Haresh Shah
A Fond Farewell From A Friend
On the afternoon of May 17, 2012 my friend Donna (Drapeau) and I were having our periodic lunch at our favorite via Carducci, and along with the catching up we normally did, for some reason, we found ourselves talking about how we often hesitate calling our older friends for the fear that he or she may no longer be around. Ominous? Because soon as I returned home and turned on my computer, the front page news item in that day’s New York Times was the death of Donna Summer.
If not for her untimely passing, I probably would not have thought of writing about her. It would have seemed superfluous name dropping. I had known her but for a very short period of time, when both of us lived in Munich and during the time she was briefly dating an acquaintance of mine – the Swiss psychiatrist Dieter Weeren. Just like most everyone else at the time, I met Donna in my own apartment in Munich. She became one of the group for a short while, going out for dinners and dancing and just hanging out with us at my apartment.
It had to be the summer of 1974 – Donna was doing Munich night club circuit and had to her credit one LP, Lady of the Night, which never made it outside of Europe and was mainly known in the Netherlands. When she gave me a copy of it, I had said to her jokingly: I should ask you to sign it, then I could say, I knew you when! To that she gave me a wistful look In the same vein I asked her whether she would ever consider posing for Playboy, to which she answered, also in jest, with this bod of mine? Gesturing and running her eyes down the entire frame of her skinny self. The album remained un-autographed. I still have it. Wishing that I she had autographed it. But never mind, what matters to me the most is: it was held and touched by her. And most importantly listened by me and our Munich friends over and over again. In spite of her phenomenal success that followed, the two songs that have remained with me are from that album. The title track of course, and the sad slow ballad, full of emptiness, which also appears in two versions on the flip side of her now landmark, love to love you baby album.
By then, she had been living in Munich for some time. Originally brought there by the German production of Hair, now making ends meet by performing at small clubs, which Munich had aplenty. I remember chauffeuring her around to and from a couple of those venues. Reminiscing of those days, my friend Michelle (Davis-Scharrnbeck) recalls: I can only remember meeting her once or twice with Britt (Walker) and the memories are also a bit fuzzy. Before I knew who she was, and met through you, I had seen her while she was working at a small boutique in Schwabing near the Kunst Akadamie. I have more of a lasting memory of her from those brief encounters. She seemed so fragile, lovable and “schutzbedürftig”, (needing of protection).
Bidding her time and waiting for her big break. Munich for her turned out to be being at the right place at the right time. In early to mid-seventies, Munich was where it was happening. During those years, it wouldn’t have been unusual to run into one of the Stones, especially Mick Jaeger and Keith Richards or Led Zeppelin and Elton John at one of the two “in” discotheques: Why Not? and P1. The places I too frequented, if not that often. They all came to record at the Musicland Studios owned by the record producer Giorgio Moroder, whose partner Pete Bellotte had produced Lady of the Night.
But the place and the night I most remember was the night when after dinner we all had ended up at another popular disco, Yellow Submarine, sunk deep into the Holiday Inn on Leopoldstrasse, where I got to dance with Donna. I am not a good dancer by any dint of imagination, but when a couple of drinks and the music moves me, I can’t just sit still. I would be one of the first ones to jump up and strut out to the dance floor. How well I dance, I don’t know. More like you could see my head bopping up and down or sideways like the head of a kathakali doll on a coiled spring, with the flashing psychedelic lights breaking up the bodies on the floor into sparkling slivers. I was absolutely no match for this soul lady so gracefully swaying in front of me, with her every move so naturally elegant and effortless. While awkwardly trying to imitate her it was awesome just to stand there and watch her groove to John McCrae’s Rock Your Baby, Barry White’s Can’t Get Enough Of Your Love Baby or to the ear-splitting screaming of the pint-sized fireball, Susie Quatro’s The Wild One.
And when the sweat began to shine and drip down from everybody’s faces, the disc jockey switched to the obligatory slower, gentler tempo. Disappearing blazing strobes giving way to the subdued slowly twirling mirror-ball up above, spinning to the favorites of those days. Probably Daliah Lavi’s Wäre ich ein buch, the German version of Gordon Lightfoot’s If you could read my mind love, Roy Etzel’s instrumental Tränen lügen nicht, (tears don’t lie) or the ultimate snuggle song, Je t’aime performed by Jane Birkin and Serge Gainsbourg, with Serge whispering sweet nothings and Jane responding with her orgasmic grunts, moans and the heavy breathing with such an urgency – the song that inspired Donna to come up with the idea for Love to love you baby. Who would have thought that in less than two years, Donna’s own sixteen minutes and fifty seconds extended orgasm would usurp and take many times over the very song she was dancing to?
