Tag: music

A Warmer View of The Disturbed Paternal Grandparents I Never Knew—The Memoir Continues

Posted on by Barbara Fischkin

by Barbara Fischkin

Brownsville, Brooklyn, New York, 1930’s. “Pushcart Market,” similar to one frequented by the shared paternal grandmother of Barbara Fischkin and her Cousin Bernie.  Source:  Library of Congress. Photographer: Alan Fisher.

Cousin Bernie’s Own Memoir Surfaces Years After His Death

(a.k.a Cousin Bernie, Free-Range Professor-Part Three)

As much as I loved my late Cousin Bernie, I figured that in regard to my own memoir, I was done with him. Cousins are great but those two earlier chapters—on just one cousin—were more than enough.

Then… I heard from Bernie.

A heavenly nudge.

Years after his death, I believed I could identify his voice with its gravelly Brooklyn twang, slightly tempered by a slower drawl acquired during decades in the Midwest.

“There is a lot more to write about me. And if it is about me, then it is also about you.”

I wish I could report that this actually came from the afterlife.

Nope.

It came from the post office.

Joan Hamilton Morris, Cousin Bernie’s widow, mailed his unpublished memoir to me, after she found it while moving to a new assisted living residence. That was about a month ago. I never knew it existed. Now, I had it in hand—Cousin Bernie’s memoir, written quietly in an adult education class he took after retiring as an honored professor of Psychology and Mathematics at a public university in Indianapolis, Indiana.

I flipped through the typewritten, hard copy pages, stopping early at a description of my Grandpa Phillip. He had died before I was born and all I knew about him, from my parents, was that he had been a handsome, drunken, sporadically employed, womanizer who beat his sons and his long-suffering wife, Grandma Toby. Nice. Grandma Toby died young. Grandpa Phillip subsequently romanced a new bevy of women and then, sort of made up for past sins by marrying one of them.

Despite being decades apart in age, Bernie was my first cousin. This explains why we had the same paternal grandparents. Except, unlike me, he had known them. And so, thanks to Cousin Bernie, I read about a different version of Grandpa Phillip. And learned more about Grandma Toby, too. Read more »

Sunday, June 29, 2025

Jordi Savall’s Gluck Ballets in Barcelona—Regional Collaboration in Northern Mediterranean Dramatic Arts

Posted on by Dick Edelstein

by Dick Edelstein

Semiramis (Photo Sergi Panizo)

On account of the mood of economic restraint that looms over opera productions, preventing Barcelona’s Liceu from programming as many operas per season as it did just a couple of decades ago, each season now more often includes other orchestral works that feature singing, dance or theatre. And this effort, born of necessity, to engage the public in new trends in the performing arts has proved so successful that the non-operatic works often attract greater attention than the operas. Clear examples this season have been theatre director Romeo Castellucci’s revolutionary staging of Mozart’s requiem and a performance of two Gluck ballets organized and directed by the popular Catalan early music conductor Jordi Savall. Both of these events attracted as much public attention as the season’s operas.

Barcelona’s importance as a hub for performing arts in the Northern Mediterranean region was evident last March when Savall brought the Ballet de l’Opéra National du Capitole from Toulouse to the Catalan capital to perform the Gluck ballets, which were co-produced in collaboration with the Théâtre National de l’Opéra-Comique de Paris and elegantly supported by Le Concert des Nations, Savall’s talented, multi-national period instrument orchestra. Savall is well known for his work in bringing baroque and other styles of early music to audiences in Spain, France and throughout the world, and in this case the regional synergy involved was evident. While Barcelona’s Gran Teatre de Liceu is an emblematic opera house with great international projection, unlike the Théâtre du Capitole in Toulouse, it does not have its own ballet company.

When Jordi Savall puts on  a musical performance of any sort—whether as a virtuoso performer on the viola da gamba or as a conductor—he is sure to attract great public attention. On this occasion, he complemented the historical interest of Gluck’s ballets with superb performance values and the unique musicianship of his orchestra featuring period instruments. The performance of the two ballets by Christoph Willibald Gluck, Semiramis and Don Juan, was scheduled as part of the 8th edition of Dansa Metropolitana, a contemporary dance festival held in 12 cities and towns in the Barcelona metropolitan area.

