Chicago, 17 Years Later

The sprawling expanse of it never ceased to impress me.

It was a “city of neighborhoods” everyone had said.

We only ever needed one.

The apartment was a ten-minute walk to the train – the Granville stop of the red line to Howard (14 stops from downtown Chicago). One of the last on the line, so far north was it. Near the lake too, though I only went there once or twice. It would not be warm enough – not during the limited months of fall and winter in which I’d be there. (I didn’t know that at the tail end of summer when we moved in, else I’d have gone a few more times.) We found the apartment earlier in the summer. It was one of the first we looked at, and, somewhat frightened we might not find another, we took it without exploring others. It was huge, but rather far from the downtown and other places of population. We’d forgotten the main tenet of any real estate interaction: location, location, location. Still, the space was immense and airy. A sunny living room with an expanse of windows (in which we draped silk saris and a bright accent of orange fabric) was where we set up my writing desk and the television. A dining room, which we used maybe once or twice, was luxuriously plopped in the middle of the layout. There was a cozy kitchen in the back corner of the apartment, in which I cut my cooking teeth, and two bedrooms. He would move into the smaller, second one right before we ended it.

I sat on the train, not reading a book or looking at my phone, but simply existing, inhabiting the moment. This was important to me, I don’t know why. I’d long since made peace with my ex-boyfriend. We were friends. The past was done. I was returning for something else.

The train ride went swifter than I recalled it going. Back when I lived here, I could not get to and fro quickly enough. Every time I sat on the train, I wanted only to get off it as soon as possible. On this night, I sat and breathed in the moment. As each stop ticked by – Addison, Sheridan, Wilson, Lawrence, Argyle – I remembered a little more. Frigid nights, waiting on the platform for the next train… The first flush of snow that fell so furiously in that first and only awful winter… The happy trips downtown in the beginning… The lonely trips near the end… And this trip… which would it be? Lost in thought, I looked up as we were pulling out of Thorndale. The next stop was mine.

It came too soon. I wasn’t ready.

I stepped off the train and walked down to the street. Vaguely, it began to come back to me. I sensed direction more than I recognized anything specifically. A bar I recalled was still there beside the station, and I ducked into it for a drink. A toast to the past. A glass of fortitude. A bit of warmth as the night grew ever colder.

Back on the street, I walked in the direction of my old apartment. It was more difficult to remember in the dark of night, but I still knew the general way I was headed. It was quiet here. I always liked that about this part of the city. Tonight, it was haunted.

Do you know the scene in the Harry Potter books when he returns to Godric’s Hollow? That’s how this night felt. There were ghosts here, phantoms of the past scurrying about, and each shadow held a promise and a warning. I hastened my pace, and realized I had overshot my turn. I asked the only soul I saw along the way where Thome was, and he directed me back to the street I had just crossed. When you’re 41, things are fuzzier than when you were 25, especially at night.

Back on track and righted for the instant, I approached my former apartment from the opposite end. It was fitting, I suppose, coming at things from a different angle. It also happened to be the first way we approached the place on the day we moved in.

An August day, summer in Chicago, at the last half of the end of the century. The year was 1999. Everything was about to end. It was hot, as expected, but there was a different kind of heat in my throat, which felt like it was closing up as a sickness hit me the moment we drew into the city. A bad omen, to be sure, but I was still hopeful. I’d go to the hospital a day or two later to figure out what was wrong, and then I would heal. An inauspicious beginning to an early end. Something wasn’t right.

We both knew it. I felt it in my heart, but was too afraid to admit it. On our first day moving in, I’d seen our mailbox, and we put both our names on it. It left me with such a feeling of promise, and a burden as well. In a changing world, we were a couple now. A gay couple, and certain eyes would focus on us as an example of what was to come. There would be shame and a victory for all the worst people if we were to break up. That’s no reason to have or end a relationship. But it was in the back of my mind the whole time. I’d be lying if I pretended it didn’t matter. I’d also be lying if I pretended it wasn’t unfair.

