Life~Trouble~Tragedy~Music!

In chapter 18 of King of Soul, we encounter one exploration of how music arises from human life.
In the year 1969, Professor Victor Komienko explains to his Music Appreciation class how a certain kind of music may arise:

“The University is the Defender of  high standards in all of the arts; music is no exception. In the slings and arrows of outrageous  intrusion, the best standards of the ages are maintained at the Conservatory, or as we have here, the University. This is a college where the fundamentals of performance are passed on to the next generation of musicians, and where time-tested principles of effective composition are taught. At the same time, the Conservatory—or  University—retains and extends those foundations, so that appropriately innovative works can be brought forth.” Dr. Komienko looked up to the top row of the auditorium; he surveyed his class purposefully from the top row down. The baton in his hand tapped out a quick little rhythm on the podium.
        “Do you have any questions so far?”
        Teddy, halfway up the center aisle, raised his hand.
        “Mr. Scher, of course you would have a question.”
        “How do you feel about electrified instruments?”
        “You are asking about electric guitars?”
        “Yes, sir.”
        “As you know, electric guitars have a high profile in contemporary popular music. As for their use in the classical legacy, we have not yet seen it. I will say, however, there is an indirect influence insofar as some of the big jazz bands of the 1930’s, such as Duke Ellington and Cab Calloway.  The electric guitar, used primarily as a rhythm instrument, has become a standard part of their jazz arrangements.
        “George Gershwin has included in some of his compositions rhythms and melodic figures that originate with the Negro music, which has been brought over, as we know, from Africa. Gershwin’s Rhapsody in Blue is the most notable example of this influence. The sound of the electric guitar itself, as an instrument, has not yet been heard to any extent that I know of.
        “Traditionally, the guitar, unamplified as an acoustic instrument, has found an honorable place in the classical repertoire, most notably in the works of Spanish composers such as Segovia, and  Rodrigo.”
        Teddy Scher raised his hand again.
        “Yes?” Dr. Komienko responded, with a slightly disconcerted tone.
        “Have you heard that the London Symphony has performed with the Moody Blues?”
        “I have heard that they have done that. I have not heard any of the recordings. Thank you, Mr. Scher, for bringing that to my attention. We must, however, move forward with our syllabus now. Today, we will listen to a selection from the Italian Baroque period, Vivaldi’s Summer movement of the Four Seasons.
        “The composer wrote notes to communicate to the orchestra the character of the music. In this case, Vivaldi had written a poem, which included the image of a shepherd boy being frightened by the fury of a thunderstorm. Vivaldi evokes, in the music, the fearsome effect of that storm. Additionally, he wrote at the top of this score—the piece you are about to hear—this musical instruction: Tempo Impetuoso. What does that tell you? Let’s listen to it, and perhaps  we will comprehend just what the composer was indicating by the use of that descriptor, Impetuoso. I do believe, Mr. Scher, that you will agree with me after hearing it, that, in some ways, Antonio Vivaldi was a forerunner of the rock music genre, which is driven, in its 20-th century heart, by that”—the professor raised his hands, indicating quotation marks with his fingers—“electric guitar you mention.”
       “Of course, there were no electric guitars in Vivaldi’s day. However, in this case—the piece you are about to hear—I believe that same impetuous spirit of a present-day  lead guitarist was resident in a virtuoso  solo violinist of that day, whoever he might have been at the time.
       “The violin concerto—commonly  called  Le Quattro Stagioni, or the Four Seasons—was originally named by Vivaldi, in 1725, as Il Cimento dell’ Armonia e dell’ Invenzione , or translated, The Contest of Harmony and Invention. Perhaps, as you listen to this selection from it, you can surmise why the composer considered this work to represent a contest—or a sort of dual—between conventional notions of what music should be, as opposed to what music is as it is created and performed by the impetuous innovator—in this case, the soloist. Such  is the perennial contest, from age to age, between art that is generally acknowledged as appropriate and new art that is thought to be too disruptive.
        “Now listen, and hear if you can, , the composer’s prescient gleaning of what music might become two and a half centuries later.  Arnold, please roll the tape. . .”

