Time To Pull Our Emergency Brake

Time To Pull Our Emergency Brake

 

I haven’t written a new blog post for over a year.

And I am amazed to discover — after visiting my stats page — that people have continued to visit my site.

THANK YOU to everyone who nosed around my blog while my creativity was lying fallow for the past thirteen months.

I’m sure exactly how or why I stopped writing new posts.

Partly — because we have created an economy which encourages us to replace and discard things as often as possible — I needed a newer computer, which a friend extraordinarily gave to me at the end of last year!

Partly I lost blogging momentum.

And partly I didn’t feel that I had much to share that would brighten anyone’s day.

ClimateChangeGraphicBut I HAVE continued to write new songs as well as create demos of my songs using Apple’s wonderful GarageBand program.

And I have continued to lead Music Together classes.

And I have continued to offer hour-long programs of music at retirement communities, assisted living homes, senior centers, and public libraries accompanied by pianist Joe Reid or pianist Molly Ruggles.

I started writing the song at the top of this blog post sitting on the porch with my dad and younger sister at a shared family cottage in upstate NY in the summer of 2015.

I was inspired to finish working on it by the youth-led climate march earlier this month.

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As I have mentioned in previous posts, I had a somewhat unusual childhood.

My mom, siblings, and I spent our summers at my grandmother’s home in Queens, NY (where my mom had grown up) while my dad stayed home in Washington, DC.

A few days each week we’d walk to the end of the block, get on a bus to Flushing, and then ride the #7 train into Manhattan so that we could go on interviews for TV commercials, voice-overs, modeling jobs, plays, and movies.

As I look back, I realize that it was rare for us ever to drive anywhere using a car during these summer months. We just used buses or trains.

Maybe this is why I still like to use public transportation.

When we started out, my older sister was five and I was an infant. Eventually my younger brother and sister were born and joined the process.

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This is what I looked like as a small child.

My family became very familiar with the lobbies, elevators, and waiting rooms of many advertising agencies (depicted in the TV series Mad Men) such as Young & Rubicam, Doyle, Dane & Bernbach, and Grey Advertising.

The ratio of interviews to actual jobs was very steep — and in my early years we considered ourselves a success if each one of us managed to film one commercial per summer.

However, the summer before fifth grade I was cast as a standby in a musical which was trying out at the newly-built Kennedy Center.

My parents allowed me to do this partly because we could live at home during the out-of-town preview period (although I would miss the start of fifth grade that fall), partly because most Broadway musicals flop, and partly because it would be exciting to watch Bob Fosse and the rest of his creative team build a new show,

The musical — Pippin — proved to be a hit, and we ended up moving to my grandmother’s house in Queens year round.

This is when my and my siblings’ careers gained a lot of momentum — since we were now able to audition for work year-round.

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This is what I looked like as my career gained momentum…

During the next three years I ended up doing many commercials, a couple of made-for-TV movies, another play, and a lot of voice-over work.

Then I entered prep school, and my life as a child performer came to an end.

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This is my last professional headshot.

With hindsight — and many years of psychotherapy — I have come to see how odd it was to learn to say “yes” to almost anything we were asked in an interview such as “Do you like to eat peanut butter on bananas?” or “Can you roller skate backwards?” or “Would you be comfortable singing and dancing on a tugboat in the harbor?”

People who said “no” (as one of my siblings did when asked if they liked to eat peanut butter on bananas…) didn’t get hired.

We were supposed to say “yes” and then — if we found out we had gotten a callback visit — we quickly learned how to do whatever we had claimed to be able to do during the initial interview.

Even more sobering is to realize that much of the time I was using my g-d given talents to encourage people to buy stuff that they didn’t need (more clothing, for example) or that was unhealthy to ingest (such as Ring Ding Juniors, Lifesavers, Oreos, and Dr. Pepper) as part of an economy built on our ongoing over-consumption of natural resources.

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The climate march this week and Greta Thunberg’s speech in Washington, DC a few days before it — in which she explains how necessary it is for all of us human beings to pull the emergency brake NOW on our fossil-fuel-driven lives — gave me a few minutes of much-needed hope.

But I continue to feel deeply discouraged by the stuckness/denial/apathy/fear regarding fossil-fuel consumption and climate change that I see all around me — in the media, in the advertising industry, in my neighborhood, in my friends’ lives.

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Almost everyone seems to be continuing to take lots of trips via airplanes and automobiles, continuing to eat lots of meat, continuing to use our air conditioners as much as we want, and continuing to behave as we have been behaving for the past many decades here in these not-so-united states.

And really, why should I expect anything different?

I know from psychotherapy how very difficult it can be to change one’s behavior.

