Saturday, June 20, 2009

Frida Kahlo's "Henry Ford Hospital" and "Roots"; Ben Harper's "Alone"




My awesome yoga teacher once advised me about some physical ailments I was having, to try and observe and address the pain and ailment without the emotional attachments. This reminder gets at the crux of our health and identification. Stuff is happening, but what are we emotionally attaching to that stuff? In essence, whatever "that" is, is the pain itself. Not necessarily the neuron signals, but how we interpret them emotionally. So if we can identify the emotions, we're on the road to recovery, by addressing the fear factor. This week was particularly hard to practice this belief... but at least I had his words in my head as a mantra so as not to get completely lost in the emotions, and dive into utter despair. When health is compromised, it makes you think of lots of things, mortality on many different levels, and brings images you've known to mind. Again, same yoga teacher in class yesterday, also told us a story that reminds me in this context, that perhaps those feelings of mortality are not misguided. It's just, not necessarily of the whole being. It's more about, what part of you needs to die?... And thus give way to another rebirth. That's my mantra for today.

Friday, June 19, 2009

"BitchesBrew" Miles Davis



What today's rain conjured. One of the best album covers of all time. I kept thinking, as I battled wind that changed its mind moment to moment and rain that followed it, that the storm felt like a witch's brew, and I heard this soundtrack with this visual projected in my head as I swam and beat my way through city blocks.

Wednesday, June 17, 2009

Jason Nocito, Photographer






The top 2 images is what today feels like. The third (Cat Power) and fourth is what I wish today was instead. And the tubesocks-in-heels is just dope. Photographer is Jason Nocito, have no idea how I ran into his site, but I particularly like the collages/juxtapositions in the "The Ego Has Landed" section, and the Mumbai section. His colors tend to be muted, they feel like film gone bad by age and exposure, flat lighting, wispy. What I particularly appreciate is an artist with a website that's fast and easy to navigate, well organized, good looking, with good work. Oh, and I would also add the drill sound from my dentist visit today as the soundtrack for the first two images.

Tuesday, June 16, 2009

Daddy's Girl


This daddy's girl
is still trying to accept
that she'll never get to know
her father. He's long gone.
He doesn't want to be known.
He's such a fragile thing,
he who was once her hero.

And when time
takes its bounty,
what will she be left with
for the rest of her heart-beating days?
Why is she holding on?
Today he beats his chest,
screams a torture from depths
that shake her to the core,
but she stands unmoved
she sees his pain.
He tries to break things,
he is forgiven but
his door is closed
and she must accept this
so that it is not her
he breaks, beats, tortures.
She screams in private

from where she sits,
she sees the expanse of gray
puff clouds
sun rays file into
the body of water
out yonder
reflecting silver
over there
green fluffer about
an excuse for trees
bees busy
in bees balm
birds shoot past
purposeful
two at a time
in times like these
one must look up,
and see beyond
the distance of
the screams

Monday, June 15, 2009

"Rabbit In Your Headlights" by UNKLE featuring Thom Yorke, Directed by Jonathan Glazer


One of my favorite videos ever made. Directed by Jonathan Glazer, the music is UNKLE featuring Thom Yorke. Great story build through subtle shot edits and the amazing music. And who can deny Yorke's voice? Epic ending. I think the dude is Denis Lavant from Les Amants du Pont-Neuf, a great French film, where if my memory serves correctly, he plays the same character. The final image of the video reminds me of the Dali paintings he did later in life, such as Christ on crucifix that hangs at the National Gallery in D.C. That same quality of light. See a pristine version of this video on youtube... click here and hit the HQ button. The mega label Universal didn't "allow" embedding information on youtube so I couldn't post it above... don't get me started on the music industry. I'll just say, they, like Detroit, dug their own graves. Free potentially exponential publicity reach through the youtube posting, but they'd rather employ someone to search and destroy on the internet. How else would this video/song be known? I only saw this video years back because I had access to director reels in my past life. But the public doesn't get to see even a small portion of the great art (and commerce) videos and commercials that get made. What's the point?

Staggering statistics from an incredible book I'm reading now, Pepe Escobar's "Globistan: How the Globalized World Is Dissolving into Liquid War": only 7 companies dominate the GLOBAL film market, and only 5 companies dominate the music industry. The ramifications are scary. Orwellian.

Sunday, June 14, 2009

"Embrace" performed by Shae Fiol 6/3/09

"Embrace" by Shae Fiol from Karen B. Song on Vimeo.


Shot and post-production by yours truly. From Shae Fiol's "Catch A Ride" CD Release Party on June 3rd, 2009 in NYC. Mireya Ramos on violin.