You will find one demonstration of this phenomenon here:
https://www.youtube.com/watch?v=kaoqCARilbA 


King of Soul

America Bleeding

In the middle of my teenage years, back in the day, I was a high school student. On the other side of the city where I grew up, our state university provided education for thousands of students who had already matriculated to the college level of learning.

Here is a picture which I lifted, by iPhone helicoptering technology, from a book that I recently perused. The image depicts a campus walkway, circa 1965, where students are going into and out of the LSU student Union building. A few years after this photograph was snapped, I became one of those students, 1969 version, who traipsed from class to class on the campus of LSU.

The book from which this image is lifted is linked here:

https://www.amazon.com/Treasures-LSU-Laura-F-Lindsay/dp/0807136786

This morning, while viewing this photo as part of the research for the novel that I am now composing, I found something interesting about it. Take a look at the apparel that these students are wearing. Most of them are clothed in solid colors, which, in this photo, registers as either black or white. On almost every student whose garb depicts this black/white arrangement, the black is on the lower half of the body--the pants, or skirt part.

Considering the way Americans dress nowadays, this seems to be a boringly plain, regimented arrangement. It is, however, perhaps a little more dignified than what we might see at a typical 2016 visit to, say, Walmart, McDonald's, or any college or university.

Notice, however, that six of these students in the picture are wearing a clothes motif that stands apart from the black/white pattern. And in every one of these six individuals, the fashion statement is the same:

Plaid.

Six students are wearing plaid.

This was a new trend in youthful clothing during the mid-1960's. It was, however, the beginning of a virtual tsunami of color that would be be flaunted in the coming years, in the clothes and fashions of young people. By the end of the decade, this small bursting forth of crisscrossed chromaticism would metamorphose into a riot of self-expressive color displayed uninhibitedly on our young bodies. Thus would we baby boomers strive, in our own threadish way, to find and establish own generational identity.

My memory of this elaborative fashion development began in my eight-grade, 1964-65. The pattern retained in my mind from that time is a certain kind of plaid:

Madras.

The Madras plaid came from India, specifically a city there named Madras, which has since had its name changed to Chennai.

What was really groovy for us back in the day was that Madras plaids had an earthy, handwoven look. The fabric itself had curious little irregularities in it. . . little clumps in the thread, and variations in the weaving. The look and feel of it was a departure from the American stuff, which was obviously machine-made, bland and boring.

So we started wearing the Madras plaid in--I think it was--about 1965. This photograph seems to have captured the very inception of that style-shattering sea-change in our thread preferences.

A very attractive feature of the Madras was this: it bled.

When you washed your plaid shirt, or pants, the colors would "bleed."

With each washing, the threaded pigments would migrate slightly out into the white regions of the fabric.

This was way-cool.

It was groovy. All that color was leaping out of the grooves of regimented style, testing the compartmentalism of society, violating the tick-tacky of conformity, even setting the stage for a fading American resolve to retain our post-WWII position as policeman of the world.

But this fashionable Madras bleeding was but a small shriveling on the torso of the American corpus writ large.

At the same time, in the mid-1960's, America was bleeding real, red blood, and it wasn't cool.

It was hot blood, 98.6 degrees.

America was bleeding in Vietnam.

America was bleeding in the ghettoes of the cities.

America was bleeding in Selma.

America was bleeding in Watts, in Detroit.

America would bleed in Orangeburg, at Jackson State, at Kent State.

But that was nothing new.

America had bled at Lexington and Concord, at Yorktown.

America had long been shedding blood in the cotton fields, and at the trading blocks in New Orleans, in Charleston.

America had bled in Kansas, and at Harpers Ferry, Fort Sumter, Antietam.

America bled at Gettysburg and Appammatox.

America bled at Little Big Horn and at Wounded Knee.

America bled through the hands, the arms and backs and feet of thousands of immigrants who drove steel stakes into the railways that stretched all the way from Boston to San Francisco.

