Join the Quiet revolution

I finally got around to reading Susan Cain’s Quiet: The Power of Introverts in a World That Won’t Stop Talking, which is just out in paperback. I didn’t really need the book to confirm that I was an introvert, but if you’re not sure, she does include a quick test. I answered true to almost everything.

Cover of QuietThings became a little murkier as she explored related but not identical concepts such as shyness and sensitivity. Isn’t shyness the same thing as introversion? No, actually, though many individuals are both of these. But introversion, generally, means gaining energy from your own mental devices rather than from other people (who tend to tire you out), while shyness is a fear of being judged by others. I happen to be both introverted and shy, but it’s entirely possible to be a shy extrovert (which must be a special kind of hell, I would think).

Sensitivity, though, characterizes people who are “highly reactive”; who tend to get overwhelmed by stimulus. This is another characteristic that is often but not always associated with introverts, and I finally concluded that I’m not all that sensitive, really. Sure, I avoid ultra-violent movies because I find them too disturbing, but I can’t say I’m super empathetic, have great depth of feeling, or notice subtleties in my environment. (I’m a bit of a self-centered, shy, introvert, I suppose.)

But apart from helping you to understand yourself and others better, the manifesto behind the book is that North American society idealizes extroverts, making it difficult for introverts to find their way in the world, and particularly, to attain power. She argues that not only would it benefit introverted individuals if society recognized the strengths and abilities they brought to the table, but that society as a whole would as well.

At first I was somewhat resisting the idea that I had suffered prejudice all my life due to my temperament, but she did bring some valid points. The years of complaints about me “not participating in class” during school (and thank goodness I went through before “group work” became such a thing); the low cubicle walls at work so we can better “collaborate” (which results in so many being head down in earphones as they work); and the louder ones, rather than the smarter ones, tending to get their way at meetings.

And she gives advice for what you can do, from acting more extroverted than you are in certain circumstances to building in “down time” for yourself for rejuvenation to changing seating arrangements at your parties to make them more comfortable. (I’ll add one of my own: Apparently introverts are less likely to exercise, which I found confounding, because I quite enjoy it. People, you can do that alone in or around your house, to your own tunes, in your own way. You don’t even need that much space or equipment. Exercise does not have to mean sports or gyms.)

So yes, with nearly half the population in this boat, I can see why this book has had a lot of legs. Any thoughts on how to get the extroverts to read it? Hmm?

Bollywood and Beyond

Last Thursday we braved the pre-storm (really, no big deal) to go out for dinner and a concert. The dinner plan had been to check out Imbibe, on The Museum premises. Only, they didn’t seem terribly interested in serving us. It was a while before anyone even told us we could sit anywhere, and as the minutes ticked by with no one offering drinks or a menu, we left. (I’m not sure they noticed.)

Fortunately, the reliable Peter Martin’s was across the street. We discovered that they seemed to have largely abandoned their “cheaper bistro” idea, going back to the pricier appetizer and entree approach. Everything very good, though. We shared mussels in cream sauce with smoked bacon to start, then I had the pork belly with excellent greens and sweet potato sides, while Jean enjoyed the lamb with side of gnochi.

Then, off to our Intersections concert across the street. This one focused on Indian music, and befitting that, some members of the orchestra—including conductor Edwin Outwater—were in Indian garb.

Bollywood image
Not how members of the symphony were dressed, but a cool pic nonetheless

The guest performers did not play sitars. Highlighted on the first few pieces was the mrdangam, which is a type of drum. One side of it plays bass notes, the other higher-pitched rhythms. The performer, Trichy Sankaran, could play incredibly quickly.

He was joined by his daughter, Suba Sankaran, who clapped out rhythms during the instrumental numbers, but then also took over on vocals. One piece she presented was an reinterpretation of Leonard Cohen’s “Bird on a Wire”. As befitting the title of this section, she did also present some songs from Bollywood movies, although with a twist: She sang lyrics from the somewhat humorous English translation, rather than the original Hindi. (No actual dancing, but we did some movie footage in the background.)

During a lovely piece called “Maya” it occurred to me that many of us had been trained in the sounds of Indian music by the British rock stars of the sixties: The Kinks with “See my Friends”, and of course, The Beatles. Fittingly, the last piece of the evening was a great version of George Harrison’s “Within You, Without You” from Sgt. Pepper.

