The Language of the Soul

There is a force inside each of us that asks to be expressed. It does not care about your age, your talent, or your résumé. It cares only that you let it out.

We call it the creative impulse. It is the part of us that looks inward and projects outward, searching for meaning and fulfilment. It is why we share experiences, work together, build traditions, and dream. And no matter how old we are, we should never compromise a dream. We have them for a reason, perhaps to see into our own soul.

But what is a soul? Carl Jung described it as "partly in eternity and partly in time." Virginia Woolf, with her usual clarity, observed: "One can't write directly about the soul. Looked at, it vanishes." It defies substance and thought. Yet we have invented no greater expression of our inwardness than music.

Musician I know describe music as  the language of the soul, an eternal translation between mathematics and mystery. It is the deliberate arrangement of sound into patterns that move us. Birds sing the world back to life each spring. Cicadas serenade the sun each summer. And when we set out to tell the cosmos who we are, we sent whale songs, Bulgarian folk music, and Bach on a Golden Record. The best singers employ tone, interval, rhythm, theme, and variation in complex and pleasing combinations, but so does a grandmother humming to her grandchild. So does a retiree learning to play the piano for the first time. So does anyone who dares to make a sound that comes from the heart.

When you think about it, we have all been musicians at some point. We have all felt the rhythm of a good song, tapped our feet to a beat, or hummed along to a melody we could not shake. Music is one of the most accessible forms of creativity. It requires no special training to appreciate, and only a willingness to try. You do not need to perform on a stage. You just need to let the song inside you come out, even if it is only heard by you, or by a child sitting on your knee.

Here is something you can do this week, alone or with a grandchild.

Think of six songs that have mattered to you at different points in your life. They do not have to be "important" songs. They just have to be songs that you remember. Songs that take you back. Here is my list, I hope it helps you create your own list.

• Song 1: A song from your childhood: Nature Boy" by Nat King Cole
• Song 2: A song from your teenage years: California Dreamin' by The Mamas and the Papas
• Song 3: A song from your twenties:  American Pie - Don McLean
• Song 4: A song from your thirties: "Billie Jean" - Michael Jackson
• Song 5: A song from your forties: My Heart Will Go On" - Celine Dion
• Song 6: A song from your later years: Symphony No. 5 in C Minor, Op. 67 by Beethoven  
• Song 7: A song that makes you feel hopeful about today: Ode to Joy (Symphony No. 9)  by Ludwig van Beethoven  and What a Wonderful World by Louis Armstrong

Now, do one of three things:

1. Write them down. Create a simple playlist on paper. Add a note next to each song about what it means to you.
2. Share them. Play them for a grandchild or a friend. Tell them why each song matters.
3. Expand the list. Make a full playlist on your phone or a streaming service. Or create a physical CD or USB drive with the songs and give it to someone you love.

Why does this matter? Because music is memory. When you share your songs, you are not just sharing music. You are sharing your story. And your grandchildren will remember not just the songs, but the fact that you trusted them with your history.

That is creativity. That is connection. That is the language of the soul.

For Shar,

 

For Shar, a daughter who passed too soon

We will dance and sing till sundown and feast with abandon

We’ll sleep when the morning comes

Ane we’ll rise to the sound of the bird songs

We’ll be here when e world slows down and the sunbeams fade away

Keeping time with a pendulum, As the Fabric stats to fray

There are  no such times as time to kill, nor time to throw away

So once for the bright sky, and twice for another day,

Come, come along now, run  away from the humdrum

We’ll go to a place that is free from Greed, and boredom

And we’ll break our fast  with friends who

Mourn for me, west of here our story never ends

Author unkown

 

The Boomers' Fascination with Death: A Musical Journey

We were talking about music of my generation which started because when I was at an open mic recently when a singer started performing a song by Pearl Jam. While many people today know their version, I immediately recognized it from the original hit by J. Frank Wilson and the Cavaliers called "Last Kiss." This song, along with many others from the late 1950s and early 1960s, captured a unique and somber fascination with teenage tragedy that defined our generation.

We discussed why the boomers were so fascinated with death and tragedy when we were teenagers. We talked about the fact that we grew up during the Cold War era, and the threat of nuclear war was a constant fear. We would practice hiding under our desks in case of a nuclear attack, and the phrase "Don't trust anyone over 30" became a popular slogan. We genuinely believed that we might not live past 30, and that thought was terrifying.

As a way to cope with our fears and frustrations, we turned to music, Our music became an outlet for expressing these anxieties. We created a genre of songs that were melodramatic and tragic, often featuring teenage characters who died in car accidents, motorcycle crashes, or other tragic circumstances. These songs were our way of processing our emotions and dealing with the uncertainty of our futures. These songs about teenage tragedy, often  heart-wrenching, resonated deeply with us. They depicted young love lost to tragic accidents, capturing our sense of helplessness and our grappling with mortality.

One of the most iconic songs from this era is "Last Kiss," which has been covered by several artists, including Pearl Jam. The original version by J. Frank Wilson and the Cavaliers is a haunting tale of a young couple who are separated by a fatal car accident.

