The Stare’s Nest By My Window

A stare is a common starling.

The Stare’s Nest by my Window
(William Butler Yeats)

The bees build in the crevices
Of loosening masonry, and there
The mother birds bring grubs and flies.
My wall is loosening; honey-bees,
Come build in the empty house of the stare.

We are closed in, and the key is turned
On our uncertainty; somewhere
A man is killed, or a house burned.
Yet no clear fact to be discerned:
Come build in the empty house of the stare.

A barricade of stone or of wood;
Some fourteen days of civil war:
Last night they trundled down the road
That dead young soldier in his blood:
Come build in the empty house of the stare.

We had fed the heart on fantasies,
The heart’s grown brutal from the fare,
More substance in our enmities
Than in our love; O honey-bees,
Come build in the empty house of the stare.

(From Meditations in Time of Civil War, 1928.)

This semester, as we study the riches of music and culture (both our own and others’), we will take up the poet’s invitation to “come build in the empty house of the stare.” Understanding music can help us create a more compassionate world.

Quilts from Gee’s Bend, Alabama.

Can A White Girl Sing Selena?

Selena-Quintanilla

April 16 is a state holiday in Texas: Selena Day.

Who was Selena?

Selena was, is, and, were I to guess, will remain for eternity the most beloved female of all time in the Latino community. (Second place is the Virgin Mary, if you’re looking for context.) . . . She looked like (a more attractive version of) us.

This year, a (mostly) white singer caused controversy by booking a Selena tribute gig at a Dallas club.

Singer Suzanna Choffel explains:

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Some cried foul. One Facebook commenter noted:

“Call it what you want, but the fact that you preface your video with, ‘Yes, I know I’m a white girl,’ means that the little 1/8 of you that you now (after being called out for appropriation) claim is Mexican means very little to you, and you ain’t Latina.”

Choffel was defended, on the other hand, by Rachel V. González-Martin, a professor of Mexican-American and Latina/o Studies at the University of Texas at Austin, who

[defines] cultural appropriation as what happens when [a] community with significant resources takes as its own the expressions of a community with fewer resources.

But, [González-Martin] said, cultural appropriation can be hard to identify.

“Once people are exposed to culture, it’s out there . . . That’s why cultural appropriation is so difficult. To say, ‘You’re not Latino, so you’re not allowed to like Selena’ is ridiculous, and it’s bigoted, and it’s small-minded.”

What do you think?

To put it in a certain context: this is one of the best-known songs by Flaco Jiménez, a Texas-born singer and accordionist, like Selena a master of the Tejano style.

Every year on his birthday, these two white Dutch guys make a video of themselves covering it as a tribute to Jiménez. Is it cultural appropriation? Is it cultural appreciation?

What about the Japanese group Orquesta de la Luz, considered one of the best salsa bands of the 1980s and 1990s?

Celia Cruz, the Queen of Salsa.

Professor González-Martin’s idea that once culture is out there, it’s out there, is not true just for the cultural expressions of historically-oppressed or underresourced groups. In recent years, for instance, Richard Wagner’s operas have been adopted as required listening by American white supremacists who probably never took Music 101. (If they had taken it with me, I like to think, they might have emerged with a little more love for their fellow man.)

For instance, the famous Ride of the Valkyries from Die Walküre was used as the opening theme music for a white supremacist radio show in Florida.

And at a speech at a rally in Sweden, white supremacist Lana Lokteff asserted that:

“lionesses and shield maidens and Valkyries” would inspire men to fight political battles for the future of white civilization.

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Someone else used Wagner’s music as a sonic pun in an endless loop of alt-right spokesman Richard Spencer getting punched at Trump’s inauguration:

As the great Irish poet William Butler Yeats wrote in 1916:

I made my song a coat 
Covered with embroideries 
Out of old mythologies 
From heel to throat; 
But the fools caught it, 
Wore it in the world’s eyes 
As though they’d wrought it. 
Song, let them take it
For there’s more enterprise 
In walking naked.