The concert, performed without intermission, seemed to be over in a flash. Indeed, it was just about an hour long. Just enough to whet our palate.

Beethoven, Mahler, Penelope, and The Beatles

Playing a bit of catch-up here, on the eclectic mix of KW Symphony concerts we’ve seen this fall and winter…

It began in September with the season opener. The first half were two fairly fabulous modern classical pieces, both by local composers, Stewart Goodyear’s Count Up and John Estacio’s Brio: Toccata and Fantasy for Orchestra. The second half was somewhat more familiar: Beethoven’s Symphony in D minor: The Ode to Joy. It’s a bit funny in that it features a mass choir (four choirs, combined) and four soloists, but for most of the performance time, they are just sitting there. They only start singing in the later movements.

But what a gorgeous piece that is. I’m always worried I’ll get a bit bored during the slow bits of classical pieces, but that didn’t happen here. Too beautiful, too moving. Then afterward, we attended the opening gala, which offered a live band (not classical), dancing, hors d’oeuvres, drinks, and an auction. It was a fun evening.

In October, we saw Penelope, by Sarah Kirland Snider (who was in attendance), which was part of the Intersections series. It was a “song cycle”, in which a woman’s husband returns from the war after many years, not remembering his previous life. The performance is his wife’s reaction to this and attempts to restore his memory, partly through reading Homer’s Odyssey to him.

Haunting is probably the best descriptor of this one. It wasn’t quite like anything I’ve heard before. It was written for and performed by Shara Worden, who has a gorgeous but unusual, almost unearthly, quality to her voice. Think I’d like to get the recording, though it would be the kind of thing you’d want to just listen to and through on its own, and not on shuffle mode with other things.

(I found this video while researching this, and really got drawn into watching it all, though it’s seven minutes long…) After the song cycle, Shara Worden performed some of her own songs, which were quirky and somewhat lighter, even featuring audience participation.

Then earlier this month, Edwin Outwater presented the work he’d listened to a lot as a (clearly very unusual) teenager, Gustav Mahler’s Symphony No 5. The piece is over an hour long and requires more musicians than KW Symphony has, so they were joined by about 40 additional musicians. In the first half, after with Schubert’s brief Entr’acte No. 3 from Rosamunde, Outwater explained what was going on the various parts of the Mahler symphony, with excerpts, then in the second half, they played it all. Though I’d had kind of a day at work, I couldn’t help but be drawn in by the gorgeous music rather than brooding on that.

He’s right that it’s an amazing work. Still can’t imagine myself having listened to it as a teenager, though.

Revolver cover artFinally, the first Jeans’n’Classics concert led off this month with something I did listen to as a teenager: The Beatles: Rubber Soul and Revolver. Jean calls me a snob for this, but I still protest that following the old US releases of these albums rather than the more definitive UK / CD versions was a weird Boomer thing to do, particularly as it meant the omission of songs like “Love You to” (my favorite of the three Harrison songs on Revolver) and “And Your Bird Can Sing”. And the even more brilliant songs “Drive My Car” and “Nowhere Man” are only recent additions, tacked on at the end of Rubber Soul’s odd US play order.

But then again… Maybe has does have a point that it’s just a quibble, because it was a really good concert. The Beatles music is very suited to the symphonic treatment, and Peter Brennan clearly loves them and does cool, original things with the arrangements, such as intermixing “Within You Without You” (from Sgt. Pepper) into Octopus’s Garden.

The two lead singers, David Blamires and Neil Donnell, both have exquisite voices, and their weaker stage presence was made up for by having personable keyboardist John Regan lead us through the set. We also got Don Paulton on keyboards, in a rare double-shot on the ivories. And one has to mention that apart from singing well, as always, Kathryn Rose looked particularly fetching. She seems to be one of those women who just get more attractive as they get older.

The set list, of course, featured three of my all-time favorite Beatles songs, “Norwegian Wood” (which led to a night-long debate as to just what John Lennon was setting fire to there), “In My Life”, “Girl” (so sensual), and “For No One” (a most devastating breakup song). But those two albums are just strong in general, so there wasn’t much dross. The very odd “Tomorrow Never Knows” was suitably trippy ending to the evening.

