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Notes from a Boy @ The Window

Tag Archives: Singing

Last Gasps, Anita Baker’s “Sweet Love,” and My ’86 Mets

26 Sunday Oct 2014

Posted by decollins1969 in 1, Boy @ The Window, culture, Eclectic, eclectic music, Mount Vernon High School, Mount Vernon New York, music, My Father, New York City, Pittsburgh, Pop Culture, race, Sports, University of Pittsburgh, Youth

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"Sweet Love" (1986), 1986 World Series, Alcoholism, Anita Baker, Bill Buckner, Billboard Pop Chart, Cameo, Child Abuse, Club Nouveau, Coping Strategies, Domestic Violence, Drug Abuse, Giants, Grammys, Hip-Hop, Joe Morris, Living Vicariously, Mets, Mookie Wilson, R&B, Rap, Rapture album, Singing, Super Bowl XXI, WFAN


The Mookie Wilson-Bill Buckner connection, Game 6, 1986 World Series, Bottom 10th, Shea Stadium, Queens, NY, October 25, 1986. (http://halloffamememorabilia.net).

The Mookie Wilson-Bill Buckner connection, Game 6, 1986 World Series, Bottom 10th, Shea Stadium, Queens, NY, October 25, 1986. (http://halloffamememorabilia.net).

Sunday, October 26, 1986 was part of a great three days for me, perhaps the three best days during my Boy @ The Window years. My Mets had pulled off a miracle. They survived being within a strike of losing the ’86 World Series because Mookie Wilson put a ball between Boston Red Sox 1st baseman Bill Buckner’s rickety legs the night before. Anita Baker’s “Sweet Love” was #1 or #2 on the R&B charts and was near the top of Billboard’s Top 40 on this day twenty-eight years ago. Within the next thirty-eight hours, my Mets would complete the comeback, and win their second (and last, to this point anyway) World Series after falling behind 3-0 through the first six innings. Meanwhile, my Giants would run through the Deadskins at home in East Rutherford, NJ, as Joe Morris rushed for 185 yards in a 27-21 victory, on their own march to a championship title.

GoGurt, Yoplait's squeeze -in-mouth, portable yogurt, October 26, 2014. (http://freehotsamples.com).

GoGurt, Yoplait’s squeeze -in-mouth, portable yogurt, October 26, 2014. (http://freehotsamples.com).

My coping mechanisms were at their peaks, though, and had nothing else to do but crash down into the Earth. It was also my senior year in high school, a time of too many AP courses, too many college-going pressures, too many haters and doubters among my classmates, and too much of the grinding poverty and chaos that was living at 616. Within two weeks of my Mets, my Giants and Anita Baker’s first big hits, I’d discover my idiot stepfather’s pornography collection, nearly got set up with a prostitute because of my father, and face humiliation at the hands of my AP Physics teacher David Wolf and his boss Estelle Abel for the first time.

It took me almost two years to recover from the happenings of the mid-fall of ’86. In the process, I faced betrayal, ostracism, humiliation, broken-heartedness, and homelessness, but somehow managed to not make every song and every Mets and Giants (and Knicks and Rangers) victory a vicarious signpost for my own life. It helped that I started to think of Pitt — if not Pittsburgh — as my home, with concerns beyond living and dying with my New York teams and with relatively unknown but talented music artists.

Giants' RB Joe Morris running through Deadskins again, RFK Stadium, Washington, DC, December 7, 1986. (http://sikids.com).

Giants’ RB Joe Morris running through Deadskins again, RFK Stadium, Washington, DC, December 7, 1986. (http://sikids.com).

