Wild Sovereign Development Site

Tag: musicians

  • long-legged rock god

    At rehearsal with a Ghanaian band for whom it is imperative to have two different drummers side by side. There are three brass horn players and I have counted four different patterns of stenciled colour on the walls. The room is filled with people speaking Ga and Twi and pidgin and the carpet is striped. The hand drummer is unable to play as he keeps having to get up from his seat to dance. The kit drummer gives out commanding shrieks of joy. Brass section is tight. I didn’t want to sing Redemption Song but the bass player said, Tell our story. On the way home, I rewrote it on the back of the bike, saying Oh pirates, yes we rob you. Sell you to the merchant ships.

    But your hand was made strong/by the hand of the almighty. We had ridden two hours on a motorbike in catastrophic traffic to get here, scattering streetlight vendors selling popcorn and plantain chips and iced water in plump bags and millet milk from zinc pails on top of their heads, finally spinning onto a long rutted red dirt road consumed with dust. Gig is Friday night and it is going to be wonderful.

    ~ 1st December 2021, a different world

  • late afternoon squared

    In the late afternoon I walked down to the square. I’ve been indoors now every day of eight weeks. People were sitting round the edge of the grass as though it were a swimming pool they were dangling their legs into. The trees overhead are finally thickening with green.

    A man who doesn’t have much had his tiny barrel-shaped speaker out and was blaring the blues. A bystander, so drunk he had lost his consonants, pitched forward and then arced backwards from the hips, hollering the blues. We have all been indoors since winter finally ended. We know the urge to holler. We know the blues.

    Here the blues come marching back again, pouring from the settled sky, finally at rest and displaying all its sunny virtuosity which is kept from us in this dark city eight months of the year by thickset cloud.

    The sky — the gorgeous preposterously cloudlit heaven of the springday sky. I sit down among the crumpled cherry blossoms, almost grey now in the grass. The sixth floor balcony where two weeks back a man had serenaded us with his saxophone is empty and the windows all dark. I sit watching two stout men drinking their beers, asking myself how is it I would know anywhere in the world they are Germans. Someone across the square sets up a rival speaker blurring AC/DC. Highway to Hell! screams the drunken singer, able to enjoy everything at once. A Turkish man who cannot afford to quarantine is collecting beer bottles, asking everyone first, may I have this. His face has patience and great sweetness. He stows each new bottle in his clanking bag. The pizza shop is open again but only for takeaway, ‘every one of our pizzas is nearly round’, their blackboard boasts. Last year at the end of the summer they had a drinks special chalked there: Soup of the Day — Gin Tonic. A man in a black Volkswagen sleek as a Beemer edges right in to the kerb and leaps out. He is prematurely casual in pink linens with a knotted sweater, it’s not really all that warm but he seems insouciant, he plugs in his car, a rental car, an electric car, and locks the keys inside the glovebox and goes strolling perfectly pinkly away. Like all of us, he is in rehearsal for summer, which is the future: summer 2021 perhaps, we’ll be able to travel, we’ll all be lightly and attractively attired, we will be slim and competent in public places, we’ll be free.

  • subway sounds

    In New York I came into 34th St subway station to hear a bunch of dudes playing a kind of washboard bluegrass. They weren’t excellent but they had vigour. Called themselves the Ebony Hillbillies: cute. O you’re from Australia & you wanna make a record? Love to!

    Later I rang them up. “We’re not lettin you put Our Sound on Your Record for less than $800.”

    I said, baffled, ‘But… it’s only one song.’

    “You know, we getten called the best black banjo band in America.”

    Sound engineer said to me, “Why are you crying? That shouldn’t hurt your feelings.” And he is right. But it does. It’s the lack of music, the tower of ego I cannot climb. The hand-to-hand combat whereby everybody has to constantly outdo everybody and every interaction is a kind of business deal. Where you have to self-promote and be the best this, the best that. It exhausts me. It chills my soul with its coldness and shrivels me. I’m not asking people to play for free but I want them to be interested, to love the originality of my project and to love the music enough to play as though they would do it for love.

