Best of 2007 - Bonne Année!

I haven't posted in such a long time because of various commitments, some more pleasant than others. The job search is going well, it seems, but it is time-consuming so I thought I'd do a quick (or not so quick) Best of 2007 list.


ART

Anselm Kiefer - Heaven and Earth. Massive, brooding, and now I want to visit his estate/compound in France.

Hiroshi Sugimoto. So nice I went twice.

Graphic Modernism from the Baltic to the Balkans, 1910-1935. An unexpected pleasure from a recent visit to the New York Public Library. Modernism reigns supreme in this tiny yet delicious exhibit.

MUSIC

My music comes achronologically so these are not necessarily releases from 2007.

Max Richter - Memoryhouse. Maria, The Poet (1913) I found incredibly compelling.

Lonely China Day - Sorrow. Fascinating post-rock glittering with Chinese folk influences from what will soon be again The Middle Kingdom if the Han can beat the demographic clock.

Sawako - Hum. The process is that of a precocious child, limpid field recordings mixed with softly chanted vocals.

Lily Allen - Alright, Still. Allen's song Knock 'em Out reworking of the New Orleans' classic Big Chief is either genius or heresy, but this album is such an exuberant slice of summery pop that I don't care.

The Red Stick Ramblers - The Red Stick Ramblers. Cajun fiddle tunes, Western swing, and traditional jazz? Grand Tasso gives me shivers.

The Associates - Sulk. Startling production. A lusher New Wave/New Romanticism reimagining of Bowie's Low.

BOOKS

Shane K. Bernard - The Cajuns: Americanization of a People. Very informative about the cultural damage done to Cajuns, particularly as a result of World War II.

William Gibson- Spook Country. Bill never disappoints. Ever.

Simon Reynolds - Rip It Up and Start Again: Postpunk 1978-1984. I am behind the times as usual. Educational, eye-opening, and essential if only to figure out who's getting ripped off at the moment by the flavor de jour over at pitchforkmedia.com.

MOVIES

Control. Ian Curtis biopic that revived my interest in Joy Division. A careful and extensive reevaluation of their corpus made me realize that Martin Hannett was so perfect for them that it had to be Fate.

Yojimbo. Again, I'm late to the party as usual.

The Color of the Pomegranates (Sayat Nova). Visually stunning.

LIVE MUSIC

M. Ward with Victoria Williams at Bimbo's 365 Club, San Francisco, February 7th, 2007. I can't say that I exactly enjoyed Victoria's set, but I was intrigued. M. Ward was amazing, even without a supporting band. I can't believe I hadn't seen him before since I've been into him ever since I heard Carolina long, long ago.

Jordi Savall - First Congregational Church, Berkeley, May 4th, 2007. Many thanks to Dex who had an extra ticket. Savall performed Suite d'un goût étranger by Marin Marais, which was such a treat. It was wonderful to see and hear Savall in his flowing black caftan.

Cajun French Language Tutorials

If you're looking for some help with your Cajun French, I'd advise you to click on over to Cajun French Language Tutorials. This site is run by James Leger who used to teach at Lamar University in Port Arthur, which is my hometown more or less. He helpfully provides the audio so you can hear just how all that Cajun French is pronounced. You can subscribe so that when he updates the site, you'll get a notification via email, a very useful feature.

Créole Cajun and -neaux to -no and Back Again

I was pleasantly surprised today that my blog was linked to by Michael Hébert in Evangeline Parish, writer of the blog CreoleCajun and that I got a subsequent bump in visitors from Louisiana, visitors that took a considerable and gratifying amount of time to read through my blog. Thanks for stopping by, y'all, and as Michael said, if you can help me out with Cajun French, I'd appreciate it.

Just to let folks know, both sides of my family were from Houma and those parts, but because of the stigma attached to speaking Cajun French in 1940s, my parents weren't taught by their parents. In fact, my maternal grandfather went so far as to change the spelling of his name from Babineaux to Babino in an effort to make his name seem less Cajun. My aunt had her name changed back to the original spelling some time ago in an effort to reclaim her heritage, a gesture I fully support.

It is extremely unfortunate that I didn't learn Cajun French from my grandparents, especially since I was lucky enough to spend a lot of time around them as a kid. They of course used it as a language to secretly communicate in around the grandchildren, although my grandfather did try and teach me some choice obscenities to say to my grandmother when I was about 5. I quickly forgot all those phrases since my grandmother would get so shocked.

