[Photo Credit: Danny Clinch]
From Whitney Balliett’s book American Musicians: Fifty-Six Portraits in Jazz:
The Cape Cod pianist Marie Marcus came to New York from Boston to do a radio show in 1932, when she was eighteen. Her experience had been limited to Boston radio shows and to playing for a week at a Chinese restaurant called the Mahjong. “Tillie’s Kitchen, in Harlem, was a fried-chicken place,” she has said, “and Bob Howard, who sounded just like Fats Waller, was on piano. We went up there quite often, and one night Fats himself came in. I remember the whole room lighted up. He played, and then listened, and when I’d finished, he pointed to his heart, and said, ‘For a white gal, you sure got it there.’ We got to talking, and I told him that I would like to further my education in jazz, and did he know a good teacher? He looked at me and said, ‘How about me?’ I thought he was putting me on, but he wasn’t. He had a small office, with two pianos, in the Brill Building, at 1619 Broadway, and during the next year or so, when he wasn’t on the road or making records, he’d call me up and say, ‘Come on down and let’s play some paino.’ You couldn’t exactly call them lessons. We’d play duets, and then he’d play, and have me listen carefully to the things he did. He was very serious when we were working together, and I was grateful for every minute. He’d tell me, ‘When you’re playing jazz, remember the rhythm, remember the rhythm. Make the number of notes count. Tell a story, and get that feeling across to the people. Please the people by making it come from here.”
[Photo Credit: Time Life Pictures/Getty]
At his best Elvis not only embodies but personalizes so much of what is good about this place: a delight in sex that is sometimes simple, sometimes complex, but always open; a love of roots and a respect for the past; a rejection of the past and a demand for novelty; the kind of racial harmony that for Elvis, a white man, means a profound affinity with the most subtle nuances of black culture combined with an equally profound understanding of his own whiteness; a burning desire to get rich, and to have fun; a natural affection for big cars, flashy clothes, for the symbols of status that give pleasure both as symbols, and on their own terms. Elvis has long since become one of those symbols himself.
Elvis has survived the contradictions of his career, perhaps because there is so much room and so much mystery in Herman Melville’s most telling comment on this country: “The Declaration of Independence makes a difference.” Elvis takes his strength from the liberating arrogance, pride, and the claim to be unique that grow out of a rich and commonplace understanding of what “democracy” and “equality” are all about: No man is better than I am. He takes his strength as well from the humility, the piety, and the open, self-effacing good humor that spring from the same source: I am better than no man. And so Elvis Presley’s career defines success in a democracy that can perhaps recognize itself best in its popular culture: no limits, success so grand and complete it is nearly impossible for him to perceive anything more worth striving for. But there is a horror to this utopia—and one might think that the great moments Elvis still finds are his refusal of all that he can have without struggling. Elvis proves then that the myth of supremacy for which his audience will settle cannot contain him; he is, these moments show, far greater than that.
So perhaps that old rhythm of the Sun records does play itself out, even now. Along with Robert Johnson, Elvis is the grandest figure in the story I have tried to tell, because he has gone to the greatest extremes: he has given us an America that is dead, and an unmatched version of an America that is full of life.
Here’s a fun one for you–Robert Ward on Redneck Rock circa 1976 for New Times Magazine:
The bus floated through the Nashville streets and stopped at the James Thompson Motor Inn. I got out and walked with Tommy (the Outlaw) and Coe’s old friend, Bobby.
“It’s on the fourth floor.”
We climbed the steps and walked down a long motel corridor. Looking over, I noticed it was a good 75 feet to the parking lot. At the door, Tommy waited for me.
“Come on in, writer.”
I felt frightened by his tone—soft, but mocking. I had assumed that there would be women, other musicians, and whiskey. But there was none of that. Instead, there were Outlaws, about 15 of them, sprawled around the room. I looked at their eyes, which were all trained right on my own. In the exact center of the group, like some ancient fertility god, David Allan Coe sprawled on a bed. On his lap was an ugly, trashed-out looking woman, who was laughing insanely.
Behind me the door snapped shut. “This here is the writer,” someone said in a steel-wire voice.
