Malmesbury, 2011
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Jesse Quin and The Mets - More To Life.
Thursday, 2 June 2011
Sunday, 29 May 2011
Living Streets award webpage
The Seven Kings and Newbury Park Residents Association (SKNPRA) is congratulated on the Living Streets website for achieving Redbridge’s first Living Streets Neighbourhood Award. We received the award for their work improving the local environment along Aldborough Road South in order to get more people out walking.
The Neighbourhood Award was presented at the Creating Community event in May which included the opening, by the Archdeacon of West Ham, of the community garden at St John's Seven Kings and the presentation of the Living Streets Neighbourhood Award by the Mayor of Redbridge.
Living Streets works with communities to improve local environments and get more people out walking. Groups and individuals who have successfully encouraged walking and promoted safe, vibrant streets and spaces receive awards to acknowledge their creativity, community spirit and hard work.
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The Clark Sisters - You Brought The Sunshine.
The Neighbourhood Award was presented at the Creating Community event in May which included the opening, by the Archdeacon of West Ham, of the community garden at St John's Seven Kings and the presentation of the Living Streets Neighbourhood Award by the Mayor of Redbridge.
Living Streets works with communities to improve local environments and get more people out walking. Groups and individuals who have successfully encouraged walking and promoted safe, vibrant streets and spaces receive awards to acknowledge their creativity, community spirit and hard work.
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The Clark Sisters - You Brought The Sunshine.
The Finance Innovation Lab
The Finance Innovation Lab is an open environment in which people can come together to explore, innovate and evolve the financial system so that it sustains people and planet. You can find a short 5 minute video which explains what the Lab is, why its important and how it works at www.youtube.com/watch?v=NtsliNNH2J8.
There is also a YouTube Channel which includes short interviews with members of the Lab community as well as videos of some of their recent events. These include interviews with Tony Greenham of nef, Ben Dyson from Positive Money, Alice Chapple from Forum for the Future and Lawrence Bloom and a presentation by David Braid of Central St Martins showcasing his maps of the financial system. You can watch these here to find out more: www.youtube.com/user/TheFinanceLab?feature=mhee.
I've joined the Faith and Philosophy Influencing Finance group which is helping to raise awareness and knowledge about 'what is meaningful' in a universal context. This includes how we can reframe the finance system in its relationship to the wider whole.
This group seeks dialogue with individuals and groups about the model or mantra each holds in mind, and through which we filter our proposals, our actions and our evaluations in financial matters as they affect 'people and the planet' - a basic concern of the whole Finance Innovation Lab.
The fundamental mantra behind all great faith traditions is 'love God and love your Neighbour', a sound bite which readily resonates with seeking to understand the sustainable rhythms of natural law and the appropriate relationships of all the amazing constituents of this planet.
The group explores whether the exploitative use of money in human trading and economic activity hinders the pursuit of a just financial system, which arguably must lie at the focal point of the Finance Lab's collaborative activities.
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Writz - Luxury.
There is also a YouTube Channel which includes short interviews with members of the Lab community as well as videos of some of their recent events. These include interviews with Tony Greenham of nef, Ben Dyson from Positive Money, Alice Chapple from Forum for the Future and Lawrence Bloom and a presentation by David Braid of Central St Martins showcasing his maps of the financial system. You can watch these here to find out more: www.youtube.com/user/TheFinanceLab?feature=mhee.
I've joined the Faith and Philosophy Influencing Finance group which is helping to raise awareness and knowledge about 'what is meaningful' in a universal context. This includes how we can reframe the finance system in its relationship to the wider whole.
This group seeks dialogue with individuals and groups about the model or mantra each holds in mind, and through which we filter our proposals, our actions and our evaluations in financial matters as they affect 'people and the planet' - a basic concern of the whole Finance Innovation Lab.
The fundamental mantra behind all great faith traditions is 'love God and love your Neighbour', a sound bite which readily resonates with seeking to understand the sustainable rhythms of natural law and the appropriate relationships of all the amazing constituents of this planet.
The group explores whether the exploitative use of money in human trading and economic activity hinders the pursuit of a just financial system, which arguably must lie at the focal point of the Finance Lab's collaborative activities.
------------------------------------------------------------------------------------
Writz - Luxury.
Friday, 27 May 2011
Zion: the embodiment of yearning
Great quote from Laura Barton in today's Guardian as conclusion to a piece about a recent Josh T. Pearson concert. She writes that in her favourite moment in the show, Pearson segued into a cover of the Melodians' song Rivers of Babylon, and restored to it a little of the lyrical grace once stolen by Boney M. This cover version seemed to throw the rest of his performance into a kind of relief, to draw together his own trailing, long-hemmed songs and bind them with this idea of Zion, this embodiment of yearning.
