Icicles, those shimmering, elemental, diamond-like structures, may be nothing but water, but they can turn deadly in the right circumstances. Imagine a dark winter’s night in a Finnish forest, the sounds of icicles crashing down around you, the air filled with shattering noises and the wailing of the wind. You hear the cracking of tree limbs weighed down by their icy shrouds, the lowing of frightened animals in the barn, and your mind turns to the stories your grandmother told you about the spirits of the forest, the demons, the maleficent influence of the long dark nights, the wild animals, the errant hunters. This is the sound of Värttinä.
Nearly 40 years ago Finnish sisters Sari and Mari Kaasinen took their love of Finnish and Karelian (southeastern Finnish) folklore and decided to add music to their recitations of poetry and epic stories. They named their group Värttinä, which means “spindle,” as a way to honor women’s traditions and creations, and ever since the group has sung in the Karelian dialect of the Finnish language accompanied by various acoustic instruments.
Värttinä has long been known for singing “korkeelta ja kovvoo” (high and loud) in a style Americans may recognize as sharing some elements of singing made popular by Bulgarian women’s choirs in the 1980s and early 1990s. The group mixes wonderfully intricate and unexpected rhythms with high, vibrato-free, intense women’s voices singing in close but dissonant harmonies. Their nasal, diaphonic, tension-filled sound isn’t what most of us who grew up on Western musical traditions usually find beautiful. Yet there is an intense and dramatic quality to their music, and their precision and power bring joy to what could otherwise be a jarring, even disturbing sound.
Many of their songs are based on Finnish folk tales involving death, darkness and misery, but there’s an open-throated ardency and precision to their music that helps one understand how sitting before the fire on a stormy night sharing bloody tales of horror could be a fascinating way to while away the long, dark Finnish winters.
Finland had an ancient tradition of oral storytelling and poetry, but it was overshadowed by the rise of European-style rhymed written poetry around the 18th century. During the 19th century Elias Lönnrot compiled centuries’ worth of Finnish (and probably ancient Estonian) folk tales and combined them into the written epic poem known as the Kalevala. The poem, first published in 1835, is the national epic of Karelia and Finland. The region spent ages under the thumb of Swedish and later Russian domination, and the compilation of stories into the Kalevala made it easier for Finns to share and treasure their history. This led to the rise of a Finnish national identity and inflamed the desire of Finns to be self-governing and to use and delight in their own language instead of subsuming their identity to conquering nations’ desires. The movement inspired by the power and popularity of the Kalevala is said to have propelled the growth of national pride that resulted in Finland’s independence from Russia in 1917.
I first heard Värttinä on the PRI radio show “The World” in the late 1990s around the time that their album Vimha was released. The title cut, which means “The Ice Storm” in Finnish, captured my imagination instantly. I was captivated by the complexity of the rhythms, the unexpectedly bold and dissonant yet beautiful voices, and the joy of hearing rapid-fire Finnish, which was the first language of my beloved grandmother. She had sung to me in Finnish when I was a little girl, and I played and sang Finnish folk songs to her at the piano during my teens, though those songs were nothing like the wild, animalistic, galloping folksongs of Värttinä.
There is a tradition of darkness in Finnish culture which can also be found in Russian literature; it’s not surprising considering the bitterness and length of the dark winters and the dangers inherent in making a life in such inhospitable surroundings. But there is also an indomitable spirit to be witnessed and savored in their arts, and a powerful desire to face down death in order to reaffirm the life force. Värttinä adds a strong feminist element to this desire to acknowledge but laugh in the face of death. While this formerly all-female group has expanded to include men over time, and men have gone on to write much of their music, the power of women’s voices still underlies their modern take on roots music.
Recently I’ve been listening to a song that’s been around for a half-century but which was made fresh and new to me when I heard Alan Cumming sing it last June in the latest Broadway revival of the musical Cabaret. It’s a jaded, cynical song sung by a character who pretends to feel no pain and who appears to be inured to the ugliness of the world. But the power of the performance comes from the realization that, while the prostitute singing the song may no longer seem to care what he (or she) has to do to get by, that purported apathy comes after years of suffering and having experienced so much pain and loss that no longer caring almost seems like a blessing:
I don’t care much Go or stay I don’t care very much Either way Hearts grow hard On a windy street Lips grow cold With the rent to meet So if you kiss me If we touch Warning’s fair I don’t care very much
“I Don’t Care Much,” like other songs in that brilliant musical, underscores the desperation and fear that led people living in Berlin under Nazi rule to try to blot out reality with a bit of naughty pleasure, and sometimes to lose their hearts (and maybe souls) to apathy or pretense in order to try to imagine away evils that they couldn’t bear to fight or even face.
When performed in the 1993, 1998 and 2014-15 Sam Mendes-directed Broadway productions of Cabaret, the song is sung with great bravado by an actor in drag. When I sit down to sing it at the piano, I like to do it more quietly, with restraint and softness, to underscore the fact that the singer may no longer feel so much, but she or he recognizes the tragedy in the loss of caring. The person telling the story may not feel whole and complete anymore, but he does remember that once there was a heart beating within him that could care. There is still a soul within that registers the loss. I can never be a person who does not care much, so when I sing the song, I must be a person who pretends not to care.
