Re-Addressing the State of the “Union” (& 2024 thank-yous) January 8, 2024
Posted by ajoyfulpractice in Art, Changing Perspectives, Food, Gratitude, Healing Stories, Hope, Life, Minneapolis, Minnesota, Music, New Year, One Hoop, Pain, Peace, Philosophy, Suffering, Tragedy, Twin Cities, Wisdom, Writing, Yoga.Tags: 612 Jungle, “Yoga Week”, Center for the Performing Arts, Constitution, David Bowie, Dr. Stephen Hawking, Elvis, Elvis Presley, Joe South, North Community High School, Pandit Rajmani Tigunait, President Calvin Coolidge, Roosevelt High School, State of the Union, yoga
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May your mind-body-spirit be well, be great, and be in harmony with your thoughts, words, and deeds.
This can be considered a “missing” and “long lost” post for Monday, January 8th (with one tiny reference to January 9th). Other than the Wednesday (7:15 PM, CST) practice, there are no Zoom practices until Saturday, January 13th. You can request an audio recording of previous practices via a comment below or by emailing myra (at) ajoyfulpractice.com.
“He shall from time to time give to the Congress Information of the State of the Union, and recommend to their Consideration such Measures as he shall judge necessary and expedient…”
— quoted from “Article. II. Section. 3.” of the The Constitution of the United States
Any time we get on the mat (or the cushion) we scan our mind-body-spirit and get a sense of how things are (or are not) working and working together. In other words, we address the state of our “union.” I put that last part in quotes, because the Sanskrit word yoga translates into English as “union” — and, so, we get on the mat and spend a little time delivering our own personal State of the Union address (to ourselves).margin-top:
George Washington delivered the first State of the Union address to the joint sessions of Congress in New York City, the proposed capital of the fledgling United States of America, on January 8, 1790. His interpretation of “from time to time” was annually and other presidents followed suit. Up until Franklin Delano Roosevelt used the phrase “State of the Union,” in his 1934 address, it was called “the President’s Annual Message to Congress.” People often think presidents are required to deliver an oral speech, however, the State of the Union does not have to be spoken. In fact, Thomas Jefferson discontinued speeches in 1801, and the tradition of a U. S. president speaking in front of Congress was not re-established until Woodrow Wilson’s speech in 1913.
Some presidents, like Jimmy Carter, delivered spoken and written addresses during their time in office. For instance, former President Carter’s last State of the Union address (in 1981) was the last written address, so far. Presidents have delivered written address for various reasons. Sometimes illness or political conflicts resulted in a written speech. At other times, there was a desire to provide clarification and nuance that they may have felt would be missed if a speech was delivered. In fact, the lengthiness of the address resulted in some being written — and some being written and partially delivered or summarized. President Richard Nixon (who celebrated his birthday on January 9th) gave Congress six (6) written State of the Union address in 1973, with each message being preceded by a radio address.
Former President Nixon was not, however, the first president to utilize media and technology in order to share the State of the Union with the entire Union. Nor was he the only president to submit a written address to Congress and broadcast a summary for the populace. Warren G. Harding was the first U. S. president to speak on the radio, in 1922, but he unexpectedly died in office, in 1923. Later that year, Calvin Coolidge became the first president to deliver a State of the Union on the radio and his first words were addressed the untimely death of his predecessor.
“Since the close of the last Congress the Nation has lost President Harding. The world knew his kindness and his humanity, his greatness and his character. He has left his mark upon history. He has made justice more certain and peace more secure. The surpassing tribute paid to his memory as he was borne across the continent to rest at last at home revealed the place lie held in the hearts of the American people. But this is not the occasion for extended reference to the man or his work. In this presence, among these who knew and loved him, that is unnecessary. But we who were associated with him could not resume together the functions of our office without pausing for a moment, and in his memory reconsecrating ourselves to the service of our country. He is gone. We remain. It is our duty, under the inspiration of his example, to take up the burdens which he was permitted to lay down, and to develop and support the wise principles of government which he represented.”
— quoted from the “First Annual Message,” delivered December 06, 1923 by President Calvin Coolidge
Just as radio changed the reach and impact of the State of the Union address, so too have television, the internet, and social media. Former President Harry S. Truman delivered the first televised State of the Union, in 1947, and former President Lyndon B. Johnson set the precedent of delivering a televised speech during primetime (while using a teleprompter). In 1997, the first State of the Union on the internet was delivered by former President Bill Clinton — who also has the unfortunate distinction of being the first to deliver a State of the Union during an impeachment trial.
