Thoughts on living a long life

By Richard K Munro

Sedona, Arizona picture taken by my son IAN MUNRO

“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

That’s certainly is my motto FOR THE GOOD LIFE.

And this shall be for music when no one else is near
The fine song for singing, the rare song to hear!
That only I remember, that only you admire
Of the broad road that stretches and the roadside fire!

(R L STEVENSON)

***

O I had ance a true love, now I hae nane ava;
And I had three braw brithers, but I hae tint them a’.
My father and my mither sleep i’ the mools this day –
I sit my lane amang the rigs, aboon sweet Rothesay Bay.

It’s a bonnie bay at morning, and bonnier at noon,
But bonniest when the sun draps and red comes up the moon.
When the mist creeps o’er the Cumbraes and Arran peaks are gray,
And the great black hills, like sleeping kings, sit grand roun’ Rothesay Bay.

Then a bit sigh stirs my bosom, and wee tear blin’s my e’e,
And I think of that far countrie wha I wad like to be.
But I rise content i’ the morning to wark while I may –
I’ the yellow har’st field of Ardbeg, aboon sweet Rothesay Bay.

This old Scottish song, which I have known for most of my life, reminds us there is beauty in this world but also sadness, loneliness, loss, and separation.  But we should rise content each morning to work and study while we may and if we have lost loves and homelands we should be grateful that we have known friendship and love.

Working as a tour guide in Segovia Spain in the early 1980s. AMOR BRUJO TOURS and TRANSLATIONS
I don’t have a lot of cash on hand but I always have a leather purse with $20 worth of half dollars at hand and I have a bag with about $150 of change hidden away. I don’t normally carry a lot of cash. Most of my purchases are by credit card. I never use a debit card.

 I have a chance for a long life. 

Already I am grateful for the years I have lived (mostly in good health). I am 68 years old and older than many people I worked with, studied with or loved. I have known people who died in their teens, in their twenties, in their thirties in their forties, in their fifties, and in their early sixties.  I once saw a Sea Knight Helicopter fly away and cursed the fact I was not on it. It hit bad weather and crashed about 15 minutes later 23 Marines were killed including some people I knew. Our company commander canceled our trip and we had to march more than 20 miles back to camp in bad weather. Sometimes as Auld Pop used to say your number is up.

One lesson I have learned in life is that the body is a fragile vessel and that we are all mortal. Every day of good health is a gift.  I think being married has kept me reasonably happy and healthy. Choosing a good spouse is one of the most important decisions one can make for one’s happiness and health. I have been married for almost forty-two years to my best friend of the last fifty years. John Joseph Powell in The SECRET OF STAYING IN LOVE wrote: “It is an absolute human certainty that no one can know his own beauty or perceive a sense of his own worth until it has been reflected back to him in the mirror of another loving, caring human being.” 

Yes, no one can know true happiness unless they know the love of a husband and wife or of a child. I know when I first saw my grandchildren it was love at first sight! I do believe in enthusiasms and love at first sight.

Yes, no one can know true happiness unless they know the love of a husband and wife or of a child. I know when I first saw my grandchildren it was love at first sight!  I was happy the day I was married -but not as happy as my parents I think and I was happy when our children were born -a very special gift for which I am eternally grateful- but there is no joy like the surprise or extra-inning gift of grandchildren.    Children mean sacrifice and a lot of hard work but they pay dividends a hundred times over.  Hugh Heffner with his multitudinous and mostly sterile dud in the mud sex was really a chump, not a champion.   He thought he knew what life was but wasted most of his life in hedonistic trivialities. He thought he knew what love was but he knew only a fraction of the Four Loves.

This is the actress MAUREEN O’ HARA (1939) as Esmeralda in the film HUNCHBACK OF NOTRE DAME.  Who with eyes and heart in breast could not fall in love with such a smile?

To be happy one has to be in reasonable health. One has to have something to do with your time. So it is important to have hobbies and intellectual interests and a few good friends.  One should be loved and have someone to love, have a roof over your head, some soup at the boil, some tasty food to eat,  One needs plenty of water to drink and wash, One thing l learned is that one can go days even weeks of light eating but one cannot go very long without water. So water is my favorite beverage!

To be happy one has to have some dreams and something to hope for. Many of my personal dreams are unrealized but I had fun trying to achieve those dreams. I hiked many mountains I climbed many ruins in Sicily, Crete, Madeira, in Portugal, Spain, Scotland, Greece and Italy. I kissed a few pretty girls and they kissed me back. I have gone deep sea fishing in the Atlantic and Pacific.  I played a lot of baseball and became in the words of a local athlete “decent”. I served honorably in the Marine Corps. I have published a few articles and one-act plays but never have written (a published book). I have written (privately) three volumes of essays and personal recollections that my daughter published. They are primarily for my grandchildren. I have taught many classes in history, literature, and languages and helped many students. I have coached sports teams and seen great athletes at play. All of our children and grandchildren are bilingual and were or are being raised as native speakers of Spanish and English. 

I love monumental public memorials and sculptures though  Shakespeare sang in the Sonnets of the immortality of literature:

“Not marble nor the gilded monuments

Of princes, shall outlive this powerful rhyme,

But you shall shine more bright in these contents

Than unswept stone, besmeared with sluttish time.”