Up close and with our arms wrapped around each other, as we danced, Donna’s tall and lanky frame towered over me. A whole head shorter than her, my face resting on her chest, listening to her heartbeat and taking in her perfume is the image of Donna that has remained with me after all these decades.
About a year later, some of us are invited to Donna’s concert at a small Munich auditorium to see “our Donna” perform at a venue bigger than the small cramped local dives. As we waited eagerly for the curtains to rise, and when the lights dimmed and the pin-drop silence fell, and the whole auditorium went pitch black, without even a sliver of light coming through – all we could hear is the curtains slowly sliding open and the click of them stopping in their tracks. Still nothing happens. Must have been just a few seconds, but it feels like an eternity while we wait with breathless anticipation. And then we hear something that sounds like a sob, a moan and a swish of sweet pain pierces the air, followed by a long drawn out Aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa, as if emerging from a deep and narrow cave, sobs and moans and grunts echoing and escaping in the atmosphere. And it continues:
Aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa
Aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa I,
Aaaaaaaaaaaaaaaaa Love To Love You Baby….
Reverberating over and over again and again through the stillness of the invisible auditorium. And then the halo of soft light outlines the figure that lies on the stage and soon we see it begin to stir and love to love you baby continues to echo and it rushes towards us like tidal waves. We see the figure turning slightly and seductively, uncoiling like a sleeping beauty waking up after a hundred years, rising languidly like a flicker of a dormant flame leaping up from a heap of ashes. And then suddenly she is up and standing with the music gaining tempo, microphone in her hands and we all gasp! At that very moment the a sublime transformation has taken place. The star is born in the front of our very bewildered eyes.
Here my memories are a bit fuzzy. I am sure we got to see her backstage, but then she was probably whisked away by her producers. I may have even seen her once or twice during the next couple of months, before I drove away in my Buick from Munich to meet the QE II in Cherbourg, France and sail away to New York. Driving cross-country, when I arrived in Chicago a month later and when one evening went browsing at the Ross Records on State and Rush, I stood face-to-face with Donna. Not her flesh and blood self, but bigger than the life size cutout of her staring down at me. Piled at her feet was a huge stack of LPs, with an image of Donna, wearing a sleeveless semi-transparent dress, her face turned slightly upward, her lips painted deep maroon and her eyes closed. It was November 15, 1975.
Then she was nowhere to be found. Until a year and a half later. During one of my sojourns in Mexico City I read in the local newspaper that Donna Summer was going to perform for several nights at the roof top bar Stellaris of the Hotel Fiesta Palace (now Fiesta Americana). I somehow was able to penetrate through her entourage and get through to her. It was a hurried conversation, but she invited me to her show that night, which I attended with Lina Quesada, a casual acquaintance. We got to talk after the show – sitting in her dressing room and watching her remove her makeup and get ready for whatever after-show activities the local promoters had planned. We reminisced of our Munich days and exchanged contact details, and promised to see each other when we both got back home. She had now moved to Los Angeles and I was living in Santa Barbara, a scant hundred miles (160 km) north along the coast. I am not sure if we ever talked again, even with her private number, it became almost impossible to cut through her publicist and whoever asking annoying questions. On that night of May 27, 1977, I wrote in my journal: Went to see Donna. She has changed – obviously, but was about the same as far as our friendship was concerned, except that it isn’t that easy to reach her.
Beyond that, I would read about her now and then. At times I would almost be tempted to get in touch with her, but just the thought of having to deal with the multiple barbed fences that surrounded her, I never tried to reach her again. Probably, the way I thought must have been – how big and how unreachable she had become. I could see her, but couldn’t touch. Must be why they are called stars. And yet, it was always a good feeling to know that her heart on which I had rested my head and heard it beating, was still beating somewhere in the world. I felt an incredible void on that afternoon of May 17, 2012 and do right now as I write this, to think that heart is no longer beating.
© Haresh Shah 2013
Illustration: Jordan Rutherford
SISTER SITE
Next Friday, May 8, 2013
DECISIONS, DECISIONS
When I first started this blog, I already had about a dozen entries fully written, if not edited. So far they have all followed some sort of logical sequence. Now I have about six of them mostly completed, I am not sure which one of them should go next. Well, it will be as much of a surprise to me as it would be to you. Stay tuned for my first SURPRISE entry.
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