Paco de Lucia

Paco de Lucia, the Master of Flamenco guitar has passed.

66. Playing on the beach with his children.

Born into a humble family on December 21, 1947, de Lucia grew into a musical giant who blended jazz, pop and classical influences with the folk tradition of flamenco.

He said his father, a singer of gypsy origin, introduced him to music and encouraged him to practice for hours.

"The gypsies are better since they listen to music from birth. If I had not been born in my father's house I would be nobody. I don't believe in spontaneous genius," the guitarist once said.

From the age of 12 de Lucia was out playing and earning at flamenco "tablaos" -- the intimate bars that are home to the authentic form of the tragic gypsy lament and dancing.

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nahuales

“My family, while emotionally cold, distant and abusive yet well-intentioned, kind and loving were dysfunctional, trying to understand my vagabond spirit nature. They had no choice in the matter and by now they’re used to receiving strange word-strings full of mysterious symbolism and tragic truths from diverse twilight zones. I transmit between crystals and gringsing decorated with universal binary codes.”

“Really now?” said Mary.

“Yes, I gave my folks a world map for their anniversary. They loved it, inviting friends, neighbors and strangers over for trivia games using postmarks, stamps, decals, flotsam, thread, needles, bark, cactus fiber, beads, charts of tributaries, topographical maps, animal skins, hieroglyphics, and Tibetan prayer wheels with Sanskrit characters.

“They caressed burned broken shards of Turkish pottery, Chinese bamboo brushes dripping blood, torn out pages from esoteric Runes, Paleolithic fertility symbols, vitreous unusual writing, and one of my favorites, a Quetzalcoatl image full of written narration based on the oral performances of Central American myths."

“Fascinating,” said Deirdre.

“Yes, I gave them Olmec nahuales shamans containing animal powers dating back to 1200 B.C. speaking their wisdom. They blended the spirituality and intellect of man with the ferocity and strength of the Jaguar to create their nahuales. Their soul required an animal medium to travel from the earth to the heavens and into the underworld.

“Additional cultural reminders were beautiful blank black mirrors. Some displayed faces others contained scripts written backwards with stories of people, geographies, forbidden objects, and a box called Pandora." 

A Century is Nothing

hagia sophia, trabzon

An unprecedented wave of egalitarian support featuring millions of sad, serene women facing arranged marriages filled with empty hopes and vague promises of love and happiness enlisted to become engaged to strangers across transcendental borders. 

This wave resembled an open hand gesturing in the eternal present of a long now as a mother gifting her daughter a long fare well gesture watched her disappear into life’s teeming stream.

“Be well my love. You are in our hearts.”

Her daughter joined a tribe of singing, sighing women. They were living their dream fate and making sacrifices with clear intention, motivation, determination and focus. The entourage of singing women danced through valleys, climbed jagged Eastern Mountains of Regret and entered a no-name village where males pounded war drums and hammered plowshares into word swords.

Marginalized poor angry males killed each other over pita bread, olives, fresh tomatoes, kebabs and geographical dust while studying imaginary maps.

“The map is not the territory,” said Visualization, a cartographer.

“Where is this place?” said Curious in a strange village in a strange country on a strange planet in a strange solar system in a strange universe.

“It is far away,” said a gravedigger with earth moving experience. “It is a dysfunctional place where bronze statues of fallen soldiers, warriors, corrupt politicians and testosterone fueled fools rust, make millions off the sweat of fools and congratulate each other on their mutual doubts, stupidity and insatiable greed.”

Wind said to women, “Go home. Return to your families and friends. Live in peace.”

Women followed their heart-mind.

“Are you alive?” she said to her cellular daughter.

“I survived,” said a disembodied voice.

“Where are you? When are you coming home?”

“I’m with a tribe of women. We’re breaking down old conservative values. They are so narrow we’ll need a crowbar or acetylene torch or C-4. We’re developing personal empowerment and dignity. I’ll be home soon, dear mother.” Her voice died. Mother swallowing ignorance lapsed into doubt’s quicksand.

At sunset an imam’s recorded voice twittered from a mosque near the private hospital. “Allah is great and merciful. Buy a ticket.”

Push Play.

Hagia Sophia...

after ice

One day, Bliss's part-time lover said, buy me a TV.

NO.

You have a job, a TV, a mother, a 12-year old daughter, two brothers, no father and no husband. I gave you money to buy a bike for your daughter and she lost it, money for clothes, money for medicine, money for food, money for temporary naked lust and currency sobriety. You play me for a sentimental fool. You're fucking crazy.

Her arrival was sporadic at best. She visited at 8:37 for a shower, fucking and another shower. 

He explored her lips, thin neck, small ears, crest of skin throat, narrow brown shoulders, pinpoint breasts with tongue talk, flat belles letters, long legs and played his way into her valley of potential.

It is a gateway toward isolated animist villages up river. Up The River Of Darkness. Up the Tonle Srepok River. The Apocalypse Now river.

The river overflowed with extended tedious boring years of silence singing a slow meandering song before being punctuated by random acts of violence, gunfire, and exploding land mines swallowing eternal cries for mercy as innocent men, women and children were slaughtered in fields, homes, and villages along twisted dirt jungle paths or murdered inside animist cemeteries wearing crude carved faces remembering the dead with ceremonies, laughter, sacrifice and rice wine, hearing the low dull roar of high altitude bombers releasing enraptured napalm canister lightning bolts through clear skies rendering burning mountains and jungles obsolete, accompanied by the steady rhythm of a girl sawing ice.

Her frozen bright future dream evaporated.

Someone said there was a war, she said. My mother saw a plane. She thought it was a bird. She wove the image into indigo cotton with yellow, blue and red silk thread. All the women weave here. Men don’t have the patience.

They love hunting and killing. She saw a whirling bird, a helicopter. She wove it along with our traditional motifs; weavers, people carrying water, harvesting, dancing, sitting, resting, flowers, fields, cows, chickens, ducks, birds, banana and palm trees, rivers, sky and nature. She weaves our long story.

I weave after ice.

tet - year of the horse