Everyone was totally silent.
“The writer who wrote that shit about David Allan not being an outlaw!” someone else said.
I felt my breath leaving me and tried to laugh it off. “Hey, c’mon, you guys. I didn’t write that stuff.”
A short, squat, powerful man, the same Outlaw I’d seen screaming at the Exit Inn, came toward me. “You wrote that shit, did you?”
He reached in his back pocket and pulled out a five-inch hunting knife.
“Hey, wait now,” I said.
[Photo Credit: George Tice, 1974]
Okay, so this is from the movie, but how you gonna complain about Cyd Charisse? Still, check out Terry Teachout’s review of The Library Of America’s 2-volume tribute to the golden age of the American musical:
What is America’s greatest contribution to the arts? Time was when many, perhaps most, people would have pointed to the Broadway musical as the likeliest candidate for admission to the pantheon. Theatergoers around the world have long rejoiced in the delights of the genre, including some whom one might well have thought too snobbish to admit its excellence. (Evelyn Waugh, who had next to no use for anything made in America, saw the London production of Cole Porter’s Kiss Me, Kate a half-dozen times, pronouncing it, according to one biographer, “ingenious and admirable.”) But big-budget musical comedy has been in increasingly steep decline since the 1970s, and 10 long years have gone by since The 25th Annual Putnam County Spelling Bee, the last homegrown musical to be wholeheartedly embraced by audiences and critics alike, made it to Broadway.
…That’s what makes the publication of American Musicals so timely. These two volumes contain the unabridged scripts of 16 “classic” shows written between 1927 and 1969, the period now usually regarded as the “golden age” of the Broadway musical. The table of contents is itself a capsule history of the genre at its peak: Show Boat (1927), As Thousands Cheer (1933), Pal Joey (1940), Oklahoma! (1943), On the Town (1944), Finian’s Rainbow (1947), Kiss Me, Kate (1948), South Pacific (1949), Guys and Dolls (1950), The Pajama Game (1954), My Fair Lady (1956), Gypsy (1959), A Funny Thing Happened on the Way to the Forum (1962), Fiddler on the Roof (1964), Cabaret (1966), and 1776 (1969). Unlike their successors, these shows have retained their popularity. Twelve have returned to Broadway in the past decade, and two are playing there as I write. If there is a core musical-comedy repertory, this is it.
His own life offers a different take on the usual retelling of hip-hop’s origins. He did not grow up going to DJ Kool Herc’s fabled parties at 1520 Sedgwick Avenue, or grooving to Afrika Bambaataa’s turntable wizardry at the Bronx River Houses. He found his style on Fordham Road, a fitting place for a high school art student who was into fashion.
“They had stores with all the clothes, the sneakers, the jewelry,” he said. “It was a good place to go and talk to girls. The whole pace was electric, and where there is electricity, there’s fun. And where there’s fun, that’s where kids want to be.”
In a way, Mr. Walters said, all the neighborhoods were the same: places where young people entranced by an emerging culture took their shots at fame. Some with cans of spray paint wound up in galleries. Others with dazzling footwork danced on the world’s stages. As for the young Mr. Walters, he became a storyteller, with hits like “Children’s Story” and “The Show” with Doug E. Fresh.
“Ricky thinks of himself as a storyteller and that’s apt,” said Bill Adler, a former executive at Def Jam Records, which released his recordings. “It was pioneering because he was so writerly, I call it rap lit. Ricky was conscious early on about the possibilities of rap.”
Knock ‘em out the box, Rick.
The Orbison family moved to Wink in 1946, when Roy was ten years old, so his father, Orbie Lee, could find work in the oil fields. Though he did eventually get hired on as a rigger, the Orbisons were late to the oil boom party: Wink’s population peaked at around 6,000 in 1929; seventeen years later, when the Orbisons settled in, most of the wells had dried up and the town had shrunk to about 1,500 residents. “It was macho guys working in the oil field, and football, and oil and grease and sand and being a stud and being cool,” Orbison said later. “It was tough as could be, but no illusions, you know? No mysteries in Wink.”
