“I do not separate my music from my heart nor do I separate my ideas from my daily life. I open myself up to learning as much as I can about humanity and this mysterious life experience … . Moment by moment, I integrate what I learn into my personal life, personalizing my politics. It is from this personal place that I write my songs.” –Holly Near
Legendary singer-songwriter, actress, teacher and activist Holly Near continues to inspire, and at age 69, is as powerful and poignant as ever. She has deeper roots in the LGBT community than you might realize. In a pioneering 1976 interview, Holly, who identified as a lesbian in the 1970s, publicly came out via People magazine. The historic moment swung open the closet door for numerous others who soon followed, including Elton John. (He then identified as bisexual and also publicly came out in People in 1976.) The interview took place 5 years after her memorable anti-war tour with Donald Sutherland and Jane Fonda.
It seems that whenever we need the comfort and wisdom provided by Holly’s art, she is there for us, like a loyal friend at the ready with an understanding, warm hug. Always refreshingly kind and down to earth, Holly makes everyone feel at home at her performances. We were therefore happy to learn that she has four shows scheduled in Northern California, November 29–December 2.
There is nothing like seeing her in person, so we hope that you can catch one, or even more, of these performances. It was also recently announced that, in a career first for her, she will be live-streaming her show from the Freight & Salvage in Berkeley on Saturday, December 1, at 8 pm. Sharing the stage with her will be Jan Martinelli, Tammy Hall, Nina Gerber and Marcelle Davies Lashley. If you cannot go in person, tune in at “Holly Near Fan” at Facebook: https://www.facebook.com/hollynearfan/
We have yet another milestone to report. The Emmy-winning PBS series American Masters will be profiling Holly in a documentary scheduled to air on March 1. The documentary, produced by Donna Korones and Heather Smith, recently premiered at the Mill Valley Film Festival, where it won the Audience Favorite Award for Best Music Documentary.
As if all of the aforementioned were not keeping Holly busy enough, she also recently released a new compilation, 2018
( https://www.hollynear.com/music/#2018). We have been playing it in our San Francisco Bay Times offices and really love this collection of new songs from an artist clearly in her prime. The work covers a wide range of subjects and musical styles, delving into both serious and more lighthearted topics. Always evident with Holly is her rare ability to bring tenderness to the human condition.
We were delighted to catch up with her recently, ahead of her four-show run of Northern California performances.
San Francisco Bay Times: We love your new CD, 2018. Many of the songs mention or allude to home, either secure (“Front Porch,” “Soon It’s Gonna Rain”) or threatened (“Casualty,” “Are You Kidding Me?”). How important for you is “home,” and what does that idea mean to you now?
Holly Near: As a writer I see that home is very important. As I travel it is easy to see how people need a home, whether it is geographical, cultural, spiritual or attached to birth family. Most animals are tribal in some way or another and I’m sure we are no exception. That said, I have not become attached much to a geographical home, since I have traveled for my work since I was 18. Hard for me to keep a partner, a plant or an animal because they need to be fed and watered.
San Francisco Bay Times: How does Nature inform your life and work?
Holly Near: Now Nature I am very attached to. I was born and raised in the country, and although cities are vibrant with diversity and culture, I am not as comfortable in cities as I am in the country. I like watching the sky, which is harder to do in the cities. Although I have never had pets, I have always loved animals in the wild.
San Francisco Bay Times: The song “Someone Was Brave Before Me” refers to prior path-makers, whether they be of a more personal or public standing. Who were some of your own influences, both past and present?
Holly Near: Well, certainly the singers. I learned to sing from listening to singers on recordings—all kinds of singers, all styles. I think that is why my singing is not set in one particular musical style. There are elements of cabaret, country, jazz and musical theater. Then there are the activists. I was 21 when I started traveling and learning from people like Tom Hayden, Jane Fonda, Dan Ellsberg, Dolores Huerta and Julian Bond. I also learned from soldiers and servicewomen about the military industrial complex. After that, I learned from feminists and lesbian feminists like Meg Christian, Krissy Keefer and Pat Parker. My understanding of Central and Latin America grew when I worked with music ensembles like Inti Illimani, Grupo Raiz and traveled with Joan Jara (widow of Victor Jara).