Her reflection on the idea of Zion shows the continued impact of Biblical imagery and ideas today together with an understanding of, in the words of George Herbert, "heaven in ordinairie":
"I thought too about how Zion crops up occasionally in rock'n'roll, in reggae hits and Lauryn Hill songs, as a specific and deliberate reference. "Now the joy of my world is in Zion," Hill sings. But I think we can find it elsewhere, in less obvious places, too: seeping into all those stories of desire and escape and belonging, into all those tales of getting out of town and hitting the road and finding true love, unearthing great passion; into the "wire" and "velvet rims" of Springsteen's Born to Run, or the "honey" of Bob Dylan's I Want You, or Edward Sharpe's plaintive "home is whenever I'm with you"; we find it there, this dirty, commonplace Zion, in all these songs that speak of the great unmeetable yearning of the soul."
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Josh T. Pearson - Sweetheart I Ain't Your Christ.
Her reflection on the idea of Zion shows the continued impact of Biblical imagery and ideas today together with an understanding of, in the words of George Herbert, "heaven in ordinairie":
"I thought too about how Zion crops up occasionally in rock'n'roll, in reggae hits and Lauryn Hill songs, as a specific and deliberate reference. "Now the joy of my world is in Zion," Hill sings. But I think we can find it elsewhere, in less obvious places, too: seeping into all those stories of desire and escape and belonging, into all those tales of getting out of town and hitting the road and finding true love, unearthing great passion; into the "wire" and "velvet rims" of Springsteen's Born to Run, or the "honey" of Bob Dylan's I Want You, or Edward Sharpe's plaintive "home is whenever I'm with you"; we find it there, this dirty, commonplace Zion, in all these songs that speak of the great unmeetable yearning of the soul."
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Josh T. Pearson - Sweetheart I Ain't Your Christ.
Andrew Lansley, are you listening?
I've sent the following comment to Andrew Lansley's listening exercise on his NHS reforms:
"I have fundamental concerns about these proposed changes to the NHS and I think Andrew Lansley needs to go back to the drawing board.
For example, I am concerned that proposals to make competition the priority within the NHS would undermine our health service. The NHS should focus on cooperating to provide quality patient care, not on competition. The role of the regulator, "Monitor", should reflect this.
It can be demonstrated that the introduction of competition in the provision of public services, such as the tendering out of Local Authority services, has not led to cost savings, greater efficiencies or improvements in services but instead has resulted in reduced levels of service, waste of resources and increased bureaucracy. The ethos of the 'market' contradicts the ethos of 'public service' and, if introduced, will inevitably erode the government’s “duty to provide” a comprehensive health service.
Dropping this duty would erode the foundations of the NHS and would lead to the 'cherry picking' by private companies of NHS services. Such “cherry picking” must be fully ruled out, and the mechanism for preventing it must be clearly established."
You can send your own comment by clicking here.
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Athlete - Wires.
"I have fundamental concerns about these proposed changes to the NHS and I think Andrew Lansley needs to go back to the drawing board.
For example, I am concerned that proposals to make competition the priority within the NHS would undermine our health service. The NHS should focus on cooperating to provide quality patient care, not on competition. The role of the regulator, "Monitor", should reflect this.
It can be demonstrated that the introduction of competition in the provision of public services, such as the tendering out of Local Authority services, has not led to cost savings, greater efficiencies or improvements in services but instead has resulted in reduced levels of service, waste of resources and increased bureaucracy. The ethos of the 'market' contradicts the ethos of 'public service' and, if introduced, will inevitably erode the government’s “duty to provide” a comprehensive health service.
Dropping this duty would erode the foundations of the NHS and would lead to the 'cherry picking' by private companies of NHS services. Such “cherry picking” must be fully ruled out, and the mechanism for preventing it must be clearly established."
You can send your own comment by clicking here.
-------------------------------------------------------------------------------
Athlete - Wires.
Tuesday, 24 May 2011
Bob Dylan: Pilgrim, Dante and Rimbaud
How many roads must a man walk down/Before you call him a man?" was the first of the questions that Bob Dylan posed in 'Blowin' in the Wind'. He didn't know the answer then - it was blowin' in the wind - and he still doesn't - because, for example, in the opening track of Time Out Of Mind, his end of millennium offering, he's still walkin':
"I'm walkin', through streets that are dead
Walkin', walkin' with you in my head
My feet are so tired,
My brain is so wired
And the clouds are weeping." ('Love Sick').
