Sunday, 31 July 2011

Sleater-Kinney: The Size of Our Love


Our love is the size  of
These tumors inside us
Our love is the size of
This hospital room, you’re my hospital groom

The ring on my finger
So tight it turns blue
A constant reminder
I’ll die in this room, if you die in this room

Sit like a watchdog 
And patiently wait
Listen for footsteps
Down the hallways, visit beds like they’re graves

Days go by so slowly
Nights go by so slowly
Days go by so slowly
In a hospital room
In a box built for two

I fight for air, fight for my own air
Forget all the things I can do alone
I fight for a heart, I fight for a strong heart
I fight to never know this sickness you know
But I know it’s my own, I gave it a home

Our love is the size of 
These tumors inside us
Our love is the size of
This hole in the ground, where my heart’s buried now
 

Monday, 25 July 2011

Before the Law, by Franz Kafka


This is a hopefully interesting response to what I believe has been a fruitful discussion on a previous post. For the most part, this discussion addressed freedom and how difficult it may be to materialise it, especially against the cages we build ourselves to live in. When Franz Kafka’s name was brought up, my very first thought was this short story, which also appears in the ninth chapter of The Trial. Kafka’s works, and Beyond the Law in particular, have also attracted significant academic attention, a matter to which we will return.

The following translation is by Ian Johnston of Vancouver Island University, Nanaimo, BC, Canada.

Before the Law 

Before the law sits a gatekeeper. To this gatekeeper comes a man from the country who asks to gain entry into the law. But the gatekeeper says that he cannot grant him entry at the moment. The man thinks about it and then asks if he will be allowed to come in sometime later on. “It is possible,” says the gatekeeper, “but not now.” The gate to the law stands open, as always, and the gatekeeper walks to the side, so the man bends over in order to see through the gate into the inside. When the gatekeeper notices that, he laughs and says: “If it tempts you so much, try going inside in spite of my prohibition. But take note. I am powerful. And I am only the most lowly gatekeeper. But from room to room stand gatekeepers, each more powerful than the other. I cannot endure even one glimpse of the third.” The man from the country has not expected such difficulties: the law should always be accessible for everyone, he thinks, but as he now looks more closely at the gatekeeper in his fur coat, at his large pointed nose and his long, thin, black Tartar’s beard, he decides that it would be better to wait until he gets permission to go inside. The gatekeeper gives him a stool and allows him to sit down at the side in front of the gate. There he sits for days and years. He makes many attempts to be let in, and he wears the gatekeeper out with his requests. The gatekeeper often interrogates him briefly, questioning him about his homeland and many other things, but they are indifferent questions, the kind great men put, and at the end he always tells him once more that he cannot let him inside yet. The man, who has equipped himself with many things for his journey, spends everything, no matter how valuable, to win over the gatekeeper. The latter takes it all but, as he does so, says, “I am taking this only so that you do not think you have failed to do anything.” During the many years the man observes the gatekeeper almost continuously. He forgets the other gatekeepers, and this first one seems to him the only obstacle for entry into the law. He curses the unlucky circumstance, in the first years thoughtlessly and out loud; later, as he grows old, he only mumbles to himself. He becomes childish and, since in the long years studying the gatekeeper he has also come to know the fleas in his fur collar, he even asks the fleas to help him persuade the gatekeeper. Finally his eyesight grows weak, and he does not know whether things are really darker around him or whether his eyes are merely deceiving him. But he recognizes now in the darkness an illumination which breaks inextinguishably out of the gateway to the law. Now he no longer has much time to live. Before his death he gathers in his head all his experiences of the entire time up into one question which he has not yet put to the gatekeeper. He waves to him, since he can no longer lift up his stiffening body. The gatekeeper has to bend way down to him, for the great difference has changed things considerably to the disadvantage of the man. “What do you still want to know now?” asks the gatekeeper. “You are insatiable.” “Everyone strives after the law,” says the man, “so how is that in these many years no one except me has requested entry?” The gatekeeper sees that the man is already dying and, in order to reach his diminishing sense of hearing, he shouts at him, “Here no one else can gain entry, since this entrance was assigned only to you. I’m going now to close it.”

Sunday, 24 July 2011

What's inside her never dies: Amy Winehouse, 1983-2011


The following two videos are a fine example of what a great singer and musician Amy Winehouse was. The first one is the studio version of one of her best songs, 'You Sent Me Flying', from her first album Frank (2004). The second one is an astonishing live version of the same song, from the North Sea Jazz Festival in 2004 (please note that the actual performance starts at 2:00).




It also seems to me that there is a need to surpass the 'problematic individual' stereotype which tends to prevail in mainstream accounts – it is, I am afraid, easier for the media industry to articulate cliché words and phrases about tormented souls, than to address its exploitation of talent and frailty. 