When I visit the cemetery or war memorials, I walk past hundreds or even thousands of names that represent life stories now silenced forever.  

Oh, they are the Silent Ones. May the many monuments that abound around the globe to those who have fought to protect our freedom and national independence remind us of duty,  the cardinal virtue of courage,  the inestimable value of valor, the honor evoked by such sacrifice!

Look at and contemplate {those}

” names …inscribed on the parchment of fame;

Heroes whose seeds were a noble example

That others might follow and honour thy name.”

I know that recorded history holds the adventures of a few who managed to be inscribed in the parchment of fame.   

I have never thought I needed to live a life worthy of being recorded. 

I never really sought fame or wealth but contentment and the quiet and security of a nice house and library. ] I enjoy quiet cafes, quiet rivers, quiet museums, and quiet walks in the park or in a forest.   I have always wanted to live an honorable life of service to my school, my country,  my family, and my God. “non mihi non tibi sed nobis as the Romans said, “not for me alone nor for thee all but for the common good of all.” 

I knew all about the world of books.  For most of my life, they were my biggest adventure.  Books could take you into a better world.  A world where there were fine songs for singing, moving laments, sports heroes, romance, adventures, tragedies, military adventures, explorations, mysteries, prayers, legends, and yes, even magic.  Of course,  the articles, stories, songs, and books ended eventually. Then you had to go back to being yourself. 

So in the final analysis bookish adventures are not enough.    A man craves the freedom to see places and do things. And when you are old you can look back and remember.   This is one of the reasons I enlisted in the Marine Corps , worked in construction as a laborer (I helped build Bill Gate’s home in Bothwell, Washington), and why I lived and traveled in Latin America, Spain, and Europe as much as I could.  I knew my time, my health, my freedom, and my financial independence were limited.  My father always said, “You have to take chances in life.  The door of opportunity opens and then closes.  If you don’t move ahead when you have the chance you can lose out forever. You have to decide if it is worth taking the chance.”

I realize I am the biggest threat to my emotional, financial, and physical health.

So what do I do? 

Number one I have a wife, children, life insurance, some savings, and some property.  I am not a doomsday prepper by any means but I believe in having emergency food, water, and medicine just in case of some natural catastrophe. I have a solar crank radio, a solar charger, flashlights, batteries, candles. a first aid kit, an emergency stove, extra medicine, and spare glasses. That is not excessive. If one wants to have a long life one must be prepared to take care of oneself in case of an accident or an emergency.

One thing I hope is that I do not outlive my wife, my children, or my grandchildren. I hope I live long enough so that my grandchildren have memories of me and get to know and love me. That is an important goal in my life. I look forward with joy to every spring. I love the birds who come to visit and feed in our garden. I love the plants and flowers that bloom. 

Leo and Laney enjoy our garden too Jan 2024

I do a lot of serious reading (classics, non-fiction, biography) but I enjoy lighter fare such as adventure tales, mysteries and westerns. I enjoy reading jokes and joke books.

I love reading about baseball and listening to games (chiefly) via MLB at Bat. I listen to games in Spanish and English. I first listened to baseball games in Spanish in the 1970s and it helped develop my Spanish. 

Otherwise, I don’t spend a lot of time on spectator sports. I glance at the newspaper but that’s about it. Most of the time I am happy to read about the final score.

I try to set time aside for PHYSICAL EXERCISE and JOY ( I try to walk daily in the park and clean the pool and garden). When the weather is good I swim once or twice a day. I love reading and listening to classical music so I have CD’s and a nice BOSE player, plus SPOTIFY plus ITUNES for my phone. 

I love to read the papers -The Wall Street Journal and our local paper every morning or Commentary magazine. I listen to LONDON TIMES radio reports as well as the Daily Telegraph and some Israeli news as well.

I spend some time on PERSONAL GROWTH. I love studying languages and spend about 2-3 hours a day studying new languages and reading ones I know. I have taken up a new hobby! Drawing. I always have drawn a little bit in my language studies but I have decided I can improve the quality of my notebooks! I enjoy singing or humming songs. I enjoy reciting poetry by heart just for fun. I also set aside time for relaxation. If I am tired or have a headache I rest and have some tea with lemon, Splenda or honey. I make a thermos of it to sip all afternoon. 

I love doing FACETIME with our grandchildren it is so wonderful to talk to them and see them so full of joy and happiness. It feels good to hear them say “YAYO, WHEN ARE YOU COMING TO VISIT?” 

I enjoy phone conversations with a few friends but am not really a phone person. I have to plan to call someone. Basically, I think calling can be an intrusion. And I know some people don’t like long or serious conversations. So my conversations with books are more satisfying than most phone chit-chatting.  But I call people who call me. People who don’t call me or write to me I pray for but don’t worry about. It’s sad when old friends drift away but the truth that’s life.

So I prefer to write on my blog,The Spirit of Cecilia or THE GILBERT HIGHET SOCIETY on FB or email people. I text some family and friends and share book titles via Audible.

