The word itself means migration, or flight from danger and the songs are all about movement and restlessness.
On it, Neil Young — another Canadian — plays harmonica and the stunningly talented Brazilian bass player Jaco Pastorius makes this distinctively different from her previous work.
It was a tough year for me, my sophomore year at University of Toronto, both of my parents traveling far away, long before cell phones or the Internet, when a long-distance call to Europe or Latin America was really expensive. I was living on very little, freelancing as a writer and photographer while attending the country’s most demanding school full-time.
I dated all the the wrong men, (as Mitchell did, for decades), discarding them as quickly as I found them. Connection was both alluring and exhausting, a theme of that album.
Mitchell also has a home where my mother — also a fiercely independent traveler for many years — lived for a while, the Sunshine Coast, north of Vancouver.
I met a friend of spirit He drank and womanized And I sat before his sanity I was holding back from crying He saw my complications And he mirrored me back simplified And we laughed how our perfection Would always be denied “Heart and humor and humility” He said “Will lighten up your heavy load” I left him for the refuge of the roads
The book offers a great ride through her life, from her years in small-town Saskatchewan to her initial success in the coffee-houses of Toronto to playing Carnegie Hall and touring with Bob Dylan.
It offers insights into her addictions — to cocaine and to cigarettes — and her deep ambivalence about marriage, which she tried twice.
It’s a compelling portrait of a fiercely independent woman.
As someone who grew up with limited access to television, (spending much of my childhood in boarding school and summer camp), my cultural consumption was books, art and music. (Although every dinner at home in my teens began with the theme music to As It Happens, the nightly CBC radio current events show.)
I do enjoy some television, mostly BBC, PBS, Netflix — original series, not the standard stuff of weekly network shows. Favorites include Wallander (Swedish version), Babylon Berlin, Call The Midwife, Victoria.
I confess — I’m also a fan of Lifetime’s Project Runway, now heading into its 17th season.
My favorite media are radio and film.
I listen to radio daily, (NPR, WFUV. WKCR, TSF Jazz from Paris) and typically watch two to three movies a week, either on TV or in the theater. (Not a fan of horror films, which I avoid; writing a book that included gun violence was quite enough!)
Only in later life did I appreciate what beauty I enjoyed in my parents’ homes, filled with Japanese ukiyo-e prints, Inuit sculpture, mirrored Indian textiles and more. That visual feast much shaped my own tastes — whether a Mexican wooden mask or a vintage photograph.
Today, thanks to the Internet, we all have ready and free access to millions of exquisite images, through the British Museum (37,000 images) and many more. Even if you live very far from a gallery or museum, even just scrolling through Instagram, you can stumble across an incredible array of beauty and history.
I’m not as familiar with, or fond of, contemporary art and design (I try!); I do love the work of Julie Mehretu.
Growing up in Toronto, a large and multi-cultural city with good museums and galleries, also helped me develop my taste. Travel to Paris, Venice, Florence, London, Berlin, Boston, D.C. and San Francisco, (to name a few places), has showed me more amazing art.
Two of our favorite museums focus on Asian design — the Sackler in Washington, D.C. and the Guimet in Paris.
A very rare event for me — I went to this auction and bought two 1920s French prints (Dufy, Vlaminck)
Musically, I feel woefully behind! I haven’t (she says embarassedly) yet tried Spotify, so I need to expand my horizons, although I’m not a fan of rap, hip-hop or country.
Only in the past month have I seen two operas, the first for me in decades, and enjoyed both. I don’t attend as many classical music performances as I could — in New York and environs, there are so many to choose from! — but enjoy it when I do.
As for popular music concerts…sigh. Some of the people I want to see sell out within minutes, generally.
Sometimes you’re lucky enough to witness artistic history.
That happened to us last week at Carnegie Hall, in a fully sold-out audience, listening to 71-year-old jazz pianist Keith Jarrett.
That’s 2,804 people of all ages, listening for two-plus hours and three encores in rapt silence, as the show was being recorded, (so, eventually, you can hear it too!)
We were seated up in the nosebleeds, (aka the second-highest balcony); even those tickets were $70 apiece.
If you haven’t heard of him, or his music, you’re in for a treat.
