Showing posts with label Music and Cinema. Show all posts
Showing posts with label Music and Cinema. Show all posts

July 22, 2010

Whitaker Music Festival: Funkify Yourself...



On the last Wednesday of June, we went to see Dawn Weber and the Electro Funk Assembly perform as part of the 2010 Whitaker Music Festival at the St. Louis Botanical Garden. The weather was cool and breezy, and because we arrived super early, we snatched a great patch of grass to the left of the stage, in the sun but partly shaded. Lovely. It sort of made me forget that I was no longer in the Bay Area.

One of the best things about the Whitaker Music Festival in the Gardens is that you can bring your own picnic and set up almost anywhere -- for FREEEEE. It was great! There were folks who wheeled in tables, champagne bottles, glasses, cheeses and delicious grapes. Others brought their BBQ and coolers with delicious food. I saw one couple who brought a cute little round table and votive candles; they sat around it with wine glasses in hand, reclining in armchairs. It was wonderful to see! Definitely go again next year!

Side note: This is a smoke free environment, which is much more preferable than the Saint Louis Summer Concerts (formerly Live on the Levee) which are sponsored by Budweiser et al. We went to the Clint Black concert (he was DIVINE!), but there was a lot of smoking, which I didn't much care for. We were also not allowed to bring in outside food and drink, so we set out our stuff on the sidewalk right outside the metal gate they set up around the perimeter and plunked down to enjoy our lemonade and chocolate. (It didn't take too long before an entire family of like 10 people showed up and hunkered down right next to us on the right, and then several more couples sat down to our left. And everyone brought their own food and drinks, too!) If the organizers had allowed people to bring in their own food and drinks, the concert would have been better attended. Oh, and if only Clint Black wasn't scheduled to perform at the same time as Lady Gaga at Scottrade Center, that might have helped. Overall, the country music was great!

March 9, 2010

God's Grandeur: Joshua Bell at Cal Performances

One of the last shows that I saw in Berkeley prior to my relocation was a performance by Joshua Bell (on Feb. 21, 2010). He appeared as part of UC Berkeley Cal Performances' 2009-2010 spring season, and he performed with Jeremy Denk on piano. They were amazing. Hearing the music, witnessing their musicianship, being a part of that night of un-rivaled art and magic -- I will never forget it. How is it that we as small human beings could carry so much energy, talent, vitality, beauty? Thomas Merton once wrote, "there is no way of telling people that they are all walking around shining like the sun." I believe that on that rainy February afternoon, each person left Zellerbach Hall with their ears ringing, each person's heart swelling and glowing like the sun. If Gerard Manley Hopkins is right, then that performance was a way for each of us to catch a glimpse of God's grandeur. It was, for me, a reminder that in the midst of the work and toil, between the frenetic activities of packing, boxing, cleaning, and preparing to relocate, I should and could still pause to hear the music. And, in hearing the music, remember to focus and center myself. It was a wonderful gift in those crazy last days in Berkeley.

The program was as follows:


Johann Sebastian Bach
Sonata No. 4 for Violin and Piano in C minor, BWV 1017 (ca. 1723)
-Siciliano: Largo
-Allegro
-Adagio
-Allegro

Edvard Grieg
Sonata No. 3 for Violin and Piano in C minor, Op. 45 (1886-1887)
-Allegro molto ed appassionato
-Allegretto espressive alla Romanza - Allegro molto - Tempo I
-Allegro animato

Intermission

Robert Schumann
Sonata No. 1 for Violin and Piano in A minor, Op. 105 (1851)
Mit leidenschaftlichem Ausdruck
Allegretto
Lebhaft

Maurice Ravel
Sonata for Violin and Piano (1923-1927)
Allegretto
Blues: Moderato
Perpetuum mobile: Allegro

God's Grandeur

The world is charged with the grandeur of God.
It will flame out, like shining from shook foil;
It gathers to a greatness, like the ooze of oil
Crushed. Why do men then now not reck his rod?
Generations have trod, have trod, have trod;
And all is seared with trade; bleared, smeared with toil;
And wears man's smudge & shares man's smell: the soil
Is bare now, nor can foot feel, being shod.

