No Other Love

Yet by no means

This photograph is from a collection curated by photographer, Sandy Carson, from
vintage slides, negatives, and super 8’s she collected (navigate the collection slideshow at the link with the right and left arrow keys).

The circa 1950’s collection – in particular the photo above – pairs well with the Jo Stafford song from the same era (embedded below). I happened to be listening to it as I browsed this collection having just discovered the song in Paul Thomas Anderson’s latest movie also featured in its trailer.

(Hat tips: to Feature Shoot, one of the best blogs I’ve found for interesting works of photography; and also to Frédéric Chopin).

Bonus Chopin set to sappily charming lyrics: Lang Lang also recorded a version of this same melody featuring singer, Oh Land, for his Chopin album:

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Quote for the Day: Omar Khayyám on religious fundamentalists

And do you think that unto such as you
a maggot-minded, starved, fanatic crew
God gave the Secret, and denied it me?
Well, well, what matters it! Believe that too.

– from The Rubáiyát of Omar Khayyám

I liked it so much, selections from this same poem were read at my wedding at my request. This particular passage was referenced by Christopher Hitchens in a conversation with Andrew Sullivan that Sullivan recently revisited and placed in the context of the Boston Marathon bombings.

Of all the characters involved in these recent events, the uncle, Ruslan Tsarni, interests me the most. His own estimation of what motivated the “maggot-minded” fanatics in his own family may be reductionist, – “Being losers,..hatred to those who were able to settle themselves” – but also strikes me as perhaps the single, best explanation in this case. Beyond that, his declared love of country as rooted in her ideals, his evocation of personal responsibility, and his embrace of his own identity – “We are Muslims. We are Chechens.” – and also the shame brought upon him and his family: a very striking, humane performance. The article linked above includes the full video of his conversation with reporters in front of his house.

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Quote for the day: Ray Charles on Jacques Brel

“It takes a very warm person to say the things that this song says. And, you know, it’s plain; it’s not difficult. You don’t have to be a scholar to understand it.”

– Ray Charles, interviewed by the French media before performing a stirring, soulful rendition of Brel’s beautiful chanson d’amour, “Ne me quitte pas.”

I’ve previously linked to a version of this song that I said almost embarrassed me for its raw, desperate begging. But I’ve found a very different version of the same song with Brel playing it cool. Oh, he’s still saying all the right things, but this is a guy who know he’s playing a game and also that he’s holding the winning hand. Compare these two clips of the very same song (desperate pleading vs. confident seduction) for an illustration of Brel’s finely tuned acting skills.

I also mentioned that the song had been frequently covered by other performers and I highlighted Sinatra’s version. But my favorite rendition by any American is Ray Charles‘ above.

There’s a short interview before the song. And by the way, something about seeing Ray Charles’ manner of speaking translated into French fills me with more patriotic sentiment than any flag or anthem ever could.

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Quote for the Day: Ivan Karamazov on the irreconcilable suffering of the innocent

Can you understand why a little creature, who can’t even understand what’s done to her, should beat her little aching heart with her tiny fist in the dark and the cold, and weep her meek unresentful tears to dear, kind God to protect her? Do you understand that, friend and brother, you pious and humble novice? Do you understand why this infamy must be and is permitted? Without it, I am told, man could not have existed on earth, for he could not have known good and evil. Why should he know that diabolical good and evil when it costs so much? Why, the whole world of knowledge is not worth that child’s prayer to dear, kind God!

– Fyodor Dostoyevsky in The Bothers Karamazov. In a chapter of the book titled “Rebellion,” Ivan concludes he would rather be left in a world without atonement for suffering than to purchase harmony at the high price of “the tears of that one tortured child.”

(Hat tip: Ross Douthat)

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What I brought home from the Harvest

“Rye whiskey, makes itself taste sweeter, oh boy!”

I had the pleasure of attending Harvest Music Festival in Arkansas this month with my wife and a couple of other friends. We camped on the festival grounds and took in three full days of live performances. This was my first music festival, but I’m thinking now that it won’t be my last. A big part of the fun was even before the festival began, sampling artists and groups I didn’t know to find out if I wanted to catch their performances. Here are a few of my favorite discoveries and highlights.

First, Delta Rae. Here is a music video of their song that has gotten the most attention. Here is another video that I think demonstrates they have real talent. And embedded below is a video of the performance I saw at Harvest. The sound equipment failed and they came down and played unplugged in front of the stage. I really wanted to post this video because Wendy, Bob, Lacey and I are in it, too.

When I first played Delta Rae for Wendy before the festival, she said “No, they sound too Christian.” I found a video that proved they are definitely not Christians. But that didn’t make any difference to her. When I hear “that sound,” I change the station, she said. And I agree, contemporary Christian music tends to have a distinctive production quality that I can’t quit put my finger on, and I guess Delta Rae does sound like whatever that is. But hearing them live, she actually liked them more than anyone else in our group. We sure did get to see them up close.

Some Split Lip Rayfield fans

One night we tried to go to bed before midnight. But I heard a sound coming from the main stage that sounded like a herd of buffalo thundering toward our tent. As soon as Split Lip Rayfield took the stage the next night, I knew they were the band I’d heard the night before. The bassist slaps away on something rigged out of a car’s gas tank creating a massive, rough-edged thundering; everything about them is raw and wonderful.

The fans at the Split Lip show were some of the strangest people I have ever seen. Half the time I couldn’t decide whether to keep my eye on the stage or watch the circus all around me.

