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Thursday, September 24, 2015

The dark shadow that the truth casts

The below is a passage from Frederick Buechner's Now and Then, an autobiographical memoir of his journey of vocation - as a minister, teacher and author.

The particular passage that I've selected is not about any of those things however. It is a passage, essentially, about love. It's about what love is; what it means to love; and the potential for hurt that necessarily comes with loving another human being fully - the dark shadow. Through this passage, Buechner comes to the conclusion that loving someone else can be crippling, both for ourselves, and for the ones we love, and that for that reason, "a distance must be kept". Buechner writes that, "if love is a matter of holding fast to, and identifying with, and suffering for, the ones we love, it is a matter also of standing back from, of leaving space for, of letting go of."

I don't know why it has stuck with me, this passage, this idea that we need to preserve distance from those we love. But is has stuck with me, ever since I first read it, dreary-eyed, on a flight from Sydney to Bangkok a few days ago.

Perhaps it has stuck with me because in Buechner's propensity for "helpless brooding and worrying", I recognise much of myself. As I do in his admission that such personal characteristics have been, throughout his life, "crippling both to myself and to the ones I love".

To love too much. That is the essence of it. To feel another's pain to the point where it ceases to be in any way empathic or helpful for them but simply (and selfishly?) a reflection of my own pain and worry in them. A confirmation of my suspicion that the world does have the capacity to do cruel and hurtful things to us before we are done.

Perhaps it is that.

Or perhaps it is that, although I've never thought deeply about it before, I've never thought it possible to love too much.

Or perhaps it is my stubborn, inert belief that there is nothing to be gained by holding back, by keeping distance, other than self preservation, and that it is ultimately through the sitting with, the engaging with, the working out of darkness and pain and sadness, that we ultimately learn something new about ourselves, and each other, and therefore our sense of being as humans on this earth. And although I would struggle to point to any empirical proof, I can't help but suspect that it is only by knowing ourselves, by having a self to be, that we can truly enter into relationship with all the other 'selves' out there. That we can enter into rather than simply pass beside. So to be told to 'keep distance' seems to me, in a sense, to be told to stop short, to shut the gates, to isolate ourselves from the possibility of knowing ourselves and others fully.

Or perhaps it is simply the fact that, somewhere deep down in me, I suspect that Buechner is right, and that much of the way we love others is not helpful, either to ourselves, or to the ones we love.

Although the passage is lengthy, I've felt the need to write it out in full here. Perhaps that in itself is sign enough that the words are important for me.

~~~~~~~~~~~~~~~~~~~~~~~~~~~

"As a writer I have spent so much time trying to bring my dreams to life that, looking back over the years, I remember occasions when life itself seemed dreamlike by comparison. There was the departure of Katherine and Dinah for boarding school, for instance. I knew perfectly well that they were going. We had driven them around to this school and that school till finally they found the one they liked best. And for the whole summer before they left, there was all the talk about it and the getting ready for it. And when the day finally came, Judy and I drove them there ourselves and met their roommates and lugged endless bags, boxes and suitcases up endless flights of stairs for them and kissed them goodbye at last, knowing that in a few weeks we would be seeing them again because the school in Massachusetts was only a couple of hours away after all.

What I did not see was that even though they were only a couple of hours away, and even thought there would be years of weekends and vacations for us to get together whenever we felt like it, there was a sense in which, when we kissed them goodbye that September afternoon, we were kissing them goodbye for keeps. From that day forward, Vermont would never be home for them again in the way it had been. It would be a place to go for weekends and vacations. From that day forward, home, for them, was theirs to find wherever in themselves or in the world they ever happened to find it, if they were lucky enough to find it at all. Two of the four most precious people in my life had left for good, and I had been looking the other way at the time. Life went on, of course, and I managed to get around much as before, but there were times when it felt like trying to get around on broken legs, and there are times when it feels that way still.

It was not just that I greatly missed them but that I feared for them more greatly still. The world does cruel and hurtful things to us all before it's done with us, and with little more to defend themselves against it than their bags full of clothes and their boxes full of rock records, coat hangers, hockey sticks, it was out into that would that they went. The adventures that they have had since are theirs to tell, not mine, but insofar as from time to time the world has worked them over as it works us all over, I have suffered vastly more from such pain as they have known than I have ever suffered from any pain simply of my own. As Buddha well knew, that is the price that love exacts from us all, but since from childhood I have always been given to helpless brooding and worrying and darkest, most doom-ridden imagining, the price it has exacted from me has often proved crippling both to myself and to the ones I love.

Love is a key concept in Buddhism and Christianity both, needless to say. Buddhism, in the long run, seems to come out against it except in the sense of something like upekha, which is a love so vast and passionless, so disembodied and impartial, that it ceases to resemble the Christian form in any very apparent way. Buddhism, comes out against it not just for one's own sake in the sense that to love another is to open the door to a whole new realm of vulnerability and suffering for oneself, but for the sake of the other also in the sense that unless we can break all the fetters, including love, which bind us to the wheel of rebirth, we can never achieve that Nirvana-like state of selfless detachment which is the only state in which we can be of any real use toward helping others to achieve it. Bloodless, remote, and mythical as these Buddhist insights are apt to seem from a Christian perspective, they are nonetheless greatly useful, I think, in deepening our understating of love in a Christian sense.

That to love other people is to suffer when they suffer is a truth of life which Christianity recognises no less than Buddhism does. It is a truth which has much to do, of course, with what the Cross is all about. To say that Christ takes upon himself the sins of the world is to say that he takes upon himself the suffering of the world too. It is to say that in a sense his suffering on the Cross continues for as long as any of us suffers. Furthermore, in being called to take up our own crosses and follow him, we are called to participate in his suffering. But unlike Buddhism, Christianity nevertheless affirms this love that suffers and, what is more, affirms it not in spite of the fact that it suffers but because of it. It affirms it for the reason that to love others to the point of suffering with them and for them in their own suffering is the only way ultimately to heal them, redeem them, if they are to be redeemed at all. It is God's way in Christ, and as we are called to participate with Christ in his suffering, so we are called to be partners with him in his work of redemption. For our own sakes as well as for theirs, we are called to be Christs to all humankind, in other words, and that is close to the heart of our faith and of our lives together as Christians.

And yet. And yet. Having spoken this Christian truth, we must also, I think, remember the Buddhist truth which may be closer to it than at first glance it appears. If love is a matter of hold fast to, and identifying with, and suffering for, the ones we love, it is a matter also of standing back from, of leaving space for, of letting go of. To become, through loving and needing them, as involved in the lives of others as I was involved in the lives of my children is in the long run to risk being both crippled and crippling. Because we love our children as helplessly as we do, they have the power to destroy us. We must not let them, for their own sakes no less than for our own. A distance must be kept - not just from our children but from everyone we love. I think of the Buddha sitting under his Bo-tree with his eyes closed upon an inner peace which he would not permit even his great compassion to disturb. I think of the staff of the East Harlem Protestant Parish with the pale northern blue of their compassion, their sad gaiety, their utter lack of sentimentality. I think of Jesus himself, who in the profoundest sense bled for people but was never what is meant by 'a bleeding heart'; who did what he could for the sick and suffering who came his way and then moved on; who wept for Jerusalem but let Jerusalem choose its own way; who kept his own mother at arm's length and, when Mary Magdalen reached out to embrace him at the end, said, 'Do not touch me.'

