intro’d to Hannah here with Shane:
remember how we forgot
ORIGINAL: By Shane Koyczan. If you’d like to get one of his poems emailed to you once a month, go here. And if you’d like to follow the amazingly talented Hannah Epperson, who accompanied this performance on the violin, Like her here.
where do songs come from
feb 2016 fb share
I think this particle, its energy, is what Rilke would called the “super-abundance of ordinary being,” or what I understand as the necessary excess of being. It’s this excess of being that gives meaning to life – an external frame of reference that we can use to understand the limits of our being, but which also gives us entry into a dimension of experience that exceeds the self, where..
the currency is connectivity, openness and the sensation of something infinitely vast ‘passing through.’ This is where music comes from, this is what art is always yearning to express,
this is what the ordering principles of religion, philosophy, and language attempt to recognize. And of course, the nature of this kind of ‘energy’ (for lack of a better word) is inherently unrecognizable, unnamable, and so far beyond our methods of harnessing and laying siege to that it’s the safest place we’ve got left.
So many human hands devoted to making and evolving an instrument from the forest! A wooded box for spirited digits to give expression to the unbelievable ecstasy and agony of being alive, of being conscious, of having a conscience and a myriad of impulses that often find each other at odds. Imagine this! To make a wooded box where vibration and resonance can wrestle these complexities into the open! I don’t take it for granted, that I have the good fortune of knowing an instrument, of having an instrument, this tremendous tool for expressing the vastness of my own internal universe and its earnest attempt to recognize itself in others. It’s no joke that I find myself speechless every night I play a show, where I am joined in a room with all of these other bodies that are churning and aching and feeling and suppressing so much. The gratitude I have to share a space with other people, to have their attention and support and willingness to collectively transport themselves and each other into a shared reality.
a and a ness
I just couldn’t do it without you. I am because you are. This truth hits me with epiphany-force every day. And I want you to know it, I suppose, because we need each other an awful lot, and what a sorry affair, to deny the joy and fulfillment of feeling needed, and of empowering others by needing them too.
it’s still 12,000 miles of distance between the farthest distances on this big beautiful spinning ball.
I hope you enjoy this song, Farthest Distance.
we are the farthest distance apart
i can’t even find…silence in the wasteland
perform\speak at Sam Sullivan’s November 2013 Public Salon
1:45 – on adapting to the looping of our imperfections
Hannah shares on fb:
Sofar Sounds: Chicago caught me at my most broken in 2016. thankful for compadres Steven (Omhouse) and Sam for holding me together in the fever dreams.
I’m drinking lots of water and learning how to sleep in 2017 …
hannah epperson (@hannah_epperson) tweeted at 8:21 AM on Wed, Jul 12, 2017:
thanks stuart gilles for putting together this small piece about my song “Brother” https://t.co/2HTib43Xf7
to try and offer a space inbetween.. wrapped up in a moment of familiarity/solidarity..