lesbian – Brian Ferrari's Blog

The Mysterious Midge Williams

In the April 11, 1936 edition of the New York Age newspaper, Joe Bostic wrote in his “Seeing The Show” column about show he attended at the Apollo Theatre. The headliner was an unknown: the now legendary blues singer Lead Belly. Bostic was not impressed:

The advanced publicity stated that this man had been in two jails on murder charges and that the wardens, on hearing him work out on his guitar and vocally, had set him free. Maybe they did but after hearing the man myself, I’m not so sure that musical excellence prompted [the] actions. It may have been that both they and the other inmates wanted some peace during their quiet hours. No. Lead Belly isn’t the man, if it’s music that you want.

After reviewing other aspects of the show, including the comedy of Pigmeat Markham, Bostic concludes his review with this:

Midge Williams, the sensation from the west coast, looks, acts and sings like she knew most of the answers as a personality soloist…. She’s too good for the company she’s in at the Apollo this week.

I’ve had a bit of an obsession with the mysterious Midge Williams since I first heard her recordings of familiar jazz standards… sung in both Japanese and English. In the mid 1930’s, she was the first female African American singer with a national radio show. Midge worked with Bunny Berigan, Fats Waller, Duke Ellington, and Jimmie Lunsford. When Olympian Jesse Owens had a short-lived foray as a bandleader, Midge was his singer. She toured with Louis Armstrong’s orchestra for three years, from 1938 until 1941, when she ended up hospitalized in Detroit. And then… nothing. She died of tuberculosis in 1952 at age 36.

That’s the story in a nutshell, according to the liner notes of her CD compilations and the few websites that mention her. Several years ago, I set out to fill in the blanks on this forgotten artist.

Midge started out in a family group with her three brothers. They were The Williams Quartette, later The Williams Four, performing in clubs and churches in the San Francisco area. They later joined the Fanchon and Marco vaudeville circuit and performed up and down the West Coast during summer breaks from school.

A musician / arranger named Roger Segure took them under his wing and became their manager, securing work on local radio and then traveling with the group to China and Japan. The opportunity to hear swing jazz vocals sung live was heralded as a major event in the history of Japanese jazz. During their stay in Japan, Midge recorded several sides, singing in English and Japanese, accompanied by the Columbia Jazz Band:

Midge crossed paths with writer Langston Hughes as he traveled through the Far East. Back in New York a few years later, Hughes would write songs for Midge. She recorded his “Love Is Like Whiskey” in February, 1938. Another song, “Night Time,” with lyrics by Hughes and music from her manager Roger Segure, was the theme song to her radio program. Unfortunately, no recording of the song exists.

Attempts by gossip columnists to stir rumors of a romance between the two proved unsuccessful.

Midge was just 21 years old when she began hosting her own radio show on NBC – a twice-weekly 15-minute program. She recorded several dozen sides while also making club appearances. A prominent figure in Harlem society at the time, the African American newspapers covered her every move… until her alcoholism resulted in a dismissal from the Louis Armstrong Orchestra.

Her last studio recording was with Lil Hardin Armstrong (Louis’ ex-wife) and her Dixielanders in 1940:

In April of 1946, Midge made an appearance on Jack Webb’s radio show. She was in fine voice on a cover of “Cow Cow Boogie”:

Shortly after the Jack Webb radio performance, Midge settled into a six month engagement at Mona’s 440 Club, the legendary lesbian bar in San Francisco. It is from this period that we have a photo of Midge, an image that has been widely circulated. One of the most familiar photos depicting lesbian nightlife of the 1940’s, it was also used to promote the 1993 documentary Last Call At Maud’s.

Midge Williams (left) with fellow Mona’s singer Kay Scott and friends (ca 1946)

Tune in to a 35 minute overview of the life and music of Midge Williams on 60 Degrees with Brian Ferrari.

Good Time Sallies and Madame Spivy Radio

Madame Spivy is having quite a renaissance in 2025, thanks to the efforts of Ms. Ana Matronic and her newly launched Good Time Sallies podcast. As previously mentioned, Madame Spivy is the subject of the first two episodes. I joined Ms. Matronic to discuss the dynamic lady of song, stage and screen. You can find those here.

The subject of episodes #3 & 4 is singer/nightclub owner Ada “Bricktop” Smith, who we covered briefly in our post about Neeka Shaw, The Forgotten Showgirl.

And if that’s not enough for you… Ms. Matronic has created Good Time Sallies: Radio Spivy on Mixcloud, so you can hear many of the songs discussed on the podcast. Besides a generous serving of Madame Spivy’s stylings, you can also hear recordings by Spivy’s friends, influences and artists who appeared at Spivy’s Roof. Included on the playlist are Fanny Brice, Sophie Tucker, Liberace, Martha Raye, Thelma Carpenter, Rae Bourbon, The Three Flames, Bea Lillie and many more!

Click here for Radio Spivy and hear some fine examples of classic diseuse delivering sophisticated songs.

From the website:
Good Time Sallies tells the stories of impactful people who have been left in the shadows as footnotes or minor characters in somebody else’s story, but each of whom made waves, broke molds, and dared to live life as they pleased.

With every episode, Ana Matronic centers these remarkable people and shares their inspiration with the world. From people of letters to ladies of leisure, from bawdy babes and badass boozehounds to Queens on the scene to queens of the obscene, this vibrant historical podcast is all about celebrating the Good Time Sally in us all who is here to take a shot and make her mark.