We are to love one another as God has loved us. That is the truth of it. But to love one another more than God has loved us - to love one another at the expense of our own freedom to be something like whole and at peace within ourselves, and at the expense of others' freedom too - is the dark shadow that the truth casts. This is what I started to learn when Katherine and Dinah went away to school in 1975 and launched forth on lives of their own. What event could have been less earthshaking? Yet for me it shook the very foundations themselves and marked the beginning of a new leg of the journey which I am in the midst of still."

Monday, September 21, 2015

Letting it in

Buddha sits enthroned beneath the Bo-tree in the lotus position. His lips are faintly parted in the smile of one who has passed beyond every power in earth or heaven to touch him. "He who loves fifty has fifty woes, he who loves ten has ten woes, he who loves none has no woes," he has said. His eyes are closed.

Christ, on the other hand, stands in the garden of Gethsemane, angular, beleaguered. His face is lost in shadows so that you can't even see his lips, and before all the powers in earth and heaven he is powerless. "This is my commandment, that you love one another as I have loved you," he said. His eyes are also closed.

The difference seems to me this. The suffering that Buddha's eyes close out is the suffering of the world that Christ's eyes close in and hallow. It is an extraordinary difference, and even in a bare classroom in Exeter, New Hampshire, I think it was as apparent to everyone as it was to me that before you're done, you have to make a crucial and extraordinary choice.

Now and then - Buechner

In January of that first winter in Exeter, our first child was born. She was a girl, to be named Katherine after my mother, and to the last of my days I will remember that first of hers. I had been up all night. Sometime after dawn they told me I could come see her. I was shown down a long, empty corridor. A nurse held her up to the plate-glass window so that I could look at her from where I stood on the other side of it. Her face was puffy and flushed, her eyes swollen shut as though she had just come through some sort of punishing battle, which of course she had. I remember thinking that all my past and Judy's past and the past of all the people I had loved most in my life were caught up in her and that from that moment forward my life would never be the same again, as indeed it never has. She looked beat-up and exhausted. I think she was sleeping. With the glass between us, I could not touch her. She weighed less than my briefcase. She was the hope of the world. Tears leapt to my eyes as if I had been struck. 
"He who loves fifty has fifty woes. . . who loves none has no woe," said the Buddha, and it is true. To love another, as you love a child, is to become vulnerable in a whole new way. It is no longer only through what happens to yourself that the world can hurt you but through what happens to the one you love also and greatly more hurtingly. When it comes to your own hurt, there are always things you can do. You can put up a brave front, for one, and behind that front, if you are lucky, if you persist, you can become a little brave inside yourself. You can become strong in the broken places, as Hemingway said. You can become philosophical, recognizing how much of your troubles you have brought down on your own head and resolving to do better by yourself in the future. Like King Lear on the heath, you can become compassionate. Like the whiskey priest, you can become a saint. But when it comes to the hurt of a child you love, you are all but helpless. The child makes terrible mistakes, and there is very little you can do to ease his pain, especially when you are so often a part of his pain as the child is also part of yours. There is no way to make him strong with such strengths as you may have found through your own hurt, or wise through such wisdom, and even if there were, it would be the wrong way because it would be your way, not his. The child's pain becomes your pain, and as the innocent by-stander, maybe it is even a worse pain for you, and in the long run even the bravest front is not much use.

Tuesday, September 15, 2015

Sun Kil Moon - Gentle Moon

Woah - this is so yum.

Perfect driving song. Or fishing. Or drinking. Or walking. Or thinking. Or getting married.

Listen to that guitar.

(Can someone tell me why this isn't on spotify?)


Friday, September 11, 2015

Tuesday, September 01, 2015

Don't Leave - Ane Brun (Live in Stockholm)

I posted this song a few years ago. Here it is again, live from a performance at the Cirkus in Stockholm.

Listen out for the the band's treatment of this stanza, the heart of the song:

I am here, here now.
I am right here, by your side.
I'll lay my hand on the couch, next to yours.
You can hold it, if you would like to.
It will do you good.

So simple.

This is for Fie.


Monday, July 06, 2015

Sylvan Esso - Coffee



Awwwwwwwwwwwwwwwwwww shiiiiiitttttttttttttttttttttttt.

Get up, get down.
Feel the turn of rotation and stop
See the next one waiting
Get up, get down
Get up
Sentiment's the same but the pair of feet change.

Monday, June 15, 2015

Tallest Man On Earth has written a song... oh yes.




We were travellers, so blind
Went to where the world did end
Read of deaths in waves and out
So this is when we walked away

And the sadness I suppose
Gonna hold me to the ground
Where I'm forced to find the still
In a place you won't be 'round

Was I ever part of knowing
With your hands in mine
Little screams into the wonder
And a wild set of rides

Come on, come on

And so here I go again
Say I want my freedom sure
But it's like end of all the dreams
Like in my life I needed more

And this madness I suppose
Gonna haunt me with the line
That I could drink until I sleep
Through all scarier times

Was I ever part of knowing
With your hands in mine
Little screams into the wonder
And a wild set of rides

Come on, come on

Now was I ever going to be more than these savages in me
As they will sing into silence, just to silence tears
Now what is left in here?
It's not the sting of cities flickering in life no
It's not me knowing there's a deeper in the dust no
It's not the reasoning with shadows that are gone no

It's not me knowing I'm yet to see fire
It's just all this fucking doubt


Come on, come on

And this silence I suppose
Gonna hold me to the ground
Where I'm forced to find the still
In a place you won't be 'round

Ralegh Long - Love Kills All Fears


Wednesday, June 10, 2015

A Letter to Benjamin - Buechner


Dear Benjamin,

When you were born this summer in Burlington, Vermont, your father decided to ask a few of us, rather than to give you something on the order of a silver rattle or teething ring, to write you a letter that you are to open on your twenty-first birthday, August 25, 2015, which happens to fall on a Tuesday. It sounded like a good idea when he suggested it, and it sounds like a good idea still, but you can't imagine how I've struggled over it. I am your grandfather, after all. I should have some extra special things to say, and so I like to think I have, but the problem is how to decide which ones to put in and which ones to leave out, where to start and where to stop. My vision of your birthday itself keeps getting in the way.

