Barb Caffrey's Blog

Writing the Elfyverse . . . and beyond

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A Quick Update

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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.

Written by Barb Caffrey

November 10, 2025 at 11:44 am

More Music Discussion Upon the Passings of Ozzy Osbourne and Chuck Mangione

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I know that’s an unwieldy title, folks…but it at least is an honest one! And it is descriptive, so…here we go.

Chuck Mangione passed away earlier this week at age 84. He played the trumpet and the flugelhorn, was considered one of the first “smooth jazz” or “soft jazz” icons, and played with an uncanny lightness of being. That’s why his mega-hit song “Feels So Good” still shows up in so many different contexts.

As I said yesterday in my blog, Mangione was trained to be a jazz trumpeter first, and played with Art Blakely’s Jazz Messengers. The Jazz Messengers play a very traditional type of jazz that’s usually exemplified by bebop, with some 1950s/early 1960s jazz expressionism (from Miles Davis and John Coltrane; think the LP Kind of Blue and you’re getting somewhere) thrown in.

For those of you who don’t know a lot about music, or jazz in particular, think about trumpeter Dizzy Gillespie, he of the tilted-up trumpet. (If you’ve ever seen his signature trumpet, with the bell pointed usually straight up at an angle, you’ll know instantly who I’m talking about.) Dizzy was a great bebop trumpeter and always was; in his youth, he and Charlie Parker made their names playing in the same small group.

So, here’s why I mentioned Dizzy Gillespie, folks. Dizzy was the best of friends with Mangione until the end of his life. Dizzy recognized good music when he heard it, and he didn’t care if it was “too soft” or “not hard enough” or “not swinging enough” for the cognoscenti of the jazz world.

Mangione, mind you, had a great sense of humor, and was often on animated programs sending himself up. He took what he did seriously, but he didn’t take himself seriously, and maybe that’s why his music was so good.

Anyway, you might be asking why I’m talking so much about Mangione when Ozzy Osbourne, who just died at the age of 76, is by far the bigger name. (Rock is just that much more popular than jazz.) Mangione did something different, and not just because he played the flugelhorn more often than his trumpet; because of that, he and Ozzy Osbourne actually have some things in common.

See, Ozzy came up with the famed hard-rock group Black Sabbath. They were perhaps the first heavy metal band to become not only popular, but household names. This was only partly because of the name Black Sabbath (which was picked as it was divisive and memorable, no doubt); it mostly was because they were working on a wholly new style of music, one that was mutating almost faster than thought.

Black Sabbath featured heavier drums, louder and “crunchier” bass playing, and it was set off to perfection by Ozzy’s vocal stylings. The subject matter was often about difficult subjects like death, war, suicide, intense frustration…while such things had been discussed before, they hadn’t been discussed so openly or with so much feeling behind it.

When Ozzy and Black Sabbath parted ways, no one knew, least of all Ozzy, that he’d have a bigger second act by himself than he’d had with Black Sabbath. But that’s what happened, all because he took risks. He sang “Perry Mason,” which had nothing to do with angst or anger and everything to do with nostalgia and how sometimes we really need someone to fix things for us. (Perry Mason was almost legendary in being able to fix nearly anything in a legal context, after all.) He sometimes leaned into his fame, such as with the songs “Crazy Train” and “No More Tears.” He also showed a willingness to work with all sorts of different types of musicians, which is possibly the best thing I could say about him or any other musician as it shows he was more about the music than the fame.

So, Ozzy, with Black Sabbath and without them, was helping to define the new type of music called heavy metal. Mangione was helping to define the new type of jazz, a softer, more inclusive, more melodic jazz that regular people could hear and understand right off.

Both men were all about the music. They also had good senses of humor (Ozzy’s wasn’t known until the reality show about his family, The Osbournes, came into being), played all over the world, were household names (or at least their biggest songs were), and did what they were born to do.

Now, I can see at least some of you shaking your heads, because Ozzy had drug issues, once bit the head off a live bat, and when in some sort of fugue once killed all of the household’s cats. There’s no way Mangione would’ve done those latter things. (I don’t know about the drug issues, mind you, as many musicians of all types have used various types of recreational drugs throughout known history. I can only say I am not aware of it in Mangione’s case.)

That’s all true. But I think one of the reasons we’re on this Earth is to learn, grow, and be the best person we are able to be. Ozzy Osbourne and Chuck Mangione both showed growth throughout their lifetimes, gave pleasure to millions with their music, and were both known at the end of their lives as good people who did the best they could.

