Archive for the ‘Music’ Category
A Quick Update
Hey, everyone. Sorry it’s taken me a while to get up a new blog, but I’ve been quite vexed with the housing search. When I was younger — at my first undergraduate school — it took about a month to find a place when nearly everything else was rented. But this search has gone way beyond that, especially as I started it in August…it’s well over three months, and I have yet to find a place to live that I can afford.
That said, I’ve also been battling my usual fall maladies of chronic sinus infections, general malaise, fibromyalgia flares/back problems, and of course the chronic depression I deal with daily. Being able to create helps me fight against all of that. But being in this situation works against being creative, as most of my energy is going toward either survival or finding a new place.
That said, for the moment I am still safe and staying with a family member. Later this month, if I still do not have a place, though, I’m not sure what will happen as the apartment complex here isn’t happy that I’ve been here so long without paying any rent to them. So this is the last month I can do that, though it may be possible for me to “reset the clock” by going to a hotel for a day or two. (Any longer than that, I can’t afford.)
As far as writing goes, I’ve been mostly stalled for all the reasons I gave above. As far as editing goes, I’m finally almost done with a lengthy edit — quite intense, lots of comments to make, and because it’s the last in a series, I have to make sure everything stays in good order. (This means I look stuff up. Nothing wrong with that. But any writer or editor worth anything will tell you what I’m saying right now: the work goes far more slowly if you’re having to do lots of cross-checks with previous books.) I believe I’ve done that, and it’s now just down to the final few things before it goes off to my client.
I am doing my best, in other words. Sometimes I get quite frustrated. (Actually, most of the time.) This is not what I’d hoped for, and not what my father wanted for me, and definitely not what anyone who knows me now and is still alive (including my family) wants either. Yet it’s where I am, and all I can do is my best with the circumstances I’ve got and go from there.
Tomorrow is Veteran’s Day in the US, as probably most of you know. My father was a Navy veteran, as was my late husband, Michael. I have cousins who’ve served, and many friends, along with an ex-husband (he was in the Army, back in the day). I respect people greatly who have served their country, and I appreciate what they’ve done to make this country a better place.
There’s still lots of upheaval going on around me because of governmental issues and strains, too. Everything seems to be in flux, not just me and my living situation.
I wonder sometimes if I am in the wrong place, doing the wrong things, and that I am so far off the track meant for my life (which was to be a college music teacher and performer before my poor health and finances got in the way), there’s no way for me to find my way back.
That said, I’ve done what I thought was best. I’ve helped people as I’m able and will continue to do that as long as I live. I’ve taught myself editing, and am good at it. I write, and always will write, whatever suits me: nonfiction, poetry, fiction, you name it, I can write it and probably have. I’ve used my musical talents in ways I hadn’t expected, but they have been used…and if my health gets any better, perhaps I’ll be able to use them again. (I’d still like to visit France and/or Spain someday, as that’s where classical alto saxophonists are most appreciated.)
So, while I’m battling depression, as I said before, I am still alive. So long as I’m alive, there’s at least some hope for better. I am looking for that hope, while also doing what I can to find my own, independent place to live. (It’s easier to help others when you have a place that’s truly yours where you can retreat to, as needed. A sanctum santorum, in other words. I haven’t had that now in any way, shape, or form for over three months.)
I battle the thought that I’ve failed (all of my novels right now need to be republished, as the rights have reverted back to me and are no longer for sale; unfortunately that’s on the back burner unless/until I can find a place of my own). I battle the thought that Michael might be unhappy with me (though really, I can’t see why he would be; he always thought I was too hard on myself, and this is probably just another of those times). I battle the thought that my maturity and experience may not matter in a world filled with so much automation and the flirtations with AI. I also battle my health, as anyone who’s spent any time here knows…but all I can do is my best.
This is my mantra right now: All I can do is my best.
Maybe that’s how it is always for everyone. But this sense of it being crisis city all the time is hard to live with, and I hope it’ll be alleviated soon. (No disrespect to my family member who took me in, either. That was not easy and I appreciate it greatly. It’s just that I am frustrated with this…and really do need a sanctum santorum of my own for creative reasons.)
