Of course I can't resist adding my guess. I think that the subject of the song is a composite, but that the spur for writing such a song was most likely Warren Beatty, who Carly briefly dated, and then was reportedly passed along from him to some of his Hollywood pals, including Jack Nicholson. We'll never know, and we shouldn't, because isn't the imaging and wondering part of the fun of the song? It also lets that mysterious man with the apricot scarf and curious taste in antiques dances (Gavotte!) remain a legend and not a reality.
Showing posts with label Carly Simon. Show all posts
Showing posts with label Carly Simon. Show all posts
Friday, September 27, 2013
favorite song friday
Following up yesterday's post about Carly Simon, I couldn't resist checking out this song. After all these years, it still holds up. As does its mystery man (or men). Never tell, Carly.
Of course I can't resist adding my guess. I think that the subject of the song is a composite, but that the spur for writing such a song was most likely Warren Beatty, who Carly briefly dated, and then was reportedly passed along from him to some of his Hollywood pals, including Jack Nicholson. We'll never know, and we shouldn't, because isn't the imaging and wondering part of the fun of the song? It also lets that mysterious man with the apricot scarf and curious taste in antiques dances (Gavotte!) remain a legend and not a reality.
Of course I can't resist adding my guess. I think that the subject of the song is a composite, but that the spur for writing such a song was most likely Warren Beatty, who Carly briefly dated, and then was reportedly passed along from him to some of his Hollywood pals, including Jack Nicholson. We'll never know, and we shouldn't, because isn't the imaging and wondering part of the fun of the song? It also lets that mysterious man with the apricot scarf and curious taste in antiques dances (Gavotte!) remain a legend and not a reality.
Thursday, September 26, 2013
the (maybe not-so) true adventures of carly simon
I picked up More Room in a Broken Heart: The True Adventures of Carly Simon
, by Stephen Davis, at the library and found it a quick, if not fabulous, read.
I grew up hearing many of Carly Simon's songs on the radio ("You're So Vain," "Anticipation," "Nobody Does It Better") without knowing too much about her. Then a few years ago I read how James Taylor, her husband of 11 years, had been a junkie throughout their marriage. How did she cope with that? How did these two seemingly mellow soft rockers live a druggie existence? I always liked Simon's rich, honeyed voice, but have to admit that I never cared too much for Taylor's music — I found it so laid back to be almost soporific.
The best part of the book are the opening chapters, where Simon's parents early lives are outlined — they were quite interesting people — as well as Carly's first forays into music, with her older sister Lucy as part of the duo The Simon Sisters, and then her tentative but determined efforts to go out and perform on her own. Simon (as well as Taylor) was born into a privileged background. Her father Richard Simon was the Simon of Simon and Schuster. The family shared time in a large home in Riverdale and an even larger summer estate in Connecticut. Richard Simon was an accomplished classical pianist, and through him Carly Simon met such musical luminaries as George Gershwin, who would visit the Simons from time to time. Music was always a part of Simon family gatherings. The family communicated best through music, as both father and mother seemed rather distant from their children.
There is no bibliography or notes or references in More Room in a Broken Heart, but there are sporadic references throughout the text to old interviews or magazine articles about Carly Simon. It soon seems that one is reading a cut-and-paste job. For some reason author Davis feels compelled to list every song on every Carly Simon album, while glossing over, or just simply not trying to dig into the personal sides of Simon's and Taylor's lives. He has no problem listing old lovers (Warren Beatty, Kris Kristofferson, Cat Stevens) and breakdowns, but not much interest in probing the whys and wherefores. The complicated Simon surely would provide plenty of opportunity for more in-depth analysis and investigation. She stuttered as a child and suffered from extreme stage-fright, which caused many difficult situations throughout her career, always reluctant to go out and tour to perform her latest album.
For someone who prefers the relative safety of the recording studio, Carly Simon has not only been prolific, but has been honored many times for her music (Songwriters Hall of Fame in 1994, Grammy Hall of Fame in 2004 for "You're So Vain"). Her song "Let the River Run," which initially appeared on the soundtrack of the film Working Girl, was the first song ever to win a Grammy, Academy Award, and Golden Globe Award for a song written and performed by a single artist.
