July 4, 2008

Freedom of Religion

As a pagan, I often overhear pagan conversations where the chief topic of concern is the negative affect that evangelical Christianity has on the "free trade" of alternative religions - its nature to limit, deny, persecute and eradicate viewpoints other than its own.

I wonder, however, if the "power" of the rough 70% majority (in America, that's about how many claim to be "Christians," whether they act accordingly or not) is not greatly overestimated by my pagan colleagues.

Historically speaking, the number one enemy of Christians is usually other Christians (or in the case of the Crusades, which weren't really about religion anyway, other monotheists). The Pilgrims and Puritans who sallied forth and assailed Plymouth Rock with their austere sense of righteousness were running from persecution in Europe and England, where they were being thumb-screwed, hung, burnt and otherwise imperiled by other Christians. The separation of the church and state was originally a way to prevent a Catholic state from persecuting Protestants, or visa versa. Those brave souls (and if they're yours, they start as visionaries and end up martyrs; those on the other side generally begin as heretics and blasphemers and end as capital criminals) who question the status quo of the Christian power structure from within are usually the most likely victims of Christian persecution; there's so much to harvest there (in terms of dissention, dissembling and disavowing) that I don't think at least in recent centuries there's been enough time for them to focus on or bother with non-believers. Sure, every now and again someone will get a Cotton Mathers bee up their bonnet and worry about the devil lurking in strangers. But typically (and ironically) it's much more effective to clamp down on "your own."

Of course, that depends on who you call "your own." Particularly when you've got more churches than congregants (where I live, there may be 300 churches for 17,000 people - on any given Sunday, there are between five and forty cars in 300 different parking lots). To sing, not to sing; musical instruments vs. voices only; women clergy or no; laity preaching; dancing; drinking; wine vs. grape juice; transmigration real or symbolic; Latin vs. local; tithe vs. time; literal vs. figurative; dip vs. dunk; limbo, purgatory, bottomless pit, endless fire, consuming darkness. About the only thing they agree on is barbeque - and then the sauce is different depending on which side of town you're on. Again, from local experience, there's one denomination that has two separate facilities - one for "locals" and another for "foreigners" (i.e., those who were not born and bred in town).

How could this group of divisive, in-fighting, bickering, nit-picking and otherwise non-collective souls agree on anything - at least, once they pass out of the church's threshold and return to their completely isolated and often hypocritical lives?

Pagans: who cares what they think anyway?

"If you want to sing out, sing out." That's what I say.

I know, I know. There's that social pressure. Those potential cross-burnings. That shunning. The losing of the job, etc.

But why would you want to live in a town with that kind of thinking, anyway? Shouldn't you be looking to live among your own kind, like the Christians do? Or do you have the same level of schism with your fellow "pagans"?

I say again - if you believe in what you are, what you do will follow. If that is worth doing, then it doesn't matter who opposes it. Is living in any other way worth living?

Besides, I think it was Dan Rather who said in an interview perhaps 15 years ago that the most important question you will ever have to ask yourself is "what am I willing to die for?" Once you have that answer, the rest is pretty clear. If you're up against anyone in those sacred areas who hasn't asked themselves that question (and given themselves an honest answer), unless that's what they're fully committed to, you will emerge victorious.

Happy Independence Day.

April 23, 2008

Vintage Vinyl circa 1978

If you thought the eight-track list was bad, check out the albums I owned in 1978-1979:

The Eagles - Greatest Hits 1971-1975
The Beach Boys - 40 Greatest Hits
Johnny Cash - Ring of Fire
Elvis Presley - Gold Records No. 1, 2, 3 and 4
Kiss - Double Platinum
Kiss - Ace Frehley
ELO - Out of the Blue
The Bay City Rollers - Greatest Hits
Queen - News of the World
Roy Clark - The Everloving Soul of Roy Clark
Linda Hargrove - Music is Your Mistress*
The Blues Project - Reunion in Central Park*
Freddie Hart - His Greatest Hits*
Maynard Ferguson - Chameleon
Columbia Jazz Sampler - 1958
The Music Goes Round and Round - Decca Vol. 1 - 1951-1954
The Music Goes Round and Round - Decca Vol. 2 - 1955-1957
The Music Goes Round and Round - Decca Vol. 3 - 1958-1959

* These I actually won in the fourth grade from a WKTN radio station contest for writing a Halloween essay.

