tom stoppard on what being in love is about

It’s to do with knowing and being known. I remember how it stopped seeming odd that in biblical Greek, knowing was used for making love. Whosit knew so-and-so. Carnal knowledge. It’s what lovers trust each other with. Knowledge of each other, not of the flesh but through the flesh, knowledge of self, the real him, the real her, in extremis, the mask slipped from the face.

Every other version of oneself is on offer to the public. We share our vivacity, grief, sulks, anger, joy… we hand it out to anybody who happens to be standing around, to friends and family with a momentary sense of indecency perhaps, to strangers without hesitation. Our lovers share us with the passing trade. But in pairs we insist that we give ourselves to each other. What selves? What’s left? What else is there that hasn’t been dealt out like a deck of cards? Carnal knowledge. Personal, final, uncompromised.

Knowing, being known. I revere that. Having that is being rich, you can be generous about what’s shared — she walks, she talks, she laughs, she lends a sympathetic ear, she kicks off her shoes and dances on the tables, she’s everybody’s and it don’t mean a thing, let them eat cake; knowledge is something else, the undealt card, and while it’s held it makes you free-and-easy and nice to know, and when it’s gone everything is pain. Every single thing. Every object that meets the eye, a pencil, a tangerine, a travel poster. As if the physical world has been wired up to pass a current back to the part of your brain where imagination glows like a filament in a lobe no bigger than a torch bulb. Pain.

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Found HERE.

anne briggs (1971)

https://youtu.be/Dpgkx-OswJ8

All songs are traditional:
“Blackwater Side” 0:00
“The Snow It Melts The Soonest” 3:50
“Willie O’Winsbury” 6:15
“Go Your Way” 11:47
“Thorneymoor Woods” 16:02
“The Cuckoo” 19:39
“Reynardine” 22:52
“Young Tambling” 25:52
“Living By The Water” 36:35
“Ma Bonny Lad” 40:28

The following is adapted from John Dougan of All Music Guide:

Anne Briggs was a singer of traditional English folk music, possessing as beautiful a voice as one could hope to have. She was the single most important influence on a group of female British folk singers including Sandy Denny, Maddy Prior, June Tabor, and Linda Thompson. Even Norma Waterson, herself a hugely important figure in the British folk revival of the mid-’60s, admits to being influenced by Briggs’ singing and notes that Anne Briggs singlehandedly changed the way that English women folk singers sang.

What makes this story so odd is that Anne Briggs’ entire recorded output consists of about 30 songs. She stopped singing at the age of 27, supposedly because she hated the sound of her recorded voice. As folk music became electrified and increasingly popular and bands such as Fairport Convention and Pentangle were reinventing the British folk tradition, and more and more women (Sandy Denny et al) were singing in a style started by Anne Briggs, her legend flourished, yet she still refused to sing. Read an interview with her HERE.

anne briggs

ppirf & one – no pussyfooting backwards (1973)

Funny story:

This is John Peel playing Fripp and Eno’s album backwards on BBC Radio One on 18th December 1973, without anyone in the studio knowing any difference. The story goes that Brian Eno was driving in his car, listening to Peel’s show, and he had the shock of his life when he heard Peel was playing his album backwards. He tried to phone the BBC to let Peel know that, but the BBC engineers thought it was an imposter playing a prank, therefore putting the phone down on him. Peel told his listeners at the end that it was an album worth buying, without realising he was playing it backwards!

P.S. Try playing this and the adjacent Japanese court music post simultaneously!

nippon gagaku kai

https://youtu.be/zg8eXSq6I38

Ancient Japanese court music, recorded in 1972. Sublime.

A1 Hyōjō Netori
A2 Etenraku In Hyojo
A3 Etenraku In Banshkicho
A4 Etenraku In Oshikichō
A5 Bairo
B1 Sahō Taiheiraku (Kyū)
B2 Sahō Ranryō – Oh
B3 Uhō Genjōraku (Yatara Byōshi)
B4 Uhō Nasori (Ha)
B5 Uhō Nasori (Kyū)

Get this out-of-print recording HERE (look in the comments for the link).