Here I Am

Here. Here I am. My first weekend here in this beast of the city. The snow has fallen and encased the new apartment. The maze of the city closes in around me. I’ve left Elysium for an engagement with the edges. To the West the wave of mountains rises against the plain, houses are sprawled across in patchy subdivisions from here all the way to the northern farmlands. The city is always growing, already too big for itself.

Elysium the Beautiful breeds insanity. One loses touch, drifting into the mind of strange paranoias and bizarre scenarios of good and evil. I’m happy to be away from all that nonsense. The secret life of farmers and suburbanites. Iowa, Indiana, Missouri, Everywhere the Word goes out, “I own this, as far as I can imagine. This is mine. No government or people will take it away.” Yet, wildfires rage, with no satisfactory explanation, for we know no history and only want life to be simple.

I have been assured, by those who claim to know, that I am the victim of a strange conspiracy and here I sit in quiet winter solitude, contemplating that possibility. It occurs to me that I’ve been around for too may lifetimes not to be able to smell evil when I encounter it. After all, evil’s really just a mirror of myself, or a part of me anyway. I know it too intimately not to recognize it in others.

There’s plenty of evil in this world, mostly pushed by ambitious hucksters with boring agendas, something about telling us who to fear and who to hate. Then they sell us books and dvd’s and lure us to their online sites where the major promotion is themselves. They are mostly paid very well by the very people they claim are the ‘adversaries,’ those whose interests are served by turning people against one another. They point at the Jews or the Blacks or the Chinese or the ‘Socialists,’ or whoever is leaving those ‘mysterious’ con trails in the heavens, seeding our precious air with their filthy mind control.

Oh shit, I’m just tired of all this. I’ll just walk away from it now, away from these helpless fears, away from useless arguments that ignore history and are only angry frightened screaming into darkness. The people downstairs are my companions, shouting mindlessly at the t.v. while their Broncos win. There is no place to hide from the world here and it’s somehow soothing to be alone, away from anyone that can be trusted.

You once complained about a teabag that was folded beautifully in a paper pyramid – a waste of paper, time and energy! – you said. You only felt compelled to complain. “Where is the ocean,” you said, “Where are the trees?” “Where is the desert?” What is the real question?

When I came to the city I thought that I was leaving a refuge and returning to the edges of the world. I was wrong to think so, to find out that the vast maze of city provides the only real refuge of anonymity. I am totally submerged in the great darkness that’s civilization with all of its pain and glory. Every face that I see is a lie and there is little possibility for truth, only acceptance, abandonment and perhaps some ultimate contentment while surrendering to the oceanic flow.

I don’t know where this life has taken me. I am both pirate and defender of this realm and I bellow from within a font of night jewels. I no longer need your company or your approval and I will do what I must to see us to the end. Your spies and secret sailors, those who reveal all of the hidden plans are useless now. The plan is older than the wind that blows above the deserts and will continue at all costs and we will either serve or fail given our own particular gifts.

Welcome to the new world order.

Spielberg and Kubrick

 

Ever since seeing it for the first time I’ve regarded “A.I.” as Steven Spielberg’s most challenging and interesting film. The creative collaboration between two directors with such different styles (but similar obsessions with detail) is almost diabolical in it’s interweaving. One can almost sense the tension between their approaches in every scene, making every moment a trajectory toward another revelation of the unexpected. Spielberg’s urge toward resolution struggles against Kubrick’s insistence that there are no clear answers to who we are or where we’re going. We never really know whether the affections that surround the protagonist are ‘real’ feelings or merely the programmed responses of an automata, or whether it matters. The unrelenting action of a Spielberg movie becomes the container for a path that leads us toward serious contemplation.

Kubrick very purposefully handed this project to his friend with a very specific outline (including musical scores) to be completed after his death. One of his underlying themes is to question the very emotional agenda informing the majority of films, and certainly those of Spielberg. On one level the movie is a debate over our motivations for going to the movies, whether to open ourselves to unique points of view or merely to have our familiar button’s pushed?
The tension comes to a crest in the last scene, which has sparked numerous debates and harsh criticism, but which embodies the movie’s essential paradox. Some have criticized it for catering to Spielberg’s emotional agenda by leaving us on a note that’s overly sentimental. With the exception of this film, I’ve often thought that Spielberg’s films would benefit by cutting out the last 15 minutes of ‘tying it all up.) I believe, however, that this conclusion is inevitable to the degree that we identify with the character of the automata (played brilliantly by the young Haley Joel Osmet) instead of seeing that the overall outlook of the film, from the beginning shots of a drowned city to the final one of the lights going out, is that humanity is quite likely a species doomed to be a figment of memory in an otherwise indifferent universe..

American Icons

Whenever I’m feeling down on America, particularly in the midst of what sometimes appears to be an absurd or even pointless political season, rather then allowing myself to be overcome by cynicism and bitterness I’ve found a very effective antidote.

Here is a link to one of the finest audio productions available on the internet. The ongoing series is part of writer Kurt Anderson’s Studio 360 broadcast from PRI and WNYC.

If you need reminders of what in our history has made America great, let me introduce you to Studio 360’s, American Icons. Stories on everything familiar, from “I Love Lucy” to “Mad Magazine” to the “Lincoln Memorial” to “Wizard of Oz” and “Buffalo Bill.” How did we become who we are? And who are we?