After singing the song so much this week, I got to thinking about some of the classic popular songs I love that are sung by or about prostitutes. It seems an odd theme for a pop song, I know, but really, aren’t a vast number of popular songs about lost love and the pain that comes from longing? Think about how many songs are about people’s desperate search for an escape from loneliness, or about the bliss that comes from feeling a deep and true connection to another person after a tormented period of hopelessness. People often think of prostitutes as dirty, dangerous and jaded, but their profession exists to offer the promise of pleasure and escape from the pain of the world. Their job is to sell a bit of themselves for a little while to people who are desperate to connect, to feel something deep and real, to feel cared for and soothed and satisfied for a sliver of time before they go back out into the freezing night, rushing to their homes, hoping to avoid being seen by those who would crush and destroy them for having the audacity to believe in whatever pleasure and happiness they can find (or pretend to find) in a dark and dirty world.
Guilt, shame and social ostracism are braided into the fiber of their lives; they exist to provide comfort and to satisfy elemental longings, but they are despised and punished for providing services that are both desperately sought after and deeply reviled. Theirs is a jaded, bitter corner of the world of longing and desire, and that is what makes their songs and stories so dramatic and powerful a counterpoint to the light and airy songs we usually associate with love. Drama comes from contrasts. In order for the spotlight to shimmer brightly, it must be surrounded by dark shadows to set it off.
I first saw the film version of the musical Cabaret when I was just nine. My outgoing mother liked to take me along with her as often as possible when she socialized, so despite the adult nature of the film, she and a friend brought me along to see Cabaret. I dutifully covered my ears and closed my eyes on command whenever Mom turned to me and whispered “PG! PG!” or “Parental guidance time!” The whole film was infused with a bawdy, mysterious sexuality far beyond my understanding, but it was compelling and fascinating enough that I enjoyed every lurid, intoxicating moment of it. It cleverly incorporated stories within stories, and it was full of great Bob Fosse dance numbers and catchy, seemingly lighthearted nightclub songs that were invested with deeper, uglier meanings. The songs reflected and expanded on the stories of the main characters and had scary parallels to the Nazi-inflicted horrors going on in the streets of Berlin just outside the doors of the cabaret.
The story is essentially about the unwillingness of many Germans (and many foreigners then living in Berlin) to acknowledge the growing danger of Hitler’s leadership in the early 1930s, and about the political apathy and, ultimately, the fear that fueled German society’s acceptance of inhumanity and depravity. The musical play, which is based on John van Druten’s 1951 play I Am a Camera and Christopher Isherwood’s 1939 book of stories called Goodbye to Berlin, is about the sickness that grows in a culture and in the hearts of its citizens when they refuse to see what is going on around them and refuse to look after each other out of fear for their own welfare. The musical numbers by John Kander and Fred Ebb are perfectly attuned to the zeitgeist of 1930s Berlin, and are gems in and of themselves. They also expand on, deepen and enrich the power of the story in ways that few composers for musical theater ever achieve.
The team of Kander and Ebb had a wonderful knack for drinking in the style and feel of the music of the past and then creating their own versions of those songs so that they felt completely authentic but were also entirely original. John Kander has said that when he was preparing to compose the music for plays like Chicago (which takes place in the 1920s) or Cabaret (which is set in the 1930s), he liked to immerse himself in the music of the time and listen to it so fully, deeply and constantly that it filled his brain. He then put it aside completely for a while and let it marinate and stew, and then when he began to write, the influences and motifs of that time period would wend their ways into his songs naturally, so he could compose comfortably in a fashion that had gone out of style forty years before. He was so masterful at it that a number of his songs, which seem so appropriate in the context of their original plays, went on to be popular standards that can stand on their own—songs like “Mein Herr,” “Cabaret,” Wilkommen,” “New York, New York” and “All That Jazz.”
The song “I Don’t Care Much” was written for the original Broadway production of Cabaret, but it was cut from the film version. I saw a stage production of the show featuring Joel Grey (the Tony- and Oscar-winning original Emcee) over 25 years ago, but the song never stuck with me until I saw Alan Cumming sing it last June in full drag in the astounding revival of Cabaret that is currently finishing up its run at Studio 54. When he stood at the microphone in his shimmering dress and heavy makeup, he was mesmerizing. Previous Sam Mendes-directed revivals of Cabaret starring Alan Cumming were staged in London in 1993 and in New York in 1998; the video above was excerpted from the 1993 production. Mendes’s dark, lurid style of staging the show works splendidly to underscore the tatty, raw, dangerous quality of life lived by those who spent their time in Berlin’s dark underbelly during the 1930s. The costumes are ripped, the makeup is smeared, the voices are gritty and the desperate quality of the characters is more evident and affecting than in the prettier, cleaner film version and earlier stage productions.
Alan Cumming said in his excellent interview with Terry Gross on her NPR radio show “Fresh Air” that he came up with a back story for his Emcee character in which he started off as a young male prostitute and worked his way into the cabaret life, so as a former rent-boy he has no fancy graces, and no desire to hide his voracious sexual appetites or comfort with the seedier side of life. In earlier productions of the show, Joel Grey held every eye and commanded attention with his strange, sexless, voyeuristic portrayal of the Emcee: he was an outsider laughing and smirking at the performers and the audience in a detached, amoral way. Alan Cumming’s version is immersed in the world of the cabaret, reveling in it, tainted by it, and ravaged by sex and drugs and decadence. The outsider Emcee of Joel Grey acted like a Greek chorus, pointing us at the depths of degradation others went to to shield their eyes from the ugliness of the outside world. Alan Cumming’s Emcee is drenched in underworld decadence and is ultimately pulled down and destroyed by it, as are all the others who could not escape from the decadent, dangerous world they were trapped in.
