Judy Garland’s variety show on CBS in 1964 was cancelled after just one season. Here is her performance from the final episode, that producers cut because they judged it to be too dark.
Judy Garland’s variety show on CBS in 1964 was cancelled after just one season. Here is her performance from the final episode, that producers cut because they judged it to be too dark.
During the 1950s, Converse worked for the Academy Photo Offset printing house in New York’s Flatiron District. She initially lived in Greenwich Village, but would later take up residency in the Hell’s Kitchen and Harlem areas. She started calling herself Connie, a nickname she had acquired in New York. She began writing songs and performing them for friends, accompanying herself on guitar. During this time, she adopted smoking and drinking, which starkly went against her strict Baptist upbringing; her still-religious parents rejected her music career, and her father died without having heard a single one of Connie’s songs. Converse’s only known public performance was a brief television appearance in 1954 on The Morning Show on CBS with Walter Cronkite, which artist Gene Deitch helped to arrange. By 1961 (the same year that Bob Dylan moved to Greenwich Village and quickly met mainstream success), Converse had grown frustrated trying to sell her music in New York. That year, she moved to Ann Arbor, Michigan, where her brother Philip Converse was a professor of political science at the University of Michigan. She worked in a secretarial job, and then as Managing Editor of the Journal of Conflict Resolution in 1963 which she also wrote for. Following her move to the midwest, Converse appears to have mostly ceased writing new songs. She disappeared in 1974. [Read more here.]
Live at Club Largo with Jon Brion.
The 18 January 2017 word from the Dictionary of Obscure Sorrows.
This resonated for me with a sentiment Rainer Maria Rilke captured in a poem more than a century earlier, in 1913:
You who never arrived
in my arms, Beloved, who were lost
from the start,
I don’t even know what songs
would please you. I have given up trying
to recognize you in the surging wave of
the next moment. All the immense
images in me — the far-off, deeply-felt
landscape, cities, towers, and bridges, and
unsuspected turns in the path,
and those powerful lands that were once
pulsing with the life of the gods–
all rise within me to mean
you, who forever elude me.You, Beloved, who are all
the gardens I have ever gazed at,
longing. An open window
in a country house– , and you almost
stepped out, pensive, to meet me.
Streets that I chanced upon,–
you had just walked down them and vanished.
And sometimes, in a shop, the mirrors
were still dizzy with your presence and,
startled, gave back my too-sudden image.
Who knows? Perhaps the same
bird echoed through both of us
yesterday, separate, in the evening…
This video from Mica Levi (of Micachu and the Shapes) is my favourite discovery this week.
Breathe a balloon full of kisses
Let it go where it will
And it will
🎈
“Destinations is an ongoing series of self-portraits inspired by the decision to explore on one’s own. Over the past few years I have often felt compelled to travel alone, trusting in the direction of my curiosities and finding inspiration in the experiences that follow. Some of these images were conceptualized beforehand where others were created completely on impulse, reflecting a documentation of my surroundings, mindset, and subconscious. With my face hidden the girl becomes unidentifiable – allowing others to interpret the images as they will; incorporating their own journey and experiences.”
More of this series HERE.
From Lazer Guided Melodies (1992).
This is a 1965 recording of “Mississippi” John Hurt performing “Lonesome Valley” on the Pete Seeger-hosted TV programme featuring folk music, Rainbow Quest.
A recording of lined-out singing by the Indian Bottom Association Of The Old Regular Baptist Church in Appalachia.
“Lining out”, also called “hymn lining” or “line singing”, is a haunting form of a cappella hymn-singing or hymnody in which the song leader gives each line of a hymn tune as it is to be sung, usually in a chanted form suggesting the tune, and the rest of the congregation then sings the line. It can be considered a form of heterophonic call and response.
Although the practice has now all but died out, it was once very common in Old Regular and Primitive Baptist churches to hear line singing, because musical instruments were not allowed in these churches, and some people in the congregation could not read to use a hymnbook either.
Listen to more line singing HERE or read an interesting piece comparing line singing and sacred harp singing HERE.
‘Female Freedom Has an Expiration Date’ – Being 35 and Single
An Argentine woman, documenting her relationships, begins an intimate investigation searching for love and answers: must she settle down or continue to be a free spirit in order to be happy? Read the related story HERE.
This song gives me utter goosebumps.
Courtesy of the most incredible African music blog in existence, Electric Jive:
‘This is the first LP in South Africa on the Troubadour label and is presented as “Sadness and Joy – Dixie Kwankwa in an Evening of African Cabaret”. In a strange way Dixie reminds me of Simphiwe Dana with an assured but quiet and confident delivery and none of the urgency or forcefullness of her peers. In listening to the LP today you can almost visualise this slotting in next to the Harry Belafonte, Bing Crosby and Frank Sinatra records that the white middle classes were enjoying at the the time. Record players that could play 33rpm records were rare and expensive and until at least the mid-sixties the predominant format in South Africa was the 78 single play.