    Once I played one of my songs – a homemade sample off my first website – to a man of some stature when the website was new. This was during my year-long journey to build courage to do this thing. He said, in my opinion, you are going to be one of the greatest artists this country has ever produced. I burst into tears with relief. But later I looked over his website. It was all, the greatest this, the most highly qualified that. It was a minefield of pyramids. I don’t live in that field & it doesn’t seem real to me. That’s not how life works. I live in the jungle where every tree has its flower in the elbow, every bird has its arrow-glistening feather. Where there are a multitude of voices. Somehow they make a kind of complex harmony. Sometimes it is mayhem & a shattering din. More often it is sweet & overwhelming, it seduces me.

  • everything in sequins

    Yesterday I was reading the paper over coffee in a huge, bleak market hall in Berlin. The place has all the atmosphere of an airplane hangar, it was raining hard outside and had turned bitterly cold. I was reading about the coward shooter in Vegas and had screwed up my mouth. He shot from behind the curtains. He had no courage and no manhood. Next to me two people browsed on their phones, one of them breastfeeding a baby. All of a sudden a familiar hoot rent the air. The guy flipping pancakes at the next stall was singing along, joyous and loud, to the Rolling Stones riff everybody recognised, the oooh hoo hoodoo hoodoo hoo from ‘Miss You.’ I looked up, people looked up. It was as though John Travolta had come strolling in, jive talking, with his panther grace and his hands in his pockets and leaving a trail of tiny sequins.

  • for the ages

    I went to see Paul Kelly play Berlin. I was going with my girlfriend and the evening of, she rang to say: I don’t feel well. I feel so tired and I just need to stay at home and curl on my couch. Can you go on your own?

    I went. Since I left my boyfriend I have been going to a lot of events on my own. I sat with a German couple and the man said to me, “Do you know him?” “Oh,” I said, awkwardly. “I once sat in the same cafe with him in Richmond, in Melbourne. Australia’s not quite that small.”

    This was in the Richmond Hill Cellar and Larder and Paul Kelly was sitting quietly with his friends and I was nutting out the playlist for my album, listening over and over through what we had made with cat-callers and buskers and students of jazz in New York and I looked round the room with my own music in my ears and saw the love: how everyone tried so hard to be courteous and pretend we had not noticed him there.

    “But you know his songs,” this man elucidated now. “I am the same year as him: 1955.”

    He patted himself on the chest, approvingly.

    The audience was filled with Australians. You can tell by the facial expression. A certain kind of friendly lazy openness that lends itself to generalisation. I looked around. You looking at me? asked an older, Australian man behind me when I glanced round. Oh no, I said, I was just… gazing in your direction. He had hopped up. Held his beer up in his hand. Can I come sit with you? Ok, I said, and so he bought me some beers and talked in my ear between the songs. But I hardly heard. I was transported. Someone brought on a bottle of water and stood it next to the central mic. The musicians came onstage and among them were Vika and Linda, the glorious Islander Bulls, it had not occurred to me they’d travel with him. I know they sing backing vocals on his albums. They were radiant and they owned the stage, from its wing. Paul Kelly introduced the new album he had written and they launched it like a ball of flame. These people, and their music.

    Linda sang one song and Vika sang another. In their salty, knowing womanhood they swayed side by side like palms. The beautiful affinity between them bespeaks sisterhood. The rest of the stage was occupied by men. They know each other. They can communicate with a bare glance. I was almost crying. There came a moment when the crowd threw back their heads and yawped, bawling along with the lyrics in our Australian accents: he took it pretty badly: she took both the kids.

