With this 27 mile ride this past weekend, we're up to 81 miles for the season. I wanted to go 30 miles, but luckily Jim vetoed that. By the time we got back to the car, I was starving. It's no fun at all to finish a ride with your stomach growling. I'll have to start bringing granola bars or something.
Anyway, no animal stories to share this time, although we heard a lot of things along the path. There's a lot of marshes as you go north from Wheaton and, at one point, we heard loads of frogs or toads or something croaking in the reeds. It sounded like a little engines running off-kilter or something.
It reminded me of last year when I road along the path and saw a big, fat bullfrog about the size of a large grapefruit just sitting on the side of the path sunning himself. Frogs or toads appear every so often on the path, but they are shy and quickly hop away. There was one that had really long legs and was bright green. A high leaper, he was gone almost as quickly as I saw him. Still, his coloring was the purest, brightest green you can imagine.
Not sure there'll be a chance for riding this weekend, as we are facing the Fourth of July. Usually there are too many families wandering the path for it to be any fun at all. They just hog the path and when you call out the friendly warning "passing on your left!", they ignore you or step to the left (???) or get all offended.
I prefer the toads.
Monday, June 27, 2011
Sunday, June 26, 2011
Mumonkan, Koan 17: Chu the National Teacher Gives Three Calls
| Page from the original Mumonkan |
Chu summons his attendant who always responds. There is an element here akin to what was covered in Koan 16, When the Bell Tolls (see entry: http://zenthrowdown.blogspot.com/2011/05/mumonkan-koan-16-when-bell-tolls.html). This is about how we deal with external stimuli.
Chu is wondering whether he is betraying his attendant by summoning him and placing him in the position of responding to a stimuli just like the bell in koan 16. He is revealing his attendant's response to such stimuli. This is poor training for his attendant.
However Chu realizes that, in fact, it is he who is wrong-minded not his attendant. It is he who is initiating the entire stimulus. We also do not know his reasoning for summoning the attendant, but the fact that he has to do it three times suggests a lack of focus or clarity. Why not summon him one time for what is needed? Why summon him at all? Why have an attendant to summon?
In truth, the attendant's responsiveness betrays Chu by revealing his expectation of a response. The attendant's faithfulness encourages Chu in this reliance, and he initiates it over and over. While an attendant could practice everyday Zen in his duties, the person who summons is unlikely to be in the correct mindset. Rather than practicing everyday Zen or sitting in zazen, they are summoning or interacting or needful of the world around them (i.e., wrong-minded).
After I had my solution, I read Mumon's verse and notes and feel like I reacted to this in somewhat the same way he did. His verse here was:
"He carried an iron yoke with no hole
And left a curse to trouble his descendants
If you want to hold up the gates and doors
You must climb a mountain of swords with bare feet"
A yoke is obviously a form of imprisonment, but a yoke with no hole would be imprisonment not by prison bars, fetters, or a yoke on your neck. Instead, you are imprisoned by a burden you carry (a wrong way of thinking). If you want to attain enlightenment (line 3), do it yourself. Better to be yoked in fact and labor than to carry a pointless burden to no end. The former allows for the possibility right mindedness, the latter can only be delusion.
Monday, June 20, 2011
Adventures in Sushi: Uni
Back towards the end of last year, I acquired my taste for sushi. Since then, I've tried a whole bunch of different stuff. Rolls of all kinds, which are absolutely fantastic. I've also enjoyed seaweed salad, and of course there are the individual pieces of seafood. I've been able to work with the ginger and a tad - a taaaad - of wasabi. The latter really surprises me, because the first time I tried wasabi I thought it smelled like industrial waste and tasted like chemicals.
I've had - and love - tako (octopus), ika (squid), and fish eggs (forget what that's called). I think I've tried eel too, but not sure. My most adventurous sushi experience was uni - a premium sushi always listed at 'market price'. It's sea urchin...you know those spiny purple brown balls that wash up on the beach?
I had it at a team outing, which was good because uni does not look appetizing at all (see the picture). It resembles a hairy, orange tongue. I'm not sure but - without the peer pressure to eat it after having declared my intention to do so - I might have chickened out. No joke, it was gushy, squishy, and tasted ghastly. But at least I can say I've tried sea urchin.
Perhaps the wasabi sauce would have helped with this particular experience.
I've had - and love - tako (octopus), ika (squid), and fish eggs (forget what that's called). I think I've tried eel too, but not sure. My most adventurous sushi experience was uni - a premium sushi always listed at 'market price'. It's sea urchin...you know those spiny purple brown balls that wash up on the beach?
I had it at a team outing, which was good because uni does not look appetizing at all (see the picture). It resembles a hairy, orange tongue. I'm not sure but - without the peer pressure to eat it after having declared my intention to do so - I might have chickened out. No joke, it was gushy, squishy, and tasted ghastly. But at least I can say I've tried sea urchin.
Perhaps the wasabi sauce would have helped with this particular experience.
Saturday, June 18, 2011
Our Civil Union is Moving Forward
Yikes, I haven't posted in a while! Update: Jim and I have been putting together plans for our civil union ceremony and party. Even with the scaled back approach we're taking there's a lot of planning to do. No wonder the straights plan this stuff out a year in advance.
We finally settled on a date and that we would have a party in the backyard with a brief ceremony to kick things off. Jim and I had some real debates about all this, and I even coined the term Groom Kong to describe us (though it turns out the term is already in Urban Dictionary so I'm not nearly as clever as I thought).
I'm hoping we can make the ceremony really fun, with the 'wedding party' dancing down the aisle or something like that. Then we do the ceremony itself, hopefully with a judge there. And I'm trying to find a poem of some kind to read...preferably one of my own that speaks to our relationship in some way.
We've got the tent and chair rentals taken care of and a caterer to do a pig roast for us. So it should be a great time. The only worry we have is all the rain we've been getting. This crap better clear up before our party!
We finally settled on a date and that we would have a party in the backyard with a brief ceremony to kick things off. Jim and I had some real debates about all this, and I even coined the term Groom Kong to describe us (though it turns out the term is already in Urban Dictionary so I'm not nearly as clever as I thought).
I'm hoping we can make the ceremony really fun, with the 'wedding party' dancing down the aisle or something like that. Then we do the ceremony itself, hopefully with a judge there. And I'm trying to find a poem of some kind to read...preferably one of my own that speaks to our relationship in some way.
We've got the tent and chair rentals taken care of and a caterer to do a pig roast for us. So it should be a great time. The only worry we have is all the rain we've been getting. This crap better clear up before our party!
Thursday, June 9, 2011
Haiku Thursdays
Not one of my haiku. This is by one of the great masters (if not the greatest) Matsuo Basho (1644-1694). I picked it because it's a Summer haiku, and it helps usher in Summer in relaxed way.
Skylark
Sings all day,
And day not long enough
Skylark
Sings all day,
And day not long enough
Wednesday, June 8, 2011
Ong-Bak 3
In my prior post I reviewed Ong Bak 2 which, despite its serious drawbacks went on to become Tony Jaa's most successful film yet. To clean up the loose ends left by the disorganized and chaotic production, the studio went ahead and made a third film - Ong Bak 3 - but this movie is no less a hot mess than Ong Bak 2. It's just a different kind of hot mess.
Ong Bak 3 has a clearer story than its predecessor. But instead of just tying up all the loose ends from Ong Bak 2, the third movie adds more subplots! We learn that there's a curse on...all Thailand? The village? Oh, I don't know! There's a curse. The evil king has captured and is slowly torturing Tien (Jaa) to death while uttering the most cliched Jabba the Hutt bad guy laugh ever - literally: hah hah haaah! hah hah haaah!). However, he's also going nuts because - as we learn from yet another flashback - he poisoned his predecessor to get the throne. Then there's that weird crow fighter. He's back and turns out to be some kind of evil spirit (I think?) who wants to take the throne so that he can...um, I have no idea why this crow-spirit-thing exists or what it's really after. Meanwhile, Tien is rescued deus ex machina by royal decree and carted off to his village to slough off his vengeful nature through meditation. It got to the point where I just didn't care! "Please Ong Bak 3!" I screamed. "Pick a plotline, any plotline, and just get on with it!"
Ong Bak 3 is filmed with a much more appealing style, so the feel of the movie is less oppressive that the first sequel/prequel. We even get some beautiful shots of Thailand, as opposed to the muddy, rainy slopheap Ong Bak 2 seemed determined to portray Thailand as. However, this improvement is undermined as Ong Bak 3 takes on a religious subtext that is truly from outer space. Nothing against a religious subtext, but this stuff is nutty with a capital freak and I couldn't figure out what religion this subtext is supposed to reflect. There's tons of Jesus imagery: the 'chosen one' dies a death of crucifixion level violence, is resurrected, and then provides salvation to his people. Jaa even grows a beard and wears white when fighting the evil crow spirit, and he hurls his wooden staff down to put everyone on alert that he's there to free the slaves. Moses and Jesus all wrapped up in one? Yeesh. The whole thing is so heavy handed that it quickly goes over the line (WAY over the line!) and becomes a messianic ego-trip for Jaa.
There's some Buddhist/Zen Buddhist philosophy rattling around in the script like a loose pebble in a rusty bucket, but it seems more like window dressing than anything seriously presented. But the worst aspect of religious theme is the over the top supernatural aspects. For example, the crow spirit summons an eclipse at one point, and at another sends wicked black smoke at a monk (never did figure out that the heck that smoke was all about). Later, Tien summons white lighting after he dispels the eclipse. What religion does all this hocus-pocus bullcrap come from? Wicca maybe? No, I can't even say that because it'd be insulting to Wiccans. Long story short, a religious subtext has to have some kind of consistent morality or philosophy. Otherwise it's just a whole bunch of crazy.
