Showing posts with label Piano. Show all posts
Showing posts with label Piano. Show all posts

Friday, January 7, 2011

Senseless to the Sublime

The last two nights make me think of Franz Kafka's The Hunger Artist, in which a famous fasting artist is on display in a circus menagerie, the crowds pushing past him to get to watch the lions stalk and feed. "He immediately got an earful from the shouting of the two steadily increasing groups, the ones who wanted to take their time looking at the hunger artist, not with any understanding but on a whim or from mere defiance—for him these ones were soon the more painful—and a second group of people whose only demand was to go straight to the animal stalls." It is a highly symbolic story of how artists sacrifice themselves for their art and the general public's ignorance of what great artistry demands and preference for sensational pursuits.

One of the reasons we live in this area of Florida is for the cultural diversity it has to offer. True, it does not have the advantages of a London or a New York in its breadth or consistently high quality, but knowing where to go can uncover some wonderful cultural events. Case in point, our favorite small theatre where we never miss a production, Palm Beach Dramaworks. But the largest theatre in the area is West Palm Beach's Kravis Center for the Performing Arts and we've seen some fine musical revivals there over the last several years, South Pacific standing out in my mind, and some special programs such as when Sondheim visited for an evening discussion of his works.
Admittedly, it was with some trepidation that we got tickets for the Kravis’ production of Beauty and the Beast but Ann had tried to see the Broadway version, liked some of the music, and never could get tickets so we were hoping that this touring production would at least be on par. Tuesday night we saw the opening and it was so dreadful that we left at intermission. This review gives some of the details although it is actually very restrained in its criticism.


It is a Disney dumb-down production presumably for the kiddies, with one dimensional slapstick characters, but, amazingly, most of the adult audience seemed to be laughing at the childish humor which at best rose to the level of a sitcom. The fact that a Beauty and the Beast could flourish for so long on the Great White Way says much about the public's taste in musicals. We should have known better!

The following evening we sought redemption, having long ago booked tickets for a series we have followed for years, Keyboard Conversations ® with Jeffrey Siegel at The Society of the Four Arts in Palm Beach. These are "unique concert-plus-commentary format in which he speaks to the audience about the music before performing each work" in their entirety. Wednesday night was one of the most demanding programs we've ever heard this highly-acclaimed American pianist perform, tackling three of the most difficult pieces written for the piano by Johann Sebastian Bach (Chromatic Fantasia and Fugue, BWV 903), Samuel Barber (Fugue from Piano Sonata, Op. 26), and Ludwig Van Beethoven (Sonata No. 23 in F minor, Op. 57 --- the "Appassionata). Mr. Siegel playfully calls the program "Three Great B's Bach, Beethoven and Barber" (the latter B normally reserved for Brahms, but this is the 100th birthday celebration of Barber, one of America's leading composers, a contemporary of Bernstein and Copeland). In addition he played two of Barber's "Excursions" which I had never heard and reminded me so much of some of Gershwin and Copeland.

The physicality of the performance was astounding. As I play the piano myself, I have a special appreciation for what Siegel accomplished last night, performing the entire program without sheet music, keeping up with the tremendous technical demands of these pieces. Indeed at the end of the night, when he conducted his traditional audience question and answer portion of the program, he seemed, justifiably, physically spent, perhaps like the artist in Kafka's story. But this audience was brought to a standing ovation in appreciation.


Antidote du jour.......

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Thursday, August 5, 2010

Literary Concord

Several years ago Ann cut out an article in the Palm Beach Post about Concord, Ma. and its rich literary and revolutionary war history. As we were visiting our son, Chris, in nearby Worcester, it was an ideal opportunity to push on to Concord for a couple of days, stay at a B&B (North Bridge Inn, highly recommended) and see for ourselves. We decided to concentrate on Concord’s literary history, and its place at the crossroads of Transcendentalism with Emerson as the center of that universe. To walk where Emerson, Thoreau, Alcott, and Hawthorne walked is awe-inspiring. They were all contemporaries, living near each other. This is indeed a sort of holy ground of American literary and intellectual history.

