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Mara Page 5

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This page is, perhaps, the simplest one to break down regards visual influence, yet probably the most complicated to break down spiritually and metaphorically.

While looking over “Idyl” and “I’m Age” by Jeffrey Catherine Jones, I was taken by the extreme shift in line quality as Jeff transitioned from brush to pen. Though this page was influenced by Jeff’s work with a pen, I will ink it with a brush. Below I have included 2 examples, one from “Idyl” inked with a brush, and another from “I’m Age’ inked with a pen.

Notice what a distinct difference in line quality, Jeff having chosen to change not only the over all style of the work, but to fully engage in the possibilities of each tool, perhaps even exaggerating the qualities of each tool to their extremes.

I’ve lost a lot of people, and I don’t know why this is so, but the loss of Jeff Jones haunts me like no other loss. It has cut deep. Knowing and learning from Jeff was a profound experience, and I doubt I’ll ever have the likes of it again. All I hope to do is, one day when the right student comes along, pass it all on to him, her or all of them.

Back to me and my work, to tell the truth, I am intimidated by Mara page 5 page, while the pencils came out with shocking ease, I fear the inks may not, that I might become stiff… only time will tell. It will be my goal to ink with the same wise hand Jeff Jones had.

The real meat of this page comes from a trilogy of dreams I had in which spirit guides, 3 different animals, came to me on 3 different nights of prophetic dreams. Rather than reiterating all that here, if you are interested, I have written extensively about those dreams. As Mara is a mythologized autobiography, I will be incorporating all 3 of those dreams into the story.

The first dream, about the Panther, you can read about by following the link below:

https://barefootjustine.com/2017/07/28/the-three-dreams-dream-1-the-panther/

The appearance of this panther has since become an important aspect of my internal and spiritual life. Once, when hounded by a territorial dog, I manifested the panther in my eyes, allowed it to possess my body, and frightened the dog with the panther’s stare, so much so that it literally slinked away with its tail between its legs. The Panther woman in me is strong, and I should call on her more often.

Prior to this dream I had been obsessed with The Panther Woman from “Island Of Lost Souls,” the fabulous film starring Charles Laughton based on “The Island Of Dr. Moreau.” The Panther Woman in that film is a character I relate to at the deepest level.

Barefoot, beautiful, vulnerable and wild…

Mara Page 4

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To help me make this dream come true, to help bring these visions and fantasies to light, become a patron of the arts: https://www.patreon.com/barefootjustine

By this point I knew, without a doubt, that this entire book was going to be based on the work that most influenced me, the work from the Warren Publications, “1984,” “Creepy,” “Eerie,” and even “Vampirella,” and artists like Alex Nino, Frank Thorne, Esteban Maroto, and especially Jose Pepe Gonzalez. Though to be honest, I have only recently become obsessed with Pepe’s work. See below, Jose Pepe Gonzalez inking with markers (a rarity).

I became obsessed with Jose Pepe Gonzalez after viewing the brilliant “Love Strip” documentaries about him and his work, find those on Youtube, they are brilliant. I fell in love with his odd mix of easy looseness and tight perfection, and through the film, his tragic personality, innocence, humor and a childishness that contributed to his downfall. Flawed artists, it seems, are attracted to other flawed artists.

And as I said before, I do a lot of research, not just into the art I love, but into anatomy, animals, how fat works, how wrinkles work, all these things influence me deeply. I am a research junkie, and fear I sometimes use it as a crutch.

I think the things that have most deeply influenced me have been Exploitation films, so I will be talking a lot about Exploitation films and directors as these blogs ramble on. To tell the truth, those films probably had as much if not more influence over me than any comics or art, especially the work of directors like Jess Franco and Jean Rollin, both of whom created images so audacious that the have continued to haunt me, for example, the below image from Jean Rollin’s “Fascination.”

Jean Rollin "Fascination"

Jean Rollin “Fascination”

But perhaps the imagery that has most haunted my erotic imagination comes from the great Master himself… Libertine, Sadeian, and genius… Jess Franco!