So, that’s the update, such as it is.
How are you all doing? (Hopefully better than I am, but at least if you’re alive and kicking, that counts.) Do let me know, if you’re able…I would appreciate it greatly.
Sunday Musings: As Tornados Ravage the Midwest and South, Remind Yourself of What Matters
Folks, as I continue to heal from a perplexing illness (I’ll get to that in a while), I wanted to discuss the tornados that have ravaged the Midwest and South, among other places, this past week.
There were four confirmed tornado touchdowns in Wisconsin earlier this week, all on the same day. We were fortunate that no one was confirmed dead. People lost power, and some homes were damaged along with some barns. These are not good things, but they’re not as bad as what could’ve happened.
The reason I say that is, over the last few days, twenty-five people died in several states — including Kentucky — due to tornadic activity. There may well be more people dead than twenty-five; that’s what they know so far.
More tornados are on the way, too, especially in Nebraska, Colorado, and Kansas, among other states. These are traditionally states that get hit exceptionally hard by tornados.
But now we get to the awful part. (As if tornados aren’t bad enough.) There are folks online who have said because the people who’ve died were in “red states” (meaning Republican dominated states), that just “thins the herd.” I’ve also seen some folks who’ve said that the current presidential administration is not likely to help any of the states badly affected, because so far they’ve not helped Arkansas (deeply red), North Carolina (purple — basically a toss-up state like my own Wisconsin), or other places that have been ravaged by natural disasters already this year. FEMA (the federal emergency management agency) has been largely defunded, for whatever reason, and many people are already struggling.
Tornado touchdowns, tornado damage, and tornadic activity that threatens lives as well as livelihoods is going to just make things worse.
I have words for those who believe it’s OK for people to suffer. None of them are polite.
I lived in Nebraska and Colorado, and I know tornados can be terrible there. I used to see greenish-black skies there at certain times of year, and was always aware of the lowest point of any place I was at — school, work, apartment, whatever — to wait out any terrible storms. I certainly did not care whether the people I was with were Democrats, Republicans, Independents, or Martians. All I cared about was making sure people survived to live another day.
The farmers in these states (especially Nebraska and Missouri) will need help. If the current administration refuses to help them — and they probably won’t — that just screws over their own voters. It seems particularly ruinous, politically, to do such a thing, as well as being morally wrong.
Those who’ve already died were human beings and deserve dignity and respect. We owe it to ourselves to do whatever we can to help those in need, especially if the current administration refuses to do so. We cannot allow ourselves to become so inured as to say, “Who cares about them?”
That’s a horrible way to view life, and it’s one I’m not going to ever partake in. We must be better than that.
Now, as to the perplexing illness? Part of it is a wicked sinus and ear infection, which is not perplexing at all as I get them reasonably often. But the other part…well, it’s just odd.
I have been getting rashes on my back with blisters. The blisters were cultured and sent off to a pathology lab as the dermatologist had no idea what was going on. I was told this is a disease that happens if you’ve been around sheep or goats and have touched an open wound — and none of that is true in my case, as I haven’t been near a petting zoo in over twenty years.
I’d hoped this was resolving, but I discovered another blister last night. I won’t pop it — I know better — but will let the dermatology people know in case they can do anything other than what I’m already doing. (Basically — keep it clean. Use antibiotic ointment if the blister pops on its own. Use a medicated ointment to reduce the itching. Take a pill at night that allows for sleep because it greatly lessens the itching while having a soporific effect allowing sleep to occur.)
Of course, as the sinus infection and ear pain/issues happens to be particularly bad, I am on steroids as well as antibiotics and will be for another five days. These two things tend to offset, making me feel like I’m in some sort of complex ping-pong game. While both things seem to be healing (the rash itself is much better, though that new blister bugs me; the sinuses are clearing, and I can think much better, even though I do poorly on steroids as my body does not like them), I’m greatly weakened by them both happening at the same time.
I keep thinking that life should not be this difficult.
