Steal This Blog

Some may remember puppeteer Shari Lewis’s children’s show, Lamb Chop’s Play-Along, that aired on PBS from 1992-97. At the end of the show, Charlie Horse, Lamb Chop and the other puppets would start singing “The Song That Never Ends,” a recursive (“loopy”) and self-referential song consisting of a single verse that repeats over and over. The lyrics are as follows (although individual flourishes are allowed):

This is the song that doesn’t end,

Yes, it goes on and on, my friend.

Some people started singing it, not knowing what it was,

And they’ll continue singing it forever just because . . . [repeat]

In art and literature, self-referentiality is sometimes referred to as self-reflexivity, occurring when the artist or writer refers to the work in the context of the work itself – as does “The Song That Never Ends.” There are many children's songs that privilege recursivity and self-reflexivity, but there are also many great examples of self-reflexive pop songs as well. Perhaps the most well known of these songs is Carly Simon’s “You’re So Vain,” in which she sings, “You probably think this song is about you.” Another is Steely Dan’s “Deacon Blues,” when Donald Fagen sings, “I cried when I wrote this song/Sue me if I play too long.” My favorite illustration, though, is probably Neil Young’s “Borrowed Tune,” from Tonight’s the Night:

I’m singing this borrowed tune

I took from the Rolling Stones

Alone in this empty room

Too wasted to write my own

In the 60s self-reflexivity was often employed as a form of culture jamming, the act of defamiliarizing signs and slogans in order to disrupt habitual, or largely uncritical, patterns of perception and consumption. A famous example of culture jamming from the era is Abbie Hoffman’s Steal This Book, published in 1971 (pictured), which, ironically, sold extremely well, primarily because much of the book offered advice on how to survive with little or no money. There have been entire albums created based on the principle of culture jamming; one of the most singular is The Residents’ The Third Reich 'N' Roll (1976), consisting of defamiliarized versions of Top 40 radio hits of the 1960s. Not all self-reflexive pop songs have such a radical agenda, of course, but all have the effect of disrupting the usual, that is, habitual, patterns of communication.

A Self-Reflexive Play List:
Edward Bear – Last Song
Elton John – Your Song
David Allan Coe – You Never Even Called Me By My Name
Arlo Guthrie – Alice’s Restaurant
Pink Floyd – Mother
Public Image Ltd. – This Is Not A Love Song
Carly Simon – You’re So Vain
Steely Dan – Deacon Blues
James Taylor – Fire and Rain
The Who – Gettin’ In Tune
“Weird Al” Yankovic – Smells Like Nirvana
Neil Young – Borrowed Tune

Pop Guns

On 17 April 1983—twenty-seven years ago today—Felix Pappalardi was shot and killed by his wife, Gail Collins Pappalardi. Charged with second-degree murder, she claimed the shooting of her husband was an accident. Although Pappalardi is perhaps not well remembered today, in the late 60s he produced three of Cream’s four studio albums, and later founded the band Mountain with guitarist Leslie West (“Mississippi Queen”). While reminding us of the ubiquity of the gun in American culture, the domestic context of Pappalardi’s death should also remind us of the story of Cain and Abel. As Michael Jarrett has observed, when popular musicians “recast the Cain-and-Abel story as public spectacle, they also confirm the pleasures of sublimated violence in their music” (Sound Tracks: A Musical ABC 136). In all of the following songs, the violence is pretty close to the surface, allowing the singer to verbalize or own up to a murderous intent or action.

