Welcome to Letters From Quotidia – a podcast by Quentin Bega for lovers of music, poetry, and the Crack- that most Irish of nouns which may encompass, news, gossip, fun, entertainment, and enjoyable conversation. Quotidia is that space, that place, where ordinary people lead ordinary lives. But where, from time to time, they encounter the extraordinary.
It’s strange how the gravitational pull of the stellar personalities in our youth, no matter how fast and far we thought we had travelled in the years since, draw us into an orbit of obeisance, or, at least, sincere acknowledgement of influence. Just over 10 years ago, as I lurched through the barrier of sixty calendar years on the planet, I began to think of eschatological matters with a little more attention: I mean, even with the most optimistic and deluded of outlooks, one would have to agree that the past was more packed with incident and longevity than the years ahead will prove to be.
So, I wrote a song which touched upon matters encompassing the fifty plus years I have known my wife. Now, as a personal aside, as I write this, we have just celebrated our 50th Wedding Anniversary, in lockdown rather than in a swish apartment overlooking the Sydney Harbour Bridge and Opera House-thank you COVID! And, as Hendrix wrote in lyrics to the song on the B side of his monster hit Purple Haze which I bought way back in March of 1967, For fifty years they’ve been married and they can’t wait for the fifty first to roll around… Anyway, back to the song at the end of this post.
As my inspiration, I took a song from the Beatles’ St. Pepper’s album, Paul McCartney’s, When I’m 64. Although the theme is “ageing”, Wikipedia informs me, it was one of the first songs McCartney wrote, when he was 16.It was on the Beatles playlist in their early days as a song to perform when their amplifiers broke down or the electricity went off. Lennon said, in his 1980 interview for Playboy, “I would never even dream of writing a song like that.” But, I did, at age 63. And I’m not Robinson Crusoe, in this regard either. Lots of other people, riffing off the McCartney song, have registered in song or verse or prose, reflections on reaching age 64.
And almost fifty years before the Beatles set the song in vinyl, T.S. Eliot, in one of his finest poems, explored age in a poem, the title of which, means old man– Gerontion. …Vacant shuttles/ Weave the wind. I have no ghosts,/ An old man in a draughty house/ Under a windy knob.// After such knowledge, what forgiveness? Think now/History has many cunning passages, contrived corridors/ And issues, deceives with whispering ambitions,/ Guides us by vanities./… I was neither at the hot gates/ Nor fought in the warm rain/ Nor knee deep in the salt marsh, heaving a cutlass… I have lost my sight, smell, hearing, taste and touch:… These with a thousand small deliberations… multiply variety in a wilderness of mirrors…
McCartney was only 16 when he wrote his song; Eliot was twice his age- 32- when he wrote his poem. But neither, by any stretch, could be considered old. Are our senior poets, then, so immured in their senescence, that we can learn nothing from them? Not so! Carol Ann Duffy, that redoubtable poet (and laureate) wrote, introducing a selection of poems from senior British poets in The Guardian back in 2010, I invited the poets here to write, in any way they chose, about ageing. Our society, I believe, is turning gradually away from its obsession with “yoof” and “slebs”. We are beginning to realise that we face, at the very least, an uncertain future, one in which wisdom and experience – and respect – will need to be accorded a more important role. Nice thought, Carol Ann, if only it were true. Looked at any Tik-Toks recently?
All the old gods have become enfeebled,/mere playthings for poets. Few, doze or daft,/frolic on Parnassian clover, wrote Dannie Abse, a notable poet, who died at age 91, in 2014. For Ruth Fainlight, aged 85, and close friend of Sylvia Plath in the years before that poet’s suicide, ageing, means no more roller-skating./That used to be my favourite/ sport, after school, every day:… When I saw that young girl on her blades,/wind in her hair, sun on her face,… racing/her boyfriend along the pavement:/– then I understood ageing. Interesting, and amusing, is Roger McGough’s re-working of his famous 1967 poem, Let Me Die A Youngman’s Death, where he spurns the decorous, fading-away-like-the-smoke-of-a-blown-candle sort of death for one that is full of incident, violence, lasciviousness and noise- although not before the age of 73 at the earliest! Now, at age 78, he admits, My nights are rarely unruly. My days/of allnight parties are over, well and truly./No mistresses no red sports cars/no shady deals no gangland bars/no drugs no fags no rock’n’roll/Time alone has taken its toll.
I guess, that for Roger and me and so many others in- what do you call them- our golden years, a dose of Lily the Pink’s medicinal compound would be just what the doctor ordered! I’ll finish by reference to a poem by erudite British-based Australian poet, Peter Porter who died in 2010, aged 81, shortly after submitting, Random Ageist Verses, for inclusion in the Guardian article. In this short poem of ten quatrains rhyming abab, he ranges wittily across age-related themes, citing Churchill, Auden, Hardy and Hyden, with insights such as, Immersed in time, we question time/And ask for commentators’ rights/The amoeba has a taste for slime/ Among its range of appetites concluding with these lines that surely only the wisdom of age can craft, The greyness of the sky is streaked/Along its width with shades of red;/The pity of the world has leaked/ But who are these whose hands have bled? [insert song]
As a bit of light relief from heavyweight poets and the like, the next Letter poses the sort of question that fans of pop culture lap up like Sylvester lipping his saucerful of milk: What do Porky Pig, Tonto and Dr Watson have in common? Intelligensia among you, however, need not despair: there are ample examples from poetry and literature to satisfy those whose brows range from middling to high. So, come one, come all, the sweet land of Quotidia awaits your call.
Credits: All written text, song lyrics and music (including background music) written and composed by Quentin Bega unless otherwise specified in the credits section after individual posts. Illustrative excerpts from other texts identified clearly within each podcast. I donate to and use Wikipedia frequently as one of the saner sources of information on the web.
Technical Stuff: Microphone- (for the podcast spoken content) Audio Technica AT 2020 front-facing with pop filter)
Microphone (for many of the songs) Shure SM58
For recording and mixing down 64-bit N-Track Studio 9 Extended used
Music accompaniment and composition software- Band-in-a-Box and RealBand 2020 as well as- for some 20 of the songs of year 2000 vintage- I used a Blue Mountains, NSW, studio. Approximately 48 Banter folk songs and instrumentals recorded live (“in the round”) with a ThinkPad laptop using the inbuilt mic.