{"id":1098,"date":"2013-01-18T17:32:31","date_gmt":"2013-01-18T17:32:31","guid":{"rendered":"http:\/\/peggylee.com\/wp\/?p=1098"},"modified":"2021-08-04T10:19:17","modified_gmt":"2021-08-04T14:19:17","slug":"miss-peggy-lee-4","status":"publish","type":"post","link":"https:\/\/www.peggylee.com\/miss-peggy-lee-4\/","title":{"rendered":"Miss Peggy Lee"},"content":{"rendered":"
\n

by David Galligan<\/p>\n

Like one of the lyrics she sings, the legend “drinks her coffee from her favorite cup” and talks about her life so far. And you listen to that extraordinary voice \u2013 the one that sounds like leaves burning on an autumn day.<\/p>\n

Peggy Lee sits at a round table in a sun-filled living room, platinum hair parted down the middle, gold hoops in the ears. She\u2019s tossed a white silk scarf around her neck. There\u2019s more \u2013 the black coat over the white pants, the giant amethyst ring choking a finger, the Lucite wedgies. The daylight in the room flickers with candles, the air smells of freshly cut flowers. The legend crosses her legs and watches warily through a pair of hazel eyes that reflect the green of the room.<\/p>\n

Peggy Lee doesn\u2019t usually do interviews. But then, Peggy Lee hasn\u2019t played a club in Los Angeles in years. The club is new. It\u2019s called Scandals \u2013 and it\u2019s gay. Lee inaugurates the showroom this month.<\/p>\n

The autumn leaves voice says, “I haven\u2019t appeared locally, with the exception of a concert here and there, and a special concert at the Dorothy Chandler Pavilion. “It was 13 years ago,” she remembers, “and it was at the Cocoanut Grove.”<\/p>\n

The “Fever” woman blinks at the question: “Will this be your first time in front of a predominantly gay audience?”<\/p>\n

“I don\u2019t know,” she says. “I don\u2019t look at the audience that closely. I don\u2019t think of that at all. I have no opinion on that at all.”<\/p>\n

None at all?<\/p>\n

“Nope. I don\u2019t think there should be. God must have had something in mind.” Her eyes look down at her hands folded in her lap. Beginnings?<\/p>\n

“I\u2019d say we were middle-class, though my mother\u2019s family had some success and some wealth, but I don\u2019t know how much. My mother died when I was four. My daddy was a station agent for a very small railroad that connected all the larger ones. I got to know all the crewmen very well; they were sort of my babysitters because mother was ill the year before she died.”<\/p>\n

“I remember all that,” she says, back to her folded hands, “I think because it was traumatic. I\u2019m not the youngest \u2013 there was one sister after me. My mother gave her to my aunt when she knew she was going to be passing. My mother was a brave little woman. She even sewed clothes for us \u2013 to last us for a year after her death.”<\/p>\n

It comes in a rush, in a whisper from Norma Deloris Egstrom of Jamestown, North Dakota. “Isn\u2019t that incredible? Isn\u2019t that a beautiful thing to do? My daddy died too but, in a manner of speaking, they\u2019re here.” She moves one hand away from the other, back come the eyes. “Obviously I didn\u2019t have too much of a childhood. I think what I gained from that is \u2013 I hesitate to use the word boot-camp, but in a sense, it was the process of learning. I\u2019d say I had the opportunity to learn lots of different things \u2013 that I wouldn\u2019t have had things turned out differently. One little change changes so many things. I wouldn\u2019t have had the same friends. We wouldn\u2019t be sitting here, perhaps. I think of things in that way. I suddenly learned I was on my own \u2013 and I think of being on my own ever since.<\/p>\n

“I went through a period for years \u2013 worrying what other people might think of me. I really wanted the approval of other people \u2013 and I still do \u2013 but I do not get quite as hurt as I did years ago when someone gave me a cross comment. I will always go on trusting and believing because I don\u2019t like the idea of not doing that. I want to be vulnerable, if that\u2019s what necessary, to experience a loving feeling, a friendly feeling towards my fellow man. To be open enough to take the hurt as it comes is important. It\u2019s better than closing yourself off and not caring.”<\/p>\n

Somewhere along the way, Lee was asked by Benny Goodman to replace Helen Forrest in his orchestra. She recalls: “I was crushed. People didn\u2019t want to hear me at all, and I don\u2019t blame them. It was very hard for me to take. I was frightened because I was singing in her key. I had no rehearsal.”<\/p>\n