His absolute fearlessness and willingness to explore his darkest deepest fantasies, and on the lowest of budgets, remains an inspiration. Jess was a visionary, a hack, a madman and a master. He loved to show his heroines in all their glamorous glory one moment, and in their greasy bug-bit misery in the next. He explored any fetish that crossed his mind, yet remained always true to his nature as a voyeur. His shots are so consistently voyeuristic, so often we view his films as if we were a pervert hiding behind the plants in the apartment, or peeping through a mirror or window. Come to think of it, I need to play more with those visual themes as this project progresses past the first issue.

I think you can see in the bedraggled beauty below, just how significant an influence Jess Franco has had on me.



And, last but not least, to help me make this dream come true, to help bring these visions and fantasies to light, become a patron of the arts:
https://www.patreon.com/barefootjustine

To take Justine’s classes: https://learn.sawcomics.org/collections/justine?q=

Mara Page 3

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Become Justine’s patron: https://www.patreon.com/barefootjustine

And introducing… MARA! This is where the truth starts to shine through, the influence of of everything, DMT, Exploitation cinema, and, of course the artists that influence me, and this is where all that merges into the real me.

Early on, Berni Wrightson had a huge influence on me, and in many ways, this page was a tribute to his beautiful mad scientist laboratories, only mine is more organic, and I wanted to get away from Wrightson’s Gustave Dore obsession to remain true to my stylistic preferences. But that’s always the way with the things that influence me, once they are filtered through me, they end up looking little like the source from which I took inspiration.

…And this was also all merging with my love of research. I wanted this image to have the feel of an opium den. For me Mara is very much a “Beauty and the Beast” or “Cinderella” story, in that I am excited by the vision of her beauty surrounded by the foul and beastly, whether that foul and beastly presence be a place or an entity. Plus, at this point in the story, Mara has to be at rock bottom… or at the very least is traveling in that direction. I also have a fascination for things of the past, so a good old opium den setting was far more interesting to me than a rave.

Funny, but the truth is, my fascination with the opium den setting goes back to a fantastic old penny arcade machine I saw in San Francisco at the Musee Mecanique, I was lucky enough to find a picture of the very machine that fired my imagination… wish this was a video and we could watch it move.

I’d like to note also the “DMT toad” in the upper left. Now here is where I have to be totally straight, the entheogenic drug Mara is on is NOT actually DMT, let alone 5-MeO DMT, but a FANTASY version of DMT. Below I have included a photo of a DMT toad… the DMT is NOT activated by licking the toads, but by extracting the fluid from the sacks on the toads.

I’ve never actually had DMT from the toad, but since this is a fantasy, that seems irrelevant. The toad was more picturesque.

At this point I’d like to point out that Mara’s world isn’t so much a future world of any particular time, Mara’s world is another dimension, an alternate reality, and its logic runs on the logic of that reality, as dreams run on dream reality and fairy tales run on fairy tale reality, and Exploitation films run on Exploitation reality.

And, last but not least, to help me make this dream come true, to help bring these visions and fantasies to light, become a patron of the arts: https://www.patreon.com/barefootjustine

To take Justine’s classes: https://learn.sawcomics.org/collections/justine?q=

Mara Page 2

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As I explained in the video, page 2 was in a sense a compare and contrast between the world of Mara’s DMT visions and her “reality.” The page was laid out with the same panel dimensions, and the top panels of both pages were meant to compositionally run parallel to each other.

So, I am showing them side by side below:

Side By SIde Justine's Mara Pages 1-2

Side By SIde Justine’s Mara Pages 1-2

I think in a sense this imagery is a meditation on how entwined the realities and dimensions we live in are, the reality and dimension of our fantasies, and that of our reality.

Yet there is MOST definitely a difference between fantasy and reality, something the political correctness movement has entirely lost track of. It amazes me how quickly people will assume things about an artist’s politics or philosophy based on the fantasies in their art. I was once asked (hell… not asked… ACCUSED) by an ass-kissing gallery owner about my erotic fantasy work, “What does this say about slavery? About women’s rights?” I said, “Uhm… nothing.” I am constantly astounded at how many people cannot tell fantasy from reality. Let’s face it, most of the stuff that happens to Mara I would not want to live through, but that has nothing to do with what I might fantasize about. Fantasies should never line up with ideology, if they do, then I think you have surrendered your imagination, or perhaps chained it, to your politics. Shame, isn’t it?

