POMERANCE . . .
. . .
and the Spell of Freedom
and introduction by Cary Loren
TO THINK is one of those rarities of pure inspiration that
rates up there with first platters by the MC5, Stooges, Fugs,
Velvet Underground, Silver Apples, Godz, Pearls Before Swine,
etc... a classic ‘68 underground album: a collage of
fucked-up eastern ragas, jazz, and atonal folk rock, delivered
in a beautiful, raspy, feverish, drug-induced howl, featuring
the poetry and singular voice of Erica Pomerance. ESP produced
more than its share of outsider visions and here was an album
more like a situation, that peeked inside and outside the
bullcrap of the music world and the various genres it endlessly
shook things up, taking what she wanted, dissecting the past
and reconstructing her own tightly woven original folk blast.
Groovy flutes, buzzing sitar, minimalist piano, bongos, sax
squawk, and tambourines create a vision-drenched psychedelic
stew -- with Pomerance's voice wavering over the surface like
a skipping stone ... in a 45 minute laid-back one-take, the
album goes riffing off in a dreamworld, falling into occasional
French language raps and shimmering drones: making a perfect
backdrop for the student riots of ‘68.
are no profits, only victims... of moral mania... citizens
of the great society...everybody’s lips running
red-lights, love lord, lying down by the cold riverside
is the price of freedom...” (Burn, Baby, Burn)
goes in and out of consciousness, presenting an oblique postmodern
Caligarian world, teetering on destruction, possession, beauty
and revolt. Pomerance will make you think. She is the real
fairy godmother of free-rock and the acid-folk movement. Her
global post-rock attitude is bold and triumphant, unpredictable,
spitting out ironic anthems, anti-anthems, zen metaphors,
surrealist flower-power, humor, knowledge and razorblade street
used to think that images were answers,
but you were really seeing what you see.
that ghostman in your parlor chair of laughter
he was frozen to the bone, you gave him tea..”
(You Used to Think)
think is the treason, we play with the time,
to a rhythm which often lacks reason or rhyme
for thoughts are the risk... i continue to breath them
as if we don’t dare...how sublime... how sublime...”
(to Leonard from Hospital)
up and dig the cry of creation in action: words and music
dripping abstract paint. Vocalizing in a way only Thelonious
Monk would understand. Her canvas is the back streets and
corridors of the mind. The process is organic, naked without
artifice. Largely acoustic with almost no studio effects,
the album is transparent and borderline Victorian: there is
an affinity for the 1960s fascination with art nouveau lyricism,
mixed with a knowing pissed-off street style.
is a revolutionary album, penetrating into the meat
and marrow of the matter. Abandoning the fey sentimentality
of folk, Pomerance is alive with romantic passion and fire;
a baedekker to freedom. Life in its stinking glory. Pomerance
takes on thought and the process of freedom. A can opener
for the mind. THINK is a manifesto in words and sound. Beautiful
dark bombshells aimed at the twittering bleach-blonde scene.
“The French revolution has crumbs in its socks
as I always suspected... born in the barnyard vision
of parents emancipated, then you learn how to pass the
blade while they masturbated under the big black
anarchy flag...and where was Brigitte Bardot? When at
last you found your new bag and you needed her to tell
you where to go...” (French Revolution)
the slippery morning dawns in on my dreams,
my tongue went to lick it, and it tasted of honey
and then i woke to a world of confusion, a black and
white battle that faded to gray..” (Slippery Morning)
of Pomerance is not often pretty. Rolling off in sonic waves:
warbling, groaning, scatting, coughing and bouncing. Sculpting
sound like Coltrane on Om. A voice you can hear miles
after listening... a founding member of the free wailing folk-bop
sisterhood of Patty Waters and Yoko Ono. Listen to the bone-chattering
drone in the opening of "Koanisphere": “To
rhyme with the sound of your soooullll....the meaning of nothing......”,
then the voice mutters off, incoherently into a dizzy realization.
The vision is LSD and pot enhanced, offering no further evidence
or clues. It's all risk, and that’s part of what makes
it a classic. The lyrics are a mosaic of flowing imagination
yet tightly composed. Few recordings outside free jazz have
broken into this rich style of vocalizing and word improv:
know every morning in all of its colors..
you pass the air for a glimpse of my dreams
cowboys and cargoships, silence at sunrise
all strange settings that float on the sea..”
of musicians on "Anything Goes" falls into drug-induced
hilarity -- the type of track heard on Zappa’s Straight
/ Bizarre albums. Done in a lighthearted way, it mixes cosmic
consciousness with cosmic jokes and insane utterances:
all close up mics... even the walls have ears...
sitting in a parlor smoking hashish... i wonder where
all the other parlors are? air, air, is that air?
take us to a new site with trees.. oh, and water, fish
and sand... have you noticed the grains? There so immaculate....