There is no better way to start such a trip than to visit the Concord Public Library, dedicated by Ralph Waldo Emerson when it opened in 1873. In this day of the Kindle and the iPad, it was refreshing to be in a traditional library, befitting the literary community which it is at the center. Inside one can find Daniel Chester French’s sculpture of Ralph Waldo Emerson. French’s tools were given to him by Louisa May Alcott.
In the Concord Museum Emerson’s study is perfectly preserved, moved there after there was a fire in the Emerson home.

The Old Manse was home at one time or another to both Hawthorne and Emerson. Here Nathaniel Hawthorne and his bride Sophia rented for three years beginning in 1842. While on tour, we were able to see the following etching in one of the window panes using Sophia’s diamond wedding ring:

Man's accidents are God's purposes. Sophia A. Hawthorne 1843
Nath Hawthorne This is his study
The smallest twig leans clear against the sky
Composed by my wife and written with her diamond
Inscribed by my husband at sunset, April 3, 1843. In the Gold light.

One can still see the smallest twig leaning “clear against the sky.” It would have been interesting to eavesdrop on conversations between Emerson and Hawthorne as Hawthorne was not a Transcendentalist. Henry David Thoreau (pronounced “Thorough” by the natives) is said to have planted the garden at the Old Manse as a wedding gift to the Hawthornes. The garden still blooms there. From the Old Manse Emerson’s grandfather witnessed the “shot heard around the world,” the opening volley of the American Revolution on the Old North Bridge.

The Old Manse also houses a 1864 Steinway piano and I was surprised when the docent invited anyone on the tour to try it. Most items on these house tours are of the “look-but-do-not-touch” nature. As no one volunteered I stepped forward to play a few bars of Memories by Andrew Lloyd Webber, my apologies to 19th century sensibilities. It was out of tune, but all keys functioned, more than 150 years after this piano was built.

This is how life was before the “conveniences” of modern life. Parlor games and music, plays written and performed by the residents, writing and philosophical discussions, and books read to the family by candlelight. (Hawthorne read the entire works of Sir Walter Scott to his children while living in Concord.)

The nearby Wayside is now a National Park property and tours of the home and the nearby North Bridge are conducted by Park Rangers. We were lucky enough to have had a private tour of this home. Louisa May Alcott spent her childhood there and many of the scenes from Little Women were set in her memory from that home. It is also the only home ever actually owned by Nathaniel Hawthorne who gave it the name, Wayside.

The tour of the Orchard House, where Louisa May Alcott actually wrote Little Women was inspired. The docent enacted several quotes from the novel, leaving one motivated not only to buy the book (once again) but others as well in the gift shop.

Alcott’s father, an educator who struggled to make ends meet, was an enlightened man, encouraging his daughters to learn, building a small desk for Louisa May (unheard of at the time), and having the pleasure of watching his daughter become one of the best selling author’s of her time, certainly making the family wealthy. That small, plain desk has been perfectly preserved. Father Alcott was devoted to Louisa May and she was devoted to him. Eerily, as the New York Times reported at the time in 1888, it is a noteworthy fact in connection with her life and death that Miss Alcott and her father were born on the same day of the month, and that they died within 24 hours of one another.

A couple years ago we had the pleasure of touring Emily Dickinson’s home in Amherst. She is probably my favorite poet. I wonder whether her relative isolation in Amherst, while the literary hotbed of New England was not far away in Concord, but far enough to remove her from that scene, might have contributed to the quiet loneliness of her poetry. I am not aware of Dickinson ever meeting the Concord group.


Sleepy Hollow Cemetery is now the resting place of the Alcotts, Thoreau, Hawthorne and Emerson, Thoreau’s grave just simply inscribed, “Henry.” I cannot visit such a graveyard without thinking of Emily Dickinson’s poem I Died For Beauty which I never forgot since reading it in college and in fact recited those words at Dickinson’s gravesite in Amherst:

I died for beauty but was scarce
Adjusted in the tomb,
When one who died for truth was lain
In an adjoining room.

He questioned softly why I failed?
"For beauty," I replied.
"And I for truth, the two are one;
We brethren are," he said.