I try to be moderate in what I eat and drink (I primarily drink water coffee and tea). I have a physical once or twice a year and take my medicines. 

I know that if one is to enjoy a LONG LIFE one has to do what one can to stay as healthy as possible. Then the chances for a happy long life are better. 

As a young man and in middle age I traveled a lot so I am happy that I had that experience. But now I really have lost my wanderlust. I only want to travel to visit our grandchildren. Most days I am at home, on the porch, in the garden, in my library, in the TV room , or listening to podcasts or books on tape in bed. My wife and I enjoy JEOPARDY and British mysteries and shows on Masterpiece Theater. I don’t drive very much anymore perhaps once a month or less!  I spend some time on Twitter (X) and Facebook and check my email at least every other day. I enjoy corresponding with people in Italy, Scotland, Israel , and throughout the English-speaking world.

I have always had the Munro motto in mind which is Dread God (and obey his commandments because that is the whole duty of man).  BIODH EAGAL DHE OIRRE in Gaelic or Reverence you unto God.      It is a very ancient motto and reminds us that Munro is a Christian name -it means the descendant of the Men of the Halo River the Roe (the Saint’s River) a place name in Ireland. That is probably the first Bible quote I ever knew and I heard it at least from 1959. I think It helps to have God and a little religion in your life. But that’s just my opinion. People should have freedom of conscience and choose their own paths. The only thing I go do is set a good example and invite people to consider the Good Life as I see it and seek it.

An ancient motto I have known since at least 1960 is NE OBLIVISCARIS  do not forget.  This was the Regimental motto of my grandfather’s old Regiment 1914-1919, the Thin Red Line of Heroes (The Argyll and Sutherland Highlanders)  At Balaklava in the Crimean War, the Argylls were called the Gaelic Rock.  If they had failed the entire British and Allied army may have been destroyed but they calmly spread out in a thin line of two, fixed bayonets and fired aimed volley after volley from their Enfield Rifles.  Their commander Sir Colin Campbell said, “Lads, we have to stop them or fall in the effort.”  The Argylls near him said to him laconically, “Aye,  we’ll stand until you give the order.”  The war correspondents who were present were astonished at their discipline and cool courage.    The Thin Red Line of Heroes became a symbol of the courage and professionalism of the British Army but especially the Scottish Highland Regiments. Many of my ancestors served in Highland Regiments.

And of course, I am a loyal man so SEMPER FIDELIS (always faithful) is a motto also. This is the motto of the US Marine Corps.

Another motto is CUIMHNICH AIR NA DAOINE BHON TAINIG TUSA  (REMEMBER THE PEOPLE YOU CAME FROM). 

I believe marriage is a sacrament and I have always been loyal to my wife and family putting their security and happiness above everything else.   

I face firmly towards the future but never forget the past.  I know in a long journey some things have to be left behind. 

I only wish for my granddaughters and future grandchildren that they will have strong faith, good values, a good education, and the warmth and security of a good family.

For that is the duty of a good man, a good father, and a good husband. If you live a good life you will want to live a long life and I think you have a better chance for achieving a long life. 

Daily writing prompt
What are your thoughts on the concept of living a very long life?

The Cure’s Disintegration: An Appreciation

disintegration

Greetings, Spirit of Cecilia readers! In this post, Brad Brizer and Tad Wert discuss their love for another classic album – in this case, The Cure’s Disintegration.

Tad: Brad, we’re reviewing this album at your suggestion, and I’m glad we’re giving it its due! I have to admit that Disintegration slipped by me at the time it was released. I was listening to the B-52s’ Cosmic Thing, Don Henley’s The End of Innocence, Paul McCartney’s Flowers In The Dirt, Todd Rundgren’s Nearly Human…in other words, a lot of “pop” music. Up to that point, the only Cure album I had listened to extensively was 1985’s The Head On The Door

However, many years later I eventually caught a bug that only The Cure could fix (did you catch that? 🙂 and I dove into their entire catalog. Disintegration is definitely a peak of their long career. For me, it’s rare that an album creates an overall mood and atmosphere as consistently good as Robert Smith and company do with this album.

Brad: Dear Tad, thank you so much for agreeing (happily, I take it!) to review Disintegration.  Ever since it came out–way back in 1989–I’ve been in love with the album.  Indeed, from my first listen, it grabbed me rather hard and has held on for thirty-five years.  It is, I think, the proggiest of The Cure’s albums, which helps explain why I like it so much.  A kind of pop-prog or prog-pop, in the vein (though sounding nothing like) Pet Sounds by the Beach Boys or Skylarking by XTC.

The Cure is also famous for truly poppy songs–such as “Friday, I’m in Love.”  I like these songs, but I don’t love them.  These are almost entirely absent from Disintegration, which is another plus to my mind.  I definitely much prefer a song like “Disintegration” to “Friday, I’m in Love.”  I’d be pretty disappointed if the former didn’t exist in my life, but if I never hear the latter again, I won’t be upset.

Even the poppier songs on Disintegration–such as “Love Song”–aren’t that poppy, and they fit perfectly into the flow of the album.  The album is almost perfectly produced, and the track order allows for the album to build and build (more on this in a later comment).

