All posts by Mary Chang

Keane week on One Week // One Band, TWLOHA, and depression

As described in this post from back in April, I have been working on a series of articles about a particular band during my takeover of a Web site called One Week // One Band. I had been thinking about contributing for some time, but I didn’t sit down and starting drawing up an outline until I was on my way to Austin by plane for SXSW 2015. Due to many factors including extenuating circumstances in my department at work in April, physical and mental exhaustion, and preparing to go to England and Ireland to cover music festivals and shows in May, I ended up getting delayed with my writing and had to ask OWOB editor Hendrik if I could have more time. I thank him a whole lot for being so flexible. I knew I really wanted to do a good job with and be proud of the content I would share with the world, and I couldn’t when I wasn’t in an inspired state to write.

I find it strangely coincidental that during my time of listening and relistening to Keane songs I had known so well for this project, I found myself in a bad place emotionally and actually really and truly needed Keane there for me right then. There wasn’t a particular stressor or trigger; things in my life have just snowballed and some incidents on my trip acted like a slap in the face, and in rapid succession. Perhaps it was when I had finally boarded my very delayed flight back to Washington and watched the film ‘version’ of To Write Love on Her Arms (TWLOHA) that my body at last decided to respond to this wakeup call. Had I been anywhere else but in an airplane over the Atlantic, I would have been freaking out, shaking wildly, pacing back and forth. Instead, I excused myself to one of the lavatories and just stayed in there, sobbing for over 15 minutes, blowing my nose, and wiping my eyes until I felt I could emerge and pass myself off as normal.

Right. Normal. Something most people pull off effortlessly every day, and yet on this Sunday afternoon, I couldn’t.

On a nighttime run this past week, I thought about a time some years ago when I was in the office kitchen, waiting in line to use the sink to wash my hands. Two of my coworkers were chatting. I remember the moment vividly, because I’d walked into the room as one of them said to the other that he couldn’t understand how someone could ever feel so bad and hopeless about his life that he would be driven to kill himself. He went to say to the other woman, “it’s unbelievable, I just don’t know anyone who is depressed!” He even laughed about it to her.

What? You’ve never met anyone who has depression? I almost turned around to leave. But I said silently to myself, “no. Stay. You can get through this. They’ll leave the room, and you’ll be fine.”

I sucked in my breath quickly and quietly to prevent myself from gasping. I couldn’t believe what I just heard. Wow, you really have no idea, do you?

That’s the thing about people who have depression. Unless we are physically incapable of getting out of bed and going to work, we look, sound, and generally act like everyone else. Because even on bad days – especially the bad days – we make an extra effort to hide how we feel. These comments I heard at work were not only hurtful to me personally but to each and every person who has struggled with their own battle with mental illness. Trivializing someone’s own struggles or worse, blaming the person for not seeking help fast enough as what happened in the case of the suicide of Robin Williams, just goes to show how ignorant modern society is about mental illness and how it can affect just about anyone.

Anyone. Young or old. Male or female. Rich or poor. With a job or without one. Any race, color, or religion. Depression doesn’t discriminate.

People who have depression have it for their whole lives. Although our lives are a sea of good days mixed in with the bad, and the ratio of the two varies over time, often it’s difficult to make other people see and understand that our struggle isn’t like a switch you can turn on and off easily. Taking medication or seeing a medical professional certainly helps to get you of the dark places you’ve been stuck in, but even with assistance, there are invisible scars under the surface everyone else can’t see.

Music is very therapeutic to me for one very good reason: I don’t need anyone else when I decide to invoke it to help me when I need it. I’ve not had an easy life. Just in the last 5 years, I have been betrayed, left behind, and had my heart broken numerous times. But music has been the one constant even when the people I loved and cared about the most decided to write me out of their lives. I hope this importance of music to me is evident through my week of writing about Keane, even if I don’t go into my personal life on each and every post.

Something I find very special about Keane is that although Tim Rice-Oxley doesn’t avoid talking about sad situations like breakups and broken hearts, overall there is still a lot of positivity, forward thinking, hope, and light in Keane’s songs. It’s easy to write a slow sad song that is nothing but blackness and shadows. It’s much more difficult to write a sad song with an upbeat tempo that makes the listener think of different ideas and outcomes for him/herself. That’s what Tim is able to do and better than anyone else.

‘Sea Fog’ from their fourth album ‘Strangeland,’ for example, sounds mournful because the protagonist has had to come to accept that this journey with his loved one has come to an end. But this acceptance is parallel to the acceptance that this is fate, that everything happens for a reason. And things do happen for a reason. I feel very sure of that. It’s just very hard to see the sun behind the fog when all you’re surrounded by is grey and darkness, to have enough faith that there’s a day on the other side of the night.

