Showing posts sorted by relevance for query song of myself. Sort by date Show all posts
Showing posts sorted by relevance for query song of myself. Sort by date Show all posts

Sunday, October 16, 2016

The Poet, The World, and Everything: Songs of Myself by Walt Whitman

In 1969 I picked up a paperback copy of Leaves of Grass by Walt Whitman. I still have the book, underlined and worn. For me, Song of Myself has always been one of Whitman's trickier poems to tackle and I have only read it in bits and pieces. I was excited to see this new volume of Song of Myself with commentary. It gave me an opportunity to read the poem in its entirety, with aids to help me sort it out.

In 2014 the University of Iowa offered an open, international online course, Every Atom: Walk Whitman's "Song of Myself." This book arose from that project. This is the first section-by-section reading of the poem.

The introduction, Reading Song of Myself, notes that the poem appeared in six editions from 1855 to 1881, and its meaning changed as did America, viewed as nostalgia, or as arising from the Civil War and later class and racial stress, or even as mystical. It's appearance as the main poem of Leaves of Grass never changed.

Folsom reminds us of the huge changes during Whitman's writing of the poem: The Civil War and Reconstruction; scientific advances that toppled humanity's concept of itself in relation to time and the universe; the breakdown of religious beliefs constraining scientific beliefs; the struggle for freedom for African Americans.

I celebrate myself, and sing myself,And what I assume you shall assume,For every atom belonging to me as good belongs to you.

In Song of Myself, Whitman was offering a paradigm for understanding the interconnectedness of all things, imagining an ideal Democratic society and setting forth its tenets. What he proposes is radical. We are called to rise above all conventional and group thinking to perceive the material reality. All perceived divisions are false. Atoms flow from one thing into another which makes all interrelated and one. The grass arises from the dead in a perfect circle of life.

A child said What is the grass?...And now it seems to me the beautiful uncut hair of graves....What do you think has become of the young and old men?And what do you think has become of the women and children?They are alive and well somewhere,The smallest sprout shows there is really no death...

The poet embraces all humanity, identifying himself with every sort of person and every sort of human experience. Work, war, sex; slave and master, male and female; the innocent and the guilty, the quick and the dead; there is nothing alien. Boundaries, hierarchies, divisions are artificial. He shares all with everyone, and speaks for everyone.

I am the poet of the woman the same as the man,And I say it is as great to be a woman as to be a man,And I say there is nothing greater than the mother of men.
I am not the poet of goodness only, I do not decline to be the poet of wickedness also. 

Whitman ends the poem with the lines "I too am not a bit tamed, I too am untranslatable/I sound my barbaric yawp over the roofs of the world." Words can scare communicate what the poet wants us to understand. We may need to look for his body "under your boot-soles" but his "barbaric yawp" has endured, to "make of it what you will." Thankfully, this commentary has aided me and opened up a new understanding of America's greatest poem.

I received a free ebook from the publisher through NetGalley in exchange for a fair and unbiased review.


Song of Myself: With a Complete Commentary
Iowa Whitman Series
Walt Whitman with Commentary by Ed Folsom and Christopher Merrill
University of Iowa Press
Publication October 15, 2016
$24.95
paper back ISBN 978-1-60938-465-4
ebook 978-1-60938-466-1

Saturday, September 19, 2020

Book Club Reads: French Exit by Patrick deWitt and The Song of Achilles by Madeline Miller

 


Patrick DeWitt's novel French Exit was the Clawson public library book club selection. I listened to the audiobook. The narrator was fantastic, giving the characters distinctive voices. 

Stick to the story--the characters are not very likeable when you first met them. Frances seems to be a vacuous and unfeeling socialite and her son Malcolm a pampered and unemotional slug. When I learned their backstories, I was moved. I realized that in the beginning, we saw them as the world perceived them. Learning how damaged they were by their deceased husband and father, I had sympathy. There is a bit of magic, a heavy dose of comedy of manners, droll humor, and a nice twist of sentimentalism.

My book clubbers were not excited by this novel. It was described as 'fluffy', easy to read, and they did not like the characters. They did not like the ending.

French Exit
Harper Audio
by Patrick deWitt, Lorna Raver (Narrator)
ISBN0062871927 (ISBN 13: 9780062871923)

from the publisher

Brimming with pathos, French Exit is a one-of-a-kind 'tragedy of manners,' a send-up of high society, as well as a moving mother/son caper which only Patrick deWitt could conceive and execute.

 Frances Price – tart widow, possessive mother, and Upper East Side force of nature – is in dire straits, beset by scandal and impending bankruptcy. Her adult son Malcolm is no help, mired in a permanent state of arrested development. And then there’s the Price’s aging cat, Small Frank, who Frances believes houses the spirit of her late husband, an infamously immoral litigator and world-class cad whose gruesome tabloid death rendered Frances and Malcolm social outcasts.

Putting penury and pariahdom behind them, the family decides to cut their losses and head for the exit. One ocean voyage later, the curious trio land in their beloved Paris, the City of Light serving as a backdrop not for love or romance, but self destruction and economical ruin – to riotous effect. A number of singular characters serve to round out the cast: a bashful private investigator, an aimless psychic proposing a seance, and a doctor who makes house calls with his wine merchant in tow, to name a few.

Brimming with pathos, French Exit is a one-of-a-kind 'tragedy of manners,' a send-up of high society, as well as a moving mother/son caper which only Patrick deWitt could conceive and execute.

*****

The book club at the Royal Oak Public library read Madeline Miller's The Song of Achilles this month. I had purchased it on Kindle well before I read Miller's novel Circe, which I loved. I was eager to read Achilles.

Miller chooses to view the story of the Trojan War through the Greek character of Patroclus, bosom friend of the warrior Achilles. We see them as boys growing up together and watch their friendship blossom into romantic love. The emphasis on their deep love made me categorize the novel a love story. 

Achilles is fated to be a great warrior so when he is called to be a leader in the Trojan War he accepts, pacifist Patroclus tagging along. There are some gruesome scenes during the war. This part felt felt more like the original Iliad.

I found myself comparing this to Country by Michael Hughes, which I read earlier in the year. I felt the drive and violence and passion in Hughes novel.

