Chords for Maynard James Keenan: The Art of Work Pt. 1 (Tool, A Perfect Circle, Puscifer, Caduceus Cellars)

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_ _ _ What _ I'm doing out here in Arizona, _ there's this [F#m] word sustainable that we throw around
that I feel is applicable _ _ not [F#m] just in terms of a small local economy or [F#] a larger global
[B] economy, all [F#m] those things.
I think that [F#] also applies to just an artist in their [F#] creative flow.
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You see a lot of guys who are [G#] successful earlier on and they start to not be successful and
they get a little desperate to be relevant in a world that no longer understands them.
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_ _ _ We have [F#] a lot of disconnect.
_ _ [C#] _ _ [F#] We have plenty of food, plenty of clothing, plenty of shelter at this [C#] point.
Now we're just kind of [F#] rats eating each other and eating ourselves.
_ _ We've lost touch with that friction that _ _ _ _ _ _ _ keeps you moving, keeps you on your toes,
keeps you growing, _ keeps you learning, keeps you surviving.
We've kind of lost touch with that in a way.
So we've lost touch with that kind of creative side, I think, [F#m] or utilitarian side. _
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This _ _ is an attempt to kind of rekindle some of that, to [F#] understand _ _ vulnerable we actually
are, _ how much we are not [F#m] in charge, and keep that art [B] _ alive, keep those stories alive.
I have much more to say now in music, [B] in words, [F#m] with this endeavor.
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_ _ _ _ _ [E] Together, and together we'll rise through the _ _ _ _ world.
I do what I do [F#] because I enjoy it.
I enjoy farming, I enjoy winemaking, I enjoy writing music, I enjoy performing songs, writing songs.
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Just, [G#] in general, [F#] doing.
_ [B] _ And I'm always going to be doing.
Whether I'm relevant or not, I think is _ irrelevant.
_ [F#] Because I'm going to do what I'm going to do, [F] regardless of whether somebody knows
about [D#m] it or not.
[G#] It's just in my nature.
[G] So you can see I'm in the studio, I'm always _ [F] writing, I'm [A] working with Tool, Perfect
[F#] Circle, Pulsifer, [A#] all the time. _ _
_ _ _ _ [A#] Slowly [F] hedging our way through it all to present.
If I was just doing those things, you [G] start to run out of actual life experiences.
All you're going to [D#] write about is the bus, or a fucked up lawsuit, or [D#m] you just got to
lose your way.
Become [D#] disconnected. _
This is the reconnect. _ _ _ _ _
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_ _ _ _ _ _ [F#] As a legacy, I feel like some of the music we've done [G] will [F#] live _ _ _ [A#] on its own.
[A] But I feel [G] like, using Bowie [F] as an example.
[A#] Bowie [G] passes away, [G#m] people line [A#] up [F#] to freak out that he's gone, and they're [F#] irreverent
about what he's [A#] done.
_ [Gm] And it's, in a way, that's done.
[F#] He's done it, he can't do [E] anymore, he's no longer here.
[G] So there's a reverence to him, [F#] and a worship of sorts.
[F] _ A [Gm] fan reaction [F#] to what he's done, and [A#] now he no longer is [G#] here.
But that's kind [F#] of one direction.
[Gm] _ What we've [G] done, or what we're setting up as a [F#] community here in northern Arizona, southern
[G] Arizona, with the winemaking and [E] just the culinary [A#] efforts, and [Fm] the community efforts
[C] that go along with it, and [F#] all the collateral [A#] benefits of a winemaking and grape growing
community, there might be some founders of that movement, [C] but if we are no [F] longer here,
there are other people that continue what [F#] we've started.
So in a way, that's more of a legacy [F] because you've actually [G] established something that
can continue 100, 200 years beyond you, which sets up [A#] _ that [G]
artistic [Dm] process.
Winemaking, food [F#] growing, all the industries that surround that, all the [F#] activities that
surround it, and of course the [A] art _ of [F] celebrating [A#] those struggles.
Because as [G] a winemaker, _ you need [F#] grapes, so you're a slave to the sun and the rain.
You are a slave to Mother [G] Nature to understand her processes [D] and what she wants, and she
does not care what you [D#] want, so you're having [G] to work around that.
So that celebration around the fire, at the end of a long hunt or a long agricultural
endeavor, [Gm] that art, that's what kind of, it tells the [F] story of what struggles [G] you've gone through.
It's the celebration [A#] of life along with the struggle of [Gm] actually trying to survive. _ _ _
[G] If you really kind of look at it, your _ legacy, [Gm] if executed properly, and the nuances that
I [F] identify with [D] it, it's not so much about you, it's about [G] laying groundwork _ [G#] and honoring
your past [F] and honoring your family and going [Gm] forward for your children and their children.
You're setting up a foundation for them [A] where they still have to [G] struggle.
Just laying it out for them and just handing them a [Cm] big bank account isn't really going
to, that's not going to help them.
They have to struggle in [Gm] some way, they have to earn [D#] this thing.
And this, I feel [A#] like [G] vineyards and winery and the music is something that requires some
struggle, you have to find your way in it, you can't just be handed it.
The Verde Valley in general, _ [G] _ it's not for everybody.
This area of Arizona, it's one of [Cm] those things you have to resonate with this area to really
[D] dig in and be here.
It'll spit [G] you out like _ _ a bad [Gm] liver transplant. _ _ _ _ _
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