Blame It On Cain:
Aerosmith – Janie’s Got A Gun
Black Velvet Flag – I Shot JFK
Johnny Cash – Folsom Prison Blues
Steve Earle – The Devil’s Right Hand
Bobby Fuller Four – I Fought The Law
Pat Hare – I’m Gonna Murder My Baby
The Jimi Hendrix Experience – Hey Joe
The Kingston Trio – Tom Dooley
The Louvin Brothers – Knoxville Girl
Nas – I Gave You Power
Gene Pitney – The Man Who Shot Liberty Valance
Kenny Rogers and The First Edition – Ruby, Don’t Take Your Love To Town
The Rolling Stones – Midnight Rambler
Bruce Springsteen – Nebraska
The Wailers – I Shot the Sheriff
Hank Williams, Jr. – I’ve Got Rights
Neil Young – Down by the River

Wind and Wuthering

In pre-literate, oral civilizations, people experienced their thoughts not as coming from within themselves, but from outside, as Spirit. A thought seemed to come from the gods, or a tree, or a bird, that is, from the outside. Literacy, however, transformed the nature of the subject. To the literate mind, the experience of Self is the experience of interiority: Spirit resides within, as Psyche. In literate experience, therefore, thought originates from inside. Of course, as a consequence of literacy, there was a huge reduction in our relationship with Nature, but for the Romantics, we also won a kind of liberty, the virtue of self-reflection that came with being a discrete self. In order to renew their relationship with Nature, Coleridge and the other Romantics sought to recreate the experience of orality, conveyed by the image of the Aeolian harp, a common household instrument before and during the Romantic Era. (By way of analogy, think of the wind chime.) Just as the harp depends upon the wind for its sound, so, too, does the (passive) poet depend upon the wind for poetic inspiration, as expressed, for instance, in Shelley's “Ode to the West Wind.” Having become strongly associated with the activity of the creative mind, Ralph Waldo Emerson also used the Aeolian harp as a metaphor for the mind of the (Romantic) poet.

Through the principle of contiguity (metonymy), a thing can be referred to not by its name but by the name of something associated with it. I can say, “Let’s stand in the shade,” but I may be actually saying, “Let’s stand under the leafy branches of that tree over there.” Wind and sand have come to be associated in such a manner, represented by the image of the sand dune, sculpted by the wind. Because wind and sand are interchangeable, and sand is a conventional image for Time (think: hourglass), a phrase such as “dust in the wind” actually refers to power of Time to erase everything one knows, including the trace of one’s own existence. Wind is a constant reminder of one’s mortality. The figurative phrase, “wind of change,” thus names the ineluctable activity of Time. Hence when Jimi Hendrix sings of the wind in his meditation on fame and mortality, “The Wind Cries Mary,” he’s actually reflecting on his own historical significance:

Will the wind ever remember

The names it has blown in the past,

And with this crutch, its old age and its wisdom

It whispers, “No, this will be the last.”

Substitute “my name” for “the names it has blown in the past,” and the point seems clear enough. For a recent song that attempts to reestablish the link between wind and Spirit, listen to “Colors of the Wind,” from the Pocahontas soundtrack.

Songs Of The Wind, Hot And Cold:

John Anderson – Seminole Wind
The Association – Windy
The Byrds – Hickory Wind
Bob Dylan – Blowin’ in the Wind
Patsy Cline – Wayward Wind
Julee Cruise – Slow Hot Wind
Donovan – Catch the Wind
Elton John – Candle in the Wind
England Dan & John Ford Coley – I’d Really Love to See You Tonight
Jethro Tull – Cold Wind to Valhalla
Jimi Hendrix – The Wind Cries Mary
Kansas – Dust in the Wind
Judy Kuhn – Colors of the Wind (Pocahontas Original Soundtrack)
Bob Seger & The Silver Bullet Band – Against the Wind
Frank Sinatra – Summer Wind
Traffic – Walking in the Wind

Punk Muse

I came across an interesting comment by Nick Tosches in Gene Gregorits’ fine book, Midnight Mavericks: Reports From the Underground (FAB Press, 2007), which I began reading today. During an interview, Gregorits asked Tosches if he were “the first to coin the term ‘punk rock’?” Tosches replied:

Maybe I did coin that term, or at least the “punk” part of it, without knowing it. I don’t know. I wrote a long piece called “The Punk Muse” for a rag called Fusion in 1970. The title referred to the spirit of rock ‘n’ roll in general, not to what later become known as punk rock. (318)

So what does Tosches mean, exactly, by the “punk” spirit of rock ‘n’ roll? Perhaps the answer can be found in Tosches’ own Country: The Twisted Roots of Rock ‘n’ Roll. He writes:

