I never know he could be so soulful ... this is what I need while we wait for an acquittal to break our hearts. :eyes:



Thanks, George & Nina. Thanks, Peter.

:fire: :flower:

Reggie Watts- A Song About Apples (Always Love Yourself)

I never know he could be so soulful ... this is what I need while we wait for an acquittal to break our hearts. :eyes: — 180 Proof

When I first listened to Peter Frampton...I was blown away by how he made the guitar 'talk'.
Didn't realise until much later that he used a 'talk box' guitar effect on 'Frampton Comes Alive' (1976).

From wiki:

Frampton's talk box was used to transfer the guitar's sound through a plastic tube attached to a microphone. The effect is Frampton's melodic guitar simulating speech while asking the audience on the live track "Do You Feel Like We Do?"

Also from wiki I discovered that:

... he's received a diagnosis that he has inclusion body myositis (IBM), a progressive muscle disorder characterized by muscle inflammation, weakness, and atrophy (wasting).

...In December, 2019, Frampton announced his farewell UK tour to consist of five performances in May 2020.[52] In April this UK/EU tour was cancelled "because of the COVID-19 virus.

So yes, this video ( April 2021 ) says it loud and clear - 'Isn't it a Pity'.
Wearing various t-shirts with slogans like 'Music Saves' and 'Save Music Venues'.
Also loving life even when physically isolated from family. Keeping connected via technology until he received his second Covid vaccination - the world moves on...

George Harrison - could he even have imagined his song about relationships breaking down would be used to great effect here. Instrumental only.

'We all tend to break each other's hearts, taking and not giving back - isn't is a pity.' (p170, 'I, Me, Mine')
On the opposite page, the handwritten lyrics on a torn out page from spiral notepad.
2nd verse:

Somethings take so long - but how do I explain - when not too many people, can see we're all the same and because of all their tears - their eyes cannot hope to see - the beauty that surrounds them isn't it a pity.
Instrumental.
Repeat (1).

Thanks, George & Nina. Thanks, Peter. — 180 Proof

Thanks to you too for sharing - amazing sound and film :sparkle:

Well...that was a different kinda philosophical song :smile:
Singing and rapping. Sound and poetry and scatting...
'Gleaning by listening' - 'We're all improvising' - 'Just be happy' - 'Do everything with love' -
'Always love yourself'.
Ta :sparkle:

:cool:

:up:

Life and Time - overcoming, overturning or going with the flow.

'Turn, Turn, Turn' - the Byrds (1965)
https://www.youtube.com/watch?v=W4ga_M5Zdn4

"Turn! Turn! Turn!", or "Turn! Turn! Turn! (To Everything There Is a Season)", is a song written by Pete Seeger in the late 1950s and first recorded in 1959. The lyrics – except for the title, which is repeated throughout the song, and the final two lines – consist of the first eight verses of the third chapter of the biblical Book of Ecclesiastes. The song was originally released in 1962 as "To Everything There Is a Season" on folk group the Limeliters' album Folk Matinee, and then some months later on Seeger's own The Bitter and the Sweet.[1] — wiki

To everything turn, turn, turn
There is a season turn, turn, turn
And a time to every purpose under heaven

A time to be born, a time to die
A time to plant, a time to reap
A time to kill, a time to heal
A time to laugh, a time to weep

To everything turn, turn, turn
There is a season turn, turn, turn
And a time to every purpose under heaven

A time to build up, a time to break down
A time to dance, a time to mourn
A time to cast away stones
A time to gather stones together

To everything turn, turn, turn
There is a season turn, turn, turn
And a time to every purpose under heaven

A time of love, a time of hate
A time of war, a time of peace
A time you may embrace
A time to refrain from embracing

To everything turn, turn, turn
There is a season turn, turn, turn
And a time to every purpose under heaven

A time to gain, a time to lose
A time to rend, a time to sew
A time for love, a time for hate
A time for peace, I swear it's not too late