What do you see when you look at the stairs and stars?
Stare at the stars, with a tuna fish can in your window...
That’s the end, which is the beginning, Om....”
first exposed to the glories of ESP disks in the late 60s
via Detroit FM-radio (WABX) and in the mid 70s as found in
Jim Shaw’s legendary record collection. It would be
likely for YOU USED TO THINK to have made itself known then,
but it would be 1995 when I would first hear it. A bookseller
colleague sent me a cassette tape of THINK as it reminded
him of the Monster Island music I had just sent him. Indeed,
hearing Pomerance for the first time brought an immediate
flash of recognition, a pleasing awareness that here was a
lost relative: a sister/cousin on the tree of deviant music.
fruitlessly searching for information, I decided to try and
fill-in some of the unfortunate dead-end that was her biography.
I approached Blastitude’s main branch about revising
issue #13, and they enthusiastically agreed to give home to
the Pomerance story. I was led to Erica through Bernard Stollman
at ESP records and I offer him my gratitude, however it is
unfortunate she’s not received a single payment in regards
to the various labels and licenscing deals that YOU USED TO
THINK has gone through over its lifetime.It was not my intention
to implicate ESP in a royalty dispute, but perhaps this famous
and highly regarded “artist run” label can live
up to its ideal and work out something to their mutual benefit.
great fun connecting with Erica . . . she is energetic, witty,
intelligent, and still fighting for her vision of freedom
and empowerment in the world, now through documentary films.
She is in the process of completing a trilogy investigating
African art, music and dance. In the first half of the interview,
questions were posed via e-mail. A phone interview concludes
the second half of the interview, and explores her recent
activities. You can check out a website devoted to her last
film DABLA! EXCISION at: www.dabla-excision.com,
her first film TALABA can be accessed at: www.nutaaq.com.
I would like to thank Erica for her openly honest freedom-filled
spirit and the generosity she gave in sharing her world.
heard a few rumors (the flu, LSD, cosmic meditation, etc.),
but perhaps you could outline how you came to do the ESP disc
You Used to Think -- and the circumstance around
its recording. Were you pleased with the results then? With
the distance of time, how do you now feel about the work?
were pretty much as described on the liner notes, since I
provided the info on which they're based. The context was
the late 60s, I had come to New York to do this record and
was very much under the influence of a former boyfriend Richard
Heisler whose thinking I admired and who actually performs
on the album. He was into both yoga (of a while he was a disciple
of Swami Vishnu Devananda) and mind-expanding drugs such as
LSD -- these were the heady days of Timothy Leary and the
West Coast school of psychedelic meditation . . . the whole
works. I must admit I was attracted to both currents, but
never got totally indoctrinated -- I eventually moved back
to Canada and went on a ‘back to nature’ spree
that lasted 15 years and replaced the chemical highs of my
earlier Woodstock and Haight-Ashbury days.
the recording, I was playing mostly ‘hoot’ nights
in Village cafés, and was heard by Bernard Stollman
of ESP Disk who offered to do the record. I ended up working
as an administrative clerk in the ESP office and then one
night in a snowstorm went into the studio. It was actually
done in two sessions, the first with jazz musicians with whom
I had been jamming around New York and the second on that
snowy acid-laced night. We were totally inspired. However
I was a little disappointed with the production values --
there was not much production and the mix was done really
quickly -- in one session if I remember right. ESP was knocking
out the psychedelic rock recordings one after the other. The
Fugs, Pearls Before Swine and Patty Waters were the most successful
of the groups they recorded in that vein. I don’t think
they really took that much time to mix or promote them --
it seemed a little haphazard, as did many things in those
days. SO I was alternately pleased and frustrated with the
recording when it was released. It got a fairly good response
at the time, for something which got virtually no promotion.