There was an affinity between rockabilly and black music of the 1940s and ‘50s, as there had been an affinity between Western swing and black music of the 1920s and ‘30s. But it was not, really, more than an affinity. Of the sixteen known titles Elvis recorded as a Sun artist, five were derived from R&B records…. What made rockabilly such a drastically new music was its spirit [my emphasis], a thing that bordered on mania. Elvis’s ‘Good Rockin’ Tonight’ was not merely a party song, but an invitation to a holocaust…. Rockabilly was the face of Dionysus, full of febrile sexuality and senselessness; it flushed the skin of new housewives and made pink teenage boys reinvent themselves as flaming creatures. (58-59).

So what is the “spirit” of rock ‘n’ roll? Primitivism, at least according to Tosches. Remarkably, his claims were echoed by the late punk rock manager Malcolm McLaren in an interview published some years ago, in the magazine Rock, in August 1983. McLaren said, “Rock ‘n’ roll is pagan and primitive, and very jungle, and that’s how it should be! The moment it stops being those things, it’s dead: the true meaning of rock is sex, subversion and style” (60). McLaren’s claim that rock is “very jungle” seems like a virtually paraphrase of Tosches’ observation about rockabilly and black music having “an affinity.” In other words, the spirit of rock ‘n’ roll resides in its affinity to “jungle” music, that is, its “primitive” roots.

Thus the academic discourse on rock often resembles the early academic discourse on jazz. Belgian critic Robert Goffin, in his early work on American jazz, titled Jazz: From the Congo to the Metropolitan (1944), said of Louis Armstrong, for instance, “[he] is a full-blooded Negro. He brought the directness and spontaneity of his race to jazz music” (167). Goffin was the first to formulate the stereotype which lingers with jazz even now, the stereotype, according to Ted Gioia, “which views jazz as a music charged with emotion but largely devoid of intellectual content, and which sees the jazz musician as the inarticulate and unsophisticated practitioner of an art which he himself scarcely understands” (The Imperfect Art, 30-31). Gioia calls this “the primitivist myth,” a stereotype that rests upon a belief in the primitive’s unreflective and instinctive relationship with his art. Lest one think the primitivist myth is exclusively European, I should point out that the association of jazz and primitivism was uncritically accepted by American jazz critics once the works of the first European critics reached American shores. Few insightful works were written by Americans in the early years of jazz, primarily because it was generally perceived—as was rock ‘n’ roll during the early stage of its popularization by Elvis—as both passing fad and as the musical form of a “decadent” race.

7 And 7 Is

Long before the rise of Christianity, the cycle of the moon was associated with fertility and goddess worship. Our word moon is a remote cognate of the Latin mensis, for month. Mensis is also the root of the word menstrual, as in the female menstrual cycle. The four quarters of the moon (first, new, third, and full) each consist of seven days, the number seven in the book of Genesis representing the process of creation. Significantly, the seven-sided shape is the only one that cannot be constructed out of a mother circle, and hence is considered the “virgin” number because it can never be “born” as other shapes. Nature refuses to employ the physical structure of seven because it is inefficient, in contrast to the hexagon, a very efficient structure found, for instance, in honeycombs, snowflakes, and in human-made objects such as faucet handles and buckyballs. There are seven colors in a rainbow, Seven Wonders of the World, and the Pleiades were the seven daughters of Atlas. There are seven continents and seven seas, the diatonic musical scale has seven tones, and in many world religions seven is a holy number. In Roman mythology, Diana was known as the virgin goddess, looking after virgins and women, and in some accounts, perhaps not surprisingly, she is the goddess of the moon. Interestingly, in the ancient world the Temple of Diana was long known by its reputation as one of the Seven Wonders of the World. In Shakespeare’s Romeo and Juliet, the beautiful Rosaline is sworn to chastity, and is said to have “Dian’s wit.” When Romeo says, famously, “It is the East, and Juliet is the sun. Arise fair sun, and kill the envious moon,” he’s praising Juliet’s decision to spend the night with him and hence surrender her virginity, while also condemning Rosaline’s decision to remain chaste. Unlike Diana, the goddess Venus, the Roman equivalent of the Greek goddess Aphrodite, was associated with love and fertility, and was widely worshiped in Roman religious festivals. Christianity supposedly suppressed Venus worship, although she remains a durable goddess in our popular music.

