Tag Archives: art

Anthropology, Uncategorized

A Creepy Time at Austin’s Museum of the Weird

Something called The Museum of the Weird sounds just like the type of place I should visit.  And during my most recent trip to Austin, Texas that is just what I did.

It’s tucked away in an old building from the 19th century that was reportedly the residence of actor Johnny Depp during the filming of What’s eating Gilbert Grape.   Upon first entrance it’s just like any other curio shop that can be found in a historical part of town, selling creepy stickers, posters and books about a varied assortment of mysteries, and legends.  For twelve bucks you’re handed a receipt which acts as a ticket to get you through a turnstile in the back.

At this point you come to a couple rooms stocked full with a collection of sideshow pieces, from voodoo sculptures, jars containing preserved deformities, and movie props.  After some time spent to ponder the collection, further in the back our guide met us and delivered her brief introduction accompanied with a brief video describing the museums “prized” piece, the Minnesota Iceman, a sideshow exhibit from the 1960s.

The Iceman is the first stop on the guided portion of the tour where the body of something resembling a Neanderthal is kept incased in ice in an old deep freezer.  This was the only portion of the museum where photography was not permitted.  In the spirit of the fun that this museum is meant to be I’ll withhold any critical opinions at this point so the reader can make up their own minds when they visit.

The final leg of the tour is a dimly lit wax museum containing the likenesses of Nosferatu, Dracula, the Hunchback of Notre dame, King Kong and others.

The Museum of the Weird is a fun little stop for tourists and oddity enthusiasts in Austin, Texas.  It’s worth a visit just to see some of the aptly described “weird” displays and exhibitions of art, culture, cinematology, technology, and just plain creepiness.

Watch the video below for a glimpse at Austin’s Museum of the Weird.


Art, Music, Profiles, Uncategorized

Tyla J. Pallas, One Creative Dog

Few artists have had as much of an influence on me as Tyla J. Pallas.  It wouldn’t be too far of a stretch to say that I learned to sing by listening to this man.

I first discovered Tyla when I saw an ad for his band the Dog’s D’Amour and their album release In the Dynamite Jet Saloon in Hit Parader Magazine in 1988.  I acquired the album through some means after that, and was fairly pleased by the record.  Though you couldn’t tell by looking at the album cover, the Dogs D’Amour were doing something in strong contrast to all the other hard rock bands that were making a name in the mid and late 80s.  The songwriting was a striking and refreshing twist on the blues-infused rock and roll pioneered by classic bands such like the Rolling Stones, and Aerosmith.

On top of guitarist Jo Dog’s phenomenal slide guitar work on In the Dynamite Jet Saloon, Tyla’s gritty, bourbon-wrecked vocals defined the sound and personality of the Dogs D’Amour.  His fluctuation between growling, mumbling, and quirky melodic deliveries helped create a dynamic and distinct sound.  As the primary songwriter, Tyla’s lyrical approach was infused with the dark poeticism of Charles Bukoski, romantic and desperate.  It was quite a departure from the party-anthem bands that defined the decade.  Tunes like the ballad “How Come It Never Rains” and the acoustic “Billy Two Rivers” stand out the most.

While Dynamite Jet Saloon is a great album, it was only a couple years later when a friend moved to my hometown from England and brought with him the follow up and mostly acoustic albums Errol Flynn and A Graveyard of Empty Bottles that I really became the die-hard fan I still am to this day.  These albums were amazingly written. Everything that was good about Dynamite Jest Saloon was doubled-down on and made great. To me, these albums are what the Dogs D’Amour were all about.

The Dog’s D’Amour, A Graveyard of Empty Bottles, 1989

Each song on those records is so good it’s difficult to shine a light on any of them over the others, but “Comfort of the Devil” and “Ballad of Jack” probably stand out the most. Both exemplify the mixed styles of blues-rock and country with a distinctly recognizable English interpretation that defined the Dogs.  Not only did these acoustically dominated albums convince me of the viability of the approach in an era defined by electric guitar, it reacquainted me with my native County and Western music and put a mark on my musical delivery that is still with me to this day.

    

 

Second to the music, of course were the album covers featuring Tyla’s distinctive artwork, mostly paintings.  They were personal interpretations of the band in a style that was a mix of naïve and almost comic art, and expressionism.  As an aspiring singer and visual artist myself, I found this approach inspiring..

Over the years since these early Dog days, Tyla has produced a host of solo projects and collaborations, while his artistic abilities have developed into a well-crafted, distinct and recognizable style that is the natural visual counterpart to the wicked western blues rock that is Tyla’s legacy.

The Dog’s D’Amour, Errol Flynn, 1989

Music, Native America, Uncategorized

Pub Songs on Palafox by Jay Moody

Pub Songs on Palafox is a four song, lo-fi EP recorded in the raw as a live-air production that captures the energy and sound of a Jay Moody solo performance while busking downtown Pensacola, Florida in competition with the various sounds of a bustling city street.