As I see it, your parents have taken a private room in a good restaurant somewhere. Everybody is wearing evening clothes. Dinner has been eaten. Toasts have been proposed over dessert and coffee. The historic letters have been brought out in a cardboard box. You decide it might be entertaining to read a few of them out loud. You happen to pick out mine. What words of wisdom will it contain? What grandfatherly advice about the future? What revelations about the ancestral past? The prospect paralyzes me. If I am lucky enough to be there in the flesh, age eighty-nine, I will twitch with apprehension as you open the envelope. If I am there as a ghost, I will be tempted to drift out of the open window like a wisp of cigar smoke. How much less painful to give you a silver rattle. But a promise is a promise. I will do the best I can. I will forget about trying to be wise and grandfatherly. I will simply tell you a few of the things that seem important to me as I start writing this on the morning of Saturday, the 21st of October, 1994.

So I will start out once again with Dear Benjamin because it contains two important truths. The first is that you are indeed Benjamin, and the second is that to me you are indeed dear even though I hardly know you yet because at this point, when you are barely two months old, there really isn't much of you to know. You are dear because a little of my blood is in your veins, and therefore, as the old song goes, even when my song is over and done with, some echo at least of the melody will linger on in you. And you are dear because so many of the people I have loved in my life are somehow or other present in the genetic bouillabaisse of who you are even though you will know about many of them, if you know about them at all, only as names or old photographs in an album. Dear Benjamin.

When I look at those photographs myself—the earliest go back as far as my great-great- (your great-great-great-great-!) grandparents, who were born in the opening years of the nineteenth century some two hundred years ago as I write—I wonder who on earth they were. I've picked up a scrap or two about a few of them.

My great-great-grandfather Isaac Golay on my mother's side, for instance. The picture I have shows him sitting in a chair with his left arm resting awkwardly on a table covered with a patterned shawl. He is wearing a frock coat that looks at least two sizes too big for him and has sleeves that come down over his knuckles. He is bald on top and seems to have brushed some of the side hair over his forehead a little to make him appear less so. He has impressive pouches under his eyes and is gazing out not quite directly at the camera with his brow slightly contracted and his lips drawn tight as though the photographer has just told him that if he so much as breathes for the next five minutes, the exposure will be completely ruined. He was a French Swiss who ran a jewelry business on the ground floor of his house in Geneva assisted by his wife, whose picture in a voluminous dress with a little bonnet tied under her chin is next to his in the album.

Her name was Rose Besancon Golay, she was of Huguenot descent, and the story is that she was more highly born than her husband and never let him forget it. Her photograph lends support to the theory. It shows her with clenched jaws looking at the camera out of the corner of her eyes with an expression of darkest suspicion. In response, perhaps, to the photographer's suggestion, she is trying to crank up a smile but has succeeded only in looking as mad as a wet French hen of Huguenot descent. Her chair is much grander than her husband's, as befits her station, and her left arm, like his, is resting on a table, except that on this one there are also two books, a very large one with another, much smaller, on top of it. You get the impression that if the photographer had been bold enough with that terrible glance upon h i m to suggest that she give her smile another try, she would have winged them both at him and in all likelihood would have scored a couple of bull's-eyes. But who knows what she and old Isaac were really like and what was going on inside them at the moment when the shutter snapped? All I can tell you is what little I picked up as the one member of my generation who was ever especially interested in such matters. And if this were a book instead of a birthday letter, who knows how long I would rattle on about them.

I would tell you, I'm sure, about my two grandmothers - about Naya, who spoke in shimmering paragraphs and was the one safe haven of my storm-tossed childhood, and about Grandma Buechner, who called a spade a spade and survived a series of family tragedies with a strength that I'm sure helped me survive them too although at the time I barely suspected it. I might tell you too about my great-great-grandfather Achazius Stehlin on my father's side, born in 1808, who gave up the idea of entering the priesthood for the law and became vice president of the short lived Republic of Baden after the revolution of 1848, which, when it failed, led to his being condemned to death and sent to prison which he managed to escape for France and subsequently Brooklyn, New York, where upstairs in the saloon he ran (which his granddaughter, who was my grandmother, carefully explained was not a saloon in the vulgar sense but more of a club) he started what may have been the first German theater in America. And I would probably say a word or two about my great-grandmother Elizabeth Eimbke Buechner, who, when her dying husband complained about the noise she was making in his room with the carpet sweeper, is reported to have made a reply that has been enshrined in family legend. "Heute ist Dienstag" is what she said, which means "Today is Tuesday," because Tuesday was her day for sweeping the carpet no matter what. Today happens to be Tuesday too. The sun is bright, and the sky is blue. Most of the autumn leaves have fallen, and the ones that are left on the trees are mostly rust-colored with here and there a feathering of lemon yellow. It is on the cool side, but our two dachshunds—Otto the Irrepressible and his uncle, Klaus the Long-suffering—seem perfectly comfortable dozing in the sun where the leaves lie thick and unraked. Last week as I drove along the unpaved West Pawlet road with the sun shining through them, they were as nearly golden as anything can be without being gold. They glistened and dazzled like the walls and vaulted ceiling of some great Arc de Triomphe so that I had no choice but to stop thinking about whatever I was thinking about and to think about them instead, less to think about them than just to lose myself in them. Did Achazius Stehlin, hot-footing it out of France one jump ahead of the posse, ever see leaves like that? Did Rose Besancon Golay ever catch a glimpse of them through the jewelry shop's grilled window, or did great-grandfather August Buechner at least hear them rustling maybe in between sweeps of the carpet sweeper? I like to believe so, but how can I ever know? I am appalled by how little I know even about my own grandfathers.

My grandfather Buechner died when I was ten, only a few days after the death of his oldest son, my father. He was a dapper old gentleman who loved fine clothes, fine food, good wine, and when his children were little loved taking them on walks through Central Park and showing them around museums. When his silk-importing business went under in 1929, he was more or less wiped out, and for the rest of his life the family had to live on his wife's inheritance, which wasn't easy for him and probably explains why in almost every memory I have of him he is holding a drink in his hand and not saying much. He and my grandmother lived for years in an apartment at 940 Park Avenue in New York, and once when I was spending the night there as a little boy, I found myself sleeping in a bed that for some reason had been made up without sheets, an event so unprecedented and confusing that, not knowing what else to do, I started to cry. My grandfather must have heard me as he passed by in the hall because all of a sudden there he was at my bedside in the dark asking me what the trouble was, and when I told him about the sheets, he said that once when he was about my age he had had to spend a night in a tree, where of course he had no sheets either. Since he had survived that experience no worse for wear, he said, he was sure that I would survive too. It gave me something else to think about anyway, and as far as I can remember that brief exchange was the nearest thing to a close encounter the two of us ever had. But if only I had gone further with it. If only I had asked him to tell me why he had spent the night in a tree. If only I had asked him to tell me more about himself. But I'm sure such questions never so much as crossed my mind at that age, and even if they had, I would never have dared ask them.

