It’s gonna be a good year



“In The New Year”, from “You & Me” (2008), The Walkmen

Oh, I’m still living
At the old address
And I’m waiting on the weather
That I know will pass

I know that it’s true
It’s gonna be a good year
Out of the darkness
And into the fire
I tell you I love you
And my heart’s in the strangest place
That’s how it started
And that’s how it ends

And I know you’re with me
It’s a point of pride
And it’s louder than lightning
In this room of mine

Oh, I’m just like you
I never hear the bad news
And I never will
We won by a landslide
Our troubles are over
My sisters are married
To all of my friends
Yeah, that’s how it started

You took your sweet time
And I waited by without complaint
Till all the pipe dreams
Made me insane

So it’s all over
It’s all over, anyhow
You took your sweet time
Finally I opened my eyes

My friends and my family
They all ask me one thing
How long will you ramble?
How long will you stay with me?
The snow is still falling
I’m almost home
I’ll see you in the new year.

I’ve got songs in my blood

“Love of an Orchestra”, from “The First Days of Spring” (2009), Noah and the Whale.

 

(Choir)
If you gotta run, run from hope

I know I’ll never be lonely
I’ve got songs in my blood
I’m carrying all the love of an orchestra
gimme the love of an orchestra (x3)

So now in my deepest sorrow
there’s no need for despair
I’m carrying all the love of an orchestra
gimme the love of an orchestra (x3)

Mundo flutuante

蛸と海女, “Tako to ama”, pescadora de pérolas assediada por dois polvos, por Katsushika Hokusai (1760-1849), do seu álbum em 3 volumes “Kinoe no Komatsu”, publicado anonimamente em 1814. Hokusai foi um dos grandes desenhadores de Ukiyo-e (à letra, “gravuras do mundo flutuante”) e da arte erótica japonesa, conhecida pelo nome de “shunga“.

.

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萬福和合神』, “Manpuku Wagojin” (The Gods of Intercourse) por Katsushika Hokusai,  c. 1821

River and sea picking up sound

So we meet again after several years
Several years of separation
Moving on, moving around
Till we spend this time
Chasing the other’s tail

Whoah, whoah whoah, whoah whoah
I could never belong to you (repeat)

Winter and spring (Winter and spring)
Summer and fall (Summer and fall)
You’re the wind surfer crossing the ocean
on the boat behind
Skiffle and ride (Skiffle and ride)
shuffle and walk (shuffle and walk)
You’re the up tip toe ballerina
In the chorus line

Singing
Whoah, whoah whoah, whoah whoah
I could never belong to you (repeat)

River and sea (river and sea)
picking up sound (picking up sound)
Through the air there’s a fluffly cloud
Falling down as rain.

Whoah, whoah whoah, whoah whoah
I could never belong to you
(repeat)

– “Boat behind“, from “Declaration of Dependence” (2009), Kings of Convenience.

The Earth is flat

«These people are like the Chinese who, because they knew no one else, considered their country the square of the world and who painted the corners of this square with hideous grimaces and monsters, which were supposed to portray us, the pitiful inhabitants of the rest of the world. We laugh at the Chinese, and yet how often does it seem like one were [living] in China when one hears the opinions of persons who know the world only by the corner in which they are stuck and by the Hamburg Correspondent».

Johann Gottfried Herder, “Of the Changes in the Tastes of the Nations Through the Ages“, 1766.

***

«In olden days, even in Europe, the world was thought to be flat. And when some intelligent people claimed the opposite, they were exposed to various difficulties, such as being burnt alive. Today, even in Buddhist countries everybody knows, that the world is round. However, in Tibet, we still stubbornly state that the world is flat».

Gendun Choephel, newspaper article, “Tibet Mirror”, Kalimpong, 1938.

***

«In planetary being, the earth has become flat again. However, this leveling of dimensions previously filled by such powers, this flattening that reduces things and beings to the unidimensional—in a word, this nihilism, has the most bizarre effect: it revitalizes the elementary forces in the raw play of all their dimensions; it liberates the unthought nothing in a counter-power which is multidimensional play».

Gilles Deleuze, “Desert Islands…”