Jay begins with a rowdy Irish pub tune, Dicey Reilly, about a lush of a woman who spends her life crawling from pub to pub; a sailor’s favorite. The Black Velvet Band is another classic Irish ballad about infatuation, deceit and injustice which takes us out of the pub and away from the Emerald Isle to a penal colony in Australia. Following up is Looks Like Jesus, a rockabilly-blues styled piece and a Jay Moody original tells the story illustrating the conflict between despair and ambition, shroud with esoteric imagery, set in the Southern atmosphere he calls home. Miss Constance concludes the record, a naughty Caribbean-styled tune about the perils of running with younger women.

Jay’s Creolized Swamp-Roots Music is a style deeply influenced by Caribbean rhythms, Celtic melodies, and blues.

Download Pub Songs on Palfox here.


Music, Uncategorized

Spring Greeting from Lojah

Lojah_banner 2013 - bigger

Spring is finally here and I think the weather is actually going to stick around.  It has been a little while since I last sent out an update, because I’ve been so heavily involved in working for Veterans Healthcare reform, and some pretty significant life changes that I let my regular updates slip by.

Well, I’m back at it again.  So far 2016 is proving to be a great year for me and I have some really cool updates to share with you.

MY ARTIST PAGE

For starters I opened up my artist page on Lojah.com where you can view and purchase my personally hand painted artwork, inspired by Indigenism, nature, arcane symbolism and personal vision. It’s still in its formative stages but it’s going to be great as it grows.

Turtle 4

THE MOODY VIEW

I consolidated my old blogs into a single blog called The Moody View, easier to follow and keep track of. It’s a place where I talk about art, music, culture and modern critiques. I’ll be covering a lot of my experiences as I create more art and further explore life.

I’m looking forward to hearing from you.

Link up with me by visiting some of my Lojah sites below.

Lojah.com

Facebook.

Youtube

Until Next time,

Lojah


Anthropology, Art, Holidays, Irish/Celtic, Uncategorized

Easter Rising, Easter Lily

As Easter week draws to a close I thought I’d write a little bit about my most recent painting “Easter Rising.”

www.Lojah.com

The Easter Lily is a calla lily, adopted by Irish republicans symbolically to commemorate the revolutionary combatants who died as a part of the 1916 Easter Rising.  It is traditionally worn at Easter time.  It is also used by various factions of Irish republicanism to commemorate the deaths of their soldiers and activists.

 

Easter Rising

On Easter Monday, April1 24, 1916 Irish revolutionaries took up arms against British rule in Ireland, seeking to establish an independent Irish republic.  The majority of the conflict took place in Dublin, planned and led by seven members of the Irish Republican Brotherhood Military Council.

Patrick Pearse, a schoolmaster and Irish language activist led the Irish Volunteers.  He was supported by the Irish Citizen Army led by James Connolly, and 200 women from Cumann na mBan – the Irish Women’s Council.  They seized key points in Dublin, making the General Post Office the headquarters of the uprising where they delivered the Proclamation of the Irish Republic claiming independence from Britain and the establishment of an Irish Republic.

The following day the British authorities declared martial law, and deployed thousands of reinforcements to suppress the uprising.  The streets of Dublin were in open warfare that lasted for six days.  The Irish revolutionaries put up a tough resistance and the fighting was fierce.  Frustrated British troops began engaging in war crimes against Irish civilians.

The Portobello Killings

On Tuesday, April 25 British soldiers took the pacifist activist Francis Sheehy-Skeffington hostage and used him as a human shield.  They blew up a tobacco store and captured Labour Party councilor Richard O’Carroll, two journalists Thomas Dickison and Patrick MacIntyre , and the young boy James Coade.  They executed all the captives and secretly buried them in Portobello Barracks.

The North King Street Massacre

North King Street was the scene of some of the heaviest combat between Irish and British soldiers.  On Saturday, April 29th after British soldiers succeeded in overrunning a well barricaded rebel post, they broke into the homes of noncombatant civilians and shot and bayoneted them, killing 15 men.  The soldiers then pilfered the bodies and secretly buried them in backyards and cellars.

           

There were numerous other civilian casualties suffered as a result of the British assault amounting to more than half the loss of life during the uprising.  British forces eventually surrounded the Irish factions and bombarded them into submission, laying waste to vast areas of the city.  Between the superior military strength of the British Army and the fear that more innocent civilians would be killed, Patrick Pearse ordered an unconditional surrender on Saturday, April 29.

In the aftermath the British arrested 3,500 Irish, sending almost 2,000 of them to prison camps.  The leadership of the rebellion was executed by firing squad at Kilmainham Gaol between May 3 and 12.

Even though it was technically a failure the Easter Rising succeeded in inspiring hope in an independent Ireland.  The British response to it caused a strong negative reaction in the Irish population and a wave of support for Irish independence swept across the island.  By 1919 the Irish War of Independence broke out and lead to the Anglo-Irish Treaty and the establishment of the Irish Free State.  The technical defeat resulted in the Independent Ireland it had sought to achieve.