I was twenty-one years old, your age, when my grandfather Kuhn died—he was eighty-one—but although I saw a lot of him over the years, I never got to know h i m very well either. He was a shy, private sort of man, bald as an egg with liver spots on his shiny scalp, and a scruffy gray mustache, and a little pink papilloma round as a jellybean over one eyebrow. He not only loved my grandmother, Naya, but enormously admired her wit and eloquence and always let her do most of the talking. I remember him sitting in the living room listening to the news of World War II on the radio with his straw hat on. He used to tell how when he was a young man he had eaten some black raspberries once in Somerset, Kentucky. He said they had made him so sick that he had never eaten black raspberries again, and for the rest of his life if he ever saw anybody else eating anything that struck him as questionable, he had only to intone Somerset, Kentucky, a couple of times in a baleful voice, and everybody knew exactly what he meant. I remember he hated to see my mother and her sister, Ruth, wearing jewelry for some reason, and when they were in a certain mood, they would tease him about it and to show their power over him would make him kiss their earrings. When my mother eloped with my father in 1922, he was so furious that he refused to see her for three or four years and had all the pictures of her put away and wouldn't allow anyone to mention her in his presence. He eventually relented, of course, and he and my father became friends although I can't remember ever seeing the two of them together or hearing him speak my father's name. Except once.

I must have been about fifteen or so and we were sitting on a screened porch in Tryon, North Carolina, when out of the blue he addressed me not as Buzzfuzz, which was what he had always called me before for some long forgotten reason, and not as Freddy, which was what just about everybody else called me, but as Fred, which was not so much my name as it had been my father's. The moment lasted no time at all, but I remember feeling that by using that name he was coming as close as he ever did to telling me that he was sorry—sorry that my father had died so young and sorry also for me. If only I had been able to press him further, but of course I wasn't and didn't, and since no such moment ever occurred between us again, he remained almost as shadowy a figure as my grandfather Buechner was.

But even if things had turned out otherwise, I wonder if it would have made any great difference. Even if my grandfathers had been less shadowy and I had been less timid, I wonder if I would ever have been able to learn from them what I would give so much to know now about who they were, both for its own sake and also for the sake of learning something more about who I am myself. Even if I were to stretch this letter out, God forbid, to a thousand pages, would I ever be able to convey my full story to you? I suspect the answer is no. I suspect that our stories in their fullness will always be hidden from each other and that all those whiskered old men and bonneted old women looking out at us from their photographs in the family album will always remain mysteries to us even if, like me, they happen to have written their memoirs. And yet I believe that all is not lost. Maybe we can never know each other's stories i n their fullness, but I believe we can know them in their depth for the reason that in their depth we all have the same story.

Whether we're rich or poor, male or female, a nineteenth-century Swiss jeweler like Isaac Golay in his oversized frock coat, or a twentieth-century American clergyman like me with a penchant for writing books, or a young squirt celebrating his twenty-first birthday in the twenty-first century like you, our stories are all stories of searching. We search for a good self to be and for good work to do. We search to become human in a world that tempts us always to be less than human or looks to us to be more. We search to love and to be loved. And in a world where it is often hard to believe in much of anything, we search to believe in something holy and beautiful and life-transcending that will give meaning and purpose to the lives we live.

I sense a growing restlessness among the birthday guests. One of them keeps rolling up and unrolling a napkin. Another is glancing around the table wondering if it would be seemly to ask the waiter for an after-dinner drink. So enough of all this. Let's have another drink all around, this time on me, and as I raise my glass—whether I'm there in the flesh to do it or only as a benevolent ghost—my birthday wish is that after wandering through many a street for many a long year to come, you may find your way at last to the fountain in the square.

With love from your grandfather.

Friday, June 05, 2015

If ye love me - a reflection


If ye love me
Keep my commandments

If you love the example that I am, do as I do. Seek to be a Christ to others in the same way I am a Christ for you.

And I will pray the father
And He shall give you another Comforter


By seeking to be a Christ, I will give you (or through our relationship, you will find) a ‘self’ to be. And this self will feel like... home.

That he may abide with you forever
Even the spirit of Truth

This true, integrated, self, will feed you, forever. As you live the truth of who you are in the world.

Friday, May 08, 2015

Six impossible things before breakfast

Alice laughed: "There's no use trying," she said; "one can't believe impossible things."

"I daresay you haven't had much practice," said the Queen. "When I was younger, I always did it for half an hour a day. Why, sometimes I've believed as many as six impossible things before breakfast."  

- Lewis Carroll from Alice in Wonderland

Mr Clive James - A man in search of a home.




It may not come to this, but if I should
Fail to survive this year of feebleness
Which irks me so and may have killed for good
Whatever gift I had for quick success -
For I could talk an hour alone on stage
And mostly make it up along the way,
But now when I compose a single page
Of double-spaced it takes me half the day -
If I, that is, should finally succumb
To these infirmities I'm slow to learn
The names of lest my brain be rendered numb
With boredom even as I toss and turn,
Then send my ashes home, where they can fall
In their own sweet time from the harbour wall.

Monday, April 27, 2015

Here we go riff



Alright bitches, try not to bop your head to this one.

Wednesday, April 08, 2015

Kate Rusby - My Young Man



That northern accent. And that brass...

Thursday, March 12, 2015

The search to be human

'Whether we're rich or poor, male or female, a nineteenth century Swiss jeweller like Isaac Golay in his oversized frock coat, or a twentieth century american clergyman like me with a penchant for writing books, or a young squirt celebrating his twenty-first birthday in the twenty-first century like you, our stories are all stories of searching. We search for a good self to be, and for good work to do. We search to become human in a world that tempts us always to be less than human or looks to us to be more. We search to love and to be loved. And in a world where it is often hard to believe in much of anything, we search to believe in something holy and beautiful and life-transcending that will give meaning and purpose to the lives we live.'

'Letter to Benjamin' - from The Longing for Home, Frederick Buechner.

Thursday, January 29, 2015

Hidden Orchestra - Night Walks on Vinyl

So this mix by Edinburgh jazz/electro/dj/god knows/fusion guys Hidden Orchestra is changing my life.

Go music Go!


 

Tuesday, January 20, 2015

Coldplay & Jon Hopkins - Escape/Light Through The Vines

All Coldplay did was add lyics to this already beautiful track by Jon Hopkins. I'd like to say they ruined it. But I think this Coldplay's dreamy melancholic mantra gives it an extra layer of depth. 'And, in the end, we lie awake, and dream of making escape.' Yum

Monday, January 19, 2015

Eric Whitacre - Sleep

If ever there were a reason to buy some good quality headphones, this surely is it. The harmonies in this piece are at times a little too rutteresque for my liking. But those basses are killing it, and the discord in the alto and trebles makes me catch my breath.

Thursday, January 15, 2015

Sunday, November 30, 2014

Mew - Silas the magic car

A couple of people have recently asked me where I get my music from.

