Sweet Hayseed’s Wearable Wonders

After a great time at Dances of Vice in NY and not so great time breaking down on the way home….Sweet Hayseed is back and ready to do some wigatry!

I will be posting photos of new items here on WordPress and for sale at sweethayseed.etsy.com!

Don’t forget!  New Years Eve and Mardi Gras are just around the corner!  I’d love to make your custom piece.

Dear friends!

Sweet Hayseed now accepts VISA, MASTERCARD and DISCOVER!!  Let’s not forget, paypal, checks and COLD HARD CASH are still and always will be welcome too.

See you at Dances of Vice November 20th and 21!

Ladies and Gents!

Sweet Hayseed will be vending wigs and wearables at Dances of Vice this Year!!!

www.dancesofvice.com

D A N C E S O F V I C E
The Grand Shipwreck Ball
November 20-22, 2009

This November, prepare to set sail (literally and figuratively!) for the most extravagant and fanciful gathering of castaways, sailors, glittering mermaids, sea sirens, pirates, romantic sea captains and scalawags ever known to New York!

As seen on NHK, MTV and SPIN, the Dances of Vice Festival returns on November 20-22, 2009 in a three-day nautical themed flight of fancy that will be held in several stunning and exclusive locations: Fort Hamilton (ca. 1825), a handsome historical armory which overlooks the New York Bay – The Montauk Club (ca. 1889), an opulent Victorian clubhouse modeled after a Venetian palace – and The Vault of Element – architectural marvels of the 19th Century, all. In line with our nautical theme, the festival weekend starts off with a luxury cruise aboard The Jewel.

Willow weep for me
Willow weep for me
Bent your branches down along the ground
and cover me
Listen to my plea
Hear me willow and weep for me

Gone my lovely dreams
Lovely summer dreams
Gone and left me here
To weep my tears along the stream
Sad as I can be
Hear me willow and weep for me

Whisper  to the wind and
say they love has sinned
To leave my heart a sign
And crying alone
Murmur to the night
Hide her starry light
So none will find me sighing
Crying all alone

Weeping willow tree
Weeping sympathy
Bent your branches down along the ground
and cover me
Listen to me plea
Hear me willow and weep for me
Willow, willow, weep for me

Since the time of the Phoenicians, sailors adorned the prows of their galleys with wooden likenesses. The Carthaginians used carved figures to head up their warships. These ship’s figureheads sustained the maritime belief that these sculptured images were guardians of the vessel and would frighten enemy ships. The Vikings believed damage to their figureheads meant disaster. Earlier this year, a model of a ship’s figurehead was sold at Bonhams in London, after 220 years hidden away from public view, its true significance as an icon of Britain’s naval heritage unrecognised. This small yet exquisitely carved limewood and gesso-covered model is the design for the full-length figurehead of HMS Queen Charlotte, launched on 15 April 1790 at the Royal Naval Dockyard in Chatham, Kent. She was at the time the second-largest vessel in the British fleet.

Such models are rare. A number of letters in the Admiralty archives suggest that as well as sketches of proposed figureheads, models were also submitted to the Board of the Admiralty for approval. One of the most important survivors is the 1765 model for the figurehead of HMS Victory, in the collection of the National Maritime Museum at Greenwich.

Standing just 36 cm high, and carved in the round, the model for the Queen Charlotte’s figurehead is a tour de force of the woodcarver’s art, although its maker’s name is as yet unknown. What is beyond doubt is the remarkable skill the craftsman demonstrates in understanding such an intricate group. Two carvers in particular had the credentials to undertake such an important commission. The first was William Savage, who had been working in the yard at Chatham since 1765, having been brought in to assist Richard and Elizabeth Chichley with the carving of the figurehead for HMS Victory. (2) By 1784, two years after work on the Queen Charlotte had begun, the second possible candidate, George Williams, was also working in the yard; it is possible that the two men collaborated. (3)

During the great age of fighting sail, from the middle of the seventeenth century to the close of the eighteenth century, naval figureheads throughout the great European fleets developed an increasingly sophisticated iconography. Once purely decorative in function, figureheads, and to a lesser extent the whole stern area of a ship, became politicised. Once the decision had been made to commission a new vessel, consideration would have to be given to the naming of the vessel. Since the Queen Charlotte was a first-rate ship of the line a royal connection was almost de rigueur, and the ship was accordingly named after George III’s consort. Charlotte was a popular queen, born in 1744 Sophia Charlotte of Mecklenburg-Strelitz, the eighth child of a minor German prince, Charles Louis Frederick of Mirow and his wife, Elizabeth Albertina of Saxe-Hildburghausen. By 1782 she had been married for twenty-one years, and was the mother of fifteen children, nine sons and six daughters.

It is fortunate that a number of contemporary images of the Queen Charlotte in various media have survived, illustrating in great detail her remarkable figurehead. These help us to understand the complicated process of the figurehead’s design and making. The Royal Naval Dockyard at Chatham in Kent was chosen to build this important vessel, seventeen years after HMS Victory had been built and launched there, in 1765. Orders for this new vessel were received at the yard on 12 December 1782, and the keel was laid two-and-a-half years later, in June 1785.

Would you lay with me in a field of stone
If my needs were strong would you lay with me
Should my lips grow dry would you wet them dear
In the midnight hour if my lips were dry

Would you go away to another land
Walk a thousand miles through the burning sand
Wipe the blood away from my dieing hand
If i gave my self to you

Would you bathe me with me in the stream of life
When the moon is full would you bathe with me

Will you still love me when I’m down and out
In my time of trials will you stand by me

The things a crow puts in his nest
They are always things he finds that shine best
Somehow they’ll find a shiny dime, a silver twine
From a Valentine
The crows all bring them shiny things

Leave me alone you big ol’ Moon
The light you cast is just a liar
You’re like the crows, ‘cos if it glows
You’re dressed to go, you guessed I know
You’ll always cling to shiny things

We’ll, I’m not dancing here tonight
But things are bound to turn around
Though the only I want that shines is to be king
Here in your eyes
To be your only shiny thing

sticky fingers baroque singers….let’s all drink to the death of a clown.

My makeup is dry and it clags on my chin
I’m drowning my sorrows in whisky and gin
The lion tamer’s whip doesn’t crack anymore
The lions they won’t fight and the tigers won’t roar

The old fortune teller lies dead on the floor
Nobody needs fortunes told anymore
The trainer of insects is crouched on his knees
And frantically looking for runaway fleas

Thank you Dave Davies