I’ve tried to keep several popular hard rock songs at the top of my mind. The first is Disturbed’s newest song, “I Will Not Break.” (Seems self-explanatory, yes?) The second, again, is Poppy’s “New Way Out,” which I’ve discussed before. (Poppy’s lyrics speak of frustration, of looking for a new way out and not finding one but refusing to stop trying. “Are you going to get up, or are they going to keep you down?” is one, followed by “Get up.”) The third is Nothing More’s “Here’s to the Heartache,” which may or may not be understandable…it’s a beautiful song that points out everything you do, everything you are, has led you to the place you’re in (and the people who are in your life). It’s specifically about romance, and it of course reminds me of Michael when I hear the lyric that says “…and that’s what it took to lead me to you. So here’s to the heartache…here’s to the mistakes…” There’s more, and I suggest you listen to it yourself as it is a truly beautiful and memorable song that’s musically far more than the sum of its parts.
Both Disturbed and Nothing More are comprised of intelligent people with exceptional musicianship and knowledge. Disturbed’s lead singer David Draiman has a versatile voice that could probably sing opera if he wanted (he is a baritone, but can sing some higher parts with excellent vocal quality also). Nothing More’s Jonny Hawkins is a percussionist who turned to singing and his rhythmic skills are prodigious, as are his vocal skills (he’s got a tenor range and can do anything required of him). The musicians in these bands are all excellent. I can’t recommend them highly enough.
As for Poppy, her voice is higher than I usually listen to, but there is a purity to it in quieter moments that makes me think she could do anything she wants with such a voice. Her lyrics are intelligent, and she obviously understands contemporary music as well as anyone out there (and better than most). I don’t know if she plays any instruments herself (I have looked up her Wikipedia article, but it’s light on details that way; it mostly discusses how she was self-developed as an artist on YouTube, starting with being called “ThatPoppy” and later just Poppy), but she obviously understands what she’s about and surrounds herself with quality musicians.
Music reminds me of how there’s more to us, as human beings, than politics, money, creed, lifestyle, gender, sexual expression, or any other way. There are things that unite us. Music is one of the biggest and best things that still does that.
Oh, I should also say that last night I also confused YouTube mightily when I searched for Schubert’s “Unfinished Symphony.” (It knows I will listen to jazz saxophonist Art Pepper on occasion, but I hadn’t listened to any classical music with it ever, mostly because due to my training, I see such things usually as “work.”) I find that particular piece of Schubert’s to be quite hauntingly beautiful, and was in need of some of its healing qualities, too…
Anyway, please do not let the exigencies of the moment stop you from understanding that we humans are worth more than the atrocious comments I discussed above (regarding the tornados). Appeal to your best selves this Sunday, and every day. Do whatever you can to make life better for someone out there.
Don’t become inured to suffering, please. That just wastes your time on this earth, and your time and mine are limited as it is.
In short: care about others, dammit. Help those who need it. Demand better from our government if they refuse to help those who suffer from natural disasters. Insist upon humanity and human rights and dignity.
And listen to the new Pope, dubbed Leo the Fourteenth. He’s an interesting, well-read, well-traveled man who happens to be a Midwestern American, and so far, he reminds me a great deal of Pope Francis in that Leo cares about everyone. (As he should.)
Linkin Park Hires a New Co-Lead Singer, and I Have Thoughts…
In case you haven’t heard yet, Linkin Park has a new lead singer, or probably better explained as co-lead singer along with singer/rapper Mike Shinoda. They needed someone because their iconic lead singer Chester Bennington died seven years ago by his own hand, and most of Linkin Park wanted to play together again. (The exception was their original drummer, Rob Bourdon.) So they’ve hired a woman, Emily Armstrong, who fronted a group known as Dead Sara, to sing the parts that Chester would’ve sung had he still been alive.
Note that I did not say “to replace Chester,” as there’s no way to replace Chester Bennington. But Linkin Park wanted/needed someone to sing those parts, and Emily Armstrong can sing melodies and then scream in a heartfelt way. My guess is that Emily A. sings in a similar range to Chester, or at least is close enough that with some minor arrangements (perhaps changing the key signature and/or mode — as lots of groups use modes like Mixolydian, Lydian, Dorian, etc., in addition in order to better reflect a mood or feeling), Linkin Park’s songs can be rendered well enough for fans to appreciate them.
