kalipedia said: Can I ask how Blue changed your life, if you don't mind talking about it? Because I sort of feel like it changed mine too, but I've never been able to put it into words that don't sound ridiculous to me.
Well, I’d love to, but honestly, the level it still reaches me at, after years — years! — of knowing every note of it, of no longer living the sort of life about which Blue speaks, of not being the kind of seeker by and for whom Blue was made but the grown person who that seeker becomes, its consequent, its Hejira or Night Ride Home; after years of being a person for whom you’d think Blue would be a memory, however fond, instead of a living text, ever-fresh, vivid as it was the night I bought the tape (“The Nice Price”) someplace and brought it home to my tiny studio apartment in Norwalk; after all these years, still the only way I really know how to talk about Blue is to sort of just get out a notebook and start writing
I am on a lonely road and I am traveling traveling traveling
in huge letters, or
Just before our love got lost, yousaid
hard enough to scratch through the page, or
Child with a child pretending,
weary of lies you are sending home:
so you sign all the papers in the family name
you’re sad, and you’re sorry, but you’re notashamed
and then just sit there completely wrecked, singing “you’re sad, and you’re sorry, but you’re not ashamed” and thinking let me write a line like that before I die, let me keep that shining beacon in sightwhile remembering that when she’s writing Blue she’s basically nailing two or three lines like that per song
Probably the best album of the 70s according to me; the only one of the major 60s Acts Everybody’s Dad Thinks Are Great who made a record I put on its level is Pink Floyd (Piper At the Gates of Dawn).
“The lyrics of “Peaches” discuss a man moving to the country to eat vast quantities of canned peaches at no cost to him. Briefly mentioned is the hard-working American man who cans the peaches in a factory downtown. The narrator also speculates that a finger sized hole in a singular peach may hold an ideal hiding spot for an ant. He then warns the listener; “Look out!” he calls. There’s a finite number of free peaches for him. Luckily, that number is in the millions.”
The Flammarion engraving is a wood engraving by an unknown artist, so named because its first documented appearance is in Camille Flammarion’s 1888 book L’atmosphère: météorologie populaire (“The Atmosphere: Popular Meteorology”). It has been used to represent a supposedly medieval cosmology, including a flat earth bounded by a solid and opaque sky, or firmament, and also as a metaphorical illustration of either the scientific or the mystical quests for knowledge.
With their wild hair and frantic gaze, these doodled men look like fools. They are waving as if to seek contact with the reader. The thing is, the reader is busy singing and listening to a sermon. That is because these 800-year-old images are found in a Missal, a book used during Holy Mass. What a shock it must have been for the serious user of the book, to flip the page and suddenly find yourself face to face with these funny creatures. And what a great contrast: a serious book with silly drawings.
Pic: Paris, Bibliothèque Sainte-Geneviève, MS 95 (Missal, 12th century). More about the manuscript here.