Worldly Wednesday: “Hang ‘Em High,” Jackie Mittoo

Standard

 

Jackie Mittoo was a baller keyboardist from Jamaica.  This is my favorite song of his, and has been on heavy rotation today, seeing how I need continuous energy injections for this last leg and the last leg of this trip.

Sort of apropos of this song, I want to call your attention to an interesting story going on this week.  In a suburb of Denver, Colorado, this week, a group of high school students staged a walkout to protest changes to how American history is taught.  The local school board had voted to turn the dial down on certain portions of American history that, according to the school board, “encourage or condone civil disorder.”  I think these students are gutsy heroes.  Civil (emphasis on civil) disobedience is one of the highest forms of patriotism because it shows you are actively engaging with your country.  To read more, go see the good people at the Christian Science Monitor.

 

Worldly Wednesday: “Dalla parte di Spessotto,” Vinicio Capossela

Standard

Vinicio Capossela is one weird dude.  He is – surprise! – strongly influenced by Tom Waits.  This is one of my favorite songs of his.  It sounds like a demented carnival, which is handy, since that is how life has been feeling as of late.  If you want a gorgeous, melodic song, check out “Ovunque Proteggi.”  Meantime, enjoy spending some time by the Spessotto (which, from what I have been able to figure, is a hotel outside Venice).

Massive apologies to all of my Italian readers for the horrific English translation.  I know zero Italian so I relied on Google Translate.

Siamo dalla parte di Spessotto, da appena nati dalla parte di sotto,
senza colletto, senza la scrima, senza il riguardo delle bambine.
Dalla parte di Spessotto il tè di ieri riscaldato alle otto,
i compiti fatti in cucina nella luce bassa della sera prima.
Dalla parte di Spessotto con la palla dentro il canotto,
col doppiofondo nella giacchetta, col grembiule senza il fiocco.
Timorati del domani, timorati dello sbocco,
siamo dalla parte di Spessotto.
Siamo la stirpe di Zoquastro, i perenni votati all’impiastro,
sulla stufa asciuga l’inchiostro dei fogli caduti nel fosso salmastro.
Dalla parte della colletta, dell’acqua riusata nella vascetta,
il telefono col lucchetto e per natale niente bicicletta.
Dalla parte di Spessotto e se non funziona vuol dire che è rotto,
dalla parte del porcavacca e se nn lo capisci allora lo spacchi.

L’oscurità come un gendarme già mi afferra l’anima,
attardàti qui in mezzo alla via,
non siamo per Davide, siamo per Golia.

Non per Davide e la sua scriva,
non per i primi anche alla dottrina,
con il tarlo dentro all’orecchio
laflanellusi (?) che ci mangia il letto,
con i peccati da regolare le penitenze da sistemare,
sei anni e sei già perduto
e quando t’interrogano rimani muto, muto.
Dalla parte di spessotto,
che non la dicono non chiara che non la dico non vera
che non la dico non sincera, tieniti i guai nei salvadanai,
se resti zitto mai mentirai.
Adamo nobile, Carmine equivoco,
Rocco Crocco e la banda Spessotto,
imboscati in fondo alla stiva,
negli ultimi banchi della fila,
abbagliati dalla balena, nella pancia della falena,
clandestini sopra alla schiena,
gettati al mare delle anime in pena,
evasi dal compito, evasi dall’ordine,
imbrandati sotto a un trastino,
a giocarcela a nascondino di soppiatto allo sguardo divino.

E il paradiso nostro è questo qua,
fuori dalla grazia, fuori dal giardino.
Va la notte che verrà non siamo più figli del ciel,
figli del ciel, figli del cielo,
ma di quei farabutti di Adamo e di Eva.

L’oscurità come un gendarme già mi afferra l’anima,
ha tardato qui in mezzo alla via, già mi prende e mi porta

Dalla parte di Spessotto, dalla parte finita di sotto,
ma siamo tutti finiti per terra, tutti a reggerci le budella,
gli ubriachi, brutti dannati, ma pure i sobri, belli fortunati.
E quando verrà il giorno che avrò il giudizio,
dirò da che parte è intricato il mio vizio,
per che pena pagherò il dazio, in che risma sono dall’inizio.

Da che giorno ho levato il mio canto
da che pietra dato fuoco al pianto
perchè cielo ho sparso il mio botto
non da Davide solo da Spessotto..

E il paradiso nostro è questo quà fino alla notte che verrà
non siamo più figli del ciel, figli del cielo non da Davide
solo da Spessotto.

We are on the side of Spessotto, from newborn from the below,
no collar, without parting, without seeing girls.
On the Spessotto, tea yesterday, heated at eight,
the tasks done in the kitchen in the low light of the evening before.
On the Spessotto with the ball inside the boat,
with a false bottom in the jacket, apron without the bow.
Fearing the future, fearing the outlet,
are on the side of Spessotto.
We are the descendants of Zoquastro, the perennial rated all’impiastro,
on the stove dries the ink of fallen leaves in the salty ditch.
On the side of the collection, water reused in vascetta,
the phone with the padlock and no bike for Christmas.
On the Spessotto if it does not mean that it is broken,
on the side of Porcavacca and if you get it then ….

The darkness like a gendarme already grabs my soul,
lingered here in the middle of the street,
we are not for David, Goliath is for us.

