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LANNY
Posted by Elwood H. Smith at 4:13 pm on March 17th

Lanny March 17, 2007



Francis Landon "Lanny" Sipperley

1944 - 2007



As best I could tell, our neighbor, Lanny Sipperley was not a complicated man. If he had demons, they were kept hidden. Some of us (me, in spades) blather on about our feelings, our fears and our opinions until the cows come home. Others (Lanny, in spades) hold their private thoughts close to the vest, like W.C. Fields' trusty whiskey flask. Now and then, I'd ask Lanny about his childhood or I'd tell him about one of my military experiences, hoping he would share one of his. Each time, he'd shift the conversation to a more comfortable topic, usually the weather or local gossip. "We live in a fishbowl" was Lanny's mantra. Locust Grove Road, is a cul-de-sac, which means you are watched coming in and going out. He lived on this street in the same small, white home for his entire life, minus three years serving his country. Lanny knew about life in a fishbowl.



In 1945, when Lanny was one year old, his parents, Vernon D. and Estelle Sipperley, moved into their modest Locust Grove home. Lanny was a good son and a good student. He graduated from Rhinebeck Central Schools, class of 1962, and earned an associates degree from Dutchess Community College in 1964. Neighbors say he was good at sports. He served in the United States Army from 1964 to 1967, spending two of those years in Germany. He enjoyed the beer there, he told me, but I never saw him drink. Lanny didn't smoke, he didn't curse. He was a man of good cheer even when times were tough. He was, in short, a good citizen of the world.



Life was not an easy road for Lanny. It is said that he returned from the army a changed man. He didn't see action, but something mysterious, it seems, happened over there. When Lanny's military obligation ended, he moved back home to live with his mother. Estelle was a genuine, home-grown eccentric—at least during the years we knew her. Often, on a cold winter morning, Maggie and I would stand at the window watching Estelle, her nightgown peering out from under her husband's old, red plaid hunting coat as she stomped through the snow with her tethered Siamese cat. Come spring and there she was, up on a ladder clicking her false teeth and slathering fresh paint on the side of her single-story house. Lanny spent his time outside raking leaves and stones off Locust Grove Road. He also worked occasionally for his cousin, Peter, who ran a plumbing supply shop in Rhinebeck. Peter was also, for many years, the Mayor of Rhinebeck. Lanny and Estelle were good neighbors—they kept to themselves, but they were friendly, willing to help out if asked.



We were concerned about Lanny after Estelle suffered two strokes (the second one knocking her into a vegetative state). How, we wondered, would he handle things without her? We were relieved and delighted when he landed a full-time job working for a local commercial landscaper. Not long after his mother died, Lanny surprised us again by starting his own landscaping business. At his funeral, several of the men who had worked for Lanny over the years stepped forward to laud him. He was, they said, a hard worker who was a man of his word. And all who knew him said he was generous to a fault. By the time he died of heart failure on December 3rd, 2007, Lanny had fallen on hard times. Still, he insisted on buying coffee for his cohorts, even when his broken down truck was running on treadless tires and vapors.



On March 17, 2007, precisely one year ago as I write this, I was hunkered down on our enclosed back porch filming birds and squirrels in our back yard. They had gathered to devour the seed I had sprinkled around our freshly plowed driveway. A final snowstorm had come and gone, leaving ravenous animals in its wake. The birds noisily exploded from view, as Lanny, shovel in hand, crunched into the picture frame. During the summer, he cut our lawn and, after each heavy snowfall, we hired him to shovel two paths—one for our postman and another to allow access to our compost container. He didn't see me on the darkened porch as he attended to his task and I was loathe to disturb the moment with a greeting. This short movie was created from footage taken that day.



It doesn't seem right that this gentle man, built solid, like a fireplug, was so easily and suddenly taken away. Lanny, wherever you are, the fishbowl misses you.



