Back Home

Here in the winter I return to the center, the eye of the storm from which I was born.

It’s Christmas Eve-Eve and I’m borrowing my Mimi’s car, the sky is a little leaky and a strange color and I’m driving to some old haunts. I feel that overwhelming heaviness that is at once sweet and painful that comes when I’m back in my hometown, especially in the wintertime, especially when I’m alone. I pop out the CD in Mimi’s car and there’s a banana on it. It’s my band’s album. It strikes me that I’ve never listened to it in a car, or maybe I have but I’ve certainly never listened to it in a car alone. There’s a difference.

I play it. I rediscover it. Though I’ve lived with these songs for so long it feels like I’m listening to someone else. They feel like they come from another part of me, especially out of the context of the city, driving down roads I’ve travelled hundreds of times. I pay special attention to Back Home.

Back Home was written largely by Adrian while I was away in Seattle two years ago. He sent me a recording of it while I was gone, I came back and wrote some more lyrics for it, we strung it together then forgot about it for a year, then after much prompting from Regina and I it was resurrected.

Driving down the familiar highways and backroads and landmarks, I get the unnerving feeling it was written to be sung back to me right then and there, in the version in which it exists on our record, a live and breathing call from a tall far-away hallway, raw and unfiltered, the echoes bouncing like rocks falling in the valley between two blue ridge mountains.

After we made the record I obsessed over getting the word out, I made a display of holding it above my head like Rafiki in the damn Lion King so the whole animal kingdom could witness: “LOOK! Look at the thing I made!” but I didn’t really consume my own product. I didn’t listen to the record much. It felt too close. But on this day I press repeat again and again on Back Home, as if I hadn’t heard it a million times, as if there were a secret message to be uncoded to me through the sound of my own voice. I found myself fishing out memories that I didn’t even know were at the back of my brain. I found myself aching at the way the sun was hitting the dew on the windshield the way it did the first time I rode home half-hungover and elated and electric the morning after my first house party, found my eyes searching along the roads for familiar cars, though mostly everyone I knew here doesn’t live here anymore, and I’m shit at cars anyway so I doubt I’d recognize a familiar one if I saw it.

Late that night I am at a neighborhood bar, not the usual one because it was too crowded (IMAGINE!) and I am sitting with childhood friends at a bar. They are siblings and I am between their ages. The elder is married and has lost none of her childhood shine, she is like a human glass of champagne, all bubbles and sparkles and I feel so far and close to her at once. The younger is living a west coast mirror of my life, starting a band and cannonballing himself into the artist experience. The bar becomes busier and I am surrounded by other ghosts of high school past– those who left and ventured out into the wild blue yonder as well as those who stuck around, content to dig their roots deep into the Carolina blue.

The wild thing about this era of young adults is we all sort of know each other on a surface level thanks to our online alter egos, but I was still shocked to hear that they knew of Bandits, and so touched when they said they’d heard the record. I would never have dreamed that these folks would care about what I made or that I’d be able to talk with them so freely– in high school I was that weird brand of an introvert who wanted to be seen, a sort of self-manufactured outsider. I think I operated under the flawed assumption that I (and my small circle of comrades, my fellow misfit toys) dreamed more wildly or had more hunger to escape than my jock or popular peers. I know now how ridiculous that is. Almost everyone yearned to get out, in one way or another. Some of us did. Some of us didn’t. There’s no real right or wrong answer to how to do any of this, escape and transformation can happen right where you’re planted, but most of us need to switch up our backdrops a bit to get there. At any rate, we are all Home For The Holidays,™ and we small-town expats all find ourselves breathing similar sentiments into the simplest terms we can muster: “it’s strange to be back”.

Now it is December 27th and I am back in my Brooklyn apartment, back to an altogether different kind of ache. This is home, there is home. I found so much beauty and peace in this brief pilgrimage down south, but that moment in the car keeps whispering through these most recent memories of family warmth and best friend reunions; that private reckoning between my past and present life. Back Home, like some Ghost Of Christmas Past, emerged from its time capsule and transformed from a song about missing a lover to a song about return, about landing softly in the place that created you and taking stock of what’s gone and what’s been left behind. I’m grateful for this ghost, I think a good haunting can teach me a thing or two.

 

 

On Oneness

Each night I dissolve
Each morning I stitch my atoms back together
It is a painstaking process

I walk through the day a little rearranged
The hours glide or flicker or speed or loiter
And inside these moments of allotted consciousness
I am constantly collecting myself or letting myself spill over in droplets on the floor or sparks flying against the wall

When you are learning to Be A Person they don’t tell you that sometimes your soul just
Colors outside the lines of your body
And in those moments you don’t even understand what Personhood is
You think that maybe you are a thought
Or an idea or a dream or a yelp of pain
Or a moment by the sea years and years ago
Or the absence of space

But sometimes you sit in the belly of a hammock
And let the soles of your feet kiss each other
And let the corners of your mouth stretch north
And the song of the afternoon is the duet between the you and the I
And the sun and the earth don’t give a damn what you are they’re just pleased you’ve joined in
And THEN then the nameless YES enters and in between your ribs is
Every desert and every lush green thing and by god they GO together!