Cumming stands at the microphone in the dark and sings the song of a weary, degraded prostitute stripped of feeling by a sick and dangerous world, no longer caring what he must do to make enough money to eat or pay the rent or buy a coat thick enough to keep out winter’s chill. At first, as he stands in a dress and full makeup, the audience sometimes laughs at his outlandishness, thinking this is just another lark, a humorous way to remind us of the fluid and open sexuality of decadent pre-World-War-II Berliners. But in short order, his rough voice tells us that his kisses mean nothing. His comforts can be bought as a way to keep shoes on his feet and food in his stomach, but they mean little more to him:
Words sound false When your coat’s too thin Feet don’t waltz When the roof caves in So if you kiss me If we touch Warning’s fair I don’t care very much
Love for sale, Appetizing young love for sale. Love that’s fresh and still unspoiled, Love that’s only slightly soiled, Love for sale. Who will buy? Who would like to sample my supply? Who’s prepared to pay the price, For a trip to paradise? Love for sale.
The song was banned from the radio in the 1930s, but it became a hit for multiple artists in the following two years nonetheless, and it has been recorded by scores of major singers in the decades since. Even k.d. lang and Fine Young Cannibals put their stamp on the song. The faded, jaded quality deepens as the song progresses:
Let the poets pipe of love in their childish way, I know every type of love Better far than they. If you want the thrill of love, I’ve been through the mill of love; Old love, new love Every love but true love.
During her 2011 tour, Broadway star Idina Menzel sang the song as a bored-sounding, lite-jazz mashup with another prostitution-related song, “Roxanne,” by The Police. Most of us know the driving, original version of the plaintive call by a lover to his streetwalker sweetheart to give up her career to be with him and him alone. However, my favorite version is a gorgeous, stripped down solo version sung by Sting in the filmed version of the 1981 Amnesty International benefit concert called The Secret Policeman’s Other Ball. In it, Sting, accompanied only but his own spare, loose guitar playing, wails with so much more hopeless yearning than in the original song. His pain is greater, and his angst is so thick it hangs in the air and echoes along with his desperate voice. The performance is a tour de force that still gives me chills.
Elvis Costello is not the only musician in his family who can sing despairingly of the shattered dreams and desperate acts of those who walk the streets for money. His wife, jazz pianist and chanteuse Diana Krall, does a stunning version of the 1933 hit song “Boulevard of Broken Dreams.” No, not the song by Green Day—I mean the Harry Warren/Al Dubin classic that starts like this:
I walk along the street of sorrow The boulevard of broken dreams Where gigolo and gigolette Can take a kiss without regret So they forget their broken dreams You laugh tonight and cry tomorrow When you behold your shattered schemes Gigolo and gigolette Wake up to find their eyes are wet With tears that tell of broken dreams
Gigolos and gigolettes were considered just one step, if that, from prostitution. A gigolo is, by definition, a man who seeks the company and monetary support of wealthy people (usually women) who pay him for his charms. The term came about in the 1920s as a back-formation from the term “gigolette,” which then referred to a woman hired to be a dancing partner (and sometimes something more). This song is often sung with swelling passion and force, such as in the 1952 version by Tony Bennett, but I think the slow, melting version sung by crackle-voiced alto Diana Krall is the most haunting version of them all. Its restraint is more inviting and much sexier than the bolder, brighter Tony Bennett version. As famed stripper Gypsy Rose Lee said, always leave your audience wanting more.
Many of the richest, deepest songs about love are the ones based on loss and longing. If you find yourself feeling scarred or let down by life and love, know this: you are not alone, and the pain of lost love will heal. Acts of loving kindness set in motion by good-hearted people reverberate through time; they are carried in the hearts of the people whom we touch with our love and our music long after we ourselves are gone.
A few months ago, I was doing a difficult job that lasted six weeks instead of the two I thought I’d signed on for. I was commuting about 10 hours a week (and I hate driving), and the job required intense focus on thousands of important details. I learned a lot, the people were kind and helpful, and the work they did was important, but I felt out of place, frustrated, and blue.
I tried reminding myself of all the things going right with the job: I was employed, working with good folks at an institution that improves people’s lives, making enough so that I didn’t have to work two jobs, and setting a good example for my daughter by showing that sometimes we do things we don’t enjoy in order to pay our dues, fulfill our obligations, be helpful, and earn a living.
Of course, while my brain understood all this, my heart felt cranky and sad. I was frustrated that the talents I feel are the most valuable and worthy ones I have to offer weren’t being used to the extent I’d like to use them. And then I had my Sammy Davis Jr. epiphany.
