Saturday, February 17, 2018

Get Out for Best Picture, IMO

Have now seen 7 of the Academy’s nominated movies for best picture. I won’t make a prediction, but if I had a vote, I’d vote for Get Out.  It’s brilliantly conceived, flawlessly executed (omfg, those performances!), culturally resonant at a deep level, scary, funny, and thought-provoking. I also think that Childish Gambino’s “Redbone” is as appealing and smooth an instance as I can think of in recent years, as far as a song that fits its movie that perfectly.

Shape of Water would be my next choice. The Cold War, homophobia, male privilege, and disability issues as a set of intersecting contexts is amazing and hypnotic for this kind of beauty-falls-in-love-with-the-beast love story. So good! 

But, imo, Get Out takes bigger strides in a more original and perfect way in how it relates the tropes of its genre to the moment we’re in. It is excellent, the very thing I want from art, in balancing originality and established form, and in keeping me thinking and feeling and awake and alive while I’m also being entertained and amazed.

Friday, August 11, 2017

Taking Stock

In the two years and change since I started this blog, I've published an ebook --Lunchbox Love Letters, some fun content on the YouTube channel, been published a few places, and did the really rewarding Listen to your Mother storytelling show at the AT&T Conference Center. If you've been with me on the journey, thanks! If you're new to the party, welcome! Howyadoin? How'd you find your way here?

Tuesday, May 2, 2017

Running Down a Dream

I had Tom Petty wrong for a long time. With the early Tom Petty records, what I mostly heard and liked was a certain kind of hooky rock party music (with the groove in "Don't Do Me Like That" introduced into evidence as exhibit A), and guitar-driven FM radio hits with anthemic choruses (let's go ahead and call the opening riff of "Breakdown" and the chorus of "Refugee" exhibits B And C). I was right that that's mostly what he was doing, and doing very well, at that time, and I'd have said I was a fan. But not a huge fan, just yeah, you know, I like him. For sure. Good stuff. But I was WAY wrong on his range and his depth as a writer.

I didn't even realize until well into college how much the album cuts from Damn the Torpedoes--which came out while I was still in high school--had been seeping into my deep consciousness. Was it from the radio, as deeper album cuts started to get airplay? Whatever the reason, I was playing that album--back when we used to play albums--a lot more a few years after it came out than I ever did when it was first popular. It sank in. By then, his 80s songs like "The Waiting" started me noticing and admiring the man's writing. And I liked "You Got Lucky." Still, Damn the Torpedoes was the main jam.  "Louisiana Rain," became one of my go-to songs, a card up my sleeve, for a certain kind of slightly-unexpected-but-always-glad-to-hear-it moment that might show up about halfway through side A if I was making a mix tape. And "Here Comes My Girl" was a jukebox staple in my Chapel Hill years, and I began to notice how cool the band dynamic was on that one, how rough the sound is when Tom is talking through the verses about life as struggle, but then how pretty, how smooth and uplifting the guitar arpeggios and Tom's vocals are when it moves to the chorus, such that the music, the whole sound of the record, matches the lyrical theme, that love can lift us out of struggle for a time, and can make us strong enough to step back into that struggle for another day. It's one of Tom's best vocal performances, pretty much showing off the whole sonic and emotional range of what his voice can do, and the band rises to the occasion as well as I can imagine. So, with early Petty hits, and especially the Damn the Torpedoes album, I was an early casual fan with a slowly-emerging sense that, oh, this guy, and This Band, are maybe something special.

When Southern Accents hit, I loved it, the yearning title track, the wtf sitar and Lewis Carroll-based video for "Don't Come Around Here No More," and, in my not-really-very-humble opinion, Tom's most under-rated song: "Dogs on the Run."

And then later, I liked his work with the Wilburies a lot, loved the Dylan backup band phase, and appreciated the Jeff Lynn-produced stuff, especially instant favorite "Running Down a Dream."

The takeaway here is that my fandom of Tom Petty started lukewarm--yeah, he's good, at about the level of a bunch of other good stuff--then warmed up to much more enthusiastic fandom--oh, yeah, I *really* like that band, great stuff!

Wildflowers came out in the mid-90s, but it was years later that I got stuck on it, listened a zillion times--every song excellent, and like five of them are all time faves of mine--and by then Tom was in my top ten, moving past Neil Young, even nudging his way up there with the Beatles

And he has just stayed in rotation all these years. Never got tired of it. Always more good stuff coming out. Always cool songs I forgot about, ready to be rediscovered.

"Here Comes My Girl" was Tonie's and my first dance as a married couple. "You Wreck Me" was the first song we listened to--first line "Tonight we ride, right or wrong"--on an amazing road trip we went on, just the two of us. We saw Tom play a show with one of my longtime favorites, Jackson Browne, and we then spent a week in the mountains of NC. That trip was definitely a game-changer for our relationship. Tom's "Have love, Will Travel" became a big song in our bubble.
And happenstance matters with music. When we sat up with our dying cat Ringo, on the night he passed on, the song "Wildflowers" was playing on the playlist when the last moment came. One time when I was crazy-stressed, hoping for a job offer, seriously worrying about the future, "the Waiting" came on the radio, like a hand on my shoulder saying, damn, man, try to be at least SLIGHTLY cool, okay? And a zillion things like that.