We settled in nonetheless. He took a job at a dinner theater place, the way most actors do. I sought freelance work and got a couple of articles published in the Windy City Times. It was my first encounter with an editor who cut me down to size, and it was the most embarrassing and helpful bit of guidance I would receive. (Thank you, Neda Ulaby.) Growing up means acknowledging what you don’t know, and having the courage to accept criticism and advice with grace, and with an eye toward improvement. Ms. Ulaby gave me some much-needed wisdom about leading with a striking sentence, and setting up the reader to want to read more. I had never thought about writing that way, and in so many ways I owe her more than I ever told her.

It was a small moment of personal advancement in a time when I settled into the homemaker role. My boyfriend was out and about at work and auditions. I cherished the role, and I started cooking for us – walking to the local market and coming up with dishes from a cookbook that my Mom had given us. It was an empty job, as most homemakers, male and female, ultimately realize. I shouldn’t say that. Some find fulfillment in it, and I will be the first to defend the difficulty and nobility in it. More accurately, it wasn’t for me, not then, not so soon. I’d kill to do it now, but back then it wasn’t me. I wanted it to be, but he didn’t want that. We would always be different.

He saw that first, and he had the prescience to end it then. I wanted that discipline and forethought and courage, but I didn’t have it. That’s why it broke me. Still, as much as I was heartbroken, on some level I knew he was right. Those are always the saddest break-ups. Because there had been good. There had been romance. There had been the beginnings of a life together. I was devastated when it ended. But I understood.

Suzie had come on that last day and we drove a rented truck away from my first true love. I remembered that now. In the dark of night, I approached the walkway to that apartment. No one else was around.

Tonight, I pause at the open gate and remember my first day and last day at that apartment. I walk by the privet hedge and the yellow brick of the building, and approach the entry-way. This was it. How strange that it felt like the end of the world at the time, and yet I feel so little right now.

At the end of the walkway, near the door, I see the buzzer box listening the current inhabitants. I remember when our names were next to each other there. I peer inside at the row of mailboxes, and to the right, where the stairs led up to our old apartment. There was darkness there now. Darkness of night, and darkness of memory. It wasn’t my home now. It never was.

Turning around, I go back into the night. Walking to the train station, the route I had taken so many times, so many years ago, I found myself crying. It caught me by surprise. The church that once inspired a short story stood before me. A monolith of gray stone, it rose into the sky. I always felt dizzy as I followed it higher with my eyes.

The street was empty. I was grateful for that.

I cried for how young we were, how much we knew but didn’t know, and how much we had once loved each other. I cried for the way life did this to us, how we grew past it, how we forgot and moved on and all that we shared here seemed like nothing. I cried for the young man I left behind in this city, for how much he once cared.

I cried for the beauty of this night, for the dark solitude in which I found myself seventeen years later, for the way I walked past the block the first time because I had forgotten so much, for the gentleman who turned me in the right direction, and for the couple suddenly walking their dog behind me. I don’t know why, but I cried for it all.

I slowed my pace as I neared the intersection near the train station. It was brighter here.

The light at the end of the tunnel.

Back in the street lights of the main road, I wipe away my tears, almost laughing at them. Maybe this was the delayed weeping from having seen ‘Hamilton’ and forcing myself not to bawl in front of anyone.

…The moments when you’re in so deep/ It feels easier to just swim down…

And maybe they’re just the tears of the past that I never cried.

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A Revolutionary Return

My friend LeeMichael had been in Chicago a few weeks before my visit and had advised me to try to get day-of ‘Hamilton’ tickets. To be honest, I’d never been enthralled with the idea of a hip-hopera lesson in history, but the hype and hoopla of the musical had largely been reported as justified, so I was open to giving it a shot. Tickets are notoriously difficult to get, and even when available they sometimes begin at the $800 mark. I won’t even pay that for Madonna, so I wasn’t counting on much. Yet there was a small line of four people at the ticket counter, and I hopped in to see if any cancellations for the lottery had taken place. Twenty minutes later, I had two second-row tickets at face value, and was frantically trying to reach Chris who still had not woken from the night before.

