Lord, it’s a mighty hard living
But a damn good feeling to run these roads

Tyler Childers, Whitehouse Road

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Don’t be so easy on yourself (don’t be so easy on yourself)
Don’t be so easy on yourself (don’t be so easy on yourself)
Rearrange the voices in your head
Remember what they said
Don’t be so easy on yourself

Drive-By Truckers (Isbell), Easy On Yourself

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And as my mind unweaves, I feel the freeze down on my knees.

Chest Fever was Garth Hudson’s moment to shine in The Band’s live performances. He was allowed to stretch out on the organ, often introducing the song with a proggy solo they called “The Genetic Method”.

Peter Viney called the lyrics “dummy words”, maybe thinking of the nonsense poetry used by Lewis Carroll in Jabberwocky.

I gave an opening argument once in the throes of an illness that left me dizzy. I’d tried to make myself look well by going into a tanning booth for the first time in my life. I can’t remember if I looked right as I stood, but I do remember sweat pouring off me as I struggled to make it through my presentation.

The responsibility of caring for clients is a privilege and burden. You don’t put down the weight just because you have a cold.

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Where there is love and inspiration, I don’t think you can go wrong.

Ella Fitzgerald

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Said the wait child, bruised ball child, pride slapped child hurts
The wait child, crest felled child, tear eyed child hurts
The wait child, bus stop child, late come child hurts
The wait child, platform walk, idle talk hurts

Pretenders, The Wait

So many of my cases have involved a delay in the face of the manifest need for speed. Delays in surgery, tests, drugs, orders, delivery of a child, or a simple taking of vital signs. Catastrophic adverse events can happen slowly … then suddenly. Often, they appear in the blink of an eye but on closer inspection were blinking their warnings much earlier.

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Isadora Duncan

From New York to London, Paris to Moscow, Isadora Duncan danced her way across the world. Never one to be restricted by the rigidity of traditional ballet or the limitations of commercial performance, Duncan developed her own unique vision of dance — one inspired by nature, athleticism, and classical Greek art. “My inspiration,” she once said, “has been drawn from trees, from waves, from clouds, from the sympathies that exist between passion and the storm, between gentleness and the soft breeze.” Duncan wanted to reconnect movement with emotion — “seeking that dance which might be the divine.” Following her own advice here, the “mother of modern dance,” as she became known, created an art form that was untamed, wild, and free.

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There’s nothing like a toe-tapper about a mass casualty event. When it comes down to it, that’s all the blues are about: making the insufferable thing bearable. In High Water Everywhere, Charley Patton sang about the 1927 Mississippi levee break that displaced tens of thousands. Patton lived on Dockery’s Plantation near Greenville, Mississippi, where the Army Corps of Engineers built a system of earthen wall barriers designed to control the Mississippi River. In the spring of 1927, the River flooded. The levee groaned before failing. Greenville residents are described as watching from the streets below as riverboats floated high above them on the topped levees of the cresting river before it broke. In many parts, the disaster was slow-moving. The muddy wall of water (described by some as seven feet high) moved across bottom land at a pace of fourteen miles a day. In the tense aftermath of the flood, riots and violence broke out between whites and blacks – who felt impressed into service of the recovery efforts and were forced into centralized tent camps that may have felt more like prison or slave camps.

None of this is mentioned in Patton’s song High Water Everywhere, but the feeling of dread, chaos, and confusion that permeated the Mississippi low country in early 1927 surely comes through. The blues idiom is like that – simultaneously and intensely personal and universal, putting the singer at the very center of a universally appreciated narrative of difficulty and sometimes tragedy.

Backwater at Blytheville, backed up all around
Backwater at Blytheville, done took Joiner town
It was fifty families and children come to sink and drown

The water was risin’ up at my friend’s door
The water was risin’ up at my friend’s door
The man said to his women folk, “Lord, we’d better go”

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“Was I here last night? Have you seen my car keys?”

He was despondent and couldn’t remember where he’d been the night before – he was retracing his unknown steps in the early morning light around the campground – many acres occupied by hundreds of music-loving campers. He walked off dejectedly, unsure how he was going to get out of this place. This is a tale of a brave Ulysses – his mission seemed futile and sad.

A few moments later, we heard a shout and I saw him dancing in the dirt loop road. His grin stretched ear to ear as he sang a joyful, empowering song – an old Al Green song often covered by Gov’t Mule at gatherings like this.

Life is like that sometimes, I thought. I still think about that kid when I see difficulty ahead.

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“There are no second acts in American lives.”

F. Scott Fitzgerald

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Fascinated with eastern philosophies, his quote encourages the pursuit of curiosities and passions in order to achieve true success and meaning in one’s life.

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