These two pieces are important examples of works that transformed the art of ballet in the 18th century. They were the result of a collaboration between Gluck, the librettist Ranieri Calzabigi and the choreographer Gasparo Angiolini. At the time, these three artists were, in their different ways, all dissatisfied with the prevailing focus in ballet on technical brilliance, elaborate costumes and ornamentation to the detriment of dramatic intensity and more human and expressive values. Both works generated considerable controversy and marked a shift towards ballet as a more serious art form. Read more »

Monday, December 9, 2024

Why Summer Camp Matters, Even In Winter, Part One—The Memoir Continues

Posted on by Barbara Fischkin
Photo from https://wel-metcamps.com/

by Barbara Fischkin

People who have never been to sleepaway camp, don’t get it. They tease me when I speak about memories that are decades old, as if I am recalling a past life that never happened. They find it strange that I view my many years at camp as not merely summer vacations but as forces that helped to make me who I am. These camp memories visit me more deeply when the winter sky sets early, fooling me into believing that 4:30 pm is really past midnight. If I am roaming, I wonder if it is already time to go home. I linger. Yes, my summer camp taught me to roam physically—and in my imagination. It was free and free-range.

I’ll tarry briefly where many good tales begin. In the middle: My teenage years, as a camp clerk and then as babysitter for a camp director and finally, as a counselor. These summer jobs were woefully underpaid. But the fringe benefits were great: Opportunities to break rules that were often not enforced, anyway.

I smoked my first joint, out in the open, sitting with friends on a large rock by the lake, right after a late summer sunset. If caught by a camp director, we would have been fired. I don’t think they wanted to catch us. They were somewhere else, smoking their own joints. Romance, along with pot, seemed to be part of the plan for young employees, particularly in regard to the kitchen boys over whom we swooned. My camp, socialist at its core and run by lefty social workers, did not believe in waiters. To check out a kitchen boy, campers and staff had to go to one of several pantries to pick up or deliver food, plates and utensils. A chore made joyful.

 In regard to specific romance, I remember the night I spent with a slightly older male counselor, sleeping with him in his tent—and not doing much more than sleeping. (Maybe it was the pot). Before dawn I shoved him awake and said: “I have to go, I will get into trouble.” He laughed a sleepy laugh, perhaps a stoner laugh and said: “Barbara,  this is Wel-Met. Nobody gets in trouble for sleeping with someone.” Read more »

Monday, November 27, 2023

What Art Can Do

Posted on by Christopher Horner

by Christopher Horner

Grasmere (Photo by author)

Why do we value art? I am going to suggest that a large part of the answer is to do with its unique power to disclose and convey areas of our lives unavailable to us though other means. Art, on this account, is a kind of communication, and kind of act: something performative – a communication that makes something happen, in a way that eludes ordinary discourse. 

By ‘ordinary’ here I mean the kind of communication delivered by language when it is used to convey concepts: ranging from the most banal everyday speech to the most rarefied theory. Of course, ordinary speech acts themselves have a performative quality too – we don’t just communicate information through language, but make things happen, make requests, (‘shut the door’, ‘the meeting is over’ ‘help me!’). Moreover we use our bodies, tone of voice, emphasis and more: and the conceptual content may not even be what matters, especially when something isn’t banal, but matters greatly: moments of grief or joy, for instance. A gesture, a tear, or just silence may be more eloquent than words. It is this ‘beyond’ in our imperfect communications, that hint at what art can do. Art aspires to a more perfect communication: one that takes us beyond the confines of the lonely self.  Read more »

Monday, March 20, 2023

Patience With What is Strange: In Praise of Slow Art

Posted on by Christopher Horner

by Chris Horner

Less disappointing than life, great works of art do not begin by giving us all their best. —Proust

…for here there is no place
that does not see you. You must change your life. —Rilke

