Anthropology, Native America, Religion & Spirituality, Uncategorized

The Medicine Wheel

A prayer from the Oglala Holy Man Black Elk;
“Hear me four quarters of the world, I am a relative.
Give me the power to walk the soft Earth, a relative to all that is.
Give me eyes to see and the strength to understand that I may be like You.
With your power only can I face the winds.”

The Medicine Wheel symbol is a central spiritual and philosophical device used by many Native American communities.  It consists of an equal-armed cross placed inside a circle.  This is also a universal symbol that can be found throughout the nations of the world from the ancient days to today.  It has been called by many names; the medicine wheel, sacred hoop, solar disk and sun circle, just to name a few.  This symbol is central to Muskogee philosophy and is the basis for the layout of traditional ceremonial dance grounds.

As a symbol, the Medicine Wheel is made up of two symbols; the circle and the compass cross.

The Circle

The circle is the most basic symbol for life and divinity.  It is also the most perfect metaphor for God in geometry.  The circle, like the Creator has no beginning and no end and therefore it represents eternity.  Geometrically it is the essential symbol of balance and equality.  And as the perfect symbol of the Creator, you could expect it to be apparent in creation.

The circle is also the perfect metaphor for Nature, which is the manifestation of the Creator.  We find the circle everywhere in nature.  Natural things tend to be round or function cyclically.  The most obvious examples are the sun, the moon and the earth, all which are round.  The earth and other planets revolve around the sun in a circular motion.  On the earth, the circle can be seen like the signature of the Creator in the rings of a tree or the fruit growing upon it.  The seasons of the year follow a cyclical pattern with winter turning into spring, summer, autumn and then returning to winter.  The Oglala holy man Black Elk explained the meaning of the circle in this manner;

You have noticed that everything an Indian does is in a circle, and that is because the Power of the World always works in circles, and everything tries to be round.  In the old days when we were a strong and happy people, all our power came to us from the sacred hoop of the nation, and so long as the hoop was unbroken, the people flourished.  The flowering tree was the living center of our hoop, and the circle of the four quarters nourished it.  The east gave peace and light, the south gave warmth, the west gave rain, and the north with its cold and mighty wind gave strength and endurance.  This knowledge came to us from the outer world with our religion. Everything the Power of the World does is done in a circle.  The sky is round, and I have heard that the earth is round like a ball, and so are the stars.  The wind, in its greatest power, whirls.  Birds make their nests in circles, for theirs is the same religion as ours.  The sun comes forth and goes down again in a circle.  The moon does the same, and both are round.  Even the seasons form a great circle in their changing, and always come back again to where they were.  The life of a man is a circle from childhood to childhood, and so it is in everything where power moves.  Our tepees were always round like nests of birds, and those were always set in a circle, the nation’s hoop, a nest of many nests, where the Great Spirit meant for us to hatch our children.[1]

The Pawnee Indians regarded the circle with much the same philosophy.  According to one Pawnee priest;

The circle represents a nest, and it is drawn by the toe because the eagle builds its nest with its claws.  Although we are imitating the bird making its nest, there is another meaning to the action; we are thinking of Tirawa making the world for the people to live in.  If you go on a high hill and look around, you will see the sky touching the earth on every side, and within this circular enclosure the people live.  So the circles we have made are not only nests, but they also represent the circle Tirawa-atius has made for the dwelling place of all the people.  The circles also stand for the kinship group, the clan, and the tribe.[2]

The sun which we depend on so directly in our lives has served as another great metaphor for the Creator throughout history.  It is round and therefore the Medicine Wheel is also symbolic of this solar enlightenment.  For this reason the medicine wheel symbol is often displayed within a solar motif with the rays of the sun extending outward in eight directions.  With the sun circle and compass cross both being direct metaphors of the divine nature of the earth and the celestial respectively, the Medicine Wheel as a spiritual and philosophical tool is therefore an unparalleled tool for use in coming to knowledge of Nature and of Nature’s God.

The Cross

The cross is a four cornered compass.  Each one of the four arms of the cross is attributed to a particular compass point, which is in turn associated to a particular philosophical or spiritual principle.