Worst of all - for all the backstory in these two movies - by the end of Ong Bak 3 I still have little understanding of what and why most of the action in the film took place. Why is killing Tien so important to the evil king? Why did he kill Tien's parents? Why did the king's boss allow Tien to live? How did Tien end up captured by the slavers? Why does the one guy become a monk? What does Tien learn that makes him turn around? And, if he learned it, why does he go from monk to monkey and literally bite a hunk out of a guy's neck in the final fight? What caused the 'instant replay/do over'? It's hard to take Ong Bak 3 seriously or become invested in the characters when there's no clue as to what's driving or at stake for any of them.
At the end of watching these two movies (total running time of three hours), I felt like there was definitely a good Tony Jaa flick buried in there somewhere. However, it's lost in a mix-master script of ridiculous and overwrought plots/subplots and a lack of logical flow that would give the story elements coherence. The movie takes itself far too seriously and, while some of the fight scenes are good, others are sub par and the use of wire-fu is truly disappointing. Despite the obvious potential and panache used to film these movies and the evident potential, they fall far short of being enjoyable on just about any level and come off as pretentious, dull, and ridiculous.
Hopefully this is just a slip-up for Jaa, and his next offering will be tighter and more focused. He's too good of a performer to throw in the towel!
Ong Bak 3 has a clearer story than its predecessor. But instead of just tying up all the loose ends from Ong Bak 2, the third movie adds more subplots! We learn that there's a curse on...all Thailand? The village? Oh, I don't know! There's a curse. The evil king has captured and is slowly torturing Tien (Jaa) to death while uttering the most cliched Jabba the Hutt bad guy laugh ever - literally: hah hah haaah! hah hah haaah!). However, he's also going nuts because - as we learn from yet another flashback - he poisoned his predecessor to get the throne. Then there's that weird crow fighter. He's back and turns out to be some kind of evil spirit (I think?) who wants to take the throne so that he can...um, I have no idea why this crow-spirit-thing exists or what it's really after. Meanwhile, Tien is rescued deus ex machina by royal decree and carted off to his village to slough off his vengeful nature through meditation. It got to the point where I just didn't care! "Please Ong Bak 3!" I screamed. "Pick a plotline, any plotline, and just get on with it!"
Ong Bak 3 is filmed with a much more appealing style, so the feel of the movie is less oppressive that the first sequel/prequel. We even get some beautiful shots of Thailand, as opposed to the muddy, rainy slopheap Ong Bak 2 seemed determined to portray Thailand as. However, this improvement is undermined as Ong Bak 3 takes on a religious subtext that is truly from outer space. Nothing against a religious subtext, but this stuff is nutty with a capital freak and I couldn't figure out what religion this subtext is supposed to reflect. There's tons of Jesus imagery: the 'chosen one' dies a death of crucifixion level violence, is resurrected, and then provides salvation to his people. Jaa even grows a beard and wears white when fighting the evil crow spirit, and he hurls his wooden staff down to put everyone on alert that he's there to free the slaves. Moses and Jesus all wrapped up in one? Yeesh. The whole thing is so heavy handed that it quickly goes over the line (WAY over the line!) and becomes a messianic ego-trip for Jaa.
There's some Buddhist/Zen Buddhist philosophy rattling around in the script like a loose pebble in a rusty bucket, but it seems more like window dressing than anything seriously presented. But the worst aspect of religious theme is the over the top supernatural aspects. For example, the crow spirit summons an eclipse at one point, and at another sends wicked black smoke at a monk (never did figure out that the heck that smoke was all about). Later, Tien summons white lighting after he dispels the eclipse. What religion does all this hocus-pocus bullcrap come from? Wicca maybe? No, I can't even say that because it'd be insulting to Wiccans. Long story short, a religious subtext has to have some kind of consistent morality or philosophy. Otherwise it's just a whole bunch of crazy.
Worst of all - for all the backstory in these two movies - by the end of Ong Bak 3 I still have little understanding of what and why most of the action in the film took place. Why is killing Tien so important to the evil king? Why did he kill Tien's parents? Why did the king's boss allow Tien to live? How did Tien end up captured by the slavers? Why does the one guy become a monk? What does Tien learn that makes him turn around? And, if he learned it, why does he go from monk to monkey and literally bite a hunk out of a guy's neck in the final fight? What caused the 'instant replay/do over'? It's hard to take Ong Bak 3 seriously or become invested in the characters when there's no clue as to what's driving or at stake for any of them.
At the end of watching these two movies (total running time of three hours), I felt like there was definitely a good Tony Jaa flick buried in there somewhere. However, it's lost in a mix-master script of ridiculous and overwrought plots/subplots and a lack of logical flow that would give the story elements coherence. The movie takes itself far too seriously and, while some of the fight scenes are good, others are sub par and the use of wire-fu is truly disappointing. Despite the obvious potential and panache used to film these movies and the evident potential, they fall far short of being enjoyable on just about any level and come off as pretentious, dull, and ridiculous.
Hopefully this is just a slip-up for Jaa, and his next offering will be tighter and more focused. He's too good of a performer to throw in the towel!
Tuesday, June 7, 2011
Ong-Bak 2
Ong Bak 2 and Ong Bak 3 combine to form a single story that is a prequel to Tony Jaa's wonderful Ong Bak. The story told in these movies takes place 600 years earlier than the modern day Ong Bak and, further, the two stories have nothing in common. So if you like Ong Bak you do not have to see installments 2 & 3. That's good because although this pair of movies tell an epic story with great potential, these movies are what is commonly referred to as 'a hot mess'. I'll start with Ong Bak 2 and then review the third movie in tomorrow's post.
Tony Jaa could never be accused of not trying hard enough. His movies are filled to the brim with plot, subplot, characters of all kinds, wicked villains, and exceptional fight scenes. Of course, Jaa's skills as a martial artist are truly amazing and his movies really deliver, so much so that this viewer finds them almost a bit too much! Unfortunately, Ong Bak 2 is too much. It tries to cover too much ground in a single story and ends up delivering well on nothing. There's a complex political backstory, a love story, a coming of age subtext, and lots of fighting. Since none of these pieces of the movie are fully developed, Ong Bak 2 comes off like a victim of multiple personality disorder. All the different plotlines come forward and then vanish, shouting over each other in a confusing train wreck of storytelling.
Part of the reason the movie turned out so badly is that production of Ong Bak 2 - which was really supposed to be a complete film without a sequel - turned into a Francis Ford Coppola-style debacle: out of control cost overruns, power struggles with the studios, and Tony Jaa apparently disappearing in the middle of shooting for two months. This chaos is clearly reflected in the resulting movie: Ong Bak 2 is so confusing with all its flashbacks, time shifting, and patched-up ending that you wind up lost as to what's going on and what the thread of the story is.
Ong Bak 2 is also filmed in a very dark and overly dramatic manner, with self-conscious cinematography, unnecessary slo-mos and cuts, constant surging music, and strange color effects (not sure what the technical term for that is). And - to underline the dire IMPORTANCE of all that is happening - it is raining pretty much non-stop in this movie. Ong Bak 2 spares no expense to look great, but Tony Jaa (playing a nobleman's son named Tien) is another story. He's truly hideous in his rat's nest of long hair and just hard to look at without wincing. There are also scenes where the color and lighting make him look like Michael Jackson. Creepy!
Finally, while Ong Bak 2 has some good fights, several fall flat. This is very surprising for a Jaa film. Slo-mos clearly reveal the weak contact between Jaa and his opponents, undermining the impact of the fights by letting us clearly see that they are - of course - staged for the camera. Elsewhere fast cuts render many of Jaa's moves impossible to follow. Lastly, the film makes use of wire-fu, shocking considering Jaa has always seemed to pride himself on presenting the real deal.
Ong Bak 2 desperately needed its sequel in order to make sense, provide a resolution, or any viewing satisfaction. The third film was an attempt to provide an emergency clean-up effort after this runaway debacle slammed into a brick wall and splattered onto DVD.
Tony Jaa could never be accused of not trying hard enough. His movies are filled to the brim with plot, subplot, characters of all kinds, wicked villains, and exceptional fight scenes. Of course, Jaa's skills as a martial artist are truly amazing and his movies really deliver, so much so that this viewer finds them almost a bit too much! Unfortunately, Ong Bak 2 is too much. It tries to cover too much ground in a single story and ends up delivering well on nothing. There's a complex political backstory, a love story, a coming of age subtext, and lots of fighting. Since none of these pieces of the movie are fully developed, Ong Bak 2 comes off like a victim of multiple personality disorder. All the different plotlines come forward and then vanish, shouting over each other in a confusing train wreck of storytelling.
Part of the reason the movie turned out so badly is that production of Ong Bak 2 - which was really supposed to be a complete film without a sequel - turned into a Francis Ford Coppola-style debacle: out of control cost overruns, power struggles with the studios, and Tony Jaa apparently disappearing in the middle of shooting for two months. This chaos is clearly reflected in the resulting movie: Ong Bak 2 is so confusing with all its flashbacks, time shifting, and patched-up ending that you wind up lost as to what's going on and what the thread of the story is.
