My favorite carol

My favorite Christmas carol is the one that puts the lump in my throat every year at this time: “O du Fröhliche.” (Here’s an old Youtube clip of the Vienna Boys Choir singing a rather stately version.) Along with “The Holly and the Ivy”, “O du Fröhliche” would certainly make the upper end of any top ten list I compiled.

But I write this morning thinking of my father, for this was indisputably his favorite carol, and his memory of hearing it sung as a small boy is especially poignant. My father was born in Austria in 1935 to a Catholic mother and a Jewish father who had converted to Rome. After Hitler’s takeover of Austria in 1938, my grandparents took their children and fled successfully to England, living a refugee life in London, then Ellesmere Port, and finally rural Berkshire. (Most of the rest of my grandfather’s family perished.) When World War Two broke out, however, the British government interned my grandfather. A citizen of an enemy nation, it didn’t seem to matter — at least at first — that he was an ethnically Jewish refugee from Hitler. He was released after about a year, but spent the first Christmas of the war — 1939 — in what my father says was a reasonably comfortable camp in Scotland. (He was not interned with actual prisoners of war.) Women and children were not interned; England’s policy was apparently more lenient than that shown by the Americans to the Japanese.

That Christmas, when my father was four and a half or so, my grandmother took him and his older sister on a long train trip up to the north to visit my grandfather in his camp. My father remembers very little of the visit, but he does remember that the assembled internees (all of whom were either German or Austrian men) sang some Christmas songs. The last one they sang was “O du Fröhliche”, and my father remembers that his mother and many other grownups wept. For the rest of his life, he was very fond of the carol.

I’ve sung “O du Fröhliche” all my life. And I’ve heard many recordings. But the version I love best is one I’ve never heard. I often like to imagine the one which was sung in December, 1939 by dozens of German-speaking men, ranging from adolescence to late middle age, internees in spartan barracks in Scotland. I imagine their mostly unprofessional voices, and their faces as they gazed at their families who had come to spend a few Christmas moments with them. I think of my grandfather, a then 37 year-old physician, himself descended from a line of Moravian rabbis, but now a loyal son of Holy Mother Church; I imagine his mixed feelings at being safe from Hitler only to be shut away from his family in this strange northern country. And I imagine my father, not quite five, missing his daddy as I, a man of 44, miss mine this Christmas.

It’s a fine carol.

Merry Christmas.

Jennifer Knapp comes out

What had long been rumored was confirmed this week: Christian recording artist Jennifer Knapp, whose extraordinary talent as a singer and songwriter made her the first religious musician to appear at Lilith Fair, has come out as a lesbian.

Knapp burst on to the Christian Contemporary Music (CCM, as its called) scene in 1998, with her debut album, Kansas. I first heard her music at the end of that year, the same year that I was undergoing my own spiritual rebirth and recovery. Most Christian music bugged me; I’d heard Steven Curtis Chapman and Amy Grant and been left cold or exasperated. But there was something raw and authentic in Knapp’s singing, something that seemed worlds away from the “we’re so happy ’cause we’re saved and God is gonna give us rainbows” praise sound that seemed to dominate the Christian airwaves in the 1990s. The song that grabbed me, and became in many ways the “theme” of my recovery and my return to Christ in those years, was her lovely acoustic “Martyrs and Thieves”:

There are ghosts from my past who’ve owned more of my soul
Than I thought I had given away
They linger in closets and under my bed
And in pictures less proudly displayed
A great fool in my life I have been
Have squandered till pallid and thin
Hung my head in shame and refused to take blame
For the darkness I know I’ve let win

I knew what it was to have surrendered willingly to that darkness; I, an addict and alcoholic, knew what it was to have grown pallid and thin and self-absorbed. And Knapp — of course herself an adult convert — made the wonder at the sheer goodness of God seem palatable and honest rather than forced and saccharine. She witnessed, but never preached — a vital distinction that so many Christian artists miss.

After two superb follow-ups to Kansas, Jennifer Knapp went on a mysterious hiatus in 2003. She stopped touring and recording, and went incommunicado. There were rumors about her sexuality; rumors that she’d lost her faith. She stayed underground for nearly seven years, returning earlier this year with an announcement of a new tour, a new album, and a new willingness to tell the truth about a vital aspect of her identity. Continue reading

Friday (not at all) Random Ten: carols and videos

Instead of a regular Friday Random Ten, here are my ten favorite traditional carols, — in order of fondness — with Youtube videos. Sound quality varies.

1. O, du Fröhliche
2. Angels We Have Heard on High
3. The Holly and the Ivy
4. God Rest Ye Merry, Gentlemen
5. Lo, How a Rose E’er Blooming
6. O Come, Emmanuel
7. For Unto us a Child is Born
8. Joy to the World
9. Masters in this Hall
10. In the Bleak Midwinter

On “O du Fröhliche” (again)

My favorite Christmas carol is the one which comes into my head every year at this time: “O du Fröhliche.” (Here’s an old Youtube clip of the Vienna Boys Choir singing a rather stately version.) Along with “The Holly and the Ivy”, “O du Fröhliche” would certainly make the upper end of any top ten list I compiled.