    Then they sang How To Make Gravy and I was crying. Surrounded by beautiful, healthy, young Australian men in their t shirts I flung my arms open and one of them snatched me up and hugged me harder than I have ever been held. I emerged from his embrace and his face was wet with my tears. Every time I smiled he smiled back at me. The music finished and they all walked offstage and we weren’t having it, we hammered our feet on the ground and yelled and hollered. Paul Kelly broke the glittering curtains open by himself. The closing song had been a quiet one, “Darling, you’re one for the ages,” and he had spoken the lyrics, shyly, in bad German: mein Liebling, du bist zeitlos. It seemed like he had half the crew of Rockwiz on stage with him and half of those were my Facebook friends. Australia really is that small. Now he took up his guitar in silence and the crowd began to sing to him, irresistible, a capella, “Darling – you’re one for the ages. Darling… you’re one for the ages.”

    A grin tugged at Paul Kelly’s face. He is not a good actor, he is too authentic and sincere, as I had ascertained this evening by watching the film clip for Love is the Law, in which he looks uncomfortable and the film maker’s directions are almost visible on the screen. “Well this is probably my second favourite moment of tonight,” he said. “My favourite was when someone yelled out, ‘En-fucking-core!’” We laughed, proud of ourselves. He started to encore. We all stood still and listened. To awaken stillness in a big crowd is a consecrated kind of gift. Sweat was rolling down my spine and darling, I was one for the angels. When I got home I would hand wash every one of my garments in a trance of caretaking meditation and the beautiful young man had given me his number and so had the older Sydney guy, who sells Blundstones. But for now the rest of the band came back on and played like emperors. Much later, as I stood collecting my warm wrappings for the long bike ride home, a roadie opened the curtain and out the back I could see their white tour bus, Vika Bull standing beside it waiting for the gear to be boxed up and wheeled out, she was smoking a cigarette and our eyes met, and I felt a bolt of womanhood arc out of me and into the vast cold sweet dark Berlin sky which chuckled with the autumn wind, all the way home.

  • music unfolds in the Funkhaus, live and barely planned

    Today we will be making a new song, the first towards Cathoel & the New Government’s eventual second album. First album prompted 50s jazz impresario Bob ‘King’ Crawford to say, “In my opinion you will be one of the greatest artists this country has produced.”

    He was talking about Australia but I have gathered fellow travellers from New York, Czech Republic, and Berlin. There’s eight of us today and only two have ever met. This is the persistent idea of ‘the new government’ – it is elastic and can consist of anybody who wishes to step up and take care of something they feel moved by. Something musical, something ecological; something furred or feathered, something human. It’s how plenty of people live in the world already. We’ll be recording in the famous Berlin Funkhaus and hope to produce a tiny doco about our day’s work, which will be improvised from scratch around a vocal line of mine. The lyrics were written on a drum kit in an Airbnb apartment in Spain:

    you came a-courting me
    in your skirt
    and no shirt
    and no shoes

    and I swallowed down all that you taught me
    in my bed
    in your arms
    in my youth

    Imagine a bunch of people with jazz sensibilities set out to make an electronica dance track, but using all real instruments and playing the whole melee live, not looped or sampled. Imagine it might build into the kind of trance intensity that explodes. This is my plan, insofar as you can call it a plan. I have only met one of these musicians before now, when he walked into a Berlin bar three years ago carrying a beautiful upright bass and proceeded to set up an irresistible stomp. I’m recruiting interested musicians online through musos’ groups. Song has no title as yet but we will see what evolves.

  • a virgin busker

    On the subway a woman suddenly opened her mouth and began to sing. Her voice was tentative and good. She had a little loudspeaker rigged up through her mobile phone and had set herself to perform some songs in her own native Spanish. She was rugged up like the rest of us in a puffy blizzard jacket, was in her late middle age, and shy: and I would be willing to bet this was her first day out busking.

    She sang, Kiss me… kiss me all over, or as it renders in the Spanish, kiss me a lot. Her voice trembled with nerves but she kept going. She tried to set up a swing with her hips, stiffly, appealing to the stony crowd with outstretched hands. “Music?” her voice, her hands, her eyes seemed to be saying, “remember music?”

    I got up and went over to be nearer. She was standing in the doorway with her back turned to the glass doors. She smiled shyly at me and I smiled shyly back, nodding encouragingly, clinging to the yellow pole and hanging my head against it as though it were a mother.