This is a big controversy because of two things. One, you can’t replace Chester; he had a unique set of skills, including an emotional awareness that was almost uncanny, that could never be reproduced by anyone else. Two, one of Chester’s sons, Jamie, is very unhappy about this. Jamie pointed out that September is International Suicide Awareness month, which seems disrespectful to him as his father Chester died by suicide.
That raises a good point: as Linkin Park had been working with Emily A., quietly, for months, why didn’t Linkin Park wait another month to drop this news? Or why not move it up into August? Why court this sort of drama when you don’t have to?
See, there was someone else, a musician — I can’t remember the guy’s name right now — who had reported about four, maybe five months ago that he’d heard that Linkin Park had hired a new female singer. Mike Shinoda and other Linkin Park members pooh-poohed this and said if there was any news to report, they’d report it themselves, thank you.
But the guy who reported this was a fellow musician. I knew at the time, being a musician myself, that something was undoubtedly going on even though the guy who’d said he’d heard Linkin Park had a new lead female singer backtracked pretty quickly once Mike Shinoda, et. al., basically said the man should mind his own business. Still, from that report, I figured Linkin Park was probably rehearsing, trying to lay tracks in the music studio, and figure out if a combo with some woman — who we know now to be Emily A. — was commercially viable.
That’s exactly what was going on, as we now know.
My thoughts on this are a bit mixed. First, it is hard for me to conceive of anyone singing the parts Chester sang so well and so distinctively. Chester Bennington was an integral part of Linkin Park, and as I said before, I do not believe he can ever be replaced. But second, as a musician, I know that the members of Linkin Park wanted to play again. It’s been seven years since they last played a concert in public, and most of them (Rob Bourdon, original drummer, aside) were itching to get out there and to perform.
I can’t blame any musician for wanting to perform, OK? That’s kind of what we do, providing we’re healthy enough to do it. Every performance, even of a well-known song like Linkin Park’s “In the End,” is a little different, because the energy of the crowd may be different. Or maybe one or more of the group members is feeling especially emotive. Or there’s some extra tenderness in a quiet musical interlude. Or the bombastic, up-tempo stuff seems to have extra fire one day, while the next, while still fun to listen to and hopefully fun for the group members to play, doesn’t quite meet that level of intensity.
This is true of any human music group anywhere in the history of time. Live music has variables to it, and can be extremely good one night, good the next, a bit off the third (though probably the audience won’t recognize it, the members of the group assuredly will know and feel like they let themselves down), and back to good the fourth night. It is just the nature of the beast.
As I’ve said before at my blog, there are such things as post-concert highs and post-concert lows. For example, I believe famous singer Chris Cornell may well have been dealing with a post-concert low before he called his wife and sounded so odd just a few hours before he took his own life. Audience members, from what I can recall at the time as he passed a couple of months before Chester did, said that Chris seemed frustrated, maybe a little unhappy, and his performance was not necessarily up to par. Again, some of this is the nature of the beast, and every musician worth his/her/their salt knows it. But it can be hard to remember, in the moment, that as wonderful as music is, and as wonderful as it is that some people get to live their dreams and make a living from music, that being a musical performer is not the sum total of everything we are.
I’ve had both post-concert highs and post-concert lows. They can be disconcerting, but the lows are worse by far than the highs. On those nights, I wonder why I even bothered to take up an instrument. (I don’t sing in public and am glad I don’t.) My hands felt a little off, maybe, or it was very hot outside and playing an outdoor concert was uncomfortable and unpleasant. Either way, it affected my performance for the worse. Because of that, I felt like I’d let down the audience, let down the group I was playing in, let down myself too, and just wished the ground would swallow me up, whole.
At any rate, getting back to Linkin Park and their new singer Emily A. — I think we should give the new-look and new-sound Linkin Park a bit of time to see how things go. I also think that as open-hearted as Chester B. often was, he’d not want to keep his bandmates from making music with someone else (even if it doesn’t feel easy for fans).
Finally, Shinedown’s lead singer Brent Smith posted on social media that he believes Linkin Park is doing what’s right for them. It sounded to me like Smith also believes fans should give the new version of Linkin Park time, and at least be open to listening to Emily A.’s vocals. (He spoke in a quite complimentary manner of Emily A., too.)