Overall, I did not care for this as much as I did Circe, but the book clubbers who had never read Home or Greek literature found it a revelation. And for that I am very glad! I was the only one who had read Homer and Greek literature and Greek myths. They found it easy to read and enjoyed Miller's updating of the story and found themes that were relevant to today. 

The Song of Achilles
by Madeline Miller
Eco
ISBN-10 : 0062060619
ISBN-13 : 978-0062060617

from the publisher

Greece in the age of Heroes. Patroclus, an awkward young prince, has been exiled to the kingdom of Phthia. Here he is nobody, just another unwanted boy living in the shadow of King Peleus and his golden son, Achilles.

Achilles, “best of all the Greeks,” is everything Patroclus is not—strong, beautiful, the child of a goddess—and by all rights their paths should never cross. Yet one day, Achilles takes the shamed prince under his wing and soon their tentative connection gives way to a steadfast friendship. As they grow into young men skilled in the arts of war and medicine, their bond blossoms into something far deeper—despite the displeasure of Achilles’ mother Thetis, a cruel sea goddess with a hatred of mortals.

Fate is never far from the heels of Achilles. When word comes that Helen of Sparta has been kidnapped, the men of Greece are called upon to lay siege to Troy in her name. Seduced by the promise of a glorious destiny, Achilles joins their cause. Torn between love and fear for his friend, Patroclus follows Achilles into war, little knowing that the years that follow will test everything they have learned, everything they hold dear. And that, before he is ready, he will be forced to surrender his friend to the hands of Fate.

Profoundly moving and breathtakingly original, this rendering of the epic Trojan War is a dazzling feat of the imagination, a devastating love story, and an almighty battle between gods and kings, peace and glory, immortal fame and the human heart.

Saturday, April 1, 2017

The Music I Grew Up With, 1966-1972

It was the music of Simon and Garfunkel that brought me to admit I liked popular/rock music. Sounds of Silence wasn't silly and it wasn't about love. I have no idea what it is about. But it seemed deep. Sounds of Silence was the first 45 record I ever bought and the album was one of the first albums I ever bought.

I soon was buying records with most of my allowance. I bought record boxs at K-Mart to store them in and wrote all the records on the index card provided.
I had record boxes like these

Index cards with the records I bought
Some were great records; others have been long forgotten.

Missing from my collection were the songs so often played I didn't need to buy them, especially The Beatles, and living in Metro Detroit, Motown.
Sheet music cover For Once In My Life by Stevie Wonder
Here are the records I bought between January 1966 and 1972. I have links for the songs that are not as well known.

1967
  • Sounds of Silence, Simon and Garfunkel. Simon says he was inspired by Bob Dylan.
  • Michelle, Billy Vaughn's cover of the Beatles hit.
  • Lightnin' Strikes, Lou Christie.
  • Flowers on the Wall, the Statler Brothers. My mom liked this one.
  • Ebb Tide/I Love You for Sentimental Reasons, the Righteous Brothers.
  • Elusive Butterfly, Bob Lind. Learn more about it here.
  • Can't Grow Peaches on a Cherry Tree, Just Us. Very folk-rock.
  • The Ballad of the Green Berets, St. Barry Sadler. The patriotic hit just before the anti-war movement.
  • Homeward Bound/Leaves that are Green, Simon and Garfunkel. I still sing both of these.
  • What Now My Love, Tijuana Brass. Mom was a big Herb Alpert fan. We had all the records and Mom bought me the piano music to learn.
My music book of Herb Alpert

Sheet Music cover of Bang, Bang
  • Bang, Bang, Sonny and Cher. Mom liked this one.
  •  Message to Michael, Dionne Warwick. What a voice!
  • Sloop John B, The Beach Boys. Still singing this one. Love it.
  • Norwegian Wood, George Edwards. Folksy with an ethnic flair.
  • Monday, Monday, the Mamas and the Papas. I loved their harmonic singing.
  • Sweet Talkin' Guy, The Chiffons. Upbeat girl band song.
  • I Am A Rock, Simon and Garfunkel. I told you I was a fan. This song is my antithesis.
  • Strangers in the Night, Frank Sinatra. So sweet I didn't realize it was about getting laid.
  • Paint it Black, The Rolling Stones. I was getting edgy in my music taste.
  • Rainy Day Women, Bob Dylan. And getting edgier!
  • You Don't Have To Say You Love Me, Dusty Springfield. Schmaltz for sure.
  • He, The Righteous Brothers. The girl who bought this also bought Rainy Day Women?
  • Red Rubber Ball, The Cyrkles. Bubble Gum Music.
  • Little Red Ridding Hood, Sam the Sham and the Pharaohs. Warning girls about boys.
  • Tar and Cement, Verdelle Smith. Loss of country beauty.
  • Sweet Dreams, Tommy McLain. Rockified Country.
  • The 1812 Overture by Tchaikovsky came free from Puffed Rice.
  • Out of this World, Chiffons. Another upbeat song from the girl band.
  •  Reach Out, I'll Be There, The Four Tops. So good. That driving beat.
  • The Dangling Conversation, Simon and Garfunkel. Love the poetry.
  •  I've Got You Under My Skin, The Four Seasons. I love this so much. "So deep in my heart, you're really a part of me...I've got you under my skin." Those bells. "Never win." That pause before the coda. Sigh.
  • Hazy Shade of Winter, Simon and Garfunkel. Remains one of my favorites; I sing it every November.
  • I Who Have Nothing, Terry Knight and the Pack. Written by Ben E. King. Performed by a local DJ. Overwrought.
Sheet music cover for Born Free with Roger Williams
Sheet music cover of Stand By Me, Ben E. King

