Crazy Crap Item #170: The part where I question the last 20 years of my life.

It's remarkable how in one single moment, you can see in a flash what a monumental idiot you are.

In this case, a musical idiot.

So, as is well known, I like to warble. Showtunes. Yes, embarassing, I know, but a girl can't fight what she is.

This has been a long-term obsession, stretching back to the womb, or at least back to my first viewing of The Sound of Music at age 5. Looking back, it was strange that at that tender age, I didn't want to play the actual 5-year-old in the play (the youngest von Trapp child Gretl). No. I wanted to be Maria. Sigh.

Fast-forward to college, where I have the enviable opportunity to participate in "Musical Theatre Workshop," a course offered through the Music department, where you basically get up twice a week and make an ass of yourself by trying out your audition material. Besides being a forum for receiving feedback every 18-year-old kid should have to learn to deal with (Did you know I'm "too thick for my type"? It's true!), it was a great place to learn really obscure songs that no one in their right mind ever sings. I still dazzle friends with my ability to recognize ditties from How Now, Dow Jones and Flora the Red Menace.

And that, my friends, is how I came in contact with a song which came to be something of a signature piece: "The Joint Is Really Jumping Down at Carnegie Hall." Before it belonged soley to me with all rights in perpetuity, it belonged to one Adrianna Villem, a classmate. And before Adrianna got her hands on it, it belonged to one Judy Garland.

Funny enough, though I've sung the song for some 20 years now, I'd never actually heard Judy sing it. It's from a movie called Thousands Cheer, which I've never been able to find hide nor hair of.

So I've always wondered: how did Judy sing it? What tempo? Does she slur the way I do? Does she mess with the rhythms?

But my biggest question was: How does she handle that crazy high F? You see, "Joint" is swinging boogie-woogie belt tune. Most voices don't adapt nicely to the practice of belting for three minutes then jumping up into soprano-land. In singer parlance, it causes one to over one's "break"--a harrowing and often unsuccessful venture. So it's odd and cruel that this song, so deliciously belty as it is, requires a random high F.

This break-crossing has always been my bete-noire-- particularly in my younger years. I've gotten much better at it, but the extremity of this strange popped high F, and the adrenalin rush of performing (which typically resulting in way more vigorously than is healthy or advisable) usually means the F is, well, not quite right. A little sharp. A little off. Not "swinging."

Each time I'd pop--and miss--the F, I'd think, "If you were Judy, you could do it."

But exactly how did she handle? Anyone who knows the repertoire of Ms. Garland knows that, while she did many musical things, singing high Fs was not among them. Assuming she sang it in a lower key, the question remains: how did she leap out of belt into soprano?

Well, just the other day, I googled the song title--again. Past searches had turned up nothing but a few stray mentions of the song titles in "Lists of songs about New York," "Judy Garland's repertoire," and so forth. So imagine my shock when on this latest search, what to my wondering eyes should appear but a video of Judy singing it! Apparently, someone swiped the clip from the movie where she sings it and put it online.

So of course I wanted to hear it--in general to hear how she sings it but also to solve my age-old question: how does she handle that high note that has give me such grief over the last 20 years?

So, first off, she sings it one step key lower than I do, which is not surprising, as she /is/ Judy Garland, and has the vocal range of a long shoreman. But that still means her "High F" is a "High E", which is still pretty high. So I'm listening. And I'm listening. And I get to that dreaded high note... AND SHE DOESN'T SING IT! She drops it an octave down. Which, in the context of the song makes perfect sense. And actually sounds more natural and a little better. And IT'S SO OBVIOUS that that is what any sane person would do.

So I just start laughing. Just laughed as I sat there. Of course! An octave down. I'm such an idiot.

See, friends, there are songs where you have to sing the high notes. It's expected. They're famous. There's no point in doing the song unless you do. However, that is not the case with this particular song. And how I missed the obvious, well, I guess that's just the folly of youth.

So I'll keep singing that song. But the high F? Screw it. Just call me Judy.

Wanna hear the song? Here's Judy singing it. And here's my squeakier version (click on it from the song list on the right-hand side of the page).