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U R The Shadow To My Life Song Download
Download File 🔥 https://urlin.us/2yGBmt 🔥
In the early 2000\u2019s, and I had a pretty amazing run of collaborations in songwriting. I loved that process of writing together. I always felt that I was a better writer when Margot was there to bounce ideas off of and to reign it all in. I don\u2019t readily have the full list of songs that we wrote together, but there were some great ones. Songs like \u201CShine On\u201D and \u201CThat\u2019s Kent,\u201D that played very important roles in my life as a singer/songwriter.
One of the songs we wrote was called \u201CDoes Sound Have a Shadow.\u201D It\u2019s a mysterious song full of questions that probably can never be answered. I guess those are possibly the best kinds of questions. Somehow, I can see that the silent life that I\u2019m living these days could be the shadow side of sound. I\u2019ve spent my life immersed in music making and now I lived in its shadow, silence. Possibly the \u201Cgoodbye\u201D at the end of the song is me saying goodbye to my beloved music. \u201CI see us in the wind, you and I\u2026 \u201C
To turn my face to the sun at every opportunity.
To wash in its gold like the cat does. To choose
light over productivity. Comfort
over productivity. To be kindly with myself.
To break into simpler parts. To loosen.
The moth-holed clouds of the old year blown open
to let the moon shine through. To vanquish
abstemiousness. Against deprivation.
I will practice my big antler energy. Towards
resting red deer face, the furrow in my brow
less of a comment than a natural phenomenon
and when I am threatened I will leap free and vanish
and when I am threatened I will leap free and vanish
and the space I abandon will be less-than without me.
The statement clearly says that Kendal Mountain Festival thinks not offering access to live events is a) enriching and b) adapting. To not film live events means anyone who cannot attend an event in-person is excluded from accessing it, including all the people who had been planning to access events that way this very week. The thoughtless, callous wording effectively says to readers of the newsletter that exclusion is enriching.
The announcement was both a shock and a terrible blow to me, especially as it came less than week before the festival would start. To find out through a newsletter that the festival would no longer be accessible to me or to people like me who cannot attend all or any events in-person, only a few days beforehand, is not acceptable.
Yet again, this has drained me of all joy over the festival, and also drained me of precious energy I should have been spending on my own work.
I will not waste any more of my very limited energy hitting my head against the brick wall of the festival expecting it to transform into an open door. Unless the festival shows a commitment to real change, the kind of change that admits joy for everyone, and not just the few, I cannot work with them again. This brings me great sadness, and this is what I will be talking about on Saturday: the exclusion of joy, the exclusion of community, the denial of companionship, the erasure of many voices.
1. Accessibility for audiences and performers should be considered at the earliest planning stages for every event, not tacked on as an afterthought. If you build accessibility into your planning and funding applications it will be better for everyone.
6. If you are running an in-person event strand, make sure that your in-person events are still as accessible as possible to as many people as possible too. As well as all the normal aspects of making a physical space accessible, this also means putting in place as many protections against covid infection as you can, such as making sure you have good ventilation, and requiring masks unless people are exempt. This makes it safer for everyone.
When everyone needed remote access online events became common, and people got used to speaking and attending events which were online only, on platforms which enable audiences and speakers to interact to different extents including but not limited to:
A filmed event can be shared in real time as an event happens, through a live-streaming platform, or afterwards, on a website or through eg. a youtube or vimeo channel.
There are lots of ways to film an event, from using a smart phone on a tripod, to hiring a film crew, depending on your budget and the size of the event.
3. Audio Recording of Events
Many literary festivals and event series audio-record events to create an archive that can be shared online (for eg. through soundcloud) or podcasted. This is a form of remote access that can be pretty simple to do.
If sharing audio-only provide a transcript.
This might mean not, for example, trying to run a single workshop which is simultaneously online and in-person, so the workshop leader has to go back and forth between remote attendees and people in the room with them, but instead offering two different versions of the same workshop: one in-person, and one online.
Being Hybrid: A cheap and easy guide to hybrid events by Jamie Hale and Spread The Word.
Red Door Press Keep Festivals Hybrid guide to putting events online. This has lots of handy tech info including details of what equipment you might need for live-streaming.
The Inklusion Guide. Coming soon, this will be an easy-to-use guide to best-practice accessibility across hybrid, online and in-person events.
Guides to working with disabled writers & audiences from the Society of Authors ADCI group.
We meet a pair of grey wagtails, who seem to be living in the old bank barn at the top of the road. We see them daily now, dipping in and out of the building, resting with that familiar bobbing motion on the dry stone wall.
Louie describes her own pair which could be ours:
Polly: By the end of August, the app tells us we have made a total of 1199 observations. It only counts the ones with a valid detection.
Sometimes we record our own footsteps and breathing as much as the birds.
This year, there are times we might all feel like an uncertain treecreeper, an uncertain nuthatch, uncertain siskin, uncertain goldcrest, uncertain rook.
Sometimes the app says highly likely human, and we laugh.
Polly: In the introduction he lays out how important birds were to her life, and her happiness.
Will [as Willingham]: Her keenest enjoyment was in the little expeditions, some of which we had together, in search of some rare or notable bird. Every bird was known to her, his habitat, his dates of migration, his note, his method of nesting, and all that a bird would be at most pains to conceal, was to her an open book. The Pied Flycatcher, the migratory Wagtails, the Dipper, his song, his singular habits and the discovery of his nest were an annual delight to her. The circling Buzzards were, I might almost say, her familiar friends.
Will [as Louie]: Occasional visitor only, as it no longer breeds on Loughrigg. Its quavering cry is heard in early spring, as it moves to its nesting quarters, on the rough heights (Black Fell, Hawkshead Moor, etc.) round the head of Esthwaite Lake. In the late summer of 1898, when I had word that it was unusually numerous on its breeding ground, it pushed the incursions it makes into the Esthwaite hay meadows (when these were shorn of grass) as far as this parish. Nine or ten birds were about in the last days of July.
Polly: I might have dreamt a sky lark or the ghost of a sky lark, or maybe the great great great great grandchildren of the pairs Louie hears about do still return, after all.
*
Polly: I know how it feels to have your movements limited by illness. I know how watching birds flit about can bring a kind of vicarious movement. How their voices feel like company, how their lives can make a life less small and alone. How they become dear friends to you, whether they know it or not.
On the news they warn of global famine, global economic collapse.
The world for each of us seems to be getting smaller, and bleaker.
But here, our summer migrants are arriving in number.
We record the cry and take our own guess. Hungry owl baby. Hidden in the dark. We comfort ourselves that we know the difference between an owl and a human, or we think we do, when we have a home to go into, and lights to turn on.
And when we do go in, finding we are still wearing our human faces after all, we check our human owl baby cries against recordings, and find our guess was correct.
The app says No confident Detection. The app says the voice in the night is a shapeshifter, calls her a human, then a coot, then a buzzard, then a jay. Cannot place her. Cannot assign her a body or a history.
Meanwhile, in July 2020, I had signed a contract with Saraband to write a biography of Dorothy Wordsworth, to mark her 250th, with a new angle. Dorothy is well known for her journals kept from 1798-1803, and as a woman who walked and climbed. It is less well known that in her late fifties she became seriously ill, and after five years of acute health crises, was housebound for the last twenty years of her life. Her story is one of disability history, which like many such histories, has been hidden. 152ee80cbc
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