Sheet Music cover of Easy to Be Hard from Hair

1968
Sheet music cover for Witchita Lineman by Glen Gampbell

Sheet music cover of Don't Let Me Down by the Beatles

1969
Sheet music cover for theme from Love Story
Sheet music cover El Condo Paso, Simon and Garfunkel
1970
  • Indiana Wants Me, R. Dean Taylor. Man murders to protect his woman's honor.
  • Peace Will Come, Melanie. Hippie folk rock from Woodstock.
  • El Condor Paso, Simon and Garfunkle
  • Fire and Rain, James Taylor
  • Ticket to Ride, The Beatles. An old one I found somewhere.
  • If You Could Read My Mind, Gordon Lightfoot. Lovely.
  • Deja Vu, Crosby, Sills, and Nash
Sheet music cover for Leaving on a Jet Plane
performed by Peter, Paul and Mary
written by John Denver

Sheet music from Carly Simon

Albums were expensive. But I bought quite a few, there were lost by accidental water damage. Here are the ones I remember:
  • Happy Together by the Turtles
  • Sounds of Silence by Simon and Garfunkel
  • Rubber Soul by the Beatles
  • Beach Boys album--but I forget which one
  • Procol Harem. A Whiter Shade of Pale, Reid said, is 'evocative,' not about sex or drugs.
  • Bob Dylan's Greatest Hits (1967)
  • Sgt Pepper's Lonely Hearts Club Band
  • Songs of Leonard Cohen. I loved Suzanne.
  • Realization by Johnny Rivers. It had a great sound.
  • Beggars Banquet by The Rolling Stones. Sympathy for the Devil.
  • Remember the Wind and the Rain by folk singer Jamie Brockett
  • Abby Lane by the Beatles. Everyone was so excited when it came out.
  • Candles in the Rain by Melanie
  • Bookends by Simon and Garfunkel
  • Crosby, Sills and Nash. It was so fresh.
  • Chicago, the big Chicago band sound was all the rage at college that September, blaring out of the dormitory windows.
  • Sweet Baby James, James Taylor
  • Tommy, The Who
  • Jesus Christ Superstar
Sheet music cover of Colour My World, Chicago
Some of my piano sheet music didn't make it through 14 moves, including Sounds of Silence and Yesterday by the Beatles, but they were easy piano versions. I started collecting sheet music in the late 1970s and the photos in this post are from my collection of over 1,000.

Some recordings have grown on me over the years. Like Unchained Melody. That longing. Sigh.
I heard a college friend sing The Boxer by Simon and Garfunkel and I've loved it ever since.
"In the clearing stands a boxer
And a fighter by his trade
And he carries the reminders
Of ev'ry glove that laid him down
Or cut him till he cried out
In his anger and his shame
"I am leaving, I am leaving"
But the fighter still remains"
Much later I bought CDs of music I grew up with, including The Temptations. I sang, "Sugar pie honey bunch/You know that I love you/I can't help myself/I love you and nobody else" to my baby son. Marvin Gaye's What's Going On album also ended up on my shelf. I also bought piano music books of many artists, including Paul Simon.

I met my husband at Adrian College. We both loved classical music and choral singing. He also liked folk rock including The Kingston Trio, The Irish Rovers, and Peter, Paul and Mary. We became John Denver fans in the early 70s and saw him in concert several times. In 1978 we attended the Philadelphia Folk Fest and discovered many wonderful artists, including Stan Rogers, Priscilla Herdman, Roberts and Barrand, Eugene O'Donnell, and Jean Redpath. By this time the Disco/Philadelphia Sound was big and I wasn't keeping up with popular music.

For a long time, I avoided classic rock because the memories associated with the music was so strong, and too often so sad. I didn't want to think about those tortured teen years or the painful memories of the social and political upheaval of the '60s.

But to this day, when I hear a classic rock song on the radio I can tell you what year it came out and what was going on in my life at that time. It was, after all, the music I grew up with, interwoven in my life.

What music is part of your story?




Sunday, June 9, 2019

Songs of America by Jon Meacham and Tim McGraw

Oh, I so enjoyed reading this book! From the beginning with the beautiful and inspirational Overture on The History of Music by Jon Meacham, I did not want to stop reading this history of America through music.

Music brings a deep association with the events and places I have experienced. When I hear a song I can place myself in a specific place and point in time. The Green Berets by Barry Sadler came out when I was fourteen. It had pride of country and was an appealing march. I bought a ceramic green beret pin at a drug store counter.

But the patriotic support of the war was short-lived and the backdrop of my teenage years was filled with anti-war music including Turn, Turn Turn, Where Have All the Flowers Gone? and Give Peace a Chance. 

The music of my life tracked the social changes going on. The songs about women waiting for men became feminist anthems. Love of country was replaced by calls for justice and equity. Love songs were still popular, but cooler were the protest songs for social change with messages of universal love, peace, inclusion, anti-authority, and dropping out of the system.


The music of patriotism is inevitably the music of protest, Meacham writes, adding that history is not just read, but is something we also hear. And he notes that history is a continual process. He holds hope that we "can overcome fear, that light can triumph over darkness, that we can open our arms rather than clench our fists." Music reminds the nation of where we have been and points to what we can become.

The authors begin with pre-Revolutionary songs such as John Dickinson's 1768 The Liberty Song which rallied the colonies to unite in a righteous cause and move through history to Bruce Springsteen's protest anthem Born in the U. S. A. Each song placed in its historical and cultural setting.  

Over There was George Cohen's "bugle call" 
evoking the American Revolution's Yanke Doodle in its patriotism.
"Johnny get your gun...show the "Hun" you're a son-of-a-gun"
"And we won't come back till it's over, over there."
The music discussed by Meacham and commented on by McGraw includes the well-known and well-beloved but also lesser-known songs that were influential in their day. They all represent America at a specific historical era: The Revolutionary War, the War of 1812, slavery and abolition, the Civil War, minstrel shows and racism, WWI and WWII, the social movements of Civil Rights and equal rights and voting rights, the reactive rise of the Klan and Jim Crow, the cultural division of the 1970s, and the political divisions of the last fifty years.

WWI saw patriotic music like America, Here's My Boy 
with a mother offering her 'boy' to the cause... 
and anti-war protest music like I Didn't Raise My Boy to be a Soldier.


McGraw's contributions are inserted in text boxes. He addresses the songs from a musician's viewpoint and from a personal, emotional response.
Sinatra was one of McGraw's idols
Songs of America is a book of history, filled with stories that trace the complicated American experiment in democracy.