OK, rant over, Just for fun, and to show how page 1 and page 2 relate even more clearly, I have merged the two pages into one below:

Justine Mara Andersen New Mara Pages 1 - 2 Merge

Justine Mara Andersen New Mara Pages 1 – 2 Merge

To be honest, I don’t really have much of a feel for science fiction, too much technical stuff, I prefer the organic quality of fantasy, but for the story to work, Mara had to start out in a world in which she feels misfit, so I had to draw environments in which I feel misfit.

Whenever I draw science fiction, I tend to turn to Syd Mead for influence, the man who essentially designed Blade Runner. I turn to him not so much to copy, but to draw influence, I also turned to Roy G. Krenkel for influence, but I could not find the Krenkel in particular that influenced elements of this page.

Below I have included a fine example of a Syd Mead, a world I admire as an act of creation, but not a place in which I would want to spend any time, a place Mara is forced to exist in… at least for now.

And, last but not least, to help me make this dream come true, to help bring these visions and fantasies to light, become a patron of the arts: https://www.patreon.com/barefootjustine

To take Justine’s classes: https://learn.sawcomics.org/collections/justine?q=

Mara Page 1 (& Classic Mara)

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Watch video above!

Old Mara Art

Old Mara Art

These entries are meant to compliment the on-camera video flip-through (TOP) I did with Tom Hart for the unfinished relaunch of my highly personal Mara comics series. At first we thought we might edit in close-ups and images from the artists that influenced me, but it seemed that a better treatment was to write accompanying blogs so the viewer can perhaps come in closer, or at least spend more time with the images I want to spotlight.

Before even going into the first page of the new Mara, I spent some time discussing “Classic Mara,” if something as utterly ignored and low-selling as my Mara can ever be considered “classic.”

Regardless, that old Mara project came from the heart, and it kept me “sane,” and drove me nuts at the same time… and kept me poor. But I felt I had something to say then, and then I thought it was important. Now, I have something to say, but being older… I no longer suffer from the delusion that it will be in any way “important.” As I often say, “I wanted to leave a mark, but I fear all I’ve left is a stain.” What kept me doing it even while it was being so utterly dismissed was that I had never seen anything like it. In other words, as familiar as I was with Exploitation Cinema, eroticism, and comics in that style, nothing sated my thirst, ONLY Mara did that. My unique vision was what kept me going.

Here she is, good old Mara! The image below was done about the time I had begun to burn out, it’s hard to believe now, but I abandoned this page because I thought it was lousy…

It ain’t!

Classic Unfinished Mara by Justine

Classic Unfinished Mara by Justine

The first page of the “New Mara” was inspired by my experiences with the psychedelic DMT, experiences which ended a couple years back. The problem with translating these experiences into art is that the DMT experience does not translate into the limitations of this reality. The DMT experience is not about seeing and hearing things, it’s more about BEING things. And worse, the DMT experience is a lot like having a handful of gold in the cave of wonders, gold that quickly turns to dust once you exit the cave.

How does one draw that which cannot be grasped, that which cannot be described or defined, or even remembered? About all an artist can do is try and recreate what the experience felt like.

I found the image below, and while it is not what I experienced, it came far closer than anything else I have seen. But imagine if the image below were in motion, the colors rotating, luminesce, and wholly immersive. All I could find to credit the artist was that it was done by “Beacon.”

I think if you look at the 2nd panel of the first page you will see that I did a variation on this image, but chose to reference the trunk of the Hindu deity Ganesh. Also note the floating circles and how they pan across all 6 of the lower panels.

Justine Mara Andersen's Mara Page 1 Detail

Justine Mara Andersen’s Mara Page 1 Detail

The grid underneath was intended to help me maintain symmetry, but I am thinking I might ink it in, it seems now to be a part of the drawing.