    Shyness in public. It makes life so much more challenging. A little way into the song she switched up the tempo and the backing music began a familiar rumble. “Bamboleo,” she sang, wistfully but clear, “Bamboleah…” A moment later she was saying, thank you, danke schön, and pulling out of her jacket pocket a crumpled waxed-paper cup. It is easy to fall on hard times so rapidly. Well-dressed people are begging and collecting bottles for the deposit all over the city. I gave her two euros saying, Sie haben solch eine schöne Stimme, eine echt schöne Stimme. You have such a lovely voice, a really beautiful voice. This was perfectly true and she knew it. We thanked each other bashfully and she went off down the swaying carriage where to my surprise people pulled out their wallets and broke the fourth wall. I, too, am afraid to sing in public; I, too, have a voice. Her courage by this stage had moved me to tears and when the door at my station opened unexpectedly a second early, while the train was still moving, I stood back saying, “Whoa,” and smiling with surprise. German trains are seamless. The man waiting outside the doors stood facing me as the platform slowed. He smiled back. We smiled at one another. In the stairwell a man with his face turned to the wall was shooting up into his elbow, bared in the literally freezing grey cold.

  • love is the what

    Reaching my Kiez in the late afternoon* I nearly ran into a boy-girl couple kissing strenuously outside the Turkish supermarket. This supermarket annoys me because they always reel off too many plastic bags and I have seen a man who had put his single apple into one bag accept another bag to carry it home in. My, how they kissed. He was twisting on his feet. She opened her mouth and throat, tipping back her head. I was so rejoiced by them I started to laugh, and then the flirty guy on the nub of the corner who sells his own ice cream laughed along with me, though he through an accident of geography had missed the kiss.

    I went onto the market. Berlin markets start late. You can go down there at ten or even eleven and find people still sleepily setting up. But as the afternoon ripens it has settled into a groovous swing – that is the opposite of grievous, I suppose – a grievous swing, specially down the other end where there’s a platform built out over the water and it’s filled with people, many of them just gazing and smiling but some with their eyes closed or even eyes open are dancing, from a sitting position or standing up to shake it out. Two guys with a microphone had set up their bag. And were piling us all into it, gleefully. Och music. You’re indescribable, I know. I came through the markets carrying my head on its stalk and I have lost a little weight just lately and with it, years, and the man who sells bolts of plain linen and cotton, unbleached – are there that many painters in the region? – smiled at me lingeringly, when I glanced back and smiled he was still smiling and he tipped at me his head, consideringly, almost obsequious. That is what beauty can do for us and I had forgotten, but now I remembered.

    At the jewellery stall set up on a bin with a velvet-clad board clapped over it by a Japanese man who wears busy gathered pants and feathers woven in his hair, another beautiful guy with golden shoulders was standing with his arms out and his hands held up, tilting his head from one ring to another, determining which one set off his gorgeousness the best. He amused but he bored me. I’ve known those men. At the organic vege stall run by curmudgeonly lesbians who all live together on a smallholding outside Berlin I asked, Hey, can I photograph your beetroots? They just look so proud there on their blue background, holding out their leaves. Yes, she said, winnowing flowering green leaves which are sold by the hundred grams for a woman who had two children with her, each child carrying her own tiny handbag and each pushing her own tiny pram. I left off grooving and came up home, walking on the other side of the market street, past the stall which sells nine types of potatoes. And as I came past the cheese lady who cuts pale butter off a sweetly sweating slab I ran across those same two kids, still kissing, wringing the greenery out of this day which as a leaf this afternoon fell past me just as my shutter clicked surely must be one of the last days of the year on which we can wander and groove, we can kiss in the streets and call out to one another, hey Berlin. I passed a discount stall flogging cheaply printed night shirts in cellophane, one of them said, in curly handwriting font, LOVE IS THE but I turned it over and discovered there was a slab of cardboard slid down the back, to stiffen the shirt for display, and that covered the rest of the words and though my mind flooded with suggestions I could not make it out. Now I have to spend the rest of my life wondering. What is love?

