Info

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).
RSS Feed
Parlando - Where Music and Words Meet
2021
February
January


2020
December
November
October
September
August
July
June
May
April
March
February
January


2019
December
November
October
September
August
July
June
May
April
March
February
January


2018
December
November
October
September
August
July
June
May
April
March
February
January


2017
December
November
October
September
August
July
June
May
April
March
February
January


2016
December
November
October
September
August


All Episodes
Archives
Now displaying: Page 1
Apr 10, 2018

Today we continue our performance of T. S. Eliot’s “The Waste Land” as part of our celebration of National Poetry Month this year (#npm2018). We’ve reached the end section of the first part, “The Burial of the Dead” which started with it’s famous stance, opposite to April and Spring, before proceeding through some scattered bittersweet pre-war reminiscences and a satirically murky attempt to read the future. In the concluding “Unreal City” section, we move on to an even darker scene.

In a dreary London day cast with brown fog, the poem recounts a hellish procession of desultory men walking to work over London Bridge. Compare this to Carl Sandburg’s Chicago-set treatment of the same bridge scene written just a few years earlier. Sandburg, the working-class political radical, knows well the worldly bargain the workers face in addition to the human condition. Eliot, the conservative bank officer personally grappling with depression, will ascribe the weary enervation to a spiritual brokenness.

Readers differ on what level of reality we should ascribe to Eliot’s scene, which after all is labeled “unreal.” Is this a vision of the dead of the World War I arising in a zombie walk? Or is this some level of Hell or Purgatory, in which urban London is only imaginary set-dressing for immortal torment? Or is it an actual observed moment in Eliot’s London living life which seems as trapped and without options as death? Imaginary gardens with real frogs in them, or real gardens with imaginary frogs?

Eliot develops this scene with the deepest gallows humor in the whole poem. One of the sighing walkers on his unvarying path is called out, greeted by the speaker in the poem as a fellow veteran of a naval battle between Rome and Carthage in 280 BC. I’m sure Eliot would have appreciated the anachronistic pun before its time, as by happenstance that Punic Wars battle at Mylae can now pun on the infamous 1968 My Lai massacre during the Vietnam war.

“The Waste Land”, which had begun with lilacs bred by Spring, now speaks of a corpse planted in a garden as if it was the bulb of a prized perennial flower. Eliot’s writing this nearly a hundred years ago, but poetically his iconography has taken a step toward a late 20th Century Heavy Metal album cover. I’ve double-checked Eliot’s notes on this poem. No, he wasn’t listening to Iron Maiden when he wrote this poem.  

If you haven’t read “The Waste Land” before, or recently, where do you think Eliot will go next, now that he’s put us in grisly post-World War unreal corpse garden land? Fulfilling his poem’s design, it will be somewhere completely different.

Musically, I didn’t attempt NWBHM to accompany this section of “The Waste Land.”  Instead, I combined a fat synth motif and Rhodes electric piano with some electric guitar stabs and burbling bass.

0 Comments
Adding comments is not available at this time.