And for all this, nature is never spent;
There lives the dearest freshness deep down things;
And though the last lights off the black West went
Oh, morning, at the brown brink eastward, springs --
Because the Holy Ghost over the bent
World broods with warm breast & with ah! bright wings.

Gerard Manley Hopkins

November 27, 2009

On the earth distress among nations...

How goes it with my soul during this Thanksgiving season? As I've said before, my journey to pray the hours using Thomas Merton's A Book of Hours continues to be fulfilling, and challenging, during this time of year when there are so (too) many things to do. I remember to pray at the Dawn hour, at mid-Day, at Dusk, and in the Dark hour, and this ritual has helped center me in many ways, calling me to tune into the special moments at work, at lunch, at rest, etc. This attentiveness to the ordinary reminds me of the chapter in the book Seeds of Faith in which we are asked to practice prayer in ways that rejuvenate us.

A few Sundays past, one of the lections invited me to reflect on the power of prayer, and most pointedly, Hannah's prayer. The readings started me thinking of how I normally pray, and how fervently I do pray. Is it a primary part of my daily ritual? Is prayer even a part of my daily ritual?

In addition to reflecting on the ways in which I pray, I also began focusing more closely on how Eli mistakes Hannah's praying as drunkenness. After she feasts, Hannah prays, but does so silently. Because he is only reading her lips, and because he misread the context of the feast preceding her prayer time, Eli chastises Hannah for displaying drunkenness. How interesting that a priest, a man of God, would make such a mistake. Unable to see Hannah's deep sadness and intense distress, Eli tells her to put away her wine. How long does it take for a holy man to fall out of Love and out of Grace in such a way that prevents him from reading the signs? Perhaps it had been far too long since he last witnessed such earnestness in prayer. Perhaps it had been too long since Eli had experienced anything similar to Hannah's suffering. Perhaps he had forgotten how to recognize sadness.

This week's Gospel reading invites us to pay attention to signs, to not be lulled into passivity and complacency, to stay awake, to take note that "worldwide suffering accompanied by unstoppable cataclysm...marks the promised redemption (GBOD Worship). In Luke chapter 21, the people are told that the signs pointing to the new world, new kingdom, are quite different than what they expect. If they do not stay awake and attentive, they will misread the signs. And perhaps they will not only lose focus, but will miss the signs entirely.

As I mull over this text, I keep thinking back to the movie "2012" which I saw recently. Like many other movies of the cataclysmic-end-of-world genre (e.g. "Day After Tomorrow", "Armageddon", "Deep Impact"), 2012 also deals with signs. It begins with signs pointing to the earth's ecological destruction and ends with signs of renewal, rebirth, humanity (or attempts to gesture towards an ideology of justice, peace, equality, love). There are, of course, characters in the movie who are identifiers and interpreters of signals -- both the environmental/ecological signals and the other, more intangible signs of community, life, humanness. What's interesting is this: whether they are attempting to read signals emitted by the earth (recognized by massive, destructive earthquakes and tsunamis), or they are reading subtler, more nuanced behaviors demonstrating a certain kind of compassion, some "get it" (the signals) from the very beginning (the Woody Harrelson character maybe? or the scientist protagonist?) and attempt to broadcast/interpret what they see. Some don't "get it" until the very end (there are several characters that I can think of in the moview, but I'm also remembering Eli who finally understands Hannah's situation). No matter what, there is always a messenger, a voice calling out in the human desert, interceding on behalf of others, on behalf of humanity.

For me, the challenge this week is not in reading the temperatures to gauge whether the earth will explode, or whether the ice caps will melt causing tsunamis, or whether earthquakes in California will send me floating out into the Pacific. I'm unable to read the stars or the sun or the moon.