    *Kiez is the few streets between you and your main roads: your own neighbourhood.

  • angel Bowie

    Two hipsters compete in a Berlin bookshop, the day of David Bowie’s death

    Hipster One: I know, I mean I was like twelve when I heard ‘Changes’ for the first time.

    Hipster Two: I know, it’s like, I just… it’s like I had a personal connection. You know? Like I…

    Hipster One, abruptly: Yeah, everybody seems to be saying that.

    Hipster Two, hastily: I mean, not that I felt it, I mean like, this morning I was kind of like, Wow… But ~

    Hipster One: But now ~

    Hipster Two: I mean it hasn’t ruined my day or anything.

    I am standing in the window alcove with a volume I saw from the street and have lifted out of the display. This conversation, with its switches from having to care most to having to care least, seems to me exhausting. I think about the beautiful and dignified Iman, Bowie’s wife, whose day the news presumably has ruined. Hipster One, who owns the bookshop, calls across the room.

    Hipster One: Kann ich helfen?

    Me: O nein – danke, ich kann es selber lesen.

    Thank you, no… I can read it for myself. I smile at her lest she think I am being less playful than rude. I am reading a journal called Elsewhere, about place. It is a first volume, compiled by a bunch of homesick expatriates and published locally in English. To get here I walked past a stream of graffiti saying if you want to talk English, go to New York – Berlin hates you. Variations included Not for yuppies and the more melancholy anti-gentrification slogan Wir bleiben alle, written on a building which is about to be mass-evicted and made over for higher-paying expatriates. It occurs to me that Bowie himself was one of the pioneers of this gentrification.

    My companion, who made the signage for this shop, comes in and the shop owner realises belatedly why I look half-familiar. She switches from the formal Sie to the friendly du and cozies up, saying: Habt ihr einen guten Rutsch gehabt?

    And did you both have a good slip? a good slide? This is how Germans picture their entry into the New Year. After Christmas they start wishing each other einen guten Rutsch, as though all the nation held its breath ready to lurch down wildly careening into the new frontier, meatier, balder, bolder, breathlessly. We’ve arrived!

    I buy the journal. We walk on. My companion guides me round a brownish squelch coiled on the stones. I look closer. “That – is just a big fat brown hair scrunchie.” He laughs. “And yet…”

    I am pushing my bicycle, I don’t want to risk a bad slip, a bad slide. I tell him about the dog mess I found on my first visit to New York, wrapped in a flattened red singlet bag and shaped exactly like the drawing of a heart. I wrote about it online: I dog poo New York. On the river a circle of ice has formed round the perfect hole where someone threw a chair, a microwave, a bicycle, and the hole has frozen over. Bottles stand drunkenly frozen in place where they bobbed, and a few Christmas trees. Where the water has dissolved into liquid are a dozen ducks cosily chatting on the curving edge of remaining ice, which resembles a beach. It is so cold the tops of the buildings disappear but my breath makes shapes on the air. We are all smokers today. Or maybe, dragons. Breathing ice.

  • where it hurts

    What a strange feeling to watch Mitch Winehouse, father of the Amy who died young, telling the camera after her death how he felt it was not his place to save her. You can’t force treatment on somebody, he says, and shrugs. Meantime he is running the Amy Winehouse Foundation, his income derived from her work. After everything that’s happened, still an unawakened person: living in an unreflecting stupor, so it seemed, entirely selfish, he has milked his cow to death and still has no idea what went down, or who she was, or what life is like for a sensitive – that is, a wakeful – person.

    It is cold in Berlin at night the end of the summer, I drew my feet up on the chair. Two dogs kept tangling in a hassle of growls every time someone got up to buy a beer. Would be great, said the announcer in English and in German, if you could all carry your deckchairs over to the stacks afterwards, and bring your ashtrays back. Her fingers tangling in her afro loomed larger behind her like fame.