Of course, former President Clinton was not the first or the last president to deliver a State of the Union address during a time great tragedy and/or national embarrassment. Former President Ronald Reagan postponed his 1986 address because of the Challenger disaster and, in 2019, the then-sitting president was “disinvited” by the then Speaker of the House. Such events change our perspective of current events and, therefore, place the (actual) state of the Union in a certain context. In other words, what we are going through individually and collectively allows — and/or causes — us to see things in a certain way.
“My expectations were reduced to zero at twenty-one. Everything since then has been a bonus.
Although I cannot move and I have to speak through a computer, in my mind I am free.”
— Dr. Stephen Hawking (CH CBE FRS FRSA)
When we practice on January 8th, I sometimes reference Stephen William Hawking, the theoretical physicist, cosmologist, author, and director of research, who was born January 8, 1942, in Oxford, England. When he was diagnosed with a motor neuron disease in his early 20’s, he was forced to take a daily accounting of his mind, body, and spirit — as well as how they were (or were not) working… let alone working together. For similar reasons, the playlist includes music by Elvis Aaron Presley, who was born January 8, 1935, in Tupelo, Mississippi, and by David Bowie, who was born January 8, 1947, in London, England. I include the “King of Rock and Roll” and “Ziggy Stardust,” because they produced great music AND, also, because their music gives us a musical (and visual) picture of the state of society (in America and in the world) at various points in history. Additionally, moving to their music — mindfully and “in a special way” — can awaken our awareness of how our different parts are (or are not) working… let alone working together.
“If I could be you, if you could be me
For just one hour
If we could find a way
To get inside each other’s mind, uh huh
If you could see you through my eyes
Instead of your ego
I believe you’d be, I believe you’d be
Surprised to see
That you’ve been blind, uh huh”
— quoted from the song “Walk A Mile In My Shoes” by Elvis Presley (written by Joe South)
“I’ve got scars that can’t be seen
I’ve got drama, can’t be stolen
Everybody knows me now”— quoted from the song “Lazarus” by David Bowie
As established by Article II, Section 3 of the U. S. Constitution, the State of the Union address is a re-cap of and reflection on the recent past and a look forward with hope, expectation, and a plan. Since it generally happens as early as January 3rd and as late as February 12th
, it is pretty much the same thing individuals do at the beginning of the year — and, also, what we have the opportunity to do every time we step on the mat: look at what’s worked and what hasn’t worked in the past and propose on a way to move forward.
This year, my personal State of the Union finds me back in Minnesota simultaneously looking forward and back, reflecting on what worked (or didn’t work) over the last 15+ years, the last almost 4 years, and the last week. Like the presidents of yesteryear, I am not going to spend a bunch of time recounting the negative stuff, I am just going to use it to provide a little context for the good stuff.
“A tranquil and one-pointed mind is purposefully creative. With such a mind you get more done in less time, and what is more, because it is done with clarity and purpose, the work you undertake is not a burden and does not become a source of misery.
A confused mind is not fit to follow any path. It is not even in a position to tell the body and senses what is good for them and what is not. That is why we go on complying with the urges of the body and senses, even when these urges serve no useful purpose. Such a mind has no way of deciding what it should unite with or what it should separate from; this confusion is what causes a person to live a purposeless, meaningless life.”
— quoted from “Yoga: Union with What?” (a Q&A response) by Pandit Rajmani Tigunait, PhD
When my “hostess with the most-est” first suggested the idea of me returning to Minnesota for a couple of weeks, she had said that she had (and I quote), That could be considered “no expectations” and, also, could be a way to describe the practice of non-attachment in the modern world: speak a plan into exist, do some work to make it happen, and be open to the way it unfolds.
I, however, had a bit of an agenda and some expectations — if only because I normally offer some special practices on New Year’s Day and on the First Friday Night of each month. I also had some hopes and desires about reconnecting — uniting, if you will — with some people I had seen in awhile. Then, too, I had the awareness that it had been a long time since most of us had practiced together (let alone together-together) and that some things about each and everyone of us are different. My desires, hopes, agendas, expectations, and even fears could all be considered forms of attachment and afflicted/dysfunctional thinking. In other words, they could all lead to suffering… and, on a certain level they did.
