Joys – Page 9 – syntaxfree

Choirjoy

I discovered the PS22 Chorus today through Copy, Right? and despite having to work on a Saturday night (after already working late every night this week) I now have a huge smile on my face. A little googling suggests I might be one of the last people to have heard of them – such is the fate of someone who doesn’t read Perez Hilton or follow Ashton Kutcher on Twitter, I guess – but on the off-chance that you haven’t either, I’d love to share them with you.

This beautiful cover of Pictures Of You was the first thing I saw by them, and the reason I promptly went to Youtube to watch everything else I could find. It’s a little strange at first seeing these 5th graders sing with the sort of slightly cliched actions they must have seen in countless music videos, but you soon stop thinking about it and just enjoy their guilelessness. The arrangement is great too, with an a capella beginning which they handle very well and lovely accompaniment on the piano by their teacher, who is clearly the coolest music teacher ever.

The next performance I really like is of one of my favourite Tori Amos songs (their teacher is a huge Tori fan and has arranged many of her songs for them to sing), 1000 Oceans. It’s especially amazing that what you see in the video is after just two practices! I certainly don’t remember my primary school choir being ANYWHERE as impressive, though that could have been because I was in it. On the assumption that 1000 Oceans is less likely to be known to the readers of this blog than the other two songs in this post (yes, I do sometimes like chick singers, it’s not all guttural screaming and walls of feedback in my iPod), here’s Tori singing the original so you can compare. The studio version’s better than the live version I linked to, but it appears there’s been a Youtube crackdown on her studio versions. This might be one of those rare times when I like the cover as much as the original.

I saved the best for last, not because it’s necessarily the best performance they’ve done but because, as happy as the other two performances make me, this is the one I’ve listened to repeatedly tonight while ploughing through contracts. I’ll Be Your Mirror has long been one of my favourite love songs and I wanted to put it on our wedding playlist, but took it out in the end because I didn’t think the subtleties of the Velvet Underground and Nico suited a wedding dinner particularly well. If only I’d known about this version back then.

Canon Falls

Fired From The Canon is a list of ten allegedly classic books which contributors to online literary journal The Second Pass suggest you refrain from reading. I enjoyed reading the list, partly because I like snark but more because I think their reasons against reading each book, whether or not I agree, are thoughtfully yet succinctly expressed. Out of the list, I have read:

White Noise (Don Delillo): THANK YOU JESUS. You know that thing about judging other people based on their literary/musical tastes? I rarely do that since I adore plenty of people with tastes I detest, but after reading this book I remember thinking that I could probably never be on the same wavelength as someone who loved it, and their writeup is spot on as to why.
One Hundred Years of Solitude (Gabriel Garcia Marquez): I disagree. The book does feel as if it takes ages to get through, but Garcia Marquez books usually give me some of the most immersive and atmospheric reading experiences I’ve had, so I don’t like to rush through them anyway. I’m hardly an expert in the genre of magical realism and perhaps it is, as they assert, “now thoroughly clapped out”, but out of the various other magical realist books I’ve read, none has delighted me and sustained my reading attention as much as One Hundred Years of Solitude.
The Road (Cormac McCarthy): I gave this five stars in my 2008 reading rundown, so clearly I disagree. They may be right that it pales in comparison to Cormac McCarthy’s other books (I haven’t read any others yet, so don’t know) but as compared to the larger literary universe it more than holds its own.
The Rainbow (D.H. Lawrence): Read this while I was supposed to be studying for first year law exams. I found it interesting enough at the time, perhaps because the alternative was reading about property law, but now I can’t remember anything about it at all.
On The Road (Jack Kerouac): Yes, most of this was tedious for me. I dimly recall one bit of writing I liked, something about being in a jazz club.
The Corrections (Jonathan Franzen): I liked some of the writing, as I commented at the time, but their criticisms are fair too. It felt laboured and inconsistent.

Chek Jawa At Long Last

I’ve wanted to walk the Chek Jawa intertidal wetlands at Pulau Ubin ever since I returned to Singapore after university, and after about six years I finally managed it. This was back in June, but first I was slow about processing the photos, and then Michael Jackson died.