Songwriters: Peter Seeger, Adapted By Peter Link
For non-commercial use only.
Data from: Musixmatch

Ecclesiastes 3:1-8
https://www.biblegateway.com/passage/?search=ecclesiastes%203:1-8&version=NIV

:up:

This morning, reading the article about Michael Stipe: 'The male idea of power is so dumb' in the Guardian -

He was in the one of the most influential indie bands ever, but the songwriter prefers life as a visual artist. He talks presidents, parties and photographing his heroes

I clicked on a link in this paragraph:

...in August 2019. Giorno, who was once Andy Warhol’s lover, and appeared in REM’s last music video (for We All Go Back To Where We Belong), died while Stipe was in Europe. His death changed the nature of Stipe’s photography project. “I had the rolls of film in my bag and the moment he died, I thought, I need to include John,” he says. So he expanded the book’s concept to include people other than women – “to de-gender the project”, as he puts it. All the people he wanted to feature “are, for me, insanely heroic. The work that they’ve done, their activism, their art.” — Interview by Miranda Sawyer

and got this:
'We All Go Back To Where We Belong' - R.E.M.
https://www.youtube.com/watch?v=7Gdyd8PX7Oc

I dreamed what what you were offering
Imagine lying next to me
You should, and your reputation talks
I will write our story in my mind
Write about our dreams and triumphs
This might be my innocence lost

I can taste the ocean on your skin
That is where it all begins
I dreamed that we were elephants
Water, sun, and clouds of dust
And woke up thinking we were free
I can taste the ocean on your skin
That is where it all begins
We all go back to where we belong
We all go back to where we belong

Is this really what you want?
Is this really what you want?

I can taste the ocean on your skin
That is where it all begins
We all go back to where we belong
We all go back to where we belong

Is this really what you want?
Is this really what you want?

Songwriters: Buck Peter Lawrence, Mills Michael Edward
For non-commercial use only.
Data from: Musixmatch

Another R.E.M. song. From Guardian article above:

...It sounds as if he was just scared. “I’m a very fearful person. Truthfully, a lot of what this book is about is the people who represent fearlessness to me.”

When it comes to fearlessness, Stipe has always taken a lot of strength from his friendship with Patti Smith, whom he admired when he was young and is still delighted to be friends with. He shows me a mask of William Blake with writing scrawled over it; a gift from Smith. “She’s the one who said to me, ‘At some point, you need to walk unafraid’,” he says. “And I turned that phrase into a song about exactly that (REM’s Walk Unafraid). But that fierce fearlessness is something that I still look to. To show me the way, to pull me away from the parts of myself that allow me to be absorbed into fear. And to run towards the thing that scares you the most. As a creative person, that’s maybe a superpower.” — Guardian article

'Walk Unafraid' - R.E.M. (with lyrics)
https://www.youtube.com/watch?v=W-qENGh33F4

Jean-Jacques Rousseau was a composer, with some modest success. Two pieces written by him:





I got interested in the querelle des bouffons, in which Rousseau successfully defended Italian opera against a bunch of narrow-minded Frenchmen, including Rameau. I basically agree with Rousseau that melody trumps harmony, especially if one cares for the taste of the people. The people want something they can sing, not several intertwined melodic lines and complex harmonies. Rameau and all the other French musicians at the time were performing for Versailles, first and foremost, while Vivaldi was playing for the general public.

Now listening to Rousseau's compositions to try and figure out if he was worth anything as a musician. Jury is still out. It is simple alright, but that's part of the idea to write for the people rather than for the court. It does sound like a mishmash of Italian and French influences, not terribly original.

Je crois avoir fait voir qu'il n'y a ni mesure ni mélodie dans la musique française, parce que la langue n'en est pas susceptible ; que le chant français n'est qu'un aboiement continuel, insupportable à toute oreille non prévenue ; que l'harmonie en est brute, sans expression et sentant uniquement son remplissage d'écolier ; que les airs français ne sont point des airs ; que le récitatif français n'est point du récitatif. D'où je conclus que les Français n'ont point de musique et n'en peuvent avoir ; ou que si jamais ils en ont une, ce sera tant pis pour eux.

