T'was the Day Before Tour

 
T'was the day before tour, with so much to do

Packing and planning and making tour food
Guitar amps were packed in the trailer with care
In hopes that the gig would have some fans there
 
The merchandise counted, awaiting a sale
The singer’s voice rested, ready to wail
Manager anxious with contracts all stacked
They all settled in with the drums in the back
 
Pray to the gods that the tour van won’t clatter
No flat tires, blown gaskets or windshields get shattered
Away to new places we’ll drive like a flash
Glued to our phones to make the time pass.
 
10 hour drives through rain and through snow
O’er mountains, round lakes, through strong winds that blow
Full of bad coffee and gas station food
We’ll struggle to not let it affect our mood
 
With someone the driver, the rest fast asleep,
Across this great country we slowly will creep
When, what to my wondering eyes should appear,
In the distance, the venue, we’re finally here!
 
Now Bassists! now, Drummers! Frontmen and Axe-men!
On stage! On time! On key and on rhythm!
From the front of the stage to the back of the hall
Now dance the night away! Dance away all!
 
If you’re touring by bus, a van or a plane
No matter the music, it’s always same
Know that the miles aren’t travelled in vain
You’ll make some new friends that you might see again.
 
We sure will miss home and everyone there
But music is life and we are it’s players
So start up the engine, the road we endure
Merry music to all and to all a good tour!

 

 

Thanks John Oliver!

 

John Oliver in a segment on "Last Week Tonight" said my name a few times. Ok ok ok. It wasn't about me... or my music.  I WISH!
Instead it was about online encryption and an 80's hacker named "Matt Blaze"

But it's still fun to watch him say it ... 

IMG_3663.MP4

 Matt Blais . . . Matt Blaze  . . . What the difference? 


Want the whole story?  Check it out here:   https://www.youtube.com/watch?v=zsjZ2r9Ygzw

 

Bob Dylan's "Desolation Row" vs TS Eliot's "The Wasteland"

 

I decided to pull out my old laptop. Going through it was like looking at an old photo album. A lot of memories and definitely some embarrassing moments. One pretty cool thing I found was an old essay from my University days.  I have kept it exactly the same as when I wrote it in 2008.  I hope you enjoy.
 

 

Desolate Wasteland: Convoluted Confrontation of Corruption in Eliot and Dylan

 

Bob Dylan’s song “Desolation Row” has been called “a poet’s prophetic vision of the reality of America” (Gleason 163) and was heavily influenced by T.S. Eliot’s “The Waste Land.” Both are obscure yet poignant examples of writing from disillusioned members of a counterculture, surrounded by chaos, corruption and war.  Together the poetic pessimism of these two works proves that through the use of numerous allusions and the appearance of inaccessibility through powerful metaphor, poetry can be a powerful kind of protest.

In an attempt to interpret these works, one must place them in context. Bob Dylan, writing post World War II, finds himself in a world of chaos.  The Vietnam Conflict has begun and the Cold War lingers in the minds of people around the world. On the other hand, T.S. Eliot was writing post World War I after having witnessed the wasteful slaughter of a great many lives. His writing reflects that futility. In years to come, as Gitlin states, “Many of the alienated [youth]…seized upon “The Wasteland” as an emblem of their estrangement (73). One of the estranged was Bob Dylan, who wrote and recorded “Desolation Row” a mere 7 months after the death of Eliot in 1965. “Eliot’s poem was a manifesto, a weapon to be used,” (Gitlin 73) so Dylan armed himself with Eliot’s influence and set off to challenge the corruption of humanity in his own time.

Though it would appear that these two works are of very different categories (poetry and music), the similarities between the poems are numerous. While Dylan’s words may come with music, he considered himself a poet first and foremost. Likewise Eliot’s work, specifically “The Waste Land,” has “been termed a “music of ideas”” (Korg 456). Additionally, Dylan was greatly influenced by Eliot poetically, even alluding to him in line 101 of “Desolation Row.” Therefore one can expect a great congruency between these works.

First to be noticed is the resemblance in style. Both are exceptionally long works of poetry and are based on imagery through narration; the speaker of each poem describes “heap[s] of broken images” (Eliot ln.22) that seem to be unrelated fragments, yet they conjure up dark feelings. Early in the poem, the speakers describe scenes of depravity such as, the people “selling postcards of the hanging” (Dylan ln.1) or the corpse “planted last year in the garden” (Eliot ln.71). This pessimistic, sickening tone establishes the mood upon which these poems are based. Perhaps the intention of these poems is to serve as a wakeup call, a way of making the accustomed immorality new again. In this way, form reflects the meaning of the poems as Dylan and Eliot begin to illustrate their dissatisfaction with the fragmented illusory world around them.