In 1926 during the tenth year anniversary of the Easter Rising the Irish Women’s Council introduced the calla lily as a badge sold outside of Catholic churches to be worn on Easter Sunday in commemoration of the uprising and to raise relief money for the families of Irish political prisoners.  To this day it is still a symbol of Irish identity and remembrance.

Many songs have been written in commemoration of the 1916 Easter Rising.  One of the most well known and perhaps the unarguable official song of remembrance of the rising is “Foggy Dew,” written by Father Canon O’Neill.

https://www.youtube.com/watch?v=A9MRbek0JXk


Art, Native America, Uncategorized

I Started Painting: My Four Turtles

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I recently started painting. As a creative person I’ve dabbled in and experimented with several different media over the years. Along with performing arts, I’ve drawn and sketched avidly throughout most of my life and I’ve always wanted to try my hand at painting, a serious attempt far more than dabbling, but I never knew where to start and was always too busy with other pursuits to really explore this particular medium.

Well, over the past year my life has changed in some pretty fundamental ways and I found myself at a point where I could finally focus on new pursuits. At first I wasn’t even sure what to paint. I knew that if I got any good at it I would probably paint similar things to the drawings I’ve done, full of traditional Native, historic, and arcane symbolism, heavily influenced by the natural universe, and mythology.

I did some minimal research on the subject and gathered some basic supplies to get started.

In the time I was taking to make up my mind I found an Eastern box turtle drowning in a small fish pond and rescued it. It was the same species that Creek (Muscogee) women use to make their shell shakers in the Southern states. The first night I kept him in a laundry basket before I eventually released him back into the woods behind my house. That night it dawned on me that the turtle was the perfect first painting to make.

I came up in the Muscogee Creek tradition and in this tradition the Earth was created by the turtle. The turtle is the fundamental image of creation – the perfect symbol for art; and of beginnings – the perfect symbol for a new venture. And she is the perfect symbol to respect my heritage in which my life and creative pursuits tend to be grounded. I have worked for years under the name Lojah, anglicized from Loca which is the Muskogee word for turtle. As an enrolled member of the Cheroenhaka-Nottoway Tribe, my family belongs to the Turtle Clan,* so it all came together quite nicely. The Turtle would be my first painting. I opted for a traditional Native styled design that has been important to me for years with a medicine wheel on its back to represent the four directions similar to the images found throughout prehistoric and contemporary North American iconography.

So with no instruction, a few meager supplies and a whole lot of inspiration I put paint to canvass and created this.

#1 Buckskin Turtle

Turtle 1I decided to start with a general background, something just to contrast with the turtle image. I mixed up a sort of amber colored yellow and painted the background. Then I laid the turtle down. I found the medium perplexing and unfamiliar so the brushstrokes are pretty obvious in places and the color isn’t as even as I intended for it to be, but overall I was pretty satisfied for my first attempt. I later realized that the background color resembles tanned deerskin and named it Buckskin Turtle.

Naturally, my mother loved it and put in a request for one like it. It took me a little while before I got around to painting another one and by that time I wanted to make one for my sister too. I found my inspiration again and began painting.

        

 

#2 Space Turtle

Turtle 2I decided to paint another turtle for its meaning to my family and to perfect the techniques necessary to paint something I expect to become a regular staple in my catalog. I decided that it needed a more dynamic background. Since the turtle represents the earth. I figured she should be represented in space kind of like a planet. The fact that I recently watched Star Wars Episode VII, the Force Awakens is purely coincidental. This second painting took a little more time than the first one, and I experimented a little bit more with techniques like layering and scumbling. This one has more breadth and depth than #1, and I was really pleased with the results.

 

#3 Water Turtle

Turtle 3While painting Space Turtle I realized that I should do the next one on water, since the Creek Creation Story describes the turtle living in a world of water. I investigated techniques for painting water and experimented with the “z shape.” The water’s surface didn’t turn out quite like I had hoped, but the turtle was the best one yet. By the time I got into this painting I could tell that I was more comfortable with the medium. The colors are more distinct and smoother especially in the turtle. This one became my favorite pretty quickly.

While painting Water Turtle I had a realization that before I painted anything else I should paint a fourth Turtle. Four is a special number to most Native American traditions and since I had already established that I was beginning this new trade upon a traditional foundation, I decided that I should complete the circle I had begun.

 

#4 Sky Turtle

Turtle 4I painted this turtle on a sky background to represent the idea of the turtle as earth in a terrestrial atmosphere. My youngest daughter, Hailey says he’s flying.  In my opinion this is by far the best one of the four. I was a lot more comfortable working with the paints, and I felt freer to let go of some of the rigidity I had in working on the previous paintings.

 

These are my first four paintings. I plan to make a lot more, but I promise my next one won’t be a turtle.

* Being of mixed Native American heritage and active in both communities I am a part of the Muskogee Creek Panther Clan as well as the Turtle Clan of the Cheroenhaka-Nottoway nation.