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kate and her pop 041015

Long ago a little girl and her dad sang a song to the tune of the theme of “Animaniacs,” a popular cartoon of the time:

We’re KATIE and her Pop
And we NEVER EVER stop
We hope that we don’t flop
A bunny is a lop
Katie AND her
Come and take a GANDer
Jason AlexANDer
Katie and her Pop!
(And we don’t stop!)

Well, those days are forever gone, but the young woman the little girl became still has plenty of mischief in her, and her Old Dad has his fond memories. Daughter and father get together every so often, most recently three days ago on her 25th Birthday, where they had Movie and a Dinner. Next planned outing is a midnight showing of AVENGERS: AGE OF ULTRON. They’ve been great Movie Buddies since Disney’s Aladdin, and there’s no sign of stopping.

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Here is a pose that is challenging–a sort of one-eighth-profile-from-below-with-a-twist-of-open-mouth–but the photographer (sorry to say I haven’t found the photo source) knew what she or he was doing: Thompson’s exuberant joy and optimism are well showcased.

There’s a movie out now, EFFIE GRAY, for which Thompson wrote the screenplay. She’s won an Oscar for her screenplay adaptation of SENSE AND SENSIBILITY, and is the only actor to win the Academy Award both for screenplay writing and acting. But this latest of hers has not done well in the critical arena, nor if box-office receipts measure success. I’m not in a position to judge, since I haven’t seen the movie (hope to remedy that soon). But, Friends, she’ll be back on her horse again trying, I guarantee it: even the cursory review of her career I’ve had reveals she’s Never Quit through and through.

My sincere apologies go out to Emma Thompson. In trying to learn her face I’ve brutalized it, taking Kimon Nicolaides’s advice to not be afraid to overwork a drawing in order to learn. Then I did another face study which was UNDERworked. Meanwhile the acrostic poem I cobbled up is full of vagueness, that nonspecificity that may not apply to Emma Thompson much but does not not apply to her. In my defense, Ms. Thompson, the final image and poetry will benefit from these early egregiousnesses.

That said, I did find a cracking good quotation from Meryl Streep that says a lot about the real Emma Thompson as reported by the real Meryl Streep. Therefore, along with what I’ve learned by falling on my face with my versions of her face, plus the inclusion of the all-important word Wit in the acrostic, I’m compelled to declare victory in the execution of stage 2 of 6 of The Emma Thompson Project.

001-5Quoth Meryl Streep regarding Emma Thompson: “She works like a stevedore, she drinks like a bloke, and she’s smart and crack and she can be withering in a smack-down of wits, but she leads with her heart.”

Words to the THOMPSON EMMA double acrostic:

The screen & stage enjoy her vital flame
Her honesty–an ethical gendarme
Harmonics with some dissidence the theme
Outstanding nuanced capturing the aim
Might find her as a widow on a farm
Morose and grappling with her self-esteem
Perhaps a crisis or a death may loom
Perhaps a challenge to her wit & charm
Swept by the wind or by a careless broom
Old–young–carefree, or full of belladonna
No telling what the consequence of karma
Nor even what variety of fauna

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Having drawn (bp) a successful conclusion to The Stan Getz Project, this reporter decided to stay on the horse, and so begins The Emma Thompson Project. Why Emma? Short answer: her brave smile.

A legal pad is a good place to begin. It’s cheap and safe. When you’re getting to know a face, it pays to try several times.

“Thompson Emma” is better acrostic fodder than “Emma Thompson” would be, but this is just get-acquainted time and, in the course of learning about Ms. Thompson’s life, a more apt acrostic may present itself. As I’ve said before, Art Spiegelman’s MetaMaus taught me the value of rough drafts for concept exploration.

Since this project is on spec, i.e. uncommissioned, there is no deadline and are no pre-agreed parameters. My main goal is to produce an image that, were Ms. Thompson to see it, will cause her not to smile bravely, but to grin happily.

More to come anon, Friends!

getz project 040115

I am thrilled to report that the Stan Getz drawing, prepared for, executed, and framed, has been delivered to the gentleman who commissioned it, and he has indicated that he is completely satisfied with the result. He also added a $20 bonus to the $200 we agreed on at the outset. The above image is the drawing in the frame, cropped to preserve the anonymity of the owner, who is holding the framed drawing so that I could take a picture of it.

Previously, I’d taken pictures of the drawing, and also tried scanning it in halves and splicing the halves, since it was too big to fit on the scanner bed. Here’s that spliced image, photoedited for color and drama:

getz colorized 040115

Before we parted company my friend and benefactor paid me a compliment that I’ll gladly keep. He’d seen Stan Getz portrait attempts, and many of the artists ALMOST got him, but not quite; “but you got him.” Now that makes my day, and makes me smile.

judy and chicken

POP goes the culture

Prepare for Judgment Day sang Judy Garland
Onstage in fishnet, tux and tilted hat
Perhaps a southern gentleman named Harland

got bucketed with her & chicken fat
one never knows & that’s how rumors start
evangelizing scandal grists the mills
so Liz & Nicky/Eddie/Dick take part

take center stage take umbrage & take pills
how tragic for a Marilyn or Janis
eclipsed not just by death but also boredom

Comes Jerry Springer’s antics to unman us
until we’ve seen it all in all its whoredom
let’s
take
up
rumor-mangling and pray
elation puts the brakes on Judgment Day

003~2For my fifth and final Stan Getz facial detail, I used a photo of him at rest. He looks like he’d put in a rugged session either recording or performing. Through his tired eyes I saw vulnerability and need.

The Stan Getz commissioned drawing is finished. Tomorrow I will deliver it. I’ll never hear jazz the same way again–that’s a good thing indeed.

boy kite wind

“boy” and “kite” and “wind”

kite: lightwood doweling, rice paper, rice glue, string
wind: out of the northwest, 3-7mph, some gusts

a pilgrim represented as a boy
holds his life represented as a kite
facing fate represented by the wind.

the pilgrim feels fate push against his life.
to get his life aloft
he will supplement fate with effort
represented by his running like the wind.

aloftness
is subject to
not only the variant wind
plus the speed of the running boy,
but also the surface on which the boy runs
and that which rests on or moves over the surface.

the surface and its denizens
may be thought of as additional fate,
but they are really proof
that metaphors are crude attempts
by the allegorical minds that build them
to cope
through reduction.

the kite vanishes.
the wind dies.
the boy weeps.

IMG_20150318_214241
Here are two similar takes on the Getz near-profile. There will be one more before the final image is  done.

An unintended effect, probably due to the lighting but possibly due to the tablet that took the picture, is the horizontal striping–might induce nostalgia with anyone who was watching television in the 50s or 60s. Late afternoon venetian blind shadows…

I’d just finished the Stan Getz bio, and, looking for more Getz/Saxism, I looked on the magazine rack of the Burton Barr Phoenix Public Library where I’d returned the book (STAN GETZ: A LIFE IN JAZZ) for Down Beat Magazine. I found it, except its name is jam-sessioned into DownBeat. But lo and behold, KENNY BARRON was on the cover!! Stan Getz called him “The other half of my heart.” Another bonus was that there was an ad for a new cleaning system for musical instruments that involves light, and the photo of the sax on the ad was in gorgeous detail. So I thank the magazine and the LIGHT folks for the photo springboards, and ask them to please not sue nor cease&desist me.

Here’s what happened:

saxo detail 031615