Rehabilitar habilitar una esperanza posibilitar un lugar un encuentro habitar un espacio un tiempo abrir los ojos a media caña respirar oler cada mañana caminar por las nubes regar los cipreses coger un puñado de arena sembrar la tierra con el viento oler oler la vida quedarse inmóvil viendo pasar las nubes... MOLER LA VIDA.
El tema central de este Blog es LA FILOSOFÍA DE LA CABAÑA y/o EL REGRESO A LA NATURALEZA o sobre la construcción de un "paradiso perduto" y encontrar un lugar en él. La experiencia de la quietud silenciosa en la contemplación y la conexión entre el corazón y la tierra. La cabaña como objeto y método de pensamiento. Una cabaña para aprender a vivir de nuevo, y como ejemplo de que otras maneras de vivir son posibles sobre la tierra.
Oh I'm gettin' old and feeble and I cannot work no more
The children no more gather 'round my door
And old masters and old mrs they are sleepin' side by side
Near the little old log cabin in the lane
Oh the chimney's fallen down and the roof's all caved in
Lettin' in the sunshine and the rain
And the only friend I've got now is that good old dag of mine
And the little old log cabin in the lane
Oh the trees have all growed up that lead around the hill
The fences have all gone to decay
And the creeks have all dried up where we used to go to mill
And things have changed their course another way
Oh I ain't got long to stay here what little time I've got
I want to rest content wile I remain
'Til death shall call this dog and me to find a better home
And a little old log cabin in the lane
"De Little Old Log Cabin in De Lane" was an early country music standard, one
every hillbilly singer in the '20s and '30s took a crack at. It encapsulated
what would be one of the genre's major themes: sentimental reverence for a dear,
departed country home, often sung by someone lost in the modern
world.
Composed around 1871 by Will S. Hayes, a Civil War-era songwriter
(he played both sides of the fence, writing pro-Union and anti-Union songs),
"Log Cabin" had a resurgence in popularity when the minstrel Len Spencer
recorded it for Victor in 1902.
This version, however, is by one of the
more enigmatic figures of early recorded popular music: the African-American
singer Carroll Clark, who many listeners never knew was black.
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