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DJMUNZ

MUSCLE PARTY (PURE CIRCUIT MIAMI) DJMUNZ

This song is for my sister, Carrie, with much love. 

In October 2012, at Austin City Limits, she and I had a little cry together about two very important people in our lives we had lost. It was quite a special moment that bonded us. 

The sentiment "Grief is Just a Love That's Lost 'Cos It Has Nowhere Left To Go" is not to belittle the devastating impact of loss...or grief itself. But simply to acknowledge it is a very natural (and necessary) phenomenon. It's good to cry; to let it out. 

And it says a helluva lot about the calibre of someone if they allow you to cry together; to share in the grief. 

As to why grief might be "a love that's got nowhere left to go"? Because the love no longer has an object to attach to; the person gone. So it is "lost", restless; looking forlornly for (a)  "home". 

But lives now in our hearts. 

When I played the song to a friend, she asked me why the song was upbeat. I guess for two reasons, to juxtapose:

1) the happy (the upbeat) and the sad (the content of the lyrics; the loss)

2) to reflect the lives lost -- defined by BOTH the happy and sad 

Anyway, it's quite a special song for me. I dedicate it to Carrie for a moment that happened in Zilker Park, Austin, already seven years ago but has stayed with me ever since. x

Terra Nova

Grief is Just A Love That's Lost 'Cos It Has Nowhere Left To Go

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What tale ever stays the same in the telling?

"Mythologies" is about the way we all embellish our stories. Especially family lore...and myths. 

My wife complains that I embellish my stories (which I absolutely do!) but I think there is a certain inevitability about that. Tales grow taller in the telling. 

(Post modern literary theory has dedicated an entire oeuvre to the notion -- which even I find a little too much -- but the point remains valid: where is the "truth'? Does there need to be an "absolute truth"? Immutable, for ever? Or could truth just be a point in time?)

The song name-checks a modernist theorist (Roland Barthes, whose highly engaging collection of essays "Mythologies" furnished the song title) and post-modernist theorist Jacques Derrida, whose "deconstruction" of "The Myth of Theuth" posited the idea of multiple voices (or "traces" in his vernacular). 

The song also references two literary pieces (one perhaps more a piece of oratory): Plato's "Republic" in which, in Book X, Socrates argues for the "banishment of the poets from the (idealised) Republic" on the grounds that they peddle their trade on the premise of falsity, imitation, mimesis; and Friedrich Nietzche's 1872 essay "On Truth and Falsity in Their Ultramoral Sense" in which he argues that all truth is necessarily metaphoric in nature. In other words, a narrative.

Family Portraits

Mythologies

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You know the famous idiom: "Marry in haste, repent at leisure"?

This song is something of a twist on that. But rather than agree with it; it subverts it. 

The central thesis is that you might as well (marry in haste) as it's almost impossible to really know someone before you spend significant amounts of time with them (read: years).

If the idiom is negative and preachy ("Told you so!") the song is quite the opposite: it's cheerful and upbeat, saying: "Go for it!"

I am myself in a somewhat arranged marriage (my best friend told me to marry my wife saying he knew what was best for me) and he turned out to be right! :-)

So..."Marry in haste (repent with pleasure)"!

Marry in Haste (Repent With Pleasure)

Marry In Haste (Repent with Pleasure)

A jangly, guitar-driven love song to my two full and one half brother; making an analogy with Alexander Dumas' famous novel "The Three Musketeers", in which the protagonists (like my brothers) couldn't be more different, yet are united as kin: "One-for-all-and-all-for-one"!

Three-and-a-Half Musketeers

"Yummy Mummies" is a guitar-driven song written about three contrasting, but equally ugly, perspectives on the pejorative epithet "Yummy Mummy". 

Essentially, the term "Yummy Mummy" is British slang for a "kept partner". Of course, said "kept partner" can be either male or female; although the word "Mummy" clearly designates a woman. In the popular vernacular, the implication is unquestionably negative. "Yummy Mummies" are two-dimensional. They don't actually do (read earn) anything. They are caricatures who spend their days self-actualising, attending endless "champagne lunches" and "coffee mornings". In Protestant Britain, they are to be disapproved of.    

The most "rocky" of all the songs on the "Family Portraits" album, the song "Yummy Mummies" examines three contrasting but equally ugly perspectives on the in-itself ugly pejorative "Yummy Mummy" -- and i the process tries to deconstruct and subvert the term. 

