 | dance without body 2 part 2 of za7eef .. |
 | dance without body this is some dance skill over the road , , , |
 | dance without body 4 part 4 |
 | T.S. Eliot and The Four Quartets From Burnt Norton II Garlic and sapphires in the mud Clot the bedded axle-tree. The trilling wire in the blood Sings below inveterate scars Appeasing long forgotten wars. The dance along the artery The circulation of the lymph Are figured in the drift of stars Ascend to summer in the tree We move above the moving tree In light upon the figured leaf And hear upon the sodden floor Below, the boarhound and the boar Pursue their pattern as before But reconciled among the stars. At the still point of the turning world. Neither flesh nor fleshless; Neither from nor towards; at the still point, there the dance is, But neither arrest nor movement. And do not call it fixity, Where past and future are gathered. Neither movement from nor towards, Neither ascent nor decline. Except for the point, the still point, There would be no dance, and there is only the dance. I can only say, there we have been: but I cannot say where. And I cannot say, how long, for that is to place it in time. The inner freedom from the practical desire, The release from action and suffering, release from the inner And the outer compulsion, yet surrounded By a grace of sense, a white light still and moving, Erhebung without motion, concentration Without elimination, both a new world And the old made explicit, understood In the completion of its partial ecstasy, The resolution of its partial horror. Yet the enchainment of past and future Woven in the weakness of the changing body, Protects mankind from heaven and damnation Which flesh cannot endure. Time past and time future Allow but a little consciousness. To be conscious is not to be in time But only in time can the moment in the rose-garden, The moment in the arbour where the rain beat, The moment in the draughty church at smokefall Be remembered; involved with past and future. Only through time time is conquered. |
 | T.S.Eliot Burnt Norton I and II The Four Quartets are Eliot's masterpiece. The depth of his thought and the range of his intellect are everywhere obvious. These verses have been recited many times and can never be heard enough. Here is my rendition. I Time present and time past Are both perhaps present in time future, And time future contained in time past. If all time is eternally present All time is unredeemable. What might have been is an abstraction Remaining a perpetual possibility Only in a world of speculation. What might have been and what has been Point to one end, which is always present. Footfalls echo in the memory Down the passage which we did not take Towards the door we never opened Into the rose-garden. My words echo Thus, in your mind. But to what purpose Disturbing the dust on a bowl of rose-leaves I do not know. Other echoes Inhabit the garden. Shall we follow? Quick, said the bird, find them, find them, Round the corner. Through the first gate, Into our first world, shall we follow The deception of the thrush? Into our first world. There they were, dignified, invisible, Moving without pressure, over the dead leaves, In the autumn heat, through the vibrant air, And the bird called, in response to The unheard music hidden in the shrubbery, And the unseen eyebeam crossed, for the roses Had the look of flowers that are looked at. There they were as our guests, accepted and accepting. So we moved, and they, in a formal pattern, Along the empty alley, into the box circle, To look down into the drained pool. Dry the pool, dry concrete, brown edged, And the pool was filled with water out of sunlight, And the lotos rose, quietly, quietly, The surface glittered out of heart of light, And they were behind us, reflected in the pool. Then a cloud passed, and the pool was empty. Go, said the bird, for the leaves were full of children, Hidden excitedly, containing laughter. Go, go, go, said the bird: human kind Cannot bear very much reality. Time past and time future What might have been and what has been Point to one end, which is always present. II Garlic and sapphires in the mud Clot the bedded axle-tree. The trilling wire in the blood Sings below inveterate scars Appeasing long forgotten wars. The dance along the artery The circulation of the lymph Are figured in the drift of stars Ascend to summer in the tree We move above the moving tree In light upon the figured leaf And hear upon the sodden floor Below, the boarhound and the boar Pursue their pattern as before But reconciled among the stars. At the still point of the turning world. Neither flesh nor fleshless; Neither from nor towards; at the still point, there the dance is, But neither arrest nor movement. And do not call it fixity, Where past and future are gathered. Neither movement from nor towards, Neither ascent nor decline. Except for the point, the still point, There would be no dance, and there is only the dance. I can only say, there we have been: but I cannot say where. And I cannot say, how long, for that is to place it in time. The inner freedom from the practical desire, The release from action and