music

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Moved By The Music
August 11, 2015
charles i. letbetter - moved by the music

Music really becomes the soundtrack to the major events to your life. —Sheryl Crow

[one_half padding=”4px 10px 0 4px”]We all know that music plays a fundamental role in film and our lives. As I sit here writing in the morning (the clock just flash 4:30 AM), I have my headphones on listening to the soft, lovely voice of Sarah Brightman singing Time to Say Goodbye. Like many people, I have different soundtracks saved for different moods and different times of the day.  An hour from now, I’ll switch to the “Morning” playlist just before waking the little ones for school. Later this morning, it’s likely to be classic rock blaring through the speakers as I’m editing photographs. For a vast majority of the world’s population, music is what keeps us going through the day and even, in some cases, keeps us from giving up and walking out.

Advertising creatives know all too well that music, or any sound at all, can make or break a commercial, especially when one only has 30 seconds or less. The first sound one hears does more to set  the mood and viewer expectation than does the first image. Pictures can be interpreted any number of ways when left sitting out on their own, especially when the photo is rather innocuous and void of copy. The soundtrack guides the viewer toward a specific interpretation, whether that be serious, emotional, or humorous. When the match-up between music and imagery is done especially well, no voice over or copy is even necessary. A good commercial can be like a mini music video in its effectiveness.

When one only has a limited bit of time, though, finding music that fits a concept can be challenging. Advertising creatives like pop songs because they provide an instant level of recognition and even an implied endorsement on the part of the artist. The problem with that approach is that,  A) it’s incredibly expensive to gain the rights to use a genuinely popular song from a popular artist; the whole budget can be blown right here. B) They don’t write 30-second pop songs, so someone’s going to have to do some creative cutting and mixing; a task that sounds so much easier than it actually is. A bad mix of a good song can have the exact opposite effect from what one was wanting. This is not easy territory.[/one_half]

[one_half_last padding=”4px 4px 0 10px”]Knowing all this, and knowing that I’m less than proficient at mixing and mashing soundtracks, selecting music for this week has not been easy. Our filtering process went something like this:

  1. Is it free? We have no budget for this experiment (as usual). Our only choice was to use clips that are either public domain or have an attribution only Creative Commons license.
  2. Is it too long? It’s more likely that we can work with a clip that is under 90 seconds than one that is over two minutes. Limiting the length of the clip immediately cut our choice by two-thirds.
  3. Is it cheesy? A significant number of the clips available are pieces some budding composer authored sitting at their midi keyboard, and the sound betrays the cheapness of their base instrument. Eliminating anything that had a cheesy synthesizer sound again cut the options dramatically.
  4. How does it make me feel? Music affects emotion and certain emotions match with different kinds of photographs. I needed clips that matched what certain photographs make me feel.
  5. How does it make Kat feel? Because we never trust our own opinion to be valid outside ourselves. She has different tastes and immediately vetoed some I would have considered.

Today’s soundtrack immediately caught our attention because it seems to have been specifically created for the type of effect used on today’s image. There is a major chord precisely every two seconds throughout the track, with well-measured changes at points where we would want to alter the effect. Listening to the track, I knew exactly what I wanted to do with the image, I just had to figure out how to do it.

Again, I’m more pleased with today’s video than I am the previous two. I hope that trend continues. By Saturday, we might have something truly special. The music and visual effect take a very plain subject and give it an all new level of interest. Can we ask more from a 30-second video? Well, maybe. The original photo is below.[/one_half_last]

charles i. letbetter - moved by the music

What’s Left of the Farm (2015)

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PotD
Like A Loaded Gun
June 25, 2015
charles i. letbetter

SummerDay_05

Bikini Boating (2005). Model: Jade Lynn

“A girl in a bikini is like having a loaded gun on your coffee table- There’s nothing wrong with them, but it’s hard to stop thinking about.” ― Garrison Keillor

[one_half padding=”4px 10px 0 4px”]My late parents were amazing. Considering where I grew up, rural Kansas and Oklahoma, and when I grew up, through the 60s and 70s, they did a remarkably wonderful job of making sure we were exposed to important issues such as civil rights, conservation, and the importance of getting a good education. On those issues, they were surprisingly liberal.