To try to make the hours in stop-and-go traffic feel less gruesome, I realized I needed to find fresh and uplifting tunes. I love NPR (which recently featured an interview with Sammy’s daughter, Tracey, who discussed her new memoir of her father), but sometimes focusing on the latest events in Fallujah while stuck on a bridge for 30 minutes just feels too nasty and I need music. I rummaged through my CDs and found one I’d bought a few months back but hadn’t listened to much yet. It was a CD of songs performed by a man I must now admit I used to think of as one of the poster children of Vegas kitsch: Sammy Davis Jr. But the best part is the name of the album: “The Wham of Sam.”
I must digress at this point. Are you already asking yourself, why would Laura buy Sammy CDs in the first place? Well, because I heard one of his songs in a store somewhere and was reminded what a fine voice and a great sense of expression, style, and warmth he had at his best moments. The many TV appearances he made during the 1960s and 1970s were so filled with Vegas schlock and corny overstylization that he was almost a self-parody by the time I started listening to music in earnest. He was doing campy, obvious, cool cat riffs during his showy performances on Merv Griffin and Mike Douglas and The Tonight Show, and I couldn’t be bothered. I knew I’d loved his portrayal of Sportin’ Life in the film “Porgy and Bess” when I’d seen it on TV as a tiny kid, but I don’t think it’s been on TV since about 1970 so my memory is now faint, and I loved his performance as the Cheshire Cat singing “What’s a Nice Kid Like You Doing in a Place Like This?” in a strange 1966 animated parody variation of “Alice in Wonderland.”
His turn as groovy evangelist Big Daddy in “Sweet Charity” is a classic sixties moment that featured Sammy’s charismatic rendition of the song “The Rhythm of Life,” but somehow I forgot about that. The big hits he had when I was a kid, like “The Candy Man,” felt too cutesy and pat to me, and I dismissed him, with his goofy hipster patois and giant diamond rings, his membership in the Rat Pack, and his public support of Nixon was too bizarre. (I still shudder when I remember the much-publicized photo of Sammy’s adoring, awkward, full-body hug of Nixon.)
But when I heard him singing over the speakers at some chain store I thought, damn, no wonder this man was so popular. Listen to the feeling he puts into that line! What clear, clean enunciation! What sophisticated, tasty phrasing! So I swallowed my pride and hung out at a CD store listening station for a half hour, listening to selections from a number of his albums. I bought two, one of ballads and one of swingier songs. What a good move that was. But then I got distracted and hardly listened to them.
Anyway, back to my commute-hour epiphany. I popped “The Wham of Sam” into my CD player, and right there, boom, I was hooked with the first song, the star of the album, “Lot of Livin’ to Do.” The horns grabbed me immediately, and the energy, which starts out high, somehow continues to build with every measure of the song. The band arrangement by Marty Paich is fabulous, swingy in the style of Sinatra’s terrific “Ring-A-Ding-Ding” album (one of my favorite albums of all time, by anyone—it was arranged by the legendary Nelson Riddle).
“Lot of Livin’ to Do” is big and brassy and has something new going on at every turn, but the band never outshines Sammy, whose phrasing is exact and elegant. His syncopation is so sure and it builds right up to the payoff moments. He knows when to pull back a little and when to let it rip. The intonation and enunciation are beautiful, but beyond his technical chops, he works the lyrics just right. He’s thinking about what he’s saying, he means what he’s singing, and I believe every word. He was sizzling and I was thrilled, sitting in a traffic jam on a bridge near Seattle at 8:30 a.m., bouncing up and down in my seat.
I must have listened to that song six times in a row on the way into work. The words crept into my brain and Boom! I had a revelation. The words aren’t Shakespeare; they’re standard upbeat lyrics, and the song was originally written for the musical Bye Bye, Birdie, which is fun but not Sondheim, you know? But somehow, sung with that bravado and joy and excitement and underscored by that hot band, the lyrics spoke to me:
“… [T]here’s wine all ready for tasting / And there’s Cadillacs all shiny and new / Gotta move ’cause time is a-wastin’ / There’s such a lot of livin’ to do. / There’s music to play, places to go and people to see / Everything for you and me / Life’s a ball if only you know it / And it’s all waiting for you / You’re alive, so come on and show it / There’s such a lot of living to do.”
I heard it, and I believed it. I figured, hey, this slight man had a four-pack-a-day cigarette habit, a glass eye, grew up without his mom, had to deal with racism from day one, and had to perform in hotels that he was barred from sleeping in because of the color of his skin (until he became a big name and helped break the color barrier in show business). And man, did he love life. He ate it up and went right over the top, drinking and smoking and skirt-chasing too much, and hanging out with some unsavory folks, yesbut he also took a song like “Lush Life” and sang it like he’d lived it. He sang every song as if he lived it. And he meant every word.
He brought fun and swing and life into everything he sang. Sometimes the hipster kitsch of it was too much for me, and sometimes the low-brow, I’m-gonna-please-everybody style of his later years felt like he’d dumbed-down his act, especially considering what sophistication he was capable of. His desire to please everybody and be up, up, up all the time cheapened his rep in the eyes of many of us, but the joy he brought to life, the beauty he found in it and made for others.
That devotion to wringing every drop from it reminded me how lucky I was and how many wonderful things are around for me to enjoy. I thought it seemed a sin to waste another day in disappointment that I’m not doing more exciting work, and I vowed I’d make good things happen, find them, make sure they’re a part of every day of mine, and every one of my daughter’s days, too. I figured if Sammy, who had so much trash to contend with, could take his talent and shoot it off like fireworks, why can’t I take whatever gifts I have and make something fine and exciting of them, too? I may not be the dynamo Sammy was, but I don’t have his struggles either. And one doesn’t have to be a superstar to find something splendid in each day, or to make fine things happen.