1) In verse one, from the vantage point of an envious, male protagonist who would himself very much like to be "a kept wife", a "Yummy Mummy". His ugliness is jealousy and coveting.

2) The second perspective (in the second verse) is from a "Yummy Mummy", as commonly understood: a kept wife. She tries to defend her "Stepford Wives" lifestyle, and bemoans its hardships (which would be laughably trivial to anyone else). Her ugliness is entitlement. 

3) The third perspective (in the middle eight) is from "Rupert" an imagined businessman in the City of London who "salivates" over the idea of "Yummy Mummies". Presumably he "keeps" a "trophy wife", whilst fantasizing about others. His ugliness is his creepiness.

Yummy Mummies

A cheerful, guitar-driven lament of a passed relationship with an ex who appears professionally restless.

Ants-In-Your-Pants

An upbeat love song to my wife Juliet's Cornish family, the Hawksworths.

(For those who don't know, Cornwall is a county in the south west of England).

A "Cornish Pasty" is a savoury delicacy from Cornwall comprising a parcel of short-crust pastry filled with minced beef, onions and swedes. Here, though, it's an affectionate metaphor for my Cornish relatives

(The "Good Time Charlies" in the song, are myself and my wife, Juliet, which is how we refer to ourselves).

The legendary King Arthur (of "Knights of the Round Table" fame) was a famous Cornish king who reputedly lived at Tintagel in the "dark ages" (circa the 6th or 7th century a.d.). My 27 year old Cornish nephew is also called "Arthur". Keith is my brother-in-law, who collects Northern Soul records (a favourite genre for both he and I).

Cornwall is strongly Celtic, much like the rest of the western part of the British Isles: Wales, Ireland and the west coast of Scotland. The cuisines in all places share delicacies: variations on the "Cornish Pasty" ("Oggie" in Wales; "mince-and-tatties" in Scotland); but also something called "Hog's pudding" in Cornwall ("mealy pudding" in Scotland; and "white pudding" in Ireland), a sausage made of oats and suet. The song refers to these culinary similarities even though the protagonist gets "his Celtic cuisines" mixed up.

One more note on a "quirk" in the song; the line: "Oggie? Oggie? Oggie? Oi! Oi! Oi!" which is a chant from the area. Apparently, historically, this was a call-and-response chant between the tin miners of Cornwall (back in the day) and their wives, who would bring them "Cornish Pasties" (also known as an "Oggie", especially in Wales) for lunch and basically translates as: "Who would like a Cornish Pasty?". Response: "Me! Me! Me!".

Cornish Pasties

A love song...with a twist. Also a song about depression.

On the surface, it seems like an odd thing to say to a loved one: "We're good time Charlies" and "fair-weather-friends". Surely these aren't celebrated characteristics in any relationship?

But the protagonist suffers from episodes of depression (the "black dog" mentioned in verse two; as well as his "convalescence"). For him, "having fun" means re-joining the party; re-joining life; as "life's a party"...signals exactly that he is now NOT (no longer) depressed.

His raison d'etre is his joie-de-vivre. He wants to live.

So on a deeper level this is a real song of thanks...to his lover, the "other" "Good Time Charlie" who squeezes his hand and understands...who is there for him during his dark bouts. A love song from the patient to his lover and nurse.

Good Time Charlies

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Good  Time Charlies

Everyone makes mistakes. We measure our maturity not in committing or counting those, but in how we recover from them. 

We are all vulnerable ("...In the final count we are each and everyone alone...") and are in need of a touch of forgiveness at times...and a second chance. That's what the song "Touched By Angels" is about.

Only rarely is it in human beauty that we are "touched by angels"; more more common in the way we enable others (to recover)...through the agency of forgiveness.  Our ability to forgive is what is "angelic" about us humans. It's where we are truly "touched by angels".

As the lyric to the song goes: 

"...It’s rarely faces that are touched by the breath of angels
More often people
Their relationships   
The space between them..."

Forgiveness is probably the strongest power we have. It's the one things we have which is truly "touched by angels".  

This song is dedicated to my much-loved daughter Anneka, for her capacity for love and for giving second chances. With all my love, always. x

Family Portraits (Volume I)

Touched By Angels

iAM Deaf 
LEFTSIDE PARALYZED’s 11/15/2014
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