She walks
With such a knowing
Of all that has been
And such a hope
For what is not yet seen
A Poem by Athey Thompson/Art by Paula Jones
A Hopeful Walk
Reply
Tag Archives: Writing
Generational Talent: Amy Lee Nelson and Tina Rose Bridges
Amy Lee Nelson and Tina Rose Bridges, the daughters of Willie Nelson and Leon Russell, have officially joined forces to create a brand new duo, ALeeN ROSE.
Their debut single, “They’re There” features music icon Willie Nelson. According to PEOPLE, he wrote the song’s bridge, played guitar, and lent his unmistakable vocals. “Now it’s a full-on family song, as it should be,” Amy said.
The song is a loving tribute to Amy’s late brother Billy Nelson who died in 1991 and Tina Rose’s father, Leon Russell. Leon died in 2016.
“In my dreams, my daddy tells me stories / Of all the things I can do and who I could be / He takes my hand / says understand you’re still beside me/ I’m not gone/ We are waltzing inside this dream,” Tina Rose sings on her verse.
This is a sweet and beautiful song that honors their spirits and the memories that continue to guide them through life.
“Tina Rose called me one evening during lockdown and we spoke about the feelings of loss surrounding the death of her dad,” Amy Lee Nelson recalls, “I told her how I’ve found myself often saying ‘they’re there’ when speaking of loved ones who have passed. I shared with her a song that I had begun writing after having dream visions of my brother, Billy.”
She continues, “I asked her to write the second verse as a healing outlet for her pain and grief. I was blown away by the verse she brought back to me. But it still wasn’t finished and we weren’t sure where to take it. We asked my dad for help, and so he wrote the bridge. Now it is a full-on family song, as it should be.”
Willie Nelson and Leon Russell are two of the best and most individual songwriters and vocalists in any musical genre. Leon Russell was a musician, songwriter, and arranger who had been a first-call session man and producer even longer than he had been known as an individual performer.
In 1979, Willie Nelson and Leon Russell released their chart-topping double album, One for the Road. Although One for the Road is their only joint album, the two continued to perform together on stage over the years.
News of ALeeN ROSE’s “They’re There” release comes soon after Willie Nelson’s son, Lukas Nelson, performed a cover of Leon Russell’s “A Song for You” at Cain’s Ballroom in Oklahoma. The track’s release also coincides with what would have been Billy Nelson’s 68th birthday.
As you listen to “They’re There”, the respect and love is truly inspirational.
It oozes with generational talent. Their ability to translate feelings into a musical format is genuine and authentic. What an amazing way to carry on the legacy of two musical giants. I just know that Leon Russell would be so proud of Tina Rose.
Some content curated from internet sources.
Unexpected Magic
“But once in a while the odd thing happens,
Once in a while the dream comes true,
And the whole pattern of life is altered,
Once in a while the moon turns blue.”
W.H. Auden
Photos from Pinterest
Disturbing Dreamland
After not being able to recall my dreams for a while, this one was so unsettling, I can remember most of the details. I don’t know what part of my brain decided to spew these strange thoughts…
The first image is of me in a hotel room with two cats. One was all black and the other was more fluffy and furry like a Maine Coon. There was a balcony with a sliding glass door which I kept closed and locked. I can’t explain why I was traveling and had made the poor decision to bring the cats with me — NOT something I’d do in real life. The cats were chipped but weren’t wearing collars or ID tags, also something I’d never do. My kitties always had stylish collars.
Maybe it’s the right time to explain that I don’t have any cats at the present time which makes this an even more bizarre dream scenario.
I felt extremely worried about them getting out of the room and getting lost. I have a distinct memory of feeling a lot of anxiety.
I don’t even like hotels because I think they’re inherently unsanitary and the impermanence of temporary lodging where hoards of strangers have been is unsettling. I love my homespace. (There’s really no place like home.)
I’d much rather camp or even sleep in a car than stay in a hotel, even a five-star one.
Funnily enough, even my dreamstate knew that!
After one night, I checked out of the hotel, carrying both of the cats in my arms, along with pulling my suitcase. I don’t know why I didn’t have cat carriers because that would have obviously made it all so much easier, right? I remember being so afraid that I’d drop one of them and they’d run off. The fear was palpable.
The next part of the dream took place at a camp site which I believe was in Yosemite. Someone had kindly set up a red tent along with a litter box. However, I was quite distraught, consumed with keeping the cats safely IN the tent so they wouldn’t run away. The thought of them lost in the woods was intensely disturbing.