    The last film I saw here, a month ago, was about another tormented musical artist: Brian Wilson. I remember afterwards standing in the queue laughing as though crying again, watching all the Germans patiently waiting, chairs folded, to hand back their deckchairs to the two fellows rapidly stacking and folding.

    Today I discovered I have cried so much in the last week that the skin round my nostrils is all chapped and eroded. Standing in front of the mirror rubbing oil into it in little tiny circles I was thinking of the psychologist I spoke to on Friday, a much younger woman I have met a few times now, who is Danish. We speak in English. She said, I am sorry that these sessions just involve an hour and after that I have to let you walk out into the world all alone. I wish I could come with you for a few hours, and spend the afternoon beside you, just sitting with you. “There is nothing I would like more,” she said. I walked across the bare floor of the old sewing factory to the bathroom and dunked my face in the cold water several times, patting down the aggrieved and swollen skin, the red. I tipped my bag onto the floor and twenty-one sodden tissues rolled out on the tile. Later that night woken by street noise and unable to stop from weeping I rang my parents’ house. It was 3am here, there almost noon. “Have you tried concentrating on the positive things in life?” My dad searched for something to say when I became so entrailed in sobs I no longer could speak. “I meant to tell you,” he said, “about the friend from Engineers Australia I ran into at the spinal clinic. Lovely bloke. But he has broken his neck and now he’s paralysed from the neck down.”

    Amy Winehouse’s ex husband, the reprehensible Blake Incarcerated, lounged in his splendid corner chair. He was being made up for a biopic about his famous wife, had filled out, was feeling self-assured. He spoke about himself and then rolled on over her, already dead. Wha’ I fought was, he said Londonishly, the emblem of fake punk, I’m earning good money now, I’m a good looking man, I dress well – what ve hell am I doin’ wasting my time wiv ‘er? He had drawn her into the tiny heroin room, and left her there. In the film she climbed onstage, booed by the people who’d been chanting her name, and began beseechingly hugging one big black man after another – musicians who reminded her, I would imagine, of one of her only true friends, a bodyguard who used to stop her from going out for more booze. Her girlhood friend’s voice broke describing how they had rung the father imploring him, please, do not let her tour. But she ‘ad commitments, innit. So he put his wretched daughter, skinny and cowering, on stage in Belgrade, where she stood trembling and evasive until she was booed off.

    In the outdoor audience, no one stirred. The story was heartbreaking and base. A person eaten alive by the public, undefended by her nearest loves. We were aware in our deck chairs that we had all feasted on her, like Diana, like Marilyn. We are entitled to feed on the female: the role of a woman is to cater our eye.

    A slight wind rattled the screen. In eerie silence they showed slowly the unhappy photographs she had taken of herself in her house in a daze, a woman hounded on the street. She only had to show her face at a window to be blinded all over by mega flash bulbs. Her husband himself and her father, deserter of his family when his daughter was ten, are in their own ways mega-flash bulbs, though dim: yet both have survived and now flourish on the messy heap of her memory and her fame.

    We are a cruel culture. We trash the wild. The queue round the corner to see this girl’s life, the silence that spread from one person to another, were a searching in the self and a tribute. The film makers had pieced it all delicately together from the home movies she’s left behind – and from footage in the vocal booth – and from interviews with those who loved her and those who exploited her gift.

    This outdoor cinema is set up in the green in front of a famous smoking squat, where rivers of drugs have been consumed. It now houses galleries, the summer cinema, and a restaurant which is always booked out. Gift in German means poison. Tony Bennett said, she had the true jazz voice. Jazz singers don’t want to be up in front of 50,000 people.

    A breeze stirred the trees in the prolongued, painful silence. It was cold and growing dark round half a moon. We were Berliners, many of us people who have tried at some stage to suicide by substance. Four lights came on in the big house, a hospital before. She drank so much that her heart just stopped. The treetops stood there stately, shaking a little. I drew a sigh in the immaculate silence.