When the second died I felt empathy, some sense of loss that I had not felt with the first.
And then it dawned on me why that was. To me, Panamarenko was but some sort of town’s fool who made art to amuse the rich or for the ‘poor little rich folk’ who were in search of their inner child and recognized in him their boy’s dream. Although I did not dislike him, my feelings toward him had been at best ambiguous.
Deelder was another case altogether.
I’d always liked him. He was punk. He was into drugs. He snorted speed. He looked stylish. He was into music. He made poetry cool. He made art for the rich and poor. He crossed boundaries. He was sharp. He was funny.
For an international audience, there are a set of four jazz compilations: ‘Deelder draait’ (2002), ‘Deelder draait door’ (2003), ‘Deelder blijft draaien’ (2004) and ‘Deelderhythm’ (2006).
The history of bossa nova starts with this recording:
Canção do Amor Demais (1958) by Elizete Cardoso features the compositions “Chega de Saudade” and “Outra Vez”, both featuring João Gilberto’s guitar beat, which would go on to become a staple of bossa nova.
Then there is bossa nova’s defining moment, the release of “Bim-Bom” (1958), most often claimed to the first bossa recording.
While researching Gilberto’s death it came to my attention that bossa nova is considered a nobrow phenomenon, i.e. the mixing of high and low culture .
Perhaps Caetano Veloso was the first to make this point in 2013 in The Guardian:
“It [bossa nova] was possibly the first popular music where the themes were existential […] It’s part of what makes it high art. Third-world countries usually produce raw materials that are then transformed into capital by first world nations. This happens in industry, but it also happens in the arts. What was revolutionary about bossa nova is that a third-world country was creating high art on its own terms, and selling that art around the world.” —Caetano Veloso in “Why bossa nova is ‘the highest flowering of Brazilian culture”.
When I further investigated, I came upon this quote by José Miguel Wisnik in Robert Stam’s World Literature, Transnational Cinema, and Global Media (2019) which makes the nobrow point explicitly:
The result within MPB (Popular Brazilian Music) was a perhaps unprecedented synthesis of “high” and “low” culture. Wisnik notes the “permeability established, beginning with Bossa Nova, between so-called culture and popular cultural production, forming a field of encounters that cannot be understood within the binary between music of entertainment and creative and informative music.
I first read Colin Wilson in 2004 when I found The Outsider in a tiny second-hand bookstore about five hundred meters from where I live. This unrecognized — yet extremely prolific — author is very likable for several reasons: his autodidacticism; his love of the outsider and the misfit; his nobrowness and his dislike of pessimism and the pessimist existentialism of Sartre et al. He put the latter this way in a 2004 interview:
When I was in Paris in the early 1950s, Samuel Beckett had just been discovered. Waiting for Godot was on in Paris and I thought ‘What fucking shit! Who is this half-witted Irishman who’s going around saying life’s not worth living? Why doesn’t he just blow his brains out and shut up?’ I felt the same about Graham Greene and Evelyn Waugh, and later on others such as William Golding. I had always had a passionate feeling that certain people I deeply approved of – like G K Chesterton, who spoke of ‘absurd good news’, for example – and people like Thomas Traherne… the mystics in general, that they were saying that we’re basically blind.
The Misfits is the book of Wilson which made the biggest impression on me. Among other things, it observes how John Cleland in Fanny Hill succeeded in slowing down time (and for me defined the concept of slow motion in literature): “the time it takes to read [some scenes] is obviously a great deal longer than the time it took to do.”
I’ve given attention to Colin Wilson on numerous occasions. At Jahsonic.com, on this blog.