Posts Tagged ‘music’
August 31, 2015 | by Dan Piepenbring
- Today in reevaluations of problematic twentieth-century philosophers: Heidegger’s predilection for tragedy and poetry informed his yearning for a grand narrative, a story that could encompass all of history. That yearning, in turn, is part of what led him to Nazism. Even so, “Heidegger’s tragic, overblown interpretation of Nazism may have been unique to him, but he was certainly not the only twentieth-century philosopher to think that poetry and tragedy might preserve something integral to human experience that was in danger of being swallowed up by the forces of reason and demystification … Maybe academic philosophy today has conceded too much ground to demystifying argumentation, to judgment and quantification. Maybe we do need more poetry in our lives. Maybe films really do represent a last gasp for tragedy and grand-scale thinking in the modern world.”
- Jane Smiley, whose Art of Fiction interview will appear in our Fall issue, discusses her cluttered office in Carmel Valley, California: “I have never objected to mess, since mess reminds me that I can choose to write or I can choose to clean, and I have always chosen to write … I have never liked privacy in a writing room; I have always preferred noise and traffic and phone calls and people walking in and out.”
- Remembering New York City’s hardcore scene, some thirty years later: “The insight boiling up, across all of these records, is: the world doesn’t care about you. There are no merit badges awarded for normalcy and complacency for the likes of us in straight society. It’s a long slog, and some days you are just a piece of living meat unhappily compelled to work and eat and sleep and go through the motions of your relationships, just because it is too much trouble to do otherwise. Hardcore starts from the minimal, almost entirely swallowed-up spark of human life, maybe just the faint, unwanted heartbeat whose persistence means, ‘I have to go to work today.’ The young Marx thought that mankind would attain its ‘species-being’ in the free time obtained for human development after the attainment of communism. Hardcore says: our species-being is a pretty ugly thing, for now, but we have to own it. It—we—can’t wait.”
- For the past several years, an experimental genre of creative nonfiction has been quietly thriving online: one-star Yelp reviews of national parks. Don’t let the unsophisticated and often ungrammatical prose fool you; these works have taken the pulse of America. Read on as our nation’s treasures and all manners of natural beauty are cast aside as garbage: Death Valley is “the ugliest place I have ever seen,” Yosemite needs more parking lots, and Carlsbad Caverns appeals only if “you find big caves and rocks overwhelmingly fascinating.”
- Geoff Dyer revisits Raymond Williams: “Borders—how they are constructed and recognized, how they impede and are crossed—are central to his thought … [he] entirely reshaped my sense of life and literature and the way they were related … Before that, in a way that now seems hard to credit, I had no understanding of the social process I’d lived through even though it was, by then, a well-documented one: the working-class boy who keeps passing exams—exams that take him first to grammar school, then to an Oxbridge college—and discovers only in retrospect that there was more to all this than exams, or even education.”
August 28, 2015 | by Sadie Stein
In 1932, an Irish popular songwriter named Jimmy Kennedy penned one of the most sinister sets of lyrics ever composed. Kennedy—who had already had Tin Pan Alley success with numbers like “Barmaids Song” and “Red Sails in the Sunset.” Later, he would go to write “Isle of Capri” and “My Prayer.” But to the contemporary ear, perhaps none of his compositions is as memorable as that terrifying song he set to John Walter Bratton’s 1907 two-step.
August 24, 2015 | by Brian Cullman
There was a time when I didn’t know Gordon Bishop, but that time’s not worth talking about.
I met Gordon in his shop, Tropics, sometime in the early eighties. I’d been walking through Soho and noticed a store I hadn’t seen before. Inside was a jumble of Javanese antiques—carved doors; four-poster beds; objects that seemed decorative, ceremonial, and incomprehensible—along with fabrics and wall hangings and kites and sculptures. It looked like Santa’s workshop, if Santa had a penchant for priapic statues of half-dressed men with enormous erections and wicked smiles.