For me, the invitation is to pay attention to the human signals, those emitted and transmitted by the people around me/us, who are oftentimes difficult to understand. It is, in a way, similar to Eli attending to Hannah's signs of distress, finally being able to recognize her sad countenance which was later transformed after her prayers were interceded by Eli. The community within which I live, work, and play provides the barometers to which I/we should attend. Those are the signs telling us there is food to be served, there is hunger to be fed, there is disease to be cured, there is homelessness to shelter. There is compassion to be shared and experienced.

Be alert at all times, praying that you may have the strength...

October 28, 2009

Regina Carter: Reverse Thread

If you have not heard Regina Carter perform, you are missing out on a heart-stirring experience. A few Saturdays ago, Regina Carter performed her last show at Yoshi's in Jack London Square. The experience? Absolutely breathtaking.

Violins, bass, ancora (spelling?), accordian, drums. African folk melodies in contemporary re-interpretations. We heard songs from the African diaspora, including songs from Uganda and West Africa. First, the field recordings of the folk songs would be played, then Carter's group would play for us the new, contemporary re-interps of the melodies and rhythms. Delicious rhythms and beat. Melodies that seemed to drift in and out of some strange land that is here, physically present, and now, but also distant and of the past and of the future.

All the songs performed were from her upcoming album, Reverse Thread (release date January 2010: "a collection of infectious African folk melodies in a beautiful, contemporary interpretation").

You must, must, must get the CD when it comes out. I will.

October 6, 2009

Green Idiots, the American Way

Sex, drugs, and Rock & Roll. This past Saturday, I went with She-Who-Is-Named-TMMITU to see American Idiot at the Berkeley Repertory Theatre.

It was breathtaking, no, it was heart-thumping, head-swinging, wild, crazy ... The opening number had me leaning forward in my seat (partially b/c I could barely see over the raised bar on the Mezz), feet tapping along, head rocking. What I really wanted to do was jump up and down, but they had warned us to stay in our seats. The play was a non-stop performance of grit, dirt, sex, drugs, rock and roll...

Green Day won two Grammys for its multi-platinum album American Idiot, which sold more than 12 million copies worldwide. Now those searing songs seize the stage with the director behind Spring Awakening, the groundbreaking musical that earned eight Tony Awards and enthralled audiences around the world. American Idiot follows working-class characters from the suburbs to the city to the Middle East, as they seek redemption in a world filled with frustration. This high-octane show features every track from the album, plus several new tunes from Green Day’s newest release, 21st Century Breakdown. With an on-stage band and a cast of 19, American Idiot will take you on an exhilarating journey borne along by Green Day’s electrifying songs.



The three characters, Johnny (John Gallagher, Jr.), Will (Michael Esper), and Tunny (Matt Caplan) were amazingly portrayed on the stage. Watching the scenes unfold, I could not help but ponder how it is that such young people could harbor so much talent, angst, passion, devotion, hurt -- all wrapped up, stapled together, bursting forth, spewing over, in a trundle of laissez-faire attitude.

music by green day
lyrics by billie joe armstrong
book by billie joe armstrong and
michael mayer
choreographed by steven hoggett
directed by michael mayer


The setting was incredibly well-done: T.V. sets embedded into the walls on the stage from top to bottom; Musical instruments used as furniture and props; Windows appearing and disappearing behind the mask of virtual graffiti blanketing the stage walls.

At one point, I realized that the cellist was hidden under the stairs, a stage detail that I didn't notice until the 19-member cast wheeled the stairs around the stage and proceeded to climb all over the contraption.