In a state of wake/asleep, I thought to myself, who brings cats to places that they aren’t familiar with? The cats wanted to escape, pawing at the the tent stakes, and I was becoming overwhelmed.
I wasn’t having any fun, that’s for sure.
I don’t know what happened after that. There was no resolution to my dilemma because I woke up.
My entire morning was tainted with agitation, apprehension, and dread — not a calm and peaceful way to start the day, so I decided to research what that kind of dream might mean.
Now that I think about it, the fact that I made myself wake up BEFORE the kitties got out of the tent was the best possible outcome, because I couldn’t forgive myself (awake or asleep) if they got lost and I failed to protect them.
Here’s a few thoughts:
Two Cats: In dreams, pairs often represent duality or a decision you are currently weighing. Cats typically symbolize independence, intuition, or personal freedom.
Hotels represent temporary situations, transience, or being “away from home.” It suggests your subconscious is trying to process a situation that feels foreign, unstable, or out of your usual routine.
Feeling Overwhelmed: Too many cats in a contained space points to sensory overload. You may be juggling too many responsibilities or dealing with conflicting demands from others.
Campsite: Dreaming of multiple cats getting lost at a campsite typically reflects underlying anxieties about a loss of control or feelings of vulnerability. Because campsites represent unstructured environments and cats symbolize independence and intuition, this dream points to wandering emotions that are difficult to corral.
Getting Lost: Losing a pet in a dream often mirrors waking-life fears of abandonment, a lack of trust, or a feeling that you have lost control over certain aspects of your ilife.
All I know is that I hope I don’t have that dream again, and because I can’t seem to help myself, this dream made me think about Leon Russell’s song, Out In The Woods, about being lost in actual woods as well as the feeling of being lost in life.
When Leon wanted to learn the Zulu translation for being “lost in the woods”, he was told that there isn’t one because the Zulu don’t get lost in the woods.
At about the seven-minute mark , Leon explains the story behind the the chorus: “Doda koo panga-ma, doda koo kala, Doda koo panga-oo, kala shatini.”
https://youtu.be/b7IYrFkYyJA?si=gY44_a3kn_11ls2d
It’s Always “Time For Love” AND All Roads Still Lead to Leon Russell
Crazy random connection time…I read something on Facebook about Oak Park High School where I briefly attended before moving to California.
The post shared information about a former classmate who became a famous singer/songwriter; Marcy Levy/Marcella Detroit.
Because I’m obsessed and have a one-track-mind, I messaged her and asked if she had ever known Leon Russell because I knew he spent a lot of time in Detroit around the early ’70s.
Her response blew me away! Not only did she know Leon, she toured with him before going on tour with Eric Clapton and co-wrote some of Clapton’s songs, including my favorite, “Lay Down Sally.”
ERIC CLAPTON, OMG.
I’m not at all embarrassed to tell you that I asked her if Leon’s eyes were as amazing as everyone has reported, and her exact quote was, “Oh yes his eyes were incredible.” I have so many more questions. So many. I can be SO annoying.
As a teenager, Marcy had posters of Russell on her walls. She later achieved her goal of singing with him, joining his touring band as a featured female vocalist for the Stop All That Jazz album (which also featured The Gap Band).
Leon Russell wrote the song “Time for Love” for her. The two developed a personal and professional connection in the early 1970s, during which time they dated for approximately nine months.
Detroit has reflected on their relationship in interviews, noting that Russell was a childhood idol. She viewed him as an incredibly gifted songwriter, musician, and arranger. She specifically recalled him creating an amazing live arrangement of “Unchained Melody” for her to sing on tour.
We’re fortunate to see Marcy as a background singer with Ann Bell on the Midnight Special with Leon, too. It’s an amazing video:
One more brick in the path that leads to Leon. One more step.
Another mind blowing fact I learned is that one of Marcy Levy’s earliest gigs was opening for David Bowie! DAVID BOWIE!!!
She was also a member of the ground breaking award winning band “Shakespear’s Sister”. Their song “Stay” is the longest running number one hit for a female band in UK history remaining at number ONE for eight weeks, and Marcy recently appeared on THE MASKED SINGER UK. https://marcelladetroit.com/
At the time, I would have had no idea there was such talent lurking at OPHS. I certainly never accomplished anything that rises to Marcy’s level. Sigh. #failure
Ancestral Acting: Josephine Victor
When I told my mom I wanted to become a famous actress, she said it was in my blood and shared a story about my grand-aunt, Josephine Victor, who WAS a well known performer, often in productions at the Belasco Theatre on Broadway.