And so, as kinsmen met a night,
We talked between the rooms,
Until the moss had reached our lips,
And covered up our name

Our wonderful tour of Concord was concluded by having dinner at the Walden Grill with my best friend from college, Bruce, and his wife, Bonnie, residents of nearby Sudbury, and both dedicated teachers of literature. Perhaps learning, teaching and literature are in the water of Concord, Ma. and its environs!

Wednesday, November 18, 2009

Copeland Davis

Remember that name, Copeland Davis.

Earlier in the year I was inspired to write about the Florida Sunshine Pops orchestra. And, I’ve written before about jazz performers who are in a class by themselves, both those who are well known and those who work mostly in local venues, performing mainly for the love of the Great American Songbook.

The other night we attended the first of the Florida Sunshine Pops concerts for the season, which was a tribute to Richard Hayman and the Boston Pops. Hayman was the principal arranger for the Boston Pops for some 30 years, and today at the age of 89 is still active as the conductor of the Florida Sunshine Pops. Also, as one of the original members of the Harmonica Rascals he can still play a mean harmonica! His arrangements of Metro-Goldwyn-Mayer film scores are legendary.

This first concert of the season had a special guest performer, someone we’ve seen before, Copeland Davis, whose prodigious talents as a pianist inspired a standing ovation at the end of his first piece with the orchestra, Didn’t We? He brings a rare mix of gifts to the keyboard – first abounding warmth that shines through his presence on the stage, but, foremost, his ability to fuse blues, jazz, pop, and classical in one piece. I have seen some great jazz pianists and the only ones I remember having this ability are the late Oscar Peterson and Claude Bolling. At one point in his performance, in the middle of an arpeggio, Davis turned to the audience, slyly smiling, as if to say, “look, Ma, no hands!” I will go out on a limb and predict that Copeland Davis is destined to go way beyond the Florida market. Although his You Tube performances were not recorded under the best conditions, depriving him of the showcase he deserves, here is one I loved:



Tuesday, March 31, 2009

He jes' keeps rollin’ along

Last night we had the pleasure of seeing the last of the season’s Florida Sunshine Pops series of concerts at our nearby Eissey Campus Theatre. I’ve written about the Pops before and its gifted, octogenarian conductor, Richard Hayman.

This was a special concert devoted to Rodgers and Hammerstein, the undisputed Broadway innovators who, with Oklahoma!, changed everything about the Broadway musical. Their contributions to the Great American Songbook are legendary.

So yesterday’s concert was a “grand night for singing” and that is what makes this series so special: the level of the talent and professionalism that accompanies the orchestra. Last night’s featured performers were William Michaels, Lisa Vroman, and Stephen Buntrock all leading players on Broadway. They were joined by the Fort Lauderdale Gay Men's Chorus, giving a truly inspirational dimension to those particular songs that so readily lend themselves to choral accompaniment such as Climb Every Mountain or Oklahoma! (which we learned, last night, was written by Rodgers and Hammerstein in a half hour while the show was being previewed in New Haven).

Another highpoint was the Florida Pop’s rendition of the beautiful Carousel Waltz, no doubt orchestrated by the maestro himself, Richard Hayman. If it were not for Johann Strauss, Jr, I think Richard Rodgers would be known at the “waltz king” as so many of his greatest pieces were in three quarter tempo.

But for me, the solos by Michals, Vroman, and Buntrock, were especially remarkable, not only for the quality of their voices but as Broadway trained actors, by their ability to communicate the emotion of the song as they comport themselves on the stage.

Naturally, I had my favorites, Lisa Vroman has a Julie Andrews voice and in fact sung The Lonely Goatherd, the yodeling ditty so closely identified with Andrews from The Sound of Music.

William Michaels is currently appearing in the landmark revival South Pacific at Lincoln Center. His rich baritone voice lends itself to the role of Emile de Becque but last night he sang what some have called the greatest song from the American musical theatre, Ol’ Man River from Showboat (artistic license: music by Jerome Kern, but lyrics by Oscar Hammerstein). Hammerstein described it as “a song of resignation with protest implied.” Perhaps it is a song for our times and my piano rendition is here.

