when you weren’t going to write a buckingham mcvie hot take, but the internet asked you to…

This piece originally appeared on Bed Crumbs (prompted by two anonymous asks and a couple of tweet requests)

Anonymous said: Buckingham McVie has been out for a full day and you’ve been MIA with a think piece! Could you please share your thoughts on In My World? I’m very interested to know what you think about it.

Here you go:

This is what it sounds like when things fall apart. This is the moment of realization, the wistful, liminal moment between doubt and acceptance. This is the sound of nostalgia, the sound of growing older and growing apart. This is the sound of understanding that not everything can always stay how it used to be.

“In My World” marks a strong return of the older and more contemplative Lindsey Buckingham that has emerged in recent years. He’s less bitter, more introspective. There’s a sense that Buckingham has begun to play archaeologist of his own life, digging into his past, trying to understand what it says about his present, and it’s clearly at play here.

Though it’s an odd choice to introduce a “duets” album with such a solo-leaning first single, three out of four other Fleetwood Mac members leave distinguishable marks on the track. The McVies are used delicately: a tickle on the keys from Christine here and there, noticeable only if you listen closely, John’s bassline pointed and spare. There’s no embellishment for the sake of embellishment; they play only what’s needed, but continuously push the song forward with a feeling of underlying anxiety. Mick Fleetwood’s chugging drums take what could be a soft and tender acoustic tune and give it a bite — with all anguish there is an underlying feeling of resentment.

Maybe we’re lost without the cost of who we used to be.

Joan Didion once wrote that we are all best advised to keep on nodding terms with who we used to be. Some, it seems, are more adept at that than others. Some become lost in the spectacle of the now when they lose touch of the unassuming then. At some point, the road splits, and the further two people drift down their respective paths, the more difficult it will be to coexist in the same sphere. Maybe, then, it’s best for both people to finally admit the need to retreat into their own individual worlds, though that’s not without reluctance.

It may seem obvious to interpret some of the song as a pointed message at Stevie Nicks, but it wouldn’t be obvious if the two didn’t make it so, well, obvious. After more than 40 years of creating public dialogues, of communicating with each other through song, this is to be expected. The elephant in the room is being addressed right away: Buckingham McVie is essentially Fleetwood Mac, just without Nicks, and what do they have to say for that?

It’s been 14 years — to the day — since Fleetwood Mac’s last full length album. These past 14 years have been a game of will-they-or-won’t-they record a follow-up, with the verdict riding on Nicks’s agreement. For 14 years, save for a four song EP in 2013, Nicks has gone back and forth in the press, one day confirming her involvement, the next denying it, until a March 2017 interview with Rolling Stone seemed to make the most definitive statement:

I don’t think we’ll do another record. If the music business were different, I might feel different. I don’t think there’s any reason to spend a year and an amazing amount of money on a record that, even if it has great things, isn’t going to sell. What we do is go on the road, do a ton of shows and make lots of money. We have a lot of fun. Making a record isn’t all that much fun.

In my world, everybody stays, nobody wishes for words they couldn’t say.

You can’t have one foot in the door and one foot out. You’re in the band or you’re not. Buckingham gave the ultimatum to Christine McVie when she left the band in 1998. It wouldn’t be out of the question to assume he gave a similar one to Nicks, though that’s not to say that finding the words to do so was easy.

Even the grandest of disagreements can’t erase their 50 years of shared history. Buckingham’s animosity is laced with sadness. There’s a sense of longing, almost, that he could still fix things, that things could be the same as they were all those years ago, that it didn’t have to come to this. But people grow up and grow apart and things change and no matter how much we try or wish or dream about our own fantasy worlds, we have to move on, have to admit that we will never be the same as we were.