The show was due to start in a couple of hours, so I made my way to the nearby Palmer House Hilton, where I stayed on my very first visit to Chicago in 1995. Another memory, back to that summer visit over two decades ago. After a tumultuous train ride, my friend Kerry and I arrived to a heatwave in the height of August. The cool, dim opulence of the Palmer House was a balm on my overheated agitation, and I settled into the sumptuous lobby with relief, then and now. The memories were overlapping, but it was good. Despite the overbearing heat of that first trip, it had been a happy one. Now, we were about to see ‘Hamilton’ from the second row (I had to get the hotel to call Chris directly since he had his phone off and there was only an hour and a half to performance time) and I bellied up to the Palmer House bar for a quick lunch before the show.

For some reason, I had never ventured here when I lived in Chicago. I’m not sure why – hotel lobbies are my comfort zone, and this one was especially gorgeous. Maybe on some level I knew not to soil such magnificence with my frame of mind at the time. I was glad for that now. My memories were only happy ones, and I was making a new one with the American Revolution about to happen a few doors down.

The show was phenomenal (review to come) and after it was done I wanted to walk leisurely back to the hotel. Chris was in a rush for some reason, wanting to order a car to get us there quicker, but I was adamant. The afternoon was beautiful, and it was a manageable distance. We got back to the hotel and after suggesting a dozen restaurants, and having him turn them all down, we settled on a couple of options nearby. I’ve done this sort of dance with Chris before, and I wasn’t about to do it again. Without a plan, he would wander and waffle and in the end we’d have to settle for something neither of us wanted. But I was too tired to argue, and agreed to the first place we found, then suggested we go our own way for the evening. I had one more place I wanted to go, and he was agitating me with his FOMO. (More on that later too.)

I wrapped my scarf around my neck. The night had turned cooler, and the light had drained from the sky. It was only 8:30 or so, but my journey was a long one. I thought I could find my way, but I wasn’t sure. With a small sense of hesitancy, I hopped on the red line train and headed north. To the apartment where I’d lived with my first serious boyfriend…

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Beneath the Blue Water of the Belugas

The last time I saw the beluga whales at the John Shedd Aquarium I had tears in my eyes.

They were beautiful. Elegant and white, with deceptive “smiles” that hid any sorrow at their imprisonment. Such majesty should never be confined, and some souls were not meant to be tethered. My boyfriend was breaking up with me, and we stood beneath the blue water lost in our own thoughts, no longer together, no longer a partnership.

Maybe it was the magnificence of the whales, but I’ve always remembered that moment at the aquarium, when we were right at the end, quite vividly. Maybe it was the pain that was searing my heart – the burning scar being rendered upon my soul as the calming belugas swam in the blue.

They were still here, seventeen years later.

I’d gotten up early to beat the crowds. Chris slept in, so I was on my own in Chicago again. The day was sunny but cool – the perfect embodiment of spring. Arriving a few minutes prior to the opening hour, there was already a little line. I joined it, surrounded by families and couples, and soon they let us in. Nothing about the entrance was familiar. Had I even been here? I started to wonder.

Wandering through the exhibits near the front, I took my time and peered at the rainforest creatures behind their panes of glass. The fish swam languidly before us. Some kids squealed with delight, others, too young to know what was going on, cried with disinterest. I hurried away from that, and walked deeper into the building, seeking out the blue viewing room of the beluga whales, if it was even there, if I hadn’t imagined the whole thing.

I thought I would remember more. I thought I would feel an instant return to those days in Chicago, to that winter when it all fell apart. I thought I’d be overcome by emotion, and be able to turn it into a redemptive moment of empowerment. I didn’t think it would be easy, but I didn’t think it would be completely devoid of feeling. At most, there was just a faded ache, though it may have simply been the weariness of having walked so much in the last day. I was almost two decades older than when I last climbed all the steps to the aquarium. Perhaps that was all.

At the end of a faux-wooded path, I came upon the beluga pool. I did not recall being able to view it from above, but there they were, surfacing and spewing air and water. Like quickly-moving icebergs, their white bodies broke through the water as if it was a visit from other-worldly ghosts. Still, nothing here was familiar. I didn’t remember watching them from above, I only remembered being immersed in the blue, as though we were underwater too. That’s how the end of some relationships feel. Like a drowning. Not in the sense of suffocation, though I suppose that sometimes plays a part, but more like a heaviness from which you can’t escape. The only way out was to go deeper into the darkness, to dive down and wrestle with the specter of loneliness.