I could have given up so many times. But I’m still here. The music I love, including Keane’s, have played a huge part in making sure that I am.

You can read all my posts on Keane on One Week // One Band in chronological order through here.

You’ve got time to realise you’re shielded by the hands of love.

https://youtu.be/hSZWFLkz7lw

An old lady dives into Tumblr

Just in case you missed the unveiling of my big writing project last week, don’t fret. You’re in luck. The entire week of my writing about Keane – all 30 posts plus an introductory note by editor Hendrik – is available in chronological order through this link at One Week // One Band. It was quite a labour of love, so I’d appreciate your feedback, and as that ol’ chestnut goes, sharing is caring! I’d like to get my writing out to a wider audience, so Tumblr / Facebook / Twitter / Google+ / sharing, anything you can do to help me, is love. Thanks.

Keane - from Mmusicmag

In order to participate, I needed to sign up for my own Tumblr account and learn the quirks of the system in a few short weeks. These days, it appears most young people have a Tumblr. A good number of bands have them as well, and I’ve seen them been used to varying success. Content, as is true for all social media platforms, is king, followed by directing the right kind of content to your target audience as the queen. To be fair, I haven’t really gotten the hang of the format of the social media platform yet. I’m also still pondering the actual utility of the site to share media and stories beyond in the moment and whether I’d actually use it regularly. If you want to add me / compliment me / talk to me on matters other than Music in Notes and/or you need another outlet to harass me on (I’m kidding, be civil!), you’re welcome to do it over on my Tumblr.

It’s kind of like the long form version of Twitter: you repost content from other people’s Tumblr to share with your followers, although even with the platform giving you the opportunity to comment or add your own notes to a previous poster’s photo or post, most people can’t be bothered to. From what I gather, most people who use Tumblr have short attention spans and want to look at pretty or sexual (ew, seriously, I don’t need to see that!) pictures and not have to comment, collecting them like virtual baseball cards. There must be a way to go back through your own archive (I hope so, anyway), but if a teenage girl or boy is just reblogging and reblogging hundreds of posts he/she likes in one evening, doesn’t it all become white noise? How can you ever really remember that photo or quote someone else said that caught your attention for about 5 seconds of your life?

This is the kind of trend that worries me a lot about the future of music journalism. We just learned last week that NME will be going to a free print edition in September. One can’t help but put two and two together that the three main reasons for the decline of a once storied music magazine are 1) the internet, 2) people couldn’t be bothered to go out and pay for the content, and 3) even if they did, I think it’s unlikely the magazine would have held their attention for all that long. I’m not blaming or shaming NME as an oddity, the whole journalism world has been shaken up by the internet. (When SPIN went online only in 2012, I felt as though I was dying.) Some of you may think this is all very funny, but if you’re a writer like me, all of this is a very, very scary thing to contemplate if you’re planning to make a living in this business.

But back to Tumblr. I have to admit that once I started racking up likes, I was curious to see what kind of music fan was liking or reblogging my content, so I’d click on a username and be whisked off to their site. My heart sunk a little when someone commented early on that she thought my recounting of seeing Keane at my first SXSW in 2012 was considered “too long.” Judge for yourself. I thought the whole point of the site was to write how the music makes you feel and why it’s important? Personally, I can’t do that in a paragraph and still do it well. That’s why one-paragraph reviews of an album make me shudder. (Then again, it was probably the subject matter. I had a flick through on some popular posts on Lorde and One Direction, all of which received likes in the hundreds, and those posts went on and on. Readers had no issues with the length of those posts.)

So that comment bothered me. But maybe I’m just old, ha! Microsoft Word tells me this is close to 800 words already, so I will stop while I’m ahead (no, really) and wait for the next post to tell you more about my takeover week.

Song Analysis #48: Gil Scott-Heron – When You Are Who You Are

Title: ‘When You Are Who You Are’
Where to find it: ‘Pieces of a Man’ (1971, Flying Dutchman Records)
Performed by: Gil Scott-Heron
Words by: Gil Scott-Heron

Yes, I am back, some 2 months after I last was here! But not for long. I’ve been so busy and working so hard on that writing project I mentioned, not to mention living Real Life with a day job and TGTF, that I wanted to do a really short analysis post today as sort of an aperitif to what’s coming up next week. More on that to come…

I’d never heard this song until Steve Lamacq played it on his 6 Music programme 2 weeks ago. What a lovely, lovely sentiment! I practically cried reading back the lyrics after I’d found them. One of my favorite Motown songs is Smokey Robinson and the Miracles’ ‘The Track of My Tears,’ which I find absolutely brilliant for the lines “my smile is my makeup / I wear since my breakup with you.” BOOM. Obviously, that’s supposed to be a sad song, expressing regret of a relationship gone south. The physical smile that he’s pasted on his face is literally a mask to hide the anguish he has inside. Is there anything more heartbreaking than that?