Sonically, “In My World” recalls the sound of Tango in the Night, from the usage of the “oohs” and “ahhs” prevalent on “Big Love,” to the glossy production, almost as if to give the darkness a sheen. Out of pain comes something of beauty. It’s sparse, though, full of space between the drums and simple guitar melody. That almost empty feeling would make sense in a solo composition — I can only envision it getting a quietly powerful acoustic performance similar to “Shut Us Down” — but as Fleetwood Mac-lite, it feels unfinished. Its incompleteness is most tellingly and painfully noticeable in the absence of the lush three part harmonies that have become synonymous with the classic Mac lineup. Perhaps this is deliberate: as much as it’s a song about letting go, there is still space; it’s still open to the possibility of another voice filling that empty spot.

At the end of the day, though, that feels like nothing more than wishful thinking, the lingering reluctance to let go and move on in a song about letting go and moving on. This is what it sounds like when things fall apart and you realize that, for your own sake, you cannot keep trying to put them back together.

Introducing the ’77 Music Club podcast

Last Halloween, my best friend, Carly Jordan, had an idea: what if we turned all the time we spent analyzing every little thing about albums for fun and turn it into a podcast? Every other week, we’d discuss a different album and share our unconventional love of older music; we’d try to bridge a generation gap; we’d try to carry the torch.

After a few months of questioning if it was an appropriate time to release a music podcast, it’s here. In the coming months you’ll hear us talk about a variety of albums, from Betty Davis to Talking Heads to Big Star. But to start, we kicked off with our favorite (obviously) — this little known nugget from Stevie Nicks and Lindsey Buckingham from their days before Fleetwood Mac — because how could we not? Sneak a peak of each post below and be sure to follow (details below) for more.

77-music-club-buckingham-nicksTwo years before joining Fleetwood Mac, Stevie Nicks and Lindsey Buckingham had no idea what lay ahead of them. They were just two kids who wanted to make great music — and they just happened to be in love.

A cult favorite of Fleetwood Mac fans, this album is curiously still only available on vinyl. While bootlegs of the album can be streamed on YouTube, it has never been (officially) released on cassette, CD, or to streaming services like Spotify. This is perhaps part of the attraction to the album — this is music that doesn’t outright present itself; it must be found.

In this episode, we discuss why we both call this album our favorite of all time, what makes it unique, and why it still takes our breath away hundreds of listens later.

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On 22, A Million, on change

This piece originally appeared on Bed Crumbs.

The first thing I thought when I heard Bon Iver’s new album, 22, A Million, was: “This is their Tusk.”

Twelve hours of listening to it on repeat later, that first impression still sticks. It’s a broad comparison, but, it’s also a very specific one. Both are the third albums from bands that built reputations on very specific genres, then turned everything upside down. (Ed note: of course, Fleetwood Mac had several albums before Tusk, but for the sake of this argument, I’m looking at the discography from the now-iconic Buckingham Nicks era of the band.)

Fleetwood Mac had built a reputation as California soft rock stalwarts; Bon Iver were beacons of the millennial acoustic folk revival. Instead of continuing to comfortably work with the same formula, they both decided to push the boundaries. This isn’t new; this isn’t unique. As Pitchfork noted, plenty of iconic artists, from Bob Dylan to Neil Young, have abandoned their roots to explore new territory. And it’s not the first time Justin Vernon has played with sound, but it’s the first time Bon Iver has gone all-in, 150 percent.

So many artists in the past were reviled for their experimentation; it’s taken us decades to truly appreciate how ahead of their time they were. What’s different now, what excites me, is that we’ve reached a point in pop culture where we don’t reject change. We expect it.

We want our artists to become innovators. We want to see them grow and explore and break new ground, push the status quo. Sometimes it works and sometimes it doesn’t. But when they succeed at trying something new, unconventional, and unexpected, it’s a jolt to your senses. It’s exciting. It reminds you why you love music in the first place.