The studio albums are modestly successful entries in the Jarrett catalog, but in 1973, Jarrett also began playing totally improvised solo concerts, and it is the popularity of these voluminous concert recordings that made him one of the best-selling jazz artists in history. Albums released from these concerts were Solo Concerts: Bremen/Lausanne (1973), to which Time magazine gave its ‘Jazz Album of the Year’ award; The Köln Concert (1975), which became the best-selling piano recording in history; and Sun Bear Concerts (1976) – a 10-LP (and later 6-CD) box set.
I was in college when the Koln Concert came out, and I was introduced to it by a boyfriend. I still have that album and still cherish it.
This week’s entire concert was improvised.
Jarrett has commented that his best performances have been when he has had only the slightest notion of what he was going to play at the next moment. He also said that most people don’t know “what he does”, which relates to what Miles Davis said to him expressing bewilderment – as to how Jarrett could “play from nothing”. In the liner notes of the Bremen Lausanne album Jarrett states something to the effect that he is a conduit for the ‘Creator’, something his mother had apparently discussed with him.
That was Wednesday night.
I barely had time to process what a magnificent evening it had been when a generous friend offered two free tickets to hear authors Colson Whitehead and George Saunders read and answer audience questions at the 92d Street Y, another Manhattan cultural institution.
Back into the city!
I had never read either of their works, but had read rapturous reviews of their new books — Lincoln in the Bardo and The Underground Railroad. Each read for 30 minutes and it was mesmerizing. Afterwards, answering audience questions written on note cards, they were funny, insightful and generous.
It is one of the great pleasures of living in and near New York City — a place of stunning living costs — to be able to see and hear artists of this stature.
I’ve been writing for a living since college but this was Writing, fiction of such depth and emotional power it takes your breath away.
In a time of such political instability and anxiety, it was also healing to remember that art and culture connect us to one another and to history.
We escape. We muse. If we’re a fellow creative, we leave refreshed and inspired. We recharge our weary souls.
On Saturday, we went to hear Bebel Gilberto, a Brazilian singer. Our suburban New York town has a fantastic music hall, built in 1885, where tickets are affordable and the variety of performances eclectic. Of all the shows we saw, this one was the only disappointment. The rest of the crowd loved it, but not us.
The 16-year-old restaurant, named for a character in Fellini’s film Amarcord, has deep red walls, dark wooden tables and the kind of atmosphere that signals you’re going to have a good time — attentive and professional staff, delicious food, reasonable (for Manhattan) prices, funky posters and filament bulbs on the walls.
The kind of place they let you have a taste of your wine and still (reasonable for this city) charged $11 a glass for it; ($15-20/glass is fairly standard now.)
I had vitello tonnato, an item still hard to find in many Italian restaurants, then tiny, perfect tortellini — handmade by a woman standing at a table near the front door, her worktable fronted by a black velvet rope. The tortellini were the size of a fingernail. Amazing!
On many streets here, especially the gorgeous older ones in the West Village which are lined with elegant old houses, tree-shaded and cobblestoned, you’ll very often see the enormous white trucks (grrrr, no free street parking!) for the stars, and director and make-up and wardrobe, lining entire blocks while a film, TV show or commercial is being made. If you’re nice, maybe you can snag a cookie from the “craft table”, the tented area where the crew finds food and drinks during hours of shooting.
It was a very humid 90-degree evening last night, so it must have been exhausting to work for long hours.
We walked a block east to the Tenri Cultural Institute — 43A — with a doggie day care and spa next door and another Italian restaurant, completely blocked from view by one of the enormous white trailers, in front of it.
I’ve lived in New York since 1989 and keep finding new-to-me things to enjoy.
It was astounding. The room held about 75 people, an intriguing mix of Asian and Caucasian, an age range from 20s to 60s. Everyone was artistically stylish, many sporting wrinkled cotton mufflers (worn by men and woman alike; mine was silk), lots of little black dresses and a great pair of platform lace-ups on the 60-something-year-old woman sitting in front of me.
The shamisen player was a young man visiting New York on a fellowship, heading back to Japan 2 days later. I’m no expert in the instrument, but he played with terrific attack and speed. The three-stringed instrument sounds mostly, to Western ears, like a banjo, but also adds percussion when the soundbox is hit with a large wooden pick.
