Bridge across Time

Setting old stones with new methods lays a solid foundation for future pathways of our life together.

Here’s a Blue Ridge Parkway bridge, near my home, built when I was a kid long ago, in the 1960’s.

It’s a well-built public-works project.

Incredible strength was laid into the bridge’s inner structure when concrete was poured around a steel rebar framework. Unseen in the finished structure, the silent steel still contributes to ongoing structural integrity and function. Internal strength assured the bridge’s longevity, allowing the structure to bear up under the heavy demands of continuous motored traffic for many and many a year.

This solid piece of work has been sustaining motored traffic for most of my 68 years.

Use of reinforcing steel roads, tied together with wire like cages, then buried forever with gravel aggregate in solid ‘crete mud, is a relatively new architectural practice in construction history. The internal rebar method was devised by constructors over time, to assure deep integrity and resilience in vast concrete structures.

Such built-in reinforcement has enabled folks to progressively build bigger buildings, longer roads and bridges, as civilization marches on.

This strong, continuous, time-tested concrete underbelly enables motorists to drive without stopping, on a road that crosses o’er a  road that passes beneath it. In this photo, you can see the structure’s rock-hard underbelly, which bears the surface imprints of wooden planks that were used in forming the main arch  when the concrete was cast, back in the mid-1960’s.

Certainly our attention is drawn to the large veneer stones on the outside face of the construction. These chiseled rocks, having been skillfully cut with calculated angles, lend a classic appearance to the roadway, which would have otherwise been a dull utilitarian construct.

Thus did the bridge become something far more than an elevated roadway; it stands as an artistic statement of architectural continuity, in agreement with its older, 1930’s-era bridge “ancestors.”

The stone masons who erected similar Blue Ridge bridges back in the earlier days were ancestors–whether by profession or by blood– of the rock masons who set these stones three decades later.

Such chisel-sculpted work  becomes a masonary tip-of-the-trowel to time-honored traditions of stone masons who lived and worked on this same 469-mile parkway back in the day, and then eventually crossed that great celestial bridge to eternity.

Having stood the tests of time and traffic, this good work stands as a long-lasting homage to both structural integrity and graceful design.

About six miles up the road from the bridge pictured above, there’s an S-curved structure that I tied steel on, back in the early 1980’s– the Linn Cove Viaduct on Grandfather Mountain. It’s a very special construct, being the final missing-link in the middle of a 469-mile, 50-year Blue Ridge Parkway project. But this one was special–not for the classic stonework–but for the cutting-edge technology of building the thing from the top down, instead of the bottom up!

Here’s solid evidence that in this life it’s a good idea to do things right. Build it to last, whatever it is you’re working on in your time here.  Our children’s children will notice the quality and be inspired to do great works in their own time.

Search for Blue

Advertisements

Covered People in Naked Society

They advise  strip off all baggage from old time.

They urge try fantastic low-hanging fruit.

They recommend taste little bit

They demand take nother byte

We ask who said kids do nude

We teach kids run for cover blude

We gather our children beneath mama skirts

We papa protect what left because it right.

They say go free of hangups

They say bare it all

They say it fun

They say uninhabit inhibition

We say go jump in lake

We had all we could take

We say you always on the make

We see you fake.

They catch up us at crossroads.

They judge us out of touch

They sentence us unfair and square

They say strip if you dare

We say  we dont care for it

We wont fall for come-on  tit

We  find unfriend message hit

We remember blood on holy ground

We all across the world hear sacred sound

We in spite of what goes down all around

We once was lost but now we found.

King of Soul

Gold I Have Seen

On the Periodic Table of earth elements, gold is found in the middle of pack, at number 79. So while the shining yellow metal is just another lump or two in the great planetary array of substances, it is, and has always been, coveted and collected by us humans.

Gold has a curious effect on us. Through the ages, people have assigned many meanings and uses for the lustrous stuff.

I have seen gold on a few occasions in my life.  Like most folks, I am fascinated with the sight of it.  Here are a few pics of the bright metal I have collected. While pondering what gold represents, I made a list. For what it’s worth, here’s my take on what gold means to us.

~~~Gold as Wonder

Amazing how . . . ?

~~~Gold as Beauty

~~~Gold as Value

~~~Gold as Religious Ceremony

An altar in a Catholic Church in Rome

~~~Gold as Authority

This gold-tipped mast and dome is seen at the top of San Francisco City Hall.

