Today, after our epic Yellowstone bear-seeing quest, we stayed close to home--took a little bike ride, admired the river which had, at the time we rode by it, practically no fishermen, read a lot, wrote, made cookie dough (which is currently curing in the refrigerator, since that's apparently what cookie dough needs nowadays), took small naps. You know, like you do.
An old friend from long ago, a writer and a gentleman, tells me on Facebook, where I have been airing my plaintive lament about the bears and how Yellowstone is apparently not letting anyone see them, that he sees bears all the time in the park, and also that bears show themselves only to the pure in heart. And, seriously, there's a part of me that kind of, sort of, believes him.
I probably need to engage in more serious, focused bear-seeking behavior, and not just identify a stretch of road where bears have appeared to other people. Perhaps I need to slow down more, stay still more. Perhaps I need to learn, really, how to look for bears.
When I was a kid, bears just showed up at--literally--your picnic. There's a part of me that thinks I ought to be able to see a bear just by showing up myself. A few years ago, I was in fine mega-fauna spotting form (no bears, but moose). Of late, I appear to have lost my animal-finding ways.
(I may or may not be talking about my inner life here.)
Anyway. I've been thinking about totems, a little bit--the animals that seem to express what we long for in our inner lives. What animal is my totem? Sometimes I think it is a dog, but actually a dog--a certain dog--may be my muse. Can a dog be both a totem and a muse? Maybe. I find that when I see other animals, I see Bruiser in them. For instance, take a look at this seal we saw in Scotland:
There were lots of these seals lounging about on a sunny day at Newburgh beach. Lots and lots of them. Some of them were in the water, coming very close to the edge where my granddaughters, their trouser legs rolled up, were running up to and barely into the water, then running back. This one's eyes remind me of Bruiser's--wary, soulful, apart.
I do not think a bear is my totem animal nor my muse. But bears are an emblem of where I come from, so I would like to see one again--be in the right place, however one defines place--be clear-eyed, patient, still enough--I want my heart to be pure enough for a bear to reveal itself to me.
Showing posts with label still and sweet. Show all posts
Showing posts with label still and sweet. Show all posts
Saturday, June 16, 2012
Sunday, June 29, 2008
Playlist for the end of June.
In the spirit of the blog "Living With Music," which my friend tuned me into, here's a playlist for the end of the first month of summer. Pour yourself a frosty beverage and listen to:
1. "Hope There's Someone," Antony and the Johnsons. I heard Antony sing for the first time in the documentary about Leonard Cohen, I'm Your Man. Ethereal, trembling, intimate in a troubling way. This song really gets into you: " Oh I'm scared of the middle place/Between light and nowhere / I don't want to be the one /Left in there, left in there." The pace is deliberate, the instrumentation simple, but the trembling voice vibrates inside you.
2. "Don't Talk," Beach Boys. I'm pretty sure there's been a lot written about the incredibly gorgeous song structure of this composition, as great a piece of popular music as has ever been written, in my opinion. But I just can't ever get over the stillness and sweetness of Brian Wilson's vocal. One of the essences of summer.
3. "Martha My Dear," Brad Mehldau. The White Album is one of my favorite recordings, ever, but this cover (from that album) by Brad Mehldau showcases the playfulness of the piece, but without words, because it's an instrumental. He plays it dry, without much pedal, so he gets a lot of space in the sound. It sounds like math, but with fizz.
4. "Romeo & Juliet," Dire Straits. It doesn't get much better than this, for little soap operas in song: "Juliet, when we made love you used to cry./ You said 'I love you like the stars above, I'll love you 'til I die'./There's a place for us, in all the movie songs./ When you gonna realize it was just that the time was wrong, Juliet?"
5. "Blue," Cat Power. "Blue" is one of the songs I worked out for myself on the piano when I was, what, 16? And it still retains its power to enthrall. I like to hear a cover that shows me something new about a song--for one thing, that shows me that the song is a song and not just a performance. Cat Power's dry voice, without the throatiness of Joni Mitchell's original (not that I would have said her voice was so throaty, but in comparison), shows the weariness of the song, powerfully and in a different way than Mitchell voiced it. So gorgeous, thrilling.
