Wé Ani is her performances’ only common thread: each “theater” in her audiovisual multiplex shows off a distinctive vocal texture into which no other intrudes and which often sets up an expectation that is (pleasantly) disappointed. Each performance also displays a unique dramatic persona.
Perhaps the better metaphor (although it’s by now a cliché) is: a palette of many colors.
If you compare several bars from each of, say, seven (randomly chosen) tracks, then unless you already know who’s singing, you may reasonably doubt that the singer on the first track is the one on the second (or any other). And that’s because of the vocal color she chooses for any song she interprets.
Every great singer has variability in range and textural quality but Frank Sinatra always sounds like Frank; Ella Fitzgerald, Ella; Stevie Wonder, Stevie. That’s what their fans expect. Not so with Wé, however: you may expect Aretha but get Nina; Etta but hear Whitney; and so forth. Continue reading “Wé Ani: a protean multiplex of vocal performance”
Wé Ani turns 25 today. Last spring when she auditioned for American Idol her protean voice began drilling a hole in my soul.
Due more to what was going on in my life than her talent, her equally powerful performances on The Voice in 2016 didn’t have that lasting effect.
Her career is a story of strong family support, raw talent (dancing, acting, classical voice training), and diligence.[1]
I’ll let my notes from 2023’s last post introduce the rest of this one:
. . . Harlem-born performer Wé Ani (b. 1999) [is] the most versatile, and powerful, pop singer I’ve ever heard, whose voice salves my charred soul and never fails to plaster a smile on my face. My wife and I had first seen her in 2016 on The Voice (when she went by “Wé McDonald”).
A physically different (almost unrecognizably so) Wé competed in last season’s (2023) American Idol . . . She can belt like nobody’s business, folk her way through any ballad (guitar and all), or rock it out, or out-Broadway any veteran of The Great White Wé, I mean, Way.
There seem to be at least a half dozen Wé Anis: after watching any two videos, I sincerely wonder, “Is that the same singer?” . . .
And then there’s the uncanny sonic chasm between her childlike speaking pitch and her robust, gritty singing voice: she says she wants to be taken seriously, but “it’s not easy sounding like a 12-year-old at 23.” The simile that comes to my mind is fiction’s Dr. Jekyll and Mr. Hyde (minus the creepy associations): she makes a fool of anyone who prejudges her talent on that basis. . . .
She’s also a modest and charming interviewee (sans tatoos, nose ring, acrylic claws and other accoutrements of female celebrityhood): consider one from 2018 and another from September.
Varleton McDonald (Wé’s father and manager), Wé Ani McDonald, and Michael Amorgianos (Lawrence Middle School psychologist), January 2023
Wé’s voice and musical choices take me back to the day, about sixty years, when pop music entered my life, washing away life’s dirt as images of war, assassinations, and race riots washed across the TV screen.
Her voice is more than pleasant: it’s a delivery system for aesthetic endorphins, an oasis and tonic for my soul.
But the above text is so much blather. Why not taste and see for yourself?
This year will be better than next year. Yes, that may reflect more my mood than reality, but it’s a mood that reality reinforces daily.
I’m an eschatological optimist—Christ’s saving work has given me peace (true union) with God, which is all that really matters—but a secular pessimist. The intermittent news of resistance to the totalitarianism that’s coming like Christmas may be accurate, but “So, cheer up, old boy!” doesn’t make me feel better (and making me feel better is no one’s obligation). Things will change for the better, or they won’t; I’ll know which soon enough, should I live so long.
Those charged with preventing with catastrophes (e.g., my country’s invasion) are in fact facilitating them, thereby undermining the good of order that makes the regular enjoyment of other goods possible. I cannot train my attention on the facilitators, however, if the criminal invaders in my vicinity are concentrating my mind wonderfully. Like them, the criminal overlords can be dealt with only by violence; I see no timely way to exercise legitimate violence against either class of criminal. So, I pray each day for safety but, failing that, at least for the opportunity to take a few of the bastards with me.
I will write until I can no longer, content with the probability that what I write might be picked up, if it ever will be, by people who won’t be born until after I’m dead. Perhaps 2024 will see the publication of Christian Individualism: The Maverick Biblical Workmanship of Otis Q. Sellers (the latest draft of which I’m sharing with beta readers) and of the second, expanded edition of Herbert Aptheker: Studies in Willful Blindness. Maybe I’ll get around to mining the 25 diaries (1970-1994) that record my interactions with the remarkable people I’ve met (and the mistakes they couldn’t prevent me from making).
James R. White
Ultradispensationalist that I am, even the great Reformed Baptist apologist James R. White (b. 1962), whom I’ve been reading and listening to for about ten years has not been able to make a Calvinist out of me (not that he’s tried), but he certainly has ruined any Roman Catholic apologist’s chance of winning me back. Auditing many of his over 180 moderated debates over the past ten years, White always strikes me as having the better of the argument. To the task he always brings not only great learning and preparation, but also grit and not a little humor. A student of history, he teaches biblical Hebrew and Greek, yet wears his learning lightly, if I’m any judge of such things.
A couple of diamonds in the cultural dung heap, however, postpone utter esthetic despair.
The other gem is Harlem-born performer Wé Ani (b. 1999), the most versatile, and powerful, pop singer I’ve ever heard, whose voice salves my charred soul and never fails to plaster a smile on my face. My wife and I had first seen her in 2016 on The Voice (when she went by “Wé McDonald”). A physically different (almost unrecognizably so) Wé competed in last season’s (2023) American Idol, making it into the top five. Research revealed she was indeed the same person. What she did this year, however, hooked me. She can belt like nobody’s business, folk her way through any ballad (guitar and all), or rock it out, or out-Broadway any veteran of The Great White Wé, I mean, Way.
Wé Ani
There seem to be at least a half dozen Wé Anis: after watching any two videos, I sincerely wonder, “Is that the same singer?” Without, I stress, impersonating any of them, she can put you in mind of NinaSimone, or Mary J. Blige, or Idina Menzel, or Whitney Houston, or Aretha Franklin, or Barbra Streisand. (This list is not exhaustive, but it risked becoming exhausting).
And then there’s the uncanny sonic chasm between her childlike speaking pitch and her robust, gritty singing voice: she says she wants to be taken seriously, but “it’s not easy sounding like a 12-year-old at 23.” The simile that comes to my mind is fiction’s Dr. Jekyll and Mr. Hyde (minus the creepy associations): she makes a fool of anyone who prejudges her talent on that basis. (For instance.)
She’s also a modest and charming interviewee (sans tatoos, nose ring, acrylic claws and other accoutrements of female celebrityhood): consider one from 2018 and another from September. The Standard, her latest, will drop on January 12, 2024.
Such are my few oases of refreshment these days. I feel better having shared these sentiments. However quixotic it may sound, I wish all my subscribers and visitors a happy and safe 2024.
Imagine a ten-screen movie multiplex, each showing an Anthony Hopkins film. In one, he’s Nixon; in another, Hannibal Lecter; in a third, Zorro; fourth, Odin; fifth, C. S. Lewis; sixth, Pablo Picasso; seventh, John Quincy Adams; eighth, Alfred Hitchcock; ninth, Pope Benedict XVI; and on the tenth screen, Richard the Lionheart. Hopkins is their only commonality; each can make one forget the others (at least for a few hours). He’s all of these characters . . . and none of them.