To view the video Lanny - Final Snow, click here


 

Left to Right: Susan Lienhard Holmes, Francis Landon Sipperley, Gustav Edward Lienhard, P. Vernon Sipperley and Peter Finn Sipperley - July 6, 1968

Thanks to Lanny's cousin's Karl Sipperly and Shirl Di Gugno for tracking down the photo above. It's a rare find, it turns out. As Peter told me at Lanny's funeral, "Well, you see, the Sipperley's weren't big on taking pictures."
 
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MABEL’S SUGAR COOKIES
Posted by Elwood H. Smith at 7:38 pm on February 26th

Cootch & Me Picking, 1964



In the “The Nomads” article below, I touched upon my guitar lessons with Cootch and Mabel. The photo of Mabel’s kitschy furnishings and the two of them sitting there, making music on their guitars, piqued the interest of several Drawgerites. A little more information about the Coutures, then, seems to be in order.



Cootch and Mabel were pivotal figures in my life, though I doubt they understood the powerful effect they had on me. I probably neglected to tell them at the time how much they instilled in me a love of making music, although I  did thank Cootch many years later, when I visited him in a retirement home. I brought along an acoustic guitar and he and I played some old tunes together.



Clarence "Cootch" Couture and his wife, Mabel were old friends of my parents. When my mom and dad bought & refurbished a small resort on Long Lake, 9 miles north of Alpena, Michigan, Cootch and Mabel showed up for a week’s vacation with guitars in tow. For seven, sublime nights, I sat mesmerized, watching Mabel coax unworldly, ethereal sounds from her Oahu Hawaiian guitar, while Cootch sang Hank Williams songs, punching out sock rhythm chords on his yellow-sparkle Supro.



After the Coutures departed, my parents asked me if I would be interested in taking lessons with Cootch. I’d failed miserably as a grammar school coronet player, but the guitar touched my soul. I showed up at the Couture’s home the following week carrying my father’s small, out-of-tune, old flattop guitar.



Every week, Cootch and I would work our way through an Oahu Method “Spanish Guitar lesson. The Oahu company began in 1936, publishing Hawaiian guitar tablature lessons and they eventually added regular guitar and accordion lessons. Later on, the company sold guitars, amps and other music related equipment. When guitars went electric, Supro supplied Oahu with guitars.



If the impromptu jam sessions that followed my lessons weren’t incentive enough to keep me coming back week after week, Mabel’s huge, homemade sugar cookies were. I learned little from the Oahu lessons, but at lesson’s end, Mabel would head to the kitchen, emerging with three glasses of milk and a plateful of gigantic sugar cookies. Energized by white flour and sugar, we picked up our guitars again and the real fun began. Cootch & Mabel knew dozens of classic country tunes and popular standards from the 40’s and 50’s. With chord charts spread out on my music stand, I’d struggle along with the tunes, applying as much as I could from my previous lessons. I spent months wrestling with that rascally closed F chord, but I was determined to get it clean and on time. I wanted desperately to be an active participant in the magic.



This event took place some 50 years ago, yet I recall vividly the smell of the cookies and the warmth permeating Cootch & Mabel's apartment. Thank you, my long departed teachers. Making music was, for you, a spiritually enriching, joyous occasion and you led me to the temple.


 

Oahu Lesson Sheet

 

Oahu Lesson Inside

 
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THE NOMADS
Posted by Elwood H. Smith at 8:05 pm on February 9th

Al Zdan, E.H. Smith
THE NOMADS

Dear Drawgerites,

A while back, I sent this picture to my pal, Steve Bartles (the bassist on John Platania - Lucky Dog).
 

A '57 Carvin--photo thanks to Peter at musurgia.com

He wrote back, asking if it was my Supro, a guitar I'd often talked about.

Nope, I responded, my father built that guitar. I'd learned to play his old small-bodied acoustic and I was chaffing at the bit for an electric guitar. Money was tight and Dad was handy with tools, so he decided to build me one.
 

Catalog page thanks to Kevin at the Carvin Museum

We probably ordered the pickups from this 1957 catalog sheet.
 