Then there was Stephen Buntrock’s rendition of Oh, What a Beautiful Mornin the opening song from Oklahoma!, sung by the cowboy, Curly. In fact, Buntrock recently appeared as Curly in the Broadway revival of Oklahoma! so he follows in the tradition of Alfred Drake, Howard Keel, and Gordon Macrae. It’s a delicate, beautiful song, an uncharacteristic opening song for a Broadway musical, but after all, this was the musical that established a new direction for the musical theatre, making the music intrinsic to the plot, driving character development. My piano rendition of Oh What a Beautiful Mornin can be heard here.

Thursday, February 28, 2008

How His Heart Sung

My favorite gifts -- to give or to receive – are books and music. This past holiday Ann, and her best friend, Maria, who was visiting us from Sicily, gave me Peter Pettinger’s biography Bill Evans, How My Heart Sings (Paperback; Yale University Press, 2002) and a collection of sheet music and books on theory, including the Bill Evans Fake Book, transcribed and edited by Pascal Wetzel from Evans’ recordings. (A “fake book” gives the melody line and the basic chords, without arrangement, which the musician then has to improvise.)

Between the biography and the fake book I have a greater appreciation of Evans’ musical genius and can understand why he has been called the Chopin of jazz. I highly recommend the biography to anyone who has admired Evans, although you should be aware that as Pettinger was a concert pianist, the biography delves as much into the intricacies and structure of Evans’ music as it does his life.

His life was tragic as he began a heroin habit in an effort to “fit in” when he first played with Miles Davis’ group. This ultimately contributed to his early death at 51. But, oh, his music, the extent of which I was not fully aware until reading the biography and working on the fake book. His compositions are melancholy and ethereal, frequently changing keys and tempo, with unique chord voicings abandoning the root note. This leaves the listener with a feeling about the sound rather than a musical denotation, almost like comparing poetry to a short story. His classical training clearly comes through and one gets a sense of his Slavic heritage as well. As Evans said, “I have always hoped to visit Russia, to feel at first hand the roots of this part of myself.”

Before the gift of Bill Evans Fake Book I was already familiar with his well known “Peri’s Scope” and “Waltz for Debbie,” with the latter being part of my regular repertoire. Here is a wonderful video of Evans playing “Waltz for Debbie,” probably his best known composition: http://www.youtube.com/watch?v=dH3GSrCmzC8

Delving into the fake book I discovered other gems and my favorite piece now is “Bill’s Hit Tune,” which Evans described as having “a quality of a French movie theme if played slow.” A performance of the piece by Evans is also on You Tube: http://www.youtube.com/watch?v=wuprXet5_YQ

Then there is “Comrade Conrad,” with its changing keys and alternating sections of 4/4 and 3/4 time. The soaring “Turn out the Stars” seems to evolve almost on its own accord and as abstract as it might be, it all makes sense. I think this piece reflects his deep classical roots and it might be his masterpiece. I also love his plaintive “Funny Man” and fragile “Time Remembered.”

“Letter to Evan” is one of the few Evans pieces for which he also wrote lyrics. I think of it as a tone poem, beautiful in its simplicity. It was written for his son’s 4th birthday; tragically Bill Evans would be dead only one year later. His son is a musician as well, writing for films. He wrote a poignant essay about his father on the 21st anniversary of his death: http://www.evanevans.org/mind.asp?ID=16

Finally, I love playing the mournful, haunting “We will Meet Again,” which Evans wrote soon after his beloved older brother, Harry, committed suicide. Richard Kimball, a pianist and composer with both classical and jazz backgrounds, skillfully performs an arrangement of that piece:
http://www.youtube.com/watch?v=ZiN5DsOdM38&feature=related

For the amateur pianist, playing Evans’ work and trying to understand the structure of the music can be intimidating. I take encouragement from Evans’ own definition of jazz: “It’s performing without any really set basis for the lines and the content as such emotionally or, specifically, musically. And to me anybody that makes music using the process that we are used to using in jazz, is playing jazz.” So, I’ll keep trying to play jazz, “music of the moment” as defined by Evans, and hopefully learning with the inspiration of these two gifts, Pettinger’s biography and Wetzel’s transcriptions of Evans’ music.

