Radiohead. Via Crackers United. Ceremony was written by Ian Curtis and released as New Order's first single. Have listened to it countless times because it is Track 1 on New Order Substance. Performed here by the world's best rock band (at least at the moment).
I saw Pearl Jam twice on their 2000 tour, on August 24 at Jones Beach and then a week later in Camden, New Jersey. It was a tough tour for the band. Nine members of the audience died during their performance at the Roskilde Festival in Denmark and Ed Vedder’s marriage broke down just after Binaural was finished and the tour started (on the basis of things he’s said in the years since). My girlfriend at the time (“GF”) thought that Ed looked like Jesus Christ, which is highly ironic in light of his “I’m no messiah” complex. It is true that he looked thin and ravaged when we saw the band at Jones Beach. The show was less about joy and defiance than mere survival. (I know this may sound over-the-top but we Pearl Jam fans take such things seriously.) At a key moment, as the band segued out of Daughter, Ed picked up a piece of paper and told the audience that he had a part for us. He started singing the words to a song by the Portland band Dead Moon and we echoed during the chorus:
it's okay, you don't have to run and hide away
it's okay, i love you anyway
it's okay, you don't have to run and hide away
it's okay...
this is my chance, this is my life
this is my hope in an alleyway
this is my choice, this is my voice
there may be no tomorrow, now
this is my plea, this is my need
this is my time for standing free
this is my staff, this is my day
and the world is never safe
it's okay, you know i love you anyway
it's okay, you don't have to run and hide away
it's okay, it's okay
it's okay...
You can see what we saw that night (the turn to It’s Okay takes place at 4:02):
GF and I had taken a break in our year and half old relationship that August. I had told a mutual friend that I would be proposing to her in January, but that moment had passed and I resisted the relationship on the rationale that we fought too much. We did fight, on street corners, in apartment stairwells and cars. After one particularly bad fight when she was threatening to leave my apartment at 2 a.m. and I was yelling in that stairwell, I wondered what I had become. I kept repeating lines from Springsteen’s “One Step Up” to myself:
Another fight and I slam the door on
Another battle in our dirty little war
When I look at myself I don't see
The man I wanted to be
Somewhere along the line I slipped off track
Of course, I loved her deeply and she made me very happy. I have a picture of us at a diner with out-of-town friends the morning after my thirtieth birthday party. I loved her so much that morning and I was holding onto her so tightly that she had to tell me to loosen my arms around her. She had gotten me to invite all of my friends to a dinner and assembled a book of their contributions in my honor. They had made pages of words, photos and drawings for me. It’s the kind of moment that might occur maybe two or three times in your life, if you’re lucky.
When I think back to that relationship, I always remember taking GF to those Pearl Jam shows and I cringe at the memory. She was still so in love with me, even as I expressed hesitation and asked for “time off” from the relationship. She put up with the conditions of a Pearl Jam concert: lots of white male teenagers drinking beer and wondering loudly how they could approximate the spirited moshing of a past half-generation from the Evenflow and Alive videos. We got free tickets to the Philadelphia show by walking around the venue to register new voters. GF gamely tried to register these sloshed kids and when we got our tickets sat down heavily in the midst of the crowd, tired from our interactions with the drunken masses.
When I mentioned this episode to her during a phone conversation a few years after we had broken up, she told me to forget about it. She had moved on (and now has a husband and daughter) but I was holding on to the memories. I had met an amazing woman on a trip to the west coast a few months earlier, someone who I thought might make me very happy, and perhaps I was pleading for release. When I told GF that I needed her forgiveness, my voice broke and I started sobbing on the phone. She said to me, you need to forgive yourself.
This is what realization might sound like:
Oh the time will come up
When the winds will stop
And the breeze will cease to be breathin'.
Like the stillness in the wind
'Fore the hurricane begins,
The hour when the ship comes in.
Oh the seas will split
And the ship will hit
And the sands on the shoreline will be shaking.
Then the tide will sound
And the wind will pound
And the morning will be breaking.
Oh the fishes will laugh
As they swim out of the path
And the seagulls they'll be smiling.
And the rocks on the sand
Will proudly stand,
The hour that the ship comes in.
And the words that are used
For to get the ship confused
Will not be understood as they're spoken.
For the chains of the sea
Will have busted in the night
And will be buried at the bottom of the ocean.
