Mari Boine: Easy to love

One of my favorite musicians is the Norwegian Sami artist Mari Boine. Here, she is in a TV program and is singing the song of one of the other participants. (I think that may be the idea of the program?) The original is a typical – relatively predictable and flat – pop song, and she makes it into something of primal beauty. Look at the reactions of the other participants.

Sting: You could be me in another life, in another set of circumstances

Don’t judge me
You could be me
In another life In another set of circumstances

– Sting in Tomorrow we’ll see

This refrain from Sting frequently comes to mind when I see people in different situations and with other values and orientations from me.

I could be them, in another life, in another set of circumstances.

We are both the product of a slightly different set of infinite causes going back to the beginning of time and out to the widest extent of existence.

Their life, my life, are both expressions of existence, of this universe. We are expressions of this living planet. We are expressions of the same seamless whole.

I can find them in me. I could be them.

In a very real sense, I am them. Whatever story I have about them, I can turn around to myself and find genuine and specific examples of where it’s true. To me, they happen within and as the consciousness I am. The consciousness I am forms itself into my experience of them and all I see in them. It’s me.

The musician and the shaman: Different levels of awakeness in their systems

I had the good fortune to see my favorite musician – Mari Boine – play tonight, at a book discussion in Oslo about the Sami and Christianity. (Many good stories, including about the Jesus child taking on the form of a cloudberry to hide from his mother but it didn’t work because he was too full of light.)

One of the people asking a question was a shaman, and it made me curious about his energy system. When I checked in, his energy system was a bit unusual although not particularly awake.

I then checked the musician’s energy system (I sat directly behind her when she didn’t sing), and her system was far more awake. Not like Adyashanti or people like that, but close.

It’s not surprising. People who are into spirituality or work in that area don’t necessarily have a very awake system, although many do. And they can still do very good work. (This shaman can still be very skilled and effective.) Conversely, people who are not explicitly into spirituality can have an unusually awake system, often without knowing it or having any inclination to put that label on it. (Thank God!)

I suspect this is a big part of why I love her music. It reflects the awakeness in her system.

Note: This is obviously just my perception, although when I checked with someone else good at sensing these things, she found the same. In general, if I check with others without first telling them what I sense, we sense the same or something very similar. If I check an energy system in person, and if I check the level of awakening in the system, it seems very accurate, and it’s still often accurate although a little less so when it comes to other topics and at a distance. And I am also very aware that my perception is not reality itself – it’s filtered through my system and consciousness.

Keith Jarrett on CFS & music creation

I was saying to the disease: I know you are here and I have accepted your presence, but I am still going ahead with this work. To start it I have to make it as intimate as possible.

As soon as it got complex, I stopped. I wanted to stay close to the song, to sing it. So I was turning my disease into a song.

The disease taught me a lot. The greater the experience, the deeper the simplicity. Time is the most complex part of that simplicity.

– Keith Jarrett from the documentary “The Art of Improvisation”, 2005

In this quote, Keith Jarrett talks about Chronic Fatigue Syndrome, and how it helped him simplify and become more intimate with the music. He didn’t stop making music, he changed his relationship with making music.

I love what he says here. It mirrors how my relationship with spiritual practice shifted when my CFS dramatically worsened some years ago. I also had to simplify and become more intimate with it.

For instance, basic meditation is to notice and allow what’s here. Instead of intentionally noticing and allowing, I shifted into something more simple and intimate. I notice that what’s here in my field of experience is already noticed and allowed. It’s already allowed. (By space, mind, life, existence.) It’s already noticed by consciousness before any conscious noticing. I align with what is already here instead of trying to manufacture anything or achieve something through effort. It may not look like a very big shift, and yet it makes all the difference. And it is more closely aligned with reality.

I was aware of and explored this difference long before this happened, but the CFS motivated me to be more simple and intimate in this noticing, and more diligent in finding the most simple and effortless way to notice.