How, then, did the Lee style evolve?<\/p>\n

“I think,” she says, my own feeling has always been an interpretation. Naturally, I missed the technical things that night. With an orchestra like Goodman\u2019s at the time, the vocalists” \u2013 she makes a face: “I hate the word vocalist. It sounds so mechanical \u2013 the vocalist would sit there on stage for an hour or two, then when we\u2019d hear our songs come up, we\u2019d butt our way up to the microphone, finish the chorus and sit down. The only time I really got to express myself more than that was when the sextette would take over for a while. I would sing songs like \u2018Where or When\u2019 or \u2018The Way You Look Tonight.\u2019 which attracted some attention. You see, as a singer with an orchestra, you\u2019re a voice in it and that\u2019s all. I learned a lot from Goodman \u2013 most of all to be prepared, because then you can settle back and interpret without worrying.”<\/p>\n

She made the record “Why Don\u2019t You Do Right?” and she retired. She met a man, Dave Barbour, married, got pregnant. “The record was a big hit, number one for years. It went from one war theater to another. I was offered many things \u2013 they were astounding offers for the times. Everyone thought I was crazy to turn these things down. We were a poor couple, but very happy. My husband finally convinced me to return. We started to write and record. I was asked to do a jazz album, and I thought to myself, perhaps it wouldn\u2019t hurt to get a babysitter. The album was a success and Johnny Mercer wanted us to record for Capitol Records. We were looking for material. Johnny had heard some of the things we\u2019d written \u2013 they turned out to be things like \u2018I Don\u2019t Know Enough About You,\u2019 \u2018It\u2019s a Good Day\u2019 and \u2018Ma\u00f1ana.\u2019 I wrote a song one day, thinking about David, called \u2018What More Can a Woman Do?\u2019”<\/p>\n

They were off and running. Whatever they touched turned out to be successful. The marriage, however, was failing. “Actually, David wanted me to divorce him. He had a problem with alcoholism, he knew he was going through these things, and he didn\u2019t want to involve my daughter or myself. We remained very close. He eventually conquered it. He was with Alcoholics Anonymous for 13 years \u2018til his death. David was sitting here a few days before he passed on. He thought he had the flu \u2013 it was a terrible shock. My daughter, Nicki, always had a close relationship with him, and David and I never lost our feelings for each other. I loved him. I still do. It\u2019s hard to lose people \u2013 there\u2019s no way to cushion it.”<\/p>\n

Lee kept recording. She tried her hand on a Richard Rodgers classic waltz-time tune, “Lover,” and she loaded it with a Latin sound and spread it throughout the world. Next were the songs for the film Lady and the Tramp that she created with Sonny Burke. While she was writing for the movies, she acted in a couple as well. She worked her glorious wonders on a character called Rose Hopkins in Pete Kelly\u2019s Blues, for which she received an Academy Award nomination, and she appeared opposite Danny Thomas in The Jazz Singer. She never acted again. Why?<\/p>\n

“Because no one asked me,” she shrugs. “That\u2019s the truth. I would love to. I\u2019ve often wondered since if it was what they consider typecasting. I have reason to believe that some people think I have a problem with drinking. I don\u2019t even drink. It\u2019s terrible for one\u2019s career if you want to prove yourself in another dimension. They might have thought, like the Rose character, that I was insane.<\/p>\n

“I had already turned down a film career when I was married to Dave because I didn\u2019t want to leave him. It was during the era of Lana Turner and Ava Gardner. I don\u2019t think I was ready at that point.”<\/p>\n

Still the hit records poured out, the career soared. In 1961 Peggy made friends with something called “Charlie,” but she dumped him several years back. Charlie was a respiratory machine. It didn\u2019t stop her. She laughs: “I had quadraphonic pneumonia and suffered lung damage for ten years. I was very happy, finally, to give the machines to the Lung Association. I pray that they might help save someone as much as they helped me. I carried two of them when I traveled. It was a difficult time in that no one understood what was happening. I didn\u2019t want to foist that upon my audience. Sometimes it was misunderstood, but I think all that\u2019s been cleared up now. I still feel that when you come to see someone perform that you don\u2019t want to know those personal things. Illusions are important; otherwise there\u2019s no magic. I like to keep human frailties away from whatever the gift is that I have to give.”<\/p>\n

There\u2019s more talk, no particular structure, random questions shot back with the complexities that make up the person known as Peggy Lee.<\/p>\n

