Our tragedic misconception of threesomes

Lately I have been intrigued by threesomes. Maybe it has to do with my curious nature, the period of the year (spring, Gemini), but most notably by the Interpol song ‘No I in threesome’. On the first outset this song is a superficial and dark love song about a guy who tries to convince his girlfriend to have a threesome. But there is something more to the song. It intuitively fascinated me and after listening to the song 10+ times the image of The Lovers appeared. It changed the perspective of the song 180 degrees: now, still being in a relationship crisis, he suggests letting their separate two egos’ go and unite to realize the ultimate connection: the alchemical marriage.

Literally the song is about a relationship in demise. He thanks her for her support in the past and he describes their deadlock. As a result of the crisis they fight a lot. So what do couples do when they are in a relationship crisis? They take the risk and make a jump forward in the deep. Some couples make a third by getting children. Or more superficially in this song, they include someone else to spice things up sexually. It is a new, exiting, but often disastrous final chapter in relationships.
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Seen from a spiritual perspective, however, the current roles in the relationship are finished, but not necessarily the relationship itself. The singer sees this clearly. He sings:

‘You feel the sweet breath of time
It’s whispering, its truth not mine
There’s no I in threesome’

Intuitively he knows that they need to make a jump in the abyss if they want to continue their joint spiritual development (they could stay together but then they would stop developing themselves). He knows that they need to give themselves up in order to truly become one: 1 + 1 = 3. He hints at a profound spiritual truth.
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The singer seems to refer at the alchemical marriage of the king and queen as described for example in the Rosary of the Philosophers.  (https://en.wikipedia.org/wiki/Rosary_of_the_Philosophers ). This is a pictorial alchemical process consisting of 20 steps (which are depicted here between the text blocks). In it a king and queen give themselves up in various stages only in order to recombine again on a higher arc. They depict the alchemical hieros gamos. This is the magical 1 + 1 = 3! Usually this is to symbolize an internal path of development, but it can also be extrapolated to relationships as well.

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The song is tragic, however. Because, although the singer feels that something must be done in their relationship, but he doesn’t know how. He is no alchemist. The cost of raising the issue and failing the challenge is tremendously high: it will cost them their relationship. The singer of the song seems to know subconsciously that he will fail: if he was optimistic he would have called the song ‘No I in three’. Now it is threesome. It is the tragic ‘No’ of I in three.

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This song describes a sad reality of relationships in our society: we don’t know how to realize the fabled alchemical marriages. As a result many relationships are ‘stable’, create 3’s by means of offspring, have superficial sexual encounters instead of spiritual unification. As a result most lovers don’t realize their higher potential in the relationship by losing their I but gaining a three.

Pentecost – the time to receive the Holy Ghost and to become a Christ on earth

At Pentacost we celebrate the indwelling of the Holy Ghost and the receiving of the Fiery Tongues from Christ to the 12 disciples representing humanity. From this moment on every human has personally received the Word of God and as a consequence was no longer dependent of a spiritual intermediates: every one could personally commune with God. But this gift also gave us the personal responsibility to act upon the Word of God by respecting and upholding the 10 commandments.

At the time of Pentecost the connection between the Holy Ghost and ourselves is strong. We get inspiration from our higher self and as a result our ego becomes purified and cleansed. When speaking in tongues we also realize again Gods wises. Pentecost is a wakeup for us call to stop being hypocritical.

This message is represented in the video clip of the song Rabbit in your Headlights by UNKLE. An immigrant is walking on the busy car lane towards the light at the end of the tunnel. He is speaking in tongues and is neglected and run over by passing cars. He seems to shout ‘Saint Christopher’ and ‘Shemesh!’ being Hebrew for sun. Surprisingly, although hit by cars, the immigrant is able to keep getting up. In these cars are Christian suburbian eyes: people assumed to church every Sunday, but failing to empathically respond to the needy and homeless.

The end of the clip is messianistic. It is unclear to me if he is Christ returned or that he received the Holy Ghost. Either way, the statement is clear: the cross is stronger than matter.

And with this he hints to the sacred potential that we have: when at Pentecost we internalize the Holy Ghost, we are able to shed off our hypocriticism like a worn out jacket. Then we are able to realize our sacred potential and become Christ on earth.

