|
|
|
Couponing 101: Saving Money Clipping Coupons
You've probably stood in a checkout line behind someone who has a coupon for every item they've purchased, and it seems like eternity until they are finished. But, they probably saved over 50% to 80% off their grocery bill in that few minutes! How,...
Getting Out of the Zone!
We’ve probably all heard the famous movie quip, “why don’t you wait here while I slip into something a little more comfortable”. It’s a comment to make most of our ears (particularly male ones!) stand up on end with the anticipation that the film...
NATURAL APPROACH TO MENOPAUSE
Menopause may cause women to feel some hormonal changes in their body since their estrogen levels decline. The sudden change in hormones may result in any of the following symptoms: hot flushes, depression, irritability, mood swings, irregular...
Top Ten Ways about Sensing Your Body
Most of us spend time judging, criticizing and giving negative messages to our body, which only results in suffering. As our body is the main tool (mentor) to our expression in every day life, it is essential to choose to be aware of it every...
Women's guide to having fun and looking great for the holidays
Family reunions, parties, great food, gift exchanges are all some of the characteristics that make the holiday season so special. So, why not look your best while you are at it. Here are some tips that will help you create a long lasting...
|
|
| |
|
|
|
|
|
|
Free Jazz: The Jazz Revolution of the '60s
Revised and expanded here, this piece originated as an “oral essay” for the Cosmoetica Omniversica interview series on www.sursumcorda.com.
More or less officially unveiled with the first New York appearance of the Ornette Coleman Quartet at the Five Spot Café in the fall of 1959, free jazz (or new black music, space music, new thing, anti-jazz or abstract jazz as it would variously be labeled), gave new dimension to the perennial "where's the melody?" complaint against jazz.
For most of the uninitiated, what the Coleman group presented on its opening night was in fact sheer cacophony.
Four musicians (a saxophonist, trumpeter, bassist and drummer) abruptly began to play—with an apoplectic intensity and at a bone-rattling volume—four simultaneous solos that had no perceptible shared references or point of departure. Even unto themselves the solos, to the extent that they could be isolated as such in the density of sound that was being produced, were without any fixed melodic or rhythmic structure. Consisting, by turns, of short, jagged bursts and long meandering lines unmindful of bar divisions and chorus measures they were, moreover, laced with squeaks, squeals, bleats and strident honks. A number ended and another began—or was it the same one again? How were you to tell? No. No way this madness could possibly have a method.
But umbilically connected to the emergent black cultural nationalism movement, the madness did indeed have a method. The avowed objective of the dramatic innovations that musicians like Ornette, Cecil Taylor—and, in their footsteps, Sunny Murray, Andrew Cyrille, Archie Shepp, Bill Dixon, Albert Ayler, Jimmy Lyons, Eric Dolphy and (the later period) John Coltrane, among hundreds of others—initiated and practiced from the late '50s into the early '70s, was to restore black music to its original identity as a medium of spiritual utility. When these men abandoned an adherence to chord progressions, the 32-bar song form, the fixed beat and the soloist/accompanist format, and began to employ, among other things, simultaneous improvisations, fragmented tempos and voice-like timbres, they were very deliberately replacing, with ancient black methodologies, those Western concepts and systems that had, by their lights, worked to subvert and reduce black music in America to either a pop music or (for many of them no less a corruption of what black music was supposed to be) an art form.
Alan Silva, a one-time bassist with Cecil Taylor and then the leader of his own thirteen-piece orchestra, made the point in an interview I did with him for Rolling Stone.
"I don't want to make music that sounds nice," Silva told me. "I want to make music that opens the possibility of real spiritual communion between people. There's a flow coming from every individual, a continuous flow of energy coming from the subconscious level. The idea is to tap that energy through the medium of improvised sound. I do supply the band with notes, motifs and sounds to give it a lift-off point. I also direct the band, though not in any conventional way—like I might suddenly say 'CHORD!' But essentially I'm dealing with improvisation as the prime force, not the tune. The thing is, if you put thirteen musicians together and they all play at once, eventually a cohesion, an order, will be reached, and it will be on a transcendent plane."