Ong Bak 2 is also filmed in a very dark and overly dramatic manner, with self-conscious cinematography, unnecessary slo-mos and cuts, constant surging music, and strange color effects (not sure what the technical term for that is). And - to underline the dire IMPORTANCE of all that is happening - it is raining pretty much non-stop in this movie. Ong Bak 2 spares no expense to look great, but Tony Jaa (playing a nobleman's son named Tien) is another story. He's truly hideous in his rat's nest of long hair and just hard to look at without wincing. There are also scenes where the color and lighting make him look like Michael Jackson. Creepy!
Finally, while Ong Bak 2 has some good fights, several fall flat. This is very surprising for a Jaa film. Slo-mos clearly reveal the weak contact between Jaa and his opponents, undermining the impact of the fights by letting us clearly see that they are - of course - staged for the camera. Elsewhere fast cuts render many of Jaa's moves impossible to follow. Lastly, the film makes use of wire-fu, shocking considering Jaa has always seemed to pride himself on presenting the real deal.
Ong Bak 2 desperately needed its sequel in order to make sense, provide a resolution, or any viewing satisfaction. The third film was an attempt to provide an emergency clean-up effort after this runaway debacle slammed into a brick wall and splattered onto DVD.
Monday, June 6, 2011
Getting 'Civilized'!
The ability for gays and lesbians to have our relationships and families recognized has finally arrived! The first civil unions have been conducted in the state of Illinois! This is a picture of Lakeesha Harris and Janean Watkins, the first couple in Illinois to get 'civilized'!
Jim and I have begun planning our ceremony. It's going to be low key and unpretentious. After all, we've been together nearly 15 years so doing the whole production wedding just doesn't seem necessary. We're planning to have a brief ceremony in the backyard, with friends and family in attendance, and then move right into a fun summer cookout/party!
Picking a date is the first step, and we're thinking sometime in August. That would end up placing it right around our anniversary. I can't wait!
Jim and I have begun planning our ceremony. It's going to be low key and unpretentious. After all, we've been together nearly 15 years so doing the whole production wedding just doesn't seem necessary. We're planning to have a brief ceremony in the backyard, with friends and family in attendance, and then move right into a fun summer cookout/party!
Picking a date is the first step, and we're thinking sometime in August. That would end up placing it right around our anniversary. I can't wait!
Sunday, June 5, 2011
21 Miles and a Great Plains Rat Snake
We hit the trails again this weekend and did 21 miles. Season total is now up to a 38 miles. Very unimpressive, but it's still very early. Good weather and a nice ride overall.
Just north of the trail head in downtown Wheaton, we came upon a 2.5 long great plains rat snake! I've never seen any snake as big as this one on the paths before. He was huge! He was just lying on the path stretched out and sunning himself. I tried to scare him off the path so he wouldn't get run over or bite an unsuspecting jogger, but he wouldn't budge. He reared up his head like he was getting ready to strike and began wriggling his tail real fast like he was a rattlesnake. From what I've read, when these snakes shake their tails in dry leaves they can create a sound that is very much like a rattlesnake.
Seeing he wouldn't move, we went on. Then Jim reminded me I had my phone (and therefore my camera)! So we scooted back to take a pic but, by then, the snake had had enough of all the humans around and was slithering off into the undergrowth on the side of the trail. Two trips in a row with animal sightings. Looking to be a good cycling season, even if it did get started horribly late.
Just north of the trail head in downtown Wheaton, we came upon a 2.5 long great plains rat snake! I've never seen any snake as big as this one on the paths before. He was huge! He was just lying on the path stretched out and sunning himself. I tried to scare him off the path so he wouldn't get run over or bite an unsuspecting jogger, but he wouldn't budge. He reared up his head like he was getting ready to strike and began wriggling his tail real fast like he was a rattlesnake. From what I've read, when these snakes shake their tails in dry leaves they can create a sound that is very much like a rattlesnake.
Seeing he wouldn't move, we went on. Then Jim reminded me I had my phone (and therefore my camera)! So we scooted back to take a pic but, by then, the snake had had enough of all the humans around and was slithering off into the undergrowth on the side of the trail. Two trips in a row with animal sightings. Looking to be a good cycling season, even if it did get started horribly late.
Monday, May 30, 2011
First Bike Ride of 2011...and Llamas
Jim and I were finally able to do our first bike ride of the season...the weather has been rainy and/or too cold forever. We had to get out early though because it's supposed to get into the 90s this afternoon and be windy. Doing your first ride of the year under those conditions would not be fun. As it was, all the rain had left the trails pretty muddy and full of gullies and puddles. So we got really dirty.
We went 17 miles, which is generally not stellar but pretty decent for a first ride of the season. Contrary to what I had thought would be the case, my legs did not seem better able to do the ride because of all my treadmill work. Really didn't seem to make much difference; perhaps it's different muscles being worked out?
There was a really cool bonus this ride (we often seem to have little 'moments' on the bike trails). This time, as we were riding along, we came upon a woman who was walking her two...llamas. Yeah, llamas! We stopped and I got to pet them (Jim wouldn't touch them). One was the color of this guy pictured here, and the other was white. They stood about 6 feet tall, and their fur was very thick and soft. It was weird to see their feet too, which have two big toes and that's it. They were tame and quite used to people.
Nice way to kick off the biking season!
We went 17 miles, which is generally not stellar but pretty decent for a first ride of the season. Contrary to what I had thought would be the case, my legs did not seem better able to do the ride because of all my treadmill work. Really didn't seem to make much difference; perhaps it's different muscles being worked out?
There was a really cool bonus this ride (we often seem to have little 'moments' on the bike trails). This time, as we were riding along, we came upon a woman who was walking her two...llamas. Yeah, llamas! We stopped and I got to pet them (Jim wouldn't touch them). One was the color of this guy pictured here, and the other was white. They stood about 6 feet tall, and their fur was very thick and soft. It was weird to see their feet too, which have two big toes and that's it. They were tame and quite used to people.
Nice way to kick off the biking season!
Sunday, May 29, 2011
Mumonkan, Koan 16: When The Bell Tolls
Ummon said, "The world is vast and wide. Why do you put on your seven-piece robe at the sound of the bell?"
I think the bell represents something near to us - as opposed to everything else going on in the world - that we invest with importance and hence get dressed up for (i.e., I'm assuming the seven-piece robe refers to putting on your best clothes). We tend to allow ourselves to respond to things close to us based on customs or how we 'should' respond and treat them as if they are all important versus despite how meaningless it might be in the grand scheme of things.
In a way, this perspective skews our view of reality. It is unlikely that the bell being rung really signifies anything of relevance from a world wide view, so why do we assign such importance to it? There are certainly reasons why we might do this, but we should keep the larger view in mind or we could complicate our ability to see clearly.
I think the bell represents something near to us - as opposed to everything else going on in the world - that we invest with importance and hence get dressed up for (i.e., I'm assuming the seven-piece robe refers to putting on your best clothes). We tend to allow ourselves to respond to things close to us based on customs or how we 'should' respond and treat them as if they are all important versus despite how meaningless it might be in the grand scheme of things.
In a way, this perspective skews our view of reality. It is unlikely that the bell being rung really signifies anything of relevance from a world wide view, so why do we assign such importance to it? There are certainly reasons why we might do this, but we should keep the larger view in mind or we could complicate our ability to see clearly.
Saturday, May 28, 2011
Stevie Nicks - In Your Dreams
In 1973, Stevie Nicks began her career as a recording artist with the album Buckingham Nicks. That album bombed so badly, she was dropped by her label. What a far cry from her first solo album (Bella Donna) eight years later. Bella Donna hit number one, unleashed four top 40 hits, and launched her to a level of stardom reached by few rock artists: she was a member of one of rock's biggest bands and she also had a hugely successful solo career.
It's been 30 years since Bella Donna established Nicks as a force to be reckoned with in or out of Fleetwood Mac and, over the ten years since her last studio album, she seemed to be headed towards a kind of retirement: touring and releasing compilation packages. If In Your Dreams turns out to be the capstone of her career, then she's going out on a very high note. However, the album is so good that it suggests it would be a shame for Nicks to stop recording as she obviously has a lot of great music left in her. Simply put, In Your Dreams is her best album since The Wild Heart and it is the best solo effort of her career in terms of merging her mystical and rock sides.
Lyrically In Your Dreams is the most open album of Nicks' career, reminding us that Nicks is at her best when her moony mysticism and snaky incantations are married to sassy rock and roll attitude. This marriage is partly achieved by Dave Stewart's melodic and tight production. He rarely ventures into the meandering over-instrumentation that has haunted every Nicks solo album since The Wild Heart, yet he lets Nicks breath and indulge in the drama that has always formed the core of her allure. He clearly 'gets' what Stevie is all about and his production lets her be herself while deftly setting some boundaries to keep things rock and roll.
Nicks responds as she did when Jimmy Iovine pushed her this way: she gives tremendous, emotional performances. While there's no question that Nicks' voice isn't what it used to be, she seems to have accepted that her sultry vibrato is a thing of the past and is singing with what she has rather than trying to force what she used to have. I noticed this approach during her Soundstage performance as well. The result is Nicks sounds alive, energized, and happy throughout the disk, as if she's really into what she's doing and comfortable with it. In fact, I don't think she has sounded so utterly invested all the way through an album since...again, The Wild Heart.