At first it appears that both poems are quite inaccessible. They are varied in topic from line to line, the metaphors are vast and strange and they are constructed around literary and historical allusions. Additionally, Eliot makes his poem even more inaccessible by having several lines in German and even in Sanskrit. However, “the emergence of [this] inaccessibility can be understood as a certain sort of protest” (Gitlin 70). Both Dylan and Eliot are aware that obscure poetry is not intended to deprive the reader “but rather to make truths which would otherwise cheapen by exposure, the object of strong intellectual effort” (Boccaccio 261). The obscurity of Eliot is aped by Dylan to serve the purpose of calling attention to those who will understand the problem and hopefully make change.  Eliot’s poem “The Waste Land” is a “dare to the audience to accept the shockingly non-linear spiritual and political disorder of post-World War I Europe” (Gitlin 74) while Dylan’s “Desolation Row” is an invitation to leave the circus-like world of chaos and join the counter-culture reformation. 

Eliot also rebels against standard poetic formations and establishes a fragmentary poem that appears to have no consistency in stanza length or meter. In this way, form reflects subject matter since Eliot is attempting to rebel against the post-war society of the 1920’s in which he sees a distorted society.  This is proven by the last line of his poem in which the speaker says “Shantih shantih shantih” (Eliot 334).  Previously, Eliot had spoken mainly of the dead saying “He who was living is now dead / We who were living are now dieing” (28-29) in a wasted land, but this final line shows the poem is an example of protest as the speaker prays for “Peace peace peace.”  

Dylan follows Eliot’s use of poetry as protest and thus also uses poetic form as a method of rebellion; Dylan defies the conventions of his own time to produce “Desolation Row.” Firstly, the songs of Dylan’s contemporaries were nowhere near the length of “Desolation Row.” As well, this work does not have a chorus or repetition of stanzas common in 1960’s music. Instead he only repeats the words “Desolation row” to drive home his point. Dylan truly treated this song like a work of poetry setting it apart from the other protests of his time.

Vital to the poems is the political subtext that is both anti-war and anti-governmental corruption. Both Eliot and Dylan call out symbols of the government such as the “barbarous king” (Eliot ln.99), the restless “riot squad” (Dylan ln.9) and agents who operate at midnight; all are used in a negative way reflecting harm to the others characters with suggested torture and even death by “heart-attack machine” (90) and “kerosene” (92). Each fragmented stanza in these poems is used to illustrate “society as valueless, its institutions rotten, and its leaders immoral and without any motive but greed and power…add[ing] up to the starkest analysis yet of the poverty of the system” (Gleason 164). These poems can be read as an invocation for justice against the dreadfulness depicted.

The use of allusion is imperative in both these works. In Eliot’s “The Waste Land” the speaker makes reference to Coriolanus, Tiresias and religious figures such as “Saint Mary Woolnoth” (67). In “Desolation Row” Dylan too makes mention of several characters, both real and fictitious, historical and literal with the inclusion of several religious characters. Cinderella, Robin Hood, the Phantom of the Opera coexist with Einstein, Cain and Abel and “the Good Samaritan” (33).  What purpose do all these allusions serve? In both texts there is an emphasis on knowledge; the authors’ intent is to say that one must be aware of literature and religion to understand the world these poems reflect. The poems act as hypertexts, indexing educational sources that may help to gain knowledge of what the poems speak of. The allusions appeal you to look outside the poem for meaning. The reader is thus called to analyze their own world like they must analyze the poem.

There are several powerful metaphors that are shared in these two poems that continue to showcase the influence of Eliot’s work on that of Bob Dylan’s “Desolation Row.” One of the most significant is regarding sight. In both poems there is reference to blindness. “Desolation Row” refers to “the blind commissioner” (ln.5) suggesting that those in power, the leaders of the world, are ignorant and oblivious or perhaps they merely turn a blind eye toward humanity. Oppositely, there is also mention of a “famous clairvoyante” (ln.43) in Eliot’s poem and a “fortune telling lady” (ln.27) in Dylan’s work. This suggests a foresight to the poems. Madame Sosostros makes further predictions of death and deceit in “the Waste Land” and the seer in Dylan’s work symbolically predicts rain, which of course can represent hard times ahead. This enhances the doomed meaning of the poems suggesting that humanity’s corruption is never ending.

Interestingly, there is a shred of irony in Dylan’s poem. The word desolation typically is understood to mean misery or wretchedness. Yet, in his work, all the characters are attempting to get to Desolation Row by any means necessary. Upon further investigation, desolation can also mean isolation thus pessimistically suggesting that perhaps “hell is other people” (Sartre) and one is better off alone or at very least, away from the modern world. Dylan asks “Which side are you on?” (ln.100) offering a choice: to be part of the solution instead of the problem. Thus, Dylan’s work is an invocation for his listeners to renounce their world and establish a counter-culture of their own, one that rejects the squandered waste land that Eliot describes.

In conclusion, Bob Dylan’s “Desolation Row” is written in response to T.S. Eliot’s “The Waste Land.”  Both describe the debauchery and corruption they see around them, however, it is Dylan that offers a small glimpse of hope. He says that the world and many people that inhabit it are corrupt, but our fate is not yet sealed: there is indeed a place where a “Good Samaritan” (Dylan 33) can escape “the factory” (Dylan ln.89) and the “violent hour” (Eliot ln.215) of mendacious human civilization. To flee the wasteland one must escape to desolation row.