True love waits – or the marriage with your Holy Guardian Angel

Today I came across a version of Radiohead’s ‘True love waits’ which I had never heard before. What I really love about this version of the song is that the original always seemed a bit sad to me (which I like being a bit of a sentimental person 🙂 ). Basically it is about this guy putting all his pride away and begging to his love: Don’t leave! But this version has two additional musical elements to it, which make the sound tremendously comforting and uplifting to me. And which add an almost mystical dimension to the song. 

Musically, it starts with Thom on a classical guitar. This is more or less the original version of the song and it is a bit sad indeed. I tried to capture the desperate and stuck in time energy by dancing mechanically and looking around for my loved one. 

Around the two minute mark, the two additional sounds slowly start to appear. On one side there is a catchy repetitive keyboard riff. And on the other side there is this high dreamy sound. Somewhere it sounds like the distant calling of a magical bird. A Phoenix perhaps? Only after a couple of times listening, I realized that this magical sound is produced by Johnny Greenwood on his guitar. Also, only after a couple of times I realized that this sound is in the song from the very start! Although very distant at first and only to really appear at the musical climaxes of the song. I tried to dance on the sound of the Phoenix by letting my left hand fly freely with its ancient cries for love. With my right hand I tried to catch sound of the repetitive keyboard riff. It felt like a straight circular movement but also with an acceleration at the end. As a result the circles which I tried to make with my right hand were 11/12th instead of full circle resulting in a retrograde movement. 

Yes, this version of True love waits gives a magical addition to the original version. With this version it is not only the desperate desire for a loved one on earth. This version conveys the spiritual longing to reunite with your Holy Guardian Angel (represented by the calling of the Phoenix) as well. However, when hearing the magical call of the Phoenix it becomes apparent that it longs to be with us just as much or maybe even more than us!  This is a duet between Thom and the Phoenix. But how come when both parties are longing so much, that the song is so uplifting? 

This is the magical ingredient of the repetitive piano. There is such a positive vibe to it. The force of the keyboard brings both Thom and the magical flute together and bonds them. The piano riff is like the hierophant from the Thoth tarot card. It unites and blesses the Lovers in a heavenly hieros gamos. 

And when they finally are married with their true love, the waiting is over. Finally, both vow and say to each other at the altar: won’t leave!

 

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De tragische invocatie van Thé Lau’s ‘Open’

Voor mij gaat Thé Lau’s ‘Open’ over de mislukte invocatie van de maangodin om haar sluiers te openen en de zanger te ontvangen. Het lijkt te gaan over een man die zijn Dark night of the soul beleeft. Hij is op een dusdanig dieptepunt gekomen dat alcohol geen uitvlucht meer biedt en zijn vrienden hem niet meer kunnen helpen. Vanuit het diepst van zijn hart richt de hoofdpersoon zich omhoog naar boven. Maar ook al branden de lichten van de hemel, toch wacht zij af of de omstandigheden juist zijn. En helaas: er is teveel verlangen en te weinig tijd. De sluier blijft gesloten en de man blijft achter met een gevoel van onrecht. Hier is een mysterieuze zin: de lafaard krijgt nooit iets. Een waarheid als een koe. Maar deze man was niet laf: hij heeft zich vanuit de grond van zijn hart zich geopend naar de Godin. En toch heeft ze hem afgewezen. Volgens mij zit de ‘afwijzing’ niet in laf of durf, maar in onkunde. Het staat ook zo in de tekst: de hemel kijkt of er iets veranderd. De godin is in stasis tot de tijd rijp is voor haar terugkeer. Hierbij moet de intentie juist zijn. De sluiers van de hemel gaan niet aan de kant zolang men ‘Open’ schreeuwt met zelfmedelijden. De sluiers openen zich alleen wanneer men zijn ego overstijgt en zich opoffert aan de Godin. Bij de versie met Tom Barman bij het afscheidsconcert van Thé Lau in de HMH op 17 juni 2014 zie ik iets bijzonders gebeuren. De zaal schreeuwt zich schor met: ‘Open je voor mij’. Maar eigenlijk zongen ze: ‘Open je voor Thé’. En in mijn fantasie, bij dat concert, op dat moment, zag de Godin dat de tijd rijp was en maakte ze een plekje vrij voor Thé achter haar sluier.

