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SightShift: Identity. History of the American Cowboy uqydozeferiw. Italian Now! Level 1, 2nd edition. Vash the Stampede This is, of course, a myth, because refusing to use your sixth slot at a shootout would be stupid. Why cowboys only loaded 5 rounds in their 6-chamber revolvers? Honored Guest: Dennis Gaines uqydozeferiw. Keith and I listened attentively to Vess as he described his writing process and what he's observed from other, more academic poets. Vess talked about learning to move his rhymes into the body of the poem, rather than leaving them all at the end, and how the meaning of the poem is more important than forcing a rhyme.
He talked about how some poets not cowboy poets are forced into a certain form or style because of the institutions they work in or the positions they want to hold. Keith told Vess that since he's started coming to the Gathering and sharing his work, he has been trying to figure out the rules himself. Vess told him that the beauty of cowboy poetry, and the National Cowboy Poetry Gathering in particular, is that the poets are allowed to take risks. Each and every poet who performs at the Gathering supports every other poet. They don't compete with one another, and that's why Elko is good.
If Vess does a long poem, then Jerry will do a short poem. Vess says that is what sets cowboy poetry apart: there are no rules and everyone supports one another. Vess also mentioned the audience, and Jerry agreed that the audience in Elko is sophisticated. They allow those risks and make it possible for the poets to break the barriers between the performers on stage and the audience. I can't wait for the sessions to start on Thursday. Sure, now is the chance when I can sit for a minute and listen to some great stories, or even spend most of an evening performance in my seat, but I love the end of the week best.
Vess Quinlan and Jerry Brooks are performing each day on Thursday, Friday and Saturday; check the schedule for times and locations.
Also, take a moment to listen to the open mic sessions in the Cedar Room. You might get to hear what Keith Ward learned today. There are moments at the National Cowboy Poetry Gathering that one never forgets. I had such a moment last night. Waddie had finished his set and Andy and Andy had played a few songs when Andy Wilkinson left the stage so the younger Andy could recite a poem. Reminiscent of arguably the most important cowboy poem ever written—"Anthem," by the late Texas poet Buck Ramsey—"Mining the Mother Lode" is a plea to anyone who will listen to protect the mother-lode aquifer.
It is a poem of anger and loss, with an urgent message for us to pay attention while we still have a chance to save the aquifer and its life-giving water. Andy Hedges' recitation is beautiful and heartfelt. Here's the last stanza:. Pray that the poets and the dreamers remember it, pray that the guardians hold it in stewardship, pray that we honor it, pray that we husband it, pray for the tribe of the mother-lode aquifer, pray for the water, the sweet Ogallala lake, nourishing all who tread lightly and carefully, lightly and carefully, lightly and carefully.
Andy and Andy tell me that they have recorded the poem on their next album, which comes out in a couple of months. You simply MUST listen to this poem.
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Bring some tissue. Stay tuned. Flat Stanley came in the mail the other week. See, he was flattened by a bulletin board and now goes on adventures. He's visiting Nevada to learn about cowboys and cowboy poetry. Flat Stanley has gone on quite a few adventures while in Elko. He drove an old ranch truck. And he finished his night with some sarsaparilla that's Rooster Morris, who made Stanley his hat. He'll be headed back to Michigan next week, exhausted like the rest of us, and with lots of stories to tell his Kindergartner friends about becoming a cowboy poet.
He also made a flat horse friend, Pancake, but I didn't get any pictures of them together yet. Check back in the next few days for the story of Pancake the Paint. Fifth year stage managing at the Gathering, evidently just long enough to start remembering names and faces, and putting them together in the right combinations.
I rolled in on the train on Wednesday night, and wisely stopped at the Folklike Center Saloon before heading on to bed. The crowd was peppered with cowfolk who I knew, and it really did feel like a homecoming. Such high spirits at the Gathering, and not just from the spirits. I made my rounds through the crowd, but did pack myself off to bed at a pretty reasonable time.
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The Gathering is a marathon, not a sprint, after all. I won't recount all the to-ing and fro-ing from the first day - backstage might be interesting a lot of the time, but there's also a lot of sitting and waiting, going in search of a trash can or some tape, then checking the clock and sitting some more. I had the pleasure to be backstage for Judy Blunt's keynote speech this morning.
A super-simple gig for a stage manager - no set changes, no 'wrap it up' handwaving, no greater organizing to be looked after than just "you're next, you're up. She hit on a familiar mournful tone of loss for some of the older ways of western livestock culture.
Preview: Adam Baldwin in “The Legend of 5 Mile Cave”
She staked her opinions deep and declared them clearly. Afterwards, she commented that she was afraid she'd be met by pitchforks and torches, but I heard many more comments like Paul Zarzyski's, that Judy's speech had made him cry into his mustache. I had the middle of my day free, so I wandered doing a few regular Elko things.
Picking up some boot polish, eating a so-so sandwich, pressing on further to a great cup of coffee, impulsively buying a mouth harp. As the afternoon arrived, I headed to my rest-of-the-day gig, stage managing for Ramblin' Jack Elliott's dinner theater show over at the Great Basin College theater.
The tech crew were amazing, as always, and all the volunteers absolutely eager to help.