~~~Gold as Power

In this room, the last emperor of the Hapsburg empire, Karl I of Austria, renounced all claims of royal authority over nations and empire. The renunciation took place November 11, 1918, the last day of World War I.

World War had begun in 1914 after his uncle, Archduke Franz Ferdinand, was assassinated in Sarajevo, Serbia, which was at that time a part of the Hapsburg Austrian empire.

From that point and time in history, the many families, dynasties, kingdoms, and empires of royal authority who have ruled the world for so long . . . began their slow, modern slipping into mere ceremony, and —many would say—irrelevance.

This room in the Schonbrunn palace, near Vienna, is now property of the Republic of Austria.

~~~Gold as Precious

a golden moment of precious repose, reflection and contemplation

~~~Gold as Fidelity

Good as gold. . . in our case, 39 years and continuing.

~~~Gold as Heaven

“. . . and the street of that city was pure gold.”  (Revelation 21:21)

I haven’t seen this one yet, but one day I will, thanks to Jesus, who was resurrected after being nailed to a cross.

King of Soul

Life~Trouble~Tragedy~Music!

In chapter 18 of King of Soul, we encounter one exploration of how music arises from human life.

In the year 1969, Professor Victor Komienko explains to his Music Appreciation class how a certain kind of music may arise:

“The University is the Defender of  high standards in all of the arts; music is no exception. In the slings and arrows of outrageous  intrusion, the best standards of the ages are maintained at the Conservatory, or as we have here, the University. This is a college where the fundamentals of performance are passed on to the next generation of musicians, and where time-tested principles of effective composition are taught. At the same time, the Conservatory—or  University—retains and extends those foundations, so that appropriately innovative works can be brought forth.” Dr. Komienko looked up to the top row of the auditorium; he surveyed his class purposefully from the top row down. The baton in his hand tapped out a quick little rhythm on the podium.

“Do you have any questions so far?”

Teddy, halfway up the center aisle, raised his hand.

“Mr. Scher, of course you would have a question.”

“How do you feel about electrified instruments?”

“You are asking about electric guitars?”

“Yes, sir.”

“As you know, electric guitars have a high profile in contemporary popular music. As for their use in the classical legacy, we have not yet seen it. I will say, however, there is an indirect influence insofar as some of the big jazz bands of the 1930’s, such as Duke Ellington and Cab Calloway.  The electric guitar, used primarily as a rhythm instrument, has become a standard part of their jazz arrangements.

“George Gershwin has included in some of his compositions rhythms and melodic figures that originate with the Negro music, which has been brought over, as we know, from Africa. Gershwin’s Rhapsody in Blue is the most notable example of this influence. The sound of the electric guitar itself, as an instrument, has not yet been heard to any extent that I know of.

“Traditionally, the guitar, unamplified as an acoustic instrument, has found an honorable place in the classical repertoire, most notably in the works of Spanish composers such as Segovia, and  Rodrigo.”

Teddy Scher raised his hand again.

“Yes?” Dr. Komienko responded, with a slightly disconcerted tone.

“Have you heard that the London Symphony has performed with the Moody Blues?”

“I have heard that they have done that. I have not heard any of the recordings. Thank you, Mr. Scher, for bringing that to my attention. We must, however, move forward with our syllabus now. Today, we will listen to a selection from the Italian Baroque period, Vivaldi’s Summer movement of the Four Seasons.

“The composer wrote notes to communicate to the orchestra the character of the music. In this case, Vivaldi had written a poem, which included the image of a shepherd boy being frightened by the fury of a thunderstorm. Vivaldi evokes, in the music, the fearsome effect of that storm. Additionally, he wrote at the top of this score—the piece you are about to hear—this musical instruction: Tempo Impetuoso. What does that tell you? Let’s listen to it, and perhaps  we will comprehend just what the composer was indicating by the use of that descriptor, Impetuoso. I do believe, Mr. Scher, that you will agree with me after hearing it, that, in some ways, Antonio Vivaldi was a forerunner of the rock music genre, which is driven, in its 20-th century heart, by that”—the professor raised his hands, indicating quotation marks with his fingers—’electric guitar you mention.’

“Of course, there were no electric guitars in Vivaldi’s day. However, in this case—the piece you are about to hear—I believe that same impetuous spirit of a present-day  lead guitarist was resident in a virtuoso  solo violinist of that day, whoever he might have been at the time.