Josephine Victor (born Josephina Gunczler/Ginzler; June 28, 1885 – 1963) was a Hungarian-born American stage actress and director active on Broadway from 1905 to 1939.
Her father was a Hungarian vintner. The Ginzler family originated from the Tokay wine region, where viticulture played a central role in local economy and culture during the late 19th century.
Josephine had several siblings, including a half-brother, my grandfather, Rabbi Arthur Ginzler.
Known for her versatile performances in dramatic roles, Victor appeared in many Broadway productions, frequently as part of original casts in plays by prominent playwrights such as John Galsworthy and Elmer Rice.
Her career highlights include leading roles like Zabette de Chauvalons in Martinique (1920), for which she received praise for delivering a powerful and tender performance in the play’s pivotal second-act scene, and Chloe in Galsworthy’s The Skin Game (1920).
Later, she transitioned into directing, helming the Broadway production of Doctor X in 1931, and continued acting in sophisticated dramas such as Judgment Day (1934) as Lydia Kuman and Wise Tomorrow (1937) as Diana Ebury.
She also ventured into vaudeville, debuting at New York City’s Palace Theatre in 1921 in the one-act play Juliet and Romeo by Harry Wagstaff Gribble, where she co-headlined alongside Adele Rowland.
Victor’s personal life intersected with the theater world through her marriage to Francis E. Reid, a theatrical publicist and drama critic.
Victor’s combined directing and playwriting output, though limited in major productions, bridged her acting with creative authorship, fostering narratives that amplified immigrant voices and familial tensions in early 20th-century drama. Her works contributed to the era’s exploration of social undercurrents, paving subtle paths for women in theatre leadership during a male-dominated field
Widowed after Reid’s death in 1933, Victor’s contributions to American theater spanned acting and directing, cementing her legacy as a multifaceted figure in the era’s stage scene.
In her post-retirement years, Victor maintained a low public profile.
It’s interesting to observe that one sibling became a rabbi and another became an actress, as they are very different and also very similar careers, if you stop and think about it. Performing is performing, whether it’s for an audience or a congregation.
She died in 1963, and I’m not sure that my mom ever met her, but wish I had so I could have asked her when she got the acting bug and maybe I could have picked up a few helpful acting tips from her, as I didn’t really win many auditions or perform regularly, so I gave up that dream…
Bob Dylan + Leon Russell = Magic Music
Enjoy all of these songs on this beautiful Friday before Mother’s Day.
Did you know about Dylan and Leon?
Leon Russell considered Bob Dylan to be one of the greatest songwriters of all time. He enjoyed playing on covers of his songs by other artists, and even produced Dylan Jazz, an album of jazz versions of Dylan songs for GNP Records in 1965.
Their friendship lasted decades. Leon Russell joined Bob Dylan for a series of U.S. dates during Dylan’s Never Ending Tour in the summer of 2011.
In March 1971 Leon was the producer as he and his group, The Tulsa Tops, worked with Dylan at Blue Rock Studios in New York. When I Paint My Masterpiece and Watching The River Flow were recorded live with no overdubs with Dylan on vocal as Leon played an acoustic grand piano, Jesse Ed Davis was on electric guitar, Carl Radle played electric bass with Jim Keltner on drums.
I prefer Leon Russell’s version (below) as I always do, but you can definitely hear Leon’s magical contribution here:
I discovered Steve Liddycoat isolated Leon’s piano umami here and it’s awesome:
When I Paint My Masterpiece studio outtake:
On the Mad Dogs and Englishmen tour, Leon and Joe Cocker sang a beautiful duet of Girl From The North Country to serenade Dylan who was in the audience. Listen to what Leon had to say about Dylan….
Bob Dylan is coming to my area in June. I’m sure all tickets are sold out, but I’d love to see him if anyone has a spare????
Lastly, Leon’s version of Dylan’s Masters of War is especially poignant today; as fresh as when Dylan originally recorded it in 1963.
Featured image found on Pinterest; credit to owner.
Earth Day 2026
In an alternate universe, I would wish everyone a Happy Earth Day, but today, there’s not a whole lot to celebrate.