In 1938 Irving Berlin's God Bless America was debuted on Kate Smith's CBS radio show. Woody Guthrie's This Land Is Your Land was originally titled God Blessed America and questioned the inequality behind the American promise.

History is an argument without end, Meacham shares. Americans have argued and fought, and dissent and protest continue, but this book offers the promise that "America is not finished, the last notes have not yet been played," and calls us to lift every voice and sing in the continuing great national conversation.

I received an ebook from the publisher through NetGalley in exchange for a fair and unbiased review.

Songs of America: Patriotism, Protest, and the Music That Made a Nation
by Jon Meacham; Tim McGraw
Random House Publishing Group - Random House
Pub Date 11 Jun 2019
ISBN 9780593132951
PRICE $30.00 (USD)

All sheet music photographed are from my personal collection.




Saturday, March 11, 2017

You Must Change Your Life: Ninth Grade and a New School, a New Me

Me, age 14
Fall of 1966 saw another change in my life: going to high school meant a third new school since 1963. Homesickness had been replaced by nostalgia for the past. Fourteen years old, and already my heart resonated to lines such as, "I remember, I remember, the house where I was born," by Thomas Hood.
Me, Winter 1966-7
Being an introvert, not one to jump in and go with the crowd, I still missed having a best friend. I was lonely. I also knew that my priggishness was keeping me back. Only liking classical music, classical literature, and disdaining the popular was a real drawback to making friends.

My resistance to rock and roll and 'liking boys' was wearing down. I was ripe for change, and high school was an opportunity for a start-over. But, at what cost? Could I betray what I had always been--in exchange for what? That road was unknown.

A few weeks into the school year my English teacher Mr. Botens told the class, "You are three persons: "The person you were in the past; the person you are at this minute; and the person you will and want to be in the future." That comment changed my life, for I understood that I held my destiny in my own hands. I could be who I wanted to be. The question was--what did I want to be?

I was very aware of leaving childhood. "I'm suddenly seeing things through different eyes," I wrote in my diary. "I found out what life is all about. The suffering, pain, and work that was ahead. But the thread broke and the dream of childhood drifted away." I wanted to write, and knew "it takes imagination to write fiction, and study, brains, and experience to write non-fiction."
Homecoming float for Freshman Class, Oct. 29, 1966
My Freshman year classes at Kimball held a mixed bag for me, academically. I actually did good in General Math, Civics, Glee, and even Gym, but ended up flunking German although I really wanted to learn. I never could memorize. In college, I just squeaked by in Latin.

Team English had three teachers and 90+ kids. I was in the highest Reading Group, but middling spelling and grammar groups. (Many years later when working in editing and copywriting, I kept my trusty grammar guides beside me.) I loved Mr. Botens.
Girls Glee Club 1966-67. I am on the center row, far left. 
I was in Girls Glee Club and was pleased when Mrs. Ballmar called me to join a group of girls she thought were some of the best singers. My training was good: I had been in chorus in elementary school in Tonawanda and played the piano. My folks bought me a guitar and I was taking lessons and teaching myself to sing folk songs with guitar. I loved the idea of 'portable music,' an instrument I could take anywhere.

The Christmas Concert was an amazing experience, with all the choirs joining in the last piece, The Song of Christmas, and the O Holy Night. Learning the alto for O Come, O Come Emmanuel was handy considering how many times I sang it in church over my life! In my four years singing in three choral groups, the Christmas concert remained a highlight of each school year. Performing was exciting. In the Spring Concert, we sang Mr. Wonderful.
1966 Christmas Concert program
I made many friends in Glee. Pat had been in Mrs. Hayden's class and we became best friends that year. If I was fearful and controlled, Pat was a free spirit who pushed the envelope. She certainly pushed me into uncomfortable areas. Even going to see Dr. No and Goldfinger at the Main Movie Theater was a push for me!

Pat took me home with her after school and we practiced flirting with the 19-year-old man who was helping to build an addition on Pat's house. We made pulled hard candy. I stopped by Pat's house on the way to school and we walked together, or her mom gave us a ride in bad weather. Pat let me borrow her parent's copy of Archy and Mehitabel by Don Marquis. Now, I wonder if her parents knew! One weekend we walked to downtown Royal Oak by way of the railroad tracks, discussing religion.

I had a mad crush on a boy and Pat encouraged and abetted me in all the wrong ways. But, I also had crushes on dozens of other boys as well. It is a great relief to know that as a teen Jane Austen was described one of the silliest and boy crazy girls in England! I can excuse myself for being normal. I had finally broken my vow to never be silly over boys.
Me and Pat, summer 1967
Pat encouraged me to lose weight, giving me an exercise pamphlet. I went on a 1000 calorie diet. Mom had already tried a high protein diet, a calorie control diet, and even 'pep' pills. I can't believe the doctor gave me pep pills! Plus, I walked 2 miles to and from school every day. I did lose 25 pounds before the end of summer 1967.

By the end of the year most of the girls I would be friends with in high school I had already met. Friendship was such a big deal to me after several lonely years. I would walk girls to their classes for a moment's gossip, and be late to my own class!

In my diary I wrote about the overwhelming newness and awareness of just starting life, but also the lack of a purpose in life. I was still seeking the faith in God I had observed at the altar call when I visited a Baptist church in Sixth Grade.

"I think some people don't have a point of life to make it worthwhile. You may be having a grand time, but what is it worth if it doesn't have a point? A goal, a purpose, something to achieve. I don't have a point in life. I'm just living it. Seems a pity to just waste it. I just go on and on, every day. As much as I love life--my life--it doesn't appear to have much of a point." I continued, "The best point to have, I think, is God. It must be. Our point is to worship God, to believe in and love God. To serve him, and not we ourselves. No, not ourselves. We should do God's bidding. That seems like a good point in life. It really does."

I was not "there" yet, and my language reflected what I had heard, not what I had personally experienced.

Christmas came and went. Our consumer, throwaway values upset me when I saw the Christmas trees at the roadside. I wrote,

"I was thinking about all the little Christmas trees at the side of the roads now. How can people just toss them out in the snow? To think--a few days ago, they were decorated and "oohed" and "ahhed" at. Now, no one cares beans about them. They were beautiful, and loved, but once used, they're tossed away. Trash. People kick at them while walking. No one now thinks of how beautiful they were. People use them, then just throw them away."