As you already know, Spivy is one of our favorite subjects here on the blog. Be sure to check out the latest post, which covers her film and television appearances.

Madame Spivy on the Good Time Sallies Podcast

I have been an admirer of Ana Matronic since the days when her band, Scissor Sisters was a local group playing around my East Village neighborhood. Her presence, her voice, her connection with the audience as “Mistress of Ceremonies” were a major factor in why I went on to see the band perform live 20 times before their hiatus in 2012. There’s an unconfirmed rumor that I have the band logo tattooed on my ankle.

*With Ms. Matronic at the Ice Palace in Cherry Grove, Fire Island (7/2024)*

I have enjoyed Ms. Matronic’s various endeavors in the intervening years, which includes her DJ work from the BBC to Fire Island and her 2015 book Robot Universe: Legendary Automatons and Androids from the Ancient World to the Distant Future.

I couldn’t imagine a Scissor Sisters reunion without her. When a UK tour was announced late last year, Ms. Matronic issued a statement explaining why she would not be taking part, teasing an upcoming podcast series that prevented her from participating.

As someone who embraces my own inner Nerd, I was fully on board with her choice to focus on her current passion project. What I did not know at the time was that I would get to be a part of this next chapter.

And now it is time for the big reveal: Good Time Sallies is here!

Click here to have a listen to both episodes the Spivy Story.

https://embed.acast.com/$/67c5ca6cb48a8f157c1ae0b6/queen-of-clubs-part-1?

Photos: Krys Fox @krysfoxphoto

Of course, telling the stories of notable people who have been left in the shadows is one of the reasons this blog exists. On the first two episodes of Good Time Sallies, I join Ms. Matronic to reintroduce that dynamic lady of song, stage and screen, Madame Spivy LeVoe. As you already know, Spivy is one of our favorite subjects here on the blog. Be sure to check out the latest post, which covers her film and television appearances.

I hope you enjoy the podcast as much as I did recording it. Thanks again to Ms. Matronic and Lucy Winter for inviting me to take part.

Also: Click here for Radio Spivy on Mixcloud and hear some fine examples of classic diseuse delivering sophisticated songs.

Madame Spivy: Movies & Television

Ladies and Gentleman, it is time once again to revisit that dynamic lady of song, stage and screen, Madame Spivy LeVoe (1906-1971), also known simply as Spivy. While previous posts have focused on specific songs recorded by the lesbian entertainer, nightclub owner, and character actress, this time around we have an overview of her work in film and television from 1959-1967.

“The Roof is closed – gone forever, and my heart is broken.” Spivy wrote to a friend in August, 1951 after her nightclub had shuttered. The once popular top floor venue at 139 East 57th street had fallen into decline after a decade as one of the top Manhattan night spots. The demise of Spivy’s Roof was in part due to Spivy’s increasing stage fright, which in turn escalated her drinking. The combination often prevented her from delivering the two scheduled nightly performances audiences expected. Paul Lynde would later discuss this on The Tonight Show in 1976.

Spivy spent the next 6 years performing throughout Europe, where she opened and closed clubs in Paris and Rome. In London she appeared at the prestigious Café de Paris. These ventures eventually proved unsuccessful and she landed back in New York by 1957. An engagement at the Blue Angel would be her final New York City cabaret run.

Spivy explained her inability to conquer the fear of nightclub audiences. “I have tried everything but psychiatry – even hypnosis – but I couldn’t lick it.

“Funny thing, I have absolutely no stage fright in front of a camera, no matter how many people are on the set. So I guess this is what I’ll be doing from now on.”

It doesn’t take a psychiatrist to piece together that her insecurities performing in front of a live nightclub audience proved insurmountable as her popularity waned. She had entertained audiences since the 1920’s, but 30 years later her style of sophisticated songs had become a relic of a bygone era. Acting roles in front of a camera proved to be a less vulnerable alternative.

Charlie Chaplin reportedly sought to have Spivy play a character based on Elsa Maxwell in his 1957 film A King In New York. Newspaper columns at the time reported that the production company was unable to secure a work permit for her to travel to the UK for filming.

Her first film was The Fugitive Kind in a scene with Marlon Brando and Joanne Woodward, which was not a bad place to start.

*“You come back alone some time, ya hear?” Spivy with Marlon Brando and Joanne Woodward in* The Fugitive Kind. (1959)

This led to her being cast in the most memorable television role of her career opposite Robert Morley in an episode of Alfred Hitchcock Presents titled “Specialty of the House.” Spivy plays “Spirro,” the piano-playing proprietress of an exclusive restaurant with a dubious main course.

*“Bourbon breeds togetherness…” Flo (Spivy) tips off Peter Gunn (Craig Stevens). (1960)*

There is a sameness to the majority of Spivy’s film and television acting roles. She’s typically the barkeep or bouncer at a downstairs dive bar in a sketchy part of town. She usually has just one scene where she kicks someone out of the bar, or delivers a key piece of information to move the plot along. Or both. She is always smoking. She may be shady or morally ambiguous, but mostly she just don’t want no trouble, ya hear?

*“Have you lost your feeble mind? He’s still got his baby teeth!” Spivy with Brandon DeWilde & Evans Evans in* All Fall Down *(1962).*

Spivy’s most significant film role was as Ma Greeny in 1962’s Requiem For A Heavyweight with Anthony Quinn and Jackie Gleason. Her tough, androgynous mob boss made an indelible impression on viewers.

