Charles baudelaire – Commonfolk Using Common Sense Wed, 23 Nov 2022 06:04:20 +0000 en-US hourly 1 Charles baudelaire – Commonfolk Using Common Sense 32 32 Seattle is the anti-fashion capital of the world Tue, 22 Nov 2022 01:10:00 +0000 September 22, Squire published a story that made this bold and puzzling claim: “It’s time to admit Seattle is a style capital.” Ancient Seattle Times writer Andrew Matson wrote this article, which describes the evolution of our local look, from grunge to what The cup called “gorpcore” in 2017. The impact of this trend on […]]]>

September 22, Squire published a story that made this bold and puzzling claim: “It’s time to admit Seattle is a style capital.” Ancient Seattle Times writer Andrew Matson wrote this article, which describes the evolution of our local look, from grunge to what The cup called “gorpcore” in 2017. The impact of this trend on the fashion world is, according to Matson, considerable.

He writes:

And that’s how we see grunge today on wealthy NBA players and hip TikTok kids, with their worn-out jeans and plaid flannels. And we see gorp in the circles of cool people all over the United States, including on style icons like Frank Ocean and Drake, who choose to wear performance shells and down jackets when they could literally have any what jacket in the world. (And fun fact: Drake’s Scorpion product was designed by Seattle artist Andrew Durgin-Barnes.)

But Seattle was, still is, and probably always will be the anti-fashion capital of the world. In this regard, it surpasses Portland, OR and Vancouver, BC.

Ours is a city whose mode of presentation has no style. It is true that not having a style is a style, as America’s most famous cultural critic, the late Susan Sontag, pointed out in a literary essay. But in another famous essay, “Notes sur le camp”, Sontag, inspired by Charles Baudelaire”Praise of cosmetics“, correctly identified the essence of style as artificiality. The closer a person’s appearance is to the real, natural, useful, the further it is from the true meaning and fashion of fashion . (“[T]the essence of [style] is his love of the unnatural: of artifice and exaggeration…”)

But that’s what the Seattle look is all about: fashion that doesn’t break with its natural environment but is, indeed, one with it. Now think of Henri Bergson’s élan vital theory. The key point of this theory has been missed by brilliant and straightforward commentators. They identified it with the determination, belied by the famous experiments of the 19th century microbiologist Louis Pasteur, that what differentiates dead matter from living matter is a special force specific to the latter. This was not Bergon’s meaning. What he had in mind was rather drawn from another science, that of thermodynamics, in particular from its second law, the one that directs, as far as we know, the arrow of time.

life, according to this view, “is characterized not as a spiritualistic ‘life force’ but as a tendency of organization opposed to the tendency of entropic degradation.” By using free energy, in our case the energy provided by the sun, life is able to reverse the natural movement of matter into greater and greater disorder, into a state of rest, a state of strong probability. (Life is highly ordered, and therefore improbable.)

Now if you were to ever arrive on a strange planet and saw a river running down a hill you would know right away that it is living. A dead river is, of course, dragged down by its forced search for a resting place. The nature of the universe is laziness. Seattle’s fashion scene is much more like a river on our planet than a river we might find in a fantasy world.

Seattle fashion offers little resistance to nature; it’s too practical to be stylish, it’s always super-artificial, always against the forces of nature. We give up and put on the best for the rain and all those very short days.

From the 15th century to the present day – The Irish Times Fri, 18 Nov 2022 04:36:33 +0000 The Penguin Book of French Short Stories, Volume 1: From Marguerite de Navarre to Marcel Proust Author: Edited by Patrick McGuinness ISBN-13: 978-0241461990 Editor: Penguin Classics Guide price: £30 Le Pingouin Book of French short stories, volume 2: From Colette to Marie NDiaye Author: Edited by Patrick McGuinness ISBN-13: 978-0241462058 Editor: Penguin Classics Guide price: […]]]>

The Penguin Book of French Short Stories, Volume 1: From Marguerite de Navarre to Marcel Proust

Author: Edited by Patrick McGuinness

ISBN-13: 978-0241461990

Editor: Penguin Classics

Guide price: £30

Le Pingouin Book of French short stories, volume 2: From Colette to Marie NDiaye

Le Pingouin Book of French short stories, volume 2: From Colette to Marie NDiaye

Author: Edited by Patrick McGuinness

ISBN-13: 978-0241462058

Editor: Penguin Classics

Guide price: £30

If the “only true journey of discovery”, according to Proust, “is not to visit strange lands but to contemplate through the eyes of another… the hundred universes that each of them contemplates…” The masterful Patrick McGuinness’ anthology teems with universes for each of its 84 authors.

Beginning with Philippe de Laon’s 15th Century Physician’s Husband, it ends with Virginie Despentes’ 21st Century savage werewolf Hairs on Me. McGuinness’ introduction avoids “focusing on ‘page count’ and the ‘word limit’ as undifferentiated blocks of matter…” promoting “a genre that puts the reader in a unique relationship with time…the best short stories use their length as a resource, rather than…a limit…another advantage …is the uninterrupted, the way it can be read (or heard) in one sitting.

This is beautifully illustrated in Antonia White’s beautiful translation of Colette’s Green Sealing Wax. After a delightfully detailed description of her father’s “office cabinet” mania, the narrator concludes: “It was ironic that, equipped with every conceivable tool for writing, my father rarely committed to putting pen to paper. , while Sido – sitting at any old table, brushing aside an invading cat, a basket of plums, a pile of laundry, or simply putting a dictionary in his lap as a desk, Sido was really writing. A hundred enchanting letters prove it. To continue or end a letter, she tore out a page from her account book or wrote on the back of an invoice.

McGuinness argues: “The question is not ‘what is news?’ but ‘what news can be?’

McGuinness argues: “The question is not ‘what is news?’ but ‘what news can be?’ French thought has a reputation for classifying and defining, and French literary history is the cradle of “-isms”: naturalism, symbolism, surrealism, existentialism…” There is no shortage of pioneers here, the classics of Georges Perec, Joris Carl-Huysman and Maupassant rub shoulders with lesser known nuggets from Xavier Forneret or Marcel Schwob, who have influenced so many great writers and yet little known outside France.

Stephen Romer’s translation of Schwob’s Sans-Gueules measures its unique and exact blend of comedic horror and piercing pathos. Prefiguring the horrible mutilations of the First World War, it is the story of two soldiers disfigured during the Franco-Prussian war who are brought home by “a little lady” who no longer knows who her husband is. “The two broken pieces… which represented the loved one never came together in her affections… her thoughts went steadily from one to the other, as if her soul were continually leaning like a balance… Smoking their pipes, sitting in the same attitude on their beds, blowing the same plumes of smoke… they were her “two monkeys”, her red mannequins, her two little husbands, her burnt men, her fleshy rascals… She mothered them in turn, putting away their blankets, tucking in their sheets, mixing their wine… she was playing with them.

“The Legacy of Colonialism”

In volume 2, the “legacy of colonialism” diversifies the conversation. The formidable slice of memory of the Guadeloupean Maryse Condé, Family portrait, is undeniable: “If someone had asked my parents what they thought of the Second World War, they would have…answered that it was the darkest period they had ever known. Not because France was cut in two or because of the camps at Drancy or Auschwitz… but because for seven long years they were deprived of… their trips to France. For them, France was in no way the seat of colonial power. It is truly the Motherland and Paris, the City of Light that has illuminated their lives.