I got a huge photo and a nice little article in Vogue magazine,
they compared me to Lotte Lenya, the Brechtian singer. I also
remember doing a long interview on a ‘folk friendly’
FM radio station (I can't remember the call letters but it
was the station for folk and more underground music), Izzy
I think was the radio host’s name, it seems to me he
was the same guy who had a folk music store in the Village
that sold guitars, strings, Folkways and Elektra records and
books about Leadbelly by Alan Lomax etc. My memory is a bit
fuzzy, but many people would remember Izzy, he is a legendary
guy and I feel stupid not remembering his last name. New York
in the mid 60s was user-friendly and not expensive. My apartment
in the Village was dirt cheap ( it came equipped with cockroaches),
there was lots of improvised music around and exciting people
and situations onto which one could stumble. I stumbled into
a number of pretty unsual situations myself… some of
which inspired my later songs.
and back cover of You Used To Think
you talk about where you grew up in Canada, and what kind
effect that had on you?
up in Montreal in the 1950-60s on the English side of town.
Montreal is divided into two halves, French and English (less
so these days), by the median of St. Laurent Boulevard, once
the hub of immigrant Montreal. This area, where I live now,
has now become more trendy for artists and young professionals,
as have other old immigrant neighbourhoods. But I was raised
in more middle class surroundings -- every time my father
could afford it, we moved to a better neighbourhood, eventually
into the suburbs. Then back downtown to a posh apartment when
I was in university. I remember I changed schools a lot. My
family is Jewish, grandparents from Romania, Ukraine and Poland.
My parents were born in Canada. They were left wing when I
was a child. (Flash -- an early memory -- sitting on Paul
Robeson’s lap as a toddler -- he visited my parents
as I recall, when he gave a concert in Montreal -- this was
before he was exiled to Poland.)
was considered non-conformist, we didn’t go to synagogue
and I felt pretty much an outsider among other Jewish kids
and my classmates, most of whom had regular type middle class
parents and aspirations. I spent a lot of my free time taking
modern ballet, drama and piano classes, taught by left-wing
people my parents knew. My closest friends in primary school
were the kids of my parents' friends who thought like them.
All had left the fold, been seduced and then disappointed
by Russian communism, but they didn’t believe in God
anymore or the system but in some elusive form of social justice.
My father became a sceptic. Both parents were autodidacts,
but my mother went to college. My dad spoke many languages,
was a natural historian and knew a lot. But he was old fashioned
in some ways. Naturally in my high school years I fell into
the peace movement sort of (I was never a militant anything),
and eventually became attracted more to the countercultural
revolution. My closest friend in high school was an artistic
kindred soul girl from New York, Wendy Workman, whom I had
met at summer camp. She was very sophisticated in comparison
to my Montreal classmates, she did photography, hung out in
the Village and went to folk dance clubs, had cool boyfriends.
We wrote long letters to each other almost every day and spent
our vacations together. I inherited her group of NY friends,
her boyfriend (she became gay) and shared her dreams, ideals
and tastes in literature and fashion. She reperesented my
secret inner life. It was as if I was marking time in Montreal.
We both idealized with Joan Baez, whom we eventually got to
know through various personal connections. We were Joan Baez
groupies actually: I was a Joan Baez clone for several years:
When I was 18 I went to Québec City for the summer
to work in a department store and learn French. All sorts
of artists did portraits and drawings on the streets of Old
Quebec for the tourists and I was a lure for this caricature
artist David, singing Joan Baez songs to lure customers.
to McGill University where I played and sang in a folk duo
with my long time friend Fran Avni, who is now a performer
and record producer, mostly of Jewish revival music, out of
the San Francisco area. One year I was president of the McGill
Folk Music Society. We sang madrigals with the McGarrigle
Sisters. We brought in performers such as Sonny Terry and
Brownie McGhee, whom I had met as a young child in a lefty
you mention what kind of music or books you responded to early
blues, classical (I like the impressionists like Ravel and
Debussy a lot), and then rock, but I also had a penchant early
on for World Music, listening to Miriam Makeba, Harry Belafonte,
and also Greek, Bulgarian and Romanian music. As I child I
loved Elvis Presley in his early phase when he was singing
music lifted from race artists.
my university years I also hung out with Leonard Cohen, who
was just getting into performing music (he was known as a
novelist and poet in those days). My crowd hung out at folk
and blues clubs mostly owned by this musician and folk aficionado
Gary Eisenkraft, many greats came and played there. I met
John Hammond, Reverend Gary Davis, Jem Kweskin, Joni Mitchell,
The Mothers of Invention, Paul Butterfield to name a few.