Orbison wasn’t popular; later he said he felt “totally anonymous, even at home.” He started wearing glasses at age four. When he tried out for the Wink Kittens, the junior high version of the Wink Wildcats high school football team, the helmets didn’t have face guards, and his glasses kept falling off. He didn’t make the team.
Growing up is a lonely enterprise, even more so in a town that’s past its prime. Once he made his money, Orbison left for Tennessee, then Malibu. He wasn’t one to rhapsodize about his childhood very often, but once I visited his hometown, I couldn’t help but hear a telltale hint of Wink every time I listened to his songs: that sense of missing out, of having been passed by. An absence, a longing, a loneliness.
Brian Jones is to the Rolling Stones what Leon Trotsky was to the Russian Revolution: organizer, ideologist and victim of a power struggle. Jones founded the group, gave it its name and recruited the schoolboys Mick Jagger and Keith Richards, who then marginalized him, eventually expelling him from the band. Since his death in 1969, a month after he was forced out, Jones has largely been airbrushed from the group’s history.
Paul Trynka’s biography “Brian Jones: The Making of the Rolling Stones” challenges the standard version of events, focused on Mr. Jagger and Mr. Richards, in favor of something far more nuanced. Though Mr. Trynka sometimes overstates Jones’s long-term cultural impact, his is revisionist history of the best kind — scrupulously researched and cogently argued — and should be unfailingly interesting to any Stones fan.
Specifically, “Brian Jones” seems designed as a corrective to “Life,” Keith Richards’s 2010 memoir. Mr. Trynka, the author of biographies of David Bowie and Iggy Pop, and a former editor of the British music magazines Mojo and Guitar, has interviewed Mr. Richards several times over the years and obviously likes him, but also considers his memory of events highly unreliable.
[Photo Via: The Groovy Guru]
Few months ago I met a guy on the bus in the Bronx and we started chatting about photography. Turns out the guy–Gene Shaw–is a photographer and a mighty accomplished one at that (check out some of the movies he’s work on). He’s also a charming, approachable and engaging dude.
Shaw’s been taking Eric Clapton’s picture for more than 30 years and now has a book documenting that relationship–Journeyman: Eric Clapton–A Photographic Narrative.
Worth thinking about for your holiday shopping list.
Q: Let’s start with the shop. It was your father’s shop, but it wasn’t a record store until you got involved in it, right?
MG: … My father’s store was on Third Avenue between 41st and 42nd streets at that time. He had a radio and electrical store, a supply shop. Originally he was a hardware man, and when electrical stuff came in, he took that in. Then at the end of World War I, my Uncle Sid, my mother’s younger brother, talked him into putting in radio parts and stuff like that, and they opened their radio department.
Later, a store became available between Lex and Third Avenue on the downtown side of the street, at 144 East 42nd Street, a little nine-foot store. Sid talked my dad into opening a radio shop exclusively on 42nd Street, to be nearer to Grand Central and get the flow of traffic when people walked to the Third and Second Avenue El. They had elevated trains in those years, although the Lexington Avenue was below ground.
Radio was coming in by ’26 and ’27, especially ham radios. Everybody built their own sets in those years. You bought kits, or you bought parts. You got these radio magazines and learned how to put together a crystal set or a one-tube set. And we sold batteries and aerial wire and all that kind of stuff.
I, of course, went with Sid to the 42nd Street store, and would wait on customers. Acetone speakers came out . . . Cone speakers were invented in those years, where you would get, like a wooden frame and you would stretch airplane cloth that they used on the wings of the airplanes in 1918, like the Wright Brothers and all. You stretched it over this square frame. They had magnetic coil and stuff with a stylus coming out of it, and a gimmick for putting the hole in the cloth, and then tightening on with a thumb screw, and pulling it back. Then you bought this stuff that kids used to sniff later, the glue, and you poured it on the cloth and it would shrink and become taut, and you would have a cone. Now they’re made out of paper, but then you did it with this airplane cloth. And we sold all those kits and everything. It had a better sound the little magnetic thing, like a more sensitive earphone in your telephone. Those were the first loudspeakers with a cone on them, a cone diaphragm.