Again, I love this Disintegration as an album, and I always include it in my top 10 favorite albums of all time, along with several by Rush, Talk Talk, Kate Bush, Yes, Genesis, and Tears for Fears.

The album first came out in May 1989, at the very end of my junior year of college, and I was introduced to it by my great friend, Ron Strayer, then a student at the University of Kansas.  We had been debate partners throughout high school, and we often shared our loves in common–science fiction novels, movies, and music.  Ron’s tastes were always a little more poppier (in the alternative/college scene), and mine were always proggier (toward Genesis, Yes, etc.), but we mixed well.

This is, of course, the 35th anniversary of the album, but on the 20th anniversary, Roger O’Donnell of The Cure wrote an 11,000 (!!!) word reminiscence–complete with lots of great photos–of the making of the album.

I will admit, I’ve read this through twice, and I find it an amazing story.  A weird story, but an amazing one.

Tad: Brad, thanks for sharing O’Donnell’s memoir of the recording of Disintegration. I love learning about the background of great albums. One thing he mentioned, and I kind of agree with, was his disappointment with the mastering – he says it sounded compressed and flat. He suggests that the live versions recorded at Entreat Plus (available on the 3-disc Deluxe Edition) are better representations. I don’t know about that, but the live versions are very good – a more open sound.

Okay, let’s discuss the songs. The one track that I absolutely love is “Lullaby”. Referring again to O’Donnell’s piece, I was surprised to learn that the band had all of the instrumental tracks completed before Robert Smith sang any lyrics. That means they had no idea that “Lullaby”, with its bouncy melody would end up being such a creepy song about spiders and death! Still, it is my favorite song on the album.

I also love the majestic opener, “Plainsong”. It is a perfect mood-setter for the entire album, with its massive, dirge-like chords that never relent. “Lovesong” is a nice respite from all the gloom, but I prefer the darker songs. I especially like “Prayers for Rain” – it slowly builds and builds into a beautiful edifice of sound. “Homesick” is one of the prettiest songs The Cure ever recorded, and “Untitled” is a wonderful closing track. It sounds like a musical postscript to a long letter, if that makes sense. [Brad: yes, this makes perfect sense]

I’m looking at the track times of these songs, and I never realized how lengthy they are! “Lovesong” at 3:29 is the shortest, while half of them are longer than 6 minutes. It’s a credit to the strength of the songs that I never feel like the album drags or is too long.

Brad: Excellent response, Tad.  It’s funny (in a strange kind of way), I just finished Steven Hyden’s This Isn’t Happening: Radiohead’s Kid A . . . and I loved it.  

But, it struck me several times in reading the book that when The Cure is experimental–especially as they were with Disintegration–they’re as innovative as the best of them.  

You reminded me in email about our three-way conversation three years ago about whether or not The Cure were prog.  In some ways, bands like The Cure and Radiohead are beyond prog.  They simply are.  They’re unique, and the music they create, overall, transcends musical boundaries.  

Much of what The Cure has written has been very much in the pop vein, but much of it is just weird and experimental and wonderful and unique.  One of my favorite collections is The Cure, Join the Dots, a four-disk exploration of their b-sides.  Many of the b-sides are straight-up pop, but several are really experimental and proggy.  Needless to write, The Cure’s b-sides would be almost anyone else’s a-sides.

Back to Disintegration.  I’ve never noticed the mix as sounding flat or compressed, but I do love the dark consistency of the album.  From the opening track, “Plainsong,” to the final track, “Untitled,” it feels as though we’re barely breathing–perhaps just on the surface of a lake, grasping for air.  There’s a brilliant suffocation to the production of the album.  The album, in some mysterious way, just feels “alive” but, again, grasping.

I wonder if Disintegration just happens to be the last of the great analog recordings, while digital would become the norm after 1989?  I have no idea–just a thought.

Agreed, though, that The Cure sound amazing live.  I’ve never seen them in concert in real time, but I own all the DVD/Blu-ray concerts the band has released, and they are among my favorites.  Again, the pop songs are fun, but it’s the more intense, experimental songs live that really grab me.  I love watching the interplay of the band members, especially on the more complicated songs.

Earlier, I mentioned how much I love the flow of Disintegration.  The track order seems, in large part, to make this album.  You’re absolutely right to call much of it “dirge like.”  Again, I would call it grasping for life, perfect headphones in a dark room kind of music.  

I especially appreciate the sequence of the second half of the album: “Fascination Street” to “Prayers for Rain” to “The Same Deep Water as You” to “Disintegration” to “Homesick” to “Untitled.”  It’s as dark as dark can get, but so relentlessly driving.  Even the one moment of hope, when it starts to rain at the beginning of “The Same Deep Water as You,” and after “Prayers for Rain,” begs the question: did our prayers get answered only to have us drown?

Even the transition from “The Same Deep Water as You” to “Disintegration” is treacherous.  After all, the couple seems to die kissing in the former, but in the latter we have:

Yeah, I miss the kiss of treachery

The shameless kiss before I feed

The stench of a love for younger meat

And the sound it makes when it cuts in deep

The holding up on bended knees

The addiction of duplicities

As bit by bit, it starts the need

To just let go, my party piece

Brutal.  And, together, the two songs take up nearly 18 minutes of the album.

