Sunset, Saturday, 1 May 2010

William Theodore Van Doren. Sunset from Madison Mills, Madison County, Va. Oil on watercolor block, 16 x 20.

Sketched at Woodberry Forest School just before we went in to see the Brent Cirves and Michael Johnson musical adaptation of Edgar Allan Poe’s “The Fall of the House of Usher.”

Sunset, Sunday, 6 September 2009

William Theodore Van Doren. Stony Point, Albemarle County, Va. Oil on paper, 16 x 20.

I receive general reports about site traffic, and was wondering why yesterday’s post about the Poe story “The Fall of the House of Usher” had received an unusual number of ‘robot hits’. (These aren’t real site visits, just various search engines indexing your stuff ... something like that ...) Anyway, could it have been the mention of “I Am The Walrus”?

Then I noticed the most conspicuous word in the Poe story, and my phrase –

... the weird music Usher makes ...

Oh! ... that Usher ...

Moving along, and perhaps ahead, musically, my friend Agustín Gurza in L.A., longtime Latin music critic for the L.A. Times and now among the many proud ex-staffers of that once-great paper, recommends “Nueva Vida,” the new song from (quoting Agustín) “the brilliant Barcelona band Ojos de Brujo ... ‘Viene y va,’ says the swaying chorus. Life comes and goes. Very joyful.” Song/video here. Features the lead singer’s new baby.

I have never met, but am a fan of, one of Agustín’s friends, the great Rubén Blades, who has just released a new album, Cantares del Subdesarollo, which you can find on iTunes or on Rubén’s own site. What Blades has done thus far in his life is enough to make you dizzy. I would bet that, strangely, North Americans know him most from his part on the short-lived TV series Gideon’s Crossing, which barely gets a mention in his Wikipedia bio. The opening paragraphs of that article will give you a clue what kind of person we’re talking about here:

Rubén Blades Bellido de Luna (born July 16, 1948) is a Panamanian salsa singer, songwriter, lawyer, actor, Latin jazz musician, and politician, performing musically most often in the Afro-Cuban and Latin jazz genres. As songwriter, Blades brought the lyrical sophistication of Central American nueva canción and Cuban nueva trova as well as experimental tempos and political inspired Nuyorican salsa to his music, creating thinking persons' (salsa) dance music.

Blades has composed dozens of musical hits, the most famous of which is “Pedro Navaja,” a song about a neighborhood thug who appears to die during a robbery (his song “Sorpresas” continues the story), inspired by “Mack the Knife.” He also composed and sings what many Panamanians consider their second national anthem. The song is titled “Patria” (Fatherland). He is an icon in Panama and is much admired throughout Latin America, and managed to attract 18% of the vote in his failed attempt to win the Panamanian presidency in 1994. In September 2004, he was appointed minister of tourism by Panamanian president Martín Torrijos. He holds law degrees from the University of Panama and Harvard Law School.

This may just reflect how unhip I am on Blades’s music, but my favorite album of his is his collaboration with Willie Colón, Siembra (the all-time best-selling salsa record, so it’s a little like someone from Maracaibo saying “Oh, the Beatles? Sgt. Pepper, right?”). “Maria Lionza” from that album is one of my all-time favorite songs ... and I don’t even understand Spanish.

Sunset, Saturday, 5 September 2009

William Theodore Van Doren. Stony Point, Albemarle County, Va. Oil on paper, 16 x 20.

Not necessarily recommended: Reading “The Fall of the House of Usher” at midnight, by an open bedroom window, with a full moon, while coyotes start yipping madly just a mile away in the woods, like Shakespeare’s witches, and underneath those spectral sounds an owl begins calling, nearby, over and over, one of those with a long descending trill like a whippoorwill in reverse – and Lily, our 17-year-old blind cat, starts howling on the back porch.

It’s not even Halloween ...

In the story, I kept going back over a passage that made me think for a moment maybe Poe had anticipated hip hop, or at least the talking blues. Here the narrator speaks of the weird music Usher makes playing his guitar; I’ve added the italics:

... the fantastic character of his performances ... the fervid facility of his impromptus ... must have been, and were, in the notes, as well as in the words of his wild fantasias (for he not unfrequently accompanied himself with rhymed verbal improvisations), the result of that intense mental collectedness and concentration ... observable only in particular moments of the highest artificial excitement.

Then I thought – wait a minute. What about “I Am The Walrus”?

The author anticipated, in 1839, the nature of the very song in which he’s mentioned!

Man you should have seen them kicking Edgar Allan Poe

I was going to say I hope bats don’t fly out of the sunset for you, but actually we get them here a lot at twilight and they’re good to have around. And I think they’d be nice to Edgar, too.