San Francisco Bay Times: We’re always struck by your ability to listen and learn from others. This is such a rare quality in general, but especially in a person of your public stature. Even your performances allow at times for quiet contemplation and audience contributions. Why do you think that listening is so important, and how might we all become better at this skill that seems to be tied to empathy and understanding?
Holly Near: I used to talk a lot. So, listening was something I learned over time. I found that when I listened, I went away with more than when I did all the talking. And when one gets something out of a conversation, then it is there in one’s tool box to use when teaching. Stories are a great way to teach. For me, it is so much more effective than if I tell people what I think they should do. In stories, we each can come to our own conclusions and move forward from where we are, rather than from where someone else thinks we are. Stories help me to avoid assumptions. My songs and the introductions to them are all based on story. Paying attention helps me to find good stories, vibrant images.
San Francisco Bay Times: After your pioneering 1976 interview with People magazine about lesbianism, your mother—another remarkable listener and woman—went to a town hub to hear others’ reactions. Please share some words about your mother and her influence on you.
Holly Near: My mother had great compassion. Many of my friends say they were helped in finding a sense of direction after talking with my mom. Mothers do many things in a child’s life. In mine, her support of my music was extraordinary: taking me to music lessons, sewing costumes, listening to me practice, enjoying my sense of humor. I didn’t always get some of the other mother things a child needs. But I definitely got her support and encouragement as a young performing artist.
San Francisco Bay Times: We’re great admirers of Susan Lacy and her work on American Masters. (Lacy created the series.) As she says, she and her team work to match the quality of noted artists like you—among the best in the world. How involved were you in the production and were you able to approve the final version?
Holly Near: I was involved in the film at the beginning because I was providing most of the archival material. I did a long all-day interview with Jim Brown, the filmmaker, laying the ground work and explaining what I did and who I worked with, what were the highlights, the downfalls. Then I got out of the way, stepped back and it was up to Jim to make a movie. It is in that way his movie. My life, his movie. I think that is the only way it can really work. I can’t always see myself the way the public sees me. So, I think it was right for me not to be involved in the telling of the story. I was very happy when I saw the final version. I believe he did an amazing job. The producers, Donna Korones and Heather Smith, are also amazing women with great integrity.
San Francisco Bay Times: Artists sometimes refrain from revealing their process and more personal details, but as Lacy has said, having this information can improve the experience for audiences, allowing them to better connect with artists. Thinking of the second-wave feminist slogan, has the personal always been the political for you?
Holly Near: Yes. I have not been very good at keeping my life a secret, even if I wanted to. Going to places where there is martial law, dictators, war zones … is very personal to me. Listening to the stories of people having been tortured. Listening to peoples’ coming out stories. Seeing the consequences of a failed nuclear power plant. Watching women insulted and degraded in public by the one who supposedly loves them, or students shot on a campus while protesting a war. These things are personal because, as my song says, it could have been me. Now I could have made other choices. I could have decided to stay in Hollywood or New York City and been an actor, a musical theater performer. Those are exciting choices as well. And they were almost my choices. But I was seduced by the power of social change activism.
San Francisco Bay Times: Delving just a bit into the past, you founded the groundbreaking Redwood Records in 1972. What were some of your goals with Redwood, and were you able to achieve them? We’ve always wondered: Did Redwood Records either directly or indirectly influence Olivia Records, which emerged just a year later? We’re thinking that you might have helped to advise the founders of Olivia?
Holly Near: I started Redwood Records because I wanted to record some songs I wrote after going on the Free The Army Tour and the lyrics were too political for any of the mainstream record companies. There were words like “genocide” in one song and “GI Movement” in another. So, not your usual top 40 material. I decided to record the songs myself, and in order to sell the record, I needed a business license and a label to put in the middle of the record. Jeff Langley, my pianist and co-writer at the time, helped me to make the record, as did my parents, who agreed to pack and ship the records out of their living room when I got orders. I had no greater plans than that.