More Room in a Broken Heart is an unauthorized biography, and after a little searching online it apparently is chock-full of factual errors. Some of the mistakes with dates are less glaring or annoying than some of the completely off-the-wall "interpretations" of Carly Simon's lyrics. One of the more amusing is Davis's summary of her 1980 hit "Jesse," which he describes as “a song about a woman’s ambivalent feelings for an incontinent lover who wets the bed and needs fresh sheets ... by the end of the lyrics, she decides to put fresh sheets on the bed.” Really? Here are Simon's lyrics:
Oh mother, say a prayer for me
Jesse's back in town, it won't be easy
Don't let him near me
Don't let him touch me
Don't let him please me
Jesse, I won't cut fresh flowers for you
Jesse, I won't make the wine cold for you
Jesse, I won't change the sheets for you
I won't put on cologne
I won't sit by the phone for you
If you hoped that this (or any) book would give an insight into the real story behind her top hit "You're So Vain" this is not the case. As many errors or missteps as this book may take, there are a few underlying suggestions, that if they are true, are quite interesting. That Carly's interest in working with Rolling Stone Mick Jagger led to a long-term friendship (and possible affair). That her success may have fueled jealousy with husband Taylor. That she enabled his relapses into drugs. The last few chapters of More Room in a Broken Heart gloss over most of her recent work as well as a (successful) bout with breast cancer. What was the rush?
There is another book on Carly Simon, "Girls Like Us
," by Sheila Weller, which Davis may have "borrowed" heavily from. The book covers the careers and lives of Carole King, Joni Mitchell, and Carly Simon and may have been a better read. It has recently been optioned to be made into a film, with Taylor Swift rumored portray Joni Mitchell. Oh boy.
, by Stephen Davis, at the library and found it a quick, if not fabulous, read.I grew up hearing many of Carly Simon's songs on the radio ("You're So Vain," "Anticipation," "Nobody Does It Better") without knowing too much about her. Then a few years ago I read how James Taylor, her husband of 11 years, had been a junkie throughout their marriage. How did she cope with that? How did these two seemingly mellow soft rockers live a druggie existence? I always liked Simon's rich, honeyed voice, but have to admit that I never cared too much for Taylor's music — I found it so laid back to be almost soporific.
 |
| Carly Simon and James Taylor |
The best part of the book are the opening chapters, where Simon's parents early lives are outlined — they were quite interesting people — as well as Carly's first forays into music, with her older sister Lucy as part of the duo The Simon Sisters, and then her tentative but determined efforts to go out and perform on her own. Simon (as well as Taylor) was born into a privileged background. Her father Richard Simon was the Simon of Simon and Schuster. The family shared time in a large home in Riverdale and an even larger summer estate in Connecticut. Richard Simon was an accomplished classical pianist, and through him Carly Simon met such musical luminaries as George Gershwin, who would visit the Simons from time to time. Music was always a part of Simon family gatherings. The family communicated best through music, as both father and mother seemed rather distant from their children.
There is no bibliography or notes or references in More Room in a Broken Heart, but there are sporadic references throughout the text to old interviews or magazine articles about Carly Simon. It soon seems that one is reading a cut-and-paste job. For some reason author Davis feels compelled to list every song on every Carly Simon album, while glossing over, or just simply not trying to dig into the personal sides of Simon's and Taylor's lives. He has no problem listing old lovers (Warren Beatty, Kris Kristofferson, Cat Stevens) and breakdowns, but not much interest in probing the whys and wherefores. The complicated Simon surely would provide plenty of opportunity for more in-depth analysis and investigation. She stuttered as a child and suffered from extreme stage-fright, which caused many difficult situations throughout her career, always reluctant to go out and tour to perform her latest album.
For someone who prefers the relative safety of the recording studio, Carly Simon has not only been prolific, but has been honored many times for her music (Songwriters Hall of Fame in 1994, Grammy Hall of Fame in 2004 for "You're So Vain"). Her song "Let the River Run," which initially appeared on the soundtrack of the film Working Girl, was the first song ever to win a Grammy, Academy Award, and Golden Globe Award for a song written and performed by a single artist.
 |
| Mid-'70s Carly Simon |
More Room in a Broken Heart is an unauthorized biography, and after a little searching online it apparently is chock-full of factual errors. Some of the mistakes with dates are less glaring or annoying than some of the completely off-the-wall "interpretations" of Carly Simon's lyrics. One of the more amusing is Davis's summary of her 1980 hit "Jesse," which he describes as “a song about a woman’s ambivalent feelings for an incontinent lover who wets the bed and needs fresh sheets ... by the end of the lyrics, she decides to put fresh sheets on the bed.” Really? Here are Simon's lyrics:
Oh mother, say a prayer for me
Jesse's back in town, it won't be easy
Don't let him near me
Don't let him touch me
Don't let him please me
Jesse, I won't cut fresh flowers for you
Jesse, I won't make the wine cold for you
Jesse, I won't change the sheets for you
I won't put on cologne
I won't sit by the phone for you
If you hoped that this (or any) book would give an insight into the real story behind her top hit "You're So Vain" this is not the case. As many errors or missteps as this book may take, there are a few underlying suggestions, that if they are true, are quite interesting. That Carly's interest in working with Rolling Stone Mick Jagger led to a long-term friendship (and possible affair). That her success may have fueled jealousy with husband Taylor. That she enabled his relapses into drugs. The last few chapters of More Room in a Broken Heart gloss over most of her recent work as well as a (successful) bout with breast cancer. What was the rush?