Frankly (and I know I'm gushing now, but I've been a Stevie fan since Rumours came out when I was ten years old), In Your Dreams is the CD I have been wanting Nicks to do for decades. She's abandoned the over-production and layered instrumentation. The songs sound very direct and simple, yet the sound is still lush and full of sonic details that support the mood of the songs. As to a favorite song...sorry but I can't pick one. The songs all touch different emotions, and I love how Nicks alters her delivery for each of them. There's Nicks' always alluring overgrown romanticism ('Moonlight', 'Italian Summer'), hooky pop tunes ('Secret Love', 'New Orleans'), country twang ('For What It's Worth'), thoughtful ballads ('You May Be The One', 'Cheaper Than Free'), a dirge that verges on slowed down black metal ('Soldier's Angel'), an upbeat take on Edgar Allen Poe ('Annabel Lee'), and straight ahead rock (the title track). Even the to-be-expected loopy tracks ('Wide Sargasso Sea', 'Ghosts Are Gone') seem to work. That said, there is one song that suffers by comparison to the rest of the material: 'Everybody Loves You'. It just doesn't belong on this CD because it's clearly a Eurythmics song in need of Annie Lennox's icy cooing. Nicks hasn't got an icy note in her body, and it just sounds wrong.
As on Trouble in Shangri-La, most of the best songs are the ones Nicks writes on her own. So if I were to ding In Your Dreams, it would be for Nicks' continuing reluctance to step up the plate and write more of her own material. While I'm not crazy about her culling songs from her vaults, if she's got gems like 'Secret Love' and 'Annabel Lee' stored away, then I can't complain too much can I?
Bottom line: I have this CD in my car and just let it play over and over. I haven't given a Nicks' CD this kind of spin priority since Rock a Little. The quality and energy of this album will no doubt go down as one of the biggest surprises of the year. Nicks knocked this album out of the ballpark!
It's been 30 years since Bella Donna established Nicks as a force to be reckoned with in or out of Fleetwood Mac and, over the ten years since her last studio album, she seemed to be headed towards a kind of retirement: touring and releasing compilation packages. If In Your Dreams turns out to be the capstone of her career, then she's going out on a very high note. However, the album is so good that it suggests it would be a shame for Nicks to stop recording as she obviously has a lot of great music left in her. Simply put, In Your Dreams is her best album since The Wild Heart and it is the best solo effort of her career in terms of merging her mystical and rock sides.
Lyrically In Your Dreams is the most open album of Nicks' career, reminding us that Nicks is at her best when her moony mysticism and snaky incantations are married to sassy rock and roll attitude. This marriage is partly achieved by Dave Stewart's melodic and tight production. He rarely ventures into the meandering over-instrumentation that has haunted every Nicks solo album since The Wild Heart, yet he lets Nicks breath and indulge in the drama that has always formed the core of her allure. He clearly 'gets' what Stevie is all about and his production lets her be herself while deftly setting some boundaries to keep things rock and roll.
Nicks responds as she did when Jimmy Iovine pushed her this way: she gives tremendous, emotional performances. While there's no question that Nicks' voice isn't what it used to be, she seems to have accepted that her sultry vibrato is a thing of the past and is singing with what she has rather than trying to force what she used to have. I noticed this approach during her Soundstage performance as well. The result is Nicks sounds alive, energized, and happy throughout the disk, as if she's really into what she's doing and comfortable with it. In fact, I don't think she has sounded so utterly invested all the way through an album since...again, The Wild Heart.
Frankly (and I know I'm gushing now, but I've been a Stevie fan since Rumours came out when I was ten years old), In Your Dreams is the CD I have been wanting Nicks to do for decades. She's abandoned the over-production and layered instrumentation. The songs sound very direct and simple, yet the sound is still lush and full of sonic details that support the mood of the songs. As to a favorite song...sorry but I can't pick one. The songs all touch different emotions, and I love how Nicks alters her delivery for each of them. There's Nicks' always alluring overgrown romanticism ('Moonlight', 'Italian Summer'), hooky pop tunes ('Secret Love', 'New Orleans'), country twang ('For What It's Worth'), thoughtful ballads ('You May Be The One', 'Cheaper Than Free'), a dirge that verges on slowed down black metal ('Soldier's Angel'), an upbeat take on Edgar Allen Poe ('Annabel Lee'), and straight ahead rock (the title track). Even the to-be-expected loopy tracks ('Wide Sargasso Sea', 'Ghosts Are Gone') seem to work. That said, there is one song that suffers by comparison to the rest of the material: 'Everybody Loves You'. It just doesn't belong on this CD because it's clearly a Eurythmics song in need of Annie Lennox's icy cooing. Nicks hasn't got an icy note in her body, and it just sounds wrong.
As on Trouble in Shangri-La, most of the best songs are the ones Nicks writes on her own. So if I were to ding In Your Dreams, it would be for Nicks' continuing reluctance to step up the plate and write more of her own material. While I'm not crazy about her culling songs from her vaults, if she's got gems like 'Secret Love' and 'Annabel Lee' stored away, then I can't complain too much can I?
Bottom line: I have this CD in my car and just let it play over and over. I haven't given a Nicks' CD this kind of spin priority since Rock a Little. The quality and energy of this album will no doubt go down as one of the biggest surprises of the year. Nicks knocked this album out of the ballpark!
Thursday, May 26, 2011
Tuesday, May 24, 2011
Back to Hapkido?......No
This was a tough decision. I'd made a lot of progress in hapkido, and I really enjoyed it. Plus, the fitness benefits were terrific. However, between going back to the gym and cycling weather upon us, it seemed like it would be too much of one thing to continue with martial arts too.
I've mentioned on this blog several times that I've been really focused on athletic stuff for a long time, and I guess it's time to make some conscious decisions to set aside time for other interests (like painting, writing, more time for meditation, hanging out with friends, reading, etc.).
I'm going to keep practicing my forms and kicks and punches as part of my routine at the gym. So while I may not be continuing with martial arts (right now), if I can keep the skills I have sharp then nothing has been lost at all. Taking hapkido was a wonderful experience and I do miss it, but I know this is the right choice. I just don't feel it's very balanced to be so invested in fitness to the exclusion of other aspects of my life. So, instead of continuing to wring my hands about it, it's time to do something about it. Done.
I've mentioned on this blog several times that I've been really focused on athletic stuff for a long time, and I guess it's time to make some conscious decisions to set aside time for other interests (like painting, writing, more time for meditation, hanging out with friends, reading, etc.).
I'm going to keep practicing my forms and kicks and punches as part of my routine at the gym. So while I may not be continuing with martial arts (right now), if I can keep the skills I have sharp then nothing has been lost at all. Taking hapkido was a wonderful experience and I do miss it, but I know this is the right choice. I just don't feel it's very balanced to be so invested in fitness to the exclusion of other aspects of my life. So, instead of continuing to wring my hands about it, it's time to do something about it. Done.
Monday, May 23, 2011
Back to the Gym
I haven't belonged to a gym/health club/fitness center for something close to fifteen years. I always found them to be unwelcoming places with the stench of heterosexual meat market wafting in the air. However, I was not able to push through my plateau with dumbbells at home, so I began missing those machines. Plus there is a gym in my building at work...can't get more convenient than that!
I joined a gym about a month or two ago, and I have been really into it! Weirdest of all is that I have suddenly discovered the wonderful world of treadmills. I used to loathe treadmills and all their brethren (stairmasters, ellipticals, cycle machines, etc.) because I'm so used to biking outside that I could never deal with just being stationary while putting out all that energy. But for whatever reason I now enjoy my treadmill time!
If I can get off work early enough, I go down and do the treadmill while watching Judge Judy (I looove Judge Judy!). In the AM, I listen to all my old techno from the 90's: Superstar DJ Keoki, Juno Reactor, Crystal Method, Uberzone...and just go into a zone. It's almost like meditating in a way, because I clear my mind and just do it.
I'm up to about two or three times a week. 40 minutes a pop on the treadmill. And I alternate between two moderate lifting routines. I burn about 550 calories a shot on the treadmill, and I can already feel my body responding to the lifting. Now I just need to get to running on the treadmill. And maybe get a trainer for a week or two to set up a really nice lifting routine for myself.
Who knows? By this time next year, I might even look like Mr. Yummy in this picture here. No? Well, a boy can dream right?
Sunday, May 22, 2011
Back to Painting?
Years ago, I was way into painting. I took a bunch of college classes and built up a pretty good head of steam. I was painting somewhat large canvases (the one pictured is 36x30), had placed my work in some shows, and even sold a piece...to a total stranger no less! I had gotten to a place where I was trying to merge the topics I was reading about in physics and biology texts into my art and naming them things that merged the art and science, as well. This piece was called 'Deep Sea Abstract Biogenesis'...or something like that.
I stopped painting pretty abruptly about the same time I stopped writing poetry. In general, there were a bunch of years where I simply didn't do anything creative anymore. Not entirely sure why that happened. I just didn't feel the urge to produce or communicate anything, and whenever I did try I had this feeling that the stuff I was creating was 'the same old same old'.
Over the past few week, however, I've had a return of what I can only call 'artist vision'. This is how it works: I'll be going along not thinking about anything when suddenly something very random and everyday that I see suggests a painting to me or a way to visually depict something through art. So this weekend I pulled my car out of the garage, fished my easel out of the crawl-space, took an inventory of my leftover supplies, picked up a few things I needed, made the garage into a studio, and started a canvas.
I have some ideas that I want to play with, but I veered away from them and instead did a quick sketch from my imagination of a bowl of avocados (don't ask why...it's the color I'm after) with a Cubist sensibility to the composition. I decided to paint this 'still life' as a way to get back on the saddle. Of course, I quickly learned that it's not quite that easy. I laid down my first couple layers of color and then remembered there's that pesky need for the paint to dry or you end up mixing on the canvas with everything you add! This was why, when I was real active, I would have two or three paintings going on at once. I'd always get started on the next ones as I finished the current project, so that while one picture was drying I would always have something else to do.