I was asked just yesterday if the DMT experience changed me for the better or for the worse. I stammered, and had to say that every action comes with consequences, some could be seen as positive, some as negative. All I know is that the changes have been profound and utterly irreversible. What I have learned from DMT has expanded me, and somewhat frightened me, it’s not something that should be undertaken lightly. Was it for the best or for the worst? I don’t know, but I don’t regret it.

And, last but not least, to help me make this dream come true, to help bring these visions and fantasies to light, become a patron of the arts: https://www.patreon.com/barefootjustine

To take Justine’s classes: https://learn.sawcomics.org/collections/justine?q=

Mara Intro.

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In this video I’m showing you how I live, where I work, and a little bit about who I am. Who is this madwoman creating Exploitation comics in this day and age? Just me… Justine Mara Andersen.

You’ll be seeing my room, my “psychedelic pad,” my “little slice of paradise.” Eclectic as the setting may be whenever I watch Bollywood movies in my room at night… the movies just seem to settle right into the decor, and at times it’s hard to tell where the movie ends and the room begins, especially when watching Sanjay Leela Bhansali films. At night, when the curtains are pulled, the room takes on an exotic magic that feels quite different from the vacation in paradise setting of the daylight hours.

And definitely the forest around my room has been integrated into the decor. The yellows and greens play about on the walls creating a seamlessness between the interior and exterior.

In fact, the below photo was taken directly from my room. My nearest neighbors are animals, deer, bald eagles, hawks, alligators, wild turkeys, and lots of little lizards and gorgeous green tree frogs.

I took this picture from my window, a great view right into the forest. (pic by Justine Mara Andersen)

Mara Medievalist (by Justine)

Mara Medievalist (by Justine)

And here, in this setting, in this room, is where I do my work, my drawing and my dreaming. In many ways, this relaunch of Mara seems like an exercise in madness.

Many might ask, why return to a project that was wholly ignored, sold poorly, and has been ultimately forgotten?

There is no logical answer, other than the one French exploitation director Jean Rollin gave me when I asked him why he kept creating under such adversity, he told me, if I don’t write or make films, I die.

When I began Mara back in 1989 (or so) I knew nothing about her or her world, nor did I know how to draw or tell a story. Of course the image above is from one of the last Mara books, and is quite accomplished, but in so many ways Mara has never left me. Even if the rest of the world chose to ignore her, and ignore me as an artist, she and I have always been one.

And even if many want to call me out for “sexualization” or being somehow anti-feminist for drawing good old fashioned romantic erotic fantasy, Exploitation, I no longer care because that, too is part of me. I don’t do this for money, I don’t do this because “sex sells,” or to be a “sell-out,” I do this because it’s the truth of who I am.

Be careful when judging a person’s art, when assuming their motives. Very often the anger of the viewer is the only lens through which they can see art that does not conform to their ideologies.

I guess if you don’t like Mara, you don’t like me, and you know what, that’s fine by me. As deep as I am into this incarnation, if I’ve learned anything, it’s that I no longer expect to be loved by all.

All I can do is love what I do and tell the truth, and let the chips fall where they may.

Oh, and funny note about the above Mara panel… that word balloon “I feel like a Victorian” was a direct reference to how dismissive David X Cohen was of my work when a friend delivered it to his desk in the hopes that I might be able to find work with the Simpsons (by the way, I had sent in cartooning samples, not just Mara), he tossed it aside and said, “It’s too Victorian.” Well like when Lennon said all McCartney did was write silly love songs and Paul wrote “Silly Love Songs” in response, I did the same here.

What’s so wrong with being Victorian anyway?

And, last but not least, to help me make this dream come true, to help bring these visions and fantasies to light, become a patron of the arts: https://www.patreon.com/barefootjustine

To take Justine’s classes: https://learn.sawcomics.org/collections/justine?q=

Sold Out Performance!

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Well, what a thrill that was. For the first time in my life I got to perform before a sold out house! The pic. of me on the poster was originally taken especially for a failed romance (I sent it to the presumed long-distance lover… who arrived and went down like a mouthful of sour milk). Needless to say, after investing so much emotional energy in what turned out to be a depressing disaster rather than a sweeping romance, I have not been happy lately, but rather depressed and hurting. Frankly, a bit in despair.