22, A Million is radically different than Bon Iver’s previous two albums — it’s synth heavy, built upon layers of electronic vocals and distorted samples. But it’s also the same. Dig a little deeper: there’s still a haunting wistfulness, a desire to make sense of this world and what everything means, what life means, in every lyric. “It might be over soon,” Vernon repeats in 22 (OVER S∞∞N).

It might be. Maybe that’s morbid thinking, but the thing is, we just never know. Life is very long and very short at the same time. Life could be over tomorrow or in a month or in several years. But we just don’t know, so why not do all the things we were too scared to try? Why be complacent?

Change is good. Embrace it. Treading water will never get you anywhere.

43 years later, the significance of Buckingham Nicks belies its obscurity

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I was 21 years old when I heard Buckingham Nicks for the first time. I was home from school for a weekend, looking through my father’s vast record collection, when he pulled out an old, faded LP from 1973. The corners were tattered, the inner sleeve torn, but the record itself was in perfect form. “I think you’ll like this one,” he said. “It’s Stevie Nicks and Lindsey Buckingham before they were in Fleetwood Mac.”

Of course, I had known of the album, but it seemed almost like a myth, with its cult-like vinyl-only status. For my father to just hand it over nonchalantly seemed almost too easy, almost unreal. Just holding it in my hands, looking at the cover — a young, beautiful couple not much older than me, with their long, flowing hair and naked bodies the epitome of the free-spirited Laurel Canyon era California I had become obsessed with as a child — I immediately fell in love.

I think my dad maybe had an ulterior motive. I think he knew that I would go down the rabbit hole, as I am prone to do, and devour everything I could about the album and all of the people behind it. I think he knew how badly I needed to hear its story, maybe more than I needed to hear the music.

I was about to graduate college with a journalism degree. I had made four years of sacrifices so I could write as much as possible, and suddenly it all seemed like it was for nothing. I realized I couldn’t afford to take the entry level, $25K salary gigs my peers were scooping up if I wanted to stay in New York. I hated anyone who told me that I was a good writer, that I was a talented, desirable graduate, because in my mind, I had failed.

The more I listened to Buckingham Nicks, and the more I learned about it, the more I felt like I had crawled inside its world. I felt a kindred spirit with them. I felt hope. They were good. And they failed. They made sacrifices and worked and struggled and poured their lives into creating 37 beautiful minutes of music, and in the end, they were dropped like it was nothing. It would be a couple of years until they found success. I needed that album, and I needed its story.

In the preface to his book “Dusty Springfield’s Dusty in Memphis,” Warren Zanes writes:

“Records that last, those special few that refuse dust and return to the player again and again even as the world around them changes, finally become, in some odd way, collaborations between the listener and the listened to. […] The recordings that go beyond that level of correspondence become emblems of more than just one passage in our lives, they become — and I hate to make it all too lofty, but here it can’t be helped — emblems of us, artifacts of self-definition. Such special albums rattle our cages again and again (and sometimes we use them, with limited success, to rattle the cages of others). It’s hard to say why. But that’s what they do.”

That’s what Buckingham Nicks does to me. I still get lost in the building, frenzied guitar solo in “Frozen Love.” I still get sucked into the hypnotic ‘60s slow burn that is “Races Are Run,” and I still find myself falling in love again and again with the simplicity of “Stephanie.” But for me, this album has become about so much more than just the music. It’s stuck with me. It’s rattled my cage.

I turned 25 a few months ago and I’ve spent a lot of time thinking about how I’m now the same age Stevie was when Buckingham Nicks was released. I realized how many times I’ve inadvertently used her timeline as a barometer of my own success. It’s okay that I’m not exactly where I want to be just yet — Stevie didn’t join Fleetwood Mac until she was 27. I have a friend who says 2016 is her 1973. I’m sure we’re not alone in thinking that way. That’s because Buckingham Nicks is an album that has that rare ability to both reflect the time period in which it was made and transcend it.