McGuinness is “fascinated by the way classic stories share… their narrative DNA with other forms of writing: the prose poem, for example, with Baudelaire, Mallarmé and Charles Cros, who are included here. McGuinness, a poet himself, translated many of these poems into prose as well as Félix Fénéon’s three-line novels (which could also be called poems, proving how slippery these categories can be). Fénéon’s compressed newspaper articles are nuggets of black irony, “La Verbeau hit Marie Champion squarely on the breasts, but burned her eye, because a bowl of acid is not a precision weapon .”

The influence of French short stories has always extended well beyond its borders, and these volumes decisively highlight this never-ending international conversation: “Jorge Luis Borges quotes Schwob’s Imaginary Lives as an influence on his Universal History of Infamy. Could the intense observation and identification with aquatic life in Le Poisson rouge by Christian Garcin be linked to the Axolotl by Argentinian Julio Cortázar?

There’s so much to discover in these stories – both history and food for news lovers everywhere. To complete the quotation from Proust at the beginning of this review: “with men [and women!] like them, we really fly from star to star”.

Slog PM: Tech workers unite, Joe Kent refuses to back down, WWIII Wed, 16 Nov 2022 01:53:00 +0000 Tech workers of the world, you are not invincible. Billionaires are after you. Elon Musk is not crazy. It has a logical agenda, and it’s to reduce your grip on capital for decades, your “general intellect“the power, which (thanks to Generation X) has never been unionized. You thought they needed you, they would always need […]]]>

Tech workers of the world, you are not invincible. Billionaires are after you. Elon Musk is not crazy. It has a logical agenda, and it’s to reduce your grip on capital for decades, your “general intellect“the power, which (thanks to Generation X) has never been unionized. You thought they needed you, they would always need you, they would fall without you. Maybe then; maybe not now. A local boss of Meta that I know told me that they had lost almost their entire team. Another person (a friend of a friend) working at Meta’s Oculus VR in Seattle was shocked to be dumped like this. An Amazon tech I overheard in a bar in South Lake Union: “Everyone is freaking out. Alexa device users are facing a big blackout.” It’s like that, and it’s like that. And watch what’s happening on Twitter. Read this like nothing but your future. It sounds grim because capital (i.e. the owners of the social power that defines our time) believes it has your number. Let it sink in.

Sorry, it is fake, fake, fake: “The 14-year-old shooter charged at Ingraham High School could face a murder charge as an adult.” If you can call a boy an adult, then you should give minors the right to vote. Why is this boy an adult now and not an adult in all other social categories? Because we will not admit that what happened in Ingraham is nothing other than the expression of a social failure. We as a (adult led) society have failed to keep our schools safe. As a society, we have failed to enact laws that control guns. Making the child an adult, blaming him for this crime, is nothing but a distraction from this evidence. The people who should be judged are the adults of the boys’ world.

What is this monkey business? Looks like Kent didn’t get the message. my northwest: “Perez wins 3rd District House seat, Kent refuses to concede.” Election deniers have, after this election, pretty much gone the way of the dinosaurs. We will soon be watching them in wonder in the Museum of American Political History. This monstrosity, this one, another captured (open mouth, lots of powerful, ripping teeth) as a comet enters the atmosphere.

As long as it’s cold, these sunny days without rain do not bother me at all. What did Charles Baudelaire say about the key figure in the city, the flâneur? Yes, it is this: They are bright but cold as stars. The cold sun, its cold light, is just like the rain.

The story of a Columbia City house. The one owned by real black people? Value, according to an appraiser: $670,000. The one owned by fake white people? Value over $900,000. KIRO to this old, too old, story.

The GOP has, as you can see, learned absolutely nothing. They are the party of white men and white women who worship them.

Senator Rick Scott decided the time was right to write the story of Mitch McConnell. He, the United States Senate Minority Leader, failed to control the House. And nothing came of the GOP’s Red Wave. All this calls for a great upheaval. A snake for another snake. Fox: “Rick Scott announces his intention to unseat Mitch McConnell as the top Republican in the Senate.” But Scott, according to Mitch, is all hiss and no poison: “I have the votes. I will be elected.”

Third World War? Russian missiles hit Polish town and kill two. What does it talk about? In the words of MJ: “I want to start something.”

Did someone say World War III? Let’s feel it in The Bug’s”Judgement

Note: Music and Writing: An Interview with Tyler Keith and Tim Lee Sat, 12 Nov 2022 18:02:45 +0000 Delving into their rich history as musicians in Mississippi, it’s natural to also choose to follow that state’s literary tradition and write as well. Tyler Keith came to Mississippi to study writing with Barry Hannah. Twenty years and thirteen albums later (The Neckbones, The Preacher’s Kids, and now The Apostles), Keith’s first black album “The […]]]>

Delving into their rich history as musicians in Mississippi, it’s natural to also choose to follow that state’s literary tradition and write as well. Tyler Keith came to Mississippi to study writing with Barry Hannah. Twenty years and thirteen albums later (The Neckbones, The Preacher’s Kids, and now The Apostles), Keith’s first black album “The Mark of Cain” has hit the shelves thanks to fellow Mississippi musician and songwriter Tim Lee. . Tim Lee and his wife Susan Bauer Lee started Cool Dog Sound to distribute music (their own BARK project) and books. “I Saw A Dozen Faces…” by Tim Lee covers his 35-year career as one of the founding College Rock/South AmerIndie bands, The Windbreakers. Lee and the late and unforgettable Bobby Sutliff made several records that received critical acclaim and placed them on the same stages as other seminal 80s AmerIndie artists.

These worlds come together for a Book Signing/Reading/Q&A with music on Saturday, November 12 at 4 p.m. at T-BONES Records and Cafe. Tyler Keith, Tim Lee and Susan Bauer Lee will all be in store and their Cool Dog Sound artwork will be available for purchase and signing.

Tyler Keith and Tim Lee were kind enough to give us some insight into their story, their inspiration, and how their loves of music and writing go hand in hand.

PINE BELT NEWS: What led you to write your own novel?

TYLER KEITH: It’s been a desire of mine to write a novel since I was in high school. I started reading voraciously when I was about sixteen. All the novels that I liked, I usually read about the authors. I was inspired by many of their lives and works. The idea formed in my head around eighteen, I guess, even though I had no idea how to get there. Somewhere along the way, Rock n Roll got in my way and I became obsessed with songwriting. I used to write stories and things from time to time, but it wasn’t until around 2012 or 2013 that I decided to do it and force myself to finish a novel no matter what. Even if it wasn’t good.

PINE BELT NEWS: We see a lot of comparisons to Jim Thompson. Thompson, famous for his sinister but well-constructed pulps, was he your influence? Who else inspires you to write?

TYLER KEITH: Jim Thompson has been a big influence on my writing and this book in particular. When I first read his work, I was bowled over by his dark and unique voice, especially his use of first-person narration in books like SAVAGE NIGHT, THE KILLER INSIDE ME, and POP 1280. J loved the sense of claustrophobia in his works, and the feeling that everyone was guilty of something. You never know who wants to kill you. There are so many other writers I love and inspire me that it’s hard to know where to start. I’m a big fan of Charles Willeford, Nathanael West, Flannery O’Connor, Dashiell Hammett, the Beats, Albert Camus, Hemingway, Fitzgerald, Baudelaire, Verlaine, Rimbaud, Raymond Chandler, Yates and Faulkner. But I feel like the deepest influence comes from the people I’ve had the chance to meet and get to know a bit, Barry Hannah, Larry Brown, William Gay, Ace Atkins, Lisa Howorth, Lee Durkee, William Boyle and so many others who walked and still walk the streets of Oxford. I’m probably leaving someone out. I am also constantly inspired by my friends and family. AND Rock n Roll music.

