The Museum of Fine Arts, Boston is receiving a major gift of 186 works seized by Nazi forces in 1938. It’s taken decades for the donor’s family to recover the famed collection that includes fine jewelry, rare books and paintings. The objects have taken a fascinating journey between Vienna and Boston.
Some were taken by the Nazis in 1938/39, and then recovered by the real Monuments Men after the war, and eventually came back to the family - referring to the members of the Allied force’s Monuments, Fine Arts and Archives program, who were charged with finding, preserving and returning culturally important works confiscated by Hitler’s forces. [more...]
Tuesday, February 24, 2015
Wednesday, December 31, 2014
Silence is the Healer
Silence is the Healer is a long time coming.... dedicated to my mother, Elizabeth Baron, who thought it was a very special song and on her death bed asked me to record it.... Here it is in her honor - listen here.
These are the lyrics:
and I can feel the pain no more
and now I observe, I haven’t a prey.
I’m just shadowing the lives
standing in my way.
We sent our troops in harm’s way.
Few will live to fight another day.
I was a ravaged angel in the storm
and now I’m home, safe and warm.
Silence is the healer…
to inspire the better angels of our nature.
With these gifts, the harm’s in us.
Yet prayer can overcome.
Let the doors they open open doors for you.
Out of nothing
I’ll always rise above it all
and traffic in souls that reinvent time.
I am the daughter of the gods
and I know where I stand.
I harbour no remorse, no bloodlet
on my hand—
Silence!
The wounds lie deep, but tomorrow renews
and with that promise, we can’t lose.
These are the lyrics:
Silence is the Healer
I am the ghost, the ghost of warand I can feel the pain no more
and now I observe, I haven’t a prey.
I’m just shadowing the lives
standing in my way.
We sent our troops in harm’s way.
Few will live to fight another day.
I was a ravaged angel in the storm
and now I’m home, safe and warm.
Silence is the healer…
to inspire the better angels of our nature.
With these gifts, the harm’s in us.
Yet prayer can overcome.
Let the doors they open open doors for you.
Out of nothing
I’ll always rise above it all
and traffic in souls that reinvent time.
I am the daughter of the gods
and I know where I stand.
I harbour no remorse, no bloodlet
on my hand—
Silence!
The wounds lie deep, but tomorrow renews
and with that promise, we can’t lose.
Wednesday, October 29, 2014
Baptized Again
I've been busy working on this song for the last 2
months. I really wanted to go back to my
roots and sing about what inspired me to be a songwriter in the first
place.
I hope you enjoy it. Go to SoundCloud to post ratings and read the
lyrics below.
Baptized
Again
Born from
a bad beginning,
I played the Chicago blues.
When everyone failed me and left me alone,
I’d nothing left to lose.
My radio kept me from losing my mind.
I heard what I understood
to be the first music of its kind
from the Delta and the backwoods.
I played the Chicago blues.
When everyone failed me and left me alone,
I’d nothing left to lose.
My radio kept me from losing my mind.
I heard what I understood
to be the first music of its kind
from the Delta and the backwoods.
Baptize me
again
each time I slide back down.
I wanna be baptized again -
my lower self I must drown.
each time I slide back down.
I wanna be baptized again -
my lower self I must drown.
Elvis
taught me gospel and heart;
his rhythm and soul bled through.
Impassioned holy-rollers pulsed
as songs in my heart, they grew.
In tiny, white-worn chapels
where music raised the dead
rejoiced in jubilees of hope.
The preacher man was led.
his rhythm and soul bled through.
Impassioned holy-rollers pulsed
as songs in my heart, they grew.
In tiny, white-worn chapels
where music raised the dead
rejoiced in jubilees of hope.
The preacher man was led.
The
preacher man’s dark cries,
with fire blazing in his eyes,
and the rhythm of tambourines
was moving through my veins.