And that’s happened in other areas of life as well, including in my connections with others. I have had to drop a lot of pretense and facades and be simple and more intimate, especially in my more close relationships.

A few of my favorite music albums

I always enjoy discovering new music, including through people’s lists of favorites. So I thought I would return the favor and list some of my own favorite albums here.


Arvo Pärt: Passio, Miserere, Arbos, Te Deum, Da Pacem, Creator Spiritus, Alina (ECM recordings, Estonian Philharmonic Chamber Choir, Paul Hillier)

Philip Glass: Akhnaten, Satyagraha, Glassworks

Meredith Monk: Book of Days

Steve Reich: Different Trains, Music for 18 Musicians, Reich/Richter

John Adams: Shaker Loops


Jordi Savall (performer): Tous les matins du monde

JS Bach: Die Kunst der Fuge (Keller Quartet)

Rachmaninov: Vespers (Paul Hillier)

Palestrina: Missa Papae Marcelli, Missa Aeterna Christi Munea, Stabat Mater

Allegri: Miserere (Tallis Scholars)

Marin Marais: Pieces de Viole du Second Livre (Jordi Savall)

Canteloube: Songs of the Auvergne (Dawn Upshaw) 


Mari Boine:  Eight Seasons, Goaskinviellja / Ørnebror, Leahkastin

Agnes Buen Garnås & Jan Garbarek: Rosensfole

Jaga Jazzist: Starfire, Magazine, Stix, What We Must

Kings of Convenience: Riot on an Empty Street, Quiet is the New Loud, Declaration of Dependence, Peace or Love


Bulgarian Women’s Choir: Le Mystere des Voix Bulgares, Bulgarian Custom Songs, Ritual

Maria Salgado: Siete Modos De Guisar Las Berenjenas

Kila: Tog e go bog e, Gambler’s Ballet, Luna Park


Kate Bush: Hounds of Love, Aerial part II, The Sensual World

Sting: Nothing Like the Sun, Ten Summoner’s Tales, Mercury Falling, Brand New Day 

Mathieu Chedid – M


Kojato: All About Jazz

Bahama Soul Club: The Cuban Tapes

Caravan Palace: <|°_°|> (Robot Face), Chronologic

Stereolab: Dots & Loops, Cobra & Phases, Sound Dust

Bitter:Sweet: Drama, The Mating Game

Django Reinhart


Bela Fleck: The Bluegrass Sessions, Tales from the Acoustic Planet

Carlos Nakai: Carry the Gift, Canyon Trilogy

William Eaton: Where Rivers Meet


João Gilberto, Elis Regina, Antônio Carlos Jobim, Sabrina Melheiros

Compilation: Bossa Nova and the Rise of Brazilian Music in the 1960s


Ayub Ogada: En Mana Kuoyo

Youssou N’dour: Eyes Open, The Guide, Set, Egypt

Sona Jobarteh: Badinyaa Kumoo, Fasiya


Axiom of Choice: Niya Yesh, Unfolding

Peter Gabriel: Passion: Music for the Last Temptation of Christ

The Musicians of the Nile: Egypte – Les Musiciens du Nil

Seiur Marie Keyrouz: Chant Byzantin, Canticles de L’Orient


Huun Huur Tu: If I’d Been Born an Eagle, Where Young Grass Grows

Sainkho Namtchylak: Naked Spirit

Shakuhachi – The Japanese Flute


Bruno Coulas: Himalaya

Hans Zimmer: Interstellar

Sweet & Lowdown

Vangelis: Bladerunner


Boris Blank: Electrified

Brian Eno: Apollo – Atmospheres & Soundtracks

Jean-Michel Jarre: Oxygene, Zoolook, Amazônia

Vangelis: Albedo 0.39

And, in general, anything from Putumayo.

See also this playlist on Spotify, and a slightly more comprehensive list.

Sting: Don’t judge me, you could be me in another life, in another set of circumstances

Don’t judge me

You could be me in another life

In another set of circumstances

– Sting, Tomorrow We’ll See

As so often, this is very simple and there is also a lot here.

