Tag Archives: Emmylou Harris

Lockdown: Aps

I hadn’t told the others yet that he’d started messaging me. I don’t think they’d noticed us talking in the club, it was the week after April had hit that idiot that had been harassing Cora at the bar. They can’t have noticed because there’s no way they would have kept their mouths shut. It had seemed to happen quite naturally in the end, I’d turned away from the bar and bumped in to him, spilling most of my drink over his arm. It seemed natural although I was a bit suspicious that he’d finally decided that the only way he could work up the nerve to speak to me was by forcing us into a collision. He’d insisted it was all his fault – it wasn’t – and bought me another drink. I think the others were dancing to Marilyn Manson but I didn’t like the heavier stuff.

“His real name’s Brian,” he shouted over the noise.

“Your name’s Brian?” I shouted back, mishearing.

“No. I’m James,” he said, leaning in slightly closer to be heard. “Marilyn Manson. His real name is Brian. Kinda funny isn’t it?”

I shook my head, decided to have some fun with him. “Not really, James. My name’s Bryony and I’ve got a brother called Brian. It’s been in my family for generations. My dad can trace us back to Brian’s in the seventeen hundreds.”

For a moment I thought I had him. He looked down, raised his palms in apology, and was just about to stammer an apology when he caught the smile on my face, noticed the eyebrow raised in what I hoped gave me a look of arch amusement and not one of someone who’d had half a botched face lift. He laughed and apologised anyway. He spent quite a lot of the conversation apologising but I found his gentle nervousness kind of sweet. Unthreatening. And he had kind, green eyes that peered out from under a mop of curly brown hair. I wasn’t sure if I fancied him but there was something about him that I liked.

We’d swapped numbers at the bar and he’d left with a bunch of friends before the others reappeared from the dance floor. He’d messaged me the next day. I thought that was kind of sweet as well but I left an industry standard two days before I texted him back. Since then we’d been in touch pretty much every day and just before lockdown I was going to suggest we meet up, it was becoming evident that I’d be waiting quite a while if I wanted him to make the first move. It was still sweet and way preferable to the guy in the first term that had started sending me unsolicited dick pics but I did want him to show a bit of courage. Some backbone. Just, you know, no other kind of bone.

Lockdown had brought a different intensity to the messages. I figured he’d done the same thing as me and was using his laptop to write instead of his phone and it had meant that our exchanges grew longer. It felt almost old fashioned, like we were in a Jane Austen novel. Was that right? Were they the ones where formal gentlemen wrote stately letters of courtship to regal ladies? What did I know. I was a chemist and checked out of English at GCSE. Anyway, we moved from half sentences, emojis and gifs to paragraphs and punctuation. I had a suspicion that he was looking to hit me with some poetry.

On the third night he sent me a link to a livestream happening in a couple of hours. Phoebe Bridgers. I knew her a little bit, my eldest sister, Hannah, used to make me playlists to, in her words, educate me when I was younger. She tended to have songs that she’d regularly string together in sequence, little patterns that she was obviously pleased with, or maybe she just forgot that she’d put them on some of the other mixes for me already. One went from Fiona Apple’s cover of ‘Across The Universe’ in to Phoebe Bridgers’ ‘Motion Sickness’ and then out to the whole of Emmylou Harris’ ‘Wrecking Ball’ album. It was a great record but I wasn’t sure if she meant to add all of it or just made a mistake. I never asked her because she got a bit prickly if I questioned anything to do with her music. I always thought she was a bit snobby about it; she still hasn’t really forgiven me for going to that Little Mix reunion gig last year.

It was pretty late by the time the stream started but it was coming from the East Coast in the States so we must have been a few hours ahead. I had my screen divided between the music and a chat window with James. I didn’t really notice at first but after the first few songs I realised that he wouldn’t message me whilst she was singing, like he was at a real gig and didn’t want to talk during the songs. If I was honest I was finding him a bit too intense. It was getting a bit claustrophobic in the house as it was, I knew Cora was particularly finding it tough, and I was looking for an escape, a connection. In a way it wasn’t fair to try and judge how this might go when things went back to normal, everyone coped with the lockdowns differently, but then I guess that these periods of community quarantine were part of ‘normal’ now so maybe it wasn’t so unfair after all. I think I just wanted to imagine that if we ever really watched her play in concert that, at some point he’d reach for my hand and not let go until we were both clapping her back for an encore. It was late and I was tired. I left the laptop running but crawled into bed as she was finishing up another one I knew from my sister. It was another sad one but that was Hannah. I drifted off with the song’s coda whispering me down into sleep: anyway don’t be a stranger, don’t be a stranger.

I guess that was our first date.