A little background for anyone reading this who isn’t from Singapore: when nature enthusiasts discovered that the government planned to reclaim this area, they conducted a biodiversity survey, submitted a report to the government, and petitioned against the reclamation. They were partially successful – the government agreed to defer its plans until 2012, but after that Chek Jawa’s fate remains unknown. In the meantime, the National Parks Board has had to balance huge public interest in the area against the necessity to preserve the fragile ecosystem. An elevated boardwalk takes you through the wetlands without letting you trample them into oblivion, but if you want to actually set foot on them you have to register for a guided walking tour. These are only available on a handful of dates per quarter, due to the need for suitable tide levels and times and of course in order to control visitor impact, and are so wildly popular that places are snapped up almost as soon as the tour dates are released.

Boardwalk and viewing tower

After trying and failing to get on these tours since 2003, I was delighted when my company got a block booking and organized an employee outing. I’d missed the opportunity to join a previous employee outing because all available places were taken as soon as the email advertising it was sent out, but this time they sent out the email quite late on a Friday evening and I was one of the few poor sods still at work. Score, kind of! So here are some pictures of what I waited 6 years to see. I’m a little drained from all the Michael Jackson posts – they’re not easy for me to write – and tonight I enjoyed a change of scene.

The puddled ground of the sandbar shimmered in the morning sun.

Fiddler crabs scurried back and forth on the sand.

Tinier crabs clambered in and out of little assembled sandball piles, their homes. These are dotted everywhere and it’s almost impossible to avoid stepping on one every now and then. Sorry, crabs. :(

Our guide showed us:

Please, Powers That Be, let things remain as they are in this beautiful part of Singapore.

And just for once, let civilization advance no further.

Remembering Michael Jackson (Part 4): Actually, A Total Freaking Dancing Machine

(The title of the post, for anyone who’s just come in via Google, is a reference to the previous instalment of this series.) Michael Jackson was always very open and reverential about who influenced him as a dancer, and I think it’s only fair that any showcase of his dancing begins with one of his major inspirations. Here are two clips of Michael and James Brown sharing the same stage, the first in 1983 and the second twenty years later, the latter notable also for Michael’s brief diversion from his script (very rare for him) into a simple, heartfelt expression of what James Brown meant to him.

Another influence I’m not sure many people know about is Marcel Marceau, and in this video of Michael dancing at home he incorporates a number of classic mime moves into his freestyling:

What else went into Michael Jackson’s dancing? If you thought you noticed elements of tap in the infamous Black or White panther dance, you were right. I always wanted to see him do more tapping, but due to being born too late to watch the Jacksons TV series, I had to wait until someone uploaded this full-on fabulous number to Youtube:

Of course, as James Brown pointed out in the first clip, Michael eventually transcended most of these influences in his own dancing’s blend of rippling smoothness with robotic precision. Like I said in the first post, what initially drew me to Michael Jackson was how he could transfix you even while dancing to very slow music. This compilation of various moves from his live performances of Stranger In Moscow during the HIStory tour is another example of how he could take a ballad and make it into a showstopping dance display:

The last little-known highlight I’d like to feature is the 1997 music video, Ghosts. To be honest the video itself is extremely hokey and best explained as a “because I can” project where Michael indulged various silly escapist fantasies he was evidently fond of. The downside of this is that the plot is embarrassing – suspicious townspeople helmed by mean mayor gang up on weird new guy in town who lives alone in a creepy mansion and likes entertaining their kids, weird new guy challenges mayor to a scare-off at which point a bunch of Renaissance Fayre ghouls materialize and join weird new guy in spectacular dance, weird new guy eventually wins scare-off after “possessing” the mayor’s body and making him boogie down comically against his will, mayor vamooses leaving a mayor-shaped hole in a glass window, and all is well…OR IS IT??!! The upside is that Michael is obviously having the time of his life, playing the mayor as well as himself, and helming dance sequences far more challenging than the one in Thriller.

You can watch the whole video if you want but don’t say I didn’t warn you about the hokeyness. I saved you some cringes by finding this version which just compiles all the dancing bits, including Michael’s rather excellent fatsuit-clad performance as the involuntarily funky old mayor:

(As an interesting aside, around 6.40 in this making-of video, you see Michael talking to the camera while dressed in his mayor costume. I mention it because I have rarely ever seen him speak with as much comfort and ease as he shows here, and I can only guess it’s because of the costume. He always loved being in disguise, perhaps because it made him feel somewhat freer from the confines of being Michael Jackson.)

This is part of a series of posts on Michael Jackson.

