“The Most Strenuous Intercourse”: Conversation

I just read a book from Michael Herr, an American writer and war correspondent, who wrote Dispatch, a great book about the Vietnam war.

He wrote a book, a “personal biography” about Stanley Kubrick. He worked for him for years as a writer (he co-wrote Full Metal Jacket).

Kubrick was exhausting, very intelligent, and constantly calling people on the phone. He was living near London but spent many hours a day talking to friends and collaborators. He stayed American all his life and stayed connected to his country all the time.

Herr writes that when Kubrick ended a conversation (called by him a “strenuous intercourse”) with you, he knew everything about what you had in your head about a subject. Devouring your brain…

  • Well, I didn’t know this word, “strenuous“, so I found: energetic, vigorous, requiring strength. Also: unremitting, dogged, tenacious. OK!
  • But “intercourse“, really? For me, it was about sex only, but I found: discussion, and this example: “The two businesses had a lot of intercourse over the years”. OKeyyyy!

I ADORE this ambiguity. If in this blog I look for structures, I can’t agree more:

A great conversation is very similar to great sex.

And it installs an “instant roof” over both persons.

  • Listening
  • Attention to the other
  • Games
  • Attempts
  • Giving
  • Deciding together
  • Ecstasy
  • Progress
  • Talking
  • Connecting
  • Intimacy
  • Exploring
  • Laughing
  • Staying silent together
  • Pauses
  • Going fast
  • Changing rhythms
  • Surprises
  • Dancing
  • Ideas
  • Segments
  • Communication
  • Learning
  • Listening!

Thanks for reading!

“Intentions and Elegance”: Overthinking about Art

I read a good book about a… harpsichord player. I found ideas. Here they are.

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The easy question is “What is it?”. Another question is “What does that mean?”, therefore “What does the artist want to say to us?”. This is a totally higher question, right? Instead of the work, you ask about the artist’s mind, and their will. Does art need a meaning, after all?

Where should we, instead of focusing of things in front of us, focus on what the maker wants?

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If you are a Bach (b 1685) specialist and you want to study or play Mozart (b 1762), you have to make a jump in time and music, and Mozart will appear very modern. But if you come from 19th Century, it will feel like a loss.

From where will you come, to study this or that?

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If you’re enthusiastic, do you master your work?

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Does elegance need the existence of another person? What about the idea telling that real elegance consists in not getting noticed. And Balzac says that to reveal some economy of means is inelegant.

It’s from Latin “elegans”: who knows how to choose.

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A pretentious simplicity, does that exist?

Goethe : When an intention is too visible, it irritates

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Who plays – and how – the tango of strength/delicacy?

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Purity of the sensation, or of the landscape?

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When you touch the harpsichord‘s key, the note appears, that simple. There’s no possibilities of ppp or fff. It’s “the note”, always the same intensity, it’s a yes or no thing.

Without any possibity of nuances, of touch, the subtleties must come from elwhere: the phrases.

Where else do we have this?

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Deep understanding” and at the same time, “spontaneity” (or precision/passion). Both. Same time.

Where? Sex? Conversation? Acting? What kind of skill is this?

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When a rule emerges, its exceptions appear at the same time.

In French: “Déroger à la règle” (The English “to contravene” and “to infringe” sound “to go against”, to fight, but the French one sounds “to take a hidden door”, to depart from, to invent my own path).

An artist who knows enough rules to depart from them: to explore/invent.

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What is a work of art with simultaneity of significations? Sorrow and courage at the same time; violence and sweetness; pride and vanity. What kind of richness is that?

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To admit” (it’s the same in French, admettre) is a curious verb: to confess, to acknowledge, to allow entry, to accept validity, to place, to permit, to conceide or recognize.

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A style emerges, how?

  1. Origin.
  2. Development.
  3. Blossoming.
  4. Refinement.
  5. Saturation.

Where? Examples?

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When can’t we prevent aggravation (or stop worsening)?

