ellyssian: (Default)
Although it is a track off of Priest's 1974 debut album, Rocka Rolla, Dying To Meet You, it is also the title track from the collection Hero, Hero.

Yes, the title track of something called Hero, Hero is called Dying to Meet You.

This anti-war tune is, like much of the early Priest tunes, a multi-part piece. The video clearly captures the different flavors of the two portions...

Slow and brooding at first, we open with an infantryman describing his role in the war... and then, the second portion, with the refrain "Hero, hero..." comes in...

Warning: this video contains some graphic images. War tends not to end well for one or more parties involved...




ellyssian: (Default)
In a natural follow-up to yesterday's video - Apocalyptica's cover of One - we break briefly from the format of rock-played-on-orchestral-instruments, and we come to rock-played-on-rock-instruments. Of course, the reason for this is One, as performed by Metallica, from their album ...And Justice for All (Amazon.com).

Now, while this song starts with quiet textures and some beautiful melodic fretwork by Kirk Hammett that should be considered accessible to all, it does transition to some of the heaviest, most powerful work Metallica has ever done. Even if the bass - played by Jason Newstead, who had to step in to fill dearly departed Cliff Burton's unfillable shoes - was recorded with some of the most godawful lack-of-production qualities ever to see a release.

I would expect those of you who don't like such things as heavy metal, distorted guitars, and so forth to shun this video, however, I'd like you to make an exception.

This video is perhaps one of the most innovative music videos to have been made. Despite this being a "promotional video" - which is what the music companies consider music videos: advertising - the band is upstaged throughout by clips - dialogue and all - from the 1971 movie Johnny Got His Gun (IMDB) which is based on the book (Amazon.com) of the same name. The clips are powerful and graphic.

Several themes - and critical issues - are brought up. War: "For democracy, any man would give his only begotten son." The end product of war: "Inside me I'm screaming, nobody pays any attention. If I had arms, I could kill myself. If I had legs, I could run away. If I had a voice, I could talk and be some kind of company for myself. I could yell for help, but nobody would help me." Medical ethics, euthanasia, and extraordinary measures to sustain life: "He eats through a tube. And whatever comes in through a tube has to go out through a tube. He is the armless, legless wonder of the twentieth century. And yet, by God, he's just as alive as you and me."

This should not be watched lightly, but I feel it should be watched. Then again, those who most need to be moved by this are very likely amongst those who would never watch it - and, just as likely from what I know of you, not amongst those who are viewing this on your Friends page.

Watch, discuss.

ellyssian: (trees)

presumptively dead
by Everett A Warren
June 10, 1992

under
lies history
around
stands present
before
walks future
together
the three
hand in hand

who am i
i am forgotten
as i lie here
a rotting carcass
a reminder of war

forget
me not
i have
not sinned
forget
me not
i was not me
i was a tool

life
so unreal
so green
the leaves
the sky not seen
so red
the blood
that i leave behind

a cage
that stays closed
a young boy
with a gun
and toothless grin
feeds me his scraps

my country
'tis of thee
sweet land of liberty
for thee i toiled
under your wings of war

my country
'tis of thee
sweet land of bitter reality
for thee hath turned
thy will from me

homeless
away from home
in jungle home
i roam the bamboo
one pace by pace
the circle made

man no longer
no relevancy
to those who walk upright
private first class child once
now too old
so crushed by years
neglect be my name

forget
me not
i was not me
i was a tool
forget
me not
i am
presumptively dead

1983:
they are still there, but we are not
they have been suffering
while the department of defense
says that they are dead

prisoners of the vietnamese
they lie there being tortured
thousands are missing in action
hundreds are prisoners of war

vietnamese refugees have seen
them marching in long lines
eyewitness accounts of our men
as late as nineteen eighty

yet still we fight in lebanon
we also liberated granada
we pay no heed to these soldiers
they've gone but don't return

they helped us fight the enemy
we leave them captured
we do not attempt to rescue them
they are presumptively dead


Copyright (c) 1992 Everett A Warren

ellyssian: (Default)
... I wrote this:

And, lo, we do sow our seeds upon the fields;
And, lo, we do raise a mighty army;
And, lo, our army does meet our enemy in battle;
And, lo, we do plant our children once more beneath the fields.

ellyssian: (Default)


Benjamin Britten: War Requiem

Bo Skovhus, baritone; Luba Orgonasova, soprano; Anthony Rolfe Johnson, tenor
Jurgen Lamke, organist
Tolzner Knabenchor, The Monteverdi Choir, NDR-Chor, NDR-Sinfonieorchester
Conducted by John Eliot Gardiner

An excellent and deeply moving performance. Admittedly, I have not heard any of the other recordings of this work, so I have nothing with which to compare it to; that aside, this work - text, performance, and all - instantly resonated with me.

I am biased towards requiems - they are one particular type of work that I seek and collect, and that's how I stumbled across this. The "Dies irae" - always a critical point in a requiem - is quite powerful, and remains the most memorable part of this work.

The narration (well, baritone & tenor vocal parts, really; as they're in English it has the feel of two parts being narrated) is a bit overly dramatic at times, something that would usually detract from the work for me (especially in a requiem) but here it works quite well. There is a lot of feeling and meaning brought into this work through Britten's own experiences with war - this is decidedly an anti-war piece, and the booklet provides plenty of background, although the narration (excerpts from a poem, I believe) is clear and easy to follow, mingled in with the text of the traditional Latin mass.
ellyssian: (Default)
Woah.

Check out Jaik Wills (on MySpace) - and most particularly, listen to his song Checks and Balances, which has a, ahem, "guest vocal" by Pat Robertson. If you avoid MySpace, check out the song on Neil Young's Songs of the Times from his Living with War Today page.
ellyssian: (Default)
"Dad, tell me, will I be dead very long?"

-- Oblivion Ocean by Pain of Salvation

Memorials

Nov. 11th, 2006 09:04 am
ellyssian: (Default)
This was written on a certain day this past September, and was promptly misplaced. In celebration of our ineffective government shifting like an unsecured load in a freighter in heavy seas, lo, here 'tis:

At the end of A Christmas Carol, Scrooge learns his lesson; he learns what Christmas means, and he learns to keep that spirit all year long.

On a given day, we memorialize the loss of many lives; we don't celebrate because we are the victims here, not the victors.

And through a series of lies, manipulations, and sheer incompetence, the victors are able to continue their celebration through the year. As our leaders seek personal gain and personal vendettas, we take a moment of silence. It is but a brief moment, for excuses, promises never kept, and more lies that pour forth from the mouths of politicians.

Why do terrorists do the things they do? Mostly because they're pissed off, and feel that's the only way to get their point across.

While I really wish they wouldn't, it's no less successful than anything else - they certainly aren't going to keep our government and others from meddling and muddling in their affairs. Our leaders have our profit as their motive, and they'll cling to it. They claim it's a moral imperative, but that's just a distraction from the truth.

Neither one side nor the other can get out of this and save face - the terrorists stop killing, and our government will still attempt to control them; our government simply won't step back because that would give the terrorists what they want, and would not give the people in power what they want - more power.

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Mina Ellyse

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