“Take a good look in the mirror and then say goodbye to what you see.”

*Spivy as The Axe Lady,* The Wild Wild West (1966)

One of Spivy’s atypical performances was a 1966 appearance on The Wild Wild West with Robert Conrad. Spivy plays The Axe Lady, a member of a serial killer tribunal who meets her demise at dinner with a steak knife in the back.

*Spivy as Tatama with William Smith as her son Catoga in the* Daniel Boone *episode “A Matter Of Blood.” (1967)*

Spivy’s final television role was her biggest since Alfred Hitchcock Presents: a 1967 Daniel Boone episode in which she plays Tatama, an Indian tribe elder. As with the rest of the actors playing indigenous characters at the time, the brown-face makeup doesn’t age well, but she delivers a good performance, in my humble opinion.

Spivy was diagnosed with cancer in the late 1960’s, eventually moving into a series of hospitals and nursing homes that she kept getting kicked out of. Angry and bitter at her waning independence, she would lash out at staff. Her old friend Patsy Kelley arranged to have her placed at the Motion Picture Country Home in Woodland Hills, California where she died on January 8, 1971, aged 64. She is interred at Valhalla Memorial Park in West Hollywood.

Madame Spivy: Why Don’t You?

Ladies and Gentleman, it is time once again to revisit that late great dynamic lady of song, Madame Spivy LeVoe (1906-1971), also known simply as Spivy. A lesbian entertainer, nightclub owner and character actress, Spivy has been described as “The Female Noel Coward” – to which I add “…. if he had been born in Brooklyn as Bertha Levine.”

*Spivy photographed by Carl Van Vechten (1932)*

In case you missed them, here are the previous Madame Spivy posts:
T he Alley Cat
The Tarantella
Auntie’s Face
100% American Girls
A Tropical Fish
I Brought Culture to Buffalo In The 90’s
I Didn’t Do A Thing Last Night
Madame Spivy: Movies & Television
Madame Spivy on the Good Time Sallies Podcast

“Why Don’t You?” is the fifth side profiled here from her 1939 album Seven Gay Sophisticated Songs. Spivy is credited with composing the music, with lyrics by Everett Marcy, who also penned “I Brought Culture to Buffalo In The 90’s”.

Marcy had a few Broadway writing credits including New Faces of 1936. It was Marcy who wrote the oft-repeated line introduced in the show by Imogene Coca: “I must get out of these wet clothes and into a dry martini.”

The song “Why Don’t You?” refers to Diana Vreeland’s column of the same name in Harper’s Bazaar magazine. It was full of random “imaginative” suggestions such as “Why don’t you wash your blond child’s hair in dead champagne, as they do in France?”

Some of the notables of the day that are referenced in the song:

Vera Zorina – a ballerina, actress, and the second wife of George Balanchine.

Cecil Beaton – photographer, diarist, painter, interior designer, and an Oscar-winning costume designer.

Elsa Maxwell – a gossip columnist, radio personality, and professional hostess renowned for her high society parties.

“The Zerbes and Bebees” refers to the original paparazzi photographer Jerome Zerbe (1904-88) and syndicated society columnist Lucius Beebe (1902-1966). The two were a couple through the 1930’s.

Peggy Hopkins Joyce – an actress and socialite, notorious for her flamboyant lifestyle with numerous affairs, engagements and six marriages.

Clifton Webb – a character actor best known for his thinly veiled “sissy” supporting roles.

Why Don’t You?

Today when all the headlines full of red lines and bread lines confuse you
And the world seems bleak, don’t be blue.
In Harper’s they have a column, very smart and very solemn that will amuse you.
It asks you little questions to give you smart suggestions how you, too can reek with chic
like the most ultra-clique, and they call it “Why Don’t You?” It asks you…

Why don’t you have your ermine muff wired for sound and use it weekends as a concertina?
Why don’t you give a charity ball for the Princeton Club and raffle off Vera Zorina?

Why don’t you throw your mother an occasional bone?
Why don’t you try sleeping alone?
Why don’t you take the pretty blue check you won at bridge and kite it?
Why don’t you dip your head in brandy and light it?

Why don’t you try wearing gold sandals backwards just for the sheer agony of it?
Why don’t you send last year’s negligée to Cecil Beaton? He’d love it.
So they want you to try decorating your flat with bundles of hay…
Well they know what they can do with Harper’s, why don’t they?

Why don’t you try going to Elsa Maxwell’s parties as yourself for a change?
Why don’t you try wearing a hat that won’t make your husband look strange?
Why don’t you develop a bright smile by putting an electric bulb behind each tooth?
Why don’t you give a testimonial dinner for Hitler in a telephone booth?

Why don’t you get out of town before you come down with a compound case of heebie jeebies?
Why don’t you listen to the birds and bees instead of the Zerbes and Bebees?
So they want you to roll up your rugs and cover your floors with broccoli on the first warm day.
Well they know what they can do with Vogue too…. Why don’t they?

Why don’t you have a stag line composed of the ex-husbands of Peggy Hopkins Joyce?
Why don’t you cross breed carrier pigeons with parrots so they can deliver messages by voice?
Why don’t you try throwing Clifton Webb over your left shoulder and making a wish?
Why don’t you fill your guest’s finger bowls with invisible tropical fish?