Works Cited

 

Boccaccio, Giovanni. “Genealogy of the Gentile Gods.” The Norton Anthology of Theory and Criticism. New York: Norton, 2001. 255-262.

Dylan, Bob. “Desolation Row.” Highway 61 Revisited. Columbia Records: 1965.

Eliot, T.S. “The Waste Land.” The Norton Anthology of Poetry: Shorter 

5th Edition. New York: Norton, 2005. 866-878.

Gleason, Ralph J. “The Greater Sound.” The Drama Review. 13.4. (Summer 

1969): 160-166. JSTOR. April 11, 2008 <http:links.jstor.org>

Gitlin, Todd. “Inaccessibility as Protest: Pound, Eliot, and the Situation of American Poetry.” Theory and Society. 10.1. (Jan., 1981): 63-80. JSTOR. April 9, 2008 <http:links.jstor.org>

Korg, Jacob. “Modern Art Techniques in the Wasteland.” The Journal of Aesthetics and Art Criticism. 18.4. (Jun., 1960): 456-463. JSTOR. April 12, 2008 <http:links.jstor.org>

Sartre, Jean-Paul. No Exit. New York: Samuel French Inc., 1957.

 

I'm Proud!

 

It is not too often one can say they are proud of a politician! So, I'm taking this opportunity.

My city, (Calgary) is often a very divided one on the issue of arts and culture. Whether it has to do with building a bridge, public statues, interpretive dance or indie-rock, there always seems to be a struggle. "Who should support what" and "where should the money come from"? Some people feel that money should only be spent on something they can tangibly measure the effects of. Ie: How much thicker will this make my wallet? However, happiness cannot be measured this way. This is why I am proud to hear Calgary's Mayor Naheed Nenshi is not only supporting, but promoting the arts scene in Calgary as he travels across Canada on a speaking tour. He says that Calgary is becoming a city where artists want to move to (and not away from).

I'd like to thank Nenshi and all those in my hometown who have taken a stand on the value of art and I can't wait to see how our beautiful city will flourish in the coming years.

Read More at:
http://www.cbc.ca/news/arts/story/2011/09/21/arts-tour-talk-calgary-mayor-nenshi.html#.TnpM4FZ_aT5.twitter

 

END IGNORANCE. SAVE THE ARTS.

 


  • I was so appalled at an article I read in the Toronto Sun that I just had to respond to the writer and editor:
    http://www.torontosun.com/2011/05/20/levant-time-to-cut-public-funding-for-socalled-musicians

    Here is my letter in response:


    Mr. Levant:

    You'll be pleased to learn "Time to Cut Public Funding for So-Called Musicians" has reached far beyond your local publication all the way to Western Canada. After reading your obtuse and indelicate opinions, I feel compelled to illuminate a few errors and oversights.

    You need not know much about me. However, I will tell you this: the industry you describe is that which consumes my life. I live and breathe those issues you flippantly write about. As a musician, I have been a recipient of praise, criticism and financial support, yet, unlike some, I do not claim to know everything nor do I place judgment on the issue of subjective taste. However, board members of groups such as FACTOR can and should place judgment. They are knowledgeable on both the art and business aspects of the music industry. I know. I have met several of them. Many are even musicians themselves. What instrument do you play, Mr. Levant?

    When I read your comment "the best don't need subsidies" I was stunned on two levels. I angrily tore through my CDs, pulling out all the Canadian artists and found in the liner notes that over 70% had in some way been supported by some form of Canadian Government. This includes some of Canada's best known artists such as Sam Roberts and Feist. Your shocking second mistake was referring to Living With Lions as "a bunch of losers" assuming that Canadians reject their music "simply because it's not any good." Quick research into their Facebook fan page pits them with more followers than Juno Award winner Hawksley Workman and Polaris Prize Nominee Two Hours Traffic, among others. If your measure of success is "fan support" as suggested, then you sorely underestimated this band and probably many other artists you've encountered. Personally I am not a fan of Living With Lions and agree their liner notes and album title are inappropriate. Then again, I don't think I am the demographic they wish to appeal to and the very notion of punk is against the close-mindedness of your stance on art. Regardless, your logic is unfounded.

    I couldn't list all the amazing artists that have received government financial support. Practically the entire Renaissance was funded by the religious state and political dynasty. This leads me to point out that certain works of Michelangelo, Voltaire, Stravinsky and countless others were once considered controversial, obscene, religiously offensive and often banned. Many of these works are now taught in schools and many are considered classics. It is the position of art to push the barriers of our society and make us question right and wrong. It is the role of government to provide for it's people, be it essential services or the comfort and education of art.

    I never thought I would have to address a Canadian journalist on the values of free and supported art in society. Yet, I somewhat relish the fact your article exists because a mere few hours after it's publication I have seen a massive community rise up in opinion against you. I score a point for the arts. For that, I thank you.

    Matt Blais

    Calgary, Alberta