Friday 28 September 2012

Dream against the flow: Into The Sun, by Tarja


The diva: this is how both fans and music journalists often address the Finish soprano Tarja Turunen. Her reputation is of course well earned, as her trademark vocal abilities laid out the blueprint for a whole genre of symphonic rock and metal music. Tarja is an exceptionally expressive vocalist, which is what matters the most when it comes to accomplished singers of her type. Her technique commands attention not as an end in itself, but as a means of conveying a vast spectrum of emotions, ranging from the strongest to the frailest. And inasmuch as ‘diva’ is a conventional term for addressing classically trained vocalists, its informal connotations in terms of character are irrelevant to Tarja. I had the pleasure of seeing her in concert this year, and her warmth and openness were as amazing as her performance. After the encore and while her band had already withdrawn, she remained alone on stage signing autographs for the people in the front rows; now that is a real diva.

Tarja's new live album and DVD Act I is an impressive documentation, as well as an appropriate celebration, of her What Lies Beneath World Tour. The latter spanned over three years, following the release of her third solo studio album of the same name in 2010; for the single Falling Awake, featuring Joe Satriani on guitar, see this post by black symphony. Act I was filmed in Teatro El Círculo, a spectacular opera theater in Rosario, Argentina, in March 2012. This is the setting of the video for Into The Sun, an incredible new song which will also be available on Tarja's next studio album in 2013.


Dream against the flow
Let your garden grow
Over land and waters
Feel no borders

Walking right into the sun

Don't fear the ending
Find the beginning
Over another lonely star
Brighter than who you are
Walking right into the sun

All my sweetest doubts

Let them help you out
My emotion
Parted ocean

Walking right into the sun

Don't fear the ending
Find the beginning
Over another lonely star
Brighter than who you are
Walking right into the sun
  
 

Wednesday 19 September 2012

Standing up against discrimination: We Are The Others, by Delain


Delain  have just released a fascinating video for the title track of their newest album We Are The Others. This song takes a firm stand against discrimination by making reference to the hate crime against Sophie Lancaster, which took place in 2007 in Lancashire. Sophie and her boyfriend were beaten comatose just because of their goth looks, and she died from her injuries. As vocalist Charlotte Wessels put it in the band's website:

Sophie's story hit close to home for us, being part of a subculture ourselves, but it's in no way an individual case. People are discriminated against all the time, to the point of violence, based on their cultural or ethnic background. 'We Are The Others' is our own 'outsiders anthem' for everybody who, deliberately or not, diverts from the norm. Whether by looking different, acting different, or choosing a different path in life than is expected from you.


I'm walking with Sophie tonight
She lives in the air that I breathe
I can't get it out of my mind
how you were left to bleed
Was it how you dressed
or how you act
I can't believe
how they could act so violently
without regret
well, we will not forget

We are the others

we are the cast-outs
we're the outsiders
but you can't hide us
we are the others
black-eyed and battered
you're not out there on your own
If you feel mistreated
torn and cheated
you are not alone
we are the others

As simple as air in your lungs

as simple as words on your lips
And no one should take that away
no one should argue this
Now with our heads up high
we'll carry on
and carry out
that we won't let them get us down
or wear us out
'cause we are not alone

We are the others

we are the cast-outs
we're the outsiders
but you can't hide us
we are the others
black-eyed and battered
you're not out there on your own
If you feel mistreated
torn and cheated
you are not alone
we are the others

Normal is not the norm

It's just a uniform
(we are the others)
Forget about the norm
(we're the outsiders)
Take off your uniform
(we are the others)
We are all beautiful
We are the others

For previous work by Delain, you may see an earlier post by black symphony here. For more information on the hate crime against Sophie Lancaster, please visit The Sophie Lancaster Foundation; its aim is to "stamp out prejudice, hatred, and intolerance everywhere," and its website includes the following video:


Saturday 15 September 2012

Actual fascists: on the far-right in Greece

Francis Bacon   Figure with Meat   1954   arttattler.com

It is always easier to turn a blind eye, than it is to look a difficult situation in the face. And this is exactly why Laurie Penny's article in The Independent is significant: it calls the far-right in Greece what it is. As its standfirst puts it, "actual fascists in actual blackshirts are waving swastikas and murdering ethnic minorities in Athens."