Nowadays, it's relatively easy to hear new music. Music sites such as pandora and spotify make it possible to get unsolicited exposure to an eclectic mix of unknown artists with very little brain work. Type in an artist you like and you get fifty or so other artists that sound the same or similar. Chances are the playlist will throw up one you've never heard of that you'll love.

But, like people who prefer to bake their own bread, or grow their own lettuce, I feel there's something rewarding in putting in a bit of extra work to build up your music library. The truth is this: nothing quite beats that feeling of actively searching amongst the millions of tracks out there and finding a gem. Like searching among the millions of hearts and finding one that connects with your own, finding music that speaks to you can provide comfort that's unspeakable in its mysterious power to make things seem ok.

I listen to a lot of overseas radio and podcasts. Guy Garvey's Finest Hour usually gives me at least one new song a week that I can play on repeat 24/7 until it wears my ears out. French radio station TSF jazz is a station you can play for any dinner party. NPR in the states is also amazing.

I've recently been put in touch with another GREAT podcast. It's called 'freunde von freunden mix tapes' and it is an hour of different music put together by different Djs around the world, and published by german lifestyle magazine freunde von freunden (or FvF for the very hip).

I can't recommend it enough - it swings from Jazz to rock, to alternative pop, to soundscape and all whilst hopscotching over musical borders, introducing unknown bands and composers from Germany, Sweden, Russia, America and Asia.

Today, I was sitting in my back living room, making some coffee, and the below song by Mew came on. It sat in the room like an old friend, instantly comfortable and hauntingly comforting.

Of course, it's Danish.

Take a listen.


Monday, November 03, 2014

Wednesday, October 29, 2014

Why we try


What’s lost is nothing to what’s found. And all the death that ever was, set next to life, would scarcely fill a cup.

Tuesday, October 21, 2014

Wednesday, October 08, 2014

Alt J - Hunger on the Pine

This is yummy.

I have no idea what the film clip is about. The beginning is quite beautiful. The ending is confusing. But the guy can take an arrow to the throat.

Monday, September 08, 2014

Wednesday, August 27, 2014

Telling the truth - Buechner

Poor, bare, forked animal in his cassock, his preaching robe, or his business suit, with his heart in his mouth, if not yet his foot.

What can he say? What word can he speak with power enough to empower them!

But let him take heart. He is called not to be an actor or a magician in the pulpit. He is called to be himself!

He is called to tell the truth as he has experienced it. He is called to be human. (And that is calling enough for any of us.)

If he does not make real to them the human experience of what it's like to cry into the storm and receive no answer, to be sick at heart and find no healing, then he becomes the only one there who seems not to have had that experience, because most surely, under their bonnets and shawls and jackets, under their afros and pony tails, all the others there have had it, whether they talk about it or not.

As much as anything else it is their experience of the absence of God (meaning) that has brought them there, that has brought them there in search of God's (meaning's) presence.

And if the preacher does not speak of that, and to that, then he becomes like the captain of a ship, who's the only one aboard the ship who either does not know that the waves are twenty feet high and the decks awash, or will not face up to it so that anything else he tries to say by way of hope and comfort and empowering becomes suspect on the basis of that one crucial ignorance or disingenuous-ness or cowardice or reluctance to speak in love any truths but the ones that people love to hear.

Thursday, August 14, 2014

I Couldn't Agree With Me More - Episode 4



This week on I Couldn't Agree With Me More, Ray and Ray take guard on centre stump and face up to:
1. Brendan Theo - a tragic loss to rugby league
2. The Women's Rugby World Cup
3. Time for Schumacher to get back behind the wheel
4. ASADA - attacking Australia's heros
5. Ray Reviews - Fruit
6. This week in politics - erica betz, julian bishop and the turncoat

This Bitter Earth - Dinah Washington and Max Richter

Everything that needs to be said is already spoken for in the words and music of this haunting creation.



This - bitter earth
Well, What a fruit it bears
What good is love
That no one shares
And if my life - is like the dust
That hides the glow of a rose
What good am I
Heaven only knows

No, this bitter Earth
Yes, can be so cold
Today you're young
Too soon - you're old
But while a voice
Within me cries
I'm sure someone
may answer my call
And this bitter earth
May not be so bitter after all

Tuesday, August 12, 2014

My Birthday

It was very nice to be together.

Mum made my favourite carrot cake, adorned with the blue toy bike and white ‘happy birthday’ sign that’s sat upon every birthday cake I’ve ever had, and kept saying things like, ‘you stay there and talk Fiona, I’ll get the tea’.

Dad read out his latest musing about the importance of time spent together as the single blue candle flickered down to the wick.

Fiona was fresh out of a course at tafe that she’s doing to become a counsellor.  Perhaps most importantly, her presence allowed me to sit and watch and listen, and that’s my preferred position.

And with the allotted slices of carrot cake eaten, it was Fiona who turned up the volume on Midnight Train to Georgia so that we could dance and sing along to Gladys Knight and the Pips.

Every bit of it a familiar tradition. It was in its familiarity that we sat, and watched each other.

Long Distance I and II by Tony Harrison


Long distance I

Your bed's got two wrong sides. You life's all grouse.
I let your phone-call take its dismal course:
Ah can't stand it no more, this empty house!
Carrots choke us wi'out your mam's white sauce!


Them sweets you brought me, you can have 'em back.
Ah'm diabetic now. Got all the facts.

(The diabetes comes hard on the track
of two coronaries and cataracts.)

Ah've allus liked things sweet! But now ah push
food down mi throat! Ah'd sooner do wi'out.
And t'only reason now for beer 's to flush
(so t'dietician said) mi kidneys out.


When I come round, they'll be laid out, the sweets,
Lifesavers, my father's New World treats,
still in the big brown bag, and only bought
rushing through JFK as a last thought.

Long distance II  

Though my mother was already two years dead
Dad kept her slippers warming by the gas,
put hot water bottles her side of the bed
and still went to renew her transport pass.

You couldn't just drop in. You had to phone.
He'd put you off an hour to give him time
to clear away her things and look alone
as though his still raw love were such a crime.

He couldn't risk my blight of disbelief
though sure that very soon he'd hear her key
scrape in the rusted lock and end his grief.
He knew she'd just popped out to get the tea.

I believe life ends with death, and that is all.
You haven't both gone shopping; just the same,
in my new black leather phone book there's your name
and the disconnected number I still call.

Monday, August 11, 2014

I Couldn't Agree With Me More - Episode 3



This week on I Couldn't Agree With Me More, Ray and Ray tackle:

1. The Tah Tahs
2. Anthony Mini-Cello retires
3. Alan Border and those Brisbane Heat
4. AFL - The Coward Elbow
5. Israel and Gaza solved!
6. Ray Regrets - The Cyclist
7. This Week in Politics - Scotty Morrison and Pyne-O-Clean
8. Ray Reads - Nelson Mandela's (very) Long (and frankly a bit boring) Walk to Freedom

Damien Jurado - Rachel & Cali

yum


Thursday, July 31, 2014

I Couldn't Agree With Me More - Episode 2

Episode 2 of 'I Couldn't Agree With Me More' now up.