PINE BELT NEWS: In most Noir/Mystery, we’d rather not know what we’re getting into. How would you encourage readers new to the genre to read your novel?

TYLER KEITH: I think you engage the reader by having strong characters and a sense of place. In this book, I wanted the narrator to have a simple voice but a somewhat complicated mind. And somehow he might not understand so the reader is on the same journey as the main character. I wanted to make the character a person who wanted basic things, like a family, but was unable to achieve them. Death Row is filled with people who could have gone either way. I also tried to focus on the development of the “place”. I felt like this place in Florida hadn’t been written about much. I find the place interesting. I had an idea about writing (in the songs as well as in this novel) which is simply, I wanted to do something that I would want to read. “Would I like this book?” If you start caring too much about what you think other people want, you’re probably on the wrong track. I’ve had almost total commercial failure in everything I’ve tried artistically, and at this point I’m fine with it.

PINE BELT NEWS: Was there any real-world inspiration for the novel you wrote?

TYLER KEITH: There was real inspiration for this book. I had a friend who ended up in a halfway house outside of Memphis, and he told me horror stories of indentured servitude, fear and loathing, and general madness. It was an inspiration for Camp Eden. Like everything else in this country, these types of things (rehab, halfway houses) are big business now. I was interested in exploring this as a subtext. The links between organized religion and big business and the exploitation of people who have little choice and nowhere to go. I had a degree of personal struggle with depression and other things, so I wanted to address that as well. I was interested in someone who gets a second chance. The framework of a halfway house interested me in this sense. And the biblical story of Cain and Able has fascinated me since I was a child. The fact that someone who committed a horrible sin would be marked by God and sent away.

The inspiration for the Holmes County chapter comes from family history. I’m a seventh generation Floridian and we’ve been coming to this area since about the 1830s. I was close to my grandfather and he was from there. His father was murdered there in 1904. The violence was somehow due to criminal behavior and a clash between two families, one of the Christian type farming the land and the other of the outlaw type . I was interested in exploring this dichotomy and how it can manifest in a single human being.

PINE BELT NEWS: Do you plan a follow-up and more work?

I’m currently working on a new novel set in Pensacola in the 1980s. It’s “teenage noir punk rock” tentatively titled DAMAGED. I’m 3/4 done with the first draft.

Tyler also has a new album on the way with his band The Apostles. “Hell To Pay” is coming in early 2023.

PINE BELT NEWS: Tim Lee, how did you find Tyler Keith, and what attracted you to him?

TIM LEE: Tyler talked to Susan about the layout and art of her book and sent her a copy of the manuscript. I read it and found it great. The story was really good, and the characters and locations were totally fleshed out. As the story developed, I couldn’t put it down, which is a good quality for a mystery novel.

PINE BELT NEWS: How did Cool Dog Sound start?

TIM LEE: After Susan and I released my book, we realized we enjoyed the process and decided to continue with it. We have other projects underway that we hope to develop in the coming year.

PINE BELT NEWS: In your book, you tell the story of the “New South” and touring in the 80s. You laid the foundation for many of these artists today. How did you feel thinking back to your memories of writing your book and now on the road again talking/playing to people this year?

TIM LEE: Writing the book was a lot of fun. In fact, I reached out to friends for some of their memories under the guise of “this project I’m working on” (I wasn’t ready to admit I was writing a book!). Susan was helpful because she would read sections of it and ask, “Why didn’t you include that story about so-and-so?” My response was usually, “Because I forgot.” The opportunities I’ve had to read the book and talk about that time have been great fun. I still enjoy playing music, and the book is just another extension of that.

PINE BELT NEWS: Is there a new BARK waiting in the wings?

TIM LEE: Yeah. We have a finished Bark album that we did here in Water Valley before moving here with Matt Patton and Bronson Tew. I’m really proud of it, and I think it’s really good. We’ll probably play a bunch of songs from it at T-Bones.

Copies of “The Mark of Cain” and “I Saw a Dozen Faces…” by Cool Dog Sound will be on sale and available for signing at this event.

NOTE TO READERS: Keep charging at Cervantes’ “Don Quixote” windmills. So far, reading with the audiobook seems to be the most satisfying as the “voice” here is at the heart of the story, feeling both lighthearted and adventurous. We will come back to this subject next week.

Mik Davis is the Record Store Manager at T-Bones Records & Cafe in Hattiesburg.

The story behind the Rolling Stones song Wed, 09 Nov 2022 17:01:27 +0000 By tracing the origins of The rolling stones“Sympathy For The Devil,” a devilishly epic track from 1968, brings to mind the unlikely setting of the Soviet Union of the 1930s and a suffering country under the brutally repressive rule of its communist dictator, Joseph Stalin. For it was here, at a time of great censorship […]]]>

By tracing the origins of The rolling stones“Sympathy For The Devil,” a devilishly epic track from 1968, brings to mind the unlikely setting of the Soviet Union of the 1930s and a suffering country under the brutally repressive rule of its communist dictator, Joseph Stalin.

For it was here, at a time of great censorship when political dissidents risked execution, that author Mikhail Bulgakov would write his complex menippea satire, The Master and Margarita. It was a novel that tackled notions of right and wrong, juxtaposing a story about the devil visiting the contemporary, atheistic Soviet Union with one about the condemnation of Jesus Christ in Jerusalem.

Listen to The Rolling Stones’ “Sympathy for the Devil” now.

Over a decade in the making, the book had barely been completed when Bulgakov died in 1940, and so was not published. Finally, an abridged version was printed in a Soviet literary magazine in 1967, after which a manuscript was smuggled to Paris, where its first edition was finally published. A copy of The Master and Margarita had to go to London, and in the hands of the singer Marianne Faithfulwho in turn passed it on to her boyfriend, Mick Jagger.

The context

For the Stones, 1967 had been a tumultuous year. In February, police raided Keith Richards’ home in Sussex and charged the guitarist and Jagger with drug offences. The resulting trial in June ended with them being sentenced to prison – Mick was to serve three months, Keith a full year. Thanks to a tremendous show of public and media support, the couple were released after just one night, but the ordeal was significant and its impact immeasurable.

Musically, they had started the year with the glorious proto-psych pop album between the buttons and his double A-side single “Let’s Spend the Night Together”/”Ruby Tuesday,” but by the time the summer of love arrived, the Stones were in a decidedly darker place. Mick and Keith had endured the heavy pressure of their impending trials, while guitarist Brian Jones – who was facing his own drug charges – watched his girlfriend, Anita Pallenberg, leave him for Keith.

Their next album was made throughout those months, and it looked a lot like its creators had indeed been distracted. Request from Their Satanic Majesties is now rightly considered a classic of the psychedelic era, but at the time came six months after the Beatles’ masterpiece sergeant. Pepper, it was widely derided. Many felt that the trippy experimentations had strayed too far from their established blues rock style.