 

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Dancing the bitter joy

This is my dance interpretation of Paul Simon’s Diamonds at the soles of her feet. A tragi-comic song about a poor boy who loves a rich girl. It is a classic recipe for disaster. But the music is so joyful, comforting and uplifting! It was a great joy to dance on it.

Dancing the fireworks of war and love

Waar mensen wonen (where people live) is a song by Dutch singer The Lau who magisterially combines the fireworks of war with the fireworks of love. In the end the fireworks of love conquer the fireworks of war of course. This song has so much power that I had to dance on it and try to portray these inherent opposite qualities of man. 

Radiohead’s Videotape as an hopeful Akasha’s record

In short Videotape tells the farewell story of man at the end of his life documented on a videotape. Interestingly enough, instead of being sorrowful, he is grateful. Symbolically, what could this song Videotape be about? In 2006, the videotape already was an archaic medium for recording. The song could have easily been called Betamax for that matter (it even rhymes!). The first sentence of the song is: ‘When I’m at the pearly gates, this will be on my videotape’. The pearly gates clearly refer to the gates of heaven. Thus this videotape is this famous summary of one’s life which one sees at the end of the tunnel. This movie would be shown to a higher force. Perhaps for judgement or lessons learned. In the lyrics the Faustian Mephistopheles is ‘just beneath reaching out to grab me’, so it might be a close call for our dear friend to reach Heaven! In the second verse, the Videotape becomes a farewell for a loved one back on earth. Here the message is that the videotape is the best way to communicate his message and that this day is the best day of his life. And the latter is quite intriguing as he is about to die! But maybe when you know that you will die, you will experience every moment with a vivid intensity. Or maybe he is happy to go ‘home’ again (pearly gates). The videotape in this song seems to be a means of documenting ones soul. At the moment of passing it is stored somewhere and here it can be accessed by higher forces (at the pearly gates) or even ordinary humans (by means of the right prayer or meditation exercises?). Although, at first glance, it might seem a gloomy song, in fact, it is a very hopeful song. All our experiences and love are not lost, but stored in the Akasha records. And although there is physical loss when we pass over, energetically there is no loss. Yes, after our passing, we return to the source, but we don’t lose our unique lifelong experiences. Our life on earth, with all its hardships and wonderful moments, returns to the source and enriches it. Some people say that the purpose of Life is that God wanted to know himself and that for this reason he created the Universe. I imagine that at our return to the Source He asks us: how was it? And we would hand over our Betamax videotape. In joy and marvel He would watch it, thank us and store it in the Akasha Video store.

Separating death stars from real stars

Stars as visions

The major arcana tarot card Star is assigned to the constellation of Aquarius. The Star is about visions, trust and hope. These are great things, because visions and hope are longterm plans which give you directions and the strength to continue when things get difficult.

But sometimes, when you have worked for an ideal for a long time, it turns out that reality is different from what you hoped for. The saying in Dutch is: you lose an illusion, but you gain an experience. Everything is good for you, as long as it doesn’t kill you, right?

Death stars as failed ideals

Yes and no. The problem with chasing visions and ideals is that they take a long time before you realize what they are worth. There is an interesting metaphor about a death star here. A death star is a star (vision) which you can still see, but the star in itself no longer exists. This can be the case, because the time which it takes for the light to arrive on earth can take milliions of years. When you look at the stars at night you are actually looking at many years of history.

If you chase a vision for 30 years and it turns out to be not what you hoped for, you have lost these years. Since our years on earth are limited, you can only follow two of such visions in your lifetime. So it is worth considering which visions and dreams you will chase. The beautiful sorrowful song ‘Not even close’ by Tim Finn describes the sorrow of finding out you have chased a death star (https://youtu.be/ojozsqR8lPQ ).

Now, I have been chasing a couple of death stars in my day and to be honest: I am quite reluctant to start chasing new stars. From one side it is logical. When you grow up, you become less idealistic and more realistic. Because of your experiences you have become wiser and you will think again before you will jump into new endeavors.

But as a result I find that I choose not to become quite selective in my dreams and vision. For example, there was a Woman’s March which I did not go to. Because, when I think about it, I have reservations about the idea. But somewhere I wish I was young, idealistic and naïve again. I would love to go and connect with people and share the same emotions. Believing that we can make a change and meeting new people. But if I were to walk along with the march, I would feel like an intruder. A pretender. Dishonest. Because I have lost my naivety.