6. "Katmandu," Cat Stevens. Why, oh why does the Cat still have it for me? But he does. This song feels like a secret the singer is allowing only himself to hear. It's the very definition of lyric poetry--song that is overheard. The dark quiet of the song makes you understand why the singer needs to leave, to retreat to a high, isolated place.
7. "Sean Flynn," The Clash. I love the way this song makes a whole landscape in sound. Spooky, otherworldly.
8. "Everybody I Love You," CSNY. I dare you not to want to sing the harmony.
9. "The Last High," The Dandy Warhols. World weary, narcissistic, melancholy, I love this song.
10. "Suffragette City," David Bowie. The first Bowie song that made me understand what Bowie was all about.
11. "Human Nature," Michael Jackson. No matter what craziness MJ embodies, this song's longing still speaks. I love the spaciousness of the arrangement--its lushness isn't overdone, even for the 80s.
12. "Shake the Disease," Depeche Mode.
Here is a plea
From my heart to you
Nobody knows me
As well as you do
You know how hard it is for me
To shake the disease
That takes hold of my tongue
In situations like these
Understand me
Yeah. Just like that.
1. "Hope There's Someone," Antony and the Johnsons. I heard Antony sing for the first time in the documentary about Leonard Cohen, I'm Your Man. Ethereal, trembling, intimate in a troubling way. This song really gets into you: " Oh I'm scared of the middle place/Between light and nowhere / I don't want to be the one /Left in there, left in there." The pace is deliberate, the instrumentation simple, but the trembling voice vibrates inside you.
2. "Don't Talk," Beach Boys. I'm pretty sure there's been a lot written about the incredibly gorgeous song structure of this composition, as great a piece of popular music as has ever been written, in my opinion. But I just can't ever get over the stillness and sweetness of Brian Wilson's vocal. One of the essences of summer.
3. "Martha My Dear," Brad Mehldau. The White Album is one of my favorite recordings, ever, but this cover (from that album) by Brad Mehldau showcases the playfulness of the piece, but without words, because it's an instrumental. He plays it dry, without much pedal, so he gets a lot of space in the sound. It sounds like math, but with fizz.
4. "Romeo & Juliet," Dire Straits. It doesn't get much better than this, for little soap operas in song: "Juliet, when we made love you used to cry./ You said 'I love you like the stars above, I'll love you 'til I die'./There's a place for us, in all the movie songs./ When you gonna realize it was just that the time was wrong, Juliet?"
5. "Blue," Cat Power. "Blue" is one of the songs I worked out for myself on the piano when I was, what, 16? And it still retains its power to enthrall. I like to hear a cover that shows me something new about a song--for one thing, that shows me that the song is a song and not just a performance. Cat Power's dry voice, without the throatiness of Joni Mitchell's original (not that I would have said her voice was so throaty, but in comparison), shows the weariness of the song, powerfully and in a different way than Mitchell voiced it. So gorgeous, thrilling.
6. "Katmandu," Cat Stevens. Why, oh why does the Cat still have it for me? But he does. This song feels like a secret the singer is allowing only himself to hear. It's the very definition of lyric poetry--song that is overheard. The dark quiet of the song makes you understand why the singer needs to leave, to retreat to a high, isolated place.
7. "Sean Flynn," The Clash. I love the way this song makes a whole landscape in sound. Spooky, otherworldly.
8. "Everybody I Love You," CSNY. I dare you not to want to sing the harmony.
9. "The Last High," The Dandy Warhols. World weary, narcissistic, melancholy, I love this song.
10. "Suffragette City," David Bowie. The first Bowie song that made me understand what Bowie was all about.
11. "Human Nature," Michael Jackson. No matter what craziness MJ embodies, this song's longing still speaks. I love the spaciousness of the arrangement--its lushness isn't overdone, even for the 80s.
12. "Shake the Disease," Depeche Mode.
Here is a plea
From my heart to you
Nobody knows me
As well as you do
You know how hard it is for me
To shake the disease
That takes hold of my tongue
In situations like these
Understand me
Yeah. Just like that.
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