"The Botticellian Trees" by William Carlos Williams

I have no image for this entry. This poem, one of my favorites, in text, is enough:

The alphabet of
the trees

is fading in the
song of the leaves

the crossing
bars of the thin

letters that spelled
winter

and the cold
have been illuminated

with
pointed green

by the rain and sun—
The strict simple

principles of
straight branches

are being modified
by pinched-out

ifs of color, devout
conditions

the smiles of love—
. . . . . .

until the script
sentences

move as a woman's
limbs under cloth

and praise from secrecy
quick with desire

love's ascendancy
in summer—

In summer the song
sings itself

above the muffled words—

(click here for audio recording of the poet)

Saturday, June 13, 2009

"Embrace" by Shae Fiol (Lyrics by Solange Foster); by Egon Schiele



em·brace
Pronunciation:
\im-ˈbrās\
Function:
verb
Inflected Form(s):
em·braced; em·brac·ing
Etymology:
Middle English, from Anglo-French embracer, from en- + brace pair of arms — more at brace
Date:
14th century

transitive verb1 a: to clasp in the arms : hug b: cherish, love2: encircle, enclose3 a: to take up especially readily or gladly b: to avail oneself of : welcome 4 a: to take in or include as a part, item, or element of a more inclusive whole b: to be equal or equivalent to intransitive verb: to participate in an embrace

he reached around her body
to the soft underbelly
and with a kiss pulled out a heart
that she had left unguarded
his attention was her intent
and her body was his instrument
and he played her
hypnotic rhythms up and down her spine
let the fantasy build and climb
craving in the maximum tension
stopping just short of completion

her rhythms lost his time
she fumbled to fix the broken with rewind
breathe the pain inside
he could never be her rhyme
the real hits hard
letting it all in to heal her scars
painting the heart shape over
embracing it all to move forward
and he played her...

his weight caused a break so deep it resonates
rebuild, embrace the heartache completely
and let the pain in sweetly


by Shae Fiol, lyrics by Solange Foster

Tuesday, June 09, 2009

"Your Childhood in Menton"/" Tu Infancia en Menton" by Federico García Lorca


When no words or actions can comfort life's unthinkable presentations, one reaches for poetry. God in the evocation of images and in the spaces between words.

Your Childhood in Menton
Yes, your childhood now a legend of fountains.
The train, and the woman who fills the sky.
Your evasive solitude in hotels
and your pure mask of another sign.
It is the sea's childhood and the silence
where wisdom's glasses all are shattered.
It is your inert ignorance of where
my torso lay, bound by fire.
Man of Apollo, I gave you love's pattern,
the frenzied nightingale's lament.
But, pasture of ruins, you kept lean
for brief and indecisive dreams.
Thought of what was confronted, yesterday's light,
tokens and traces of chance.
Your restless waist of sand
favors only tracks that don't ascend.
But I must search all corners
for your tepid soul without you which doesn't understand you
with my thwarted Apollonian sorrow
that broke through the mask you wear.
There, lion, there, heavenly fury,
I'll let you graze on my cheeks;
there, blue horse of my madness,
pulse of nebula and minute hand,
I'll search the stones for scorpions
and your childlike mother's clothes
midnight lament and ragged cloth
that tore the moon out of the dead man's brow.
Yes, your childhood now a legend of fountains.
Soul a stranger to my veins' emptiness,
I'll search for you rootless and small.
Eternal love, love, love that never was!
Oh, yes! I love. Love, love! Leave me.
Don't let them gag me, they who seek
the wheat of Saturn through the snow,
who castrate creatures in the sky,
clinic and wilderness of anatomy.
Love, love, love. Childhood of the sea.
Your tepid soul without you which doesn't understand you.
Love, love, a flight of deer
through the endless heart of whiteness.
And your childhood, love, your childhood.
The train, and the woman who fills the sky.
Not you or I, not the wind or the leaves.
Yes, your childhood now a legend of fountains.

Tu Infancia en Menton
Sí, tu niñez ya fábula de fuentes.
El tren y la mujer que llena el cielo.
Tu soledad esquiva en los hoteles
y tu máscara pura de otro signo.
Es la niñez del mar y tu silencio
donde los sabios vidrios se quebraban.
Es tu yerta ignorancia donde estuvo
mi torso limitado por el fuego.
Norma de amor te di, hombre de Apolo,
llanto con ruiseñor enajenado,
pero, pasto de ruina, te afilabas
para los breves sueños indecisos.
Pensamiento de enfrente, luz de ayer,
índices y señales del acaso.
Tu cintura de arena sin sosiego
atiende sólo rastros que no escalan.
Pero yo he de buscar por los rincones
tu alma tibia sin ti que no te entiende,
con el dolor de Apolo detenido
con que he roto la máscara que llevas.
Allí, león, allí, furia del cielo,
te dejaré pacer en mis mejillas;
allí, caballo azul de mi locura,
pulso de nebulosa y minutero,
he de buscar las piedras de alacranes
y los vestidos de tu madre niña,
llanto de medianoche y paño roto
que quitó luna de la sien del muerto.
Sí, tu niñez ya fábula de fuentes.
Alma extraña de mi hueco de venas,
te he de buscar pequeña y sin raíces.
¡Amor de siempre, amor, amor de nunca!
¡Oh, sí! Yo quiero. ¡Amor, amor! Dejadme.
No me tapen la boca los que buscan
espigas de Saturno por la nieve
o castran animales por un cielo,
clínica y selva de la anatomía.
Amor, amor, amor. Niñez del mar.
Tu alma tibia sin ti que no te entiende.
Amor, amor, un vuelo de la corza
por el pecho sin fin de la blancura.
Y tu niñez, amor, y tu niñez.
El tren y la mujer que llena el cielo.
Ni tú, ni yo, ni el aire, ni las hojas.
Sí, tu niñez ya fábula de fuentes.