On other issues, however, they could be conservative to the point of leaving my brother and I extremely naive. Of course, baby brother had the advantage of coming after me and usually knowing where I kept my stash of adult magazines. Still, there were many areas, especially in regard to sexuality, that were never considered ripe for any level of conversation beyond, “If you think about it, don’t do it; better yet, just don’t think about it.”

Not everything they did was intentional. Mother was almost deathly afraid of water and didn’t learn to swim until she was in her 40s. So, there were no afternoon trips to the pool when we were little. When I took swimming lessons, the instructors were, of course, dressed in conservative one-piece suits and when one is six one isn’t necessarily concerned about the physical qualities of the person promising to catch you if you jump into the pool. On rare occasion, Poppa might take us to a public pool, but when he did he dominated our attention. He was our life raft, our pool toy, our swim instructor, and favorite playmate all rolled into one. We barely noticed anyone else at the pool.

Then, there was the summer I was 14. Being 14 may be the most painfully awkward age for a boy to be, especially in the summer. There was always someone in the group who was more mature looking and talking about “making it” with girls. The rest of us tried to match his banter, but a quick look in the swim trunks revealed we weren’t remotely ready for anything much more intimate than, “hi.” Even if a girl had kissed us, none of us would have had a clue what to do next. I’m pretty sure a couple of the guys might have fainted. Fortunately, no girl ever put us in the position of finding out.[/one_half]

[one_half_last padding=”4px 4px 0 10px”]Being 14 meant our parents weren’t afraid of just dropping us off at the city pool and picking us up later. As long as we stayed in the shallow end of the pool, everything stayed nice and appropriately within our parents’ values.

Everything changed the day some kid dared us to jump off the high dive. Two of the guys in our group immediately chickened out because they didn’t know how to swim that well. Randy and I could, though, and Randy wasn’t about to chicken out on a dare … and he made sure I didn’t chicken out either. My heart was pounding as we climbed that twelve-foot ladder that felt every bit like it reached half-way to God. Randy went first and made it look so easy. I stood at the end of the board, thought, “If the fall doesn’t kill me, Mother will,” and jumped.

I hit the water, hands folded just as I’d been taught, and was pleased to feel no pain. I came to the surface, checked to make sure nothing was bleeding and swam for the side. I grabbed hold of the ladder on the side of the pool, looked up, and there she was. Her tan legs were long with water beading deliciously on her skin. Her teenage bottom was covered by her swimsuit and then my brain screamed inside my head, “OH MY GOD I CAN SEE HER BELLY BUTTON!”  I looked up a little further and my head screamed again, “OH MY GOD, ARE THOSE REALLY BOOBS?” I was afraid to keep looking. Had she looked back my head just might have exploded.

Feeling something stirring in my swim trunks, I opted to just swim back down to the shallow end. I had, for the first time in my life, just witnessed a girl in a bikini, and it was glorious. Since then, I’ve probably seen tens of thousands of girls in bikinis (or less) and nearly all of them have been absolutely wonderful young women. None, however, was able to induce that same feeling of euphoria mixed with astonishment and sheer fear the way that first girl did more than 40 summers ago. One thing is certain, though: since discovering girls in bikinis, my summers have never been the same.[/one_half_last]

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Wide Open Spaces
June 12, 2015
charles i. letbetter

charles i. letbetter

Before Leaving (2012)

“The irony of rule followers is they often quote a lot of people that do not follow as many rules as they do.” ― Shannon L. Alder

[one_half padding=”4px 10px 0 4px”]Creative people have never liked feeling they were limited in any way. Adventurous people are much the same. Chances are, if you’re a friend of mine, you’re not a fan of limitations, either. Breaking rules? Hell yeah!