I liked honeyhoney and in a different way that I expected to like them. I already knew they had some good songs and a lead singer easy to fall in love with. What I didn’t know is how hard they can rock with a full band. Though brimming with great music and many musical surprises including a cover of Hank William’s “Lost Highway,” their set managed to massively disappoint Wendy anyway for not including a song she likes called “Angel of Death” below.

And speaking of disappointments, this guy didn’t show up. But Joe Purdy was there.

Joe Purdy might have been my most important discovery at Harvest. That is because he was completely off my radar before and is now somebody I know I will listen to a lot, will closely track his output, and probably buy his albums. We’re talking Dylan-level commitment here. For me, that’s huge. Something clicked for me about halfway through the very first song of his set that he performed backed up by The Giving Tree Band. And then the next song was just as good. And the one after that.

The first song was “Goldfish” and below is a video of him performing it with the same band at an earlier performance.

Here is a cello, bass, drum ensemble called Tornado Rider that proves the cello a very untapped instrument for awesome rock ‘n roll potential.

The cellist is a Berklee College of Music grad, and he infuses their act with a manic sort of vaudevillian song-and-dance routine. The video below is a great sampling of his skill. But at Harvest, he traded this prep school attire seen in the video below for tiger-print rainbow-colored tights and a Robin Hood cap. Check that out, too.

The Punch Brothers, of course. They did not disappoint. The video below is of a song called “Rye Whiskey” that became my anthem for the festival (though to really get a flavor for why they are an important band, try the less traditional “Movement and Location“).

Punch Brother, Chris Thile recently won a “ genius grant” from the MacArthur Foundation. I’ve admired Thile’s mandolin virtuoso and song-writing skills since I first encountered his work on Nickel Creek’s first album. (Bonus: He’s not working with the Punch Brothers in this Tiny Desk session, but is in some pretty good company nonetheless.)

The way to listen to North Mississippi Allstars

And lastly, I just love this band, North Mississippi Allstars. When we heard them take the stage singing about shakin’ ’em on down, we were just then sitting around our campsite sipping our tent neighbors’ homemade cider and nobody else but me was in the mood to trudge the mud to the stage. So I grabbed my camp chair and walked over there by myself and I’m sure glad I did.

Here’s a song off their most recent album that weaves the hymn “Leaning on the Everlasting Arms” into a joyous chorus about “jellyrollin’ all over heaven”; it even manages to lend some irreverent sex appeal to the afterlife: “I love to see them sisters shakin’ that heavenly thing.”

I could go on, but I guess that’s enough. Harvest Fest was a great time that just keeps giving. I’d do it again, and hope to. Mud and all.

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Le Moribond: Of dying, infidelities and boy band covers

Since I discovered Jacques Brel a few months ago, I’ve listened to little else. His catalog of songs is for a lifetime of  absorption and enjoyment. To pull out one perfect gem, this song “Le Moribond:”

A version with English subtitles is here. A dying man bids adieu in order to his dear friend Emile, to his wife’s priest, to his wife’s lover Antoine, and to his wife herself. Expansive and humane, the singer grieves to die in the springtime and wishes that everyone he leaves behind will go on to laugh and dance and “act like a bunch of crazies.” Typical of the subtlety in Brel’s lyrical artistry, in “Le Moribond,” the singer tells his wife he will soon close his eyes “as I often closed them before” which in the context of the song hints at both sleeping and Antoine. But he charges each of those present, even Antoine (“Goodbye Antoine, I didn’t like you at all, you know”), with the care of his beloved wife. As a bonus for me, he gently tells the priest to piss off, but as the priest has been his wife’s confidante, and as we are all “seeking the same port,” the dying man extends his full heart even to the priest.

If “Le Moribond” sounds vaguely familiar, it is because the song was famously butchered by some guy in the 1970’s. And butchered again by some other guy in the 90’s. And more recently by a boy band sappily performing on treadmills while taking off their clothes in front of pre-teen girls. Yes, a song can go that far down.

We don’t need to wonder how this song would sound if Jacque Brel himself had re-recorded it in the 1970’s. He did. And while I wouldn’t trade the original version, this is the essence of a 1970s jazz fusion Miles Davis’ Bitches Brew-esque sophisticated coolness:

Bonus Brel: Here are a few more of my favorite performances.

Dans le Port d’Amsterdam – This one might be my favorite. A tribute to hard-living, hard-drinking sailors. And he sings so hard towards the end, I worry for his health.

Valse à mille temps – My wife and daughter like this one. It’s a fun song and he sings faster and louder as the song progresses.

Quand on n’a que l’amour – He plays guitar and sings on this one.

Ne me quitte pas – He begs a woman to stay. He really, really does not want her to leave. I feel almost embarrassed for his desperation. Everybody and their uncle has recorded a version of this song, including Sinatra which is definitely worth a listen.

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Quote for the Day: La Rochefoucauld on Facebook

We concern ourselves less with becoming happy than making others believe we are.

– La Rochefoucauld, from the Maximes

Or – in other words – from the recent piece in The Atlantic that asks if Facebook is making us lonely: “It’s a lonely business, wandering the labyrinths of our friends’ and pseudo-friends’ projected identities, trying to figure out what part of ourselves we ought to project, who will listen, and what they will hear […] Not only must we contend with the social bounty of others; we must foster the appearance of our own social bounty. Being happy all the time, pretending to be happy, actually attempting to be happy—it’s exhausting […] Self-presentation on Facebook is continuous, intensely mediated, and possessed of a phony nonchalance that eliminates even the potential for spontaneity. (‘Look how casually I threw up these three photos from the party at which I took 300 photos!’) Curating the exhibition of the self has become a 24/7 occupation.”

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