Not for the contemplative

A dinner at Molos on a Saturday night features live music though you’d hardly know it. For most of the evening the social din was so loud that it would have been easier on/for the musicians to wait until later to play.

Typically din begets din. If a place is noisy and crowded, any attempt at conversation is fruitless unless one wishes to contribute to the din by speaking very loudly (sometimes called screaming) – which naturally only aggravates the problem. Adding a tiny bit of alcohol to the mix and you get a major environmental mental catastrophe for not only are there 75 people screaming their thoughts – many of those thoughts are better left un-shouted because someone might hear them. Not to knock conversation. It’s important most of the time.

Thanks to:
Thanasis Syros – Guitar
Vangelaki Kohilis – Bouzouki
Panagiotis Asteriadis – Bouzouki (chef)
for trying to be heard!

The photo above has nothing to do with the story and is dated 2 June. It is simply a sunrise reflecting from a double-pane glass window.


3 thoughts on “Not for the contemplative

  1. One thing musicians do generally speaking, is reach a place deep within their souls through their music where there is no din , just the higher ground . When one stops playing and the boss says ‘we sold a lot of beer tonight’ ‘can you play next week?’ and the musician asks feebly ‘how much?’ he is told ‘but you do it because you love it’. This goes on for decades . Eventually when you reach 70 you maybe compared in status to that of a typewriter maintenance man but when you see that status is measured by the Henry Kissingers of this world who is a soulless psychopath, one realises how lucky us musicians are. Most musicians I know have learned this. Yes it would be nice if there was more respect, but there isn’t and never has been, unless the idiot has paid £100+ for a ticket. Then they’re very well behaved and impressed .. It’s called social engineering and there’s a lot of money in it. None of it is real. The only thing that is real is the high the musician feels, din or no din. The rest is nonsense. And it’s a complete waste of time trying to explain it to non-musicians.

  2. There are also listeners for whom the music is transcendental. To be fair, culturally the social musical environment (tavernas etc) in Greece is basically social, and I think that the musicians understand quite well that people come to tavernas with live music to eat, drink and be merry. The music is simply the soundtrack.

    I have recordings of live “bouzoukia” performances by some of the great rembetis musicians. One recording, of the immortal Giannis Papaioannou, is almost unlistenable with the cacophony in the room – shouting, people gleefully breaking plates. The worst environmental conditions might be a sign of a successful performance!

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