Monday, February 28, 2022

Music Mondays: Look What Percy’s Picked Up in the Park, by Joe Burley & Harry Castling

February 28
"Look What Percy’s Picked Up in the Park," by Joe Burley & Harry Castling (1912) 

When I first listened to this song, I was really pretty appalled by it. I mean, just check out the lyrics from the 2nd verse: 

His little brother said, “I wonder if the thing’s alive” 
And then he took a pin and, of course, he stuck it in 
Then his Uncle Jeremiah said, “This takes a bun 
What funny things you do see when you haven’t got a gun” 
The young man lodger came and looked at me and said, “Dear, dear 
What curious little insects fly about this time of year.” 

It’s really just outrageous and awful, and I felt so sorry for the poor woman in the song. BUT then I started to do some reading about the singer you’ll hear in the linked video (Vesta Victoria) and British music halls and US vaudeville acts, and it made a little more sense to me. I mean, I would never condone a modern song that highlights treating women in this way, nor would I suggest that we should resurrect songs like this for the modern day. Instead, it’s interesting to consider the place a song like this held in 1910s society and why it was so popular. 

British music halls, which heavily influenced vaudeville theatre in the US, became popular in the Victorian era. They eventually became places in which “the masses” (i.e. working class, poorer people) could have access to entertainment. Some of the upper classes considered the entertainment on display in these halls to be somewhat vulgar, but it gave working class people an opportunity to relax and laugh and relate to the performers in front of them. Comedic acts and songs were the most popular, and that is partly why you see songs such as this one. Performers would poke fun at the experiences they had and the ways they were treated, and the audience could often relate and laugh at the poor schmuck on the stage. It was almost a form of catharsis for people to laugh off their problems and find relief from the drudgery of workaday life. 

The singer of this particular version is Vesta Victoria. She was basically brought up in music halls/vaudeville. Her parents were performers, and they first brought her on stage with them when she was still a newborn. She grew up performing in music halls and eventually became one of the most well-loved performers in both the UK and the US. In fact, she was one of the most famous British performers in the US at the time. During her performing lifetime, she was able to amass quite a fortune of over 3 million pounds (which approaches 1 billion pounds in today’s money). I find it somewhat ironic that she made so much money imitating the working class. Clearly, by the time she retired after WWI, she would never have to live a working class lifestyle (and probably never really had). But I suppose that’s true of many performers today, too. 

Anyway, this is the last week of the 1910s for Music Mondays! Next week, we head into the 1920s! 




Resources

Monday, February 21, 2022

Music Mondays: The Gaby Glide, Music by Louis A Hirsch, Lyrics by Harry Pilcer

February 21
"The Gaby Glide," Music by Louis A. Hirsch, Words by Harry Pilcer (1911)

Lest you think dance trends inspired by songs (or in this case, songs inspired by dance trends) are strictly a recent phenomenon, this week I’m showcasing “The Gaby Glide.” The song was named for a popular French actress, dancer, and singer, Gaby Deslys, and written for Deslys and her dancing partner, Harry Pilcer (who you mighte note was the lyricist, if you're reading closely). It was part of an operetta, called Vera Violetta in which Deslys and Pilcer both starred. If you click on the link to the PDF of the sheet music, you can see a drawing of how the couple would have performed the dance on the front page. Unfortunately, Deslys became a victim of the 1918 Spanish flu pandemic. She contracted the flu, which then led to a severe throat infection. Though she had several operations to try to fix the problem, she eventually died from the complications of the infection, at the relatively young age of 38.

The song itself is honestly not really anything to write home about, but I thought it was interesting that it was named not after the character in the operetta (presumably Vera or Violetta) but after the star dancer. This is also the only song I’m highlighting this month that features a male singer. I’m sharing a video of a recording attributed to 1912, but I would also recommend clicking the “kickery.com” link below for a more recent video that’s got a quicker, more rowdy beat. I truly don’t know a ton about ballroom style dancing (which is what I believe this dance falls under), but I think the original version is supposed to be more suited to actually performing the dance, while the modern version is more about making the song exciting. Do you know of any other songs that were written specifically for a dancer and his/her famous dance?



Information about Gaby Deslys: https://en.wikipedia.org/wiki/Gaby_Deslys
Information about the dance: https://www.kickery.com/2020/03/gaby-glide.html
PDF of the sheet music: https://egrove.olemiss.edu/sharris_c/29/
Top 40 of 1912: https://playback.fm/charts/top-100-songs/1912

Friday, February 18, 2022

Grief and Euthanasia

 I've just had to euthanize my second cat in a year and a half, and it's no easier than it was with the first one. Actually, it was both the same and totally different. The first cat I had to say goodbye to back in December 2020, Mattie, was old. She was 16 and had been with me since my first apartment with girlfriends out of college. She was well-traveled, having lived in 3 different states and 5 different households. She had a tortoiseshell coat, a type of cat I'd wanted since third grade, when I checked out a book about cat breeds from the school library. She was quirky and beautiful and sweet and my first baby, before I had my actual baby. She developed chronic kidney disease and lived for about a year, give or take a few months, after her diagnosis. We watched her stop eating and slowly waste away, and I remember this one night when she was so restless and meowing much of the night. She came into our bed, got into my face, and I just read this look in her face that was begging me to help her. I called the vet to schedule the appointment the next day. 