This article was published on 30 August 2012, and is aptly titled "It's not rhetoric to draw parallels with Nazism." And indeed it is not; Laurie Penny explores the fascist tactics, and addresses the current wave of organized racist violence in the country. She also criticises the government for adopting the vocabulary of far-right extremism, and putting forward a mass police crackdown on migrants. Furthermore, the article calls on Europe to remember its past, which demonstrates in the clearest and most painful of ways the price of tolerating fascism. The full text is as follows:

"After the immigrants, you're next." That's what was written on flyers that appeared this week in the gay clubbing district of Athens. As violence against immigrants and ethnic minorities escalates across Greece, supporters of the ultra-right Golden Dawn party have also begun to promote hate attacks on homosexuals and people with disabilities. These fascists march with black shirts and flares through Athens, terrorising ethnic and sexual minorities, waving an insignia which looks like nothing but an unravelled swastika, and declaring disdain for the political process. And yet, across Europe, they continue to be treated as a mere symptom of Greece's economic crisis. 
 
Once, right-wing thugs only came out to attack immigrants at night. Now they do so in daylight, unafraid of the consequences because there rarely are any. In recent weeks, the number and severity of the attacks have increased – on 12 August, a 19-year-old Iraqi asylum seeker was fatally stabbed by a gang on motorcycles just streets away from the Greek parliament – and if migrants report attacks to police, they risk being arrested.

Not only are crimes against immigrants in Greece considered low priority, much of Golden Dawn's support base comes from police ranks. Exit polls in the May 2012 elections suggested that in some urban districts up to 50 per cent of Greek police voted for the racist group, which now holds 7 per cent of the seats in parliament.

The stabbings, beatings and motorbike attacks have become so routine that in many parts of the capital, immigrants are afraid to go out alone. While Greece has long had a large migrant population – 80 per cent of refugees to the European Union arrive in Greek ports – families who came to the country seeking safety are now afraid for their children. A recent Human Rights Watch report, Hate on the Streets, found that "national authorities – as well as the EU and the international community at large – have largely turned a blind eye" to xenophobic violence in Greece.

Turning a blind eye would be bad enough. But now the Minister for Public Order, Nikos Dendias, has pledged to crack down on immigration, which he described as an "invasion" and "a bomb at the foundations of society". Tellingly, Dendias also described the presence of foreigners in Greece as a more significant threat than the economic crisis – a message he would no doubt plaster across the walls of Athens if he could.

Whipping up racism has become a strategy for diverting an embittered nation's attention away from the government and public spending crisis. Like many flagging centre-right administrations, the New Democracy coalition is mimicking the language of far-right extremists, pandering to rather than pacifying public xenophobia. With Dendias's support, the police are rounding up immigrants, arresting and deporting thousands in raids across Athens and nearby cities – a programme named, with no apparent irony, after Zeus Xenios, the Greek God of hospitality.

Golden Dawn's surge in popularity and confidence did not come from nowhere. The party has been active for decades, but four years ago, before the first wave of austerity cuts in Greece, it was regarded as something of a joke. This summer, with its party at the table in parliament, members of Golden Dawn are setting up "Greeks only" supermarkets and distributing food parcels to the unemployed in Syntagma Square – but only for "real Greeks".

The left does not need to point to the historic correlation between imposed economic austerity and the rise of fascism: Golden Dawn is making that link explicit, celebrating it. But simple willingness to capitalise on public anger will never, in any nation, make racist thugs the voice of the people.

As with many fascist groups, Golden Dawn claims to represent the marginalised working class. Like far-right groups across Europe – including the English Defence League and the new British Freedom Party – Golden Dawn declares itself the enemy of a bankrupt democratic system, exploiting for its own ends popular anger against neoliberal economic mismanagement. However, although it professes to stand against austerity, it has no economic project: its tactics are simply violent, divisive and nauseatingly racist. And the governments of Greece and Europe seem willing to tolerate this as the social cost of an ongoing austerity consensus.