I walked along the edge of the pool and found the stairs that led to the underwater viewing room. I had remembered correctly after all. This, then, was the room where we once stood. In the mottled blue light, we had awkwardly balanced on the precipice of past and future, beside each other for one of the last times, watching the beluga whales glide through their only home. This, then, was the moment I remembered.

I couldn’t get enough air as I stood next to him and realized that it was over. I don’t know why it hit me then. We’d broken up a couple days before that, but I guess I still held out hope that it wasn’t over. I remember riding the train deeper into the city with him next to me, and seeking out any sense of reconciliation. The hardest part of the whole thing was that there wasn’t any awful reason for it – no infidelities or abuse or distinctive breaking point – we simply weren’t right for one another. Somehow, we ended up at the aquarium together. We would still be friends, we just wouldn’t be boyfriends.

Welcoming the darkness, I let the tears well up in my eyes. Before us, the belugas played. It looked like they were smiling. We smiled along with them.

There was so much unhappiness in that room and in that water.

Seventeen years later, I stand there again, in that same spot, amid the rising noise of excited children and scolding parents, and I remember. Vague echoes of all that pain invisibly travel over the space like waves of sonar. Yet it’s a sadness I can’t fully access, and for that I’m grateful. I take my leave of the whales. It’s unlikely that I will see them again in our lifetimes.

In the next tank over, a group of dolphins flies through the blue. They seem to smile too.

Soon after this, I take my leave of the aquarium. I need more light, and the day is sunny. The Chicago skyline, so clearly delineated along the lake, beckons me to other memories and new adventures. I do not know it then, but Chris and I are about to take part in a revolution…

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Chicago Clarion Call

My friend Chris had floated the idea of a Chicago stop when we were discussing possible tour plans. I’d suggested a weekend in Detroit to see his new city of residence, but when he proposed Chicago that sung with greater resonance. I’d lived there long ago, and had always intended to visit again. Somehow, it never happened in seventeen years. With Chris, however, I felt emboldened to confront any ghosts that might appear. Not that I expected anything of the sort. So much time had passed I wasn’t even sure I’d remember anything of the city, much less be moved by places I could barely recall.

The first thing I recalled was the immensity of the city, and how it sprawled in every direction from the Great Lake it ran along. And then I remembered how far O’Hare actually was from the city (literally 32 train stops). I didn’t mind. Check-in at the Palomar Chicago wasn’t for a few hours, and I enjoyed a lengthy commute when it wasn’t a regular occurrence. It gave me a chance to go back all those years. I don’t like to go back, but sometimes it’s good for you. I hoped that was the case. There was nothing left to lay to rest. Instead, I wanted to honor what I once had, and to alter those memories of sadness with the realization that everything had happened for a reason, and it had been good. Now I’m getting ahead of the story. Back to the train…

After a transfer to the red line, I finally hopped off at Grand in the middle of the loop. I remembered it vaguely. My room wasn’t quite ready, so I walked around a bit and did some shopping. I didn’t remember this section of town, but certain things felt familiar. Seventeen years is a long time. Maybe too much time to have anything mean something again. Maybe I waited too long.

The architecture. The skyscrapers. The vertical life.

I was astounded and impressed all over again.

The last time I lived here, it was in a remote location almost to the northern end of the red line, far from the heart of the downtown area (yet still somehow considered Chicago). Immersed in it is a different story entirely. Maybe that’s what had been so wrong. Maybe that would have made all the difference.

After checking in, I walked toward the Magnificent Mile, where my happiest memories of the city resided. (Shopping is always a happy recollection.) The day was bright and sunny, but brisk and breezy. A long, colorful scarf fluttered around my neck, and I squinted into the sun and wind. Spring was seen in the daffodils already in bloom – much further along than those at home. The Water Tower rose majestically in front of me, and the first of many memories washed over me.

It wasn’t a memory of my ex-boyfriend.

It wasn’t a memory of heartache.

It was a memory of loneliness.