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Baudelaire: The restless crowd, whipped on by pleasure

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Do you produce differently (by other means) or something else?

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Is the existence of the past Law, or Force?

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Acknowlegment or recognition? Even gratitude, if you push?

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Which one is the most interesting? Beauty created by nature, or beauty created by men?

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Could you go that far, without the resistance of it?

Thanks for reading!

And what about Japanese Post Rock?

It is the moment to explore Japanese Post Rock because why not.

So what is “Post Rock”? Let’s Wiki:

Post-rock is a form of experimental rock characterized by a focus on exploring textures and timbre over traditional rock song structures, chords, or riffs. Post-rock artists are often instrumental, typically combining rock instrumentation with electronics.

Good! The tool here is easy:

  • Find a field you don’t know at all
  • Explore a micro-part of it

It can be Hungarian jewelry, or Italian photography, and then you choose a century, or a single artist…

The game here is to listen to things, randomly, like a kid picks up shells on a shore. Here we go:

A Picture of Her is a bit boring with their jazz-rock, technical and with a always-the-same guitar sound.

Anoice: Quiet music with piano, sometimes a little dissonant, sometimes a little “japanish”. Climates, like sad movie music. Some violin. I like it, and some colors are interesting, but… too shy.

Behind the Shadow Drops: simplistic naive melancholia is terrible, right? It is! There’s a laziness, here. Dumb ideas stretched for too long. Not a single harmonic spark. Shame!

Floating in Space has the same problem, but it’s a little better. Too much sugar, and no colors. I couldn’t find a single good track.

Gargle is mildly more interesting, because of the accordion. But, well, sigh…

Kukangendai is Math Rock (a subdivision of Post Rock, more complex). This music is pulsating, it’s like watching fabric, or machines. I find it boring but interesting. Brain, brain, brain. No body.

Lite is much, much better. They’re good, fast, intellingent, complex :

Mono seems the most prolific band on this list. Plenty of albums, between prog rock and film music. They take their time, and they like big badaboum crescendoes. It sounds sometimes like Joe Hisaishi. It’s too conventional for me, but many people love them! Here’s a best of :

Mouse on the Keys, two keyboards and a drummer! More dynamic, more jazz, I like it with a but, always. A bit too… disheveled, maybe?

Nabowa? Cool! :

Ovum seems to like loud music and electric guitars, hmmm.

Qujaku, dark, intense, too much.

Toe, math rock, it knits! :

World’s End Girlfriend, the lone young genius type. First album, 15 years old. Devilish energy in the 1st vid, and a cool waltz to finish this page.

Thanks for reading! What did you like here?

(For this last one wait until 5:20 for a cloud of fantastic harmonies)

Second One Aside

My daughter told me that she wanted to create “another” Instagram account to post, this time, only good pictures, like according to the ancient laws of this social media, which was: one picture (not many), square, no video, no story.

It is a tool for this page, right? I call it on the spot : “Second One Aside”.

  • You have a house, a home, but you rent a small apartment downtown, to write. It’s cool, alone, quiet, and in the middle of the city life.
  • You read a great big book, but you begin a small essay aside, to make the first one last longer, to make a pause, to breathe, to invent the pleasure to go back.
  • You’re married, but you have a lover or a friend you like to walk with because it’s another body – another brain.
  • You have a passion, a hobby, but you have another one aside. As a photographer, you paint, for example. The other craft brings you joy, a distraction, but also teaches you other things, it… enhances you.

It’s infinite! Where’d you apply that? Where’s/what’s the “second one aside”, and what could it bring?

Thanks for reading!

What did I shazam recently?

What did I shazam recently?

Most of the time, I don’t listen to my Shazams afterward. I did it because of “an element”, a sound, an idea, something which made my eyebrow upping up. If I “like” the YouTube film, I’ll find them back one day. Maybe.

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S. Decoster, because it was the end credit music of a great quirky French movie called “Perdrix” (“The Bare Necessity” in English). Nothing great here but I Shazamed it though, probably because the movie was hilarious and balanced.