Remembering Michael Jackson (Part 3): Not Just A Dancing Machine

If there’s one thing eight seasons of American Idol has taught me, it’s that you can have a great voice but if you don’t know how to connect with the song you’re singing, to be there in every note and emotion regardless of whether the song actually has personal resonance for you or not, then you’re no singer. Michael Jackson was certainly an astonishing child singer, which is why his cover of a Smokey Robinson song about a relationship gone sour, made before Michael even left grade school, remains more famous than any other version of that song sung by an adult. But while people justifiably rave about how he sang as a child, I also love what he brought to his songs as an adult. He didn’t necessarily have much more personal experience behind some of these songs than he’d had when he was eleven, I think, but he sang with more stylistic versatility. And as much as I enjoyed the staggering purity of his childhood voice, I also got tingly whenever his adult voice roughed things up.

But let’s start at the beginning for now, because if I start with some of the adult tingly songs this post will go in a whole other direction. From Michael’s childhood releases the average person probably knows I Want You Back and ABC best, but one of my favourite vocal performances by him at this age just before his voice broke is Got To Be There. I love the tenderness in the verses, and his power and control at “the moment I know she loves me” and “I need her sharing the world beside me”.

Soon after this Michael’s voice started to break, he shot up in height, and he got terrible acne. Adolescence can be a tough time even for people who don’t have to live through it in front of the world, and he’s written about feeling as if people were disappointed when they met him in his teenage years to find that he wasn’t the button-cute little boy with a voice reaching the rafters any more. Everyone already knows Ben, so instead I’ll feature this sensitive, wistful performance of With A Child’s Heart, from a 1973 appearance on Soul Train.

The slightly deeper voice didn’t actually deprive Michael of that much vocal range in the higher registers, as Don’t Stop Til’ You Get Enough shows, and every MJ impersonation ever done inevitably portrays him with a feminine voice. But he was equally capable of going low if a song called for it. Who Is It is a good example of this, and the a capella version demonstrates this even better than the album version. Until I heard the a capella version I had never noticed that in the first verse, for the lines “I gave her everything inside one heart could find” and “I gave her promises and secrets so untold”, his voice momentarily flits down by a fifth on the last words of those lines. For the musically inclined, I pitch that as somewhere around a low A (as in, the second A below middle C), which is more within baritone range than tenor. He reaches the same low A when he’s doing the bass part of the Who Is It beatboxing.

Another favourite a capella listen of mine is Dirty Diana, because I’ve always enjoyed the soft and hard edges of his voice in this song. I also really like it when he just goes gospel and lets things “get ugly”, in the words of my favourite American Idol contestant ever, Fantasia. I want to feature Keep The Faith here, because it seems to be a relatively unknown and very underrated song. Listen not just for Michael’s vocals but also for the exuberant a capella throwdown between Michael and the choir (the awesome Andrae Crouch Singers, who also sang at his memorial service). And if you haven’t recently watched the 1988 Grammy’s performance of Man In The Mirror, skip past the first half of it (which is lipsynced) and watch from 3.30 onwards to watch him absolutely throw himself into getting ugly, beautiful, high, low, everything.

This is part of a series of posts on Michael Jackson.

Remembering Michael Jackson (Part 2): Beatboxing and Songwriting

Since Michael beatboxed us out of the previous post, we might as well continue on that note. I didn’t know what beatboxing was until Michael blew me away with it during his interview with Oprah Winfrey. There are more impressive beatboxers around, obviously, but for Michael, beatboxing wasn’t part of his performances, it was part of his composition process. He didn’t read or write music, so beatboxing into a tape recorder was his method of assembling the complex rhythms he heard in his head.

Here’s a handy compilation of clips of Michael beatboxing (how much do I love Youtube?). Some are from interviews, and others are from depositions he gave in various lawsuits where other people had accused him of copyright infringement. As part of the depositions he’d describe exactly how he wrote the songs, playing back the demos from the time or demonstrating the beatboxing then and there. He won all the lawsuits.

For anyone who’s interested in hearing more of the depositions, there are longer audio clips available (the exact videos come and go on Youtube but searching “Michael Jackson mexico deposition” will get you what you need) where he goes step by step through the demo of The Girl Is Mine and explains exactly what’s happening in each stage of the creative process. I find it utterly fascinating – you get to hear him imitating a Moog bass and singing melody lines for each other instrument he wants to use, singing bits that never made it into the album version, and I particularly like how he explains what the “bridge” of a song is:

What a bridge is, is to take you from A to B…is to take you from the verse to another part. It is escapism from hearing the same mundane, trivial, ordinary thing that you’ve been hearing all the time ‘cause the ear gets tired of hearing the same sounds. So what a bridge does, it takes you away from all of that. Then when it finally comes back to what you were doing before, it’s stronger. It’s much stronger.