Dylan comes from the tradition of hobo singers (Woody Guthrie) and beat poets (Jack Kerouac) for whom the journey and the documenting of their experience is life itself. When we first meet him singing in his original voice, on Bob Dylan, he's "ramblin' outa the wild West,/Leavin' the towns I love the best ... ''Til I come into New York town" ('Talkin' New York'). At this stage the ramblin', gamblin' hobo is a conscious image worn in homage to Woody Guthrie:
"I'm out here a thousand miles from my home,
Walkin' a road other men have gone down.
I'm seeing your world of people and things,
Your paupers and peasants and princes and kings.
Hey, hey, Woody Guthrie, I wrote you a song ...". ('Song to Woody')
Though he starts out on his journey in imitation of others what he sees on his journey is original, surreal and unjust:
"I saw a newborn baby with wild wolves all around it,
I saw a highway of diamonds with nobody on it,
I saw a black branch with blood that kept drippin',
I saw a room full of men with their hammers a-bleedin' ..." ('A Hard Rain's A-Gonna Fall')
Ahead of him he sees a gathering apocalyptic storm and he resolves to go back out and walk in the shadow of the storm:
"... 'fore the rain starts a-fallin',
I'll walk to the depths of the deepest dark forest,
Where the people are many and their hands are all empty,
Where the pellets of poison are flooding their waters,
Where the home in the valley meets the damp dirty prison,
Where the executioner's face is always well hidden,
Where hunger is ugly, where the souls are forgotten,
Where black is the colour, where none is the number.
And I'll tell it and think it and speak it and breathe it,
And reflect from the mountain so that all souls can see it ...".
He travels the paths of political protest, urban surrealism, country contentment, gospel conversion and world weary blues. On his journey he: sees "seven breezes a-blowin'" all around the cabin door where victims despair ('Ballad of Hollis Brown'); sees lightning flashing "For the countless confused, accused, misused, strung-out ones an' worse" ('Chimes of Freedom'); surveys 'Desolation Road'; talks truth with a thief as the wind begins to howl ('All Along the Watchtower'); takes shelter from a woman "With silver bracelets on her wrists and flowers in her hair" ('Shelter from the Storm'); feels the Idiot Wind blowing through the buttons on his coat, recognises himself as an idiot and feels so sorry ('Idiot Wind'); finds a pathway to the stars and can't believe he's survived and is still alive ('Where Are You Tonight? Journey Through Deep Heat'); rides the slow train up around the bend ('Slow Train'); is driven out of town into the driving rain because of belief ('I Believe in You'); hears the ancient footsteps join him on his path ('Every Grain of Sand'); feels the Caribbean Winds, fanning desire, bringing him nearer to the fire ('Caribbean Wind'); betrays his commitment, feels the breath of the storm and goes searching for his first love ('Tight Connection to My Heart'); then at the final moment, it's not quite dark yet but:
"The air is getting hotter, there's a rumbling in the skies
I've been wading through the high muddy water
With the heat rising in my eyes.
Everyday your memory grows dimmer.
It don't haunt me, like it did before.
I been walking through the middle of nowhere
Tryin' to get to heaven before they close the door." ('Tryin' To Get To Heaven').
Modern Times is an album that is also drenched in the imagery of journeying: "Gonna get up in the morning walk the hard road down/Some sweet day I'll stand beside my king". Dylan as journeyman, as traveller, is the key insight of the liner notes for Tell Tale Signs where Larry Sloman signs off with a paragraph quoting a myriad of Dylan's lyrics:
"He ain't talking, but he's still walking, heart burning, still yearning. He's trampling through the mud, through the blistering sun, getting damp from the misty rain. He's got his top hat on, ambling along with his cane, stopping to watch all the young men and young women in their bright-coloured clothes cavorting in the park. Despite all the grief and devastation he's seen on his odyssey, his heart isn't weary, it's light and free, bursting all over with affection for all those who sailed with him. Deep down he knows that his loyal and much-loved companions approve of him and share his code. And it's dawn now, the sun beginning to shine down on him and his heart is still in the Highlands, over those hills, far away. But there's a way to get there and if anyone can, he'll figure it out. And in the meantime, he's already there in his mind. That mind decidedly out of time. And we're all that much richer for his journey."