“The violin concerto—commonly  called  Le Quattro Stagioni, or the Four Seasons—was originally named by Vivaldi, in 1725, as Il Cimento dell’ Armonia e dell’ Invenzione , or translated, The Contest of Harmony and Invention. Perhaps, as you listen to this selection from it, you can surmise why the composer considered this work to represent a contest—or a sort of dual—between conventional notions of what music should be, as opposed to what music is as it is created and performed by the impetuous innovator—in this case, the soloist. Such  is the perennial contest, from age to age, between art that is generally acknowledged as appropriate and new art that is thought to be too disruptive.

“Now listen, and hear if you can, , the composer’s prescient gleaning of what music might become two and a half centuries later.  Arnold, please roll the tape. . .”

You will find one demonstration of this phenomenon here:

https://www.youtube.com/watch?v=kaoqCARilbA 

 

King of Soul

What Joe said . . .

Ponder what the man said, long ago. This lesson pertains to forgiveness, and other truths . . . destiny, injustice, endurance, faith and human nature.

“Then Joseph said to his brothers, ‘Please come closer to me.’ And they came closer. And he said, ‘I am your brother, whom you sold into Egypt.’ “

“ ‘Now do not be grieved or angry with yourselves, because you sold me here, but God sent me before you to preserve life.’

“ ‘For the famine has been in the land these two years, and there are still five years in which there will be neither plowing nor harvesting.’

“ ‘God sent me before you to preserve for you a remnant in the earth, and to keep you alive by a great deliverance.’

“ ‘Now, therefore, it was not you who sent me here, but God . . .’ “

For more about Joseph and his brothers, read Genesis 37-48.

Also, consider Peterson’s lecture on this subject:

   https://www.youtube.com/watch?v=B7V8eZ1BLiI

King of Soul

On Questionable Apples

Long, long ago and far, far removed from this present day and time, it is written

that our ancestress Eve was pondering an apple or something similar

on the infamous tree of knowledge of good and evil.

Whilst she pondered, neither weak nor weary,

o’er forbidden fruit of not-forgotten lore,

suddenly there came a hissing,

as of someone gently kissing,

kissing her cognitive mind

with a curious temptive find.

Her visitor, the serpent, was speaking.

Thereby was her curiosity peaking,

and as her imagination was being fed,

the subtle serpent said

take a bite

it’s all right.

If you do it, your eyes will be opened.

So she did, and they were;

her eyes were opened.

Meanwhile, back at the Eden ranch,

her significant other was wondering,

What’s up with Eve?

Where’s my woman to whom I cleave?

So he ambled over to that mysterious tree

to see

in what circumstance his Eve may be.

And there he found her partaking

and little did they know that history was in their making

when Adam grabbed the thing and took a bite

from that forbidden fruit which expanded their sight

because the serpent had said it would open their eyes,

as Genesis says indeed it did open their eyes,

so now they would know not only good but evil as well

and so from that pivotal tasting ’til now, all hell

breaks loose;

hence all the bad news

from then till now,

and all the trouble that human traffic will allow,

which only goes to show

what maybe you already know:

A little knowledge can be a dangerous thing.

Now in this present world we find

a similar situation in our mind.

When’er we partake of  world wide web,

by a tree of virtual good and evil are we fed:

implanted with some good talkers and  bad stalkers,

and many types of souls and trolls,

with all stripes of porn and scorn,

even hateful tirades of race

opposed by traces of amazing grace.

So regarding any fruit therein you find

be judicious and take your time.

Don’t partake of anything in haste;

Be careful what you taste!

In the web of evil and good

be careful to partake of what  you  truly should.

So this  ancient lesson to your mind I bring:

A little knowledge is a dangerous thing.

King of Soul

Beethoven

Before he raised the baton to conduct Beethoven’s 5th Symphony, Christopher Warren-Green told us Beethoven was a revolutionary.

He matter-of-factually referred to the most disruptive orchestral composer ever as a revolutionary. And just before cranking up the Charlotte Symphony, Chris speculated that those infamous first-four-notes, da-da-da-Dahhhh, were probably lifted from a French Revolutionary song of that era.

It was the worst of times; it was the best of times, as Charles Dickens later wrote.

Forsooth, ’twas a very revolutionary time—1776-1820.

And Ludwig van Beethoven was right in the middle of it.

Right in the middle of a time when the 18th-century European order of things was being torn apart by radical new  ideas about the People running the show instead of the old fuddy-duddy royals who had been doing it for hundreds of years.