A song will lift
As the mainsail shifts
And the boat drifts on to the shoreline.
And the sun will respect
Every face on the deck,
The hour that the ship comes in.
Then the sands will roll
Out a carpet of gold
For your weary toes to be a-touchin'.
And the ship's wise men
Will remind you once again
That the whole wide world is watchin'.
Oh the foes will rise
With the sleep still in their eyes
And they'll jerk from their beds and think they're dreamin'.
But they'll pinch themselves and squeal
And know that it's for real,
The hour when the ship comes in.
Then they'll raise their hands,
Sayin' we'll meet all your demands,
But we'll shout from the bow your days are numbered.
And like Pharaoh's tribe,
They'll be drownded in the tide,
And like Goliath, they'll be conquered.
Yes!
two poems to inspire and contemplate during difficult times:
WALK ALONE
If they answer not to thy call, walk alone;
If they are afraid and cower mutely facing the wall,
Open thy mind and speak out alone.
If they turn away and desert you when crossing the wilderness,
Trample the thorns under thy tread,
And along the blood-lined track travel alone.
If they do not hold up the light when the night is troubled with storm,
With the thunder-flame of pain ignite thine own heart,
And let it burn alone.
-Rabindranath Tagore
HARD TIMES
Music is silenced, the dark descending slowly
Has stripped unending skies of all companions.
Weariness grips your breast, and within the draped horizons
Dumbly ring the bells of hugely gathering fears.
Still, O bird, O sightless bird,
Not yet, not yet the time to fold your wings.
It's not melodious woodlands but the leaps and falls
Of an ocean swelling with drowsy thunder,
Not a grove bedecked with flowers but a tumult heaved with foam.
Where is the shore that stored your buds and leaves?
Where the nest, the branch that offers shelter?
Still, O bird, my sightless bird,
Not yet, not yet the time to fold your wings.
Stretching in front of you the night's immensity
Hides the western hill where sleeps the distant Sun;
Still with bated breath the world is counting passing time, and
Across the shoreless dark obscurity, a crescent moon
Has thinly just appeared upon the dim horizon.
--But O my bird, O sightless bird,
Not yet, not yet the time to fold your wings.
From upper skies the stars with pointing fingers
Intently watch your course, and from the deep, death's impatience
Lashes at you in restless, leaping waves;
And sad entreaties plead from the farthest shore
With hands outstretched and wailing
'Come, O come!' Still, O bird, O sightless bird,
Not yet, not yet the time to fold your wings.
All that is past: your fears and hopes and love's illusion;
All that is lost: your useless words and lamentation;
No longer yours a home nor a nuptial bed strewn of flowers.
For wings are all you have, and the vast firmament of sky
And the dawn steeped in darkness, losing all direction.
Dear bird, my sightless bird,
Not yet, not yet the time to fold your wings.
-Rabindranath Tagore
I learned today that the Elliott Smith record is inspired by a book of essays of the same name by Soren Kierkegaard. Apparently, Kierkegaard set out the stages of existence and contrasts a life of aesthetic pursuit with one of ethical commitment. I came upon all of this information while doing internet searches related to Walker Percy's The Moviegoer, which is one of my favorite novels. Percy created his narrative after reading Either/Or and the passage from empty pursuit to commitment is a compelling framework for his story (and that of many others to which I am drawn, including High Fidelity and Sideways).
Why was I Googling The Moviegoer? Because I am having a particularly empty day, wasted morning, wandering my neighborhood, ending at a cafe where I sit and surf while another draft of my article is due to my bosses at work. This follows a phone conversation last night with one of my best friends (with whom I share a general career trajectory) during which we discussed (1) his recent triumphant speech to an audience of public interest lawyers and his stunned mother, (2) his upcoming sabbatical leave, the second in three years, (3) his litigation on behalf of a detainee at Guantanamo, and (4) my recent withdrawal from a conference in Berlin in July on the advice of the aforementioned bosses. He is a good man and a good friend, as close as a brother to me in many respects, but I can't help but be depressed after we speak on the phone. So I awoke in a hole and I stay bored and listless, unable to engage with the work that I must do. I think of alternate careers and (laughably) curse my own freedom to write at a cafe.