In many ways, this stream of inspiration has involved reworking and rearticulating the classic Dylan song, 'Blind Willie McTell', that was left off Infidels. Predominantly blues-based and extending the blues/folk metaphor of the drifter, Together Through Life finds Dylan's characters rambling through apocalyptic landscapes, experiencing life's hardness, grasping and eulogising love with a wry and sardonic irony wherever they can find it before the change that death will bring.
Dylan has said that:
"Those old songs are my lexicon and my prayer book. You can find all my philosophy in those old songs. Hank Williams singing 'I Saw The Light' or all the Luke The Drifter songs. That would be pretty close to my religion. The rabbis, priests, and ministers all do very well. But my belief system is more rugged and comes more from out of the old spiritual songs than from any of the established religious attempts at overcoming the devil."
This is also the picture of traditional American music conjured up by Bob Dylan in 1966: "Traditional music is based on hexagrams. It comes from legends, bibles, plagues, and it revolves around vegetables and death. ... All these songs about roses growing out of people's brains and lovers who are really geese and swans that turn into angels - they're not going to die. .... I mean, you'd think that the traditional music people could gather from their songs that mystery is a fact, a traditional fact ... In that music is the only true, valid death you can feel today off a record player. ... It has to do with a purity thing. I think its meaninglessness is holy."
Greil Marcus has pointed out that this 'traditional music' - the ancient ballads of mountain music, songs like Buell Kazee's 'East Virginia', Clarence Ashley's 'Coo Coo Bird' or Dock Boggs' 'Country Blues' - are what Dylan and the Band tapped into when recording The Basement Tapes, John Wesley Harding and The Band, music which Marcus describes as a "kaleidoscope of American music". "The "acceptance of death" that Dylan found in "traditional music"", says Marcus, "is simply a singer's insistence on mystery as inseparable from any honest understanding of what life is all about; it is the quiet terror of a man seeking salvation who stares into a void that stares back."
Biblical imagery and apocalyptic frameworks have been a constant within Dylan's work as throughout his career he has written songs that depict the apathy of humanity in the face of the coming apocalypse. What we have in the best of Dylan is a contemporary Pilgrim, Dante or Rimbaud on a compassionate journey, undertaken in the eye of the Apocalypse, to stand with the damned at the heart of the darkness that is twentieth century culture.
From Slow Train Coming onwards he equated the apocalypse with the imminent return of Christ. The return of Christ in judgement is the slow train that is "comin' up around the bend" and in the face of this apocalypse he calls on human beings to wake up and strengthen the things that remain. Similarly, in 'The Groom's Still Waiting at the Altar', he sees the apocalypse coming ("Curtain risin' on a new age") but not yet here while the Groom (Christ who awaits his bride, the Church) is still waiting at the altar. In the time that remains he again calls on human beings to arise from our slumber: "Dead man, dead man / When will you arise? / Cobwebs in your mind / Dust upon your eyes" ('Dead Man, Dead Man').
In the light of this thread in Dylan's songs throughout this period, it seems to me to be consistent to read 'Jokerman', from Infidels as another song in this vein; as a song depicting the apathy of humanity in the face of the apocalypse and one which is shot through with apocalyptic imagery drawn from the Book of Revelation. We are the jokermen who laugh, dance and fly but only in the dark of the night (equated with sin and judgement) afraid to come into the revealing light of the Sun/Son.
Jokerman, though, is a greater song that any of those mentioned previously because its depiction of humanity is more nuanced. There is much that is negative: we are born with a snake in both our fists; we rush in where angels fear to tread; our future is full of dread; we are doing no more that keeping one step ahead of the persecutor within; we are going to Sodom and Gomorrah only knowing the law of the jungle (the law of revenge from the Book of Leviticus and Deuteronomy - 'an eye for an eye'). But these negatives are not the whole story as we also experience freedom, dance to the nightingale tune, fly high, walk on the clouds, and are a friend to the martyr. We have an inherent dignity and beauty to which only the greatest of artists such as Michelangelo can do justice. In Jokerman Dylan captures well the Biblical portrait of humanity as made in the image of God but marred by our rejection of God with our potential for beauty and compassion perverted into a selfish search for self-aggrandisement.
The final verse comes straight from the Book of Revelation and describes the birth of the AntiChrist who will deceive humanity into following him rather than Christ. The accusation and challenge that Dylan puts to us in the final lines of this final verse is that we know exactly what is happening (after all, it has all been prophesied in the Book of Revelation) but we make no response; we are apathetic in the face of the apocalypse. Our lack of response is what is fatal to us because it is only through repentance and turning to Christ that we will be saved from the coming judgement. These final lines are both an accusation and a challenge because, in line with the prophecy of Revelation, Dylan clearly believes that humanity as a whole will be apathetic and non-responsive but they must also be a challenge because, if there is no possibility that any of us will respond, why write the song at all!
