The Lydster, Part 135: Percussion

He arrived at the afterschool, with a couple wagons filled with castanets, tambourines, cowbwells, and a variety of drums.

Drum-StickThe Wife and The Daughter were in a store a few months ago, when The Daughter found someone’s phone on the floor. The Daughter returned it to the help desk.

A minute later, a guy ran to the desk, hoping against hope that someone had found his device. He thanked the clerk, but she pointed to my family, and The Wife to the Daughter.

In appreciation for her good deed, the guy offered to give The Daughter a free musical performance, for a party or some other occasion of her choosing. He is a percussionist, and does programs for kids and adults in the area and beyond. The Daughter decided to share her gift with her afterschool mates.

The day before her last birthday, he arrived at the afterschool, with a couple of wagons filled with castanets, tambourines, cowbwells, and a variety of drums. We played a bunch of sonic games – yes, The Wife and I attended, too.

You know the game where someone hides an object and you say HOT or COLD, depending on how close the searcher is to the object? You can do the same thing with percussion instruments, playing them louder or more softly, depending on the searcher’s success.

It was all great fun.

Carly Simon is 70

Mockingbird also charted in Canada , New Zealand, the UK.

Carly_Simon_-_Best_ofLong before I knew the name Carly Simon, I was listening to the folk music of the Simon Sisters, especially Winkin’, Blinkin’, And Nod, which managed to get to #73 on the pop charts back in 1964. Here’s Winkin’, live, from 1968, with middle sister Lucy; Carly was the youngest girl. Listen to The Simon Sisters sing for Children.

The three Simon sisters, including opera singer Joanna, the oldest, are all accomplished singers, influenced heavily by their parents. Their father was the co-founder of the book publishing house Simon & Schuster. Watch this piece about the sisters from the early 1980s.

From Wikipedia: “For her 1988 hit ‘Let the River Run’, from the film Working Girl, Simon became the first artist in history to win a Grammy Award, an Academy Award, and a Golden Globe Award for a song both written and performed entirely by a single artist. She was inducted into the Songwriters Hall of Fame in 1994, inducted into the Grammy Hall of Fame for ‘You’re So Vain’ in 2004, and awarded the ASCAP Founders Award in 2012.”

The folks at the Grammys named her best new artist of 1972, a choice that has proved sage over time. She beat out Bill Withers; Chase; Emerson, Lake & Palmer; and Hamilton, Joe Frank & Reynolds.

10. Better Not Tell Her. My favorite Carly Simon album is Have You Seen Me Lately?, which only got to #60 on the Billboard charts in 1990. This song, despite the video, did not chart at all.

9. Nobody Does It Better (#2 for three weeks in 1977). One of the two or three best James Bond songs, this from The Spy Who Loved Me. It was kept out of the top slot by You Light Up My Life, which was #1 for TEN weeks.

8. Legend in Your Own Time (#50 in 1972). Reportedly about Cat Stevens, who she dated for a time, I always it took as a sarcastic dig of a “legend in your own mind.” Yet it seems sweetly delivered.

7. Mockingbird (#5 in 1974). A duet with then-husband James Taylor, I like how they switch off harmony and lead vocals. From here: “It also charted in Canada (#3), New Zealand (#6), the UK (#34)… In recent years Taylor has performed ‘Mockingbird’ live with his daughter (by Simon) Sally Taylor and Simon has performed the song live with her and Taylor’s son Ben Taylor.” I could find only this live version.

6. You’re So Vain (#1 for three weeks in 1973). I actually never much cared WHO the song was about. It evidently is NOT about Mick Jagger (who sings on the song), Warren Beatty, James Taylor, Kris Kristofferson, Cat Stevens, or David Geffen, though she once said it was about Geffen. Here’s a strange 2011 video.

5. Haven’t Got Time for the Pain (#14 in 1974). At the end of this song is one of my favorite uses of strings.

4. Fisherman’​s Song. This shows up on a recording for children and with Judy Collins and Lucy Simon on her 1990 album. Here’s Carly Simon talking with Joan Lunden, before singing it.

3. It’s Not Like Him. ALSO from Better Not Tell Her. Song of marital betrayal.

2. Anticipation (#13 in 1972). Almost ruined by its association with a Heinz catsup commercial, it still ends with the most hopeful line, “These are the good old days.”