In contemporary society the four directions tend to be taken for granted and with little regard.  But to the elder ancestors they represented the very survival of the people.  Our ancestors did not have the crutch of a GPS on which to rely.  Instead they watched the sky, the path of the sun, moon, stars and even the shadows in order to keep track of the directions to avoid becoming lost or disoriented in the forest or on the prairie, something that could quickly result in death.  In fact the very meaning of the word ‘disoriented’ is to be incapable of locating the east.

Living in tune with the directions, the seasons and nature in general kept the elder ancestors alive, so naturally a system of philosophy developed about life and the hereafter as demonstrated through that symbolism.  Each direction is thought of as a separate land, world or dimension, symbolically if not literally.  Therefore each direction has its own natures, associations and inhabitants.  In some ways each direction is thought of individually as separate Heavens and their inhabitants are spiritual beings like angels, ancestors and medicine powers.

While the specific associations of each direction can vary greatly from people to people and from age to age, the following cardinal directions and their associations are based heavily off those that are most commonly encountered in native circles, with special emphasis placed on associations identifiable within Muscogee, Yuchi and Cherokee traditions.

                  

East — place of the sun

The east is associated with light and knowledge, because the sun comes up from the east and travels across the sky.  The sun is the source of life on earth and its light removes the cover of darkness, revealing what was previously hidden from view, therefore the east is associated with revelation, illumination and enlightenment.

In Muskogee lore it is the Hawk which flies highest of all creatures.  He is the messenger of the Creator, like an angel delivering prayers to Him and knowledge and revelation from Him.  It is traditional in Muscogee as well as many other traditions to face east when praying.

North—place of wind

The north is the land of wisdom, the breath of life and inspiration.  This is a land of elders, the source of ancestral wisdom and so the north is sometimes referred to as the “place of the white hairs.”  It is associated with the buffalo and the deer who live closely to nature and know her ways intimately.  The bald eagle is said to be stationed here, guarding the health and cleansing wind.

In the Creek Migration Legend, the people took the red and yellow fire from the north and mixed it with fire from the sacred mountain and this is said to be the fire that Creeks use to this day, which sometimes sings.

West—place of earth

West is the place of darkness and introspection.  The sun sets in the west and therefore this direction is associated with sleep and the subconscious.  The spirits of departed are said to travel to the western world and so it is associated with death and the afterlife.  The nature of the west’s earth association also connects it to the underworld caverns from whence tradition tells us the Muskogee people emerged.  This is the womb of creation as well, and therefore represents life at its most primal state and incubation.

The black bear is associated with this direction as is the panther.  The bear’s penchant for residing in caves and sleeping through large portions of the winter make him a skilled adept of navigating the womb of creation and the world of dreams.  Black Elk taught that the west is the home of the Thunderbird, which in Muscogee tradition is the Thunder being who brings the rains and lightning.

South—place of water

The south is associated with warm purifying waters and virtue.  These waters are specifically the deep bodies of water aside from the storm and rains.  For the most obvious reasons water is the element of cleansing.  Not only is it essential in daily hygiene but it is also vital in the human body’s natural process of purification and detoxification.  Water also represents change over time by the process of erosion which reshapes old landscapes and renews the earth.

Water is also intricately connected with the underworld.  Muskogee tradition tells us that the Great Snake guards the southern waters.

 

Together, the sacred circle and the compass cross portray the divine in both the ethereal and the physical sense.  It is important to understand that these are considered to be integrated and whole, not separate perceptions.  Each person must come to fully understand and integrate the teachings of each direction, one by one until they have traversed the entire compass in order to attain a life of wisdom and fulfillment.  All together it teaches us balance and provides us with the tools to build a healthy spiritual life.

The integration of these attributes and principles into a person’s spirit is achieved by diligent efforts in meditation, contemplation and daily application of these principles.  When we consider our relationship on the medicine wheel, we truly consider our circumstances; literally where we stand inside the circle.  These efforts can be heightened by living close to the earth and taking part in our native traditions.  This Medicine Wheel philosophy is a root philosophy which has influenced the lives of native people for centuries.  It is practical, logical and metaphorical.  It connects us to our time and place, instills our perception of the world with wonder and provides us with a basis by which we can contemplate our own nature and that of all creation.

