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“If you awaken in our time, you awaken with a sob”

 

In the video above, Chris Hedges and Tim DeChristopher discuss the deadly failure of the industrial world to confront the effects of climate change. The following is a brief excerpt from that conversation.

 

HEDGES: Let’s talk about grief. I feel it. I read the climate change reports, I have children. It fills me with despair. How do we cope with it?

DECHRISTOPHER: I think part of the way that we cope with it is admitting that we were always headed towards that path. That we were always going to die.

HEDGES: As a species?

DECHRISTOPHER: Well and as individuals as well. You know we like to have this progressive notion that we do these good things to make a better world at some point in the future and even if consciously it sort of falls short of a utopia or a sort of promised land in the future. It’s still sort of this outcome based value system, that’s based on things being okay in the end.

HEDGES: It’s the myth of progress.

DECHRISTOPHER: Yeah, but I think that’s also tied to a myth of immortality. That when we talk about some of the most honorable things that we can do. We use language like we saved someone’s life. But that person’s still going to die. Every person that we do something nice for is still going to die. So if it’s really outcome oriented then we’ve always been kind of deceiving ourselves with that value system.

Stephen Jenkinson confronts the language that we use in a death-phobic culture.  DeChristopher touches on it in the above comment regarding our myth of immortality. In the following short audio clip, Jenkinson explores the meaning of the word ‘hope’ and how it distracts and detours us from being present in this world, in our unique time in history.

On Grief and Climate Change

The Pearl Button – Now Streaming

 

Patricio Guzman’s remarkable film recently had its premier in the UK and is now streaming online in the US via Netflix and Fandor.

“If “water has its own language,” as anthropologist Claudio Mercado says, so too does Guzmán as a filmmaker. His work speaks to the past and present, the living and the dead with equal resolve, lingering on the seemingly small details of memory that allude to so much more.”  – Glenn Heath Jr

“Crashing Out with Sylvian : David Bowie, Carl Jung and the Unconscious” by Tanja Stark

Source: “Crashing Out with Sylvian : David Bowie, Carl Jung and the Unconscious” by Tanja Stark

Please read Tanja Stark’s fascinating research into David Bowie’s emergence as a Jungian visionary artist.

“Jungian concepts are so inextricably woven throughout Bowie’s multi-decadal tableau of creativity that in Bowie’s synthesis of mythopoeic themes of the Unconscious with the zeitgeist of pop culture, together with his palpable struggle for meaning, catharsis and knowledge, Bowie has become a poignant contemporary representation of Jung’s ‘visionary artist’, potentially illuminating his deep resonance in popular cultural consciousness.”

A Tribute – Bowie Who Bonded Us to Our Weird Selves

 

Bowie-AFP-COVER-option-2-EDIT(Art by Sarah Beetson)

Amanda Palmer assembled a troupe of musicians, artists, photographers, technicians, family, friends and supporters to feverishly within two weeks produce this tribute to David Bowie.  Titled – Strung Out In Heaven: A Bowie String Quartet Tribute” it features integral contributions from Anna Calvi, John Cameron Mitchell, Neil Gaiman, and her music partner in this enterprise Jherek Bischoff.
She writes,

“We’re really, really, really proud of what we made, even though we cranked it out in a short time.

Music is the binding agent of our mundane lives. It cements the moments in which we wash the dishes, type the resumes, go to the funerals, have the babies. The stronger the agent, the tougher the memory, and Bowie was NASA-grade epoxy to a sprawling span of freaked-out kids over three generations. He bonded us to our weird selves. We can be us. He said. Just for one day.

It didn’t hit me until a week later, in the studio, why this was such a fitting project. We were immersing ourselves in Bowieland, living in the songs, super-glueing up some fresh wounds. Not just “knowing” the songs, but feeling the physical chords under our sad fingers, excavating the deeper architecture of the songwriting (especially with a tune as bizarre as “Blackstar” (which we realized was constructed like a sonic Russian nesting doll).

Bowie worked on music up to the end to give us a parting gift. So this is how we, as musicians, mourn: keeping Bowie constantly in our ears and brains.

