Saturday, September 21, 2013

Women's voices: I've done everything I know

The theme of love gone wrong covers a lot of territory; let’s face it, a lot of love goes wrong. So today we’ll hear from two more Voices.

First off, Ethel Waters gives us “Stormy Weather”.


You may wonder at Waters being one of my voices. You’re right; she’s kind of before my time. But remember Voyager Summer? Just before I left to go back to school, the news came that Waters had died, and because she had a connection to Pasadena, the local newspaper needed more than the wire service story. I happen to be an excellent feature writer, so they told me to go look her up (because I’d never heard of her), and write the sidebar.

Waters was part of the Harlem Renaissance. She sang blues, jazz, swing, gospel; and she performed in films and television. Her versions of “Am I Blue”, “Taking a Chance on Love” and “Dinah” display an easy grace and a commanding voice. And she is justifiably famous for "His Eye Is on the Sparrow".

I like “Stormy Weather” because it shows that same grace—she doesn’t work the song to death like so many singers. But she’s definitely sad about the breakup with her man.

My second Voice today is Linda Ronstadt. She and I go way back; back to the Stone Poneys days. She’s always been bold, trying new genres, styles and collaborations; and not worrying particularly over the ones that flopped. Although there haven’t been that many failures; the woman has more platinum than South Africa.

Then there was that whole…thing with California Governor Jerry Brown, back when he was governor for the first time. Like I said—she’s fearless.

Folk-rock, rock, pop, country, musica ranchera, opera, jazz—she’s gone everywhere, sung everything. Her Trio collaboration with Dolly Parton and Emmylou Harris was one of the ten cassettes I took on my 1986 cross-country drive. She’s my idol; I bet I’ve sung into my hairbrush to more Ronstadt albums than anyone else. Even Bonnie Raitt.

I have to say that, like Raitt’s “I Can’t Make You Love Me”, Ronstadt’s “Long, Long Time” is associated with shattered love. Well, when you’re 20, there’s a lot of that. (Hell—when you’re 40 there still is a lot of that.) I swear I can feel the summer heat radiating up from the sidewalk on Colorado Boulevard and the tears running down my face from heartbreak, and hearing this coming out of Canterbury Records.


Her singing has been silenced since she was diagnosed with Parkinson’s disease. But she’s got a body of work that can keep me going for a long, long time.


Friday, September 20, 2013

Not entirely enthralled

Someone I follow on Twitter is a fan of the design site Inthralld. They often posit idealized or push-the-envelope interiors that take Architectural Digest to the max, and then three steps beyond.

The latest is this book igloo:


It’s an installation using salvaged books, and without any sort of adhesive; so at least no tomes were harmed during its production.

Here’s the thing, though: as with a lot of these Inthralld installations, this one just strikes me as wrong, all wrong. It would not be possible for me to walk into a room with this in it and not start browsing the titles. As soon as I saw one that looked interesting, I’d pull it out of the, uh, installation, and that would be all she wrote.

Know what I mean?

Here’s another: a “dome-shaped bookshelf suspended over home office space”.


It's probably the WYSIWYG in me, but why the hell would you put books in the most inaccessible part of the room, further out of reach than the African masks and antelope skulls? Are you expecting to use the skulls more often than the books? In that case, why even have the books?

And as for having to climb a ladder to get to them—that’s just a recipe for disaster. You find your book, pull it out, and of course you’re going to start reading it before you get to the floor. So, you miss a rung, and there you are, hanging from the damned ladder with a broken leg.

And you’ve probably lost your place in the book, too.

So, no, Inthralld. Just no.


Women's voices: I will lay down my heart

As everyone over the age of seven knows, the course of love is rough, and it’s strewn with a lot of…rocks, detours, breakdowns and rubbish.

And then it ends.

So today the Voices deal with that.

“Plaisir d’amour” is an art song, written in 1784 by Jean-Paul-Égide Martini. Frankly, I’ve never heard anything else by Martini, but this one is good enough for me.

Technically, men can—and do—sing “Plaisir d’amour”; but you almost always hear it form women. I’ve got it on recordings by several classical sopranos, but my favorite version is by Nana Mouskouri.


You can find the lyrics here. But the key thing to remember is the opening line:

Plaisir d’amour ne dure qu’un moment
“Chagrin d’amour dure toute la vie.”

“The pleasure of love lasts only a moment
“The pain of love lasts your whole life long.”

“Pain” is typically how “chagrin” is translated for the purposes of the song. But I prefer the other meaning of the word: crushing embarrassment at having failed or been humiliated.” I know it’s kludgy to sing; but that’s usually exactly what you feel after a love affair has ended.

If I had a musical bucket list, singing “Plaisir d’amour” would be on it. And then I’d follow up with Bonnie Raitt’s “I Can’t Make You Love Me”.