What I am amazed by:

+ The artistry of weaving Green Day's music into a story, a narrative that begins in, departs from, and returns to Jingletown, America
+ The fusion of incredible beat and rhythm, melding rock and roll with sex and drugs with politics and war
+ The subtle questions of relationships, commitment, sacrifice that undergird the loud, broiling, boisterious definitions of self, identity, nation
+ The not-so-subtle defiance (re-writing) of identity narratives, communal history/histories, justice, apathy, authenticity

What I wonder about:

+ How did Michael Mayer write that story out of a bunch of songs on a Green Day album?
+ How can I use my own talents, my own writings to inspire such passion and devotion?
+ Why did I never join a rock band? Would anyone take me?

It was a wonderful adventure into a completely different world. As I watched the play, along the journey, I felt like an idiot, totally green, totally naive to what things might have been. What is my version of Jingletown, I wonder?



Song List from the Play
American Idiot
Jesus of Suburbia
City of the Damned
I Don't Care
Dearly Beloved
Tales of Another Broken Home
Holiday
Boulevard of Broken Dreams
Favorite Son
Are We the Waiting
St. Jimmy
Give Me Novacaine
She's a Rebel
Last Night on Earth
Too Much Too Soon
Before the Lobotomy
Extraordinary Girl
When It's Time
Know Your Enemy
21 Guns
Letterbomb
Wake Me Up When September Ends
Death of St. Jimmy
East 12th Street
Nobody Likes You
Rock and Roll Girlfriend
We're Coming Home
Whatsername

September 25, 2009

Wynton Marsalis and the Jazz at Lincoln Center Orchestra

Saw them at Zellerbach on Tuesday, 9/22. Heard Joe Temperley's most beautiful rendition of Ellington's "Single Petal of a Rose." Please, please go buy a copy of it. It is so beautiful. You will be reminded of Rumi:

We, who are parts of Adam, heard with him
the song of angels and of seraphim.
Our memory, though dull and sad, retains
some echo still of those unearthly strains.

August 3, 2009

Let the Wild Rumpus Start!!

One of my favorite children's books, Where the Wild Things Are, by Maurice Sendak, is being released on October 16, 2009. Yayyy!!!

I'm not certain whether I will enjoy the movie as much as I enjoy the book, but it will surely be an adaptation to see.

Right now, I feel like Max. I want to climb in a boat and sail away into some distant jungle.

I want to join in with the wild rumpus, BE the wild rumpus. I want to be THE wildness, be such a rumpus that no one can stop me.

I want to get out of that jungle, or, get into that jungle.

I would like to hide away in that wild suit and jump and roar RAWR!!!

Join me?

April 20, 2009

Wicked

Last Saturday, we went to see "Wicked" at the Orpheum in SF. It. Was. Phenomenal. This is what it means to re-interpret the story, to re-write a story in a way that honors and uplifts strong women who are not afraid of being different. This musical asks me to reconsider how I define good, bad, evil, wicked, etc. It asks me to think about our inner motivations and our inner mysteries. Always, we are asked to reveal our inner selves, to expose our deeper layers as if we were onions always wearing layers to be peeled. But what happens if we do as Gregory Maguire does for Alphaba and actually heighten our mysteries? How much more interesting and complicated life is!

How many women do we know who are willing to defy gravity, to not accept limits imposed upon them?

Something has changed within me
something is not the same
I'm through with playing by the rules
of someone else's game
too late for second-guessing
too late to go back to sleep
it's time to trust my instincts
close my eyes and leap

It's time to try
defying gravity
I think I'll try
defying gravity
and you can't pull me down

I'm through accepting limits
'cuz someone says they're so
some things I cannot change
but till I try, I'll never know
Too long I've been afraid of
losing love I guess I've lost
Well, if that's love
it comes at much too high a cost
I'd sooner buy
defying gravity
Kiss me good-bye
I'm defying gravity
and you can't pull me down