On the long dirt Blues Highway
I paid my dues this way
I shot emotions through my guitar
and said what I needed to say.
with fire blazing in his eyes,
and the rhythm of tambourines
was moving through my veins.
On the long dirt Blues Highway
I paid my dues this way
I shot emotions through my guitar
and said what I needed to say.
Gospels, hymns and the spirit of song
arms raised to heaven’s gate
borne of pain and sensual tales,
sprang from broken hearts and hate.
Baptize me in my music
to overcome hardships and pain.
Its waters filled with a soul force;
got down in a torrent of rain.
borne of pain and sensual tales,
sprang from broken hearts and hate.
Baptize me in my music
to overcome hardships and pain.
Its waters filled with a soul force;
got down in a torrent of rain.
Tuesday, August 19, 2014
Love & Light, Elizabeth
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Wednesday, July 30, 2014
A Very Private Person
My new song, "A Very Private Person" was a long time coming! That is to say the least! I never imagined it would turn into an Internet hit, but everyone seems to really like it! Here is an interview I did about the song as featured artist on Studio Pros. You can listen to the song on Soundcloud... or YouTube. Here are the lyrics, for you modern blues aficionados out there:
I'll be on The Fix in Charleston on Aug. 3, 2014 - 10:00pm ET
I'll be on The Fix in Charleston on Aug. 3, 2014 - 10:00pm ET
I’m going down to the corner store.
I always remember to lock and bolt my door.
’cause I’m a very private person
and I don’t want anyone.
I make a cold, hard living
and I work from sun to sun. Oh, yeah.
Don’t want anyone in, no one to call.
It’s my artificial personality, my brick wall.
Insincere visitors have so much to hide.
They want so to come on the inside.
They know that I’m paying a hard hard price.
But never want to offer any good advice, oh, no!
’cause I’m a very private person
and I don’t want anyone.
I make a cold, hard living
and I work from sun to sun
and I ain’t got no time to mess with anyone, oh, no!
I always remember to lock and bolt my door.
’cause I’m a very private person
and I don’t want anyone.
I make a cold, hard living
and I work from sun to sun. Oh, yeah.
Don’t want anyone in, no one to call.
It’s my artificial personality, my brick wall.
Insincere visitors have so much to hide.
They want so to come on the inside.
They know that I’m paying a hard hard price.
But never want to offer any good advice, oh, no!
’cause I’m a very private person
and I don’t want anyone.
I make a cold, hard living
and I work from sun to sun
and I ain’t got no time to mess with anyone, oh, no!
Tuesday, July 29, 2014
Devilish Women: The Tramp, The Flapper and the Naughty Vamp
I was watching Mae West recently in several of her clever films where she is the take-charge woman - in the movie AND behind the scenes - and marveled at her flair, her self-confidence, her forward ways and most of all, her charismatic yet cheeky approach to having her own way with everyone in her midst all the while making them all fall in love with her - from her maids to her men. She was decades ahead of her time (a scene from "My Cousin Vinny" was lifted right out of "I'm No Angel"). I remembered my good friend George Putnam telling me in our many conversations about the way she wrapped him around her little finger more times than he could recall.
I have a friend who loves Madonna (who many sometimes thought of as the modern day Mae West). I admire my friend for her marvelous way of charming everyone in HER midst, much in the same way Mae West did back in the early part of the 20th century. But why has society through the generations been so intimidated by women who make their own rules as they live their lives unapologetically?
"A vampire is a good woman with a bad reputation, or rather a good woman who has had possibilities and wasted them." --Florenz Ziegfeld
Liberated women were clearly so frightening one hundred years ago that equating them to undead, bloodthirsty creatures borne of Satan didn't seem so unusual.
In the late 1910s, women were on the verge of winning the right for equal representation in the voting booth. Women were asserting power in unions, and, in the wake of disasters like the Triangle Factory Fire, those unions were influencing government policy. They were taking control of their destinies, their fortunes, even their sexuality (Margaret Sanger's first birth control clinic opened in 1916).