1. That’s The Way I Always Heard It Should Be (#10 in 1971). I find this song unrelentingly sad, with ***
Carly Simon’s feet.

Charleston

It is difficult to acknowledge that racism still exists in the “post-racial” United States,

Charleston.victims
Once and future blogger New York Erratic asked a timely question:

Was the attack at the South Carolina church terrorism?

OK, I guess I should answer that. But I have to work through the whole incident, because, save for the school shootings in Newtown, CT in December 2012, the story of nine people murdered in their CHURCH for being BLACK has overwhelmed me more than any other story not involving me personally in over a decade.

Actually, I tried greatly not to write about it at all, but here’s the thing: I spent the first 72 hours after hearing about the event alternating between tears and rage. While putting down my thoughts doesn’t solve the problem, it helps ME try to make sense of the senselessness.

I grew up in an AME (African Methodist Episcopal) Zion Church, an offshoot of the AME church that was targeted. There might not have been an AME church at all had it not been for the racism of the Methodist church back in the 1780s – a trait no doubt shared by other churches.

I belonged to a United Methodist (UM) church in the 1980s and 1990s when there was a desire on the part of the shrinking Methodist connection to create a Pan Methodist union. After all, if Sunday morning was the “most segregated time of the week,” ought the church be a reconciling agent? The AME and AMEZ are members of the connection, but the merger that some UM members wanted at the time I don’t think is the cards. The black church has quite often been at the forefront of social change, and its white allies more than occasionally were slow off the mark.

Those folks in Charleston, at the Emanuel AME Church, I knew them. I don’t mean personally. But I understood how they operated. The church community surely celebrated their recent college graduate, Tywanza Sanders, 26. They had pride in their professionals, such as high school coach/teacher Sharonda Coleman-Singleton, 45, and librarian Cynthia Hurd, 54, whose name will appear on a local library branch. But they also respected the hard-working folks such as custodian Ethel Lance, 70. They honored the wisdom of their older members, such as Susie Jackson, 87.

DePayne Middleton-Doctor, 49, was a minister at the church, while Daniel Simmons, 74, was a retired pastor. Myra Thompson, 59, received her license to the ministry the VERY NIGHT SHE WAS KILLED. And lead pastor Clementa Pinckney, 41, was not only preaching since he was 13, but was also the youngest African American state legislator in South Carolina’s history, elected to the S.C. House of Representatives in 1996, at the age of 23, and to the state senate four years later.

Once the story goes from “nine people murdered in a church” – the headline partially blocked in the Charleston paper by a gun ad – to those particular individuals killed, there’s a new wave of grief. Watching the relatives of the family members forgive Dylann Roof was extraordinary, and it brought me to tears yet again.

Thus, when certain people started saying what I can only describe as stupid stuff regarding their deaths, I became infuriated.

Probably most toxic: NRA board member Charles Cotton blamed Clementa Pinckney, a victim of the shooting, for his own death and the deaths of the others, because “as a state senator, Pinckney supported tougher gun regulations and opposed a bill that would have allowed people to carry concealed guns in churches.”

Another thread is that the nine people shot multiple times was NOT about racism, despite a wealth of evidence, from Roof himself to the contrary. Dylann Roof wrote in what appears to be his manifesto, filled with pictures of him with the Confederate battle flag:

“I have no choice. I am not in the position to, alone, go into the ghetto and fight. I chose Charleston because it is the most historic city in my state, and at one time had the highest ratio of blacks to Whites in the country. We have no skinheads, no real KKK, no one doing anything but talking on the internet. Well someone has to have the bravery to take it to the real world, and I guess that has to be me.”

The resistance to acknowledging that this is racism – hey, Roof has at least one black friend! – is, I suspect, because it is difficult to acknowledge that racism still exists in the “post-racial” United States, especially in one so young, 21. Many had comforted themselves to think the old segregationists would eventually die off, and that equality would be achieved. Frankly, I never quite believed that, though I don’t know if that was a function of cynicism or realism.

Speaking of that Confederate flag, I’ve listened, REALLY listened to the argument that the flag symbolizes “Southern heritage” and “tradition,” and I even believe that some of the people spouting this really mean it. But whose heritage? It does not, and will never, represent black Americans. It is a reminder of an oppressive system designed to maintain wealth by owning human beings. And subsequent to the Civil War, it’s been used as a symbol to incite terror, mostly on black people.