This is part of a series of posts on Michael Jackson.

Remembering Michael Jackson (Part 1): Billie Jean After Motown 25

Heresy warning: the Motown 25 performance of Billie Jean is not my lover. It may have been the stuff of legend, but when I first watched it, I was totally underwhelmed. Because from the perspective of someone who was too young to have seen the Motown 25 performance and who only saw Michael perform it in 1992, by 1992 he’d got even better at it, and he’d added that extraordinary coda of sheer dance virtuosity which was the highlight of every concert. (Trivia time: here’s the sort of perfectionist Michael Jackson was – despite the universal instantaneous acclaim for the iconic Motown 25 performance, including a congratulatory phone call from Fred freaking Astaire, Michael still wasn’t satisfied with how he’d done because one splitsecond of the performance wasn’t perfectly executed. Can you guess which bit? Answer’s at the bottom of the post.[1. When he went up onto his toes after the moonwalk, he’d intended to freeze there a splitsecond longer than he did. You can see it in the Motown 25 video around 3.43. Now watch any performance of Billie Jean from the years that followed and you’ll see he never messed that part up ever again.] )

It’s hard to pick just one performance of Billie Jean to feature because every performance was a little different and he always changed up the coda a bit, but here’s one from the HIStory tour which I particularly like. (Bear in mind he was 38 at this point and the performance was in the middle of his exhausting 2 hour long live show.) He didn’t max out the moonwalk in the middle as much as he did in other performances but the coda (starts at 8.25) is one of the best I’ve seen, and I love how he beatboxes himself to the song’s last line.

This is part of a series of posts on Michael Jackson.

Remember The Time

With apologies to anyone getting tired of Michael Jackson talk, I barely scratched the surface of what I wanted to say about him in my previous post, so there’s more to come.

It’s mainly due to the surreal realization that I’ve never heard Michael Jackson spoken about with such respect, admiration and compassion in all the years I’ve been a MJ fan than I have these past few days after his death. I never used to try explaining to non-fans what I liked about him because I felt people were uninterested at best, and actively hostile to him at worst. Now the mass media is awash with tributes and while I understand why most tributes concentrate on the same obvious things like I Want You Back, Don’t Stop Til’ You Get Enough, the Thriller video and the Motown 25 performance of Billie Jean, these don’t actually match my own list of what I will remember him most fondly for.

So, the next few posts will loosely represent a personal highlight list of sorts. Fans will already know them, but I’m hoping that anyone else who comes across these posts, perhaps newly interested in him since his death, will find something there to enjoy. Based on the title of this post I should end by embedding that funfest of a video, but I’m feeling pensive and this lovely song from 1975 matches my mood better.

This is part of a series of posts on Michael Jackson.

Only Human (Michael Jackson, 1958-2009)

Believe it or not, I made it to 1991 without knowing much about Michael Jackson. My brother loved the Pet Shop Boys and Depeche Mode and my sister loved musicals, so those were what I learned to love, along with the classical violin and piano that I’d been playing from a young age. I knew who Michael Jackson was and could probably recognize Thriller, Beat It and Bad if they were playing over the shopping mall sound system, but compared to knowing most of the Pet Shop Boys discography by heart and having transcribed (together with my sister) most of the lyrics to Les Miserables by hand, that really wasn’t much.

When I started listening to pop music a bit more on my own, I also started looking out for the music award shows Channel 5 would usually screen on public holidays. This was pretty much all I could get in those days before Singapore had cable TV, so I’d tape the award shows and watch them over and over until the next public holiday. This is how I saw the MTV 10th Anniversary show, which, incidentally, didn’t just introduce me to Michael Jackson, but also to a particular band fronted by a skinny guy wearing a beanie and singing plaintively about being in the spot, light, losing his religion.

Michael opened the show with Black or White, which I knew but didn’t like (still hate it), and Will You Be There, which was new to me. As I went through my rewatching ritual over the next few weeks, the Will You Be There performance became the part of the show I watched the most repeatedly. At first I just liked it for its spectacular staging, with the backing choir on raised platforms all over the stage. Then I also started enjoying the song – I hated the soppy bit at the end, but really liked the verses and that gently propulsive beat.