In 'Sweetheart Like You', also from Infidels, we see the possibility of response through a wonderfully contemporary depiction of Christ's incarnation. The song is written from the perspective of a misogynist male employee in an all-male workplace that is literally a hell of a place in which to work. To be in here requires the doing of some evil deed, having your own harem, playing till your lips bleed. There's only one step down from here and that's the ironically named "land of permanent bliss."
Into this perverted and prejudiced environment comes a woman, the sweetheart of the song's title. She is a Christ figure; a sinless figure entering into a world of sin and experiencing abuse and betrayal (is "that first kiss" a Judas kiss?) from those she encounters and to whom she holds out the possibility of a different kind of existence. Dylan makes his equation of the woman with Christ explicit by quoting directly from Jesus: "They say in your father's house, there's many mansions" (John 14: 2).
The song's narrator is confused and challenged by her appearance. He wants to dismiss her out of hand and back to his stereotypical role for her - "You know, a woman like you should be at home / That's where you belong / Watching out for someone who loves you true / Who would never do you wrong" - but he can't simply dismiss her as she is really there in front of him and so he begins to wonder, "What's a sweetheart like you doin' in a dump like this?" All the time he asks that question there is the possibility that he may respond to her presence without abuse or dismissal.
In 'I and I' Dylan gives an honest depiction of the difficulties of response (based no doubt on his own inability to keep the moral standards that he seems to have perceived God to have expected of him and which, no doubt, his church at the time expected of him). The central character in this song has taken the untrodden path where the swift don't win the race (Matthew 7: 13 & 14 - "Enter through the narrow gate. For wide is the gate and broad is the road that leads to destruction, and many enter through it. But small is the gate and narrow the road that leads to life, and only a few find it."). He has looked into justice's beautiful face and yet as we meet him we discover that he has just slept with a strange woman (i.e. he has had sex outside of marriage).
In creation, Dylan sings, we neither honour nor forgive. Instead we take; our nature is the survival of the fittest. When we encounter God, our sinful, selfish human nature encounters the demand for pure perfection - "no man sees my face and lives." 'I and I' is about the difficulty of living between these two poles; of having started out on the untrodden path but then having slipped back. The song is an evocation of the guilt that the protagonist feels; a guilt that forces him to leave the woman, to go out for a walk into the narrow lanes, pushing himself along the darkest part of the road to get himself back on track and then hearing the accepting, forgiving words of Christ in his heart, "I made shoes for everyone, even you, while I still go barefoot."
'I and I' is again set in the context of the apocalypse: "the world could come to an end tonight." The protagonist is responding in the face of the apocalypse. Even though he has sinned he is leaving that sin behind, pushing himself along the road and listening to Christ in his heart. Another song in which the protangonist becomes aware of the coming apocalypse while being in the wrong place is 'Tight Connection To My Heart' (originally recorded during the Infidels session as 'Someone's Got A Hold Of My Heart'). Here the protagonist grabs his coat because feels the breath of the storm that is the apocalypse. He is in the wrong place with the wrong person having valued the wrong things (lulled to sleep in a town without pity where the water runs deep, it's all been a charade, a big joke that he'll remember to forget) and now, when it may be too late, he is searching for his true love (his "first love" - see Revelation 2: 4). His issue has been that he could not commit: "Never could learn to drink that blood / And to call it wine / Never could learn to hold you, love / And to call you mine." Like the foolish virgins, he may be left outside in the cold when the bridegroom arrives because he was not faithful to his true love at the moment of the second coming (Matthew 25: 1 - 13).
It is not possible to understand these songs or Dylan's journey without understanding the biblical material on which they draw. Without this, as is the case in much contemporary cultural comment, the work of art is actively misunderstood. This was the case with reviews of Infidels at the time which used 'Sweetheart Like You' as an example of Dylan's supposed misogeny. So these reviewers were using a song that actually critiques and undercuts misogeny as an example of misogeny itself and this fundamental misunderstanding was the result of a failure to recognise and understand biblical references and imagery.
Happy Birthday, Bob. See also Peter Banks, Malcolm Guite and Philip Ritchie.
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Bob Dylan - Tight Connection To My Heart (Has Anybody Seen My Love?).