So from that day forward I’ve reaffirmed my dedication to finding and doing good work, to making beauty, to learning something good and doing something kind each day, to being grateful for the opportunities to enjoy life more and to worry less about my dwindling savings (and how long it takes to find good jobs), and to writing regularly and with purpose. In a roundabout way, I have Sammy to thank for inspiring me to start this site. The wham of Sam, indeed!
Here’s one of the 20th century’s most influential interpreters of popular song, Frank Sinatra, glamorizing smoking, drinking, and leaving a bar drunk right after last call. So much of what I hate most about midcentury popular culture is wrapped up in this piece, yet I love this song. Why? Because it brings together three legendary musical talents in one perfect moment to tell a familiar story in a style so compelling that you have to lean in and pay attention.
Composer Harold Arlen wrote many of the greatest tunes of the last century, from “Over the Rainbow” to “Blues in the Night” to “The Man that Got Away,” and, of course, “Lydia the Tattooed Lady.” Lyricist Johnny Mercer wrote 1500 pop tunes from “Laura” to “Moon River,” and was nominated for 19 Academy Awards for his songs, winning four of those Oscars. Some of the duo’s finest compositions were the songs they wrote together during the 1940s. Arlen wrote several of Judy Garland’s greatest hits, and Mercer, though married to someone else, was Garland’s lover for a time in the early 1940s, and he considered her the love of his life. His beautiful song “Skylark,” written with Hoagy Carmichael and brimming with unfulfilled longing, was written for her.
Garland’s great friend Frank Sinatra was one of the key interpreters of both Arlen and Mercer, and when Frank gets a slow, melancholy song about lost love, he’s hard to beat. His styling here is impeccable: pained and haunted, dreamy and hopeless. The song seems simple and straightforward, but it’s full of surprising intervals and clever internal rhymes—it’s one of those sophisticated compositions that begs for a clean, spare performance, and that’s exactly what Frank gives here.
It’s true: Hamilton totally earns the hype. My sweetheart treated me to a touring company performance of the musical here in Boston last night, and it was the first time either of us had seen it. What a tour de force!
It’s a constantly moving, singing, dancing, quite literally spinning masterpiece of intricate physical, vocal and emotional involvement among cast, crew, musicians, choreographers, set designers and visionaries. Everything is held aloft by Lin-Manuel Miranda’s brilliant rhythm, rhyme, and lyrical passion and inspired by Hamilton biographer Ron Chernow’s erudition.
It starts with a pow and never slows down, and turntables within turntables spin against each other to allow for even more movement and multiple simultaneous stories to play out before your eyes.
There is very little spoken dialog separating the musical numbers—it’s a constantly flowing, beautifully paced river of rhythm, full of emotion yet always supported by a framework of fact, a propulsive political urgency and this historical imperative: Make this moment count. Make your vision real. Fight for what matters. Keep on trying. You can rest another day—acknowledge your power to make a difference right now and turn that potential power into positive action. It’s honest, with no holds barred: thrilling, merciful, inspiring.
One of the loveliest of The Carpenters‘ songs, “Bless the Beasts and the Children” was the theme to a 1971 film directed by Stanley Kramer based on a coming-of-age novel by Glendon Swarthout. The book, the film and the song warned of the dangers of failing to look out for the most vulnerable among us—youths and animals. “Bless the Beasts” reminded us that neglecting or harming the most fragile members of society weakens and degrades all of us. Sadly, we are seeing our failure to heed these warnings play out again in deadly, tragic ways in our own world today.
In 2018, the film and song seem a bit obvious and cloying, but during the Vietnam War years, when they were written, young Americans were being killed by the tens of thousands in a war they didn’t believe in. They had to fight hard to be heard and respected by a world that had long believed children’s first duty was to shut up and obey their elders. Hundreds of thousands of U.S. teenagers were shipped off to kill and die in Southeast Asia, and young people at home who protested were often gassed, assaulted, even killed on campuses or in public streets for speaking out against the war.
In that context and in contrast to other messages presented to teens by the establishment, this story and song had a powerful message—as sung by the especially wholesome-seeming, middle-of-the-road Carpenter siblings, “Bless the beasts and the children, for in this world they have no voice—they have no choice” made a strong statement. On what would have been Karen’s Carpenter’s 68th birthday, please enjoy her beautiful voice and this thoughtful song. In the current climate, teenagers are again forced to act as America’s conscience. As they urge us to think before we allow troubled people to rush out into the world to try to solve problems with guns, their messages are as important as ever.
The Killers have been around for 17 years in multiple forms, always headed by singer Brandon Flowers, but their sound has morphed many times along the way from the bouncy, 1980’s New Wave-revival sound of “Mr. Brightside” to their latest driving hit, “The Man.”