The man, the artist, exits. But the music, the glue; it stays. It never stops binding us together.”

 

Listen below to all six songs preferably with headphones!

In an interview with Maria Popova, Palmer explains why the timing of this project was so crucial,

“When David Bowie died, I wanted to immerse myself in David Bowie and give myself a work project, because I had been so immersed in motherhood and was struggling with reconciling that with my identity as an artist. I wanted desperately to work, but had cleared my plate of projects because I didn’t know what my life as a mother would be like and I needed to make room for that. So I had this semi-vacuum of time where I was coming to terms with mother-schedule, but I looked at the Bowie tribute and realized I could do most of the project from home, on my computer, in collaboration with Jherek, and I could spend two days at the studio and find a babysitter. I looked at the entire project and thought it was manageable, I could do it right now, which is the way I like to work — fast and furious and surprising and very chaotic and manic.

Jherek was on board to go with the pace, and I knew that if we waited seven months to put out our David Bowie tribute, it just wouldn’t feel the same. It is of the moment, and it was of the moment to sit on the couch and listen to Bowie songs with Neil [Gaiman] and read my patrons’ favorite Bowie songs and go on hunts for obscure tracks and sit there with the baby between me and Neil, immersing ourselves in this artist’s world — because all that felt like part of the project, it felt like part of the patronage.

That was our way of mourning, and that became our ritualistic David Bowie funeral.”

Palmer is asking for a $1.00 donation for the price of streaming the music. As she explains,

“Since it costs me/us about $.54 ($.09 per song x 6 songs) in licensing fees to the bowie estate every time you stream for free, please consider donating that $1 on bandcamp. Any leftover money from the $1 will go to the cancer research wing of Tufts Medical Center (https://giving.tuftsmedicalcenter.org/give) in memory of David Bowie. listen on bandcamp: https://amandapalmer.bandcamp.com/album/strung-out-in-heaven-a-bowie-string-quartet-tribute

Check out the website http://amandapalmer.net/strungoutinheaven to see more artist, musician and technical credit for all who made this happen so quickly and in such fine fashion.

Bravo Amanda!

Amanda-Palmer

Rediscovering Deep and Beautiful Myths

 

Stephen Jenkinson writes,

 

“This breezy little tome I’ve written, Die Wise, was graced with a noble introduction by a denizen of England and of times gone by, name of Martin Shaw, with whom I was briefly reunited a week ago for a riotous night of elegy and lament worthy of the ages. (Keep a weather eye for a film record of that boisterous event, crafted by Ian McKenzie, that might see light later this winter.) In the spangled generosity of his Forward Mr. Shaw took me for a citizen of the Other World. And this was to my knowledge the first time I was recognized, the first time this drizzle of sorrow and love for life that is my claim for Orphan Wisdom was seen and called by name. This stirred my gratitude. I have gratitude for him personally and specifically, surely, but I’ve another gratitude that arrived in this slurry of anticipation and pause, one that rises in the departure lounge as I make my way back across the Atlantic, tracing the furrows ploughed centuries before when We Who Left, who could not afford to stay, parted ways so deeply with You Who Stayed, to become the great European fantasy of America. And Mr. Shaw wrote of we who left: “To us, when you left you became spirits. How does dying wise function when to we who stayed you are already dead?” This is surely the arche of sorrow and longing and the uprooting of the world in search of home that America has become. It is to this wonder that I am returning.”

 

Martin Shaw

“I have not a clue whether we humans will live for another 100 or 10,000 years.  We can’t be sure.  What matters to me is the fact we have fallen out of a very ancient love affair – a kind of dream tangle, with the earth itself.  If, through our own mess, that relationship is about to end, then we need to scatter as much beauty around us as we possibly can, to send a voice, to attempt some kind of repair.  I think of it as a kind of courting – a very old idea.”

“When we claim myth as nothing but a map of our inner-life we reduce it, make a prison of it in our rib-cage. We stay in a rather sad isolation, rather than the sophisticated awakening that we are frisky boars rolling in myths deep and nourishing mud. The delicate flecks of soil that lace the sides of our pen (that is the world) is the art we display from such a calorific experience.”

