We’ll Sing in the Sunshine—Murfin Home Confinement Music Festival 2020

We'll Sing in the Sunshine by Gale Garnett.

Another near-perfect if delightfully cool afternoon here in the boonies of the Chicago metroplex.  On my daily stroll I found myself singing an old song that I fell in love with back in 1964 when I was a nerdy Cheyenne teenager—We’ll Sing in the Sunshine by Gale Garnett. It was a big hit that summer but both the song and singer seem to have faded from popular memory.

Gale Zoë Garnett was a 22 year old Canadian singer when she broke out with her own original song.  What made the song so memorable, besides the catchy hook were the lyrics which stood a traditional male love ‘em and leave ‘em trope on its head.   Medieval bards and Childe Ballads through American folk music, blues, and pop to rock and soul were all filled with charmingly roguish and romantic foot-loose roamers who dally with comely lasses and move on with just a twinge of regret because, well, that’s just the kind of man they were.  Sometimes, just sometimes, a line or two might consider the girl heartbroken and/or ruined as an afterthought.

Garnett’s song about a girl promising only to dally with lad before she will “be on my way” turned the tables.  It was a directed product of the post-Pill Sexual Revolution of the mid-‘60’s and she was in her mini-skirts and long black hair was the perfect messenger.

Garnett was born in Auckland, New Zealand, and moved to Canada with her family when she was 11. She made her public singing debut in 1960, while at the same time pursuing an acting career, making guest appearances on TV shows like 77 Sunset Strip. She made her New York nightclub debut in 1963 and was signed by RCA Victor Records that same year.  The next year RCA released her debut album My Kind of Folk Songs and We’ll Sing in the Sunshine was the run-away hit off of the LP.

A re-issue of Garnett's first album more prominantly featured the title of her big hit.

The song hit #4 on the Billboard Hot 100, #2 in Canada,  #1 on the Adult Contemporary singles chart for seven weeks,  and a Top 50 Country hit.  The record waltzed away with the Grammy for Best Folk Recording.

Garnett never matched that success again although she did continue to record with more success in Canada than south of the border.  In the late ‘60’s she made a leap to psychedelic folk rock her new band The Gentle Reign.  She has continued to act, most notably voicing the character Sharon in the 1967 Rankin-Bass animated TV special Monster Mash Party and as Aunt Lexy in the 2002 sleeper hit My Big Fat Greek Wedding.

Garnett was a perfect '60's groovy chick with big talent.

On stage she starred in a Canadian production of Hair and in 1975, co-wrote with Tom O’Horgan the music for Starfollowers in an Ancient Land, an Off-Off Broadway production at the La MaMa Experimental Theater Club in New York City’s East Village in addition to appearing in the play. She also wrote and performed two one-person theater pieces, Gale Garnett & Company and Life After Latex.

Garnett  has turned increasingly to writing in recent years branched out into journalism, writing essays, columns, and book reviews for various newspapers and magazines.  She published her first novel, a romance, Visible Amazement in 1999. She followed with Transient Dancing in 2003, the novella Room Tone in 2007, and her latest release Savage Adoration in 2009.

She is still alive, well, and active at age 77.

Colette—Shocking and Irresistible

Colette in 1886 by Jacques Hubert.

I admit it. The big reason I picked the birthday of French novelist, sexual adventuress, and outsized personality Colette to write about is so I could post the semi-salacious photos of her decked out as the Queen of the Nile. This blog is not too high minded to provide a little historical cheesecake. The French have an expression that may have become a cliché on the lips of Pepe Le Pew in this country, but is apt none the less—ooh-la-la!

Colette with her first husband Henri Gauthier Villars a/k/a Willy.

Sidonie-Gabrielle Colette was born on January 28, 1873 in provincial Saint-Sauveur-en-Puisaye, Yonne, in Burgundy. Bright, buxom, and beautiful, she was married at twenty to an older man, the music and literary critic Henri Gauthier-Villars who wrote under the name Willy. Willy was a bi-sexual and famous libertine. He was also a literary charlatan. Recognizing his wife’s superior talent, he kept her as a virtual slave churning out material that he published under his own name. This eventually included Colette’s first novels destined to become classics. The semi-autobiographical Claudine series scandalized French society when they were published but are now cherished as charming tales of a strong willed young girl blossoming into a sensual woman.

 

An original version of one of the popular Claudine series of novels that Willy published under his own name.