The dawn of 1968 must therefore have offered Jagger a sense of renewal. Able to enjoy a modicum of relative domestic happiness, it was through Marianne that Mick discovered great works of literature. “I educated myself,” he said. “I read a lot of poetry, I read a lot of philosophy.” Mixing lyrical ideas inspired by The Master and Margarita and decadent French poet Charles Baudelaire, that spring Mick began composing an acoustic folk song that would soon take on a wild new form.

The song

“The first time I heard the song,” drummer Charlie Watts recalled, “was when Mick was playing it outside the door of a house I was living in in Sussex. It was at dinner; he played it entirely by myself, the sun was setting – and it was fantastic.

In what he originally titled ‘The Devil Is My Name’, Mick crafted a dark, twisty tale in which the Devil – presented here as a sophisticated socialite (“a man of wealth and taste”) – claims responsibility for a chain of historical atrocities, including the fall of Christ, the Hundred Years’ War, the Russian Revolution, World War II and the assassination of JFK. Its bleak outlook seemed to reflect the landscape in which it was created – war raged in Vietnam, protests spilled onto the streets around the world (Jagger had joined the anti-war demonstration in London in March), Czechoslovakia sought to break up his Soviet Union. as Poland fought its communist rule and French students launched a series of campus uprisings, while in America the assassination of Martin Luther King sparked riots across the country. Revolution was explicitly in the air.

“It was a turbulent time,” confirmed Keith Richards. “It was the first kind of international chaos since World War II. And confusion is not the ally of peace and love. You want to think the world is perfect… [but] you can’t hide. You might as well accept the fact that the hurt is there and deal with it any way you can. ‘Sympathy For The Devil’ is a song that says, Don’t Forget It. If you confront him, he’s unemployed.

The record

Inspired by the political upheavals in London, the pioneer French director of the New Wave Jean-Luc Godard had chosen to shoot his new film in the city. As part of the film’s “creation” theme, Godard had arranged to capture the Rolling Stones at Olympic Sound studios. His timing was perfect; what he filmed in that first week of June was the complete and radical evolution of “Sympathy For The Devil”.

We first see Jagger lazily strumming his acoustic guitar, teaching the slow-paced song to Brian Jones, before it’s taken over by the band – augmented by Nicky Hopkins on organ – and gradually developed through a series of rhythmic trials over the next few days. 32 reported takes were made of the pensive folk version, in which at one point Keith had switched to bass, with Bill Wyman switching to percussion and Brian’s acoustic guitar rendered barely audible. After finding a samba groove, they enlisted Ghanaian percussionist Kwashi “Rocky Dijon” Dzidzornu to bolster Charlie’s drums with suitably persistent congas.

“That’s the beauty of recording for me, going into the studio,” Keith said. “You come in with kind of a semi-conceived idea of ​​what you think this song is supposed to sound like, and it comes out something totally different because it’s been filtered out by all the other guys in the band.”

Suddenly, swept along by that hypnotic, trance-like beat, the song’s wickedness had been on full display, instilled with the tragedies that still unfolded as it built. Robert Kennedy was assassinated in Los Angeles on June 6, which immediately prompted Jagger to pluralize his words: “I shouted, ‘Who killed the Kennedys?’ / When after all, it was you and me.

The ominous, howling backing vocals were a suggestion from Pallenberg, who joined Keith, Charlie, Bill, Brian and Marianne in a chorus of “woo-woos” around a shared microphone. A final overdub was the big searing guitar solo, courtesy of Keith and his Les Paul Black Beauty, perfectly manifesting the fiery spirit of the song.

The version

The Scrapbook Banquet of beggars was released on December 6, 1968, reaching the Top 5 in the US and UK. The raw, rocky songs testify to the Stones’ stylistic reversal, which has seen them rediscover and deftly explore their blues roots, but it’s the opening track, “Sympathy For The Devil”, that has captured the most attention.

Subversive since their inception, the Stones have long endured accusations of moral corruption from the press and religious leaders. But with “Sympathy For The Devil” following so closely Request from Their Satanic Majesties, critics were quick to suggest that the band had aligned themselves with the occult. “I thought it was a really weird thing,” Jagger later said, “because it was just one song, after all. It wasn’t like it was an entire album, with lots of occult signs on the back.People seemed to embrace the image so easily.

The association itself, however, was not so far-fetched. Jagger would adopt a demonic persona for his main role in Performance, which was filmed shortly after “Sympathy For The Devil” ended, and he later collaborated with American occultist and filmmaker Kenneth Anger. Meanwhile, as Anita dabbled in witchcraft, her partner Keith seemed to enjoy flirting with dark imagery. “It’s something everyone should explore. There are possibilities there,” he thought later. “All those things shunned under the name of superstition and old wives’ tales. I am not an expert on this. I would never pretend to be, I just try to show it a little in the light of day.

“Sympathy For The Devil” would later be covered by other artists eager to covet the Stones’ devilish notoriety – Ozzy Osbourne, Motorheadand Guns N’ Roses would all attempt to recreate the sinister energy of the song – but the original remains unmatched. Today, it remains the band’s seventh most-played song in concert, often accompanied by flamboyant visuals and scarlet-draped Jagger – a reminder of the track’s role in forever defining the outrageous reputation of the baddest boys in the world. rock and roll.

Listen to The Rolling Stones’ “Sympathy for the Devil” now.

It’s always showtime in the sky Thu, 03 Nov 2022 12:05:33 +0000 I had always thought that the only relationship between weather and movies was that a rainy day was a good time to see a movie. Then I read an excerpt from Virginia Woolf’s essay “By being sick,in which she looks up to the sky while in bed and sees: . . . this incessant making […]]]>

I had always thought that the only relationship between weather and movies was that a rainy day was a good time to see a movie. Then I read an excerpt from Virginia Woolf’s essay “By being sick,in which she looks up to the sky while in bed and sees:

. . . this incessant making up of shapes and overturning them, this churning of clouds and bringing together vast trains of ships and wagons, this incessant tinkling of curtains of shadow and light, this endless experiment with golden rods and shadows blue, to veil the sun and to unveil it, to make stone ramparts and carry them away. . . We must not let this gigantic cinema play perpetually in an empty house.

Woolf’s passage not only provides the title of Gigantic Cinema: A Weather Anthologyedited by acclaimed British poet Alice Oswald and poetry editor Paul Keegan, but also exemplifies the kind of ‘visceral’ language about time, from ancient to modern, that the editors have selected for their book.

To “expose” us graphically to the weather, the publishers have relegated the titles of the entries to the end of the book and the authors to the bottom of the page, so, as Oswald puts it, the reader “meets each voice abruptly, like an exclamation caused by time. Moreover, there are no signs indicating that we read poetry or prose, fiction or “reportage”, and there are almost no dates. Another innovation of the anthology is to frame the 300 very varied entries in an “omniform day”, organized from morning to evening but covering centuries. This approach is similar to that used by Osborne in his book-length poem Sleepwalking on the Severn, in which she records images and voices at night along the River Severn, England, during five phases of the moon. The largest gigantic cinema opens with an owl hooting to announce the dawn, then shifts unpredictably to such phenomena as the “proper names” of the “faces of heaven”, the effects of climate on people, the weather in hell (according to Dante’s phrase Hell)the wind in all its varieties, the “Chinese Dragon” linked to the clouds, a stone as a diary of the weather, mists, rain-loving Africans, a dream of land losing the sun and the solar eclipse of 1921. Pity the poor evening news broadcaster who should be reporting on the weather on this “omniform” day!