[1] Neihardt, John J., Black Elk Speaks, University of Nebraska Press, Lincoln and London, 1932-1961 Pg 195-6

[2]Alice C. Fletcher, The Hako: A Pawnee Ceremony (22nd Annual Report, Bureau of American Ethnology, part 2; Washington, 1904), pp. 243-244. Cited by Joseph Campbell, Hero With a Thousand Faces


Anthropology, Irish/Celtic, Music, Religion & Spirituality, Uncategorized

Finnegan’s Wake, a Glance at Irish Mysticism through Lyrical Satire

 

Finnegan’s Wake is amongst my favorite traditional Irish songs and it has been a staple of the Irish balladeer’s repertoire since the middle of the 19th century. Over the past several decades it has been covered by great and legendary Irish bands like The Clancy Brothers & Tommy Makem, The Dubliners, the Pogues, and most recently the Massachusetts-based Dropkick Murphys.  However, like much of Irish lyrical tradition stretching back to the ancient bards “Finnegan’s Wake” is in reality a work of deep esoteric value cleverly disguised as a silly drinking song that only the initiated were likely to fully comprehend.

At Face Value

The story tells of Tim Finnegan, a poor construction worker with a love for the liquor who drank a bit too much before work one morning, fell from a ladder, broke his skull and died. Upon the eve of his wake his friends and relatives arrive at his home to mourn him.  Biddy O’Brien begins crying loudly and is essentially told to shut up by one Paddy McGee.

Once Maggie O’Connor gets involved in the exchange telling Biddy she’s wrong, Biddy punches her in the mouth, leaving her ‘sprawling on the floor.”  Then all Hell breaks loose as the entire house becomes engaged in a brawl “woman to woman and man to man,” brandishing their shillelaghs, the classical Irish club.

A bottle of whiskey is thrown across the room, just barely missing Mickey Maloney, and instead landing on Tim Finnegan’s bed with the whiskey scattering all over his body. At that point Tim revives and “rises from the bed,” and delivers the punch line of the ballad; “Whittle your whiskey around like blazes, Thanum an Dhul![1] Do you think I’m dead?”

 

The Mystery Unveiled

While this ballad is typically considered a comical drinking song, it actually gives us a glimpse into an old Irish and western mystical tradition.

Tim Finnegan is a construction-worker. Although this was a common vocation amongst Irishmen throughout the 19th century, there is much more being said here than meets the eye, or ear.  As the lyrics clearly tell us “to rise in the world he carried a hod.” A hod is a tool used for carrying bricks and mortar, telling us that Mr. Finnegan was, in fact a mason. Since no later than 1717 AD the repository for esoteric wisdom in Western countries has been the order of Free and Accepted Masons who trace their historic origins to the medieval stone masons guilds, and from there symbolically to the ancient builders of Greek, Egyptian and Israelite temples.

Let us also take note that Tim Finnegan carries his hod “to rise in the world.” In Freemasonry, it is said that a candidate is “raised” to the degree of a Master Mason. Freemasonry also makes use of the symbolism of death and resurrection through the allegory of the architect Hiram Abiff.

Architecture, construction work and craftsmanship have been metaphors for mystical knowledge going back thousands of years. In ancient Irish mythology the three brothers Luchta, Goibniu, and Credne are known as the Trí Dée Dána (the three gods of art).  Each represented the respective trades of carpentry, blacksmithing, and silver-smithing, and they crafted the weapons which the Tuatha Dé Danann (Irish ancestor gods) used to conquer the Fomorians (Irish beings of chaos and darkness).

In ancient Egypt, the god Ptah was the patron of craftsmen and architects, and he was closely associated as an aspect of the dying and resurrecting god Osiris.  Both of these deities were incorporated by the Greeks into the god Dionysus, well known as a patron of wine and spirits.  It is more than coincidence that Jesus of Nazareth, perhaps the most well-known dying and resurrecting god is often cited as having been a carpenter before he began his spiritual mission and he, much like his forebears also had an affinity toward life-giving and preserving drink.