Anyway, once I get done wrasslin' these dissertation, I plan on studying Cajun French when I can. I actually minored in French in college, but most of it didn't stick since I focused on reading. Now that I've learned a fair bit of spoken Tibetan by having a tutor for 2 hours a day while I was in Nepal, I realize that the only way to learn to speak a language is a lot of practice so if anyone hears of a teaching job for someone to teach Buddhism and Hinduism in Louisiana, I'd gladly take the opportunity to take speaking lessons in Cajun French while teaching.

Valse de Port Arthur, Part II

It's time to clear up a vocabulary item in a previous post, and it'll be about Port Arthur, since it was about the far edge of the Western frontier for Cajuns. But also especially since it got hit by Hurricane Humberto this past week quite suddenly and unexpectedly. No damage to my father's home, but it was a surprise: go to bed and wake up to a Category I hurricane.

I'm revisiting Valse de Port Arthur, and thanks to Yé Yaille, Chère!, Traditional Cajun Dance Music, by Raymond E. François, I now know what was transcribed as 'tit mom'.

Here's Mr. François' full transcription:
Verse 1
Eh, 'tite fille, j'va' m'en aller
Oh 'tite monde, aujourd'hui tu veux p'us m'voir.
Eh yé yaille! Toi tu m'as dit que tu m'aimer!
Oh, 'tit monde, aujourd'hui tu m'tourne le dos!

Verse 2
Eh, 'tite fille, t'as trouvé tu m'aimer p'us!
Oh, 'tite monde, aujourd'hui tu veux p'us m'voir,
Eh yé yaille! Ca fait d'la peine mais c'est te voir,
Ouais, tout l'temps j'va m'en aller au Port Arthur!

If you compare these verses with the other version that I discussed previously, you can see that verse 1 is vastly different. This doesn't really matter, for variance in Cajun songs is pretty standard, and the point I wish to discuss is the phrase 'tit' mom'. I wrote:
I suspect that this might be le môme which is a derogatory term meaning 'lad, kid'.

I couldn't have been more wrong. It's 'tit monde, and there is in fact another Cajun song by that very title.

Mr. François translates the above verses like this:
Verse 1
Oh, little girl, I'll go to Port Arthur! Oh, little one, today you don't want to see me anymore!
Oh, it hurts! You said that you love me! Oh, little one, today you turn your back on me!

Verse 2
Oh, little girl, you decided that you no longer love me! Oh, little one, today you don't want to see me anymore!
Oh, it hurts! It's sad to see you, yes, all the time! I'll go to Port Arthur!

So I suppose 'tit monde literally means, 'little everything', but Mr. François chose to translate it as 'little one' and leaves it untranslated in other transcriptions of songs in his book. Note that the narrator in this song is threatening to go to Port Arthur which was at this time a place to make money and the far edge of the Cajun diaspora.

Valse de Balfa, Part II

In an earlier post about the Balfa Brothers song, Valse de Balfa, I posted the lyrics and translation, and I made note of an idiomatic phrase, où mourir au bout de mon sang at the end of the first verse. Ann Savoy translates this as "or to end my own life", but I have come across another translation that sounds more accurate to my admittedly untutored ears.

It's from the wonderful book, Yé Yaille, Chère!, Traditional Cajun Dance Music, by Raymond E. François.
Here is the first verse again:
Quand j´ai parti de la maison
J´avais fait mon idée
J´étais parti pour te chercher, cher,
Où mourir au bout de mon sang.
Mr. François translates this verse thusly:
When I left from my house, I had made up my mind.
I was going to get you or die bleeding.

Although theoretically I have access to my good French dictionary, it is now in a box somewhere in the basement because of lack of space in my tiny room so I can't check it. However, it's more literal and implies violence of some sort which suits the theme of the song so I favor it.

Ah the joys of translation.

My Birthday

Since today is my birthday, I thought I'd share with you, the gentle reader, some art produced by others as well as the year of their birth who share this auspicious day as their natal day.

