Prompted by the release of new album Folklore and the 2020 documentary Miss Americana, your hosts Mark Linsenmayer, Erica Spyres, and Brian Hirt speak with guest Amber Padgett about her love of Taylor, ranking the albums/eras, Taylor as songwriter/puppetmaster, why the hate, weird levels of fan engagement, double standards in expectations for female artists, and more. Like all of our discussions, this one is should be interesting to fans, haters, and folks who’re just curious as to what all the fuss is about.
A couple years ago, obituaries began appearing online for the department store Sears after the 130-year-old American company announced its bankruptcy. Many of the tributes focused on Sears, Roebuck & Co’s catalog, and for good reason. Their massive mail-order business, the Amazon of its day, transformed the U.S., selling guitars to Delta blues and rock and roll musicians and shipping thousands of build-it-yourself houses to rural homesteaders and suburbanites. The sheer reach and scope of the Sears’ catalog can seem overwhelming…. That is, until we turn to the 1912 Harrods for Everything.
This 1,525-page catalogue from London’s world-famous department store, Harrods, does seem to mean everything, with over 15,000 products available for purchase at the store’s location, by mail, or by phone (“anything, at any time, day or night”).
You can see the enormous monument to commerce for yourself at Project Gutenberg. The catalogue took 13 years to scan. “Some idea of the vast quantity of items that Harrods stocked or had available can be taken from the general index,” notes Eric Hutton, one of the volunteer editors on the project, “which runs for 68 pages, five columns to a page.”
Men and women could order custom-tailored clothing, fine jewelry, clocks, watches, furniture. Naturalists and hunters could have their trophies dressed and mounted. Policemen and, well, anyone, could order pistols, “knuckle dusters,” and handcuffs. “You could also hire bands or musicians, plus tents or marquees for outdoor gatherings. You could rent steam, electric, or petrol launches to go down a river, or, if you set your sights further afield, there were ‘exploring, scientific and shooting expeditions… completely equipped and provisioned for any part of the world”… perhaps the Edwardian British version of the Sears House.
A MetaFilter user points out how much globalization and empire play into the marketing. These are “not just luxury goods but commodities. I noticed wheat could come from at least three continents…. Over and over it explains how Harrods will outfit anyone abroad who needs a social or military or exploratory uniform: telegraph Harrods for shoe buckles appropriate to your stations.” Harrods also repeatedly emphasizes they will ship anywhere in the world. Colonial officials in India or Uganda could live like kings. We must confess, we doubt this merchandise was truly meant for everyone.
This was also a time when miracle cures and various unscientific treatments abounded. “You could buy things like chloroform or throat pastilles in dozens of varieties,” notes Hutton, “even those containing cocaine!”
A few of the commodities featured in Harrods for Everything are a lot harder to come by these days. Some of them, like the pages of guns, are easy to get in the US but not so readily available in the UK and many of its former colonies. (Though you can find catalogues for just about anything if you look hard enough.)
But aside from certain obvious historical differences, the catalogue isn’t that much different from the pages of online retailers who will also sell you almost anything, at any time of day, and ship it to you anywhere in the world. What we thought of as unprecedented innovation was commonplace in the days of Queen Victoria, only shipping took a lot longer. Harrods’ universalizing Latin motto even sounds particularly modern, in English, at least: Omnia Omnibus Ubique, or “everything for everyone, everywhere.” Yet much, too, has changed. Harrods, outfitter of the British Empire, is now owned by the state of Qatar.
No first trip to Mexico City is complete without a visit to the Frida Kahlo Museum. Located in the village-turned-borough of Coyoacán south of the city’s center, it requires a short trip-within-a-trip to get there. But even for travelers who know nothing of Kahlo’s art, it’s worth the effort — especially since they’ll come away knowing quite a bit about not just Kahlo’s art and life but the culturally rich place and time she inhabited. For the building occupied by the Frida Kahlo Museum was, in fact, the home in which the artist was born and spent most of her life, making her one of Coyoacán’s many notable residents. (Others include writer Octavio Paz, iconic comic actor Mario “Cantinflas” Moreno, and actress-singer Dolores del Río.)