Yes, I support removing the Confederate flag from the South Carolina statehouse, from the design of the Mississippi state flag, and from other government functions. Obviously, I am pleased that South Carolina governor Nikki Haley has reversed her position and called for the Confederate flag to be removed from the grounds of the state Capitol.

As Ta-Nahisi Coates put it, “Take down the flag. Take it down now. Put it in a museum. Inscribe beneath it the years 1861-2015. Move forward. Abandon this charlatanism. Drive out this cult of death and chains. Save your lovely souls. Move forward. Do it now.”

This is interesting: in June 2015, in the case of Walker v. Texas Division, Sons of Confederate Veterans, Inc., black conservative Supreme Court justice Clarence Thomas provided the decisive vote to allow the state of Texas to refuse to print a specialty license plate bearing the much-loved and hated Confederate battle flag.

Yet, I don’t have confidence that banishing the symbol to museums will rectify the racism that, for so many, it represents. The Wall Street Journal says institutionalized racism no longer exists in Charleston, a dubious claim to say the least, given the death of Walter Scott in April 2015; filmed evidence suggests he was unarmed and shot in the back by a policeman.

My great fear is that all the talking points will be rebutted and nothing will change. President Obama talks about “someone who wanted to inflict harm had no trouble getting their hands on a gun,” and it becomes “Obama’s trying to take our guns.”

If the massacre in Charleston – or any number of similar events in recent U.S. history- had been committed by a foreign invader, we would practically go to war. “How many billions will we spend fighting the terrorist organization known as institutionalized racism? How many American lives are we willing to risk to protect America?”

So yes, NYE, it was a terrorist act. Per the FBI, the definition of “domestic terrorism” means activities with the following three characteristics:

Involve acts dangerous to human life that violate federal or state law [CHECK];
Appear intended (i) to intimidate or coerce a civilian population; (ii) to influence the policy of a government by intimidation or coercion; or (iii) to affect the conduct of a government by mass destruction, assassination. or kidnapping; [CHECK] and
Occur primarily within the territorial jurisdiction of the U.S. [CHECK]

Americans, on American soil, are being radicalized by ISIS to carry out threats against police and other domestic targets. Likewise, Dylann Roof, who had to repeat the ninth grade, had been radicalized by right-wing, white supremacist rhetoric, probably online as well.

It’s also possible that he is crazy or evil or the Manchurian Candidate. Truth is, I don’t much care what they label it. BTW, if you haven’t seen it, watch ‘I got nothin’ for you’: An emotional Jon Stewart puts the jokes aside to discuss racism in America.

One last thing: I tend to agree with Larry Wilmore about the religious aspect of this. “Four black girls were murdered in a church bombing in Birmingham, Alabama, in 1963. Back then, no one pretended to wonder what the motivation was. If you tried to say it was about religion, even the perpetrators back then would have corrected you.”

If anyone would like to help the families of the shooting victims, the City of Charleston has set up the Mother Emanuel Hope Fund to help the families pay for funerals for their loved ones, counseling services, and other needs as they continue to heal from the tragedy.

You can give to the fund at its website, http://www.motheremanuelhopefund.com.

Or by mailing a donation to:
Mother Emanuel Hope Fund
c/o City of Charleston
P.O. Box 304
Charleston, SC 29402

X is for Estelle Axton

I believe Estelle Axton ought to be in the Rock and Roll Hall of Fame.

Estelle AxtonJim Stewart was inducted into the Rock and Roll Hall of Fame in 2002. Here’s part of his bio:

Jim Stewart and sister Estelle Axton were the co-founders of Memphis-based Stax Records. Stax and Motown were the two most important record labels in America in terms of bringing black music into the mainstream during the Sixties and Seventies.

Stax recorded some of the greatest acts in the history of soul music – Otis Redding, Wilson Pickett, Sam and Dave, Johnnie Taylor, Booker T. & the MG’s, Carla Thomas, and Eddie Floyd, among them.

If Motown was “the Sound of Young America,” then Stax/Volt was “Soulsville, U.S.A.” Between 1959 and 1975, Stax and its affiliated labels released 300 albums and 800 singles. Among the latter, 167 were bonafide hit singles.