A Few Venusian Anthems, And Other Goddess Worship:
Frankie Avalon – Venus
Ash - Aphrodite
Jimmy Clanton – Venus In Blue Jeans
Cream – Tales of Brave Ulysses
Miles Davis – Venus de Milo
Fleetwood Mac – Rhiannon
Mike Oldfield – Hymn To Diana
The Shocking Blue – Venus
The Velvet Underground & Nico – Venus In Furs
Wings – Venus And Mars

Cords Of Fame

It was on this day in April in 1976, thirty-four years ago today, that musician Phil Ochs committed suicide. Although Ochs is generally known as a folk-protest, singer-songwriter strongly associated with the civil rights and anti-war movements of the 60s, his career actually consisted of two stages: his early, folk-topical material on Elektra, and his later, more personal material on A&M. I prefer his later, rock-oriented albums on A&M, such as Tape From California (1968) and Rehearsals For Retirement (1969); the latter album is, in my view, the best album he ever made. However, perhaps the best introduction to his work for the uninitiated is the now OOP three-disc box set Farewells & Fantasies (Rhino, 1997), a comprehensive career retrospective, that also happened to be nominated for a 1998 Grammy Award for Best Album Notes, comprised of contributions by Michael Ventura, Mark Kemp, his daughter Meegan Ochs, and Ben Edmonds.

For many years I’ve held Phil Ochs in sentimental regard, perhaps because he died so young, at age 35. His short, troubled life has been the subject of two biographies, both of which painfully recount the decline of Ochs’s mental condition in the 1970s, including his career-ruining alcoholism. So far as I know there’s never been published a formal professional opinion regarding the nature of Ochs’s mental illness; neither biographer indicates that Ochs ever sought psychiatric care nor help for his alcoholism. Marc Eliot, in the updated and expanded edition of his biography Death of a Rebel: A Biography of Phil Ochs (Franklin Watts, 1989; orig. pub. 1979) mentions Ochs’s “manic depression,” while Michael Schumacher, in There But For Fortune: The Life of Phil Ochs (Hyperion, 1996), simply refers to his recurring depressions. Surprisingly, there’s much about Ochs’s life that remains unknown. For instance, it wasn’t until the publication of David Cohen’s Phil Ochs: A Bio-Bibliography (Greenwood Press, 1999) that anyone knew Ochs had anonymously recorded the LP Camp Favorites (Cameo, 1962 or 1963), an album rather obviously consisting of traditional campfire songs. Apparently no one in Ochs’s family had ever seen a copy. In addition, there are certain events, accepted as fact, that frankly are poorly documented.

As an example of an event in Ochs’ life generally accepted as fact, but which begs credibility, consider the alleged strangling and robbery incident that took place in the city of Dar es Salaam in Tanzania in late 1973. As the story goes, Ochs was walking along the beach—alone—when he was attacked, strangled, and robbed. Both biographers dramatically recount the event, as follows:

Eliot: In September, Phil decided to take a trip to Africa. . . . He set up several concerts in African cities to coincide with a month long safari he planned to take. . . . The first evening he was in Tanzania, he took a long walk, alone, on the beach at Dar es Salaam, as the ocean glowed a gelatinous white. Suddenly, without provocation, he was jumped from behind by three black men. One held him around the neck, while the other two went through his pickets. Phil tried to scream as the arm tightened around his neck, rupturing the vocal cords. He couldn’t breathe, he tore frantically at the steel-like arm with his hands. His knees began to buckle, he felt himself starting to fall, blacking out on the way down. The men beat him savagely before taking off with his cash, leaving him sprawled on the beach. They found him early the next morning and rushed him to the hospital. His wounds were mostly superficial, except for his throat. The upper register was gone. He had no high notes. (221)