I had never heard of him and his biography is extraordinary; the piece is a duet between shakuhachi, a Japanese wooden flute, and a traditional metal flute, the one we know from orchestras worldwide.
As we listened, I kept thinking about Pearl Harbor — 1941 — and how that attack, and the resulting attacks on Hiroshima and Nagasaki, wondered how it might have affected his composition.
The evening was everything I love, at its best, about multi-cultural New York: a great meal, an intriguing and affordable ($20 tickets) concert; discovering a wholly new set of experiences with Jose, my husband; a night in cozy, historic Greenwich village.
Last night’s astounding concert by the Tragically Hip, whose lead singer, Gord Downie, 52, has an incurable brain tumor, the kind that killed an American legend, Senator Ted Kennedy.
It was broadcast by CBC, and we watched it here at home in NY on television, live-tweeting with fellow Canadians.
One guy tweeted — “I’m in Seattle. Where can I find a bar showing it?” I tweeted the link and he tweeted back, “Watching it. Thanks!”
Another Twitter pal needed to find a place to stay near Kingston, an area we know fairly well, and I tweeted out my suggestion.
One friend watched it on her phone in her car on a road trip from Toronto, sitting in New Mexico.
Canadians at the Olympics in Rio shared a hello.
Canadians in VietNam and Africa tweeted hello.
The Hip, as they’re known, have been together for 30 years, an unchanged line-up, since they met in Kingston, Ontario — fittingly, the site of last night’s concert, the last of a national tour.
The arena had 6,000 people in it, while Market Square, usually a venue for farmers selling carrots and maple syrup, burst with astonishing 20,000 fans.
In the arena audience, wearing a Hip T-shirt and a jean jacket, standing alone, (although clearly not without security nearby), was Canada’s Prime Minister, Justin Trudeau, eight years younger than Downie.
No fuss was made about him. He didn’t grandstand or make a speech.
Thank God. That was so typically Canadian — low-key, modest, no need to make a fuss or draw attention away from the main event.
It was Downie who called out to Trudeau, putting him on notice (and praising him for a good start) to address the many needs of Canada’s aboriginals, facing appalling rates of murder and suicide.
The show went almost three hours, with three encores, an astonishing length for any band, and for a man whose craniotomy scar was visible, etched into his face, mostly hidden beneath an array of hats with feathers, hard to imagine. (The show’s TV credits included his “wellness” team, and his oncologist has been traveling with him.)
His costumes were goofy and playful — a silver suit, a pink metallic suit, a sparkly silver suit. A Jaws T-shirt.
Two striped socks pinned together at his throat to keep it warm, he explained.
He cried, although it was hard to tell his sweat from his tears.
It made me deeply homesick.
Living in the U.S., which I have for decades, means living in a place where Canada is seen as a bit of a joke, all hockey and beer. It gets old and it gets lonely when no one knows — or cares about — your shared cultural references.
There are also very few times Canadians get weepy and emotional and wave enormous flags at one another in public.
Canada is good when it’s viewed and heard through the Tragically Hip, and the Tragically Hip is good when they’re viewed and heard through us. No other band stretched our potential as a nation of popular art. They put weird songs on the radio. They put thousands in stadiums listening to strange, wild jams. They wrestled our inherent Presbyterianism and won over a public that, more often than not, demurred when it came to stronger flavours. They offered an anti-hero as hero who was as interested in promoting his brand and chiselling his image as he was selling cars or soap or gasoline. For all of their commercial proportions, the Tragically Hip weren’t a commercial band. They have a sense of composure, and dignity. And grace, too.
In terms of history, and the history of art in Canada, we scramble to celebrate what’s good or who’s done what and why this thing or that person matters, but it’s often in the greasy sizzle of a sudden trend or in the twinkling glimmer of the rear-view mirror. But with the Hip, we were given the chance to cheer them not through museum glass, but in the hot thrall of the moment. We were able to point to them – point to Gord, whose courage as a performer will be forever burnt into our imagination – as they deadheaded across the country.
As we, living in the U.S., face day after day after day after day of the insanity and toxicity of liars like Ryan Lochte and Donald Trump, what a refreshing break from bullshit and spin and feeling like I need a shower every time I listen to one more piece of trash being sold to me as gold.
“The digital era gives us everything to own, but nothing to touch” — Stephen Witt, writing in the Financial Times
Do you own a collection of vinyl, aka records aka LP’s — short for long-playing?