I first heard this in the early 80s, when I was in one of the breakup phases of one of those seemingly endless undead relationships. I was driving on Sepulveda Boulevard through Westchester and felt like I’d been poleaxed, listening to Raitt. 

A couple of months ago, one of the people I follow on Twitter tweeted to the effect that there’s nothing more powerful than an old song. As soon as I saw that I replied, “’I Can’t Make You Love Me’, Bonnie Raitt. Damn.”

And she snapped back, “Turn down these voices inside my head.”

We swapped lines for a while. Then—I don’t know about her, but I wished I had some whisky in the house. I made do with a glass of wine.

I might need another one, just for finishing this post.



Thursday, September 19, 2013

Women's voices: Full of sleep


Here’s one of the big differences between female and male singers—women sing about love in all its permutations; men…eh, not so much.

For example—the Voices today sing about love at a certain age, about growing old with your lover, being there, taking what comes—including wrinkles and memory lapses. Tell me about any man singing about that.

No, didn’t think so. Their songs are all about the heat, getting it on with some drop-dead gorgeous chick (or a lot of them—in fact, as many as humanly possible, plus two), and then moving on. 

This is entirely in keeping with the male ethos: it's been my observation that the older a man grows, the younger the women he pursues. Emphasis on "younger" and "women" plural.

The visual image for this is that tedious brand representative, “The Most Interesting Man in the World”—grey head- and body-hair, salon-tanned and surrounded by shellacked and lip-glossed bimbos who couldn’t cough up an intelligent thought between them if you bundled them up with Encyclopaedia Britannica and a year’s supply of ginkgo biloba.

Or The Pokey Little Puppy.

(I used to listen to Lohman & Barkley on KFI during my morning commute in LA back in the 80s, when I had a car with only AM radio. I recall an exchange where one of them commented to the other, “You know, if Wilbert Harrison were going to record ‘Kansas City’ today, the line would go, ‘They got some crazy little women there, and I’m going to get me six.’” Bingo.)

The best you can shake out of them is something like “It Was a Very Good Year”—and that’s basically a list of the women the aging singer has gone through as he moved up the wealth ladder. (And, BTW, he refers to them all as “girls”.) Yeah—there’s love, for you.

By contrast, have a listen to Martina McBride’s “When You Are Old”. I fell in love with the line, “When your brave tales have all been told, I’ll ask for them when you are old.”


McBride is one of the singers I discovered on the mix tapes my sister used to send me in the UK. At one point, I was so enthused by the finds I made in listening to them that I made a mix tape of my own and sent it to my friend The Pundit’s Apprentice back in Virginia. He gently replied that he couldn’t make it through the entire A-side, and, basically, save my time and postage and don’t do that again. Well, I hope he gets through this one, because I just find it stunning.

The second piece is from Bonnie Raitt. Yes, again.

There is something about “The Dimming of the Day” that just stops me in my tracks. Imagine—proclaiming that you actually need someone, on into the beginning of that good night.


She had me on the opening line, but the one I really love here is, “You know just where I keep my better side.” If that’s not a sign of long-term, true love, then shoot me now.



Wednesday, September 18, 2013

Women's voices: Tell me what love is

Two different approaches to love by The Voices today: Mozart and Bill Withers, via Frederica von Stade and Eva Cassidy.

The aria “Voi che sapete” is from The Marriage of Figaro. It’s sung by the page Cherubino, whose adolescent hormones are, well, driving his behavior. But the joke (or part of it) is that Cherubino is what’s known as a “trouser role”—he’s sung by a woman, typically a mezzo or a contralto.

It’s one of those things where you have to make an effort to willingly suspend disbelief. Especially as the singers cast in the role age.

But then, there’s no real point in listening to opera if you’re going to go all WYSIWYG about it.

I’m kind of torn about which mezzo to give you, but since I’ve got other entries from Cecilia Bartoli, I thought I’d let you enjoy von Stade. I just love her voice. 


The aria is basically Cherubino asking the women in his life whether what he’s feeling is love, as it’s both pleasure and suffering. Well, welcome to the world, boyo.

I first saw a live, in-person performance of Figaro at some Stately Home, probably in Berkshire or Hampshire; one of the Home Counties outside of London, anyway. It was one of those deals where a touring company sets up in the estate grounds, you bring a picnic, and sit on the lawn to watch the show. So of course I always associate this song with my friends Valerie, Tony and David, who took me.

Good times.

(BTW, the producers of the 1995 mini-series, Pride and Prejudice, had Lizzy sing an English version at the crucial post-Darcy-in-the-pond dinner party. Frankly, I dunno how she manages to sing at all knowing he’s looking at her that way.)

And now, as they say, for something completely different. In "Ain't No Sunshine", Eva Cassidy is telling us about established love—though apparently no less, ah, powerful than Cherubino’s.