Everything demands our attention. A ceaseless stream of electronic information and entertainment flows through and around us. Attention spans shrink, and we struggle to focus on anything for more than a few minutes. Entertainment waits on every click, as does ennui. Paradoxically,  we may come to want the things that we cannot have in an instant, that demand our time and patience before they will reveal all they have to offer: the art that demands that we slow down. To really appreciate those productions of culture that can refresh us, make us think, immerse us in beauty, even strike us with terror, takes time. Art that is challenging often requires this of us. This can be true of more ‘popular’ art forms too, if they have the kinds of layers that take time to be appreciated. Their advantage over what I’m calling ‘slow art’ is they give us an immediate sugar rush that keeps our attention on them (exciting narrative, easy to recall musical  ‘hook’ etc) and which encourage us to return to them again and again. There’s nothing wrong with that. But not all art will do that, or not as often and as easily. Slow art, if it is great art, demands our time and patience before it will reveal all it has and can be to us. We should welcome this, for not only does this art often reward us most for our patience, but the practice of paying attention is itself, understood rightly, a kind of joy. There is an art that can offer us a world if we will but attend. Read more »

Monday, June 13, 2022

Music for Pleasure

Posted on by Christopher Horner

by Chris Horner

No man is a hypocrite in his pleasures —Dr Johnson

Without music life would be a mistake —Nietzsche

Music started for me with whatever was blaring out of the radio, and later those 45 rpm ‘single’ records that were the main vehicles of listening pleasure for teenagers in the late twentieth century. I heard a lot of that rather than listened to it. Listening really started with the ‘long player’ or album: 40 minutes or so over two sides of a black disc with a cover that, if you were lucky, didn’t look too bad when you gazed at it.

The first album I owned was a birthday present: Abbey Road, the final Beatles recording. Having nothing else to play, this got a lot of spins, first through the big speakers of my parents ‘Rigonda Stereo Radiogram’, then with the earphones plugged into the back with the lights off. In a private darkness the music and the lyrics were undisturbed by the banality of our front room, and the thing became something I knew by heart, images and melodies imprinted like a recurring, waking dream. Only the pleasure principle mattered: I has no idea whether I was supposed to like this stuff, I just did.  Read more »

Monday, May 16, 2022

Physicists and Fugues: A Well-Tempered Pairing

Posted on by Ashutosh Jogalekar

by Ashutosh Jogalekar

Sergei Rachmaninoff and John Wheeler were both masters of their art, equally at home with details and wild speculation, both seeing their disciplines as holistic ones encompassing all of human experience and the universe

As someone who has been interested in both classical music and the history of physics for a long time, I have been intrigued by comparison of the styles between the two art forms. I use the term “art form” for physics styles deliberately since most of the best physics that has been done represents high art.

Just like with classical music, physics has been populated by architects and dreamers, careful workmen and inspired explorers, bursts of geniuses and sustained acts of creativity. It is worth spending some time discussing what the word “style” might even mean in a supposedly objective, quantitative field like physics where truth is divined through precise measurements and austere theories. The word style simply means a way of thinking, calculation and experiment, an idiosyncratic method that lends itself individually or collectively to figuring out the facts of nature. The fact is that there is no one style of doing physics, just like there is no one style of doing classical music. Physics has blossomed when it has benefited from an unpredictable diversity of styles; it has stagnated when a particular style hardened into the status quo. And just like classical music goes through periods of convention and experimentation, deaths and rebirths, so has physics.

If we take the three great eras of classical music – baroque, classical and romantic – and the leading composers pioneering these styles, it’s instructive to find parallels with the styles of some great physicists of yore. Johann Sebastian Bach who is my favorite classical musician was known for his precise, almost mathematical fugues, variations and concertos. Read more »

Monday, January 31, 2022

Roll over Beethoven: Where’d classical music go?