“Mr. Brightside” was all about the angst and agony of a jealous guy imagining his ex with her new lover, lightly papered over with assurances that he’s doing “just fine” followed by admissions that “it’s killing me.” It’s all set to a poppy beat overlaid with shimmering guitar. The song’s video featured the then-young, fresh, innocent-looking Flowers contrasted with a louche, dissipated character played by sleazily handsome actor Eric Roberts (Julia’s elder brother). As the Boston Globe’s Franklin Soults puts it, “Mr. Brightside” is “a song about destructive jealousy so uplifting it [makes] the pursuit of contradiction feel like a life calling.”
All these years later, “The Man” features a taut, lean-faced Flowers playing a strutting, macho Las Vegas performer in Rhinestone Cowboy garb assuring us lyrically that he’s “first in command.” He tells us, “I got skin in the game / I got a household name / I got news for you baby, you’re looking at the man.” With a dark bass line and insistent drum driving his message forward, and supported by disco-era synth and backup singers, the sound of “The Man” is pure cockiness. When set to the brilliant video, however, the story of The Man in question follows another path altogether. It’s a very satisfying display of hubris with all the trappings of success on view, then falling away in under five minutes, a miniature movie that even ends with a film credit screen.
Flowers says “The Man” was inspired by an honest look back at The Killers’ arrogance during their “Mr. Brightside” years. Last summer he said that he regrets the negativity and arrogance he displayed to the public when the band first started out. “Around about the time that The Killers started I guess—that’s where ‘The Man’ harkens back to, and years after as well,” Flowers told NME. “I can live with it, you know. It was nice to sort of go in and inhabit that character, and that figure, and that version of myself for much longer. … I don’t think that was really a great representation, an honest representation of who I am. It came from a place of insecurity and I would just puff my chest out and say things and put a lot of negativity out there. I basically came to regret that and I’m sure a lot of people can identify with that.” The mild, articulate affability of the man in this CBC interview is a pleasant contrast to the entitled, arrogant picture of a youthful Flowers that he paints of himself.
The version of Flowers on offer at The Killers’ concert at Boston’s TD Garden this week was that of a consummate showman, joyfully, confidently swaggering at the helm of a tight band moving smoothly through a perfectly timed set. The arena rock show had the busy laser displays, giant video screens, smoke and bright visual extravagance one expects. But Flowers, slight, a little stiff but poised and dramatic in his spangly western-cut suits, exuded command, control and pleasure. His talent is such that he could have held the crowd comfortably in his hand with much less visual drama, but who am I to turn down an over-the-top feast for the eyes? And though early Killers hits like “Mr. Brightside,” “Somebody Told Me” and “When You Were Young” have a Brit-pop feel far from Flowers’ Vegas roots, somehow seeing Flowers perform those songs in his crystal-covered, western-cut suits bopping purposefully around the stage still feels right.
Flowers was born in Las Vegas and has spent most of his life there, and the influence is evident in his Vegas showmanship, his dress and the tour’s set design. Interestingly, the other band members didn’t share in his aesthetic but wore the usual indie-band attire and haircuts, setting Flowers into more dramatic relief. While Flowers and drummer Ronnie Vannucci Jr. are touring the world in support of their latest album, two of the band’s longtime members, guitarist Dave Keuning and bassist Mark Stoermer, are sitting out this tour. The recent addition of Ted Sablay on guitar and Jake Blanton for this road show made for a strong, cohesive sound, but the band’s emotional dynamics didn’t feel integrated. While the band played well and sounded tight, the event felt very much like The Brandon Flowers Show with little attention shown to other members of the band, as so often happens in bands with especially charismatic singers. The resulting event was highly entertaining but not very emotionally accessible, even though Flowers clearly reveled in the attention and gave his utmost. The Vegas-bright shine made for a fun spectacle appropriate for the giant venue, but a touch of intimacy wouldn’t have gone amiss.
Long before Kurt Cobain displayed the depth of his hopelessness to the world by taking his own life, his fans had known he was suffering. Anyone who has listened to Kurt Cobain sing “Smells Like Teen Spirit” has heard the pain in his voice. Every Nirvana song is built upon a platform of angst—the music, the lyrics, the growls and wails all make the turmoil and drama inside Cobain’s head quite clear and accessible for anyone to hear. This transparency of feeling is what makes Nirvana’s music great and greatly beloved: it taps into a primordial well of anxiety, anger, longing and disillusionment in listeners and makes us feel as if our own personal, raw feelings are being scooped up, wallowed in and worn like warpaint by a rock god for all the world to see.
The obviousness of Cobain’s extreme pain was so evident to millions of people years before his suicide in 1994, so it comes as a shock to watch interviews with his friends and family and see how many cries for help they ignored, how little aid they sought for him, how limited were their resources in guiding him toward hope even after he became one of the most famous people in the world. The very elements of his psyche that made his art so powerful and meaningful to others were the parts that caused him the most misery. His charisma, stubbornness, insularity and difficult personality seem to have paralyzed those who should have seen him clearly and helped him most directly. These same characteristics and his remarkable ability to build a bridge between himself and other disaffected souls brought him a level of scrutiny that made him feel trapped in a dangerous tidal wave of success that he was constantly trying to ignore and retreat from. It’s as if he was hiding in plain sight.