The actions of any of us would make sense if we knew their background and inner and outer situation.

We could easily have been born into another set of circumstances.

If we are in a privileged inner or outer situation, it’s ultimately not our own doing. It’s all given to us by our family, society, culture, and ultimately Life. Even our talents, motivation, and drive is given to us.

Whatever story I have about you, I can turn it around to myself and find where it is true. I can find examples here and now, and from the past.

When I explore what I am in my own first-person experience, I find I am capacity for the world. I am what the world, to me, happens within and as. To me, you happen within and as what I am.

If I don’t notice what I mentioned above, it’s because of a hangup I have. And I can explore that hangup. I can befriend it, get to know it, and invite it to heal and wake up.

The miracle of love

The miracle of love
Will take away your pain

– Eurythmics, the miracle of love

Yes, the miracle of love will take away your pain.

And this is the love we give the hurting parts of ourselves.

It’s the love we meet our own hurt with.

That’s the only love that can heal.

That’s the only love that can touch these parts of us.

We are the only one who is in the position to give this to us.

It may seem it’s the love from others that does this – whether it’s a person or divine – but that love only reminds us of our own love. When we receive that love, we give ourselves permission to love these hurting parts of ourselves.

She got free from the chains of freedom

She got free from the chains of freedom

– Angel, Kings of Convenience

When it comes to freedom in a very basic sense – in terms of human rights and so on – it’s important to find freedom and support the freedom of others.

Beyond that, we can chain ourselves in the idea of freedom. If we hold our ideas about freedom tightly, that in itself chains us.

It’s good to examine our ideas about freedom…. What it means. What we hope to get from it. What we fear the most. What type of freedom we seek. Our identities around it. And if we hold onot the idea of freedom tightly, what we try to escape.

For me, the one freedom that resonates the most (beyond human rights etc.) is the freedom Adya talks about. The freedom to experience what’s here as it is.

This is all happening at the human level. As what we are, we are capacity for all of this. This human self and the wider world happens within and as what we are. Any ideas of freedom or not, and any situations these refer to, happen within and as what we are.

So we can work for some kinds of freedom for ourselves and others. We can examine our ideas about freedom, and find some freedom around these ideas. And we can find ourselves as that which any ideas about freedom, and what they refer to, happen within and as.

Elis Regina: Águas de Março

Águas de Março / Waters of March,
performed by Elis Regina in 1973
and written by Antônio Carlos Jobim.

I love this song. It’s simple, beautiful, and about all the little things that make up life.

When I hear it, it’s also about the divine in and as everything.

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Art and match with the person experiencing it

There are many ways to evaluate art: skills, technique, heart, humanity, psychology, sociology, symbolism, politics, reflection of society, impact on society, and so on.

In daily life, people often generalize based on how they experience music, paintings, writing, movies or whatever it may be, and say “this is good” or “that’s terrible”, or “these people have good taste” and “those people have terrible taste”.

For me, art is largely about match. How does someone experience and receive it? Do they get something out of it? Does it resonate with something in them? Does it help them get in touch with someting in themselves? Does it add to their life?

I love some music that few others seem to like, and that’s fine. The music means a lot to me, and that’s enough.

Similarly, I sometimes don’t like what some others like, and that’s good to. If they get something out of it, that’s very good for them and it makes the existence of that piece of art even more meaningful (beyond what it means to the one creating it).

This is very simple, and yet I am surprised by how often people seem to generalize based on how they personally perceive a piece of art, as if their individual experience says something inherently about the piece of art, and about the people who either resonate with it or not.

I assume it’s partly because we have trouble differentiating our perception from what it’s about (which we cannot say anything final or absolute about).

We may have trouble deeply realizing that we all have our own biases and backgrounds and so perceive the world differently and uniquely.

We may have trouble feeling relaxed about our own likes and dislikes, and enjoying the enjoyment of others even if it’s about somehting we personally don’t like.

