- Ray Wylie Hubbard: The Grifter’s Hymnal – No Depression Americana and Roots Music
Mando Lines: “After a couple of days listening to Hymnal, my favorite track is Mother Blues, an autobiographical tune about a young Hubbard selling his dad’s car for $500 to buy a Gold Top Les Paul from a junkie. Which he plays in a Dallas club called Mother Blues for a stripper who has a thing for Poke Salad Annie. Hubbard doesn’t know all the words but he channels enough Tony Joe White to get the stripper into bed. Now his two goals in life are achieved, or so he thinks. Things don’t work out like he planned, but they work out real well, thank you. You might call it grace, even. Lucas plays lead on a Gold Top and you realize that this song is about him and about grace visited on a grifter and a gifter of songs. As Hubbard says, “The days that I keep my gratitude higher than my expectations, those are really good days.” Amen, brother. It’s time for an altar call, I’d say.”
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About the Flaneur
I walk through my blindness the way I wander down streets in Paris: unfettered and alive, alert to the raw material of the senses. I am a flaneur. Come along with me. Just don’t try to take my arm, unless I ask. What’s a flaneur? Read the first post, Return of the Flaneur to Galerie Vivienne. After that, try Foot Rage and the Blind Flaneur. Then stay tuned.
Letting Go of Sight
I’ve canoed on Lake Superior for almost as many years as I’ve been losing eyesight. I return year after year like a migrating loon to learn the other side of a slow, uncertain process that we could call “going blind.” After 35 years with the lake as my teacher, I know what lies on the other side. I call it letting go of sight. Read Big Water. See more about the Great Lakes.
Not This PigIf there is an emerging genetic underclass, I could run for class president or class clown. Read more in Not This Pig (2003).
Media in Transition @ MiT
Disabled Americans today have to negotiate for the kinds of accommodations made for FDR, and the caveat “reasonable accommodation” is built into the law. President Franklin Roosevelt did not have to negotiate. He could summon vast resources of the federal government – money as well as brains – to accomplish the work of disability. And it was accomplished with such thoroughness and efficiency that its scale could be called the Accessibility-Industrial Complex had it been directed toward public accommodations and not solely the needs of a single man. Read FDR and the Hidden Work of Disability [MiT8 2013]
Shepard Fairey claimed that his posterization of a copyrighted AP news photo of Barack Obama was a transformative work protected by the fair use doctrine. In other words, it was a shape-shifter. I claim fair use, too, when I reproduce and transform copyrighted works into media formats that are accessible to me as a blind reader. Read Shape-Shifters in the Fair Use Lab [MiT6 2009]
The social engineers who created a system for licensing beggars in New York never imagined that a blind woman had culture or could make culture. She herself may not have imagined it, either. In the moment when Paul Strand photographed her surreptitiously on the street in 1916, he could not have expected that one day blind photographers would reverse the camera’s gaze. Read Curiosity & The Blind Photographer. [MiT5 2007]