This week, Ray and Ray get stuck into:

1. The Empire Games
2. The Lawn Bowls
3. Trouble In Tigerland
4. Shithouse Rugby Union
5. Coward Punching Eddie
6. Ray Reads - Les Mise-Rab-Les
7. Ray Regrets - Mudgee Country Women's Society


Monday, July 28, 2014

Gonzales - Gentle Threat

Just...

Lights off. 

Silence.

And this:


Wednesday, July 16, 2014

How cultures around the world think of parenting



Interesting ideas on parenting from different cultures.…

I like the dutch: Ii you teach your children to read before they get to school, they won’t have any friends.

Thanks Holland. 

Kabhi Kabhie

This is strangely haunting.

The songs is from a 1976 Bollywood movie called Kabhi Kabhie. In the film, a poet, Amit, presents his first book of verse titled ‘Kabhi Kabhie’ to his beloved Pooja as a wedding gift after she tells him that her parents have decided to marry her off to an industrialist's son. Ironically, Amit turns out to be Pooja's husband-to-be's favourite poet and he recites this song to her on their wedding night, oblivious to the fact that its writer is the man who still holds his bride's heart.

This song is about unrequited love and I think you can hear that in the performances of Lata Mangeshkar and Mukesh. The people you see in the video below are the actors from the film. In Bollywood, it's commmon for songs in films to be dubbed by what are known as 'playback singers'. Lata Mangeshkar and Mukesh are two of Bollywood's most well known playback singers. I can't help but feel that subject of the song, unrequited love, is appropriate for these singers who's voices are allowed to sweep through India's cinemas and lounge rooms, but who's faces remain unseen.

Schmulz-ometer - 11/10
Haunt-ometer - 9/10




kabhii kabhii mere dil me.n khayaal aata haiSometimes the thought crosses my mind
ki jaise tujhko banaaya gaya hai mere li'ethat you've been made just for me.
tuu ab se pahale sitaaro.n me.n bas rahii thii kahii.n Before this, you were dwelling somewhere in the stars;
tujhe zamiin pe bulaaya gaya hai mere li'e...you were summoned to earth just for me...
kabhii kabhii mere dil me.n khayaal aata hai...Sometimes the thought crosses my mind
ki yeh badan ye nigaahe.n merii amaanat hai.n... that this body and these eyes are kept in trust for me...
ye gesuu'o.n kii ghanii chha.nv hai.n merii khaatirthat the dark shadows of your hair are for my sake alone,
ye ho.nTH aur ye baahe.n merii amaanat hai.n...that these lips and these arms are charged to my care...
kabhii kabhii mere dil me.n khayaal aata haiSometimes the thought crosses my mind
ki jaise bajtii hai shahanaa'iyaa.n sii raaho.n me.n...just as the shehnaii sounds on the roads...
suhaag raat hai ghuu.nghaT uTHaa rahaa huu.n mai.n...that it is my wedding night, and I am lifting your veil...
simaT rahii hai tuu sharmaake merii baaho.n me.n...You're shrinking for shame, blushing in my arms...
kabhii kabhii mere dil me.n khayaal aata haiSometimes the thought crosses my mind
ki jaise tuu mujhe chaahegii umra bhar yuu.n hiithat you'll love me like this our whole lives through,
uTHegii merii taraf pyaar kii nazar yuu.n hiithat you'll always lift a loving gaze to me like this.
mai.n jaanta huu.n ki tuu gair hai magar yuu.n hiiI know you're a stranger, but even so,
kabhii kabhii mere dil me.n khayaal aata hai...sometimes the thought crosses my mind,

Thursday, July 03, 2014

Bon Iver - I hate you

For years now I have tried to express it.

I've written it down on scraps of paper since I was 16.  I've tried to talk it out with my father on the back porch of our house in South Turramurra.  I've submitted pieces to various magazines searching for it.

The push and pull of it. Catching glimpses of understanding from the wind, and feeling - just for a moment - warmed.  Only for the next gust to bring with it more questions, and the cold confusion returns.

Well. Bon Iver just wrote it all out of him. In 4 minutes, and 197 words.




ever since i heard the howling wind
i didn’t need to go where a bible went
but then you know your gifts seemed heaven sent
just lead me to a choler, dad, thats the thing

i don’t know how you house the sin
but you’re free now
i was never sure how much of you i could let in
am i free now
won’t you settle down baby here your love has been
heavenly father
it’s defiantly lava
why you don’t carry other names

heard about a day where it dropped the Know
to go another day as we learn to close
cause I’m a known coward in a coward wind
but you’re free now
you turn around now and you count to 10
to see you go now
well i know now honey that i can’t pretend
heavenly father
is whose brought to his autumn
and love is left in end

i just been up here for god damn years
can you see now?
filling up hulls with god damn fears
i am free now
i know about it darling i been standing here
heavenly father
is all that he offers
a safety in the end

Tuesday, June 24, 2014

Friday, June 20, 2014

Number one dads releases new album

Big Scary frontman Tom Iansek will release his second solo album, About Face, in August.
About Face is the followup 2011’s Man Of Leisure– which Iansek released under the name Dads.

The album’s lead single ‘Return To’ is a collaboration with singer Tom Snowdon of Melbourne indie crew Lowlakes.

Put it in your brain. Yum.


Thursday, June 19, 2014

If ye love me - Thomas Thallis

Even if...

Even if this is all Tallis did with his life. Even if this was all we had to judge him by. From a lifetime; these 2 mesmeric minutes of bliss. I would not but conclude that it was, all of it, worthwhile.



If ye love me
Keep my commandments
And I will pray the father
And He shall give you another Comforter
That he may abide with you forever
Even the spirit of Truth

Monday, June 16, 2014

Stillways - Steve Bisley


Death.

There were other fires in other years. People died in them.

One family, new to the district, were overcome and incinerated in their house. They were found all in one room in a charred huddle. The mother and baby had melted together to be forever as one. The father, at the top of the pyre, had tried to protect them all with a wide embrace that would last for eternity. We all went to look, to lean what sadness meant.

Tuesday, May 27, 2014

The Milk Carton Kids - Michigan

That chorus...


Keinen Zentimeter - Clueso

German pop - what the? Yeah, I know, I know. Give it a listen though. It is tres 90s and damn catchy.

Sing along, you know the words: Ich will keinen zentimeter mehr zwischene uns...



Procedure for Disposal - Clive James

It may not come to this, but if I should
Fail to survive this year of feebleness
Which irks me so and may have killed for good
Whatever gift I had for quick success -
For I could talk an hour alone on stage
And mostly make it up along the way,
But now when I compose a single page
Of double-spaced it takes me half the day -
If I, that is, should finally succumb
To these infirmities I'm slow to learn
The names of lest my brain be rendered numb
With boredom even as I toss and turn,
Then send my ashes home, where they can fall
In their own sweet time from the harbour wall.