Though I’ve long wanted to return to the Blue House, as the Frida Kahlo Museum is colloquially known, I somehow haven’t made it back again on any of my subsequent trips to Mexico City. And given the state of world travel at the moment, I doubt I’ll get the chance to make another visit any time soon.
Fortunately, the Museum has become virtually explorable online, with 360-degree views of all its rooms as well as its grounds. Even virtually, writes Vogue’s Manon Garrigues, “Frida’s spirit can be felt everywhere. In her atelier are carefully arranged pigments facing her easel, while in the kitchen, which once welcomed the couple’s friends to the house, including their renowned neighbor, Trotsky, who lived next door with his wife, are playful ceramics.”
For those with compatible headsets, all of this is also viewable in WebVR mode — even Kahlo’s bedroom, where “an urn in the form of her face lies on her bed, holding her ashes. Beside is the mirror in which Frida, bedridden, observed herself to paint her famous self-portraits, such as The Two Fridas and Frida y la cesarea, now on display in the villa.”
The home-turned-museum’s ten rooms display a great deal of Kahlo’s art, of course, but also works by her husband, the painter Diego Rivera, as well as the couple’s clothing and personal effects. You’ll find paintings by other artists of Kahlo’s day like Paul Klee and José María Velasco, and also handcrafted items from other regions of Mexico. The only thing missing in the virtual Frida Kahlo Museum experience is the requisite cafe de olla enjoyed afterward, back out on the streets of Coyoacán. Enter the virtual tour here.
Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.
Revisiting Ernest Hemingway’s A Moveable Feast a couple of decades after I read it last, I notice a few things right away: I am still moved by the prose and think it’s as impressive as ever; I am less moved by the machismo and alcoholism and more interested in characters like Sylvia Beach, founder of Shakespeare and Company, the bookstore that served as a base of operations for the famed Lost Generation of writers in Paris.
“Sylvia had a lively, sharply sculptured face, brown eyes that were as alive as a small animal’s and as gay as a young girl’s,” Hemingway wrote of her in his memoir. “She was kind, cheerful and interested, and loved to make jokes and gossip. No one that I ever knew was nicer to me.” Indeed, Hemingway also “recounts being given access to the whole of Sylvia Beach’s library at Shakespeare and Company for free after his first visit,” notes writer RJ Smith.
Beach founded the shop in 1919, encouraged (and funded) by her partner Adrienne Monnier, who owned a French-language bookstore. Beach’s mostly English-language Shakespeare and Company would become a lending-library, post office, bank, and even hotel for authors who congregated there. She supported the great expatriate modernists and hosted French writers like André Gide and Paul Valéry. She also published James Joyce’s Ulysses in 1922 when no one else would, after earlier published excerpts were deemed “obscene.”
Joyce was shaped by Paris, and owed a huge debt of gratitude to Beach, just as readers of Ulysses do almost 100 years later. Forty years after the novel’s publication, Beach traveled to Ireland to celebrate and sat down for the long interview above in which she remembers those heady times. She also tells the story of how a Presbyterian minister’s daughter—who went to church in Princeton, NJ with Grover Cleveland and Woodrow Wilson—became a pioneering out lesbian modernist bookseller in Paris.
Beach remembers meeting “all the French writers” at Monnier’s shop after her time studying at the Sorbonne and how American writers all came to Paris to escape prohibition at home. “For Hemingway and his most of his friends,” says Harvard historian Patrice Higonnet, “Paris was one long binge, all the more enjoyable because it wasn’t very expensive.” For Beach, Paris became home, and Shakespeare and Company a home away from home for waves of expats until the Nazis shut it down in 1941. (Ten years later, a different Shakespeare and Company was opened by bookseller George Whitman.)
“They were disgusted in America because they couldn’t get a drink,” Beach says, “and they couldn’t get Ulysses. I used to think those were the two great causes of their discontent.” Her interviews, letters, and her own memoir, Shakespeare and Company, tell the story of the Lost Generation from her point of view, one animated by an absolute devotion to literature, and in particular, to Joyce, who did not reciprocate. When Ulysses sold to Random House in 1932, he offered her no share of his very large advance.