I had moments of frustration and disappointment. I know others also had similar moments (for different reasons). However, when everything is said and done, I am overwhelmed by gratitude. After almost four years of practicing together-while-apart, I am so very grateful that so many people were able to join in “Yoga Week” (as some of you were calling the first week of January 2024). I appreciated the presence of everyone who physically practiced in our four (4) studios — as well as to those who Zoomed in from as far away as Portland and the Middle East and those who did their best and could only make it in spirit.
I am forever grateful to my hostess for planting the seed, nourishing that seed and, doing so much to make it happen (including sharing her family and her practice). Similarly, I am grateful for the people who suggested possible spaces and the four lovely lovelies who connected me and helped me get situated in our “pop up” studios. Thank you, thank you, thank you, thank you!
Thank you to the staff members at Center for the Performing Arts, Gabrielle and the teachers at 612 Jungle, and the teachers and staff at Roosevelt High School and North Community High School. Thank you for those who offered technical support (even before I arrived) and thank you to everyone who offered me a ride (even if I didn’t take it), fed me, offered to feed me, and/or made a donation (so I can feed myself when I get back to Texas)! Thank you, in advance, for those who will make it to the Open House on Thursday and thank you to JK who is opening her heart, home, and hearth to us exactly four years (to the date) from the last time we gathered together.
Looking forward, I hope this week has reignited you and your practice. I hope it has given you some insight into what comes next for you. I hope it has allowed you to let go of some things that no longer serve you, so that you can move it the new year with a little more unencumbered purpose and determination. I hope that purpose and determination inspires you to plan… something. I hope you are safe and protected, peaceful and happy, healthy and strong, and that you have ease and well being from this day forward.
As for me: I am open to coming back… for a visit. Maybe it will be another New Year Yoga Week; maybe it will be a series of workshops and/or a retreat. Maybe it will be in another place all together, but we will be back — together — again.
“In contrast, a peaceful, one-pointed mind has a natural ability to see itself, its role, and its place in relation to both body and soul. This ability allows the mind to command the body to discharge its duty to hear and heed the voice of the soul. The practices that help us acquire a one-pointed mind are called yoga. Reaching that state is the goal of yoga.”
— quoted from “Yoga: Union with What?” (a Q&A response) by Pandit Rajmani Tigunait, PhD
The 2022 playlist is available on YouTube and Spotify. [Look for 01082022 State of the “Union”]
In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.)
### YOGA ###
The Grace of Breathing Into How You’re Feeling October 28, 2023
Posted by ajoyfulpractice in Art, Buddhism, Changing Perspectives, Healing Stories, Health, Hope, Life, Music, One Hoop, Pain, Philosophy, Suffering, Wisdom, Writing, Yoga.Tags: Elvis Presley, Pyotr Illyich Tchaikovsky, Robert Greenberg, Vladimir “Bob” Davydov, Wally George
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Peace in / Peace out. Grace in / Grace out.
“If this symphony is misunderstood, and torn to shreds, I shall think it quite normal, and not at all surprising. It will not be the first time. But I myself absolutely believe it to be the best and especially the most sincere of all my works. I love it as I have never loved any single one of my other musical creations.”
— quoted from an 1893 letter from Pyotr Ilyich Tchaikovsky to his nephew Vladimir “Bob” Davydov as posted in “Music History Monday: His Own Requiem?” by Robert Greenberg
How are you feeling today?
Perhaps you are feeling a lot. Perhaps you are feeling one emotion strongly — or a combination of strong emotions. Perhaps you are feeling so much that you are overwhelmed and feeling numb… as if you are feeling nothing.
No matter what you are feeling, take a moment to breathe into what you are feeling.
There is grace in that breath and the ability to breathe into what you are feeling.
Note, that I have not indicated or suggested that what you are feeling is positive, negative, or neutral; good, bad, or neutral. However, there’s a pretty good chance that you assigned a value to the idea of strong feelings, emotions. That’s what we do as humans. That’s one (really three… or six) of the reasons why sensations can be experienced in 108 different ways according to some Eastern philosophies. It is also one of the things that was happening in 1893 and in 1957, when two very different musicians emotionally “shook” people.
Click here to learn about the conspiracy related to Pyotr Ilyich Tchaikovsky’s Symphony No. 6 in B minor, Op. 74, known as “The Passionate Symphony,” which premiered today in 1893 (according to the Gregorian calendar).
This practice also references the first of two shows that Elvis Presley performed at the Pan Pacific Auditorium in Los Angeles, California, today in 1957.