The young composer from northwestern Germany was indeed a musical revolutionary; he revolutionized music.

He turned the purpose of music upside down. Whereas the old order of things, financed by the royals, was all about making beautiful, harmonic, perfectly constructed sonatas and concertos to celebrate order and perfection—-

Ludwig, unable to ignore the terrible angst of that tumultuous age in which he found himself living, reflected—yeah, he even embraced—that disruptive spirit of the times.

And when they heard it sounded forth in the 5th Symphony, the royals hardly know what to make of it.

Beethoven was like the Elvis of his times, except he had an entire orchestra behind him. Multiply Elvis’ chutzpah by the number of musicians in an orchestra. That was the effect of Beethoven on the world of music.

And on the world itself, as thousands of performances since then have revealed.

Or, If not Elvis– think of  Bob Dylan, the Beatles, Rich Mullins or whoever expresses your disruptive angst and propels it into an awareness that the world is forever changing.

Like it or not, the world changes; sometimes that transforming is not pretty. Sometimes it is even disruptive, destructive, revolutionary. Music–and art generally–needs, in order to be valuable, to reflect the times we live in, and the changes that need to happen–not portraying a rose-colored-glasses dream that masks the profundity and excitement of living on this dangerous planet.

It would have been very hard, you see, for the young German prodigy to adopt the comfortable precision and beauty of his courtly predecessors—Mozart and Haydn. Au contraire, Ludwig caught hold of the gritty thrust of those revolutionary times. He deeply felt that terrible, violent wind blowing out of France; and he did, as any self-respecting genius would do, transform that terrible zeitgeist into revolutionary Music.

A truly new music, never heard before.

Unlike like any orchestra ever heard before.

Better to make disruptive music, than impose bloody revolution.

Be like Beethoven, not like Robespierre.

Work together like a revolutionary Symphony.

Teach the world to ring out Liberty!

King of Soul

Spain

Espana.

es Passionata.

For five hundred Moor years

than the Iberian Catolica peninsula

could ever have estanded

to be Islamically commanded,

they endured Ummayed demands

until Aragon King Ferdinand

came conquestering and demanding

with Castile Queen Isabella, remanding,

to fortify their  Catolica position

with a a goddam Inquisition,

stringing up dissidents in their Inquisition power

thereby crushing the bloom of heretical flower.

But with Isabella’s demise mad king Ferd devised

that child Queen Juana should be misused:

She therefore became abused and confused,

being married off to a Hapsburg prince

so that Empire hegemony could commence,

thrusting power over in-between freakin’ France

so Spain would achieve victory in their great Power prance.

Thereby Poor Juana had not a chance

her youthful passion to enhance,

being named an infernal loco heretic.

Therefore history defined her role as lunatic.

While Jews were being unlisted,

dissidents still resisted

although many heretics persisted

while being so unjustly inquisited.

 

That was then but this is now.

Spain still bleeds; that was how

it happened long ago  

when Ferd took on the  holy Roman Catolico

Hapsburg Empire show.

Down through history from page to page

As monarchs wage their contests age to age

Spanish blood flows through impetuous action;

it then bleeds out as Spanish soul passion,

moving los manos y voces to music and song

to celebrate what’s right and lament what is wrong.

Through the ages, ask the sages

what is right, what is wrong?

Who knows? The priest, the pope?

The poet? the socialist?—who offers hope?

Remember only: life is grand

despite our ruins beneath the sand.

So offer up a sacrifice of song

in notes so potent and passion strong,

while over in the sacrificial ring

a different living sacrifice they bring.

Matador leads. Bull bleeds.

Newfound blood in ongoing sacrifice

echoes ancient cross of crucified Christ.

Priest leads. Jesus bleeds.

The Faithful chant Apostles’ creed..

Sister Maria prays with beads.

But Falanga franco used catolico creeds

while dispatching policia on steeds.

Still saints were interceding

Flamenco singers pleading

Spain is forever bleeding

suffering behavor

even as the Savior.

In ’36 Las Artistas pled while Spain bled red.

Still the flamencos emoted, saints devoted,

peasants toted. poets wroted.

democrats noted. republicans voted.

Socialistas revolutionary

v. Royalistas  reactionary.

What else is new, not from the past?

So you might have asked .

Here’s what: Thermite bombs in 1937:

Hitler’s luftwaffe over Spanish village  heaven.

Spain bleeds through Guernica saints.

Pablo reads; Picasso paints.

Dali droops. El toro drips

The crowd whoops; the leather rips.

El  Guitarist heals. Flamenco dancer reels.

