“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?
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:
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.
I made some photos which need some poetry.
In French, there’s a song: “J’attendrai” (I will wait) – https://en.wikipedia.org/wiki/J%27attendrai. See lyrics. Other versions.
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.
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:
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?
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.
- 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.
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 :
Isn’t the best stimulant the curiosity of the person you love?
Thanks for reading. Happy New Year!