Because it’s about life — life at a very specific, tumultuous time — and all of the passion and fear and frustration that comes with it. It’s about that feeling that every 22 or 23 or 24-year-old gets and they think that they’re the first to have ever felt it: Like you’re very old and very young at the same time. Like life is both euphoric and terrifying. Like your brain is moving a million miles a minute and everything is happening and there’s so much to do, but you don’t have the time to do it all. Like you just can’t stop thinking about time. Time is of the essence. I’ve got nothing but time, no time for living. There’s too much time. There’s not enough.

It’s about being that age where you realize that everything you’ve been told as a kid — that you are good, that you are talented, that you can do anything you want if you just work hard — might not be true. You get out in the real world and realize you’ve got competition. All of the sudden, life is this giant race and you’re looking around at everyone else trying to do what you’re doing — so many different kinds of people trying to be the same — and you question if you’re good enough, question if you can keep up. Races are run; some people win, some people always have to lose — and you’re praying you’re not the latter.

It’s about making decisions that will affect the rest of your life. Do you always trust your first initial feeling? Special knowledge holds true, bears believing. It’s about the uncertainty of it all, about wanting independence, but wishing for a little bit of guidance once you suddenly get it. It’s about the overwhelming love you have for those rare people you find who stick by your side in the trenches — I turned around, and the water was closing all around me like a glove, like the love that finally found me.

I know this because I am in this period of life right now. It’s a funny feeling — feeling like two icons are your peers. But when I listen to this album, that’s how I feel. We’re just some kids masquerading as grown-ups while we try to figure out how to exactly be grown-ups, as we try to figure out how to be heard in this world, looking at others doing what we want to be doing with a mixture of admiration, envy, determination, and fear.

I wonder if I will forever love this album partly because of that, because it came into my world at such a distinct time in my life that lines up with theirs. I have a feeling that years from now, when I listen to it, I’ll hear memories. I’ll be able to immediately remember this very specific feeling tied to this very specific age that we are right now. I’ll probably find it romantic in hindsight. I’ll probably find it a little bit funny. I’ll probably think “God, was anyone ever so young?” This is where part of me wonders what it’s like to be them right now, what it will be like to look back on the things I’m writing at this age with more than 40 years of perspective.

I’ve said before that a great thing about some music’s ability to transcend time is that part of an artist will forever be preserved as the same age they were in the original recording. But there’s something to be said about the benefit of live performances or re-recordings or re-releases. They allow songs to change and evolve as time goes on (like how the “Landslide” of today has a different meaning and poignancy than the “Landslide” of 1975). They give new life to music, introduce it to new audiences.

That’s not the case with Buckingham Nicks. That may never be the case. Buckingham Nicks likes to talk about Buckingham Nicks, but they never really seem to do anything about Buckingham Nicks. Of the 10 songs, only three* have seen life after 1976, and those performances have been rare. Its elusive vinyl-only status, romantic as it is, is incredibly limiting; it makes it so much harder for people to discover organically. I’ve lost count of the number of times they’ve talked about a re-release only to see nothing materialize.

I wonder if time will forever be frozen on this album, only allowing the songs to live in their original form, forever performed by two 20-somethings. Part of that seems poetic to me, but a lot of it makes me sad. I wonder what will happen once the finite (and relatively small) number of physical copies are gone, what will happen when the few digital bootlegs get slapped with copyright claims and disappear. My father gave me his copy of the record. What will I give my daughter?

I find myself thinking about legacy a lot lately; I’ve been listening to the finale of Hamilton on repeat for a week. Legacy is a key theme of the show, something Alexander Hamilton was obsessed with, something that Lin-Manuel Miranda has made a lot of people reconsider. What is the narrative, and what is our role in it? Who lives, who dies, who tells your story?

I’ve been thinking a lot about how millions of people know who Fleetwood Mac is, how Lindsey Buckingham and Stevie Nicks are household names, yet only a small fraction of those people know about this album. They were a rags-to-riches success story that is so rare these days, one of the last few to really fulfill the American Dream. This album was the beginning. It was the catalyst for everything that was to come. It’s important. It’s more than just a footnote; it’s a story in and of itself that’s so often ignored. Years from now, what will it become of it? I don’t really know. All I know is that it’s a story I care too much about to let die.