However, the most original aspect of gigantic cinema is the relation of writing to time. As Oswald puts it in her preface, she and Keegan aimed to “move away from writing ‘about’ time” and instead find “writing that is ‘like’ time, that has the sovereignty of pure event. . . which we “buffet” indicates an external world that moves behind the tongue. Woolf’s passage above is so apt that Oswald calls it “the voiceover of this anthology.” And in other excerpts, we see that there are as many ways to be shaken as there are types of weather.

Seeing is not the only way to perceive a meteorological event. Author John Hull, who is blind, follows the intricacies of a thunderstorm with focused hearing. When an early morning rain wakes him, he leans his forehead against a windowpane in his quiet home and discerns that the sounds of the rain differ in where they fall on the house, how fast they fall, how loud and how loud they sound. height. . “The more I listened,” writes Hull, “the more I found I could discriminate, building block after block of sound, noticing regularities and irregularities, dimension after dimension.”

One way to write “like time” is to create your own time in a poem. This is exactly what Wassily Kandinsky, best known for his paintings, did in his abstract poem “Bassoon.“In a city without a name, weather changes and their effects are not caused by weather forces but by colors and sounds. “A large orange cloud in the shape of a hard-boiled egg” emits “purple”. When a storm finally strikes, the thick-walled buildings crumble, but the “long quivering branches” of a “bare tree” come to rest. When the orange cloud disappears, the sky turns “piercing blue” and the city turns “yellow enough to make you cry”. The notes of a bassoon give everything—including people—a green color that becomes “brighter.” . . colder . . . more toxic.

By including the surreal imagery of “Basson” in gigantic cinemathe editors made the other factual yet dramatic entries look a bit magical as well.

When Oswald said she and Keegan were looking for writing that was “like time,” she added, “As if time had to be written (as it does in Apollinaire’s rain calligram).” It’s a visual poem that pops up even if you just flick through Huge cinema.

Apollinaire was an early 20th century avant-garde poet who wrote in French. His trademark calligrams were graphically designed to present language and image simultaneously. In the calligram”The tie and the watch,for example, the text is arranged to describe these two objects while expressing Apollinaire’s idiosyncratic hold on them. His calligram”It is rainingis more kinetic. The five lines of varying lengths are printed vertically and slant left to right, suggesting that rain is being blown by the wind. Also, the tiny font makes the French text look like raindrops.

The English translation by Roger Shattuck (provided in the index) tells us of the fantasies that Apollinaire harvested from the rain, such as: “It is raining women’s voices”; “These rising clouds begin to neigh a whole universe of auricular cities”; “Listen to fall the bonds that hold you above and below.” While this example of weather writing in itself doesn’t immediately inspire visions like Apollinaire’s, the next time it rains, you may be encouraged to grab your umbrella and fire up your imagination.

This “time-like” writing is similar to what contemporary composer John Luther Adams does in his music. “My music moves inexorably from location to location,” Adams said, and that includes location weather. Obviously, the composer has more tools to imitate time than a writer. Adams has spent much of his life in Alaska, and his article on the state is The Earth and the Great Timemuch of which”, as music critic Alex Ross has described it, “is devoted to singing the place names and descriptive phrases of the native Iñupiaq and Gwich’in languages, both in the original and in the translation. and ranges from “ethereal sounds for the strings” to the visceral pounding motions of the drum quartets.

Not all clips in the anthology reproduce the weather to the same degree. But readers will discover a treasure trove of weather gems throughout the book.

A poem by Derek Mahon recounts the participation of the 17th century Japanese poet Basho in a “snow party”, where:

There’s a jingle of porcelain
And china tea;
There are presentations.
So everyone
Crowd at the window
To watch the snow fall.

Gerard Manley Hopkins scrutinizes the variations of sunsets: “Four colors, in particular, were noticeable in these afterglows, and in a fixed order. . . orange, lowest and closest to sunset; above this, and broader, green; above, wider still, a variable red, ending in crimson; above, a pale lilac. A short poem by John Clare beginning “The Whispering Thunder” succinctly describes what happens to “hay people” who “miss the rake” during a sudden thunderstorm. First “. . . the whole gang do a bigger haycock / to sit under . . . “, then after an hour:

A small flood flows over the leaning rake
In the soft but dry hay, the hay people curl up
& some under the cart avoid the shower.

In the middle of the entries made up of several paragraphs, even pages, one sometimes comes across a radiant detail that serves as a pause in time, like this in its entirety of a dance of the Yuma deer: “The waterbug draws the evening shadows / towards him on the water.

I was surprised that out of the 300 entries in gigantic cinema, only three of them complained about the weather. Yet all three are sweeping condemnations. One of them is an entry in Gustave Flaubert Dictionary of received ideas: “WEATHER. Eternal topic of conversation. Cause of all illnesses. Always complain. The title of Charles Baudelaire’s poem “Spleen IVwarns us that this won’t be a hymn to the elements, but nothing could prepare the reader for verses like: “When the sky low and heavy hangs like a lid over the groaning mind”; “When the rain, dragging its immense oblique lines, mimics the bars of a vast prison”; “And long funeral processions, without drums or music, parade slowly through my soul.” Wyndham Lewis uses large, bold type. all caps and underlined – a graphic style found in his BLAST diary – to refer to the lack of snow and ice in London one winter: “CURS the flaccid sky that can produce no snow . . . .” And, angry that a lake in Hyde Park is not frozen:CURSE the flabby air that can’t stiffen the Serpentine’s back . . . ”

Frankly, I missed seeing my favorite poem about complaining about time, a parody of the anonymous folksong “cuckoo song” was welcoming. It’s the cathartic”old music,one of the few light lines by Ezra Pounds, which begins:

Winter is icummen,
Lhude sings Goddamm,
The rain falls and stains the mud,
And how the wind hammers!
Sing: damn.

I think of this poem every year here in Wisconsin, where we often don’t see the signs of spring until April. In other words, “Winter is ilingeren.”

It’s only fitting that the author of the most famous weather quote (“Everyone talks about the weather, but….”) has the last word. Excerpt from Mark Twain’s novel The American plaintiff in giant cinema confirms that he did indeed do something about the weather: he moved it to the end of the book. He writes that he did so for the good of the reader:

“Many readers who wanted to read a tale to the end were unable to do so due to weather delays. Nothing halts an author’s progress like having to stop every few pages to disrupt the weather.

Twain did not remove weather entirely because it is “necessary to any narrative of human experience”. So not only did he move time, but he also thought it best to “borrow” those descriptions from authors who knew how to write them better than he did (“give credit, of course”).

If only it were that easy to move our daily weather from one place to another and choose the best conditions available for our own city! •

Matthew Wong’s first museum retrospective cements the tragic artist’s reputation as a master of melancholic style Tue, 01 Nov 2022 10:00:52 +0000 Only one of Matthew Wong’s paintings entered a museum collection during his all-too-short life. He had sent his 2017 painting west at the Karma Gallery booth at that year’s Dallas Art Fair. It depicts a figure dressed in white seated on a hill beside a pair of flowers thrown aside and looking back, away from […]]]>

Only one of Matthew Wong’s paintings entered a museum collection during his all-too-short life. He had sent his 2017 painting west at the Karma Gallery booth at that year’s Dallas Art Fair. It depicts a figure dressed in white seated on a hill beside a pair of flowers thrown aside and looking back, away from the foreground, towards a wide flat land marked only by a pair of trees and a road leading inexorably far away. – perhaps Wong’s cinematic image of the Texas landscape.

