Making Music: Virgo Rising — The Once and Future Woman (1973)
By Sue Barrett
It all began as an idea to put the movement into music, a record produced and engineered, written and sung by women. –(Virgo Rising, liner notes)
For many people, the world today includes fashion challenges, bad hair days, an energy crisis, multiple music formats and performers named Hammond, Wainwright and Guthrie. And for many people, the world of 35 years ago contained the very same things!
Back in 1973, new album releases included Leonard Cohen’s Live Songs; Fanny’s Mothers Pride; Ramatam’s In April Came the Dawning of the Red Suns; Buffy Sainte-Marie’s Quiet Places; Hoyt Axton’s Less Than the Song; and the Carpenters’ Now & Then.
And among the number one songs on Billboard were ‘You’re So Vain’ (Carly Simon); ‘Bad, Bad Leroy Brown’ (Jim Croce); ‘Touch Me in the Morning’ (Diana Ross); ‘The Most Beautiful Girl’ (Charlie Rich); ‘The Night the Lights Went Out in Georgia’ (Vicki Lawrence); and ‘Half-Breed’ (Cher).
Also in 1973:
- MOLLIE GREGORY owned and operated an independent media company;
- JOAN LOWE was a record producer/engineer;
- JANET SMITH was a songwriter and guitarist;
- NANCY RAVEN was a professional singer;
- KIT MILLER was a high school student;
- CHARLEY’S AUNTS was three song-writing sisters (Kate Butler, Rebecca Mills, Helen Tucker); and
- MALVINA REYNOLDS was an established singer/songwriter.
By the end of 1973, they had created Virgo Rising — The Once and Future Woman — one of the first albums produced, engineered and performed solely by women.
Virgo Rising was, according to its liner notes, “about the whole woman who has humor and depression, fear and strength; who gets mad, who comforts, who cares; for women who live so comfortably they can concentrate on their oppression, and for those who live poverty, concentrating on the commodity dinner or the squints of the welfare worker; for women who work at the office, for those who work unceasingly at home.”
Now Mollie Gregory, Joan Lowe, Janet Smith, Nancy Raven, Kit Miller, Kate Butler and Becky Mills look back on the making of Virgo Rising.
Joining them in telling the story are Nancy Schimmel (daughter of Malvina Reynolds); Karen Wilson (daughter of Helen Tucker); and Charley Adams (without whom Charley’s Aunts would have had a different name).
MOLLIE GREGORY (producer) : www.molliegregory.com
When and how did the idea for Virgo Rising come about?
I think the idea came up in conversation with Nancy Raven, Kate Butler, Kit Miller, and/or [Kit’s mother] Maya, who may have wished, one day, for “more music about women”. We were all crazy about Malvina’s songs, and the themes — the politics of women, rich and poor, and of the widening concerns about environment in 1970s — Black Power, Vietnam, Watergate, and the local political issues of haves and have nots, school integration, absorbed us. Kit sang and played guitar well, as did Kate. I got to know Kate in the late 1960s, early 1970s around League of Women Voters meetings, and all the political issues far beyond the League’s more conservative (yet radical) views and programs. Anyway, our united impulse became this: to put the women’s movement into music, and behind that, produce a record made, recorded, written and sung by women, songs to diaper babies by, make laws or run for office.
What were you doing at the time?
I believe I was living temporarily in Reno. I was writing and producing short films there, in California and Oregon. I had this notion that I could start a film production company and make a living doing it!
How did you put together the Virgo Rising team?
“The team” came together because we all knew each other, and each of us knew other women who would “sing a song” for the album.
What was the process for recording the songs?
Joan Lowe lived in Oregon — a good sound recordist. I used her to record sound on a couple of my documentaries, perhaps after Virgo Rising, maybe before. The album was not recorded in a studio, but on location in the west, no sophisticated facilities, no overdubbing; the singers had to be women, the songs written by women. And they ranged from professional to amateur, ages 17 [Kit Miller] to 72 [Malvina Reynolds]. There are no unreleased songs that I recall.