Plane tickets and hotel reservations for Berlin are cancelled. I withdraw from the panels on which I was to speak. After (1) being one of three people in a group of twenty at a conference not to be selected for publication in a book two years ago, (2) being passed over for consideration for a higher position in my workplace, (3) watching friends with my qualifications make more money and acquire greater purpose and focus as they age, and (4) having close friends be surprised when I am selected for some honor, such as a speaking role in a graduation ceremony, I wonder when the indignities will cease. My aspiration for a life of ethical commitment remains out of my grasp because of the life preferences of my partner and the simultaneously purpose-killing structurelessness and imprisonment of my work as currently constructed. Others tell me how good I have it and to remain in pursuit of their goals. I want to not wake up in the morning.
What is fantasy? Is it an illusion, an escape from the humdrum of everyday life? Or is it an experience more real than the material one lived amidst strife, struggle, and the adversity of the world. An experience so real that it impels us through the strife, struggle, and adversity.
But Ofelia is not an ordinarily girl. She is followed by a fairy, who summons her to a labyrinth, where she meets a faun who tells her that she is a princess who has been summoned back to reopen a portal to a mythical world where she can take her rightful place beside her true father and mother. 
On another note, I am very excited about the upcoming movie, "Across the Universe", with a backdrop of Beatles lyrics, songs, and lives.
David Bowie/Brian Eno
All Music Guide:
Not even ending up as a Microsoft commercial theme could quench the sheer power and beauty of "Heroes," arguably David Bowie's finest individual song throughout his varied, fascinating career. The story of its inspiration got a bit muddled over time -- it might have been two employees at the recording studio near the Berlin Wall who Bowie saw in an embrace, or simply two random strangers in the shadow of that Cold War symbol. But inspired by that and with the collaborative help of Brian Eno and, with a jaw-dropping set of solos, guitarist Robert Fripp, Bowie, his backing band and producer Tony Visconti created a true classic. Clearly drawing from the various German influences he had absorbed while still relying on the dramatic power of rock and roll, the song becomes an anthem, Fripp's exquisite work at once celebratory and an electric requiem. That feeling of valediction is reflected in Bowie's lyric about individual connection and response in the face of a crushing, anonymous outside world -- but it wouldn't be half so grand without Bowie's simply breathtaking vocal. Starting with an almost conversational tone, by the end of the song he's turning in a performance that could almost be called operatic, yet still achingly, passionately human.A Sonata for a Good Man and Woman. When I go to Berlin this summer, I aim to visit the Stasi detention center shown in The Lives of Others as well as the Hansa Ton Studio where Bowie recorded his Berlin trilogy with Brian Eno and Tony Visconti and where U2 recorded parts of Achtung Baby with Eno and Daniel Lanois. Bowie was rooming with Iggy Pop and trying to overcome a cocaine addiction in Berlin; U2 nearly broke up because of artistic differences before writing One together. Fascinating (though, of course, not intended to trivialize the savage political history of the place and time).
Pitchfork’s Rob Mitchum minces the new Wilco record, Sky Blue Sky, and calls it “dad-rock.” A sentence from the review:
Case in point, the drowsy opener "Either Way" sleepwalks through a list of indecisive sentiments ("maybe you love me, maybe you don't") before breaking for a Cline solo that's straight-up Weather Channel Local on the 8s.These are the lyrics of Either Way in their entirety:
Maybe the sun will shine todayIt’s not Dylanesque poetry but even on the page, those lyrics are something more than a list of indecisive sentiments. Anyone who follows the band, even loosely, knows that a large percentage of the songs on the last four Wilco albums concern Jeff Tweedy’s sometimes quite frayed relationship with his wife (and more generally, with anyone outside of his alienated self). It’s possible that that knowledge is required in imbuing the lyrics to Either Way with a greater meaning than Mitchum recognizes. But if you listen to the song, it sounds like a prayer: for the sun to shine, for fear to abate, for greater understanding of your self and your place in the world (best analogue in the Pearl Jam song catalogue: Sometimes on No Code, also an album opener). It’s in the way Tweedy sings it, with a question and a catch in his voice in every line and with hope for self-knowledge. “Maybe you just need some time alone” suggests trepidation and a situation just about spun out of control. The tentative resolve is more meaningful in light of this sense of genuine risk.
