in and resurfaced further downstream.
For instance, Bill Wolak interviewed William Heyen. William Heyen’s poems were followed by a photo of William Heyen and Stanley Barkan. and the poem “Who is Stanley Barkan?” by James Palmer. An interview with Dileep Jhaveri is preceded by Bill Wolak’s poem “After a Photo of Dileep Jhaveri.”
One theme that resonated with me kept emerging in this issue’s interviews. It was the idea of poetry as a portal into the timeless, a key to the transcendent.
Issue 23 of The Seventh Quarry had an Indian flavour. It featured interviews with not one but two renowned Indian poets: Hassanal Abdullah (by the Editor Peter Thabit Jones) and with Dr. H.K. Kaul, by Mandira Ghosh. Both poets earned my admiration with their lofty goals and their understanding of the role of poetry in modern society.
Both amaze with the scope of their work. Hassanal Abdullah wrote 29 books, among which is a 304-page epic about relations between people and the Universe. Dr. H.K. Kaul is the President of the Poetry Society (India) and his 200-page long poem Firdaus in Flames deals with political and social upheavals in India’s recent history.
One cannot help but be amazed by these two poets, who confess in their respective interviews that it is the highest aspirations of human spirit that are worthy writing about and that poetry can and should change society for the better. This, at the time when most English language poets normally reach as high as the attic, for a box marked “Grandmother”, in order to commit to poetry an old glove. Continue reading “The Seventh Quarry Issue 23 Winter-Spring 2016”→
The title for this painting is obviously a play on words. It portrays some rocks in the hills above the village of Portsmouth (by Cornholme by Todmorden) and at the same time expresses my admiration for the place.
My favourite features in this view are: the new wind turbines on the top of the hill to the left, the forest that frames Portsmouth so beautifully in deep emerald colour in summer and the house on the hillside, tiny from this distance, although it is actually a whole terrace.
The rocks in the hills of Portsmouth protrude out of the ground, here and there, small and big. They look too me like the brittle bones of our old Mother Earth.
I used sweeping semi-circular lines in drawing, throughout. I hope this helps to express the idea that Portsmouth is a like a little earth, and, at the same time, it is part of a much bigger world, connected to everything in it.
This is a view from a hill above the village of Cornholme along Burnley Road down into the valley and further onto Todmorden. The chimney of the old Cornholme Mills punctuates the narrow valley. My daughter studied the history of this plant at school in the context of the Industrial Revolution and child labour. She now likes saying that she is glad she did not live a those times. The factory is the only one remaining working mill in Cornholme.
While working on this watercolour, I relied on clear lines of drawing, which allowed to maintain the impression of two hillsides sliding down onto a valley and culminating in an opposing hillside above Todmorden.
I combined more naturalistic and more abstract techniques in this painting, including my favourite “borders melt into the centre” technique, which, to me, showcases he unique qualities of watercolour paints perfectly.
Come see my watercolours at a free exhibition from 1st May 2016. Todmorden Information Centre is open Monday to Saturday from 10.00am to 4.00pm and Sundays 10.45am to 2.30pm.
I am presenting my favourite subjects, which are flowers and local landscapes. I admire the curves of the hills above Portsmouth and Cornholme, with their changing colours through the seasons. In addition to those, an Irish and a Russian landscape will also feature.
The paintings are framed and are available to buy at affordable prices (£30-£40). Treat yourself or buy a special gift for a loved one.