All of this becomes devastatingly clear in Brett Morgen’s excellent new documentary Kurt Cobain: Montage of Heckcurrently in limited theatrical release and soon to be shown on HBO. The first film about Cobain to have the support of his daughter Frances Bean Cobain (who is also one of the film’s executive producers) and her mother, Kurt’s widow Courtney Love, this documentary could never have been made without their treasure trove of audio recordings, videos, home movies, drawings and family photos and access to Cobain’s diaries and notebooks. All of these elements come to life in stunning animated montages that make us feel as if we’re in the room with Kurt, his mom, his wife, his baby and bandmates Krist Novoselic and Dave Grohl. Sometimes we feel as if we’re inside Kurt’s head as well.
His violent and disturbing drawings, his remembrances of distressing moments in his personal history and the pained, sad stories of those with whom he lived and worked make abundantly clear how lonely, frightened and angry he was from a very early age. But the home movies of him as a baby and child show a heartbreakingly sweet and pretty little boy with a beautiful voice. He was hungry for attention and constantly in need of deep soothing that he rarely received. It hurts to see him so fresh and so loved, and to know that his overwhelmed parents, stepmother, siblings and friends had no idea how to deal with his enormous kinetic energy, his destructive impulses or his lack of self-control. The things he needed most—stability, understanding, unconditional love and safe ways to soothe himself—seemed nearly always out of reach, so he went for one dangerous activity, addiction or relationship after another, and that resulted in self-loathing and mental disintegration.
Two interviews really stand out among those in the film. One was with his stepmother, with whom he had a very difficult relationship. She recognized how abandoned and unwanted he must have felt when he was kicked out of his parents’ houses and moved from one to the other, then went off to a grandparent and moved back around through the family again. She expressed regret that she hadn’t recognized his pain at the time but could only be frustrated by his acting out and worried about the effect of his behavior on his siblings. Bandmate Krist Novocelic, long his close friend, expressed great sadness that he was unaware of how serious Kurt’s problems were during his life even though he saw evidence of Kurt’s rage and watched him self-destruct. He says in hindsight it is obvious that Kurt was in extreme pain and that there were numerous red flags and cries for help, but he wasn’t able to recognize their seriousness at the time.
Novocelic also noted something crucial to an understanding of Kurt’s enormous antipathy toward fame and success: he said Kurt had a huge fear of being humiliated. As we watch Kurt in films and videos and hear his words, it becomes clear that he hid his fears with bravado, dark humor, dramatic performances, drugs and acting out. He derided establishment values and behaviors and deliberately set up barriers between himself and those who might have been best able to recognize and help him. And of course, it is that raw, urgent ugliness inside of him that sometimes comes out in gruesome drawings, in his bashing his guitar to smithereens on the battered wood floor of his own house, or in refusing to bathe or wash his hair for days, or living in squalor and backing out of major tours so he could go home to do little but play guitar, have sex and shoot up for days or weeks on end.
It is that very grunginess in his personal life that bled, sometimes almost literally, into his music, and made it so accessible, thrilling and fresh to a youthful audience tired of the smooth, highly produced technopop of the 1980s. Cobain’s squalor and literal stink combined with a vulnerability, a gritty poetic streak and a compulsion to create helped him build a dirtily sexy persona, but they also pushed him into a dangerously intense public world that made him endlessly terrified of being exposed, embarrassed, ridiculed, overadored and ultimately used up. So he used himself up in a hurry before life had a chance to do it to him.
The urge to create and the urge to destroy, including the urge to self-destruct, were always living side by side within Kurt Cobain, and his overwhelmed family members shunted him back and forth among houses a number of times during his childhood, recognizing his neediness but experiencing it always as a destabilizing and dangerous force that they couldn’t control and couldn’t stand. He also had a long history of serious and excruciating abdominal pains that caused extreme and frequent pain and sometimes bloody vomiting, but there was little money available until the end of his life for psychological help or appropriate medical care. So he developed dangerous ways of self-medicating with food, drink and drugs that exacerbated his ill health. By the time he had the money for proper mental health support and medical care, his dangerous habits were well ingrained, and his beloved companion and wife Courtney Love was herself so drug-addled, angry and self-destructive that she could only feed into his addictions and his rejection of others’ attempts to offer help. When her eye started to wander and he recognized that even she, the partner whom he thought understood and loved him better than anyone, was on the verge of betraying him, he lost all hope, attempted suicide, and then successfully finished the job with a gun a few days later.
Why would someone want to sit through two hours of this dark story with so many regretful loved ones sitting stricken in front of the interviewer and recounting their memories with wringing hands and guilty eyes? Because the pain of his story, like the pain in his music, is compelling even as the details are sometimes repellent. Some of his memories, words and images are grim and disturbing, but watching the intimate dynamic between him and Courtney, drug-addled and gritty as it often was, shows why they were drawn to each other—admiration, understanding and humor are all evident, as is a certain pleasure in courting death and mayhem. It hurts to watch him hold his baby Frances with such loving tenderness and read and hear his words of devotion, then later see him barely able to hold her on his lap, so drugged-out and nearly incoherent is he in one awful scene. It is hard to watch knowing that Courtney, a friend filming the scene and another helping with the baby were all present, and, like everyone else in the film, they observed the clear self-destruction of the man but no one either would or perhaps could do anything to pull him back from the brink.