*“Stephanie” was included in Lindsey’s last solo tour in 2012. “Don’t Let Me Down Again” was played sans Lindsey on Fleetwood Mac’s 1987 Tango In The Night tour; it popped up once on the 2004 Say You Will tour only to disappear again. “Crystal” was re-recorded by Stevie in 1998.

On Bella Donna, Loyalty, and Trust

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An analysis of Stevie Nicks’s Bella Donna, which was released 35 years ago today.

When most people think of Bella Donna, the debut album from Stevie Nicks as a solo artist, they paint their picture of it with broad brush strokes. The general public may not immediately know the album title, for instance, but they know the cover image, the iconic portrait of Stevie Nicks draped in chiffon with her white winged dove. They might think of the HBO concert special, one of the earliest and most watched specials on the network. They think of the singles it produced — ”Edge of Seventeen,” “Leather And Lace,” “Stop Draggin’ My Heart Around” — the songs you’ll hear the most on the radio, the ones that get scream-sung late at night when people who have had more than a few drinks try their hands at karaoke.

But good singles do not a good album make. Even if every song on the album is near perfection, it still may not be a good album. No, there has to be a relationship between tracks, a red thread from the first song to the last that ties everything together. There has to be a connection of sorts that makes the listener understand what exactly it is they’re feeling, how the puzzle pieces fit together to form the whole picture, even if they may not be cognizant of it.

A good album needs to accomplish the difficult task of having a concept without becoming a concept album. Not many albums can do this. Not even all Stevie Nicks albums do this. But Bella Donna does, and it succeeds in a way that few albums do.

Bella Donna is a trust album. It’s a loyalty album. From its inception to its songs — even the ones that were cut from the final output — to its legacy, the theme never wavers. It’s introspective and highly personal, at times clearly lines pulled from a diary, but it manages to convey feelings universal enough for others to identify with.

It poses questions about loyalty and trust in relationships: What do you do about the possibility that your lover may not be loyal when you’re not there — and why would he want to stray? How do you have faith that he’s telling the truth? Can you trust that someone will stop playing with your emotions? Can you trust yourself to know the difference between what is good in the heat of night and good in the reality of day? How do you ask for someone to be loyal to you without losing your independence, without seeming needy? Could you love me only? Really — could you? (“Kind of Woman,” “Stop Draggin’ My Heart Around,” “How Still My Love,” “Leather And Lace,” “Outside The Rain”)

It makes you think about your own self: Can you stay loyal to who you are, truly, underneath all the things that change, particularly with fame and success? Do you have enough trust in yourself to not quit, to know that things will work out, no matter how hard it may get? Do you have enough trust in other people to relentlessly charge forward, to know that good people are out there, no matter how tragic or terrifying the world may seem? How do you stay loyal to your dreams and aspirations when they may be difficult, when they may be inconvenient for those around you, when you have to make sacrifices to do so?(“Bella Donna,” “Think About It,” “After The Glitter Fades,” “Edge of Seventeen,” “The Highwayman)

The themes of loyalty and trust seep out of the album and touch both its creation and legacy. It was a project pursued for personal reasons, out of a loyalty to herself. Nicks had to do something with the songs she had spent years putting away in storage, the ones she felt obligated to share with the world. She owed it to herself to make her voice heard just a little bit louder. To do so, she had to trust herself. Could she stand alone as an artist, without the support of Fleetwood Mac behind her?

In return, Fleetwood Mac had to invest trust in her. Very few bands see a lead singer pursue a solo project without it hurting the group as a whole. If they’re a breakout star, the band won’t survive — think Linda Ronstadt without the Stone Poneys, Phil Collins and Peter Gabriel without Genesis. If they bomb, it’s a lasting pockmark on the band’s history — see Mick Jagger sans the Rolling Stones or Roger Daltrey without the Who.