1524 Pierre de Ronsard
Je te salue...
Je te salue, ô vermeillette fente
Qui vivement entre ces flancs reluis;
Je te salue, ô bienheuré pertuis,
Qui rend ma vie heureusement contente !
C'est toi qui fais que plus ne me tourmente
L'archer volant qui causait mes ennuis;
T'ayant tenu seulement quatre nuits,
Je sens ma force en moi déjà plus lente.
ô petit trou, trou mignard, trou velu,
D'un poil follet mollement crêpelu,
Qui à ton gré domptes les plus rebelles:
Tous verts galants devraient, pour t'honnorer,
à beaux genoux te venir adorer,
Tenant au poing leurs flambantes chandelles!

1862 O. Henry
O Henry - Biography and Works

1885 D. H. Lawrence
Lady Chatterley's Lover

1903 Theodor Adorno
Frankfurt School: The Theodor Adorno Internet Archive

1935 Arvo Pärt
The Arvo Part Mp3 Page

Cantabridgean Again

Say hello to my little friends.














That's Heraclitus on the left, Euclid on the right.

I'm finally somewhat settled into my new apartment in Cambridge, although it's become an exercise in minimalism since the room I occupy is 9' by 10', and that includes the closet that was built into that space. There is some storage space in the basement, but I had to clear out old broken chairs and lots of bottles and cans that were laying around down there. Old tenants move out and leave the most ridiculous things such as boxes of old college catalogs and tampons, and this eats up the space for us new tenants.

The weather has been lovely, and this has certainly eased the transition and the exploration of my new 'hood. Close to MIT, I've been discovering the restaurants and shopping so I don't starve nor go about in tattered rags. Embarrassingly, I've been fighting a spot of jet lag.

Thanks to lots of help from Shawn, I got everything out of my old storage space yesterday, although I had forgotten some of the things I had and do not have. I have a great poster of Man Ray's The Observatory Time - The Lovers that I had picked up at a sidewalk sale in my former 'hood. I, however, left all my kitchen things with my former roommate, and he left them at his old apartment so I'm missing my old pots, pans, and tea kettle, as well as my French press, but perhaps I'll be able to recover some of these things sometime soon.

At least Heraclitus and Euclid, my two stuffed octopi, survived the two years of storage, although I lost two wool sweaters to moths. It's amazing how much clothes I actually own, so a stiff purge of clothes is necessary. I still await 9 boxes of books from Berkeley, but there should be space in the basement for the overflow.

I'm thinking of purchasing a loft bed from IKEA since my ceiling is 9' high. I'm comfortably ensconced on my full bed that I missed, and if I can get up up up, then there will be space for all. Fortunately, my department has secured me a cubicle at the Asia Center to work in, so a modicum of office space will make working in my room full-time not necessary.

Huzzah!

Valse de Balfa

Another song that's been haunting me recently is Valse de Balfa, another song written by the Balfa Brothers. I was first struck by its plaintive power while listening to the Red Stick Ramblers' version from their eponymous debut. Their version, which unfortunately is not available online for listening, is driven by big propulsive drums. In contrast, the Balfa Brothers version from The Balfa Brothers Play Traditional Cajun Music lacks drums, not uncommon at the time, but carries that droning fiddle lines and more of an urgency in the vocals.

Here are the lyrics in French and the translation, again by Ann Savoy. Most poignant is verse 2, a common experience for most of us, I think.

Valse de Balfa (Balfa Waltz)
1. Quand j´ai parti de la maison
J´avais fait mon idée
J´étais parti pour te chercher, cher,
Où mourir au bout de mon sang.
When I left the house
I had made up my mind
I left to go find you, dear,
Or to end my own life.

2. Quand j´ai arrivé à ta maison
J´en ai trouvé -z-un autre avec toi
Ça, ça a cassé mon cœur, cher,
J´aimerais mieux mourir que voir ça.
2. When I got to your house
I found you with another.
that broke my heart.
I would rather die than see that.

3. Si j´aurais cinq jours dans ma vie
J´en donnerais trois dans les cinq
Pour passer las deux autres avec toi
J´aimerais mourir dans tes bras.
3. If I had five days in my life
I’d give three of the five
To stay the other two with you
I would like to die in your arms.

I had never seen the idiomatic phrase Où mourir au bout de mon sang but the construction with the verb mortir + au bout de mon sang is pretty well attested in Standard French, although I am sans my good French dictionary.

Another Cajun classic that goes a long way in explaining certain Cajun attitudes.