I do, but hadn’t been able to listen to it for a long time after ditching my college-era sound system more than a decade ago. They sat, forlornly ignored, in a pile in the hall closet, and I longed to hear them: Genesis, lute music, koto music, Juluka, Joe Jackson, Rickie Lee Jones. All of it!
For Christmas this year, my husband finally bought us a turntable and all the digital stuff needed to listen to my music again and I’m so happy!
But it’s also been an odd and sometimes deeply poignant experience, because my vinyl, which I haven’t added to since the 1980s, is a mini time capsule. Listening to it whisks me back to my 20s and the jumble of complicated feelings — intense, professional ambition, wanderlust, moving within six years from Toronto-Paris-Toronto-Montreal-New Hampshire, unrequited love — I felt throughout most of that decade.
When I put on Hejira, Joni Mitchell’s 1976 classic, a gift from someone, I’m back in my second year of university, living alone in a tiny, ground-floor studio apartment in a not-very-good-neighborhood of Toronto. I’m scared, broke, starting to freelance for national publications, even as a sophomore attending a very demanding school full-time. I have an answering service.
I eat a lot of tunafish and can still remember all the clothing I then owned, as there was so little of it. Her songs of one-night stands echoed my life at the time, flailing about romantically and wondering when I’d ever feel safe.
I discovered the terrific South African band Juluka and have never tired since of their anthemic music. I went to see Johnny Clegg performing near me about two years ago and danced non-stop through the whole show.
Listening to the legendary French chanteuse Barbara brings me back to the house lent to me by a friend there at the end of my Paris-based journalism fellowship, and where I savored her eclectic music collection. I had never heard of this singer, and love this live double album.
One of my favorites is American guitarist Leo Kottke, who I interviewed many years ago. His voice is a bit of a foghorn, but his music is timeless.
And Canadian Bruce Cockburn (pronounced Co-burn), who morphed from gentle folkie to rocker and is still performing and touring 40 years into his career. I love his early work, like Salt, Sun and Time — and the first track, All the Diamonds (2:41), makes me cry every time.
If you live in Colorado, he’s playing two dates there later this month.
I’ve been a huge Genesis fan since high school — prog-rock anyone? If you’ve never heard their double album, The Lamb Lies Down on Broadway, give it a try. Many people have since heard of Phil Collins and Peter Gabriel, both of whom were initial members of this seminal group. It’s an astounding set of music, based on a story about Rael, a Puerto Rican kid living in New York City. Voted one of the best prog-rock albums ever by Rolling Stone and NME.
Anyone remember Kate Bush? Apparently thousands of people, as she performed 22 shows in London in 2014 — and her last ones had been in 1979. If you haven’t heard her music, check it out. I love Running Up That Hill — which was chosen for inclusion in the closing music of the 2012 Olympics in London.
And Joan Armatrading, another British singer, who recently played the music hall in my town.
It’s a totally different physical experience playing vinyl again after years of cassettes, CDs and downloads. Only cassettes, like LPs, had actual sides, and you had to participate in turning them over, as I now have to do again. I love the rituals of turning on the turntable, sweeping the grooves smooth and gently lifting and dropping the needle.
Loved this story in Intelligent Life magazine, which asked seven thinkers and writers what they consider the most essential subject to learn in school.
Their answers: music, emotional intelligence, cultural literacy, history (backwards), basic geography, open-air dawdling, physics.
Of open-air dawdling, Deb Wilenski answered:
I have worked in the wild outdoors with young children and educators for more than ten years. I work in classrooms too, but there is no better place for dawdling than the woods. Free from the props and expectations of The Curriculum, children become explorers, philosophers, inventors, illustrators, poets, scientists, professionals of every kind.
If I were in charge of education, I would build open-air dawdling into the curriculum, giving every child time, slow time, to explore their own burning questions. The best subject is the one you can’t leave alone.
Here’s Jessica Lahey on cultural literacy:
Consequently, every subject depends on cultural literacy. The underlying warp of the class could be Latin, literature, writing or law, but the weft is all connection, linking new content to the strands of knowledge the students already possess. Words that are utterly forgettable in their dry state of denotation can be retained given connotation and a bit of context. Characters and plot lines that might otherwise slip through holes in attention become memorable when safely tethered by literary allusion.