I also wrote a poem, full of mock pathos:

The Tragedy of the Ever Green Tree

ah, once pretty ever green tree
with strands of tinsel
still hanging among your branches
of brown, falling needles;
the season's over.
ho-ho-hos and presents are gone,
safely tucked away in drawers and rooms
and memories.
your work is done, ever green tree.

once pretty ever green tree,
laying in the once fresh sparkling snow
now dirty and gray
next to tin cans full of
residue and refuse from the holiday--
the garbageman will come for you,
children kick you on their way to school,
and cars splash black melt on you
as you sit by the roadside.

once grand and regal
in the warmth of the livingroom,
decked in lights and donned in ornaments,
now you lie in the cold,
on the street
to be taken away.
grandeur has left.
all fame leaves with the turning
of calendar pages.

I was in my e.e.cummings phase. I later read this poem in speech class but gave an alias for the author. It was not the only poem I was to write about a throwaway society. When I was in my early twenties I wrote,

I am an old Bic pen,
an empty tube of colorless plastic.
Bought cheap.
Used.
Discarded.
The consumer's whore.

Mr. Botens had to get our parents get permission to read The Catcher in the Rye. I had never read anything like it. The last book I had written about reading was Lord Jim by Joseph Conrad. In January I wrote, "I picked up some good sayings from Holden. Good ole' Holden," adding it helped me 'express' myself. I also admitted that the 'sex' stuff in the book was pretty embarrassing to discuss in class. I took to introducing myself as Rudolph Schmidt, the alias Holden used when he met a fellow student's mother. I went on to read everything I could by or about Salinger.

Other books I noted reading that year included Uncle Tom's Cabin, Ethan Frome, Death of a Salesman, The Oxbow Incident, Inherit the Wind, In Cold Blood, and The Great Gatsby.


The first 45 record I ever bought was Sound of Silence by Simon and Garfield. I was now spending most of my allowance on a 45 record a week, which I bought at the Kmart store in Troy. Records I bought included Michelle, Ebb Tide, Homeward Bound, Message to Michael, Sloop John B, Monday, Monday, Paint it Black,  Red Rubber Ball, and I Am A Rock. I even bought silly records like Little Red Riding Hood! So much for pledging to never like silly music like Itsy Bitsy Teeny Tiny Polkadot Bikini!
I kept the Top Ten record sales lists in my scrapbook

Easter 1967
But that other side of me was still there. At home, I played classical music on the piano, drew, and filled notebook after notebook with my writing.

In March I wrote, "It's fascinating, even at my age, to see a butterfly land on your finger, spreading it's golden-orange wings in the breeze as if it were keeping time to some unheard song. Sitting peacefully and calmly without at care. Only to fly away in a moment. Up and away it goes, off to another place. Gaily it circles in the wind, to land on a flower or a green leaf." But I also envisioned a dark future, "Perhaps it will land in a spider's web. Carefree, happy and gay--it's caught. It struggles to get away, but alas, it is too late. He turns gray and soon our pretty butterfly is no more."

Dad in our back yard. 1967
May 21, 1967, my family went to see dad's friend who lived in Windsor, Canada. I documented the whole trip minute by minute. I wrote,

"We went by the tunnel. We stopped at a Hi-Ho restaurant for a hamburger. Customs took about 2 seconds. On the way back to Detroit, we saw a whole pile of smoke. Dad thought it was from a factory. But as we got close, we decided there was too much smoke to be from smoke stacks. It was a fire, a tremendously big one. The flames went up so high in the air, and the gray smoke swirled upward in the wind to form big billows of gray clouds. Beautiful--yet deadly and sinister. A two-story building was on fire, and [there were] houses all around. People emerged from everywhere and nowhere, all watching and talking. We heard on CKLW it was the third time for that building to be on fire this year."

Then, Dad got lost.

"We had to travel until we found Woodward. We went through the heart of Detroit and the slums. The slums I've seen in movies all year in Civics, they were right there in front of my eyes. The crowds of people in front of porches, talking, leaning on cars, sitting on steps. The mutilated buildings boarded up. Why doesn't someone do something? I wish I could. I don't blame them for hating us. I think we're half-sick. Why can't everyone feel the way I do? Why so much prejudice? I think there should be more propaganda to get sympathy for the Negroes, and booklets telling how you can help them fight for their rights. And if anyone says we're traitors--no--we aren't. It's the patriotic, right, Christian thing to do. To put them down should be a sin or something. I don't know, I swear, I don't know or understand anything. Nothin."

I ended by writing, "Born Free is playing on CKLW. We're all born free, and yet some can't be free. We are born with rights and then somebody comes and takes it all away because your skin's the wrong color. Hate--violence--the one to blame is the one who won't give citizens their rights."

My teacher Mr. Warner taught us that there is only one race--the human race.

Most of my diary is filled with an obsession with friends, boys, and the agony of typical teenage angst over friends and boys. I hardly recognize the girl I had become during those teenage years. At fourteen I had an idea that people change continually, evolving, and named each change an 'era'. I suppose I still believe that for looking back I can see myself becoming different people as experience and wisdom shaped me.

March 21, 1967, Detroit Free Press story with Kimball boys.

April 11, 1967, Detroit Free Press. Hemline wars.



Wednesday, May 31, 2017

Poetry for Kids: Walt Whitman

I have loved the poetry of Walt Whitman for most of my life. 

One of the earliest volumes of poetry I bought myself was Walt Whitman's Leaves of Grass. I was sixteen years old and read the poems over and over. Many years later I was in a choral group that sang Ralph Vaughn William's Sea Symphony, based on Whitman's poetry, a work that endures as one of my favorites. 

The idea of bringing Whitman's poetry and vision of human experience to children is dear to my heart. And today, the birthday of Walt Whitman, I was glad to read the newest  Poetry for Kids volume on Walt Whitman. Thirty-five poems or poem excerpts include Whitman's favorite poem, A Noiseless Patient Spider, and his well-known poem upon the death of President Lincoln, O Captain! My Captain! 