Tad: Brad, thanks for making me aware of Join The Dots; now I have something else to add to my wishlist!

I agree with you that The Cure is best when they aren’t trying to be anything except experimental. And your Radiohead comparison is most apt. I originally thought The Head On The Door and Kiss Me, Kiss Me, Kiss Me were better than Disintegration, but over time I’ve reversed my opinion. On the first two, I get the feeling they are deliberately striving for a more pop sound, while on Disintegration, they had no plans to make a bestseller (if O’Donnell’s memory can be trusted!). I hated Kid A when it first came out, thinking it was pretentious and noisy. Now, it is my favorite album of theirs.

You also capture the same feeling I have when I listen to Disintegration – it is almost suffocating in its density. I mean that in a good way, believe it or not. All of its songs are of a piece, and it is one of those albums that is an album – every track adds to the whole, and the sum is much greater than its parts. In this age of streaming, I don’t believe artists think in terms of albums any more – except for proggers. Maybe that’s why you and I are so enamored of that genre; it’s still creating suites of songs that should be listened to as albums, and not as separate tracks.

Well, my friend, I think we’ve done The Cure’s Disintegration justice. As the years go by, it seems to gain in stature, and rightfully so. And to our Spirit of Cecilia readers, thanks so much for stopping by. If you have any suggestions for what you’d like us to discuss, let us know in the comments!

Steven Hyden’s Radiohead’s Kid A

I had just turned 33 when Radiohead’s Kid A came out on October 2, 2000, and I was in my second full-year of teaching at Hillsdale College.  My wife and I had been married for two years, and we were expecting our second child.

Though I purchased it on CD, I pretty much wore it out playing it continuously for a year or so after its release (at least until Amnesiac came out the following late spring).  For whatever reason, I especially loved having Kid A on low volume during office hours.  It, more often than not, became a conversation piece with my students.  And, my students seemed to love the album as much as I did.

Admittedly, I was relatively new to Radiohead.  Like everyone else in the early 90s, I had heard “Creep”—Radiohead’s original and the Tears for Fears cover—innumerable times, but it never just grabbed me.  It always seemed like a nice alternative pop song, but nothing more.  At the time, I was even surprised that someone as innovative as Roland Orzabal played it, considering his original music. . . well, far more original.

In the fall of 1997, I purchased O.K. Computer in a small record shop in Helena, Montana.  To say that I was blown away by it would be a total understatement.  The album absolutely floored me, and, being a prog rock guy, I thought prog had found its answer to the disappearance of classic Yes and Peter-Gabriel era Genesis.  Admittedly, I became more than a little obsessed with Radiohead, purchasing then Pablo HoneyThe BendsMy Iron Lung,  and Airbag.  I had family and friends in Japan at the time, and I was able to get some Japanese releases of Radiohead, too.  In other words, I became a full-blown Radiohead obsessive.  To this day, I own every release (including several obscure ones) as well as several books by or about Radiohead.  I also religiously watched the video, Meeting People is Easy.

Yet, for whatever reason, I’ve hardly written about the band.  I’ve listed Radiohead albums—especially Kid A—as among my favorites, but I’ve never given them the writing space I’ve given to Talk Talk, Rush, Steven Wilson, Big Big Train, Kate Bush, or Tears for Fears.

To be sure, I have no idea how I missed Steven Hyden’s excellent 2020 book, This Isn’t Happening: Radiohead’s Kid A and the Beginning of the 21st Century.  In fact, crazily, I’d never heard of it until my wife gave it to me for Christmas.  Then, I devoured it.  A truly great read.

A music journalist, Hyden—ten years younger than yours truly—offers a memoir of growing up with Radiohead and being 23 when Kid A first appeared.  As he sees it, though Kid A preceded 9/11 by nearly a year, it perfectly captured the mood of the beginnings of the twenty-first century, a century, thus far, of political polarization, paranoia, and warfare.  This, then, is the essence of the book.  Throughout This Isn’t Happening, Hyden offers a beautiful essay on the meaning of music, the meaning of life, and the meaning of the world.  It’s all terribly subjective, of course, but it’s excellent as such.

As he brilliantly sums up in his conclusion:

“That’s what I hear now when I listen to Kid A—a desperation to not feel disconnected from one another, our environment, our very own souls or whatever the essence of who we are is.  Radiohead diagnosed this malaise at the heart of so many of us at the dawn of the twenty-first century.  And then they (perhaps unwittingly) offered themselves up as a remedy, crating music that has provided a common thread in our personal narratives, a rare constant presence amid so much change and disruption.  Even as everything else in your life has been turned over since the first time you heard ‘Creep,’ you still have your relationship with this band’s music.  Even when Radiohead themselves have felt lost, they’re provided ballast to so many of us for decades.  You can hear the common anxieties that bonded so many of us back then in Kid A—about technology, about globalism, about the precarious state of truth and decency in our political lives.  Radiohead conveyed these chaotic feelings with free-jazz horn sections and Aphex Twin-inspired glitches and other musical flourishes that might seem outdated now.  But, the vibe of this record—the uncertainty, the darkness, the abject fear that things will only grow worse—has felt like a constant in our world ever since.”

