Tag Archives: music

“Tao Teh Ching: Chapter 29” by Lao Tzu

Image Source: Wikipedia

Does anyone want to take the world and do what he wants with it?
I do not see how he can succeed.

The world is a sacred vessel, which must not be tampered with or grabbed after.
To tamper with it is to spoil it, and to grasp it is to lose it.

In fact, for all things there is a time for going ahead, and a time for following behind;
A time for slow-breathing and a time for fast-breathing;
A time to grow in strength and a time to decay;
A time to be up and a time to be down.

Therefore, the Sage avoids all extremes, excesses and extravagances.

I feel that this is a passage that every politician, every corporate CEO, and every Wall Street banker should read. It is essentially the same idea as expressed in the sayings “Live simply so that others may simply live,” or “The Earth does not belong to us; we belong to the Earth.” As I look around at the mania associated with the frantic quest after more and more, I cannot help but acknowledge that this mindset is totally unsustainable. If we continue to tamper with our world and strip it of its resources, we will ultimately initiate our own demise. Lao Tzu, who lived in the 6th century BC, already understood this. Why is it so difficult for people to grasp today?

The other thing that struck me as interesting about this passage is its similarity to Ecclesiastes 3:1-8, which was put to music in the song “Turn, Turn, Turn.” I am not sure whether there was a sharing of ideas between the east and west in antiquity, or whether the authors had both tapped in to the same source of divine inspiration, but the parallel is something worth pondering.

Today, I will avoid all “extremes, excesses and extravagances.” If we all made a conscious effort to do this, what a change it would make in the world.

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Rockstars: Issue #01

rockstars_01

When I first heard about this new graphic series, I was immediately intrigued. A series about rock and roll excess, occult, and urban legend drawing inspiration from bands in the 1970’s seemed right up my alley. I added it to my pull list at my local comic store and patiently waited. This week, I finally got the first issue and it is everything I expected.

The tale is basically about two young people—a rock conspiracy theorist and a music journalist—who meet while looking into the mysterious deaths of young women, which they believe to be connected to black magic rites orchestrated by a mysterious rock guitarist.  The opening lines sucked me right in to the story.

Rock ‘n’ roll has always had its secrets. From backwards messages on classic albums, woven references to drugs and madness, or homages to fallen legends and lost friends. Hidden declarations of sympathy for the devil are as stock and trade as anthem calls to both the faithful and the damned.

Author Joe Harris credits the book Hammer of the Gods as an inspiration. I remember reading this book in my younger days and the glimpse it provided into the dark and mysterious world of rock and roll. I would never listen to a Led Zeppelin song the same way afterwards.

Already, this series makes references to some of the great rock myths: the infamous mudshark, the synching of “Dark Side of the Moon” to “The Wizard of Oz,” Jimmy Page’s obsession with all things Crowley, just to name a few. If you were a rock music fan in the late 70’s and early 80’s, you will undoubtedly catch and appreciate these references and how they are masterfully strung together with artwork that evokes the essence of that era.

I highly recommend this and eagerly await the next installment.

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“11:11 – The Time Prompt Phenomenon” by Marie D. Jones and Larry Flaxman

1111

My daughter bought this book for me, which was very thoughtful. I am one of those people who always seem to notice 11:11 on clocks, as do people close to me. And the frequency seems to be increasing, which is even weirder. Anyway, I bumped the book to the top of my list, figuring it was a sign that my daughter felt inspired to purchase it for me.

At first, I was skeptic. The writing at the beginning seemed a little new agey, in the hokey sense. On top of that, it is somewhat dated, referring to the coming of the year 2012 and the end of the Mayan calendar as possible reasons for the increase in 11:11 time prompts (and we know that 2012 came and went with a big fizzle). But I stuck with the book, and I’m glad I did, because there is some interesting and thought-provoking material within the pages.

Most of the book deals with number mysticism, sacred geometry, vibration, synchronicity, and the like, which are topics that fascinate me. And as a musician, I am very aware of the connection between numbers and music, which is touched on in this book.

This science of number was discovered through the science, or art, of music. Harmony, another concept rife with mystical allusions, maintains a close relationship with resonance and vibration. This established correlation was thought to be quite simply the basis of the hidden order of the immediate, perceivable world, and behind it all were the numbers.