It was quite the scene. There was no alcohol in the clubs,
only coffee. You could always get a toke of hash in the back
room, or buy beer next door at the Swiss Hut. I was also highly
influenced by Bob Dylan, however when his first record came
out my parents didn’t like his voice and I had to play
it when they weren’t around.
early influence was jazz -- I went to hear Coltrane, Dizzy
Gillespie, Monk, Sonny Rollins, plus there was the after hours
club the Black Bottom where jazz musicians played all night
after their gigs. I had this friend Sonny Greenwich when I
was at University -- he actually played on a cut of my album
which we didn’t keep. I think I preferred a more way
that influenced me in the early 60s: in jazz, specifically
Miles Davis and Gil Evans' Sketches from Spain and
French chanson, notably Leo Ferré, Jacques Brel, Edith
Piaf, and the new wave of Québec artists -- Claude
Gauthier, Gilles Vigneault, Renée Claude, Robert Charlebois,
Diane Dufresne. I later moved to rural Québec and was
one of the first English Quebec performers who sang and composed
daughter Nahani, 2 yrs. old, 1978, Montreal
mix on this record is one of the strangest I've heard (even
for an ESP disc) -- did you have a strong input on the recording
methods and mix?
said not much. We just went in and recorded live in the studio
and then it was mixed another evening. I knew nothing about
sound engineering, except that I had done sound recording
as part of a small documentary film crew. But studio sound
you play with the same musicians on the album?
in San Francisco and Mexico, on an informal basis. I used
to play a lot with Richie Heisler, but our group never really
took off, we were too dispersed and lacked discipline and
the drive to ‘make it.’
you play many live gigs? What were those like if you did?
with different friends including Fran, but later in the US,
I played mostly solo in Village folk clubs, and in '68 in
San Francisco and Mexico with the same musicians as are on
the record. I also had a lead role in the Montreal Production
of Hair in 1970. I did a lot of street singing in cafés
in Paris and in Old Montreal, and eventually when I moved
to the Gaspé and Iles de la Madeleine in the 70s, performing
in small clubs and Boites à chanson, with various musicians
who played mostly Acadian folk style music. We also went on
tour throughout the Gaspé playing local theatres and
auditoriums in all the villages along the coast. Two of our
tours were televised by Quebec’s national broadcaster.
In the 1980s a group on the Iles de la Madeleine put on a
review in the summers called La Folie des Années Roses,
based on the Golden Age la chansonette français --
period stuff by Piaf, Trenet and Montand etc. We wrote sketches
around the songs to create a kind of pastiche based on stories
and characters in a light vein with historical context (i.e.
the French Resistance, post war Left Bank Paris etc.). I always
played the role of the American in Paris, singing Bessie Smith,
Ella Fitzgerald or Bille Holliday classics. We did this for
5 summers -- the show was very popular.
Used to Think" has attained a kind of renewed interest
-- a cult status since its reissue on CD -- many people consider
it a milestone psychedelic/jazz/folk album -- it seems somehow
without boundaries -- in a genre by itself -- were you conscious
of this condition?
thought this record would go anywhere at all. Leonard Cohen
listened to it when it first came out (the last song is dedicated
to him). I remember we were sitting in my parents' living
room when I played it for him and he predicted it would perhaps
gain a very small following of people interested in experimental
musical styles. I got the feeling he wasn’t sure it
would ever be appreciated or understood -- perhaps he was
right. I am totally surprised at the interest being shown
now. Do you know that I have never received a single cent
of royalties for this album from any of its editions.
you see yourself as a spiritual or religious person?
in the formal sense, but in quest of a spiritual path for
my own life through the material surrounding of our western
culture and environment. I am interested in animism, not as
a believer of predestination nor as a blind devotee, but in
order to cull knowledge and practices from various traditions
that correspond to present needs and to my own experience
and worldviews. Being a woman with a strong feminist streak,
I reject traditional belief systems that reduce women’s
importance and place them in a secondary, subservient role.
That pretty well says it for the world’s great religions,
which are founded on patriarchy, doesn’t it. However
I do embrace rituals or traditional knowledge and practices
that reserve a place for women’s visions and sensibilities.
The environment, the importance of art and expression, music,
dance, celebration, exchange and dialogue between men and
women, and cross cultural exchange, the science and art of
meditation to replace war and physical aggression. I also
believe in astrology and Tarot as means of projecting one’s
inner subconscious, as a guide, but also as a kind of game
with one’s inner intuition, to use the imagination and
visualisation. Each one of us holds the inner secrets of how
to live our individual lives, how to choose the path we take,
we have learning tools innate in us and also in our environment
and our surroundings, in our friends who are also our guides
since they can see us reflect who we are . . . I believe in
connections and the phenomenon of significant coincidences.