There is a song sounding like it’s from the old west that says:

Oh, give me land, lots of land under starry skies above
Don’t fence me in
Let me ride through the wide open country that I love
Don’t fence me in
Let me be by myself in the evenin’ breeze
And listen to the murmur of the cottonwood trees
Send me off forever but I ask you please
Don’t fence me in

Cole Porter, who wrote the song based on a poem by Robert Fletcher, was nowhere near the “old west,” though. He wrote the song for a movie that was never produced. Go figure. Some ten years later, the song was given to Roy Rogers who made it a hit because, you know, horses and cowboys and those legendary wide open space were  a big hit in post-war America. Interestingly enough, Porter never really liked the song all that much.

A lot of people feign amusement with the concept of wide open spaces, including space itself. Yet, when we find it, not too many of us are actually comfortable. Where space is truly plentiful, where there is an absence of things, there is also an absence of people, anyone with whom one might have a decent conversation, and from there matters quickly get boring. And lonely. And suddenly those wide open spaces aren’t looking quite as good as they did when one first arrived.[/one_half]

[one_half_last padding=”4px 4px 0 10px”]When it comes to space, I live in a world of sometimes uncomfortable juxtaposition. A very basic rule of photography is to fill the frame; make the whole picture interesting, give the eye plenty to see, but make sure it’s all cohesive. At the same time, though, advertising needs space, white space, sometimes a great deal of space, for all the copy that goes into an ad. Some are simple, with little more than a product logo and copyright/trademark notices. Others, especially those having anything to do with medicine, can be quite extensive with a requirement for a full list of possible side effects. For those ads, there’s no such thing as too much space.

Today’s picture breaks the fill the frame rule. Maybe it’s still the ad person left in me, but I like the space. I like that there’s room for copy, a lot of copy, but no copy exists. In my mind, the space gives the mind room to create its own story, its own copy, to go along with the picture. We titled the image, “Before Leaving,” because the way in which her body is slightly turned gives one the impression that perhaps she is on her way out the door. Why? That’s for you to decide. Maybe she’s looking for pants. Maybe she’s about to take a shower. Maybe she’s changed her mind and doesn’t like you as much as you thought. Maybe she’s not a fan of the space.

Giving an image space, sometimes a lot of space, leaves a story open to almost endless possibilities. I like that mystery, myself. I’m not looking for a world all neatly bundled together and fitting nicely into a frame. I enjoy concepts that require thinking for myself. For me, space is a friend and I frequently break this rule, especially for portraits. Let this moment be endless, not boxed and framed and predictable.

Just don’t fence me in. Please. Whatever you do. [/one_half_last]

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My Romance
May 9, 2015
charles i. letbetter

charles i. letbetter

I’m still more comfortable with standards than with my own songs. –Carly Simon

[one_half padding=”4px 8px 0 4px”]I had some difficulty choosing today’s photo because, while I knew I wanted to end the week with a picture of Kat, there were just so many choices that it took a while to decide which one to use. I do try to be careful in not over-using photos of Kat, which would be easy to do. While it’s conveniently wonderful that she’s here and ready to shoot at the drop of a hat, and gets excited about most any concept I toss at her, there’s little benefit for anyone else in seeing the same face over and over again. Still, I love her, she’s beautiful, and every photo she takes reminds me of a song.

One of my greatest joys is listening to Kat sing while she’s working. She tends to be a bit shy about that, you won’t catch her singing out in public any time soon, but when the office door is shut, no one but the cats are looking, she’ll start one of the playlists I have saved and begin singing along, perfectly, beautifully. She knows all the words to the Beatles catalog. She knows most the words to the standards. 70s and 80s rock, all the stuff written before she was born, she knows and enjoys. You’ll hear the clicking of the keys on her laptop, then soon, her soft, smooth, gentle voice makes its way out under the door, wanders casually down the hall, and massages my ear. Her voice makes me smile just as quickly as the sight of her face.