A further look at the lyrics of this ballad reveals that at the wake of Finnegan they placed a gallon of whiskey at his feet and a barrel of porter at his head. This sentiment is echoed in the Irish ballad “Jug of Punch” in which the balladeer requests upon his death “just lay me down in my native peat with a jug of punch at my head and feet.”  This is a particularly Irish rendition of the tradition found amongst the world’s cultures of making sacramental offerings to the dead.  The making and pouring of libations is well documented in European traditions.

As mentioned previously, Jesus, Osiris and Dionysus are not only associated with death and resurrection, they are all three also closely associated with drinking rituals. Amongst other things, Dionysus is a god of wine. Osiris is said to have taught the world the art of brewing.  Jesus turned water into wine. Similarly, the Irish craftsman-god Goibniu also brewed the beer of immortality.

The English word whiskey is derived from the Irish Gaelic uisce beatha which translates as “the waters of life.” So when the whiskey scatters across the corpse of Tim Finnegan, it literally, magically and sacramentally imbues him with life; a spiritual conception which stretches back through centuries of esoteric tradition.

Conclusion

The dying and resurrecting god is not just a rhetorical device for dramatic affect. To ancient civilizations death and rebirth are symbolic of the annual cycle, the dying and rebirth of the summertime, the growing season and of the sun, so often symbolic of divinity. This symbolism has been revised, reincorporated and redistributed as a multitude of myths, legends and doctrines throughout the world in order to teach each civilization or cult’s particular perspective on the meaning of creation.

A creator god’s primary attribute is creativity, and this trait has been imitated through the creative works of humans whom are believed to be made in the divine image. Art, music, agriculture and most especially architecture has long been associated metaphorically if not literally with godliness, and enlightenment.
Finnegan’s Wake is far more than just another drinking song. It is a humorous retelling of an ancient initiation myth.  Tim Finnegan is not just a drunk construction worker who died and came back to life.  He is the personification of the mystery of the dying and resurrecting god represented in the form of Irish lyrical satire.

—

[1]d’anam ‘on Diabhal. a common curse: your soul to the Devil, from the Irish D’anam don Diabhal


Anthropology, Music, Uncategorized

Mento Music: Reggae’s Granddaddy

Mento music is a little known style of folk music and dance native to the island of Jamaica that saw its commercial peak in the 1950s.  Sometimes called Jamaican Calypso, it is closely related to that Trinidadian musical form.

Mento bands usually consist of small groups of musicians. Acoustic guitar, fifes, maracas, and the rumba box are all typical elements in the musical production. Banjo however, seems to be central in traditional Mento. Particularly rural groups often featured hand-made instruments such as the bamboo clarinet and saxophone.

A unique style of music, mento is the lineal forebear of reggae, and like blues it is a blend of European folk musics, especially of the British Isles and Spanish influence along with many elements of traditional West African music.  For reasons that are more intricate than this blog-post is prepared to delve into, Trinidadian Calypso was more marketable than Jamaican Mento, and by the middle of the 20th century it had become the music of the Caribbean.

After Calypso lost its commercial appeal record companies decided to make jazz the new music of the Caribbean and began importing jazz musicians into the islands.  Jazz didn’t take root like they had hoped but this injection of fresh blood mixed with the rootsy sound of the Jamaican shanty towns and the new sounds coming from the United States over short-wave radio resulted in the creation of Ska.

Ska was an upbeat dancehall style of music comparable to America’s old rock and roll, recognizable for the guitar skank rhythm style. With the heavy injection of ganja culture, ska superstars such as the Wailers began slowing down their tempos creating the short-lived style rocksteady – best thought of as what I think it really is: a small bridge between ska and reggae.

Reggae emerges with the dominance of Rastafarian philosophy in the previous style, with typically even slower, more intricate rhythms, lyrics with deep spiritual and socio-political messages. Bob Marley, Peter Tosh, and Toots and the Maytals all played defining moments in ska, rocksteady, and reggae, but none of them would have been as significant without Mento.

           

Below is my cover of “Miss Constance,” a traditional Mento tune available for download here.


