There are no hard distinctions between what is real and what is unreal, nor between what is true and what is false. A thing is not necessarily either true or false; it can be both true and false.
Her life, she said, was an out-of-tune piano played with passion.
***
This evening I sat listening to five presidential candidates offering their imaginary solutions for a country that doesn’t exist.
***
“Imaginary maladies are much worse than the real ones, because they’re incurable,” an old friend who walks with difficulty was telling me.
***
Much of what our eyes see and our ears hear is lost in translation.
***
“An alarm clock with no hands, ticking on the town dump,” is how he described himself.
***
They gave the nice old gentleman I met at the bake sale several medals for the misery he caused in some country that no one could find any longer on the map.
***
I bet all our elected representatives in Washington spend a great deal of time in front of mirrors admiring themselves. They lift their noses and chins, stare straight ahead without moving an eyebrow or a muscle, then nod their heads gravely and smile to themselves as they go out to meet the people.
***
He sat on a bench in Washington Square Park whispering something extremely confidential to his dog, who sat before him with ears perked, wagging his tail cautiously from time to time.
***
The crosses all men and women must carry through life are even more visible on this dark and rainy November evening.
Fontella Bass, singer, July 3, 1940-December 26, 2012
“Rescue Me,” TV Show (Shindig), 1965
***
“Theme De Yoyo,” with the Art Ensemble of Chicago, 1970
***
“God Has Smiled On Me,” with mother Martha Bass, brother David Peaston, Amina Claudine Myers (piano), Malachi Favors (bass), Phillip Wilson (drums), 1980
***
“All That You Give,” with The Cinematic Orchestra, 2002
Then suddenly I could hear Q-Tip—blessed Q-Tip!—not a synthesizer, not a vocoder, but Q-Tip, with his human voice, rapping over a human beat. And the top of my skull opened to let human Q-Tip in, and a rail-thin man with enormous eyes reached across a sea of bodies for my hand. He kept asking me the same thing over and over: You feeling it? I was. My ridiculous heels were killing me, I was terrified I might die, yet I felt simultaneously overwhelmed with delight that “Can I Kick It?” should happen to be playing at this precise moment in the history of the world, and was now morphing into “Smells Like Teen Spirit.” I took the man’s hand. The top of my head flew away. We danced and danced. We gave ourselves up to joy.
—Zadie Smith, “Joy,”The New York Review of Books, 1/10/13
A Tribe Called Quest, “Can I Kick It?” (album, 1990; single, 1991)
Bryan Ferry’s new album, TheJazz Age, which features songs from Roxy Music, as well as his solo career, refashioned as 1920s-style jazz instrumentals, is one of the stranger concept albums I’ve encountered in a long time—which I mean as a compliment.
Bryan Ferry, “Don’t Stop the Dance,” TheJazz Age U.K. release, 11/26/12; U.S. release, 2/12/13
I think you should check out the YouTube link below. From Dore Stein who is the host of a great radio show on Sat. nights on the SF United School District’s radio station, KALW.
Melos: Mediterranean Songs (filmed in Tunisia and Germany, 2011)*
*****
taking a break
I’m taking some time off—back in a while.
*****
*With Dorsaf Hamdani & Ensemble (Tunisia), En Chordais (Greece), Juan Carmona & Ensemble (Spain), Keyvan Chemirani (France/Iran), et al.
It’s the sounds, the particular sounds of the particular words—sounds that singers, year after year, decade after decade, keep wanting to hear, to sing.
Why can’t I free your doubtful mind and melt your cold, cold heart . . .