I am convinced that the quality of any voice can be found in how they sing the standards. With contemporary music relying so heavily on digital trickery, it’s telling when all the samples and tracks and background noise is removed leaving nothing but a gentle melody line and a haunting refrain. Many people were astonished when Lady Gaga paired with perennial standards hit man Tony Bennet and demonstrated that she could hit a hot jazz lick as well as anyone. Singing standards well isn’t as easy as it sounds. I listen to Kat as the playlist moves from Carly Simon to the BeeGees to Madonna and she rarely misses a beat. Hearing her lilting soprano accurately move between styles and rhythms is one of those things that makes even the worst of days feel better. [/one_half]

[one_half_last padding=”4px 4px 0 8px”]My Romance is one of those songs from Richard Rodgers and Lorenz Hart that comes from an otherwise forgettable musical and subsequently forgettable movie by the same name, Jumbo. How a story about an elephant and a traveling circus can yield such a beautiful song, sung in the movie by Doris Day, is one of those Rodgers and Hart tricks that’s difficult to understand. The song has been covered well over 100 times, but it’s Carly Simon’s version I hear Kat singing so that’s the one we’re using today.

My romance doesn’t need a castle rising in Spain
Or a dance to a constantly surprising refrain
Wide awake I can make my most fantastic dreams come true
My romance doesn’t need one thing, but you

So I’m being a little sappy with today’s photo and song. You’re probably lucky I didn’t choose this route all week. Enjoy.

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Something To Talk About
May 8, 2015
charles i. letbetter

charles i. letbetter

We’ve been together seven years now. He’s great, but that’s all I can say. You know, [it’s like] the Sippie Wallace song that goes, “Don’t advertise your man.” [Bonnie Raitt interview with Roger Friedman for Parade Magazine, Bonnie Raitt on Taking Control, Staying Sober, and Being Kissed by an Angel April 8, 2012]

[one_half padding=”4px 8px 0 4px”]There’s nothing quite like social media to fuel the rumor mill. All it takes is one tweet or one meme from one person and, like wildfire, the statement takes off around the world on the assumption that it’s true, without anyone actually bothering to check that it is. As a result, we’re told celebrities are dead that aren’t, people said things they didn’t, and hook-ups and break-ups that never happened. We are so eager to find out every last detail, and to be the first to know it, that the truth just sits quietly on the sidelines waiting for someone to notice it.

This Bonnie Raitt song was written before Twitter or Facebook or even the Internet were ever on the scene, but it still captures that bad habit that has likely been around as long as humans started assembling into tribes. There’s even a commandment against gossiping: “Thou shalt not bear false witness.” My late father complained that was the most frequently violated commandment within the church, and even from behind the pulpit. The song’s attitude of defiance reflects how much we’ve come to accept the fact that people are going to talk no matter what we do. No matter how straight-laced and careful one is, there’s always someone else who’s jealous, or perhaps downright mean, or thinks they can somehow improve their own social standing by gossiping about others.

The song was playing in my mind the entire time we were shooting this set. The girls are not actually romantically connected at all, but what if they were? Would you be shocked? Supportive? Disgusted? Happy for them? A new NBC News/Wall Street Journal poll shows that 61 percent of Americans would support a gay person running for President and 58 percent are hoping the Supreme Court rules in favor of equal marriage rights. The very concept that one girl might love another isn’t nearly as provocative or surprising as it was even five years ago. Still when a couple kisses in public, or demonstrates any sign of affection, it gets our attention and the rumor mill starts doing its dirty work.[/one_half]

[one_half_last padding=”4px 4px 0 8px”]Written by Canadian singer-songwriter Shirley Eickhard, the song is actually as much as about shy love as it is gossip. Person A likes Person B, Person B likes Person A, but neither one quite knows how to tell the other. By the second verse, the singer realizes there’s no denying what the rumors have been alleging all this time.

