“Little Sister” is Rufus in high classical mode, with very symmetrical violin figures. This makes sense, as I am fairly sure that the song is–at least in part–about the relationship between Wolfgang Mozart and his sister, Marie (aka “Nannerl”). She was actually four and a half years older than he was, and he first became interested in music watching his father Leopold tutor her. She too was a musical prodigy (esp. on the harpsichord), and she too toured the courts of Europe with her father and brother. Occasionally, she even seems to have gotten top billing. Unfortunately, she got older, was forbidden by her father to marry the relatively impoverished man she loved, and forced to marry a rich old guy. She also wrote music, which her brother praised, although virtually none of it has survived. There’s even a French movie about her (which I haven’t seen yet). I bring this up, simply because some of the song’s lines actually make much better sense if you see them as being about Wolfgang and Nannerl.
Of course, it is also about Rufus and Martha (although I couldn’t find any pictures of them sitting at the piano together). I was particularly struck by the “have no shame” line, a line that Martha herself seems to be recalling when she describes her growing up (I imagine it was pretty hard to compete with Rufus for people’s attention). Anyway, I wanted to put this up in part to announce my new Unofficial: Martha Wainwright page
In any event, I hope people enjoy the slideshow, and I’m looking forward to seeing Rufus again at Belly Up in Solana Beach on May 24th (my first chance to see Rufus perform in a club!).
This is a slightly re-edited and expanded version of a slideshow I did about five months ago, probably the second one I compiled this year (I did two in all of last year). I originally called it “Random Memories of East Texas,” in part because I wanted a deliberately flat title to balance the rather sensational subject matter, but also beacause I realized it was an attempt–however flawed–to come to terms with living in East Texas for twenty years. It wasn’t a very good or even very accurate title, as most of the events it focused on didn’t even take place in East Texas, but in Dallas and Austin. Also, although they were someone’s Texas memories, they weren’t really my memories, since I didn’t start living in Texas until 1991, well after the tragic events depicted in the first two movements of the slideshow. Also, I felt that James Bryd Jr.’s killing, which I was at least in Texas for (although over fifty miles away from Jasper), really didn’t get adequate treatment, in part because the song ended too soon for my purposes. In the re-edited, expanded, and re-titled version, I have extended the audio track with some sound effects, thus allowing me to insert another six or seven slides in the final section.
I’m not sure it has a message in the conventional sense, beyond the obvious point that Texas can be a dangerous place, in part because of its culture, and in part because it’s simply so big that some more or less random bad stuff is bound to happen. I always liked Don Maclean’s song “Dreidel,” and I have a fairly clear memory of him performing it on some daytime talk show about the time this album (his third) was released. I’m fairly sure it was a song (like the “The Pride Parade”) that he wrote to explore his own mental situation in the wake of the massive success of his American Pie album that had come out the year before. Nevertheless, I think most people have a tendancy to personalize the songs they like and listen to a lot, and I’m sure I tended to think of both songs as in some sense reflections on my own feelings on entering high school in Southern California in the early seventies. I don’t think that sense of identification ever fully left me, even when I stopped listening to Don Maclean (probably a mistake on my part, and doubtless one of many). The immediate stimulus for this slideshow was probably watching “The Tower” on Netflix, a brilliant documentary looking at the Austin clocktower murders of 1966, an incident I really don’t remember (I would have been nine), although I remember my mother talking about it. Similarly, I was even younger when President Kennedy was assasinated, and I’m fairly sure I did not see it live (it seems unlikely it was even carried live on most national television stations, although it may well have been in the Dallas area). I do remember my mother hearing about it on the radio and talking with our next door neighbor, Mrs. Leddy, over the wall separating out two backyards from one another. I think they were crying, but I may be embellishing the memory (I would have just turned six a couple weeks before).
James Bryd Jr.s death was widely reported in Smith County where I was living at the time, and I am pretty sure many local people were aware that it made the national news, which tended to make the people I knew uncomfortable. I even remember the joke making the rounds at the time (“What red and black and two miles long”–I think you can guess the answer, even if you haven’t heard it before). Humor is of course one way human beings tend to express and deal with discomfort, although it is also a way of expressing and reinforcing power relationships, often making sure that marginal groups stay marginalized. I suspect both were at work here, although I am sure some would disagree, especially as meanings of things like jokes tend to change according to time and context, so that one particular performance may well convey different meanings, and even different listeners may take different meanings away, some perhaps quite different than the teller consciously intended. Anyway, here is the first of three slideshows about Texas (the other two are both quite different, and were made several months after the first version of this one).
[Cross-posted on my Donovan–Slideshows by passage2trth page] Donovan’s “Lalena” was a song I always admired without ever really thinking about it very much. Certainly, the song’s most striking feature was Donovan’s rather lovely vibrato and its melancholy mood, a mood I realize I have always found attractive. While of course I knew that it was about a girl with an unusual name who seemed rather sad, I never really thought about the implications of the lyrics until quite recently, when I was looking for a followup to “Universal Soldier.” Once I did pause to think about who the lyrics were describing, it seemed rather obvious she was a prostitute, getting up “when the sun goes to bed,” one whose “lot in life” makes the song’s narrator sad even as he refuses to blame her for her situation, presumably because it is beyond her control. While by no means the only song ever written about what is frequently characterized as the world’s oldest profession (cf. “Love for Sale, “Sweet Georgia Brown,” “Roxanne,” among many others), it is sort of surprising that “Lalena” was an AM hit in the sixties reaching number #33 on the Hot 100 in Billboard. Of course, so was The Animals version of “The House of the Rising Sun.” In fact, Donovan was apparently inspired to write the song by Lotte Lenya‘s character of Jenny (a streetwalker) in the 1931 film version of Berthold Brecht and Kurt Weil’s The Threepenny Opera. Donovan seems to have added an extra syllable to her surname in order to make the haunting chorus work musically, while the “lot in life” line is quite probably a gentle play the actress’s first name.
Having decided to make the slideshow into a mini-history of prostitution, and wanting to be true to the song in both being not too graphic and rather melancholy, I chose to use Final Cut Pro (only the second time I’ve done so, and I’m still learning how) to do a series of overlays, often drawn from impressionist, post-impressionist, and modernist art (with a few photographs) in order to convey the song’s–and the woman’s–sadness at her situation. It may be a bit too busy, but I think it generally works in the way it gets across a deep underlying melancholy that is central to the song’s appeal. The audio, by the way is not the single version, but a version Donovan performed for Italian public television in 1968.