(I commented in the interview that "Silva says his band wants to commune with the spirit world and you aren't sure that it doesn't. With thirteen musicians soloing at the same time, at extraordinary decibel levels, astonishingly rapid speeds and with complete emotional abandon for more than an hour, the band arrives not only at moments of excruciating beauty, but at sounds that rising in ecstatic rushes and waves and becoming almost visible in the mesmerizing intensity, weight and force of their vibrations, do for sure seem to be flushing weird, spectral things from the walls, from the ceiling, from your head.")
Of course not all of these musicians shared Silva's position entirely. Some saw the music as an intimidating political weapon in the battle for civil rights and exploited it as such. Others, like Taylor, did and quite emphatically, regard themselves as artists. For Taylor, a pianist and composer who took what he needed not just from Ellington and Monk, but from Stravinsky, Ives and Bartok, it wasn't about jettisoning Western influences on jazz, but about absorbing them into a specifically black esthetic.
For the most part, however, disparities among the younger musicians of the period amounted to dialects of the same language. All of them shared the "new black consciousness"—a new pride in being black—and their reconstruction of jazz, their purging of its Western elements, or their assertion of black authority over those elements, was, to one degree or another, intended
to revive and reinstate the music's first purpose.
Silva saw broad extra-musical ramifications in his procedures. He believed that by rejecting all externally imposed constraints the inherent goodness in men would surface and enable them to function in absolute harmony with both nature and each other. "Man," he said to me once, coming off an especially vigorous set. "In another ten years we won't even need traffic lights we're gonna be so spiritually tuned to one another."
And I have to say that I agreed with him.
This was, after all, a period in history when "restrictions" of every conceivable kind, from binding social and sexual mores to (with the moon shot) the very law of gravity, were successfully being challenged. If you were regularly visiting Timothy Leary's "atomic" level of consciousness, and if you could call a girl you'd been set up with on a blind date and she might say, "Let's 'ball' first and then I'll see if I want to have dinner with you," you could be forgiven your certainty that nothing short of a revolution in human nature itself was taking place.
And some of us who regarded Western values as both the cause of all ill (had they not brought us to the brink of annihilation with the hydrogen bomb?), and the principle impediment to such a transformation, saw the new black music as leading the way, as the veritable embodiment of what Herbert Marcuse called "the revolution of unrepression."
In so heady a time, earnest unself-conscious debates about the relative revolutionary merits of free jazz and rock—the other musical phenomenon of the period—were not uncommon.
I remember a conversation I had with John Sinclair, the Michigan activist, poet and author of Guitar Army.
John took the position that rock was the true "music of the revolution."
No, I argued, rock did stand against the technocratic, Faustian western sensibility. It did, and unabashedly, celebrate the sensual and the mystical. But in these respects it only caught up to where jazz had always been. In contrast to what some of the younger black musicians were up to—the purging of white elements African music had picked up in America—rock was simply the first hip white popular music.
Rock, it was my point, never got beyond expressing the sentiment of revolution while free jazz, by breaking with formal Western disciplines—by going "outside," as the musicians termed it, of Western procedures and methods and letting the music find its own natural order and form—got to an actualization of what true revolution would be. Rock's lyrics, I said, promoted, in many instances, the idea of a spiritual revolution, but musically rock remained bound to the very traditions and conventions that its lyrics railed against and the audience never got a demonstration or the experience of authentic spiritual communion. Rock's lyrics were undermined and attenuated in the very act of their expression by the system used to express them. The new jazz, on the other hand, achieved freedom not just from the purely formal structures of western musical systems, but, implicitly, from the emotional and social ethos in which those structures originated.
As I say, it was a heady time.
Now, of course, free jazz, in anything resembling a pristine form just barely exists, and obviously it has ceased to exist altogether as a revolutionary movement. Like other emblematic movements of the epoch with which it shared the faith that a new kind of human being would surface once all structure and authority that wasn’t internal in origin was rejected, free jazz was ultimately ambushed by its naiveté.
But on purely musical terms free jazz has not been without an ongoing impact. If it never achieved what Alan Silva expected it to, it did (however contrary to its original ambition), expand the vocabulary and the field of options available to mainstream jazz musicians. And while they function today in what are essentially universes of their own, Taylor, Coleman, Murray, Cyrille, Shepp and Dixon are still very much around and continuing to discover surprise and the marvelous.