Anyway, the first layers are down. Who knows where this will go. I've a had a few false restarts of my creative process over the years, and this may be just another one of them. I hope that this coming weekend I can get back to it and start on the actual painting. But no matter what, I really enjoyed the process of painting again: the loose brushstrokes, the smells, the look of the paint on my palette, mixing colors, and the way it flows on the canvas. I even used my palette knife to slather paint on, so no worries that I'll revert back to some really uptight process. I even (almost) enjoyed the way I somehow end up with every color I use on my fingers. I had fun!
I stopped painting pretty abruptly about the same time I stopped writing poetry. In general, there were a bunch of years where I simply didn't do anything creative anymore. Not entirely sure why that happened. I just didn't feel the urge to produce or communicate anything, and whenever I did try I had this feeling that the stuff I was creating was 'the same old same old'.
Over the past few week, however, I've had a return of what I can only call 'artist vision'. This is how it works: I'll be going along not thinking about anything when suddenly something very random and everyday that I see suggests a painting to me or a way to visually depict something through art. So this weekend I pulled my car out of the garage, fished my easel out of the crawl-space, took an inventory of my leftover supplies, picked up a few things I needed, made the garage into a studio, and started a canvas.
I have some ideas that I want to play with, but I veered away from them and instead did a quick sketch from my imagination of a bowl of avocados (don't ask why...it's the color I'm after) with a Cubist sensibility to the composition. I decided to paint this 'still life' as a way to get back on the saddle. Of course, I quickly learned that it's not quite that easy. I laid down my first couple layers of color and then remembered there's that pesky need for the paint to dry or you end up mixing on the canvas with everything you add! This was why, when I was real active, I would have two or three paintings going on at once. I'd always get started on the next ones as I finished the current project, so that while one picture was drying I would always have something else to do.
Anyway, the first layers are down. Who knows where this will go. I've a had a few false restarts of my creative process over the years, and this may be just another one of them. I hope that this coming weekend I can get back to it and start on the actual painting. But no matter what, I really enjoyed the process of painting again: the loose brushstrokes, the smells, the look of the paint on my palette, mixing colors, and the way it flows on the canvas. I even used my palette knife to slather paint on, so no worries that I'll revert back to some really uptight process. I even (almost) enjoyed the way I somehow end up with every color I use on my fingers. I had fun!
Saturday, May 21, 2011
Do Zen Buddhists Believe in God? (Part 2)
My friend Paul has been asking me questions about my recent post Do Zen Buddhists Believe In God?. Here was his latest question:
"The four noble truths of Buddhism is all about suffering. The Zen tradition follows from that? What is the purpose of Zen then? Why do it? Follow it? I'm having a hard time grasping the null response to god/religion concept. Sure, saying that god is the #1 serial killer of all time is overblown but surely you have to admit that religious belief does cause real harm and actual death to people. What would the Zen response be to murder? War? Falsehoods? Surely they would have the same response to religion?"
This question provoked a ton of thought from me, so I wanted to post the result of this thinking.....
First of all, I know very little about Buddhism. The Zen tradition flows from it, but my sense is Buddhism is much more complicated. There's all that 'four noble truths' and 'nine directions' and 'five worlds' and 'three hells' stuff, and I'd be willing to bet part of the origin of Zen was a rejection of this complexity. Second, you do not practice Zen for a reason. By practicing it, you experience reality directly, discipline your mind, understand truth, and ultimately may become enlightened. However, there is no goal, 'finish line', or set of rules. Last, since Zen is first and foremost a personal experience, I doubt there is a 'Zen' response to anything (including murder, war, or falsehood). Speaking for myself, here's my stab at what I believe about these subjects from a 'Zen perspective'.
Falsehood (i.e., lying). Lying that springs from delusion (e.g., you are pretending to be something you are not) is wrong because it necessarily takes you from the path. Beyond this, neither honesty nor lying are good or bad in and of themselves. Example: Your mother just got her hair done for a big party. She loves it and asks you how it looks. You think it's awful. Is it right to be honest or to lie?
The answer depends on the facts. If her hair is truly embarrassing and hideous and she'll make a fool of herself at the party, then you should tell her just enough truth so she gets the point without being hurt. As such, it would not be right to be totally honest and tell her she looks awful (even if it's true) and list out all the reasons why. On the other hand, if it's just your personal opinion that she looks bad and telling her this will achieve nothing more than to hurt her feelings, then it would not be compassionate to do so. This does not mean you actively lie and say she looks twenty years younger or anything like that. You answer the question so as not to hurt her, while speaking as little untruth as possible. On the other hand, some friends value you because you will give them the 'unvarnished truth no matter what'. In this case, lying - even to spare their feelings - is not compassionate and is wrong. Given all this, you see that neither honesty nor lying can always be right or wrong.
If a child hits me, I do not hit back. If an adult hits me to get past me and kill my child, I would without hesitation hit the adult back and if necessary kill them to protect my child's life. If a country does another country wrong but there is no harm, invading that country is senseless. If a country invades yours or threatens to (and is able to) destroy yours, defending yourself is necessary. Now defense can take many forms, not just overt war.
Using war when it is not the best means of self-defense is wrong. Avoiding war when it is the best means of self-defense is also wrong. Engaging in a war you cannot win is wrong (or more precisely stupid). Using a quick invasion to destroy a dangerous enemy who has attacked you is good (or more precisely intelligent). Given all this, you see that self-defense can be good or bad depending on the situation. Naturally, war is always tragic because it leads to so much death and destruction. That is why war, violence, fighting it is not the first thing a person should leap to.
Using war when it is not the best means of self-defense is wrong. Avoiding war when it is the best means of self-defense is also wrong. Engaging in a war you cannot win is wrong (or more precisely stupid). Using a quick invasion to destroy a dangerous enemy who has attacked you is good (or more precisely intelligent). Given all this, you see that self-defense can be good or bad depending on the situation. Naturally, war is always tragic because it leads to so much death and destruction. That is why war, violence, fighting it is not the first thing a person should leap to.
God/no god
Believers do not accept science as valid proof and non-believers do not accept faith as valid proof, so this debate cannot be settled beyond yourself. For me, I do not believe in god(s), but it's certainly possible I could be wrong. However, Zen Buddhist considers fretting over a question that cannot really be solved as cluttering your mind. It's delusion that just takes your from the path and solves nothing. Frankly, I think my realization that this question is irrelevant (and then clearing my mind of any quibbling around it) has propelled me forward tremendously. So you see that the existence of god is not an essential question for a Zen Buddhist to answer.
Now some people say make a second point that - even if you can't prove there is no god - that religious belief is bad because it has led to the murder of millions of people over the centuries (and other bad stuff). Therefore, we should root it out. While I most certainly believe that for many people religion becomes a delusion that keeps them from reality (and this delusion is what leads to the negative outcomes of religious belief),
I also often wonder if when religious people pray and say that god speaks to them whether they are in a form of zazen (albeit an inconsistent and not very disciplined form of it). Further, there are many people who engage in acts of kindness and generosity every day largely (and sometimes solely) because they are spurred by their religious beliefs. Religion can be a force for good or evil depending on the person, but I will say I believe people who become wrapped up in a religious belief are more likely to suffer from delusion and therefore act in negative ways because they become invested in preserving their delusions so they can avoid thinking deeply about themselves or their lives.
This was an interesting thought exercise because it made me think about how Zen gets you away from a dualistic view of the world. At bottom, demonizing religion or money or power or war is like blaming handguns for the murders people commit. It's blaming something other than ourselves for our failings. Zen Buddhism suggests to get past all that wrong thinking by getting in the moment through zazen and disciplining your mind. Truth and clarity come on their own without effort when you do this.
Thursday, May 19, 2011
Friday, May 13, 2011
Haiku Thursdays
No, it's not Thursday. But it's been a while!
a spider weaves
in the gusting wind
when will I stop
a spider weaves
in the gusting wind
when will I stop
Mumonkan, Koan 15: Tozan's Sixty Blows
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| Zen Master Ummon |
Ummon asked, "Where are you from?"
"From Sato," Tozan replied.
"Where were you during the summer?"
"Well, I was at the monastery of Hozu, south of the lake."
"When did you leave there?" Ummon asked.
"On August 25" was Tozan's reply.
"I spare you sixty blows," Ummon said.
The next day Tozan came to Ummon and said, "Yesterday you said you spared me sixty blows. I beg to ask you, where was I at fault?"
"Oh, you rice bag!" shouted Ummon. "What makes you wander about, now west of the river, now south of the lake?"
Tozan thereupon came to a mighty enlightenment experience.
Fundamentally speaking, Tozan never should have left Sato. Seeking outside is wrong thinking. Sit in zazen anywhere. You have everything you need inside you, simply silence your thoughts.
Monday, May 9, 2011
Mumonkan, Koan 14: Nansen Cuts The Cat In Two
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| Zen Master Joshu |
That evening Joshu returned, and Nansen told him of the incident. Joshu took off his sandal, placed it on his head, and walked out. "If you had been there, you would have saved the cat," Nansen remarked.
Absurdity. Monks arguing over a cat is absurdity. No one could give an answer because the situation was absurd. Joshu meant this when he walked out with a sandal on his head.