While I could relate to many of Hyden’s personal experiences, there were also several I couldn’t.  On the relatable side, I never once voted for a Bush—the original or Scrub—and I’ve been deeply opposed to the military conflicts after 9/11.  

On the unrelatable side, Hyden comes from a much more culturally left-wing position than I do, and I’m also coming out of a prog background rather than a pop one.  Hyden also references several music groups and movies I’ve never even heard of.  I suppose this is just a generational defect on my part.

Hyden also makes a convincing case that Kid A is a bold and revolutionary move in Radiohead’s discography.  To me, it was always a natural and fascinating evolution from OK Computer, in the way that Talk Talk’s Spirit of Eden evolved from The Colour of Spring.  After reading This Isn’t Happening, I’m now more on Hyden’s side.  Maybe Kid A truly was revolutionary for the band.

I only have one complaint, and it’s a fairly minor one.  At times, Hyden is prone to exaggeration.  Believe me, it’s part of the charm of the book, too.  But, when he makes statements such as 9/11 being “the worst tragedy in American history,” I have to scratch my head.  Worst in what way?  Numerically?  Far more—in fact, 52,000—died at the Battle of Gettysburg.  Morally?  I would call the internment of Japanese-Americans under Franklin Roosevelt, the enslavement of African-Americans, or the unwarranted decimation of the American Indian far more tragic.  Anyway, a minor complaint.

I don’t want to end on a negative note.  Again, I highly recommend this book—for anyone interested in music or, frankly, the world itself.  One of my favorite parts of This Isn’t Happening was the author hypothetically creating his own version of Kid A/Amnesiac.  It was thoughtful and thought-provoking, and I felt like a good friend had just made a mixed tape for me.  Thank you, Steven.

ONLY THE EDUCATED ARE FREE

by Richard K Munro

Richard K Munro, Thomas Munro and Ruth Munro in Spain circa 1980

If I had a freeway billboard I would post this famous quotation by EPICTETUS. For many years I had this quote reproduced in many languages including Spanish, Arabic and Chinese (made for me by students).

“We must not believe the many, who say that only free people ought to be educated, but we should rather believe the philosophers who say that only the educated are free.”

― Epictetus, The Discourses

Daily writing prompt
If you had a freeway billboard, what would it say?

Musseta’s Waltz : Here we reach the limits of art.

By Richard Munro

Quando me’n vo’“, also known as “Musetta’s Waltz“, is a famous soprano aria a waltz in Act II of Puccini’s 1896 opera LA BOHEME. VICTORIA DE LOS ANGELES MADE A FAMOUS RECORDING circa 1959 (see below) Maria Callas made a famous recording circa 1958 (See below). There are also beautiful arrangements and instrumental versions.

It is sung by Musetta, in the presence of her friends, hoping to reclaim the attention of her occasional boyfriend Marcello.

This scene takes place at the  Cafe MOMUS. Shortly after Mimì, Rodolfo, and their friends have taken seats for a drink. Mussetta grabs the spotlight, musically speaking, for a short self-promoting aria (Quando me’n vo’). It is a song directed at the people in the café as much as at the audience in the theater. Here we have the limits of art. Whatever Mussettals character her goddesslike beauty and charm overwhelm us.

Libretto

Quando me’n vo’
Quando me’n vo’ soletta per la via,
la gente sosta e mira
e la bellezza mia tutta ricerca in me
da capo a piè …

Ed assaporo allor la bramosia
sottil, che da gli occhi traspira
e dai palesi vezzi intender sa
alle occulte beltà.
Così l’effluvio del desìo tutta m’aggira,
felice mi fa!

E tu che sai, che memori e ti struggi
da me tanto rifuggi?
So ben:
Le angoscie tue non le vuoi dir,
ma ti senti morir!

When I walk
When I walk all alone in the street,
people stop and stare at me
and look for my whole beauty
from head to feet …

And then I taste the slight yearning
which transpires from their eyes
and which is able to perceive from manifest charms
to most hidden beauties.
So the scent of desire is all around me,
it makes me happy!

And you, while knowing, reminding and longing,
you shrink from me?
I know it very well:
you don’t want to express your anguish,
but you feel as if you’re dying!

LOVELY SWISS-ITALIAN SONG

A. Filipello: Quattro cavai che trottano – Schweizer Jugendchor 2015

Lovely Swiss-Italian song. My father would call this an Italian Lollipop. I first heard this sung my KENNETH MCKELLAR about 1970. McKellar made many recordings of Italian songs as well as operatic arias though he was best known for songs of Burns, Scottish songs and Irish songs. He made a wonderful recording of the MESSIAH (see below)

Quattro cavai che trottano

Quattro cavai che trottano

sotto la timonella,

vuoi tu venir mia bella,

vuoi tu venir mia bella?

Quattro cavai che trottano

sotto la timonella,

vuoi tu venir mia bella

in su la riva del mar?

        Che bella notte che fa,

        in barchetta si va

        a far l’amore con te.

        Che bella notte che fa,

        in barchetta si va

        a far l’amore con te.