Beach was forgiving. “I understood from the first,” she said, “that working with or for Mr. Joyce, the pleasure was mine—an infinite pleasure: the profits were for him.” She was doing something other than running a business. She was “cross-fertilizing,” as French writer Andre Chamson put it. “She did more to link England, the United States, Ireland, and France than four great ambassadors combined.” She did so by giving writers what they needed to make the work she knew they could, at a very rare time and place in which such a thing was briefly possible.
It seems as inevitable as bell bottoms and shoulder-wide collars that Stevie Nicks would transform into the New Age priestess who greeted the 70s with a wave of a billowy, shawl-draped arm. “It makes sense,” Bill DeMain writes at Classic Rock, that her “signature song was inspired by a kind of ancient magic” of the kind that everybody was getting into. That song, “Rhiannon,” takes its name from “an old Welsh witch,” as Nicks would often announce onstage. During Fleetwood Mac’s Nicks/Buckingham heyday, Nicks embodied the character as though possessed, her performances of the song “like an exorcism,” Mick Fleetwood recalled.
The story of how “Rhiannon” came to be, however, is not as straightforward as Nicks’ reaching into the pages of the Mabinogion, the Welsh prose cycle in which Rhiannon first appears. The name came to her several steps removed from its mythical origins, from a novel by Mary Leader called Triad.
“It was just a stupid little paperback that I found somewhere at somebody’s house,” she recalls of the uncanny 1974 composition. “And it was all about this girl who becomes possessed by a spirit named Rhiannon. I read the book, but I was so taken with that name that I thought: ‘I’ve got to write something about this.’ So I sat down at the piano and started this song about a woman that was all involved with these birds and magic.”
“I come to find out,” she says, “after I’ve written the song, that in fact Rhiannon was the goddess of steeds, maker of birds.” The perfect anthem for a singer on the threshold of turning the already famous Fleetwood Mac into one of the biggest rock bands in the world. They were in a kind of wilderness period, having fired longtime guitarist and musical linchpin Danny Kirwan and lost guitarist Bob Welch. When Lindsay Buckingham, his replacement, insisted that Nicks join with him, she brought the song “about an old Welsh witch” along with the pair’s collection of shawls, capes, and kimonos.
You can learn more about the myths of the Mabinogion, the oldest known prose stories in Britain, in the Polyphonic video above. The collection inspired the epic fantasies of J.R.R. Tolkien, and by proxy the epic fantasies of Led Zeppelin and every heavy metal band thereafter. It also features in Lloyd Alexander’s 1960’s fantasy series Chronicles of Prydain (later poorly adapted in Disney’s The Black Cauldron). The pop culture of the 70s had been infused with ancient Welsh before Rhiannon came along, but the goddess herself seemed to belong exclusively to Stevie Nicks, who intuited a deep magic in the music of her ancient name.
What sort of art will emerge from this unprecedented moment in history, when the global coronavirus pandemic and the Black Lives Matter movement grew exponentially, and synchronously.
And not to presume, but to hope, what will humans think of that literature in 50 or 100 years’ time?
Over the course of a not quite hour-long American Masters episode devoted to author Ursula LeGuin, flux emerges as a major theme of the science fiction pioneer’s life and work.
The youngest child of A.L. Kroeber, the founder of academic anthropology, LeGuin, who died in 2018, criticized herself for having been slow to open her eyes to the injustice around her.
It became a preoccupation in stories like The Ones Who Walk Away from Omelas, a thought experiment in which the reader must consider the ethics of a prosperous happy society, whose good fortune depends on the suffering of a captive child.
The Dispossessed arose from her curiosity as to what “a genuine, working anarchist society (would) be like.”
(Answer: flawed, like every other human society.)
One of her best known books, The Left Hand of Darkness, published in 1969, prefigured the coming battle for gender equality, and so much more, by creating a truly gender fluid world in which the androgynous inhabitants’ monthly periods of sexual activity conferred temporarily male or female biological status at random.
It was hailed as a feminist groundbreaker, but as time went on, LeGuin found herself in hot water for having gone with the masculine pronoun as a default way of referring to her androgynous characters:
At first, I felt a little bit defensive, but, as I thought about it, I began to see my critics were right. I was coming up against how I write about gender equality.
