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Many a suburban child went from Sesame Street to Tolkien to Star Wars to find alternative universes, but here was a living and breathing paragon of teenage alterity. Lenoir.įamous Bees-a nod to James Brown, professor of the primal, head-facilitator of funk. Donald Hall's comment-that poetry's main task might be the embodiment of disparate feeling-suggests the Blues: lyrics of lament can in their shells have a heart that beats simultaneously angry and proud, crushed yet hopeful. You might lose your soul but you'll have game. Let the man tune your guitar he'll give it back and ask you to play.
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Papa Legba on the crossroads of Highways 8 and 61 in Mississippi. Blues-tonic in line 1, subdominant and tonic in line 2, dominant and tonic in line 3. Who can forget "You Shook Me All Night Long"? Is it way out of line to talk about the alternating power cord opening of 7 licks, 6 licks, 7 licks as somewhat reminiscent of Emily Dickinson and hymn meter? I like to imagine that somewhere in Amherst there's a teen listening to her iPod and finding something heavenly in "Hell's Bells."ī is for Blues. Some call the music derivative and the lyrics juvenile-"So don't worry about tomorrow / Take it today / Forget about the cheque / We'll get Hell to pay" -but I love it At 13, Angus Young and Clearasil were my best friends. Zep's "Over the Hills and Far Away" and "Going to California" U2's "Bad" and "I Still Haven't Found What I'm Looking For" and the Rolling Stones' "Sympathy For the Devil" and "No Expectations" haven't directly led to poems, but they generate an ambiance that parallels the gut-check immersions of composition, of moods ripe for language.Ī is also for AC/DC: Specifically, their LP Back in Black. But even the classic rock pantheon has its influences. These bands are clearly very distant cousins of Led Zeppelin or Deep Purple. Even today, when it comes to playing music as I write, I find that more ambient fusions of hip-hop, jazz, rock, pop, and r&b can allow me to enter a zone where music generates mood that influences language. And I could even begin to put language in those spaces. I appreciated the lack of language even at 13 I knew that white space speaks louder than forced text. Purists might label Fusion as reverie with a pulse, but I liked its middle ground, its associative, lyric-less space ripe with a rock-bite and the modal improvisations of jazz.
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I suppose it's time to confess that I grew up listening to Fusion, that odd and much maligned amalgam of jazz and rock: think Miles Davis, Jeff Beck, Weather Report, Bill Bruford, Stanley Clarke, and even some of the pre-Grammy Carlos Santana. Listen to their versions of Black Sabbath's "Iron Man," Blondie's "Heart of Glass," or the Pixies' "Velouria," and enjoy the art of genre blur. I think of The Bad Plus, my new favorite Jazz trio, deft musicians all, original composers and pure fans of music, evident in works that pay homage to both jazz and rock greats. Country, R&B, and Soul are all part of the pantheon, either through influence or inclusion or bald theft. Think of it as a genre of confluence, one big kick-ass prose-poem. Pound's trinity of pattern-expectation-surprise fits many a form, and rock, in terms of expression and influence, is no exception. This blurring of boundaries, I think, is essential. There's going to be some Hip-Hop as well. "The power of music that poetry lacks is the ability to persuade without argument." - William MatthewsĪ then, is for "Are," as in, Are you sure that's rock? In this essay you'll find references to Jazz there's Pop on the way, too, and some folks you might call Folk.