Mother Earth is at risk and we’re not doing enough to save her. Or us.
The orange POS and his administration have been focused on reversing environmental regulations to boost domestic energy production, targeting over 460 environmental, climate, and public health safeguards for removal or weakening. Key initiatives include withdrawing from the Paris Agreement, rescinding the EPA’s Endangerment Finding to deregulate greenhouse gases and promoting “drill, baby, drill” fossil fuel policies.
California is battling federal efforts to expand oil drilling off its coast, with lawsuits filed to block the restart of Sable Offshore Corp pipelines near Santa Barbara, which were shut down after a major 2015 spill. While new drilling in state waters is banned, federal plans propose lease sales for new offshore drilling between 2027-2030, raising risks of oil spills and environmental damage.
This appalling administration is actively expanding oil drilling in Alaska, reversing Biden-era restrictions on millions of acres in the National Petroleum Reserve-Alaska and initiating lease sales in the Arctic National Wildlife Refuge. Projects like ConocoPhillips’ Willow and new auctions highlight a push for increased development amid lawsuits from environmental groups and support from state leaders.
Like I said, not much to celebrate. It’d be more accurate to say that we are in mourning…
I attended the very first Earth Day celebration in 1970 at Balboa Park in San Diego with a crowd of about 70,000 people. The weather was beautiful, about 68 degrees, and I must have skipped school that Wednesday.
I can’t remember who I went with or how I got there but I do recall walking from booth to booth looking for free stuff and having an unpleasant encounter with a San Diego cop, probably about being truant.
There is a vague recollection that I swore at him and he got all puffed up and intimidating, threatened to call my dad until I told him to go ahead, my dad was an attorney…and then he walked away. Miss you, Daddy, and thank you!
Gaia, known as the mother goddess, was the personification of Earth. She’s described as a caring and nurturing mother figure to all of her children, plants, and other living creatures on this planet.
We’re all children of Gaia, Earth Mother, no matter where we live, and if we take care of Mother Earth, she’ll take care of us.
With this reckless administration of chaos and darkness, they seem determined to destroy as much of our environmental and animal protections as they’re doing to democracy and the constitution, so it’s not such a happy day, after all.
Friday Tirade: Fevers and Gnats and Hammers
Have you ever experienced the feeling that you had a fever but you actually did NOT?
Somehow, as careful as I am, I got sick. It started with heavy congestion and a headache along with a low grade fever, then it spiked to 101.5 as all the other aches and pains descended upon my body.
After a couple of days of not getting any worse, I decided that I didn’t need to see a doc because my lungs were OK and that probably meant that it was a virus and not a secondary bacterial infection that would necessitate antibiotics as I’m prone to pneumonia.
I can see the light at the end of the tunnel, except for a cough and this annoying feeling that I have a fever but the thermometer says otherwise. I think I would be feeling a lot worse if I hadn’t been vaccinated for Covid and the flu, so I’m grateful for that. Ginger tea and Tylenol seem to help.
At the same time, my indoor plants are inundated with fungus gnats. They’re joyfully procreating and multiplying and are SO annoying. I sprayed the soil with a hydrogen peroxide solution that’s supposed to help–fingers crossed that it actually does. I’ve never had an infestation this severe and I’m not really happy about it.
If that wasn’t enough to put me in a foul mood, neighbors decided to build an absolute monstrosity of a remodel that looks more like an apartment building as it looms over my house. The construction noise has been ongoing for MONTHS and right now I’m listening to incessant sawing and hammering and nail guns along with an air compressor that goes off and on, off and on, off and on.
Closing the windows doesn’t do anything to muffle the noise and that’s almost impossible to do as temps are consistently in the 70s, so I suffer either way. When people drive or walk by, they look up at the giant structure and shake their heads, so I know it’s not just me.
Because of the way the wind blows (literally), all the sawdust and other building detritus comes my way so the side of my house was covered in sawdust, along with nails and paper from the insulation. I asked the neighbors to let their construction people know about it so they could clean it up and that didn’t happen so I sent them some pics and again asked to have something done about it, which they finally did about a month later.
Is there a real pervasive lack of basic courtesy and consideration nowadays, or am I the only one who thinks that?