I walked this street by myself.

Always alone.

For the first time, I felt sorrow in that.

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My Kind of Town

Chicago.

I used to live there.

Briefly.

At the turn of the millennium.

It was another world away, another lifetime ago.

And on the seventeenth year that I left, to the month, I made a return visit there.

As the plane approached Lake Michigan, I felt a thrill and a worry.

You can never go back…

The scope of the city presented itself slowly, then expanded, and expanded some more, and I was reminded of how sprawling Chicago was. There was so much to see. There were so many memories. As we touched down, I didn’t know if I was ready. I was afraid of what I might find. More than that, I was afraid of what I might not find.

There is nothing more terrifying than the emptiness of a heart, even if it has been broken.

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A Spring Tour Stop

The Delusional Grandeur Tour: Last Stand of a Rock Star is closing in on its final dates. I’ve extended it and drawn it out for as long as possible, not wanting to let it all go. Yet we are very near the end, and after a dramatic visit to Chicago (which came with its own moment of closure – and a surprise second-row visit to ‘Hamilton’) it’s almost time to put an end to this final journey. First, though, the Windy City.

—————————————

We were entering spring.

As I entered Chicago, I realized I was entering the past.

Dangerous territory. Treacherous traveling. The tricks of the mind.

Seventeen years ago I left the only man I’d ever lived with up to then in the city where we’d moved.

This was the first time I would go back.

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Rose of Lent, First to Bloom

Depending on the winter, the Lenten rose can be a gorgeous show-off or a bedraggled mess. The past few years have seen the former, and a decade and a half of living with us has allowed this specimen to mature into a bloody good performer. These long-lived plants take a while to get going – quite a while in fact – and for about five years the only thing this one did was push up a few leaves. I had faith. It paid off.

Most years this variety nods its flower-heads toward the ground, and the interior rarely faces upward, denying viewers a look at its gorgeously unique design. This time around, however, we got a much better look at the lenten rose blooms, as they raised their heads and nodded to the sky. Even after fifteen years, flowers reserve the right to surprise and change course, and in the most beautiful of manners.

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Inspiration, Provocation

When a current project dies down, I look around in the ground.

Often enough, inspiration has sprouted up surrounding the ashes of an old one.

If there are no upstarts, I simply wait.

It used to make me antsy. Sometimes, I probably forced things to happen sooner than they naturally would have.

Nothing good is forced.

Well, maybe paper-white narcissus.

But not art.

This time, I may have found the next batch of inspiration in Chicago…

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Review: ‘Sunset Boulevard’ ~ Palace Theatre, March 25, 2017

Perched near the rafters and almost out of sight, she is the one who holds my gaze and focus. Even with the gaudy cavalcade of memories flashing in front of her, the swirling, restless instrumental of the title song and the cacophony of images that came before, she remains the focus. There, crouched down like a wounded bird, Glenn Close oversees the dramatic penultimate scene of ‘Sunset Boulevard’. It is a genuine testament to the star power of Norma Desmond, and Close herself, that she maintains her transfixing pull even in this most insignificant moment, as Joe Gillis waits for the arrival of Betty Schaefer, and Norma hides in the background. Though she does nothing but cower and watch from above, my eyes are drawn only to her, which is how the entire evening has gone.

A once-in-a-lifetime event is one thing, but a twice-in-a-lifetime event is somehow more special. Encores by their nature don’t customarily create the same kind of bang their original incarnation conjures, but in the case of Glenn Close, her second turn as Norma Desmond is filled with as many fireworks and revelations as the first time she walked so regally down that legendary staircase.

Though the staircase and surroundings are different this time around, the passion and intensity of Close’s performance have sharpened to a razor-sharp theatrical experience. In the minimalist revival, that grand staircase is largely in her mind. Making up for the missing majesty of the original production’s levitating mansion is a 40-piece orchestra, and Close’s own larger-than-life performance. The latter comes with two decades of perfecting her craft and surviving in an industry where women over fifty still largely suffer the same fate as Ms. Desmond herself. (Give or take a bullet or two.) Without the baggage of excessive scenery, the music comes to the forefont, as do the performances of the four leads.