Wednesday, January 9, 2008

Before Consciousness

I was born prematurely and my mother spent ten days in the hospital. The bill she saved from Mary Immaculate Hospital in Jamaica, New York shows $85.00 for her room, $15.00 for the delivery room, $5.00 for laboratory fees, and 25 cents for “special medicine.” Dr. Siner’s bill for “confinement, prenatal and postnatal care” was $125.00, so it cost $230.25 to bring me into this world. This was 1942 when a new car was less than $1,000 and a gallon of gasoline was 15 cents.

It’s difficult to write with enthusiasm about something you’d like to forget. But a lot of life is about stupid choices and my high school years in particular seemed to have an abundance of those. I was a product of New York City schools, Public School 90 and Richmond Hill High School.

My early schooling was unexceptional and without much merit. My kindergarten report card revealed more about the times than me. I had high marks for posture and satisfactory ratings for cleanliness, and the ability to use a handkerchief and covering my mouth when coughing. I also displayed good working habits, showing improvement in the ability to express myself and to speak clearly. Unfortunately, I needed improvement in the ability to dress alone.

Going to and from school, walking along 107th Street to Jamaica Avenue and onto Public School 90 were social events, gathering friends for the hike. We talked mostly about vacations and the upcoming summer, plans of playing ball until dark, roaming the neighborhood on our bikes, or watching Captain Video and His Video Rangers and Hopalong Cassidy on our recently acquired DuMont TV.

For me, excelling at baseball and its variants, punch ball, stickball and stoopball, became a priority to compensate for being one of the younger kids in the neighborhood and being smaller. I learned to throw hard and accurately, throwing a baseball with my older, next-door friend, Skip, who settled behind a manhole, which became home plate. Put a rubber Spalding in my hand and I would whip it against the garage doors on 107th and Atlantic Avenue, side arm, overhead, fastball, curve or screwball, or throw it at the right angle on a stoop step for a home run.

During the first few years of schooling my most difficult “subject” was penmanship. I was one of the first generations where they no longer forced left-handers to become right-handers. Instead, we sat at right-handers’ desks but were nonetheless expected to produce perfect cursive handwriting. This problem came to a head when I nearly flunked the 5th grade because of my handwriting, but my Plaster of Paris rendition of a Mississippi river boat won awards, redemption, and allowed me to pass into the 6th grade.

One part of the summers I looked forward to was our annual two-week rental of a cottage in Sag Harbor, usually during the end of August. Mysteriously, the clouds of family conflict would clear briefly for that event and we would spend the days on Peconic Bay. There was a food shack on the beach, where we would get a frank or hamburger with salty French fries bathed in ketchup, listening to Teresa Brewer belting out “I don't want a ricochet romance, I don't want a ricochet love” on the jute box. It was in Sag Harbor where I developed a love of boating, renting a rowboat with a small Johnson outboard engine. It was also where I went through my first hurricane when Hurricane Carol in 1954 drove water into the first floor of our rental, blocks from the Bay.

I give my mother credit for buying a piano and insisting that I take lessons. I did so reluctantly and practiced as little as possible and after two years of occasional classical lessons, I was allowed to quit. A few years later, I voluntarily took guitar lessons hoping that some of Elvis’ charisma would magically materialize through me. When that did not happen, I quit those lessons too but that paved the way for learning what, at the time, was called “popular” piano – playing by improvising chords. To this day, piano is very much part of my life.

While posture, politeness and penmanship may have been the most admired childhood attributes of the post WW II era, McCarthyism, the Korean War, and the constant shadow of nuclear war with Russia lurked in the background. Frequent air raid drills disrupted our days, having to hibernate under our desks while shades were drawn, presumably to shield from the light and fallout of a nuclear blast. While this “protection” was preposterous, one has to wonder how those drills psychologically impacted our generation.

