In this episode, we hear the familiar voice of Courtney Chapman as she tells us about the current exhibition "How Close is That to Richmond?" currently on display in the Carroll Gallery at Marshall University. Courtney has been busy over the last year pivoting to her new role as gallery director at Marshall University. "How Close is That to Richmond" is her first curated exhibit in her new role and showcases artist from throughout the state.
One such artist is Sarah McDermott (who you will also hear in this episode recording), a printmaker and professor at Marshall. Sarah gives us some insight into the piece she chose to submit for the exhibit as well as some other shows she has coming up. The closing show is July 6, 5-6:30 p.m. at this address! Please come by and say hello!
Click here for Directions to the Carroll Gallery
You can follow us on Instagram to keep up with what we're doing here.
If you enjoy the podcast, please consider giving us a review. If you'd like to reach out to us, we can also be contacted by email: themountainmadepodcast@gmail.com
MountainMadePodcast.com
Music Provided by: Darrin Hacquard
In this episode, we hear the familiar voice of Courtney Chapman as she tells us about the current exhibition "How Close is That to Richmond?" currently on display in the Carroll Gallery at Marshall University. Courtney has been busy over the last year pivoting to her new role as gallery director at Marshall University. "How Close is That to Richmond" is her first curated exhibit in her new role and showcases artist from throughout the state.
One such artist is Sarah McDermott (who you will also hear in this episode recording), a printmaker and professor at Marshall. Sarah gives us some insight into the piece she chose to submit for the exhibit as well as some other shows she has coming up. The closing show is July 6, 5-6:30 p.m. at this address! Please come by and say hello!
Click here for Directions to the Carroll Gallery
You can follow us on Instagram to keep up with what we're doing here.
If you enjoy the podcast, please consider giving us a review. If you'd like to reach out to us, we can also be contacted by email: themountainmadepodcast@gmail.com
MountainMadePodcast.com
Music Provided by: Darrin Hacquard
Hey everyone, we have a little bonus episode this week to tell you about an event that's going to take place this Thursday, july the 6th, from 5 to 6.30pm at the Carroll Gallery inside the Visual Arts Center at Marshall University, right across the street from Pullman. That event is the closing to the How Close Is That to Richmond? exhibition curated by Courtney Chappell. If you recall, courtney was one of our very first podcast recordings we put out. In that recording she mentioned that she wanted to do more in the planning of events and things of that nature. Well, now she is the gallery director for the Haldane University, so she really made that dream come to life.
Speaker 1:So this is her first exhibition that she's been able to curate from scratch. It's got a ton of regional artists in it, especially a lot of folks that we've spoken to in the past. So this Thursday, july 6th, come on down from 5 and 6.30pm, come say hello and supporta lot of great folks that put a lot of effort into all of this. So we're here at the VAC, courtney Chapman, who was like our fourth episode in that time You're like, i think I'd like to find a place to start doing shows And now it's like your full-time job. You are now the gallery coordinator for Marshall.
Speaker 3:Yeah, yeah, the gallery director, The director.
Speaker 1:You're not coordinator director, yeah, get it right. Yeah, and Sarah McDermott, who we met through a various planning thing.
Speaker 4:Yeah, very organizing.
Speaker 1:You're a printmaker by trade.
Speaker 4:Yeah, I'm the print professor. We only have one.
Speaker 1:The print. So I get pigeon molded today, but you're the best one.
Speaker 4:Even though I might like to do other things occasionally too. But no, it's just print.
Speaker 1:So they don't let you, they just keep you trapped in a room upstairs.
Speaker 4:Pretty much.
Speaker 1:And I'm showing my ignorance here Is that a whole program here at Marshall?
Speaker 4:It's an emphasis. So like sculpture, painting or emcees, and print is another one.
Speaker 1:Gotcha, sorry, ignorant, all right. So the reason we're all here is your first show that you put together, which is titled.
Speaker 3:How close is that to Richmond? So it's the first show that I was able to curate and really put together, because usually the gallery shows are planned kind of a year ahead. So a lot of the shows I inherited And we arrange a lot of outside artists to come in that are decided upon like a gallery committee And it's a super great process because we bring in a lot of really great artists. But the summer was kind of empty So I wanted to use that to kind of highlight and emphasize our community, since most of the people in the summer are going to be community members coming in as opposed to students.
Speaker 1:The reason Sarah's here is I tell people at Courtney who includes us because we just know her And Sarah is a real, true artist and actually knows what she's to. As opposed to Well as opposed to us, As opposed to us Okay.