But I am against the fatalist view of destiny proposed by
many traditional religions -- I believe that collectively
we still have a certain amount of individual and collective
choice or free will to sculpt or shape our own destiny with
the psychic and material tools we have inherited from past
generations. However I am hardly a traditionalist -- I believe
in delving into tradition in a contemporary way, adapting
past knowledge and ritual to our present circumstance –
a vital necessity if we wish to really deal with the crucial
issues of our age -- which are the result of an accumulation
of unresolved attitudes, inequalities, domination, and humanity’s
blindness to the ultimate beauty and perfection of our universe.
is a strong political and feminist force that runs behind
both your music and film work -- do you consider yourself
an artist or activist first? How do you balance these forces?
consider myself a militant feminist, at least I don’t
belong to feminist organisations. I am involved in several
film groups to promote documentary film and freedom of _expression
in film and television. I do believe in an active equality
for women and am interested in reflecting women’s rights
and issues in my work but as a militant filmmaker I am more
involved in fighting for freedom of _expression, specifically
for cultural diversity: more space for visible minorities
and exposure for other points of view within the mainstream
culture on radio and television, issues like that -- training
for filmmakers in third world countries, a better visibility
for African artists whose talent is mostly ignored by the
West, issues like that. I am also very involved in the diversity
issue in music.
love the range of lyricism and colourful imagery in your songs
-- I wonder if there are some other visual influences -- such
as painters or films that might have left a strong impression
with you? Do you also paint or do other forms of artwork?
to paint, and now I create images mostly using video and with
Photoshop on images taken from my camera work -- I’d
say the most visual art form I practice nowadays is video
-- I shot my last film and really enjoy cinematography. I
also like to write and have written poetry and prose. Have
written two feature film scripts (not yet produced). I do
a lot of writing for documentary proposal and treatments and
work with others on their projects in a script consultant
capacity. I like editing as well and will soon have my own
digital system up and running.
have a strong reputation as a documentary filmmaker, with
an interest in third world countries -- Could you discuss
what makes a project interesting for you and how you choose
these? To what degree is financing a problem or hurdle in
producing films you would like to do?
to be working on the connections between Africa and America
-- this has been the theme of all my personal point of view
film projects for the past 6 years. Women’s issues also
are important, and multicultural issues -- the lack of visibility
for artists of colour or of minority cultures in the mainstream
media, film, television, stage etc. I also work a lot on films
involving native issues. However ‘cultural appropriation’
has become an issue here -- people don’t necessarily
want others to make films or write books about their cultural
perspective -- they want the funds to do it themselves. I
can understand that. However so far I have been lucky no one
has criticized me or rejected me for my involvement in such
for independent documentary is less of a problem in Canada
than it is in the US -- our cultural policies, on both federal
and provincial government levels, are very supportive of arts
and culture -- we have Canadians art councils grants and also
on the provincial level in many provinces including Quebec.
We also have national (state) television with a cultural mandate
in this country, and there are agencies and various funds
where one can apply for either grants or investments. However
broadcast pre-sale commitments are the basis of this system,
without one you can't access most of the funding available.
And it is hard to find out what the broadcasters want. They
want very dramatic stories, based on personal people-oriented
approach, even in documentary. It is hard to sell most projects
to broadcasters -- they might find the theme interesting but
not like your approach as being too wide or not punchy enough.
Anything involving sex, drugs, war, violence will sell, however
it was not easy to get a broadcaster for my film on FGM. Everyone
(even PBS) wanted something done on the issue, but not if
it centered on the work being done by African women in Africa.
They wanted something their viewers could ‘relate to’.
Nevertheless, it is still much easier for us to make films
here in the west than it is in developing countries or in
countries where there is a lot of repression and no support
for the arts. So I can't complain really. It is my fault if
I am not mainstream enough to make a living with my own documentaries.
I can survive by doing other things like translating, research,
script treatements, and various other film-related tasks like
line producing. But one has to be a multitasking person to
make it as a freelance filmmaker unless one becomes a cult
director or an expert that gets invited to all the festivals.
That is not my luck, still I have a very interesting life
and am involved in all sorts of projects with interesting
people, sit on the boards of a couple of festivals and filmmaker
associations -- that kind of thing.
film would you like to make if financing was not an issue?
a few projects on the board -- two features and at least two
other docs about African issues. Too long to go into here.
you describe your film's DABLA and TABALA? Do you think there
is a chance for a wider release-- perhaps on DVD in the United
PBS didn’t buy DBAL, I think they didn’t find
it focused on one person’s case, there wasn’t
a real human interest story, it dealt with too many different
issues and aspects for their taste. They didn’t say
so but I think that was it. Also it had lots of subtitles.