Ladies and gentlemen, Ms k.d. lang

I had all good intentions of getting a list a few tracks from k.d. lang’s new album, Sing It Loud, before seeing her in concert last Wednesday. But with the renovations going on, that just didn’t happen. So it occurred to me that I didn’t really know that many k.d. lang songs. I have the Ingenue album, and Hymns of the 49th Parallel, a few more versions of her singing “Hallelujah”, and her duet of “Crying” with Roy Orbison. That’s it.

Turns out my three companions to the concert were pretty much in the same boat. We were joking how we’d all just be sitting there, waiting for “Hallelujah”. But that voice, right? It should be great on any tune, whether we knew the song or not.

Continue reading “Ladies and gentlemen, Ms k.d. lang”

The trifecta: Big bands, a night at the opera, and war horse

trifecta, n. (traɪˈfɛktə)

Any achievement involving three successful outcomes

Our self-created “culture weekend” began Friday night with the KW Symphony’s salute to big band music, featuring In the Mood, Take the A Train, It Don’t Mean a Thing (If It Ain’t Got That Swing), Come On-A My House, As Times Goes by… Songs like that. Songs that swing.

Guest conductor Matt Catingub, who’s from Hawaii, brought along some guest saxophonists, guitar and bass, and drummer. He himself at various time played sax, sang, and played piano. The symphony were able to keep up with the challenging arrangements—ones that taxed the horn section in particular.

It was a very fun night out. The only thing that would have made it better was if the Centre in the Square had a dance floor we could have used. This music was made for dancing, not sitting.

A Night at the Opera cover

Saturday we made our way to Toronto for Classic Albums Live: Queen—A Night at the Opera. This was our second time seeing a Classic Albums Live presentation, and we were both a little dubious about it, having been underwhelmed by the first. But I just couldn’t resist seeing how they would possibly tackle this very challenging album, “cut for cut, note for note”.

As the liner notes for the show said, “with Queen, the key word was more. More singers. More guitars. More sound.”

So to handle Brian May’s multi-layered guitar sound, they had six guitarists (one of whom focused on the acoustic and the koto). Lead vocal duties were handled by three different singers: one for Freddie’s higher vocal parts (that was a woman), another for his lower range, and one more singer to present Brian and Roger’s vocal leads. And another singer (another woman) who did lead backup.

That not being enough, there was also a full choir. (“We had all of Toronto up here on stage”, the announcer said.) Somehow, though, they did manage with just one each of drums, bass, and piano.

Classic albums live for Queen

“It takes a village” to perform Queen music. (And this doesn’t even include the choir.)

It was really an awesome show. Why did it work so much better than The Beatles one, which felt a bit pointless and lifeless to me?

  • You can’t suck the life and fun out of Queen sings by playing them as recorded, because fun is built into the songs. Doing this whole album meant singing a passionate love song to a car, doing an entire musical break on kazoos, and embracing lyrics like “You call me sweet like I’m some kind of cheese” and “Thursdays I go waltzing to the zoo”.
  • By playing live what were purely studio effects (just four musicians and three singers, massively overdubbed), you aren’t reproducing what was on the record. You are re-creating it. And as an audience, we are hearing it in a new way, for the first time.
  • Queen were show-offs, and the musicians managing to pull off all those notes, and guitar chords, and that crazy intricate timing, was truly impressive. We were in the second row, and you could almost see them sweating blood trying to get everything in at the right time, in right pitch. The announcer said it was the most difficult one they’d ever tackled, and I believe it.

I’m in Love with My Car performance (video)

The second half featured more Queen songs, some quite well known (We Will Rock You, We Are the Champions, Under Pressure, Bicycle Race—complete with bike bells, Somebody to Love), and some not as much (Brighton Rock, Keep Yourself Alive, Get Down Make Love). The show seemed to go by in a flash.

Brighton Rock performance (video)

warhorse

And on Sunday, still in Toronto, we saw the Mirvish production of War Horse, which really deserves all the praise it has received.

The puppetry used for the horses (and a goose!) is just incredible. Despite seeing people legs and bodies beneath and around the horses, they really seem very horsey, and you gradually don’t even really notice the puppeteers.