Speaker 3:So this show is a West Virginia artist's invitational including Shannon, chase and Sarah all artists And it kind of overlaps with Governor's School for the Arts.
Speaker 1:So the closing is what day?
Speaker 3:Thursday, july 6th, from 5 to 6.30. But we have artists in the show that are going to be on the panel for Governor's School, including Sarah McDermott, matt Smith, who's our sculpture professor, robbie Moore And you just did an episode on him. He's fantastic. And I'm not sure who else is on that panel off the top of my head, probably Sasa. Oh, i think Sasa is.
Speaker 3:Yeah, but everybody in the show is a West Virginia artist, either by birth or a transplant. So varying levels of how long people have been in West Virginia into what capacity. So there's a lot of people in academia, there's people who have other jobs and still make art. So it's a wide, wide demographic of makers and artists.
Speaker 1:So it's an invitational. So how many invites did you send out?
Speaker 3:Okay, so literally I was not anticipating this many people. I was kind of banking on nobody wanting to do it And I think two people said that they couldn't based on bandwidth. But it was extremely difficult to pare it down to what would fit appropriately in this gallery And I tried to make not too many overlapping decisions. from Appalachian Dirt, which was another show I curated, but it was also a remake artist. It was hard.
Speaker 1:Okay, Sarah, So as the only real artist in this room. Another thing we should say is Courtney didn't put her own stuff in here, which is real crying shame, but that's whatever I kicked myself out.
Speaker 3:I don't invite myself, it's fine.
Speaker 1:But so do you want to like tell us a little bit about your piece that you've got in here?
Speaker 4:So it's basically the piece is a calligraph, which is a low relief plate that is built up. So instead of like carving linoleum, you're actually like making the block or the plate, which was then printed on a letterpress and actually did it at a residency in California, and so I used their wood type collection. So I printed basically the text of a covenant from Huntington. It's a race restrictive covenant, so they were basically agreements that ran with a property that said that you couldn't transfer a property to black folks, and these were super prevalent in Huntington all through the teens and twenties up until the. I think there was a NAACP decision that outlawed it in West Virginia I would have to look at the year on that So they were all over Huntington and pretty much all over the country as well, so Huntington was not unique in that regard. I can read the text if you want.
Speaker 1:Yeah, go for it. Oh my God, my vision Turn 40, and so If you can read that from here, you are like.
Speaker 4:Lead owners have agreed among themselves. I actually can't.
Speaker 3:I think like one of the most important aspects of it is the date that it runs until it's originally says like the first day of March 2020. But I mean it's stretched out for the 16th.
Speaker 4:That's wild, for like a century of racism. Yeah.
Speaker 3:And it's insane that it was like 2020. It's insane that I think a century of lawmaking is now coming to a head or coming to the end.
Speaker 4:Yeah, and I actually read that because I started doing the research in 2019. So I read that in like March of 2019. It was like what?
Speaker 4:Yeah, and then I didn't end up printing it, so a couple years later. But it's part of a bigger project that includes like two large scale screen prints that are using decorative patterns from products that were created in two factories right around the area that that print is talking about, the one that's in the show. So it's a grouping of five different prints And they'll actually be on display at Taylor Books in a show with Raymond Thompson Jr And that is opening on Saturday, july 8th. It's mostly newer work that I've been working on, but I'm pretty sure that these older pieces will be in it as well.
Speaker 1:Is this the same show that you had down at West Edge?
Speaker 4:No, it's different. It's actually mostly work that I've been making about the Owens Illinois glass factory which was on the West Side and got torn down, i believe in 1996. But it was active for a really long time. So most of the work is about that factory and what you might call welfare capitalism or other people have said industrial paternalism, so like that form of a company, that sort of like took care of its employees but really made sure that no unions formed but the entire lives of the employees were centered around that one factory. So it's kind of looking at that, which was based on our carbon material from the Kaiwowa genealogical society, because the person that runs that, her whole family, had worked at that factory, so she had a bunch of carbon material.
Speaker 1:Owens is something that I hear people talk about, say, hey, what'd you do for a living? And they're like I worked at Owens and it's like everybody at some point worked there. I feel like.
Speaker 4:No, totally. It's actually something I'm really nervous about because I'm using people's faces, So like old photographs which are people's relatives, but I just trying really hard not to use it in like a flippant way, you know, because I know that they're people's family members and that they were actually real people, but to me they're sort of like decontextualized archival objects, almost So. Anyway, we'll see. I hope some people come to the show that know some of the people and then they can hold me accountable.