Why don’t you try opening your eyes in the middle of a kiss?
Why don’t you cancel your subscriptions to magazines like this?
Why don’t you tear everything off your hat and stamp on it?
Why don’t you take out a homestead in Montana and go “camp” on it?

So they want you to promise to slap your own face two hundred times a day?
Well tell them you’ll have none of it.
Tell them you’re through with their “Things To Do” and they can all take their Harper’s and… love it.

Your Guide To Disposable Gay Holiday Movies

Last week, Queerty posted an article proclaiming, “The Hallmark Channel is gayer than ever this year!” This is followed by a massive list of exactly THREE movies that they consider gay. The first one, Catch Me If You Claus stars Luke Macfarlane in his 16^th movie for the network. Yes, the Bros co-star is gay in real life, but the character in the film is not. Kudos to him for continuing to be cast in straight roles, but… do we then count this as a gay film?

The second movie on their list, Christmas on Cherry Lane is an ensemble piece that includes a gay couple. Jonathan Bennett, Hallmark’s go-to gay actor for gay roles plays opposite Vincent Rodriguez III. It airs December 9^th.

The third film, Friends and Family Christmas centers on lesbian friends (Humberly Gonzalez & Ali Liebert) who must pose as a couple for the holidays… and you’ll never guess what happens! This one premieres on December 17^th.

So there you have it. As a reminder: The Hallmark Channel is premiering 42 – FORTY-TWO – new Hallmark Christmas movies this season. And we’re supposed to kvell because TWO of them are gay-ish? Honey, please.

Since 2020, a few of these gay disposable holiday films have dribbled out every holiday season– not just on The Hallmark Channel but also on Lifetime, Netflix and elsewhere. I’m not here to crap on the genre, but there is a conveyor belt feel to these films. With the similar actors, sets, and plots, it can be difficult to remember which one had which fading star of yesteryear playing the mom. Obviously if I didn’t get some enjoyment out of watching them, I wouldn’t tune in. But I don’t go all in for them, either. Please give me a combination of humor, wit, romantic chemistry, decent acting and/or a plot twist and I’ll stick with it. Check off more than a couple of those boxes and I might watch it again next year… if I can remember the title and what channel it was on.

Here’s a list I put together last year to try to keep these movies straight, so to speak. It’s not definitive and I apologize for any omissions.

1) The Xmas Setup (2020) – Lifetime

Older star playing a parent: Fran Drescher
Romantic chemistry? Yes – this real-life couple generate a believable amount of TV movie warmth.

The Christmas Setup follows the story of New York lawyer Hugo (Ben Lewis) who heads to Milwaukee with his best friend Madelyn (Ellen Wong) to spend the holidays with his mom Kate (Fran Drescher). Kate arranges for Hugo to run into Patrick (Blake Lee), his high school friend and secret crush, who has recently returned after a successful stint in Silicon Valley. Hijinks begin.

2) Dashing In December (2020) – Paramount+

Older star playing a parent: Andie McDowell
Romantic chemistry? Some. I guess. It’s an enjoyable movie but I don’t see these boys staying together.

After Wyatt (Peter Porte) comes home for the holidays to try to convince his mother (Andie MacDowell) to sell the family’s Colorado ranch, he finds romance with the dashing new ranch hand (Juan Pablo Di Pace) who dreams of saving the property and its magical Winter Wonderland attraction.

It’s a nice surprise to see Andie McDowell here, but I am reminded of when comedienne Paula Poundstone described her face as “an egg with a smile drawn on it.”

3) Happiest Season (2020) – Netflix

Older stars playing the parents: Mary Steenburgen & Victor Garber
Sapphic chemistry? Yes, but not between the two that we’re supposed to root for.

This is the one with Kristen Stewart, Aubrey Plaza & Dan Levy. Stewart’s girlfriend invites her home for Christmas but fails to mention that she’s not out to her family and they must pretend to be friends. Hilarity ensues. A cut above Lifetime/Hallmark movies but I’m including it because it satisfies the same itch. Same genre, but overall higher quality thanks to the cast and Clea Duvall’s writing & direction. One caveat: I wanted Kristen Stewart’s character to end up with Aubrey Plaza. But that doesn’t fit the formula, does it?

4) The Christmas House (2020) – Hallmark

Older stars playing the parents: Treat Williams & Sharon Lawrence
Romantic chemistry? The gay married couple is peripheral here, so it’s not required. They’re fine.

This was the first Hallmark movie to feature a gay couple, even if they are supporting players. Jonathan Bennett is the gay son with Brad Harder as the devoted husband. They want to adopt kids – that’s their side plot. The straight brother has the romantic interest storyline, while the parents have decided to give up their traditional grand ole “Christmas House” which, like all the other houses in these movies, looks like a realtor’s model home with decorations recently purchased at Kohl’s.

5) The Christmas House 2: Deck Those Halls (2021) – Hallmark

Older stars playing the parents: Same as above. R.I.P. Treat Williams. ☹
Romantic chemistry? Maybe I’m being a sap, but this couple grew on me.

The sequel to the above film. This time the brothers are competing on a reality show to create the best Christmas House. It’s harmless fun.

6) Clusterfünke Christmas (2021) – Comedy Central

“A no-nonsense hotel exec buys a family inn in northern Maine, but the town’s Christmas spirit clashes with her cosmopolitan values.” This one’s actually a spoof of the genre written by and co-starring Rachel Dratch & Ana Gasteyer as the innkeepers. Out actor Cheyenne Jackson plays the straight romantic lead. If Queerty can claim the Luke Macfarlane movie as gay, then we get this one, if not for Jackson, then just for pure camp value.