‘There is not a lot more information on Dixie apart from what can be gleaned from the sleeve notes which are written in the quaint and mostly patronising manner of the times. Dixie did win the Miss South Africa title in 1957 and in the following year as part of the show African Bandwagon got her first singing job before being signed to Troubadour Records.’
There is such solitude in that gold.
The moon of these nights is not the moon
The first Adam saw. Long centuries
Of human vigil have filled her with
An old lament. See. She is your mirror.
Translation by A S Kline
“Dark Was the Night, Cold Was the Ground” is a gospel-blues song written and performed by Blind Willie Johnson, probably recorded in 1927. The song is primarily an instrumental, featuring Johnson’s self-taught bottleneck slide guitar and picking style accompanied by humming and moaning.
For more about this haunting record, check out the fascinating Wikipedia page.
Only one man ever understood me, and he didn’t understand me.
— Johann Gottlieb Fichte
John Tavener composed this specifically for Björk. She chants a prayer from the Eastern Orthodox Christian tradition, “Prayer of The Heart”, accompanied by the Brodsky Quartet.
“Prayer of The Heart” is a short, simple prayer that has been widely used, taught and discussed throughout the history of Eastern Orthodox Christianity. It is, for the Orthodox, one of the most profound and mystical prayers, and is often repeated endlessly as part of personal ascetic practice. It is particularly used in the practice of the spiritual life known as hesychasm. Based on Christ’s injunction in the Gospel of Matthew, “when thou prayest, enter into thy closet, and when thou hast shut thy door, pray”, hesychasm in tradition has been the process of retiring inward by ceasing to register the senses, in order to achieve an experiential knowledge of God. The prayer is particularly esteemed by the spiritual fathers of this tradition as a method of opening the heart.
Greek: Κύριε Ἰησοῦ Χριστέ, Υἱὲ τοῦ Θεοῦ, ἐλέησόν με (τὸν ἁμαρτωλόν).
English: Lord Jesus Christ, Son of God, have mercy on me (a sinner).
More info from Wikipedia HERE, and from Orthodox Wiki HERE.
It will do you no harm to find yourself ridiculous.
Resign yourself to be the fool you are.
You will find that you survive humiliation
And that’s an experience of incalculable value.
That is the worst moment, when you feel you have lost
The desires for all that was most desirable,
Before you are contented with what you can desire;
Before you know what is left to be desired;
And you go on wishing that you could desire
What desire has left behind. But you cannot understand.
How could you understand what it is to feel old?
We die to each other daily.
What we know of other people
Is only our memory of the moments
During which we knew them. And they have changed since then.
To pretend that they and we are the same
Is a useful and convenient social convention
Which must sometimes be broken. We must also remember
That at every meeting we are meeting a stranger.
There was a door
And I could not open it. I could not touch the handle.
Why could I not walk out of my prison?
What is hell? Hell is oneself.
Hell is alone, the other figures in it
Merely projections. There is nothing to escape from
And nothing to escape to. One is always alone.
Half the harm that is done in this world
Is due to people who want to feel important.
They don’t mean to do harm — but the harm does not interest them.
Or they do not see it, or they justify it
Because they are absorbed in the endless struggle
To think well of themselves.
There are several symptoms
Which must occur together, and to a marked degree,
To qualify a patient for my sanitorium:
And one of them is an honest mind. That is one of the causes of their suffering.
To men of a certain type
The suspicion that they are incapable of loving
Is as disturbing to their self-esteem
As, in cruder men, the fear of impotence.
I must tell you
That I should really like to think there’s something wrong with me —
Because, if there isn’t, then there’s something wrong
With the world itself — and that’s much more frightening!
That would be terrible.
So, I’d rather believe there’s something wrong with me, that could be put right.
Everyone’s alone — or so it seems to me.
They make noises, and think they are talking to each other;
They make faces, and think they understand each other.
And I’m sure they don’t. Is that a delusion?
Can we only love
Something created in our own imaginations?
Are we all in fact unloving and unloveable?
Then one is alone, and if one is alone
Then lover and beloved are equally unreal
And the dreamer is no more real than his dreams.
I shall be left with the inconsolable memory
Of the treasure I went into the forest to find
And never found, and which was not there
And is perhaps not anywhere? But if not anywhere
Why do I feel guilty at not having found it?
Disillusion can become itself an illusion
If we rest in it.
Two people who know they do not understand each other,
Breeding children whom they do not understand
And who will never understand them.
There is another way, if you have the courage.
The first I could describe in familiar terms
Because you have seen it, as we all have seen it,
Illustrated, more or less, in lives of those about us.
The second is unknown, and so requires faith —
The kind of faith that issues from despair.
The destination cannot be described;
You will know very little until you get there;
You will journey blind. But the way leads towards possession
Of what you have sought for in the wrong place.
We must always take risks. That is our destiny.
If we all were judged according to the consequences
Of all our words and deeds, beyond the intention
And beyond our limited understanding
Of ourselves and others, we should all be condemned.
Only by acceptance of the past will you alter its meaning.
All cases are unique, and very similar to others.
Every moment is a fresh beginning.