... that there is neither measure nor melody in French music, because the language is not capable of them; that French singing is only continual barking, unbearable to all unprejudiced ears; that its harmony is brutal, without expression and feeling uniquely like schoolboys' padding; that French airs are not airs; that French recitals are not recitals. Hence I conclude that the French have no music and can have none; or that if ever they had some, they would be so much the worse for it.

– Jean-Jacques Rousseau (Lettre sur la musique française)

Jean-Jacques Rousseau was a composer, with some modest success — Olivier5

Well, I had no idea of this extra talent of Rousseau whose philosophy of human nature I read and failed to appreciate quite some time ago. I didn't take to him. Might change my mind. From wiki on Rousseau.

I had brought with me from Paris the prejudice of that city against Italian music; but I had also received from nature a sensibility and niceness of distinction which prejudice cannot withstand. I soon contracted that passion for Italian music with which it inspires all those who are capable of feeling its excellence. In listening to barcaroles, I found I had not yet known what singing was...

— Confessions[19] — wiki

The effect of the quarrel was to open French opera to outside influences that triggered a renewal in the form. In particular, the Comédie-Italienne and Théâtre de la foire developed a new type of opera that combined Italian natural simplicity with the harmonic richness of French tragédie en musique. — Wiki Querelle des Bouffons

So, Rousseau did well if his quarrel helped people see or listen in a new way, n'est pas ? :cool:

It does sound like a mishmash of Italian and French influences, not terribly original. — Olivier5

I only listened to the first few minutes - and it sounded so familiar, like a rip-off :meh:

that there is neither measure nor melody in French music, because the language is not capable of them; that French singing is only continual barking, unbearable to all unprejudiced ears; that its harmony is brutal, without expression and feeling uniquely like schoolboys' padding;

Mon Dieu. 'Schoolboys' padding' :scream:
Time to revisit 'Deshabillez-moi' by Juliette Greco.
https://www.youtube.com/watch?v=vRlTK4nnqB4

It is a deep song - concerning the layers of personhood. Like peeling an onion, French or otherwise :wink:

Of course JJ was behaving as a provocateur in the querelle des bouffons, courting scandal, and that's what he got, but as you said he also opened a breach in the Parisians' cultural mépris for those funny Italians. So he was excessive in his pamphlet but maybe that's what it took to make an impact.

So he was excessive in his pamphlet but maybe that's what it took to make an impact. — Olivier5

Yes. It seems that some kind of extreme action is the only way people wake up and pay attention.
Even then...it can take a while before any real change happens...
Can't recall the impact of JJ's philosophy in other aspects of living.
Help ?
If my head didn't hurt so much I would look for myself but it sounds like you know a bit about JJ ?

Not really a fan of his political philosophy, which my French schoolboy memories limit to the idea of a social contract between inherently free individuals, accepting to live in society and the rules that go with it.

I want to read the Confessions though, because he had such a strong and funny personality and style. He was a rockstar of philosophy: brilliant, mesmerizing, physically beautiful, sexually active, and vain.

Meanwhile, James Boswell [a friend and biographer of Hume], then in Paris, offered to escort Thérèse Levasseur [JJ's steady girlfriend] to Rousseau.[52][51] (Boswell had earlier met Rousseau and Thérèse at Motiers; he had subsequently also sent Thérèse a garnet necklace and had written to Rousseau seeking permission to occasionally communicate with her.)[52] Hume foresaw what was going to happen: "I dread some event fatal to our friend's honor."[52][51] Boswell and Thérèse were together for more than a week, and as per notes in Boswell's diary they consummated the relationship, having intercourse several times.[52][51] On one occasion, Thérèse told Boswell: "Don't imagine you are a better lover than Rousseau."[52]

https://en.m.wikipedia.org/wiki/Jean-Jacques_Rousseau

How little is needed for happiness! The note of a bagpipe. — Without music life would be a mistake. — Twilight of the Idols