Please join me today (Saturday, October 28th) at 12:00 PM, for a 90-minute yoga practice on Zoom. Use the link from the “Class Schedules” calendar if you run into any problems checking into the class. You can request an audio recording of this practice via a comment below or by emailing myra (at) ajoyfulpractice.com.
Saturday’s playlist is available on YouTube and Spotify. [Look for “10282020 Feeling Pathétique?”]
NOTE: The playlist is currently focused on Tchaikovsky; but, I will add some before/after music related to Elvis and some musicians born on this date.
“‘What’s your emotional power over women?’ demanded one obviously influenced female reporter.
‘Gosh…’ replied Elvis, whispering something inaudible into a mike provided for the occasion.”
— quoted from the 1957 article “Elvis Wiggles, Fans Scream at Pan-Pacific” by Wally George
In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible, class purchases are not necessarily deductible.)
### AIN’T NOTHING… ###
FTWMI:… some Powerball® thoughts March 19, 2023
Posted by ajoyfulpractice in Changing Perspectives, Dharma, Healing Stories, Minneapolis, Minnesota, Music, One Hoop, Poetry, Twin Cities, Wisdom, Writing, Yoga.Tags: Andy Greene, Bob Dylan, Bonnie Beecher, Dave Van Ronk, Elvis Presley, Jacques Levy, lottery, Mbube, Powerball®, Robert Allen Zimmerman, Rubin Carter, Season for Nonviolence, Season of Non-violence, Solomon Linda, Timothy Hampton, Tony Glover, twists
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Peace and blessings to all, and especially to those observing Lent, Great Lent, and the Baháʼí 19-Day Fast during this “Season for Non-violence” and all other seasons! Happy New Year, to those who are celebrating!
For Those Who Missed It: This is an abridged (and then revised and expanded) version of a 2022 post that primarily focused on “Winning the Lottery.” Some elements of this post also overlap with the 2023 Purim post. Some embedded links connect to websites outside of my blog.
“The problem with this answering line is that the world of the blues that seems to be evoked by the idiom and form of this song is generally not a world in which one’s baby goes off to a ‘foreign land.’ African American blues singers in the tradition that Dylan is building on here may sing about their baby going off to Chicago, or New Orleans, or Natchez. But not on a trip abroad: that’s an experience that, at this particular moment, is still mostly the province of a modern, educated, Caucasian upper middle class…. Dylan goes on to claim in good rural language that he’ll ‘get lucky’ or ‘die tryin’ ’ as he rambles to reach his beloved. ”
– quoted from “II. Ramblin’ Boy: ‘Protest’ and the Art of Adaptation” in Bob Dylan’s Poetics: How the Songs Work by Timothy Hampton
I recently heard a young, up-and-coming artist compare achieving a huge milestone to winning the lottery. For sure, I can see that. Especially when you consider how many people commented on the fact that this artist hit this much deserved milestone before his much lauded collaborator. (Don’t misunderstand me, I’m a big fan of both artists, but there’s something more than talent at play here.) I think having a hit song is also like that. Because while there is a lot of hard work that goes into creating a hit song, there’s also a lot of luck. It’s like that old adage: you can’t win if you don’t play. Of course, most people who play, don’t win – at least not really big – and it’s the same thing with being a big star in music.
The existence of streaming services and social media means that a lot of hustle and marketing on the part of the artist (and their community) can get an artist noticed today, in a way they couldn’t get noticed 20-plus years ago. That attention can really push a song up the charts. However, we’re still in a time time when songs are hits (in part) because they are played on the radio. And for all that hustle, many songs are played on the radio because of the way the musician looks. This is true across genres. This is even more so when it comes to music in and from certain countries and cultures. Being talented and having the “right” size, complexion, ethnicity, and (on a certain level) gender and sexuality, is like hitting the Powerball®.
“The Multi-State Lottery Association encourages all lottery players to be responsible in their amount of play.
For some people gambling can become a problem. If you or someone you know has a gambling problem, there are a number of helpful resources listed below.
National Council on Problem Gambling
24 Hour Confidential National Helpline
Call: 1-800-522-4700
Chat: ncpgambling.org/chat
Text: 1-800-522-4700
Association of Problem Gambling Service Administrators”
– quoted from the “Play Responsibly” tab on the Powerball® website
While I’ve been known to play bingo in a church basement (for charity and the chance to win a homemade quilt), I’m not really one to play the lottery. My limited understanding is that there’s a lot of different ways you can win with a Powerball®. However, just like with music and other things that could make you wealthy beyond your dreams, you have to be responsible and avoid the scams. You have to balance the temptation and your desire with reality. The reality, again, being that if you don’t play, you don’t win; but most people don’t win… big.