My job is not to arrive at a final answer and just deliver it.
I see my job as holding doors open or opening windows, but who comes in and out the doors? What do you see out the window? How do I know?
The book is still in print, should new generation of readers feel compelled to plumb the text for problematic passages. Why should the many reflections, essays, and think pieces that marked the 50th anniversary of its publication be the last word?
Worlds of Ursula K. Le Guin is available to stream for free on PBS through Monday August 31, along with four other American Mastersepisodes featuring artists who, like Le Guin, broke the existing molds:
Over a six-decade career, four-time Tony-winner and outspoken LGBTQ activist Terrence McNally wrote dozens of trailblazing plays, musicals, operas and screenplays about sexuality, homophobia, faith, and the power of art.
The charismatic actor from Puerto Rico was celebrated for the range and versatility he brought to roles on stage and screen, from Shakespearean plays to the “The Addams Family.” Though his career was cut short by his death at age 54, he paved the way for generations of Latinx actors.
One of the most influential artists of the 20th century, Mark Rothko’s signature style helped define Abstract Expressionism. The celebrated painter’s luminous paintings now set records at auction, and are seen by millions in London, Washington, D.C. and at the famous Rothko Chapel in Houston.
A formative voice of the Native American Renaissance in art and literature, author and poet N. Scott Momaday was the first Native American to win the Pulitzer Prize.
Here’s to ever-evolving worlds, and acknowledging the contributions of those who helped make this change possible.
Stream the five PBS American Masters episodes mentioned above for free through the end of August here.
We could say that the music of Johann Sebastian Bach transcends instrumentation. Wendy Carlos did a great deal to prove that with her 1968 album Switched-On Bach, composed entirely (and laboriously) on an early Moog synthesizer. Despite its controversial union of long-revered compositions with practically untested musical technology, that project won high praise, not least from as famed an interpreter of Bach as Glenn Gould. Here at Open Culture we’ve featured many of Gould’s own performances of Bach: of the Keyboard Concerto No. 1 in D minor in his 1960 U.S. television debut, of the cantata BWV 54 on a 1962 CBC special, of The Art of Fugue and the Goldberg Variationsas played toward the end of his life in the early 1980s.
Going back to 1959, we find a 27-year-old Gould playing Bach in a National Film Board of Canada documentary, and on “the piano he favors above all others for practicing: a 70-year-old Chickering with a resonant, harpsichord quality recalling the instruments of the time of Bach.” But to truly hear Bach’s music as Bach himself would have heard it, you need to bring out those very same instruments.
The ten selections on Voices of Music’s Bach playlist include the Cello Suite No. 2 in D Minor BWV 1008, Allemande and Courante played on the baroque cello by Eva Lymenstull; the Arioso from Cantata 156 (Sinfonia) with Marc Schachman on the baroque oboe; the Brandenburg Concerto No. 6 in B Flat Major BWV 1051 played by Kati Kyme and Elizabeth Blumenstock on baroque viola (viole da braccio), Elisabeth Reed and William Skeen on the viola da gamba, Tanya Tomkins on the baroque cello, Farley Pearce on the violone, and Hanneke van Proosdij on the harpsichord; and the Sonata No. 3 in C Major for baroque violin BWV 1005 interpreted by August and Georgina McKay Lodge, the former playing the baroque violin and the latter reading Ursula K. Le Guin’s poem “Hymn to Time.”
This isn’t the first time the work of Le Guin, now remembered as an influential author of science fiction and fantasy literature, has been set to music. Just after her death in 2018 we featured Rigel 9, the space rock opera she created in collaboration with avant-garde composer David Bedford in 1985. If Le Guin’s words suited a tale of the future told with high-tech New Wave sounds, they suit an acoustic return to the eighteenth century just as well.
This is a versatility much like Bach’s own, which has guaranteed that, more than 250 years after his death, his music retains its power and depth whether expressed through a piano, a synthesizer, or indeed the instruments of his day — not that the players of percussion tubes or wine glasses have done him great injustice either.
Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.