Supro Dual-Tone - Cherry Sunburst

PART 2: MY SUPRO

My particular model seems to be rare, but I finally found a pic on the web of a Supro Dual-Tone that looks nearly identical to mine. My Supro sported a two-teared pickguard, otherwise it looked just like this beauty. It had a contact-type pickup built into the bridge along with the two humbuckers. A great short-scale guitar. It's the one I used in nearly every band I played in while I lived in Alpena, including "Johnny Woytaszek & the Thunder Bay Polka Jax".
 

Me again with Dad's guitar

PART 3: THE NOMADS

This photo was taken at Al Zdan's store, Long Lake Supermarket, in probably 1958. Al is the other guy in the first photo. I was taking guitar lessons with a my first guitar teachers, Cootch and Mabel, and as I progressed, I taught Al what I'd learned. I remained the lead guitarist, but Al was an excellent rhythm player. Al began with that archtop guitar in the picture, but he switched to a double-neck Carvin-inspired guitar that my dad helped him build. My first band featured Al on his double-neck (short-scale bass on top and guitar below) with me on lead guitar and my pal, Bill Wright (now my brother-in-law) on drums. Bill was an excellent Hawaiian guitar player (now most often called lap steel), but we needed a drummer. Hawaiian guitar back then was for sissies. Al had a drum kit over at the store, so Bill became our drummer--learned it within a few weeks. He didn't need to be much of a drummer, since Al and I were greenhorn guitarists. What we lacked in technique, we made up for in innocence, blind ignorance and enthusiasm.
 

My guitar teacher, Clarence "Cootch" Couture and his wife, Mabel with her Oahu lap steel in 1964

Our first gig: New Year's Eve at the local Disabled American Veteran's Hall. Actually it was a bar. My father, a WW II vet, landed us the gig. We'd only learned a half dozen, maybe ten tunes. We needed a waltz, it turned out, so we played "Down in the Valley". The audience danced and when they weren't dancing, they drank. A lot. So, no one noticed the same handful of tunes being played over and over and over. When we finished up at the end of the night, the bartender, a beefy guy named Spigelmyre who ran the place, asked us how much we charged. We gave him blank stares. Huh, we're getting paid? Spigelmyre said, okay, how about fifteen bucks? He walked back to the bar, leaving three grinning teenagers tossing back Vernor's Ginger Ale. Wow, five bucks apiece! We couldn't believe our good fortune. The bartender returned to our table and handed us forty-five bucks. Fifteen smackaroos EACH! Fame and fortune was just around the corner. We learned some more songs, bought matching bolo ties and came up with a cool name. "The Nomads". The perfect name for a band that had never traveled thirty miles beyond Alpena.

Historians write endlessly about artists from the late 50's. You know, those country hicks who became cool, like Johnny Cash, Carl Perkins & Elvis. Yeah, they were great musicians, but isn't it time to finally recognize those boys from Alpena: Elwood Smith, Bill Wright and Al Zdan? The Nomads.

-E
 
Links:

Thank you, Peter.
www.musurgia.com

Thank you, Kevin
www.carvinmuseum.com
 
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Cheers!
Posted by Elwood H. Smith at 12:00 pm on December 23rd


Cheers to Drawgerites, one and all from the Green Monkey. I propose a toast to laughter, great friendships and enough good health to choke a horse.
 
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Will Work For Beer
Posted by Elwood H. Smith at 11:39 pm on November 18th


H
ere’s how it all began. I’ve distilled it down to ease eye fatigue.

Maggie and I joined Susan Blommaert, a fine actress and an old flame, for lunch at Terrapin here in Rhinebeck. Her friend, Tom Grasso, tagged long and, following lunch, he and I had an opportunity to talk. He was born in 1941, same as me and was, for a time a pro musician, so we hit it off immediately. Turns out, he’s involved with a new Hudson Valley magazine called Roll and, when he discovered I was an illustrator, he wondered if I would be game for an interview. I happen to know a lot about myself so, a couple of weeks later, Tom, Roll Magazine’s editor, Ross Rice and I ended up back at Terrapin for some good food, fine brew and the blah, blah, blah, everyone is glancing at their watch but me, interview.