If you’re talented and have the aforementioned equivalent of the Powerball®, you can do things other people can’t do. You can write songs that make people re-think the world. You can sing songs other people not only wouldn’t think to sing, but might be afraid to sing. You can inspire people to sing your songs… even when they don’t always understand you. To me, Bob Dylan and his eponymous first album are a great example of a musical Powerball®.
“I walked down there and ended up
In one of them coffee-houses on the block
I get on the stage to sing and play
Man there said, ‘Come back some other day
You sound like a hillbilly
We want folksingers here’”
– quoted from the song “Talkin’ New York” by Bob Dylan
Bob Dylan’s debut studio album, Bob Dylan, was released today (March 19th) in 1962. I didn’t use it for the anniversary this last year – because I thought it would distract from [the] sūtra study – but, normally I use one of the playlists that I also use on Bob Dylan’s birthday (hint, hint). It’s a playlist that combines music from the original album – which only included two original Bob Dylan songs – with Bob Dylan songs covered and/or made famous by others. It’s a good way, I think, to highlight the fact that Dylan is as inspired as he is inspirational.
Bob Dylan, the album, was recorded on November 20th and 22nd of 1961. In addition to the two original Dylan songs (“Talkin’ New York” and “Song to Woody”), there were eleven covers or traditional folk songs (including Negro spirituals). While Bob Dylan did arrange some of the folk songs, there’s one arrangement that he famously, uhmm… “borrowed” (without permission) from folk singer Dave Van Ronk. Exactly a month after recording the album, Bob Dylan had an informal recording session in a Minneapolis, Minnesota hotel room with Bonnie Beecher and Tony Glover. Those bootleg recordings may or may not have been distributed out of someone’s trunk; but, they were the equivalent of modern-day artists streaming their music. They got people excited about Bob Dylan as a musician and may be considered a better glimpse (than the studio album) of what was to come from the artist.
The bootleg recordings did not, however, drum up enough attention to really sell Bob Dylan. The album has never been super popular (chart wise) in the US or the UK. Neither did it, initially, receive a lot of critical recognition or attention. Part of the lack of interest, at the time it was released, may have been because it sounded nothing like what was popular at the time. According to a Rolling Stone article by Andy Greene, “[The album came out at] the height of ‘The Twist’ dance craze, and 11 songs on the Billboard Hot 100 chart had the word ‘twist’ in the title, including “Dear Lady Twist” by Gary U.S. Bonds, “Twistin’ The Night Away’ by Sam Cooke, “Hey, Let’s Twist” by Joey Dee and the Starlighters, “Twistin’ Postman” by the Marvelettes and “Alvin Twist” by the Chipmunks.”
In addition to “Peppermint Twist,” also by Joey Dee and the Starlighters, which spent three weeks at number one on the Billboard Hot 100 chart, the airwaves at the time were filled with doowop artists like Gene Chandler; crooners like Ray Charles and Neil Sedaka; women like Connie Francis, Shelley Fabares, and Little Eva; Motown girl bands like The Shirelles; and boy bands like the Beach Boys and The Tokens (whose number one song at the beginning of 1962, “The Lion Sleeps Tonight,” is it’s own “lottery” cautionary tale). Of course, there was folk music; however, as Andy Greene pointed out, “To most of America, the Kingston Trio were the embodiment of folk music…. but [Dylan] sounded nothing like the Kingston Trio.” Then there was Elvis Presley… and some 1962 reviewers did compare Dylan – as well as his voice and his style – to Elvis Presley.
Which is weird to me.
Don’t get me wrong, I’m a Bob Dylan fan (on a lot of different levels). I even dig that first album. However, the comparison to Elvis is curious, when you really think about it. At the time, maybe they were both just seen as young, eager singers changing the “face” of music – and I get that. They were also young, white singers making popular (city) music out of traditions associated with Black, poor, and/or rural America – and I get that comparison, too. However, it’s hard for me to not view them through the lens of history.
Elvis was a singer, a performer, an actor, and a U. S. veteran; but, he was never recognized as a songwriter. Most say that he didn’t even pen the songs on which he is credited as a co-writer. Also, he didn’t have a ton of protest songs associated with the anti-war and Civil Rights movements. Finally, Elvis never won, as Bob Dylan did in 2016, a Nobel Prize in Literature. In fact, (to me) the only thing Bob Dylan and Elvis Presley had in common in 1962, especially when compared to other also talented musicians at the time, was that elusive Powerball® of talent, drive, and other people’s perceptions.