These songs might seem melodramatic or even cheesy to you today, but they were a way for us to express our emotions and deal with the uncertainty of our futures. They were a way for us to process our fears and frustrations, and to find some sense of control in a world that seemed to be spinning out of control.

So, the next time you hear one of these songs, remember that they were a product of their time, and that they were a way for us to cope with the fears and uncertainties of growing up during the Cold War era.

Here are some of the iconic songs from that era that explore themes of death and heartache:

1. Last Kiss - J. Frank Wilson & the Cavaliers
2. Teen Angel - Jean Surrey / Red Surrey
3. Endless Sleep - Jody Reynolds
4. There's Something on Your Mind - Bobby Marchan
5. Patches - Dickey Lee
6. Leader of the Pack - The Shangri-Las
7. Ebony Eyes - The Everly Brothers
8. Rocky - Austin Roberts
9. The Pickup - Mark Dinning
10. I Want My Baby Back - Jimmy Cross
11. Goodbye Baby - Little Caesar

These songs not only provided a soundtrack for our youth but also helped us navigate the turbulent emotions of growing up in a world overshadowed by the threat of nuclear annihilation. They remain a sad reminder of how music can capture and reflect the collective anxieties of a generation.

Music in the 60s not all about change

 There was a traditional element present in the 60s. Music in the 1960s was a time of great social and cultural change, and many of the popular songs of the era reflected the progressive attitudes and values of the youth culture. However, there were also many songs that appealed to more conservative listeners who may have been less interested in countercultural movements and more focused on traditional values and norms.

Many popular songs celebrated traditional values, honoured religious faith, and celebrated the simple pleasures of life. Here are a few examples:

Here are some examples of music from the 1960s that may have appealed to a more conservative listener:

“My Girl” by The Temptations (1965) - This classic Motown hit is a sweet love song that celebrates the joys of a monogamous, committed relationship.

“Stand By Me” by Ben E. King (1961) - A timeless classic, this soulful ballad emphasizes the importance of loyalty and friendship in times of trouble.

“God Bless America” by Kate Smith (1963) - A patriotic anthem that celebrates the beauty and diversity of America, this song is a perennial favourite at sporting events and other public gatherings.

“The Sound of Silence” by Simon & Garfunkel (1965) - While this song was embraced by many in the counterculture, its haunting melody and thoughtful lyrics may have resonated with more introspective and contemplative listeners.

“Yesterday” by The Beatles (1965) - One of the most beloved songs of all time, this simple, heartfelt ballad speaks to the universal experience of lost love and the passage of time.

The civil rights movement popularized “This Little Light of Mine” - This gospel song and celebrated the idea of shining one’s light in the world.

“What a Wonderful World” - This classic song by Louis Armstrong celebrates the beauty of nature and the simple pleasures of life.

“Bridge Over Troubled Water” - This song by Simon and Garfunkel offers comfort and support to those in need, with lyrics that speak to the power of friendship and compassion.

“Amazing Grace” - This hymn has been a beloved spiritual song for centuries, celebrating the grace and mercy of God.

“Blowin’ in the Wind” - This song by Bob Dylan speaks to the values of peace, justice, and equality, and was embraced by the civil rights movement.

“The Times They Are A-Changin’” - Another song by Bob Dylan that celebrated the changes taking place in society, while also acknowledging the importance of tradition and history.

“Let It Be” - This song by The Beatles offered words of comfort and hope, encouraging listeners to embrace a sense of peace and acceptance in difficult times.

 

Closing Time by Leonard Cohen,

When my children were young and we went on road trips, I always had music playing and from time to time my son or my daughter would ask what the song was about. I would reply that the song was a story written by a songwriter who put the story to music. I said it was our job to interpret the story as best we could as the songwriter could not know to be asked.

I was introduced to Cohen’s music in about 2004 and I love the use of metaphors and lyrics that makes listening to his songs a treat. I was listening to his song “Closing Time” the other day and did some research on the lyrics.

According to Ira Nadel’s 1996 Cohen memoir Various Positions, Closing Time took two years to write with Cohen even starting over from scratch on the song as late as March 1992. Cohen explained that it takes him so long to finish songs because “Nothing works. After a while, if you stick with the song long enough it will yield. But long enough is way beyond any reasonable estimation of what you think long enough may be.

Closing Time is certainly an enjoyable listen. The following information about Closing Time is from Song Facts:

It starts off as a euphoric track about a wild party.

The fiddler fiddles something so sublime

All the women tear their blouses off

And the men they dance on the polka-dots

As the song goes on, the scene evolves from the closing of the bar to the concluding of a relationship, to the end of life.

I loved you when our love was blessed

and I love you now there’s nothing left

but sorrow and a sense of overtime

And I missed you since the place got wrecked

and I just don’t care what happens next

Looks like freedom but it feels like death

it’s something in between, I guess

It’s closing time

Cohen based “Closing Time” on a violin sample that came with a Casio keyboard. “When he first started recording it, the sample was slowed down,” engineer Leanne Unger told Uncut magazine. “It was very moody, with six-string bass, very vibey. I loved it.”

