Mid-afternoon.
You did your exercises and worked in the yard (planting more seed, scattering
dirt and watering) this morning and had a late lunch at Longhorn’s and served
by Jen. Excellent food as usual and a Monday treat. You are at Kroger’s on
Tylersville for bananas among other assorted foods and merchandise. – Amorella
1554 hours. I skimmed chapter five and
somehow I have come up with righteousness as a centered theme, but I may be way
off base here.
You are checking your thesaurus for a better
word and have come up with “upright” and you are visualizing the character “old
and upright” in Downton Abbey, the Right Honourable Violet Crawley, Countess of
Grantham deliciously played by Maggie Smith. - Amorella
Late
afternoon. You had an afternoon walk in Pine Hill Lakes Park and are currently
in the shade facing west near the center crossroads of Rose Hill Cemetery.
Carol is on page three of Grisham’s The Racketeer. - Amorella
Although
you think “old and upright” would be good here, I do not. “Satisfaction” is
better for my purposes. However, if you had been close another word would have
been chosen. Check the thesaurus and tell me what you think. – Amorella
I see nothing better on the
Oxford-American software. I can’t help but think of “Satisfaction” by Mick
Jagger and Keith Richards in the process.
** **
"(I Can't Get No) Satisfaction"
is a song by the English rock band The Rolling Stones, released in 1965. It was
written by Mick Jagger and Keith Richards and produced by Andrew Loog Oldham.
Richards's throwaway three-note guitar riff – intended to be replaced by horns
– opens and drives the song. The lyrics refer to sexual frustration and the
commercialism particular to America.
The song was first released as a single in
the United States in June 1965 and also featured on the American version of Out of Our Heads, released that July.
"Satisfaction" was a hit, giving the Stones their first number one in
the US. In the UK, the song initially played only on pirate radio stations
because its lyrics were considered too sexually suggestive. In Britain, the
single was released in August 1965; it became the Rolling Stones' fourth number
one in the United Kingdom. The song is considered to be one of the all-time
great rock songs. In 2004 Rolling Stone
magazine placed "Satisfaction" in the second spot on its list of The
500 Greatest Songs of All Time, while in 2006 it was added to the Library of
Congress National Recording Registry.
Origin
Keith Richards states that he came up with
the guitar riff for the song in his sleep, waking up in the middle of the
night, recording the riff and the words "I can't get no satisfaction"
on a cassette recorder and promptly falling back to sleep. He would later
describe the tape as: "two minutes of 'Satisfaction' and 40 minutes of me
snoring." He and Jagger finished writing the song at the Jack Tar Harrison
Hotel in Clearwater, Florida, in May 1965. Jagger wrote most of the lyrics
after being confined to their Clearwater hotel rooms and not permitted to play,
not as a statement about the rampant commercialism that the Rolling Stones had
seen in America.
Richards was concerned that the guitar riff sounded
too much like the horn riff from Martha and the Vandellas’ “Nowhere To Run”.
Jagger later said: "It sounded like a folk song when we first started
working on it and Keith didn't like it much, he didn't want it to be a single,
he didn't think it would do very well... I think Keith thought it was a bit
basic. I don't think he really listened to it properly. He was too close to it
and just felt it was a silly kind of riff." Jagger has also pointed out
that the title lyrics closely resemble a line from Chuck Berry’s "30
Days". (Berry's lyric is "If I don't get no satisfaction from
the judge".)
Selected from: Wikipedia Offline
** **
1742
hours. It is hard to imagine a group of the Dead sitting around reminiscing
about “Satisfaction”.
What about Peter, Paul and Mary’s “Blowing
in the Wind”? – Amorella
Where’s the heartansoulanmind growth
in remembering a song?
You mean, what is the growth? – Amorella
Yes, what is the growth?
What is the growth reminiscing about it when
you are alive? – Amorella
1810 hours. We are home with a couple
of small chores done. To respond to your question on growth – I don’t know. My
question was poorly worded to begin with.
2318 hours.
Where has the time gone? I completed Dead 5 but I do not know what it says.