__
Excerpted from T.S. Eliot’s 1949 play, The Cocktail Party
It’s New Year’s Day, away for the weekend with a smallish group of friends… people on different continents, in one place in my mind. We leftovers – avatars of Stella, Michelle, Marco and me, I think it might be – wander back through in the early morning to the communal lapa sort of place where all the dancing had been, the remains of last night’s party trodden into the ground, our affect similarly flattened. The day is wrapped in a quiet mist blanket, grey and clammy. All the couples are still in bed.
“OK, we need music.”
I pick my way over to the old boombox, there on a table surrounded by empty cups, the dregs of stale liquor… Scratching around blearily, I find a Nina Simone tape. (CASSETTE TAPES? WTF, dreambrain?) Anyway, I want to put on “He’s Got the Whole World in His Hands” for we souls with nowhere to be curled into.
I slide the wonky cassette into the player, reach out to press play, and my finger can’t. The buttons are melted, changed into some unearthly goo. Not sticky, not hot, not cold, just melted, uncooperative and soft in an alien, irreparable way. This weird flux will crust over, re-harden as the day wears on into a single mass of equally unbiddable plastic.
Someone must have been using a lighter to illuminate what they were doing during last night’s revelry, I suppose. What a bright idea it must have seemed in that moment, but now we can’t hear the one song that I was hoping might make us feel sort of OK about living through another year alone on Earth.
Words & Music by Herbert Magidson, Monte Siegal & Sammy Fain
Recorded by Connie Boswell, 1932, Brunswick Records.
“Mother I’ve tried, please believe me; I’m doing the best that I can.”
“I am the most tired woman in the world. I am tired when I get up. Life requires an effort I cannot make. Please give me that heavy book. I need to put something heavy like that on top of my head. I have to place my feet under the pillows always, so as to be able to stay on earth. Otherwise I feel myself going away, going away at a tremendous speed, on account of my lightness… As soon as I utter a phrase my sincerity dies, becomes a lie whose coldness chills me. Don’t say anything, because I see that you understand me, and I am afraid of your understanding. I have such a fear of finding another like myself, and such a desire to find one! I am so utterly lonely, but I also have such a fear that my isolation be broken through, and I no longer be the head and ruler of my universe. I am in great terror of your understanding by which you penetrate into my world; and then I stand revealed and I have to share my kingdom with you.”
~ Anaïs Nin
“Touch Me I’m Sick” from the album March to Fuzz.
I won’t live long, and I’m full of rot
Gonna give you, girl, everything I got
Touch me, I’m sick, yeah
Touch me, I’m sick
Come on baby, now come with me
If you don’t come
If you don’t come
If you don’t come
You’ll die alone
I awoke
this morning
in the gold light
turning this way
and that
thinking for
a moment
it was one
day
like any other.
But
the veil had gone
from my
darkened heart
and
I thought
it must have been the quiet
candlelight
that filled my room,
it must have been
the first
easy rhythm
with which I breathed
myself to sleep,
it must have been
the prayer I said
speaking to the otherness
of the night.
And
I thought
this is the good day
you could
meet your love,
this is the black day
someone close
to you could die.
This is the day
you realize
how easily the thread
is broken
between this world
and the next
and I found myself
sitting up
in the quiet pathway
of light,
the tawny
close grained cedar
burning round
me like fire
and all the angels of this housely
heaven ascending
through the first
roof of light
the sun has made.
This is the bright home
in which I live,
this is where
I ask
my friends
to come,
this is where I want
to love all the things
it has taken me so long
to learn to love.
This is the temple
of my adult aloneness
and I belong
to that aloneness
as I belong to my life.
There is no house
like the house of belonging.
“I made a mess to make it feel like home…”
From Karin Parks’ album Highwire Poetry (2012)
Music: Chinese Man – “I’ve Got That Tune” from The Groove Sessions Vol.1 (2007)
Director: Fred&Annabelle – Ben Le Coq
Label: Chinese Man Records
We all have our little solipsistic delusions, ghastly intuitions of utter singularity: that we are the only one in the house who ever fills the ice-cube tray, who unloads the clean dishwasher, who occasionally pees in the shower, whose eyelid twitches on first dates; that only we take casualness terribly seriously; that only we fashion supplication into courtesy; that only we hear the whiny pathos in a dog’s yawn, the timeless sigh in the opening of the hermetically-sealed jar, the splattered laugh in the frying egg, the minor-D lament in the vacuum’s scream; that only we feel the panic at sunset the rookie kindergartner feels at his mother’s retreat. That only we love the only-we. That only we need the only-we. Solipsism binds us together, J.D. knows. That we feel lonely in a crowd; stop not to dwell on what’s brought the crowd into being. That we are, always, faces in a crowd.
– from “Westward The Course Of Empire Takes Its Way”, a short story in the collection Girl With Curious Hair (1989)
You must learn one thing. The world was made to be free in. Give up on all other worlds except the one to which you belong. Sometimes it takes darkness and the sweet confinement of your aloneness to learn anything or anyone that does not bring you alive is too small for you.
– David Whyte, from The House of Belonging.