The one I just said goodbye to, Ladybug, was just over a year old. She was one of a pair of kittens we had gotten after our mourning period for the older cat, and she was tiny, even as an adult, and so sweet. Every vet I took her to commented on how cute and sweet she was. She had funny back legs that gave her a distinctive kinked walk. I always told people she was like a chihuahua - tiny but afraid of nothing. She started vomiting regularly back in November, and it got progressively worse. We took her to the vet every week and watched her continue to vomit up everything until we ended up at the emergency vet for a few days. The emergency vet was able to do a diagnostic endoscopy, and she was eventually diagnosed with inflammatory bowel disease, which can often be managed with a combination of diet and steroids. This vet gave me the anti-nausea meds and steroids that we hoped would help her regain her footing. But we think this little one had some sort of congenital issue that made her disease worse. After two weeks at home, she had lost almost another pound. I knew her body was probably starting to break down vital organs for energy, as she had no fat or muscle mass left. When we went for a weekly weight check, and I learned she had lost another 0.3 pounds since the week before, I knew it was time to let her go.

The burden of being the one who stays with the pet in the euthanasia room is that you carry that image of their life slipping away seared into your brain forever. I mean, I've been incredibly lucky in my life that I haven't had to watch this happen with any of my human loved ones, so I recognize that. I would not want to let them leave this world without one of their humans there with them, but watching a little animal that you love dearly and care for waste away and then be put to sleep is heart-breaking in its own way. I will never forget the way that Mattie looked at me - it was this look that quite clearly said, "How can you do this to me?" I'm sure she was really experiencing something more along the lines of, "I am old and sick, and you brought me here to this damn place that you know I hate. How could you do this to me?" But of course, I immediately wondered if I had made the right decision and felt extreme guilt over it for days. Even now, over a year later, I will sometimes remember her in that room and feel a pang of guilt and sadness that makes me cry. Ladybug was completely different. She actually tried to lick the vet's hand (the vet remembered that she had treat residue on her fingers) as she was giving the injections. It was such a normal, healthy pet response that it made what was happening feel that much more wrong. 

I know some people find closure and release in seeing the bodies of their deceased loved ones before burial. I do not feel that way. The image of the dead body is burned into my brain and drowns out the images of the alive, happy being, at least for the first part of the grief. Eventually, that dies down, but I will never lose that image of death, rather than life. I want to remember loved ones (including pets) as alive. I did not want to look at my dad before they closed the casket for his funeral. I didn't want my last sight of him to be death. I find no closure or comfort from that. For now, I am fighting the intrusive images of Ladybug's dead body on that table as I try to drown them out with the good moments from the past year. In time, the snapshots of happier moments will dominate, but I'm not there yet.

It caught me off guard the first night Ladybug was gone when I went to feed the other two cats and found myself crippled over with grief. Why this? Why the simple act of feeding? The next night when the same thing happened, I thought about how cleaning the litter box caused the same type of grief after saying goodbye to the first cat. Then I realized: these were the things that I was so focused on during the final decline of these two cats. With old girl Mattie, we were watching to make sure she was still peeing, drinking enough, and trying to get her to eat, even though she didn't feel so great. It was the thing associated with the litter box (her kidneys) that had taken her from me in the end. With baby Ladybug, I was giving her anti-nausea meds and steroids every day to try to fix her poor little digestive system that wasn't working any more. I was opening 4, 5, 6 cans of food a day to find something she would/could eat and even hand feeding her when she didn't want to eat from the bowl. Eventually, it was the thing associated with food (the failure of her digestive system) that took her from me.

I have no good closure for this. I am still in the midst of my grief, and I am still somewhat surprised that I am so gutted over losing her when we only had her for just over a year. I understood my grief for Mattie more, as I'd had her in my life for close to 16 years. I am thankful that I still have two healthy cats, who are both snugglers, to make the house feel less empty. But there's still a hole in the house. A space where one day, there was a unique individual of a cat, and now there is no longer. I miss her. I wanted her to get better. I hoped that weight check would tell me that she had gained half a pound rather than lost more. I wish I could have made her better. Unfortunately, I could not work that magic. For now, I'll manage my grief the best I can while still being a mom and spouse and cat-mom to two other cats.