“How does it feel, how does it feel?
To be without a home
Like a complete unknown, like a rolling stone”
– quoted from the song “Like a Rolling Stone” by Bob Dylan
Please join me for a 65-minute virtual yoga practice on Zoom today (Sunday, March 19th) at 2:30 PM. Use the link from the “Class Schedules” calendar if you run into any problems checking into the class. You can request an audio recording of this practice via a comment below or by emailing myra (at) ajoyfulpractice.com.
Sunday’s playlist is available on YouTube and Spotify. [Look for “05242022 ‘Bob’s Poems”]
“Here comes the story of the Hurricane
The man the authorities came to blame
For somethin’ that he never done
Put in a prison cell, but one time he coulda been
The champion of the world”
– quoted from the song “Hurricane” by Bob Dylan and Jacques Levy
In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.)
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State of the “Union” (mostly the music w/a link) January 8, 2022
Posted by ajoyfulpractice in Bhakti, Changing Perspectives, Faith, Healing Stories, Hope, Music, One Hoop, Philosophy, Religion, Yoga.Tags: 13th Amendment, David Bowie, Dr. Stephen Hawking, Elvis Presley, Frederick Manchester, freedom, gunas, Kaivalya Upanishad, liberation, sensation, Swami Prabhavananda, Yoga Sutra 2.41, Yoga Sutra 3.13, Yoga Sutra 3.50, Yoga Sutras 2.18-2.20, Yoga Sutras 3.1-3.45, Yoga Sutras 3.46-3.48
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“My expectations were reduced to zero at twenty-one. Everything since then has been a bonus.
Although I cannot move and I have to speak through a computer, in my mind I am free.”
*
– Dr. Stephen Hawking (CH CBE FRS FRSA), born 01/08/1942
Please join me for a 90-minute virtual yoga practice on Zoom today (Saturday, January 8th) at 12:00 PM. Use the link from the “Class Schedules” calendar if you run into any problems checking into the class. You can request an audio recording of this practice via a comment below or by emailing myra (at) ajoyfulpractice.com.
Saturday’s playlist is available on YouTube and Spotify.
In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.)
“He is One, without beginning, middle, or end; he is all-pervading. He is infinite wisdom, and he is bliss.
The seers meditate on him and reach the source of all beings, the witness of all. He goes beyond all darkness. He is Brahma, he is Shiva, he is Indra, he is the supreme, the changeless Reality. He is Vishnu, he is the primal energy, he is eternity. He is all. He is what has been and what shall be. He who knows him conquers death. There is no other way to liberation….
He, as the Self, resides in all forms, but is veiled by ignorance. When he is in the state of dream that men call waking, he becomes the individual self, and enjoys food, drink, and many other pleasures. When he is in the state of dream that men call dreaming, he is happy or miserable according to the creations of his mind. And when he is in the state of dream that men call dreamless sleep, he is overcome by darkness, he experiences nothing, he enjoys rest.”
*
– quoted from “Kaivalya” in The Upanishads: Breath of the Eternal (The Principal [sic] Texts Selected and Translated from the Original Sanskrit by Swami Prabhavananda and Frederick Manchester
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Breathe Into How You’re Feeling October 28, 2020
Posted by ajoyfulpractice in Art, Buddhism, Changing Perspectives, Depression, Healing Stories, Health, Hope, Life, Music, One Hoop, Pain, Philosophy, Suffering, Wisdom, Writing, Yoga.Tags: 988, Ben Harper, Brad Paisley, Elvis Presley, pranayama, prāņāyāma, Pyotr Illyich Tchaikovsky, Robert Greenberg, sensation, Vladimir “Bob” Davydov, Wally George
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“I am now wholly occupied with the new work … and it is hard for me to tear myself away from it. I believe it comes into being as the best of my works. I must finish it as soon as possible, for I have to wind up a lot of affairs and I must soon go to London. I told you that I had completed a Symphony which suddenly displeased me, and I tore it up. Now I have composed a new symphony which I certainly shall not tear up.”
— quoted from an 1893 letter from Pyotr Ilyich Tchaikovsky to his brother Modest, as published in Tchaikovsky: The Man Revealed by John Suchet
Abbie Richards is a graduate student at Wageningen University & Research in the Netherlands who, in addition to being an environment and climate scholar, has studied the history of racism, sexism, and classism in golf and also created a hierarchical pyramid of conspiracy theories. I serendipitously came across a story about her conspiracy pyramid and I started wondering where, exactly, Pyotr Ilyich Tchaikovsky’s Symphony No. 6 in B minor, Op. 74 would fall in the ranks.