In riva al mar si pescano,

si pescano le sardelle,

sono lucenti e belle,

sono lucenti e belle…

In riva al mar si pescano,

si pescano le sardelle,

sono lucenti e belle

come i tuoi occhi per me.

        Che bella notte che fa,

        in barchetta si va

        a far l’amore con te.

        Che bella notte che fa,

        in barchetta si va

        a far l’amore con te.

Vieni alla tua finestra,

bruna, o mia bella bruna

che al chiaro della luna,

che al chiaro della luna…

Vieni alIa tua finestra,

bruna, o mia bella bruna

che al chiaro della luna

andremo a fare l’amor.

        Che bella notte che fa,

        in barchetta si va

        a far l’amore con te.

        Che bella notte che fa,

        in barchetta si va

        a far l’amore con te.

Four trotting horses

which draw the carriage

do you want to come with me, my dear?

do you want to come with me, my dear?

Four trotting horses

which draw the carriage

do you want to come with me, my dear?

Do you want to come to the seaside?

What a beautiful night,

by boat we go

to do love with you.

What a beautiful night,

by boat we go

to do love with you.

On the seaside we can fish

we can fish the sardines

they are shiny and beautiful

they are shiny and beautiful.

On the seaside we can fish

we can fish the sardines

they are shiny and beautiful

like your eyes for me.

What a beautiful night,

by boat we go

to do love with you.

What a beautiful night,

by boat we go

to do love with you.

Look out the window,

my dark-haired darling,

because at the moonlight

because at the moonlight…

Look out the window,

my dark-haired darling,

because at the moonlight

we’ll go to do love.

What a beautiful night,

by boat we go

to do love with you.

What a beautiful night,

by boat we go

to do love with you.

Shakespeare sonnet 130

Commentary by Richard K Munro

https://www.poetryfoundation.org/poems/45108/sonnet-130-my-mistress-eyes-are-nothing-like-the-sun

Damasked means DEEP PINK interesting contrast of PERFUME with REEKS. Once again a good way to study word contrasts is by synonyms.

Pejorative (negative)NeutralPositive
reekodorFragrance
stinkAromascent
stench aroma
Smell  

IT is interesting that Shakespeare uses PERFUME and REEK as contrasts.

I suppose the lady’s breath smells of garlic or beer. This usage certainly seems humorous today though it may not have been as pejorative in Shakespeare’s time. Of course in Scots English it merely means “smoke” ”as the soldier turned to peer through the reek” Before Edinburgh was being lauded as the ‘Athens of the North,’ it was given the nickname The Auld Reekie, which means Old Smokey

SONNET 130

My mistress’ eyes are nothing like the sun;

Coral is far more red than her lips’ red;

If snow be white, why then her breasts are dun;

If hairs be wires, black wires grow on her head.

I have seen roses damasked, red and white,

But no such roses see I in her cheeks;

And in some perfumes is there more delight

Than in the breath that from my mistress reeks.

I love to hear her speak, yet well I know

That music hath a far more pleasing sound;

I grant I never saw a goddess go;

My mistress, when she walks, treads on the ground.

   And yet, by heaven, I think my love as rare

   As any she belied with false compare.

SYNONYM LINKING: THE BASIS OF VOCABULARY DEVELOPMENT

ESSAY #5

BY RICHARD K. MUNRO

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

Very interesting essay on CHIDE SEE ANTHOLY LIEBERMAN which is a word of unknown origin though it seems to be of Germanic or Anglo-Saxon origin. The words are synymns but they have different nuances.

Anglo-Saxon Or Germanic Or Other (unknown)Latin (French or Romance)Greek
 CHIDE       SYNONYMReprimand STRONGEST       SYNONYMcriticize       SYNONYM
1)to criticize mildly for a fault or an offense; To correct (mildly)1)to write an official report; make an official documented censure1) to find fault with      
2)”to knock”; to “rap” “to slap on the wrist”(minor punishment)2) to rebuke (to criticize sharply; originally to strike with busche firewood)  2)      
3)to scold  3) admonish  3)      
ANTONYM To praise To speak well of  ANTONYM To commend To laudANTONYM  
With a smile and with encouragement he chided the boy for his sloppy writing.The Major reprimanded the corporal for not following orders. 
  

My Favorite Jazz of 2023

A couple photos of my “music corner”, with one of my favorite jazz albums of any year.

I listen to a fair amount of rock music (as well as some country, folk, pop, electronica), but the majority of the time I listen to classical and jazz. I rarely buy new classical albums, as I have my favorites and very little modern classical appeals to me.

But I am constantly listening to new jazz releases, sometimes several a day. Yet, despite that, it seems as if I barely scratched the surface, as 2023 saw numerous exceptional releases. Here are my favorites.’But I am constantly listening to new jazz releases, sometimes several a day.

Yet, despite that, it seems as if I barely scratched the surface, as 2023 saw numerous exceptional releases. Here are my favorites.

• Shuteen Erendenbaater—Rising Sun. Born in Mongolia, this 25-year-old composer, pianist and arranger has quietly (or so it appears to me) produced one of the finest debut albums in jazz in recent years. It is, in a word, impeccable. If that sounds too clinical, add lyrical, melodic, captivating, brilliant, and really, really great.