7) Under The Christmas Tree (2021) – Lifetime

Older stars playing the parents: Wendy Crewson & Enrico Colantoni. Ricki Lake is also on hand.
Sapphic Chemistry? Yes

As described in Vulture: Lifetime’s new and first-ever lesbian Christmas movie is a legitimately good queer film in which the main character, Alma (Elise Bauman), is not only accepted by her Maine-based, small-Christmas-business-owner parents for being a lesbian but encouraged to fall in love with out-of-town stranger Charlie (Tattiawna Jones). Cheesy as it is, the premise is as sweet as it is predictable with plenty of fun, memorable scenes and unexpected moments thrown in.”

8) Single All The Way (2021) – Netflix

Older stars playing the parents: Kathy Najimy & Barry Bostwick with Jennifer Coolidge as the diva aunt.
Romantic chemistry? Yes

Peter (Michael Urie) finds out his boyfriend is married. They break up and he invites his best friend home with him for Christmas to pretend they’re a couple. His mom tries to set him up with Luke Macfarlane anyway. You’ll never guess who he ends up with. This one beat out Under The Christmas Tree to win the GLAAD Media Award for Outstanding TV Movie. Probably the best of the bunch, and not just for this monologue:

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9) The Holiday Sitter (2022) – Hallmark

Older stars playing the parents: NONE
Romantic chemistry? Not that I recall.

Another Hallmark movie with resident gay Jonathan Bennett. Now he’s a workaholic from the big city who gets stuck watching his sister’s kids because of a snowstorm and she’s pregnant and going into labor or something. He recruits hunky neighbor Jason (George Krissa) to shepherd the precocious children through an endless list of absolutely necessary holiday activities. Bennett’s first major role years ago was in the movie Mean Girls. He also co-wrote this script, in which he actually tells the family dog “Stop trying to make ‘fetch’ happen.” I have nothing more to say.

10) A Christmas To Treasure (2022) – Lifetime

Older stars playing the parents: Nobody I recognize. Maybe they’re big in Canada?
Romantic chemistry? NONE.

A real-life gay couple with no chemistry try to find a hidden treasure… before it’s too late! 33-year-old Tyler Frey and 41-year-old Kyle Dean Massey are supposed to be high school sweethearts reunited with each other and their friends: two racially diverse straight couples. Everyone’s on an elaborate treasure hunt somehow engineered by a beloved frail old neighbor just before she croaked. However, nobody really needs the money except Frey, who wants to save the grand ole Marley house (again, a model home decorated at Kohl’s.) Someone actually says “I don’t need the money. I’m here for the cocoa.”

This one broke me. Who are these people? This movie is a painful reminder that a film can be racially diverse, but it certainly isn’t class-wise. If everyone’s so damn rich, why don’t they just give Frey the money to save the house? This one caused me to take a long break from viewing these movies. But now it’s a new season, and here we are.

Happy Holigays!

A 60 Degrees Girl Group Christmas

I have always loved Christmas music. I tend to listen to older music all year round, but when it comes to sharing music with the general public, this is the only time of year when Brenda Lee is considered cool. To combat the 60’s holiday tracks that are over-covered and overplayed, I am always searching for more obscure holiday recordings by girl groups and female vocalists that are not on radio or Spotify playlists.

When I began hosting my internet radio show 60 Degrees with Brian Ferrari back in 2008, I started an annual tradition of putting together a holiday program full of female 60’s singers and girl groups interspersed with vintage commercials and sound clips from classic holiday movies and television shows. You can listen to the Halloween show here.

East Village Radio was a pirate radio station that went legit and switched to the internet, broadcasting from a storefront in New York’s Lower East Side. This first 60 Degrees holiday show debuted on December 22, 2008 and was repeated annually throughout the shows 5 year run. By 2012, the holiday programs had gained such a following that 60 Degrees was given an uninterrupted 16-hour marathon on Christmas Day.

At the beginning of Part 2 of this episode, I read a Christmas poem that I wrote about an incident from my childhood involving our tinsel-eating dog Sunshine, which has previously been posted here and also on The Good Men Project website. You can’t say I don’t recycle!

Other than my speedy vocal delivery (someone tell that guy to slow down) and some minor sound level issues, the show holds up pretty well. There are a few mis-statements that I wish I could fix:

I said that Maya Rudolph’s mother, the late great Minnie Riperton was not singing lead on The Gems tracks. But it turned out that she was.
I mis-pronounce the Meditation Singers as “The Mediation Singers” and would add that soul singer Laura Lee was a member of the group, having replaced Della Reese in the 1950’s.
Janice Orenstein is the singer on “There’s Always Tomorrow” from the Rudolph The Red Nosed Reindeer soundtrack.