I know (I know, I know, I know, I know, I know, I know, I know, I know…), if you can get Bill Withers’ original version out of your head, I think you’ll like Cassidy’s cover.



Tuesday, September 17, 2013

Navy Yard victims: the list will grow

They’ve identified the 12 people who were murdered in Monday’s Navy Yard shooting spree. The media are crawling all over the families and neighbors, trying to get their backstories. No one seems to be bothering much with the eight more who were wounded, but I suppose they’ll come around.

Thing is—there are dozens more victims than the 20 they’re talking about. Everyone in Building 197 who had to evacuate under gunfire is a victim. Everyone on base who was under lockdown for hours while law enforcement officers tracked down and eventually killed the alleged shooter is a victim.

Everyone who went into work that morning expecting that the worst part of their day would be the five meetings they had to attend is a victim.

Here’s what I’m thinking about: as the investigators release the building, and as janitors wash away the blood, people will be coming back to work.

Twelve desks will need to be cleared out; sorting out the office supplies, and decisions made about the personal items found there. Someone’s going to have to box that stuff up and make sure it gets to the families of the dead. That’s going to hurt.

I’m thinking about those 12 empty chairs in Building 197. People will walk past them on their way to the coffee machine or one of the four meetings scheduled for the day, and they’ll remember that their colleagues won’t be coming back to sit there. Ever. That’s going to hurt.

Emails sent to mailing lists will bounce. Someone will get an auto-reply in their queue stating that such-and-such an address is not valid. That’s going to hurt.

Project threads have been broken. Tasks that were in hand by the various victims will have to be reassigned. Someone will have to go through PCs and paper files to find documents, spreadsheets, project plans, meeting notes: all those vital pieces that were in-progress until progress was stopped forever by a bullet. Then someone will have to pick up those pieces and carry on with them. That’s going to hurt.

In a hundred ways, every day for months now—the victim list of the Navy Yard shooting will grow.

So, no—not just 12 victims; not even just 20.

Oh—and we can add the this one to the list of non-discriminatory mass shootings in our great nation.


Women's voices: Only the moment that lasts

We have now reached the “love” portion of the month of Voices. At last.

We’ll ease in slowly with Mary Chapin Carpenter’s “Passionate Kisses”.


Because, look—I don’t think I know one single woman who doesn’t want that.

And then we have Bonnie Raitt’s “One Part Be My Lover”. Different tempo, different approach, but essentially the same story: love is fleeting, seize it while you can.


The lucky ones work at conjuring up that moment again and again.



Monday, September 16, 2013

Women's voices: Tears of hope

As I noted earlier today, women have set examples of courage and integrity; in many cases, armed with nothing more deadly than a chant, they have faced down some of the greatest tyrannies in history. Even during war.

So, of course The Voices will have sung about it.

Very often the songs are about the pain and loss—yeah, usually of one’s husband, lover, brother or son—in conflict. After all, women’s role in warfare has traditionally been ancillary to the actual, you know, fighting.

A classic example of this genre is “My Youngest Son Came Home Today,” here sung by Mary Black. It’s also a classic example of G.K. Chesterton’s dictum about all Irish songs being sad. Precisely, as I’ve noted previously, because so many of them are about the bitterness of war.


Yeah, the Irish have a lot of experience at this sort of thing.

My second Voice today is Alison Krauss, a singer-songwriter, primarily in the bluegrass-country genre; she plays a wicked-good fiddle.

Krauss sang “Jubilee” on the soundtrack of Paper Clips, the 2006 documentary about a project by Tennessee middle-schoolchildren to understand the magnitude of the Holocaust by collecting six million paper clips. The project expands to include one of the boxcars actually used to transport Jews to death camps. It’s an extraordinary film of an amazing process, and Krauss’s almost insubstantial voice on this song is a fitting descant as the boxcar is transported from the port in Baltimore to Whitwell, Tenn.


As it happened, this occurred in September, 2001.

We are moving to a time when women are joining combat arms, and they’re leading governments and framing policy. The hope is that the need for this type of song will recede when leaders view world affairs as less of a geopolitical pissing match and more of an opportunity to build collaborative harmonies.

Well, that’s the hope, anyhow.




Gratitude Monday: Visible decency

During the late 60s, there was a group of Friends who used to stand every Wednesday in front of the main post office building on Colorado Boulevard in Pasadena. They didn’t hand out leaflets or engage pedestrians; they didn’t shout or wave at passing cars. They stood silently around a sign protesting the war in Vietnam.

They were there every Wednesday for a few hours during the midday, week after week, month after month, for years.

I used to see them as I rode the bus home and wonder what they thought they could possibly accomplish against the freaking US government by just, you know, bearing witness. By being visibly silent and making people think. I mean—what the hell?

I was quite young, of course. I tended to think more in terms of only the obvious than I do now.