This surging independence came just as the entertainment industry heralded the female form as one of its primary attractions. Ziegfeld's sassy, flesh-filled Follies -- and its many imitators -- defined the Broadway stage, mixing music, sex and glamour with a morality-shattering frankness.
But it was the birth of motion pictures that gave the allure of female bodies an unearthly, flickering glow, as nickelodeon shorts became feature-length films, and the first era of the movie siren was born.
Combine the power of liberation with the erotic potential of cinema, and in the late 1910s, you got the vampire (or as we would come to know, the 'vamp'). [more...]
I have a friend who loves Madonna (who many sometimes thought of as the modern day Mae West). I admire my friend for her marvelous way of charming everyone in HER midst, much in the same way Mae West did back in the early part of the 20th century. But why has society through the generations been so intimidated by women who make their own rules as they live their lives unapologetically?
"A vampire is a good woman with a bad reputation, or rather a good woman who has had possibilities and wasted them." --Florenz Ziegfeld
Liberated women were clearly so frightening one hundred years ago that equating them to undead, bloodthirsty creatures borne of Satan didn't seem so unusual.
In the late 1910s, women were on the verge of winning the right for equal representation in the voting booth. Women were asserting power in unions, and, in the wake of disasters like the Triangle Factory Fire, those unions were influencing government policy. They were taking control of their destinies, their fortunes, even their sexuality (Margaret Sanger's first birth control clinic opened in 1916).
This surging independence came just as the entertainment industry heralded the female form as one of its primary attractions. Ziegfeld's sassy, flesh-filled Follies -- and its many imitators -- defined the Broadway stage, mixing music, sex and glamour with a morality-shattering frankness.
But it was the birth of motion pictures that gave the allure of female bodies an unearthly, flickering glow, as nickelodeon shorts became feature-length films, and the first era of the movie siren was born.
Combine the power of liberation with the erotic potential of cinema, and in the late 1910s, you got the vampire (or as we would come to know, the 'vamp'). [more...]
Tuesday, June 24, 2014
I was 'Like a Rolling Stone'
One
of the most popular songs of all time, Bob Dylan's "Like a Rolling
Stone," could bring between $1 million and $2 million at auction. A
working draft of the finished song in Dylan's own hand is being offered by
Sotheby's on Tuesday.
The
draft is written in pencil on four sheets of hotel letterhead stationery with
revisions, additions, notes and doodles: a hat, a bird, an animal with antlers.
The stationery comes from the Roger Smith hotel in Washington, D.C.
I
was never "a debutante who becomes a loner when she's cast from
upper-class social circles," but I did sing this song as a teenager at The Earl of Old Town and Somebody Else's
Troubles in Chicago... and I remembered every verse! [more...]
More fascinating links to the history of The Earl of Old Town:
John Prine
Yours truly
Yours truly... again...
Wednesday, June 11, 2014
Remembering Robert De Niro, Sr.
"I felt I had to. I
felt obligated," Robert De Niro, the famous actor, says of the new short
documentary, Remembering
the Artist: Robert De Niro, Sr. "It
was my responsibility to make a documentary about him. I was always planning on doing it, but never
did. Then Jane Rosenthal, my partner at Tribeca [Enterprises], said, ‘We should
start doing that now.' It was just something
I wanted to do."
But why wait until WAY after his father's death on his own
birthday in 1993? Throughout
the film, the actor is obviously wracked with painful memories and guilt over
having eclipsed his father whose lack of recognition gnawed away at him, his
life and his art... and eventually gnawed away as much at his son.
In
Wikipedia, Robert De Niro, Sr., the artist, is listed as being known for:
"Painter, School of Paris."
But is that a fact? I think I'm
very knowledgeable about culture and the arts but never heard a thing about the
actor's father until this.
After
seeing the film, I walked away thinking Robert De Niro, Sr. was a mediocre
painter; the actor, an unforgettable superstar.