But I write this morning thinking of my father, for this was indisputably his favorite carol, and his memory of hearing it sung as a small boy is especially poignant. My father was born in Austria in 1935 to a Catholic mother and a Jewish father who had converted to Rome. After Hitler’s takeover of Austria in 1938, my grandparents took their children and fled successfully to England, living a refugee life in London, then Ellesmere Port, and finally rural Berkshire. (Most of the rest of my grandfather’s family perished.) When World War Two broke out, however, the British government interned my grandfather. A citizen of an enemy nation, it didn’t seem to matter — at least at first — that he was an ethnically Jewish refugee from Hitler. He was released after about a year, but spent the first Christmas of the war — 1939 — in what my father says was a reasonably comfortable camp in Scotland. (He was not interned with actual prisoners of war.) Women and children were not interned; England’s policy was apparently more lenient than that shown by the Americans to the Japanese.

That Christmas, when my father was four and a half or so, my grandmother took him and his older sister on a long train trip up to the north to visit my grandfather in his camp. My father remembers very little of the visit, but he does remember that the assembled internees (all of whom were either German or Austrian men) sang some Christmas songs. The last one they sang was “O du Fröhliche”, and my father remembers that his mother and many other grownups wept. For the rest of his life, he was very fond of the carol.

I’ve sung “O du Fröhliche” all my life. And I’ve heard many recordings. But the version I love best is one I’ve never heard. I often like to imagine the one which was sung in December, 1939 by dozens of German-speaking men, ranging from adolescence to late middle age, internees in spartan barracks in Scotland. I imagine their mostly unprofessional voices, and their faces as they gazed at their families who had come to spend a few Christmas moments with them. I think of my grandfather, a then 37 year-old physician, himself descended from a line of Moravian rabbis, but now a loyal son of Holy Mother Church; I imagine his mixed feelings at being safe from Hitler only to be shut away from his family in this strange northern country. And I imagine my father, not quite five, missing his daddy as I, a man of 44, miss mine this Christmas.

It’s a fine carol.

Merry Christmas.

Saluting Odetta, and some thoughts on a folk-music childhood

I was saddened to read last night of the death of Odetta, the legendary folk-singer whose deep voice inspired generations of activists and music fans alike. I am so sorry she did not fulfill her most recent ambition (to perform at Barack Obama’s inauguration), and thrilled that she lived long enough to see him elected president.

As soon as I saw the obituary on the New York Times web page, sounds and feelings from my childhood rushed into my head. I was, from my earliest memories, a folk-music baby. Though my father (an amateur cellist) loved classical music, my mother had fallen in love with folk as a student at Vassar in the late 1950s. Folk music in the 1950s was the music of the political and cultural Left; it was also experiencing a major rebirth thanks to the efforts of folks like Odetta, Pete Seeger, and others. It was the soundtrack for my mother’s young adult years, and growing up in the 1970s, I listened over and over again to the records she had collected in the late ’50s and early ’60s.

The Newport Folk Festivals of the early 1960s were extraordinarily important in American musical history. My mother had virtually all of the recordings of these live concerts on LPs. On these records, which she or I (or less often, my little brother) would put on on rainy afternoons, I heard Joan Baez, Pete Seeger (on his own and with the Weavers), Ian and Sylvia, Ramblin’ Jack Elliott, and the young — acoustic — Bob Dylan. What had been the soundtrack for my mother’s college and graduate school years became the soundtrack for my childhood.

My liberal politics were — and to some extent still are — inextricably linked to music. I have no musical ability myself, but like many children and teenagers, I found in music an opportunity to discover emotions and ideas that I could not have felt as deeply in any other way. If, like some of my conservative friends, I had been raised listening to the explicitly evangelical music of the likes of the Gaither family, I might have embraced a much more traditional world view as a child. As it was, I came of age on protest songs. I can sing from memory every verse of “Joe Hill”, of “We Shall Not Be Moved“, and “The Banks are Made of Marble.” And Odetta’s version of “Down by the Riverside” is my favorite call to pacifism I know. Continue reading

“Backwoods Barbie” and white rural feminism: of Dolly Parton, 9 to 5, and Sarah Palin

Last night, my wife and I took some friends of ours to see the new musical 9 to 5, written by Dolly Parton and based on the iconic 1980 film of the same name. Just last Tuesday, the show had its world premiere not on Broadway but here in Los Angeles; it will be moving to New York in early 2009.

We went for a variety of reasons, but mostly because all six of us, as different as we are, are devoted Dolly Parton fans. The part that Dolly made famous in the film is played by the wonderful actress Megan Hilty (who did a splendid “Glinda” in many productions of “Wicked”); Allison Janney (of “Juno”, “West Wing”, and “Primary Colors” fame) took over the Lily Tomlin part and acquitted herself very well. The music and lyrics, all by Parton, were accessible, memorable, and fun. The house was packed, and I feel quite certain the show will have a long and successful run here and elsewhere.

But I’ve written before about my deep fondness for Dolly Parton. Last night, watching the show — with its gently feminist theme of exploited working women rising up against a tyrannical and sexist boss — I thought of, you guessed it, Sarah Palin.