Would I do an original cover for the magazine they wondered, with the caveat that the budget was low. Tell you what, I said, give me complete creative freedom and I’ll do it for two cases of Corsendonk Abbey Brown Ale. I coughed up a cover and Tom stopped by with the stash. Sweet.

Here’s the cover and the article. I’d like to thank Roll for allowing me to publish the article, Ross and Tom for their fine company over lunch and Maggie and Roll’s art director, Donna Calcavecchio, for the cover design.
 
Elwood Smith: Will Work For Beer….a chat with Ross Rice from Roll.
 
Oh, you’ve seen his work, all right. Unless you never ever read Time, Newsweek, Forbes, The Wall Street Journal, Sports Illustrated, The New York Times, The Chicago Tribune, or New York Magazine. His visual style is a classic one, with elements of Krazy Kat, Barney Google, and the Katzenjammer Kids, which has evolved into a distinctly original style that has the ability to convey a multi-layered setup and punch-line all in a single image, often without text. A self-described “humorous illustrator” at the top of his game, he still maintains a fearless curiosity and willingness to explore new genres.

Ladies and Gentlemen, meet Elwood Smith.

First thing we (“we” being ex-rocker and Roll “elder” Tom Grasso and me) learn over lunch with Elwood: he is a beer enthusiast, though not a beer snob, having learned the finer points after multiple tastings of a close relative’s home-brewing experiments. “I’ve always liked beer. I am not broadly traveled, but I’ve been to England twice and I didn’t KNOW beer until then.” He attributes his good health and outlook to good taste in beer (Belgian ales a favorite) and good genetics. We grunt assent and toast with a round of Chimay.

Looking back over an impressive professional career that blossomed when he relocated from the Midwest to New York City in 1976, Elwood offers a frank assessment: “Starting out, my heroes were George Herriman [Krazy Kat], Billy DeBeck [Barney Google], and the infamous Rube Goldberg. I was trying to draw like those guys. I bought the same pens, which are still available, but I never quite got it. It took a while but I managed to channel their classic style into my own voice. Thing is, even though I am known for that retro style and I’ve made a good living working that way for many years, I often felt trapped by the style. Over the years, I’ve tried to stretch beyond that way of drawing—trying to find a way to break from the conventions of things like perspective. It’s my goal to find my own voice, not my own voice filtered through those cartoon masters.” Like many artists, Elwood was searching for a personal style beyond his immediate influences, and met resistance. “I started in New York with the Barney Google style, and later when I came out with my new style, it was a smaller feet, smaller hand style. There were a lot of people who, when I gave them the new one, they wanted what they saw before, what they were comfortable with already.” Still, the change was made and clients kept calling, but the lesson was learned: commerciality and creative change would always be a tough balancing act in the ad biz. . . but not impossible. Elwood’s quality prevailed and with his new style he racked up a succession of major clients: Sony, GE Cellular One, Pizza Hut, ATT, Prudential. . . the list goes on and on. His “humorous illustration” style was easily adapted for numerous books for adults, as well as children.

Many clients, awards, and accolades later, we fast-forward to the present, and Elwood favors us with a copy of Gee Whiz! It’s All About Pee, a whimsically informative children’s book (written by Susan Goodman) that, along with its sister (brother?) book The Truth About Poop, makes full use of Elwood’s all-ages sense of humor. He’s rightfully proud of these “because they’re really good books! When you read these, they’re classy books, it’s all information, it’s not scatological. I happen to be one of those people in the world who thinks that it’s sad that, due to the repressed [nature] of this country, pee and poop. . . well, especially poop, are not talked about. I’m amazed, because aside from sex and music and drinking, having a good BM - there’s something so satisfying about that! Why don’t we make that something people talk about readily?”