I feel so foolish, I never noticed
You act so nervous, could you be fallin’ for me?
It took the rumor to make me wonder,
Now I’m convinced that I’m goin’ under.
Thinkin’ ’bout you every day,
dreamin’ ’bout you every night.
I’m hopin’ that you feel the same way,
Now that we know it, let’s really show it darlin’.

As we approach the weekend, perhaps this is a good time to let that carefree, rumors-be-damned attitude take over. Certainly, if you love someone, or even think you might have feelings for them, there’s no good reason to not say something. People are going to talk either way, so why not just go ahead and give them something to talk about?

And make it good and steamy while you’re at it.

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Blackbird
May 7, 2015
charles i. letbetter

charles i. letbetter

I was in Scotland playing on my guitar, and I remembered this whole idea of “you were only waiting for this moment to arise” was about, you know, the black people’s struggle in the southern states, and I was using the symbolism of a blackbird. It’s not really about a blackbird whose wings are broken, you know, it’s a bit more symbolic. [Paul McCartney, Interview with KCRW’s Chris Douridas, 25 May 2002 episode of New Ground]

[one_half padding=”4px 8px 0 4px”]I could probably have done the whole week on Beatles’ songs, and maybe somewhere down the line I will. Paul McCartney and John Lennon were especially good at using visual metaphors to get across a message, sometimes subtly, other times rather blatantly, and still leave one with a tune worth humming for the whole of the day. The Beatles’ catalog is a treasure trove of photographic possibilities, but one of the things I find interesting is how the meanings of the songs have morphed and changed over the years. Political situations that were obvious and well-known when a song was written are now more obscure, but in their place the songs pick up new issues that speak just as loudly to a current generation as they did fifty years ago.

Blackbird is one of those songs. Sir Paul, who actually did most the writing, meant for the song to recognize the burgeoning civil rights movement. For many black people across the United States, it seemed that their time had come. The symbolism of the broken wing was clear and evident to a people who had struggled and at the time it seemed they were about to break free of those shackles. Unfortunately, what we see happening now brings the actual progress of that movement into question. Was the wing actually mended or was the bird simply put into a different cage?

Contemporary interpretation of the song probably leans more strongly to the LGBTI movement and the social progress we’re seeing among those people. Certainly, they, too, have existed as an unwanted, unrecognized subculture forever, a bird whose wings were at times not merely wounded, but often removed completely. As society becomes more accepting of people of different sexualities, though, I wonder if there’s a lesson to be learned from the civil rights movement of the 60s, that a mended wing doesn’t always mean freedom from the cage.[/one_half]

[one_half_last padding=”4px 4px 0 8px”]Interestingly enough, it is not the Beatles version of the song that this photo brings to mind, but rather Sarah McLachlan’s. I like the light, simple, acoustic feel she gives the song, a gentle reminder, almost like a lullaby, that things are going to get better, that wings are going to heal. Women, too, are a group that has been breaking out from the traditionally submissive roles for some time, but still have a ways to go in earning as much as their male counterparts.

The words of the refrain are worth taking through the day:

Blackbird singing in the dead of night
Take these broken wings and learn to fly
All your life
You were only waiting for this moment to arise.

I think a lot of people relate to the experience of having their wings broken, their spirit crushed by a seemingly unending tidal wave of negative events. This song carries the assurance that things are going to get better. You were just waiting for the right moment.

Maybe that moment is today.

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Summertime
May 6, 2015

charles i. letbetter

That “and” is worth a great deal of attention. I would write “Summertime when” but that “and” sets up a tone, a whole poetic tone, not to mention a whole kind of diction that is going to be used in the play; an informal, uneducated diction and a stream of consciousness, as in many of the songs like “My Man’s Gone Now.” It’s the exact right word, and that word is worth its weight in gold. “Summertime when the livin’ is easy” is a boring line compared to “Summertime and.” The choices of “ands” [and] “buts” become almost traumatic as you are writing a lyric–or should, anyway– because each one weighs so much. [Joanne Lesley Gordon, Art Isn’t Easy: The Achievement of Stephen Sondheim, Southern Illinois University Press, Carbondale, IL., 1990, p.13]