There is another book on Carly Simon, "Girls Like Us
," by Sheila Weller, which Davis may have "borrowed" heavily from. The book covers the careers and lives of Carole King, Joni Mitchell, and Carly Simon and may have been a better read. It has recently been optioned to be made into a film, with Taylor Swift rumored portray Joni Mitchell. Oh boy.
Monday, March 18, 2013
et tu, jeopardy?
The quiz show Jeopardy recently had as a clue:
Answer: Who is Taylor Swift. Seriously, Jeopardy? It's a little disappointing that a major network show, usually lauded for its clever contestants, would join the bandwagon and poke fun at Swift. We expect the internet to indulge in slut-shaming and finger-pointing, especially at celebrities, but Jeopardy?
Swift has been the focus of a lot of (mostly internet-derived) criticism lately because her songs, usually of the break-up variety, can be tied to a series of high-profile boyfriends (John Mayer, Jake Gyllenhaal, Taylor Lautner, Harry Styles, the Kennedy kid.) It's become a sport to not just poke fun, but to speculate who is who in which song. A celebrity lives their life mostly out in the open — especially these days. But who really cares if she dates a lot, or forms short-lived relationships, or is just a young girl having fun? People seem to be bothered not just by her access to the famous men, but that she may be using her love life as song fodder and dares to document her (repeatedly) broken heart when it all goes south. But isn't that what most of country music, and a whole lot of all genres of music is about, anyway?
It smacks of sexism that these two young women are getting so much negative attention for their romantic couplings. The prudish judgmental tone many commenters take also seems to be tied to our current cultural climate. Attitudes about singers and their lovers were certainly different in the 1970s. Everyone is still trying to figure out the identity of the guy in the Carly Simon song "You're So Vain." Is it Warren Beatty? Mick Jagger? James Taylor? Does it really matter? It's still a great song. Why do we need to know? Carly wasn't slut-shamed for the fact that there were multiple male possibilities, so why is Taylor Swift?
, by Fleetwood Mac, is still interesting, but no one ever slut-shamed Stevie Nicks as far as I know. She had relationships with bandmates Lindsey Buckingham and Mick Fleetwood (and later, with Don Henley and Joe Walsh.) What has changed?
Swift's songs are exactly what they should be for a young woman her age. She's writing about love and loss and romance — the stuff all young women talk about with each other. So what's the problem? Could it be that people are bothered because Swift's star has risen so high, so quickly? Do we always have to set our idols up and then tear them down as quickly as possible? Swift may be overly sensitive to some of the jokes done recently at her expense, but it's understandable. Enough already. Let a girl date. And talk about it, Or write a song about it. Or blog about it. Love is messy. Songs tell stories. And even young women need break-up anthems. With no judgements.
Answer: Who is Taylor Swift. Seriously, Jeopardy? It's a little disappointing that a major network show, usually lauded for its clever contestants, would join the bandwagon and poke fun at Swift. We expect the internet to indulge in slut-shaming and finger-pointing, especially at celebrities, but Jeopardy?
Swift has been the focus of a lot of (mostly internet-derived) criticism lately because her songs, usually of the break-up variety, can be tied to a series of high-profile boyfriends (John Mayer, Jake Gyllenhaal, Taylor Lautner, Harry Styles, the Kennedy kid.) It's become a sport to not just poke fun, but to speculate who is who in which song. A celebrity lives their life mostly out in the open — especially these days. But who really cares if she dates a lot, or forms short-lived relationships, or is just a young girl having fun? People seem to be bothered not just by her access to the famous men, but that she may be using her love life as song fodder and dares to document her (repeatedly) broken heart when it all goes south. But isn't that what most of country music, and a whole lot of all genres of music is about, anyway?
Once upon a time, a few mistakes agoSwift isn't the only female musician whose private life has been a target for jokes and outrage recently. Rihanna's relationship with Chris Brown has earned her lots of attention, the majority of it negative. There may be more cause for concern in this coupling, but like Swift, whomever Rihanna chooses to date (or forgive for past crimes) is really no one's business. It is interesting that the criticism surrounding Swift is centered equally on her love life and her music, whereas with Rihanna it's solely about her past with Brown — he beat her up, was arrested, they parted (maybe), and she has now definitely forgiven him as they are very much back together. I guess Swift's "We Are Never Ever Getting Back Together" is not in her repertoire.