suffering, release from the inner And the outer compulsion, yet surrounded By a grace of sense, a white light still and moving, Erhebung without motion, concentration Without elimination, both a new world And the old made explicit, understood In the completion of its partial ecstasy, The resolution of its partial horror. Yet the enchainment of past and future Woven in the weakness of the changing body, Protects mankind from heaven and damnation Which flesh cannot endure. Time past and time future Allow but a little consciousness. To be conscious is not to be in time But only in time can the moment in the rose-garden, The moment in the arbour where the rain beat, The moment in the draughty church at smokefall Be remembered; involved with past and future. Only through time time is conquered. |
 | RIP Slyme - 黄昏サラウンド Tasogare Surround (With english lyrics) credit for the lyrics goes to http://www.mognet.net/ Shined on by the sunset, enveloped by the twilight Thrown about by the shaking wind, flowing, swept Shined on by the sunset, enveloped by the twilight Thrown about by the shaking wind, flowing, swept Well, from sunset to sunrise, ah ah ah Feel the sound just like this, we feel the surround Until the night dawns Well, from sunset to sunrise, ah ah ah Feel the sound just like this, we feel the surround Until the night dawns When the clock hands turn around once, it's the beginning of the party, get together people The setting sun, biorhythm I can't go on living with theories I want to feel it throughout my body It's warm isn't it? Why can't it be like this? I'm gradually covered in darkness Pursued by time, swept up in the times I've grown to not feel anything When I think like that, I quickly get scared It's turned into a night that I can't be by myself I'm lost in dancing I do this, and the morning sun rises The conversation returns to this verse Well, from sunset to sunrise, ah ah ah Feel the sound just like this, we feel the surround Until the night dawns Well, from sunset to sunrise, ah ah ah Feel the sound just like this, we feel the surround Until the night dawns The sound drifts in soaring feelings and the twilight A moment's conversation When it starts, light the fire It will continue on without end I'm certain of this, so no matter where you go Always light the fire again A dancing mood beneath the moonlight An amber miss, moon, see through Breaking through, passing through Hold me tight and don't be shy Real love, fruitless loneliness The tumult starts to calm down Navigate to Sunset beach, yeah The two of us slip away and ride on the (highway) It won't come again, this original (Friday) Melting into the night, tonight the night I just want to be with you, watchin' you Well, here we go Acting like an (Iijuu) Driver If I become the night wind, I'll always Be flowing to my sound Well, from sunset to sunrise, ah ah ah Feel the sound just like this, we feel the surround Until the night dawns Well, from sunset to sunrise, ah ah ah Feel the sound just like this, we feel the surround Until the night dawns Outside it's an unpleasant color for the morning But my heart is moist, covered in smiles Talking about something suits this night Don't you just feel like we're all friends? (drink! drink!) I lose myself, flowing through the seaweed I'm embarrassed, but today I'm away from home to go to see you A flock of mongoose, chewing on loneliness I want to party, I'm bored alone But the sun is butting in already It snatches the light away from the mirror ball There's no particular reason for it to be here But for some reason it is There's no reason Yeah, everyone feelings this sound in the surround Well, before you know it, from sunset to sunrise Listening at daybreak And listening up once again Are you ready? Shined on by the sunset, enveloped by the twilight Thrown about by the shaking wind, flowing, swept Shined on by the sunset, enveloped by the twilight Thrown about by the shaking wind, flowing, swept Well, from sunset to sunrise, ah ah ah Feel the sound just like this, we feel the surround Until the night dawns Well, from sunset to sunrise, ah ah ah Feel the sound just like this, we feel the surround Until the night dawns Well, from sunset to sunrise, ah ah ah Feel the sound just like this, we feel the surround Until the night dawns Well, from sunset to sunrise, ah ah ah Feel the sound just like this, we feel the surround Until the night dawns |