"I'm walkin', through streets that are dead
Walkin', walkin' with you in my head
My feet are so tired,
My brain is so wired
And the clouds are weeping." ('Love Sick').
Dylan comes from the tradition of hobo singers (Woody Guthrie) and beat poets (Jack Kerouac) for whom the journey and the documenting of their experience is life itself. When we first meet him singing in his original voice, on Bob Dylan, he's "ramblin' outa the wild West,/Leavin' the towns I love the best ... ''Til I come into New York town" ('Talkin' New York'). At this stage the ramblin', gamblin' hobo is a conscious image worn in homage to Woody Guthrie:
"I'm out here a thousand miles from my home,
Walkin' a road other men have gone down.
I'm seeing your world of people and things,
Your paupers and peasants and princes and kings.
Hey, hey, Woody Guthrie, I wrote you a song ...". ('Song to Woody')
Though he starts out on his journey in imitation of others what he sees on his journey is original, surreal and unjust:
"I saw a newborn baby with wild wolves all around it,
I saw a highway of diamonds with nobody on it,
I saw a black branch with blood that kept drippin',
I saw a room full of men with their hammers a-bleedin' ..." ('A Hard Rain's A-Gonna Fall')
Ahead of him he sees a gathering apocalyptic storm and he resolves to go back out and walk in the shadow of the storm:
"... 'fore the rain starts a-fallin',
I'll walk to the depths of the deepest dark forest,
Where the people are many and their hands are all empty,
Where the pellets of poison are flooding their waters,
Where the home in the valley meets the damp dirty prison,
Where the executioner's face is always well hidden,
Where hunger is ugly, where the souls are forgotten,
Where black is the colour, where none is the number.
And I'll tell it and think it and speak it and breathe it,
And reflect from the mountain so that all souls can see it ...".
He travels the paths of political protest, urban surrealism, country contentment, gospel conversion and world weary blues. On his journey he: sees "seven breezes a-blowin'" all around the cabin door where victims despair ('Ballad of Hollis Brown'); sees lightning flashing "For the countless confused, accused, misused, strung-out ones an' worse" ('Chimes of Freedom'); surveys 'Desolation Road'; talks truth with a thief as the wind begins to howl ('All Along the Watchtower'); takes shelter from a woman "With silver bracelets on her wrists and flowers in her hair" ('Shelter from the Storm'); feels the Idiot Wind blowing through the buttons on his coat, recognises himself as an idiot and feels so sorry ('Idiot Wind'); finds a pathway to the stars and can't believe he's survived and is still alive ('Where Are You Tonight? Journey Through Deep Heat'); rides the slow train up around the bend ('Slow Train'); is driven out of town into the driving rain because of belief ('I Believe in You'); hears the ancient footsteps join him on his path ('Every Grain of Sand'); feels the Caribbean Winds, fanning desire, bringing him nearer to the fire ('Caribbean Wind'); betrays his commitment, feels the breath of the storm and goes searching for his first love ('Tight Connection to My Heart'); then at the final moment, it's not quite dark yet but:
"The air is getting hotter, there's a rumbling in the skies
I've been wading through the high muddy water
With the heat rising in my eyes.
Everyday your memory grows dimmer.
It don't haunt me, like it did before.
I been walking through the middle of nowhere
Tryin' to get to heaven before they close the door." ('Tryin' To Get To Heaven').
Modern Times is an album that is also drenched in the imagery of journeying: "Gonna get up in the morning walk the hard road down/Some sweet day I'll stand beside my king". Dylan as journeyman, as traveller, is the key insight of the liner notes for Tell Tale Signs where Larry Sloman signs off with a paragraph quoting a myriad of Dylan's lyrics:
"He ain't talking, but he's still walking, heart burning, still yearning. He's trampling through the mud, through the blistering sun, getting damp from the misty rain. He's got his top hat on, ambling along with his cane, stopping to watch all the young men and young women in their bright-coloured clothes cavorting in the park. Despite all the grief and devastation he's seen on his odyssey, his heart isn't weary, it's light and free, bursting all over with affection for all those who sailed with him. Deep down he knows that his loyal and much-loved companions approve of him and share his code. And it's dawn now, the sun beginning to shine down on him and his heart is still in the Highlands, over those hills, far away. But there's a way to get there and if anyone can, he'll figure it out. And in the meantime, he's already there in his mind. That mind decidedly out of time. And we're all that much richer for his journey."