Making the most of Joe Gillis, Michael Xavier is on stage more than anyone else, and it’s his performance that must ground, and ultimately up-end, the show. Gillis has to be both relatable, but somewhat unlikable – an opportunist who may or may not be the moral compass of the evening. Xavier is so audience-friendly that he runs the risk of overplaying the sympathy card, but whereas previous Joes were petulant or petty, his characterization is more moving – the ideal foil for Norma’s own obsessions. He provides the cynical heart around which the show revolves. In a less showy role that requires perhaps more care in retaining the complexity of a man torn between right and wrong, integrity and success, loyalty and passion, Xavier brings the exact balance necessary to set the story on its tragic trajectory. As his love interest Betty Schaeffer, Siobhan Dillon is the lone bright spot of innocence and idealism on a darkened stage of damaged dreams. The emotional sordidness of Norma’s storied life is given gravitas and unconditional support by Max, her loyal manservant, here brought to bullishly protective life by Fred Johanson. It is Max who must deliver the chilling last revelations of the evening, both of his past with her, and her non-existent fans of the present.

That 40-piece orchestra, on center stage for the entire evening, gives a depth and richness to what may be Andrew Lloyd Webber’s most challenging score – a jazz-inflected slice of noir, with a couple of soaring arias fit for an opera. The orchestra beefs things up most noticeably in Desmond’s legendary ride to Paramount Studios, where a musical reprise of ‘The Perfect Year’ is given pomp and processional status.

Being scaled back to the bare bones somehow invigorates this production with new life and urgency. The four main characters are front and center, and their storyline comes into brittle crystalline focus. The relatively static and claustrophobic confines of the Desmond mansion are conveyed in abstract form, with a simple jumble of chandeliers and clever lighting. A car chase is conjured through ingenious use of the staircases and allows the orchestra to deftly move through a tricky 5/4 time signature.

While the show will never be one of the great classic musicals, Close’s performance is astounding, and remains the big draw for this theatrical experience. I sat mesmerized by the wonder of her returning to the role for which she won the Tony Award twenty years ago, and imbuing it with even more layers of richness and relevance. Her Norma is haunting in a different way this time around. It is a softer, more nuanced portrayal, yet she maintains a ferociousness that makes plausible her character’s once iconic star status, and her domination, but simultaneous vulnerability.

Her voice may not be the bold clarion of a typical Broadway belter, but Close makes the most of it, turning her arias into monologues, where the technical prowess of a perfect voice would be at odds with the tattered desperation she must convey. To revive a show two decades after it closed on Broadway, with the same leading lady at the helm, is the stuff of miracles. With Glenn Close imperiously commanding Norma Desmond’s staircase of the past, it’s the stuff of legend.

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Fry Me A River

My parents gifted Andy and I with a deep fryer this past Christmas, and the past few weeks have been occupied with almost incessant frying expeditions – mostly of the potato sort. The main purpose of requesting this additional kitchen item (which we really don’t need) was to make French fries, and I think I have it down.

There are several tips and tricks gleaned from online looking that helped me out: the first step is to cut the potatoes as you like (but however you slice them be sure they’re a uniform shape and size for even frying), then soak them in water for at least half an hour beforehand. Dry them thoroughly then put them into a fryer heated to 275 degrees. Fry for five minutes, stirring occasionally to ensure even cooking. Drain and place on paper towels, then do another batch. (Smaller batches also ensure that the oil stays true to temperature (though this fryer automatically adjusts to maintain it). After allowing to cool, raise the oil temperature to 350 degrees and repeat, with another five minute coking time. Drain, place on paper towels, and immediately sprinkle with sea salt and preferred seasoning.

I served them with a choice of garlic aioli or balsamic vinegar ketchup. Each was divine. It’s the double frying step that seems to make all the difference. Andy got a little fancier, executing a delicious panko-encrusted fried turkey parmesan dish, as well as the eggplant parmesan pictured here. While this deep fryer is doing nothing to help my summer pool body, it’s more than merrily brought joy to my dining options. My next challenge may be one of the greatest: lumpia. It’s my party and I’ll fry if I want to.