I think that’s a good position to take, and it’s one I can live with.
So, while I still wish that Chester was alive, singing his heart out, and playing/singing music to his heart’s content, I’m at least willing to listen to the new version. I make no promises yet as to what I think…but I will at least listen, and hope all goes well for them.
Thoughts on Papa Roach’s “Leave a Light On (Talk Away the Dark)”
Sorry about the brief hiatus in posts, folks. Nothing much to report, except that I’m still working on writing, editing, and that I hope to finish a musical composition of some sort soon.
Anyway, while I have been “away” (away in no real sense, but not posting), I’ve been contemplating Papa Roach’s single “Leave a Light On (Talk Away the Dark)” quite a bit. (Here’s a link to the YouTube video.) This song is a fundraiser for the American Foundation for Suicide Prevention (AFPS.org), a group close to Papa Roach’s heart.
Those of you reading along may not know who Papa Roach is. I didn’t, a few years ago, though I knew a few of their songs. (“Last Resort” is a personal favorite.) They are an American hard-rock group from California, and they once had a regular trombonist. (I approve of that! More rock groups should have interesting instrumentation.) They also have talked much about suicide, suicide prevention, depression, and anxiety throughout their career, as it’s important to them.
I’ve posted before about how this is a cause important to me (though I may not have put it that bluntly). One of my best friends killed himself before age forty. (We were on the same bowling team, years ago.) I’ve also watched as excellent singers and other musicians have struggled with addiction, anxiety, suicidal ideation, and more with my own unique perspective. (Hey, being a musician who’s not known along with being a writer who’s not known either has to have a unique perspective, or she’d just give up. I’m not into giving up. Moving on…)
When high-profile singers such as Linkin Park’s Chester Bennington and Soundgarden’s Chris Cornell die too young, what else can you think other than that life can be a major struggle? Being extravagantly talented can’t always save you.
But talking about your problems, honestly and with empathy, can.
That’s what Papa Roach’s song is all about.
Fortunately, because those musicians did so much to acknowledge their struggles while they were still alive, other musicians have continued to acknowledge their own struggles, partly because of the memories of their dearly beloved and departed friends. Papa Roach has a live version of “Leave a Light On (Talk Away the Dark)” that is dedicated to Chester Bennington, for example. Disturbed’s song “Hold on to Memories” has pictures of Bennington, Cornell, and quite a few other musicians who’ve died too young that Disturbed knew well to get across the fact that these people’s lives mattered. (I’ve discussed “Hold on to Memories” before.)
Perhaps a quote from a previous blog, which I called “When Life Does Not Go as Planned,” applies here:
Life, sometimes, is just damned hard. But we get up, we try, we do our best, we create or build or work hard on whatever it is that we feel called to do. Even when we’ve felt like we’ve failed at our deepest levels, what we’ve done matters. Even when our lives have been shattered, what we’ve done and who we’ve loved and how hard we’ve tried matters.
I believe, quite firmly, that’s what Papa Roach’s song “Leave a Light On (Talk Away the Dark)” is all about.
Anyway, I hope you will enjoy this song, if you haven’t heard it before. It’s one of several songs I’ve been paying attention to lately, along with the aforementioned “Hold on to Memories” and Shinedown’s “A Symptom of Being Human.”
Remember this, though: You don’t have to be perfect. You don’t have to do great things every single day. You don’t have to be anyone other than yourself. You are valuable just the way you are, and if you can keep putting one foot in front of the other, that absolutely matters. Whether anyone else aside from you knows it or not…it does, does matter.
Discussing Daughtry’s SFnal, Dystopian Single, “Artificial”
The other day, I heard a new song from Daughtry, the band fronted by former American Idol contestant Chris Daughtry. Daughtry is known mostly for their single “It’s Not Over.” That’s a hopeful song, in its way, about the ups and downs of relationships. But the new song, “Artificial,” definitely is not hopeful. In any way.