Before we read Chapter 15 of “Great Expectations”, I tell the story of Cain and Abel. Cain’s jealousy, murderous anger and subsequent exile prepare my students to meet Orlick, the morose journeyman with no liking for Pip. When they read “he would slouch out, like Cain or the Wandering Jew,” they have a nuanced understanding of Orlick, and see why Pip senses that he may become fuel for his ire.
I attended private school Grades 4-9, and am grateful I did, even as I also learned to loathe arbitrary rules, (aren’t they all?!), crummy boarding school food and sharing a bedroom with four strangers.
I still vividly recall our terrifying fifth grade teacher who had us use carbon paper to trace the maps of various countries so we would learn what they looked like and our eighth grade teacher — whose last name rhymed, appropriately enough, with the words gruff, tough and rough — who had us ploughing through The Scarlet Letter, a dictionary necessary for almost every single sentence.
What did I learn that’s most useful to me, decades later?
To question and challenge authority. It’s not a subject taught in any classroom, but it’s a crucial life skill, certainly for a woman, a feminist and, as a journalist, someone paid to ask questions
To trust my judgement. Even as a child, much to some teachers’ frustration, I knew what mattered most to me and fought for my principles.
To see the world as a place worth exploring, as often and widely as possible. Reading work from other cultures, traveling, listening to the stories of people who’d ventured out and come back, whetted my lifelong appetite for more of the same.
To understand that someone expecting excellence of me will bring out my best. I’m a high-octane girl and need a lot of intellectual stimulation and challenge. I’m much happier feeling scared of a difficult assignment from which I’ll learn and grow than bored silly by something mundane and simple.
To write quickly and confidently. Our private school had an annual essay contest, in which Grades 4, 5 and 6 would compete against one another, Grades 7 and 8, Grades 9, 10 and 11 and Grades 12 and 13, (this was Ontario, Canada.) I won the contest in Grade 8, giving me, even then, the confidence I could do this writing thing, well and under pressure. It’s what I’ve been doing for a living for a long time.
To savor nature. Our school grounds had enormous chestnut trees and every fall I’d marvel at the ground littered with their thick, spongy, spiky green casings — and the glossy brown nuts inside them. We’d walk the block every morning, scuffing through leaves or snow. Being alone outdoors also offered a blessed respite from constant company, in class, at meals, in the common room or in our bedrooms.
I later studied English literature for four years at University of Toronto, Canada’s highest-ranked, but also learned that I don’t enjoy sitting still for hours being lectured to, no matter how much I love to learn new material. I much preferred my training at the New York School of Interior Design, two decades later, also because choosing color or knowing what materials work best in certain situations has proven a more useful tool day-to-day than the nuances of 16th-century drama.
I don’t envy today’s teachers — competing with (or at best making great use of) technology but also “teaching to the test”.
I fear that some of life’s most important skills, from financial literacy to civics to how our bodies work and how to keep them healthy, have little to no place in most classrooms. We learn them much later, if we’re lucky.
What did you learn in your early years of formal education you still find most useful today?
I love this idea — an international celebration of indie record stores.
Record? What, you ask, is a record?
Some of us are old enough to remember 78s and 33s, not just cassettes or 8-tracks (really) or CDs or…downloads.
I have stacks and stacks of dearly beloved vinyl in a closet and our garage, desperately awaiting the day I have the spare cash to replace my long-lost stereo system with a kickin’ turntable and speakers.
I really miss my music!
The last CD I bought was purchased last month after a concert in Poughkeepsie by one of my favorite artists, South African singer Johnny Clegg.
The last batch of CDs I bought was last May, (far too long ago!) from a used CD store in Flagstaff, Arizona, on my way to the Grand Canyon. I found — and kept playing Elton John’s spectacular 1970 album Tumbleweed Connection — which provided the perfect soundtrack to where I was at the time, the American southwest, alone in a car.
I love the serendipity of browsing the bins, flipping through piles of vinyl and jewel cases, seeking something new, or something old, then listening to it obsessively.
One of my favorite memories dates back to my first newspaper job in Toronto, when a hip colleague and I ended up in the recently-closed Sam the Record Man. David pointed authoritatively to an album. “Buy it” he commanded; Lloyd Cole and the Commotions. I’d never heard of it and loved it.