There had to be a mutual trust that Nicks would be okay, that the band would survive her wild success or her grand failure, whichever it may be. It wasn’t easy then, and it certainly wasn’t a move any successful band with the rarity of having a girl as one of their leads would make. It rarely works today, even, though Nicks’s anomalous success inspired a new generation to try their hand — look at No Doubt and Gwen Stefani, Rilo Kiley and Jenny Lewis, Destiny’s Child and Beyoncé.

And those who do succeed at finding their own identities outside bands change a little. They have new producers who help them find their new, different sound. Their backup band may change members. Their friends and collaborators may come and go.

But Stevie Nicks is loyal to a fault, and that is the legacy she created 35 years ago. She wasn’t going anywhere. She didn’t go anywhere. Bella Donna hit number one on the Billboard charts. It remained a bestseller for nearly three years. It firmly cemented her artistry and her ability to do things on by herself, with no one there to catch her if she fell. And still, she returned to Fleetwood Mac.

Stevie Nicks is great on her own, but she wasn’t going to turn her back on the people who make her better. She wasn’t going to leave the people who were there by her side when she was still a struggling artist, cleaning houses and waiting tables. Thirty-five years later, and her backup singers are still the same women who harmonized with her when they had no idea if the project would be a success or a bomb. Her band leader is still Waddy Wachtel, the same man who played on the first album she made with Lindsey Buckingham 43 years ago. She still sacrifices vacations and more solo projects and family to work with Fleetwood Mac. Thirty-five years later, and everything has changed, but everything still remains the same.

Songs, money, success — all that comes and goes. Loyalty and trust — those endure. And that’s what makes Bella Donna a great album: it’s more than the music. It’s the overall tone it sets between the lines and long after it stops playing.

Why Stevie?

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This piece originally appeared on Bed Crumbs.

I’ve lost track of how much I’ve written about Stevie Nicks.

I’ve written so much about Stevie Nicks for about 600 different reasons, but until I run out of words to say, I can’t stop. It’s funny — they say write about what you know about, and for years I couldn’t stop wondering, “But what is it that I know?” I spent so much time as a writer searching for my beat, writing about things I wasn’t really suited for, things I didn’t really care about, when the whole time, what I needed to write about was right in front of my face.

The direction my writing has taken, the way it has grown, is really all because of Stevie Nicks. It was an accident. I had been thinking about Stevie. This little thought kept running through my head — maybe some women are mothers without children — to the point where I had to spill my feelings into my journal. I still couldn’t stop thinking. So I did what a lot of writers do — I shared my feelings with the world. I hadn’t really written anything like it before. I didn’t think it would be the first of many pieces like it. I didn’t think it was all that special.

What happened was magical, as most things associated with Stevie are. I expected nothing, I gained everything: new friends, new experiences, and most of all, a realization that a lot of people wanted to read about inspirational women — and not in a sappy, Reader’s Digest way, but in my real-talk millennial way — and I wanted to write about them. It was just the beginning.

I was sitting on a fire escape with a new friend a few weeks ago. It was late; we had a couple of drinks. When that time of the night rolls around, people become more honest, more vulnerable, less afraid. The conversation turned to Stevie Nicks. Somehow, it inevitably always does, whether with old friends or with new acquaintances just getting to know just how deep my admiration and love runs.

Why Stevie? What about Stevie Nicks makes her so special? they wanted to know. It was a good question. One I had a million different answers for, none of them simple. I couldn’t find an answer then; I’m still trying to find one now.

Why Stevie? Because she gives me a kindred spirit feeling, not just in our shared strengths, but our shared weaknesses. We’re two Taurus-Gemini cusps, if you believe in that sort of thing. We’re sensitive and ambitious with a tendency to burn the candle at both ends. We’re a little obsessive. We’re independent, sometimes maybe a little too much.