I learned other things along the way, too. That my Mets and Giants weren’t the perfect teams I thought they were. Between the alcohol and drug issues of Darryl Strawberry, Dwight Gooden, Len Dykstra, Lawrence Taylor, Kevin Mitchell, not to mention their and other teammates’ domestic violence issues, it was obvious to me that talent and winning were more important than living by a consistent code. Listening to the new 24/7 sports radio station WFAN when it began its run in the summer of ’87 showed me the hearts and minds of most fans. They obviously weren’t using sports as a coping strategy for dealing with the emotional grind of poverty and threats of abuse and domestic violence at home. Mostly White and male, their constant barrage of vitriol and disparaging racial commentary about my favorite athletes at that time — Mike Tyson in particular — actually made me wary of White sports fans for years afterward.

I also learned that with artists like Anita Baker and Luther was really the last gasp of R&B as I’d known it to be in the US. R&B was already too much like ’80s pop and a bit too mixed up with rock at times, but with Cameo’s “Word Up” and Club Nouveau’s cover of Bill Withers’ “Lean On Me,” R&B was already beginning its merge with hip-hop, and not in a good way, either. Yeah, there were some exceptions, like Levert, or Regina Belle, but the process of R&B devolving into some Yoplait GoGurt version of itself — with Autotunes, bad rap lyrics and worse rhyme spitters, and assembly-line hip-hop beats — had already begun.

Anita Baker, Rapture phase, circa 1986. (http://projects.latimes.com).

Anita Baker, Rapture phase, circa 1986. (http://projects.latimes.com).

Some of you may say, R&B’s still alive in the US, specifically in our churches, but that’s not true, thanks in large measure to Kirk Franklin. His work in the ’90s made it so that it’s taken longer for jazz to catch on in bands and choirs than rap and hip-hop. No, if you want to find R&B with actual singers these days, try the United Kingdom of Great Britain, try France, try Senegal, try Nigeria. But don’t try the US. Nicki Minaj is no Aretha, no matter how imaginative her videos and her clothes. For that matter, Iggy Azalea’s no Teena Marie, as the former doesn’t understand the difference between cultural appropriation and authenticity. Hip-hop sprang in part from the roots and branches of R&B, but like a parasitic vine, it has cannibalized those roots.

Still, it’s good to remember days like the ones I lived through twenty-eight years ago, with Anita Baker in my ear, my Mets in victory formation, my Giants lined up right beside them. Those days are gone, like the coping strategies I used to get through every one of those days. Not to mention the R&B that was more a part of my life than the hip-hop that my contemporaries were supposedly raised on.

Herman Cain’s Greatest Hits

01 Tuesday Nov 2011

Posted by decollins1969 in 1, Eclectic, eclectic music, Patriotism, Politics, Pop Culture, race, Work

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Bruce Hornsby and The Range, Class Warfare, Dean Martin, Herman Cain, Naughty By Nature, Opposition, Otis Redding, Phil Collins, Politics, Popular Music, Racial Denial, Racial Stereotypes, Republicans, Sexism, Singing


Mr. Herman "Get A Job!" Cain, at Republican Party of Florida Presidency 5 Convention, Orlando, FL , September 24, 2011. (AP).

Since the allegedly sexually harassing, racism and classism denying, Republican presidential candidate leader of the moment Herman Cain likes to sing, I decided to make a short list of Cain’s greatest hits. Trust me, they’re all doozies. They draw on the experiences of a man about as in touch with average Americans as Marie Antoinette was with French peasants on the eve of the French Revolution.

1. “The Way It Is” (1986) — Bruce Hornsby and The Range: Here, he puts special emphasis on the line, “Just for fun he says, ‘Get a job!,” not out of sarcasm, but out of sincerity.

2. “Another Day In Paradise” (1989) — Phil Collins: Cain tries to get a bit of social consciousness, at least, in emphathizing with “the man on the street,” the poor guy subjected to a worn-out homeless women begging for help.

She calls out to the man on the street
“Sir, can you help me?
It’s cold and I’ve nowhere to sleep
Is there somewhere you can tell me?”

He walks on, doesn’t look back
He pretends he can’t hear her
He starts to whistle as he crosses the street
She’s embarrassed to be there

The real test with this song would be whether Cain’s whistling is as good as his crooning.