Does everyone live in their own little bubble and not comprehend–or care — how their actions might affect others? Was I unreasonable to expect them to (promptly) clear away their construction mess? It’s definitely NOT my job to clean up after them and you can’t tell me that they didn’t look down from the scaffolding and see what was going on below them. Yes, SCAFFOLDING, because, like I said, it’s a huge, multi-story monstrosity.
Anyway…
I can’t take it much longer…I think I might have to scream into a pillow. SHUTUPSHUTUPSHUTUP!
Leon Russell: The Secret Ingredient
There’s still too much ugliness in this world, so I’m going to keep my rosebud colored glasses on a bit longer…
When I realize how many songs Leon Russell contributed his magic to, how he was the secret ingredient in hundreds of popular tunes, I am continually in awe and amazed.
My mom and I used to listen and sing along to all of Gary Lewis & The Playboys songs. We loved the perfect piano playing and we never knew it was Leon. We didn’t have a CLUE but what we did sense was that whoever played the piano was special and magical. It wouldn’t be the same WITHOUT Leon’s contributions– as arranger AND pianist.
Gary Lewis once said that eighty percent of his success was due to Leon, but I believe it’s closer to one hundred percent. If you take away the piano, you’re left with nothing special.
Leon morphed from this uber quiet, short-haired clean-cut session keyboardist to the coolest longhaired sunglass-wearing sexy visionary like a butterfly bursting out of a cocoon. The magic was always inside of him.
I didn’t write the following, but it’s worth sharing. (I did however, edit it a bit.)
If you listened to pop music in the 1960s, you heard Leon Russell play. You just didn’t know it.
That piano on the Ronettes’ “Be My Baby”? Leon Russell. The Byrds’ early records? Leon Russell. Beach Boys sessions? Leon Russell. Phil Spector’s legendary “Wall of Sound” productions? Leon Russell was there, in a suit and tie, hair neatly trimmed, playing whatever was needed, and here with the Monkees.
For nearly a decade, Leon was one of the most sought-after session musicians in Los Angeles. Producers loved him because he could play anything—rock, jazz, country, blues, gospel. You could hum a melody and he’d give you the perfect piano part. You could describe a feeling and he’d translate it into music.
Producer Snuff Garrett said, “I could talk style with him and he’d do it. I’d name a record and go, ‘I like the piano on this…’ and he’d go, ‘Okay,’ and play it.”
Leon Russell was on hundreds of hit records. He was the secret ingredient in countless songs you’ve heard a thousand times.
And for years, almost no one knew his name.
Leon was born Claude Russell Bridges in 1942 in Lawton, Oklahoma with a birth injury (cerebral palsy on the right side) and began playing classical piano at age four. By fourteen, he was sneaking into Tulsa nightclubs with a fake ID, playing backup for Jerry Lee Lewis.
The fake ID belonged to a friend. The name on it was “Leon.” He kept it.
At seventeen, Leon moved to Los Angeles to chase his dream of making it in music. He studied guitar with James Burton, one of the best session players in the business. He worked constantly—sessions during the day, clubs at night, whatever paid.
And he was good. So good that by his early twenties, Leon Russell was playing on some of the biggest records of the decade.
He backed the Ronettes, the Crystals, Darlene Love. He played on Phil Spector’s famous Christmas album in 1963. He worked with the Byrds, Gary Lewis & the Playboys, Herb Alpert & the Tijuana Brass, the Beach Boys, the Ventures, Jan and Dean.
Herb Alpert later recalled that Leon would sit at the piano and say, “I don’t know what to play.” Then he’d “chime in with something special and affect the groove in a very Leon Russell way that was always unique.”
For years, Leon was brilliant, versatile, and completely invisible. A studio ghost. The guy in the suit playing piano while someone else got famous.
Then in the late 1960s, something changed.
Leon grew his hair long. He stopped wearing suits. He gathered a commune of musicians around him in the Hollywood Hills.
He stopped being the anonymous session player and started becoming Leon Russell—the artist–The Master of Space and Time.
In 1970, everything exploded at once.
Leon released his first solo album, simply titled Leon Russell. The musicians backing him? Eric Clapton. Ringo Starr. George Harrison. Not exactly unknown names.
That same year, he organized Joe Cocker’s legendary Mad Dogs & Englishmen tour—a massive, chaotic traveling circus of forty-plus musicians, complete with a full horn section, backup singers, and absolute mayhem. It was revolutionary. The tour became the stuff of legend, and Leon was the mastermind behind it all.
He wrote “Delta Lady” for Joe Cocker. It became a hit.