Christmas was a bitch. Humbug indeed.

The good news is I have begun to feel better, and seeing that same picture on the poster for an event that was as grand as this one turned out to be not only revitalized my tired body and mind, but changed the way I view the photo. I no longer see it as a pic. I took for some loser, but as a pic. that was used to promote a sold-out and standout event!

Tonight was it, the Gainesville Story Summit in which the three storytelling communities in Gainesville picked their best 2 storytellers each for a one-night only performance. I was initially honored to be invited to be part of it, and it was indeed an honor. Not merely because I was picked among the dozens of possible storytellers, it was also an honer because the performance was held at Gainesville’s Heartwood Stage, which is a very professional and upscale venue in Gainesville… and the show was being professionally recorded and edited. For the same reasons, for the past few months, whenever I thought about the night I was nervous as hell.

Horribly enough, I wondered if I would be able to go through with it once the time came. To tell the truth, it was not lack of talent or total and absolute public indifference to my music that caused me to set my guitar aside all those years ago, but a ten-year losing battle with that most formidable of dragons… stage fright! Stage fright… the great thief, no amount of practice or talent or preparation can slay that dragon, no numerous shots of whiskey will loosen it’s claws from our skulls. I’ve won many battles against it, but as a musician I lost the war… I wondered if I would win or lose as a storyteller.

As the big night came, I spent the day relaxing, working out my outfit, and trying not to prepare my story. This sounds like madness, but being a veteran speaker and performer, one thing I know for certain is that preparation would have changed the process, but not the performance, so I went in thinking I’d wing it. The part I really needed to work out prior to the show was the beginning of my story, or rather my entrance, but often my entrance is dictated by whimsy and circumstance. I had decided at the last minute to tell a story that was wholly different from the one I had been contemplating for months. I chose to tell the story of my experiences with the Fey in and around the stone circles and megaliths of Ireland. That story dealt with how my faith in God was entirely replaced with experience of the divine and the mystical.

I chose to wear one of my long formal Indian dresses and tights, the long red dress and gold leggings. In the Indian style, I topped it with bangles, ankle bells, a scarf, and my trademark bare feet. It’s been cold here lately, and it was only one degree above freezing by the end of the night. At least it was warm at the venue. As we all hung and paced around backstage I began to dread that I had made a terrible mistake. For a start, news was coming in that the show had been sold out, people were lined up outside, and most of the storytellers were, quite sensibly, studying their notes and rehearsing their well-prepared stories. All I knew, at long last, was how to start the story, beyond that I was placing my faith in Shiva, my center, and faith that I would vibe off the crowd and improvise. Truth be told, I was figuring I didn’t have to rehearse something I lived, something that changed me. Seemingly being the only one so recklessly unprepared, It was starting to seem like a really bad idea.

At one point as I was pacing and breathing deeply in the greenroom I began to panic, but thanks to my dedication to meditation, my understanding of the nature of reality being that which we make it, and my recollection of Bilbo Baggins in The Hobbit, I had a genuine understanding that I had a choice. Like Bilbo walking down the cavernous hall before his first encounter with Smaug, the dragon, I too walked down the hall between the backstage door and greenroom before facing my own dragon. Like Bilbo I realized, as I felt a fever of panic swelling up in me, envisioning myself freezing up and panicking, unable to go out onto the state or speak once I was in the spotlight, that such an outcome was only one option. “Here, Justine, is where you fight your real battle,” I told myself. Like Bilbo, like Arjuna, like Justine, I chose. The choice was between the reality in which I sunk into a nervous and incompetent panic, or the one where I catwalked with ankle bells jingling across the stage barefoot and in control. I chose the story I preferred. I chose to stop the rising panic and face down the dragon with confidence. After all, I am a barefoot wild woman, a panther woman, not a quivering coward.

Ha! There was a reason I was the one on stage and not among the peasants in the audience (she says with a cocky toss of the head).