I don’t know of a better epitaph than that, and it applies to both men.

In Tough Times, Try to Have Fun (Say the Brewers and Musician Chuck Mangione)

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There’s a lot wrong with the world right now, especially in the United States. It can be tough to remember that there is still good in the world, along with good people who will do their best to make the world the best place it can be.

I mention this because of two things. One, jazz flugelhornist Chuck Mangione passed away at age 84 earlier this week. His signature song was called “Feels So Good,” and it came out in 1978. (I know some of you were not born yet.) 1978 was a time of distress for many. There was “stagflation” going on — both inflation and stagnancy, which is kind of the worst of both worlds when it comes to economics. Many people were struggling, as the work they had didn’t pay enough to live, or maybe they’d just lost their job.

So, why did Mangione come up with “Feels So Good” at that particular time?

No one knows the answer to that but him (and he can’t tell us anymore). The best I ever garnered from various interviews and such was that he felt life was a gift. He wanted to showcase something fun, something upbeat, and something memorable.

He certainly did that, and in spades.

I recently found out that Mangione was not only a trained jazz musician (that was obvious), but had worked with Art Blakely’s Jazz Messengers group before breaking out with “Feels So Good” and leading his own group. The Jazz Messengers are a hard-swinging group playing traditional jazz (mostly bebop, with some late 1950s into the early 1960s expressionism if it made sense to them). This was quite a surprise to me, as you’d never think anyone who’d worked with them (as Mangione did) would’ve come up with “Feels So Good.”

Anyway, I have a second reason that reminded me it’s important to have fun, and here it is: The Milwaukee Brewers 25th Anniversary of their home field (now called American Family Field; originally called Miller Park) included one of the most fun events I could possibly conceive of as a Brewers fan, that being an Alumni Home Run Derby.

The Brewers had many wonderful players in the last twenty-five years, and the Derby brought back ten of them. Eric Thames hit massive homers and was — and still is — built like a bodybuilder. Nyjer Morgan was a speedster, but did credibly in the Derby, hitting a couple of homers. Corey Hart, one of my favorite all-time Brewers, hit five homers in the limited time given to each player, and actually made the two-person finals. Ryan Braun and Prince Fielder, Brewers icons, of course were there, and so was Carlos Gomez with his elegant swing and happy-go-lucky attitude. Bill Hall, one of the best all-around infielders the Brewers have ever had, did credibly also. Casey McGehee was an entrant, but wasn’t able to hit a homer (that was OK with the fans, I read; they were just glad he tried). Brewers pitcher Yovani Gallardo, who won a Silver Slugger award for the best-hitting pitcher when pitchers still hit, looked good and hit well. And, finally, Keon Broxton, a very speedy outfielder and mostly a defensive specialist when he was with the Brewers for a few years, hit five homers to match Hart and gain the final round.

Now, I have to mention something about both Broxton and Hart. Broxton is only thirty-five and never had a major injury to his feet, legs, or knees as far as I’m aware. Hart is forty-three and suffered major injuries to his knees which required surgery. Broxton looks like he could still play, similar to Ryan Braun, whereas Hart looks more like what he is now: a proud father and a decidedly retired player. (Note that I do not mean “out of shape” here. Every Brewers alumni player who went up to bat showed they’re still in exceptionally good shape. Broxton was notable because he almost looked like a triathlete, if that makes any sense, and none of the rest of them did.)

But Hart’s swing is still the same, a long, looping, easy swing, and that’s why despite a torn muscle, he not only attended the Derby but was its runner-up.

Mind you, both Hart and Broxton were not the players thought of to be in the playoffs. Most thought it would be Ryan Braun, Prince Fielder, and/or Carlos Gomez (as I don’t think most fans realized it was only going to be a two-person final; I know I didn’t). Hart was probably picked more often than Broxton, though, because Hart was known to be a power-hitter (Hart, like Broxton, was also excellent defensively and quite speedy before knee injuries robbed him of his speed and flexibility).

But it was Broxton’s day. He won the Derby, he took a celebratory trot around the basepaths, and when he got to home plate, all the Brewers alumni who’d participated fell down (as they did once for Prince Fielder after a booming homerun).

See, the Derby was just plain fun. Lots of good things came out of it, and fans went away smiling even though the game beforehand wasn’t the best (as the Brewers lost to the Miami Marlins, 5-1).

