Joan of Arc’s Voices and Visions

George Bernard Shaw’s Preface to St Joan

JOAN’S VOICES AND VISIONS

Joan’s voices and visions have played many tricks with her reputation. They have been held to prove that she was mad, that she was a liar and impostor, that she was a sorceress (she was burned for this), and finally that she was a saint. They do not prove any of these things; but the variety of the conclusions reached shew how little our matter-of-fact historians know about other people’s minds, or even about their own. There are people in the world whose imagination is so vivid that when they have an idea it comes to them as an audible voice, sometimes uttered by a visual figure. Criminal lunatic asylums are occupied largely by murderers who have obeyed voices. Thus a woman may hear voices telling her that she must cut her husband’s throat and strangle her child as they lie asleep; and she may feel obliged to do what she is told. By a medico-legal superstition it is held in our courts that criminals whose temptations present themselves under these illusions are not responsible for their actions, and must be treated as insane. But the seers of visions and the hearers of revelations are not always criminals. The inspirations and intuitions and unconsciously reasoned conclusions of genius sometimes assume similar illusions. Socrates, Luther, Swedenborg, Blake saw visions and heard voices just as Saint Francis and Saint Joan did. If Newton’s imagination had been of the same vividly dramatic kind he might have seen the ghost of Pythagoras walk into the orchard and explain why the apples were falling. Such an illusion would have invalidated neither the theory of gravitation nor Newton’s general sanity. What is more, the visionary method of making the discovery would not be a whit more miraculous than the normal method. The test of sanity is not the normality of the method but the reasonableness of the discovery. If Newton had been informed by Pythagoras that the moon was made of green cheese, then Newton would have been locked up. Gravitation, being a reasoned hypothesis which fitted remarkably well into the Copernican version of the observed physical facts of the universe, established Newton’s reputation for extraordinary intelligence, and would have done so no matter how fantastically he had arrived at it. Yet his theory of gravitation is not so impressive a mental feat as his astounding chronology, which establishes him as the king of mental conjurors, but a Bedlamite king whose authority no one now accepts. On the subject of the eleventh horn of the beast seen by the prophet Daniel he was more fantastic than Joan, because his imagination was not dramatic but mathematical and therefore extraordinarily susceptible to numbers: indeed if all his works were lost except his chronology we should say that he was as mad as a hatter. As it is, who dares diagnose Newton as a madman?

In the same way Joan must be judged a sane woman in spite of her voices because they never gave her any advice that might not have come to her from her mother wit exactly as gravitation came to Newton. We can all see now, especially since the late war threw so many of our women into military life, that Joan’s campaigning could not have been carried on in petticoats. This was not only because she did a man’s work, but because it was morally necessary that sex should be left out of the question as between her and her comrades-in-arms. She gave this reason herself when she was pressed on the subject; and the fact that this entirely reasonable necessity came to her imagination first as an order from God delivered through the mouth of Saint Catherine does not prove that she was mad. The soundness of the order proves that she was unusually sane; but its form proves that her dramatic imagination played tricks with her senses. Her policy was also quite sound: nobody disputes that the relief of Orleans, followed up by the coronation at Rheims of the Dauphin as a counterblow to the suspicions then current of his legitimacy and consequently of his title, were military and political masterstrokes that saved France. They might have been planned by Napoleon or any other illusionproof genius. They came to Joan as an instruction from her Counsel, as she called her visionary saints; but she was none the less an able leader of men for imagining her ideas in this way.

Hardly Strictly Bluegrass 2015, Day 1

(before I begin, I would like to apologize ahead of time for the image quality. I am using a year-old clearance $29 camera and it shows. working on acquiring another REAL camera)

Even though I entered Golden Gate Park from the South, because of the “walk this way” and “enter here” signs, I ended up entering the festival from the North, walking past the Rooster Stage which was, apparently, still being set up.

The first act I saw, at the Banjo Stage, was a fairly good bluegrass group called the Dry Branch Fire Squad.

 

This stage was at the top of my itinerary because a couple of groups called “The Mavericks” and another called the “Punch Brothers” sounded pretty promising, but first, between the Dry Branch Fire Squad and The Mavericks, there was a horrible White Guy Blues Band™ (“Ofay Blues” to borrow James Baldwin’s term) from San Francisco aptly named the “Monophonics”, who looked & sounded like they got their inspiration from “The Blues Brothers”, not realizing that it was supposed to be a Comedy.

I moved along to the Arrow Stage, where a band called “SaintSeneca” a mediocre (at best) rock band was finishing their set. I thought, perhaps, they might be a slightly renamed Irish band called “Seneca” that I reviewed back in 2008, but they weren’t. Naturally, I figured this might be a good time to hit the Food Stands.

Friday, I went for the Crawfish Étouffée.

And since the food vendors were located next to the Arrow Stage, I listened to a bit of Lee Anne Womack’s set. More or less traditional C & W (which I’m not particularly crazy about), but she was OK. And I figured, since I was eventually planning to hit the Swan Stage to see T-Bone Burnett and didn’t see anything that particularly gabbed my attention for that particular time slot, I figured I might as well go there early to see a group called the Oh Hellos (get it? Oh Hell o?)

From the Festival Group Bio PDF:

Since forming, The Oh Hellos has earned a rightful reputation as a very special live act. The Heaths are joined on stage by an often-epic ensemble – a rotating roster of pickers and players numbering as many as 13 onstage at any given time. The duo has developed an organic, cult following in their short existence, due to extensive sold-out headline tours as well support slots for bands such as NEEDTOBREATHE and festival plays, including Newport Folk Festival

When I arrived at the stage, though, Sister Sparrow and the Dirty Birds were toward the end of their set, and they were pretty good, playing a sort of a Lydia Pense & Cold Blood kind of R & B.