Uh, how about we have lunch first, Elwood…

Another thing we learn about Elwood: If you like the looks of his sandwich at lunch, get him talking about music, and an hour later, that sandwich is YOURS, baby. “Well, I can play a little Western Swing, and I can flatpick bluegrass guitar and plunk a little mandolin. . . when my chops are up I can get a sort of Norman Blake thing going.” Elwood’s interest in music began in the 40s, while listening to WATZ, the only radio station in his hometown, Alpena, Michigan. The station played all styles of popular music - swing, bluegrass and country music and Elwood soaked up the music of Hank Williams, Bob Wills and Benny Goodman. Later on, in the late 50s, inspired by guitarists Les Paul and George Barnes, Elwood took a few guitar lessons with Cootch & Mabel Couture and started a dance band with pals. They knew all of 6 songs for their first gig at the DAV hall. Ignorance was bliss. 

Elwood discovered classical music while attending art school in Chicago and it is still his favorite musical form. “I listened to some rock ‘n’ roll in the 50s but it never really grabbed me. In the late 60s, when my friends were digging rock, I was obsessed with music of the Renaissance. I built a clavichord from a kit, which I couldn’t really play, but I could pick some John Dowland on my 7-course lute.” Several years ago, however, an interest in a more pop style of songwriting emerged and he took a songwriter’s workshop with Rosanne Cash at Omega Institute. Musical help came in the form of John Platania, (guitarist extraordinaire for Van Morrison) whom Elwood had met through his friend, bassist Steve Bartles. When they were recording a soundtrack for a five minute video that featured Elwood’s artwork, Platania happened to be doing some work at Paul Antonell’s Clubhouse (in Germantown at the time, now in Rhinebeck), and he generously offered to sit in on Elwood’s gig just for fun. One thing led to another, and after some demos, Platania was onboard to record an entire solo album of Elwood’s songs, funded by Elwood, with one stipulation: he wanted lots of creative freedom - something a session man rarely gets. Thus was the Lucky Dog album recorded, a truly enjoyable album available at Oblong Books Rhinebeck and at www.johnplatania.com.

Elwood’s enthusiasm for music remains a constant, with fairly regular jam sessions at the house, collective improvisation encouraged. It turns out we both really could talk music all day, but it’s getting late in the afternoon, and we’ve reached an agreeable beer buzz point, so it’s time to ramble on. (Elwood gets a to-go container for his sandwich though….darn. Close, so close.)

What’s really getting Elwood cooking these days is a personal renaissance of sorts, concerning his artistic vision. Luckily for us at Roll, Elwood took the opportunity to experiment with this issue’s cover, and share some of his creative process with us. “I drew the little bear guy with the horn in my conventional way, inking it in on watercolor paper, but without adding watercolor as I usually do. In Photoshop, I layer the line art over a bed of color dabs. . . I make these dabs on a strip of watercolor paper as I’m working on jobs. I save the best of the watercolor paper strips for use in my experimental projects. The loose color backgrounds free me up and keep me from coloring my art within the lines. I do exercise some control, but I try not to mess around with those wonderful, accidental shapes flowing within and outside my drawings. It is similar to the way I make films, letting the “happy accidents” take me down new creative avenues. It’s all like it’s happening beyond me, but then I can monitor and modify it.” Miles Davis’ Bitches Brew is discussed as an example of this kind of free-associative creation. “[Miles] had the vision to go beyond chops. The new ‘me’ is going to start doing more where I just conjure up something. . . where, for instance, it doesn’t matter if I know where the pull-cord on the lawnmower is, I just trust myself to make up a lawnmower!”

Meanwhile, the phone still rings with new challenges; Elwood and Susan Goodman have just finished a third collaboration, See How They Run, about presidential elections for Bloomsbury Children’s Books. Elwood’s wife Maggie, a respected artist in her own right, as well as Elwood’s representative and business manager, has become a first-rate graphic designer, designing all promotional materials for their cottage industry. Both stay pretty busy, but Elwood finds time each morning to ease into each day with a two mile walk through town. Dee at the Bagel Shop has a smile and a cup of coffee waiting for him before he heads back to the house to finish work on a children’s book (about swamp creatures), then on to the next project, where he will be trying out some of his new techniques. “If I didn’t have to make a living, I would probably just make my little films - scooping together found objects, collage and imagery, both still and moving, and throwing in an occasional drawing now and then. . . not even worrying about drawing anymore. And I love creating music for the soundtracks. I truly believe my most creative times are ahead. All this [my career] was just laying the groundwork, and I’m a slow learner.”

