A little Amsterdam audio refreshment from Durk Tabac, while grooving-along my way on spring break vaycay.
9:12-ish AM – my (outer) time zone – 3/9/2017
Yesterday, getting my goofy Sufi on, spent some time after dzikr and sa’ma sesh getting online things done over a peach & mint cold syrup sip at a coffeehouse owned & run by Jordanians. This particular crew can be notoriously gruffy-edgy seeming, but delightfully, they also warmly greet by name every one of the many diverse regulars who come in. A slightly off-throwing combo of crusty egos and hearts wishing to be big and free…Says so much about the whole larger sitch!
Dinner down the road at a tiny joint whose door is almost invisible. I’d missed it once before on an earlier visit. My fave waitperson from previous visits has moved on, sadly for me. A good pot of hot mint tea. Flatbread pizza cooked on giant lavosh: sheep cheese, tomatoes, arugala, black olives, small amount of unique delicately woody mushrooms, tiny amount of green bell peppers. Lightly drizzled in sweet syrupy balsamic vinegar. Wonderfully no onions, no garlic–even so, not entirely sattvic, of course, but pfg. As close as you’re gonna git to sattvic for eat-out grub.
Then on to another mostly student-filled coffeehouse before retiring.
Surrogate sound track for all that: Kelvin Brown from 26.2.17 on nts.live, coming atcha from Manchester.
From one of the tracks playing just now on Durk’s cast: a lovely euro (Skando?) female voice singing:
“the only time I have alone is waiting on the bus
it gives me pleesure…
“but then when I get on and I know I have to go
and I’ll have to wait it’s not so much fun
it’s just a feature…”
Her close-kin rhyme of pleesure and feature, just so reet (however awkward the rest of the English).
All this online radio jazz reminds me of when I created-&-deejayed the “here comes the night” show with the local underground indie radio project I helped “feature for our pleesure” back in the sixties. Years before the legit so-called underground FM phenom. Jammin the local airwaves. getting the outlaw word out. amping the pulse. spreading the love and peace, co-creating/supporting the resistance. sharing/fueling the dance moves. What fun that was.
Truly underground then, though. You could get really damaged when the bust came down. Has it changed?
“…the heat put plants in the bed, but the phone’s tapped anyway. Maggie says that many say they must bust in early May, orders from the D.A.”
Somehow we survived and stayed alive (most of us, anyway — and RIP the many who were killed), even if our broadcasting was constantly broken up and eventually slammed to a total shutdown.
Our show name’s intro-theme track (out of both a deep love of what Them was trying to do when we started and much more so of their roots which we shared, and a joke-n-poke at silly tragic love song narratives, however great the sound): https://en.wikipedia.org/wiki/Here_Comes_the_Night
Our outro-theme track:
we used as many variant versions of this as we were able to scrounge, playing a different track each show in an expanding cycle.
This makes it sound like the show was mostly rustling in the blues, but that’s just not true. the blues (and the British Invasion) were really only ever a minor footnote to our content and purpose/message. We were interested in the ecotone crossroads mutual cross-pollination of the fermentive scenes/subcultures that were emerging into the counterculture of the time. And then we tracked the best parts of that richer thang whilst it lasted. Poetry, civil rights/human rights, music of all sorts of course but w/ highly selective, wildly eclectic taste, politics / social justice / war and peace emergencies, eco-concerns, pop culture, bohemia as venerable and ongoing historical cultural/spiritual movement, back-to-the-land, all things progressively spiritual (but mostly rooted in very deep traditions from around the world). I sought out, obtained & broadcast interviews with many of my own personal heroes in all these areas, and later they sometimes sought us out.
But our musicians and their music/our music were just mediums, catalytic agents, for what was really going on and what we were interested in sharing, documenting, promoting and just enjoying together. I think the spirit of that was just a common shared value, interest, (life)style feature, and earnest evolutionary impulse-aspiration among what was becoming the counterculture.
The music was of course central to all that, but only less intelligent, less well-read, less thoughtful/sensitive persons really took the music as some sort of “guide”. Must of us (ie co-travellers w/ whom I was closest) knew that the music mostly merely reflected what we were experiencing, seeking, growing into: mostly it wasn’t leading us, we were providing the experiential basis for it. But it was of course often delightful and energizing to hear & see a new piece of music—often enough created by one’s friends and neighbors—emerge into the larger (counter/)cultural milieu.
And a shared sense of music-in-common remains somewhat central I suppose to much of what are at least the very best elements/ expressions of what has continued on from there into the present. Though what has continued and is continuing may be — so far, as yet! — nowhere nearly quite as cohesively catalytic and united-in-diversity again as it became-and-went-forward-as for a while back then. For a brief often shiny moment…that lasted for a few years. More or less…
But maybe many good things are coalescing / about to coalesce toward a much better planetary culture of evolutionary/enlightened unity-in-diversity/ diverse-unity that is and will be much much richer, kinder, more thoughtful, more peaceful and loving, than what we co-creatively achieved and enjoyed during, in, and as, the so-called sixties counterculture.