Why Stevie? Because my identity as a writer makes up so much of who I am as a person, and her writing never ceases to fascinate me. It’s a nerdy love, the young writer studying the mature master, in awe of the little things, the way one word can make a world of difference in a sentence, the repetition across different works. It pushes me to be better, to pause every so often as I write and put a hand to my heart, feel it beating, and question if I’m being truthful, if I’m saying what I really want to say.

Why Stevie? Because Stevie is magical. She just is. There is no one else like her. She’s the fairy godmother I’ve never met, something I’ve found to be true for many other girls. It’s felt in the way I feel the energy of the city change when she’s in town. It’s the way the “Wild Heart” dressing room video reminds me of how someone can be magnetic even when they’re not “on.” It’s the way “Crystal” is a fail-proof lullaby on the most sleepless nights. It’s the way“Gypsy” always comes on in any Whole Foods or restaurant or Juice Press I walk into after a long day at work, exhausted, full of questions. It’s the way her music holds my hand when I need it, encourages just as many tears as it dries, and pushes me to be braver.

Why Stevie? Because Stevie inspires me to be my biggest, boldest self. In her famous “We Should All Be Feminists” TED Talk, Chimamanda Ngozi Adichie states how society teaches girls “to shrink themselves, to make themselves smaller.” Stevie has been rejecting this notion for decades. Pile on the chiffon, make those winged sleeves a little longer, add a top hat for height. Put a girl just over 5 feet tall and 100 pounds on a stage with four other people — three of them men — and she might be inclined to embrace her smallness, embrace the ability to blend in. But not Stevie. Never Stevie. Stevie reminds all of us that we deserve to take up space. We deserve to command attention.

Why Stevie? Because Stevie has the remarkable ability to be so fragile and vulnerable and sensitive, and yet so goddamn strong, stronger than she should be. She’s someone you feel the need to protect at all costs, but she’s also the first person you’d want to go to battle for you.

Does Stevie contradict herself? Very well, then, Stevie contradicts herself. She is large. She contains multitudes. She is the mysterious, hypnotic Rhiannon. She’s been sad Mabel Normand. She is Juliet, the queen without a king. She is the most genuine and authentic person I know, and I don’t even know her. That doesn’t really matter, because she’s taught — and is continuing to teach — me how to know myself.

Just a handful of the things I’ve learned: be yourself, whoever that may be, and own it. Have no chill — love unabashedly. Be proud of who you are and what you do, and show it off. Don’t let fear get in your way. Take chances. Get hurt and find art in the pain. Get back up again. Don’t let your heart harden. Stay vulnerable and naive. Be there for others the way she’s there for you. Be fiercely loyal. Stand up for yourself. Be okay with being uncool. Don’t let mistakes and flaws define you; do not let them make you feel unloveable.

Why Stevie? Because whenever I feel like I’m flailing, I remember that Stevie Nicks wasn’t built in a day. Stephanie Nicks wasn’t always Stevie Nicks, and even when she was, there was a time when being Stevie Nicks was decidedlyuncool. Her aesthetic may now be in style, her voice may now be deemed iconic, her writing may now be deemed prolific, but a long time ago, none of that was true. But she never let that stop her.

Why Stevie? Because Stevie refuses to be embarrassed. She refuses to change. She refuses to be jaded. She’s never reinvented herself or pandered to increasingly younger audiences to stay relevant. She stands resolute in her all-black gypsy queen ensemble. She proudly continues to write about love and life and gothic fairy tales through the romantic, optimistic lens of someone who has been through a lot less than her. For 68 years, she has been herself, 100 percent, unapologetically so.

Why Stevie? Because she represents so much of the kind of woman I want to become.

Happy Birthday, dear lady hero. Thank you barely begins to cover it, but still. Thank you for everything. Here’s to another year of inspiration.