- "Defying Gravity", from Wicked, Music and Lyrics by Stephen Schwartz

April 14, 2009

Thu Vàng Trên Lối

Tình em sao vẫn bơ vơ
Giữa cơn mưa buồn
Yêu người trong muôn ngàn thương
nhớ tiếng yêu vắng xa
Làm sao quên câu hát trên môi cười dở dang
Yêu làm chi mùa thu đã rơi bằng lối đi
Từng giọt nắng đã gởi nhớ thương
trong khúc nhạc êm đềm
Tình yêu đã phai
Đừng có chờ mong
Sao ngàn năm em vẫn mơ ước được bên người
Trên giòng sông thao thức cho giấc mộng ngày mai

Tình bao năm vẫn mong manh
Bóng đêm mơ màng
Yêu người cho mưa sầu giăng kính bóng đêm lẻ loi
Từ nay em xin hát cho bao mộng ước xưa
Yêu người cho màu hạnh phúc muôn đời vẫn yêu
Từng giọt nắng đã gởi nhớ thương
trong khúc nhạc êm đềm
Tình yêu đã phai
Đừng có chờ mong
Sao ngàn năm em vẫn mơ ước được bên người
Trên giòng sông thao thức cho giấc mộng ngày mai

- Nhạc ngoại quốc
- Lời Việt: Khúc Lan


April 13, 2009

Niệm Khúc Cuối

Dù cho mưa tôi xin đưa em đến cuối cuộc đời
Dù cho mây hay cho bảo tố có kéo qua đây
Dù có gió, có gió lạnh đầy, có tuyết bùn lầy
Có lá buồn gầy, dù sao, dù sao đi nữa tôi vẫn yêu em

Dựa vai nhau cho nhau yên vui ấm áp cuộc đời
Tìm môi nhau, cho nhau rã nát, rã nát tim đau
Vừa đôi tay, ước muốn tù đầy,
tóc rối bạc màu vết dấu tình sầu
Nhìn em, nhìn em giây phút, muốn nói yêu em

Xin cho tôi, tôi như cơn ngũ
Ru em, đưa em một lần
Ru em vào mộng, đưa em vào đời
Một thời yêu đương

Cho tôi xin em như gối mộng
Cho tôi ôm em vào lòng

Xin cho một lần, cho đêm mặn nồng
Yêu thương vợ chồng

Dù mai đây ai đưa em đi đến cuối cuộc đời
Dù cho em, em đang tâm xé, xé nát tim tôi
Dù có ước, có ước ngàn lời, có trách một đời
Cũng đã muộn lời
Tình ơi! dù sao đi nữa xin vẫn yêu em

- Sáng tác của Ngô Thụy Miên


March 17, 2009

Ladysmith Black Mambazo


Last Thursday, I went with a few friends to see and hear Ladysmith Black Mambazo at UCB's Zellerbach Hall. They were phenomenal. Great harmonies, fun, creative, beautiful... They are amazing musicians.

Go here to read their biography. Brief info on the group:

Ladysmith Black Mambazo represents the traditional culture of South Africa and is regarded as the country's cultural emissary at home and around the world. In 1993, at Nelson Mandela's request, Ladysmith Black Mambazo accompanied the future President to the Nobel Peace Prize ceremony in Oslo, Norway. Mambazo sang again at President Mandela's inauguration in May of 1994. They are a national treasure of the new South Africa in part because they embody the traditions suppressed in the old South Africa.

The traditional music sung by Ladysmith Black Mambazo is called ISICATHAMIYA (Is-Cot-A-Me-Ya). It was born in the mines of South Africa. Black workers were taken by rail to work far away from their homes and their families. Poorly housed and paid worse, they would entertain themselves, after a six-day week, by singing songs into the wee hours every Sunday morning. Cothoza Mfana they called themselves, "tip toe guys", referring to the dance steps choreographed so as to not disturb the camp security guards. When miners returned to the homelands, the tradition returned with them. There began a fierce, but social, competition held regularly and a highlight of everyone's social calendar. The winners were awarded a goat for their efforts and, of course, the adoration of their fans. These competitions are held even today in YMCA assembly halls and church basements throughout Zululand South Africa.