The loopy “Je veux être à vous” means “I want to be yours”, BUT as you know, French has two “you”, the you for the persons you know well, and the you for the persons you don’t. Thus “I want to be you” with the “polite you” is charged differently, because it’s adressed to someone you don’t know from a long time.

Poltrock, Mute #2, navigates in interesting waters. Quiet piano music can easily be sugary – here it’s not because of the modulations of course :

Bon Entendeur, Basta Cosi, a sound, and a singer who does not sing but speaks.

Portugal The man, Fell it Still, the groove?

Lana Del Rey, For Free, a Joni Mitchell cover??! The song is splendid, and Del Rey has a good idea to sing un-reverbed, it whispers in ears. It modulated all along like smoke. Joni’s version stays much better of course. Here are some of the lyrics:

I slept last night in a good hotel
I went shopping today for jewels
The wind rushed around in the dirty town
And the children let out from the schools

I was standing on a noisy corner
Waiting for the walking green
Across the street he stood and he played real good
On his clarinet, for free

Nobody stopped to hear him
Though he played so sweet and high
They knew he had never been on their TV
So they passed his music by

Sting, Mad about you. Great song, right? Production is strange, it’s like… rustling, quivering:

Mahsa Vahdat & Mighty Sam McClain, Ambassador of Hearts.

Naïssam Jalal, Un sourire au cœur.

Duran Duran, Save a Prayer, and old thing I listen today with new ears, the bass line, the attemps for vocal harmonies, the chorus which climbs then falls back, modulations like stairs.

Mansfield. TYA, Ni morte ni connue, for the “old French new-wave” sound. Neither dead neither well-known.

Celeste, Love is back, because the vintage sound, the smiling desire to compose a similar base, and the broken Amy-like voice.

Colman Jones, Kiev, a dreamy walk in an unknown city under lukewarm clouds:

Ophélie Gaillard, Dos Gardenias, makes me ask someone to dance in the dark:

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(…)

Have a nice day! Je vous souhaite une très belle journée.

The Binomial Tango

This little article is about the fact that between two artists you often choose the “obvious” one, but sometimes you come back to the choice and pick up the other one, because… Let’s see.

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When I was 30 I watched Fellini‘s movies in awe, with a smile, and a question mark above my head. He looked like a clever silly artist, full of exaggerations and weird images, cf Satyricon. And I also watched Antonioni‘s movies, like Eclisse. This guy seemed much more serious, full of clever questions about incommunicability in couples and deep thoughts about the sense of life.

More than 20 years later, I still adore Antonioni and I often watch his movies, but I prefer, by far, Fellini today. I explored his worlds, read a lot about his work, analysis, and interviews, and I realized the… richness of all of it. The baroque, the myths, the fragmented aspects of reality. It’s vast, clever, sensitive…

So, I see the “obvious” choice in many things, today. Because we change and we age, of course, we go deeper. We understand deeper the idea of efforts, which lead to extensive discoveries.

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I have another example with the double-headed Beatles, Paul McCartney and John Lennon. I read a lot about them, I listened and dismantle their music. And of course, I preferred Lennon! He’s stronger, takes more risk, he’s the fool who wrote the Walrus (while McCartney wrote Yesterday). Lennon is spicy, Macca is sweet. Voilà.

But the more you dig, you realize that McCartney is stronger, is a better musician. He wrote Chaos and Creation in the Backyard, which is a splendid masterpiece, very quietly though.

So I always loved Brahms, who is strong, heavy, very Taurus, with earthian symphonies and concertos, and I didn’t like Schubert, whose music is closer to Mozart. But today Schubert’s Great is unreachable. I eventually found out the nuggets, the colors, the subtleties in this…

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The structure here is simple:

We often have choices between similar things. One seems obvious, and we choose this one. But sometimes we reconsider things and we bend over the other one, to find out that its treasures were maybe hidden, too subtle, or complex/difficult. It’s a tango!

What are your examples?