© 2007 Roll Magazine

rollmagazine.com
 
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Zipwood's Epiphone Archtop
Posted by Elwood H. Smith at 2:30 pm on November 11th

Epiphone Zephyr Deluxe Regent

Rob Saunders was curious about the big blonde I held in my arms at the Bond Street "Ben Day & the Zipatones" gig. From info I've gleaned from the web, Rob is correct, it is a Epiphone Zephyr Deluxe Regent from the early 50's. A fickle Gemini, I've gone through a slew of guitars and mandolins over the years, always in the hopes of finding the "perfect" axe. I ran upon this dandy Epiphone (which, sadly, I no longer own) in a shop on 48th Street. As I recall, I had a measly $700.00 in my CitiBank account from which I withdrew $500.00 to buy this lovely archtop. I was mostly a bluegrass picker and I knew acoustic flat-top guitars like vintage Martins, but I knew very little about the world of archtops. Obviously, this Zephyr Deluxe with it's nifty Art Deco details, would have been a fine investment. The pickups, as you can see in the photo, were cradled with lovely, almost amber, Bakelite. It was not a carved archtop but had, like many acoustic-electrics of that era, laminated top, sides and back. I now have a Bob Benedetto carved archtop, so I don't weep when I think of this long, lost guitar, but it was fun to play, a delight to hold and a treasure among great vintage archtop guitars. I wish I had taken better pictures, but I'm posting a fairly good, but soft focus, pic I found on the web (which I'll remove if I need to--I can't recall where I got it) along with a couple more pics taken at the Bond Street event.
 

Here I am, back then & 20 pounds lighter, playing a Rockabilly G chord on that blonde babe.

 

Wow, I've moved up up the neck to get, yes, a G chord! "G", the People's Key. Or is that "C"?

 

This photo, found on the web, was labeled "Epiphone Zephyr Deluxe Regent, 1951" and it looks to be nearly identical to the one I owned.

 
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I Love Beer!
Posted by Elwood H. Smith at 11:01 pm on July 28th

A few thoughts and a couple of photos of and about beer.

I'd be really trim if I didn't drink one or two glasses (sometimes pints) of beer most every night. I love the taste of really fine beer and I love the buzz. It softens the often hard edge of life. So does intense exercise and meditation, they tell me, but gimme a fine ale. When I was a little kid, my brother Dave and I would beg our parents for some of their beer. If they said okay (and I don't recall them ever not saying okay), we'd high-tail it for the cabinet and race back with a shot glass.  Nectar for the babes.
 

Corsendonk Abbey Brown Ale is a Trappist-Style Belgian ale.

This beer has a dark color and amber head.  I find it as full-bodied as a British stout, but with that lighter Belgian fizz. I normally favor the stouts and porters, so it took me a while to get my taste buds around the unique Belgian flavor, but I'm glad I kept at it. This ale is great in the winter, but damned fine even on the hottest summer day. Much more versatile than a regular stout or porter. As the experts note, it has hints of chocolate with a fig "nose". Do I sense a Lou Brooks joke wandering into this article? Corsendonk Abbey Brown Ale is smooth with a slightly sweet taste. I've gotten it in regular-sized bottles but mostly you'll find it in the large, champagne bottle size. 7.5 alcohol. 

 Highly recommended
 

Crowds Panic As Flood Threatens Ireland

I love this photo and caption. I have no idea where I found it, since it has been loitering in my Beer Humor collection for a long time, but it sums up perfectly the attitude of those who love their brew.
 
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Pickles in a Bowl
Posted by Elwood H. Smith at 7:39 pm on July 27th

Photos by Maggie

 


Pickles, one of our now pretty large kittens, has found a way to beat the heat. A nice cool bowl on the living room table.
 
