I got up this morning and headed to the Grand Lake farmers market where I picked up peaches, peaches, and more peaches. I’ll be experimenting with cobbler in the kitchen this morning, listening to “Jesus on the Mainline,” and calling Him up–praying for Mrs. Brown (happy 94th), and no rain in NYC for Rimpletide tomorrow. Happy Saturday.
What you’re listening to:
From “Ry Cooder & The Moula Banda Rhythm Aces: Let’s Have A Ball”, a film by Les Blank taped at The Catalyst, Santa Cruz, CA on March 25th 1987.
Ry Cooder: guitar, vox
Jim Keltner: drums
Van Dyke Parks: keys
Jorge Calderon: bass
Flaco Jimenez: accordion
Miguel Cruiz: percussion
Steve Douglas: sax
George Bohannon: trombone
Bobby King: tenor
Terry Evans: baritone
Arnold McCuller: tenor
Willie Green Jr: bass
Merce Cunningham and his work has made an indelible mark on my consciouness. It is with mixed emotions that I received this article in the New York Times on Cunningham’s plans for ensuring preservation of his lifelong career as a dancer and choreographer. Cunningham turned ninety on April 16 this year.
I discovered Merce Cunningham in college in New York (where I discovered most great things) and although that time of my life–a selfish immersion in arts–is past, I think about him, his philosophy, his dialogs with John Cage, and his worldview quite often. Here is a video of Cage and Cunningham in their element:
Unfortunately the YouTube poster didn’t date the video but from the two men’s ages it looks to be from the mid to late 50s.
Merce’s time on Earth is limited, as all of ours is in one way or another. You can find him now, as vibrant as ever, on a video series called “Mondays with Merce” on the Merce Cunningham Dance Company website. The videos show the company rehearsing at Merce’s direction and interviews with dancers, artists, collaborators, and of course with Merce himself. Enjoy.
I was listening to the news around the G20 on the radio yesterday and I thought, as I have several times in the last month, about how I have an urge for news these days–not just news–but the voice of our President. I thought about my parents’ stories of their parents sitting by the radio listening to FDR, and them sitting by the radio as teenagers listening to JFK, and I couldn’t believe that I was finally experiencing something akin to that–the urge to hear a leader’s voice, just because of who he is.
It doesn’t matter to me that the news media and citizens are already critical of him, his appointments, or his policies on foreign diplomacy. BHO has leap frogged all that because of what he symbolizes to me and so many others.
I love this video. Not sure why–the absence of sound? (here’s the link–I can’t get it to embed arg!)
I know Clinton is known as the charismatic one, but frankly his voice always sounds a little lecherous.
Looking forward to eight years sitting by the fire and the radio listening intently.
I was over the moon–figuratively. Physically I was at the Brooklyn Academy of Music soaking in a rare coupling: Grizzly Bear and the Brooklyn Philharmonic. The event marked Grizzly Bear’s first performance with an orchestra dedicated to performing alongside of the band (Grizzly Bear has previously shared a bill with the Los Angeles Philharmonic at Disney Hall).
Perhaps the most special parts of the evening for a longtime fan like myself were the songs Grizzly Bear played that they had neverperformed live before, but that I have savored for years on their albums; namely “Central and Remote,” “Reprise,” and “Plans” (all from Yellow House). “Reprise” was particularly special, given the leading banjo, a fact which Daniel Rossen acknowledged from the stage.
I found “Colorado,” another longtime favorite, to be particularly successful with the orchestral backing. It’s another that you’re not likely to hear the band perform regularly.
Of the new material from the upcoming release Veckatimest, “Foreground” was far and away my favorite, and the Brooklyn Phil did well by it too.
Then Grizzly Bear did something that I wouldn’t suspect given the tone of the evening; they closed the show with The Crystal’s foreboding “He Hit Me.” I don’t think Edward Droste has found a better pairing for his vocals than this diminutive ditty. It just works. I was thrilled.
The boys were looking sharp: Daniel in shiny new shoes visible from row “S,” Christopher Bear in saddle shoes (!) and a handmade black silk bow tie by Julia Ziegler-Haynes, Edward sleek in black jeans and a crisp shirt, and Chris Taylor sporting a new shorter haircut. They’re ready for the big time!