Port Arthur Blues

Since I haven't been able to resolve some of the vocabulary issues of Valse de Port Arthur, I thought I'd give the lyrics and translation of another Cajun song about Port Arthur, Port Arthur Blues. This one was written originally by the Balfa Brothers, and it's short but poignant. Transcription and translation is courtesy of Ann Allen Savoy from her wonderful book, Cajun Music: A Reflection of the People, Vol. I.

1. Tu m'as dit hier au soir / tu pouvais plus rev'nir
plus t'en revenir pour me rejoindre à la maison
ô ya-yaïe!
1. You told me last night
You couldn't love me anymore
You couldn't come back to meet me
At the house anymore, oh it hurts!

2. Mon, je vois pas / Qui je t'ai fait
Quo' faire donc, tu veux pas / T'en revenir au Port Arthur?
ô ya-yaïe!
2. Me, I don't see what I did
So why don't you want to anymore
Come home to Port Arthur?
Oh, it hurts!

Not much to comment on, 'cept that quo' faire is Cajun French for 'Why?'. I do believe the translation of the first verse is a bit off since it looks like it should read:
You told me last night
You couldn't come back
You couldn't come back to meet me
At the house anymore, oh ya-yaïe!

Valse de Port Arthur, Part I

Since my last entry ended up being about Port Arthur, I present to you one of the Cajun songs about Port Arthur. It is a waltz called Valse de Port Arthur:

1. Oh, bébé, moi j'm'en vais au Port Arthur,
Oui, 'tit' fill', c'est toi la seul' qu'moi j'aimerai,
Oh, 'tit' fill', tu es si loin de moi,
J'reviendrai pour te r'joindr' au Port Arthur.

2. Eh, 'tit' fill', t'as trouvé qu' tu m'aimais plus,
Ouais, 'tit' mom', aujourd'hui tu veux plus m'voir,
Oh, ya-yaïe, ça fait d'la pein' de te voir,
Ouais, tout l'temps j'vais m'en aller au Port Arthur.
*Transcription of the lyrics is courtesy of http://membres.lycos.fr/breric/cajun.htm.

As you can see, there is quite a bit of slurring which utterly defeats my French transcription skills so I must rely on the kindness of les étrangers. I won't offer a translation now, but I will comment on a few peculiarly Cajun French lexical items.
'tit' fill' = 'tit' is a common abbreviation for petite, sometimes shortened all the way just to 't', especially in nicknames. My cousin Anthony was referred to by my grandfather as 'T-Ton'. Somewhat obscurely, my other cousin (and we ran long on cousins, thank you) Robert was termed 'Boscoe'. This is a long-winded way of saying that 'tit' fill' is 'little girl', a term of endearment.
ya-yaïe = "oh it hurts", a very common exclamation of pain in Cajun music. Sometimes spelled yé yaille. Cajun French transcription can be non-standardized.
'tit' mom' = I suspect that this might be le môme which is a derogatory term meaning 'lad, kid'. I'll have to check and discuss it further in Part II.

Buddhism in Southeast Texas

Here's a recent article about a Vietnamese Buddhist temple in my hometown, Port Arthur. I visited this temple many years ago, and the lotus ponds were beautiful then. Next time I go home I'll have to take pictures.

I really like this.
"Buu Mon" means priceless gate and sounds similar to Beaumont, which is why it was chosen, according to the archives.

Here is their homepage. I wonder how large the Vietnamese population is in Port Arthur? There is also a large garden with statue of the Virgin Mary on the other side of Port Arthur that was sponsored by a Vietnamese association. I didn't have a camera the last time I visited, but I suspect she bore a striking resemblance to Kuan-yin. Ah, there was one picture of it via google images but the link was broken. There is this image from flickr. Not like Kuan-yin at all.

It is called Hoa Binh Park and was built by the parishioners of the Queen of Vietnamese Martyr's Catholic Church in gratitude to the city that welcomed them upon their arrival from Asia. Here is another nice photo.

That's my hometown. A smidge of cultural diversity.

The Origin of "Laissez la Roue de la Loi roulez"

My last post was my 50th, so I thought I'd celebrate that mild milestone by explaining the title of my blog.

"Laissez les bons temps roulez" is a Cajun expression, and according to the Encyclopedia of Cajun Culture, it "strongly conveys the "joie de vivre" ("joy of living") attitude that pervades south Louisiana." Amen, but I'd amend that slightly to include Southeast Texas since there is a high concentration of Cajuns there. There will be another post about that later.