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A Cheeky Artist Looks Inward

The greatest artists have more than one note to sing or one color to paint.

The shape-shifters and the versatile chameleons are those who captivate my notice and thrill me the most.

Case in point is artist Paul Richmond. Known perhaps best for his series of Cheesecake Boys, and his recent Adult Coloring Book, Richmond also has an eye for the melancholy.He goes a bit deeper in some of these works, favoring the blue and violets and silvery shades of night. For this particular work, he uses hues of flesh accented by bloody splashes of vermillion – the artist battered without and within. More than that, he offers a look inward – at the struggles and torments of an artist, at the passions and sorrows of any life well-lived. Some say poets and painters feel things more. I don’t know if I believe that. I happen to think they simply open themselves up more, let their emotional guards down. They are braver than the majority of people. That is on heartrending display in Richmond’s latest piece, “Lost To Myself”.

“Most of my figurative work has some connection to the theme of identity and self-reflection,” Richmond says. “Even portraits of other people often become vehicles for exploring my own emotional responses, but this piece in particular was very intentionally about looking inward.”

As much as I love getting cheeky, some moments call for something calmer and more contemplative. A good artist finds joy in all the world. A great artist finds beauty in the sadness as well. But the best artists find the courage to look inward and put it all on display.

{Find more of Paul Richmond’s evocative body of work at his website here.}

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Betty Buckley’s Beautiful ‘Story Songs’

Every song can tell a story, but only certain artists know how to make those stories sing. Betty Buckley has been master of the story song ever since her first ‘Memory’ three and a half decades ago. In the ensuing time, she has perfected her craft on stage and screen, and perhaps most notably (if unheralded) on record. Her new double CD ‘Story Songs’ is her 17th recording and finds the artist at the height of her story-telling talent.

Topical issues of race, gender, relationships, self-fulfillment and difference each play a part in this musical journey, and Buckley is a virtuoso of making each of these songs into more than a story. In her skilled hands, they become a revelation – a journey that sparkles with self-discovery along the way, and by the end, in spite of the immense enjoyment and enthralling musical prowess at work, you’ve learned a little something too. Mostly about yourself. That’s the power of a story song.

The jazz-inflected shifting time signatures of the first couple of cuts are gorgeously restless, and Buckley is on top of them at every unexpected turn. The French delicacy of ‘Chanson’ reveals a wisdom won from decades of experience and experimentation. Buckley has long been one of the great interpreters of songs and roles (as anyone who was lucky enough to witness her take on Norma Desmond, and how wondrously it differed from all who came before and after her, can attest) and she gets to put all of that into magnificent display here.

Inhabiting wildly-disparate characters requires a deftness in acting and singing, and to truly connect with a song requires a bit of a personal connection too.  ‘Old Flame’ brings the fiery spark that underlies everything she does to riotous combustion, with a wink and a hidden firearm. Written specifically for her, it’s a cheeky warning, but how cheeky is it? The lethal machinations of the heart and its wounded power touch on Buckley’s witty pondering of darkness. A delicious surprise ending finds her in a different state of torment, but the torment of the heart remains, and it fuels the more melancholy pieces in moving fashion.

With tinges of country and elements of jazz, Buckley is originally a Texas girl, but New York will always be her home too. She traverses all of our great country, in spirit and in voice, and in the end she finds some sort of grace, which is at the heart of every Buckley record. Here, the transcendent ‘Prayer in Open D’ offer glimpses of salvation and redemption, beginning with a guitar-driven moment of healing, a pause on the first disc for contemplation and forgiveness. She speaks of “the valley of sorrow in my soul” – a touchstone for so much of her work. No one else gives such vocal tenderness to the notion of loss, of faded regret, yet she pulls such beauty from the notes, such nuances from each word, that it lives up to its name – a prayer and a bit of musical grace.

‘September Song’ brings to mind her autumnal jazz work of 1997’s rich ‘Much More’ album. Here, it finds even greater effect, reminding us that Ms. Buckley knows the power of pause and quiet, and that what is in-between the notes is often just as important as what is being sung. That genius of phrasing and timing is the sort of technical mastery that often goes unnoticed and unappreciated, but they are an integral part of what makes her so great.