Sunday, June 07, 2009

Lynn Nottage's "Ruined" at the Manhattan Theatre Club; Neil LaBute's "Reasons To Be Pretty"




I experienced Lynn Nottage's (shout out Brown alum) Pulitzer-winning masterpiece "Ruined" yesterday, listening to the stories of the characters unfold, and how they came to be here at Mama Nadi's cafe. It's a place that serves liquor and women to soldiers in civil war-torn Congo. There is so much violence and the conditions in which the characters live prove a no-win situation. All are precariously perched in a world where whims have guns and cocks. None of the violence told happens onstage, but it's as vivid as the set and people you see before you. Each person has a story that is unimaginable. And as a collective, you sit wondering how can life possibly ever return to anything other than this? Especially after all they've seen.

You've heard the horrors before in the media. You've felt helpless and wonder how this situation will ever end and how could it even be in the first place. Young boys armed and machete-ing people's heads off and raising it in victory. A woman tied to a tree by a string to her foot "like a goat to a stake" and raped repeatedly for 5 months, returning home then being chased out by her family and community for the shame she brought to them. A woman "ruined" (by female circumcision) and chased out by her community because of the bad luck she brings. Sides in the war changing so fast, sometimes within a day... "leaders" and his men, rising, killing, falling, being killed. The cyclical violence. Chaos. Fear. And more violence. Life costing nothing. One trigger decisions. And you sit there keeping it all together. It's so horrible, you hold tight trying to keep your rational hat on, when nothing is rational. So you listen some more, all the while thinking about the nature of mankind, and how does this problem get solved? Are the conditions the result of post-colonial instabilities exacerbated by the land's wealth of gold and diamonds? Can there ever be any kind of peace on this earth until mankind has connected war with and transcends the conflict embedded within each person, manifested simply and partially in the 7 deadly sins? So many thoughts searching for an out, a solution.

Story after story. Men have it bad, but women have it worse. The men are at their tipping point, and women become their last bastion to empowerment, when there is no other source. By the time we get to the middle of the second act, to the climax of the play, we see blood for the first time, blood from a woman who's just committed her own abortion and screams "stop waging your war through my body." At this moment, you no longer have any control over all you've just experienced, all the information you've taken in, all the images painted in your head. The crushing weight of feeling like there's no way out. All the stories you've heard, the collective psychic pain of everyone in this war, culminate at this moment, and becomes real. I wept out loud. But the women, continue on. They continue to live with the scars of violence in and on their bodies, in their hearts and minds.

We see the girls who dream of love and tenderness through their romance novels. Despite all they've seen and experienced, they can still imagine love. And the most powerful engine of the story that hits you from left field is that of Mama Nadi, cool and strong-willed, hardened. Love has no place in her life. She believes, 'everything is taken away so what's the point?' It's a weakness and a luxury that one cannot afford at this place. She too is hardened by her own history. She fights and fights this traveling salesman who is trying to woo her through the duration of the play. And ultimately, she finally admits that she too is "ruined" and opens her heart to love and vulnerability and salvation.

Nottage is an incredible playwright, deftly weaving together this multi-charactered plot to completion. The interchangeable use of the same male actors covering all the different soldiers, is a very subtle and powerful way of making that statement of there being no sides in this ever-changing war, and no difference between soldiers for the women working in the brothel.

I did a double-feature yesterday and also caught Neil LaBute's highly acclaimed, "Reasons to be Pretty" in the evening. The play had some moments, but overall was subpar. LaBute's really good at breathless, stream of consciousness conversational language and portraying a certain kind of absurdity in relationships. It's enjoyable to watch. One can easily relate and laugh. Good scenes. But I think the audience is conned by this...they clapped after every scene change, egh...because there was no engine in the play. Are we supposed to be waiting for the "lovers" to get back together? Where are we going? Do these characters even really love each other? Do we even care? What's the point of the main story or the secondary story? Is it just to show the expectations of "pretty," the ugliness of people, and thus the irony of the title? The premise was precarious (I think the actors didn't sell it at all) and there was NOTHING at stake, if love or friendship was gained or lost. The characters were completely unsympathetic. I'll be really pissed if it wins anything in tonight's Tony's. There is way too much good work out there.

Saturday, June 06, 2009

The Barkhor, Lhasa, Tibet

The Barkhor, Lhasa, Tibet from Karen B. Song on Vimeo.



A small selection of my photographic series of the ever-changing Barkhor, in Lhasa, Tibet, 2002.

Friday, June 05, 2009

Francis Bacon at the Met



In anticipation for the retrospective of one of my favorite painters. More soon.

Thursday, June 04, 2009

Al Green "Jesus Is Waiting," "The Love Sermon" and "Let Me Be The One"







Oh Rev. Al... you always leave me speechless, and in dire need of a big ole love hug.