Posts Tagged Billie Holiday
The Undercover Soundtrack – Tanya Landman
Posted by Roz Morris @Roz_Morris in Undercover Soundtrack on April 29, 2015
‘A horse, a hat and a fight for freedom’
Once a week I host a writer who uses music as part of their creative process – perhaps to tap into a character, populate a mysterious place, or explore the depths in a pivotal moment. This week’s post is by Carnegie Medal nominee Tanya Landman
Soundtrack by Elmer Bernstein, Ennio Morricone, Max Steiner, Bob Marley, Johnny Cash, Nina Simone, Etta James, Paul Robeson, Louis Armstrong, Sam Cooke, Billie Holiday
I don’t listen to music while I’m writing – I need total silence to concentrate – and I rarely play music in the house. It’s only when I’m driving that I stick on a CD (yes, I’m that old fashioned), and even then I often prefer silence. So why am I writing this blog? Because, when I was invited to, I realised how much music had contributed to the making of Buffalo Soldier.
Some books have a very long evolution. Strands of music, images and ideas that have been knocking around in your head for years eventually come together and form something new. Buffalo Soldier started with the Westerns that were constantly on TV and in the cinema when I was a child. I grew up wanting to be a cowboy. There were two particularly memorable movie themes that made me long for a horse, a hat, and the wide open range – Elmer Bernstein’s The Magnificent Seven, and Ennio Morricone’s The Good the Bad and the Ugly.
Then there was Gone With the Wind. I was taken to see it for the first time when I was about 11 or 12 and was captivated by its epic scale and sweep. It was the first time I’d seen a heroine take charge of her own fate. I still find Tara’s theme by Max Steiner stirring, particularly when Scarlett vows never to be hungry again.
When I was growing up, the Wild West and the Deep South seemed worlds apart. I had no idea how closely connected they were until I was doing background reading for my book Apache and came across references to black soldiers. It was after the Civil War and the Emancipation Proclamation – who were these guys and what were they doing in the west?
Further research led me to the buffalo soldiers. The Bob Marley song suddenly made sense. That lyric took on fresh importance.
Many of the men of the 9th and 10th US Cavalry were freed slaves in a world that had been turned on its head. They signed up and were sent to fight the Indian Wars. Freed men, fighting Native Americans? I was struck by the bitter irony of the situation and started reading everything I could get my hands on about slavery and the aftermath of the Civil War. In the car I started listening Nina Simone and Etta James, Paul Robeson and Louis Armstrong. Gospel music. Spirituals. And then I went back to Gone With the Wind. Gone With the Wind is a hugely problematic film, depicting a wildly romantic Old South where slavery is a benign institution, where field hands contentedly pick cotton and sing from pure happiness.
When I re-read the novel, the scene in which Big Sam starts singing Go Down Moses as he’s sent off to help fortify Atlanta against the advancing Yankee army snagged in my head. He’s clearly meant to be a faintly comic character and Scarlett fondly watches him go. Now, Margaret Mitchell was a gifted writer and she knew her Civil War history inside out yet she appears to have no idea about the significance of that particular song. A spiritual about the enslavement of God’s Chosen People. Didn’t she ever listen to the lyrics? Go Down Moses is linked to Nat Turner – organiser of one of the bloodiest slave revolts in US history. It was used as a rallying cry by Denmark Vesey when slaves rebelled in Charleston. Harriet Tubman used it as a code song when helping fellow slaves escape along the Underground Railroad. How could Margaret Mitchell not know this? Go Down Moses gave me an insight into a very blinkered view of history in which whites chose not to see what was happening under their noses. It also gave me a burning desire to tell the story of the Civil War from the other side.
Swing Low Sweet Chariot (sung here by Paul Robeson) was another song I listened to repeatedly and in fact it features in the book – the longing for a better place, to be taken from a world of misery and suffering and carried ‘home’ speaks volumes. It stirred my emotions and helped create mood and atmosphere. Way back in school when I was in the sixth form I was in a play, which featured I Shall Be Released (sung here by Nina Simone) and Change Gonna Come (Sam Cooke’s version here). The yearning, the terrible weariness you can feel in both songs, informed various characters’ emotional development and fed my writing. There’s one particular scene in Buffalo Soldier in which Billie Holiday’s Strange Fruit was in my mind. So quiet, so passionate, so powerful – I can’t listen to it without feeling a chilling sense of horror. It makes me weep.
And finally – there’s one piece of music that runs all the way through Buffalo Soldier – Sam Hall. I was looking for something with a traditional feel and upbeat but also with a dark, violent undercurrent and a real sense of menace. Appropriately enough I heard the song first watching the 2011 Western Blackthorn with my children and tracked down the Johnny Cash version because the lyrics suited my purpose perfectly.
Tanya Landman is the award winning author of more than 30 books for children and young adults. Buffalo Soldier has been shortlisted for this year’s Carnegie Medal. Her website is here and you can find her on Facebook.
The Undercover Soundtrack – Erika Marks
Posted by Roz Morris @Roz_Morris in My Memories of a Future Life, Undercover Soundtrack on November 23, 2011
The Undercover Soundtrack is a weekly series by writers who use music as part of their creative process – special pieces that have revealed a character to them, or populated a mysterious place, or enlarged a pivotal moment. This week’s post is by contemporary fiction author Erika Marks
Soundtrack by Billie Holiday
There’s no question music plays a big part in my writing process, and since my novel Little Gale Gumbo featured a woman from New Orleans who loves jazz, I knew I would have a grand time building a soundtrack for the manuscript.
There was one scene in particular where the element of music was especially crucial.
Upon leaving New Orleans with her two teenage daughters, determined to start over, Camille arrives on a small island off the coast of Maine and rents an in-law apartment above the attached barn of a divorced islander, Ben, and his teenage son. Shortly after, Ben learns the first snow of the season is forecast and comes to Camille’s apartment bearing extra blankets. She invites him in.
The scene that follows is an unabashedly romantic one. It’s late in the evening. Ben and Camille’s kids are asleep, and now they are alone together. In thanks for the blankets, Camille trims Ben’s hair while one of her jazz records plays in the background. There’s no question it’s a seduction scene. But Ben is being seduced by Camille through the senses, and it needed to be clear to the reader from the moment Ben steps into her apartment that he’s stepped into another world.
To make this transition convincing, I knew I had to reveal who Camille was to Ben—the reader already has a strong sense at this point in the story, but for Ben, this is really the first opportunity for him to see Camille truly in her element, alone with her passions, which are jazz music and her love of cooking. So as I wrote the scene, I wanted to have the same experience that Ben would have. The same slow appreciation for a piece of music in the background, not too loud, but so distinctive, so rich and full-bodied, and such a contrast to the stark, reserved landscape he knows, that I—and the reader—couldn’t help but be swept into Camille’s world in that moment too.
In the scene I mention how the record plays “the smoky wail of a trumpet, the pluck and purr of a standing bass” so I knew I wanted the soundtrack to be soft, moody, lulling. I also knew that Camille loved Billie Holiday best of all, so while I wrote the scene, I played only Billie, in particular It Had To Be You and I’ll Be Seeing You, which elicited every bit of the smoldering attraction that had been building between Ben and Camille from the moment she arrived on his doorstep.
So, did the music work its magic on my characters as well as it did on me as a writer?
Come now. It’s Billie Holiday. What do you think?
Erika Marks is a native New Englander who was raised in Maine and has worked as an illustrator, cake decorator, and carpenter. She lives in Charlotte, North Carolina, with her husband, a native New Orleanian, their two daughters, and their dog. Find her on Twitter as @ErikaMarksAuthr