Indeed, stripped though they may be of their mystique as harbingers of an imminent utopia, these extraordinary musicians continue to produce musical miracles as a matter of course. For an especially vivid demonstration, try to catch Cecil in one of his live performances—what he would call "exchanges of energy"—with drummers like Max Roach or Elvin Jones.
In a bad time in every department of the culture, a time of rampant—often willful—mediocrity, I could name no better tonic.
About the Author
Former contributor to The Village Voice and Rolling Stone. Coauthor and coeditor, respectively, of two collections of essays about rock and jazz in the '60s: "Music & Politics" and "Giants of Black Music." Essays and fiction on numerous web sites
|
|
|
|
|
| Beauty Guide -- Hairstyles Makeup Nails & Skin |
| About.com's guide to beauty, hair & makeup. Learn new trends in hair color & styles, makeup dos & don’ts and waxing vs. shaving. See makeovers, tricks from ... |
| beauty.about.com |
|
| Shop at Beauty.com for Make Up, Cosmetics, Skin Care, Hair ... |
| Top Selling Prestige Brands - NARS, Too Faced, Vincent Longo, Philosophy, LORAC and much more in Stock. Free Shipping is available. |
| www.drugstore.com |
|
| Beauty Tips, Hair Styles and More at iVillage.com |
| Find beauty tips, including how to get hot celebrity hairstyles, at iVillage.com. |
| beauty.ivillage.com |
|
| American Beauty (1999) |
| American Beauty on IMDb: Movies, TV, Celebs, and more... |
| www.imdb.com |
|
| Beauty - Wikipedia, the free encyclopedia |
| The usage of beauty for purposes of commercialism is a controversial aspect of the ... The ideal Roman is the more masculine form of pure male beauty. ... |
| en.wikipedia.org |
|
| CSS Beauty | CSS Design, News, Jobs, Community, Web Standards |
| CSS Beauty focuses on providing its audience with a database of well designed CSS based sites, as well as news and happenings on the CSS Design Community. |
| www.cssbeauty.com |
|
| Dove |
| Real Beauty E-cards. Send your loved one a real beauty e-card to tell her how beautiful she really is. send now · countries · privacy policy · terms of use ... |
| www.campaignforrealbeauty.com |
|
| Free Beauty Tips And Samples |
| Free beauty tips: hair care, skin care, makeup, lips, cosmetics, hairstyles, eyebrows, nails etc. |
| www.free-beauty-tips.com |
|
| Beautynet.com - home |
| Offering articles and related stories, plus a directory of beauty salons. |
| www.beautynet.com |
|
| css Zen Garden: The Beauty in CSS Design |
| A demonstration of what can be accomplished visually through CSS-based design. |
| www.csszengarden.com |
|
| Beauty |
| Information and practical advice to make you even more beautiful. |
| www.ivillage.co.uk |
|
| Amazon.com Beauty: Fragrances & perfumes, makeup, skincare ... |
| Online shopping for all your favorite brands of beauty products in the Beauty Store, where you'll find the latest in makeup, perfumes & fragrances, ... |
| www.amazon.com |
|
| GlobalBeauties.com - Your Portal to a World of Beauty |
| Coverage of Miss World, Miss Universe, and Miss International. |
| www.globalbeauties.com |
|
| American Beauty |
| Official Dreamworks web site. Trailer, reviews, and credits. |
| www.dreamworks.com |
|
| Beauty | Seventeen.com |
| Beauty Secrets: Readers share tips on how to fix last minute nail disasters and get ... Beauty School: What was your best makeover experience? ... |
| www.seventeen.com |
|
| Sally Beauty Co. |
| World-wide supplier of beauty salon products and equipment. Corporate information, locations, online catalog. |
| www.sallybeauty.com |
|
| Beauty Bar |
| html hit counter. |
| www.beautybar.com |
|
| BeautyLink |
| Your official Gateway to the World of Beauty on the Web. Your FREE Beauty Link membership gives you access to gossip, model & celebrity news, a teen section ... |
| www.beautylink.com |
|
| BBC - Slink - Hair & Beauty Bible - A-Z <br><p class="recess ... |
| Contains fashion and beauty advice, news, views, and interviews. |
| www.bbc.co.uk |
|
| Health and Beauty |
| Natural Health and Beauty, review articles on health and beauty, Skin Care, ... Problems with deteriorating facial bones and beauty are more severe in women ... |
| www.emaxhealth.com |
|
|