My graduation from the 8th grade and my choice of Latin as my foreign language put me directly into Richmond Hill High School instead of the “Annex” where most freshman went. I would have been better off staying with my class plus at that time we moved to another home in Richmond Hill, near Kew Gardens, leaving my neighborhood friends.

Unfortunately, I squandered the first few high school years mostly because fleeing my house was my highest priority -- anything to escape the litany of strife between my parents. In another era, my parents would have divorced, but instead they stayed together and were at constant war, with the fallout on my sister and myself.

My poor mother; she never really understood her self-imposed prison of a marriage. She was racked with guilt and rage, constantly trying to “justify” herself in the eyes of my sister and myself. Who was “right” and who was at “fault” obsessed her (and, in a more passive way, my father as well). Her letter to me, written soon after I graduated from college, shows her ongoing misery. It is a deeply sorrowful letter, but I share it below as it ties together much of my youth.

My solution was to disappear, onto the subways of New York, into sports, to my neighbors, out on the streets, or setting pins at the bowling alley of a local men’s club. I finally fell in with the “wrong crowd” – a group of kids who were hell bent on destroying their lives in some way.

One of them, Paul, was my best friend during my early high school years. He was a rebel with a James Dean aura. In later life Paul became a psychedelic artist. His road to that distinction was paved when he first learned to carve simple tattoos into himself using India Ink, graduating to having professional tattoos injected all over his body. He and I would go off to a Coney Island tattoo parlor on the subway for those. For some reason, I hesitated doing the same (probably because it was painful). When I read John Irving's haunting and enigmatic Until I Find You I couldn’t help but think of Paul.

We were members of a small “gang” along with Livio and John. Livio’s parents had a small shed in the back of their house, which we turned into a clubhouse. There we smoked, drank and did other stuff our parents would disapprove of; when we finally got caught we built an underground clubhouse in Forest Park, near the railroad tracks where we could hide and continue our antics.

It wasn’t until Paul’s tattoos were “discovered” by his parents (they were under his clothes, never exposed) and John got into trouble with the law that the clubhouse started to disintegrate. Finally, as a junior in high school, I was free of that influence.

Luckily for me, a “new kid” on the block moved in around the corner at about that time. Ed did not go to my school but instead commuted to Brooklyn Tech. His family had cultural values that were new to me. Whereas most of my generation worshiped Elvis and the like, Ed was into Frank Sinatra and jazz. I’ll never forget the first time I heard his recording of Ahmad Jamal at the Pershing playing But Not for Me. I called him “Ed Cool.”

I grew up in a household where most of the books were the Reader’s Digest condensed version, along with a collection of zither music on vinyl 78s. We never went to the theatre but instead watched TV, Milton Berle’s Texaco Star Theater, Sid Caesar's Show of Shows, and The Ed Sullivan Show. So, I found my own voice and cultural interests through others. In fact, having now escaped my “clubhouse” friends, I befriended neighborhood kids who excelled at school, Ed, Bud, and Ken, and adopted their families.

Bud lived immediately next door and we played on the same church basketball team. We also threw a baseball until dark during summer days, or we would shoot hoops at the backboard over his garage door. He was one grade ahead of me, and he was allowed to drive his father’s T-bird. That opened new geographic as well as social vistas. Bud and sports had a steadying influence at the time.

Ken was an honors student who lived in an apartment house up the street. We watched Sputnik on his rooftop and shared the sense of wonder that accompanied that feat. Little did we realize at the time how much that would change our lives.

By my senior year, I made honor classes in literature and economics (still, may favorite interests). For the first time I also became active in high school activities, becoming one of the school yearbook photographers, using the same Speed Graphic camera my father had during the war. With that camera I prowled the halls like a professional journalist. I began to date and finally had a social life. Judy and I danced to the Theme from Summer Place.

Unfortunately, by this time my three somnambulistic years of high school resulted in a mediocre scholastic average. That, combined with my parents parochial outlook towards schooling left me with few choices for college.

In fact, the “plan” was not to go to college at all. After all, no one from my family other than my Uncle had gone past high school. My father favored my going into the army to learn more about photography so he could ultimately pass on the family photography business (see: http://lacunaemusing.blogspot.com/2007/11/literature-and-family.html).