(Left) Mattie during her last year with us in 2020
(Right) Ladybug during her last weeks with us in 2022

Monday, February 14, 2022

Music Mondays: O Forrobodo, composed by Chiquinha Gonzaga

Music Mondays: February 14
"O Forrobodo," composed by Chiquinha Gonzaga (1912) 

I think the top 40 from [enter year here] lists that I found focus on Brazil and the English speaking world. A bit odd (why specifically Brazil?), but I do love “world music,” so we’ll go with it. I also love this particular song because it is by a prolific *female* Brazilian composer. This song is from an operetta of the same name that she released in 1912 that was wildly popular. I have not seen it/listened to the whole thing, but the songs in the operatta apparently describe different types of people one might have met in Brazil at the time of its writing. The different songs also reflect different styles of music that were popular in Brazil. This song has a lovely upbeat feel, and the video I found actually features an old photograph of Gonzaga, as well as some newspaper clippings about the show. 

Honestly, Gonzaga herself is pretty interesting, pushing societal norms at a time when women still didn’t have much power in society. She was married at 16, but she ended up leaving the guy because he was ridiculously controlling, forbidding her from playing the piano and guitar. Her parents refused to support her in this, leading her to play piano for money and eventually form her own band. She later met another man with whom she had a child and then left again. Eventually, she settled down with a young man who was 36 years younger than her, telling people he was her son in order to relieve some of the societal disapproval of their relationship. Whether or not you agree with the choices she made in her life, she clearly refused to let the pressures of society dictate who and how she would be in her lifetime, and as a result, she was able to compose and perform a wonderful array of music. If you have time, you should read through the two research links I share below. She is really quite interesting.

 

Tuesday, February 8, 2022

Music Mondays: Alexander's Ragtime Band, performed by Prince's Orchestra

Music Mondays: February 7
"Alexander’s Ragtime Band," performed by Prince’s Orchestra 
Lyrics and music by Irving Berlin (1902) 

I’m sure plenty of people have actually heard this song before, perhaps not realizing just how old it is. It was written by Irving Berlin in 1911, though there has been some speculation about how much of the tune he derived from other sources/composers, including an important part of the melody claimed by Scott Joplin. At any rate, the song became a huge hit, after being picked up and recorded by the popular vaudeville singer, Emma Carus. (You can see on the sheet music in the video that Berlin actually credited her for this on the cover page.) Interestingly, though the song is not really a traditional rag, it revived interest in ragtime music, which had been waning after its introduction in the 1890s. The song remained popular through the 1950s and even inspired a movie of the same name in 1939.

This instrumental version is by Prince’s Orchestra, which was formed by Charles Adams Prince in 1905, largely to record music for Columbia recording house’s disc releases. I found this interesting because I didn’t know that recording houses used to have symphonic bands and orchestras specifically to record their music. I have only ever seen music that was recorded by philharmonic orchestras and the like (i.e. New York Philharmonic). I’ll note that the recording sounds more like a symphonic band than an orchestra to me (I can’t hear any strings), so I wonder if it was actually Prince’s Band. Anyway, I hope you enjoy this version and this first week in the 1910s.



(Research links: https://en.wikipedia.org/wiki/Alexander%27s_Ragtime_Band
https://en.wikipedia.org/wiki/Charles_A._Prince)

Tuesday, February 1, 2022

Music Mondays: Draw the Circle Wide, Music by Mark Miller; Lyrics by Gordon Light

January 31
"Draw the Circle Wide," Music by Mark Miller, Words by Gordon Light

I know this is a day late, but life things happened that made it hard for me to post on Monday.

Welcome to the first 5th Monday of the month! When I was a teenager in church choir, we used to have fundraisers for our choir tour every 5th Sunday. When I conceived of the idea to focus on songs from different decades each month, I decided that on every 5th Monday in a month (happens quarterly), I would upload a song that *I* wanted to do for my own enjoyment. So this week, you get to hear “Draw the Circle Wide,” music by Mark Miller. I had the incredible fortune (and pleasure) of working with Mark while I was in seminary, as he was the resident musician (and professor) of the chapel at that time. Not only is he an incredible musician and composer, he is a fantastic human being, and I will be forever grateful that I got to know him and experience his music firsthand for those seminary years. I also took several of his classes while in seminary and really enjoyed them, as well.

Anyway, I chose this particular song for a few reasons. 1) I love the harmonies and wanted an opportunity to sing them again. 2) It’s been in my head lately, and I wanted to work on it. 3) I feel like it’s a good concept to keep in mind as we head into the rest of the year. These pandemic years have been hard on pretty much everyone. We’ve had to isolate in ways that we never imagined, but in the midst of it, and all the pain and difficulties that the pandemic has brought for people around the world, we need to remember to draw the circle of love and inclusion wide. There were times in my childhood when I felt excluded, and that made me really sensitive to others’ inclusion. I remember times when I would be standing in a circle talking with people and notice someone standing on the outside. I would say, “Hey everyone! Widen the circle so this person can join!” We need to practice being aware of these people standing at the edges as adults and in our world, as well.