Melancholia

"Ich steh mit einem Fuß im Grabe"


(I am standing with one foot in the grave),

Tuesday, February 19, 2019

Getting to the Other Side of Pain


Ursula K. Le Guin on Suffering and Getting to the Other Side of Pain

“All you have is what you are, and what you give.”

Ursula K. Le Guin on Suffering and Getting to the Other Side of Pain

Simone Weil considered it the highest existential discipline to “make use of the sufferings that chance inflicts upon us.” George Bernard Shaw saw suffering as our supreme conduit to empathy. “We suffer more in imagination than in reality,” Seneca observed before offering his millennia-old, timeless antidote to anxiety. And yet we do suffer and the pain incurred, whatever the suffering is grounded in, is real. How we orient ourselves to our suffering — or to the suffering, as Buddhist might correct the ego-illusion and reaffirm our shared reality — may be the single most significant predictor of our happiness, wellbeing, and capacity for joy. “Try to exclude the possibility of suffering which the order of nature and the existence of free wills involve,” C.S. Lewis wrote in contemplating how suffering confers agency upon life, “and you find that you have excluded life itself.”



That indelible relationship between suffering and life is what Ursula K. Le Guin (October 21, 1929–January 22, 2018) explores throughout The Dispossessed: An Ambiguous Utopia (public library) — the superb 1974 novel, part science fiction and part philosophy, that gave us Le Guin’s insight into time, loyalty, and the root of human responsibility.

Ursula K. Le Guin (Based on photograph by Benjamin Reed)


The novel’s protagonist — the idealistic prodigy physicist Shevek, visiting a beautiful earth-like world from a society inhabiting the world’s barren moon, where a colony had seceded long ago, disenchanted with the profiteering and “propertarian” values of an increasingly materialistic and selfish human society — channels Le Guin’s philosophical insight into the paradoxes of existence and the pitfalls of human society:
Suffering is a misunderstanding.
[…]

It exists… It’s real. I can call it a misunderstanding, but I can’t pretend that it doesn’t exist, or will ever cease to exist. Suffering is the condition on which we live. And when it comes, you know it. You know it as the truth. Of course it’s right to cure diseases, to prevent hunger and injustice, as the social organism does. But no society can change the nature of existence. We can’t prevent suffering. This pain and that pain, yes, but not Pain. A society can only relieve social suffering, unnecessary suffering. The rest remains. The root, the reality. All of us here are going to know grief; if we live fifty years, we’ll have known pain for fifty years… And yet, I wonder if it isn’t all a misunderstanding — this grasping after happiness, this fear of pain… If instead of fearing it and running from it, one could… get through it, go beyond it. There is som something beyond it. It’s the self that suffers, and there’s a place where the self—ceases. I don’t know how to say it. But I believe that the reality — the truth that I recognize in suffering as I don’t in comfort and happiness — that the reality of pain is not pain. If you can get through it. If you can endure it all the way.

Defining freedom as “that recognition of each person’s solitude which alone transcends it,” Le Guin pits her idealistic protagonist against an imperfect society, which he addresses in a public speech at the climax of the novel — a speech he delivers before an enormous crowd of his compatriots, who have taken to the streets in furious desperation, struggling to remember and retain their nation’s founding egalitarian ideals in the face of growing privation and inequity on the barren moon-world:
It is our suffering that brings us together. It is not love. Love does not obey the mind, and turns to hate when forced. The bond that binds us is beyond choice. We are brothers. We are brothers in what we share. In pain, which each of us must suffer alone, in hunger, in poverty, in hope, we know our brotherhood. We know it, because we have had to learn it. We know that there is no help for us but from one another, that no hand will save us if we do not reach out our hand. And the hand that you reach out is empty, as mine is. You have nothing. You possess nothing. You own nothing. You are free. All you have is what you are, and what you give.




Art by Jean-Pierre Weill from The Well of Being
In the privacy of his mind, spawned of Le Guin’s own mind, Shevek reflects on the central paradox of suffering:
If you evade suffering you also evade the chance of joy. Pleasure you may get, or pleasures, but you will not be fulfilled. You will not know what it is to come home… Fulfillment… is a function of time. The search for pleasure is circular, repetitive, atemporal… It has an end. It comes to the end and has to start over. It is not a journey and return, but a closed cycle, a locked room, a cell… The thing about working with time, instead of against it, …is that it is not wasted. Even pain counts.
The Dispossessed is a thoroughly magnificent read, exploring themes of staggeringly timely resonance to our socially confused and politically troubled world. Complement this particular fragment with the brilliant and underappreciated Rebecca West on survival and the redemption of suffering, then revisit Le Guin on poetry and science, the power of art to transform and redeem, the art of growing older, storytelling as an instrument of freedom, and her classic unsexing of gender



Source: https://www.brainpickings.org/2018/11/29/ursula-k-le-guin-the-dispossessed-suffering/




Dead Man Blues - Wynton Marsalis at Jazz in Marciac 2011



  
 Dead Man Blues - Wynton Marsalis at Jazz in Marciac 2011



8/12/11 Jelly Roll Morton's "Dead Man Blues" peformed by Wynton
Marsalis-trumpet, Victor Goines-clarinet, Marcus Printup-trumpet, Wess
'Warmdaddy' Anderson-saxophone, Carlos Henriquez-bass, Ali
Jackson-drums, Dan Nimmer-piano, Chris Crenshaw-trombone, James
Chirillo-banjo, and Ricky 'Dirty Red' Gordon-washboard.