The 1960 Archway yearbook entry reveals much about my limited outlook: “Bob, a member of the Union Cong. Basketball team…most pleasant experience will be graduating…holder of 2 attendance certificates…favorites – H.G. Wells, Yankees, English, all sports…hopes to become photographer. Next stop: Army”

Nonetheless, at the twelfth hour I convinced my father that if I went to college, I could still learn what I needed about photography on the job (as I did during my many years of working with him during the summers). Between my grades, my parents’ reluctance to send me out of state, and my late application, I was accepted on probation as a business major (from which I switched to psychology and eventually literature) at Long Island University in Brooklyn. I commuted there for my first year by subway, worked during the summers, and used my earnings to finally move into the dormitory the second year. That began a new chapter in my life.


October 21, 1964

Dear Bob,

Last night’s conversation with your Father gives me an opportunity to finally explain something to you.

I hope you are aware of his everyday twisting, exaggerations and distortion of every subject and everybody. I hope you are aware, as you saw last night, that he always needs a defender when he has a family discussion or fight. I was put on that telephone last night to back him up; if you recall, you or your sister were always called for help when we had a discussion or fight.

I realized after getting on the phone that I should not have, because I was the one who always ended up having a fight with either you or your sister when I never started it.

I realized after getting on the phone and the recalling of the fact that he did forbid you to continue with the club, and you, of your own effort did so, but later thanked him for having the interest to forbid you.

Your Father’s remembrance of the smoke filled room took place when he helped you boys move the radio and phonograph combo down to the club, but since he is so prone to distortion and exaggeration, this vision exists in his mind as the day, HE flew bodily down to the club and broke it up to teensy weensy bits, took you bodily out and closed up the shack like a GI catching the Gestapo. Pray tell I’ve heard the story enough.

I silently gave you the credit and was happy your Father took the initiative.

I know you don’t want to go further but I hope you read further; I should once in my lifetime be able to explain how his behavior has affected us all.

Your Father has been a good provider and doesn’t spend on “wine women and song.” A lot of men are good providers. But I am reminded daily of this day in and day out.

Do you remember when you children would say to me, “Oh Mommy this cake or cookies or dinner is delicious” and was reminded by him that if it wasn’t for the money he gave me, you wouldn’t have the cookies. The attention then focused upon him – oh isn’t Daddy wonderful, completely pushed me out of the picture and no one gave a damn how many hours it took to make this treat.

When I brought clothes for you children – and I did buy you nice things once – and wanted to display them to your Father at night, and have you go over the thrill of owning them – we were reminded again that if it wasn’t for the money he gave me, you wouldn’t have the clothes.

Your teeth were fixed because he gave you the money; not because I faithfully every six months took you both there. I worked at being a Mother. That WAS my job.

The birthday parties, the Christmas parties and all the other things I did to the best of my ability only existed because your Father gave me money. Little can you Father see that no matter what, I would have given these things even without his money.

Little by little I began to withdraw from doing the things I loved to do. I baked less, I shopped less, I took less interest in the type of clothes I bought for you both. I wouldn’t show them to him. It gets to a point when you get no credit, you don’t give an ounce of care.

When I screamed for credit I was told, “who are you”.

I was brainwashed into “who are you”. Confusion reigned until I realized I didn’t even have the respect or love of my children.

Confusion reigned until I didn’t know how to chose friends anymore. No matter who they were, good, bad or indifferent, they were bums. I was even called a bum by one of my kids.

Perhaps you don’t recall during your high school days you were brainwashed with “who are you” and “what the hell do you know.” You can’t convince me that your high school work suffered from lack of brains; it only suffered from your feeling of nothingness pounded into you by the same brainwashing I received.

We start on your sister now. “Who are you and what the hell do you know,” was her daily message too.

I lost my ability to fight anymore and tried escaping listening to “who are we”.

You rose above all this garbage and did a great job at college. Your Father will take credit for that too. I only hope your sister will do it too. I know she will.

Love, Mom