In stark contrast, this song from Gil Scott-Heron is from the point of view of a man who’s saying enough is enough, stop with the masks and the disguises! He’s in love with her and wants her to stop pretending to be someone else. He wants her to be who she truly is because “you can be so very beautiful / when you are who you are.

Cue the waterworks and bring on the words, please…

The words:

Verse 1
You always go out of your way to impress me
Don’t you know by now, ain’t no need to impress me
I’m impressed every time you smile
When I feel like you mean to smile

“Chorus”
You can be so very beautiful
When you are who you are

Verse 2
Every morning when you wake up you put on a new disguise
How long did you think it would take me to realize
Girl, the things you wore ain’t real
You never tell me just how you feel

“Chorus”
Girl you can be so very beautiful
When you are who you are

Bridge
People never seem to want to be themselves
So they end up running in circles confused
Yeah, confused
Just like everyone else

Verse 2 again
Every morning when you wake up you put on a new disguise
Just how long did you think it would take me to realize
That the things you wore ain’t real
You never tell me just how you feel

“Chorus” / extended outro
When you could be so very beautiful
When you are who you are
Yeah, when you are who you are, yeah
Oh, when you are who you are, yeah
When you are who you are, yeah
When you are who you are
Get it, get it, get it, get it, get it, get it, get it

When you are who you are, yeah
Oh when you are who you are, yeah
Oh when you are who you are, yeah
Oh when you are who you are

Now, the analysis:

Gil Scott-Heron makes some interesting word choices in what should be a pretty straight-forward love song that is supposed to say, “I love you just the way you are.” (By the way, if you were wondering, it would be another 6 years before Billy Joel came along with ‘Just the Way You Are.’ In case you were keeping score.) In verse 1, he’s telling his lady love to not bother with impressing him because they’ve been together long enough that he doesn’t need impressing. He even sounds a bit exasperated with “don’t you know by now, ain’t no need to impress me.” Funny! The next two lines are kind of awkward, but I think that was done on purpose:

I’m impressed every time you smile
When I feel like you mean to smile

As in, “well, I notice when you smile. And you have a great smile. But I only want you to show that smile when you *really really* mean it.” In other words, stop smiling when you don’t mean to. Scott-Heron was clearly not a card-carrying member of the “fake it ’til you make it” club.

Then in verse 2, we look on as he gets into discussing her “disguise.” I don’t think he means only a physical disguise. I mean, okay, let’s say every morning you put on your Phillie Phanatic costume and go to work. On the outside, you look like the crazy green mascot for the Philadelphia baseball team, but no-one really knows what is going on inside, do they? You could have a cold and be very unwell. You could be depressed. You could be hopped up on too many cups of coffee. (Oh wait, you’d be bouncing off the walls with that much caffeine, wouldn’t you?) You see what I mean.

Physically, you can disguise yourself of course, but I think what Scott-Heron was trying to get at was presenting a different version of yourself that isn’t really you will do you no favours. This includes pretending to be someone you’re not and expressing feelings that aren’t true to how you’re actually feeling. The clues are in the words:

How long did you think it would take me to realize
Girl, the things you wore ain’t real
You never tell me just how you feel

She’s putting up a false front so she doesn’t have to deal with her true feelings and quite possibly also her own insecurities. He’s almost mocking her (good-naturedly) that this facade she puts up every morning is silly, as if she thought he could snow him and hide what she was really thinking and feeling. The bridge is pretty interesting too. “People never seem to want to be themselves / So they end up running in circles confused / Yeah, confused / Just like everyone else” seems to be saying “there’s no use in being like everyone else. Be yourself.” It can be a hard lesson to learn, though, especially as a woman. I’m going to tack this up to my wall so I can read it again and again and remind myself of this.

I decided to write about this song because Gil Scott-Heron is known for being one of the most influential minds and performers to hip hop artists today. His most famous work is arguably the poem ‘The Revolution Will Not Be Televised,’ which has been considered a watershed moment in his career and appears as track 1 on the A-side of the ‘Pieces of a Man’ album. How amazing that on the same album is ‘Who You Are Who You Are’, apolitical and even though it’s got elements of soul and jazz, is otherwise very pop.

Lastly, the song, a stream of Gil Scott-Heron’s original below.