For us, Amy Winehouse was first and foremost an incredible artist, and it is exactly as such that we will remember her. And in this respect, I think it is only appropriate to refer to the last song from her second album Back to Black (2006), which has offered us the title of this post. 

With our love and respect, rest in peace.



He can only hold her for so long
The lights are on but no one's home
She's so vacant
Her soul is taken
He thinks "what she running from?"
Now, how can he have her heart
When it got stole
So he tries to pacify her
Cause what's inside her never dies

Even if she's content in his warmth
She is played with urgency
Searching kisses
The man she misses
The man that he longs to be 

Now, how can he have her heart
When it got stole
So he tries to pacify her
Cause what's inside'll never die
 

So he tries to pacify her
Cause what's inside her
It never dies
So he tries to pacify her
Cause what's inside her never dies

Thursday, 21 July 2011

Gone


 

St. Martin's Ct., London, 14.09.2010

Sunday, 17 July 2011

As soft as wild honey


I grew up with him and I never forgot how much he meant to me. In fact, I still turn to him. There’s always something that he has said or done that helps, especially in times of trouble.

This is how I first met him:

A black shadow dropped down into the circle. It was Bagheera the Black Panther, inky black all over, but with the panther markings showing up in certain lights like the pattern of watered silk. Everybody knew Bagheera, and nobody cared to cross his path; for he was as cunning as Tabaqui, as bold as the wild buffalo, and as reckless as the wounded elephant. But he had a voice as soft as wild honey dripping from a tree, and a skin softer than down.

The reason why he stepped into the circle was to help. To stand up for a helpless human cub, the fate of whom was about to be decided.  “To kill a naked cub is shame,” he argued, and then he paid the price and saved the cub’s life. This is so typical of him. Making a stand, taking the responsibility, speaking out. Standing up to the group dynamic, alone if necessary. Following his path has of course led me into a lot of trouble ever since. The kind of trouble worth getting into, at all times.

And of course he never ceased to surprise and amaze me:

Bagheera stretched himself at full length and half shut his eyes. "Little Brother," said he, "feel under my jaw."

Mowgli put up his strong brown hand, and just under Bagheera's silky chin, where the giant rolling muscles were all hid by the glossy hair, he came upon a little bald spot.

"There is no one in the jungle that knows that I, Bagheera, carry that mark—the mark of the collar; and yet, Little Brother, I was born among men, and it was among men that my mother died—in the cages of the king's palace at Oodeypore. It was because of this that I paid the price for thee at the Council when thou wast a little naked cub. Yes, I too was born among men. I had never seen the jungle. They fed me behind bars from an iron pan till one night I felt that I was Bagheera—the Panther—and no man's plaything, and I broke the silly lock with one blow of my paw and came away.

Because of him, whenever I feel myself trapped in a cage this is exactly what I do, I break the silly lock with my paw and come away. I mean, what else is there to do? Resign, submit, and comply? Or maybe even convince myself that there is no jungle, pretend that I love my cage, and remain in there, docile and fed?

I don’t think so. He would never do that. And this is also how he got me into trouble ever since. The same kind of trouble, the one worth getting into, at all times.


P.S.
This is about his dad. And this is where the quotes are from.

Wednesday, 13 July 2011

Pump Up The Volume Please...!!!

 

P.S: Finnish lyric soprano Tarja sings with her beautiful voice
Guitar solo by Joe Satriani

Phantom voices with no words to follow
At the mercy of the cold and hollow
I withdrew into my sanctuary of silence
My defence

In this moment I am just becoming
Liberated from my cell of nothing
No sensation there was only breathing
Overcome oblivion

Falling Awake
From a walking sleep
And all that remains
Is the dying memory
And now I can dive for
these dreams I make
Like I am Falling
I am falling awake

Waves of melodies once forgotten
like a symphony across the ocean
Never knew that they could hear my calling
deep within
crashing in
rushing in
like falling

Falling Awake
From a walking sleep
And all that remains
Is the dying memory
And now I can dive for
these dreams I make
Like I am Falling
I am falling awake

There is no returning to that emptiness,
loneliness
The dream that lives inside of me won't fade away,
it's wide awake

Falling Awake
From a walking sleep
And all that remains
Is the dying memory
And now I can dive for
these dreams I make
Like I am Falling
I am falling awake

Saturday, 9 July 2011

Chris Jordan: Running the numbers

The work of visual artist and photographer Chris Jordan is distinguished by the ingenuity of its concept and technique, as well as by the critical quality of its content. A characteristic example may be found in Cans Seurat (2007), a work which makes reference to the classic modernist painting Un dimanche après-midi à l'Île de la Grande Jatte (1884-1886) by George Seurat

Chris Jordan reinterprets the painting through a simulation of its technical construction. The dots of colour which constitute the core of the pointillist approach, are substituted by aluminium cans. In this respect, Cans Seurat is, and simultaneously is not, Un dimanche après-midi à l'Île de la Grande Jatte. The work's textuality consists of  different forms of juxtaposition between  a long view and a close-up, between the emblematic cultural value of the painting and the artistic insignificance of the cans which reconstruct it, as well as between the uniqueness of the former and the multiplicity of the latter. The work depicts 106.000 cans, the number used in the United States every thirty seconds. In this way, the painting is not only reconstructed, it is also redefined: the modernist tradition comes face to face with  the evolution  of a contemporary consumerist society.