The reason I talked of both things — Mangione’s passing, along with his huge hit “Feels So Good,” along with the Brewers Alumni Home Run Derby — is because they both promoted happiness and well-being. The song is a bit playful (if you ever listen to the whole thing; it’s often sampled now in commercials, which to me waters down its impact), while the Derby sparkled with former Brewers still showcasing their God-given abilities.

Of the alumni, Hart and Fielder both suffered injuries that ended their careers far earlier than they would’ve liked, but on this day it did not matter…they gave joy to the fans, who gave joy to them, and it was almost a picture-perfect version of a positive feedback loop.

At any rate, the fact remains that we have to look for reasons for hope sometimes. We need that. We need to know that it’s not only OK to have fun, it’s necessary.

Chuck Mangione knew that. The Brewers alumni knew that (and still know that), too.

Somehow, I need to remember that in my own life.

I will work on it, as my life continues its major upheaval (as I will be moving soon, destination still unknown).

Sunday Musings: As Tornados Ravage the Midwest and South, Remind Yourself of What Matters

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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…

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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)”

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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.


	

Grief, and Nothing More’s Song “Fade In, Fade Out”

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Folks, most of you know if you’ve followed my blog for any length of time that I am grieving my father’s passing last October at the age of eighty-six. Because of that, and because I am a musician anyway (always will be), I have been listening to songs differently.

One such song is Nothing More’s “Fade In, Fade Out.” (Link to main YouTube video is here.) It discusses, explicitly, the link between fathers and sons, so it’s not too much of a stretch to consider this dialogue from a father to a daughter as well.

“But why this song,” you ask? “And who is Nothing More?”

First, I’ll answer the second question. Nothing More is a rock group from the American Southwest. They skew more toward metal than anything, but they have various influences on their music. Their lead singer, Jonny Hawkins, started as their drummer/percussionist, but realized he needed to front the band instead. Their music has a lot of life, and speaks to many different emotions and states of being.

As to why this particular song? Because of some of the lyrics, combined with the power of the music, just speak to me in a way that I can’t quite understand, except by listening to this song, crying somewhat, and then listening to it again.

The song starts out with a grown son realizing his father has grown old. They speak, almost as if it’s their final conversation; the son listens as his father says (from lyrics):

Son, I have watched you fade in
You will watch me fade out
I have watched you fade in
You will watch me fade out
When the grip leaves my hand
I know you won’t let me down

The father continues, telling his son to follow his heart, to never settle, to hold his head up, and to never run away from change. (If you look at the lyrics, which I found here, you’ll realize I’m telling this out of order. That’s OK. This is how it speaks to me.)

These next lyrics are essential to understanding “Fade In, Fade Out,” as far as I’m concerned:

(From a bit later in song)

When the morning comes and takes me
I promise I have taught you everything that you need
In the night you’ll dream of so many things
But find the ones that bring you life and you’ll find me

That’s where you’ll find me (repeated several times until the end)

The song ends on a huge crescendo, as another child is born, this to the son.**

To my mind, though, what matters most is the line about “find the (things) that bring you life, and you’ll find me.” The reason this matters so much to me is, the passions I, myself, have, are partly because of the passions my parents had. Dad loved music; so does my mother. Both of my parents were inveterate readers (and Mom still is); so am I, though I read some different things than they did (and Mom still does). The learning I took in, regarding morality and ethics and what’s truly important in life, I also took in from family influences.

So, the things that bring me life are music, words, and important relationships with friends and family. (My friends are my family, too. Just in a slightly different way. But I digress.)

Anyway, symbolically in this song, the son ends up with a child. I have no children, unless you count the workings of my mind and heart, as Michael and I were not blessed with any. (He was worth everything, though, and still is. You’ll know this if you read my blog for any length of time.) But overall, the point still matters: the oldest among us die, to make way for the new, but there is continuity between one generation and another.

In that sense, my father’s mother (who died when he was only eleven) has lived on, through him. In that sense, my maternal grandfather, who died when I was seven, has lived on, too (among others). Even though they couldn’t teach us directly, they did teach and impart values and such to my father and mother, who passed them on to me and my sibs.

So, in the parlance of “Fade in, Fade Out,” Dad watched me as I grew older (thus, faded in). He grew old and passed away (thus, faded out). But I haven’t forgotten what he taught me, the good, the bad, and the indifferent…and I never will.