Going by the Gregorian calendar, “The Passionate Symphony” premiered today in 1893 in Saint Petersburg, “the Cultural Capital of Russia.” It was the second work dedicated to the composer’s nephew, Vladimir Davydov (or “Bob,” as the composer called him) and, understandably (given Bob’s personality and temperament) was full of feelings. But, before we get all up in the feels, consider that the “tenor” of the piece changed when Tchaikovsky died nine days after he conducted the premiere.
“The Passionate Symphony” was the last piece premiered in Tchaikovsky’s life time and the penultimate piece he composed (with the Piano Concerto No. 3 in E-flat major, Op. 75, the last “completed” work, premiering after his death). The symphony’s second performance (on November 18, 1893) was a memorial tribute and contained some changes made by Tchaikovsky in the nine days between the premiere and his death. Conspiracy theories about the piece started almost immediately, fueled first by a passing comment between Tchaikovsky and his dear friend Nikolai Rimsky-Korsakov and then by Tchaikovsky’s sudden death, not to mention the “in memorium” subtitle that accompanied the second performance.
“If this symphony is misunderstood, and torn to shreds, I shall think it quite normal, and not at all surprising. It will not be the first time. But I myself absolutely believe it to be the best and especially the most sincere of all my works. I love it as I have never loved any single one of my other musical creations.”
— quoted from an 1893 letter from Pyotr Ilyich Tchaikovsky to his nephew Vladimir “Bob” Davydov as posted in “Music History Monday: His Own Requiem?” by Robert Greenberg
Tchaikovsky and Rimsky-Korsakov were part of “The Five” (or “the Mighty Handful” or “The Mighty Five”) who collaborated together and promoted a distinctly Russian style of classical music during the 19th century. Around the time of the first performance of the “The Passionate Symphony,” Rimsky-Korsakov reportedly asked Tchaikovsky if the piece was or had a program, referring to a narrative or specific atmosphere. Tchaikovsky said yes, but did not elaborate. The fact that a cruciform melody (changing tones giving the physical appearance of a crucifix) appears in the symphony and that the symphony ends in an unconventional way got people thinking,
When some of those same people attended the memorial performance on November 18th, they listened closely for some sign that the piece was a musical farewell or “symphony as suicide note.” Of course, confirmation bias kicked in and, to this day, people point to all kinds of musical “evidence” to support their theories, despite the fact that just a month before the premiere, Tchaikovsky stated that he was in no mood to write a requiem. Plus, there’s the fact that the composer could not have known he was going to die unexpectedly at age 53 and was planning a trip to London. His death is officially attributed to cholera (reportedly caused by drinking contaminated water), but conspiracy theorists have other ideas. (And, I suppose, the fact the Tchaikovsky’s mother died of cholera when he was 14 years old is just more proof for the conspiracy pudding).
“It was not true that cholera victims were always placed in sealed coffins, and Tchaikovsky’s own mother was the proof. It is documented that she lay in an open coffin, and her children were brought into the room to kiss her forehead. None of them contracted cholera as a result.
The custom in Tchaikovsky’s day, she told me, was for the coffin to be open for family and friends to pay respects, and then sealed for the funeral.
As if to clinch the argument, she told me Tchaikovsky’s death had been certified as caused by cholera by several doctors, all experts in their field. The death certificate, and other necessary paperwork, was signed and countersigned in accordance with procedure. Furthermore, since cholera was so epidemic in St Petersburg, the newspapers carried a daily list of victims in its pages. Tchaikovsky’s name had appeared, along with others. A cover-up would have been impossible.”
— quoted from Tchaikovsky: The Man Revealed by John Suchet
But, let’s get back to what we (for a fact) know to be Tchaikovsky’s intent: a tribute to Bob. The composer’s nephew was reportedly an artistic young man who ultimately decided to go into the military. Both Tchaikovsky and Davydov struggled with depression and, it appears, their relationship helped them bolster each other. Uncle and nephew had a close enough relationship that the composer at one point considered moving to be closer to the person he described as “the paramount condition of my happiness.” Additionally, Tchaikovsky left all his royalties and copyrights to his nephew, who would eventually resign his commission in order to help his uncle Modest Ilyich Tchaikovsky (the composer’s brother) run the museum created to honor the composer’s life and work. To my knowledge, there’s no question about the fact that Vladimir “Bob” Davydov used morphine and other drugs to numb his feelings or that he committed suicide at the age of 34 — something his uncle didn’t see coming.