In many ways, this stream of inspiration has involved reworking and rearticulating the classic Dylan song, 'Blind Willie McTell', that was left off Infidels. Predominantly blues-based and extending the blues/folk metaphor of the drifter, Together Through Life finds Dylan's characters rambling through apocalyptic landscapes, experiencing life's hardness, grasping and eulogising love with a wry and sardonic irony wherever they can find it before the change that death will bring.
Dylan has said that:
"Those old songs are my lexicon and my prayer book. You can find all my philosophy in those old songs. Hank Williams singing 'I Saw The Light' or all the Luke The Drifter songs. That would be pretty close to my religion. The rabbis, priests, and ministers all do very well. But my belief system is more rugged and comes more from out of the old spiritual songs than from any of the established religious attempts at overcoming the devil."
This is also the picture of traditional American music conjured up by Bob Dylan in 1966: "Traditional music is based on hexagrams. It comes from legends, bibles, plagues, and it revolves around vegetables and death. ... All these songs about roses growing out of people's brains and lovers who are really geese and swans that turn into angels - they're not going to die. .... I mean, you'd think that the traditional music people could gather from their songs that mystery is a fact, a traditional fact ... In that music is the only true, valid death you can feel today off a record player. ... It has to do with a purity thing. I think its meaninglessness is holy."
Greil Marcus has pointed out that this 'traditional music' - the ancient ballads of mountain music, songs like Buell Kazee's 'East Virginia', Clarence Ashley's 'Coo Coo Bird' or Dock Boggs' 'Country Blues' - are what Dylan and the Band tapped into when recording The Basement Tapes, John Wesley Harding and The Band, music which Marcus describes as a "kaleidoscope of American music". "The "acceptance of death" that Dylan found in "traditional music"", says Marcus, "is simply a singer's insistence on mystery as inseparable from any honest understanding of what life is all about; it is the quiet terror of a man seeking salvation who stares into a void that stares back."
Biblical imagery and apocalyptic frameworks have been a constant within Dylan's work as throughout his career he has written songs that depict the apathy of humanity in the face of the coming apocalypse. What we have in the best of Dylan is a contemporary Pilgrim, Dante or Rimbaud on a compassionate journey, undertaken in the eye of the Apocalypse, to stand with the damned at the heart of the darkness that is twentieth century culture.
From Slow Train Coming onwards he equated the apocalypse with the imminent return of Christ. The return of Christ in judgement is the slow train that is "comin' up around the bend" and in the face of this apocalypse he calls on human beings to wake up and strengthen the things that remain. Similarly, in 'The Groom's Still Waiting at the Altar', he sees the apocalypse coming ("Curtain risin' on a new age") but not yet here while the Groom (Christ who awaits his bride, the Church) is still waiting at the altar. In the time that remains he again calls on human beings to arise from our slumber: "Dead man, dead man / When will you arise? / Cobwebs in your mind / Dust upon your eyes" ('Dead Man, Dead Man').
In the light of this thread in Dylan's songs throughout this period, it seems to me to be consistent to read 'Jokerman', from Infidels as another song in this vein; as a song depicting the apathy of humanity in the face of the apocalypse and one which is shot through with apocalyptic imagery drawn from the Book of Revelation. We are the jokermen who laugh, dance and fly but only in the dark of the night (equated with sin and judgement) afraid to come into the revealing light of the Sun/Son.
Jokerman, though, is a greater song that any of those mentioned previously because its depiction of humanity is more nuanced. There is much that is negative: we are born with a snake in both our fists; we rush in where angels fear to tread; our future is full of dread; we are doing no more that keeping one step ahead of the persecutor within; we are going to Sodom and Gomorrah only knowing the law of the jungle (the law of revenge from the Book of Leviticus and Deuteronomy - 'an eye for an eye'). But these negatives are not the whole story as we also experience freedom, dance to the nightingale tune, fly high, walk on the clouds, and are a friend to the martyr. We have an inherent dignity and beauty to which only the greatest of artists such as Michelangelo can do justice. In Jokerman Dylan captures well the Biblical portrait of humanity as made in the image of God but marred by our rejection of God with our potential for beauty and compassion perverted into a selfish search for self-aggrandisement.
The final verse comes straight from the Book of Revelation and describes the birth of the AntiChrist who will deceive humanity into following him rather than Christ. The accusation and challenge that Dylan puts to us in the final lines of this final verse is that we know exactly what is happening (after all, it has all been prophesied in the Book of Revelation) but we make no response; we are apathetic in the face of the apocalypse. Our lack of response is what is fatal to us because it is only through repentance and turning to Christ that we will be saved from the coming judgement. These final lines are both an accusation and a challenge because, in line with the prophecy of Revelation, Dylan clearly believes that humanity as a whole will be apathetic and non-responsive but they must also be a challenge because, if there is no possibility that any of us will respond, why write the song at all!