Speaker 1:Well, i feel like that would be kind of a cool thing to go in and like see your dad on grandpa on the wall, not like, unless you're, like you know, arranging them riding a dragon into the gates of hell or something, i don't know, it seems unlikely, plot twist that's what she was going for Yeah.
Speaker 4:So it's mostly that work, but then I believe there's going to be this project as well about the racial dominance Nice.
Speaker 1:So back on this show. So how many people do you have in it currently?
Speaker 3:26, i think, I'm pretty sure it's 26.
Speaker 1:Who was the furthest away geographically?
Speaker 3:Do you think Morgantown or Wheeling is further? Probably.
Speaker 1:Wheeling right.
Speaker 3:Wheeling And then Morgantown. it's Jason Lee and Molly Davis. Jason Lee is the sculpture professor at WVU and Molly Davis just graduated with her MFA and may be teaching there, i think.
Speaker 4:Okay nice Is Logan Schmidt, that killer possum print Yes.
Speaker 1:Yes, did. He's such a nice person too. It's disgusting.
Speaker 3:He and his wife are just Yeah, he's another one I didn't know about until your podcast, which is freaking phenomenal, And I just he had a really cool personality and like he's somebody that you want to be friends with, And then he started like popping up at the museum and all these other places And my brother actually got me the print that's in the show last year for Christmas. He has no idea. I'm like what?
Speaker 1:It's a very full circle moment. It is.
Speaker 3:It's very cool.
Speaker 1:So did that Jason Lee guy? did he drive that down here?
Speaker 3:Yes, he scheduled an install and I'm like thinking, oh, he'll need all these tools, it'll take a little while, like I carved out my entire afternoon. I was literally unpacking Molly's to prep to get hers up on the wall And I turned around and he already had it in three minutes tops. It was impressive, but he was a super great guy. I hadn't met him before So it was a really good connection to make. He's very funny.
Speaker 1:Well, how did you meet him to even invite him?
Speaker 3:Well, i was kind of I wanted to make sure to have people that aren't all just my friends and make it a big love fest, even though that's kind of what it turned into, because I just I've made friends with everybody. I didn't know Assuming Lee, they listened to this, they're like a hater. But so I was looking both on, like the Tamra Foundation, looking at all the different universities and colleges to see who they had on faculty and staff, just to ensure a diversity in the show, both in like material, age, sex, race, like every kind of anybody who walks into this gallery can find something and identify with them or that artist or what they make. That was my hope. So I'm excited about it coming together And I feel like there's accidentally a lot of themes, like there's a lot of blue in the show And there's a lot of it feels like not everything's a portrait, but a lot of it feels like a self portrait in ways.
Speaker 4:It's pretty mixed up. I didn't actually see it until tonight because I was out of town for two weeks.
Speaker 1:This was like you work upstairs I know, but I just like feverishly working.
Speaker 4:I know I like literally come in and then go into like the nearest door so I can just like avoid everyone. Yeah, i like it.
Speaker 3:But yeah, i try to make it a mix and try to include every media, especially for the students coming in that ideally they'll find someone from their geographical location in West Virginia or see something they haven't seen before if they're coming from like a rural county, because not all high schools have equivalent or equitable art programs. So literally, try to keep it diverse but not make it insanely just chaotic.
Speaker 1:And to your point of just getting people from all over the state. You got like the Northern Portion pretty well settled. But then you've got Jamie Biggs and Chase Bowman, who I didn't realize what like a little art hub they had down there in. Concord, but that place is awesome. How from here? so this thing's up, it runs. How long is it going to be up?
Speaker 3:So it was open June 12th and it runs until July 6th. I kind of had to work within the parameters of what was already given to me, but usually our shows are about four to six weeks, i would say.
Speaker 1:And the closing again is By six.
Speaker 3:It's on a Thursday, it's from five to six thirty. We will have some snacks available and beverages and it's free and open to the public. So it'll overlap with the music that is happening in Pullman so you can come over and view some art and then go and get your ears filled. We also, which tonight is one of those nights. So on the fourth Thursday of each month this summer we're going to have extended gallery hours. Granted, after the six. This will remain empty in the Carroll Gallery until school starts back up early August, but we'll still have work in the Burke Art Gallery and in the Student Gallery through most of the remainder of summer.
Speaker 1:Which I do feel the need to say. If you're a stupid lay person like me, it's all in the same building. You come in like the VAC, and just because the lights are off and one just don't go in, that one.