A song as tried and true as ‘How Long Has This Been Going On’ may be virtually impossible to cover in any new way, so Buckley transforms it into an instrumental exercise in exorcism, with its meandering piano introduction and sly sliding into the familiar cadence of melody. At one point or another, most of us are going to be hurt by love – a sad but vital component of the damn emotion – and Buckley is able to personify that into something that makes it bearable as she begins ‘Practical Arrangement’, or at the very least relatable, and there is comfort and healing in that. It’s the most powerful mark a piece of music can make.  Resignation and realization, but always with the hope of something better, the hope of something more. She still wants the magic, she still wants the fireworks. We all do. There is no answer, and that’s where this music lives – in that tenuous nether-region of what may or may not be. The field of hopes. The land of dreams. The elusive, tantalizing hold that only music and voice can produce.

‘Bird on a Wire’ may be her newest self-anthem.  A little battered, a little beaten, but no less ready for the next battle, Buckley’s voice is a pristine clarion, floating ethereally into the pantheon of brilliance and studied vocal performance. She loses herself a little bit too, and that’s the most beautiful part.  “I’ve tried in my way to be free,” she sings like her proverbial meadowlark, and that indomitable human spirit brings it all together.

As befitting a collection entitled ‘Story Songs’ the juiciest bits come on Disc Two, whereby Buckley does tell a few tales of her own, and if you’ve ever been to one of her shows, these are often the most telling and enjoyable moments.  A moving tribute to Stephen Bruton leads into the brutally beautiful ‘Too Many Memories’.  A revealing, and surprisingly touching memory of Howard Dasilva sets up the penultimate song by Joni Mitchell. Taking the torch from Broadway royalty, she closes with Stephen Sondheim’s ‘I’m Still Here’, prefaced by a hilarious, and profoundly human, Elaine Stritch story.

A story song is much more than that which tells a simple story. There needs to be a profound change that occurs from the beginning to the end. A realization or a lesson or a quiet shift in stance. It need not be life-shattering or upending, it simply needs to move a person to a different place. Ms. Buckley has been moving us all for years, and this set is testament to the power of her grace, the power of her story, and the power of her song.

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Family Easter Mayhem

Whenever I’m faced with a family gathering involving kids, I think longingly of one of the very first episodes of ‘Mad Men’. Don Draper is set to return home to his daughter’s birthday party, and he begins by having a few beers out in the garage. Tipsy, and emboldened, he heads out on an errand and promptly falls asleep in his car, missing out entirely on his daughter’s birthday party. If I were a father, I would never do such a thing, but I’m not. Still, I am an uncle, and still wouldn’t do anything. That doesn’t mean I can’t daydream about missing a kid’s party.

No such escape was necessary for this year’s Easter festivities at my family’s home. We had a lovely time with my niece and nephew, engaging in some reading and fine dining before Emi started drawing a tattoo on one of Noah’s toys. “Sweetie, that’s disturbing,” I found myself saying, which was very much a first. Outside of sardonic tweets, I’ve never called anyone ‘sweetie’ and meant it. Oh well, it was Easter. Hope yours was just as fun.

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Sunshine in a Tulip

Tulipmania is about to begin all over again, and at the perfect time. The weather, after teasing us with an 85 degree Easter Sunday, has returned to a more normal, albeit sadly cooler, state. That’s where it should be, and as long as we don’t have a stretch of hard freezes, I’m ok with that. Besides, even if the sun fails to shine this week, I’ll have the memory of this tulip in my pocket. As you can see, it captured a little bit of sunshine within its precious petals. It’s a thrill to find those moments when nature echoes nature, reflecting its own majesty and repeating motifs in clever ways. Nature has its own inside jokes, its own winks and nods.

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Zac Efron, In & Out of Shirt & Speedo

Some Mondays just call for a gratuitous Zac Efron post. Like this one. I’m throwing in a Speedo shot too, because Zac Efron in a Speedo is just the antidote for a dreary Monday. Then again, a naked Zac Efron is the cure for just about any bad day. And he’s been here like that too. [ See “Zac Efron nude“.] Carry on.

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