And the writer becomes your friend, who's been there with you for Some  Stuff. That's a lot of why it brings a tear to the eye when we are all singing along on "Learning to Fly" ... because we all started out on a dirty road, for god knows where, guess we'll know, when we get there, and there's that connection ... that for all of us, this band and these songs kept us company for that.

And what songs! The depth is amazing; so many great songs, even ones that are relatively unknown. 

Check out "Square One," from Highway Companion--as good a song as you'll find about rebuilding after hard stuff happens in your life (about which, btw, it has or it will, or both), about coming out of that scorched earth and taking a breath, looking ahead again. Check out "Fault Lines," from Hypnotic Eye-- a Yardbirds-sounding 60s groove with vivid lyrics about how we are all of us kinda patched together, not as whole as we want to appear, and what a balancing act life can sometimes be. And sure, plenty of lighter fare, but I like the writers who can talk in real (meaning layered) ways about life's ups and downs.

So, anyhow, tonight I'll go see Tom, going with one of my best friends, along with my youngest son and one of his best friends, and we'll holler and clap and sing along, gonna be be working on that mystery, going wherever it leads.

Thursday, July 28, 2016

My first Ebook is now available through Amazon, and I've cracked the top 500 in the Short Reads/Romance categories, which is awesome! 

Also, I am really grateful for this blurb from best-selling author Ernest Cline:

"Jeff Knight is one of my favorite writers. Like its author, Lunchbox Love Letters is ridiculously romantic and funny as hell. This book perfectly captures the life of a long relationship, telling a story that will ring true to anyone who's ever traveled down that road."

Ernest Cline, best-selling author of Ready Player One and Armada

Lunchbox Love Letters

Thursday, July 14, 2016

Three Lessons from my Mother the Teacher

Remember the stories-about-mothers show I did this past May? It's called Listen to your Mother, and it's a very cool organization that does these shows in cities around the country each year. This year, the show also donated to SafePlace, which does fantastic work for survivors of domestic abuse.

Stories from the 2016 show are now available on the LTYM YouTube channel. The Austin cast was so freaking good, and I encourage you to check out the whole bunch of us.

For starters, here's my piece, titled "Three Lessons from my Mother the Teacher."

Wednesday, January 27, 2016

Busking with Harrison Part One

This’ll be a short blog post, because the video is itself kind of a vlog entry (hey, trying new things), but I can tell you that (a) this is the before (starting the project, putting it in context, preparing for the main event), and (b) we’ll do a post-busking video as well  after we’ve done the actual busking.

Sunday, November 8, 2015

American Stories One: The Luck of Roaring Camp

So, I’m a 53-year-old rookie. Very recently, I’ve released the first-ever audio track featuring my singing and playing. It’s posted for public consumption on my brand new youtube channel. I wrote the song years ago, based on Bret Harte’s story, “The Luck of Roaring Camp.” I first read the story in college, and it pulled me in with its pacing and won me over with its mix of sentimentality and darkness, and I was also taken with the tension between the narrator’s poetic language and the rough mining-camp dialogue. 

When I revisited it years later, it struck me as being even more dark, funny, and sweet than I’d remembered. Dark: it starts with a displaced Native American woman, whose circumstances have forced her into a life of prostitution, dying in childbirth at a mining camp, and gets darker later. Funny: the men at the camp are these hardscrabble anti-social types, and this results in a lot of fish-out-of-water humor as they set out to raise this orphaned baby. Sweet: they fall in love with the baby, the bunch of them, and find that there is a magic in being connected, and in taking care of someone. The rugged individualist way of thinking that has until now informed their lives gets some serious pushback by lived experience. 

Anyway, I like the mix of elements in the story. In its lyricism about a hard world, I hear some of what I like about Townes Van Zant. And I can see a just-emerging mix of themes and a storytelling style/voice  that I think informs Larry McMurtry’s writing (though McMurtry is a better writer). Harte was swinging for the fence here, hoping to become a famous writer back East while writing about the West. Mark Twain, a rival and friend before their falling out, was trying to do something similar at the same time, but “The Luck of Roaring Camp” put Harte way out in front for a while. 

Years ago, I’d gotten on a kick of writing songs drawn from famous short stories. I’ve got songs based on stories from Nathaniel Hawthorne, Louisa May Alcott, Willa Cather, William Faulkner, and others, but this one’s my favorite of the batch. I had imagined the song as a short film, and at one point engaged Austin singer-songwriter Woody Russell to do a big, lush, widescreen version of my song, but I never did get the project together on the video side (see “time and money, lack thereof”). When I recorded the demo that Woody based his recording on, he nudged me to just play and sing the song myself. Even with his encouragement, though, I wasn’t quite there yet, in terms of feeling confident enough in my playing and singing. Since then, I’ve gained some ground on both skill and confidence. 

Anyway, with help from some talented friends, I finally made the recording I wanted, and now it’s the debut video on my youtube channel. If you enjoy it, please like, share, etc. I’m not trying to get rich or famous; John Prine has little to fear from me, but I am trying to slowly build up a small but appreciative audience/readership for my poems, songs, and stories. 

Check it out!