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Va, pensiero, sull’ali dorate;
va, ti posa sui clivi, sui colli,
ove olezzano tepide e molli
l’aure dolci del suolo natal!
Del Giordano le rive saluta,
di Sionne le torri atterrate…
Oh mia patria sì bella e perduta!
Oh membranza sì cara e fatal!
Arpa d’or dei fatidici vati,
perché muta dal salice pendi?
Le memorie nel petto raccendi,
ci favella del tempo che fu!
O simile di Sòlima ai fati
traggi un suono di crudo lamento,
o t’ispiri il Signore un concento
che ne infonda al patire virtù.
—
Fly, thought, on wings of gold;
go settle upon the slopes and the hills,
where, soft and mild, the sweet airs
of our native land smell fragrant!
Greet the banks of the Jordan
and Zion’s toppled towers…
Oh, my country so beautiful and lost!
Oh, remembrance so dear and so fatal!
Golden harp of the prophetic seers,
why dost thou hang mute upon the willow?
Rekindle our bosom’s memories,
and speak to us of times gone by!
Mindful of the fate of Jerusalem,
give forth a sound of crude lamentation,
or may the Lord inspire you a harmony of voices
which may instill virtue to suffering.
Article about Yael Naim from the Tablet.
“Everything started 10 years ago when I moved from Israel to Paris,” she said, “and I started noticing: It’s kind of cold?” The cold lasted longer than the first winter months. “Then one day something incredible happened to me—I met David,” she beamed. “He gives me really helpful advice: ‘Yael—don’t be sad!’ ”
Work With What You Got by Socalled
I joined the Mile End Chavurah Chorus, directed by Josh Dolgin. Pretty neat.
Today I’ve had this song in my head. It’s full of sorrow and its beauty is powerful.
I copied this from Alexander Street Press. Apparently Holocaust songs are world music.
I’m supposed to be reading about dependency theory in Latin America but I’m listening to Silvio Rodríguez instead.
Cómo gasto papeles recordándote,
cómo me haces hablar en el silencio,
cómo no te me quitas de las ganas
aunque nadie me ve nunca contigo.
Y cómo pasa el tiempo que de pronto son años
sin pasar tú por mí, detenida.
Te doy una canción si abro una puerta
y de las sombras sales tú.
Te doy una canción de madrugada,
cuando más quiero tu luz.
Te doy una canción cuando apareces
el misterio del amor,
y si no lo apareces no me importa:
yo te doy una canción.
Si miro un poco afuera me detengo:
la ciudad se derrumba y yo cantando,
la gente que me odia y que me quiere
no me va a perdonar que me distraiga.
Creen que lo digo todo, que me juego la vida,
porque no te conocen ni te sienten.
Te doy una canción y hago un discurso
sobre mi derecho a hablar.
Te doy una canción con mis dos manos,
con las mismas de matar.
Te doy una canción y digo: “Patria”,
y sigo hablando para ti.
Te doy una canción como un disparo,
como un libro, una palabra, una guerrilla:
como doy el amor.
Listen to Espace Musique more often because it rocks. Et lis plus souvent Le Devoir pour apprendre du vocabulaire.
Mais vraiment, ce flamenco et ce tango sont les seules choses qui m’empêche de devenir postal en faisant heures de data entry.
I have these songs in my head today:
Chichi Peralta – Limon y Sal
Simon and Garfunkel – Scarborough Fair
And I really like the second and fourth picture from here.
chopped cherry tomatoes
minced garlic
olive oil
salt
orange pepper julienne
sliced cremini mushrooms
chopped red onion
sautéed in olive oil
deglaze with Bragg’s at the end
polenta made with spinach and mozzarella, chilled in a mold and cut into triangles
pan fry in olive oil, chili pepper flakes, dried oregano and basil
sauté onion with cumin
black beans simmered till tender
mash with lard and Bragg’s
kombucha
Serves two people (mandatory!) while playing Juan Luis Guerra and Manu Chao during a snow storm (preferred).
Era más blanda que el agua,
que el agua blanda.
Era más fresca que el río,
naranjo en flor.
Y en esa calle de estío,
calle perdida,
dejó un pedazo de vida
y se marchó.
Primero hay que saber sufrir,
después amar, después partir
y, al fin, andar sin pensamientos.
Perfume de naranjo en flor,
promesas vanas de un amor
que se escaparon con el viento.
Después, ¿qué importa del después?
Toda mi vida es el ayer
que me detiene en el pasado.
¡Eterna y vieja juventud,
que me ha dejado acobardado
como un pájaro sin luz!
¿Qué le habrán hecho mis manos?
¿Qué le habrán hecho
para dejarme en el pecho
tanto dolor?
Dolor de vieja arboleda,
canción de esquina
con un pedazo de vida,
naranjo en flor.
Letra escrita por Homero Aldo Expósito. De chica escuchaba la versión cantada por Juan Carlos Baglietto con Virgilio Hugo Expósito, quien compuso la música en 1944.
- Deadmau5
- Kruder & Dorfmeister
- Girl Talk
- Cut Copy
- Hot Chip
- Junior Boys
- Boy Crisis
- Run Lola Run
- Ramasutra
- Fugazi
- Ray LaMontagne
- The best is yet to come, Frank Sinatra
- Eviatar Banai
- I lost my baby, Jean Leloup
- When the night feels my song, Bedouin Soundclash
I’m going to start keeping the cool webby things Christine passes along to me. First one here:
Fresh Hot Radio: a web-native electronic music internet radio. [Warning: Some songs suck, so skip to the next one if needed.]
Is there such a thing as public domain music? Is there a mechanism similar to the death of author + x years? Then we could have more than just electro music, which can be good but can also make some people want to blast their brains out. I know there are artists who’ve decided to ditch the conventional licenses, allowing people to pirate their music legally, and have decided to make their money touring (I’m thinking of Ani DiFranco, Radiohead, and some metal band I can’t remember now.); the logic is that people are pirating anyway, so instead of condemning them, they see it as a way to get more people hooked on their music, which will translate into more people buying tickets to see them live, merchandise, et cetera. Would it be feasible to make a radio like this with their music?
Making music public and more easily available would challenge the hegemony of mainstream music, and perhaps make more room for more artful and and talented people to get out there and better known. It would make all music folk music, and would fail to put the interests of the audience at odds with the interests of the musicians. So-called piracy, like abortion, could use some rethinking to re-evaluate its causes and context, and some creative thinking to make it properly and responsibly used, rather than unsafe and illegal.