Not for David and his writing,
not for the first also to the doctrine,
with the worm inside the ear
laflanellusi [?] who eats the bed,
with the sins to adjust the penances to be fixed,
six years and six already lost
and when t’interrogano remain silent, mute.
On the Spessotto
that does not say not clear who does not say not true
that does not tell you not sincere, keep the piggy banks in trouble,
if you remain silent never lie to.
Adam Noble, Carmine misunderstanding,
Rocco Crocco and the gang Spessotto
ambush at the bottom of the hold,
in the last row of pews,
dazzled by the whale, in the belly of the moth,
illegal on the back,
thrown to the sea of souls in pain,
processed by the task, escaped from the order,
imbrandati under a trastino,
giocarcela to hide and sneak the divine sight.

And this is our paradise here,
out of the grace, out of the garden.
It should be a night that will be we are no longer children of the heaven,
sons of heaven, sons of heaven,
but of those scoundrels of Adam and Eve.

The darkness like a gendarme already grabs my soul,
has been slow here in the middle of the street, already takes me and brings me

From the part of Spessotto, from the finite below,
but we all ended up on the ground, all in reggerci guts,
drunks, damned ugly, but also the simple, beautiful lucky.
And when the day comes that I have the judgment,
tell which side is intricate my vice,
I will pay the penalty for that duty, in that stack are beginning.

From that day I raised my hand
from that stone set fire to tears
heaven because I have poured out
David not only Spessotto ..

And this is our paradise until the night that will be
we are no longer children of the heaven, the sons of heaven not by David
only Spessotto.

WALK-UP WEEK! Worldly Wednesday: “Dougou Badia (feat. Santigold),” Amadou and Mariam

Standard

 

Of all the songs on Walk-Up Week, this would be my own personal song.  I’ve used this song to push me through long runs and long rows.  I see no reason why it wouldn’t pump me up enough to clock one out of the park.

Worldly Wednesday: “Narcissus is Back,” Christine and the Queens

Standard

Achievement unlocked, Tune-Up fans.  Yesterday’s throw-down saw your Yankette come out on top.  Now, in the aftermath, this song comes to mind.  Christine and the Queens, aka Heloïse Letissier from Nantes, France, writes excellent, moody, atmospheric music to help you process life’s periodic weirdnesses.

Talking talking your way out
While he’s still on the lookout
I lost my voice I think in colours
We make love a sorry hearse
I cry a thousand more mirrors
So that your eyes could get brighter
Obediently I bay a name
I share it with the wind I tamed
But can you see my heart (repeat)

Narcissus is back from underwater and kisses his lips again
Narcissus is back from underwater and kisses his lips again
Narcissus is back I shouldn’t bother I break the mirrors that I meet
Narcissus is back from under water and has his own lips to drink

The water, water, is so cold
It poisons anyone who calls
A loving hand, a daring kiss
Now watches everything you miss
It’s getting hard to look away
It’s not your office anyway
It’s much too easy to disperse
Et moi je prie pour une avers [I pray for the obverse]
Before you can see my heart
Narcissus is back (repeat 6)

Narcissus is back from underwater and kisses his lips again
Narcissus is back from underwater and kisses his lips again
Narcissus is back I shouldn’t bother I break the mirrors that I meet
Narcissus is back from under water and has his own lips to drink

DAD WEEK! Worldly Wednesday: “Que Sera Sera,” Hermes House Band

Standard

http://www.youtube.com/watch?v=7FjFjzx6SpE
Doris Day premiered Que Sera Sera in a scene from the Hitchcock movie The Man Who Knew Too Much Everyone knows this song because nearly everyone covered it. If you somehow missed it (the song I mean, although the movie is terrific), check it out. We’ll wait for you:

http://www.youtube.com/watch?v=azxoVRTwlNg

Doris Day made this her theme song, and nearly everyone knows it because nearly every singer has covered it. But none with more energy or brio than this techno version by the German Hermes House Band.

Que Sera does not convey an especially deep song and it probably will not hold up to intensive scrutiny. But two things to keep in mind:

In the movie Doris Day sings this song to her young son, a moment of optimistic 50’s domestic tranquility before the murderous events that her movie husband (James Stewart) inadvertently wades into. The casting of screen darlings Day and Stewart assured movie-goers that all would yet be well after the mayhem stared. And of course so it was. But Que Sera Sera perfectly established the mood of Eisenhower-era stability that Hitchcock so gleefully exploded with a plot involving assassination and geo-politics.

This German cover, on the other hand, seems to give voice to an utterly different conflict: between the always-improving life that “American exceptionalism” is supposed to provide and the everyday reality we experience circa 2000. Comparisons to The Decameron may be too strong. But this video (and the wonderful “staged” version, also by Hermes House Band; if you have a laptop look for it on youtube) sets the original affect of the 1956 version on its head: where Doris Day assured her young daughter that “what will be will be” was a expression of hope and assurance, her grandchildren seem (to me anyway) to interpret it as a last chance to party before the pink slip makes their student loan unpayable.

I freely admit that Hermes House Band, while German, doesn’t quite meet the Yankette’s standard for a proper Worldly Wednesday audio experience. No doubt when she returns from where she’s hiding out this week she’ll post a version played by Bedouins on the ud. But American’s most important export these days is probably “culture,” especially film and music. So at the tail end of “America’s Century” I’m calling a version of an American song performed by non-Americans “worldly.” There, I said it. Sue me.

Worldly Wednesday: “Le Hogon,” Malian Musicians and Damon Albarn

Standard

https://www.youtube.com/watch?v=JKQY46FrsNM

 

Ahhh!  This song makes me so happy.  It sounds like kids running through sprinklers on a hot summer afternoon.  It’s a song that makes me feel like everything is going to be okay.  It also reminds me that I’ll be on vacation a week from today, and it’s been an age since I’ve been able to say that.  I am grateful and lucky I can say it at all.