Speaker 3:No. so if I mean if it doesn't have a show in it, it'll be locked. But if you have anxiety going new places, like me, it's good to know that it's all on the first floor. You can literally see in the Burke Art Gallery that it's moved from Smith Hall for anybody that was previously familiar with it, but it's moved downtown in our Visual Art Center to where you can see it from the street. So you'll see when exhibitions change out.
Speaker 3:Right now we have Christina Kearns in there with Beyond Violet and that's a collection of lenticulars and photography. It's a really great show that I highly suggest seeing in person because you really want to have that motion while viewing them and being able to step back and move around them, because they change depending on your perspective. But anyway, everything is on the first floor. You walk in Burke Art Gallery's up front, you can go into the Student Art Gallery, which has work from our past Studio Capstone students. So it's kind of students that will be coming up and exhibiting their capstone this coming fall. It's like a sneak peek of what they have plans for. And then you can come into the Carroll Gallery through the Student Gallery.
Speaker 4:Well, it's going to be a very busy weekend with stuff on Thursday happening with Pullman and here and stuff, and it's right after the Fourth of July.
Speaker 3:It's right in there. It's going to be a blast.
Speaker 1:Oh, I didn't really consider that Busy week. Very busy week Are you going to show up to all these things here?
Speaker 4:Well, I have to show up to the go. The Governor's School thing. I already agreed It should probably be at my own opening. No guarantees.
Speaker 1:No.
Speaker 3:I should come to find out.
Speaker 1:I should guarantee that I should guarantee that. So the person that hits the first door and runs upstairs to avoid people is going to be spotted in public twice.
Speaker 4:Yeah, i dig it. I'm not opposed to being in public, i just need to get work done.
Speaker 1:Dude, that's something else I always notice. I guess it's also the summer and you're probably like slow down with you like work on personal stuff. I'm not like all hours.
Speaker 4:Yeah, i mean I've been trying to put some limits around it, like I tell myself I can't stay later than eight now.
Speaker 3:Let's go to have those boundaries though, because I think, especially in a process heavy media, it can be really hard to get sucked into it.
Speaker 4:No, i get the like monofocus thing where it's just like I just want to work all night. But from experience it doesn't work.
Speaker 1:It's whenever I tend to like make a mistake and then you're screwed and Yeah, you definitely shouldn't do that with like saws or like printing presses or. Do you have a big press of stairs?
Speaker 4:Well, mostly right now I'm working in screen print, so there's kind of not a press. It's like your body is the press, so you're just like in pain all the time.
Speaker 1:I'm gonna say for a large person like yourself, makes it really easy.
Speaker 4:I mean I'm very strong, but yeah, I'm also like printing large things right now, so it is kind of painful Every time I'm like, why did I print big?
Speaker 3:We're gonna arm wrestle after the. I'm just gonna. On our new podcast the Wobbly Table. Wobbly Table.
Speaker 1:Oh Lord, all right. what else do we need to say about?
Speaker 3:Any shows that occur for the galleries will be posted on social media or you can find them on the websites. There is a faculty show coming up this fall, so Sarah will have work in it again, assuming, lee, unless there's an all out revolt.
Speaker 1:Is that like an expectation that you all put in stuff for the faculty shows?
Speaker 4:Yeah, i mean it's like peer pressure. I mean it was kind of awkward the first time the faculty show happened when I was here, i hadn't been making work because I don't know. I was like bouncing around between jobs and now I'm in like the swing of things and now I can just like make a lot of stuff. But I remember I had nothing to show. I put something really old and felt kind of weird about it, but it was fine.
Speaker 3:It's a topic a lot about, like the age of work. Nick and I talked about it because his pieces are a little older. But as long as it's still relevant to kind of what you're making, i feel like there's too much pressure put on age of work right now. That's one thing I do like about Christina's exhibit is the dates on hers. She kind of overlaps two different images or three images. Some of these images she's using are from like 2012. Her dates are like one photo is like 2012, the other one's like 2022. She lists both of those dates and that in itself on the label I think is so important to accept. I mean, this is older work but it's still mine. I'm still going to own it and just kind of refurbish it and turn it into something new which is really cool to me.
Speaker 4:For me. I don't think it's inherently bad that I was showing an older piece. It just sort of highlighted for me that I was having no time to make anything. I had no act of art practice because this job was requiring so much and because academia you just have to move around a lot oftentimes before you can finally get a stable position. I just hadn't really had an art practice for like three or four years.