On romance in music: “That\u2019s what I look for all the time. I want to stress that a lot. Music evokes all the sights and sounds that were going on at some particular time. There are a great many people who come back to see me to awaken some memory or another.”<\/p>\n

On marriage: “I consider myself married only once \u2013 to David. The others were experiences. I imagine that if things were as they are today, I might not have gotten married. I think I was just being proper.”<\/p>\n

On her daughter: “I still think of her as a child. I just spoke with her yesterday. She\u2019s taking another course in etching \u2013 she does beautiful work \u2013 and has an art gallery in Idaho, right next to Sun Valley, called Nicki\u2019s Hang-Up.”<\/p>\n

On the highlights of her life: “I don\u2019t know\u2026 There have been a lot of moments\u2026 seeing my daughter for the first time\u2026 meeting David\u2026 singing for the first time in front of a large audience. My opening at the International Hotel in Las Vegas was a thrilling night, although I was very sorry Barbra Streisand got poor reviews, but I was excited with what happened to me because it was totally unexpected. We were working under great stress \u2013 they had not finished the room, let alone the stage \u2013 so we had not rehearsed the way we wanted to. That does not lend itself to being totally relaxed. I hope something approaches that reception at the opening of Scandals.”<\/p>\n

On Science of Mind: “I don\u2019t go to church, but I\u2019m still in touch. One of the things you learn is that you really go to church within yourself. I once asked Ernest Holmes [the late founder of Science of Mind], \u2018Now that you\u2019ve made me a free thinker, how do I differentiate between what\u2019s good and bad?\u2019 He said, \u2018Well, I think that if it\u2019s beautiful, it must be good.\u2019 He was a great influence in my life.”<\/p>\n

On her voice: “Sometimes people say my voice is thin. I use the thin part for a certain reason. I can belt a song, but I can\u2019t express the proper feeling by doing that unless the song calls for it. I can make it very small because it\u2019s an intimate experience.”<\/p>\n

On weight: “I don\u2019t understand it. There are people who can eat everything under the sun and not gain at all. I really eat very little, but all I have to do is smell food and I gain. What I really resent from anyone, whether I\u2019m in a thin period or not, is to make disparaging remarks about people with a weight problem. I think anyone who criticizes any group of people for something they have no control over is just as bad as someone saying something bad about any member of a minority. I think it would be a much better world if we liked each other for what we are and were not constantly critical of everything.”<\/p>\n

I ask if she has seen the female impersonators\u2019 impressions of her. “I\u2019ve only seen Jim Bailey once on television, and it was not really a fair viewing. I tuned in after he had already begun. It wasn\u2019t made clear to the audience that it was Jim Bailey. I did get some phone calls from my friends asking if I was ill.” Lee says she didn\u2019t mind, however. “It was just the way it was presented. It was a strange emotion to see that. I know it\u2019s a compliment. The strangest thing is that I don\u2019t even know what I do. It\u2019s been said, at times, that I plan every move that I make \u2013 but that\u2019s not so. Of course there are certain things that are a part of something \u2013 the music has dictated that it must be so \u2013 but basically it\u2019s what happens naturally.”<\/p>\n

She thanks me when I mention the tremendous economy she displays as a performer. “They say that \u2018the eternal struggle of art is to leave out all but the essentials.\u2019 I have a long way to go, but I\u2019ll keep trying.”<\/p>\n

Does she consider herself a perfectionist? “I think paying attention to detail is important, but I wouldn\u2019t like to be known as \u2018Craig\u2019s Wife.\u2019 Yes, I want everything to be perfect for as much as I can do.<\/p>\n

When I mention that some people say she\u2019s difficult, she responds: “The same people call me a perfectionist. I don\u2019t understand hearing a sound that is incorrect to you and not stopping to fix it. I think you must. If that\u2019s difficult, I\u2019m difficult. I never take for granted that I\u2019m going to get great reviews. I really work at it every time and will as long as I continue to sing.”<\/p>\n

“There\u2019s a thing about age,” she says wistfully. “It\u2019s almost a scandalous thing to grow older. Well, it\u2019s a beautiful thing to gain wisdom and more compassion. We can learn a great deal from our elders.”<\/p>\n

There was something sad, something terribly vulnerable in the way Peggy Lee looked, sitting there, caught in the flickering light of candles and the late afternoon sun. Something like the songs she sings.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

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