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I'm Back. From Alpena
Posted by Elwood H. Smith at 7:37 pm on July 22nd


Smith Family Reunion 2007

I'm not fond of flying. I can drag myself into an airplane hull, but I need a few pints of beer in my belly. I'd rather keep my feet planted on a surface that is covered with grass covered dirt (which often includes my studio floor) or the floor mat of an automobile. Maggie loves air travel. A puzzlement. Being stuffed and buckled into a seat with sweaty, swollen ankles, toxic air and a single miniscule bag of stale salted nuts is her reward. And mine on Friday the 13th, July, 2007.

So, it was with some trepidation that I drove with Maggie to Stewart-Newburgh airport. Maggie was on her way to visit her 93-year old mother in Florida. I was on my way to my hometown of Alpena, Michigan for a family reunion. Maggie parted from the gate on time and arrived in Ft. Lauderdale thirty minutes early. I flew out some 12 hours later. An electrical problem. My brother Dave (see the Rat Piss and Nails video), who is a generous and loving guy (and who loves motoring) offered to drive across the Michigan Mitten from Alpena to pick me up. He made it about halfway before I reached him with my rented cell phone. Ever cheerful, Dave headed back to Alpena, promising to retrieve me next morning. I would find a motel in Traverse City for the night. A fellow traveler informed me that every Traverse City hotel and motel would be packed to the gills. Turns out I was arriving just in time for the big annual Cherry Festival. A lot like Mardi Gras, according to my cabbie, with cherry-nosed drunks on every corner. Maggie, bless her travel-loving soul, found me a room at a Motel 6. Very well the last available room in Cherrytown.

The family reunion part of my trip was wonderful. I won't sully it by talking about the severe thunderstorms that bombarded O'Hare before chasing my bouncing jet back home. I may never board another airliner, but the family union (great weather up there, too) was worth the whole flying fiasco.

Here's a short video I concocted from some some video footage I took while up north. Don't ask. My 85-year old Uncle Vern said to me at the reunion: "You are strange. To say the least."

Me? Strange?

ELAINE'S BUNION - A PUGILIST'S TALE
(click below to see QuickTime video)

Elaine's Bunion - A Pugilist's Tale

 
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I'm Back. In 3 Parts
Posted by Elwood H. Smith at 11:40 pm on July 8th

 

Prologue

Randy Enos is amazing. Where the hell does that creative crustacean get all that energy? He scrapes and carves out those inventive, mind-boggling, multicolored linocuts by the barrel-full and still finds time to regularly post delightful, interesting articles here on Drawger. Damn his dirty hide, he shames us all.



Part 1

Which brings me to me. It has been eight months since I posted anything on Drawger, which is nearly the time it took me to bake in my mother’s oven. When Mark Matcho invited me to join Drawger, I sat on it for a while, wondering if I really needed another distraction. Once I jumped in, however, I began posting like a banshee. Then, without any real intention of doing so, I jumped right back out. I’m not sure why. I do recall becoming overwhelmed by the massive influx of new members. When I joined, Drawger had 17 motley illustrators all chitchatting around, warming their hands on an old Macintosh. As of today, we have 83 members rattling around the joint. Eighty three high-grade artists gathered together on a single blog! I am impressed and amazed. And I have no idea how anyone can even begin the chore of keeping up with all the interesting articles and the inspiring imagery here on Drawger and still find time to make art. Recently Zina Saunders and Nancy Stahl came to Rhinebeck for a visit (man, was that a double Dutch treat!) and Zina reminded me that members shouldn’t feel obligated to read or respond to every article. My old Punster Society pal, Lou Brooks (who is, finally and happily  a Drawgerite), recently told me the same thing. (Conveyed, of course, via thought balloons surrounded by images laden with large, colorful, out of register, halftone dots) 

So, please, heed this warning: STOP READING THIS ARTICLE and go back to work, life is short and this type too small.