I was in your sights, you got me alone
You found me, you found me, you found me
I guess you didn't care, and I guess I liked that
And when I fell hard, you took a step back
Without me, without me, without me
And he's long gone when he's next to me
And I realize the blame is on me
'Cause I knew you were trouble when you walked in
So shame on me now
Flew me to places I'd never been
'Til you put me down, oh
I knew you were trouble when you walked in
So shame on me now
"I Knew You Were Trouble," Taylor Swift
It smacks of sexism that these two young women are getting so much negative attention for their romantic couplings. The prudish judgmental tone many commenters take also seems to be tied to our current cultural climate. Attitudes about singers and their lovers were certainly different in the 1970s. Everyone is still trying to figure out the identity of the guy in the Carly Simon song "You're So Vain." Is it Warren Beatty? Mick Jagger? James Taylor? Does it really matter? It's still a great song. Why do we need to know? Carly wasn't slut-shamed for the fact that there were multiple male possibilities, so why is Taylor Swift?
You had me several years ago when I was still quite naiveThe story of the sexual goings-on behind the making of one of the greatest rock albums, Rumours
Well you said that we made such a pretty pair
And that you would never leave
But you gave away the things you loved and one of them was me
I had some dreams, they were clouds in my coffee
Clouds in my coffee, and...
You're so vain, you probably think this song is about you
You're so vain, I'll bet you think this song is about you
Don't you? Don't You? Don't You?
"You're So Vain," Carly Simon
, by Fleetwood Mac, is still interesting, but no one ever slut-shamed Stevie Nicks as far as I know. She had relationships with bandmates Lindsey Buckingham and Mick Fleetwood (and later, with Don Henley and Joe Walsh.) What has changed?Loving youCertainly no one ever slut-shamed Mick Jagger, and who knows how many young starlets and lovelies have crossed his path, or how many times he wrote songs with Keith Richards about them? It's part of rock 'n roll, part of music. It's what artists do. Picasso made countless paintings of all of his lady-loves. I'm not comparing Taylor Swift or Rihanna or even Jagger to Picasso, but it's clear that these two ladies are getting different, more judgemental treatment.
Isn't the right thing to do
How can I
Ever change things that I feel?
If I could
Maybe I'd give you my world
How can I
When you won't take it from me?
You can go your own way!
"Go Your Own Way," Fleetwood Mac (witten by Lindsey Buckingham)
Oooh we called it off again last night
But Oooh, this time I'm telling you, I'm telling you
We are never ever ever getting back together
We are never ever ever getting back together
You go talk to your friends talk
To my friends talk to me
But we are never ever ever ever getting back together
Like ever...
"We Are Never Ever Getting Back Together," Taylor Swift
Swift's songs are exactly what they should be for a young woman her age. She's writing about love and loss and romance — the stuff all young women talk about with each other. So what's the problem? Could it be that people are bothered because Swift's star has risen so high, so quickly? Do we always have to set our idols up and then tear them down as quickly as possible? Swift may be overly sensitive to some of the jokes done recently at her expense, but it's understandable. Enough already. Let a girl date. And talk about it, Or write a song about it. Or blog about it. Love is messy. Songs tell stories. And even young women need break-up anthems. With no judgements.
Wednesday, August 04, 2010
i'm your handy man
 |
Butcher and Baker, bibliodyssey |
Being a single gal and head of the household a girl has to learn a few things about how to fix things, or at least give it her best try. I have become a frequent fixture at Lowe's recently, my DIY destination of choice. I'm not sure why I head there first, as opposed to Home Depot. They are equidistant from our place. If you ask my brother it's like the Apple vs. PC thing. I'm an elitist at heart.
Anyway, I have a variety of projects either started or concluded at the moment. And that's apart from my part-time "real" job. But I am managing to fit it all in without losing it, so far. I found some grout under the sink and repaired some fallen tiles in my bathroom. I've been re-framing and hanging pictures all over the place. I've constructed a new TV cabinet. I've set up my wireless internet connection/hub. I put together two large beds that we moved from D.C. to here. On the list of unfinished projects: I'm repainting the porch cane furniture ( and got new pillows for all of it) and reorganizing two large closets. I've unpacked over 100 boxes of our stuff. I've also thrown out bags and bags of trash and organized two pick-ups by the Salvation Army of things no longer useful here, or things we brought with us that we just can't use or need.
 |
Candlestick Maker and Goldsmith, from bibliodyssey |
But don't think that I'm all work and no play. I am able to write my own schedule these days, so these projects are all punctuated with a lunch out, a jaunt to a nearby fun spot, a dip in the pool or a shopping excursion. Like I said, I want us to enjoy each other. What else matters?
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