Both uncle and nephew, as I mentioned before, could be described as “passionate” or “emotional” (with a side of suffering) and this was the original meaning of the title Pyotr Ilyich Tchaikovsky assigned to his penultimate work, Symphony No. 6 in B minor, Op. 74. Tchaikovsky’s brother Modest (Bob’s other artistic uncle) claimed to have suggested the title Pateticheskaya (Патетическая ) which contains an emotional nuance and complexity not found in a single English word. The nuance (and subsequent meaning) gets further lost to modern audiences, because the most common title for the piece is the French word Pathétique — which is sometimes reduced to “The Pathetic” to distinguish it from Ludwig van Beethoven’s 1798 piano sonata (with the same French name).
Based on his response to Nikolai Rimsky-Korsakov’s question and the fact that Tchaikovsky abandoned a title that would have called attention to “a hidden program,” there is evidence that the composer did not want people to be too curious about the meaning. That evidence suggests that Tchaikovsky just wanted people to feel — maybe even to feel some of what he and Bob felt. Or, maybe, the whole piece was just note from uncle to nephew, saying, “You are not alone in this.”
“While on my travels I had another idea for a symphony – a program work this time, but its program will remain a conundrum to everyone. Let them guess at it. This program is imbued with subjectivity. While composing it in my thoughts, I often wept a great deal. Then I began writing drafts, and the work was as heated as it was rapid. In less than four days I completed the first movement, and the remaining movements were outlined in my head. There will be much that is new in this symphony where form is concerned, one point being that the finale will not be a loud allegro, but the reverse, a most unhurried adagio. You cannot imagine the bliss I feel after becoming convinced that time has not yet run out and that it is still possible to work.”
— quoted from an 1893 letter from Pyotr Ilyich Tchaikovsky to his nephew Vladimir “Bob” Davydov as posted in “Music History Monday: His Own Requiem?” by Robert Greenberg
Please join me today (Wednesday, October 28th) at 4:30 PM or 7:15 PM for a yoga practice on Zoom. Use the link from the “Class Schedules” calendar if you run into any problems checking into the class. You will need to register for the 7:15 PM class if you have not already done so. Give yourself extra time to log in if you have not upgraded to Zoom 5.0. You can request an audio recording of this practice via a comment below or by emailing myra (at) ajoyfulpractice.com.
Wednesday’s playlist is available on YouTube and Spotify.
“…You see, my dear friend, I am made up of contradictions, and I have reached a very mature age without resting upon anything positive, without having calmed my restless spirit either by religion or philosophy. Undoubtedly I should have gone mad but for music. Music is indeed the most beautiful of all Heaven’s gifts to humanity wandering in the darkness. Alone it calms, enlightens, and stills our souls. It is not the straw to which the drowning man clings; but a true friend, refuge, and comforter, for whose sake life is worth living.”
— quoted from 1877 letter from Pyotr Ilyich Tchaikovsky to Nadezhda Filaretovna “N. F.” von Meck (who supported the financially supported the composer for 13-years), as published in The Life & Letters of Peter Ilich Tchaikovsky by Modeste Tchaikovsky
If you are thinking about suicide, worried about a friend or loved one, or would like emotional support, you can dial 988 (in the US) or call 1-800-273-TALK (8255) for the Suicide and Crisis Lifeline. You can also call this TALK line if you are struggling with addiction or involved in an abusive relationship. The Lifeline network is free, confidential, and available to all 24/7. YOU CAN TALK ABOUT ANYTHING.
White Flag is a new app, which I have not yet researched, but which may be helpful if you need peer-to-peer (non-professional) support.
If you are a young person in crisis, feeling suicidal, or in need of a safe and judgement-free place to talk, you can also click here to contact the TrevorLifeline (which is staffed 24/7 with trained counselors).
In the spirit of generosity (“dana”), the Zoom classes, recordings, and blog posts are freely given and freely received. If you are able to support these teachings, please do so as your heart moves you. (NOTE: You can donate even if you are “attending” a practice that is not designated as a “Common Ground Meditation Center” practice, or you can purchase class(es). Donations are tax deductible; class purchases are not necessarily deductible.)
Revised formatting and some links (10/28/2024). Typographical errors corrected (10/28/2025).