April 18, 2008

Eclectic Eight Tracks circa 1978

So here's the rundown on my eight-track library circa 1978:

The Yardbirds - Five Live Yardbirds
The Yardbirds - Greatest Hits
Carlos Santana and Alice Coltrane - Illuminations
The Beatles - Love Songs
The Beatles - Live at the Hollywood Bowl
The Beatles - Rock and Roll Music
The Beatles - Singles*
Todd Rundgren - Runt: The Ballad of Todd Rundgren
Boston Pops - The Best of Arthur Fiedler and the Boston Pops
Various Artists - Sgt. Pepper's Lonely Hearts Club Band (soundtrack)

The Beatles I got courtesy of my cousin, who transferred these albums from his vinyl collection to eight-track for a Christmas present one year.

The remainder were acquired in Kmart and various drugstore sale bins in and around Forest and Kenton, Ohio.

I listened to most of these albums A LOT. One bit of evidence of that is: I loaded up this Rundgren album and listened to it today, and knew almost all the words and every one of the vocal nuances. The piano songs and vocal style in particular were a huge influence on my writing at the time (1977-1979).

March 19, 2008

Movies About Musicians

Having just seen (actually for the second time) the made for VH1 movie "Hysteria: The Def Leppard Story" and recently also having watched "Ray" and "The Five Heartbeats" got me thinking about all the movies I'd seen about real or fictitious musicians or singers.

Musical biopics, I suppose they're called in the trade; biographical pictures that because of their subject matter must include a great deal of music.

So I thought I'd put together a list, and over the next few months I'll be updating to add comments and ratings to these flicks as a guide to the newly needing to be inspired musicians on my reading list. Because I've seen most of these movies, over the years, and found them either inspirational, insipid or in some cases, wildly inaccurate about the way being a musician actually works. No matter, the accuracy, however, it seems that the movie-going public has ALWAYS been fascinated by biographies of musicians, whether they would have them in their homes or not.

So here's the list:

Continue reading "Movies About Musicians" »

March 9, 2008

Unconscious Mutterings No. 266

From LunaNina.com | Unconscious Mutterings:

Homicide :: murder
Divisive :: conquering
Flash :: in the pan
Steaming :: pile of horsesh*t
Crunch :: time
Look out! :: watch your head
Anticipating :: waiting
Slim :: to none
Navel :: orange
Help :: hand up

March 2, 2008

Unconscious Mutterings No. 265

LunaNina.com | Unconscious Mutterings and I go spelunking, cerebrally:

Chemical :: Wedding
Poker :: Face
Federal :: Case
Mattress :: Go to the ...
Who am I? :: Who cares?
Investigation ::unofficial
In good hands :: good at what?
8:30 :: four hours and 10 minutes into a 4:20
Creditors :: unfriendly reminders
Resource ::secret cache (cash)

February 26, 2008

Effortless Mastery (and the Little Prince)

Prior to Hurricane Katrina, as most of you probably know, I owned a lot of books. Literally thousands. Between Sunny and I, probably tens of thousands.

One of the books I acquired in the months prior to the great water-log of 2005 was a slim volume by jazz pianist Kenny Werner entitled Effortless Mastery: Liberating the Master Musician Within.

I know I wrote about it, and quoted from it, at the time because it made a definite and deep impression on me, particularly with respect to why we as musicians feel it necessary to play at all, and what drives us to maddening attempts at continual perfection (maddening, for the most part, because these attempts are doomed to failures of varying degree).

I recently reacquired the book, and this time when reading through it, I was struck by a correlation between Kenny's philosophy and that line from Saint-Exupery's The Little Prince:

"...what is essential is invisible to the eye."

There are those that tell you that BB King can convey more with one note than most other guitarists can say in five minutes of scale shredding. I myself have said that playing the blues is about speaking the truth by creating each line of melody as you proceed, rather than simply hinting at it by playing circles around it. I think it comes down to that saying, "Life isn't about finding yourself. It is about creating yourself."

In other words, that one note from BB means more because it is in fact the only note that could be played at that time. It's not a suggestion or potential answer, despite BB's humble apology that it goes "...something like this."

