Ella Rose Muse: the story: Maya, and Stupidity

Sunday, 20 January 2013

Maya, and Stupidity

As everyone probably knows, via the deluge of related facebook updates online if not by simply looking out the window, it's snowy here in the UK. I ended up having to cancel my weekend plans to visit Cambridge and lost out on quite a bit of earnings PLUS a cancelled hotel booking (and subsequently had to cancel my Plan B of having a girly lunch here in Oxford due to a second round of snowfall this morning). BUT, I have already managed to rearrange my Cambridge trip to 9th/10th March, and managed to bag myself a photoshoot outside in the snow while I was at it, courtesy of a photographer with a landrover! Hopefully more on that in a future post, but suffice it to say, we had fun out there in the winter wonderland near my house!

Today has involved such things as German lessons with the Vati, piano practise and other such Edwardian-style pursuits, plus a dash of catching up on Take Me Out, which I think is more of a comedy than a dating show, but brilliant nevertheless. (When asked to describe herself in astronomical terms, it emerged that one girl didn't know what a constellation was.... AND THEN HE PICKED HER! Excellent. As a person who is academically quite intelligent but life-wise extremely 'ditzy' (not to mention impractical) myself, I can relate to her brain collapse, if I squint a lot, and will refrain from making the observation that there definitely exists a certain type of men who seem to pick stupid women simply to make themselves feel more clever. Fair play to them.)

Taking out my bitch teeth (arguably), I have been revisiting my (younger) youth recently via a stint of teenage-self albums, via the humble minidisc (which I am prone to defending on any invitation, so I won't let myself start on about how ridiculous it is that they didn't catch on, when CDs scratch so easily and fall over and die after three plays, whereas minidiscs keep their chip protected by tough plastic and last pretty much forever, or about how I worked for £3 p/hr at a bakery, aged 15, to buy my flashing-light CD/minidisc player which I still use and love). The problem is, I don't have all my favourite albums from my (younger) youth* on actual CD and therefore digitally/on my phone/iPod if I ever buy one, which is a sad state of affairs. (I buy CDs most weeks now, and have done for years, but am ashamed to say that a lot of my early music collection came from ignorance/indifference regarding the illegal download phenomenon). Nevertheless, on my £3 p/hr CD/minidisc player, I've just been playing Destiny's Child for half an hour and am now girl power in human form.

OK, I'll shut up now and show a recent favourite photo, taken by an Australian friend/model/photographer, Jayne Hartt, while cooling off between other shoots. I love it! :-)

*Destiny's Child, Nelly Furtado, Usher, Mariah Carey, Christina Aguilera, The Sugababes... etc....

Funny story about The Sugababes actually... Due to my past illegal downloading/'sharing' of music (which I emphasise I truly am ashamed of and would NEVER do now) I have one Sugababes album, 'Three', which ends with the song 'Maya'. This is an absolutely stunning, beautiful, soul-warming track which I used to re-wind and play over and over again. It's sung by Heidi and, being the very last track, marks a change in direction for the group from RnB to something more timeless and universal... Or so I thought... It turns out (and I discovered this only yesterday!!!) that the 'Maya' I was listening to at the end of the Sugababes album was not in fact sung by the Sugababes (I now wonder why I so firmly believed it was a solo by Heidi - I think I thought I'd read it somewhere! I even remember thinking that she must have trained with some eastern/Asian singing tutors especially!) but in fact by Susheela Raman, a completely different singer of southern Indian (Tamil)/UK descent. When downloading the individual tracks by the Sugababes, I obviously mistook 'Maya' by the Sugababes (which is apparently a song dedicated to Mutya Buena's younger sister, who sadly passed away), for a southern indian love song. True story. And to do Susheela Raman's 'Maya' credit (it really is a stunning, captivating song; Heidi truly outdid herself...) here's the song, below, and I'll order the (physical) album on which the original (imposter) 'Maya' appears, Salt Rain - because it's nice to know that this song isn't just a one off on the part of the Sugababes, and that there is more of this beautiful voice to listen to!