Arrived the day before the opening of the fair, he realized that he was not satisfied with the work. He furiously reworked the paint, adding the impossibly dense star field that now populates his night sky – a multitude of tiny luminous marks echoing the somewhat less dense dabs of black paint that dot the landscape of red earth below. And it is this stupendously starry sky that Wong has added, towering over the solitary witness of the landscape, that gives the painting its intensity – its visionary quality, if that is the word for an effect that is as much tactile as it is visual.

In any case, when the curators of the Dallas Museum of Art visited the fair the next day, they must have been just as struck by this strange and fervent painting – somehow both ecstatic and melancholy – as I am today. . The museum has a fund specifically for purchases from the fair, and they used it to acquire this painting by a mostly unknown Canadian artist, whose solo exhibitions to date, of very different works, had been held. in Hong Kong (where he had spent part of his childhood) and Zhongshan, China.

Matthew Wang, west (2017), oil on canvas, Dallas Museum of Art, Dallas Art Fair Foundation Acquisition Fund. Photo: © 2022 Matthew Wong Foundation/Artists Rights Society (ARS), New York.

Her closest connection to the American gallery scene had come from her participation the previous summer in a pop-up group exhibition curated by Matthew Higgs, director of New York’s venerable alternative space White Columns, in the Hamptons. The exhibition was organized under the auspices of Karma, the gallery that was now trying it out at the Dallas Art Fair. In any case, the painting on the upper part of west was still wet when it entered the DMA collection.

It is therefore only fitting that the first American museum exhibition of Wong’s work (and the second, following a previous exhibition at the Art Gallery of Ontario, since the artist’s death by suicide in 2019) takes place at the Dallas Museum of Art, where it is on view through February 19, 2023. The show, hosted by Vivian Li and titled “The Realm of Appearances,” traces Wong’s frantic development.

After earning a master’s degree in photography in 2012, he quickly became dissatisfied with the camera and began to learn drawing and painting on his own. The first works in this exhibition – drawings from 2014, paintings from 2015 – show the artist finding his way, experimenting (sometimes awkwardly) with materials. But Wong was already fixated on the subject that would occupy him for the rest of his life: the landscape and the very small role an individual human plays in the cosmos.

In the rare cases where Wong concentrates, like a portrait, on the human head, as in the diptych banishment from the garden, 2015, the face is practically obliterated. In an untitled ink drawing from 2015, for example, a head is obscured by a dull brushstroke glyph. In the distant background of another work depicting what appears to be a forest of birches—marvelously, the spaces between the trunks are also trunks—a tiny figure observes another in the foreground; I believe it represents the same person observing themselves as if from afar.

Matthew Wang, The realm of appearances (2018), oil on canvas. Private collection. Photo: © 2022 Matthew Wong Foundation/Artists Rights Society (ARS), New York.

By 2017, Wong had mastered his personal art style, which could be described as a synthesis of fauvism, folk art, and (as a Western viewer like me gleans from the excellent catalog) the “outdoor” painting movement. new ink” which took root in Hong Kong in the 1960s. He took his propensity for the “contradictory spaces” he admired in the work of Willem de Kooning, or what Lesley Ma , in the catalog, calls “constructions bordering on embarrassing”, with inharmonious juxtapositions of patterns and shapes. and strange manipulations of scale.

One of his favorite motifs – you could even say it’s archetypal – is the road or path that stretches out into the distance. Its purpose is always invisible. But the road never just crosses the landscape; he divides the land, divides it into parts. At the end of Path to the sea (2019), for example, the greyish-blue road appears to float entirely detached from the forest to its left and right; it’s not from the same world.

In a book like The kingdom (2017) – another birch forest image – Wong seems to try to include as many different types of marks as possible; it is the overall distribution of their disharmony that gives the painting its paradoxical unity, a unity that presents a nervous, even agitated surface, but which maintains an inner balance. The ruler of this realm is a tiny crowned figure ensconced in a free-standing vaulted niche, almost imperceptible but at the center of it all. I couldn’t help but wonder if Wong, a lover of poetry, hadn’t thought of the melancholy speaker in Charles Baudelaire’s “Spleen III”: “I am like the king of a rainy country, Rich but helpless, young and yet very old.”

Matthew Wang, river at night (2018), oil on canvas. Collection of Shio Kusaka and Jonas Wood. Photo: © 2022 Matthew Wong Foundation / Artists Rights Society (ARS), New York.

But hyperactive compositions like The kingdom were never Wong’s only option. The wish (2016), a deep blue nocturne illuminated only by the thinnest sliver of a yellow moon, shining on a tiny figure crossing a mountain path, shows that he was always ready to leave everything behind rather than pile it all up. his final works of 2018-19 he began to do this more often, notably in the immensely pale, almost monochromatic morning mist (2019)a pure landscape filled with details that only emerge with breathtaking slowness.

Also at this time, interior spaces and still lifes multiplied, but always with a view of the exterior. The single delicate flower in a glass of water which is the ostensible subject of blue night (2018) simply seems to relay a message sent more emphatically by the gloriously blossoming orange tree blazing in the upper right window. This vivid but ambiguous message is the very essence of Wong’s art.

“The Realm of Appearances” is on view at the Dallas Museum of Art, through February 19, 2023.

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Taylor Heinicke gives COs some stability Mon, 31 Oct 2022 05:10:00 +0000 Comment this story Comment INDIANAPOLIS — For all their dysfunction, turmoil, the storm hanging over even the well-meaning people inside this franchise, Washington’s commanders, in their own way, possess stability. Do not laugh. It’s true. They have won their last three games because of this elusive trait. Against Chicagotheir advantage was the calming presence of […]]]>


INDIANAPOLIS — For all their dysfunction, turmoil, the storm hanging over even the well-meaning people inside this franchise, Washington’s commanders, in their own way, possess stability.

Do not laugh. It’s true. They have won their last three games because of this elusive trait.

Against Chicagotheir advantage was the calming presence of their leader, Ron Rivera, in the middle of his third season, over the Bears’ first-year head coach. Against Green Bayit was their best receiver, Terry McLaurin, well paid and yet still humbleto come huge when a point guard of his caliber hasn’t emerged like that for the Packers this season.

And on Sunday inside Lucas Oil Stadium, a small measure of stability kicked in, a little late and a little sloppy, but at the most critical point in the game – and from the most important position on the field.

Commanders have a quarterback they can rely on. Even though their starter will be wearing a brace on his throwing hand for the next few weeks, they have pushed their winning streak to three games – the latest a 17-16 breakout against the Indianapolis Colts – with everyone’s favorite backupTaylor Heinicke.

Back home, Terry McLaurin leads the Commanders rally ahead of the Colts

Heinicke had been picked, taken two sacks and thrown for just 128 yards when he entered the field with 11:12 left in the fourth quarter. At that point, the Heinicke experience made you want to look away, and Washington trailed a bad Colts team by two runs.

But then, while playing maestro on a scoring effort that ended in a field goal, Heinicke completed an unavoidable pass to Curtis Samuel for 18 yards on fourth-and-six. And when he returned to the field with 2:39 remaining and the commanders down 16-10, Heinicke played with the pace he had been so comfortable with since his college days, leading a nine-game drive. and 89 yards which included another fourth pass to Samuel and a 33-yard strike to McLaurin.

Heinicke punctuated the moment with a one-yard touchdown tackle with 22 seconds left and, waiting for him to return outside the end zone, spiked the ball like crazy.