Do you know the fab 200 film High Fidelity? One of my favorites, it’s set in a record shop in Chicago (originally set in London), and features another bit of musical nostalgia — creating a mix tape for someone you’re crazy about and hope to make a good impression on.
Check ’em out — sixth-grade boys from Brooklyn, Malcolm Brickhouse, Jarad Dawkins and Alec Atkins who play heavy metal. Their band is Unlocking the Truth and they’ve already played two of Manhattan’s toughest crowds — Times Square and the Apollo Theater in Harlem.
They’ve been teased and bullied for their funky hair and black nail polish, but there’s no denying their talent, chutzpah and quiet confidence.
They met in kindergarten and have been playing music together since. When they played Times Square — for 10 hours at a time! — they’d pull in $1,600.
That’s $160/hour or more than $50/hour per musician. Not bad for mid-career or fresh college grads.
Pretty damn awesome for sixth-graders, I’d say.
But what I most admire is their belief in themselves and their willingness to put it out there, literally, before strangers with no vested interest in cooing at them or praising them for…breathing.
I see too many kids spoiled rotten, like the *&#@*)_$ eight-year-old girl who decided to change her socks and shoes three times (?!) last week beside me, in an expensive Midtown restaurant. Her extended foot practically hit my plate.
Brickhouse and Dawkins have been playing music together since kindergarten. Although hip-hop is the dominant music at school and in the neighborhood, they come to metal honestly. “My dad used to take us to watch wrestling shows and we used to watch animated music videos,”
Brickhouse tells Kurt. “The background music was heavy metal. I was surrounded by heavy metal.” Their originals have lyrics (about “drugs, and relationships, and stuff — and being free”), but no one in the band will sing them.
The trio’s debut EP will be released later this summer and young as they are, the members see a long future in rock. Brickhouse says he’ll be banging out vicious licks “until I die”, while Dawkins is more pragmatic; “I’ll retire at about 70 years old.”
You may never have heard of her — while those of us who grew up singing along to her work keep playing and re-playing her work — after all, there are 28 albums listed on her official website.
She officially retired in 2002, although you’ve likely heard one of the 587 (!) versions of her song “Both Sides Now”, written when she was only 21. Singers including Taylor Swift and Madonna have cited her as a major influence on their work.
A winner of eight Grammy awards, her classic album “Blue” was named one of the 100 best albums ever made by Time magazine.
She started out as a visual artist but got pregnant, gave her daughter up for adoption, and only by accident fell into her long career as a singer/songwriter.
She started out living in a small Western Canadian town, where her mother “raised me on words.”
She’s even inspired 47 songs by others, as recently as 2011 — including the classic “Our House” By Crosby, Stills, Nash and Young and “Only Love Can Break Your Heart” by Neil Young, yet another Canadian.
Many other artists have recorded her work, some of them making her songs into hits. A favorite, “Michael from Mountains”, off the 1967 classic by Judy Collins, “Wildflowers” is a song written by Mitchell.
I have so many favorites among her work, but Hejira is an album I could play all day every day and never tire of. The word has several meanings, one of which is “a journey to escape something dangerous or undesireable.” It came out when I was a second-year university student, living alone in a crummy small apartment in Toronto, struggling to combine freelance photography with full-time studies at a large and demanding bureaucratic institution.
(If you’re lucky enough to be in Pacific Beach, CA on November 9, 2013, a band called Robin Adler and the Mutts will perform the entire album. Wish I could be there!)
Hejira expressed the aching, overwhelming multitude of feelings I felt so powerfully then — joy and excitement at leaving my family home for good; fear I would not do so successfully; dating a succession of men, many of them unlikely; trying to define who I was as a young woman in the larger world.
I love this lyric — talk about the wrong man!
No regrets, coyote
We just come from such different sets of circumstance
I’m up all night in the studio
And you’re up early on your ranch
This is a verse from “Amelia”, nominally about Amelia Earhart, but which resonates for me, still, as someone happiest in motion, in flight, traveling somewhere new:
The drone of flying engines
Is a song so wild and blue
It scrambles time and seasons if it gets thru to you
Then your life becomes a travelogue
Of picture post card charms
Amelia it was just a false alarm