To which I add: without good books and bad grrls, life wouldn't be short enough!

https://m.youtube.com/watch?v=z584nas_pGw

The Music of Friedrich Nietzsche (52:48), 1998
compositions by Friedrich Nietzsche
performed by Lauretta Altman, Sven Meier, Valerie Kinslow et al

CODA:

https://m.youtube.com/watch?v=WKRCWIkTurY

excerpts from "Soundtrack" (7:17), 1968
composed by Richard Strauss, d. 1949
composed by Johann Strauss II, d. 1899

:fire:

JJ's Confessions - downloaded but have no idea if and when I will manage to read them.

He was a rockstar of philosophy: brilliant, mesmerizing, physically beautiful, sexually active, and vain. — Olivier5

Well, how could anyone resist...
Funny how the mind works.
I thought about Mozart's 'Don Giovanni' and Goethe's 'Faust'.

Leporello's 'Catalogue Aria' -

Leporello, Don Giovanni’s servant, is proudly exclaiming his master’s catalogue of women in order to dissuade Donna Elvira (a victim of these conquests) from pursuing after this womanizer. The aria has two main thematic sections: the first states the (ridiculous) number of women that Don Giovanni has conquered in various countries, and the second thoroughly describes the many women on this list both in personality and physical aspect. — Sarah Ma

5.32 Video of aria embedded here
https://fsumul2110.wordpress.com/2015/03/24/don-giovanni-madamina-il-catalogo-e-questo/
Lyrics in Italian and English:
https://lyricstranslate.com/en/madamina-il-catalogo-%C3%A8-questo-leporello-young-lady-catalogue.html

I don't have time to research the Goethe catalogue of poetry/songs/music...another day perhaps...

However, serious work has been done by others, comparing Don Giovanni and Faust.
I have only quickly skimmed this:
https://www.academia.edu/12520811/Don_Giovanni_e_Faust_per_la_modernit%C3%A0

The note of a bagpipe. — 180 Proof

Only one note ? Noted.

:flower: Lovely to listen to the stirring:
Richard Strauss - Also Sprach Zarathustra, Op. 30 /Johann Strauss II - The Blue Danube

Thanks.

Lieder and Goethe - Goethe the Musician and his influence on German Song.

Germany's greatest poet, Johann Wolfgang von Goethe (1749-1832), seemed to have perfectly attuned artistic sensibilities, and yet it was him who utterly failed to recognise the brilliance of the songs Franz Schubert made from his poems.
Professor Richard Stokes, of the Royal Academy of Music, investigates this seeming paradox through a review of Goethe's life and an analyses of his poems and their adaptation into Lieder by Schubert. — Prof Stokes: Lecture and transcript re Goethe

Stokes' lecture starts at c. 5mins in. There's a 30min General Intro followed by 6 songs which are then discussed.

'Gretchen am Spinnrade' - composed by Schubert, using text from Goethe's 'Faust' (Pt 1, Scene 15), sung by Kiri Te Kanawa (3.55)
https://www.youtube.com/watch?v=MY0eeotSDi8

https://en.wikipedia.org/wiki/Gretchen_am_Spinnrade

...The song opens with Gretchen at her spinning wheel, thinking of Faust and all that he had promised. The accompaniment in the right hand mimics the perpetual movement of the spinning-wheel and the left hand imitates the foot treadle. The initial key of D minor sets a longing tone as Gretchen begins to sing of her heartache ("Meine Ruh' ist hin/Mein herz ist schwer"). The first section progresses from D minor to C major, A minor, E minor, F major, and then returns to D minor. This, plus the crescendo, builds tension which releases only to be brought back to the beginning, much like the ever-circling spinning wheel... — wiki