What makes one artisan stand out in a field of highly skilled competitors? When we think of classical instruments, we think of the Stradivari family, famed makers of violins, violas, cellos, and other instruments. But the Stradivarius’ success may owe as much to chance as to superior craftsmanship. A Texas A&M professor emeritus of biochemistry, Joseph Nagyvary (also a violinist and violin maker), discovered that Stradivarius instruments were soaked in chemicals “to protect them from a worm infestation that was sweeping through Italy in the 1700s.”
“By pure accident,” this method of pest control, Texas A&M Today writes, had “the unintended result of producing the unique sounds that have been almost impossible to duplicate in the past 400 years.”
So, there you have it, the secret of the Stradivarius sound: borax and brine. There’s more to it than that, of course, but the chemical bath advantage makes for a fascinating bit of trivia. To the ear, it matters little whether a sound is the result of accident, intention, or some measure of the two.
If it sounds sweet, it is, and Stradivarius instruments (in playable condition, anyway) sound like the voices of angels. Happily, the Stradivarius experiment was repeatable hundreds of times, and not only for the famed orchestral instruments with which we’re familiar, if only by reputation. The family made around 1000 instruments, 960 of which are violins. They also made a couple handfuls of guitars, five of which exist in complete form. These are:
The first, and earliest of these instruments, the so-called Sabionari, was made by Antonio Stradivari himself and happens to be the only playable guitar of the five, due to a restoration by three master luthiers. All of the Stradivari guitars are ten-string (five-course) instruments, with doubled notes like a modern 12-string guitar. But, “as with all Stradivari instruments,” The Strad points out, “the ‘Sabionari’ was modernized,” converted to six-string in a process that sounds especially violent in relation to what we now view as a precious museum piece (especially as Andrés Segovia signed the guitar in 1948).
In the early 19th century, Italian luthier Giuseppe Marconcini “changed the neck, peghead and bridge, and added new linings and braces.” The original parts he removed were long gone, so restorers had to fit new ones to the body. Curiously, Marconcini’s 150-year-old parts were “infested by woodworm,” but “the insects spared the original soundboard and bracing wood by Stradivari.” Effective pest control not only preserved the wood; it also contributed to the sound we hear above in these many videos featuring the Sabionari, with players Krishnasol Jimenéz, Ugo Nasrucci, and Rolf Lislevand, who plays a lively Tarantella below and gives us a taste of how the instrument was likely used to accompany dances.
Where it was once “extremely rare” to hear the sound of a Baroque guitar, we can now all, thanks to the internet, enjoy Stradivarius guitar performances. You can see many more here, and learn much more about the 1679 guitar itself, here.
What happens when anti-racist protesters gather in the streets and are not met with tear gas, rubber bullets, and batons? For one thing, they make art and graffiti. Lots of it, on walls, streets, sidewalks, courthouse doors, the plywood of boarded-up windows, wherever. Public activist art serves not only as a memorial for victims of state oppression, but as a way to imagine what the future needs and visually occupy the space to make it happen. In the intertwining “mutual relations of the political and the aesthetic,” symbols can begin to call real conditions into existence.
The streets of cities around the country have become temporary galleries of artworks that remember victims of systemically racist police violence and call for justice, even as they imagine what a more just world might look like: one where people are not trapped in cycles of poverty by austerity and state violence. Such displays have proliferated especially in Minneapolis, where George Floyd was killed. There, the “memorial… is constantly changing. In the days following Floyd’s murder by the police, street art, flowers, handwritten notes, and more” appeared.
Now the site “has become a living space,” Todd Lawrence, a professor at the University of St. Thomas, tells Leah Feiger at Hyperallergic. “The state of flux characterizes much of Minneapolis’s street art scene in the wake of recent protests,” Feiger writes. “The ownership of the physical art is contentious,” and temporary installations become sites of long-term debate. The University of St. Thomas has decided to preserve these ephemeral statements in a database called Urban Art Mapping: George Floyd & Anti-Racist Street Art. The project began with a focus on Minneapolis and has “steadily expanded with every new submission.”