Jazz in Marciac, Marciac, FRANCE.








Tuesday, February 5, 2019

The Great Guitars: Barney Kessel, Charlie Byrd and Herb Ellis • 11-07-19...



  

Three of the all time greatest jazz guitarists perform their unique
skills on the guitar:

Barney Kessel, born in Muskogee, Oklahoma, USA on October 17, 1923 was
known for his chord-based melodies and was a prolific member of the
so-called ‘Wrecking Crew’ group of musicians that accompanied and played
on records as diverse as The Mamas & Papas, Sonny & Cher and
The Beach Boys.
He was voted best guitarist in Down Beat Magazine in 1956, 1957 and 1958
and recorded numerous albums. The Gibson Guitar Corporation introduced
the Barney Kessel model guitar in 1961 to honour his skills. Barney
died on May 6, 2004.

Herb Ellis was an American guitarist who probably was best known as
member of Oscar Peterson’s Trio in the 1950’s. He was born on August 4,
1921 as Mitchell Herbert Ellis. He played with Jimmy Dorsey’s band and
played on numerous Verve records supporting jazz giants like Ben
Webster, Stan Getz, Ella Fitzgerald and Louis Armstrong. Herb died on
March 20, 2010.

Charlie Byrd was one of America’s greatest guitarists. Born on September
16, 1925 in Suffolk, Virginia, he was strongly influenced by Django
Reinhardt’s style and Brazilian bossa nova.
He played in Woody Herman’s band in the late 1950’s and recorded ‘Jazz
Samba’ with Stan Getz. Also he recorded the famous bossa nova albums
with João Gilberto and Antonio Carlos Jobim. Byrd died on December 2,
1999.

The three great guitarists are accompanied by Joe Byrd, Charlie’s
brother, on bass and Chuch Redd on drums

The repertoire included:

• "It's the talk of the town" by Marty Symes, Al J. Nieburg, Jerry
Livingston;
• "Undecided" by Sid Robin, Charlie Shavers;
• "A felicidade" by Vinicius de Moraes, Antonio Carlos Jobim;
• "Manha de carnaval" by Antonio Mariz, Luis Bonfá;
• "Nuages" by Django Reinhardt;
• "Goin' out of my head" by Teddy Randazzo, Bobby Weinstein;
• "Flyin' home" by Sid Robin, Lionel Hampton, Benny Goodman.
*"Speak Low"
*"Nobody Knows You When You're Down and Out." 

The concert was taped on 17 July 1982 in the Congress Gebouw, The Hague,
The Netherlands during the North Sea Jazz Festival. 

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Moanin' - Art Blakey & the Jazz Messengers - Live


 

Moanin' - Art Blakey and the Jazz Messengers - Live

Drums: Art Blakey
Trumpet: Lee Morgan
Tenor Sax: Benny Golson
Piano: Bobby Timmons
Bass: Jymie Merritt






Lester Young and Coleman Hawkins 1958


  






Etta James - I'd Rather Be Blind (Live at Montreux 1975)


  





Monday, February 4, 2019

John McCain funeral: Renee Fleming performs 'Danny Boy'



  


THE HARSH SOUNDING STRINGS ADD TO THE MELANCHOLY OF THIS SONG...

What are those notes called?

John McCain funeral:

Renee Fleming performs 'Danny Boy'








leonard cohen dance me to the end of love


  
Leonard Cohen dance me to the end of love


leonard is the coolest person on the planet...... 

Dance me to your beauty with a burning violin Dance me through the panic til Im gathered safely in Lift me like an olive branch and be my homeward dove Dance me to the end of love Dance me to the end of love Oh let me see your beauty when the witnesses are gone Let me feel you moving like they do in babylon Show me slowly what I only know the limits of Dance me to the end of love Dance me to the end of love Me to the wedding now, dance me on and on Dance me very tenderly and dance me very long Were both of us beneath our love, were both of us above Dance me to the end of love Dance me to the end of love Dance me to the children who are asking to be born Dance me through the curtains that our kisses have outworn Raise a tent of shelter now, though every thread is torn Dance me to the end of love Dance me to your beauty with a burning violin Dance me through the panic till Im gathered safely in Touch me with your naked hand or touch me with your glove Dance me to the end of love Dance me to the end of love Dance me to the end of love
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Sunday, February 3, 2019