The story, of course, is not a totally cheery one, as nothing about the First World War is cheery. It’s interesting, though, how Joey’s encounters with British, Germans, and French in turn shows all in an ultimately sympathetic light. The plot is very well constructed and emotionally compelling.

Toronto Star review: War Horse is bold, brave and heart-stoppingly wonderful

That’s about right.

Toronto building

Photo taken on our walk over to see War Horse

Symphonic prog rock

Last night’s Intersections concert by the KW Symphony was called Prog Rock. But this was not symphonic versions of rock songs, per se. It was symphonic music that either inspired, or was inspired by, heavy rock. For example, there was a composition by Matthew Hinson called, I kid you not, “Homage to Metallica”. It contained not a lick of Metallica music, but definitely had the Metallica spirit.

There was also Grieg’s In the Hall of the Mountain King, which has been covered by tons of rock bands, including The Who. And Anton Mosolov’s Iron Foundry, which was inspired by actual heavy (industrial) metal. And a more modern piece by Paul Stanhope called Throbbing, evoking the sound of a police car chase around the neighborhood.

All of this loud, heavy music was a challenge. (Definitely the first time I was handed ear plugs at a symphony concert—though I didn’t find I needed them.) In fact, Edwin Outwater included a couple lyrical Satie Gymnopédie numbers as interludes. “This concert,” he said, “needs a palate cleanser”.

The grande finale of the evening was a piece by Nicole Lizée commissioned for the KW Symphony: 2012: Concerto for Power Trio. This one was inspired by, and did include bits of, Rush music, but elaborated upon, distorted, sped up… Like hallucinogenic Rush, Lizée (who was there) said. It included the classic Rush music trio of guitar, bass, and drums.

It was my favorite piece of the evening. And Jean’s least.

I guess Rush is always polarizing.

————————————-

Also, some interesting material about the last Intersections concert, Quantum: Music at the Frontier of Science.  First, Paul Wells, from Macleans Magazine, has written an article about it, and the positive response to it from the people of KW (two sold-out shows).

And you can sample of it yourself, from YouTube. Excerpts from the show:

 

And a documentary about the making of the show:

Genies vs. Oscars

I skipped watching the Oscars this year, but I did watch The Genies, which give out awards for Canadian films. What made the Genies a better bet for me:

  • Show was just 1 hour long, vs. whatever crazy length the Oscar show is. They do this by not covering all the categories on air; just the interesting ones. Hello. That’s reason enough all by itself.
  • It’s not preceded by tons of other Canadian movie award shows, so I had no idea who would win. With the Oscars, thanks to the Golden Globes, the SAG, the Director’s Guild, etc. you pretty much knew who’d be clutching the trophies.
  • I’d seen 3 of the 5 nominated Genie movies, vs. only 5 out of 10 of the Oscar ones. So percentage-wise, higher. (I realize that’s unusual.)
  • Musical performances that weren’t lame, because, as far as I could tell, they had nothing to do with movies. But they were by Canadian performers.

So there you be.

I was totally thrilled to see the young actress from M. Lazhar win the Best Supporting Actress award, as she was really was amazing in the role. And gave quite a delightful acceptance speech.

And it’s alway fun to see Viggo Mortenson, winner of Best Supporting Actor for A Dangerous Method, who was also very charming in his acceptance  speech.

For Best Picture, though, I have to see that I was really pulling for Cafe de Flore. Monsieur Lazhar won, and I can’t really complain about that, as it was quite a fine film, and it gave the director a chance to give the Oscar speech he couldn’t. But Cafe de Flore spoke to me in a more compelling way. At least Vanessa Paradis was recognized for her work as the lead of that film.

Classical Mystery Tour

When asked who they’d like to go back in time to see in concert, a lot of people say, “The Beatles”. Which would be such a wasted opportunity to break the laws of physics!

The Beatles were a great band, obviously, but live? Pick The Who, The Stones, or Hendrix instead. Or even The Kinks. Heck, pick Paul McCartney and Wings! Any of those would be so much better than the mass hysteria and constant high-pitched screaming that was a Beatles concert. You’d barely be able to see and certainly couldn’t hear the band. They couldn’t even hear themselves. There is a reason they stopped touring.