This reminds me of a story someone I knew once told me about their final exam in an college Eastern Philosophy class. The final was a single essay question: "Explain a man standing on his head with a hat on each foot." Everyone in the class bent over their paper, furiously writing paragraphs. My friend wrote one sentence and, before the stunned class, walked up and turned in his paper. The professor read it, smiled, and declared that he had an "A". What did my friend write? "Explain a pregnant cow perched on a flagpole."
Absurdity and delusion cannot be explained and no 'answer' can be given about them. Don't waste your time.
Sunday, May 8, 2011
Do Zen Buddhists Believe in God?
Whether I believe in god or not is an interesting question to be asked. I think the most accurate answer would be: "I don't care."
As a Zen Buddhist, I can believe in a god if I want...or not. Since it shouldn't make any difference, it's not a question I should spend any mental energy trying to resolve.
From a personal standpoint, I have been an atheist most of my life. However, my study of Zen Buddhism has taught me to feel most comfortable saying I don't know whether there is a god or not. And, further, that I do not accept that this is an important question to answer.
What I can say with some conviction is that focusing on the concept of god could be a source of delusion. A distraction, if you will. Instead of experiencing reality directly, I might be taking a 'shortcut' to truth based on what a book, preacher, or 'god' tells me. From a Zen perspective, this would be thoughtless. So belief in god could be harmful if it becomes an influential part of one's view of reality.
Zen Buddhism is not a deistic religion out to worship something; it's about disciplining the mind and experiencing truth. Since no one needs a god to do this, I would argue that Zen Buddhists must ultimately feel that the question of "Is there a god?" belongs to the same category as the question "If a tree falls in the forest and there's no one to hear it, does it make a sound?" It's an interesting question, but the answer ultimately doesn't (and shouldn't) make any difference.
Also see: Do Zen Buddhists Believe in God (Part 2)
As a Zen Buddhist, I can believe in a god if I want...or not. Since it shouldn't make any difference, it's not a question I should spend any mental energy trying to resolve.
From a personal standpoint, I have been an atheist most of my life. However, my study of Zen Buddhism has taught me to feel most comfortable saying I don't know whether there is a god or not. And, further, that I do not accept that this is an important question to answer.
What I can say with some conviction is that focusing on the concept of god could be a source of delusion. A distraction, if you will. Instead of experiencing reality directly, I might be taking a 'shortcut' to truth based on what a book, preacher, or 'god' tells me. From a Zen perspective, this would be thoughtless. So belief in god could be harmful if it becomes an influential part of one's view of reality.
Zen Buddhism is not a deistic religion out to worship something; it's about disciplining the mind and experiencing truth. Since no one needs a god to do this, I would argue that Zen Buddhists must ultimately feel that the question of "Is there a god?" belongs to the same category as the question "If a tree falls in the forest and there's no one to hear it, does it make a sound?" It's an interesting question, but the answer ultimately doesn't (and shouldn't) make any difference.
Also see: Do Zen Buddhists Believe in God (Part 2)
Sunday, May 1, 2011
Ip Man 2
I was really looking forward to Ip Man 2, as I enjoyed the first movie a lot (see Zen Throw Down review: http://zenthrowdown.blogspot.com/2010/12/ip-man.html). Unfortunately Ip Man 2 is a disappointment and a surprisingly weak film. It's a classic case of a martial arts movie getting too slick for its own good while trying to go mainstream. Ip Man 2 lacks the fights needed to appeal to fans of the genre, but it's not strong enough in plot and characterization for mainstream audiences to care.
Ip Man 2 is certainly a well-crafted flick, but I just didn't find any heart or soul in it. The fights contain far too much Matrix-esque wire-fu and some of it is so silly that it makes the film ridiculous. You can't treat it as anything other than a popcorn flick, and yet it's trying to (I think) have some kind of heart. Worse than that, there are tons of fast cuts that prevent the performers from showing off their skills, and this makes you wonder if it's all special effects. Big turn off for a genre fan.
So what about the things mainstream audiences will look for: plot, acting, characterization? Ip Man 2 doesn't deliver any of this. Donnie Yen reprises the role of Ip Man capably enough, but his sincere performance seems lost and out of place in this silly movie. It's almost as though he and his character are beside the point. His student, Lueng, was well-played and interesting, but the character is not developed and goes nowhere. His wife's pregnancy was all front and center but has nothing to do with anything. A close friend of Ip Man is homeless after taking a Japanese bullet in the head and...not sure why that's in the movie as it also goes nowhere. Sammo Hung has great presence, but his character is undefined. First, he's a Hong Kong martial arts mafioso (which is a bit silly all by itself), but then we find he's working for the Brits, but then he changes sides...sort of. Huh??? What's the point of this? The final scene with a young Bruce Lee is dorky and feels tacked on to the end of the film.
The main reason Ip Man 2 will fall flat - for any viewer - is that there is no conflict. Who or what is Ip Man fighting? First we see him trying to open a martial arts school to make ends meet. Then he comes into conflict with Hung, but since Hung's having his chain yanked by the Brits they become allies in short order. Then the rest of the movie is about a boxing match with a British boxer, which Ip Man has to take on and win because...uh, well...I'm not sure why he has to take it on or win. So there can be a big fight at the end of the movie?
I also have to say that this Western fight/match with crooked 'bosses' rigging things was done far, far better in Fearless. In that movie, if Jet Li's character didn't take the match or lost it then his school and people would be shamed. Ip Man 2 tries to mine this vein but lacks the heart and soul to can't make the sparks fly. Ong-Bak worked this angle better, too, and it wasn't even trying to nor were those fights the core of the film (except as awesome displays of skill!). In Ip Man 2, the crooked Brit police chief running the match is too poorly played and laughable to be a real villain. His arrest at the end is corny. The match itself is not very interesting, and I still don't get the 'realization' that inspired Ip Man to open the decisive can of whoop-ass at the end. Lame.
Without much martial arts action and without a central conflict or a reason to care, it's hard to find Ip Man 2 anything but empty and directionless. This undermines the impact of the fight scenes, especially since they aren't being showcased for their own sake. I walked away from the movie feeling as though its only point was to cash in on what I understand is an Ip Man phenomenon in the East. Donnie Yen lost a good deal of credibility with me on this one.
Worth renting if you're a huge Donnie Yen fan or can't live without seeing more of his Ip Man franchise. Even in that case, though, don't expect much.
Ip Man 2 is certainly a well-crafted flick, but I just didn't find any heart or soul in it. The fights contain far too much Matrix-esque wire-fu and some of it is so silly that it makes the film ridiculous. You can't treat it as anything other than a popcorn flick, and yet it's trying to (I think) have some kind of heart. Worse than that, there are tons of fast cuts that prevent the performers from showing off their skills, and this makes you wonder if it's all special effects. Big turn off for a genre fan.
So what about the things mainstream audiences will look for: plot, acting, characterization? Ip Man 2 doesn't deliver any of this. Donnie Yen reprises the role of Ip Man capably enough, but his sincere performance seems lost and out of place in this silly movie. It's almost as though he and his character are beside the point. His student, Lueng, was well-played and interesting, but the character is not developed and goes nowhere. His wife's pregnancy was all front and center but has nothing to do with anything. A close friend of Ip Man is homeless after taking a Japanese bullet in the head and...not sure why that's in the movie as it also goes nowhere. Sammo Hung has great presence, but his character is undefined. First, he's a Hong Kong martial arts mafioso (which is a bit silly all by itself), but then we find he's working for the Brits, but then he changes sides...sort of. Huh??? What's the point of this? The final scene with a young Bruce Lee is dorky and feels tacked on to the end of the film.
The main reason Ip Man 2 will fall flat - for any viewer - is that there is no conflict. Who or what is Ip Man fighting? First we see him trying to open a martial arts school to make ends meet. Then he comes into conflict with Hung, but since Hung's having his chain yanked by the Brits they become allies in short order. Then the rest of the movie is about a boxing match with a British boxer, which Ip Man has to take on and win because...uh, well...I'm not sure why he has to take it on or win. So there can be a big fight at the end of the movie?
I also have to say that this Western fight/match with crooked 'bosses' rigging things was done far, far better in Fearless. In that movie, if Jet Li's character didn't take the match or lost it then his school and people would be shamed. Ip Man 2 tries to mine this vein but lacks the heart and soul to can't make the sparks fly. Ong-Bak worked this angle better, too, and it wasn't even trying to nor were those fights the core of the film (except as awesome displays of skill!). In Ip Man 2, the crooked Brit police chief running the match is too poorly played and laughable to be a real villain. His arrest at the end is corny. The match itself is not very interesting, and I still don't get the 'realization' that inspired Ip Man to open the decisive can of whoop-ass at the end. Lame.
Without much martial arts action and without a central conflict or a reason to care, it's hard to find Ip Man 2 anything but empty and directionless. This undermines the impact of the fight scenes, especially since they aren't being showcased for their own sake. I walked away from the movie feeling as though its only point was to cash in on what I understand is an Ip Man phenomenon in the East. Donnie Yen lost a good deal of credibility with me on this one.
Worth renting if you're a huge Donnie Yen fan or can't live without seeing more of his Ip Man franchise. Even in that case, though, don't expect much.
Saturday, April 30, 2011
National Poetry Month: Wild Winds
Had to sneak in one more of my poems before the end of National Poetry Month. This one is also from my 'Learning to Stop' phase, and like many of the others was written almost exactly ten years ago. Wild Winds is one of the many poems from that time that explored the 'guy' perspective.