 

 

Anthropology, Holidays, Irish/Celtic, Native America, Religion & Spirituality, Uncategorized

Midsummer

Midsummer is a traditional holiday celebrated throughout many of the world’s cultures, with ancient origins.  It is the celebration of the summer solstice, an important astronomical date on the annual cycle.  It is celebrated on or near the 21st of June. In many Celtic communities it is commonly celebrated on June 24th.

Due to its connection with the agricultural cycle, Midsummer is most often celebrated on the 21st of June by modern Heathens and neo-pagans as one of the eight sabbats. In Revival Druidry it is called Alban Heruin and is one of the four high holidays.

The summer solstice is the longest day of the year, with the sun at its strongest, therefore Midsummer represents the triumph of light over darkness.  The solar hero born at Yule and celebrated as the child of light is now at his peak.  He overthrows the oppressive king of winter and takes his rightful place upon the throne of the earth.  Just as in our time today, in ancient days marriages often occurred at Midsummer.

                    

As an agricultural holiday, in many parts of the world this is the earliest time that a harvest can be made since the springtime sowing; therefore it is a festival of first fruits. Traditional Midsummer rites are often centered on bonfires.  New fires would be kindled and offerings of flowers were made to them.  In many communities an effigy of a person would be burned in the bonfire.  Similarly to Beltane, cattle would be driven through the smoke of the fires as a means of blessing, protecting and enhancing the livelihood of the tribe and community.  Torches were lit from central bonfires and carried home where the hearth was lit.  Participants would dance around these fires and tend them throughout the night.  This all-night affair was commonly called “the watch,” and it was an integral part of the festivities.  Near the early morning when he fires had died down some, some of the revelers would jump over the flames for good luck and to encourage the crops to grow.

Midsummer Bonfire in Freiburg im Breisgau

Similar traditions are found on both sides of the Atlantic Ocean.  Native American communities such as the Creeks, Seminoles, Cherokee, Choctaws, Chickasaws, and many others of the Eastern Woodland traditions celebrate the Green Corn rite: the new fire ceremony, the New Year, the greatest fast culminating in the first feast of the year.

At this time in the environment, the wild flora is also at its peak, especially of the medicinal variety, so this holiday also has a focus on gathering and honoring medicine.  Blackberries and wild plums are also ripening, making for natural symbols of this season. On the Muskogee calendar, June is Kvco Hvse or “Blackberry Sun.”

In many Germanic countries the Maypole is celebrated at Midsummer.  In some communities the Maypole was left up from Beltane and burned at Midsummer. Midsummer is the height of the spiritual year.  Medicine is strongest at this time.  Spirits of nature and of the ancestors, both good and malevolent are very active on a Midsummer’s night which inspired one of Shakespear’s most classic works; A Midsummer Night’s Dream.


Irish/Celtic, Poetry, Religion & Spirituality, Uncategorized

Imbas Fire

I got fire in the head!

Imbas on the inside, so red!

A cauldron of poetic frenzy brewing the content of the universe

Translating, melding it down, an inspired stew-in-verse

More than a measure of grammar, meter and rhyme

Through head, heart and gut, universal space and time

Twisting like a whirlpool spinning mastery of words

Spitting reddening satire – the kind that really burns

But it’s just prophecy in motion, the wisdom of a bard

Passing judgments with clarity till you know who you are!

(This poem was originally written in 2004 as a final exam for an undergraduate anthropology class. – I got an A. – I was looking through some old writings and it just felt relevant again.)

Natural Medicine, Nature, Uncategorized

Wildflowers

They say “April showers bring May flowers,” and what an assortment of flowers they bring.  I’ve always loved the springtime, and nothing impacts that love quite like wildflowers.




Flowers are beautiful, even domesticated varieties, but wild flowers have a spirit all their own.  They grow wherever they want without the need for the cultivated touch of human hands, beautifying often otherwise bland landscapes.  Even magnificent landscapes are improved by their presence.

I’ve always had an affinity toward wild things in general.  It’s just part of me.  Ever since I was a child I spent as much time as I could exploring the wilderness, trying to escape civilization any chance I had, and along these journeys wildflowers were always a fascination for me. They are a reminder of an epoch of history when the world and life was much more natural, and unprocessed by scientific engineering.