As the eternal note of sadness peals,

La musica heals when dancer reels.

Spain handles the pain.

It falls mainly on the plain

people in Spain.

Smoke

A Christian yankee in Pope Catolicas Court

How likely is it that  a Catholic-born, born-again Christian good ole boy from Carolina would ever wander into such a grotto of overgrown Catholicism as this?

It did happen, today, in Barcelona. September 5, 2018.

Who’d’ve thunk it?

The Audioguide at Sagrada Familia Basilica requested that the listening visitor enter with respect.

Respect for what?

The incredibly modern-artistic classic-fantastic ecclesiastic  structure devoted to Christ and the Holy Family—Joseph and Mary—from which Jesus Yeshua HaMeschiah immaculate-conceptionally came?

Yes. As a Christian I entered respectfully, along with, presumably, all the other thousands of gawking, phone-clicking touristas and believers who darkened the door of Sagrada Familia Basilica today in Barcelona.

Respect for the Christ child who had been born to Mary back in the day of the Incarnation of the Word-made-Flesh person of Jesus Christ?

Yes, I entered respectfully.

Respect for the traditions of the the Catholic Church?

Not so much, having rejected that tradition in my born-again youth. Nevertheless, who am I, as a born-again child of God, to judge the spiritual legitimacy of this high-church, pope-revering institutional “etched in stone” architectural representation— possibly even faith-enhancing experience— of deep religious faith that I encounter and enter into here?

Gosh, guys, thanks for letting us in here. What a cool building! 

Meanwhile, back at the Cross. . .

Yep. I know that part. He died for my sins. Let’s not forget.

And of course, ascended into heaven and sits at the right  hand of the Father.

Yep, we can agree on that part. You gotta  believe it.

That’s the real clincher anyway, don’t ya think? The real tie-breaker.

I mean, who else in the history of the human race has made that claim and gotten away with it?

Like I said, you gotta believe.

And I, like, think I’m finding some common ground here.

Belief in the Resurrected Son of God.

Pretty amazing idea, really, if you think about it. You’d have to be crazy or Catholic or Christian to believe it.

And here you have it—“etched in stone” as the Audioguide lady voice says it . . .the story of how it happened that the Son of God Son of Man was crucified and then raised from the dead.

King of Soul 

The Deep

As we grow older in this world, we gain a deeper understanding of  what is going on here. But it can be discouraging. In many ways, what we find is not pretty, and it makes no sense.

The disconnect between the way the world is and the way we think it should be becomes an existential crisis for those of us who are sensitive to such issues.

Attached to this dilemma we find a long historical trail of people attempting to deal with the problem. Along that path we find tragedy, depression, pathos, melancholia, despair, existential crisis, schizophrenia and a myriad of other assorted travesties.

But there’s a favorable output that sometimes arises through this conundrum. It’s called art.

And music, and literature.

I’ll not get into the specifics of it; but we discern, threaded through our long, strung-out history, an overwhelming human opus of emotional and soulful profundity. It  has been woven through the sad, dysfunctional and tragic tapestry of our apocryphal struggle for meaning. It has been sounded forth and sculpted continuously even as our very survival is perpetually  called into question.

The depth of this existential crisis is expressed by the poet when he desperately cried out:

“O my God, my soul is in despair within me;

therefore I remember you from the land of the Jordan,

and the peaks of Hermon, from Mount Mizar.

Deep calls unto deep at the sound of your waterfalls;

all your breakers and your waves have rolled over me.”

From the mountaintops of human awareness, and from the turbulence of many wanderous shore epiphanies, we homo sapiens somehow manage to  bring forth as offerings a cornucopia of creative endeavors; they are birthed in desperation, and they are often borne in desperate attempts to somehow attain hope.

You catch a hearing of that struggle to which I allude, in this music, composed in Spain in 1939 by Jaoquin Rodrigo:

  https://www.youtube.com/watch?v=e9RS4biqyAc

You can catch a glimpse of it in Picasso’s mural, composed in Spain in 1937, after the Luftwaffe bombing of Guernica:

 

But in my exploration of these matters, the most profound expression of the pathos curse is manifested in the life of one person who, by his laborious struggle, imparted the purest and most enduring message of love ever etched upon the parchment of human history; but his great gift was rejected through our judgmental travesty: a sentence of crucifixion.

Yet out of that most extreme humiliation there arose an even greater opus of creative, persistent love : resurrection.

If you can even believe it.

Smoke