I was to go on second, the first storyteller, Gail Johnson, told the kind of story that could not have been more suited to a progressive Gainesville audience as her tale took place during the election and inauguration of Barack Obama. What I didn’t know was that her story had a mystical ending. This, of course was a perfect setup for my story. I chose the mysticism of Ireland over the political anxiety of my escape from Chile as an illegal immigrant because that story was my story, as now more than ever, to me… mysticism matters.

From the greenroom I watched her deservedly leave the stage triumphant, and on the monitor watched the MC give me a brilliant introduction. It was surreal. This was like real showbiz, an elegant auditorium, a sold out show, a monitor, a green room, lights… camera… action.

I stood at the door, stage left, and felt a surge of energy as my turn to take the stage occurred. Stepping out onto the stage with a bottle of water and a shot of whiskey, and a surprising amount of confidence, I chose to fulfill the promise of her introduction, of their confidence in having chosen me to perform. The smiles and eager eyes of the audience set me at ease, and to me they looked like a crowd of happy little Ganesha’s full of wide-eyed anticipation and warm blessings.

From my first words, they were with me.

“I didn’t do any preparation for this show… as I realized that preparation would affect the process but not the performance… we’re about to find out if that was a mistake.” I took a shot of whiskey, they laughed… “This is the story of how I lost my faith…”

and I killed ’em!

Yeah, sometimes it feels good, real real good.

But I won’t tell the story here, you had to be there, I’m glad I was, and I’m glad they all were too. But I will tell the moral of the story, and that his how my faith had been replaced with experience of the mystical. Faith can be easily toppled by the words of atheists, but no words from any atheist can put a dent in a standing stone.

They applauded, and I returned to the dwarves in the greenroom victorious and with a small golden treasure stashed away inside the folds of my dress. And Smaug… he was dead!

The Monstrous Has Become Mundane (a ramble in the key of A minor)

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“The scouts report that you’ve been seen down the river,
They say you sleep with one eye open, one eye dreaming,
Did they tell you madness passes? Did they tell you?
There’s no such thing as passing madness,
The monstrous has become mundane,
Routine takes the place of pain,
Voici le temps des assassins,
You’re addicted to revolution,
Addiction is no revolution.”

Paul Kelly “The Execution” 1987

And nothing’s changed. Well it has, these lyrics now seem more like personal and political prophecy than a warm voice from the past. What do you do when the monstrous has become mundane?

I do lots of things, for one I go down to the river as often as possible, and always (always) keep one eye dreaming. Mainly I try and make it warmer and wiser within my sphere of influence, but personally, I try to let it go. If this is the reality everyone wants going into 2018, welcome to it. No one consulted me, so I guess it’s time to go deeper within. Yeah.

Om Shivoham.

” I remember I remember,
I go leaps and bounds,
I remember everything.”

Paul Kelly “I Remember”

I first heard Paul Kelly in 1987. Paul Kelly, shoulda been a household name… but in 1987, at 21 I thought I was gonna be a household name.

What a dumb ambition. It was bondage… and not the fun kind.

When I was 21, man, there were so many things pushing and pulling on me. I was dizzy, spinning, and hadn’t yet attained the courage or wisdom to know I could blow it all away in a puff of sweet smoke, let alone go deeper into letting go through meditation. With fire in the belly I wanted this and that, but whatever this or that I wanted, my family wanted anything but that and no part of this. This wasn’t their collective fault, it was just the way of things. I was headed off their path, hell, was already way out and way off their path, but I hadn’t beaten any of my own paths through the underbrush and thorns yet. Lost in the woods, like a fairy tale with stupid-looking cars and MTV. Whatever path I was on, I was the only one who thought I could make it, even lost as I was. I had teachers telling me I didn’t have what it took. Well, neither did they, but what they lacked was something I had in spades…. vision!

For all the people who told me “no,” and for all the confusion, I had a fire in the belly that drove me on. Maybe I wasn’t as lost as many, I don’t know, but knew what I wanted. If I was lost it wasn’t for ambition or dreams that had to be fulfilled, I was lost in knowing how to go about making anything happen. I mean, adults had it all figured out, right? That was what I thought as a kid, if I could just grow up it would all make sense.