In fact, you can almost declare about 10 square yards around any Cajun extraterritorial Acadiana because that joie de vivre can be infectious, particularly under the influence of good cooking and other less salubrious substances.

Now I modified this hoary but perspicacious truism by replacing the phrase "les bons temps" with "la Roue de la Loi" which in French refers to the dharmacakra, the Wheel of the Law. The term dharma is extremely multivalent in Indian religions, but here it refers to the teaching of the Buddha. The dharmacakra is the metaphorical wheel that the historical Buddha first turned at Sarnath outside of Varansi when he gave his first teaching. The dharmacakra is also a symbol of the universal emperor, and you can see the original sculpture of such a wheel that adorned the pillar of the Mauryan emperor Aśoka here. This capital of this pillar ended up on the national flag of India.

There is also an excellent sculpture of the Buddha giving the first teaching in the museum at Sarnath. You can see it here.

Obviously, my ability to pun in French is limited by my meager francophone abilities, but that's my attempt to capture two of my preoccupations when I started this blog: my Cajun heritage and Buddhism. I hope to up the Cajun content in coming days, but no promises.

Onward to 100 posts!

Yelping all the Way Back to Boston

It's pretty amazing how I can scout out my new neighborhood in East Cambridge through yelp.com. I have a good idea where to get Greek food (at the end of the block), where to pick up a few things grocery-wise (up on Cambridge St.), and go sit in a coffee shop (looks like Starbucks... argh). The coffee shops really are sub-par in the Cambridge/Somerville area. Most of that is due to lack of space in retail settings. Everything is so cramped that there is no space for armchairs or couches. Or free wi-fi, apparently. Oh, The Golden Roast, how I long for your comfy seating!

I'm in the Kendall/MIT Square neighborhood, and it looks alright. I know it's very industrial-parkesque down there from the occasional jaunt to the movie theater, but that means I'll be close to MIT for free classical music concerts. Perhaps I can find a nice quiet place to study at MIT as well.

Grand Tasso

It's rare, but it does happen on occasion that a song affects me deeply. Last night I was listening to the Red Stick Ramblers, one of those young and upcoming bands that is preserving Cajun music, and I was dumbstruck by the song Grand Tasso. You can listen to it for free here, it's under their 2002 album "The Red Stick Ramblers." I can't stop listening to it.

Apparently it's a traditional song with additional lyrics by two of the band members, and I'm frantic that I can't find the lyrics to the song anywhere since I'd love to learn it. My French isn't good enough to decipher it, and although I can make out some of the lyrics (mixed with some English), I imagine the dialectical differences would defeat me.

In Cajun country, there is a food called tasso--a highly spiced and dried pork sausage that is an essential ingredient in gumbo and other gastronomical delights. There is a community called Tasso, by Bayou Mallet, near Eunice, deep in an area of road houses where Cajuns come to dance at the fais do do's each Saturday. The place figures in many a traditional song.

Well, there you go! The Red Stick Ramblers not only play traditional Cajun music, but they incorporate Western swing and jazz influences from folks like Bob Wills and Django Reinhardt, and they cover some of their songs as well.

Great stuff. I know Michael Doucet also recorded Grand Tasso, but the droning fiddle of the Red Stick Rambler's version gives it a touch of melancholy that fits so perfectly and the vocalist has that touch of world-weariness that carries it home. Anyone who covers That's What I Like About The South has got my admiration.

Kill!

Based on the same source material as Kurosawa's Sanjuro, but much funnier, I saw Kill! a couple of days back. It was a relief, actually, since the last couple of samurai films had been heavy going with all the tension and unhappy endings. Kill! is rather goofy in its humor, and bless the director, Kihachi Okamoto, for that. I imagine in 1968 it was time to back down from the strident anti-authoritarianism of films earlier in the decade.

Tatsuya Nakadai, a former samurai who is now a yakuza, and Etsushi Takahashi, a ridiculously strong yet goofy farmer who wants to become a samurai, form a hilarious Felix and Oscar Odd Couple as Nakadai susses out the situation and manipulates it to a fine resolution. Nakadai, last seen in Harakiri, with his deadpan face turns in a great performance.

Recommended.