Category Archives: Lulu

Today’s Top 5: Wonders & Delights

The earth wobbles on its axis. It’s a phenomenon that has intrigued scientists since the 1890s, when it was initially detected, but it wasn’t until 2016 that Jet Propulsion Laboratory researchers identified the likely cause. Have no fear: The world isn’t set to collapse on its side as if a spinning top in its last seconds upright; the end, as such, isn’t nigh. It’s simply Earth adjusting its balance due to, of all things, drought. Minus the weight of water, it tilts.

In a figurative sense, people wobble, too – and not just from too much booze. We’re forever spinning like tops a split-second from toppling over, our axes shifting from the weight added and subtracted from our shoulders by ourselves and others. We lean one way one day and another the next until, at long last, we spin and lean no more. It’s the way of life.

Different people handle the daily burdens in different ways. Me? Take a look around this blog and you’ll find the answer: It’s music. At its best, whether in concert or via record, CD or digital media, music takes me away from the day’s trials and tribulations like no other. Whether you close your eyes and drift away on a catchy melody or pump your fist in the air with thousands of other fans in the arena, a la at a Springsteen concert, the past and future aren’t just secondary concerns – they are of no concern. And after a morning devoted to the burden known as taxes, which always adds weight to my frame, I’ve focused on music for the afternoon, first with the documentary Ticket to Write: The Golden Age of Rock Journalism on Amazon Prime…

…and then sliding down the rabbit hole known as YouTube in search of wonders and delights, a few of which were new to me. So, for today’s Top 5: Wonders & Delights. No rhyme or reason to the picks beyond they captured my fancy….

1) Harriet – “Reach.” This is a cover version of a song the Brit pop group S Club 7 sent to No. 2 on the U.K. charts in 2000; Harriet recorded it for Graham Norton’s radio show in honor of his birthday. To my knowledge, I’ve never heard the original. And, quite frankly, I don’t want or need to: This voice does it for me.

2) Natalie Gelman – “Easy Now.” I don’t know much about Ms. Gelman, but she’s a singer-songwriter with a bright future. This is a great song.

3) Amelia Eisenhauer & the Peruvian Farm Girls – “Changed.” So Amelia was an American Idol contestant during its final season, which is where I first heard her. She’s good. Better than good, actually, as this video shows:

4) Courtney Marie Andrews – “Honest Life.” The title track to Courtney’s recent album, which I’ve listened to almost daily since discovering it in late February. (It still gets better with every listen, and I’ve listened to it at least several hundred times, I think.) We have tickets to see her in early May – can’t wait!

5) Lulu – “Oh Me Oh My.” We also have tickets to see the legendary Lulu in May. She’s one of the greats, and this song – one of her greatest.

And one bonus – inspired by the torrential rains we experienced yesterday:

6) Belinda Carlisle – “Sun.” This was one the one new song included on Belinda’s Icon collection a few years back. It’s addictive.

Today’s Top 5: Good Girls Revolt, Take 2 – March 23, 1970

Earlier today, I watched (for the umpteenth time) one of my favorite films: Breakfast at Tiffany’s, which was released in 1962. It’s a whimsical love letter to eccentricity, escape and the human-feline bond, and Holly Golightly may well be Audrey Hepburn’s most iconic role. The movie is also notable, of course, for introducing the Henry Mancini-Johnny Mercer song “Moon River” to the world.