“I am saying that in a functioning culture, myth is the dwelling hut for the people, the goats, the gleaming little babies, the old ones crooked and crazy-wise, the heart-broken, the grand stretch of birch trees at the bottom of a Norfolk field. It contains it all. It’s not just a reductionist blue-print for a therapists handle on why you feel so blue.”

“This is not to deny the interior – much great art has been developed in its amplification. But at what cost? For many of us now, our inner-world has become more real than the real. So i praise the genius of psychology but i believe there is much gain in myth cutting loose from the corral of human allegory – these are wild horses we are encountering. They have much to disclose.”

 

 

A society continually emphasizing victory and progress is out of touch with myth. Myths emphasis on descent is erotic – it is the longing of the apple to fall from the quivering branch and be cradled in the dark arms of the soil. Gravity is a secondary issue. It is really the business of desire. I think our access to so many facts is causing us to be in a permanent state of hallucination. We are societally tripping. We have the facts but where on earth has the story gone?”

“Myths demand full occupancy of the lived experience. Which includes the myriad difficulties and slow-drip struggles that eventually carve out those rare and ordinary creatures we call elders. It requires a full, creative declaration of attachment to the world. That declaration, hewn into language, growing, loving, learning, music – is part of awareness of the impossible debt of gratitude we have for being here at all. The very sensation of the debt is a wonderful grounding in being a full human being.”

 

 

A Painter Who Writes Songs

 

“On DON JUAN’S RECKLESS DAUGHTER,  I gave Jaco some instruction (the one and only time) and he took it without resistance.”

“The title song is a long song — around six minutes long. My guitar has a rhythmic drive to it, and Jaco and Alex Acuña (the drummer on the date) had locked up together and were pushing it along with a Latin feel. It made the song seem even longer. I decided to break them up and put them on one at a time.”

“I told Jaco, “This is a kind of surrealistic tune — a lot of Scorpio metaphors and Yagui Indian mysticism. It needs a tom-tom feel — but not 4 on the floor.” It needed a repetitive figure with space between figures to kind of half-time it against the drive of the guitar — something like . . . (and I sang a part to him, making sliding gestures with my right arm), “Ga-ga-ga-goom, ga-ga-ga-goom.” Jaco cradled the neck of his bass in his left hand. He tuned the strings to an open chord and he played the figures without any fretting. He banged the strings at the top of the neck with his fist and he slid to the bottom for the “goom.” Halfway through the take, his hand was shredded like he had run it over a carrot grater. We stopped tape, punched him in, and he finished the song playing with the heel of his hand. At the end of the song it was shredded, too. We wrapped his hand in a paper towel and played back the track. When the song was over, he turned to me and said, “That should’ve been on my album!” I said, “Who cares whose album it’s on? It’s you and it’s on tape.”

 

(Photo by Norman Jean Roy)

“Then it was Alex’s turn. I had the notion that he should jingle and thump — that pow-wow sound. I had some native ankle bells — big harness bells on leather straps. We tied them on him. We placed a baffle on the floor. It was slightly curved. Henry put a mike under it and one beside it and Alex danced a Peruvian salsa to the track. I loved it — jingle and thump. It blended into the guitars in an unusual way. It was a bent-knee dance and when the song was over, he limped off the baffle. He couldn’t straighten up for an hour, but he agreed it sounded great.”

“There was one more casualty on this record date — “the split-tongued spirit.” Boyd Elder, a painter from Texas possessing Cherokee blood and a native sounding voice, was to double my voice with spoken word. He stepped up to the mike and froze. We sent out for a bottle of tequila to loosen him up. Next thing I knew, he was lying on the floor by the mike — the bottle nearly drained and he was saying, “I can’t do it Joan.” His wife and I and his two daughters kneeled beside saying, “Yes you can. Yes you can.” After much coaxing, he was on his feet and the lines were on the song — shadowing the sung words! What a night.”

(Listen with  headphones)

“The spirit talks in spectrums
He talks to mother earth to father sky
Self indulgence to self denial
Man to woman
Scales to feathers
You and I
Eagles in the sky
You and I
Snakes in the grass
You and I
Crawl and fly
You and I”

 

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