No one seemed to be working there, but I heard flute and gamelan music coming from the back room. There was a curtain separating me from the music, along with the sort of velvet rope commonly seen in discos, and a hand-painted sign fixed to the rope: DO NOT ENTER. Read More »
August 14, 2015 | by Sadie Stein
On an uptown local train during the height of an August rush hour, an old man fell asleep in his seat. It should be said that the man in question probably believed his music was contained; he was wearing earbuds. But either he’d neglected to properly plug the headphones into the outlet or the mechanism was somewhat faulty. Because for whatever reason, “Let’s Get It On” started blasting loudly in the otherwise quiet car.
The average urbanite sees a few things in a lifetime of public transit. Kids fighting. Women screaming. Perverts perving. Madmen ranting violently. And the occasional eel, escaped from a shopping bag, writhing wildly down the length of a J-train car. On one occasion, a seven-foot schizophrenic caked in filth spent the better part of an uptown express trip berating a woman whom he claimed had grabbed his ass, threatening to turn her into the transit cops for sexual harassment.
And yet, I have never seen a trainful of passengers more uncomfortable than in the moment when the first four insinuating notes started to play, and Marvin Gaye’s sensuous, passion-roughened voice filled the car. Read More »
July 2, 2015 | by Nicole Rudick
On November 24, 2014, the JACK Quartet performed Matthias Pintscher’s Studies for Treatise on the Veil in a gallery at the Morgan Library, in New York, before a thirty-three-foot-long painting by Cy Twombly called Treatise on the Veil (Second Version). Pintscher’s score was written in response to Twombly’s painting; Twombly’s painting was composed in response to music, that of French composer Pierre Henry, a pioneer of musique concrète. Members of the JACK were, in turn, influenced that evening by their very proximity to Twombly’s painting: “The music requires so much concentration,” said violist and director John Pickford Richards, “and I felt that the painting was giving me concentration while we were playing.”
Chapter six of our series “Big, Bent Ears” details this curious network of connections, which Richards calls a “daisy chain of beautiful responses.”
Here’s another one: Before the Morgan exhibition, Twombly’s painting hadn’t hung in New York since 1985, and Pintscher’s composition had never been performed alongside the painting. And no one had ever filmed a concert at the Morgan Library. Rock Fish Stew’s video of that evening, which is part of chapter six, is witness to this extraordinary confluence and is itself an element of it. Twombly called his Treatise on the Veil (Second Version) “a time line without time,” which is rather like a story without a beginning, middle, and end. Or, as the “Big, Bent Ears” team likes to think of it, serializing uncertainty and reveling in digressions.
June 5, 2015 | by Rowan Ricardo Phillips
The trouble with gazing upward in New York.
About four minutes into Stevie Wonder’s 1973 classic “Living for the City”—a surging, seven-plus minute thumper track about racial injustice, migration, and the failure of the latter to cure the former—the song emerges from its second chorus and breaks down to its sparest parts. We hear the quizzical staccato of the synthesizer flit in and out like lingering sunlight; the dry drums, which just seconds ago were rolling out an elaborate fill, tap quarter-note rimshots on the snare; all the other instruments stop playing. Welcome to New York.
This interlude, barely a minute long but seemingly much longer, is a marvel within an already marvelous song. It’s an early example in popular music of that moment when a song recognizes its limits and turns, momentarily, into something larger and stranger. After all, Stevie could’ve just tagged on another verse about New York, keeping the song’s structure intact, but wouldn’t there be something thin and dreamy about that? New York collects anthems like medals: “New York, New York,” “On Broadway,” and “Empire State of Mind” are all, in essence, odes to skylines, with outsized grandeur to match. Their scale grows out of proportion; aphorism replaces emotion; the music hits its mark and no one gets hurt. The lesson for songwriters tackling New York has always been this: if you’re going to sing to the city, sing big. The skyline, as more than few writers have reminded us, can even look like musical notation if you squint hard enough. Read More »