Brookline/NYC/Netflix

Trips back to Brookline over the last few years have largely been spent in and around my mother’s kitchen. When we’re not eating there, food is being prepared for the inevitable guests. Then there is clean-up and dishwashing after they’ve left. I’ve drawn and painted bits and pieces of this room many times. This time the wall of knives caught my eye. So many tools, implements, time, and serving-wear are required to host the parade of visitors which comes through my parents’ home. It’s quite a contrast to how I’ve lived over the last year. Lop off a couple fingers and you could still count the number of people who’ve darkened my doorstep on one hand.

I took the Chinatown bus to New York City for a day and spent most of it walking. From Chinatown I went up Bowery to Union Square for coffee with a friend, then turned west and walked all the way to the new Whitney. The building didn’t make much of an impression, but I shared the elevator with Sarah Jessica Parker and a couple minutes of the Frank Stella retrospective with F.Murray Abraham. Seeing Edward Hopper’s “Early Sunday Morning” again was worth the price of admission, even without the celebrity Jew sightings.

After a forgettable slice of pepperoni pizza somewhere on 9th Avenue, I continued uptown to MoMa for the Picasso sculpture show. I’ve disliked his work for as long as I can remember. The reasons are too many to bore you with, but suffice it to say that I find most of his pictures airless and so glutted with his ego that there’s little room to breathe or to feel much of anything. This show, however, is a knockout. As with his 2-D work, the best stuff was done in the teens during his Cubist period. But there are things worth looking at in nearly every room and the fact that there’s little extraneous wall text enhances the viewing experience immeasurably. The galleries were packed, yet unlike the Matisse cut-outs show which was nearly unviewable because of the flood of guided-tour zombies, somehow there was both room and time to linger. His metal and wood riffs on guitars and violins in the Cubist room were my favorites. On my second time through that room a young couple came up next to me and the guy told his girl in his grave Russian voice, “So…this is how the man sees a guitar…”

I walked to the Lower East Side for dinner with friends at Veselka, then back to Chinatown to catch the bus to Boston. 

—Before my trip I binge-watched the new Netflix documentary series Making a Murderer. If you haven’t seen it I’d highly recommend it. So much so that I wrote about it for the Chicago Reader.

Disconnecting to Connect

For those of you who’ve been reading these newsletters this past year it’ll be old hat to hear me talk about quitting Twitter, getting rid of my smartphone, etc. but last Tuesday the Chicago Reader published a whole essay I wrote on the subject. It seems to’ve struck a chord with a few people and I thank everyone who posted it on Facebook, Twitter, and every other social network they use.

At the beginning of December I went up to Andersonville for the monthly edition of Tuesday Funk and drew the readers, including my good friend, Bill Savage. Host Andrew Huff was kind enough to post all my sketches on the show’s blog. It was also that night that Andrew told me he’d be pulling the plug on his long-running local news site, Gaper’s Block. Over the years that site has helped launch many journalists’ careers, has been one of the few news sites I’ve seen to present stories online in a calm, aesthetically pleasing way, and has been incredibly supportive of my work. It’ll be a shame to see it go but it’s completely understandable that after twelve years Andrew would be exhausted and want to move on. It’ll be missed in Chicago nonetheless.

There’ve been a lot of changes in my life over the last year as well. This newsletter has been one of the constants and as such has helped me keep my equilibrium. So I thank all of you who read it even just every once in awhile. It means a lot to me.

Bill MacKay

I met Bill MacKay a long time ago. The first time I heard him play guitar was on the patio of Letizia’s Bakery, kitty-corner to the ugliest hospital in Chicago. I don’t remember the tunes he played that afternoon but do remember thinking he was way too good to just be a soundtrack to folks lingering over muffins and cappuccinos.

In the ’80s on “Saturday Night Live” there was a bandleader named G.E. Smith. He slicked back his grey hair and wore retro duds. The guitars he played looked vintage and were undoubtedly pricey. He knew every hot lick in the book, as well as the corresponding facial expression meant to underline the deep feelings behind every last riff. The trouble was that not a note he played ever rang true. Anytime he shut his eyes and leaned back, as if under his own spell, I’d wish a piano would land on him so that just for once the emotion on that mug were real.

Bill MacKay is the opposite of G.E. Smith. He underplays when a lesser player can’t resist wailing away. Over the fifteen or so years I’ve gone to see him, I’ve heard him play jazz, pop, country, and everything in between. But there’s always a gentle, searching quality, a wistfulness, which is a quality most of my favorite music has. I’ve sketched him playing guitar more than anyone else because I never tire of wanting to witness where he’ll go next. He’s used some of my artwork to illustrate his recordings. The latest is a short set of solo guitar pieces by newly-rediscovered folkie John Hulburt. It’s being put out by the great Tompkins Square Records, which I hope widens Bill’s audience. I’m proud to have contributed a bit to his work and to count him as a friend. You can find out more about him at his site and buy the new recording here or anywhere you buy your digital entertainment. 

If you’re in Chicago, make sure and catch Bill playing with his pal Ryley Walker in the front room of the Hideout on Tuesday night.

If you celebrate Christmas, I hope you get through that.