It may also have to do with our identity. We often use our likes and dislikes to create an identity for ourselves, and to filter people into us and them.

The photo is of Huun-Huur-Tu from Tuva, which is one of my favorite bands and the one I have seen most often in concert. It also happens to be music many or most from the western world wouldn’t easily resonate with or like. And that’s understandable and completely OK.

Rammstein: Deutschland

In the mind apart
In the heart united

– from Deutschland by Rammstein

This is another epic song and music video, similar to This Is America by Donald Glover (Childish Gambino). Both highlight issues of conflict, division, violence, and dehumanization in their countries, and bring these uncomfortable and often politely ignored issues right in front of us.

The music video for Deutschland follows these themes through German history, and I won’t go into the specific references since it’s easily found online. (Red thread, Germania, high technology co-existing with primitive cruelty, etc.)

In the lyrics, I am especially struck by the phrase…

Im Geist getrennt / In the mind apart
Im Herz vereint / In the heart united

That’s the human condition in a nutshell. We often find ourselves divided in the mind while united in the heart.

Just by being human, and being part of existence, we are united in the heart and our being. And as soon as our mind believes its own ideas about the world, we are often divided in the mind, and this is what’s behind (most of) the violence, conflict, and division.

And then…

Du / you
Ich / I
Wir / we
Ihr / you (plural)

…. which I take to mean that this applies to all of us. We are all in the same boat. We cannot blame some of us and pretend we are not part of it.

Rammstein are masters at the occasional epic and unforgettable lyrics, music, and music videos, and also of marketing. They know how to upset some people just enough so they get more attention. In this case, it’s the hanging scene that’s controversial, although they cast themselves as the jews (again, the theme that this is about all of us) and the lyrics and video are obviously critical of the themes of cruelty and dehumanization running through German history. And not only German history, but the history of humanity.

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Caravan Palace: Miracle

Every day we live a miracle
You don’t need an upgrade anymore
Can’t you see the leak?
Don’t worry I will teach you how to take the pill
To feel the thrill and touch it all!

Caravan Palace, Miracle

I was happy to see that one of my favorite bands has a new single out.

Every moment of every day is a miracle. That we are alive is a miracle. This Earth and universe is a miracle. That anything exists at all is a baffling and awe-inspiring miracle.

Recognizing this miracle doesn’t change (the rest of) what we experience, but it does change how we experience it. It changes the context of our experience.

And how do we take the pill? Here is the prescription from Caravan Palace.

I will teach you how to take the pill
To feel the thrill and touch it all!

(Act like a brother)
Every day is a miracle
(Help one another)
Connect back with the people
(Give it to your lover)
And all the people you miss
(Let’s come around)

(Act like a brother)
Don’t think you’re invisible
(Help one another)
Connect back with the people
(Give it to your lover)
And all the people you miss
(Let’s come around)


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Parliament: Testify

Once I was a hollow man
In which a lonely heart did dwell
You know love came creeping upon me
Bringing life to an empty shell

Now I heard so many times before
That your love could be so bad
I just want to tell you people
It’s the best love I ever had

Don’t you know that 
I just want to testify
What your love has done for me
I just want to testify
What your love has done for me

Ooh, ooh luscious
Sure been delicious to me
Ooh, ooh luscious
Sure been delicious to me

I just want to testify
What your love has done for me
I just want to testify
What your love has done for me

Parliament, Deron Taylor / George S Clinton, Testify

I listened to this song by Parliament and realized it falls into place more for me when I turn it around to myself. (When I hear songs or watch movies or read stories or look at the world, I find it interesting to explore it as I would a dream, as if all aspects are in myself.)

I can understand the lyrics of Testify in a conventional sense, as someone who comes alive through the love of someone else. I allow myself to come alive because I tell myself I am loved and lovable.

And when I see that, I also realize I can give myself that love.

How can I give myself that love?

I can do loving things for myself (take a bath, make a good meal etc.).