In 'Sweetheart Like You', also from Infidels, we see the possibility of response through a wonderfully contemporary depiction of Christ's incarnation. The song is written from the perspective of a misogynist male employee in an all-male workplace that is literally a hell of a place in which to work. To be in here requires the doing of some evil deed, having your own harem, playing till your lips bleed. There's only one step down from here and that's the ironically named "land of permanent bliss."
Into this perverted and prejudiced environment comes a woman, the sweetheart of the song's title. She is a Christ figure; a sinless figure entering into a world of sin and experiencing abuse and betrayal (is "that first kiss" a Judas kiss?) from those she encounters and to whom she holds out the possibility of a different kind of existence. Dylan makes his equation of the woman with Christ explicit by quoting directly from Jesus: "They say in your father's house, there's many mansions" (John 14: 2).
The song's narrator is confused and challenged by her appearance. He wants to dismiss her out of hand and back to his stereotypical role for her - "You know, a woman like you should be at home / That's where you belong / Watching out for someone who loves you true / Who would never do you wrong" - but he can't simply dismiss her as she is really there in front of him and so he begins to wonder, "What's a sweetheart like you doin' in a dump like this?" All the time he asks that question there is the possibility that he may respond to her presence without abuse or dismissal.
In 'I and I' Dylan gives an honest depiction of the difficulties of response (based no doubt on his own inability to keep the moral standards that he seems to have perceived God to have expected of him and which, no doubt, his church at the time expected of him). The central character in this song has taken the untrodden path where the swift don't win the race (Matthew 7: 13 & 14 - "Enter through the narrow gate. For wide is the gate and broad is the road that leads to destruction, and many enter through it. But small is the gate and narrow the road that leads to life, and only a few find it."). He has looked into justice's beautiful face and yet as we meet him we discover that he has just slept with a strange woman (i.e. he has had sex outside of marriage).
In creation, Dylan sings, we neither honour nor forgive. Instead we take; our nature is the survival of the fittest. When we encounter God, our sinful, selfish human nature encounters the demand for pure perfection - "no man sees my face and lives." 'I and I' is about the difficulty of living between these two poles; of having started out on the untrodden path but then having slipped back. The song is an evocation of the guilt that the protagonist feels; a guilt that forces him to leave the woman, to go out for a walk into the narrow lanes, pushing himself along the darkest part of the road to get himself back on track and then hearing the accepting, forgiving words of Christ in his heart, "I made shoes for everyone, even you, while I still go barefoot."
'I and I' is again set in the context of the apocalypse: "the world could come to an end tonight." The protagonist is responding in the face of the apocalypse. Even though he has sinned he is leaving that sin behind, pushing himself along the road and listening to Christ in his heart. Another song in which the protangonist becomes aware of the coming apocalypse while being in the wrong place is 'Tight Connection To My Heart' (originally recorded during the Infidels session as 'Someone's Got A Hold Of My Heart'). Here the protagonist grabs his coat because feels the breath of the storm that is the apocalypse. He is in the wrong place with the wrong person having valued the wrong things (lulled to sleep in a town without pity where the water runs deep, it's all been a charade, a big joke that he'll remember to forget) and now, when it may be too late, he is searching for his true love (his "first love" - see Revelation 2: 4). His issue has been that he could not commit: "Never could learn to drink that blood / And to call it wine / Never could learn to hold you, love / And to call you mine." Like the foolish virgins, he may be left outside in the cold when the bridegroom arrives because he was not faithful to his true love at the moment of the second coming (Matthew 25: 1 - 13).
It is not possible to understand these songs or Dylan's journey without understanding the biblical material on which they draw. Without this, as is the case in much contemporary cultural comment, the work of art is actively misunderstood. This was the case with reviews of Infidels at the time which used 'Sweetheart Like You' as an example of Dylan's supposed misogeny. So these reviewers were using a song that actually critiques and undercuts misogeny as an example of misogeny itself and this fundamental misunderstanding was the result of a failure to recognise and understand biblical references and imagery.
Happy Birthday, Bob. See also Peter Banks, Malcolm Guite and Philip Ritchie.
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Bob Dylan - Tight Connection To My Heart (Has Anybody Seen My Love?).
Monday, 23 May 2011
Windows on the world (155)
Chester, 2011
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Fleet Foxes - He Doesn't Know Why.
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