The project includes in its wider scope a database of COVID-19 street art, with many an acknowledgement of how government failures in response to the pandemic connect to the willful disregard for human life the Black Lives Matter movement calls out. “Artists and writers producing work in the streets—including tags, graffiti, murals, stickers, and other installations on walls, pavement, and signs—are in a unique position to respond quickly and effectively in a moment of crisis,” notes the COVID-19 Street Art site. As we limit our movement through public space, that space itself transforms, responding in direct ways to a multitude of intersecting crises none of us can afford to ignore.
“Vengo de Japón.” With those words Japanese sculptor Etsuro Sotoo introduces himself to us in “Stone Cut,” the short film from NOWNESS above. Since coming to Barcelona in 1978, Sotoo has not just mastered the Spanish language but converted to Roman Catholicism and dedicated much of his life to laboring on the completion of the most famous building in Spain: Antoni Gaudí’s magnum opus, the Basílica de la Sagrada Família. Not that it was quite so revered when Sotoo first encountered it: “Back in the day, no one really cared about Sagrada Familia,” he says. “There were stones and rubble, but it was mostly an abandoned ruin. This situation lasted many decades.”
Even the young Sotoo himself had no interest in the architect of Sagrada Familia, but “back then it was mandatory to know Gaudí’s name. Slowly, my interest in Gaudí started to grow in me. And today it keeps growing.” As it should: for more than 40 years now, Sotoo has worked to complete what Gaudí left unfinished at the time of his death in 1926, a decade before the outbreak of the Spanish Civil War. That bitter conflict not only put a stop to the construction of Sagrada Familia for nearly two decades, it also damaged what had already been built: the sculptures of its Porta del Rosari, for example, which it has fallen to Sotoo to restore.
Sculptures constitute much of the elaborate decoration of Sagrada Familia’s exterior and interior, both of which present the viewer with nary a straight line nor a flat surface. Even in the incomplete building, the effect is at once organic and otherworldly. “Gaudí is way beyond where we are today,” says Sotoo, and his filmmaking countryman Hiroshi Teshigahara must have shared that sentiment, having paid tribute to the architect with a worshipful 1984 documentary. The project of realizing the architect’s unprecedented aesthetic vision — the result of a conversation “with God about something very big and profound” — continues to this day, 138 years after the commencement of its construction, which moved slowly even during Gaudí’s lifetime. “My client,” history remembers him having said, “is not in a hurry.”
The current push to complete Sagrada Familia has a more pressing deadline: the year 2026, the centenary of Gaudí’s death, at which time less than a quarter of the project was complete. (You can see a 3D rendering of the remainder of the process in this video from the Sagrada Familia Foundation, previously featured here on Open Culture.) But that time frame only covers completion of the structure, including the eighteen spires Gaudí envisioned as representing the Twelve Apostles, the Virgin Mary, the four Evangelists, and Jesus Christ. The decorative elements should be finished by the early 2030s, granting more breathing room to artisans like Sotoo — who, having spent four-decades being reshaped by Gaudí himself, knows that architectural genius can’t be rushed.
Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.
Nina Simone’s creative and political community meant everything to her, and the many losses she suffered in the 60s sent her deeper into the depression of the last decades of her life. “Langston Hughes, James Baldwin, and Lorraine Hansberry [were] prominent,” writes Malik Gaines at LitHub, “among… socially engaged writers and dramatists” whom she considered not only her “political tutors” but also her heroes and closest friends. She never stopped grieving the loss of Hansberry and Hughes and frequently memorialized them in tributes like “Backlash Blues.”
Written by Hughes, and one of Simone’s fiercest and most timely civil rights songs, “Backlash Blues” represents the significant influence the poet had on her and her art. In a live 1967 recording, she sings, “When Langston Hughes died—He told me many months before—Nina keep working until they open up that door.” The two first met when Simone was still Eunice Waymon from Tryon, North Carolina: an aspiring classical pianist, “president of the 11th-grade class and an officer with the school’s NAACP chapter,” explains Andrew J. Fletcher, a board member of the Nina Simone Project in Asheville.
This was 1949, and Hughes had come to Asheville to address Allen High School, the private school for African American girls Simone attended through a scholarship that her music teacher and early champion collected from her hometown. The poet “could not have known,” Maria Popova writes at Brain Pickings, “that [Simone] would soon revolutionize the music canon under her stage name.” But nearly ten years later, he recognized her talent immediately.
