Got my rejection e-mail from the City of Damascus, that revenue-strapped, conflict-ridden new city on the outskirts of Portland—and it didn’t bother me. I know I’m the best person for the job—nobody else has quite as thick a skin—but I’ll happily send them the requisite “best of luck on the path you have chosen†thank-you letter. Waiting on two more, that I’m almost certain will be rejections, too; it’s been way too long since applications closed. And again, it’s okay.

I think I have finally succeeded in reinventing myself. I have a job—not being a city manager—and derive tremendous satisfaction from knowing somebody thinks it’s worth paying me money to do something. (Healthiest job I’ve had in over 40 years, too. I really like that.) I’m kind of a fixture in the community, in a little bit of demand as a musician, can spit out contracts, posters and the like on short demand, know enough financial and planning stuff to be sought out occasionally for advice, and I’m going to be a square dance caller. And the house in Cascade Locks will hopefully get a new (and profitable) life as a vacation rental. I’m comfortable with all of it.

I got to try out both of my singing calls and some “patter†on a group of experienced dancers for a change Wednesday night; instead of the newbies, we had an extra couple who were visitng from Arizona. I could tell they were enjoying themselves (and everything I did worked just about perfect). So I’m expanding my repertoire. I got from another caller in Daryl’s class six hoedowns (that’s what they call the instrumentals callers do “patter†to) and three singing calls. (They were on old 45-rpm records: the newest dates from the 1970s, some are from the ‘50s, and one’s a lot older than that.) The music is all on “Lazarus†the laptop now, and I’ve been practicing.

I have one of the singing calls—a Waylon Jennings song—pretty much down already. It’s probably going to be the most conventional song I do. If I have a style at this calling stuff, it probably leans to off-the-wall traditional-sounding country—my other two singing calls are the Hee-Haw theme “Gloom, Despair and Agony on Me†and one of mine, “Valvoline.†And for a hoedown, I’ve been using the music from “Rubber Dolly,†one of the songs Woody Guthrie wrote for his daughter when she was little. .

Need to get the repertoire expanded and practiced because I’ve been told I’ll be doing relief breaks for Harvey Hunsucker when he calls the square dance June 9, and for caller/cuer George Clark when he does a dance here August 11. I probably need eight numbers (square dance callers traditionally do two at a time) in order to give Harvey and George a decent set of breaks in their 2-1/2 hour shows.

Did our first read-through of the puppet show drama Jedi Pigs of Oz with Karen; some minor adjustments necessary to the script—we have three puppeteers doing seven voices and it’s important to not have the same puppeteer’s voices having a conversation with each other. It is, I think, the best puppet show yet (it’s also the longest—about half an hour, including the song at the end). Figured out how to do a professional sound, too.

I have the closing-credits song for the play still to record—this one’s a ragtimey over-the-top commercial for Hansolo’s wizard services “on Laneda Avenueâ€â€”and I’d like to do that at Jim’s shop if he’s willing, rather than on the Tascam. (That way, I can have real musicians playing lead, bass, drums and blues harp.) I’ve got a couple more songs I’d like to record there, too, as soon as he has time: “In the Shadows, I’ll Be Watching You†and “Song for Charity (and Faith, and Hope).†2^nd Street Market wants Coaster back June 29, and there’s going to be a reprise of the Dylan Night show at NCRD in Nehalem on June 22 and June 30. Yes, it’s getting busy.

Joe