Posted on by Bill Benzon

by Bill Benzon

About a month ago Tyler Cowen posed the following question at Marginal Revolution, a blog he runs with along with his collegue Alex Tabarrok: Why has classical music declined? If you do a general web-search on that question you’ll see that it’s a popular topic. The ensuing discussion has had 210 remarks so far. That’s a lot, especially when you consider that Marginal Revolution centers on economics and closed allied social sciences, though Cowen does comment on the arts as well. Some responses are longish, somewhat detailed, and knowledgeable. Most are relatively brief. On the whole the quality of the discussion is high, but scattered, which is to be expected on the web.

Cowen posed the question in response to a request from one of his readers, Rahul, who had asked:

In general perception, why are there no achievements in classical music that rival a Mozart, Bach, Beethoven etc. that were created in say the last 50 years?

Cowen offered several observations of his own. Here’s the first:

The advent of musical recording favored musical forms that allow for the direct communication of personality. Mozart is mediated by sheet music, but the Rolling Stones are on record and the radio and now streaming. You actually get “Mick Jagger,” and most listeners prefer this to a bunch of quarter notes. So a lot of energy left the forms of music that are communicated through more abstract means, such as musical notation, and leapt into personality-specific musics.

Yikes! From Mozart to the Rolling Stones, that’s quite a lot of musical territory – one reason, perhaps, that the discussion was scattered.

In this piece I treat the discussion as a collection of dots. I draw lines between some of them and color in some of the shapes that emerge. Read more »

Monday, May 3, 2021

How to Pair Music with Wine

Posted on by Dwight Furrow

by Dwight Furrow

Wine and music pairing is becoming increasingly popular, and the effectiveness of using music to enhance a wine tasting experience has received substantial empirical confirmation. (I summarized this data and the aesthetic significance of wine and music pairing last month on this site.) But to my knowledge there is no guide to how one should go about wine and music pairing. Are there pairing rules similar to the rules for pairing food and wine? Is there expertise involved that requires practice and experience?

In fact, there are no rules for pairing food and wine. Every so-called rule is subject to so many exceptions, it is misleading to think of these guidelines as rules. Yes, white wine often goes well with seafood but not always, and there are some red wines that are enjoyable with seafood. The same is true when pairing music with wine. There are general guidelines with many exceptions. Thus, like food and wine pairing, experience is important, and some expertise can be helpful. Below I describe my own process for generating wine and music pairings and the generalizations that can be drawn from it. Read more »

Monday, April 26, 2021

Born to Groove: Up from Mud and Back to Our Roots

Posted on by Bill Benzon

by Bill Benzon

I don’t remember exactly what I was saying – this conversation took place over a half century ago – but perhaps I was explaining why I choose to become a scholar rather than a musician. What I remember is Gren’s reply: You ARE a musician. After awhile he convinced me.

That is, we had to talk about it. I thought of a musician as someone who made a living performing music. I didn’t do that. To be sure, I made some money playing around town in a rock band and I’d spent years learning the trumpet. I’d marched in parades and at football games; I’d played concerts with various groups. But I wasn’t a full-time, you know, a professional musician, a real musician. Gren insisted that I was a musician because I played music, a lot, and was committed to it. That’s all that’s necessary.

He was right of course. I was a musician then and I’m one know. Three decades after that conversation I published a book, Beethoven’s Anvil: Music in Mind and Culture, in which I argued that music is what transformed groups of very clever apes into human beings. In THAT sense we’re all musicians. It’s our heritage.

Alas, too many of us have been robbed of that heritage and have been bamboozled into thinking that only special talented people should be making music. Nope. It’s time to flip the script. We’re born to groove. Read more »

Monday, March 1, 2021

Sukiyaki and beyond: Hiromi Uehara, music, war and peace, Chick Corea, and others

Posted on by Bill Benzon

by Bill Benzon

You may or may not know that sukiyaki is a beef-based Japanese hot-pot dish. But I’m not talking about food. I’m talking about music, specifically, a Japanese pop song entitled “Ue o Muite Arukō” (“I Look Up as I Walk”) which was a hit by Kyu Sakamoto in 1961 in Japan, 18 years before Hiromi Uehara was born. It became one of the world’s best selling singles of all time (13 million copies) and has been recorded countless times by singers all over the world. [Various versions on YouTube.] It was issued in the United States in 1963 as “Sukiyaki”, where it went to the top of the Billboard Hot 100.