The song peaked at #70 in Canada. It was Cohen’s second-biggest hit in his native country after “Hallelujah.”

The music video for Closing Time presented below won the Juno Award for Best Music Video in 1993.

As stated, I think the first verse is about a great party at the bar with a description of the singers partner, the band and the dancers at the party.

Ah we're drinking and we're dancing

And the band is really happening

And the Johnny Walker wisdom running high

And my very sweet companion

She's the angel of compassion

She's rubbing half the world against her thigh

And every drinker every dancer

Lifts a happy face to thank her

The fiddler fiddles something so sublime

All the women tear their blouses off

And the men they dance on the polka-dots

And it's partner found, it's partner lost

And it's hell to pay when the fiddler stops

It's closing time

(Closing time)

(Closing time)

(Closing time)

Yeah the women tear their blouses off

And the men they dance on the polka-dots

And it's partner found, it's partner lost

And it's hell to pay when the fiddler stops

It's closing time

The second verse becomes a bit deeper as the singer throws in references about the game Snakes and Ladders which has many mythical and religious connotations. The most widely known edition of Snakes and Ladders in the United States is Chutes and Ladders from Milton Bradley (which was purchased by the game’s current distributor Hasbro). It is played on a 10×10 board, and players advance their pieces according to a spinner rather than a die. The theme of the board design is playground equipment–children climb ladders to go down chutes. The artwork on the board teaches a morality lesson, the squares on the bottom of the ladders show a child doing a good or sensible deed and at the top of the ladder there is an image of the child enjoying the reward. At the top of the chutes, there are pictures of children engaging in mischievous or foolish behavior and the images on the bottom show the child suffering the consequences.

In Closing Time” Cohen appears to throw in an apt metaphor for this moment (or century) in human history. Even as we leave the stage, it is good to bury our faces in the roses we found there.

Ah we're lonely, we're romantic

And the cider's laced with acid

And the holy spirit's crying, where's the beef?

And the moon is swimming naked

And the summer night is fragrant

With a mighty expectation of relief

So, we struggle and we stagger

Down the snakes and up the ladder

To the tower where the blessed hours chime

And I swear it happened just like this

A sigh, a cry, a hungry kiss

The gates of love they budged an inch

I can't say much has happened since

But closing time

(Closing time)

(Closing time)

(Closing time)

 

I swear it happened just like this

A sigh, a cry, a hungry kiss

The gates of love they budged an inch

I can't say much has happened since

(I can't say much has happened since)

We're closing time

Closing time

The next verse is a lament about lost youth, beauty and love as the singer mourns the loss of his love and her beauty but admits to having a deep sense of loss and despair because he still loves even though the love is lost.

I loved you for your beauty

But that doesn't make a fool of me

You were in it for your beauty too

And I loved you for your body

There's a voice that sounds like god to me

Declaring, (declaring) declaring, declaring that your body's really you

And I loved you when our love was blessed

And I love you now there's nothing left

But sorrow and a sense of overtime

And I missed you since the place got wrecked

And I just don't care what happens next

Looks like freedom but it feels like death

It's something in between, I guess

It's closing time

(Closing time)

(Closing time)

(Closing time)

Yeah I missed you since the place got wrecked

By the winds of change and the weeds of sex

Looks like freedom but it feels like death

It's something in between, I guess

It's closing time

The last verse is a recognition by the songwriter that even though there is a lot going on in the bar, it is a meaningless activity that is beyond understanding except by those who are crazy or those who understand the awful truth He also lets us understand that once the lights go on, people will understand, and the party will end. He also admits that he is not attracted to his current partner, but she is filling a need.

Yeah we're drinking and we're dancing

But there's nothing really happening

And the place is dead as heaven on a Saturday night

And my very close companion

Gets me fumbling gets me laughing

She's a hundred but she's wearing

Something tight

And I lift my glass to the awful truth

Which you can't reveal to the ears of youth

Except to say it isn't worth a dime

And the whole damn place goes crazy twice

And it's once for the devil and once for Christ

But the boss don't like these dizzy heights

We're busted in the blinding lights

Of closing time

(Closing time)

(Closing time)

(Closing time)

The whole damn place goes crazy twice

And it's once for the devil and once for Christ

But the boss don't like these dizzy heights

We're busted in the blinding lights

(Busted in the blinding lights)

Busted in the blinding lights

Of closing time

Closing time

Oh the women tear their blouses off

And the men they dance on the polka-dots

It's closing time

And it's partner found, it's partner lost

And it's hell to pay when the fiddler stops

It's closing time

I swear it happened just like this

A sigh, a cry, a hungry kiss

It's closing time (closing time)

(Closing time)

(Closing time)

(Closing time)

The gates of love they budged an inch

I can't say much has happened since

But closing time (closing time, closing time, closing time)

I loved you when our love was blessed

I love you now there's nothing left

But closing time

I miss you since the place got wrecked

By the winds of change and the weeds of sex