[one_half padding=”4px 8px 0 4px”]In my opinion, the two great American composers of the twentieth century were Aaron Copeland and George Gershwin. Without casting any aspersions on any of the other wonderful composers of that era, those two managed to find unique ways to take the American experience, both good and bad, and translate it to a tonality that is rich, vibrant, unique, and immediately identifiable. Copeland’s Fanfare for the Common Man and Gershwin’s Rhapsody in Blue may be two of the most distinguishably American compositions of that century. I grew up listening to a heavy mix of both composers, but it was Gershwin’s Porgy & Bess that captured my attention most strongly, particularly the aria Summertime. Of all the songs from this first truly American opera, Summertime captures our deepest longings not only for ourselves, but for our children.

As a child, it was Leontyne Price’s incredible voice I first heard sliding through the lazy melody of the song, the vocal line at times reminiscent of the opening clarinet slide from Rhapsody in Blue. This is a song one doesn’t rush through, its phrasing and emphasis requiring a deceptively difficult level of vocal control and discipline. Do it right, and one can feel the heat of the sun beating down, smell the cotton and the dirt, hear the water gurgling over the rocks. Summertime is a song that catches us not at the beginning of the summer when we are happy to finally be warm, but at its apex, late July or August, when we’ve grown tired of working, when the sweat doesn’t require any effort before soaking our clothes, and grabbing a pole and going fishing may be the most sensical thing a person can do.

I didn’t hear Janis Joplin’s cover of the song in 1968 when it was initially released, or if I did, it didn’t stick. Price’s version was so strong, so dominating, that my classically-sensitized ear was certain no one else could do the song justice. After the Houston Opera’s revival of Porgy and Bess in 1976 restored the full opera as initially written, though, there were a number of comparisons, at least on an intellectual level, between what Gershwin wrote and the incredible emotion Joplin gives the song. It might have taken me to the second verse before falling completely in love with Joplin’s cover that not only modernizes the song with Peter Albin’s mesmerizing guitar but embeds the emotion all the way down to one’s soul.[/one_half]

[one_half_last padding=”4px 4px 0 8px”]Based on DuBose Heyward’s novel Porgy, the song’s lyrics are based on the spirituals of the 19th century South, and while the first verse sets the stage for how things are, it is the future-leaning words of the second verse that Joplin pushes, giving strength to the phrase “rise up singin'” in a way that even Ms. Price never quite managed to accomplish.

One of these mornings, you’re goin’ to rise up singin’
Then you spread your wings and you’ll take the sky
But ’til that mornin’, there’s nothin’ can harm you
With daddy and mammy standin’ by

Today’s image, in my mind, perfectly captures the end result of Joplin’s version of the song. I could feel the song in my ears even while we were shooting this set (in a public park). Where Gershwin’s original leaves one in the cotton field, Joplin leaves one in the tall grass, lying on your back, looking up at a terminally blue sky, not a care in the world, and confident that whatever comes next is going to be wonderful. One of these days we’re goin’ to rise up singin’, but for now, it’s summertime and living couldn’t be any more easy.

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Gold Dust Woman
May 5, 2015
charles i. letbetter

charles i. letbetter

Model: Jenn King. MUA: Danelle French. Hair: Anthony Perez. Styling: Nativa

“You know what, Courtney? I don’t really know what “Gold Dust Woman” is about. I know there was cocaine there and that I fancied it gold dust, somehow. I’m going to have to go back to my journals and see if I can pull something out about “Gold Dust Woman”. Because I don’t really know. It’s weird that I’m not quite sure. It can’t be all about cocaine.”   (Stevie Nicks interview with Courtney Love for Spin in October 1997)