It would have to make a TV sale or get into a US festival
to get more attention. However here in Quebec it played theatrically,
on television and got tons of great reviews in every conceivable
magazine and newspaper, radio and TV coverage too. TABALA
has played several times on BET in the US.
I am hoping
my new project Blues Niger will attract some interest
in the US after Scorsese's series on the Blues… we’ll
Stills from Erica's films.
you listening to any specific music today? or reading anything
listen to lots of traditional “world” music, some
blues, jazz and world-jazz fusion. We have some great radio
programs on both CBC and and alternative stations that play
music of different cultures. I don’t listen to mainstream
rock or even too much alternative techno stuff -- though sometimes
I tune in to this great late night program called Brave New
Waves on CBC which plays the cutting edge in new electronic
music. I like classical and contemporary serious music as
well (though I am not mad about anything too atonal that sounds
depressing). I really like the Bartok, Stravinsky, Mahler,
Satie, Ravel, Villa Lobos… the list goes on. I am a
big jazz fan though not a serious music collector. I listen
to public and community radio more than my own CDs.
-- that’s a whole other subject. I read lots of recent
novels and nonfiction -- intgereted [sic] in politics, history,
development issues, women's issues, and really good novelists
like Margaret Atwood, Toni Morrison, Grace Paley, and many
others, anything that’s recommended that I can get my
at night before going to sleep and in the morning when I wake
up. I usually read three or four books at a time. I am now
reading simultaneously several books on the history of blues
and jazz and ethnomusicology of Africa for my new film project.
Plus a book on African women south of the Sahara -- a collection
of essays, most interesting.
you think art can help relieve or remove some of the problems
we face today?
art is good as a practice, like yoga or dance or music. I
think art is way overrated as a social panacea for the world’s
wrongs, in that it mostly preaches to the converted. There
is also a whole snobbish elistist aura around the western
art world. I think documentary is as close as it gets to being
a useful art form in that it informs and creates awareness
about the world's injustices and about things that must be
done -- it takes people out of their own little cocoons of
comfort and individual isolation and self-indulgent misery
to see that we are relatively well off and lucky here and
that the world around us is a much more difficult place than
we are prepared to admit. Plus documentary is hard to make
-- it is an art form that is defiantly not ‘Art for
art's sake'. Nevertheless I appreciate other forms of art
too. I just think that the role of the artist is way overrated
in our society. We needlessly put artists on a pedestal, they
can make millions of dollars -- what is the purpose of that.
It just removes the artists from contact with the world around
them. The commodification of the artist is a sad fact of industrial
society -- and the star system reigns in every art form these
days. People try to ‘make it’ and forget often
what they are really striving to do in terms of self-_expression.
I admire writers or other artists who refuse to play the media
game and who see themselves as artisans rather than ‘artists’.
In Africa the griot or praise singers (a caste or class in
West Africa) do not consider themselves artists -- they are
simply griots and see themselves as fulfilling a function
as do all other people who practice a craft or plant or forge
iron or whatever. We have put the arts and the sports players
on a pedestal and made them into gods. There are so many other
people playing roles that try to alleviate human pain and
suffering or stop war (i.e. aid workers or teachers or care
givers) who will never be adulated or renowned or remunerated
for what they do -- we don’t even know they exist or
even hear about them. I don’t know why we worship art
(as entertainment) so much in western society. Perhaps it
is a sign of decadence. I also think the nature or art changes
in a society which has material over abundance. In a society
where life is a struggle art has more meaning. Here we search
for meaning in art, in struggling countries where there is
less freedom, art is more directly related to the struggle
for freedom of _expression -- and just plain freedom.
wonder if you have other recordings, lyrics or poetry that
might surface one day? Or if you have any interest in performing
or recording again?
am interested in recording again but it takes time and money.
Someone actually made me an offer recently to do a recording.
But if I do another one I would like to have certain musician
friends play with me. I also did a recording a couple of years
ago -- I have two songs on a compilation CD.
I do have
quite a few poems and song lyrics which have never been published.
I have had a few poems published and even a short story some
years ago. I do write a lot -- mostly film treatments. I work
in both English and French. Most of my recent poetry has been
CONTINUED . . . .