An Introduction, commentary on each poem, and definitions are included as parent/teacher helps. The illustrations are beautiful.

When I came to On the Beach at Night I was moved to tears. 
"On the beach at night,
Stands a child with her father,
Watching the east, the autumn sky./Up through the darkness,
While ravening clouds, the burial clouds, in black masses spreading.
Lower sullen and fast athwart and down the sky.
Amid a transparent clear belt of ether yet left in the east,
Ascends large and ale the lord-star Jupiter.
And nigh at hand, only a very little above,
Swim the delicate sisters the Pleiades."


Seeing the stars and Jupiter buried under the clouds, the child weeps. Her father comforts the child, saying, "Weep not, child,/Weep not, my darling,/With these kisses let me remove your tears,/The ravening clouds shall not long be victorious." And the father continues, "Something there is more immortal even than the stars."

Children watch as the world descends into darkness, the clouds of war obliterating happiness and peace. I remember sensing my parent's fear during the Cuban Missile Crisis, the feeling of vulnerability when President Kennedy was assassinated. I remember watching the second tower fall on 9-11, and helping my son pack his most precious things in a bag in preparation. I had hoped he would grow up in a better world. 

And here is Whitman telling us that there is something more powerful than darkness, something eternal that tends toward clarity and light that we can trust in.

I look at the world today and how we are tending toward darkness, how the center is not holding. What can we say to our children about the future? 

Whitman has given us a voice. It is the gift of poetry to say what we long to hear, what we need to believe, but are unable to articulate. 




I received a free ebook from the publisher through Edelweiss in exchange for a fair and unbiased review.

Poetry for Kids: Walt Whitman
Edited by Karen Karbiener and illustrated by Kate Evans
Moondance Press
$14.95 hardcover
ISBN:9781633221505

Adults who want to understand Whitman's vision would enjoy Song of Myself: A Complete Commentary from University of Iowa Press. Read my review here.

Wednesday, April 3, 2019

Native American's Lost Children

The removal of children from their native families is heinous. Heartbreakingly, it is also a well-established method for destroying communities. Today refugees at our borders are cruelly separated; for over a hundred years First People's children were forcibly removed to residential schools where they were reeducated as a way of breaking native culture.

Colonization broke native groups with deadly results: high suicide rates, addictions, and psychological disorders.

Recently I have read several books that reflect on this history. Suzanne Methot's book is a sociological, psychological, and personal history on the issue; Linda LeGarde Grover's novelization offers readers an accessible understanding and emotional connection through her fictional characters.
 *****
She sways, and then she is dancing in the style of the Objibwe traditional women, hands on hips and feet kneading the fire escape floor, its board softened with age and weather, pivoting half-circles left to right, right to left, lifting the invisible eagle feather fan in her left hand to return the song of prayer that is the Creator given gift of Waawaateg. from In the Night of Memory by Linda LeGarde Grover
Azure Sky was the storyteller who kept the visual memory alive for her elder sister Rainfall Dawn. Their mother Loretta had roused them from their bed on the couch, and wrapping them in a blanket, took them outside to see the northern lights flashing in the night sky. Loretta folded her blanket and drew it across her shoulders, chanting and dancing in the old way. The next morning Loretta left the girls at the county, unable to care for them, hoping that rehab would change her life and reunite her family.

Azure and Rainy never saw their mother again.

They were two halves of the same sister, stronger together than apart. But the county did part them. Azure survived; Rainy was broken. When they were teens their extended Ojibwa family tracked them down and through the Indian Child Welfare act returned them to their people.

In the Night of Memory by Linda LeGarde Grover is hauntingly beautiful and achingly heartbreaking. Different voices tell the story of Loretta, Azure, and Rainy, which is the story of a community broken by colonialism and the removal of native children. And how, having lost Loretta, they determine not to lose Loretta's children but bring them back home.

It was a long, hard, road to the Indian Child Act, and though it's not perfect, it's what we got. from In the Night of Memory by  Linda LeGarde Grover
I received a book from the University of Minnesota Press through Bookish First in exchange for a fair and unbiased review. Find a book discussion guide by clicking here.

I read Legacy: Story, Trauma, and Indigenous Healing by Suzanne Methot which addresses Chronic Post Traumatic Stress Disorder caused by the destruction of First People communities when their children were taken from them and sent to residential schools.

Legacy: Trauma, Story and Indigenous HealingLegacy: Trauma, Story and Indigenous Healing by Suzanne Methot
The book combines Methot's personal story with history and psychology to create an understanding of the consequences of colonization. She demonstrates how abuse and CPTSD creates a cycle that impacts generations. On the personal level, she documents her own legacy of abuse and dysfunction and how a return to traditional ways brought healing. On the universal, she explains the psychological damage of trauma through story, with summary charts at chapter ends.

Methot's book is perhaps more suited for the indigenous population or educators and those in the helping professions who work with indigenous people. But I found her insights applicable in many ways. I found myself thinking about women I have known who demonstrated the characteristics she describes. And I even found myself applying her insights to characters in novels I have read!

I thank ECW Press for a free ebook in exchange for a fair and unbiased review.

*****
Other books on Native Americans I have  reviewed:
Clyde Bellencourt's memoir The Thunder Before the Storm 
The Quiet Before the Thaw, a novel by Alexandra Fuller
https://theliteratequilter.blogspot.com/2017/06/quiet-until-thaw-by-alexandra-fuller.html
The Right to Be Cold by Sheila Watt-Cloutier is the activist's memoir
https://theliteratequilter.blogspot.com/2018/05/the-right-to-be-cold-one-womans-fight.html
There There, a novel by Tommy Orange
https://theliteratequilter.blogspot.com/2018/08/there-there-by-tommy-orange.html
Massacre at Sand Creek by Gary L. Roberts, commissioned by the United Methodist Church as part of their repentance
https://theliteratequilter.blogspot.com/2016/05/the-methodist-episcopal-church-and-sand.html
And the horrifying history Killers of the Flower Moon by David Grann

Thursday, August 30, 2018

Tin Pan Alley Sheet Music: Men, Women, and Courtship

My collection of sheet music includes many early 20th c songs that were sung on Vaudeville stages.  Many were written in Tin Pan Alley.