It doesn’t make a damn bit of sense. Trump, progressives, “reality” television, Facebook, extremism, superhero movies, relentless war, still poor, painfully lonely, barefoot and walking the same tightrope. I was wrong, adults never had it figured out. In some ways I wish I could sit that young skinny Justine down in the grass and tell her that. Might have saved her a lot of suffering. But that’s just it, I’ve realized, she wasn’t after the answers, she was in mid-adventure. Think about it, is “The Hobbit” all about how Bilbo got home and put his ring on the mantle, knowing deep in his heart who he was, or is that story about the fucking journey!

The journey, damn straight! Being changed and bigger is grand, but how you get there is where the stories lie.

I bought a turntable this week. You know, I’ve always been passionate about music, but I prefer Country over Rock, McCartney over Lennon, and Nat King Cole over almost anyone else, but I’ve forgotten how much fun music is. Fucking CD’s and Youtube… oh and Amazon. Yep, there it is, most anything you want. But who cares? This turntable has changed my life. ALBUMS! VINYL! Fucking albums. CD’s are a bummer. I haven’t enjoyed buying music since all the people “in the know” (you know the same guys that think they’re too hip for McCartney), peer pressured me into giving up on albums to buy CD’s. But this whole thing, a return to flipping through records, checking for scratches, finding stuff from the DEEP catalog rather than the surface of the top ten, the size, the heft, the art, is bringing me back to what fun it used to be to shop for music. When you hold an album in your hand, 12 inches of glorious vinyl and cardboard, you know you’re really holding a THING, an object worthy of your time!

Funny story, McCartney knew what was worthy of his time. Back in ’67 at the time “Sgt. Pepper’s Lonely Hearts Club Band” was about to come out it was decided that the time had come to use cheaper thinner cardboard for the record covers. It wasn’t “spokesman” Lennon or “cool” Harrison that took on that, it was McCartney. He went to the top, arguing with record company executives for the thicker cardboard. McCartney knew, always did, still does, what was worth his time. Holding that album in his and in our hands was worthy of his time.

I’m holding Paul Kelly and the Messengers, “Gossip” in my hands!

As the needle hit the vinyl I laid back on the bed, the album beside me, feet up, feeling herbally “groovy,” and listening to Paul Kelly and the Messengers, it got me to thinking, thinking back, and ultimately churning the sea of milk for the nectar of life. Back in 1987 I was handed that album at Kent State, and I thought, “What the hell is this?” I wasn’t that into the lousy crap that passed for music in the eighties, and the good stuff that was out there I recognized as good, but it just didn’t grab me. God damn that wretched brittle mechanistic eighties drum snap, those grating keyboards, to say nothing of the eighties metal guitar sound. Shit. So here I was handed this album by some eighties guy I’d never heard of because I answered a trivia question at some event I was unintentionally passing through between classes, hell, I was probably skipping classes back then, and definitely barefoot.

Once upon a time I was a lousy student, but I became a brilliant one once I grew up a little. Actually, funnily enough, I did less homework, study and class attending when I consistently made the Dean’s list than I had when I was getting C’s and D’s. See, THAT I’d figured out, go to class and take as much of an active interest in the subject as possible and I’d remember it all since I had been so interested. A genuine interest in a thing will earn better grades than suffering long anxious study sessions. I soared through college… but never could apply that active interest wisdom to Algebra, I guess some things are just to evil to be conquered with wisdom.

I still don’t give a shit what X plus Y equals, and I have NEVER needed to know, either. They tried to con me into thinking that in some abstract way I’d need to know algebra… well I didn’t! What a waste of time and anxiety, all that mathematics.

Take that math!

So there I was earlier today, bringing it all back around. In the bliss of flipping through albums, of all things, there was the album I least expected to see, hell an album I hadn’t even thought of in ages. Yeah, there it was, Paul Kelly and the Messengers, “Gossip.” Funny, though that first copy was free, I had to buy this one. The difference is, now I know what that albums all about. Back in ’87, with low expectations, I put the record on and it fucking blew my mind! Christ… how come no one I knew knew how good this guy, these guys, were!