(p. 73)

One of the instruments I have learned is the sitar (although I am no Ravi Shankar). What excites me the most about this instrument and Indian music in general is the use of droning vibrations and resonance. In fact, what gives the sitar its unique sound are the sympathetic strings that lay beneath the main strings. These strings pick up the vibrations and then resonate. And something about that sound triggers a deep spiritual feeling. It is the transcendent power of music.

One thing that is important to remember is that numbers are symbols, and symbols always mean more than what appears on the surface, which is why we need to pay attention when certain number sequences appear with unusual frequency.

In a symbol there is concealment and yet revelation: here therefore, by silence and by speech acting together, comes a double significance. In the symbol proper; what we can call a symbol, there is ever, more or less distinctly and directly, some embodiment and revelation of the Infinite; the Infinite is made to blend itself with the Finite, to stand visible, and as it were, attainable there. By symbols, accordingly, is man guided and commanded, made happy, made wretched.

(p. 91)

In conclusion, the authors assert that the time prompt phenomenon is a wake-up call for people to turn away from their distractions and shift their awareness to something spiritual that is taking place.

Something or someone is trying to get us to look away from the cell phones, “Crack Berries,” iPods, and MP3 players, computers, video games, and awful reality shows where we watch people play out their own lives for the camera, while ignoring the sheer potentiality of our own. It is truly incredible to think that the “someone” or “something” may be an internal influence originating within our own brains, or perhaps it is a subconscious poke in the side from some higher (or lower!) dimensional being. Remember this the next time your cell phone rings or your e-mail beeps.

The “who” or “what” matters not—the fact that we are being prompted in the first place is the truly important facet of the equation.

(pp. 215 – 216)

So I want to conclude this post with a true story about an 11:11 time prompt that happened to me. I was visiting family and my aunt told me that she keeps noticing 11:11 on the clock and she is convinced that it is the spirit of my mother (long deceased) communicating with her. I found this strange, because I had also been experiencing 11:11 time prompts and wondering about them, and my aunt was very conservative and not one I would consider being open to mysticism. Anyway, later that evening, my cell phone rang in my pocket. I answered and there was no one on the line, and the time, 11:11.

If you have any stories about time prompts, particularly 11:11, I would love to hear about them in the comment section below.

Cheers!

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Dylan Wins Nobel Prize for Literature

bobdylan

As a musician and poet, I’ve always understood the connection between song lyrics and poetry, and now this seems to have been validated by the Swedish Academy. Few could argue the impact that Dylan’s words have had on the world. I have to say, I am grateful to have lived at the same time as Bob Dylan, and even more grateful that I was able to see him perform multiple times. He truly deserves this award. Congratulations to one of the great living wordsmiths.

Click here to read CNN article.

Come writers and critics who prophesy with your pen
And keep your eyes wide the chance won’t come again
And don’t speak too soon for the wheel’s still in spin
And there’s no tellin’ who that it’s namin’
For the loser now will be later to win
For the times they are a’ changin’!

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“On First Looking Into Chapman’s Homer” by John Keats

Homer and Keats: Source - BBC

Homer and Keats: Source – BBC

Much have I travell’d in the realms of gold,
And many goodly states and kingdoms seen;
Round many western islands have I been
Which bards in fealty to Apollo hold.
Oft of one wide expanse had I been told
That deep-brow’d Homer ruled as his demesne;
Yet did I never breathe its pure serene
Till I heard Chapman speak out loud and bold:
Then felt I like some watcher of the skies
When a new planet swims into his ken;
Or like stout Cortez when with eagle eyes
He star’d at the Pacific—and all his men
Look’d at each other with a wild surmise—
Silent, upon a peak in Darien.

This is considered to be Keats’ first great sonnet, which was composed after reading a translation of Homer by George Chapman, an Elizabethan poet (source: English Romantic Writers).

The poem is broken into two parts, and each section has a different rhyme scheme. The first eight lines comprise the first section which follows an ABBA pattern. This depicts Keats before reading Homer. He describes having visited “realms of gold” and “western islands.” These are metaphors for the poems that he had read up until that time. These were beautiful poems and worthy of Apollo, the god of poetry, but after reading Homer, his entire view on poetry changes, symbolized by the shift in rhyme pattern in the second half.