Speaker 1:What were you doing in that time? if you don't mind my asking.
Speaker 4:I was adjuncting at the Corcoran College of Art and Design and then that school pretty much imploded. I was visiting professor at the University of North Florida, so I had those two moves and then that was just for a year and then I got this job. Then the first two years here were really just like setting up the studios, because the person who preceded me had a directly opposite focus, like there was no screen and things like that. So I had to kind of set up the studios and develop the curriculum and it was just like….
Speaker 1:Do work.
Speaker 4:Yeah, there was basically like no time for creative practice, which is really a third of the job, but at that point it wasn't possible.
Speaker 1:You mentioned. With your eyesight being 40, you felt like you couldn't see. It seems to be pretty normal in academia that people will you have to go from job to job until you find a landing spot, and it seems like it's a recurring theme for people to have this five to ten year stretch where they're not able to make a lot of work because of all the things you just mentioned.
Speaker 4:Yeah, just the general instability, and I mean it's a real problem with academia in general because it kind of creates a more homogenous faculty because you have to have such a long period of instability. Like I was living with my parents while I was adjuncting, but if I didn't have that family support I wouldn't be able to. So not everybody can do that. They have student loans and stuff. I was making such a small amount of money but yeah, so it really doesn't allow for much socioeconomic diversity among the faculty, which is a major problem And then we're like, oh, we need to have a better art scene, we need to do this.
Speaker 1:Well, how about this? Let's just let people afford food To live. To food.
Speaker 3:Afford, both monetarily and time-wise, and bandwidth, because once you try to afford food, it's like do you even have the energy to make anything necessarily Yeah, Well, okay, so now your new gig.
Speaker 1:I don't know, has it been exactly a year? Just about Now we're starting to hit the thing where this stuff pops up on my memories, because you guys just had your year anniversary. It's got to be like close if it hasn't already occurred.
Speaker 3:Congratulations to you all for hitting that one year mark and like doing a phenomenal job 13 podcast average. Is that a real thing?
Speaker 1:Oh yeah, I Googled that and it's like 13 as the average number of episodes. What are you on 14. No 35?.
Speaker 3:Wow, and you guys have like a roster ready to go, which?
Speaker 1:is sick, it's a problem. So if anybody like actually listens to this and like wonders, like, why the hell haven't they gone to the people that I recommended or this or that? it just did? the list is so long and we're just too Sorry, saps.
Speaker 3:Okay, but what does that say about our arts community that you have such an extensive list that there's like kind of a waiting period to not only record but to release, because you're releasing them two weeks at a time, like that's phenomenal to have that many people in our community in visual and-.
Speaker 1:Yeah, and it's a huge. Not, it's a problem for us because, like we have Jamie Biggs that will be the one before this, one more likely and then Chase Bowman, who would just keep bumping back.
Speaker 3:Why do you not like Chase? Is it because he has the same name as you? I don't want to be overshadowed?
Speaker 1:I thought so, and if you've ever met him, he is like a person out.
Speaker 2:He's so cool Love him.
Speaker 3:He is so cool He gave me the biggest hug when he delivered his pieces and I don't know if he knew I needed that that day, but I needed that that day.
Speaker 1:Something else I'll say about him is just last night he had like a little live stream of him sketching. I watched it for like 20 minutes, just like mesmerized him on phone because the dude's like super interesting. It's very cathartic to watch him do it. What I was going to say was, though a year ago you didn't have the means to make work.
Speaker 3:Mm-mm.
Speaker 1:And now, because you're employed by the John Marshall University, you got a spot now, right?
Speaker 3:Yeah, graciously. So Frederick is allowing me to work in the studio, which is really cool because the kiln I have at home is like six by six and I think I even explained that on the last one And so what I like to do is build really large. So that's been kind of problem solving on that end. So I was telling Chase earlier I'm like building a pinch pot right now. That's gonna go towards a completely different direction than a traditional pot, but just it's at least 25 pounds of clay and I literally measured the kiln.
Speaker 3:Today I'm like inches away from the top of the kiln and I'm like hetrified right now because I'm like what if this doesn't fit? But there's other kilns, but I'm like poor planning on my part. But anyway, that just it's something that I'm definitely don't take for granted right now in this time and space. And also to be able to spend eight hours a day in the community and planning what I was previously planning at like nine o'clock at night after going into bed. It's cool to have that as a full-time job, so I'm excited.
Speaker 1:So congratulations to you for making that happen within a year.
Speaker 3:Thank you. Thank you, it was definitely a surprise, but very exciting.