[one_half padding=”4px 8px 0 4px”]Actually, Stevie, it probably is all about cocaine, either directly or indirectly. Coke is one of those drugs that takes over the mind after a certain point, distorting logic and reason and even turning the most creative thoughts into nonsense. This isn’t one of those songs where one can take a hit, lean back, and suddenly be thinking, “Okay, I get it now; that’s really deep.” Instead, one ends up grasping for the obvious, that the song is about love and someone (or something) that broke your heart, didn’t quite turn out to be who/what one had hoped. No, that doesn’t describe cocaine at all. Noooo. [/end sarcasm]

Gold Dust Woman is one of those songs that gets stuck in the back of your mind and you’ll suddenly find yourself humming it in the middle of the afternoon without realizing or even knowing for sure how it got there. Fleetwood Mac released the song as B-side filler and, as so often happens, it took hold and ended up selling decently on its own. While never getting higher than number 30 on the Billboard charts, it was enough to cement its place in the minds of an entire generation that, go ahead and admit it folks, at the very least dabbled in recreational drugs. Not everyone developed a dependency issue, but we have this song as one of the side effects that won’t go away and we’re okay with that. It’s a cool song.

This is the one time this week where the photo was actually taken to go with the song. Danelle French developed the concept for a Girls Of Rock series but because of schedules and weather this was the only song we did for the concept. We did three editorial looks on the theme, one of which I used as a Photo Of The Day earlier this year, and the team did well enough composing the looks that it is impossible to decide which one best fits. This particular image, though, is my favorite of the set. The dress has an inherent sense of motion and Jenn’s pouty look, like the song, could be love, could be the coffee, or maybe is just damn good posing. The photo fits the music and, like the song, stays stuck in the back of my head, resurfacing at the oddest times.[/one_half]

[one_half_last padding=”4px 4px 0 8px”]Even though this is one of Stevie Nick’s most popular songs, it’s one of those where no one is quite sure of the lyrics until they get to the chorus, which may arguably be the strongest part of the song:

Did she make you cry
Make you break down
Shatter your illusions of love
Is it over now — do you know how
Pickup the pieces and go home.

It is that last part of the song, the line about picking up the pieces and going home, that may resonate the most because we’ve all been there in some fashion. Not everything turns out the way we want or the way we expect. Illusions are shattered. We pick up the pieces, retreat to a place of safety, and try again another day. Even when one is high that line is still good advice.

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Living For Love
May 4, 2015
charles i. letbetter

charles i. letbetter

Model: Erica Von Trapp (2009)

“We knew we wanted to make a dance record. But you know, there’s so many different levels of dance music and even different categories of house music. So, it was really like, what’s the bass line gonna sound like? Is it gonna be really stripped down and sparse, or is it going to be loaded up? Is it gonna be Chicago house? Is it gonna be U.K. house? It’s like, all over the place. Is it gonna be a little bit of one vocal line? Is it gonna be a whole choir singing? So we were experimenting and trying out different things. They all sounded good, but at the end of the day, we wanted it to sound timeless, also. Not just something of the moment” (Caulfield, Keith (December 21, 2014). “Madonna On New ‘Rebellious and Romantic’ Music, Demo Leaks, ‘Possibly’ Crashing the Grammys and the ‘Crazy’ Sony Hack”. Billboard.)

[one_half padding=”4px 8px 0 4px”]Some people handle adversity better than others and the fact that Madonna is still writing breakup songs at an age slightly more advanced than my own says something about her resilience not only in the field of music but in life as a whole. Yes, this is very much a breakup song, and if you’ve seen the video that goes along with it, full of matadors and a half-naked guy in a jeweled, horned mask, you know the passion Madonna puts into this song. She even does the whole choir thing, again. For someone who has been topping music charts for almost forty years, to still be writing breakup songs is both impressive and a little heart-breaking. Shouldn’t she have found that “happily ever after” love by now?

