Friday, May 18, 2012


Before the world was mapped there were many more places you could go. The only borders were the natural ones – impassable mountains, violent oceans, treacherous swamps and… the limits of your imagination.
These days, of course, we live in a world that has been mapped and measured, examined and explained. We know where everything is, how long it’s been there and how long it will last.
But it was not always so. Once – and it may well still be true for those with particularly strong imaginations – you had only to dream of a place to be sure that it existed somewhere. The world was but a mirror of your mind.
One such place was the Wishing Well. It didn’t look like anything special, just an ordinary stone well with a wooden bucket in the middle of a field. But drop the bucket down into the Wishing Well and it came up full, frothing and bubbling with your deepest desire. Childless women came to the Well and pulled up a bucket with a new born babe inside and many were the musicians and philosophers who came to drink deeply of a draught of Inspiration.
But though few saw it in their excitement of finding the Well, a carved on the rim of the stone well were six word of warnings; an old curse.
May all your wishes be granted
“]Take those who came seeking riches, for instance – pulling up a bucket of gold they discovered their treasure was too heavy to carry. Their skeletons were sometimes found resting upon their riches, teethmarks left behind on their gold coins.
The brokenhearted, too, came to the Wishing Well, desiring only to forget. But after drinking deep from the Well, they forgot not only the name of their Beloved but also their names, origins and professions, condemned to wander the world for the rest of their lives like aimless ghosts.
It was said that the Wishing Well was only ever found by those who believed they would find it. No sooner had they emptied the bucket of their wishes then the Well would vanish and reappear somewhere else.
So it was perhaps ironic that the last person to find the Wishing Well was one of the rare souls who wanted nothing at all. His home was wherever he lay his head to sleep that night and, owning no more than the clothes on his back, he was grateful that he had nothing to carry. His friends were the people he happened to meet as he walked the earth and he traveled wherever the winds blew him – until one day when a mischievous gust nudged him into a large open field with a stone well in the middle.
It was a hot day so he walked up to the well to slake his thirst and lowered the bucket to pull himself a drink of water. The rope seemed creaky and reluctant though and when it came up too light to have filled, he expected to find holes in the bottom of the bucket. Instead there was a folded note. Opening it he read:
Are you sure?
Scratching his head he suddenly saw the words carved into the stone rim and all at once he understood where he was and broke into hearty laughter. What on earth could he wish for? He needed new shoes, it was true – but the ones he wore were so comfy now that his feet were used to them. He could do with something to eat but he was willing to bet there were berries in season in the forest. He briefly considered asking for a new razor as the one he had was going quite rusty – but it seemed a waste of a wish and he rather fancied himself with a beard anyway.
It struck him as a little sad that so many people would have given their little finger to be where he stood and yet he couldn’t think what to wish for. Then inspiration struck and he lowered the bucket, chuckling as he dunked it in the water below and pulled up a load of…dynamite. Striking a match on the stubble of his chin, he lit the fuse and, as he let the bucket fall, he ran away as fast as his legs would carry him.
A loud explosion from behind sent him sprawling flat on his face and suddenly the air filled with a cacophony of sound; elephants blowing their trumpets mixed with the sound of roaring locomotives and a New Orleans jazz band. He raised his head to see all the water from the Well shooting up in the air in an impossible collage of images – flamingos performed ballet upon the back of an enormous sunburned whale, polar bears kissed passionately in tuxedos and telephone boxes argued furiously about whether there was such a thing as free will…
And then it was all gone. The water of the Wishing Well evaporated into the sky and mingled with the clouds. A sharp breeze came along and in no time the clouds were dispersed far and wide across the planet.
Which is why, if you ever want a wish to come true, all you have to do is take a walk in the rain, stick out your tongue and maybe, just maybe, you’ll catch a drop from the Wishing Well.

Thursday, May 17, 2012

Donna Summer - Last Dance (with lyrics)

Donna Summer ~ Beyond Disco
The sudden passing of the Queen of Disco prompts a closer look at her legacy
By Ken Barnes
Special to MSN Music

Donna Summer, who died Thursday at 63, was truly the Queen of Disco. And so much more.