More importantly, I can find love for whatever parts of myself come up, and especially those parts I previously have shunned and pushed away. I can find love for my experience as it is here and now, even if it’s uncomfortable and something I previously have shunned.

To get started, I can do this with the help of a structure. It can be a basic meditation such as natural rest. When I notice and allow my experience, as it is here and now, it’s a deep expression of love. It can also be a heart-centered practice such as ho’oponopno, tonglen, or metta. Or I can do it through a simple inquiry such as the Headless experiments or the Big Mind / Big Heart process.

If I want to be more thorough, I can also find and investigate any beliefs that prevent me from finding a deep and lasting love for myself. I can do this, for instance, through The Work or Living Inquiries. A common thought is that I am not worthy of love or I am unlovable. One of my thoughts is that the love of someone else (preferably a woman beautiful inside and out) is more important or worth more than my own love.

These are all very natural and understandable thoughts, and it can be a great relief and open up a whole new dimension of the world when the charge goes out of them (Living Inquiries) or we find what’s more true for us (The Work).

Erik Bye: Vår beste dag

Marit Larsen / NRK synger Erik Byes Vår beste dag

En av de vakreste norske sangene, med tekst som samenfatter visdom fra et langt liv.

Kom og lytt til lyset når det gryr av dag!
Solen løfter sin trumpet mot munnen.
Lytt til hvite sommerfuglers vingeslag:
Denne dag kan bli vår beste dag.

Denne dag kan bli vår beste dag. Vi kan møte dagen så den kan bli vår beste dag. Og dagen i dag allerede er vår beste dag siden den er den eneste dagen vi har. Når vi virkelig skjønner det kan vi møte dagen som et barn som opplever verden for første gang, eller en gammel mann som vet at dette godt kan bli hans siste dag. 

Stien som vi gikk i går er like ny,
hemmelig som ved vårt første morgengry.
Mangt skal vi møte og mangt skal vi mestre!
Dagen i dag den kan bli vår beste dag.

Mangt skal vi møte og mangt skal vi mestre. Allikevel kan dagen i dag bli vår beste dag. 

Kom og lytt til dypet når vi ror mot land!
Hør maneten stemmer sine strenger.
Løfterik er tonen i et fiskevak:
Denne dag kan bli vår beste dag.

Fjorden vår er like ny og blå og blank.
Blikket ditt er fritt og ryggen like rank!
Mangt skal vi møte og mangt skal vi mestre!
Dagen i dag – den kan bli vår beste dag.

Kjære lytt til mørket når vår dag er gått.
Natten nynner over fjærne åser.
Mangt har dagen skjenket oss i stort og smått,
mer, kan hende, enn vi har forstått.

Mangt har dagen skjenket oss i stort og smått, mer, kan hende, enn vi har forstått. Det denne dagen har gitt oss og gjort med oss kan gå langt ut over det vi er klar over.

Månen over tun og tak er like ny,
men tier stille om vårt neste morgengry!
Mangt skal vi møte og mangt skal vi mestre!
Dagen i morgen skal bli vår beste dag!

Erik Bye, Vår beste dag

Vakker og tidløs visdom fra Erik Bye. 

Childish Gambino: This is America

Donald Glover’s new music video feels iconic and is understandably receiving a great deal of attention.

Why does it feel so iconic? And what is it about?

To me, it feels iconic because of its simplicity, depth, and universal archetypal themes grounded in a specific time and place. There is a strong contrast between the violence and the joyful song and dance. There is a simplicity in that it’s in one setting and mostly shot in one take. It has sincerity, depth, and urgency. The theme is clear but it leaves the interpretation and reflection up to the viewer.

And what is it about? Most obviously, both the violence and the joyful song and dance reflect Black history in the US, and also the current Black experience in the US. Both are part of their history and lives. Beyond that, it’s part of the US culture as a whole, human civilization, and each of us as individuals. It reflects our human experience. We contain and experience both.