As it turned out (and as it used to happen so often at HSB), the group that stole the show that day was the group I had never heard of previously, The Oh Hellos.

 

Led by (I believe) a Husband & Wife team named The Heaths (above center), this group from Central Texas played a varied and lively set of Irish-sounding melodies & rhythms that jumped and shifted without being jarring. Also, the surrounding musicians danced & jumped around the stage with abandon. But far from being stagy or gimmicky, this dancing seemed to help the entire group keep a very tight & lively groove throughout, especially the second drummer / percussionist (unfortunately hidden in back, to the left, photo quality courtesy of aforementioned $29 camera) who made dancing an integral part of his drumming, accentuating poly-rhythms that brought to mind an Irish version of early 1980s Tom Tom Club crossed with the vocal stylings of, oh, I don’t know– Cowboy Junkies? Hard to describe it, but I recommend you hear it for yourself. The only complaint I had was that the Bass Player, apparently suffering from some sort of hearing loss, kept turning up his Ampeg SVT to the point where it occasionally drowned out the other players (all the while standing directly in front of his amp/speakers), and it took the Soundboard People 2 or 3 songs before they were able to get a handle on it.

Next up was the Peter Rowan Band. Peter Rowan is a singer/songwriter/guitar player who cut his teeth playing with the legendary Bill Monroe, but he has since developed a style of songwriting of his own. His style falls somewhere between C & W and Electric Bluegrass; but at one point he began an odd rhythmic/melodic riff that at first seemed out of sync, until the rest of the band bit by bit followed his lead, providing a rare authentic acoustic psychedelic break into a genre that doesn’t lend itself easily to this sort of adventurous musicianship (and there is SO much cheesy ersatz psychedelia out there– even in the “psychedelic” 60s).

 

Finally, the guy I came over to the Swan Stage to see hit the stage. Anybody who’s never heard of T Bone Burnett probably doesn’t get a lot of exposure to popular culture. A name that, along with Joe Ely, I’ve associated with SXSW since I first heard of it decades ago (god i’m old), he is known for fusing everything from punk to country, producing, and for providing the soundtrack to numerous films, from Indy to Hollywood, I was really looking forward to what he would bring to HSB.

I hate to say it, but I was somewhat disappointed. To begin with, his band was too loud, to the point that the different parts seemed to run together into an indistinguishable mush (although I could occasionally barely make out a guitar riff that might have been interesting had it not been buried in the mix). And for a musician who has worked in so many genres & contexts, his songs had a bland sort of sameness and, in contrast to the Oh Hellos, not a lot of variation in rhythms or song structure. His voice was strong, and his songwriting, while a tad didactic for my tastes, struck me as fairly thoughtful & intelligent (again, what I was able to make out in the general mix). My favorite song in the set was actually a Gillian Welch number which was delivered following a short lecture on listening to music for free online– ironically, because much of the Festival was being streamed live online.

All in all, an enjoyable Friday at Hardly Strictly Bluegrass.

 

Welcome to the Excelsior District of San Francisco

Excelsior & Mission

 

I knew about the Excelsior– well, I was aware the place did in fact exist, but the only time I had even been though there was on either the Mission 14 bus, or a SamTrans bus to somewhere in San Mateo County.

Mission Street Bridge, Mural celebrating Diversity in the Excelsior

 

And, obviously, I knew that people lived there– just didn’t actually know any of them personally. Most of my time living in San Fran was somewhere between Haight, Cole Valley, or the Inner Sunset (where I celebrated both the Giants’ World Series championship and the Warriors playoff run and championship victories). I had actually spent little time past Bernal Heights in the Outer Mission, but here I am.

mercado y carniceria
Who says we have no use for banks?

If you let your eye follow down the sidewalk to the right, you can see the apartment building where I am now residing. Nuthin fancy, but it’s a place to hang the hat I really need to buy (’cause it gets cold at night). I, of course, buy my produce at the location you see above this paragraph. And the neighborhood has all the modern amenities like coffee and internet…

There’s a chain, if you like that sort of thing. There’s Cumaica, a local (as far as I know) chain, which has better coffee than Starbucks (and which I’ve only recently seen anywhere at all at a few locations around the city:

Cumaica

And they have a Patio (if you like that sort of thing):

Cumaica's Patio out back 

Or there’s the place I usually go to, Independently Owned & Operated for (something like) a decade, Called Momá Art Café. They have artists posting their work, usually somehow related to the theme of returned Combat Veterans.

Momá

Momá Art Café

There’s Excelsior Heights…

Excelsior Heights

…or maybe not. My friend Linda tells me it was this view (or one just like it just south of here) that inspired Joni Mitchell to sing about “ticky-tacky boxes…”

At night, the streets get pretty deserted; there isn’t much of a nightlife out here. Some homeless crazies– although I really would not want to be homeless in this area. One place that’s hoppin’ after midnight:

24 hour Laundramat

That’s right: the Laundamat! Where it’s ALWAYS Mardi Gras! With complimentary WiFi!

Free WiFi

I think the only place I had ever set foot in previously in this neighborhood, was a burger place, which advertised fresh-ground chuck. It was OK if I remember correctly, but not a revelation. Let’s see what happened to this last cultural outpost in the vicinity…

Ground Chuck

How the Mighty have fallen…

Meanwhile, here I am, at the…

The Heart of Excelsior

 

Bad Blogger Home

 

Hmmm…

First Blog Post Ever, or
Why they call me Bad Blogger

 

I’m just typing this because 1.) I can 2.) it’s here, or 3.) Opera offered me a blog, so I might as well try it out. No guarantee it won’t be my last entry.