Thanks for reading!

The Principle of Difficulty: Chronicle 68

JF Billeter writes about “The Principle of Difficulty”, something like : It is better to be aware of the difficulties of a domain and have fun than to be ignorant of it and to fail.

I wrote it, and thought about difficult domains. Imagine you want to learn to speak Chinese, imagine you want to understand the whole Bob Dylan work, imagine you don’t like opera and you want to explore its worlds…

It’s huge, big, and well, difficult, fractal, complex, it’s a continent. Then, it’ll keep you happy busy for a long time.

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There’s a French painter who is funny to read about : Chardin. He is, like Millet, out of any “system”. Modest. Watching the ordinary. Here’s one. You can watch, but also read. What does this man seek?

From his point of view, it’s a principle of simplicity – but it’s probably very difficult to achieve it!

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The Feynman technique for teaching and communication is a mental model (a breakdown of his personal thought process) to convey information using concise thoughts and simple language.

Hmmm should dig this!

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There are many ways of helping/listening. C. Rogers talks about:

  • An advice (“If I were you, I’d…”).
  • A suggestion (“Maybe you could…”).
  • Support (“I am with you…”).
  • Order (“Don’t let it go…”).
  • Questioning (“Did you really say that ?”).
  • Judgment (“I think you did well”).
  • Interpretation (“Here, you settle your accounts with…”).

All these are interfering! The only good way is the unconditional listening :

https://en.wikipedia.org/wiki/Unconditional_positive_regard

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Whatever the mood, there’s Art!

Thanks for reading!

Music Chronicles 4: Little White Behind, and a Sad Violonist

I heard some music from Brazil, but I did not want to learn about their rhythms or about their scales, thus I wrote stupid lyrics about a guy in love with a contrary of a Brazilian girl : slow, pale, with a small behind. Found a beat, a big Liverpool bass (because why not) and played with bars where the 2nd bar is dissonnant.

I added “my idea” of an Elton John’s piano, sang (4 layers!) in Portuguese (like a Spanish cow), added a storm, a crowd, whistles, and voilà!

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I saw this violonist, walking, a sad Hungary figure, on a Sabine Weiss photography. I wanted to build a Tom Waits’ like waltz, a slow one. I sing very badly, so I added this sad harmonica, a crazy fly-like Chinese violin, and silly noises of a dog and cars. The waltz itself is broken, not following the 3/4 at times.

Totally drafty, but I posted it eventually. Non Finito.

Thanks for reading!

Music Chronicles 3: Silly French blursed song

I don’t know how to write a song, therefore I wrote one!

I wanted to talk about Pop Figures collectors. The title is “Faut qu’j’aille en ville” (must go to town).

I must go to town to buy my figure it’s a limited edition, etc.

I added silly voices, noises and whistles to this reggae-like “thing” based, again, on transposition.

My pleasure was to disturb the “idea of a song”, breaking the normal structure, adding random chaos in the end, putting the chorus in no matter what places.

Primitivism is an energy you can insufflate in things. It comes from prehistoricness, silliness, childhood, savageness.

One little jab (or two) of untamed elements.

Have fun. Thanks for reading!

Music Chronicles 2: “Déguisée” – the dress the night the house before the ocean

The sea, the waves in the night, Pacific. A tall woman, in an evening dress, solitary. It’s all blue-gray.

So, I wanted to write a song, but I’m not a lyricist, and I’m not a singer. I tried many things, then I made it an instrumental.

It was made to be “De Façon Déguisée”, in disguise. For Dominique A.

A slow dance, with a big pensive bass, marimbas in echo, brushed drums and a mattress of strings.

For chorus I wanted to add an… irritation. Thus I added a too-loud snare drum, an insisting piano, like an itching.

She dances alone, therefore I added flutes, and doubled the marimbas with a sound on the left.

But maybe she sleeps now. It stops. Birds in the morning patio give her the sun.

Music Chronicles 1: “Sharp Bent Dervish”, or how to weave on one note only

Hey!