Wild Winds
Muddy boots
horizon in my eyes
I orphaned my grief
and ran with wild winds
to Wyoming mountains
Winter castaway
icicles in my beard
Alone with white rivers
wolves and wheeling eagles
where nothing gentle survives
Free until one morning
Spring enchanted winter
caressed the icicles
until their strength
ran like tears
I left Wyoming
before April's deep blue thunder
and ran with wild winds
to find a harsher place
where nothing gentle survives
Wild Winds
Muddy boots
horizon in my eyes
I orphaned my grief
and ran with wild winds
to Wyoming mountains
Winter castaway
icicles in my beard
Alone with white rivers
wolves and wheeling eagles
where nothing gentle survives
Free until one morning
Spring enchanted winter
caressed the icicles
until their strength
ran like tears
I left Wyoming
before April's deep blue thunder
and ran with wild winds
to find a harsher place
where nothing gentle survives
National Poetry Month: Nomads
Here's another poem from my 'Learning To Stop' phase. Even though it was two years after Jim and I bought the house together (four years into our relationship), I still had odd moments of angst about being in a relationship and having settled down in suburbia. It's not that I doubted my choices or the direction my life was going; I knew it was the best thing that had ever happened to me. It was just such a vast change to go from being an individual to being part of a couple, that there were psychic aftershocks for a long time as the tectonic plates of my life adjusted to the shift.
This has got to be a very common feeling, especially for men. Of course, we're not supposed to talk about it. Straight men in particular probably have to bury this stuff, because I question whether many women - despite their gender's PR spin about being more communicative about their feelings - could really handle hearing a man express doubts about being with them. I wonder if one reason relationships fall apart in the first several years is that people ignore these feelings, never 'rethink' themselves, reassess their lives, and never find a way to get comfortable with themselves again after they enter a relationship. For me, Nomads captures the feelings I had during one of those aftershock moments. Of course, as the poem makes clear, I had no real answers for myself in the moment.
Nomads
O Love,
you are salvation balm!
But I see you
tame the wilderness
and wear the stone smooth
And I’ve seen:
sailors done with the sea,
gypsies at hearthstones,
knights with hung shields—
content yet restless
I trust myself
to Love’s steady mast,
sailing by strange stars,
compassless
for a time.
This has got to be a very common feeling, especially for men. Of course, we're not supposed to talk about it. Straight men in particular probably have to bury this stuff, because I question whether many women - despite their gender's PR spin about being more communicative about their feelings - could really handle hearing a man express doubts about being with them. I wonder if one reason relationships fall apart in the first several years is that people ignore these feelings, never 'rethink' themselves, reassess their lives, and never find a way to get comfortable with themselves again after they enter a relationship. For me, Nomads captures the feelings I had during one of those aftershock moments. Of course, as the poem makes clear, I had no real answers for myself in the moment.
Nomads
O Love,
you are salvation balm!
But I see you
tame the wilderness
and wear the stone smooth
And I’ve seen:
sailors done with the sea,
gypsies at hearthstones,
knights with hung shields—
content yet restless
I trust myself
to Love’s steady mast,
sailing by strange stars,
compassless
for a time.
Saturday, April 23, 2011
Enter The Dragon
I had shied away from watching martial arts movies from the 70s because they always looked a bit too cheesy. But a friend told me I had to watch Enter The Dragon. So onto the Netflix queue it went.
No doubt there is a lot of cheese here, largely because the movie so clearly shows its date. The "70's mandude" swagger will make you roll your eyes more than once. The music is all over the place; one minute its like bad James Bond spy music and then the next it sounds like something from Shaft. The audio track stinks and makes it seem like you're watching dubbed foreign film when the whole thing is actually shot in English. John Saxon for me is always a Rashid Ahmed from Dynasty. Lame acting, weird clothes and hair, a thoroughly ridiculous story, and a silly villain.
That's a lot to look past, but this movie does a great job serving up some really sweet fights. No question about it! The rough cinematography actually works in favor of the film as there are some scenes where you totally feel the power Bruce Lee brought to the table. I knew Lee was big into fitness but holy crapballs! This guy has a V-back I would die to have, and he ripples every time he moves! His skills are presented in amazing clarity, and it makes me understand why Bruce Lee fans object to the slicker cinematography of today (even the stuff that I don't see as slick must seem like it is to them). A roughly shot movie like this further emphasizes that slick studio magic tends to dull the edge of a martial arts movie.
From what I understand, Lee had a lot of control over this film, and I can see it in the way there are pieces of martial arts philosophy lovingly worked into it. Apparently, this new release has re-inserted these scenes as - back in the day - some movie studio douchebag cut them from the film after Lee's death and prior to the initial release. Brilliant decision to put them back in. I just do not get why this material seems to offend the US movie industry so much. Even today, such material is routinely cut from foreign movies for US release. It deadens the spirit of the film to not have it.
So, okay yes, there is a lot about this movie that is dated. No, I can't quite get past the high pitched 'whooo-ahhh!' that Lee lets loose when he's fighting sometimes. Yes, there were times I was watching the story and thinking "WTF?". But I really can't imagine any fan of the genre not being satisfied by Enter The Dragon. The spirit of the martial arts is definitely here, Lee's presence is awesome and smashes through all issues you might have, and his skills are so strong that you can easily see why he became such an iconic figure. I enjoyed this movie quite a bit, and I would consider checking out some of his other films which is surprising given my feelings about these films going into Enter The Dragon. I think I'd even consider buying a copy for my martial arts movie collection.
RIP Bruce Lee
No doubt there is a lot of cheese here, largely because the movie so clearly shows its date. The "70's mandude" swagger will make you roll your eyes more than once. The music is all over the place; one minute its like bad James Bond spy music and then the next it sounds like something from Shaft. The audio track stinks and makes it seem like you're watching dubbed foreign film when the whole thing is actually shot in English. John Saxon for me is always a Rashid Ahmed from Dynasty. Lame acting, weird clothes and hair, a thoroughly ridiculous story, and a silly villain.
That's a lot to look past, but this movie does a great job serving up some really sweet fights. No question about it! The rough cinematography actually works in favor of the film as there are some scenes where you totally feel the power Bruce Lee brought to the table. I knew Lee was big into fitness but holy crapballs! This guy has a V-back I would die to have, and he ripples every time he moves! His skills are presented in amazing clarity, and it makes me understand why Bruce Lee fans object to the slicker cinematography of today (even the stuff that I don't see as slick must seem like it is to them). A roughly shot movie like this further emphasizes that slick studio magic tends to dull the edge of a martial arts movie.
From what I understand, Lee had a lot of control over this film, and I can see it in the way there are pieces of martial arts philosophy lovingly worked into it. Apparently, this new release has re-inserted these scenes as - back in the day - some movie studio douchebag cut them from the film after Lee's death and prior to the initial release. Brilliant decision to put them back in. I just do not get why this material seems to offend the US movie industry so much. Even today, such material is routinely cut from foreign movies for US release. It deadens the spirit of the film to not have it.
So, okay yes, there is a lot about this movie that is dated. No, I can't quite get past the high pitched 'whooo-ahhh!' that Lee lets loose when he's fighting sometimes. Yes, there were times I was watching the story and thinking "WTF?". But I really can't imagine any fan of the genre not being satisfied by Enter The Dragon. The spirit of the martial arts is definitely here, Lee's presence is awesome and smashes through all issues you might have, and his skills are so strong that you can easily see why he became such an iconic figure. I enjoyed this movie quite a bit, and I would consider checking out some of his other films which is surprising given my feelings about these films going into Enter The Dragon. I think I'd even consider buying a copy for my martial arts movie collection.
RIP Bruce Lee
Friday, April 22, 2011
National Poetry Month: Ghosts
This poem is also part of my 'Learning To Stop' phase. Ghosts was the first time I was able to write a poem about something I had felt many times over the years, something that I think most artists feel at one point or another. There are times where I would have all this incredible creativity just flowing out of me like a fountain. I wasn't trying to be uber creative, and yet paintings, writing, and/or whatever would just flow out of me without any effort and it was all really good. At those times, you sort of step back from yourself and ask: "Where is all this coming from???" It's exciting and rewarding, but it's also a little freaky at times and I always loved to ascribe something supernatural to it.
Ghosts
And the Fall returns—
a guide not a friend.
Chill night winds
cross over into day
rousing spiders
and dead leaves.
I write verse
like a spell caster.
In the late afternoon
voices whisper secrets
on slanted sunlight,
lulling trees to sleep.
I greet each moon
without blank canvases.
These days flutter by—
pages in a book of shadows
crowded with fresh letters,
poetry, and paintings—
ghosts given form.
Am I speaking
or spoken through?
Ghosts
And the Fall returns—
a guide not a friend.
Chill night winds
cross over into day
rousing spiders
and dead leaves.
I write verse
like a spell caster.
In the late afternoon
voices whisper secrets
on slanted sunlight,
lulling trees to sleep.
I greet each moon
without blank canvases.
These days flutter by—
pages in a book of shadows
crowded with fresh letters,
poetry, and paintings—
ghosts given form.
Am I speaking
or spoken through?
Thursday, April 21, 2011
Cayman Islands: Post 2 (Stingray City)
Aside from our snorkeling adventures (more on those in another post), Jim and I went to Stingray City. Of course, we went at a time when all the cruise ship passengers couldn't go because they had to be back on their ships. That meant a lot less people! They take you way out to the barrier reef, where there is a sandbar that you can stand on and be about waist deep in water. They provide some bait squid that you can hold in your hand, and the rays come over your hand and suck the food up like vacuum cleaners!