Virtually everyone agrees that Sarah Palin has, at least so far, helped the Republican ticket. Mind you, she’s got seven weeks to turn from an asset into a liability for John McCain, and I suspect that by the time we’ve made it close to Halloween, some of the initial enthusiasm for her will have subsided. That may be wishful thinking, of course — it’s also possible that her selection will prove the decisive factor in the election, and a galvanized conservative base will provide the GOP with the winning margin in November as a result. I certainly hope not, but I take that possibility seriously.

I don’t know who Dolly Parton is endorsing in this election. Dolly has always soft-pedaled her politics (though there is a very funny and vicious crack thrown at George W. Bush in the finale of “9 to 5″). Unlike her comrade-in-arms Emmylou Harris (whose advocacy for many social justice causes, especially veganism and animal rights, has made some of her right-wing fans squirm), Parton has carefully eschewed open involvement in the political arena. Dolly has legions of gay fans, whom she always warmly acknowledges — but she also has a strong fan base in southern and rural America. Including, one suspects, a great many voters to whom the selection of Sarah Palin was carefully calculated to appeal. Continue reading

Wimmerata and the Hubert Schwyzer Quartet

If you’re going to be in the Santa Barbara area tomorrow, there’s a concert honoring my father and raising money for the Westmont College quartet that will bear Dad’s name. Actually, two concerts: “fiddling” Americana from 4-6PM and a classical concert from 7:00PM on. $25 dollars at the door; the concert is at Santa Barbara’s Trinity Episcopal Church.

Five most embarrassing songs meme

Jill had a meme up the other day: list the five most embarrassing songs you’ve got on your Ipod. There are both aesthetic and political reasons to be embarrassed, I suppose. At one time or another I downloaded each of these, and a couple have made it on to Friday Random Tens (which will return in September). #5 presents perhaps the greatest assault on good taste among these songs, while #4 is to be lamented for its appalling worldview. But they are all still on my Ipod, and I play them from time to time.

1. “Betty Davis Eyes”, Kim Carnes
2. “Rhythm of the Night”, DeBarge
3. “This is the New Sh*t”, Marilyn Manson
4. “One in a Million”, Guns n’ Roses
5. “Make Me Lose Control”, Eric Carmen

Bonus Embarrassment: “All Cried Out”, Lisa Lisa and Cult Jam
I love this song.

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Hubert Schwyzer Quartet Update

Scott Craig at Westmont College kindly sent me a link to this press release: Newly-Crafted Instruments Resonate Well. It begins:

The Hubert Schwyzer Quartet, a unique ensemble of instruments commissioned by Westmont, is taking shape under the hands of master violin maker James Wimmer at his workshop in Santa Barbara. Named for a former UC Santa Barbara philosophy professor and cellist, the quartet will be used by Westmont faculty and students during the school year and loaned to the Music Academy of the West in the summer months.

You can see pictures here.

The whole family is very eager to hear the first music produced by the quartet that will bear my father’s name in perpetuity. When you think about what lasts and endures, few human-made things are still useable centuries after they were made. Good instruments, however, can remain playable for three or four hundred years if well cared for. Dedicating a string quartet in someone’s memory, in a sense, is more lasting than getting their name up on a building.

We are still fund-raising for Westmont and its music program. You can, if you choose, give here; note Schwyzer Quartet in the gift designation area.

Agency, ambivalence, and desire: some preliminary thoughts on the Miley Cyrus kerfuffle

I met Ruthie Kelly at WAM 2008; she’s the opinion editor of the San Diego State Daily Aztec and a rising feminist voice. I haven’t had much to say about the whole Miley Cyrus photo controversy, and I’m glad I haven’t, as Ruthie has gone ahead and said much of it for me, and said it better. Ruthie writes:

…like the other pop teen queens who came before her, Cyrus was sexualized long ago. That isn’t the real problem. The upsetting part is that her sexuality used to be innocent because she was sending signals with miniskirts and makeup but didn’t really understand what those signs meant. The symbols are meant to be understood by adults who aren’t part of her actual fan base. Her appeal lay in her inexperience – her powerlessness. Her appearance has always been suggestive, but she wouldn’t really know what to do in a sexual situation, so it was a type of make-believe.

But Cyrus is 15 years old now and is starting to grow up. She’s beginning to take control and embrace her sexuality, and use it the way she wants to, as opposed to the way she was directed. Being sexual on any level seems so monumental, new and powerful at age 15. But just when she matures to the point of wanting to embrace and explore that side of herself is when she becomes the most dangerous because then she is the one who takes control.

It’s an interesting point. Though I worry that Ruthie may be overselling Cyrus’ own sexual agency just a tad, I think she’s making a powerful and important point. Part of the discomfort we have with the Miley Cyrus images lies in our recognition that we’re dealing with a young woman who is very publicly asserting her sexuality. Whatever the designs of the photographers in Vanity Fair (or of those who leaked Cyrus’ private pics onto the ‘net), it’s clear from her meteoric rise that Miley (also known as “Hannah Montana”) is a remarkably driven, poised, and thoughtful young woman. And yes, she’s still fifteen. Continue reading