I’m having fun composing music on GarageBand. I draft little things to get used to the interface and tools.

For this one, I chose a limit, the “one note only“.

I struggled a bit to find a dry sample of the Art of Noise “Moments in Love”, but… I found it.

It is my note, like a synth-voice, “AAAH”. There’s like silver in it. I like it.

I’ll just repeat it, like a broken machine, a breathe maybe… Ahh Ahh Ahh…

Four bars, strings, and a cringy modulation in the last one (of course). Then, well, I loop, I weave!

Strings (see the ##?):

The bass:

I like the idea of a loop, a non-developping “machine”, something like a little robot dancing on a spot.

Do you like it?

Have a great day!

What did I shazam recently?

What did I shazam recently? Hmm let’s see…

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For this one I know: the immediate modulation (on “from by bedside”)! I just discovered the lyrics, which are delightfully ambiguous. Why would someone say “go away from my window my door my bedside”?

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For Voyou, hmmm it’s because of the end. The guy is not afraid to wax…

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For colors, of course. YouTube Balulalow for other versions.

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I often Shazam in the Fnac store, where my colleague from the Vinyls section has fun. This one is not terrible but it gave me the “walking-dancing on it” illness.

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Because of uncertain harmonies?

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Because it searches, and climbs?

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“That escalated steadily” & the guy out of the line: Chronicle 68

Reading a Gertrude Stein biography, an American who lived most of her life in France. A character, for sure, and therefore a tank of ideas.

https://en.wikipedia.org/wiki/Gertrude_Stein

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Conversation about the last albums of singers, like David Bowie or Leonard Cohen. What do you sing when you’re about to die? The guy told me about Bob Dylan, who just sold his songwriting catalog a few days ago, and wrote a new album, which “sounds” like an ending. I’ll look into it soon.

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Got my microphone, a Fifine k670, which looks like this. I love it already!

I’d like to mix poetry and music, or “one-minute tracks”, or…

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What happens to the guy who steps out of line?

“L’homme qui sort du rang”, in French, the guy who steps out of line sounds positive in my ears, much more positive than the English version – I’m not sure of that.

He’s the volunteer, the man who is (suddenly or not) ready, but also the village idiot, who doesn’t understand the consequences, the one who decides to take a step, the man who shows himself to the community, etc.

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I have this phrase on a draft:

“If you’re using your imagination, you tend to look into the past”.

I’m sure it’s true, even after a little moment of thinking. It’s because we mainly see the world with analogies. Therefore comparisons? Therefore the past, the knowledge. It’s a one-hour conversation, right?

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When something’s too old, mono music, mute movies, we have to make a strange effort to appreciate.

Schubert in Berlin, by Furtwängler in 1951, The “Great” Symphony, is in mono and the sound seems muffled. Murnau’s Sunrise has no dialog and no real sound.

My article was called “The Furtwangler/Murnau effort”. Because it is an effort, right?

I remember I did it with John Ford‘s Four Sons (1928), and I loved it!

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Where is Washington DC? I checked on the map and realized that my idea was not too far from reality; thanks to my books about the Civil War. Ahhhh le Potomac! Ask French people about where the capital is (or the difference with the state Washington): nobody knows.

By the way, DC is pronounced “d’ici”, which means “from here” in France. Therefore Washington DC sounds from here “Washington from here”. I wrote an article about the fact that the medias say “Washington is about to decide this”, the country is called by its capital, which is called by one ex-president. The loop is pleasant.

French people like to brag Americans on “They don’t even know where Germany is” but they don’t know where Arkansas or New Hampshire are.

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Very interesting to follow far-right persons. I read a long “chronicle” by Ann Coulter on Breibart (she is sad because Trump “didn’t build the wall”), and I follow on Twitter a French trumpist (yesss it exists), who is a “patriot”. It’s not a good time for these people, I reckon. I read her, she’s mean, sarcastic, with huge energy for the “Grand Soir” (the Big Evening), which never happens of course. The world is complex… but at least these people have big steam, like a huge obsession which carries life.