 | Paradise Lost - Isolate (Stereo!) (Fantastic Voyage) To enable STEREO click here: http://www.youtube.com/watch?v=xcTI-g5Wpr0&fmt=18 "Isolate" (3:43) I'm sent for elimination To where I cannot know But I'm lost without a chance in Hell And I'm lost with doubts I can avoid this Come feel the fire burn I'll slowly drift away A victim of the future with my mind and soul decayed Isolate I'm sent for eradication By whom I cannot know But I'm lost without a chance in Hell I'm the last one out I can't avoid this Exposed to fire but I'll burn another way A victim of the future I embrace the tourniquet Isolate Lead us all to pastures green To search and learn From ones I cannot be Lead us all to harmony To search and learn The one I cannot be ___________________________ Symbol of Life is the ninth studio album recorded by British band Paradise Lost. It marks a departure by the band from their synth-based approach, to a much grittier, heavier sound, although not abandoning the keyboards altogether. Track listing: 1. "Isolate" 3:43 2. "Erased" 3:31 3. "Two Worlds" 3:29 4. "Pray Nightfall" 4:11 5. "Primal" 4:23 6. "Perfect Mask" 3:46 7. "Mystify" 3:49 8. "No Celebration" 3:45 9. "Self Obsessed" 3:07 10. "Symbol of Life" 3:55 11. "Channel for the Pain" 3:53 12. "Xavier" (Dead Can Dance cover) 6:04 13. "Small Town Boy" (Bronski Beat cover) 5:20 Tracks 12 & 13 are a bonus to CD Limited Edition Credits: * Composed By: Gregor Mackintosh * Lyrics By: Nick Holmes * Producer: Rhys Fulber * Published by: Zomba Music Publishers Ltd. * Keyboards and Programming By: Gregor Mackintosh and Rhys Fulber * Recorded and Mixed by: Greg Reely * Additional Keyboards by: Jamie Muhoberac (tracks 1, 2, 4, 11) * Strings Arrangements and Piano: Chris Elliott (tracks 8, 10) * Additional Vocals: Lee Dorian (track 2) courtesy of Dreamcatcher Records, Joanna Stevens (tracks 2, 5, 7) and Devin Townsend (tracks 3, 13) courtesy of Century Media Records. * Assistant Engineers: Ewan Davies and Will Bartle (Chapel Studios) and Bart (Dreamcatcher Studios) * Recorded at: Chapel Studios, Lincolnshire, during June-July 2002 and Dreamcatcher Recording Studios, Bradford, 2002 * Additional Recording by: Carmen Rizzo at Studio 775, Los Angeles * Mixed at: The Green Jacket, Richmond, BC, Canada * Additional Digital Editing by: Chris Potter * Mastered by: Kai Blankenberg at Skyline Studios, Düsseldorf, Germany. * Artwork By: [Sleeve Design] - Dirk Rudolph * Photography [Band, Screens]: Olaf Heine * Photography [Front]: Nick Veasey * "Small Town Boy" is a cover of the Bronski Beat song and 'Xavier' a cover of the Dead Can Dance song. |
 | Nine Pound Hammer Stereo: http://www.youtube.com/watch?v=9-qhP8_uU3A&fmt=18 Buck Norris sings "Nine Pound Hammer by Merle Travis. Merle Robert Travis was born on November 29, 1917, in Rosewood, KY. His father was a coalminer, and the family lived on the bare edge of poverty; eventually this experience, coupled with a phrase that Travis' father used to describe their lives, became the basis for the song "Sixteen Tons." His very first instrument was a five-string banjo, but when he was 12 year old his older brother gave him a homemade guitar. Travis was lucky enough to have as neighbors Ike Everly, later the father of Don and Phil, and Mose Rager, who played in a unique three-finger guitar style that had developed in that area of Kentucky. Travis learned this approach as a teenager and grew astonishingly proficient in a repertory that included blues, ragtime, and popular tunes. It wasn't enough to earn a living, and he survived by working in the Civilian Conservation Corps as a teenager. His first break came during a visit to his brother's home in Evansville, IN, in 1935, where his chance to entertain at a local dance resulted in membership in a couple of local bands and a chance to appear on a local radio station. By 1937, he was a member of Clayton McMichen's Georgia Wildcats, and a year later he'd moved on to the Drifting Pioneers, who found a permanent broadcasting gig at Cincinnati's WLW. The Boone Country Jamboree radio show kept the group busy until World War II came along and forced it to disband. While a member of the Drifting Pioneers, Travis acquired a national following, and also began playing with Grandpa Jones and the Delmore Brothers in a gospel quartet called the Brown's Ferry Four. He later teamed up with Jones as "the Shepherd Brothers" as the first artists to record for the newly founded King Records label in 1943. He and Jones even exchanged songs and found the sources for a few songs together -- it was while out with Jones one day at a black church in Cincinnati that Travis heard the sermon that became the song "That's All." Travis spent a short stint in the Marines, but was quickly discharged and returned to Cincinnati. During the late winter of 1944, he headed for Los Angeles, where he began making appearances in Charles Starrett's Western movies and playing with Ray Whitley's Western swing band. With guidance from Tex Ritter and bassist Cliffie Stone, in 1946 he released the topical song "No Vacancy" -- dealing with the displacement of returning veterans -- along with "Cincinnati Lou," and earned a double-sided hit. His next major project was a concept album, Folk Songs of the Hills, which was intended to compete with Burl Ives' successful folk recordings. The record, released as a set of four 78-rpm discs, was a failure at the time it was released in 1947 (it wasn't even transferred to long-playing disc until nearly ten years later). However, it yielded several classics, among them the Travis originals "Sixteen Tons," "Dark as a Dungeon," and "Over by Number Nine," as well as introducing such standards as "Nine Pound Hammer"; it also became a unique document, depicting a beautiful all-acoustic solo guitar performance by this master virtuoso. The initial failure of the folk album aside, 1947 began a boom period in Travis' career. In addition to writing