“Play Me” – the first single from the musical collective Good Country People.
Vocals: Mary Ann Carr
Backup vocals: Betty Duffy
Music: Bill Wilson
Words: Matthew Lickona
Spread the word. You know – if you like it.
This is actually from Easter but I just stepped in cat barf while trying to apprehend a four-year-old bedtime parole violator and I wanted to remember the good times I once had.
Georgia Mojito, is what this may be called:
- Some lime juice
- Some mint-infused simple syrup (I’ll bring you some if you come to New Orleans)
- Some gin, and then maybe some more because who’s counting?
- Lots of ice
Combine those things in a cocktail shaker and shake. Strain, and pour over some fresh ice and club soda.
Listening to Pandora on a rainy afternoon and I noticed this description of Van Morrison:
Equal parts blue-eyed soul shouter and wild-eyed poet-sorcerer
I am an unapologetic fan of blue-eyed soul and all-other-eye-colors-soul, but what I really want is for this description to be applied to me someday. Maybe in a eulogy or an awards show tribute? Bookmark this, is what I’m saying.
So, the rules of the ice-breaker are as follows: look up your favorite artist and post a one-sentence description of said person. Explain whether this could theoretically be applied to you. Only one person gets to pick Bob Dylan.
Oh, or maybe we could guess? Like, guess who you picked?
This is probably why I don’t get invited to many parties…
The Good Country People Music Project is underway.
The situation seems to be looking up for the holidays.
November is almost over, and we would be remiss if we failed to note the passing of the composer Elliot Carter on the 5th.
Before he was a composer, he was an English Major at Harvard, and later in life set music to many poets, such as Elizabeth Bishop, Robert Lowell, and Wallace Stevens. Carter’s music sounds like a lot of other 20th century music (as Bach sounds like a lot of other early 18th century music), in that it is typically atonal and rhythmically complex.
The Concerto for Orchestra is considered by many to be his finest work; in the comments you’ll even see comments “this is indeed the greatest musical composition ever.” Ever! It is great, but it is also fairly tough going for the uninitiated—much, much more difficult than even Bartok’s great concerto, or Lutoslawski’s.
As Carter himself says about harmonic patterns in his work, “a chord, a vertical group of pitches either simultaneously sounded or arpeggiated, like a motif, is a combination to be more or less clearly remembered and related to previous and future chords heard in the same work. Whether the composer is conscious of it or not, a field of operation with its principles of motion and of interaction is stated or suggested at the beginning of any word. The field may be tonal, employ traditional harmony, or it may be unrelated to traditional harmony, as my music seems to be nowadays …”
There is also something about the rapidly changing rhythms that makes it sound chaotic and dramatic at the same time, and being difficult, it demands repeated listening many times over. But as it becomes more and more familiar, new discoveries are in store for the listener. The flip side of the demanding nature of the music is that it bears up to repeated listening very well.
It moves quickly, and if it sounds as if each of the instrumentalists is doing his own thing, that’s because they are. As Carter himself said, “I regard my scores as scenarios, auditory scenarios, for performers to act out with their instruments, dramatizing the players as individuals and participants in the ensemble.”
Elliott Carter, December 11, 1908 – November 5, 2012. Requiescat In Pace.