3. “O.P.P.” (1991) — Naughty By Nature: Here Cain would need help from ex-RNC head Michael Steele to get his rap game together, as well as from Supreme Court Justice Clarence Thomas in interpreting the sexual laden lyrics. But in light of the accusations — and in Justice Thomas’ case, evidence — of sexual harassment and general insensitivity of Cain, Steele and Thomas, figuring out “who’s down with O.P.P.?” is an appropriate question in their bubble.

4. “Cigarettes And Coffee” (1966) — Otis Redding: Cain’s tribute to his campaign manager in his recent commercial as he slows down the pace a bit. “And please, darling, help me smoke this one more cigarette,” Cain baritones to Mark Block.

5. “Ain’t That A Kick In The Head” (1960) — Dean Martin: Cain’s theme song for his campaign. The main lyrical refrain for him would be as much about his rise to the top of the Republican heap as it would be about the people he’s stereotyped, vilified, denigrated and ultimately exploited over the course of his career and campaign.

My head keeps spinning;
I go to sleep and keep grinning;
If this is just the beginning,
My life’s gonna be beautiful.
I’ve sun- shine enough to spread;
It’s like the fella said…

“Ain’t [I] like a kick in the head?” And the 99 percent of us say, “Hell, yeah, where’s the aspirin?”

High Falsetto Highs and Lows

25 Monday Apr 2011

Posted by decollins1969 in 1, Boy @ The Window, culture, Eclectic, eclectic music, music, Pop Culture, race, Youth

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Tags

Belonging, Billboard Pop Chart, Black Males, Chorus, Code Switching, Context, High Falsetto, Identity, Masculinity, Mount Vernon High School, Mount Vernon New York, Music, Ostracism, Pop Culture, Pop Music, Race, Singing, Voice


I know that I’m weird, a freak, and if I were a quarter-century younger, a bit geekish. Well, maybe a geek in a tall man’s body with fourteen percent body fat. Music is one of those things that separates me as weird. Not just because of what I listen to from moment to moment. Smooth jazz to R&B to hip-hop soul to ’80s pop to ’90 White male angst grunge to rap to divas like Mariah Carey and Celine Dion. Few people I know — much less males, much, much less Black males — have any appreciation for eclectic musical tastes. But they’ve had almost no tolerance for my high-falsetto singing voice over the years.

Puberty was the reason I discovered it all. My closest friends and wife don’t believe me when I tell them that I used to be able to hold a tune. That in sixth, seventh and eight grade, I sang with my elementary school and middle school chorus. I was a baritone, and a decent one at that. But the voice changes of puberty cracked my voice and sent it into high falsetto in ’83, ’84 and into ’85, whenever I did try to sing.

So I went with it. Once I reconnected with music outside of school in the ’80s, I sang mostly in that ear-splitting, shaky and unevenly high tone and pitch to everything I liked. And that made me stand out, mostly as the weird guy with the Walkman that my fellow Black males made fun of for not being cool. Did I care? Sure, in an obvious, I-know-I-don’t-fit-in kind of way. But, did I care? For the most part, no. I knew enough to not walk down certain streets in Mount Vernon and certain part of the high school singing in that voice, walking to the beat of my own internal music box.

That voice was my release. As awful as I sounded in it, as imperfect and grating my tone, as much of a strain as I put on my cords, it was one of a handful of ways for me to experience happiness, joy, laughter. Other emotions besides rage, fear and anger. That’s what singing Cyndi Lauper’s “Time After Time,” Michael Jackson’s “Human Nature,” and a-ha’s “Take On Me” well outside my normal vocal range did for me. It gave me a high without the benefit of pot, and a low without the benefit of friends.

Singing in high falsetto still brings a natural high. Except now, I laugh at myself while doing it, and I don’t care about the people who think I’m a freak because I sound like a buffoon. Damn right.

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