Studio 360’s American Icons

Think Maybe

Here is certainly one of the most valuable sites on the Internet, devoted to independent cinema focused on the issues facing our world. Do you truly want to know what is happening outside of the Matrix? This is like taking the ‘red’ pill:

Thought Maybe

Among the best on the thoughtmaybe.com site are the films of Adam Curtis. His documentaries meld the straightforward documentary narrative commentary of ‘Frontline’ with an impressionistic style reminiscent of the films of Jean Luc Godard. Curtis goes far beyond ‘Frontline’ in revealing how historical situations emerge out of the assumptions and delusions with which we’ve been programmed. Unlike those who sell conspiracy in order to make a buck and keep us feeling victimized Curtis delivers a coherent analysis and critique of our civilization and how we got here. The secrets held in plain sight are revealed in the context of unfolding history. Are you ready to take off the blinders?

The Films of Adam Curtis

Given the current pitched battles in Afghanistan I particularly recommend the film called Bitter Lake, which traces that country’s history with the Britain and America going back to 1946.

It’s a Good Time for Doctor Strange

(upon leaving Santa Fe)

The darkness intensifies
The mountain no longer calls me up
Fall has arrived
The world descends into chaos
Syrian women screaming at the gates
Children drowning

When we invented the internet
(The children of psychedelia)
We rejoiced to think the world was saved
Through communication
And good will
Peace. Love. Music

Instead we unleashed
All the demons of our forgotten histories
They swarm around us
And above our heads
Threatening our souls
Stealing our eyes

War creeps toward us
Like a fungus
It despoils the land
And crushes hopes
Except for those insane dreamers
Of the Apocalypse

There is no Rapture
No conspiracy
No escaping into worlds of mind
No avoiding our mirrors
There are only the revelations
And awakening

I came to this place for refuge
And respite from the World City
Where mostly we live
I came to recover the questions
And for 28 years I’ve been a fox
An outlaw cast into cause and effect

Now I’m riding the ox
Feet first
Head first
Back to the war and peace zone
Excuse me I mean
The zone where deals are made

America loves the deal maker
Is entertained by the drama
House of Cards
Madmen
Breaking Bad
The guy with the Big Hair

“I can sell you this handy device
With accompanying extras
If you take advantage right now…!”
That familiar hum of gangsta
The power broker
The guy wearing the suit
The thing about demons
They are nourished by our weakness
Our worst qualities
Our fears and angers
Our arrogance our guilt
They steal it from our veins

I believe in heroes
And stories of heroes
When we are lost
Uncertain and facing death
Honestly
They teach me not to panic

The stories help us to navigate
Unless they swallow us
They grow ever larger
The library of earth is always expanding
The record of our existence and imagination
Stored in narratives

We are always on the brink
Of life and death
Of miracles
When we can step back
We see the patterns
And the path

The city is a refuge
Galleries museums bazaars
For trading myths and memories
Separate from the real art of the world
Those inarticulate hearts
Of everyday pursuit

Who is this
What is my purpose
Am I just a ghost
Passing by in site seeing buses
Wandering the narrow streets
Filing through the Plaza

I pass you everyday
I don’t even see you
Whispering all around me
Like whiffs of shadow
Your reality
Only parallel to mine

To you I’m like the ghosts of soldiers
Looking down over the divine city
From the old hill fort
On the bluffs
Constructed out of mud
Now dissolved into mounds of sand

We wonder about Chaco
The ancient villages
The multistoried structures
The trails from everywhere
The total abandonment
What if it were a retirement community

The Spanish overwhelmed the pueblos
Until the villages rose up
A compromise was reached
Leaving saints to be martyrs
Until the soldiers of a white army
Postponed all agreements

While friends are anchors
That hold us to the earth
They are shadows growing more real
Even as they drift
Into the past
Becoming memory

Real cities breed desperation
There is real madness on the streets
Eyes that beg for mercy
In the midst of plenty
Not every part can fit
But every part has purpose

In Memoriam

On a weekend early in the last crazy decade I met Rafael Bejarano near a water tank up in the northern corner of Colorado. The occasion was a recording session and gathering of musicians, shamans and artists around and inside of what has since become a recording studio and was even then one of the sonic wonders of the world. I listened to him play the didjeridoo along with my friend Michael Stanwood and we sang together and posed with everyone for photos. We were the two ‘Rafaels,’ he like Kokopelli with his didgeridoo and me with my drum and wizard’s staff. I didn’t know him well but I sensed a sweet and caring man. He was a being who carried with him healing and beauty.

Yesterday he was killed along with 11 other tourists in a land torn by war and fear.

In Memoriam.

National Treasure

Listening to a podcast from Poetry Magazine I was turned on to the reproduction of a remarkable artifact. It brings me, in a way that no single book or essay or even film can do, to an encounter with the cultural habitat in which my own particular view (in time and place) of this world was shaped. Like something one would encounter in a book by Ray Bradbury or Lewis Carroll, on turns a corner in an obscure section of the city and happens upon a museum of wonders.

UBUWEB PRESENTS

Aspen Magazine

Revelations

“Write the things you have seen and what is and what will be.”

Mike Doughty is a wizard of words who fronted the group ‘Soul Coughing’, one of my favorite performance entities of the late nineties. This past year he had a vision of the “Book of Revelations”, surely one of the most influential and hallucinatory word epics of all time, as a rock opera.

The performance was sponsored by one of my favorite spoken word podcasts, Kurt Anderson’s Studio 360.

Although I don’t identify primarily as a practicing Christian, this piece reveals to me the power of language in a whole new way.

Here it is, in full.

Revelations