The last six lines follow an ABABAB scheme and describe how Keats became aware of realms he never knew existed. He first makes an allusion to William Herschel’s discovery of Uranus in 1781, an entire world which was previously unknown. He then compares himself to Cortez and uses the phrase “eagle eyes” to represent his new-found clarity of vision. He describes his feeling as standing upon a mountain in Darien (which is in Panama), and gazing out in awe at a new ocean, which symbolizes the vast depths of new and unexplored poetic inspiration.

I really relate to Keats’ emotions in this poem. I have felt this way in my life, as I am sure most of you have too. When you read that poem or book that changes your view of the world, or hear that song or see that film that opens up a whole new universe of possibilities. This is the true transformative power of art and it is why I read, and listen to new music, and watch films, and go to museums to see paintings.

Thanks for stopping by, and I hope you have an inspiring day.

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“Between childhood, boyhood, adolescence & manhood” by Jim Morrison

MorrisonVenice

Photo taken at Venice Beach

Between childhood, boyhood, adolescence
& manhood (maturity) there
should be sharp lines drawn w/
Tests, deaths, feats, rites
stories, songs, & judgements

I recently went out to Los Angeles to visit my daughter, and while I was there, I went and spent a few hours roaming around Venice Beach, which was also Jim Morrison’s haunt in his younger days. In fact, Venice Beach was where Jim Morrison and Ray Manzarek met and decided to form a band together which later became The Doors. The place still has a strange feel, and the huge mural painted on the side of a building reminds you that this was home to Jim in his formative years (see photo).

As I read this short poem included in Wilderness: The Lost Writings of Jim Morrison, I could not help thinking about those moments in my life that served as symbolic rites of passage, where I moved on to my next phase of personal development. There have been many, but each one is clear, each accompanied by its own epiphany.

As I helped my daughter move into her own apartment off campus in L.A., I realized that this must be one of those moments for her, clear and defined, where she truly becomes her own person. I suppose it is also a sharp line for me too, realizing that my child has grown and moved out on her own.

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RIP Keith Emerson

KeithEmerson

2016 is proving to be a tough year for musicians, writers, and actors. Yesterday, we lost a virtuoso keyboard player who has been a major musical influence in my life. Keith Emerson died of an apparent self-inflicted gunshot wound. It seems that he was suffering nerve problems that were hindering his ability to play keyboards. How devastating it must be to have your life’s passion taken from you.

Here is a link to a Rolling Stone article about Keith’s death.

Hearing this news made me reminisce about the impact Keith’s music had on my life. I listened to my vinyl copy of Brain Salad Surgery yesterday, and this morning, I located one of my old ticket stubs from when I had seen him perform. Here is a link to my stub and memory from the concert, along with a video of Keith performing.

The Stub Collection: Emerson, Lake & Powell

Thanks for all the inspiration.

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Thoughts on “Infinite Jest” by David Foster Wallace – Part 10: Art and Being Hip

InfiniteJest

I live in Asheville, which is considered a “hipster” city. As a result, I see people who work very hard and spend a lot of money perfecting their non-conformist images. I like to say that these people “conform to the established idea of non-conformity.” Not that I am passing judgment. Everyone has a right to express themselves in a way that feels right, but I suspect that some impressionable individuals buy into the idea of non-conformity that is promoted through the arts and social media, especially young people.

With this in mind, I’d like to point out an interesting passage in Infinite Jest.

It’s of some interest that the lively arts of the millennial U.S.A. treat anhedonia and internal emptiness as hip and cool. It’s maybe the vestiges of the Romantic glorification of Weltschmerz, which means world-weariness or hip ennui. Maybe it’s the fact that most of the arts here are produced by world-weary and sophisticated older people and then consumed by younger people who not only consume art but study it for clues on how to be cool, hip – and keep in mind that, for kids and younger people, to be hip and cool is the same as to be admired and accepted and included and so Unalone. Forget so-called peer-pressure. It’s more like peer-hunger. No? We enter a spiritual puberty where we snap to the fact that the great transcendent horror is loneliness, excluded encagement in the self. Once we’ve hit this age, we will now give or take anything, wear any mask, to fit, to be part-of, not be Alone, we young. The U.S. arts are our guide to inclusion.

