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Tag: biography

About a Horse

I’m writing a book. Now if that’s not the stupidest idea I’ve ever had, I’ll eat my hat. Not because I’ve run out of words, but because the book I have in mind doesn’t solve anything, teach anything, or have much nutritional value at all. It’s a recording that when played back includes the frequencies that will destroy the playback device. It’s a song that hits the notes that will crumble the human vocal cords as they vibrate them. Not that it really matters. I can’t sing it anyway, and even if I could I’m not sure you could hear it.

The point of writing a book is to communicate something, right? To share an experience, whether that be instructive, cautionary, hypothetical, or just diversionary. To pass on something you’ve seen, heard, felt, or maybe even learned.

But the people who write books use a certain “voice” to tell the story they think needs telling. A narrator, whether reliable or not, live on the scene or relying on a delayed broadcast of from anywhere to a few seconds to thousands of light years away. They may break the third wall, or not. A story either shares its secrets with you as soon as possible, or makes you work for it like a last case before retirement detective in a bad suit and sensible shoes.

A lot of that depends on what the writer wants to say. No matter what, the author wants you to take them seriously. The subject matter may be light and airy, soft as eider down, or smooth as Tennessee whiskey, but the act of reading is serious stuff. So much depends on the wheelbarrow you use to haul the flotsam and jetsam away, doesn’t it? Without a willing reader, someone to engage on all cylinders with the premise and the people in your book, the great American novel, whether it’s about gangsters, spacemen, big or petty business, true love or false hope, the real nitty gritty or a real soft soap, doesn’t make any more impact than a gnat flitting across the Mississippi River, if nobody really reads it.

Of course each reader picks up a book for a different reason. Some are always questing, whether in their actual lives or only in their imaginations, for some single grain of sand that will explain to them the entire beach. Others are simply bored and want entertainment, titillation, or electric shock therapy. Another might be looking to learn something that will make them interesting at cocktail parties. Never mind that being interesting or cool by imitating interesting or cool people is like learning to play guitar by listening to Eric Clapton and wondering why you don’t really sound like him. No one who thinks about, obsesses over, or worries that they are cool or interesting will ever be either. But that doesn’t stop millions of lemmings from finding just the right cliff edge for demonstrating their individuality.

So, a book. A story, a narrator, a tone, a message or underlying moral. A sales pitch. If you read this book, you’re going to get something.

Problem is I’ve got nothing to tell you. Because no matter what I say, there is no story. This is happening in real time. And as we’ve already learned, to relay the story, to sing the song itself, is to reproduce the frequencies that will destroy the teller.

There is no story. No guru, no method, no teacher. What I’ve got to say in a book can’t be said in a book. That doesn’t mean it’s important or even needs to be said. It’s not like the Tao that can’t be spoken and therefore ip so facto could never even drive through the neighborhood where the Tao rents a weekly room. What is it John Cage once said? “I have nothing to say, and I am saying it. That is poetry.”

So here goes nothing.

15 Jun 2025

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Music and me

There are those who imagine “magical” places like they are scenes from the “happily ever after” part of a fairy tale: in a strange twist, they believe the hereafter, the great beyond, and the future tense of once upon a time to be like the world initially encountered by the young Siddhartha Buddha, one without care, disease, want or sorrow. But the truth is these places are just like right here, with their absence from our immediate view the only advantage given their fabulous and dazzling marketing brochures.

Music is one of those magical places. People say music is a language, a conduit, a means for connecting. Those metaphors make it seem like another world, or at least a foreign country. Extending that metaphor, people don’t really talk too much about the place whose natives speak that language as their first tongue: there’s not a lot of information on its geography, customs, and government, nor its climate, flora or fauna, be they beneficial and friendly, or poisonous and otherwise harmful.

I’ve know a lot of people who have visited, including myself, but I don’t know if I’ve met anyone who actually “lives” there year-round or calls it their original homeland.

There is no authoritative guidebook or CIA fact book about this foreign place – although to some it may seem one is necessary. A lot of people THINK they understand musicians, sometimes, but at other times must be content to shrug their shoulders, shake their heads and walk away, puzzled and confused.

Think of this as the beginning, then, of a travelogue, a descriptive narrative of these travels to the land of music. Because music, especially singing, CAN transport you to another place, where your body, mind and spirit are entirely wrapped up in a universal current. The danger is that when you come back from that place, you cannot communicate what you found there, because it does require a different language, a non-language. And getting back there is hard. It is tempting, so tempting, to fake your passport to that land, or at least grease a few officials’ palms, by artificial means. But those artificial means only make you think everyone else understands you while you’re there. And then, at some point, the artificial means can betray you, leaving you standing at the border only able to look in, but not cross over.

10 SEP 2014

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