I also spent an hour reading subReddits about QAnon people today, like r/QAnonCasualties or r/reQovery.

It’s like religions: my question is in fact “Why do people NEED to believe such… things?”.

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  • We are coward here, and courageous there. Strange facets. Develop.
  • Life is clear, and very confusing – alternatively.
  • To come back on a subject, and come back again, multiplying points of views. In music? Poetry?
  • Insistence as a way, for Arts.
  • After a toxic relationship, is back to normalcy “refreshingly boring”?

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“All that is reached is destroyed”, says Montherlant, talking about “The Melancholy of Accomplishments”.

So what about all that is not reached?

Thanks for reading!

Vectors & North Star: Chronicle 67

I love to explore Springsteen or Dylan, though I really don’t like their music!

I tried to listen to Blonde on Blonde – I’ve been completely bored. I will try again with headphones and articles about the music, but I already know I’m not really interested, because I find it harmonically lazy. I need strange chords to trigger my pleasure!

Nevertheless, when I have a huge book about these guys on my lap, I feel like a child in front of a toy chest. I love to read about what they did, how they did it, and why. Intentions. Attempts. Codes. Changes. Etc.

oOOo

I found this draft, for this blog, a sentence: “She’s organized and he’s messy, but, and other positive “buts””. Haha! I don’t remember what it was about! The “Positive Buts” (one “t”, please). So what is it about? Complementary characters? A need for balance?

oOOo

Ordered a microphone for my Macintosh. A USB one. I’ll music this year, voilà.

oOOo

Poe’s Law is “Poe’s law is an adage of Internet culture stating that, without a clear indicator of the author’s intent, it is impossible to create a parody of extreme views so obviously exaggerated that it cannot be mistaken by some readers for a sincere expression of the views being parodied.”

https://en.wikipedia.org/wiki/Poe%27s_law

oOOo

I also wrote (or found) this: “The world’s most faithful and unreliable friend” (oh), near to “The North Star. You can navigate by it.

I wonder if, when one is creative, if they have a North Star. I like the metaphor! The idea of Muse (someone is there for you, even an “idea” of them). The Golem (a figure you invent from clay), who is like a statue you work for, an archetype, a friendly aim.

The North Star is a landmark and a point, you draw a vector from your point to this other point. Direction. But also a light, right? Maybe a sign? Glow, Glim, Glimmer, glimmering (for a reason).

The watcher needs it, he’s thankful, he smiles, he travels, thanks to the North Star.

oOOo

I found Honorary Astronaut, a great little song with surprises each minute. Had to explore a bit before finding it’s a lateral group from The Dear Hunter, plenty of music to discover, like this one hour long “ACT IV: Rebirth in Reprise”, which is like someone says in the comments: “Indie Prog Orchestral Rock”.

Then I found Hold Salted Wind from Einar Stray Orchestra, from Norway (again). This music gets my attention immediatly: harmonies, doubled voice, organ, drama, some dissonances, surprises, broken structure.

Voilà, pour finir :

Thans for reading!

Tritones & Sad-Eyed Ladies: Chronicle 66

“We have to bring out knowledge where we don’t expect it.” – Roland Barthes

Isn’t it a fascinating quote?

We bring out knowledge in articles, in schools, in books: exactly WHERE we expect knowledge to be shown, that’s good.

But why should we do this in “unexpected” places? To create surprises? To aim at a new audience? Elegance of life?

I don’t know but I find it interesting.

But OK: where?

At work? Social media? Could we talk about Barthes on TikTok?

Knowledge? Music isn’t knowledge. So, what? Humanities? History? How? What form? Courses?

oOOo

Ahhh a day off, and a lonely time…

Let’s choose a musician (Gustav Holst, Chick Corea), ask some web pages, take some books, and explore. Finding names: “The Could Messenger”, “Now He Sings, Now He Sobs”. But I ended listening to “Jan Bang, Erik Honore, Gaute Storaas and Arve Henriksen – (2013) – Knut Hamsuns Victoria”.