Part 1

Donde Esta Santa Claus – Toni Stante
Gee Whiz, It’s Christmas – Carla Thomas
My Boyfriend’s Coming Home For Christmas – Toni Wine
Christmas Will Be Just Another Lonely Day – Brenda Lee
White Christmas – Baby Washington
Snowfall – Doris Day
I Want A Boy For Christmas – The Del-Vetts
You Better Be Good, World – Shirley Ellis
Peace For Christmas – Gigi Parker
Christmas Calling – Valerie Masters
Christmas Time – Jan Bradley
All I Want For Christmas Is You – Carla Thomas
Christmas Is The Time To Be With Your Baby – The Orchids
Christmas Time Is Here Again – The Flirtations
O Holy Child – Dusty Springfield
Sleigh Ride – Darlene Love wi/ The Brian Setzer Orchestra
Deep in the Heart of Christmas Darlene Love wi/ The Brian Setzer Orchestra
Christmastime For The Jews – Darlene Love
Xmas (Baby Please Come Home) Live 2005 – Darlene Love

Part 2:

Wish You A Merry Christmas – Kim Weston
Let It Snow! Let It Snow! Let It Snow! – The Miracles (featuring Claudette Robinson)
Oh Holy Night – The Supremes (featuring Florence Ballard)
Won’t Be Long Before Christmas – The Supremes
Blue Christmas – The Meditation Singers
Blue Holiday – Aretha Franklin
Love For Christmas -The Gems
Jing Jing A Ling – Honey & The Bees
Silver Bells – Rachel Sweet
Close Your Mouth (It’s Christmas) – The Free Design
The Christmas Song – Sergio Mendes & Brasil ’66
I Don’t Intend to Spend Christmas Without You – Margo Guryan
Happy New Year Baby – JoAnn Campbell
Happy New Year Baby – The Sisters
January First – Peggy March
Happy New Year – Beverley
Jingle Jingle Jingle – Burl Ives
There’s Always Tomorrow – Janice Orenstein
Auld Lang Syne – Honey & the Bees

I’ll be uploading other episodes of 60 Degrees in the future. I hope you enjoy them. Thanks for listening!

You can now listen to this episode on Mixcloud:

Luke Combs’ Cover Of “Fast Car” Is The Perfect Song For Our Times

In case you missed it, Tracy Chapman’s 1988 song “Fast Car” has been covered by country artist Luke Combs. It has now topped the country charts and has out-performed the pop chart standing of the original. Chapman is now the first female African-American songwriter to have a #1 country song.

Chapman released a statement to Billboard: “I never expected to find myself on the country charts, but I’m honored to be there. I’m happy for Luke and his success and grateful that new fans have found and embraced ‘Fast Car.’”

I hate to be a wet blanket on the festivities, but I can’t be the only person that thinks a white male country artist covering this song is a little tone deaf. Especially right now.

I believe Combs’ heart was in the right place when he recorded the song, but in the hands of his listeners – and the country music crowd is overwhelmingly conservative – it becomes another example of how we’re supposed to believe that race and gender do not make a difference as to who gets ahead in the world.

At a time when teaching African-American history is being treated as an act of aggression and the “critical race theory” boogeyman is being used to rile up the right wing mob, a caucasian male country singer covering “Fast Car” makes perfect sense. Because we’re all the same, right? A poor white male and a poor black woman are interchangeable, right? It’s a level playing field. Right?

I do appreciate that Combs is faithful to the original. As a songwriter, he did not want to change a word of Chapman’s song. By the 5th verse, he’s working in the market as a checkout girl. “You’ll get a job and I’ll get promoted…” the lyric goes. Tell me: who is more likely to get that promotion – Chapman’s protagonist or Combs?

“Starting from zero got nothing to prove…” Yes, but “zero” is not the same for everyone. We are all programmed to believe that we live in the land of equal opportunity. If you can make it here, you’ll make it anywhere. If you don’t succeed, well, you just weren’t good enough, or you didn’t try hard enough. But really… we don’t all start in the same place, do we? Most people get a boost in one way or another, whether it’s financial support or nepotism or a legacy admission into a university. Unfortunately, boosts both big and small are often forgotten or underplayed when people recount their path to success.

Dustin Rowles writes on Pajiba.com that he found a strong resonance with “Fast Car” when it was first released back in 1988. I did as well. I was the child of a single parent home – a B student attending a B+ university, dependent on many grants and loans. The song began to climb the charts as I headed home at the end of my freshman year. Unlike many of my classmates, I wasn’t afforded the opportunity to take a $50-a-week summer stock job – a rite of passage for theater students. This would be one of those “little boost” moments that many experience and forget about. Instead, I was expected to live at home and work full-time so I could contribute towards my next year of school. This meant returning to a $4.25-an-hour retail spot at Record World, which wasn’t exactly going to make me financially solvent.

Here was my boost: When family members kept forgetting to pick me up from work, my mother bought me my first car. It wasn’t a fast one. The 1982 Plymouth Horizon cost a few hundred dollars and gradually slowed down whenever it got too hot. But it had a cassette player, and Tracy Chapman’s debut record was on heavy rotation that summer.

Rowles writes that he harbored some resentment for the song, which he perceived as predicting that he would not be able to break the cycle of poverty and dysfunction that he had grown up with. I didn’t feel that way. The song effected me deeply, as did her whole album. But I knew that I was better off than the song’s protagonist. I did not have a false equivalence. My previous job had been at a supermarket where I worked with single black women trying to support their kids on minimum wage. I knew they would not have been hired at the record store making that extra .90 cents an hour.

Ultimately, Rowles concludes that “…there is a way out. Unfortunately, it’s not a fast car, which only allows you to outrun your problems for so long. The easiest way to break the cycle is through education.” He concedes that, as a white male, he had a boost: access to an education that minorities often did not.