Today, fucking 30 years later, and the album held more surprises for me… for one, it sounds as fresh and stunning in 2017 as it did in 1987. In fact, it sounds BETTER now than it did then.

And I ask again… how come no one seems to know how good these guys were… or are? I mean, I’ve never really heard anyone talking about him around these parts. But looking him up, it seems he’s quite beloved and famous after all.

Is it just me? I hope so, I’d like to think he’s wildly famous and I somehow missed it.

It’s New Year today, gonna be 2018 when I wake up, how ironic that I would discover Paul Kelly again on the 30th anniversary of the album. Synchronicity is Shiva… there are NO coincidences.

And now, it doesn’t just sound good in this moment… it takes me back and forth through a single 30 year continuity, and I can see it all so much more clearly now. Paul Kelly, the message is, THAT young Justine had a lot of bad karma to create, she had a lot of anger and confusion to work through, and she had a lot of life, adventures, dreams, breakdowns, blood and gore, drawings, friends, drinking, surprises and a life of barefoot ecstasies ahead of her. Though that little Justine eventually conquered most of her fears and accomplished all her dreams, not a damn one of them turned out the way she’d expected.

Not a damn one!

It was perverse how not a bit of anything came out anything like she’d thought it would, but it was always far more crappy and far more sensational than any of her fantasies about how everything would turn out. Did I think one day I’d be performing Carter Music songs before Buddhist monks in the mountains of South Korea, or the same songs in a bar full of johns and prostitutes in the Philippines?–And by the way, is “johns” capitalized in that usage? But I digress. Did I think one day I’d be talked about by Paul McCartney, running barefoot through the swamps, or bowing before Lord Shiv? No, she couldn’t have imagined a bit of it, but she had imagined changing the world with her art. Christ, how absurd!

I may not have changed the world, but I’ve done alright in mine. Paul Kelly’s done alright too.

Here and now “Darling It Hurts” is snarling through the speakers, heavy fucking guitar, raw and perfect. As I sat there with my feet up I felt a sudden end to all the suffering I had been allowing myself to fall into the past few weeks. It just drained down from my toes and out the top of my head to stream across the bed to the floor and out the window into the swamp. It came to me… I was still that young 21 year-old Justine, and if I could just drop the neurotic bullshit, I could be in bliss. A few weeks ago I had realized how since the physiological symptoms of stress and delighted excitement are the same, and it’s me who decides which to feel, that all I had to do was stop choosing compulsively and start choosing consciously how to feel in reaction to such sensations.

Flip the switch. Bliss!

My toes tingled as they bounced to the music, below or above them (as my feet were up, which is which?) and I sunk into that 21 year-old Justine. That which is really me was there then, is here now, and will be here later. That which never changes is all that is. I am that Justine… if I am Justine at all, which I am not, but I am having a “Barefoot Justine” experience. Not bad, someone’s gotta do it.

And you know what, young Justine, it was all worth it, the hard hard work, had knocks, hard times in Korea, the poverty, the mugging, the cancer, nearly drowning SCUBA diving in Thailand, the bankruptcy, the foreclosure, the divorce, the loss of faith and family, the disillusionment, because it all led to Shiva, and because it’s not about sitting at home with my ring on the mantlepiece, it is and was about surviving the revelation that nothing is ever like it seems. But everything is alright just as it is. I was and will always be about realization… even when I didn’t know that. I’ve been working off vasanas, conquering fears, seeing the patterns, and am ever seeking.

And that, is Shiva! That is Brahman, yeah? At the very least, it is Satvic thought, and baby I need it now.

“Baby I look so fine but I feel so low,” sings Paul Kelly as I type. Now, I’m not feeling so low.

But that’s it, I think I know now that if I had the chance to talk to young Justine, I think I’d just smile and give her a thumbs up and a wink. On your way, babe, live it out, that’s your dharma.

Would I trade places with young Justine? No, because I know what she really was looking for. I know through all the shit, the adventures, the boredom, the madness, joys and disappointment, the ecstasy, stoned or sober, she was looking for liberation!

“Listening to these stories of me,” sings Paul Kelly.

Well, Paul, let me tell you some stories of me.