De Niro, Jr. felt obligated to get his father recognized, though his
delivery does not convince us that he really believed his father was a great
artist. Rather, he's sentimental about
his father's work and even preserved his father's gallery intact for future
generations of De Niros to appreciate.
The actor is not ACTING in this film; he's being himself and appears to
be serving a penance for not having paid enough attention to his father in his
lifetime. An entry they chose from the
artist's own journal calls his son, the actor, "an angel" - for
having saved him from himself, perhaps for having brought him home from Paris
where he was ill and failing as an artist, or for having physically shopped his
paintings around to galleries in Paris with no results.
The
oft-mentioned quote about the artist receiving the recognition he deserves
after death makes us think of Vincent van Gogh who, reportedly, only sold one
painting in his lifetime. It took Vincent's
industrious sister-in-law's (Johanna Bonger) tenacity to make him famous... or
at least to start the ball rolling. The
rest, as they say, is history. But how
will the ages and passing of time treat De Niro, Sr.?
History
is being rewritten, in this film before our very eyes. I got the impression that the actor was being
his father's good son by convincing himself that his father was a great artist
- true to himself, not like any other, unable to fit into any movement or
category, moody, depressive, uncompromising - all the makings of the cliché
artist. This is evidenced by the obvious
omission of quality footage, being that the actor had access to all the cameras
in the world and the artist did live into the '90s. Since the actor became world famous back in
'73, that would have given him 20 years to document his father's so-called
accomplishments as an artist! The actor
obviously only recently felt an appreciation for his father's life work enough
to prompt him to participate in this film.
Another
glaring omission is that they never mention what the artist really did to make a living. It was obvious that he was broke most of the
time, yet he should have been blessed by his superstar son's meteoric rise to
fame and could have spent most of his 50s and all of his 60s painting to his
heart's content AND being documented for staying the course! They, instead, fill the frames with images of
artists and Garbo (he painted her obsessively) - those famous icons the artist
admired. He was in an elevator with
Garbo and never said a word to her? That
set the tone for the entire "victim of his time" theme. He was a lost soul who had rotten
timing? I think not. He was an emulator, an imitator, and too much
of a loner. There's too much more to
this story that we don't - and probably never will - know.
One
"newsmaker" stated that Robert De Niro was opening up about his "openly
gay father." What better way to
start a buzz - world famous actor reveals his dad is gay! However, the short film about his father
never reveals that he was openly gay. In
fact, his own journal writings reflect a man who was somewhat ashamed and
conflicted about his sexuality.
Wednesday, May 7, 2014
An Actual Recording Of Arthur Conan Doyle's "Spirit" From A 1934 Séance
Sir Arthur Conan Doyle often wished that he would be remembered for his writings on Spiritualism rather than his Sherlock Holmes novels. That didn't happen. But he would no doubt be pleased that the British Library has provided a unique public service — posting rare recordings of the author, both before and after his death.
More than 80 years after he passed away, it's still hard to reconcile that the man who created the literary embodiment of empirical thinking would become a prominent global figure in the Spiritualist movement. Read all about it in Sandy's "The Mystic Artist" - second edition now available here. [more...]
Thursday, March 20, 2014
Remember. Love. John Lennon.
Even though they left out #9 Dream - arguably my most favorite solo Lennon song - this is a great article from 2010 reminding us to give another listen to some of John Lennon's best songs. Go here.
Auctioning a letter from John. Go here.
Never-before-heard John Lennon interviews from 1968. Go here.
John Lennon as guitarist: "I'm not technically good, but I can make it fucking howl and move. I was rhythm guitarist. It's an important job. I can make a band drive." Go here.
Auctioning a letter from John. Go here.
Never-before-heard John Lennon interviews from 1968. Go here.
John Lennon as guitarist: "I'm not technically good, but I can make it fucking howl and move. I was rhythm guitarist. It's an important job. I can make a band drive." Go here.
John Lennon's last days. Go here.
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