I saw the film in Seattle’s Egyptian Theater, which is right in the neighborhood where Cobain had his last meal. One block from the theater is Linda’s Tavern, where he was last seen alive on the night before he shot himself through the head. The film is currently in a few theaters around the U.S. and in the U.K., and is garnering high praise for its intimate portrayal of the man and his life and his ardent, nearly compulsive need to create. I’m glad to have enjoyed it in a cinema where the never-before-seen concert footage was especially powerful and immersive and the intimate moments felt even more immediate. I’m even gladder that it will be available to so many more via HBO television showings.
While the film has received mostly very good reviews, some have complained that it is uneven and a bit jumbled because of the lack of a narrator and the sometimes abrupt switches between interviews with those who knew him, private film footage, concert footage, images of his writing and art and montages of animation and recordings. Boyd van Hoeij of The Hollywood Reporter wrote that the film is “impressive in parts, but wildly uneven as a whole.” I found this unevenness and the montage style particularly appropriate for the story of a hyperkinetic, often drugged-out man with serious mental and emotional problems. I might have found the style more annoyingly disjointed had it been used to tell the story of a different subject, but in this case the style illustrates how overwhelming it must have felt to live inside of Cobain’s brain and body. The barrage of images and sounds approximate the cacophany of a grunge concert, a life of rock and roll excess and the disabling and endless waves of chronic and extreme physical and emotional pain he felt. All of that is shown amid reminders of how much love and admiration those around him felt and wanted to share with him alongside the frustration and confusion they felt over his extreme emotions and behaviors.
The film, which gets its name from a musical collage made by Cobain with a four-track cassette recorder before Nirvana became famous, is no feel-good movie. It is often funny, sometimes darkly beautiful and occasionally mesmerizing, but it is also a very raw view of the life of a dangerously mentally ill and emotionally damaged human being. Even though it shows how difficult and ugly he and his life could be, it also helps us see his vulnerability, humanity and his hunger to create, and it makes clear his devotion to his wife and child.
This film helps to humanize Kurt Cobain without lionizing him. Seeing how far back his deep emotional illnesses went also helps us to empathize with him and feel sympathy along with the disgust his actions sometimes inspire. The film shows how off-puttingly, determinedly filthy, squalid and unhealthy his lifestyle often was (though he and Courtney did sometimes live in luxury hotels in Seattle and elsewhere once they became wealthy), and interviews with his mother and his widow give some glimpse into their own sometimes impaired ability to see how much of a part each of them played in his feeling unsupported and betrayed.
David Fear ofRolling Stone described the film as “the unfiltered Kurt experience,” noting that Cobain is shown “not [as] a spokesman for a generation,” but as “a human being, and a husband, and a father.” Frances Bean Cobain said at the documentary’s premiere in Los Angeles, “After seeing it, I thought I could only watch it once. But the film that [Morgen] made—I didn’t know Kurt, but he would be exceptionally proud of it. It touches some dark subjects, but it provides a basic understanding of who he was as a human, and that’s been lost.”
I was talking with my daughter the other day about something I enjoyed that was a little creepy, and we laughed about that creepiness. I’ve always thought of myself as someone who doesn’t really DO creepy—I detest horror and zombies and vampires and gore. I loathe scaring people. I hate practical jokes and nasty surprises and causing people fear.
But then it dawned on me that I love The Twilight Zone, which I think of more as a source of slightly chilling campiness than creepiness. When I received a box set of every Twilight Zone episode as a Christmas gift a few years ago, I actually burst into tears, I found it such a touching and generous gesture.
I thought a little further about what constitutes creepiness and I realized that I love cemeteries, which I see as beautiful memorials to lost love. I seek them out in my travels and I have hundreds of photographs of headstones. Indeed, on the walls of my home hang several small casts of particularly lovely elements from New England’s grave markers.
I followed this train of thought a bit further down the track, and I had to admit to myself that I get a kick out of hiding weird disembodied hands and arms from antique baby dolls in my houseplants. I see them not as frightening but as absurd and laughable when they’re stuck randomly in nonsensical places. I also love them because I collect hand-related art—it reminds me of creativity and connecting with people and holding out one’s hand to others. To me, those creepy little hands are actually a mental shorthand for being willing to lead people toward something funnier, less expected, better. I don’t assemble them into horrific tableaux; I use them to accessorize my home and inspire me to stay close to those I love, to beauty, to my muses. My creepy baby hands also keep me from taking myself too seriously. They remind me to stay goofy, which I think is vital to staying human.
Then came the epiphany: Creepy people never think of themselves as creepy.
It turns out that I’m a creep. I’m a weirdo. But I’ll bet I’m the perkiest little creep you know.
Here’s some exquisite angst for you—a gorgeous cover of Nirvana’s “Heart-Shaped Box” by Icelandic folksinger Ásgeir Trausti Einarsson. Ásgeir has toured the U.S. singing in English and Icelandic, and he now uses Ásgeir as a mononym. He also plays guitar in the Icelandic band The Lovely Lion.
Ásgeir’s spare piano arrangement, his high and softly plaintive voice, the careful but effective use of echo and percussion and the mounting layers of synthesized sound create something unique and lovely. This introverted, ethereal version has a very different energy than Nirvana’s original, but I find it every bit as captivating. In fact, it’s even more enthralling than the original for me; instead of pressing itself into my space insistently, it wraps its tendrils around me and pulls me slowly but inexorably into its dark heart.