Then in 1971, Leon performed at George Harrison’s Concert for Bangladesh—one of the first major benefit concerts in rock history. He shared the stage with Harrison, Bob Dylan, Eric Clapton, and Ringo Starr. His medley of “Jumpin’ Jack Flash” and “Young Blood” was one of the standout performances of the night. He was ON FIRE.
Suddenly, Leon Russell wasn’t just a session player anymore. He was a star.
By 1973, Billboard named him the “Top Concert Attraction in the World.”
Read that again. The guy who had spent a decade playing anonymous piano parts was now filling stadiums on solo tours. His album Carney reached #2 on the charts. He was crossing genres effortlessly—rock, blues, country, gospel, bluegrass—and audiences couldn’t get enough.
He wrote songs that became standards. “A Song for You”—a tender, achingly beautiful ballad—has been recorded by more than 200 artists, including Ray Charles, Donny Hathaway, Whitney Houston, and Amy Winehouse. In 2018, it was inducted into the Grammy Hall of Fame.
Another of his songs, “This Masquerade,” was covered by more than 75 artists. George Benson’s version won a Grammy.
Leon founded Shelter Records in 1969, creating wild, creative environments where musicians could live and work together. He established studios in Hollywood and Tulsa, fostering creativity without boundaries.
He produced and played on sessions for Barbra Streisand, Bob Dylan, Frank Sinatra, Ike & Tina Turner, the Rolling Stones. He toured with the Stones. He collaborated with Willie Nelson. He wrote and recorded hits like “Tight Rope” and “Lady Blue.”
For a brief, brilliant period in the early 1970s, Leon Russell was one of the biggest names in music.
By the 2000s, Leon was playing smaller venues. The stadiums were gone. A new generation of music fans had never even heard of him. He kept touring—because that’s what he did, that’s who he was—but he was a legend from another era that the world had moved past.
He was still brilliant. He was still performing. But the spotlight had moved on.
In 2009, Elton John decided to do something about it.
Elton had idolized Leon since the beginning of his own career. When Elton was starting out in the early 1970s, Leon was already a star. Leon’s influence shaped Elton’s sound, his flamboyant showmanship, his entire approach to piano-driven rock.
Elton had always called Leon a mentor and an inspiration. So when he saw that Leon had been nearly forgotten, he reached out and asked him to record an album together.
The result was The Union, released in 2010. It was a collaboration between two piano-playing legends—one at the height of his fame, one who’d been overlooked for decades.
The album was critically acclaimed and Grammy-nominated. Cameron Crowe made a documentary about the creative process. And suddenly, people were talking about Leon Russell again.
Elton championed him publicly. He spoke about Leon’s genius, his influence, his importance to rock history. And in 2011, Elton inducted Leon into the Rock and Roll Hall of Fame.
That same year, Leon was also inducted into the Songwriters Hall of Fame.
After decades of being overlooked, Leon Russell was finally getting the recognition he deserved.
But by then, his health was failing. He’d had a heart attack. He had brain surgery, but was looking forward to another tour.
On November 13, 2016, Leon Russell died in his sleep at his home in Nashville. He was 74 years old.
Elton John posted: “My darling Leon Russell passed away last night. He was a mentor, inspiration & so kind to me. I loved him and always will.”
Leon Russell left behind an extraordinary legacy: 33 albums, at least 430 songs (probably more), collaborations with virtually every major artist of his era. He’d been directly involved with hundreds of bestselling records over a 60-year career.
But more than the numbers, Leon Russell represented something rare in music—a musician’s musician. Someone who could play anything, work with anyone, cross any genre. Someone equally at home backing Frank Sinatra in a suit or leading a hippie commune with wild hair and a beard down to his chest.
He proved you could be both the anonymous session player and the stadium-filling star. The guy in the background and the guy in the spotlight.
Leon Russell’s story is a reminder that the most talented people aren’t always the most famous—and that sometimes genius hides in plain sight for years before the world finally sees it.
He played on songs you’ve heard a thousand times without ever knowing his name.
Then he stepped into the light and showed the world what he’d been all along: a master.
Curated from NoCapArchives
As someone posted on social media, “Besides beautiful Leon’s awesome talents and accomplishments, the purity of his heart shines through.” His disability didn’t hold him back; he’s an inspiration.
Check out the genius of Leon during the Homewood Sessions…it captured a priceless moment in time:
