Archive for the ‘Music’ Category

From The Heart

November 14, 2008

  The clip is the opening spectacular from the Bollywood flic Dil Se.  It neatly launches the story about an All-India radio reporter who becomes so infatuated with a mysterious and beautiful woman that he doesn’t realize that she’s a terrorist until it is too late.  Way too late.

  The film is dark, foreboding, and does not attempt to  convey optimism about the potential for peaceful coexistence between and among India’s many ethnic and religious groups.  The interwoven bits of romance lighten up the political part of the narrative in the same way that the fantasy of Tralfamadore does the story of the WWII firebombing of Dresden in Vonnegut’s Slaughterhouse 5.

  Dil Se was controversial when it came out in 1998 because it had only been a few years since a female suicide bomber had taken the life of Rajiv Ghandi.  It failed at the box office in India.  Since then it has been shown at many international film festivals and has drawn praise and a following. 

  I’m sure you’ll agree that the video is incredible on many levels.  The music alone is wonderful and has become wildly popular around the world.  It was employed by Spike Lee – to provocative effect – on the soundtrack of his Inside Man. 

  The music combined with the position of its performance – atop a train moving through rugged topography – makes what could be a dream sequence for a lyrical thrill seeker as well a poetic look at love.

He whose head is in the shadow of love
will have heaven beneath his feet.
Whose head is in the shadow of love..
Walk in the shadow.
Walk in heaven, walk in the shadow. 

  Culturally, it brings several things to mind.  First, it would not seem odd or staged or maybe not even dangerous to Indians or people in much of the third world that passengers would be allowed to ride on the top of a train.  Makes one aware of the existence of a spectrum of personal responsibility with abdication on one (our) end and self reliance on the other.

  Secondly, it interesting to know that while Richard Gere was threatened with jail for kissing an Indian actress on the lips on stage at an AIDs awareness rally, it is apparently not there found unacceptably erotic that the dancer at the beginning of this movie initially lends her chest to the surrounding landscape and then sets her hips to swaying like, well, uh, if I went into the kitchen at home and my wife was moving thus I’d know what was on the menu.  And my silverware would be ready.

    

Flirtatious Attempts at Self Selection

September 11, 2008

  Clear and very cool this morning when I took the dog for a run along the frayed edges of the fog blanketing the river.  I wondered if the commercial fisherman usually there was out in his 20′ jon boat.  I’d never noticed him to have a light and certainly no foghorn.  He’s been there regularly for years and I concluded that he must know how to be safe.

  Dog shot about like a bullet which caused me some angst.  Every year for the past few, at about this time, I come to realize that his sluggishness just days or weeks prior was not due to age but heat.  What a jerk am I sometimes.  Awful when I repeat.

  Previous few weeks it’d been us three boys.  Son took off for London yesterday and so now it’s down to Sauger dogger and me.  Current nature of our crib belies that fact.  We had fun.  Ah well, I’ll get after it and no one will be the wiser.

  Turning away from the river back toward home thought shifted to the concept of ‘no self’.  No self in the sense that one doesn’t have an immutable center, that what you are is largely the evocation of your own evolving particular interpersonal milieu. 

  Andrew had his elaborate DJ setup in our living room and took it all out for a number of gigs while home.  Watching him perform and seeing how the crowd drew enjoyment and naturally fell into its rhythms and beats made me realize that our “own personal interpersonal milieus” are just like bits of music – improvisational jazz.  We’re all instruments playing off each other and the environment.

  Your particular array of pets has inflected your personality in a particular if subtle way.  The sense of your place probably had a greater impact.  You’d be profoundly different had your family been constituted other than it was.  So What?  Take Five.

  Music has always been part of our nature.  “Darwin suggested that human ancestors, before acquiring the power of speech, endeavored to charm each other with musical notes and rhythm.  It is because of music’s origin in courtship that it is firmly associated with some of the strongest passions an animal is capable of feeling.”