So there are many activities which happen all around me, but I choose to remain in my house. Because although the activities outside can be enjoyable, when they are not real for me, they only cost me time and energy which I could have spent in something real and worthwhile. But closing myself more and more, does not feel to be a solution.

Rapunzel’s lesson to find real stars

Now, thinking of how I can be able to separate death starts from real stars, I was reminded about a very interesting clue in a German fairytale about Rapunzel (2012). In this story the prince climbs up to the tower on Rapunzel’s golden hair. The witch finds out of the affair and decides to stop it. She cuts of Rapunzel’s hair and uses this hair to pull the prince up. When he is almost at the window, she drops him and he falls into bushes with thorns. Thorns get into his eyes and blind he wanders across the land. At the end of the movie the which tries to kill the prince by pretending to the be voice of Rapunzel and luring him into an abyss ( https://youtu.be/7sQiRTz1mqE ). The prince, now wiser, asks the witch to sing a song. As the witch has a cold heart, she cannot sing. But Rapunzel heard the prince and started to sing a most lovely tune. Following the singing of Rapunzel, the prince is able to find Rapunzel. When they finally meet, beautiful healing takes place. When Rapunzel realizes that the prince is blind her heart is touched and her tears fall into his eyes. This magically cures the eyesight of the prince. And when he is able to see Rapunzel in her full glory, her hair magically starts to grow again.

Relating to this story, I can say that I have fallen into the thorns and I am blind. The way to distinguish between a death star and a real star is by means of an open heart. And by realizing what is true. In the case of the prince it is the singing of Rapunzel. When he would have realized this from the start he would never have climbed the tower on that fateful day. It would have saved him much sorrow and many years! Luckily, in this fairy tale all ends well. Which, in turn, gives hope to me.

RIP George Michael

George Michael is heen gegaan. Voor mij was hij lange tijd een guilty pleasure, tot het moment dat ik mij realiseerde dat ik hem hiermee tekort deed. Nee, aan de muziek van George Michael was niets guilties aan. Hij deed iets heel bijzonders met zijn muziek. Want ook al was zijn muziek zeer gelikt en soms mierzoet: de zoetheid werd altijd overtroffen door een bijna ondefinieerbare echtheid. Je voelde dat hij meende wat hij zei. Dat maakte George een van de beste zangers. George ging daarin verder dan andere zangers. George was op een queeste naar de heilige graal genaamd liefde. En de enige manier om de graal te bereiken is door jezelf onvoorwaardelijk te geven. In zijn liefdesliedjes zie je hem dit doen op een naïeve, bijna domme manier. Want hoe kun je nu een nummer lang zingen en inzien dat iemand niet goed voor je is (One More Try), maar in de  laatste zin je nog afvragen of je het misschien toch nog een keer zal proberen? Maar daarmee slaat George de spijker op zijn kop: liefde is niet verstandelijk, maar een zaak van het hart. En dit (zoete) lijden is een hoeksteen van het geloof en de mystiek die door veel van zijn muziek heen klinkt. Liefde en geloof waren een voor George.

 

George was zeker geen eendimensionaal mens: hij was alles. Hij was heilig en zondig. Goed en stout. Hield van rustige romantische muziek en up tempo dansmuziek. (op de plaat Older wordt Jesus to a Child gevolgd  door het nummer Fastlove). En die zelfacceptatie is ook vrijheid. George kon vele (ogenschijnlijke) tegenstellingen met elkaar verenigen. Liefde en vrijheid waren voor George een rode draad door zijn oeuvre. In verschillende nummers lijk hij daar op verschillende manieren mee om te zijn gegaan.

Wham!’s Freedom (http://bit.ly/1gsRHGu )

Wham! – Freedom

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Lyrics♥ Everyday I hear a different story People say that you’re no good for me So you love another And she’s making a fool of you Oh If you love me baby Don…

Dit is een geweldig voorbeeld van George’s vakmanschap. Muzikaal is het een up tempo nummer en muzikaal jam packed met verschillende stukken en melodieën. Het lijkt wel alsof hij drie nummers ineen probeert te proppen. En wanneer je niet naar de tekst luistert, zou je denken dat het heel vrolijk is. Echter, schijn bedriegt. Want wanneer je de tekst goed beluisterd, hoor je de typerende George met liefdesverdriet die hoopt op liefde in plaats van vrijheid (i dont want your freedom). Dit nummer gaat gepaard met veel zelfinzicht: ‘but you know that I’ll forgive you. Just this once, twice, forever.’ En ook al lijdt hij, hij wil niet vrij zijn. ‘Like a prisoner who has his own key, but I can’t escape until you love me.’ Ondanks alle smart, kiest hij er toch voor om de ander niet te laten gaan.  Het is pikant dat hij in 1990 een andere versie van dit nummer heeft opgenomen waarbij hij juist wel pleit voor vrijheid. Kennelijk had hij toen wel geleerd hoe hij zichzelf kon bevrijden.