Part 2

Oh, you’re still here? Okay, for the diehards, I’ll continue to babble on a little longer. Anything worth doing, I always say, is worth overdoing.

Perhaps another reason I backed off Drawger for a spell was my renewed interest in making music. Too much to do, too little time. A couple of years ago, I stopped performing with my old band, “The Polecats” and, for the first time since 1971, I found myself without a callus on my fingers. The guitars and mandolin lay dormant in their cases with rust forming on their tuneless strings. My renewed interest in making live music (I’d been using mostly GarageBand for my soundtracks) began last autumn when I offered to teach my friend, Paul Thiele, to play guitar. After a lesson or two, it became obvious to us both that Paul had little interest in learning to play the guitar in a traditional manner. No finger-bending chords and endless scales for this inquisitive fellow. Miles Davis and his landmark album, “Bitch’s Brew”, were the sounds Paul was absorbing and was anxious to produce. Yeah, I know Miles learned all that complicated stuff before making those great, weird sounds, but so what? Right? C’mon, Elwood, let’s do it, okay?

Okay, what the hell, Paul.

We jettisoned the formal lessons and, without the curse of finely honed skills and music theory and, ignorance being bliss, we cheerfully began our weekly  sessions. The Glitches Brew Sessions had begun. Most every Wednesday, Paul and I hunker down and, fueled by tasty, dark ale and enthusiasm without borders, we joyously pick at and scratch away on our electric guitars, pumping out sweet and sour sounds. We are accompanied by my uncomplaining, metronomic Fender G-DEC backup band. From time to time, just to keep the cats on their toes, Paul honks out a few notes on his Yamaha sax. The music we produce may not be complex but it is, I swear upon the roiling grave of Miles Dewey Davis III, a most satisfying musical experience.

Although I was in my prime a passable bluegrass-style flatpicker, I had grown bored with my playing. Paul’s need to explore a free, more experimental kind of music coincided with my own interest in creating experimental sound-collage tapestries on the computer. One thing for sure, I come away every week from our jam session all fired up with renewed determination to break free of old, ingrained habits.

Part 3

As I’ve written about elsewhere in my Drawger blog, my short films and animation projects have offered me an opportunity to merge my art and music. Regularly, one medium kicks out old and muddied windows for the other. My illustration style was only minimally affected by this experimental phase. Over the past several weeks, however, I have found a way to ladle the burbling creative stew into my illustrations. I’ve included a couple of my  current experiments in this article.

A couple of weeks ago, I traveled with David Goldin to J.J. Sedelmaier’s animation studio down in White Plains. Edel Rodriguez and Barry Blitt showed up and we joined J.J. and his creative staff for some wonderful conversation and tasty pizza. J.J. is not only an excellent animator, he is a first-rate host. It was a pleasure getting to know David as he navigated the Taconic Parkway to and from White Plains. We discussed many topics, professional and personal, including David’s frightening abiltity to burn to a crisp oncoming traffic with his laser eyes. He destroyed two SUVs before I managed to divert him by bringing up a topic dear to his heart: the collage-illustration technique that he and Serge Bloch employ so masterfully. For some time now, I have been using collage in my endless, ongoing moving picture project, but I’ve been wary of applying it to my illustration. Each time in the past, when I’ve  contemplated adding other images to my drawings, I ended up abandoning the idea, figuring that the Photoshop collage approach was pretty much sewn up by Goldin, Bloch, Vasconelos (wow, great stuff, Walter!) and others.

But the appeal of the collage approach overwhelmed me. I decided it was highly unlikely that anyone would confuse my efforts with the work of Goldin, or Bloch or Vasconelos. I’ve never had the chops necessary to imitate other’s art style, even that of my biggest influences, Billy DeBeck & George Herriman. They infused my work to be sure and, although I tried mightily to cop their delicious pen technique, I’ve always ended up with an Elwoodian broth. The same seems to be true with my latest experimentation. I hope so. I don’t want to end up on the receiving end of those laser eyes.

Thanks, Zimm, for keeping the clubhouse door open. It’s good to be back.

-ES
 


 
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