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Parlando - Where Music and Words Meet

Poetry has been defined as “words that want to break into song.” Musicians who make music seek to “say something”. Parlando will put spoken words (often, but not always, poetry) and music (different kinds, limited only by the abilities of the performing participants) together. The resulting performances will be short, 2 to 10 minutes in length. The podcast will present them un-adorned. How much variety can we find in this combination? Listen to a few episodes and see. Hear the sound and sense convey other people's stories here at Parlando - Where Music and Words Meet At least at first, the two readers will be a pair of Minnesota poets and musicians: Frank Hudson and Dave Moore who have performed as The LYL Band since the late 70s. Influences include: Patti Smith, Jack Kerouac (and many other “beat poets”), Frank Zappa, Carl Sandburg, Walt Whitman, Emily Dickinson, Don Van Vliet (Captain Beefheart), William Blake, Alan Moore, The Fugs (Ed Sanders, Tuli Kupferberg), Leo Kottke, Ken Nordine (Word Jazz), Bob Dylan, Steve Reich, and most of the Velvet Underground (Lou Reed, John Cale, Nico).
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Parlando - Where Music and Words Meet
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Oct 24, 2017

Continuing our change of pace, temporarily stepping away from our usual spoken word and music combination, I’m going to dress-up once more for Halloween as a singer, which I fear is not a totally convincing costume. Today’s piece “Prevailing Winds” is the second cut from the song-cycle about ‘50s goth/horror innovator Vampira. Dave Moore, whose voice and words you may have heard here before, wrote the words for this piece, and I wrote the music and performed it. The first part, “Helen Heaven” was posted here Monday.

As I mentioned yesterday, the 1950s has, somewhat in retrospect, gained a reputation as a peaceful, relaxed, and satisfied time in the United States. When a political figure such as our current Presidential performer refers to “make America great again” it’s generally assumed that his clientele understands this as “like the 1950s” in hat-band shorthand.

But, as experienced, America in the 1950s was not so peaceful. The decade began with the Korean war, now commonly forgotten, but deadlier proportionately than the Vietnam war. Somewhat more so than the Vietnam war, and more like our current “war on terror,” the Korean War was viewed as only a small part of an open-ended global struggle against an evil multi-national enemy. And as the decade went on, there existed a widespread and increasing fear that the atomic weapons first unleased just prior to the decade, and held in a rough but uncertain balance by the central powers of the enemies, would return again, but in multi-fold form threatening worldwide destruction, threatening human survival.

On either side of Los Angeles, where Maila Nurmi was formulating her Vampira persona, these human-survival threatening weapons were being tested in deserts and on Pacific islands, right in the open air. Radioactive isotopes were measured in milk as Nurmi fashioned the dropping white décolletage of her costume.

As someone old enough to reminder those times, I’m often puzzled at the ebb and flow of nuclear worry in American minds. There have been times when it almost disappears, and times when it is so omnipresent that the topic is nearly as unavoidable in social and party conversation as the weather or sports teams. As this is being written, Korea and nuclear worries are on a slight upswing, and I have no way of knowing if this level is proportionate to the threat or not—but I do believe it’s still less amplified now than it was in 1953-1954 when the Vampira persona was being created.

The human condition is mortality, this does not change. Poets have spoken of this since before the time they could write their songs down. But the human condition in that time, the 1950s, was the first to consider humanity itself as mortal.

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