But once I knew how to do it and saw that I could have success with it and maintain control of my music, I made a second and then a third recording. By the fourth, I realized I wanted to record some other artists who were doing outstanding work outside of the mainstream. It was my good fortune to have met Bernice Johnson Reagon, who had recently founded Sweet Honey in the Rock. They were interested in recording a new album, and so they agreed to have it recorded on Redwood Records. As for the second part of your question, no. I don’t think the Olivia Collective decision to make records had anything to do with me. I think they got that idea from [singer, songwriter] Cris Williamson.
San Francisco Bay Times: American Masters documentaries often capture the life’s work of an artist toward the end of their career, or even after they have passed. You, on the other hand, are clearly in your prime and are hitting impressive new strides. How are you feeling about this stage of your life?
Holly Near: Thank you for that. Still, I am no spring chicken. I will be 70 in June. It is just that I have been fortunate to have a voice that is still getting better. I am a better performer than I used to be, a better teacher. So, for as long as I keep getting better, then I will keep at it. I am comfortable with my age and, of course, my audience is growing older with me. Elders can play an important role if they are willing. In one of my songs it suggests that we can step between young people and harm’s way. We can also give young activists frequent flyer miles so they can go to a conference, or gift them with gas and food cards. We want them out there, and my goodness, they are out there. Some of the young activists from Black Lives Matter and the students from Parkland and women from the Me Too Movement and those who just got elected to Congress. Well, it is extraordinary.
San Francisco Bay Times: Your new set of shows comes on the heels of great optimism about the newly Blue House and the need to, as you say, “keep moving forward.” You have already achieved so much over the years. What are some of your personal and professional goals that you would still like to reach?
Holly Near: We toured all fall, and each concert was like a spiritual rally. It was amazing. People fired up and ready to work hard right up to election day and beyond. I think the results of the election has a momentum that is like a brightly colored bandwagon inviting us all to get on board. This is a powerful window of opportunity. As for personal and professional goals, I don’t have a big list. Sometimes I think it would be fun to write a piece of musical theater using my songs. Some of them are so perfectly theatrical. But I am content with the work I have done.
I am trying to figure out how to get off the road and work in another way because of the environmental footprint. If we take seriously the climate change crisis, then how does that work? I’m trying to figure that out for myself. Last year, I was evacuated for ten days because my neighborhood was surrounded by fire. This year, the state is still burning, a whole town lost.
San Francisco Bay Times: Please mention anything else that you would like for our readers to know.
Holly Near: Sometimes people ask me what “causes” I’m working on. I learned a long time ago that thinking of this work as causes made me tired. It was too much. So instead of going to all the causes, I integrate as much consciousness into my work as I can. I met a woman who worked in a shelter, and she was frustrated because she didn’t have time to work on the anti-apartheid movement. This was back when South Africa was in the midst of a liberation struggle. I suggested to her that if she worked to not have racism at the shelter, then she was doing anti-apartheid work. So, no matter what job we have, we can find ways to confront racism, sexism, climate change. We can initiate care for children—all within each of our jobs.
Some people think that I sing songs that have 40 verses about fuel rods. I don’t. The concerts are musical events with intelligent and heartfelt lyrics, the stories are funny—turns out I have become funny in my old age—and the audiences are great. We wash off the toxicity of our current administration with song. We look around and remember who we are, as individuals and as community. Thanks to music, we can do that.
Holly Near’s Upcoming Shows:
Thursday, November 29, 7 pm
Sebastopol Community Cultural Center
Friday, November 30, 7 pm
St. Marks United Methodist Church
Sacramento
Saturday, December 1, 8 pm
Freight & Salvage
Berkeley
Sunday, December 2, 6 pm and 8 pm
Kuumbwa Jazz Center
Santa Cruz
For more information and to purchase tickets: https://www.hollynear.com/#tour
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