(p. 694)

This rang true for me on several levels. Certainly, the hipster “conforming to non-conformity” I mentioned at the beginning of this post, but also the need to belong, especially in one’s adolescent years. I was like that, and I’m sure we all were to an extent. I dressed the part of the crowd that I was hanging out with, listened to the same music, went to the same places, all to be a part of a group and to avoid having to be alone. Because what happened when you are alone? You have to face yourself, and that was hard for me as a teenager and I suspect it is difficult for others too.

Anyway, as I have gotten older, I am more comfortable with myself and no longer feel the need to be a part of a particular group. I do what makes me happy, and whether I do that in a group or alone, doesn’t make that much difference to me. But Wallace taps into something that is almost universal for people growing up. We all want friends and we want to be a part of a group, and we look to art to teach us what is cool and how we should be if we want to fit in with the hip crowd. It makes me wonder if we have some tribalism hidden away in our collective consciousness.

Thanks for stopping by, and have an amazing day!

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Thoughts on “Infinite Jest” by David Foster Wallace – Part 9

Nosferatu

Nosferatu

As a musician, I have always been intrigued at the way sounds and rhythms can be used to stimulate parts of the subconscious mind and cause hidden aspects of the psyche to surface. I believe this is why chanting and drumming are integral parts of ritual, the goal of which is to alter the consciousness of the participants.

There is a great passage in Infinite Jest where a recovering addict is sharing an experience he had where he was playing violin and the notes blended with other vibrations resulting in a sudden shift in his consciousness. This shift allowed a dark, primordial aspect of his psyche to surface, an experience that was terrifying and traumatic.

‘The direction of flow is beside the point. It was on, and its position in the window made the glass of the upraised pane vibrate somehow. It produced an odd high-pitched vibration, invariant and constant. By itself it was strange but benign. But on this afternoon, the fan’s vibration combined with some certain set of notes I was practicing on the violin, and the two vibrations set up a resonance that made something happen in my head. It is impossible really to explain it, but it was a certain quality of this resonance that produced it.’

‘A thing.’

‘As the two vibrations combined, it was as if a large dark billowing shape came billowing out of some corner in my mind. I can be no more precise than to say large, dark, shape, and billowing, what came flapping out of some backwater of my psyche I had not had the slightest inkling was there.’

‘But it was inside you, though.’

‘Katherine, Kate, it was total horror. It was all horror everywhere, distilled and given form. It rose in me, out of me, summoned somehow by the odd confluence of the fan and those notes. It rose and grew larger and became engulfing and more horrible than I shall ever have the power to convey. I dropped the violin and ran from the room.’

(p. 649)

In this scene, the addict experiences the emergence of what Jung termed the shadow.

The shadow, said celebrated Swiss psychiatrist C.G. Jung, is the unknown “dark side” of our personality–dark both because it tends to consist predominantly of the primitive, negative, socially or religiously depreciated human emotions and impulses like sexual lust, power strivings, selfishness, greed, envy, anger or rage, and due to its unenlightened nature, completely obscured from consciousness.

(Source: Psychology Today)

Throughout my life, I have experienced instances where music or sound caused my consciousness to shift, sometimes dramatically. But it can be particularly unsettling when the shift is unexpected. It’s one thing to experience this while meditating and actively seeking to unlock hidden realms of the psyche, but when it occurs for no apparent reason, it can have a devastating effect on a person.

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Alice Cooper vs Chaos

AliceCooperChaos_06

This was a six-issue arc that I just finished reading. I decided to write about the arc in a single post, as opposed to writing about each issue, mainly because it didn’t warrant that level of attention. (Although, I did write about the first issue when it came out.)

Overall, I found the series entertaining, but that’s because I am a huge Alice Cooper fan. The other characters from Chaos I could not really relate to, and actually, I found them to be somewhat annoying. Definitely a Chaos comic is not something that I would regularly read. Still, I liked the themes of being an outcast, having to face one’s fears, and so forth. These are themes that are part of Alice’s music, so they resonated with me in this comic series.

I’ll include a quote from the final issue in the series that nicely sums up my attraction to Alice Cooper’s music.

I used to play your stuff as loud as I could. It scared me, y’know? Monsters and demons and nightmares and… all the fun scary stuff. But underneath it all there was something else… there was someone who understood… what it was like to be an outsider. What it was like to be a freak. You showed us it was okay to be afraid. And that we could control our fears.

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