And finally, the man performing the song started to fascinate me. He’d been electric in the Black or White part of the performance, sure, but there was something special about him in the slower song. Until then I’d thought pop stars only danced to fast beats and I’d never seen someone move so rivetingly to what was essentially a ballad. It wasn’t even the big moves that hooked me, it was all the tiny ways in which he inhabited the music – the subtle pops of his shoulders even as the rest of him was ostensibly standing still [1. Around 4.40 in the video] and the way he could make just taking three steps across the stage into something sinuous and hypnotic. [2. Around 5.00 in the video] And while I know most people will not be able to understand this, I also found him very physically attractive. I don’t think I was at all aware that I was supposed to find him strange looking, because to me Michael Jackson had always looked like this. I thought his long hair was cool. I liked his piercing eyes and the way his smile lit up his whole face. I didn’t know he was black, but I didn’t know it was supposed to matter that he no longer looked that way. To this day, although I do find Thriller era Michael very handsome, I still love looking at Bad and Dangerous era Michael most of all.

Fast-forward a year, and you have 12-year-old me in the nosebleed seats for the first of two dates he does in Singapore for the Dangerous tour. He postpones the second date because of a migraine, to the anguish of many fans who’ve flown in from all over South-east Asia to see him and can’t change their return tickets. I raid my angpow money, persuade my mother to drive me to where people are lining up to get refunds, and I walk up and down the line pleading until I score a 10th row ticket.

Fast-forward 2 years from that, and in 1994 my family is among the early adopters who get Internet access at home. One of the first things I do online is to join a Michael Jackson mailing list. There aren’t any Singaporeans on the list when I join, but one year later I see an email from a Singaporean called Kelly, asking about the making of the Thriller video, and I promptly get in contact. I later also grow close to two other Singaporean fans, and the four of us spend many happy hours together, united first by Michael Jackson fanhood but soon also by firm friendship. There are eventually quite a lot of Singaporean members of the mailing list, and we even have a local MJ fan club and magazine, which I contribute some articles to.

Fast-forward 2 more years to 1996, and please don’t tell my mum the horrifyingly lewd things 16-year-old me screams to Michael from my place in the front row of his HIStory tour gig in Singapore. (I get this golden ticket because of one of the dear friends I’ve made from the mailing list.) Earlier that year I’ve already seen Sonic Youth live, the band that changes the way I listen to music forever, but seriously? Nothing ever really compares to front row at a Michael Jackson concert.

And now, fast-forward 13 years to 2009, when I wake on the morning of Friday 26th June to two text messages on my phone from the friends I first met over a decade ago, both with awful news. I spend the day in a numb daze, comforted only by contact with those few people who understand how I feel, and an amazing outpouring of text messages, emails and calls from other friends who, whether or not they understand how I feel, understand enough to guess that their friend is really fucking miserable.

There is so much more I haven’t written here, and it’s quite possible that the stuff I’ve left out of this post will lead someone to conclude I’m one of those blind fans who’d support Michael Jackson even if he were a child molester. (I wouldn’t, but based on everything I know about the allegations made against him, I don’t believe he ever was. And trust me, the number of other things I wanted to slap him silly for is probably longer than any list a non-fan could ever come up with.)

I might write about all that stuff another day, but none of it was the reason for this post. This post is to capture where I find myself now, several days after his death, where the picture emerging is one of a deeply unhappy person too flawed and troubled to save himself from himself, surrounded by an entourage of handlers who could not or would not help either, a person whose artistry spoke to millions but left him, in the end, so totally alone. And I find myself back at the beginning, with the words I first heard him sing eighteen years ago. And I’ve never found a soppy song so bloody heartbreaking before.

But they told me
A man should be faithful
And walk when not able
And fight ’til the end
But I’m only human

This is part of a series of posts on Michael Jackson.

Wakeup Music

Last week was rough at work and I was in a rotten mood on the bus today at the thought of being back at Monday again. Then I listened to Princes (Gang Gang Dance ft. Tinchy Stryder) a first, second and third time in quick succession and everything changed. I realize the track’s hardly new to people who keep up with this shit but it’s new to me, and since it’s possible you readers have grown old and uncool too, I thought it was worth mentioning. Tinchy Stryder’s MCing is OK but the magic of this one is all in the background of the production – that diffident, hollowed out beat that enters around 0.48 while the ebullient, somewhat haphazard, piano line romps overhead, the 15 seconds starting around 2.04 which telescopes all of me into a single, reverberating molecule of joy, the febrile, insistent alarm sounds heralding the bridge around 3.05, the distorted riffing when the verse kicks back in around 3.30, and how the whole song is generally a rampaging, schizophrenic universe of stuff that doesn’t go until it does.