  (In that regard, this dad watching his son perform couldn’t help but notice a steady stream of alluring young women approach in what sure seemed like flirtatious attempts at self selection.  OMG)

  A “Dr Miller sees music as an excellent indicator of fitness in the Darwinian struggle for survival.  Since music draws on so many of the brain’s faculties, it vouches for the health of the organ as a whole.  And since music in ancient cultures seems often to have been linked with dancing, a good fitness indicator for the rest of the body, anyone who could sing and dance well was advertising the general excellence of their mental and physical genes to a potential mate.” 

  Guess I better work on my moves so that I can bust a really good one some few days hence. 

Note: Quotes above came from my trove of clippings:  9/16/03 NYT

Freewheelin’? More like a stick in the spokes. A big stick…

June 6, 2008

  Several weeks ago Terri Gross interviewed Suze Rotolo on NPR’s “Fresh Air”.  Rotolo’s book: A Freewheelin’ Time has just been published.  It recounts her relationship with Bob Dylan which began in 1961 when she was 17 and he 20.  They appear together on the cover of the album “The Freewheelin’ Bob Dylan” which was his second studio album and held, among others, “Blowin in the Wind”.

  The discussion, during the interview, of the song: “Boots of Spanish Leather” (from the album “The Times They are A-Changin’ 1964) induced me to listen to it again for the first time in many years.  Rotolo called it a fictionalized version of her sabbatical from their relationship which took her not to Spain, but to Rome.  She had become nearly overwhelmed by the attention and adulation attendant to Dylan’s rise in Greenwich Village. 

  The song is antiphonal alternating between first, the fictionalized Ms Rotolo with Dylan in response: 

“Oh, I’m sailin’ away my own true love,
I’m sailin’ away in the morning.
Is there something I can send you from across the
sea,
From the place that I’ll be landing?  
 
No, there’s nothin’ you can send me, my own true
love,
There’s nothin’ I wish to be ownin’,
Just carry yourself back to me unspoiled,
From across that lonesome ocean.
 
Oh, but I just thought you might want something
fine
Made of silver or of golden,
Either from the mountains of Madrid
Or from the coast of Barcelona.
 
Oh, but if I had the stars from the darkest night
And the diamonds from the deepest ocean,
I’d forsake them all for your sweet kiss,
For that’s all I’m wishin’ to be ownin’
 
That I might be gone a long time
And it’s only that I’m askin’,
Is there something I can send you to remember me
by,
To make your time more easy passin’.
 
Oh, how can, how can you ask me again,
It only brings me sorrow.
The same thing I want from you today,
I would want again tomorrow.
 
I got a letter on a lonesome day,
It was from her ship a-sailin’,
Saying I don’t know when I’ll be comin’ back again,
It depends on how I’m a-feelin’.
 
Well, if you, my love, must think that-a-way,
I’m sure your mind is roamn’.
I’m sure your heart is not with me,
But with the country to where you’re goin’
 
So take heed, take heed of the western wind,
Take head of the stormy weather.
And yes, there’s something you can send back to
me,
Spanish boots of Spanish leather. 

  In the recounting at least, Ms Rotolo’s departure seems to have been instinctual.  Only after some reflection at sea does her emotional tone catch up to her position and does she realize how revitalizing a break promised to be – whatever the cost.  In contrast, Dylan was pained and cognizant of possible ramifications of her journey from the moment she announced her intention to him.

  His final response to her repeated request was an effort to ensure that she be fully conscious of him at least one last time.  In searching for the proper pair of boots, she’d have to take her mind back to him and reconsider the nature of his body, soul, and spirit.     

  The song is both achingly beautiful as well as illustrative of Jung’s description of an artist:  “Art is a kind of innate drive that seizes a human being and makes him its instrument.  To perform this difficult office, it is sometimes necessary for him to sacrifice happiness and everything that makes life worth living for the ordinary human being.”

  Even though it must have been crystal clear to Mr. Dylan why his “own true love” had left, he was unable to restrain himself from putting the story out there for all the world to know.  He does not evince bluster and swager like his besequined cod-pieced brethren.  More like cauterized torment.      

  It’s Dylan alone on acoustic guitar.  The repetitive pattern of his picking seems to procure the rasp of his voice like hot firing  synapses do obsessive thought. 

  It’s unforgettable.