And now, 35 years later, “Fast Car” is topping the charts in the wake of the Supreme Court striking down a couple of very important boosts: affirmative action in college admissions, and Biden’s student loan forgiveness program. The latter should be of concern to people of all persuasions who are staring down a lifetime of loan interest payments. But that is assuming every person has the equal opportunity to be accepted into an institution of higher education. Without affirmative action, that is not the case.

As a high school student in Cleveland, Ohio, Tracy Chapman was accepted into A Better Chance, a non-profit program that placed high-achieving minority students in prep schools. She graduated from Wooster School in Connecticut and went on to attend Tufts University, where she was discovered by fellow student/future filmmaker Brian Koppelman. Koppelman’s father was a record executive and signed her to SBK Publishing, which led to a deal with Elektra Records.

Billboard estimates the recent global publishing royalties of “Fast Car” exceed $500,000. Unlike so many other artists, Chapman still owns both the writers’ and publisher’s share of the song, so that money is hers. Additionally, the success of Combs’ version has brought attention to her original, increasing activity 44% since his version was released, according to Luminate. Her song, in its original form, is speaking to a whole new generation. It just needed a boost.

Madame Spivy: I Didn’t Do A Thing Last Night

*Madame Spivy photographed by Carl Van Vechten (1932)*

“This song is dedicated to a friend who suffers terribly from hangovers. It’s very sad and we must be very quiet, please…”

Ladies and Gentleman, it is time once again to revisit that late great dynamic lady of song, Madame Spivy LeVoe (1906-1971), also known simply as Spivy. A lesbian entertainer, nightclub owner and character actress, Spivy has been described as “The Female Noel Coward” – to which I add “…. if he had been born in Brooklyn as Bertha Levine.”

In case you missed them, these are our previous Madame Spivy posts:
T he Alley Cat
The Tarantella
Auntie’s Face
100% American Girls
A Tropical Fish
I Brought Culture to Buffalo In The 90’s
Why Don’t You?
Madame Spivy: Movies & Television
Madame Spivy on the Good Time Sallies Podcast

In the Spring/Summer of 2020 with the pandemic in full swing, cabaret performer extraordinaire Justin Vivian Bond was livestreaming weekly shows from The House of Whimsy, aka their home in upstate New York. Imagine my delight when Mx. Viv covered Mme. Spivy’s “I Didn’t Do A Thing Last Night” – one of my favorite of her recordings.

*Justin Vivian Bond as Auntie Glam, belting one out in The House Of Whimsy (2020)*

As with “Auntie’s Face“, Spivy uses her familiar spoken intro for “I Didn’t Do A Thing Last Night”: A solemn pronouncement that “This is VERY sad and we must be VERY quiet, please.” One can imagine that it was a playful way to get the attention of a noisy nightclub audience.

Spivy wrote the song with John La Touche providing the lyrics. Today, La Touche is best remembered for his Broadway musical The Golden Apple and for his lyrical contributions to Leonard Bernstein’s Candide. He also collaborated with Duke Ellington on the musicals Cabin In The Sky & Beggar’s Holiday.

Spivy and LaTouche met in the mid-1930’s and had a tumultuous lifelong friendship. At one point Spivy paid him fifty dollars a week to supply her with songs. During one falling out in 1938, LaTouche referred to her as his “enemy.” “Poor Spivy,” he wrote, “hysterical, glandular, ugly, charming, and so talented.” After another disagreement later that year, he wrote to her; “I’m sorry; you can hardly afford to lose a staunch friend and neither can I. But both of us are always doing things we can’t afford.”

Of the 15 songs Spivy is known to have recorded, 5 of them were written or co-written by LaTouche: One was a solo credit, two were written with Spivy herself, and two were in collaboration with Goetz Eyck, a German-born musician who would go on to a film career as Peter van Eyck.

One LaTouche composition that Spivy did not preserve on record was a highlight of her live performances: “I’m Going On A Binge With A Dinge.” She often concluded her set with this racy little tune detailing a biracial protagonist going uptown for a tryst. “White people / Don’t be offended … ” the song begins. Other lyrics: “Gonna end up in Harlem / With my end up in Harlem”

Unfortunately, LaTouche’s work for and with Mme. Spivy has generally been forgotten or dismissed. In Howard Pollack’s 2017 biography The Ballad Of John LaTouche, the author spends several pages analyzing the lyrics and structure of these compositions before concluding that “the literary attractions of these songs, heavy on irony, outweigh their musical interests.”

Is that so?

Like Spivy, LaTouche was a heavy drinker, which ultimately led to both of their premature passings. He was just 41 years old when he died of a heart attack at his home in Calais, Vermont in 1956. Spivy was 64 years old when she died in January, 1971.

I Didn’t Do A Thing Last Night

Doctor dear, come over with a stretcher – I’ve never in my life felt quite so rotten.
My brain has snapped in two and my face is turning blue,
and everything I eat tastes just like cotton.

Oh yes I did everything you told me – I practically never left my room.
I observed your special diet, had lots of peace and quiet.
So why do I feel like something in Grant’s Tomb?
Lord knows why I don’t feel well – I didn’t do a thing last night.

I had a few friends in to play bridge with me,
And I sipped a little gin, just to keep them company.
Then a pal of mine named Rhoda came in with such a crew,
I gave them scotch and soda and I had a teeny one, too.