They are so smooth and soft, and they act like aquatic versions of cats. Consider: they only come to you if they think you have food for them and then they bump and rub against you. The only thing missing was a purr. They also have yellowish eyes like some cats, although ray eyes are alien-looking. In fact, rays (and octopus) are like earth aliens to me...creatures that live on our planet but are so different looking that they could pass for aliens. We held them, fed them, petted them, and even kissed them. Here are a few pics of our Stingray City visit; we're actually holding the rays in our arms...fantastic!
They are so smooth and soft, and they act like aquatic versions of cats. Consider: they only come to you if they think you have food for them and then they bump and rub against you. The only thing missing was a purr. They also have yellowish eyes like some cats, although ray eyes are alien-looking. In fact, rays (and octopus) are like earth aliens to me...creatures that live on our planet but are so different looking that they could pass for aliens. We held them, fed them, petted them, and even kissed them. Here are a few pics of our Stingray City visit; we're actually holding the rays in our arms...fantastic!
Wednesday, April 20, 2011
Kung-Fu Master
I read some reviews on Amazon that suggest this movie is actually a TV show or mini-series that has been spliced together for release into a 95 minute movie, and that makes a lot of sense after watching this. Kung-Fu Master is no piece of art, as a movie or as a genre entry. Dou Xiao's direction is incredibly poor, and the martial arts are a curious mix of actual skill, badly done (and silly) wire-fu, and cut aways evincing incredibly bad editing. While a plot can be thin in this genre, it should be at least serviceable. This movie has no discernible plot, and the end makes zero sense.
What's good about it? Well, Kung-Fu Master has some excellent distance shots of some of the fights that incorporate several combatants at once. Most of these sequences involve fights with javelins or sticks. There's also (I think?) some good effort displayed by star Yuen Biao, but the wire-fu and endless cuts always make you question whether it's real or completely choreographed.
It almost seems as though the movie is trying to be a modern day version of one of those cheesy chop-socky movies from the 70s, but I can't quite believe the people behind Kung-Fu Master had that much vision. I got the movie dirt cheap at a close-out sale for a Blockbuster Video store. And that's about all I can recommend you expend for it. Poor.
What's good about it? Well, Kung-Fu Master has some excellent distance shots of some of the fights that incorporate several combatants at once. Most of these sequences involve fights with javelins or sticks. There's also (I think?) some good effort displayed by star Yuen Biao, but the wire-fu and endless cuts always make you question whether it's real or completely choreographed.
It almost seems as though the movie is trying to be a modern day version of one of those cheesy chop-socky movies from the 70s, but I can't quite believe the people behind Kung-Fu Master had that much vision. I got the movie dirt cheap at a close-out sale for a Blockbuster Video store. And that's about all I can recommend you expend for it. Poor.
Monday, April 18, 2011
National Poetry Month: "Thanatopsis" by William Cullen Bryant
One of my favorite poems of all time! A masterpiece of transcendentalism by a great American poet who seems to have fallen into relative obscurity, Bryant wrote this in 1812 at the age of 18. Pretty amazing! The title has been interpreted as meaning 'a meditation on death'.
Thanatopsis
To him who in the love of Nature holds
Communion with her visible forms, she speaks
A various language; for his gayer hours
She has a voice of gladness, and a smile
And eloquence of beauty, and she glides
Into his darker musings, with a mild
And healing sympathy, that steals away
Their sharpness, ere he is aware. When thoughts
Of the last bitter hour come like a blight
Over thy spirit, and sad images
Of the stern agony, and shroud, and pall,
And breathless darkness, and the narrow house,
Make thee to shudder, and grow sick at heart; -
Go forth, under the open sky, and list
To Nature's teachings, while from all around -
Earth and her waters, and the depths of air -
Comes a still voice - Yet a few days, and thee
The all-beholding sun shall see no more
In all his course; nor yet in the cold ground,
Where thy pale form was laid, with many tears,
Nor in the embrace of ocean, shall exist
Thy image. Earth, that nourished thee, shall claim
Thy growth, to be resolved to earth again,
And, lost each human trace, surrendering up
Thine individual being, shalt though go
To mix for ever with the elements,
To be a brother to the insensible rock
And to the sluggish clod, which the rude swain
Turns with his share, and treads upon. The oak
Shall send his roots abroad, and pierce thy mould.
Yet not to thine eternal resting-place
Shalt thou retire alone, nor couldst thou wish
Couch more magnificent. Thou shalt lie down
With patriarchs of the infant world - with kings,
The powerful of the earth - the wise, the good,
Fair forms, and hoary seers of ages past,
All in one mighty sepulchre. The hills
Rock-ribbed and ancient as the sun, - the vales
Stretching in pensive quietness between;
The venerable woods - rivers that move
In majesty, and the complaining brooks
That make the meadows green; and, poured round all,
Old Ocean's gray and melancholy waste, -
Are but the solemn decorations all
Of the great tomb of man. The golden sun,
The planets, all the infinite host of heaven,
Are shining on the sad abodes of death,
Through the still lapse of ages. All that tread
The globe are but a handful to the tribes
That slumber in its bosom. - Take the wings
Of morning, pierce the Barcan wilderness,
Or lose thyself in the continuous woods
Where rolls the Oregon, and hears no sound,
Save his own dashings - yet the dead are there:
And millions in those solitudes, since first
The flight of years began, have laid them down
In their last sleep - the dead reign there alone.
So shalt thou rest, and what if thou withdraw
In silence from the living, and no friend
Take note of thy departure? All that breathe
Will share thy destiny. The gay will laugh
When thou art gone, the solemn brood of care
Plod on, and each one as before will chase
His favorite phantom; yet all these shall leave
Their mirth and their employments, and shall come
And make their bed with thee. As the long train
Of ages glide away, the sons of men,
The youth in life's green spring, and he who goes
In the full strength of years, matron and maid,
The speechless babe, and the gray-headed man -
Shall one by one be gathered to thy side,
By those who in their turn shall follow them.
So live, that when thy summons comes to join
The innumerable caravan, which moves
To that mysterious realm, where each shall take
His chamber in the silent halls of death,
Thou go not, like the quarry slave at night,
Scourged to his dungeon, but, sustained and soothed
By an unfaltering trust, approach thy grave,
Like one who wraps the drapery of his couch
About him, and lies down to pleasant dreams.
Thanatopsis
To him who in the love of Nature holds
Communion with her visible forms, she speaks
A various language; for his gayer hours
She has a voice of gladness, and a smile
And eloquence of beauty, and she glides
Into his darker musings, with a mild
And healing sympathy, that steals away
Their sharpness, ere he is aware. When thoughts
Of the last bitter hour come like a blight
Over thy spirit, and sad images
Of the stern agony, and shroud, and pall,
And breathless darkness, and the narrow house,
Make thee to shudder, and grow sick at heart; -
Go forth, under the open sky, and list
To Nature's teachings, while from all around -
Earth and her waters, and the depths of air -
Comes a still voice - Yet a few days, and thee
The all-beholding sun shall see no more
In all his course; nor yet in the cold ground,
Where thy pale form was laid, with many tears,
Nor in the embrace of ocean, shall exist
Thy image. Earth, that nourished thee, shall claim
Thy growth, to be resolved to earth again,
And, lost each human trace, surrendering up
Thine individual being, shalt though go
To mix for ever with the elements,
To be a brother to the insensible rock
And to the sluggish clod, which the rude swain
Turns with his share, and treads upon. The oak
Shall send his roots abroad, and pierce thy mould.
Yet not to thine eternal resting-place
Shalt thou retire alone, nor couldst thou wish
Couch more magnificent. Thou shalt lie down
With patriarchs of the infant world - with kings,
The powerful of the earth - the wise, the good,
Fair forms, and hoary seers of ages past,
All in one mighty sepulchre. The hills
Rock-ribbed and ancient as the sun, - the vales
Stretching in pensive quietness between;
The venerable woods - rivers that move
In majesty, and the complaining brooks
That make the meadows green; and, poured round all,
Old Ocean's gray and melancholy waste, -
Are but the solemn decorations all
Of the great tomb of man. The golden sun,
The planets, all the infinite host of heaven,
Are shining on the sad abodes of death,
Through the still lapse of ages. All that tread
The globe are but a handful to the tribes
That slumber in its bosom. - Take the wings
Of morning, pierce the Barcan wilderness,
Or lose thyself in the continuous woods
Where rolls the Oregon, and hears no sound,
Save his own dashings - yet the dead are there:
And millions in those solitudes, since first
The flight of years began, have laid them down
In their last sleep - the dead reign there alone.
So shalt thou rest, and what if thou withdraw
In silence from the living, and no friend
Take note of thy departure? All that breathe
Will share thy destiny. The gay will laugh
When thou art gone, the solemn brood of care
Plod on, and each one as before will chase
His favorite phantom; yet all these shall leave
Their mirth and their employments, and shall come
And make their bed with thee. As the long train
Of ages glide away, the sons of men,
The youth in life's green spring, and he who goes
In the full strength of years, matron and maid,
The speechless babe, and the gray-headed man -
Shall one by one be gathered to thy side,
By those who in their turn shall follow them.
So live, that when thy summons comes to join
The innumerable caravan, which moves
To that mysterious realm, where each shall take
His chamber in the silent halls of death,
Thou go not, like the quarry slave at night,
Scourged to his dungeon, but, sustained and soothed
By an unfaltering trust, approach thy grave,
Like one who wraps the drapery of his couch
About him, and lies down to pleasant dreams.
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