America bled at Haymarket, Chicago

America bled prolifically at Verdun, Amiens, Flanders

America hemorrhaged at Pearl Harbor, at Normandy, at the Bulge, at Iwo Jima and Guadalcanal and Okinawa.

And America continued its bloodletting in Korea, at Inchon.

America bled at Ia Drang, at Khe Sanh, at Saigon and Hué and Danang.

America wept bloody tears at My Lai.

America bled from Kuwait to Baghdad

America bled in Beirut and Mogadishu, and in Kosovo.

America bled at the Word Trade Center on 9/11.

America bled at Fallujah, and in Helmand, Qandahar and Kabul.

America weeps for the blood shed at Mosul and Aleppo.

America weeps, America bleeds in millions of D&C'd in uteri.

We have always been bleeding somewhere. It is the way of all flesh.

And America is still bleeding; she is bleeding now.

As to which way we will be bleeding tomorrow, that remains, until 11/9, to be seen.



Glass half-Full

Walking into a Maelstrom, 1969

I graduated from high school in May of 1969. Then I left home and went to college. What a change that was. There was a lot going on at the university.

I think most kids who leave home at the tender age of 17 find out that there's a whole 'nother world going on out there, and it seems quite different from what they grew up in. It's exciting, like turning over a new leaf, or starting a new chapter of life.

Now that I'm past sixty, I've gained some perspective that I didn't have then. And since reading and doing historical research are pursuits I enjoy, I've decided to study that decade in which I lived as a teenager--the 1960's.

I have a feeling I'm not the only boomer who is doing this, which is why the stuff of my research will eventually be written as a novel, my fourth. It is named King of Soul.

Back in September '68, when my senior year in high school had just begun, I addressed our student body as the incoming President of the Student Council. I remember telling them something about there was a lot going on out there in the world, and that our generation seemed to be discontented. But we, as responsible young adults at a Catholic high school, could certainly change the world by acting reasonably and playing by the rules. The students rewarded my innocent positivism with a standing ovation at the end.

About a year later, when I was a freshman at LSU, I began to see (although not necessarily understand) that my well-received idea of playing by the rules was not so simple as I had presented it.

There was, indeed, a lot going on in in 1969, and a lot of that change was being propelled by kids, not much older than I, who were working against the system with organized resistance, rather than "playing by rules." There was an authentic reason for this.

The Vietnam War.

One of the things that happened to me while I was discovering all this angst and protest in my g-generation was the draft lottery. My number came up 349, so I didn't have to worry about being drafted. I would be able to stay in school without being called to go fight the Viet Cong.

Nevertheless, all that '60's stuff was not just about the war. There was something happening here:

https://www.youtube.com/watch?v=f5M_Ttstbgs

Among the war-protesters, there was a wide array of strategies being implemented to end the war--everything from pacifist Episcopalians, to SDS "bring the war home" agitators, to outright Weatherman revolutionaries.

In the research I am now doing, here is something I have come to understand clearly:

The seeds of antiwar, anti-establishment resistance tactics were sown into the American experience during the Civil Rights movement of the 1950's-60's.

Oppression breeds Resistance, which leads to Tactics.

You know what I'm talking about--Little Rock Schools, Rosa on the bus, Dr. King's courageous, nonviolent leadership, Selma, Greensboro Woolworth's sit-in, voter registrations in the deep South, etc. It was mostly black folks getting organized.

Medgar Evers had fought in the Great War, in Europe. He was a hero, like all them Americans and others who had run the Nazis into the ground back in '45. But when Medgar got back to Mississippi (where I was in the 1950's a clueless white kid living in suburban Jackson), he got on a bus to ride back to his hometown, and the driver told this war hero-- who had risked his life for our freedom-- to go the the back of the bus!

Say what?

Medgar, being a man of peace, a Christian--well, he got through that humiliating incident--but he quietly went about his bid'ness. But he got to thinking he might try to help his people make some changes (and he was playing by the rules) so he started working with the NAACP to get black folks registered to vote in his home state.

