“What if I don’t/ Let them know that I don’t know/ Because I don’t/ Even know anything,” Gish murmurs as the ditty nears its conclusion. These flights of fancy are interspersed with sharp, relatable moments of insight. The song continues along these lines there’s a joke about mispronouncing “Protestant” as “pro-TEST-ant” (“it’s not a word, let alone a church that you could send donations to”) and stanzas packed with wordplay. “Greek goddesses aren’t what you grab when leaving home.” “I’ve called Persephone by the name ‘purse-a-phone,’ ” Gish croons over a crude drum loop and sing-songy chords. Instead, the story’s unfortunate heroine is invoked as a signifier of knowledge, a word encountered in a college textbook only to be tripped over later in conversation. “Persephone” doesn’t actually have much to do with the myth from which it draws its name. Or, as Gish succinctly puts it in her song, “six pomegranate seeds, winter in Greece.” According to the Greeks, that’s how we ended up with seasons. In the myth, Persephone’s mother, Demeter, the goddess of the harvest, is so distraught by her daughter’s disappearance that she stops nurturing the earth’s crops, and they die.
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One of Sidney Gish’s most popular songs is a softly yearning number called “Persephone.” Yes, that Persephone - princess of the underworld, daughter of Zeus, abduction victim and child bride, who is forced to live half the year in Hades’ realm after she nibbles on fruit from the land of the dead, which in Greek mythology is like signing a marriage license in hell. This story is the first in The ARTery’s ongoing Sound On series highlighting rising local musicians. (Courtesy Xinyuan Chen) This article is more than 5 years old.
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