Beatles on Ed Sullivan

And so, The Beatles leave a legacy of great albums that they never performed live, or performed only poorly. A great big, blank canvas into which many a tribute act has followed.

As a teenager, I saw Beatlemania in Toronto, a tribute that mixed film with live music to cover the history of the Beatles. And in Timmins, I saw another, more straight-up Beatles tribute band, just playing a concert at a hockey arena. More recently, one of the best Jeans’n’Classics concerts I’ve ever seen was based around the Beatles Abbey Road album, featuring Rik Emmett and Alan Frewe, among others. Las Vegas’ Beatles Love show, by Cirque du Soleil, was both touching and astounding. Less successful was Classic Albums Live tribute to Sgt. Pepper, as the efforts at reproducing the album so exactly seem to take all the life out of the live performance.

So I was a little worried about Classical Mystery Tour, as the pre-show interviews emphasized how they went back to the original albums and tried to re-create the symphonic score. I also wasn’t too sure what to think when I saw the odd stage setup, with the symphony fairly far back on the stage, behind sound barriers.

But from the opening notes of “Got to Get You into My Life”, the cast quickly put my fears to rest. They were interactive, relaxed, somewhat improvisational—all around very entertaining. They did provide a reasonable simulation of what might have happened had the actual Beatles ever been able to play their songs live with a symphony, and without all the squealing.

They came out initially garbed in Ed Sullivan Show-style suits, then during “Yesterday”, everyone but “Paul” left the stage, and came back in Sgt. Pepper gear. (“Paul” caught up with them partway through the next number.) Highlights of the first half included hearing the amazing Larry Larson on the “Penny Lane” trumpet solo; “A Little Help from my Friends” as sung by their drummer, a much better vocalist than Ringo; and a searing performance of my favorite Beatles song, “A Day in the Life”, which closed out the first half.

Beatles in Pepper gear

It was a pretty good turnout for the show, but it seemed to me that the crowd was a bit subdued—at least those in front and beside me. Who were probably mostly symphony subscribers first, Beatles fans second.

Nevertheless, everyone really seemed to get into it during the second, with “Ob-La-Di, Ob-La-Da” turning into a major clap-along, singalong, fun-fest that mostly continued into “Yellow Submarine”. Since I’ve been reporting on clothes, I’ll say that this half featured the hippie Beatles look, complete with John’s white suit, long hair, and mustaches.

They also broke out of the strictly Beatles format and gave us “Live and Let Die”, one of the numbers that best took advantage of the symphonic power available. For fairness, we also got “Imagine”. We weren’t sure if there would be encores at this type of show, but there were 2 or 3, actually. The first was “Hey Jude” (after a bit of a humorous false start, as “George” struggled to get guitar plugged in, prompting a do-over: At least we know it was all live), which of course become another singalong, men vs. women at one point. (“Paul” declared the women had it.)

Then we had just the band on “Twist and Shout”, for which the audience stayed on their feet dancing, and “whoo-ing” along at all the appropriate times. And “Can’t Buy Me Love” to close out the show.

Definitely one of the most fun symphony concerts I’ve ever been to.

——————–

Our programs didn’t include the set list, so the first half is approximate, based on what I recalled at intermission. The second half, I actually wrote down as we went.

Part I

  1. KW Symphony – Beatles medley, including “Lucy in the Sky with Diamonds”
  2. Got to Get You Into My Life
  3. I Saw Her Standing There
  4. A Hard Day’s Night
  5. Yesterday
  6. All You Need Is Love
  7. Eleanor Rigby
  8. Penny Lane
  9. Here Comes the Sun
  10. Sgt Pepper’s Lonely Hearts Club Band / A Little Help from My Friends
  11. A Day in the Life

Part II

  1. Magical Mystery Tour
  2. I Am the Walrus
  3. Ob-La-Di, Ob-La-Da
  4. Yellow Submarine
  5. Come Together
  6. Dear Prudence
  7. The Long and Winding Road
  8. Live and Let Die
  9. Imagine
  10. Golden Slumbers / Carry That Weight

Encores

  1. Hey, Jude
  2. Twist’n’Shout
  3. Can’t Buy Me Love

 

Sugar in my Bowl

Sugar in my Bowl is a collection of essays edited by Erica Jong. The subtitle of the collection is Real Women Write About Real Sex.