Why “Sukiyaki”? Perhaps, you’re thinking, it’s a novelty song about the dish? No, it’s not. It has nothing to do with food. According to Wikipedia:

The lyrics tell the story of a man who looks up and whistles while he is walking so that his tears will not fall, with the verses describing his memories and feelings. [Lyricist Rokusuke] Ei wrote the lyrics while walking home from a Japanese student protest against the Treaty of Mutual Cooperation and Security Between the United States and Japan, expressing his frustration and dejection at the failed efforts. However, the lyrics were purposefully generic so that they might refer to any lost love.

The melody is wistful and haunting. I would imagine that is what propelled the song to international fame. Many of the cover versions use different lyrics. As for the renaming in America, it’s about marketing. “Sukiyaki” is a Japanese word that Americans would recognize as Japanese.

Here’s the original version:

Notice the whistled sections – appropriate to the origin story, which I remember from my childhood. Read more »

Monday, December 7, 2020

Jacob Collier, a 21st Century Mozart?

Posted on by Bill Benzon

by Bill Benzon

A little over a week ago Jacob Collier’s version of Mel Torme’s “The Christmas Song” (“Chestnuts Roasting on an Open Fire”) came up on YouTube. I know the song well, and love it. As I’d seen a video or three by this Collier fellow, I decided to give it a listen.

Wow! What?

I was stunned, but also a bit skeptical. Collier was obviously a talented musician, with mad skills. But to what end? This struck me as being musical comfort food. Skillfully made – oh yes! the man has chops! – but comfortable. But then, what’s wrong with comfort? As a steady aesthetic diet, it’s inadequate. But don’t we sometimes turn to music for comfort and solace? Do we not need comfort and solace in this time of Covid, not to mention the post-election tantrums of He Who Must Not Be Named?

What else has Collier got? If it’s all like this, then Collier’s a one trick pony. But maybe he’s got more tricks up his sleeve. I decided to investigate.

Caveat: I’m going to insert a bunch of videos into this piece; one of them is very long – over three hours. Feel free to skip over material. Read more »

Monday, August 31, 2020

Kitsch In The Eye Of The Beholder

Posted on by Thomas O'Dwyer

by Thomas O’Dwyer

You Are Not Forgotten, painting by John McNaughton.
You Are Not Forgotten, 2017, painting by John McNaughton.

A statue of Canada’s first prime minister, Sir John MacDonald, has become the latest lump of kitsch concrete to hit the ground after protesters pulled it from a plinth in Montreal and cheered as the head broke off and bounced across the pavement. (MacDonald was linked to vicious policies that killed and displaced thousands of indigenous people in the late 19th century. His system forcibly removed at least 150,000 children from their homes and sent them to often abusive state boarding schools). That’s as good a reason as any to add this to the list of monuments being dethroned around the world.

Another good reason is that phrase “lump of kitsch.” Jonathan Jones recently lamented in The Guardian that the falling statues were being followed by a sterile conversation about who does and doesn’t “deserve” a statue. “This is because all statues are dumb. They cannot represent big or complex themes. All they can do is function as crude symbols. They reduce history to celebrity culture. So many Victorian statues survive in our cities because 19th-century historians believed ‘great men’ and their leadership created history,” Johnson wrote, adding that every dumbass general who ever won an obscure skirmish had a statue somewhere across the British empire. No heroic soldier ever did.

So, what a lineup of dumb statues one could craft from that display of Trump royalty at the recent Republican National Convention. The “great man” being honoured this time was “the bodyguard of Western civilization,” as Charlie Kirk, founder of the anti-liberal Turning Point USA, described the president. This, wrote The Washington Post, was “an image in keeping with painter John McNaughton’s kitsch paintings of Trump.” Read more »

Monday, August 17, 2020

Cool summer ambience (or winter, for those down under)

Posted on by Dave Maier

by Dave Maier

Perhaps imprudently, your humble blogger continues to toil in the philosophy mines for blogging material, even in this stressful time. And there will be such postage eventually, of that you can be sure! However, prudence enough remains to prevent him from posting half-baked nonsense; so in the interim, let us return once again to the podcast, and enjoy some fine music while we wait.