On the release of Simone’s first album, Little Girl Blue, Hughes was “so stunned that he lauded it with lyrical ardor” in his column for the Chicago Defender.
She is different. So was Billie Holiday, St. Francis, and John Donne. So in Mort Sahl. She is a club member, a coloured girl, an Afro-American, a homey from Down Home. She has hit the Big Town, the big towns, the LP discs and the TV shows — and she is still from down home. She did it mostly all by herself. Her name is Nina Simone.
They would become close friends and mutual admirers. Hughes sent her “books he thought would inspire her,” including several of his own, and wrote “words for her to set to song.” She wrote to him with earnest expressions of appreciation, especially in the letter here, penned in 1966 just before Hughes’ death.
Simone had just read Hughes’ autobiography The Big Sea. The book, she says, “gives me such pleasure—you have no idea! It is so funny.” She also writes, with candor:
Then too, if I’m in a negative mood and want to get more negative (about the racial problem, I mean) if I want to get downright mean and violent I go straight to this book and there is also material for that. Amazing—
I use the book—what I mean is I underline all meaningful sentences to me…. And as I said there is a wealth of knowledge concerning the negro problem, especially if one wants to trace the many many areas that we’ve had it rough in all these years—sometimes when I’m with white “liberals” who want to know why we’re so bitter—I forget (I don’t forget—I just get tongue-tied) how complete has been the white races’ rejection of us all these years and then when this happens I go get your book.
Hughes’ is rarely “mean and violent,” but Simone brought to her reading her own despair and rage and raw sense of rejection, emotions she was never afraid to explore in her work or talk about with humor and fierce ire in her life. “Brother, you’ve got a fan,” she gushes. The Big Sea “grips my imagination immediately plus everything in it I identify with, even your going to sea and I’ve never been to sea.” She had not been to sea, but she had been adrift, “depressed, alienated and low,” as she sang at Morehouse College in 1969 in a performance of her civil rights anthem and tribute to Lorraine Hansberry, “To Be Young, Gifted and Black.”
The adlib framed Simone’s feelings with the same “emotional and political dimensions,” writes Gaines, she found in Hughes’ work. Though she does not mention it in her letter, her annotated copy of The Big Sea surely marks up the passage below, in which Hughes’ describes his early unhappiness and his transformative encounter with art:
When I was in the second grade, my grandmother took me to Lawrence to raise me. And I was unhappy for a long time, and very lonesome, living with my grandmother. Then it was that books began to happen to me, and I began to believe in nothing but books and the wonderful world in books–where if people suffered, they suffered in beautiful language, not in monosyllables, as we did in Kansas.
For Simone, music gave her suffering purpose, but not the music she played for audiences and on record. One of the saddest ironies of her career is that the woman dubbed “The High Priestess of Soul” had little interest in playing soul. She embarked on her popular music career to fund her classical education. However, the opportunities to play the way she wanted to did not arise. “Nina closed her letter on a strangely down note,” writes Nadine Cohodas in Princess Noire: The Tumultuous Reign of Nina Simone. “Her melancholy overwhelmed any excitement about playing for the first time in France and Belgium. ‘No pleasure,’ she told Langston, ‘just work.’”
So much of Simone’s frustration and burnout in the music industry came out of a deep sense of alienation from her work. The shy Eunice Waymon had never craved the spotlight, something Hughes must have come to know about her in the years of their acquaintance. In his first note of praise, however, he gets one thing wrong. As she was always the first to point out, Simone did not do it “mostly all by herself.”
The support of her mother, her teacher, and her small “down home” community took her as far as it could. Her relationships with Hansberry, Hughes, and other artists/activists carried her the rest of the way. Until they were gone. But when Hughes died, Popova writes, “a devastated Simone turned her coveted set at the Newport Jazz Festival into a tribute and closed it with an exhortation to the audience: ‘Keep him with you always. He was a beautiful, a beautiful man, and he’s still with us, of course.’” See much more of their correspondence at the Beinecke.
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