This musician had some fun with an unsuspecting fast food worker. Delightful moment:
Does Terror Management Theory (TMT) push creativity to a head in later life. I recently ran across an article that suggests exactly this in Adult Personality Development: Volume 2: Applications, by Lawrence S. Wrightsman, Mar 15, 1994. Here’s the relevant excerpt:
Creativity can undergo a resurgence in the later years of life, and especially in life’s last years (Simonton, 1990, p. 630). Sometimes during the late 60s and 70s an increase in output appears (Simonton, 1988). This secondary peak In output may be a manifestation of an Eriksonian final-stage contemplation of death and review of one’s life accomplishments.
Does any empirical evidence exist for the existence of such a “swan song” phenomenon? Simonton (1989) examined 1,919 compositions by 172 classical music composers, assessed each of numerous aesthetic qualities, and determined how many years before the composers’ death the piece was composed. A clear pattern emerged:
As the composers approached their final years, when death was raising a fist to knock on the door, they began to produce compositions that are more brief, that have simpler and more restrained melodic lines, and yet that score high in aesthetic significance according to musicologists and that eventually become popular mainstays of the classical repertoire. It is as if when the composers see the end approaching fast on the horizon, warning that their last artistic temperaments dwell among their current works in progress, they put their utmost into every creation, yielding truly noteworthy products. (Simonton, 1990, p. 630).
For me, it’s always a challenge shooting in the dark without a flash. I had some good practice tonight at a local concert. Guitarist Dan Rubright, percussionist Ted Rubright and bass player Rick Vice comprise “Wire Pilots,” and they put on an excellent show featuring music composed by Dan Rubright. Dan’s music (all of it instrumental) is difficult to classify, but it tends to be centered around salient memorable melodies supported by complex chordal and percussive textures. A special guest for one song was violinist Daniel Schmidt, a 10th grade student at Grand Center Arts Academy. The location was the Kranzberg Arts Center Studio in St. Louis.
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While the drummers played their Afro-Cuban magic at the World’s Fair Pavilion (my previous post), this is the joy I felt (though I’m too self-conscious to dance when others are watching, damn it). The father of this little boy named Evan gave me permission to capture these moments.
Last night I road my bike across town to the World’s Fair Pavilion in Forest Park in St. Louis to take some photos. I didn’t know what I’d find–I assumed I’d be shooting a sunset. It’s a spectacular overlook at one of the many edges of one of the largest city parks in the U.S. I did find a compelling sunset, but what was equally compelling was a group of first rate drummers that go by the name of “Soularo,” including Nafi Rafat and Marcus Jones. They gave me permission to photograph part of their session.
As Jones noted hours later, drumming is like heartbeat. That is true, and it is also a powerful elixir, capable of erasing one’s woes and filling one with thirst for good-hearted life. That’s what seemed clear from watching the dozens of people who were drawn to this spontaneous gathering.
Only a few weeks ago, I spent time at this same location honoring the life of Sonny Glassberg, who recently passed away (she was the mother of a friend of mine). She gave substantial financial support to allow the renovation of this extraordinary venue.
Those of you who read music might enjoy John Stump’s score titled “Faerie’s Aire and Death Waltz (from “A tribute to Zdenko G. Fibich”). I ran across this and enjoyed its repeated moments of musical absurdity.
I searched for some background for the piece and found this:
The composition Faerie’s Aire and Death Waltz (from “A Tribute to Zdenko G. Fibich”) by John Stump is an unpublished satirical work written and copyrighted in 1980 that is best known for, simultaneously, its humor and unplayability. The piece is most often seen hanging on the walls in music rooms and orchestral settings for the musicians’ amusement, due to musical directions such as “Rigatoni”, “light explosives now… and… now”, “insert peanuts”, “Moon-walk”, “release the penguins”, and “Like a Dirigible”.