It’s interesting that the sequential nature of the video suggests different ways of relating to this. We can bring fleeting attention to the drama of violence and then move on as if nothing happened. (As US society and media seem to do with the current gun violence, and as we as individuals sometimes do in our own lives.) Or we can acknowledge both as part of our history, our lives, humanity as a whole, and us as individuals, and engage with it more intentionally and responsibly and do something about it. Both of these are relatively privileged ways of relating to it.

There is also a third way of relating to it, which is – I imagine – is the reality of many black people in the US. They live with both and compartmentalize the violence and pain so they can move on with their lives.

Again, it’s a very simple theme. We all know that humans are capable of terrible things and wonderful things. We know both are part of our lives collectively and individually. We know that we often ignore the unpleasant things and move on to the pleasant ones. We know that can be fine in the short run but it creates problems in the long run. And yet, we often act and live as if we don’t quite know. And that’s why these reminders are so important, especially as they ignite reflection and discussion as this video is doing right now.

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Why no music during TRE?

In most cases, there is no music during a TRE (Tension and Trauma Release Exercises) session.

For me, it feels intuitively right with silence during more formal TRE sessions. Why is that?

The music may not fit what comes up for each person, or what “needs” to come up.

Music preferences are very individual. Whatever music played will be liked by some and disliked by others. Occasionally, with more experienced people, this can be interesting. Whatever comes up in relation to the music can be included in the session. For beginners, it may be better with no music.

Any music can be distracting from feeling sensations, looking at mental images, and hearing words.

If I do it on my own, I may do it while music is playing or even while watching a movie. I do it in just about any situation, if it feels right.

Arvo Pärt: The Deer’s Cry

Christ with me,
Christ before me,
Christ behind me,
Christ in me,
Christ beneath me,
Christ above me,
Christ on my right,
Christ on my left,
Christ when I lie down,
Christ when I sit down,
Christ in me,
Christ when I arise,
Christ in the heart of every man who thinks of me,
Christ in the mouth of every man who speaks of me,
Christ in the eye that sees me,
Christ in the ear that hears me,
Christ with me.

Attributed to St. Patrick, 385-461(translation by Kuno Meyer)

The coming of Patrick to Ireland about the middle of the fifth century initiated the “most peaceful invasion and lasting conquest of all”. This hymn is attributed to Patrick and certainly reflects many of the themes found in Patrick’s thought. The version we have today was likely written in the late 7th or early 8th century. The hymn is a celebration of the wisdom and power of God both in creation and redemption.  It is an excellent example of a lorica — a “breastplate” or corslet of faith recited for the protection of body and soul against all forms of evil — devils, vice, and the evil which humans perpetrate against one another.  The name of the hymn derives from a legend of an incident when the High King of Tara, Loeguire resolved to ambush and kill Patrick and his monks to prevent them from spreading the Christian faith in his kingdom.  As Patrick and his followers approached singing this hymn, the King and his men saw only a herd of wild deer and let them pass by.  The word ‘cry’ also has the sense of a prayer or petition.


Kate Bush: Nocturn


[The chorus:]
Sweet dreams…On this Midsummer might
Everyone is sleeping
We go driving into the moonlightCould be in a dream
Our clothes are on the beach
These prints of our feet
Lead right up to the sea
No one, no one is here
No one, no one is here
We stand in the Atlantic
We become panoramic

We tire of the city
We tire of it all
We long for just that something more

Could be in a dream
Our clothes are on the beach
These prints of our feet
Lead right up to the sea
No one, no one is here
No one, no one is here
We stand in the Atlantic
We become panoramic

The stars are caught in our hair
The stars are on our fingers
A veil of diamond dust
Just reach up and touch it
The sky’s above our heads
The sea’s around our legs
In milky, silky water
We swim further and further
We dive down… We dive down

A diamond night, a diamond sea
And a diamond sky…

We dive deeper and deeper
We dive deeper and deeper
Could be we are here
Could be we are in a dream
It came up on the horizon
Rising and rising
In a sea of honey, a sky of honey
A sea of honey, a sky of honey

[The chorus:]
Look at the light, all the time it’s a changing
Look at the light, climbing up the aerial
Bright, white coming alive jumping off the aerial
All the time it’s a changing, like now…
All the time it’s a changing, like then again…
All the time it’s a changing
And all the dreamers are waking

The lyrics of Kate Bush are full of pointers, as a friend of mine also mentioned on Facebook this morning.