Here’s some food for thought, though: In 1962, Holly’s opportunities were extremely limited because of her gender. She would have been disqualified from many jobs; and, even if an employer made an exception and hired her, she could expect to be paid much less than a guy doing the same work. She also wouldn’t be able to get a prescription for the birth-control pill, as it was only given to married women (and only in some states); and, regardless of her marriage status, she could be fired if she became pregnant. And if a male colleague or superior grabbed her ass? She had no recourse. Sexual harassment, as a concept, didn’t exist. Oh, and even if she had graduated as the valedictorian of her high school, she couldn’t apply to Harvard, Yale or Princeton, as women weren’t accepted as students. She’d also have difficulty getting a credit card.

fullsizeoutput_10a5Which is why Good Girls Revolt, a fictionalized account of the experiences of women at Newsweek during late 1969 and early 1970, is such an important series. On the surface, of course, it’s about women fighting for the right to pursue their dreams – in this case, reporting and writing. But it’s more than that. It’s about an era when change was spreading through society writ large. And while the America of 1969-70 was different than it was in 1962, it was not as different as, at first blush, it may seem – within the counterculture? Yes. Within the wider culture? Not so much. In 1970, for instance, CBS nixed the idea that Mary Tyler Moore would portray a divorcée in her eponymous sitcom because executives feared it would offend viewers. Instead, her character (Mary Richards) moved to Minneapolis after breaking off a long engagement.

Good Girls Revolt, for those who’ve yet to see it, opens after the concert fiasco at Altamont Speedway near San Francisco in December 1969. As I said here, the dialogue’s occasionally clunky in the first few episodes and the characters sometimes teeter near stereotypical – but it’s well-acted. Let me add an adverb: It’s extremely well-acted. (Genevieve Angelson, who plays lead character Patti, deserves an Emmy Award.) While glimpses of greatness are seen in the early going, it’s not until midway through the 10-episode run – the New Year’s Eve episode, to be specific – that the series hits its stride. (That’s not a criticism; most new shows take a while to find their groove.) By the last episode, when the employees take a public stand, you’ll be left wanting more. Much more.

However, last week, Amazon nixed a second season despite the show doing well in every available metric. According to Hollywood Reporter, Sony Pictures Television, which produces the show, is currently shopping it to other networks – ABC, Freeform, USA Network, Bravo and Hulu are all said to be interested – but they won’t take it on if they don’t think there’s an audience. So head over to Care2 and sign the petition.

The women themselves let their voices be heard on March 16, 1970, the same day that Newsweek published a cover story on the nascent women’s movement. The issue is actually dated March 23rd; like most magazines, then and now, Newsweek pre-dated its issues so that it retained newsstand appeal. For the purposes of today’s Top 5, I’m sticking to the 23rd – well, actually the 21st. The charts over at Weekly Top 40 are two days off.

Anyway, here’s today’s Top 5: Good Girls Revolt, Take 2 – March 23, 1970. These are the songs by female artists that, according to Weekly Top 40, were in the Top 40 that week.

1) Aretha Franklin – “Call Me.” The top 18 hits this week are by men; the highest-charting 45 by a woman is this, at No. 19. It was the lead single from Aretha’s 1970 This Girl’s in Love With You album.

2) The Supremes – “Up the Ladder to the Roof.” The next female act, the Supremes, comes in at No. 25. It’s notable as the first post-Diana Ross single by the Motown stalwarts; Jean Terrell handles lead vocals.

3) Lulu – “Oh Me, Oh My (I’m a Fool for You Baby).” This gem from Lulu (one of my favorites by her) ranks at No. 31.

4) Bobbie Gentry and Glen Campbell – “All I Have to Do Is Dream.” Of this week’s Top 40, exactly three and a half songs are by women. (Let that sink in for a moment.) This, a cover of the Everly Brothers’ classic, ranks No. 34.

5) The Five Stairsteps – “O-o-h Child.” This was a newly ranked single within the Top 100; along with its flipside, “Dear Prudence,” it was No. 85. (The Stairsteps were five siblings – four brothers and one sister – and they all take a turn singing lead here.)

And one bonus…

6) Gladys Knight & the Pips – “You Need Love Like I Do (Don’t You).” Another new entry this week, coming in at No. 87.

And that, believe it or not, is the extent of women in the chart, which covers Numbers 1 through 50 and adds 14 additional “new this week” entries for the Top 100 as a whole.