Throughout the first portion of the performance, I kept wanting to listen carefully to distinguish the different harmonies, but I learned it was just more enjoyable to close my eyes and listen to the beautiful notes drifting up from the eight microphones and enveloping us in a capella melodies...

At one point, the entire auditorium joined in song with the group. For the finale, the group invited members from the audience to go on stage to dance with them. It was absolutely amazing. Go here to see if their tour will bring them to your neck of the woods...

January 20, 2009

Musical Composition for Obama Inauguration

"Air and Simple Gifts" -- a composition arranged by John Williams for the 2009 Inauguration of President Barack Hussein Obama.



See the joy on their faces!!

Itzhak Perlman (violin), Yo-Yo Ma (cello), Anthony McGill (clarinet), and Gabriela Montero (piano)

January 16, 2009

Somewhere Only We Know

is this the place we used to love?
is this the place that i've been dreaming of?

oh simple thing where have you gone?
i'm getting old and i need something to rely on
so tell me when you're gonna let me in
i'm getting tired and i need somewhere to begin

this could be the end of everything
so why don't we go
somewhere only we know


- Keane, Hopes and Dreams

December 9, 2008

Dick Hindman Trio

This past Friday, I went to see the Dick Hindman Trio at the Jazz School in Berkeley. Phenomenal music, and such cute, cute gentlemen! CB was my favorite to look at... He looked literally like a little bobblehead figurine seated behind his drum set, bobbing away. He keeps a mean beat. Solid.

Dick Hindman
? Nothing that I can say could describe him. His humor, his skills, his musicianship, his experience. Everything sounded so perfect. Perfect.

And the bass player? Such gorgeous sounds. A deep soul soothing toe tingling warmth that reverberated from the belly of the instrument all the way to my bones. Like there was a string tied from the bass to my belly button and he was plucking my heartstrings...

It was amazing.

Listen to Sheena's Song (Sheena is his wife) here.

November 22, 2008

Joni Mitchell's "Both Sides Now"



Both Sides Now

Rows and floes of angel hair
And ice cream castles in the air
And feather canyons everywhere
I've looked at clouds that way

But now they only block the sun
They rain and they snow on everyone
So many things I would have done
But clouds got in my way

I've looked at clouds from both sides now
From up and down, and still somehow
It's cloud illusions I recall
I really don't know clouds at all

Moons and Junes and Ferris wheels
The dizzy dancing way that you feel
As every fairy tale comes real
I've looked at love that way

But now it's just another show
And you leave 'em laughing when you go
And if you care, don't let them know
Don't give yourself away

I've looked at love from both sides now
From give and take, and still somehow
It's love's illusions that I recall
I really don't know love
I really don't know love at all

Tears and fears and feeling proud
To say I love you right out loud
Dreams and schemes and circus crowds
I've looked at life that way

Oh but now old friends they are acting strange
And they shake their heads and they tell me that I've changed
Well something's lost, but something's gained
In living every day

I've looked at life from both sides now
From win and lose and still somehow
It's life's illusions I recall
I really don't know life at all

It's life's illusions that I recall
I really don't know life
I really don't know life at all

November 11, 2008

On My Knees: lyrics

There are days
when I feel
The best of me
is ready to begin
Then there's days
when I feel
I'm letting go
and soaring on the wind
'Cause I've learned in laughter or in pain
How to survive!

I get on my knees! (x2)
There I am before the Love
That changes me
See I don't know how
But there's power
When I'm on my knees

I can be
in a crowd
Or by myself
and almost anywhere
When I feel
there's a need
To talk with God
He is Emmanuel
When I close my eyes,
no darkness there
There's only light!

I get on my knees (x2)
There I am before the Love that changes me
See I don't know how, but there's power
In the blue skies, in the midnight
When I'm on my knees
I get on my knees (x2)
There I am before the Love
That changes me
See I don't know how, but there's power
When I'm on my, oh, when I'm on my
When I'm on my knees