This song is especially direct. It’s a reflection of how an initial opening or awakening can be experienced.

It’s a shift into Big Mind recognizing itself as all there is.

We stand in the Atlantic
We become panoramic

The stars are caught in our hair
The stars are on our fingers
A veil of diamond dust
Just reach up and touch it

It’s also a reflection of the elation and awe that comes with this initial opening or awakening.

All the time it’s a changing
And all the dreamers are waking

And it does easily seem this way. Big Mind (Spirit, God, Brahman) notices itself as all there is. It does seem like everything and everyone is awakening, as if Big Mind is awakening to itself through everyone. In a sense, it’s true. That’s what’s happening here, in “my” world. This is what the historical Buddha experienced too. (And it doesn’t mean it’s happening “out there” in others, especially on a large scale.)

Selling my soul to get what I think I want

Where do I sell my soul to get what I (think I) want?

Where do I sell out on my integrity, or on following my inner guidance or the voice of the heart?

When I do that, what’s the fear behind it? What’s the fearful image or thought?

If I take that image or thought to inquiry, what do I find? What’s more true for me?

How would it be to live from that? What fears come up when I consider living from it?

Arvo Pärt: The Deer’s Cry


Christ with me, Christ before me, Christ behind me,

Christ in me, Christ beneath me, Christ above me,

Christ on my right, Christ on my left,

Christ when I lie down, Christ when I sit down,

Christ in me, Christ when I arise,

Christ in the heart of every man who thinks of me,

Christ in the mouth of every man who speaks of me,

Christ in the eye that sees me,

Christ in the ear that hears me,

Christ with me

– 0 –

The sacred Lorico or Deer’s Cry was composed by Saint Patrick in the year 433. Knowing of an ambush to kill him and his followers, St. Patrick led his men chanting it as they passed through a forest. They were transformed into a deer and twenty fawns, and thus St. Patrick and his men were saved. Pärt composed the work in 2007 and it was first performed in Louth the following year.

– 0 –

This is one of the most beautiful songs I know. And it reflects a common practice in several different spiritual traditions. For instance, both in Christianity and Buddhism, one of the basic practices is the visualization of Christ / Buddha above and below us, on either side, in the front and behind, and in the heart. And there is also the “walk in beauty” prayer attributed to the Navajo.

The wounds that will heal me

The wounds she gave me, were the wounds that would heal me.
– Sting in I was Brought to My Senses, Mercury Falling

The wounds she gave me (I gave myself), were the wounds that would heal me (through inquiry).

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Kate Bush: Snowed in at Wheeler Street

This song is fertile ground for finding beliefs, both those I easily recognize for myself and those I (appear to)  only imagine in others. The lyrics touches on some very common human beliefs.

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Kate Bush: Wild Man

Who other than Kate Bush would write a compassionate and heartfelt song about the Yeti?

And, of course, the Yeti is me – as he is for each of us.

What are my stories about the Yeti?

The Yeti is mysterious. He is unknown.

He doesn’t exist.

He is alone. He is feared. He is endangered.

People fear him.

He is dangerous.

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Björk interviews Arvo Pärt

Björk: There is question and answer, the different voices…. inside your music. It’s almost like Pinocchio and the little cricket. One is human and always making mistakes and pain, and the little cricket is more like…. comfort him, or tell him…. Do you feel this in your music, or maybe I imagine? 

Pärt: I am really happy that you talk about it, it is really so. This new style consist of two sides, so that one line is my sins and another line is forgiveness of these sins. Mostly the music has two voices. One is complicated and subjective, but another is very simple, clear and objective.

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