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  Original Music 2009

Vehicular Man Salad

  Vehicular Man Salad

3 minutes 16 seconds| An early piece that was not a favorite until I gave it the Halloween treatment. Doubtless inspired by film composer Bernard Herrmann and anxious roadtrips. This is a nocturne of the atypical variety.

The time stamp reads 6/29/09, and that is likely for this second version where synthesizers carry the day.

Novel Icon Novel-in-Progress, excerpt 50| The next scene describes Lowell’s living situation, which is materially diminished from its previous description. This symbolically represents the intrusion of my sleep disorder into the picture, although here it is partially veiled:

Due to its dubious provenance, the calendar was removed from the box of his aunt’s possessions on his return home. It was the sort of kitsch one found in bookstore discount bins, although a preponderance of pinks, blues, and violets meant the yellow ink plate was inadvertently left out of the printing process. (Perhaps the nursing home got the calendars in a markdown.)

A passage of Bible Scripture accompanied each image, with the exceptions of November and December, which, as months, were missing. This was either intentional or ironic since the theme of the calendar was inferred to be, from its lack of human figures, The Rapture. Otherwise the artist would have proclaimed this a simple presentation of landscapes, such as found on laminated dinner place mats in similar discount bins.

Initiative was taken in tacking the staple-bound calendar to a wall, though no important date came to mind to pencil into it. The selected month was September, as the present month was unavailable.
The paired picture offered a looming mountain over a spent campfire and tent in a forest clearing. Pristine snow surrounded the site. One might suppose someone slept in the blue tent, and that the snow fell after he or she retired. It was nighttime, regardless, and stars were noteworthy in crowning the dome of the peak.

The observer bothered to count these points of white, which numbered ten. He did so because they drew attention to themselves in how they were arranged. Nature abhors a pattern, and this extended to the placement of heavenly bodies on a dark background. From this feature the artist concluded that the stars were symbolic, although little in the accompanying Bible verse informed an interpretation. The words “Watch therefore, for ye know neither the day nor the hour wherein the Son of man cometh” suggested an inconvenient time.

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