One can learn so much about society in those days from these songs. Let's start what they reveal about men's attitudes toward women. These date from 1909 to 1919.

My Wife's Gone to the Country Hurrah! Hurrah! was written by George Whiting, Ted Snyder and Irving Berlin, published in 1909.

According to an interview with Irving Berlin, the song came to him in a barbershop. George Whiting, a vaudeville actor, was a few chairs down from Berlin who asked him when he needed to be home. Whiting replied, "I don't have to go home, my wife is in the country." Berlin walked out of the shop with those words in his head and soon found them a melody and the chorus worked out. In a few hours the song was completed and two days later it was heard all over the land.

When Missus Brown told hubby, "I just can't stand the heat
Please send me to the country, dear, I know 'twould be a treat"
Next day his wife and fam'ly were seated on a train
And when the train had started, Brownie shouted this refrain:

My wife's gone to the country, hurrah, hurrah!
She thought it best, I need a rest, that's why she went away
She took the children with her, hurrah, hurrah!
I don't care what becomes of me, my wife's gone away

He kept the 'phone a-going, told ev'ryone he knew
"It's Mister Brown, come on downtown, I have some news for you"
He told a friend reporter just why he felt so gay
Next day an advertisement in the papers read this way:

[2nd refrain:]
My wife's gone to the country, hurrah, hurrah!
She thought it best, I need a rest, that's why she went away
She took the children with her, hurrah, hurrah!
I don't care what becomes of me, my wife's gone away

He sang his joyful story into a phonograph
He made a dozen records and I say it was to laugh
For when his friends had vanished and Brown was all alone
His neighbors heard the same old tune on Brownie's graphophone

My wife's gone to the country, hurrah, hurrah!
She thought it best, I need the rest, that's why she went away
She took the children with her, hurrah, hurrah!
Like Eva Tanguay, I don't care, my wife's gone away

He went into the parlor and tore down from the wall
A sign that read "God Bless Our Home" and threw it in the hall
Another sign he painted and hung it up instead
Next day the servant nearly fainted when these words she read:

My wife's gone to the country, hurrah, hurrah!
She thought it best, I need the rest, that's why she went away
She took the children with her, hurrah, hurrah!
Now I'm with you if you're with me, my wife's gone away

He called on pretty Molly, a girl he used to know
The servant said "She left the house about an hour ago
But if you leave your name, sir, or write a little note
I'll give it to her when she comes" and this is what he wrote:

My wife's gone to the country, hurrah, hurrah!
She thought it best, I need the rest, that's why she went away
She took the children with her, hurrah, hurrah!
I love my wife, but oh! you kid, my wife's gone away

He went and bought a parrot, a very clever bird
The kind that always would repeat most anything she heard
So when his voice grew husky and Brownie couldn't talk
While he'd be taking cough-drops, he would have the parrot squawk:

My wife's gone to the country, hurrah, hurrah!
She thought it best, I need the rest, that's why she went away
She took the children with her, hurrah, hurrah!
I knew my book, she left the cook, my wife's gone away

The song was sung by Stuart Barnes, a successful English Music Hall performer whose songs and monologues were usually about marriage and women. He often sang Irving Berlin songs after his monologues. He earned $400 a week in 1909. (Source found here.) He was openly gay.
***
Some men wanted freedom from their women, while others were worried about being thrown over.

 Keep Your Eye on the Girlie You Love by Howard Johnson and Alex Gerber, music by Ira Schuster, was performed by Tin Pan Alley and Vaudeville star Moe Thompson. The March 2, 1917 issue of The Saturday Evening Post has an advertisement for the sheet music and the Pathe recording.

Take a tip from one who knows, all you single men, 
If you've a girl to call your own, Don't ever leave her all alone. 
If temptation comes her way, will she pass it by? 
That's a question, so my suggestion is, Watch her on the sly. 

Keep your eye on the girlie you love, 
There's a beau that you know nothing of, 
Who may be there to call, when you're out of sight, 
Of course, she may not fall, but may be she might. 
Never leave her for more than a day, 
‘Cause there's hundreds that lose ‘em that way, 
So keep your eye upon your girl, Bill, 
If you don't some other fellow will. 

It's a tough thing now-a-days, picking out a girl, 
So when you find your heart’s delight, 
Take my advice and treat her right, 
Girls are fickle as can be, change their minds each day; 
Do a rave to ‘em, be a slave to ‘em, That’s the wisest way. 

Keep your eye on the girlie you love, 
Just be sure that she’s your turtle dove, 
Don’t take a chance and introduce your best pal, 
For if she likes him best, goodbye to your gal. 
She may kiss you goodnight by mistake, 
Call you Clarence, when your name is Jake, 
So keep your eye upon your girl, Bill, 
If you don’t some other fellow will.
***
One way of 'keeping your girlie' was to make love to her at the movies. Couples sitting in a dark room raised the fear of parents who worried about the sexual freedom that might be perpetrated there. Hollywood movie stars had wild parties and scandalous sex lives--evil role models for the young. This was the new world of dating. Courtship no longer took place on front porch swings.

Take Your Girlie To the Movies (If You Can't Make Love At Home) by Edgar Leslie and Bert Kalmar with music by Pete Wendling would have been pretty scandalous in 1919.

The song begins when a boy asks love advice:

When I call to love my girl
Her folks are always there;
That's why I'm blue, 
What shall I do?

The answer is:

Take your girlie to the movies
if you can't make love at home;
There is no little brother there who always squeals
you can say an awful lot in seven reels.

Take your lessons at the movies
And have love scenes of your own;
When the picture's over and its time to leave,
Don't forget to brush the powder off your sleeve.

Pick a cozy corner where it's nice and dark,
Don't catch influenza kissing in the park,
Take your lessons at the movies,
and have love scenes of your own;
Though's she's just a simple little ribbon clerk,
Close your eyes and think you're kissing Billie Burke;
Take your girlie to the movies, if you can't make love at home.