A piece of quiet music:

oOOo

I have a draft here named Blood Family/Soul Family but I only have the title here. It’s an old structure, we know and see what it is. The problem is that we “know” our blood family – the soul family is elsewhere. We meet them later, maybe never. Maybe some work is needed to find the soul family. Not some work, but some… accuracy, or attention. But not being a tracker, right? One does not hunt a soulmate, but one can be ready to meet one.

oOOo

I made some photos which need some poetry.

oOOo

In French, there’s a song: “J’attendrai” (I will wait) – https://en.wikipedia.org/wiki/J%27attendrai. See lyrics. Other versions.

oOOo

Riskiest modulation of The Beatles: If I fell. It’s funny to hear it “explained” by a scholar with tritones, knowing that John Lennon liked to build song by “making piles of random chords”. I used to do it. Listening to the chords in loop triggers melodies.

oOOo

I opened a book about Bob Dylan and found that he had be signed on Columbia in the sixties by a guy named John Hammond. Hmm:

“What I wanted to do with Bobby was just to get him to sound in the studio as natural, just as he was in person, and have that extraordinary personality come thru…. After all, he’s not a great harmonica player, and he’s not a great guitar player, and he’s not a great singer. He just happens to be an original. And I just wanted to have that originality come thru.”

Producers who… feel something – the archetype probably being George Martin, often called the “fifth Beatles” (producer, arranger), and there’s another man, the manager (Brian Epstein). Hmm:

“…as John Lennon and Paul McCartney joined in with jokes and comic wordplay, that made Martin think that he should sign them to a contract for their wit alone.”

Stig Anderson was one of the dominant figures behind ABBA. He built them, co-wrote lyrics, etc, he’s sometimes called “The fifth member or ABBA” (well well), etc…

It is funny to read about the “guy behind”, when you read about big music stars. Who’s behind Queen, Elvis Presley? I’d like to find a book about them. What did they bring? What did they see? What have they in common?

oOOo

I opened a book about Bob Dylan’s songs, finding pages about one single song: Sad-Eyed Lady of the Lowlands. In itself, a big source of analysis games.

https://en.wikipedia.org/wiki/Sad_Eyed_Lady_of_the_Lowlands

  • It’s a very long “poem”, full of mysterious words. I found a French web page about Dylan’s lyrics style, closer than Rimbaud than American or English poets ( https://www.bobdylan-fr.com/articles/jeffreyside.html -> Google Translate it!).
  • Instead of “stories” or descriptions, images so weird that people scratch their heads in wonder. Like in Umberto Eco & the Open Work, the audience built their signification.
  • Therefore everybody finds something talking about themselves. Read the comments everywhere.
  • Dylan’s recording of the song is interesting.
  • It’s said to be a “hymn” to his lover. But some guys think that it’s about Dylan’s “anima” (the unconscious feminine side of a man – animus being the unconscious masculine side of a woman).
  • It’s a waltz.
  • The album was released in 1966; I’ve seen June, but also May 16th (I was born on May 15th this year).
  • The sleeve’s blurry.

Well: voilà some seeds, dig a hole, put the seed, see what blossoms.

https://en.wikipedia.org/wiki/Anima_and_animus

With your mercury mouth in the missionary times
And your eyes like smoke and your prayers like rhymes
And your silver cross, and your voice like chimes
Oh, who do they think could bury you?
With your pockets well protected at last
And your streetcar visions which you place on the grass
And your flesh like silk, and your face like glass
Who could they get to carry you?
Sad-eyed lady of the lowlands
Where the sad-eyed prophet says that no man comes
My warehouse eyes, my Arabian drums
Should I put them by your gate
Or, sad-eyed lady, should I wait?

Here it is by Joan Baez :

oOOo

Isn’t the best stimulant the curiosity of the person you love?

Thanks for reading. Happy New Year!

JP