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We in the USA have grown up in an era of hopes and dreams and habits and assumptions which are based on using way more than our fair share of fossil fuels.

Of course we can travel anywhere — and as often — as we want.

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Of course we can own as large a house as we want.

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Of course everyone can own and drive a car, everyone can apply for jobs which require a car to commute, everyone can eat as much as we want in any season of the year — foods which may have traveled thousands of miles before ending up on our plates — and everyone can squander the amazing inheritance of fossil fuels from millions of years of photosynthesis by billions of plants that all of us here on planet earth have inherited.

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Deep sigh.

And if you can’t afford to do these things, you can pay for them using one or more credit cards and become ever more deeply in debt.

As you may know from having read previous blog posts, I am blessed to have cobbled together a very modest living during the past six years (after having been laid off from my day job helping run a non-profit in Harvard Square) which depends largely on bicycling and public transportation. GreenVersusDesertMindset

And I live quite happily without a cell phone.

But my sweetheart of 27 years DOES commute to work using a car.

And I gratefully use his cell phone when we drive to see friends and family around New England and New York.

Another deep sigh.

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What will it take for us to pull the emergency brake on our selfish, out of balance, unsustainable, fossil-fuel consuming, all-too-human habits?

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I think of the anecdotes I have read about conventional farmers who have converted to more sustainable, organic farming practices — but it’s often (very sadly) because they or someone in their family has developed some sort of disease as a result of exposure to toxic pesticides, herbicides, fertilizers, etc.

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I wish we human beings could choose to make deep changes in our life habits without having to experience health/climate crises in our personal lives.

But maybe that’s the path we are on…

DeadTreeInDesert

What do you think?

How have you changed your daily habits in response to climate change?

Where do you find hope in these challenging times?

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Thank you, as always, to the folks who share their photos and graphics at Pixabay which is a wonderful resource for imagery.

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I Feel A Song Coming On

I Feel A Song Coming On

DorothyFieldsSunnySide

I am not sure why I love reading about the lives of songwriters.

And learning many of their songs.

And then sharing what I have learned in one-hour musical programs at retirement communities, public libraries, senior centers, memory cafes, and coffeehouses.

But I do!

The most recent program I put together with jazz pianist Joe Reid features the life and music of Dorothy Fields.

She was a terrific lyricist who co-wrote hit songs from the late 1920s right through the early 1970s.

When many of her friends and contemporaries — such as Cole Porter, Irving Berlin, the Gershwin brothers, Oscar Hammerstein, Larry Hart  — were either dead, discouraged or stymied by evolving musical trends such as folk and rock, Dorothy Fields achieved one of her biggest hits on Broadway, the wonderful musical Sweet Charity.

She was 61 years old.

Go, Dorothy!

Dorothy Fields was born into a theatrical family and raised to be a wife and mother — NOT an actress or a songwriter (both of which occupations her parents strongly discouraged…)

Her father was half of a very famous and successful vaudeville team called “Weber & Fields” who had started as childhood friends performing in the Bowery and had risen as adults to the top ranks of theatrical entertainment in the US .

Weber&Fields

Eventually her father tired of performing and touring, and began to produce shows by other people, including a young team of songwriters named Rodgers & Hart, who were friends with Dorothy’s older brother Herbert (having collaborated together on original theatrical productions while attending Columbia University).

Dorothy and her three siblings had been exposed to theater their entire lives, and Dorothy played lead (male!) roles in amateur theatrical productions at her high school, The Benjamin School for Girls at 144 Riverside Drive on the upper west side of Manhattan.

So it seems a bit surprising (to me, anyways) that her parents attempted to dissuade her from a life in the theater.

When she was growing up, the family had blank books into which everyone was encouraged to jot down ideas for jokes, skits, plots and routines — which served as inspiration when a new show was being created by her father.

And both of her brothers were very successful on Broadway and in Hollywood as writers.

In fact, later on in her life, Dorothy and her older brother Herbert co-wrote the librettos (aka scripts) for shows by Cole Porter and Irving Berlin — including the smash hit, Annie Get Your Gun — which had originally been HER idea as a starring vehicle for her friend Ethel Merman.

Dorothy was supposed to write the songs with one of her most beloved collaborators, Jerome Kern, until Kern unexpectedly died.

 

Among other hits, she and Jerry had co-written “The Way You Look Tonight,” which won an Academy award for best song in a motion picture in 1936.

After a period of mourning, she and her producers — Richard Rodgers & Oscar Hammerstein — asked Irving Berlin if he would consider joining the project.

And the rest is history…

But Dorothy was born in 1905, when middle and upperclass women were expected to become wives and mothers (not actresses or songwriters or librettists).