©Sony
Donna Summer (©Sony)

Certainly she was the most prominent face of a largely faceless music, a name everyone knew reigning over a genre that was essentially the anti-"Cheers," where nobody knew your name (quick -- who were the lead singers of Chic?). But she was much more than a glamorous symbol of a hedonistic and vaguely threatening (at least to orthodox American rockers) lifestyle: She was a musical pioneer whose innovations in large part shaped popular music's future.
LaDonna Gaines, from Boston, went to Germany with a company of "Hair" in the early '70s, married a German actor named Sommer, and connected with a German bubblegum artist and producer named Giorgio Moroder, and his partner Pete Bellotte, around 1973. One of their first collaborations, a single called "The Hostage," was a disturbing piece of work capitalizing on the European kidnapping-as-political-statement trend that culminated in the killings at the Munich Olympics.
Bing: More on Donna Summer
That record couldn't have been farther away from her U.S. debut. "Love to Love You Baby" was a demo that, according to Casablanca executive Larry Harris, was accidentally jarred while playing at a party, so that in effect it played for twice its actual length. Intrigued, Casablanca president Neil Bogart commissioned Moroder and Summer to make an extended version, which Bogart further extended to 17 minutes. Little more than a long simulated orgasm over a hypnotic track, it became a club sensation, then a radio sensation, in late 1975.
You could argue that this first mega-successful extended 12-inch was the ancestor of all trance music to follow, but realistically, if her career had ended then, it would have made a feeble legacy. But over the next few years, Moroder (who originally thought he could find a stronger singer than Summer for "Love to Love You") found an ideal creative partner in Summer.
That burst of creativity first bloomed on Summer's third album, 1976's "Four Seasons of Love," which was nothing less than a disco concept album, just like the heavy thematic albums that progressive rock titans were making during that decade. "Seasons" was vastly more listenable, four entrancing tracks that combined the disco pulse with genuine melody. Follow-up "I Remember Yesterday" nodded to the past (notably on "Love's Unkind," as masterful a Phil Spector/Crystals pastiche as you could hope to find) but on its key track single-handedly propelled music into the future.
Photos: In Memoriam Donna Summer
Even 35 years later, "I Feel Love" still sounds like a recording beamed in from another galaxy. Moroder's army of chattering synthesizers creates a desensitized zone in which Summer is trapped, and her icy insistence that she can "feel love" establishes a deadly irony. More than any other record, this one proved you didn't need guitars and "real" instruments to create great records. The synth-pop of the '80s and '90s as well as the last quarter-century of dance music (and pop, for that matter) would be inconceivable without it.
But Summer and Moroder had even more to offer. Certainly there was schlock galore on her singles -- the everlasting prom standard and compulsory aspiring-diva karaoke cover "Last Dance," a superfluous disco-fication of "MacArthur Park" -- but 1977 double album "Once Upon a Time" (her fifth album in two years) was a dazzling disco fairy tale full of sumptuous melodies and gloriously mesmerizing arrangements. And for an encore, she helped marry disco and rock.
"Hot Stuff" wasn't the first rock-disco fusion by any means. (Check longtime French star Sheila's "You Light My Fire" for a pioneering effort.) But as the first superstar record to incorporate these seemingly incompatible elements, it sealed the deal, building a bridge between two musical factions that seemed unalterably opposed. Rock fans were publicly destroying disco records and radio stations sponsored "no-Bee Gees weekends" in a climate of fear that disco would render rock irrelevant, and along came a record celebrating that sybaritic disco lifestyle that so alarmed upstanding Americans with good old heartland power chords. Labelmates Kiss immediately followed suit from the rock side with the disco fusion "I Was Made for Lovin' You," and while the two sides didn't exactly air-kiss and hold hands, the established musical boundaries were breached once and for all.
More: Donna Summer obituary
Having twice reshaped the course of popular music (three times if you count "Love to Love You Baby"), Summer settled down to a more mundane form of stardom. She still managed to break ground: "Bad Girls" was a notable tribute to a profession as old as that of musicians, "The Wanderer" was an edgy attempt to escape the disco pigeonhole she was mired in, and her penultimate hit, 1983's "She Works Hard for the Money," has endured as a notable tribute to an even older occupation than the one saluted in "Bad Girls": underpaid women's scut work.
But the quality control, erratic in the best of times, deteriorated, and we got by-the-numbers disco-pop exercises such as "Dim All the Lights" and "On the Radio" and extravagant, soulless stunts on the order of her duet with Barbra Streisand. "Enough Is Enough," indeed. The public was only occasionally enamored by her post-Moroder records on Geffen, where she thrashed through a variety of derivative styles, and after "Hard for the Money," hardly an innovative record, there was only one more hit, 1989's "This Time I Know It's for Real," masterminded by British schlock-meister team Stock/Aitken/Waterman (of Rick Astley fame). She became more serious about her Christian faith, interspersing nonmusical activities with sporadic comebacks on the diva-nostalgia circuit.
And that's how she's been perceived, as the main survivor of a much-derided musical era. She deserves better. Her best records from the '70s are every bit as important, and impressive, as the rock classics from Springsteen, Bowie and their compatriots and (listen to "I Feel Love" again) quite conceivably more influential.

Donna Summer - This Time I Know It's For Real