Add and post, boy. Tomorrow you can read it
over. – Amorella
***
The Dead
5 ©2013 (final) draft for GMG.One
Merlyn
sat in his sanctuary on the rock in front of his comfortable hut-of-a-home on
the meadow in the river valley mostly surrounded by hill and forest and that
huge granite dome to his northeast. No billiards this time around, his mind
acquiesced to his heartfelt surroundings and his heart in turn acquiesced to
his soul. His only assessment, 'I love this solitude.'
An
older feminine voice stirs: “This is your soul, Merlyn. I surround your
heartanmind.” Merlyn had heard the Voice
before. He considers the great horned owl and the fox he trained to be pets.
Good teachers, both, he concludes and asks in an aside, “Is my soul a teacher
as are my fox and owl?”
I
listened to my pets; it is only right that I listen to this Voice within, who,
soul or not, is a slice of his underlying nature. He glances to the north woods
to see his great horned owl appear on a limb as his pet fox rolls his reddish brown
coat in the meadow grass below the high limb. How is it that I can at times
observe either fox or owl eating a rodent? This is my private environment yet I have not commanded the rodent for
their nourishment. Neither pet needs food nor do I. Food is no more than focused
consciousness.
The
Voice burrows to the membrane of his self-awareness and whispers, “Listen closely.
Ancient music is close at hand.”
Intuitively
tuned, Merlyn waits. He hears one heartbeat then a second echoing. I know this
friend’s heartbeat, ruminates Merlyn. He is a connection from my journey to and
from the Rebellion of Ten Thousand, another shaman-like figure, Ezekiel.
Ezekiel’s
growing light diffracted in Merlyn’s own. A single prophetic ray plunged
through his mind as a sunbeam on Earth might break through the surface of still
water. Surprised
at the unsought company, Ezekiel uttered, “Who is the least angelic-like of all
my dead friends? It is he I wish most to presently see.” The shadows in this
scattered line of opinion feel as shades of dispersed bubbles dictating matter
from nothing. Ezekiel says, “I wish for G-D himself.” No matter what he heard,
Ezekiel understood he not wished for
G-D. Ezekiel’s consciousness froze in confusion.
What came next was an interweaving
event-in-descriptive-mind that heartansoul of either dead man could not have
expected and shared –
“It is the beginning and my spine shivers. I am inside and there is no
way out. This is the reason my forearms shiver. My fingers are cold and I am
becoming an ice forming on the Great River. I am a floating semi-solid on
uncommon ground. I am Ezekiel dancing . . . I am a string of poetic devices –
dancing. I do not exist and am able to reflect on this even now. I am the
bottom line. The top line is righteousness reunited.”
On
this reasoning Merlyn wonders . .
. "I sit above and beyond the
turbulence. Deadanliving, I find it is not so easy crossing between
heart-to-soul-to-mind no matter what or who the soul’s bridge be. How much more
difficult is it for the living who are not nearly so fully human as we?
Solidification
comes with impossible thought. The human spirit becomes stone in mindansoul
freezing the heart to calmness so it might thaw while being observed in a
private reasonable contemplation. I am
observed by whom? questions the frozen heartsanminds of Merlyn and Ezekiel
while each understanding he is the same empty room. Merlyn breaks this event
deeming it no more real than imagination becoming wonderment. Consideration
thus becomes a pretty package for recognizing the ever-present, the here and
now in an existential Merlyn nearly unbound and all within the distinct human
margins of error.
“Ezekiel,
a heartansoulanmind I remember singularly,” says Merlyn to no one at all. “There
are other shaman friends who have danced in a rebellion or two above and below
the Great River's Divide. Deadanliving or Living, to tap a friend's soul is to
tap the sharing echoes of two equal once beating hearts and their
well-considered minds from a singular recognition.
Sharing
a friend’s touch is human righteousness itself, a wordless understanding of
what is real from Earth to Heaven and Heaven to Earth, this Merlyn feels as he
contemplates his once private sanctuary wherein now many a noble spirit may
pass. Merlyn settles, forgetting
he is dead, and thinks aloud, “Presently, I alone feel the Boatman’s keel
sliding over my spine.”
***
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