Women didn’t get the right to vote until 1920 — when Dorothy was 15 — and her life illuminates many of the social changes that unfolded in the US until her death in 1974.

Dorothy managed to finesse her parental/societal expectations by BOTH marrying young (to a doctor) AND pursuing a career as a lyricist.

Although she worked with a “who’s who” list of composers during her long career, three of them stand out as being particularly significant in her creative life: Jimmy McHugh, Jerome Kern, and Cy Coleman.

FIELDS MCHUGH

Jimmy McHugh was a Catholic pianist from Boston, where he had left a wife and son (whom he dutifully supported from afar) when he moved in his 20s to Manhattan to find work as both a composer and business manager for music publishing companies.

He crossed paths with Dorothy when her friend J. Fred Coots — whom she had met while golfing and who went on to write hits of his own such as “You Go To My Head” and “Santa Claus Is Coming To Town” — began introducing her to music publishing companies as a budding lyricist.

Dorothy and Jimmy hit it off creatively — and possibly romantically — although they were both extremely protective of their private lives and mindful about the potential for bad publicity.

During their ten-year collaboration they wrote hits including, “I Feel A Song Coming On,” “On The Sunny Side Of the Street,” and “I Can’t Give You Anything But Love.”

I love learning that “I Can’t Give You Anything But Love” was not an immediate hit (one critic called it “sickly” and “puerile”) and was cut from two different shows before it finally caught on as part of  the Blackbirds of 1928.

Persistence, persistence, persistence!

Her next significant collaborator was Jerome Kern. They wrote songs — including “Pick Yourself Up,” “I Won’t Dance,” and “A Fine Romance” — for Hollywood movies with stars such as Ginger Rogers and Fred Astaire.

Here she is with Jerry Kern (on her left) and George Gershwin (on her right) at a nightclub in the 1930s.

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Jerome Kern was older than many of his contemporary songwriters (Gershwin, Arlen, Youmans and others looked up to him when they were starting to write songs) and had a reputation for speaking his mind — and not suffering fools gladly. Some people in the entertainment industry were intimidated by him.

But not Dorothy. She loved him and even gave him a nickname which few others would have dared to choose: “Junior” (Dorothy was 5″ 5″ tall and towered over Kern, who was much shorter).

I have wondered whether the lyrics she wrote for their song “You Couldn’t Be Cuter” might have been something of an “in joke” between the two of them.

Here’s a version of that song — combined with an earlier hit she wrote with Jimmy McHugh, “Exactly Like You” — that I recorded with pianist Doug Hammer earlier this year.

 

Her third significant collaborator was Cy Coleman, a composer who had already written hit songs with Carolyn Leigh (including “The Best Is Yet To Come,” “Hey, Look Me Over,” and “Witchcraft”) before he met Dorothy at a party.

She was 59 years old, and he was 35.

cyanddorothy

He asked her if she might be willing to explore working together, and she allegedly said something like, “Thank g-d someone asked me…yes!”

They ended up collaborating on a musical inspired by a Fellini film — “Le Notti Di Cabiria,” about a prostitute looking for love — which Bob Fosse and his wife Gwen Verdon had seen and which had immediately inspired Fosse to start working on a musical version for Verdon to star in.

With Neil Simon added to the creative team as librettist, Fosse, Verdon, Fields and Coleman created what became the hit musical Sweet Charity — which went on to become a movie starring Shirley MacLaine and John McMartin, and which gave us songs such as “Hey, Big Spender,” “I’m A Brass Band,” and “If My Friends Could See Me Now.”

Dorothy Fields achieved a remarkable level of success in a male-dominated industry —where women were expected to be on stage, not behind the scenes as part of the creative team.

She was not a glamour girl nor a prima donna — although she was always very well-dressed and had separate closets for her shoes, dresses, suits, sportswear, and evening gowns.

DorothyFields

She was reliable, respectful and professional.

And she was a hard-worker.

At one point she said, “I wrote the words to ‘I Feel a Song Coming On,’ but I don’t believe a word of it. A song just doesn’t ‘come on.’ I’ve always had to tease it out, squeeze it out. Ask anyone who writes — it’s tough labor and I love it.”

I’ll end with two more gems she wrote with Jimmy McHugh — “Don’t Blame Me” and “I’m In The Mood For Love” — which I recorded with pianist Doug Hammer at his terrific studio, Dreamworld, in Lynn, MA.

 

Thank you to Dorothy Fields and her many collaborators for writing such terrific songs.

Thank you to pianist Steve Sweeting for recording “I Feel a Song Coming On” and “The Way You Look Tonight” with me many years ago at his apartment in Brighton, MA.

And thank YOU for reading and listening to this blog post.