“As we say all the time, he’s a competitor. He’s going to show up no matter what happens in the game,” running back Antonio Gibson said. “If he has a horrible start – not to say he had one – but if he has a bad record, he’s going to show that next game and make it count at the end. That’s all we have need.

While the Commanders (4-4) have some sense of stability under center, the Colts (3-4-1) are still riding a quarterback carousel. And funnily enough, the last two guys they thought would stick around spent every Sunday wearing team clothes, the chic look of an inactive player.

Sunday should have been Carson Wentz’s reunion game. Wentz played last season — and only last season — with the Colts before team owner Jim Irsay got fed up with his poor performance late in the season and pulled the plug. Now with Washington, Wentz has missed the past two weeks as he recovered from surgery on his ring finger.

Matt Ryan, Wentz’s replacement to start this season and the guy who was supposed to clean up the mess, was benched this week in favor of third lineman Sam Ehlinger, who made his first career start.

Never shy of the spotlight, Irsay recently slotted in as an outspoken owner against his Commanders counterpart, Daniel Snyder. On this particular topic, Irsay made common sense points — yes, owners shouldn’t wait for the The NFL will decide Snyder’s fate. They need to step up. However, Irsay hasn’t been as lucid and precise with his methodology to stabilize the quarterback position in his franchise.

If, as French author Charles Baudelaire wrote, the greatest trick the devil ever played was to convince the world he didn’t exist, the second greatest must be Irsay to convince Indianapolis that the Colts were a Super Bowl contender if only they had the right quarterback.

And – ducks for cover — anyone who believed a 37-year-old Matt Ryan was an upgrade over Wentz was too gullible to buy into that lie.

Perhaps Ehlinger as QB1 shouldn’t have come as a surprise, given Irsay’s impatience and the Colts quarterback’s tempestuous room since. Andrew Luck’s shocking retirement in 2019. They have tried six starters since then. So while the Colts faced the aftershocks of the massive change, in Ashburn, Va., members of the commanders’ defense should have sharpened their knives.

They would face a quarterback whose sizzle reel consisted almost exclusively of preseason games. Understanding this, Washington defenders also knew the Colts’ roster would be significantly reduced for Ehlinger. Their main focus would be to stay disciplined and expect a buffet of short, quick passes meant to get the 24-year-old into a rhythm.

“They’re going to make it easy for him [plays]”, cornerback Benjamin St-Juste said during the week, “the thing that can make us nickel on the field.”

Four takeaways from the Commanders’ 17-16 win over the Colts

At least in Q1, death by a thousand stupid pieces seemed to work. Ehlinger was conservative but effective and completed six of eight attempts for 42 yards. He operated from the shotgun, using his feet (unlike his predecessor) to get out of the pocket and find a receiver a few yards away. Using that method — and mixing in last year’s rush champion Jonathan Taylor — the Colts put together an 11-play, 64-yard drive that carried over into the second quarter, hitting the first with a 46 yard field goal.

But Ehlinger didn’t always look comfortable. And credit that to the Washington front. In the second quarter, Ehlinger showed his ability to use his legs (unlike his predecessor), although he didn’t win a first down on his own but through a face mask penalty that moved his team down. Washington 13. Two games later, he thought he had another opening to get out of trouble, only for a crush of commanders to approach. Defensive tackle Jonathan Allen got to him first, and after Ehlinger lost the ball taking the sack, teammate Daron Payne recovered the fumble.

Overall, Ehlinger played well in his first start, completing 17 of 23 passes for 201 yards and producing a slightly better passer rating than Heinicke (100.1 for 98.7). Still, Washington has a quarterback who can straighten up if needed. It may not seem like much, but Indianapolis would love to have that luxury.

“It’s just more experience. The more reps you get, the more experience you get, the more comfortable you feel,” Heinicke said of his last two games as a backup starter. “That’s not to say I’m very comfortable with where I am right now. There’s a lot to improve. But the more reps you get, the more comfortable you feel.

In Washington’s last two drives, when he scored 10 unanswered points to come back and win, Heinicke went 12 for 14 for 151 yards. And his best achievement of the night seemed to turn out like one of those corny movie moments, at least for McLaurin.

“[Heinicke] did a great job … extending the game, and it was like slow motion,” McLaurin said. “He saw me, and I saw him, and that ball was in the air. My eyes were right on the ball the whole time.

Back in his hometown and playing on the same field where he won the high school state championships, McLaurin carried a contested fly ball against cornerback Stephon Gilmore at the Indianapolis 1-yard line.

“I can’t say enough [good] things about Terry,” Heinicke said. “He brings people together in the dressing room, he behaves very professionally and people want to fight for him. And seeing him fight for everyone too, that says a lot. The guy is a treasure.

Then, on the next play, Heinicke scored the game-winning touchdown. He walked off the field and back to his touchline, the recipient of all hugs and high-fives. Because he had wobbled, but he was steady when they needed him.

An evening of classic love songs at Ben’s Theater Jomtien Sat, 29 Oct 2022 01:33:51 +0000 (lr) Manasanun (Angel) Aksornteang; Morakot Cherdchoo-ngarm and Potprecha (Jak) Cholvijarn. An enthusiastic audience recently welcomed three young musicians from Bangkok to Ben’s Theatre. The enthusiasm wasn’t surprising, as they’ve all played at Ben’s in the past. I have lost count of the number of times countertenor Potprecha (Jak) Cholvijarn has performed there, accompanied by the […]]]>
(lr) Manasanun (Angel) Aksornteang; Morakot Cherdchoo-ngarm and Potprecha (Jak) Cholvijarn.

An enthusiastic audience recently welcomed three young musicians from Bangkok to Ben’s Theatre. The enthusiasm wasn’t surprising, as they’ve all played at Ben’s in the past. I have lost count of the number of times countertenor Potprecha (Jak) Cholvijarn has performed there, accompanied by the ever-reliable pianist Morakot Cherdchoo-ngarm. Recently they were joined by soprano Manasanun (Angel) Aksornteang (soprano) who has performed three times before.

Their program covered a wide range of styles from the music of Handel to contemporary composers. Jak Cholvijarn was in top form to kick off the concert with a powerful rendition of Mozart’s aria Al mio ben mi veggio avanti unknown opera Ascanius in Alba composed when Mozart was only fifteen years old. Jak gave a dramatic rendition of the tune which contrasted well with Debussy’s lyrical style. Star night. In addition to the solo songs, the program also included a few duets, the first of which was the aria Bist du bei mir by Baroque composer Gottfried Heinrich Stölzel. Although his music is rarely heard today, he was well known in his day and a contemporary of JS Bach. This tune became famous and Jak and Angel gave a wonderful performance with perfect intonation and well blended vocals. The pianissimo the sections were particularly beautiful.

One of the musical highlights of the evening, at least for me, was Robert Schumann’s group of four songs, Frauenliebe and Leben which Angel sang superbly. The songs are calm and thoughtful and Angel brought out these qualities with his beautifully controlled voice in which his tone quality, vibrato and intonation were excellent. Her stage presence also helped a lot, as she always looked confident and natural. Pianist Morakot was particularly effective in these Schumann songs and provided a sensitive and carefully crafted interpretation. I’m always impressed by Morakot’s ability to move from one musical style to another effortlessly and he excels in the art of accompaniment.