The clouds will blow away
Maybe I won’t feel so afraid
I will try to understand
Either way
Maybe you still love me
Maybe you don’t
Either you will or you won’t
Maybe you just need some time alone
I will try to understand
Everything has its plan
Either way
I’m gonna stay
Right for you
Maybe the sun will shine today
The clouds will roll away
Maybe I won’t be so afraid
I will understand everything has its plan
Either way
In Un Coeur En Hiver (A Heart in Winter), a violin maker played by Daniel Auteuil reaches out of his shell to draw the intense interest of a gifted young violinist played by Emmanuelle Beart. His more charismatic business partner is having an affair with her and he sees her professionally at first, at their workshop and her practices. Eventually, he finds himself hovering outside of the studio where she is recording Ravel and goes with her, through an outpouring of rain, to a cafe where he tells her that he loves to see her speak. His quiet but intense presence, ascetic and dedicated nature (he lives in a bedroom at the workshop), and interest in her is magnetic. His subsequent actions are mutedly shocking and an audience shivers at the sight of a cold heart laid bare.
There are more than a few times when I have sat in a car or at a table in a restaurant and done what this "protagonist" does to the young woman in the film. I have abandoned relationships at all points in their life cycle, from infancy to adulthood. After I have destroyed a fledgling relationship, I have been joyous and experienced the relief of freedom from a small suffocating box. In all of these relationships, there are moments of great happiness, but the imperative to break free of another and to resist the unbundling of a tight ball of emotion somewhere inside of me is too great. With loneliness comes freedom, of a particular variety, free to stay within myself and not communicate the feelings I so desperately want to submerge. I am able to act out. No one is there to push back, except my own most destructive and undermining of selves, burdening my mind with guilt and faithlessness, even as I experience my "freedom."
I think of these things in the context of my current relationship. There are days on end when I am unwilling to communicate with anyone. My commitment to solitude is my strongest quality and dates back to my earliest consciousness. The fact that I spend my time in isolation sleeping and seeking solace from television and the internet (much as Ganesh does) makes me question whether it is solitude that I defend. It seems more accurate to call it alienation, from all living people.
There is a wonderful exchange between two friends on love and solitude at Modal Minority, stemming from a Rilke quote partially excerpted here:
A merging of two people is an impossibility, and where it seems to exist, it is a hemming-in, a mutual consent that robs one party or both parties of their fullest freedom and development. But once the realization is accepted that even between the closest people infinite distances exist, a marvelous living side-by-side can grow up for them, if they succeed in loving the expanse between them, which gives them the possibility of always seeing each other as a whole and before an immense sky.The writer and his friend have an illuminating debate about the meaning of love between two people, one arguing for Rilke's joint solitude and the other for deconstruction of the self, a merging into the other and his God. The writer concludes:
And yet, and yet. I cannot help but feel that my friend and I might have but a single conception of love. I cannot shake the suspicion that, in love's strange geometry, infinite distance and intersection are one and the same.As I work through my feelings in my current relationship with my patient partner, I search for my own language of survival. I don't mean to elevate my "private suffering." I am privileged and empowered beyond my own belief. But I have yet to successfully negotiate a path between my solitude and my deconstruction. It is a crowded path on which I walk with many friends. In our collective search, there might exist a constitutive grammar for our language of survival.
Each must, out of his private suffering, find the language that allows him to survive that suffering.
The return of RATM:
Rage Against the Machine was just angry, and nearly all business. Back together for its first show in seven years — others are to follow, at least through this summer — it went precisely back to where it left off. Where Manu Chao was noisily border-crossing, setting off sampled sirens to suggest close-range urban bustle, Rage wants its audience to feel the fear and dread of places where the working classes die in their uniforms, and a violent urge to disobey.
Part of the band’s sound, and part of its riffs, come from the hard midtempo funk of Jimi Hendrix’s Band of Gypsies, but their songs are far more rigid in every way — feeling, design, sentiment. Given such a long layoff, the band played hard and well. Still, seven years isn’t such a long time, and all was much the same: Zack De La Rocha’s enraged whine lives intact; Tom Morello still makes his guitar rant and spit, his control over the wah-wah pedal and his guitar’s kill-switch undiminished.
The crowd bounced like springs, and yet, on another level, the music came off almost purely as a political project. Only in a version of Afrika Bambaataa’s “Renegades of Funk” — with lines like “every time I pop into the beat we get fresh” — was it clear that this was only a rock band.