What’s different about this song, and the reason it reminds me of this photograph from 2009, is that it’s not all down on love, it’s not all hateful toward the lover that left, but rather it is a very positive-sounding anthem for picking one’s self up and moving on. There’s no time for melancholy, it’s on your feet and back into the game. Sounds a little crazy, perhaps, and such an approach may even leave one a little dizzy from the experience, which again, is part of the attitude of this photograph. Broken heart? Yeah, that’s over, I’m going to carry on. Disappointment? Sure, but you’re not stealing my smile. This isn’t a slow dance; it’s a get up, keep moving, don’t-stop-til-you-drop song.[/one_half]

[one_half_last padding=”4px 4px 0 8px”]The first verse of the song admits that she let down her guard, let someone in who ultimately did her wrong. The second verse, though, is where the determination kicks in. The line, “I deserve the best and it’s not you,” is like a slap in the face and then she follows with these words:

You broke my heart, but you can’t bring me down
I was falling apart, was lost, now I’m found
I picked up my crown, put it back in my head
I can forgive, but I will never forget

There is strength and courage in those lines. Going through a breakup is like being caught in a windstorm, being battered by flying debris coming at you from every angle. You come through with your hair out of place but still a smile on your face? You win.

I found this song appropriate for a Monday, which is also frequently disappointing. No matter what hits you today, don’t let it bring you down; pick up your crown, put it back on your head. Those who live for love are the ultimate winners.[/one_half_last]

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Music  /  PotD
Take Me To Church
May 3, 2015
charles i. letbetter

charles i. letbetter

“Sexuality, and sexual orientation – regardless of orientation – is just natural. An act of sex is one of the most human things. But an organization like the church, say, through its doctrine, would undermine humanity by successfully teaching shame about sexual orientation – that it is sinful, or that it offends God. The song is about asserting yourself and reclaiming your humanity through an act of love.” (“Q&A: Hozier on Gay Rights, Sexuality, and Good Hair”. NY Magazine. 11 March 2014.)

[one_half padding=”4px 8px 0 4px”]This morning we’re starting a week-long series on photographs that remind me of songs. Understand, almost every photograph reminds me of one song or another. The photographs we’ve chosen for this week more specifically relate to songs that, once I hear them, I can’t get them out of my head. I’m sure you’ve experienced that phenomenon. Imagine what it’s like trying to edit a whole set of pictures when the same song keeps playing over and over and over on endless repeat in your head. Fortunately, they’re usually songs that I like so that’s not a terrible problem to have.

I’ll admit, we chose the picture that reminds me of this song for today partly because of the obvious connection between church and Sunday, but also because it is one of those instances where the picture came long before the song. The photo was taken in 2010 and Hozier’s song wasn’t released until 2013. However, that’s just how strongly the connection is in my head. The instant I first heard the song, which I quite like, I thought of this photo.

Not that the song actually has anything to do with the act of going to church in the traditional sense. Hozier wrote the song after a bad breakup, which isn’t all that uncommon in the music field. Comparing a lover to religion is a little more unique, but in making that comparison, the young Irishman takes on centuries of Catholic dogma in a way I’ve not seen since another young Irish performer, Sinead O’Conner.

Hypocrisy, bending truth to fit convenience, attempting to exert control over someone else’s life, tarnish the symbol of the cross that holds one’s attention in this picture.  That the cross is blurred speaks to the less-than-clear meaning it holds in contemporary society. I find it humorous that many who wear it see no actual religious connotation to the symbol at all, but find it merely a pretty decoration. Do they feel the same way about love; is that just a pretty decoration as well? Or is the cross a warning that the person, like the Church, will attempt to diminish one’s own humanity? Perhaps it has no meaning at all.[/one_half]

[one_half_last padding=”4px 4px 0 8px”]The words to the song’s chorus speak the loudest:

Take me to church
I’ll worship like a dog at the shrine of your lies
I’ll tell you my sins and you can sharpen your knife
Offer me that deathless death
Good God, let me give you my life

Religion and love are both inescapable. Both have the ability to do good, but too often they both leave us wondering who we are versus who they want us to be. So we ponder.

Take a listen to the song. Enjoy the picture. This is going to be a fun week.

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