Thanks to everyone who rose to the occasion and contributed to Jon Hassell’s gofundme appeal, as promoted here in my last two posts (here and here; the mixes are here and here). If you haven’t contributed yet, now’s your chance!

As the notes below indicate, this mix as well includes an appeal, of a different sort. If you have been following the developing situation in Belarus and would like to help, TXT Recordings is offering a name-your-price option to pick up a release by Belarus artist Alexander Ananyev, the proceeds to be donated to Support for Belarus. (Also, the record is pretty good, and naturally we’ll be hearing a track from it here.)

Widget and link below. Enjoy! Read more »

Monday, June 22, 2020

Jon Hassell Tribute, Part 2: Jon’s Influence

Posted on by Dave Maier

by Dave Maier

Last time I posted a mix of Jon Hassell’s music, a little under his own name and a lot of collaborations. This time we’ll look at (my take on) Jon’s influence on others; but we’ll hear a bit more from Jon himself as well. 

Before we start, let me remind you (one reason) why we’re doing this: Jon is ill and needs your help. Here is the gofundme link; as you can see, there’s quite a ways to go: https://www.gofundme.com/f/jon-hassell-fund

Also, some good news: Jon has a new album for us! It’s available for pre-order now and will drop on July 24.

At that link, interestingly, we find stated flat out what I’ve taken for granted in making this second mix:

“The impact of Jon Hassell on today’s generation of electronic and ambient artists is immeasurable” – Paste Magazine

How exactly Jon has influenced his devotees naturally varies but we can identify a few main features of his music which people picked up on. First, perhaps most obviously, is his use of pitch shifters or “harmonizers,” especially Eventide’s high-end rack-mount effects unit of that name, which allows even a monophonic instrument such as a trumpet to play multiple parallel melodies simultaneously. Read more »

Monday, May 25, 2020

Jon Hassell tribute, part 1: Jon and his collaborators

Posted on by Dave Maier

by Dave Maier

Jon Hassell is one of America’s musical treasures, and I’ve been listening to his music for forty years, so when I heard he needed help for his medical care, I decided to make a mix of his music. This mix actually grew into two mixes, so look for another one next month. This one features Jon playing with other musicians, and part two will feature other musicians whom Jon has influenced (and a bit more from Jon himself).

Here’s the link to his gofundme page (https://www.gofundme.com/f/jon-hassell-fund). As of 5/24/20, 1100+ people have donated ~$75,000, but the listed goal is $200,000, and we all know how expensive medical care can be. Please do what you can.

Here’s the mix (direct link: https://www.mixcloud.com/duckrabbit/jon-hassell-tribute-pt-1-jon-and-his-collaborators/):

Read more »

Monday, July 22, 2019

An Improviser is Born

Posted on by Bill Benzon

by Bill Benzon

I was improvising before I’d learned the word, but I wasn’t systematic about it until years later. I suppose for a time the word had a bit of a mystique about it, as it does for many. After all, the norm in Western musical practice has been to read music that someone else, the composer, had written. The composer is the authority; you are a mere conduit; and improvising, where you (shudder) make it up yourself, that’s VERY mysterious.

* * * * *

You mean, no notes in front of you. Just make it up?

Yes.

And it comes out OK?

Sometimes, sometimes not. It depends.

Isn’t that very brave and dangerous?

No. Do you speak from a script?

No.

Well then, there you have it. Don’t need a script for music either.