Franz Schubert: Erlkönig (4:30)
https://www.youtube.com/watch?v=JS91p-vmSf0
[ Music by Franz Schubert. Poem by Johann Wolfgang von Goethe (see below for translation).
Created by Oxford Lieder: www.oxfordlieder.co.uk]

https://en.wikipedia.org/wiki/Erlk%C3%B6nig

"Erlkönig" is a poem by Johann Wolfgang von Goethe. It depicts the death of a child assailed by a supernatural being, the Erlking, a king of the fairies. It was originally written by Goethe as part of a 1782 Singspiel, Die Fischerin.

"Erlkönig" has been called Goethe's "most famous ballad".[1] The poem has been set to music by several composers, most notably by Franz Schubert. — wiki

The Elfking

Who rides so late through the windy night?
It is the father and his child.
He holds the boy,
Warm and safe.

Son, why do you hide your face in fear?
Father, do you not see the Elfking?
With his crown and train?
Son, it's just the mist.

Come with me, lovely child
We'll play games
There are flowers on the beach and
My mother has golden clothes

Father, can't you hear
What the Elfking is promising me?
Be calm, my boy --
It's only the wind in the leaves.

Lovely boy, will you come with me?
My daughters will wait on you
My daughters will sing and dance for you
and rock you to sleep.

Father, do you not see
The Elfking's daughters there?
Son, it's the old willows shining
In the moonlight.

I love you -- I'm aroused by your beautiful form
And if you won't come, I will take you by force
Father, father, he has grabbed me.
The Elfking has hurt me.

The father shudders. He rides fast,
the groaning boy in his arms,
Anxious, he reaches the farm.
In his arms, the boy is dead.

(Translation by Daniel Norman)

Goethe quote:

“One ought, every day at least, to hear a little song, read a good poem, see a fine picture, and, if it were possible, to speak a few reasonable words.”
― Johann Wolfgang von Goethe, Wilhelm Meister's Apprenticeship

From: https://www.goodreads.com/author/quotes/285217.Johann_Wolfgang_von_Goethe

Ultra deep song about acculturation, the Italians, and all that... ;-)

Boy went back to Napoli
because he missed the scenery
The native dancers and the charming songs
But wait a minute, something's wrong....

Hey! Hey!
Now it's hey Mambo, Mambo Italiano!
Hey Mambo, Mambo Italiano!
Go, go, Joe, you mixed up Sigiliano.
All you Calabrese do the mambo like crazy.
And hey Mambo! Don't want to tarantella,
Hey Mambo! No more-a moozzarella.
Hey Mambo! Hey Mambo Italiano.
Try an enchilada with a fish-a-barcalada.

Hey goombah!
I love-a how you dance rumba.
But take-a some advice paisano,
learn how to mambo.
If you're gonna be a square,
you're never gonna go nowhere.

Hey Mambo, Mambo Italiano!
Hey Mambo, hey Mambo Italiano!
Go, go, Joe, shake-a like a Gioviano.
Hello quesadicha,
you getta happy in the feets-a
when you Mambo Italiano!
Shake-a baby, shake-a,
'cause I love-a when you take-a me.

Hey Jagool!
You don't-a have to go to school,
just make a little beef flambino.
It's-a like-a vino.
Kid you're good-lookin',
but you don't know what's-a cookin' till you

Hey! Hey! Hey! Hey! Hey! Hey!
Shake-a baby, shake-a,
'cause I love it when you take-a me
by the pizzeria down-a where I'm gonna be-a.
Don't ya tell your mama.
Mama's gonna tell-a papa.
There's-a nothin' to it.
Come on baby let's-a do it!