the million-selling hit "Smoke! Smoke! Smoke!" for his friend Tex Williams, he had a half-dozen Top Ten records himself, including "Divorce Me C.O.D.," "So Round, So Firm, So Fully Packed," and "Three Times Seven." Travis also devised the first solid-body electric guitar, coming up with a model which, when perfected by Leo Fender, would become a key element in early rock & roll. The string of hits didn't last, but Travis' career continued uninterrupted, with performances on stage, television, and record. Beginning in 1953, he landed a fairly visible movie role in one of the biggest films of the year, From Here to Eternity, where he performed "Re-Enlistment Blues," and it was around that same time that he began playing on all of his friend Hank Thompson's records. In 1955, Tennessee Ernie Ford had his crossover hit with "Sixteen Tons," and it was around that same time that Travis acolytes such as Atkins were making a major impact on music themselves. Scotty Moore, who'd first been influenced by Travis from his radio performances, had become Elvis Presley's lead guitarist, and a year after Elvis hit nationally, the Everly Brothers (themselves Atkins disciples) started topping the charts. |
 | ICELAND 1 Video 1: 'Footsteps' The following has been written by Matthew Coleman, who put the videos together. In April I went to Iceland for a week, for a road trip with a photographer. It was a place that had a very profound effect on me, one that moved me in ways I could never truly know or even unravel. My self was opened to things I had only ever read about and, like the Romantic poets of the past, I wrapped its world right round my being. It was its nature: its mountains, rocks, glaciers, valleys, rivers and snow that shifted something within me. I remember standing on top of a glacier one night, at midnight, with a carpet of clouds drifting below me, snow and ice in every direction and the stars bursting with brightness above when, suddenly, the Northern Lights began dancing before me, its mixture of greens and light yellows throbbing and flickering like cosmic flames in the immenseness of the universe. I was silent in those moments, still. I was almost paralyzed with awe. Tears began welling up in my eyes at what I was seeing. I then laughed, firstly inside, and then out loud as I thought how foolish it is to contemplate the conception of heaven when one dies when, if we look in the right place, heaven is all around us every moment of every day. Heaven really can be found on this world, waiting for us to go there and walk within it, to breathe it into our body and our being, to let our senses soak in it, to revel in it, to not label it but to simply experience it. I say bring back the Romantic poets of the past, bring back the focus on nature; on the flower, the wind, the sea, the Earth, bring back the attention onto the elements around us, bring it all back so we can open our eyes and be drawn to it, so that we can go to it and be at one with it, even if only for a short period of time in all of our busy lives. But let me get back to Iceland before I present to you what it is that I want to present to you. And so, in bursts, I did some filming, though not much. I spent most of my time just looking at the world unfold before my eyes as our car glided through the snow-stricken mountains. The footage, when I eventually got home, was then carved into tiny pieces and given to the hugely talented author and publisher Heidi James, who wrote and then read her pieces to go with each of the segments that I sent her. The music and the sound has been added and composed by Vim Cortez, the editor of 'Paris Bitter Hearts Pit'. |
 | Water Ghosts (Time Lapse) Morning fog drifting over a pond. I noticed this evaporative process over a pond on my way to work early in the mornings. I've seen it before elsewhere, and you probably have, too, but this pond is conveniently located near home, and it predictably produces this fog on summer mornings when the temperature drops below 60 F. In fact, I haven't lived here long enough to see it year-round, but I expect this happens anytime the humidity is high, and the air temperature is at least 10-15 degrees cooler than the water. In realtime, the fog barely seems to move, which got me thinking... what would it look like in a time lapse video? Any body of water is evaporating like this, but you only see it when the water is warmer than the air above it. When the water vapor rises into the cool air, it condensates into the wispy fog you see in the video. The next time you see a large body of water, take a moment to ponder the invisible water vapor dancing above it. It's there, hidden from view. Basic science explains how this happens, but it's mesmerizing and beautiful. The dancing fog has a ghostly appearance, and hence, I call the rising tendrils "water ghosts." Scene 1: August 16, 2008 Scene 2: August 3, 2008 Scene 3: August 9, 2008 Music: Gathering of Souls by R. Carlos Nakai and Peter Kater |
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![Daily flights from NYC to Mont Tremblant\](images/articles/thumbs/nytremblantthumb.jpg "Daily flights from NYC to Mont Tremblant\")