But this waking drifting, this cat nap transcendence — trance ‘n dance
It never stays for long
(you can’t grow roots in the belly of a hammock)

So what I do — I scoop up what I can
To add to the tapestry
Of tomorrow’s atoms
And it’s still a bitch
To put me back together again
But at least there’s a wild lovely new
Thread or two.
That should do for a while.

Preface

Before we dive in, I feel I should explain myself. Namely, the name of this venture. Names are important and valuable, and you have the right to know why what you’ve gotten yourself into is named the way it is.

The scene:

In a little yellow dollhouse suspended in time, sit 3 young humans in one straight line.

I am sixteen. He is seventeen. The other he is fifteen. I am wedged between the two, and we are sitting on a couch like a chronological stepping-stone portrait, like a neat little row of teenage complexity and burgeoning identity stacked one after the other after the other. The quaintness of the portrait: 3 wild haired kids with giant brown eyes and even gianter imaginations on a couch surrounded by impossibly perfect chachkies and a very serene and wise dog named Doug, with the implacable scent of musky nostalgia wafting around our wee heads as we stare intently forward, by golly it’s like we could be a poster or a scene from a Wes Anderson movie or something!

And well, we are watching a Wes Anderson movie.

The Dickson Brothers are introducing me to Rushmore, and my oh my I am devouring it with gusto. I have recently met the Brothers, and in the short time I’ve known them I’ve acted in a play and sang songs with one and kissed and begun to fall in love with the other and danced to Bob Dylan with both of them on a roof in Dinkytown, North Carolina so this whole arrangement is really going well so far. Anyway, here we are, watching the colorfully curated world unfold on the screen, when THE SCENE happens:

Bill Murray is walking along with the woman he and Jason Schwartzman are in love with. They are walking outside through a class of young children painting outdoors.

Walking up to an impossibly adorable kid, Bill Murray points to his easel and asks “What’s that you’ve painted?”

The child does not look up, his eyes remain concentrated on the easel, and in this moment he must decide what the hell it actually is that he’s created.

Impossibly Adorable Kid: “That’s…ahhh..uhh a jellyfish.”

Now, it’s entirely possible that Impossibly Adorable Kid fully intended to create a jellyfish and merely experienced a slight moment of hesitation while presenting his masterpiece. BUT what I saw in this 6 seconds of cinematic genius is that the child was simply throwing paint to canvas and watching the image unfold in organic tandem with the movements of his unbridled brush, and when confronted with defining it, he had to ask himself the question for the first time. And when the answer came, the fact that it was a jellyfish was a discovery for all 3 onlookers, including the artist.

This is how I create. Impossibly Adorable Kid’s method is quite similar to my own. I can’t speak for anyone else, but I suspect many artists must feel the same way. We are constantly riding the line of technique and instinct, strategy and passion, and the best stuff usually comes out when we set off on the road with an unclear destination and a backpack with a couple of tools, determination, and maybe a snack for later.

All this to say, this is the first reason for why this blog (I’m writing a blog?!) is titled the way it is.

The second reason is because my alter ego is named Bonanza Jellyfish, a riff on one of my all-time favorite literary characters Bonanza JellyBEAN, created by National Treasure Tom Robbins in his novel Even Cowgirls Get The Blues. I read this book right before Bandits On The Run formed, and when we were discussing the Very Important Issue Of Choosing A Bandit Name, Bonanza Jellyfish came to me in a sunburst of inspiration and I knew in an instant that this is what I was meant to be called. I’m sure I’ll tell you about the origins of the band and the persona of Bonanza Jellyfish and the rest of the crew at some later date, as I’m sure this introduction is already incredibly lengthy by internet attention span standards. (Is it? I do not know, friends. It’s my first time!!)

The third reason is I’ve always identified with creatures with tentacles. I was given the nickname Squidney by my childhood best friend’s father, and many of my family and friends have continued to use this name because it’s cute as shit. I still have a stuffed squid given to me by a college boyfriend that chills on my bed, and that is saying quite a lot because I have quite the track record of losing objects (RIP Tigger, my mom’s stuffed tiger from childhood that I think was sucked into a black hole when I was 11). Jellyfish and squid are certainly not the same, but I love the idea of a creature with many arms because that is how my brain feels, that’s how my art feels and that’s how my life feels, arms outstretched in many directions, occasionally following one with a very strong pull for a while til the current tosses me in another direction.

The fourth and final reason is jellyfish are amazing kickass creatures and weird as all get-out. They have no BRAIN. They have no HEART. They are BIOLUMINESCENT. They can CLONE THEMSELVES. Some species are ACTUALLY IMMORTAL– Seriously, look that up: turritopsis nutricula can return back to their younger polyp stage in times of stress. This process can continue indefinitely. STAGGERING. SCIENCE.

So, welcome to the Jellyhouse. Your guess is as good as mine how this blogventure will unfold. But I’m pretty giddy about the whole thing. I’ve journaled for about 10 years now and I’ve always really dug stringing words together, and this is the first time I’m doing it for all to see, so thank you for sharing this with me.

This is Syd the Squid or Bonanza the Jelly (take your pick, they’re one in the same) signin’ off.