The sea was full of sheep | Joni Mitchell, Matala, Crete, 1970

Joni Mitchell  

The wind is in from Africa
Last night I couldn't sleep
Oh you know it sure is hard to leave here
But it's really not my home

Oh Carey get out your cane
And I'll put on some silver
Oh you're a mean old Daddy
But I like you

Last night I couldn’t sleep, the sea was full of sheep.

Joni Mitchell, Carey, 1970

Joni Mitchell playing the dulcimer, October 9, 1970

Joni Mitchell, Carey, Live At The Carnegie Hall, 1972 & Narration

When Joni Mitchell met Cary Raditz in early 1970, he was living in a cave in Matala, Crete.

When did you first hear ''Carey'' ?

On April 19, 1970 - my 24th birthday - in my cave. Joni played it for me as a present. She also 
gave me 10 Mickey Mouse chocolate bars. They came with these Disney character cards that 
the cave people traded. When she sang the song, I was surprised by it, since I’m the subject. 
But I wasn’t blown away. It sounded like a ditty, something she had tossed off. I believe the 
song went on longer than the final version on “Blue.” I think she changed some of the 
lines, too. As I recall, she sang something like, “Last night I couldn’t sleep, the sea was 
full of sheep.” One of the local expressions was that when the sea was choppy, the 
whitecaps looked like sheep.

Cary Raditz interview on Marc Myers

Joni Mitchell playing the dulcimer October 9, 1970

Knowledge | Paracelsus, 1493-1541

Vivian Maier, Self portrait, Chicago, 1975

“He who knows nothing, loves nothing. He who can do nothing 
understands nothing. He who understands nothing is worthless. 
But he who understands also loves, notices, sees … 
The more knowledge is inherent in a thing, the greater the love.…
 Anyone who imagines that all fruits ripen at the same time
 as the strawberries knows nothing about grapes.”

Paracelsus, 1493-1541

Μονόχορδα | Γιάννης Ρίτσος, 1979

Νικόλαος Λύτρας, Χωράφι με στάχυα, 1920

Μ' ένα πουλί προσκέφαλο, ξάγρυπνος μένω νύχτες και νύχτες.

Λέξη απ’ την επανάληψη ανανεωμένη.

Ω, αφίλητο στόμα, για το βαθύ τραγούδι.

Σώμα περιφραγμένο –  συστολή τού απείρου.

Μόνο μες στο κενό λοιπόν είμαστε ακέριοι.

 Έτσι περάσανε τα χρόνια ‒ λύκοι, λέξεις και φεγγάρια.

Μιλά η πληγή; Σωστά μιλάει.

Ελεύθερος αυτός που νοιάζεται τους άλλους.

Κάποτε, από μια σύμπτωση, βρίσκουν οι λέξεις το άλλο νόημά τους.

Εκείνοι που σε κλέβουν, σε φωνάζουν κλέφτη.

Πνεύμα της νιότης. Στήθος κοριτσιού θαλασοραντισμένο.

Πέταλο γιασεμιού, σ’ ένα ποτήρι με νερό, μακριά που με αρμενίζεις.

Αν δεν μπορέσω να το δεις κι εσύ, μοιάζει σα να μην το ’χω.

Βαθύ νερό του πηγαδιού τ' αγάλματα ποτίζει.

Ελληνική καμπύλη λόφου· ο ναός που λείπει πλέει στον αέρα.

Το σώμα το χειροπιαστό, πιο άπιαστο απ’ τον ίσκιο.

Ένα άσπρο άλογο στο κίτρινο χωράφι.

Άλλα του πήραν· άλλα τα ’δωσε. Απ’ τις απώλειες θησαυρίζει τώρα.

Δεν έχω πια μυστικά. Τα φώτα ανάψαν κάτω στο λιμάνι.

Καρλόβασι, Σάμος, Αύγ.- Σεπτ. 1979
Γιάννης Ρίτσος, Μονόχορδα

J[A-Z]Z / p1ck ( Cal Tjader Quintet | Cal Tjader Quintet, 1956

Cover: Betty Brader

Cal Tjader Quintet - Lullaby In Birdland, 1956

Cal Tjader - Vibes 
Carlos Duran - Bass 
Luis Miranda - Drums 
Manuel Duran - Piano  
Bayardo Velarde - Timbales 

Alphabetarion # Trust | Alan Wilson Watts, 1915-1973

Edvard Munch, Bathing, 1899

“To have faith is to trust yourself to the water. When you swim 
you don't grab hold of the water, because if you do you will sink
 and drown. Instead you relax, and float.”

Alan Wilson Watts, 1915-1973

This Is Just To Say | William Carlos Williams, 1934

Georges Braque, Verre, pommes, couteau [Glass, apples, knife], 1941

 I have eaten
the plums
that were in
the icebox

and which
you were probably
for breakfast

Forgive me
they were delicious
so sweet
and so cold

William Carlos Williams, This Is Just To Say, 1934

William Carlos Williams wrote a quick note to his wife one morning, a 'passing 
gesture', and stuck it on the refridgerator before heading off to work.

Otti Berger | A textile artist and weaver, 1898 – 1944/45

Otti Berger
Otti Berger, Sample of Upholstery for Tubular Furniture, 1932-1937
Otti Berger – Book (detail), mid 1930s
*Sample textile book of 22 various designs by Berger using synthetic dyes and mercerized cotton.
** Otti Berger, Children's Blanket / Nursery Carpet, 1929
Sample textile designed by Otti Berger
Otti Berger, Sample (Furnishing Fabric), 1919–1933
Otti Berger, Christmas and New Year Card, 1937                                    Otti Berger, Rug, 1930
Otti Berger, Swatches of Drapery, Wallpaper and Upholstery Materials, 1919–1933
Otti Berger, Eldrig, 1938
Otti Berger on the Balcony of the Bauhaus in Dessau, 1930            Otti Berger (front) and Lis Beyer in a rowing boat on the Elbe, 1927
Double exposure Otti Berger and Bauhaus,1930-1931
Gertrud Arndt, Otti Berger, 1932                                               Gertrud Arndt, Otti Berger in the Canteen on their last day of the Bauhaus, Dessau, 1932

Otti Berger (1898 – 1944/45) was a textile artist and weaver. She was a student and later 
teacher at the Bauhaus. Berger studied under László Moholy-Nagy, Paul Klee, and 
Wassily Kandinsky, among others. Berger has been described as "one of the most talented 
students at the weaving workshop in Dessau." 
A core member of the experimental approach to textiles at the Bauhaus, Berger experimented 
with methodology and materials during the course of her studies at the Bauhaus to eventually 
include plastic textiles intended for mass production. She applied for a patent for her textile 
designs which she called "Möbelstoff-Doppelgewebe" in 1932 and received it in 1934. She 
sold the rights to the Shriver Corporation. Along with Anni Albers and Gunta Stölzl, Berger 
pushed back against the understanding of textiles as a feminine craft and utilized rhetoric 
used in photography and painting to describe her work.During her time in Dessau, she also 
wrote a treatise on fabrics and the methodology of textile production, which stayed with 
Walter Gropius and was never published.
She was murdered in the Holocaust.

Party at Otti Berger's. Berger, back row far right, with headdress

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