Hey Mambo, etc

Ultra deep song about acculturation, the Italians, and all that... ;-) — Olivier5

:cool: Hey Mambo, Mambo Italiano!
Hey Mambo, hey Mambo Italiano!
Go, go, Joe, shake-a like a Gioviano

I so needed that after a heavy diet of German Goethe :up: :flower:

Ancient Roman Music

The music of ancient Rome was a part of Roman culture from the earliest of times. Songs (carmen) were an integral part of almost every social occasion.[1] The Secular Ode of Horace, for instance, was commissioned by Augustus and performed by a mixed children's choir at the Secular Games in 17 BC.[2]...

...During the Imperial period, Romans carried their music to the provinces, while traditions of Asia Minor, North Africa and Gaul became a part of Roman culture.[5]

Music accompanied spectacles and events in the arena, and was part of the performing arts form called pantomimus, an early form of story ballet that combined expressive dancing, instrumental music and a sung libretto.[6]...

...In spite of the purported lack of musical originality on the part of the Romans, they did enjoy music greatly and used it for many activities. Music was also used in religious ceremonies. The Romans cultivated music as a sign of education.[24] Music contests were quite common and attracted a wide range of competition, including Nero himself, who performed widely as an amateur and once travelled to Greece to compete.
— wiki

My underlined: The first Eurovision Song Contest ? :gasp:

Nero Burns Rome and Sings :fire:
https://www.youtube.com/watch?v=fEj1h7BC2b4

Talking about Burning and the Eurovision Song Contest.

Nero has serious competition.

The UK entry.
'Embers' - James Newman
https://www.youtube.com/watch?v=BMDGTsa_Qq0

The Semi-Finals will take place on 18 and 20 May 2021. The Grand Final takes place on 22 May 2021. Rotterdam here we come...covid or no ?

More nul points than we can count :party:

Dancing in all its forms cannot be excluded from the curriculum of all noble education; dancing with the feet, with ideas, with words, and, need I add that one must also be able to dance with the pen? — F.N.

:fire:

From Mérimée it still has the logic in passion, the shortest line, the harsh necessity; above all, it has what goes with the torrid zone, the dryness of the air, the limpidezza in the air. Here, in every respect, the climate is changed. Another sensuality, another sensibility speaks here, another cheerfulness. This music is cheerful; but not from a French or German cheerfulness. Its cheerfulness is African; fate hangs over it, its happiness is brief, sudden, without pardon. I envy Bizet for having had the courage for this sensibility which had hitherto had no language in the cultivated music of Europe,—for this more southern, browner, more burnt sensibility ... How the yellow afternoons of its happiness do us good! During it, we look into the distance: did we ever find the sea smoother?— And how soothingly the Moorish dance speaks to us! How even our insatiability for once gets to know satiety in this lascivious melancholy!— Finally love, love translated back into nature! [...] love as fatum, as fatality, cynical, innocent, cruel—and precisely in this a piece of nature! — The Case of Wagner, section 2

"Habanera", Act 1 Scene 4 (4:29)
opera: Carmen, 1875
composed by Georges Bizet, d.1875
libretto written by Henri Meilhac and Ludovic Halévy (based on the novella of the same title by Prosper Mérimée)
performed (here) by Angela Gheorghiu

*

And those who were seen dancing were thought to be insane by those who could not hear the music. — F.N.

"La Bamba" (2:06)
Ritchie Havens, 1959 (d. 1959)
written by Ritchie Havens, 1958 (adopted from trad.)

*

I would only believe in a God who knew how to dance. — F.N.

"Lady Marmalade" (3:15) – single version
performed by LaBelle feat. Patti LaBelle, 1974
written by Kenny Nolan, Bob Crewe

♡

:point:

https://thephilosophyforum.com/discussion/comment/529244

↪Amity ↪Olivier5 ↪Amity :point:

https://thephilosophyforum.com/discussion/comment/529244 — 180 Proof

What are you trying to say ? Should we post same songs in both, or choose the more relevant thread ?
'Parole, parole' - Mina
Featuring artist: Alberto Lupo
:point:
https://thephilosophyforum.com/discussion/comment/529248

No. Just that's just my loop from this morning.