What songs have mattered to you most, especially when you’ve been grieving? (All of us grieve something, mind you. That’s the parable Gautama Buddha gave, in a perhaps apocryphal story, when he sent a woman looking for someone without grief around the world. She couldn’t find anyone.) Tell me about ’em in the comments…and hey, if there are any other Nothing More fans out there, chime in, too. (That group deserves wider fame, methinks.)

———

**There’s an acoustic version of “Fade In, Fade Out” available here that’s also well worth listening to…then again, anything Nothing More does is worth it, and I can say that about very few bands. (Disturbed, Nothing More, Linkin Park…that’s about it. I’d add a few earlier bands and singers to that, such as Phil Collins with and without Genesis, and Styx with Dennis DeYoung.)

Discussing Daughtry’s SFnal, Dystopian Single, “Artificial”

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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.)

Saying Goodbye to Dad

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Folks, I know I didn’t blog last week at all. Mostly I was trying to save up my energy for what proved to be a two-part effort: Dad’s funeral/memorial service on Saturday, and Dad’s burial on Monday. I figured I’d talk about that, along with the difficulties of saying goodbye when you weren’t ready at all to do so, today.

My father was almost 87 when he passed away. (Had he made it through another month, that is.) As he told everyone (including grocery store cashiers), Dad lived a good life. He was satisfied because he had three good kids, he’d been a successful letter carrier, he’d bought a house (and died in his house, something he’d told me and my sibs often was his wish), he’d enjoyed outings with his own sibs (when they were healthy enough), he’d done some traveling (mostly to and from other family members’ homes), and he’d enjoyed watching and listening to the Milwaukee Brewers, Green Bay Packers, and Milwaukee Bucks games over the course of his lifetime. He’d also played in what was then the Racine Municipal Band for twenty years in the percussion section. (Dad did not consider himself to be a percussionist, because he didn’t read notes; he only read rhythms. That said, he played the snare drum, the field drum, the bass drum, the castanets, the cymbals, the maracas, and anything else that didn’t require note-reading.) Dad also enjoyed watching old movies, as I said before, and played lots of cards (mostly cribbage and smear — smear is kind of like sheepshead, I guess; I don’t know how to explain it any better).

In short, Dad had the life he’d hoped to have.

The thing is, even though I know all that, it’s still hard to say goodbye. My relationship with my father wasn’t always an easy one. I wasn’t what he’d expected, at all. I’d been expected to make a big noise as a classically trained musician, but my hands failed; then, after I finally found the love of my life in my mid-30s, I lost him due to four heart attacks (as I’ve discussed multitudinously at this blog) and ended up back with my family again.

See, I’d hoped my entire life to make it as a musician. My whole life was oriented toward that. I used to practice up to eight hours a day, then wrote music for another hour or two (I can still do that, at least, when motivated and my mind isn’t all over the place as it is now), often while working a part-time or full-time job on the side.

But as I said, my hands failed. I have something akin to carpal tunnel syndrome, though it isn’t that; it’s bilateral tendinitis in both hands and wrists. I can have spasms in my wrists or hands at any time, and there’s no apparent reason for this. (The tendinitis could happen to anyone; I could’ve worked around that. The spasms were much harder to work around, and it’s why I’d stopped playing except in the Racine Concert Band and the UW-Parkside Community Band.)

When I met Michael, I was only reluctantly ready to concede that I would not be a professional musician. But I’d discovered I was good at writing; really good. With Michael’s help — as he was an excellent editor and a good writer, too — I finished up my novel, Elfy (later split into two parts as An Elfy on the Loose and A Little Elfy in Big Trouble), and was working on a prequel called Keisha’s Vow (I’ve mentioned this before, here at my blog) when the unthinkable happened: Michael died.

So, I was bereft, incredibly upset, grieving, very unhappy, and though I didn’t know it at the time, also very depressed when I came back to live with my father. (I did spend a good amount of time with my mother, too, and still do.) I wasn’t at all what I’d been. I didn’t recognize myself in the mirror, I was so very upset.

At first, my parents (neither one) knew what to say to me. As I’d been previously married, their thoughts were probably along the lines of, “Well, she won’t be here long. She’ll find someone else.”

Um, no.

Anyway, Dad is the subject of this blog, so I’d better explain what he did. Mostly, he pointed out there are seasons to life, just as there are to baseball, basketball, etc. There may still be another season in my life that could be good, even though I couldn’t see it…I had to have hope, and faith, that someday I’d understand why Michael had died young and why my hands had given me so much trouble.