How did the title (Virgo Rising), sub-title (The Once and Future Woman) and spine sub-title (Songs of Sisterhood) come to be?
I think Kenneth Anger’s film, Scorpio Rising, was making the underground rounds. The title sounded “male” to me, but as a title it seemed striking. “Virgo” (the woman with the pitcher — zodiac sign) sounded female, and “rising” seemed strong. At the time, the tidal wave of the Women’s Movement had just hit. We were finding our individuality as women, our diversity, our strengths, and our ambitions…The original cover notes stated that the songs reflected our growing awareness of what is, and what can be…so we named the album Virgo Rising. You know, women on the move!
I have no memory of how we arrived at the “once and future woman” or “songs of sisterhood”. It sounds like something Catherine Finnegan, librarian at Foresta [Institute], and a good friend, would have contributed.
How much did it cost to produce Virgo Rising?
It was low budget. We certainly didn’t have major funding — but Maya [Miller], who may have come up with the idea, or expressed a wish for “more music”, must have contributed some starting funds. None of us knew what it cost to produce and distribute a record! Certainly I did not. We were doing it for the joy of it! The problem, as I found out later, was distribution; without company backing, the usual outlets were closed to us. I recall being furious that I could not interest stores to sell even a few copies; I could not get even small distributors to consider it.
What other memories do you have of making Virgo Rising?
The exhilaration of making it! Of collecting the songs, finding the singers, and the recording sessions — jubilant! Watching Kate, Helen, and Rebecca as they sang out ‘Sister!’ Or Nancy’s beautiful voice in ‘Welfare Blues’, Kit’s calm strength…Charley’s Aunts were exuberant together; we laughed a lot. I had no experience to make musical suggestions to anyone but I recall making a few during a recording session; can’t imagine what I could have said. However, I would have known at that early stage that for any creative work (a film, a script or book) the result must be enthusiastic. If the creators — the singers, musicians, in this case — bring enthusiasm to their work, listeners pay attention and join in. Virgo Rising vibrated with enthusiasm. And, the collection had a message worth hearing.
How do you view Virgo Rising’s place in history?
For women, the songs truly represent a period in history that was vital and releasing, qualities the album, like a piece of amber, protects, preserves.
What have you been doing since Virgo Rising?
I wrote and produced documentaries and experimental films until around 1979 when I wrote a book about my experiences of survival as a filmmaker — Making Films Your Business. It was more fun, more satisfying writing a book compared to producing films, standing in snow banks or under a blazing sun trying to get a shot. Remember, in the 1970s there were no real outlets for short films except in schools. PBS might show a short or documentary once in a while, but cable, video and DVD did not exist. It was hard uphill work to get a documentary seen by audiences. I kept on writing books, first novels, then non-fiction, such as Women Who Run the Show. I am currently working on another non-fiction book, and I consult with other writers on their work.
[Read more →]
Ashley Maher, one of my favorite world folk fusion artists has the opportunity to record in Senegal. Here’s the scoop from Ashley:
Dear Friends, Fans, and Family!!!!
I HAVE NEWS TO SHARE!
WHAT? I am raising money to record my 5th CD in Dakar, Senegal in September with key musicians of Africa’s biggest star and my All Time Musical Hero:
Youssou NDour!
WHEN? September 2 - 16. I’ve already bought the plane tickets for my Cameroonian producer, Andre Manga, and I!! We will record at Dogo Studios with Jimi Mbaye, Habib Faye, and a host of other top Senegalese mbalax musicians.
WHY? This is a unique opportunity for the convergence of multiple incredible talents to record a musically historic and successful album. We’ll be making history! Westerners recording with West African musicians have mostly tuned in to Malian blues (Ry Cooder, Bonnie Raitt, Dee Dee Bridgewater, Taj Mahal, Toubab Krewe) but few have tapped into that magic middle ground between Western music and Senegalese mbalax
, since Youssou Ndour sang on Peter Gabriel’s “In Your Eyes” in the ’80’s.
Most of you know that I have looooong collaborated with West African musicians and that my music and stage shows are grounded in Senegalese dance and rhythm, both of which I have studied passionately for over ten years. The time is Now!