I mean, these days I sometimes find myself disappearing up my own intellect, trying to separate out the wheat from the chaff of world events, wondering what the hell happened to those ants that are supposed to help me with this. (And while I’m dreaming, where’s that sodding dwarf who’s supposed to spin all this straw into gold?)

So my mind has been turning back to people who, throughout history, have seen clearly enough and had the strength of character to quietly stand up—literally stand—and make their point without hauling out automatic weapons, engaging in abusive gasbaggery or expecting to get movie deals out of it.

I am so grateful that these people exist, because—although the odds are against them by a huge margin—they can and do change our world for the better. And they make me think about what I’m doing personally, and what I’m allowing my government to do.

I’ll give you a couple of examples, all women, as it happens.

Do you recall those women back in the 70s and 80s who gathered in front of Casa Rosada, the presidential palace, in Buenos Aires? They were mothers of los desaparacidos—the young people the regime had made disappear—and they defied repressive “anti-terrorism” laws to assemble and be seen at a time when most Argentinians were trying to not attract governmental attention.

This was the time of the Dirty War, and all the power rested in the hands of the military government. But these women kept appearing at Plaza de Mayo, demanding by their presence that someone account for their missing sons and daughters. Again and again they showed up in the heart of the (need I point out, male-dominated) Argentine business and political world; they would not be invisible. Not even when women from their ranks were also kidnapped and murdered.

By their actions they made the “disappeared” visible. Their only “weapon”, in fact, was their visibility, and the white headscarf was the symbol of their movement. That has been memorialized in Plaza de Mayo as a permanent reminder of the power of conscience and decency.


Eventually—after years and a change of government—graves of the desaparacidos were uncovered, and some of the tens of thousands of lost children were identified by DNA testing. Not by any means all, or probably even the majority; but still, massive steps forward, for the entire society; and all because these women insisted on being seen and heard.

Well, you say, but las madres had world press covering their marches. Easy to see how that effected change. Okay, but the women of Berlin didn’t have anything in their favor when they protested the arrest of their Jewish husbands by the Gestapo in 1943.

These were Aryan women whose husbands had been arrested as part of a roundup of Jews for deportation. You’d think that would be it, right? I mean, we’re talking one of the top two totalitarian regimes of the 20th Century here. If ever there was a situation where the balance of power is 99.9999% on the side of the government, it would be Nazi Germany. And by 1943, the Nazis had held that power for ten years; there was no reason to think that they were at all assailable.

The men who’d been rounded up were being held at a Jewish community center on Rosenstraße, around the corner from Gestapo headquarters. To the Nazis it was a routine action—time to rid Berlin of all Jews, including the ones who’d previously served a purpose. But to the women, these men were their husbands.

It’s hard to imagine how it happened, because really, Nazi power was as close to absolute as it gets, and there was the same sort of innate desire to be invisible to authorities that existed in Argentina 35 years later. And yet, essentially the same thing happened: as wives realized where their husbands were being held, they showed up in ones and twos to demand their loved ones’ release. Until the street was filled with them.

In this instance, they were not silent; they shouted, they chanted, they cried. For a week, day and night, they stood in front of guards armed with automatic weapons, who periodically threatened to shoot if the women didn’t clear the street. This would work temporarily, but the wives never went far, and they kept coming back.

And finally, Joseph Goebbels decided that the best way to stop the protest would be to give the women what they wanted. Their husbands were released and they went home; most would survive the war. And here is their memorial at a nearby park.


Imagine that: a few hundred housewives who would not go home without their husbands triumph over armed Gestapo guards.

I think about the Plaza de Mayo mothers, and about the Rosenstraße wives—willing to put everything on the line to defy the most repressive regimes and to demand justice and decency.

And I think about the Quakers on Colorado Boulevard, willing to stand upright every Wednesday from January to December to remind their fellow citizens that we are the government and we have an obligation to ourselves and the world to think about what we’re doing as a nation.

I am humbly grateful for the examples that have been set, in large ways and small, of the integrity of peaceful protest. I am grateful for those who will not be invisible, no matter how uncomfortable it makes the rest of us.



Sunday, September 15, 2013

Women's voices: Get your mind off winter time

The first person I ever heard sing Bob Dylan’s “You Ain’t Goin’ Nowhere” was Joan Baez. She was giving a concert at the University of Illinois at Champaign-Urbana and I was visiting my friend Gretchen Pullen (who introduced me to that other Dylan, Thomas.) Her mother drove us to the campus and picked us up afterward.

I’m not sure why this one song was the one that stuck with me for all these years, but I’ve just always loved its easy-going pace and quasi-nonsensical verbiage.

This version is a collaboration between Mary Chapin Carpenter, Shawn Colvin and Rosanne Cash, from the 1992 Dylan 30th Anniversary concert. They are just perfect for singing it.