But in June, 1963, brother Medgar was shot dead, near midnight, in his own front yard.

Now that--along with all the other injustices being brought into the light of day-- got the attention of a lot of Americans.

So some of us honkys started to see the light and get involved.

The next year, 1964, saw a flood of white folks headed from up Nawth, going down South, to help black folks get organized and register. The whole movement was called the Mississippi Freedom Summer. It was a great event in American history, except for when Andrew Freedman, James Chaney, and Michael Schwerner got murdered.

During that sweltering summer in Mississippi, the seeds of American antiwar, antiestablishment resistance were sown. White kids from Boston, Philly, Santa Monica and Sausalito and everywhere in between went down south to help black folks.

And the black folks taught 'em how its done--civil disobedience to resist injustice, in the streets of America.

There were hundreds of white kids who went. To name just one: Mario Savio, who went down South to do civil rights work, then returned to his home in California. Later that fall, 1964 he climbed on top of a car so he could be heard while making a speech about a local issue to his fellow protesters.

And the Free Speech Movement was born in Berkeley.

Now, go back to the future--the year I was telling you about when I started this piece--1969:

While the Free Speech Movement in Berkeley was still rattling the ivys at colleges all across the nation, including the campus at LSU were I was a clueless freshman . . .

The administrators of the University of California at Berkeley had bought a vacant lot very close to campus. It was, according to David Obst, in his book, Too Good To Be Forgotten, a "three-acre field the school had bought a couple of years before."

http://www.amazon.com/Too-Good-To-Be-Forgotten/dp/0471295388

David writes:

"In mid-April a number of street people decided the field would make a groovy park. They decided to reclaim the land from the university and give it back to the people. All this was to be done under the doctrine of squatters's rights.

For the next few weeks, hundreds of students and street people, folks who wouldn't work if their parents or employers begged or paid them, worked for free at the park. They transformed the mud-splattered field into a grass-covered park by bringing together a weird collection of sod, shrub, and seedlings. A grove of apple trees was planted and and a brick walkway was laid. Swings and a sandbox for kids were put up; there was even a fishpond, and a . . .'revolutionary cornfield.' "

Now, I, reading this, thought that was a pretty productive, creative way to make good use of a vacant lot.

But of course the Berkeley admins didn't think so, so the chancellor called Governor Reagan, who called in the National Guard, and things got ugly, kind of like, you know, Selma, or you know--but this was a bunch of white kids.

By 'n by, I later came to appreciate Ronald Reagan, when he was President. But this was not one of his shining moments.

Which gets to my point: there are two sides to every story. Confusion is the order of the day when you're a freshman.

When I walked into the college maelstrom of 1969, I was entering a storm of controversies. . . with both sides right and both sides wrong. How was I to make sense of it all?

As I later learned from Scriptures: "There is not one right, no, not one."

The long, collegial tradition of free thought and orderly discourse was being challenged from both sides--left and right--during those tempestuous days. On the left, the "Movement" was being split. A huge rift was tearing the violent-prone revolutionaries apart from the "play by the rules" nonviolent protesters.

David Horowitz, years ahead of me, had been, along with David Obst (quoted above) in the very thick of the antiwar, antiestablishment resistance during those days. But later, in the 1970's, he changed his tune and his political affiliations. In his book, Radical Son, Horowitz wrote:

http://www.amazon.com/Radical-Son-A-Generational-Odyssey/dp/0684840057

"Although the Panther vanguard was isolated and small . . .its leaders were able to rob and kill without incurring the penalty of the law. They were able to do so, because the Left made the Panthers a law unto themselves. The same way the Left had made Stalin a law unto himself. The same way the Left makes Fidel Castro and the Sandinista comandates laws unto themselves."

". . .the best intentions can lead to the worst ends. I had believed in the Left because of the good it had promised; I had learned to judge it by the evil it had done."