Jak returned to the stage for two contrasting songs, that of Franz Schubert A den world, a setting of Goethe’s poem of the same name. Jak provided a thoughtful rendition of this lyrical song and it was contrasted with a dramatic rendition by Henri Duparc An invitation to travel. With lyrics by Charles Baudelaire, this is one of Duparc’s most memorable songs and Jak brought out the drama in the lyrics. I was also impressed by her excellent vocal timbre. Jak & Angel concluded the first half of the concert with another duo, the well-known staging of Angelica Panis by César Franck, perhaps the composer’s most famous work. Their singing was lovely, with beautifully blended voices.

Angel holds a master’s degree in vocal performance from the Faculty of Fine and Applied Arts, Chulalongkorn University and she received her bachelor’s degree from the College of Music, Mahidol University. She studied at the University of Music and Performing Arts in Vienna and recently became a faculty member of the voice department of the College of Music at Mahidol University.

In 2019, Jak completed his PhD in Buddhist Studies at the University of Bristol in the UK. He has appeared as a soloist for Opera Siam (Bangkok Opera), Siam Philharmonic and Siam Sinfonietta on many occasions. Composer Somtow Sucharitkul cast him as Buddha in six episodes of his musical drama Ten Lives of the Buddha. Jak did the European tour of The Silent Prince performing the title role in Bayreuth, Prague and Brno. With Grand Opera Thailand, Jak has sung in concerts for the European Union Delegation, as well as for many Embassies in Bangkok.

Morakot is not only a splendid and reliable accompanist but also a composer and arranger. He was commissioned to compose the music for the 100th birthday of the eminent Thai artist Fua Haripitak and for several other prestigious events. His compositions have been performed at festivals in Singapore and Peru as well as the Thailand Flute Festival, the Thailand Brass and Percussion Conference, the Thailand International Composition Festival and the Thailand International Wind Symphony Competition.

After the interval, Jak opened the second half with one of John Dowland’s most famous songs, Come back, sweet love invites now. It is written in the composer’s typical melancholy style and first appeared in Dowland’s First songbook from 1597. Jak has sung this beautiful song many times and to me his voice seems just right for Dowland’s bittersweet music. Angel gave a passionate rendition of Hugo Wolf’s song Verborgenheit. It comes from a set of around fifty songs collectively titled Morike-Lieder, which cemented Wolf’s recognition in Austria as a vocal composer. Angel gave an impressive performance with clear diction and perfect intonation throughout. She then sang the charming Morakot song, The wine goes in the mouthan attractive setting of the verses of the Irish poet William Butler Yeats which Angel interpreted in style.

Jak then sang the five songs titled Dreams of Kyoto which were composed for him a few years ago. He gave a thoughtful performance that reflected the melancholic nature of the words. In contrast, Angel sang the catchy Taylor the milk boy, a song by Marcy Heisler and Zina Goldrich, obviously based on their experience with a waiter at Starbucks. Jak sang the lovely old Scottish song known as The Song of the Skye Boat with his usual care and Angel gave an accurate, albeit rather polite, performance of Wouldn’t it be in love of the musical my lovely lady.

The concert ended with a baroque air, a style that seems to suit the two singers best. It was the aria Flow of pleasure of Handel’s much-admired dramatic oratorio of 1750, Theodora. Jak and Angel delivered a feisty performance, with a superb vocal mix and confident singing in the contrapuntal sections. It made a fitting and inspiring end to a delightful evening.

The Art of Schjeldahl | The nation Wed, 26 Oct 2022 09:16:55 +0000 Peter Schjeldahl, 2008. (Jonathan Ziegler/Getty) To subscribe to The nation Subscribe now for as low as $2 per month! Thank you for registering for The nationweekly newsletter. Thank you for signing up. For more than The nationcheck out our last number. To subscribe to The nation Subscribe now for as low as $2 per month! […]]]>

We were stuck in traffic on the way to the opening of Alex Katz at the Guggenheim when my wife started flipping through her phone. “Has Peter Schjeldahl released a new book? She asked. “His picture is all over Instagram.” My heart sank. No, I knew there was no new book. I knew all those pictures were saying goodbye.

Even before I set foot in a gallery, Schjeldahl was one of New York’s leading art critics – in recent years for the new yorkerbut before that for The New York Timesthe weekly ephemeral Seven daysand more particularly, The voice of the village. At a time when art criticism was taking on an increasingly scholastic tone, Schjeldahl proudly carried the banner of belletriste criticism in the tradition of Charles Baudelaire, Guillaume Apollinaire and various New York poets – John Ashbery, Frank O ‘Hara – who write for Artistic news at its peak in the 1950s and 1960s. And as I honed my own critical skills, I constantly turned to her writing, talking to her, mimicking certain aspects while trying not to imitate any of them. others.

Schjeldahl’s stylistic impulse was more than decorative and charming – it was an intellectual scalpel that could, with such delicacy, reveal the difficulties of feeling that give life to art. Schjeldahl was a hedonist who understood that the pleasure of art could only be troubled pleasure. One of his recent articles was about Mondrian, an artist who one would have thought too austere to ignite Schjeldahl’s aesthetic imagination. But Schjeldahl reveled in the “stubborn mystery” of the Dutchman’s art – “its powerful combinations of hermetic sensibility and formal clarity, which astound even when they command attention”. For Schjeldahl, the experience of art was inseparable from a desire to be bewildered, to be reduced to not knowing, to experiencing.

Schjeldahl was Catholic in his interests but could be strangely reticent about his own preferences. “There’s art that I love that I won’t write about,” he once explained, “because I can’t imagine it being important enough for general readers It is about my personal experience as a person, without which my critical activity would wither, but which goes beyond my critical mandate. This is a point on which I found myself in fundamental disagreement with him: for my taste, he gave too much importance to the public consensus aspect of the role of critic, and not enough to the personal and idiosyncratic aspect.

Schjeldahl was read avidly by those who could relate to his hyper-alert sensitivity and appreciate the insights it allowed – that “Holbein was sensitive but cautiously non-erotic in imagining women, who are generally dark”, or that “it’s like [Jasper] Johns to gently invoke holy rage. He didn’t just resell the bromides that accumulate around famous art. But he was also not eager to put himself in the spotlight. He finally overcame his aversion to the first person singular in 2019 with “The Art of Dying.” The essay was a kind of farewell occasioned by the diagnosis he stated categorically in his opening line: “Lung cancer, endemic”. Part of his subject was precisely his longstanding inability to write an autobiography—his sense of being both insufficiently interesting as a subject and too guilt-ridden to reveal himself. The complexity of Schleldahl’s character suddenly appeared.

At the time, “The Art of Dying” seemed to serve as a farewell to Schjeldahl, but it turned out to be the preface to a renewal of his energies. Since that essay (and contrary to the prognosis he shared with me in an e-mail a few months before the essay appeared: “Prospect about six months”), he has become more alive than he had ever been, becoming even more productive and producing, in my opinion, some forty-five more articles for the new yorker between February 2020, when he wrote about the painter Peter Saul, and this October, with an article on the photographs of Wolfgang Tillmans – and all in a time of pandemic which made so many of us less active. Every time a new essay by Schjeldahl came out, a kind of cheer went up among his readers, a cheer for life, for enthusiasm, for art – for everything that kept going into extra innings. Schjeldahl may no longer be with us, but for his readers his essays will continue to do so. That’s why he was all over Instagram that day. We wanted it to go on forever.