Een voorbeeld van George’s ultieme kwaliteiten als vertolker is in het nummer I Can’t Make You Love Me (http://bit.ly/2hmmX0q

George Michael – I Can’t Make You Love Me

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George Michael – I Can’t Make You Love Me (MTV Unplugged 1996)

). Dit nummer gaat over iemand die zich realiseert dat zijn liefde niet beantwoordt wordt. Maar nu is hij wel in staat om los te laten, hoe moeilijk dat ook is. De volgende ochtend zal hij zijn verliest toegeven. De muzikale uithaal bij ‘And I will give up this fight’ gaat door merg en been.

 

Maar het magnum opus van George is voor mij Jesus to a child (http://tinyurl.com/78doe9h

George Michael – Jesus To A Child – Vìdeo Dailymotion

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George Michael – Jesus To A Child Album: Older (1996)


). Dit nummer gaat over het verlies van een geliefde, het rouwproces en hoe hij uiteindelijk hier uit is gekomen door de realisatie dat liefde niet vergaat. Liefde en vrijheid zijn een.

So the words you could not say
I’ll sing them for you
And the love we would have made
I’ll make it for two

For every single memory
Has become a part of me
You will always be
My love

Persoonlijk heeft dit nummer zeer veel voor mij betekend. De clip is van een prachtige schoonheid gevuld met mystieke geheimen. Dit is geen popmuziek meer. Dit nummer kan opgenomen worden in de Christelijke liedbundels.

Nee, George Michael was geen guilty pleasure, maar een hidden treasure. Dat hij op 1e kerstdag komt te overlijden zou zijn grootste kersthit Last Christmas wel een hele cheesy lading kunnen geven. Bij ieder ander, want bij George Michael ligt er onder die hele grote hoop zoetigheid, wel degelijk een diepe waarheid. Op de dag dat het Licht geboren werd, ging een ander Licht terug naar huis. Ik wens dat hij met open armen is ontvangen.

De woorden die hij zou zeggen, zullen we zingen. En de liefde die hij zou bedrijven, maken we voor twee.

Music as a spiritual guide

“Go Slowly” – Radiohead

‘Go Slowly’ is an intriguing song by Radiohead. It is dreamy and almost depressing. And yet, it is hauntingly beautiful. How can this be?

In my opinion, Radiohead has done a lot for modern spirituality. It’s great achievement is that it dares to face issues such as pain, desolation, fear, etc. as we have them in our modern day society. Radiohead is not about escapism. The other achievement of Radiohead is that it expresses a Great Beauty. There is an otherworldly quality in its music.

This particular song is almost like a Christian hymn sung by a Catholic church boys’ choir.

The lyrics are remarkably simple and consist of two parts. The first part somebody is ‘patiently’ waiting for ‘something’ to come. The song seems to be about a search for meaning in life and about longing for home: (spiritual) homesickness. The second part is a realization: there is a way out. In this part, the music seems to take off and it gets an almost mystical quality.

This indicates that the way out is not to be found in our everyday consciousness. The answer itself is only to be guessed at. Is it death and heaven? Suicide? Or something else?

I think that this song is about the quest for integrating of spirituality in our daily life. At a certain moment in life you long for a deeper meaning and you go on a quest. This is the first part of the song. In the second part of the song he has found the answer. This answer is not escapism a la death or suicide. The true mystery of life is to integrate your spirituality into your daily life by being reborn on earth. When you are able to do this, depression makes way for optimism.

This is the answer of the paradox. The beauty of this song lies in the promise of rebirth.

Lyrics “Go Slowly”

Over here Come slowly Come slowly to me I’ve been waiting Patient Patiently I didn’t But now I can see That there’s a way out That there’s a way out That there’s a way out That there’s a way out That there’s a way out