Sugar in my Bowl coverI somewhat dispute that subtitle, as most of the women represented here are writers by profession, some of them somewhat famous (Suzie Bright, Gail Collins, Eve Ensler, Liz Smith). Not that women who write for a living aren’t real, but only that a particular subsection of womanhood is represented here.

So, a lot of the essays here are about writing. The embarrassment of having written an erotic novel—and it being your best selling work, ever. The problem of editors wanting to soften your sex scenes. Your personal difficulty in including sex scenes in your novel. And there’s even one about reading a novel—The Story of O, to be precise, in one sleepless but exciting solitary night.

And, not everything is about real sex, either, if you’re going to be literal about it. Some are works of fiction. One’s a mini play.

Of course, there are definite upsides to including professional writers: The writing is very good! And the collection is quite varied. You never know quite what you’re going to get. It could be slightly erotic tale about a teenage encounter with an older man. It could be a rather sad story about a marriage nearly devastated by loss of desire after the birth of a child. (That one doubles as a pretty good form of birth control.) It could be a graphic fantasy (i.e. comic). An analysis of why one’s sex life is so very mainstream, despite being raised by free-loving hippies. An admission of having trouble using the proper anatomical terms with one’schildren. A recollection of a tryst that nearly but didn’t happen, and years later, is still being thought about.

I quite enjoyed this, and I zipped through it. It suited my reading habits, broken into short but complete chunks that I could easily read before going to sleep. It contained much that was interesting, and nothing that was (to me, anyway) disturbing. As Erica Jong says, sex is life.

The curious appeal of Rock of Ages

Rock of Ages is a musical built around rock anthems of the 1980s. It had a run in Toronto, and is playing at Kitchener’s Centre in the Square this week.

But despite good notices, I’d been dragging my feet about seeing this one. I was a teenager in the 1980s, but musically, I was into the New Wave British stuff: Duran Duran, Adam Ant, Spandau Ballet, Billy Idol, U2, Culture Club, Howard Jones… The stuff in this musical? Journey, Whitesnake, REO Speedwagon, Poison… That would be the 1980s music I didn’t like. At all. The musical even includes possibly the worst rock song of all time, “We Built This City” by Starship.

Finally, though, I was lured in by a package deal involving the show + dinner at Verses. (Though note the advertising for this is deceptive; you don’t get any discount on the ticket, just on the meal.)

As the musical began, it became clear that a big part of the premise was trying to save the Los Angeles Sunset strip from being cleaned up and redeveloped. Seriously? Los Angeles? OK, I’ve never been there, but my impression, and what I’ve heard from people who have been, is that this isn’t a city that inspires great passion for preservation. The place seems like more of a necessary evil than anything else.

Still, I found I couldn’t help but be drawn in by the good-natured vibe of all the whole thing. Take, for example, the horrid “We Built this City”. This plays back as an echo from the chorus from the German developer who wants to tear everything down and start anew. “But we built this city on rock’n’roll!” It’s a short snippet, it’s performed better than the original (how could it be done worse?), and it’s funny.

And that sort of thing just keeps winning you over. It’s not taking itself seriously. One character keeps breaking the fourth wall (rather 90s, that) to comment on the play’s structure and how it plays with the musical conventions. That’s funny, and so are a lot of the other bits. A lot of the singers, particular strip club owner Mother and lead actor Drew, have fantastic voices. Only parts of the songs are performed, then you’re on to another.

And, well, not *all* the songs suck. I do have some fondness for “Hit Me with Your Best Shot”—much more comfortable here than in the original, as sung by male actor Franz, possibly the funniest character of all, and “Cum on Feel the Noize”, soundtrack to an exuberant moment at the rock club, and even “We’re Not Gonna Take It”—even though it’s used to protest the destruction of a sleazy rock club.

It’s also kind of a sexy musical, with the attractive young cast making the most of their assets. Male and female cast, I would add. (Even though I don’t really remember the 1980s as being so sex-drenched, but whatever.) And I did love the unexpected, big gay love story in the middle.

So, I clapped, I cheered, I wished I had bought tickets earlier so that I would have been in better seats. It is a pretty impressive achievement to put together such an appealing show on such an unpromising premise.