Wednesday, April 02, 2014

Richard Hawley - Baby you're my light

I definitely want to play this at my wedding. Pete on lead guitar. Andrew on bass. Hugh on egg shaker. Fie on Cello. Luke on drums. It's all planned. But who plays slide guitar?

Sunday, March 02, 2014

Thursday, February 20, 2014

To Cover or not to Cover

Sometimes covers are better than originals. Sometimes they completely ruin them. Sometimes they're not bad, but the strip the original of the magic it was written with.

Any thoughts on which one this is?



Wednesday, February 12, 2014

The National - About Today

I went and saw The National on Saturday night. They were performing at the Sydney Opera House forecourt as part of the Opera House's contemporary music program Music At The House. (check out their website - they have a cool graphic designer)

It was a pretty special night, with the Opera House and the Bridge lit up in lapis lazuli blue, the Sydney sandstone a warm yellow and the gentle eucalypts a swaying calm green in the warm summer breeze.   

I've seen The National before, and while this was not their best gig ever, they were solid.  This song was the highlight for me. Mainly because of the Aaron Dessner's gentle guitar riff and the simplicity of the lyrics.

Hey, are you awake
Yeah I'm right here
Well can I ask you
About today

How close am I
To losing you


Images by Vincent Moon, JM Goett, Gaspar Claus
Edit by Vincent Moon
Produced by Beggars Banquet

Paris, Guinguette Pirate, december 2005

Tuesday, January 28, 2014

laura veirs - the sleeper in the valley




And amazing song by Laura Viers - so gentle, so delicately layered. The words a translated from a well-known French poem by Arthur Rimbaud called Le Dormeur du Val:

C'est un trou de verdure où chante une rivière,
Accrochant follement aux herbes des haillons
D'argent ; où le soleil, de la montagne fière,
Luit : c'est un petit val qui mousse de rayons.

Un soldat jeune, bouche ouverte, tête nue,
Et la nuque baignant dans le frais cresson bleu,
Dort ; il est étendu dans l'herbe, sous la nue,
Pâle dans son lit vert où la lumière pleut.

Les pieds dans les glaïeuls, il dort. Souriant comme
Sourirait un enfant malade, il fait un somme :
Nature, berce-le chaudement : il a froid.

Les parfums ne font pas frissonner sa narine ;
Il dort dans le soleil, la main sur sa poitrine,
Tranquille. Il a deux trous rouges au côté droit.


Veir's English translation is not wholly loyal to the original, but it is just as moving:

In a green hollow where the river sings,
Tiny valley, bluebells ring.

There's a young soldier under the clouds,
His mouth is open, and the light rains down.

And the light rains down,
And the crows come round,
To the two red holes in his right side, oh
In his right side, oh.

Sleeping in the sun, hand on his breast
The nape of his neck bathed in
Blue watercress
He's just a kid and he never knew,
He would would be a sleeper in the valley so soon.

So soon, So soon,
And the crows, they swoon,
At the two red holes in his right side, oh

So soon, so soon,
And the crows, they swoon,
At the two red holes in his right side, oh
In his right side, oh.


As a side note - Rimbaud wrote this poem at the tender age of 17. By the time he turned 18, Rimbaud had moved to Paris where he'd lived a absynthe-fuelled existence with fellow french poet Paul Verlaine; lived in abject squalor in London, relying on the free heating, lighting, pens and ink of the British Museum to write; and survived being shot in the wrist by Verlaine in Brussels.  All of Rimbaud's poetry was written as a teenager and he gave up creative writing completely before he turned 20.  He travelled extensively for the remainder of his life, working as a stone quarry forman in Cyprus, and member of the Dutch Colonial Army in Indonesia and as an exporter of coffee and weapons from Yemen, before dying of cancer at the age of 37.

Thursday, January 16, 2014

Elbow back at it - Fly Boy Blue and Lunette



Elbow have released two songs off their new album, The Take Off and Landing of Everything.

I have posted this song primarily just for the way he sings the following phrase:

But there isn't words yet for the comfort I get from the gentle lunette of the top of the nape of your neck that I wake to.  And where are the words for the leap in my chest.

Yummy.

Sunday, December 22, 2013

Little Aches and Pains (Paul Kelly)

This is my first go at sharing some of my covers online. This is a cover of a beautiful song by Paul Kelly called Little Aches and Pains. Hope you likey.

Saturday, November 30, 2013

Shrinking Women

On Beauty and Being Just

Two quotes from Elaine Scarry in her book 'On Beauty and Being Just'.  With thanks to Kate Brennan


~~~~~~~~~~~~~~

The beautiful, almost without any effort of our own, acquaints us with the mental event of conviction, and so pleasurable a mental state is this that ever afterward one is willing to labor, struggle, wrestle with the world to locate enduring sources of conviction— to locate what is true. 

~~~~~~~~~~~~~~

Homer sings of the beauty of particular things. Odysseus, washed up on shore, covered with brine, having nearly drowned, comes upon a human community and one person in particular, Nausicaa, whose beauty simply astonishes him. He has never any- where seen a face so lovely; he has never anywhere seen any thing so lovely. “No, wait,” he says, oddly interrupting himself. Some- thing has suddenly entered his mind. Here are the lines:
But if you’re one of the mortals living here on earth, three times blest are your father, your queenly mother, three times over your brothers too. How often their hearts must warm with joy to see you striding into the dances— such a bloom of beauty. . . . I have never laid eyes on anyone like you, neither man nor woman . . . I look at you and a sense of wonder takes me.
Wait, once I saw the like—in Delos, beside Apollo’s altar—
the young slip of a palm-tree springing into the light. There I’d sailed, you see, with a great army in my wake, out on the long campaign that doomed my life to hardship. That vision! Just as I stood there gazing, rapt, for hours . . . no shaft like that had ever risen up from the earth— so now I marvel at you, my lady: rapt, enthralled,
too struck with awe to grasp you by the knees
though pain has ground me down.
 
Odysseus’s speech makes visible the structure of perception at the moment one stands in the presence of beauty. The beautiful thing seems—is—incomparable, unprecedented; and that sense of be- ing without precedent conveys a sense of the “newness” or “new- bornness” of the entire world. Nausicaa’s childlike form, playing ball on the beach with her playmates, reinforces this sense. But now something odd and delicately funny happens. Usually when the “unprecedented” suddenly comes before one, and when one has made a proclamation about the state of affairs—“There is no one like you, nothing like this, anywhere”—the mind, despite the conÅ dently announced mimesis of carrying out a search, does not actually enter into any such search, for it is too exclusively Å lled with the beautiful object that stands in its presence. It is the very way the beautiful thing Å lls the mind and breaks all frames that gives the “never before in the history of the world” feeling.