Over time, I slowly got better. I went through physical and occupational therapy for my hands in 2010 and again in early 2011; this brought back quite a bit of movement and flexibility to my hands and wrists, so I was able to play my saxophone and clarinet again. (If I had someone to make reeds for me, I could’ve played my oboe as well. But my hands will never be good enough for me to make reeds ever again. That’s just a fact.) I rejoined the Parkside Community Band not long before my friend Jeff Wilson died in 2011, and if I recall correctly, most of my family was there for the first concert I’d played in over ten years. (Dad wasn’t. But my sister was, my Mom was, I think my niece was…and my Aunt Laurice, who lived in Racine also, was there, too.) I played a solo in a piece called “Roma,” and thought about Michael and Jeff as if they were in the front row, just invisible to everyone else except me.

Note that my Mom also believed I would play again. I don’t mean to slight her in this. But fortunately for me, she is still here now, and I can continue to do whatever I can to help her whenever I am able to do it…while Dad, who never wanted anyone to do anything for him except talk to him now and again, is on the Other Side.

So, Dad and I continued to talk about sports. We sometimes talked about politics; he was disgusted by many of the goings-on, and one of his final thoughts was that it was disgraceful that there was no Speaker in the U.S. House of Representatives. (I agreed with him, too. That was a big mess.) He often pointed out that if the able refused to serve, or were unable to serve, we only ended up with idiots. (He didn’t use that term. He was far kinder in some ways than I am.) He pointed out that Samuel Gompers had said, in essence, that it’s better to be party to a principle than a principal to a party, and that anyone who let dogma rule them when there were practical problems that needed solutions and compromise wasn’t worthy of his or her seat in Washington, DC.

At any rate, Dad was a person who believed talk was cheap and results were what mattered. He also believed that kindness was essential — though harder to do than to say — and if you remember the blog I wrote years ago about how people treat cashiers says a lot about them? Well, Dad was almost unfailingly kind to cashiers, even if they made mistakes in his order. (He’d just go up to the service desk and straighten it out, that’s all.)

Was Dad a saint? No. Not at all. But he meant to be a good man, and in his way, I think he was. But he wasn’t always easy to live with (neither am I); some days he could be downright ornery, and he also took pride in being cantankerous. (He figured once you got over eighty, they’d call you that anyway, so why not live up to it?)

Anyway, on Saturday I gave some sort of eulogy, as did my siblings and my niece, Jenni. (I think they did better jobs than I did. I don’t really remember much of what I said, to be honest.) Then my Mom and I and everyone else went to a local restaurant, and we did our best to celebrate life and remember my father.

This past Monday, Dad was buried out in Union Grove at the vets’ cemetery. My sibs, my niece, and one of my cousins was there. (A good friend of mine tried to come, too, but she got lost. It’s OK. I got lost, too, and only barely made it to the cemetery in time even though I started out almost an hour beforehand. It’s only a fifteen-minute drive, if that, to Union Grove from where I started…ah, well.) They gave Dad the military honors he deserved, as he’d been a member of the U.S. Navy in his youth (he loved to say “I was a member of the man’s navy”), and that was that.

Except it’s not.

I wish I could explain it better than that, but I can’t. I do know I’m glad Dad didn’t suffer. (I found him, so I know he didn’t.) I also hope that he’s with his mother (who died when he was only eleven), father, stepmother Gertie, my Aunt Laurice and Uncle Carl, and everyone else who predeceased him. (Maybe Michael’s up there and is talking sports with Dad right now. I like to think so.)

Here, though, on Earth, I struggle. And I think it’s going to be like this for a while…that said, I will keep doing whatever I can to be of use and service to others, and hope that, creativity, and whatever shreds of faith I have left will be enough to sustain me.

My Thoughts on Linkin Park’s New Song, “Lost”

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Folks, the other day, I was listening to the radio in the car (102.9 the Hog, in Milwaukee), and heard a new song from Linkin Park called “Lost.” It’s an extra track they worked on during the time they were recording their second album, Meteora (2003), but never released.

Before I discuss it, I want to first give you the link to the official music video. It’s quite good, even for Linkin Park (which has always been known for its savvy when it comes to videos); there’s a great deal of anime references, along with animated versions of the musicians in Linkin Park…including their late lead singer, Chester Bennington.