“Artificial” is about human beings being supplanted by robots, AIs, synthetics…the world has turned poisonous, and the scenery looks like an old Mad Max movie, which sets the scene for the dystopic lyrics. For example, the second verse includes the lyrics, “No sickness, no dying, no disease/no begging for mercy on your knees. No God, no religion, no beliefs.” This may seem somewhat innocuous, especially to secular humanists, but the choruses definitely aren’t. “Welcome to your worst nightmare. Days are getting dark, you should be scared. It doesn’t have a heart. Plug into the new you…the death of who we are is right here.” (I jumped a few lines down, thus the ellipsis.)
Because Daughtry himself is muscular and fit–especially for age 44–he plays himself being uploaded into the “perfect,” human-looking robot. Fortunately, or maybe unfortunately, it doesn’t exactly work out.
Now, why did I say fortunately, or maybe unfortunately? Well, in this dystopic nightmare of a world, that’s apparently the only way you’re going to survive. It’s a travesty; it’s not human, as the lyrics say. The whole bit about “no begging for mercy on your knees” is about compassion, and about how the robots–or whatever they are–don’t have any. They’re just beings, without true emotions; they think, but they don’t sleep. They can’t admit to fear, even if they feel it–then again, they don’t feel much of anything–and it’s obviously not the way a human being wants to live.
There is a second level to “Artificial,” though, that’s more relevant to me as a writer and editor. There’s a real problem right now, that’s grown significantly worse in the past five years, with AI programs grabbing hold of people’s work–whether music, art, writing, you name it–and not paying anything for this. If one, single AI was the creation of some guy in his basement who had no money at all, then maybe this wholesale “borrowing” (read: using without paying) would be understandable even if still wrong. However, the AI programs are being developed by some of the biggest and wealthiest companies in the world.
They don’t have an excuse. They should be paying writers, musicians, artists, etc., for the use of their works if they’re going to be used to try to bring about a better and more comprehensive version of AI (artificial intelligence).
So, the lyric “It doesn’t have a heart” in “Artificial” could, conceivably, be talking about Google. Or Microsoft. Or whomever else that’s trying to develop an AI. If they had hearts, working souls, and even an ounce of compassion, they’d not have taken so many different people’s work without paying for it.
They certainly don’t seem to have ethics, either. Or they’d be paying writers, musicians, etc., for their work. As they should.
So, getting back to “Artificial,” Daughtry seems to be saying that in the not-so-distant future, there will be copies of what he does. Purporting to be what he and his band have actually done. (Maybe he’s referring to deep-fakes, in an elliptical way.) But it’s “ice cold, mechanical. Artificial.”
A real musician, a real band, playing in real time (even if it’s recorded and played back in any medium), has a nuance and resonance that, so far anyway, synthetic programs can’t match. The sound, itself, may seem to be easily replicated, but it’s not.
You might be asking, “Barb, what are you talking about? The YouTube video will always play the same version of the song, with no variations.”
But in live performance, there will be variations. There have to be. Every time a piece of music is played, sung, or performed in any way, it’s going to be a little different in one way or another. That’s because it has life. Purpose. A sort of drive that infuses the music, makes it far more than simply numbers on a page represented as notes (and put to lyrics, in the case of Daughtry’s “Artificial”).
In short, music has soul. The best music, made by thoughtful musicians throughout our recorded history, has touched something in us, something profound. (Even something as silly as “Purple People-Eater,” with the lyrics of “one-eyed, one-horned flying purple people eater,” will make us laugh. Laughter, itself, can be profound in its way. So sayeth I, at any rate.)
Chris Daughtry and the rest of his band, Daughtry, are excellent musicians. They put together songs that tell stories. They have multiple levels in at least some of their songs (as seen with the recent song “Artificial”), which shows a remarkably fluent and in-depth understanding of what they’re trying to do. There’s life to their songs. And just a bit of edginess (which I appreciate), along with outstanding performance values, brings about the best of results.
So, “Artificial” is a departure for Daughtry due to being dystopic. But it’s a welcome one, especially under the circumstances. I hope they write a whole lot more songs about whatever they feel like, as there’s no way an AI could ever reproduce their passion, drive, wit, and ability.
Do not accept substitutes, people. (Further the writer sayeth not.)