* * * * *      

I started taking music lessons when I was ten years old. My earliest teachers taught me to read music, and only to read music. So that’s what I did. But at some point, I forget just when, I decided I wanted to play simple tunes that weren’t in lessons. I decided, well, I’ll just have to figure out how to do it. I do remember that, when I was in sixth grade, I was particularly taken with the theme song to a series that played on Walt Disney’s Sunday night TV show. I forget the name of the series, but it was about mountain men and the song had wistful lyrics about living in the mountains. Read more »

Monday, September 11, 2017

Wines of Anger and Joy (Part 2)

Posted on by Dwight Furrow

by Dwight Furrow

Wine-bottle-supplier-300x273Wine language often suggests that wines express emotion or exhibit personality characteristics despite the fact that wine is not a psychological agent and could not literally possess these characteristics. There is a history, although somewhat in recession today, to refer to wines as aggressive, sensual, fierce, grand, angry, dignified, brooding, joyful, bombastic, tense or calm, etc. Is there a foundation to such talk or is it just arbitrary flights of fancy?

Last month I argued that it's perfectly intelligible to conceive of wine as expressive. Wine expresses the geography and climate of a region or vineyard, the vintage characteristics, and the winemaker's idea of those. More importantly, wine can sometimes express the winemaker's feelings about wine, especially the inspirational experiences that explain their love of wine that they wish to communicate to their patrons. But the aforementioned wine language suggests a broader notion of expression, one in which wine, perhaps like art, can express fundamental features of human experience.

In aesthetics, this question of how art can express feelings has typically been pursued using music as the prime example, because there is a broad consensus that music is deeply connected to human emotion. In trying to answer this question about wine, it makes sense to use these resources developed in the debate about music. So bear with me as I go on about music and the emotions for a bit; wine will get its due towards the end of the essay.

Read more »

Monday, December 20, 2010

Music Lessons: On Social Actors, Voices and Aesthetics in the Subcontinent

Posted on by Gautam Pemmaraju


by Gautam Pemmaraju

I. Deviations Images

Last December, while at a common friend’s house in North London, Steve Savale or Chandrasonic of the British band Asian Dub Foundation played us a video clip of a recent concert of theirs in St Petersburg. Prior to their performance, a local production person had approached the band with a message – there was a man who needed to see them urgently. A Tajik, who had earlier that week been brutally beaten up by Russian police, pleaded with the band to put him on stage for just the one song. In his plea, heartfelt as it was, there appeared to be the promise of the undoing of some wrong, an anodyne correction of injustice and brutality. He went on stage to sing a medley1 of two Bollywood songs, both from the 1982 hit film Disco Dancer – Goron Ki Na Kaalon Ki and Jimmy, Jimmy. Keeping rhythm on a aluminum bucket while providing instrumental phrasing, solos and bridges alike, the impassioned singer incorporated a famous desi trick, well known to and enthusiastically advertised in low-brow entertainment of small town India, as well as in filmi shows that travel to perform for diasporic communities across the world: ‘special item – man singing in ladies voice’. The first song, with its popular humanist message, declares that the world belongs neither to whites nor to blacks, but to those with hearts (or lovers to be less literal), while the second one, well known to many South Asians for its kitschy appeal (and the nostalgia it evokes), was covered by M.I.A a few years ago. A version by the Russian pop singer Angel-A has also made its appearance recently.

This collision of different identities sets up the stage for many a discussion – the insidious and wide influence of Bollywood, shared culture amongst the political allies of the Cold War era, the efficacy and appeal of humanist and polemical messages, dynamic appropriations of fringe elements in pop-culture, and issues of ‘authenticity’ and ‘false-consciousness’ in fetishism and bricolage. Amidst all the elements that may find themselves in the mix, so to speak, the twin processes of creation and mediation and the actors involved, provide fascinating insights into what seems a duplicitous web of irresolvable complexity.

Having been associated with music, musicians, music television and music production for a significant part of my professional life (and continue to be), I am resigned to many unanswered questions and contentious issues– there are no hit formulae, there only appear to be some at certain times; finding ‘voice’ is unpredictable and imprecise; what people like is highly complex and yet seems, oftentimes, really quite simple; resonance is both a physical and psychological phenomenon. What I can though say with absolute certainty is that I still remain profoundly enamoured by music and its diverse gratifications.

Read more »