They are more than just pretty little blossoms to me.  Wildflowers are sensual beings who fill the air with hypnotic fragrances, arousing and seducing the many species around them to come explore their allure in an erotic dance that perpetuates the abundance of life on this lonely rock drifting through empty space.

Wildflowers are uncivilized, barbaric in their beauty, and defiant in their tenacity to thrive. They persist with unrelenting certainty that they shall … flourish … as they grow across the land whether in the deep woods, along busy streets, or even peeking out from a crack in the sidewalk.

They are everywhere, fully pervasive and free.

       

 

 

 

Healing and Wellness, Natural Medicine, Religion & Spirituality, Uncategorized

These Woods

These woods are like home to me.  Whenever I return it is as if I have come back to my spiritual center.  This is where it truly began for me.  I was a misguided youth full of angst and hostility, disillusioned by the world, and spiritually injured. But these woods are a place of healing and renewal, and they changed me. Over the years I’ve seen other people changed by these woods as well.


The medicine is strong along this creek.  The waters are crisp, clear and purifying, and I swear I can hear the voices from generations of spirits echo through the clay-bank valleys, enticing me to release the stresses and pains of my mortal existence, bringing my spirit back to light.

I had my first powerful vision here, where I was healed and transformed into something that could be of better service to my people; something I’m ashamed to admit I had strayed too far from over recent years.

I have experienced giving, sharing, and loving in these woods that are too rarely found in the outside world.

We’ve had gatherings of great souls, teaching circles, solstice and equinox festivities.  Barefoot hippies, country kids, urbanites rediscovering themselves and an assortment of other wanderers have met here as family to share in each other’s good graces.  Bonfires and drums, maypoles, and moonlight dancing bringing people together in love and laughter.  Here, we are free.

I remember a stew once made.  A dozen camps contributed to it.  The missing ingredient to tie it all together, an onion was nowhere to be found. Then down the trail came some new arrivals for the evening, and packed in their gear was just such an onion which they gladly contributed. “I don’t even know why I packed it.” He said. “I just grabbed it and threw it in my cooler because I thought it might come in handy.”  So into the stew pot it went, to simmer over the open flames.  A dozen camps were fed from this stew and there was an abundance that never seemed to end.  It was like a true “loaves and fishes” story.

Here we were free to be in our spirits, and the only law was love. Not a law to be rigidly enforced, but simply lived. This is where I learned to love openly.  I felt the darkness I carried with me lifted and I was made new.  It was beautiful.  It is beautiful. And it is where I learned to see beauty in this world that I had for so long been so cynical about.

This is why these woods and this river are the place I return to when my spirit needs healing, or if I just need to get away from the noise and distractions that cloud my visions and confine my inner light.  Meditation is stronger here.  Prayers become reality and love can be embraced.

Though I have experienced many great lands and beautiful environments, I’ve never known another place quite like this.

 

We all need something like this in our lives.

 

This is sacred space.

 

 

 

 

Music

Katy Perry’s New Music Video for “Chained to the Rhythm” Gave Me PTSD

I just watched Katy Perry’s new video “Chained to the Rhythm.” And I think it just gave me PTSD.



I suppose there’s a bit of a message in this video. It seems to be a commentary on American excess and distraction with entertainment and I guess how that’s killing us.

In the end it just made me think about dying by being launched from medieval siege weaponry. Watch the video below for the full story.




Art, Music, Profiles, Uncategorized

Tyla J. Pallas, One Creative Dog

Few artists have had as much of an influence on me as Tyla J. Pallas.  It wouldn’t be too far of a stretch to say that I learned to sing by listening to this man.

I first discovered Tyla when I saw an ad for his band the Dog’s D’Amour and their album release In the Dynamite Jet Saloon in Hit Parader Magazine in 1988.  I acquired the album through some means after that, and was fairly pleased by the record.  Though you couldn’t tell by looking at the album cover, the Dogs D’Amour were doing something in strong contrast to all the other hard rock bands that were making a name in the mid and late 80s.  The songwriting was a striking and refreshing twist on the blues-infused rock and roll pioneered by classic bands such like the Rolling Stones, and Aerosmith.