After fleeing the abusive marriage in her early 30’s Colette did not lose her taste for shocking the Bourgeoisie. By 1907 she was making her living dancing nearly naked on the French stage. That year she partnered with her lover, Mathilde de Morny, the Marquise de Belbeuf who performed as Missy. Their performance of a pantomime Rêve d'Égypte at the Moulin Rouge included an on-stage kiss which set off a near riot and police raid. Colette and Missy had to end their co-habitation but continued as lovers for five years and as friends for the rest of their lives.

Colette with her lover and stage partner Mathilde de Morny a/k/a Missy

Not that Colette could be confined by a monogamous relationship to a woman or a man. The first of several relationships with women may have been with the American expatriate and proprietress of one of the leading literary salons Natalie Barney who sheltered her when she first escaped her husband. Among her female lovers was said to the African-American singer and dancer Josephine Baker.

Collet's 1907 bare breasted appearance in La Chair set tongues wagging.

Colette also continued to have relationships with men, both love affairs, as with the Italian writer Gabriele D’Annunzio and as a courtesan to wealthy men like Auguste Herriot, the heir to an automobile fortune.

Cleopatra at the Moulon Rouge Rêve d’Egypte in 1907 in which she shared a long, patinate kiss with Missy.

With the outset of World War I, Colette turned her husband’s rural estate at St. Malo into a hospital for the wounded. Her gracious care was long remembered and she was made a Chevalier of the Legion of Honor in 1920 for her work. During the war she also found time to begin a long collaboration with composer Maurice Ravel which eventually led to the opera L’Enfant et les sortilèges which was finally produced in 1924.

By that time her marriage was over after a scandalous and well published affair with her 15 year old stepson, Bertrand de Jouvenel. Her literary fame was growing. Her 1920 novel Chéri chronicled a long affair between an aging courtesan and a young man. She traced her two characters through two more wildly successful novels.

Colette carried on an affair with her 16 year-old step son, Bertrand de Jouvenel, acting out in real life the events in her 1920 novel Chéri.

In the mid-twenties Colette became part of the avant-garde set revolving around Jean Cacteau, who would be her neighbor and confidant for years. By late in the decade she was being acclaimed as the greatest French female writer. Her flaunted affairs were denounced in the conservative press and from the pulpit, even as her novels won rave reviews and huge readership.

In 1935 Colette married for the third and last time to Maurice , a Dutch Jew from a wealthy family of diamond dealers. Goudeket, content not to attempt to constrain his still adventurous wife, proved to be her enduring partner. She even assumed his name and became, legally, Sidonie Goudeket, although she still published as Colette.

Colette with her third and final husband Maurice Goudeket, a Dutch Jew who she hid from the Nazis during World War II.

But war prevented much celebration. With the onset of World War II her international fame gave her some protection against the occupying Nazis, but Colette had to hide her Jewish husband in the attic of her home and assisted many other French Jews either hide or escape. After this became known after the war, she was once again hailed as a hero.

Despite the distraction of the war, Colette achieved the greatest success of her remarkable career which included nearly 50 novels with the publication of the novella Gigi in 1944. The charming story of a courtesan in training made the aging Colette world famous in the post-war years as she found herself one of the most admired literary figures in France. Her reputation grew as Gigi was published around the world, causing new interest in translations of her earlier work in the United States. She personally selected the young Dutch-born ballerina Audrey Hepburn to play the title role in a 1951 Broadway play based on the novel. She did not live to see the even more successful musical film by Alan Jay Lerner and Fredrick Lowe starring Leslie Caron as Gigi which went on to win the Academy Award for Best Picture.

Colette personally picked young Audrey Hepburn, a frail Dutch ballerina, to star in the Broadway stage play Gigi in 1950 launching her storied career as an actress.

When Colette died in Paris on August 3, 1954 at the age of 81, the Catholic Church denied her last rites because of her scandalous liaisons and divorces. But she was given the first French state funeral for a woman. She is buried in the Père Lachaise Cemetery in Paris where her grave is still a destination of pilgrimage.

Keira Knightly starred as Colette in the 2018 bio flick.

In 2018 Colette a bio-flick directed by Wash Westmoreland and starring Kyra Knightly opened to strong international reviews but as an “art film” grossed a disappointing $5.1 million in the United States and Canada.  Too bad.  It was a film well worth seeing.