The European Union was established after the Second World War to ensure socio-economic unity on a continent ripped apart by fascism. In the Greece of today, Golden Dawn is being treated as a serious political party, despite its members' eschewal of democratic process and tendency to assault rival politicians on television.

Long after the Nazi party took power in Germany in 1933, after the Reichstag had been burned and anti-semitic violence became official state policy, European governments remained more worried about the possibility of a socialist Germany than a fascist one. Almost until the Second World War, it remained more important to many world leaders that Germany pay down its debts. Drawing historical parallels with Nazism is a weary rhetorical technique that commentators on left and right have cheapened by tossing the simile into discussions of food labelling and over-enthusiastic traffic control. In this case, however, it's not rhetoric.

Actual fascists in actual black shirts are actually marching around Athens waving swastikas and burning torches, and maiming and murdering ethnic minorities, and world governments appear frighteningly relaxed about it as long as the Greek people continue to pay off the debts of the European elite. When the lessons of history are taught by rote, they can be easy to miss when most needed. This time, Europe must remember that the price of fostering fascism is crueller and costlier by far than any national debt. 

Tuesday 11 September 2012

And with hope in our hearts embrace this shade of gray

 Photograph: Troy House  musingsofanightowl.blogspot

I recently found myself having two discussions with different people on all things progressive in rock and metal music. And in both cases I referred to A Pleasant Shade of Gray by Fates Warning; an innovative concept album released in 1997 by one of the finest progressive metal bands, consisting at the time of Ray Adler on vocals, Jim Matheos on guitar, Mark Zonder on drums, Joey Vera on bass, and Kevin Moore on keyboards.

One cannot but appreciate bands who take artistic risks, and disregard commercial interests in order to do so. A Pleasant Shade of Gray is a good example of such a risk, as it consists of a fifty-five minute song divided into twelve parts; it introduces minimalist new age influences to metal, and demonstrates Jim Matheos' meticulous approach as a composer and a lyricist, as well as the band's exemplary musicianship. Part XII, in particular, is a strikingly beautiful soundscape of hope:



this shade of gray
this certain sadness
this cold morning light
and this silent madness
it hangs in the air
it hangs like a memory
it hangs like a cloud
it hangs on desperately
between dark and light
between was and be
between young and old
between you and me
between you and me

i remember cities

and i remember rain
like the sound of your voice, falling
these memories and more remain
i remember winter
and i remember strain
like the sound of your voice, breaking
these memories and more remain
i remember the nights
and i remember pain
like the sound of your voice, alone
these memories and more remain

so where do we begin

and what else can we say?
when the lines are all drawn
what should we do today?

close our eyes awhile

as morning shadows play
and listen to the rain
wash the long night away
face to face we'll awake
to see another day
and with hope in our hearts
embrace this shade of gray
 


Wednesday 5 September 2012

Regarding Warhol: Sixty Artists, Fifty Years

Andy Warhol, Self-Portrait, 1967  metmuseum.org

Regarding Warhol: Sixty Artists, Fifty Years is a major upcoming exhibition at the Metropolitan Museum of Art, set to explore Andy Warhol's influence on contemporary art by placing forty-five of his works alongside one hundred works by sixty other prominent artists. I found the Museum's choices quite intriguing, not least of all because they include some of my favourite artists, such as John Baldessari, Barbara Kruger, and Cindy Sherman. The exhibition will run from 18 September to 31 December 2012; you can find out more about its five thematic sections here, and see a selection of artworks here.

In the meantime, there is a selection of Billy Name's pictures of daily life at Andy Warhol's Factory on East Forty-Seventh Street; Jesse Wender posted them, together with an interview with the photographer, in The New Yorker

Billy Name, Andy Warhol with Self-Portrait, Silver Factory, 1967