Chris Jordan's work may be seen through a postmodernist lens, particularly with regard to the dissolution of the bipolar opposition between 'high' art and the culture of everyday life (R. Boyne & A. Rattansi, eds., Postmodernism and society, Macmillan, 1990). However, the elements of simulation, and/or parody, which may be read into the work are entirely different from the cynicism usually associated with perspectives such as those of Jean Baudrillard. A key way to interpret the work of Chris Jordan is through its persistent use of statistics.  The aesthetic choices guiding the visualisation of quantitative data remove their cloak of objectivity and neutrality. Chris Jordan does not recycle information: numbers are turned into images which reveal and interpret their political and cultural signification. In this way, statistics is transformed into critique. 

Cans Seurat is part of the project Running the Numbers: An American Self-Portrait (2006-current), which is characterised by its focus on elements such as credit cards, bank notes, mobile phones, and plastic bags, as well as its visual interpretation of the statistics concerning their use. Similar subjects are evident in the subsequent project Running the Numbers II: Portraits of Global Mass Culture (2009-current), addressing the international context. References to subjects such as malnutrition and plastic waste in the oceans suggest political and environmental issues which concern us all, both individually and collectively. As Chris Jordan has argued: 

I believe it is worth connecting with these issues and allowing them to matter to us personally, despite the complex mixtures of anger, fear, grief, and rage that this process can entail. Perhaps these uncomfortable feelings can become part of what connects us, serving as fuel for courageous individual and collective action as citizens of a new kind of global community. This hope continues to motivate my work.

Monday, 4 July 2011

Speaking of Anneke van Giersbergen


A previous post by black symphony touched upon a charismatic vocalist: it is no secret that Anneke van Giersbergen is one of the greatest singers of our time. Having fronted The Gathering  for 13 years, Anneke continued as a solo artist with her band Agua de Annique in 2007. She has also been involved in numerous collaborations, most recently with Danny Cavanagh. I must admit I often find it difficult to write about her because all adjectives and phrases that are appropriate may seem exaggerated to anyone who hasn't heard her sing.  So why don't we first do just that, hear her sing...





Sunday, 3 July 2011

Scorpion Flower

The Portuguese gothic metal band Moonspell performed in the Sonisphere Festival which took place on June 17th in Greece. Inspired and influenced by this occasion, I take the opportunity to post their video for ''Scorpion Flower'', the lead single off their 2008 album ''Night Eternal". The song also features Anneke Van Giersbergen, graceful and sweet as ever. It is a dark and evocative track, but simultaneously so very romantic, in a gothic kind of way.




Curse the day, hail the night
Flower grown in the wild
In your empty heart
In the breast that feeds
Flower worn in the dark

Can I steal your mind for a while?
Can I stop your heart for a while?
Can I freeze your soul and your time?
Scorpion flower
Token of death
Ignite the skies with your eyes
And keep me away from your light

Surrender tears to your mortal act
Flower cursed be thy fruit
Of your courage last
Of your grand finale
Flower crushed in the ground
In your empty heart
In the breast that feeds
Flower worn in the dark

Can I steal your mind for a while?
Can I stop your heart for a while?
Can I freeze your soul and your time?
Scorpion flower
Token of death
Ignite the skies with your eyes

In your empty heart
In the breast that feeds
Flower worn in the dark

Can I steal your mind for a while?
Can I stop your heart for a while?
Can I freeze your soul and your time?
Scorpion flower
Token of death 
Ignite the skies with your eyes

Friday, 1 July 2011

Dreaming light of the sunrise: Anathema release new video

Τhe first thing that comes to mind when I listen to Anathema is authenticity. Their music is identified by a distinctive quality which has never stopped evolving, experimenting, and transcending genres; at the same time, their unique ability to express emotion has set them apart from any stereotype. The band recently released a video for Dreaming Light; a song from their 2010 album We’re Here Because We’re Here, which may as well be their best.



 
Suddenly... life has new meaning
Suddenly... feeling is being
Suddenly... I don't have to be afraid
Suddenly... All falls into place

And you shine inside
And love stills my mind like the sunrise
Dreaming light of the sunrise

And you shine inside
And love stills my mind like the sunrise
Dreaming light of the sunrise
Dreaming light and ...

I feel you but I don't really know you
I dreamed of you from the moment I saw you
And I've seen the sunrise in your eyes
The sky... the sea... the light

So live your dream beneath the northern horizon
Be at peace, set your heart in flight again
For the light is truth...
The light is you...