Speaker 1:I shouldn't have been a surprise, because you were an interim person and you drug multiple people down here to look at everything before you actually got the job.
Speaker 3:I think I bribed some of them with roosters which they love, and I'm like this is a weird thing to bribe people with, but okay.
Speaker 1:Can I ask, cause I've never been to a closing? what does the closing entail?
Speaker 3:from my own personal knowledge, It's literally just people getting together and celebrating everyone in the show and being able to view the exhibition if they haven't yet. Usually there's almost always like food and beverages of some sort, and it's just a great way to come together as a community and just celebrate the arts and get in conversation about what you're witnessing in person, which is really cool, and cross paths with a lot of people that you might see on social media, which I think is exciting.
Speaker 4:now, in 2023. It's basically the same as an opening. Yes, it's just that.
Speaker 2:that date didn't work.
Speaker 4:I suppose you get up both, but usually it's not the other.
Speaker 3:Do you know what an opening is?
Speaker 4:No, oh, what she just described.
Speaker 1:Well, so the only thing that I've ever gotten into was the other time that was here in this.
Speaker 3:Yeah, and that was a beautiful piece.
Speaker 1:Well, that was just again.
Speaker 2:It was a beautiful piece If you ever want to get into like an art show.
Speaker 1:be a woodworker, cause they're like oh, these people never like apply for anything, So you can be the token woodworker like Chase.
Speaker 3:So most exhibitions, though and exhibitions are just like art shows or collections either one artist, two artists or a group show, like what this one is They usually will have some sort of to dumb it down like a party or a ceremony or an opening or closing reception, and that's to highlight and allow the community or patrons to come in and meet the artists, talk to them further about their work and just have kind of organic conversations and just build relationships in that community to make it stronger, which is cool. It's a lot of fun.
Speaker 1:It's been missed, i think, in COVID and post COVID, so that was what I was gonna say is that was during COVID. So then it was like well, i didn't really do that cause it was on zoom and I didn't know how to do zoom at the time.
Speaker 3:Like some of my favorite times were when Nick had an apartment or earth and like he was flipping shows literally every month and the openings were on Art Walk. Or like the third Thursday for Charleston. It was off the chain. It was so cool Like you got to meet everybody and just like talk to them, just like get hyped up about making and get that energy and then take that back to the studio with you. And I think that somewhat came to a full halt in some ways for people who really like thrive in that environment or like to connect with others face to face. So I'm excited to hopefully get more interest and more attendance in a safe way, of course, but All right, so Oh wait, no I have a question for Shannon.
Speaker 3:How's the drones going. What are the funny? One and a half times, do you like it? Yeah, i love it.
Speaker 2:I just need to do it more.
Speaker 3:Yeah.
Speaker 2:Yeah, and also you've been punked. Your piece was really not supposed to be in the show.
Speaker 3:It's definitely an elaborate prank by me and Chase, that's fine, That isn't No, your piece is fantastic.
Speaker 2:She is alluding to Shannon's social media. Yeah, oh yeah yeah yeah, i'm sorry.
Speaker 3:Shannon does fantastic photography and I want to punch him every single time, him, or Chase down themselves, because their pieces are phenomenal. Oh, thank you, and you guys should definitely come down and see them in person, and you did a fantastic job. Oh, thank you So thank you for being a part of it. Sincerely Thank you Yeah.
Speaker 2:Well, you've been listening to all those voices inside your head. I think you want to open up a bottle of pills and just lay around in bed And the cold black water comes rushing in over your head And then down again. Better hold on to what you can. Still, water's run deep. That's what the old folks always said. Water don't run much, it always flows in. Water's run deep. Water's run deep. You're beginning to count yourself as a human fail. You're beginning to think it might be best to just call the whole thing off. Everywhere you look around you, it's nothing but stale And all you ever feel is nothing at all. Hurricane season is coming down again. Better hold on to what you can. Still, water's run deep. That's what the old folks always said.
Speaker 2:Water don't run much, it always flows in. Water doesn't run much, it always flows in. Water doesn't run much, it always flows in. Water doesn't run much, it always flows in. Water doesn't run much, water doesn't run much. Some people die in a nursing home. Some people die in jail, some people die inside, before they're ever really dead. Live out their days in their own personal hell. Hurricane season is coming down again. Better hold on to what you can. Still, water's run deep. That's what the old folks always said. Water don't run much, it always flows in. Water don't run much, it always flows in. Still, water's don't run much at all.