I’ve written about Chester before, as I was extremely saddened by his death. Chester was friends with Chris Cornell, the lead singer of Soundgarden and Audioslave (among others); Cornell died about two months before Chester did, and I wrote about his passing at the time.

Anyway, the song “Lost” showcases Chester’s vocals, and is a beautiful rendition of someone trying to find his way out of the morass of despair that life has sent his way. It has at least one odd quirk in that the backing vocals don’t necessarily seem to go with the rest of the song. (If this had been solely Chester with everyone else playing instruments, etc., I think it would be even better, similar to the triumph that was Linkin Park’s single “One More Light” on the same-titled album. Video link for the latter is here.) In hearing these backing vocals with earphones, I found them far less distracting than I did in the car.

Now, why is that? I think it’s because of the mix that went out to the various stations (including the Hog in Milwaukee). Car radios, though they’ve become far more sophisticated in the past fifteen years, still can’t adequately reproduce songs to the same level as a home entertainment system.

Anyway, Chester Bennington was someone everyone in the music business liked. He had a strong work ethic, a gift for music and lyrics and expression and style, and he was generous with his time and friendship. He’d experienced highs and lows and was someone that Limp Bizkit frontman/singer Fred Durst paid tribute to back in 2017 at Spin magazine. “He had a way of making anyone he spoke to feel heard, understood and significant. His aura and spirit were contagious and empowering. Often those types of people have so much pain and torture inside that the last thing they want is to contaminate or break the spirit of others.

He would go out of his way to make sure you knew he truly cares. As real and transparent as our conversations would be, he was always the one projecting light on the shadows. In my last conversation with him, he was holding his two cute puppies and giving me the most selfless and motivational compliments in regards to Limp Bizkit and myself and thanking me for paving the path for bands like Linkin Park.

Going down the rabbit hole that is the Internet, I found a video by Disturbed that features pics of Chester along with Chris Cornell. Disturbed lead singer David Draiman knew Chester well and wrote a song that was partly due to both Chester and Chris Cornell’s influence called “Hold on to Memories.” (Video for that is here.) It’s a beautiful song about loss, memories, and how at least in part the person or people you love who’ve passed are never completely gone, so long as you remember. It also discusses how the people you’ve loved/lost would want you to go on and live your best life.

I firmly believe that “Hold on to Memories” is the plain, flat truth. Our loved ones who have passed to the Other Side only wish for our good. (Of course, I can’t prove it. But that’s what faith is all about.) Yes, remember them, but not to the point of crippling yourself.

I mention that because it took me years to figure that out. Over a decade, really…and some days are still harder than others. All I’ve got to fight with, against despair and darkness and frustration and illness, are the bright memories I have with my husband Michael, along with others I’ve truly cared about like my late teacher and mentor Tim Bell, my Aunt Laurice and Uncle Carl, my grandmother, and my good friend Jeff Wilson, as these were the people who understood me the best.

I’m fortunate in that I have good friends, still, that care enough to ask every single day how I’m doing, how I’m recovering from the illness that’s preoccupied my life for the past few weeks (I’m much better, but still ailing/convalescent), and that my family continues to care about what happens to me also. I can’t take these things for granted, because every person’s life is different, and every single one of us finds a different path out of despair and hopelessness as best we may.

Anyway, these songs, from “One More Light” to “Hold on to Memories” and now the new “Lost” single as well, all encapsulate what I know to perfection. What we do in this life, the memories we make, the people we meet, the folks we help, maybe even the folks we hinder sometimes, matters. (It depends, that last, on whether hindering actually does any good, but that’s a side issue. Moving on…) How we build on the knowledge and care and concern and love we find is possibly the best reason for humanity’s existence, and doing what we can to help others — along with refusing to spread vitriol, as I’ve discussed many, many times here at my blog — is essential to our soul’s growth.

So, please. Do yourself a favor and listen to these songs. Contemplate them. Yes, miss Chester Bennington — he was one Hell of a singer and musician — but also appreciate the gifts he shared with the world, along with his bandmates (most especially co-lead singer Mike Shinoda). Appreciate that Disturbed, known far better for their hard rock up-tempo songs (which are also great), has written more than one excellent down-tempo song (this is the best, IMHO, but it’s not the only one). Know that many of us have more talents and abilities than we give ourselves credit for, and that on even our worst days, we’re worthy.

There’s no better tribute to Chester Bennington, Chris Cornell, or other great fallen musicians than that.