***
Good girls, bad girls--they are all the same according to There's a Little Bit of Bad in Every Good Little Girl by Grant Clarke and Fred Fischer, performed by Brice and King, published in 1917. This sheet music shows Elizabeth Brice and Charles King, performers called some of the "cleverest" in the business. Miss Brice came from Toledo, Ohio and progressed from singing in Sunday School to the town casino.

 This is a truly horrifying song!
Nobody ever sings about the bad girls
Because the bad girls are sad
And everybody sings about the good girls
Because the good girls are glad
Till you've been around 'em once or twice

You can't tell the naughty from the nice

There's a little bit of bad in every good little girl
They're not to blame
Mother Eve was very good
But even she raised Cain
I know a preacher's daughter
Who never orders water
There's a little bit of bad in every good little girl
They're all the same

I had a dream I went to see the devil
There was the devil to pay
He said I'm awful busy on the level
I said the devil you say
Why are you so busy tell me why
He replied and winked his other eye

There's a little bit of bad in every good little girl
They're not to blame
Though they seem like angels in a dream
They're naughty just the same
They read the good book Sunday
And snappy stories Monday
There's a little bit of bad in every good little girl
They're all the same

***
They Go Wild Simply Wild Over Me by Joe McCarthy and Fred Fisher was published in 1917. The song appears in Bullets Over Broadway by Woody Allen.

There is a version for men:

I hate to talk about myself,
But here's one time I must!
Your confidence I'll trust,
I have to speak or bust!

It's funny how I get the girls,
I never try at all;
I seem to hypnotise them,
I'm bound to make them fall!

They go wild, simply wild, over me!
They go mad, just as mad as they can be!
No matter where I'm at,
All the ladies, thin or fat,
The tall ones,
The small ones,
I grab them off like that!

Every night, how they fight over me!
I don't know what it is that they can see!
The ladies look at me and sigh,
In my arms they wanna die!
They go wild, simply wild, over me!

I get so many pretty girls,
I give a few away!
They bother me each day,
They're leading me astray!

There's lots of fellows go with girls
And never get their drift;
I always get the women,
It's just a natural gift!

They go wild, simply wild, over me!
They go mad, just as mad as they can be!
No matter where I'm at,
All the ladies, thin or fat,
The tall ones,
The small ones,
Why, I grab them off like that!

Every night, how they fight over me!
I don't know what it is that they can see!
I can never be alone,
I have to choke the telephone!
They go wild, simply wild, over me!

And for the girls:

I hate to talk about myself but here's one time I must
Your confidence I'll trust, I have to speak or bust
It's funny how I get the boys, I never try at all
I seem to hypnotize them, I'm bound to make them fall

They go wild, simply wild, over me
They go mad, just as mad as they can be
No matter where I'm at, all the fellows thin or fat
The tall ones, the small ones, I grab them off like that

Every night how they fight over me
I don't know what it is that they can see
The fellows look at me and sigh, in my arms they want to die
They go wild, simply wild, over me

I meet so many funny men, no matter where I go
They're waiting in a row, they seem to love me so
There's lots of girlies go with boys but never get their drift
I seem to understand them, why, it's just a natural gift

They go wild, simply wild, over me
They go mad, just as mad as they can be
No matter where I'm at, all the fellows thin or fat
The tall ones, the small ones, why, I grab them off like that

Every night how they fight over me
I don't know what it is that they can see
Why I can never be alone, I have to choke the telephone
They go wild, simply wild, over me

They go wild, simply wild, over me
They go mad, just as mad as they can be
I meet so many kind, I leave a few behind
They love me, they kiss me, why, I guess they must be blind

Every night how they fight over me
I don't know what it is that they can see
I'm very skinny I'll admit but when I when I smile just a smidge
They go wild, simply wild, over me
***
Whatever that guy had in the last song, the man in the next song clearly lacked. To Any Girl by the hugely successful and prolific lyricist Lew Brown with music by the equally successful and prolific Albert Von Tilzer (whose most famous song was Take Me Out To The Ballgame). This song is a lament, for the young lover has no girl to write to. Any girl will do...as long as she cooks and sews and is true.
 I found a picture postal card while on the street today.
A lovesick fellow wrote it, and here's what he had to say,
"O haven't any sweetheart, so I don't know what to do,
I wish I had a girl to send this to.
I won't put on an address, I won't put on a name,
But still I'm going to send it just the same.

To any girl who's feeling lonesome,
To any girl who's feeling blue,
I write these lines today
here's what I have to say
I've got a lot of loving that I'd like to give away,
To any girl who'll love me only
To any girl who will be true,
But if you have a beau,
Is there any girl you know
who's not as lucky as you.

He says he wanta a girl who sews and one who also cooks,
But then he doesn't mention anything about her looks
The boy is not particular,
I think that he's in wrong,
For he'll take any girl who comes along,
He can't expect an answer, 
He doesn't make it plain,
I'll have to read the postal card again. (Chorus) 

***
Harry Von Tilzer, Albert's brother, often worked with Andrew B. Sterling including on this 1915 song, Those Musical Eyes, about Ragtime sex appeal.

Stirling and Von Tilzer are my favorite pair to collect. Learn more about Von Tilzer at The Parlor Songs Academy.

Two big eyes that shine, won this heart of mine,
"Want you near me," they say and sweet is the music they play,
O those great big eyes how they harmonize, 
Even when we're apart, 
They play on the strings of my heart
Ragtime love tunes till I'm almost crazy,
Those "G sharp" eyes they seem to play for me.

Oh, those eyes, those great big musical eyes,
Such "harmony" lies, 
In those sweet "Come and kiss me" eyes
"Say you'll miss me," eyes, 
Roll them, roll them, roll them up to the skies,
Each glance at me, a "Rhapsody,"
Oh, those eyes they say "come on...and spoon!"
Oh, those eyes they play a wedding tune,
Oh, the love that lies and lies, In those musical eyes!

When I'm feeling bad, when I'm feeling sad,
Everything has gone wrong
those eyes, play the cheerfullest song,
They just look at me, strike a chord in "C"
sorrow puts on his hat, 
Those eyes soon will sing in "A Flat"
Every glance starts my heart beating "Forte," (Chorus)