Go on and make a joyful sound

40. For A Dancer – Linda Ronstadt & Emmylou Harris

As I’m closing in on the end (of writing about 42 records of personal significance, not “the end”) then I thought I should lighten up proceedings by sticking together a few words about death. You know, just to take the edge off all those pieces about depression and anxiety and all that laugh out loud fare. If there are a set of recurring themes in my writing then uncertainty is certainly one of them – this, however, is one point of certainty: we’re all going to die.

The irony, of course, in thinking about death is that it quickly becomes thinking about life. It’s reasonable when confronted with mortality to give some urgent thought to how you’ve lived, how best to spend the time left, and to wonder what it’s all about. That hoary old chestnut. Nothing like a midlife crisis to bring on a sudden search for meaning.

In some respects my chosen position on a couple of things, namely a belief that this is all there is, no second chances, no afterlife, and that there isn’t a higher, guiding force in the universe, can lead to some on-the-face-of-it bleak conclusions. The point-of-it-all may well be that there is no point. Particles reacting and colliding predictably, governed by the immutable laws of physics, but the major events in your life governed arbitrarily; order and chaos, humans with free will running amok amid those immutable rules. I think the tension between the two is important – there has to be a belief that you’re the master of your own destiny else you either give up or write everything off to fate or surrender yourself to something ineffable. At the same time there’s too much evidence of chaos to ignore: planes crash, people blow themselves up on trains, maniacs run into schools with automatic weapons. Tell the innocents in each of those scenarios that they were masters of their own destiny.

So, in my version, perhaps meaning is found in those moments of balance between the chaos and order; in control whilst things are out of control. Perhaps it’s more an acceptance that things are out of control and the prospect of that is so terrifying that it’s at the heart of that loose conglomeration of neuroses and mental health issues that I like to wrap up as “my problems”. Wiser people than me have grappled with it. The broad consensus, secular position seems to be that fully experiencing the individual moments of life, being very present in those moments, is probably as good as it gets, probably as much as there is. Teenage Fanclub’s “Ain’t That Enough” (number 26 previously in this series of posts) and Po Girl’s “Take The Long Way” (number 31) cover this territory far more eloquently than I have here.

Jackson Browne’s “For A Dancer” fits within that family of songs albeit it’s the only one of the three that ponders life through the lens of death. The version of the song that I know is the one on Linda Ronstadt and Emmylou Harris’ “Western Wall: The Tucson Sessions” album which, in turn, I’d come to via their brilliant collaborations with Dolly Parton. In truth this is more or less a solo Ronstadt record with Harris adding harmonies (is there any less selfish singer than Emmylou Harris ?) and given the news that she won’t sing again having being diagnosed with Parkinson’s it has acquired further poignancy for me. Chaos up to its arbitrary tricks again.

The song is sung from the perspective of someone saying goodbye at a funeral and reflecting on what it all means: I can’t help feeling stupid standing ‘round, crying as they ease you down. My direct experience of such events is, fortunately, very limited but in all cases Browne / Ronstadt’s next line rings true in spirit to me: ‘cause I know that you’d rather we were dancing, dancing our sorrow away, no matter what fate chooses to play.

The solemnity and sorrow of each occasion was no real reflection of the life that had passed and that we were mourning. That’s not to say that there isn’t and wasn’t value in soberly giving respect to the loss of loved ones but there seems to me to be a difference between that ceremony and the one that the dead might choose for themselves. Do we mourn for ourselves, for the space in ourselves left by the one that is gone ? Speaking on behalf of my future dead self then I’d far rather everyone was dancing. Not some sombre shuffle either: give it your best Jagger strut and, aging limbs allowing, pull a star jump and remember me.

The dancing in “For A Dancer”, of course, doesn’t have to be literal, it’s just a metaphor for living. Browne extends it to wonderful effect in laying down advice from the dead to those left behind:

Just do the steps that you’ve been shown
By everyone you’ve ever known
Until the dance becomes your very own
No matter how close to yours another’s steps have grown
In the end there is one dance you’ll do alone

There’s no belief here in certainty (pay attention to the open sky, you never know what will be coming down) but you’d best meet the chaos as well as you can (keep a fire burning in your eye). There’s also something stirring and deeply moving in the unflinching lack of sentimentality in the song’s overall message:

Perhaps a better world is drawing near
And just as easily it could all disappear
Along with whatever meaning you might have found
Don’t let the uncertainty turn you around
(The world keeps turning around and around)
Go on and make a joyful sound

Essentially we’re in the same place, with the same conclusion, as “Ain’t That Enough” and “Take The Long Way”. This is it. Experience it, savour it, try to enjoy it and maybe, just maybe, there doesn’t have to be a point to it all. Embrace the chaos.

So you can play this song at my funeral during the sad bit before everyone gets drunk and strikes some poses on the dance floor. It’s about as close to anything in a four minute pop song that gets at the big one: what’s it all about ?

Into a dancer you have grown
From a seed somebody else has thrown
Go ahead and throw some seeds of your own
And somewhere between the time you arrive and the time you go
May lie a reason you were alive but you’ll never know.