Then Vero P.T. Roth brought me some chicken broth,
which is insipid, doctor, don’t you think?
So someone in the party added a soupçon of Bacardi
it really makes a very nourishing drink.

At nine my cousin Andy made such insulting cracks,
that I had a little brandy just to help me to relax.
He tried to grab the bottle and dragged me out of bed.
When I saw that it was empty, I broke it on his head.

He’s still lying on the carpet and my maid insists he’s dead.
Oh doctor dear, why do I feel queer?
I didn’t do a thing last night.

At ten, Princess O’Ravivovich said; “Today is Pushkin’s birthday.”
So I had a little Slivovitz just to help her celebrate.
Then that fool Tessie Zackary upset my Dubonnet,
so they shook me up a daquiri to chase my blues away.

Those pills of yours were dry, so I washed them down with rye,
And I thought some exercise might help me rest.
I dashed down the avenue ’til somebody yelled “Woo!”
Good heavens – I’d forgotten to get dressed!

By then I felt so dizzy, to tell the honest truth,
They made me something fizzy out of vodka and vermouth.
At one, Rear Admiral Nipper, the old man of the sea,
arrived with his battalion, they had to sail at three.

But doctor, I just noticed: They’re still in bed with me!
It’s all so mad and I feel so bad,
and I didn’t do a thing last night.

At five, my old friend Tony said that doctors were baloney.
He said “Yoga exercises cured all pain.”
Doctor dear, I was a wreck with my legs around my neck,
and it took four hours to get them down again.

They sent for rubbing alcohol to rub away the aches,
but they couldn’t find the stuff at all – I’d drunk it by mistake.
Oh yes, I slept just like a baby, ’til I woke up right now.
No, the drinks did not affect me, I’m as flaccid as a cow.
Except I have a tendency to suddenly go “WOW!”

Why in hell don’t I feel well? I didn’t do a thing last night!

John La Touche songs recorded by Spivy
Fool In the Moonlight (music: Goetz Eyck)
I Didn’t Do A Thing Last Night (music: Spivy)
I Love Town (music: Goetz Eyck)
Last of the Fleur De Levy
Surrealist (music: Spivy)

Unrecorded La Touche songs performed by Spivy
I’m Going On A Binge With A Dinge
Moonlight

Dusty Springfield Sings Kate Bush

It’s hard for me to believe that I am well past 5 years into this blog nonsense and I have never written a single post about Dusty Springfield. I am a huge Dusty fan – she’s my diva. When I had my public access show here in New York City, I ran performance clips of Dusty so often that I received condolence calls and letters from viewers when she died in 1999.

Back then, there was still much to discover: whole albums of unreleased material were unearthed and LPs that had been out of print for decades were remastered and reissued. But now the cupboard is bare, with even incomplete performances cobbled together to produce somewhat finished products.

I do appreciate collections that present the tracks in different contexts. A couple of nice recent compilations: Real Gone Music’s Complete Atlantic Singles (1968-1971) and Ace Records’ Dusty Sings Soul are welcome additions to my dusty Dusty collection. And then there’s Goin’ Back: 1964-1971, a 2-CD set of radio and TV recordings that is about to be released in the UK.

With a career spanning close to 40 years and hundreds of recordings in genres from folk to disco and everything in between, it’s easy to forget about some of the lesser known Dusty performances. I was recently reminded of the time she covered a Kate Bush song.

Yes, Kate Bush.

And I’m also a huge fan of Kate Bush. But somehow, I had forgotten about this.

It’s like artists converging from different dimensions. Or maybe not. We live in an age where Lady Gaga and Tony Bennett duets are a thing.

*Programme for the Drury Lane shows, 1979*

Dusty always had a great ear for music, whether choosing her own material or introducing the Motown Sound to the UK. She was also instrumental in getting Led Zeppelin signed to Atlantic records. It’s not surprising that she would have taken notice of Kate Bush from the very beginning.

Picture it: London, April 1979. Dusty has just turned 40 as she returned to the UK after living in the US for most of the 1970’s. Meanwhile, 20 year-old Kate Bush had released her first two albums within the previous year. Dusty was performing several shows at The Theatre Royal, Drury Lane. Unfortunately there are no official recordings of the performances but we do have a couple of bootleg audio recordings. Dusty introduces the song:

“When I came here last year, I was surprised and mostly pleased at the musical changes that had happened here. I like things like (Ian Drury’s) ‘Hit Me With Your Rhythm Stick’ just as much as you do…. anyway the thing that impressed me most was that so much originality was around. In particular one young lady came through with a song called ‘Wuthering Heights’…. Kate Bush has an immense amount of originality and I was absolutely staggered by her. I’d like to sing a song that I think is one of the prettiest ones ever written, certainly by her. It’s called ‘The Man With The Child In His Eyes.'”

She then goes on to, as Neil Tennant would later say, “Dustify” the song. It’s a beautiful performance of an unexpected song choice:

Dusty was not alone in her praise of “The Man With The Child In His Eyes”. Besides reaching the #1 spot on the UK pop charts, the song also won an Ivor Novello Award for songwriting.

Later that year, Dusty’s performance at Royal Albert Hall was properly recorded for posterity. Unfortunately, by that time the song had been removed from the set list.

Today would have been Dusty’s 83rd birthday. She is still sorely missed and I’d trade my eye teeth to hear her sing a duet with Lady Gaga.

Revisiting Kate Bush’s gayest songs.