Tag: musical theatre

Songs and Tweaking Our Understanding, Part 2

Let’s look at three songs: “Cabaret” (from the musical of the same title), “Is That All There Is?” and “More Than a Woman” by the Bee Gees.

In “Cabaret” the character Sally Bowles sings, “Start by admitting from cradle to tomb / It isn’t that long a stay / Life is a cabaret, old chum…” She asserts that life is so short that one shouldn’t take it seriously and should be treated as boisterous fun.

Earlier, she sang:

I used to have this girlfriend known as Elsie
With whom I shared four sordid rooms in Chelsea
She wasn’t what you’d call a blushing flower
As a matter of fact, she rented by the hour

The day she died the neighbors came to snicker:
“Well, that’s what comes from too much pills and liquor”
But when I saw her laid out like a queen
She was the happiest corpse I’d ever seen

Does the idea of a happy corpse ring true? As a corollary of this, is it plausible that a smile survives hours after death?

While “Cabaret” compares life to the titular cabaret, there are many other songs with simplified comparisons of life, none of which cover the full breadth of human experience. The French philosopher Maurice Merleau-Ponty wrote that the world is inexhaustible, and to extend this, so too is life.

In “Is That All There Is?” each question has several levels. When confronted with the fire that claims her childhood home, the disappointment of the circus and finally the loss of her love, the song echoes “Cabaret” with the chorus:

Is that all there is?
If that’s all there is my friends, then let’s keep dancing
Let’s break out the booze and have a ball

Much like the way “Cabaret” repeats “Life is a cabaret, old chum / Come to the cabaret”.

In “More Than a Woman” by the Bee Gees, they sing, “We can take forever, just a minute at a time”. Can we visualize this in the concrete terms of the song? In Western tradition, we often associate the search for forever with young love. What does it mean to fuse the momentary and the forever?

The Bee Gees song gives us an entry to the changing sense of time experienced by a living person, as contrasted to the objective time of a fossil carbon-dated by a paleontologist.

Songs as an Informal University

We have already seen in “Songs as Another Kind of Parallel University” that trying to revive or rescue enchantment in a “disenchanted world” (Max Weber, “Entzauberung”) is a kind of philosophical “move” in love songs which has much to do with the impact on the West of the medieval troubadours.

Take this masterpiece song from the fifties musical My Fair Lady. Notice the explicit introduction of “enchantment” into the lyrics:

“On the Street Where You Live”

I have often walked
Down the street before,
But the pavement always stayed
Beneath my feet before
All at once am I
Several stories high,
Knowing I’m on the street where you live

Are there lilac trees
In the heart of town?
Can you hear a lark in any other part of town?
Does enchantment pour
Out of every door?
No, it’s just on the street where you live

And oh, the towering feeling
Just to know somehow you are near
The overpowering feeling
That any second you may suddenly appear

People stop and stare
They don’t bother me,
For there’s no where else on earth
That I would rather be

Let the time go by,
I won’t care if I
Can be here on the street where you live

People stop and stare
They don’t bother me,
For there’s no where else on earth
That I would rather be
Let the time go by
I won’t care if I
Can be here on the street where you live,
Can be here on the street where you live,
Can be here on the street where you live

The enchantment of love is also at the center of the song by Seals & Crofts, “We May Never Pass This Way (Again)” from decades ago. In the same way that Jim Morrison and the Doors capture life’s basic randomized “thrownness” (Heidegger, “Geworfenheit”), Seals & Crofts capture life’s one-time ephemerality, as the title signals immediately:

“We May Never Pass This Way (Again)”

Life
So they say
Is but a game and they’d let it slip away
Love
Like the autumn sun
Should be dyin’
But it’s only just begun

Like the twilight in the road up ahead
They don’t see just where we’re goin’
And all the secrets in the universe
Whisper in our ears
All the years will come and go
Take us up
Always up

We may never pass this way again
We may never pass this way again
We may never pass this way again

Dreams
So they say
Are for the fools and they let ’em drift away
Peace
Like the silent dove
Should be flyin’
But it’s only just begun

Like Columbus in the olden days
We must gather all our courage
Sail our ships out on the open seas
Cast away our fears
And all the years will come and go
Take us up
Always up

We may never pass this way again
We may never pass this way again
We may never pass this way again

So
I wanna laugh while the laughin’ is easy
I wanna cry if makes it worthwhile
I may never pass this way again
That’s why I want it with you

’Cause
You make me feel like I’m more than a friend
Like I’m the journey and you’re the journey’s end
I may never pass this way again
That’s why I want it with you
Baby

We may never pass this way again
We may never pass this way again
We may never pass this way again
We may never pass this way again

After deeply drinking in this and other songs, you could become more “attuned” to academic philosophy which would become less of an abstract and insipid blur. Pre-awareness and pre-understanding give you the receptivity you need and you get these from movies and songs and private life. The trick is to use meta-intelligence to straddle the campus and the off-campus worlds.