Walter De La Mare, 'The Listeners'

‘Is there anybody there?’ said the Traveller,

Knocking on the moonlit door;

And his horse in the silence champed the grasses

Of the forest’s ferny floor:

And a bird flew up out of the turret,

Above the Traveller’s head:

And he smote upon the door again a second time;

‘Is there anybody there?’ he said.

But no one descended to the Traveller;

No head from the leaf-fringed sill

Leaned over and looked into his grey eyes,

Where he stood perplexed and still.

But only a host of phantom listeners

That dwelt in the lone house then

Stood listening in the quiet of the moonlight

To that voice from the world of men:

Stood thronging the faint moonbeams on the dark stair,

That goes down to the empty hall,

Hearkening in an air stirred and shaken

By the lonely Traveller’s call.

And he felt in his heart their strangeness,

Their stillness answering his cry,

While his horse moved, cropping the dark turf,

’Neath the starred and leafy sky;

For he suddenly smote on the door, even

Louder, and lifted his head:—

‘Tell them I came, and no one answered,

That I kept my word,’ he said.

Never the least stir made the listeners,

Though every word he spake

Fell echoing through the shadowiness of the still house

From the one man left awake:

Ay, they heard his foot upon the stirrup,

And the sound of iron on stone,

And how the silence surged softly backward,

When the plunging hoofs were gone.

Natasha Khan/Bat for Lashes, 'Horse and I'

Got woken in the night,
by a mystic golden light.
My head soaked in river water.
I had been dressed in a coat of armor. They called
a horse out of the woodland.
"Take her there, through the desert shores."
They sang to me, "This is yours to wear.
You're the chosen one, there's no turning back now."

The smell of redwood giants.
The banquet for the shadows.
Horse and I, we're dancers in the dark.
Came upon the headdress.
It was gilded, dark and golden.
The children sang.
I was so afraid I took it to my head and prayed.
They sang to me, "This is yours to wear. You're the chosen one, there's no turning back."
They sang to me, "This is yours to wear. You're the chosen one, there's no turning back."

Mark Doty, 'A Display of Mackerel'

They lie in parallel rows,

on ice, head to tail,

each a foot of luminosity

barred with black bands,

which divide the scales’

radiant sections

like seams of lead

in a Tiffany window.

Iridescent, watery

prismatics: think abalone,

the wildly rainbowed

mirror of a soapbubble sphere,

think sun on gasoline.

Splendor, and splendor,

and not a one in any way

distinguished from the other

—nothing about them

of individuality. Instead

they’re all exact expressions

of the one soul,

each a perfect fulfilment

of heaven’s template,

mackerel essence. As if,

after a lifetime arriving

at this enameling, the jeweler’s

made uncountable examples,

each as intricate

in its oily fabulation

as the one before

Suppose we could iridesce,

like these, and lose ourselves

entirely in the universe

of shimmer—would you want

to be yourself only,

unduplicatable, doomed

to be lost? They’d prefer,

plainly, to be flashing participants,

multitudinous. Even now

they seem to be bolting

forward, heedless of stasis.

They don’t care they’re dead

and nearly frozen,

just as, presumably,

they didn’t care that they were living:

all, all for all,

the rainbowed school

and its acres of brilliant classrooms,

in which no verb is singular,

or every one is. How happy they seem,

even on ice, to be together, selfless,

which is the price of gleaming.

Kate Clanchy, 'Poem for a Man with No Sense of Smell'

This is simply to inform you:

that the thickest line in the kink of my hand
smells like the feel of an old school desk,
the deep carved names worn sleek with sweat;

that beneath the spray of my expensive scent
my armpits sound a bass note strong
as the boom of a palm on a kettle drum;

that the wet flush of my fear is sharp
as the taste of an iron pipe, midwinter,
on a child's hot tongue; and that sometimes,

in a breeze, the delicate hairs on the nape
of my neck, just where you might bend
your head, might hesitate and brush your lips,

hold a scent frail and precise as a fleet
of tiny origami ships, just setting out to sea.

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Sunday, 20 January 2013

Maya, and Stupidity