In 2007, Senegal’s Youssou NDour recorded a song i co-wrote (Boul Bayekou). This was one of the great honors of my professional life. Then, last April, Youssou flew me to Dakar to rehearse (as a dancer) with his seven Senegalese dancers for two weeks before performing in two enormous shows: first in Dakar and then before 20,000 at Paris’ Bercy Arena. While it was a mind-bending experience, it also deepened my ties with Youssou’s musicians. Simply put, they are free this September and enthusiastic about recording with me … it is an opportunity I’ve GOT to take!
This development is a big surprise. By last February, having raised the money to record CD #5 in Los Angeles, I began working on it with Andre Manga. I never imagined this chance to record in Dakar with Youssou’s musicians would arise. Now, we have more-than-an-album’s-worth of excellent new material, backing tracks ready to go, a downpayment made on Dogo Studios, and our ’round trip tickets to Dakar in hand. However, the cost of recording will add a minimum of $15,000 to our current budget. So
….
HOW? HERE’S WHERE YOU COME IN!
Although income for artists from both labels and sales has diminished, our hunger for Art remains constant. Independent artists are fundraising like never before to keep music alive. It is the most direct and effective model in use today.
And so my friends, here is how you can support this exciting project:
$5 - $45 a very sincere email of thanks and I will keep you posted on The Story of how the CD develops from Dakar onwards
a copy of CD #5
$50 a signed
CD : ) !!
$75 a signed CD and a T-shirt (please tell me your adult size
a signed CD, T-Shirt, and free entrance to my CD release party
$250
signed CD, T-Shirt, free entrance to our CD release party,
and a “Silver Angel” credit on the CD liner notes
$500
signed CD, T-Shirt, free entrance to CD release party,
and a “Golden Angel” credit on the CD liner notes
$750
signed CD, T-shirt, free entrance to CD release party,
and a “Platinum Angel” credit on the CD liner notes
$1000
signed CD, T-Shirt, free entrance to CD release party,
and a “Diamond Angel” credit on the CD liner notes
$5000+
signed CD, T-shirt, free entrance to CD release party,
“Executive Producer” credit on the CD liner notes and I will fall down
and weep and kiss your feet whenever I see you for all eternity.
NOTES:
Any and all contributions welcome!!
Questions? Ideas? Suggestions? Email me! ashmaher5@aol.com
Payment is by check or via PayPal. (Shipping and handling are included.)
Please include full mailing address, and T-shirt size (if applicable),
BY MAIL:
(please make check payable to “Ashley Maher”)
Ashley Maher
1425 6th Street #405
Santa Monica
California 90401
USA
Love, bottomless gratitude, and countless blessings!
Ashley
Debra Cowan is an accomplished folk singer that I play regularly on Festival Radio. Today, she posted this to the Folk DJ List:
Laurel Paulson-Pierce hosts “Crossroads” on KRBS out of
Oroville, CA. Whilst helping to fight fires in the Concow area
of Butte County (where she also lives) her own house was totally
destroyed in these fires. Thankfully, she was able to save her
CDs and some other possessions, but the house itself is a total
loss.
The Mudcat Cafe <http://www.mudcat.org/threads.cfm> hosts
auctions to raise funds and several of us have donated items on
which you can bid. Please take a look at these items and
consider helping out Laurel. The link to the Mudcat Auction is
at <http://www.mudcat.org/auction/threads.cfm>
I have known Laurel for almost 25 years and not only does she
volunteer at KRBS, but is also involved in the Butte Folk Music
Society in Chico. She gives and has given pretty selflessly over
the years to helping put on folk music events in Butte County.
If anyone would like to make a straight donation to help out,
you can do this by sending a check or postal money order to:
Mike Doellman
PO Box 4905
Pocatello, ID 83205-4905
Whether check or PMO, please make it out to Mike and perhaps
attach a post-it note with the name Laurel on it so Mike knows
what it’s for.
Thanks for helping if you can.
Best,
Debra Cowan