Odysseus startles us by actually searching for and Å nding a pre- cedent; then startles us again by managing through that precedent to magnify, rather than diminish, his statement of regard for Nau- sicaa, letting the “young slip of a palm-tree springing into the light” clarify and verify her beauty. The passage continually re- starts and refreshes itself. Three key features of beauty return in the new, but chronologically prior, object of beauty. 

Thursday, November 28, 2013

This small photo strip...


Kota Kinabalu, Sabah, Malaysia

I have been meaning to post these photos for a while now. A few quick snaps from a trip to Malaysia from earlier this year. Two orphaned orang-utans in rehab and some night market shots.




Washington - NYC - Salt Lake City

Hey y'all,

Some quick shots from a recent work trip to the States. Managed to catch up with some good friends in Washington and NYC - (Antonia - thanks for taking me out on U street. Lucie La Gentille - Merci de m'avoir hebergé et mercy à Camille aussi d'avoir supporté mes renflements!).

It was a fly-by visit. But it was great to get out of Australia for a little while and remember that there's a big old world out there and that, everywhere, there's someone getting on with the business of living.

Things learned on this trip:
  1. It's scary how similar Washington feels to Canberra. It's a public service town with interesting work that attracts a certain type of person. There's a desolation to the streets after 8pm that reminded me of home. People ride bikes everywhere and people say things like, "I like New York as a place to go on weekends, but I'm not sure I could live there you know? I mean... I canoe on weekends now!" 
  2. Tap beer in Salt Lake City is legally required to be less than 4% alcohol. It's like a town with only light beer on tap. The horror. 
  3. Americans come in for a fair amount of external criticism. Stereotypes abound that they are stupid, vain, lacking culture, fat, lacking in any sort of global perspective and shallow. As with all stereotypes, if you spend more than five minutes with someone, they turn out not to be true. Although I did have a few interesting experiences, (like when someone asked me if I was irish (what?), there were many times where I thought that we (Australians) might do well to learn from the American stereotype. For example, I met a  man who literally exploded with excitement at how cool he thought Washington was and how lucky Washingtonites were to live in a city with so many great culinary delights. I tried hard to imagine an Australian showing a foreigner around Sydney Harbour and being as excited about the beauty of Sydney. I doubt it would happen. Instead I think an Australian would probably wait for the foreigner to say, "this is  amazing" and then reply, "yeah… it's alright I guess", which is a little sad.  I mean, why not be excited? Being apathetic might mean you never risk being vulnerable, but there was something endearing about this overly-excited American man. He loved his city. Sure, there may be better places in the world, but he loved it nonetheless. He put his opinion out there and was proud. 
  4. New York - I don't get it. Everywhere is a line, nothing is discovered for the first time, everyone has done it before you, people work long hours, apartments are expensive and small, there's a constant sense of needing to prove your better than everyone else you meet, and yet, when it came time to go, I was not ready. 
  5. Australian print media is shithouse. I worry about the breadth and depth of news that is available to the average Australian. Every morning I read the paper: The Wall Street Journal, THe Washington Post or the New York Times. It wasn't just the selection of stories that was broader - raining from stories on the nuclear weapons deal with Iran to in depth analysis of the anniversary of the Gettysburg address - the writing was vastly superior too. On arrival back in Australia I did a quick check of the front page of the Daily Telegraph. The headlines read: Dr Harry's tragic loss; Dannii v Kylie - Talent Show Sister Act; Mauled - Australia Zoo Attack; and a small story titled Grins of the Father, about a Bishop who smiled during the royal commission hearing into child sex abuse. Over on page 18, the world news section included two stories about how a bikini removal caused a car crash in New York, and a story on a Parisian couple who had carried out a suicide love-pact.


< WASHINGTON >







< NYC >





< SALT LAKE CITY >




Sunday, November 10, 2013

Eleanor Dunlop - Disguise

Heard this song on the radio this afternoon and could have sworn it was Juanita Stein from Waikiki. Surreal similarity in the voices.

Thursday, October 24, 2013

Arcade Fire - Here Comes the Night Time

We learn two things in this video:

  1. Arcade Fire are totally fine with taking the piss out of themselves.
  2. Michael Cera is just as funny in Spanish as he is in English. 

Monday, October 21, 2013

Friday, October 04, 2013

Choral Music Friday

Just to get you all pumped for the weekend, it's time to get into some choral music! What's that? I know! Oh yeah baby!

Here are a few of my favourite pieces. I've tried to seek out the best standard of singing for each piece. Unfortunately the standard of video doesn't always correlate.

If you're new to choral music and have an overwhelming desire to click back to facebook right now, just let's take a risk together. How to explain why listening to a good choir is exciting?

Imagine a sound guy at the mixing desk at your local pub. The band are rocking away on stay. The guitarist has his amp up as loud as it will go. The drumming is smashing away up the back. The bassist is thumbing away trying not to be seen. And the singer is gyrating into the microphone stand as he screams away into the mic. Individually, they are playing a different gig to the one you hear. That's because what you hear is what the sound guy lets you hear. That's because it is the sound guy's job to make sure all the 'levels' are correct. He can make the drums cut through, or make them 'sit underneath' the bass so that the it comes out of the speakers as a unit that gets your feet moving. He can make the vocals louder so that they're not drowned out by that distorted guitar. He can even monitor the levels during a song to make sure any vigorous playing doesn't stick out too much. The point is, one person has control over what you hear.

With a choir, what you hear is dependent on 30 people, reacting in real-time to create a unified sound. Each member has to be listening and singing in unison, not only with the other people in their part (ie soprano, alto, tenor, bass), but also as part of the whole. It's a constant process of 'mixing' by each chorister. As you can imagine, when thirty people are trying to do this at the same time, there's a lot of scope for error. One person out of time, one person giving slightly more emphasis to a note or a word in the wrong place, and what you hear will sound impure. It's like a human pyramid. When one member goes down, the whole thing falls over.

So when you hear a choir sing and it sounds like one living organism, rather than a collection of parts, you can be sure of two things: it is superior singing and it has probably taken about 5 years to get the choir to sing like that.

Take a moment to listen out for the way some of these choirs treat the words in these pieces. For example, listen for the word 'drown' in the first video 'weep o mine eyes'. Can you hear the way they accentuate the 'd' and fall away from the rest of the word, so that the '-rown' is swallowed by the acoustics. Does it not sound exactly like someone slipping below the surface of the water?

Similarly, listen to the way the choir plays with tempo in the second video, a version of Ubi Caritas by King's College Cambridge. Listen to the way they slow down ever so slightly to savour the resolutions of the phrases, particularly the one 'et ex corde diligamus nos sincero' (May we love each other with a sincere heart'). It's not so much a change in tempo as the choir allowing the music to breath. hm-hmmmm.