On top of guitarist Jo Dog’s phenomenal slide guitar work on In the Dynamite Jet Saloon, Tyla’s gritty, bourbon-wrecked vocals defined the sound and personality of the Dogs D’Amour.  His fluctuation between growling, mumbling, and quirky melodic deliveries helped create a dynamic and distinct sound.  As the primary songwriter, Tyla’s lyrical approach was infused with the dark poeticism of Charles Bukoski, romantic and desperate.  It was quite a departure from the party-anthem bands that defined the decade.  Tunes like the ballad “How Come It Never Rains” and the acoustic “Billy Two Rivers” stand out the most.

While Dynamite Jet Saloon is a great album, it was only a couple years later when a friend moved to my hometown from England and brought with him the follow up and mostly acoustic albums Errol Flynn and A Graveyard of Empty Bottles that I really became the die-hard fan I still am to this day.  These albums were amazingly written. Everything that was good about Dynamite Jest Saloon was doubled-down on and made great. To me, these albums are what the Dogs D’Amour were all about.

The Dog’s D’Amour, A Graveyard of Empty Bottles, 1989

Each song on those records is so good it’s difficult to shine a light on any of them over the others, but “Comfort of the Devil” and “Ballad of Jack” probably stand out the most. Both exemplify the mixed styles of blues-rock and country with a distinctly recognizable English interpretation that defined the Dogs.  Not only did these acoustically dominated albums convince me of the viability of the approach in an era defined by electric guitar, it reacquainted me with my native County and Western music and put a mark on my musical delivery that is still with me to this day.

    

 

Second to the music, of course were the album covers featuring Tyla’s distinctive artwork, mostly paintings.  They were personal interpretations of the band in a style that was a mix of naïve and almost comic art, and expressionism.  As an aspiring singer and visual artist myself, I found this approach inspiring..

Over the years since these early Dog days, Tyla has produced a host of solo projects and collaborations, while his artistic abilities have developed into a well-crafted, distinct and recognizable style that is the natural visual counterpart to the wicked western blues rock that is Tyla’s legacy.

The Dog’s D’Amour, Errol Flynn, 1989

Movies/TV Shows, Uncategorized

The Movie “Silence” was Painfully Boring

Silence theatrical release poster

I went with a friend to see the movie Silence.  It looked good and seemed interesting in the previews, and has good reviews online, but to me , it was really slow and boring.

The plot revolves around two Catholic Priests from Portugal in the early half of the 17th century who embark on a trek to Japan to find their missing comrade, and to further missionize the island during a time a great suppression of the religion by the Tokugawa shogunate.

With such subject matter you might think this would be an epic masterpiece of, but instead it was just undynamic and uninspired.  The characters seemed flat and undeveloped, and there was virtually no action at all.  Good movies tend to have peaks and valleys. This was all valleys. The subject matter was pretty heavy, with the persecution of Christians in Japan during the early half of the 17th century, but I didn’t sense any real depth to the story or characters and comic relief was almost non-existent. That’s just the production side.

I also felt like it portrayed Buddhism as a sinister, despondent cult with no redeemable doctrine. While it emphasized the atrocities committed by the Japanese government against the Christians, portraying Christianity as if it would deliver the people from such abuse, it ignored that at the exact same time in Europe the witch-burnings and torture and killings of heretics was at its height. So, not only did I find the movie boring, I felt like it insulted my intelligence.

If you’re interested in watching Silence because you hope to see representations of feudal Japanese society and samurai customs you’ll be disappointed as there is virtually no culture portrayed in this film.

While watching it I felt like director Martin Scorsese and writer Jay Cocks were more interested in creating sympathy and a sense of righteousness for the Jesuit priests than they were in telling a good story.  I can understand why practicing Catholics and other Christians may find the film as providing some form of credibility for their faith, but  I just was not satisfied.

I really found the movie to be uninspired, uninteresting, and unenjoyable. It was painfully boring.

    


Music, Art, Culture and Modern Critiques