Erendenbaater certainly has “chops,” but what’s most impressive here is the songwriting and ensemble playing; she is obviously a mature and confident band leader. Anton Mangold, who plays soprano and alto saxophones and flute, is very much a co-star; his playing is perfectly suited to the songs and provides an edge and rawness that mixes sublimely with Erendenbaater’s elegant, beautiful lines. Yes, impeccable and impressive. The opening song, “In a Time Warp,” is a great place to start; here it is being performed live for Bavarian National Radio.

• Veronica Swift—Veronica Swift. It’s a real shame that the other Swift gets all the attention and fame, because this Swift has all the talent, versatility, and real swagger. Her 2019 album Confessions was top-notch and her 2021 Bitter Earth was brilliant and stunning. This self-titled album is eclectic, sophisticated, cocky, wild, and often startling; while not as poignant or emotionally wrenching as the edgy Bitter Earth, this is a chance for Swift to have some fun and to show that she can sing—well, let’s see—jazz (of course), rock, hard rock, pop, punk, R&B, Broadway, opera, and whatever else.

In fact, the idea behind the album is to rework songs in a style far removed from their original character. So, for example, the raw (okay, vulgar) Nine Inch Nails song “Closer” gets turned into a (PG-rated) face-melting funk/R&B tune with a scorching section of scatting (Swift is the finest scat singer around today and I think she rivals the great, including Ella and Mel Tormé). The Broadway tune “I Am What I Am” is reworked into a swinging jazz song that also features scatting—including a minutes of so of Swift scatting Bach. A favorite of mine is “Don’t Rain on My Parade”, from the 1964 musical Funny Girl and famously performed by a young Barbra Streisand, which Swift morphs into a Green Day-ish punk tune that is both smirky and joyous.

The presence of Freddie Mercury can be felt throughout, as two songs are Queen hits—”The Show Must Go On” and “Keep Yourself Alive”—reimagined, respectively, as a bossa nova-meets-Tin Alley tune and a bombastic blues number. Mercury would amused, I think, and impressed. I know that I am.

• Espen Ericksen Trio and Andy Shepperd—As Good As It Gets. The 2018 collaboration of the stellar Norwegian jazz trio and UK sax giant Andy Sheppard, titled Perfectly Unhappy, was a gorgeous, haunting work. This new release continues the Scandinavian-meets-Britain brilliance, with a strong fire underneath the inherent melancholy. In many ways, this reminds me of the great Keith Jarrett European group with Jan Garbarek: the shimmering piano work undergirds the longing saxophone journeys, everything propelled by a certain leisurely restlessness that is distinctly Nordic in tone and British in character.

• Benjamin Lackner—Last Decade. The legendary label ECM is both quite eclectic and yet almost immediately identifiable in terms of sound and aesthetic. The Germain-American pianist Lackner, joined by the fine Norwegian trumpet player Mathias Eick, has created a quintessential ECM album: slightly dark and pensive, perfectly played and with lots of space, featuring melodies that unfold with calm sureness. Lackner and Eick converse with attentive respect, like old friends discussing the mysteries of life, the songs expanding like sunlight slowing breaking through clouds, with moments of thoughtful intensity. One of the most beautiful albums of the year.

• Joe Locke—Makram. The vibraphonist Locke has long established himself as one of the finest players around. I’ve enjoyed many of his albums, but this is surely my favorite. The compositions are consistently great, the playing is the same, and the production is 10/10; the detail in each tune is impressive and captures the richness of the playing. A reader on Locke’s Bandcamp page says that the album “is almost overwhelming in its multitude of colors, moods and sheer energy. The joy of playing music on a very high level with virtuosic musical excursions by all musicians of this coherent band is exciting and just infectious.” Perfectly stated. A underrated jazz gem for 2023.

• Mohini Dey—Mohini Day. The Indian bass virtuoso, now in her late twenties, has been performing professionally since the age of 10. Little wonder: her technique, feel, playing, and musicality are simply stunning. She has played with a wide range of jazz, fusion, rock, funk, and world music groups, and seems to absorb and produce ideas and music like most people breathe air. Her debut album is, well, quite stunning. There is (of course) jazz, fusion, rock, funk, and world music. There is lots of energy (this is not background music); there are really good songs—this isn’t just a jam album. And the guest artists are of the highest order with, for example, Simon Phillips on drums and Guthrie Govan on guitar. There isn’t a dull or ordinary moment to be found.

Also recommended:

• Kurt Rosenwinkel—Undercover (Live at the Village Vanguard)

• Tingvall Trio—Birds

• Emil Brandqvist Trio—Layers of Life

• Joey Alexander—Continuance

• Yussef Dayes—Black Classical Music

• Jeremy Pelt—The Art of Intimacy, Vol 2: His Muse

• Walter Smith III—return to casual

• Kurt Elling and Charlie Hunter—SuperBlue: The Iridescent Spree

• Pat Metheny—Dream Box

• Affinity Trio—Hindsight

• Eric Alexander—A New Beginning: Alto Saxophone with Strings

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