Now here’s part of Estelle Axton’s 2004 obituary:

In late 1958, her younger brother, Jim, appealed for financial help to develop Satellite Records, which he had set up to issue recordings of local Memphis country and rockabilly artists.

Estelle convinced her husband [Everett Axton] that they should remortgage their house and, in February 1959, she joined Satellite as an equal partner, contributing $2,500 – at a time when Everett was earning just $18 a week. She kept her bank job, but took a keen interest in Satellite’s fortunes, enjoying pop music and working with young people.

By 1960, Jim and Estelle had found the Capitol Theatre, in a black Memphis neighbourhood, that they turned into a recording studio. To help defray the rent, she opened a record shop in the foyer, and left the bank to work there. She and Everett remortgaged for another $4,000 to refurbish the cinema…

The studio’s location meant a wealth of aspiring local black talent began dropping in, Estelle’s record shop encouraging them to hang out and play popular songs. “The shop was a workshop for Stax Records,” she explained. “When a record would hit on another label, we would discuss what made it sell.”

Also in 1960, Estelle’s son, saxophonist Charles “Packy” Axton, provided Satellite with its first million-seller when his group, the Mar-Keys, put out their debut single, Last Night. According to Estelle, her brother had not been interested in releasing the record until she pleaded, cried, and swore at him. Then he bet $100 that it would never be a hit. [It was.]

Satellite was forced to change its name after it was discovered that a Los Angeles label already owned the title. Taking the first two letters from Jim and Estelle’s surnames, Stax Records was born…

Over the years, many of Stax’s musicians recalled that it was Estelle who encouraged them, then forced her brother to sign them up. “You didn’t feel any back-off from her, no differentiation that you were black and she was white,” noted Isaac Hayes. “Being in a town where that attitude was plentiful, she just made you feel secure. She was like a mother to us all.”

From Jim and Estelle’s Memphis Music Hall of Fame induction page:

At Stax, Estelle ran the front of the house – the record store – and Jim ran the back – the studio. Many of the label’s stars first came in as her customers – Booker T. Jones, William Bell, and Albert King among many (in the early years, she also employed Steve Cropper). Her store would serve as both a respite from the studio, and perhaps more importantly, as a library and research facility for the songwriters and musicians.

From Wikipedia:

Estelle was the founder of the Memphis Songwriters Association in 1973. The Memphis Songwriters Association was formed in order to foster the education and advancement of local area songwriters. There was a focus on the development of the songwriting craft with the intentions of producing commercially viable songs and improving performance skills.

After her split from Stax, Axton went on to found the Fretone label, which launched Rick Dees’ 1977 novelty smash “Disco Duck.”

Clearly, Estelle Axton was the ears and heart, and soul of STAX in the 1960s, helping move the label from its rockabilly roots to become a soul powerhouse. In spite of Disco Duck, I believe Estelle Axton ought to be in the Rock and Roll Hall of Fame.

ABC Wednesday – Round 16

Ask Roger Anything is the mortar of this blog

YOU are my mortar.

Writing about the blog’s TENTH anniversary last month, it occurred to me that I have a lot of components already available for posts, things that interest me: birthdays (personal and popular culture), deaths, anniversaries, musical musings, movie reviews.

Then there is often something in the news, which inevitably segues into politics, racism/ sexism/ homophobia, and religion.

But what of those OTHER days? Those tend to be the more difficult posts to write. ABC Wednesday helps quite a bit in forcing a topic framework.

Ultimately, though, I appreciate the opportunity for YOU to provide direction for the content of the blog. To wit: Ask Roger Anything, in which you, er, ah, hmm…how shall I put it? You ASK ROGER ANYTHING. He is compelled to answer, basically honestly, with perhaps a soupcon of obfuscation.

Those ARA questions fill in the gaps in this panorama I call Ramblin’ with Roger. It helps to hold all the other elements of the blog together, like mortar binds “building blocks such as stones, bricks, and concrete masonry units together, fill and seal the irregular gaps between them, and sometimes add decorative colors or patterns in masonry walls.”

In other words, YOU are my mortar, a daunting responsibility, no doubt.

Please ask away.

Social media & sharing icons powered by UltimatelySocial