A musician has depth because each note they produce has chiaroscuro, something else I've talked about before:

Nothing holds a shape without its shadow,
that place at the edge where the lines are rough,
and sharp defined shapes blur in a limbo
made of innuendo and the small stuff

that, in shades of gray, fills up silent space,
shifting with the slightest movement of light
to redefine the angle of a face,
moving what was once unseen into sight.

Compared to that substance, that space within the jar that makes the jar useful (to paraphrase a Zen parable), the effort from a predominant number of musicians can seem like a cardboard cut-out, an endless parade of meaningless notes, a cacophony of mind-numbing technical exercises ... a lot of "talkin' loud and sayin' nothin'".



February 24, 2008

Unconscious Mutterings No. 264

'Tis a puzzlement, via LunaNina.com | Unconscious Mutterings:

Protocol :: rules
Girlfriends ::significant others
Shoulders ::Atlas shrugged
Coming home :: centering
Let it in ::let it go
Honor :: roll
Tyler :: and Tippecanoe, too
Thriller :: chiller
Angela:: Davis
The winner is :: (drum roll)

February 21, 2008

Revisiting the Otic Nerve

This is a reprint of a blog entry from 2002:

When in doubt of where to go musically, when questioning one's ability to hear harmonic structures, to find the “in” groove or chord, or if just in need of a general aural cleansing, there is nothing that will substitute for Ornette Coleman.

I first experienced Ornette's harmolodics at Berklee, where often friends and I would spend late nights with the eightfold attack of of Coleman's Free Jazz: A Improvision by the Double Quartet "barrelling forth from the speakers like the Mongol horde” (a quote from my journals at the time). Now, when you want to learn about phrasing, you turn to Miles' Sketches of Spain; when you want close-knit harmony that weaves in and out around the beat, I always like to put on The Gerry Mulligan Songbook; and when needing to hear just how much you can do in just two choruses (and how anything more than that is simply unnecessary, if you do it right), there's nothing like Charlie Parker. Doesn't matter what your instrument is, or what style you think you play. If you want to focus on these aspects of music, here's where the clues are.

But if you want to know the secret of space, to stretch your ears, to cut to the bare bones, there's no substitute for Ornette Coleman. Just like James Brown can teach you, particularly on Love Power Peace (live in Paris, 1971) that there is nothing outside of a groove (or maybe, cosmologically, it's THE groove), Ornette can help you understand just how melodic the entire world is. Ah ... but I digress ...

Did I mention that it makes great headphone music?

Back to my wonderful cup of tea, a darkened room, and that plastic saxophone ...

Here's a poem that I wrote one night in Memphis after listening Ornette and discussing Ezra Pound and Gertrude Stein over endless strong coffee ...

Plastic Pocket Harmolodics

(1993)

Run down changeling boots the funk,
improves the shunned extractionary;
"Stove" in traction rips rough, ready,
pocket not for inner sanctums.

Cherry cola coughs surrender:
queasy Compton did the mother,
freaking heat in slumber tumble;
his xray eyelids slip the winking.

Bop, the Bird, the sticky finger ---
fallen anglos sin cojones
open quiet, quick and greasy;
down the town round wound up lounging.

Run down starlings, cop the mutants;
the groove pontificates for Shiva.
Flip the whip trip, banned in Boston,
this Coleman-ation's green and hunchbacked.

Cherry, copper-coated, kicks
mazal tov and "Off the Mutha!"
speaking shit in rumble mumble;
"X" the spot where Malcolm put it.

Stop the word, the slippery jungle,
pent up houses of the holy.
Open skies bleed hard and humble;
Central busts the changes open.

February 17, 2008

Unconscious Mutterings No. 263

An almost palatable excuse for self-discovery, catered lovingly by LunaNina.com | Unconscious Mutterings:

Passport :: photo
Small world :: after all
Radio :: free transmission
Marine :: band
Wall :: of shame
Wanna be :: your dog
Pigtails :: pippi longstocking
Hyphen :: ated
9.99 :: won't do
Unrated :: unclassified

samadhi.jpg

Playing the Blues

Let it up from your toes, vibrating, tingling along your spine, waiting patiently as it grows and gathers strength from your soul, like a vine drinking in the marrow of your being. Don't let your mind confuse your fingers, but find that inner voice, and free it into that empty space that lingers behind and inside your inner core. A single note, left to resonate, can explain more than intervals and scales. Done right, there is no need for any more. If it is the truth, never hesitate. Some can only play circles around it. -- 08 FEB 2003

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