Such is the electrifying commotion of ideologies and tactics that I walked into while starting college in 1969. And I am still trying to figure it all out--who is right, who is wrong.

More about all this later. Film at 11. Book in, probably, about three years.



Glass half-Full

for #BigIdeas2015 about reworking college

This morning I responded to Jeff Selingo's education reform forum on LinkedIn, #BigIdeas2015.

https://www.linkedin.com/pulse/big-idea-2015-lets-rethink-jeff-selingo

Here's what I wrote:

I have been underemployed all my adult life, but that's okay. The best things in life may be related, in some ways, to education, but satisfaction with life accomplishments are not absolutely dependent on education.

Now approaching the golden years of life, I have gathered a lifetime of useful knowledge, which I would like to pass on to the next generations. Here's why:

My somewhat unpredictable forty+ years of employment and raising children with my wife have convinced me that a broadly diversified foundation of education is absolutely worth more that its weight in gold. In modern life, especially now in our age of digital communications, there is no substitute for developing three essential educational components, which collectively constitute an advantageous preparation for successful life. Here are the three components:

~ knowing how to read, and read thoroughly with comprehension and critical analysis

~ knowing how to write, and express yourself and what you have learned

~ knowing how to communicate verbally, and accurately (for instance, without constant mentions of "like" and "um.")

In 1973, I was a confused, but fairly well-read, senior at LSU. With a concentration in general humanities, mostly political science and English, I managed to escape four and a half years of trying to figure this "education" thing out. Fortunately, that prolonged effort yielded for me a baccalaureate, which I held in my hand while launching a "career" in life insurance sales.

The life insurance phase was short-lived. But that did not, as it later turned out, matter so much.

After moving to Florida, spending the better part of a year selling policies to low-income people, I moved into newspaper advertising sales for a season, then into printing sales for about five years.

Then I decided to become a carpenter. Ha! Who'd have thunk it?

So I was, making a long story short, in construction for twenty-five+ years. I built houses, working for contractors in North Carolina where we had settled with our young family. Thus we managed to make a living, feed the kids and all that. My wife moved out of her stained glass business and into nursing shortly after our third child entered middle school.

All along the way, I was a reader, and that is the key to education--learning how to be a lifelong reader, and thereby cultivating a lifelong proficiency for self-education.

About ten years ago, I decided to enter the field of education. After taking courses part time for a couple of years at our local state university, I acquired several teaching certifications. After Praxis, student teaching and acquiring certifications in four subjects, I worked in a school for about two years in a supportive role.

Then the crash of '08 came, followed by the budget-cutting of '09. One thing led to another, and our own household budgetary requirements required that I move back into construction-related work, which is to say, maintenance. Now I fix things in 92 apartments; its a full time job, and works well with my wife's nursing career.

Eight years ago, I started writing and publishing novels; I'm working on the fourth one now, which is named King of Soul. You can find more about those writing projects and the blogs that complement them at http://www.careyrowland.com.

Also, the improvised resumé includes forty+ years of writing songs and recording them in various studios.

Here's hoping that before all this is over, I will be able to fulfill the educator role in some way. There is a lot to be said for a life that is spent in continuous reading and seeking knowledge. Knowledge of both kinds: the artistic, and the practical. I do hope to pass it on; a classroom setting could be helpful.

So, if you are considering a rework of the "college" experience, shoot me a digital note and we will talk about #BigIdeas2015. Thanks.

carey.rowland.glasshalffull@gmail.com

Glass half-Full

Ideal Academé

To stroll beneath this leafy green
beneath a sky so blue,
while contemplating beauty, truth, and the dream
of concepts that are true,
perpetually engaged in pristine pursuit
of knowledge--this is bliss,
until the real world plops its bitter fruit
upon your idyllic blissful tryst.
Oh, these perfect roses have inspired us
with such rare beauty, exquisite perfection;
and our winding paths of conceptual trust
lead to groves of virtual subjection.
But if ever we should stumble,
and forsake the pure ideal,
perhaps it's then we will be humble
and think the way we feel.

Glass Chimera