Schumacher: In late September, Phil flew to Africa for what he hoped would be a two-month period of restful travel and relaxation. . . . Dar-es-Salaam proved to be his undoing. One evening, while walking alone on the beach, he was attacked by three men, who jumped him from behind, strangling him and beating him to unconsciousness before robbing him and leaving him for dead. He was found early the next morning, still unconscious, and was taken to a nearby hospital. His vocal chords [sic] had been ruptured while he was being choked, and to Phil’s horror, he could no longer sing the upper three or four notes in his vocal range. . . . Phil stayed in the hospital for several days, during which he replayed the mugging over and over in his head. (279-80).

There are, of course, differences in the dramatic accents in each account. While both writers aver robbery as the motive for the assault, for Eliot, it was the first evening in Dar es Salaam; for Schumacher, it was “one evening.” Eliot indicates the attackers were black men; Schumacher doesn’t say. More significantly, Schumacher indicates Ochs was left for dead, while Eliot avers the wounds “were mostly superficial, except for his throat.” Nonetheless, while the wounds “were mostly superficial,” both biographers indicate he spent the night unconscious on the beach, because he wasn’t found (by whom?) until the next morning. These accounts raise some puzzling questions. Were the three attackers indeed black men? For if he were jumped from behind, as both biographers claim, how did he know the muggers were black, according to Eliot? And if he were beaten so severely by the attackers, so badly that he remained unconscious on the beach the entire night, why does Eliot aver the wounds were “mostly superficial”? Eliot indicates a “steel-like arm” was wrapped tightly around Ochs’ neck, while Schumacher doesn’t mention the powerful arm, just that he was strangled and choked. If Ochs’ vocal cords were indeed damaged, that would suggest the act of strangulation, in which case Ochs very likely would have known the racial identity of his assailant.

Frankly, the entire episode begs credibility. Although Schumacher refers on several occasions to a diary Ochs began keeping in the early 70s, he makes no reference to this diary during his recounting of the attack in Dar es Salaam. Since Ochs purportedly was alone at the time of the attack, on what basis do the biographers take the event as credible? When did the story originate? A clue is provided by Marc Eliot, who at least provides an actual quotation. Apparently Ochs was committed to a concert in Johannesburg, South Africa (which Schumacher also acknowledges), a performance that was something of an embarrassment. Eliot:

During that show [at Johannesburg], which lasted all of forty minutes, Phil drank beer continuously on stage, the icy brew helping to cool his burning throat. He put it down next to him at one point and kicked it over. He stopped singing until the bottle of beer was replaced. Then, while slurring something about his voice not being in the best condition, he fell completely off the stage, headfirst, into the orchestra pit. The next day, the front page of the Johannesburg Star headlined the story.

“Yeah, man, I was pretty crazy,” he told a reporter. “Getting all that beer down was not a normal part of my act. I’ve been in a dilemma for days, as I can’t decide whether to stay in South Africa or go back to America. I’ve got trouble with my voice. In Dar es Salaam three guys jumped me and strangled me as they robbed me. My voice is not right yet. I’m seeing a doctor.” (222)

Hence the evidence for the event, so far as I can tell, is from this remark in the Johannesburg Star (the date is not indicated in the text). Schumacher interviewed a friend of Ochs’s named David Ifshin (spelled “Ifshkin” on p. 206 of Eliot’s biography, the only time he is mentioned), who met up with Ochs in Kenya—after the Dar es Salaam incident, in other words. Schumacher:

“I vividly remember waiting for him outdoors as his plane landed in Nairobi,” said Ifshin. “He’d been strangled by muggers and he was really out of it. He had deteriorated badly from our adventure in South America. Almost the first thing he said was, ‘We’re going to have to control the drinking. You gotta help me stop on this trip. All I want is one beer a day.’ (281)

Since neither biographer indicates that Ifshin was with Ochs in Dar es Salaam, he obviously learned of the alleged strangulation from Ochs himself (again, both biographers indicate Ochs was alone at the time of the attack). Surprisingly, Schumacher places the recording of the songs “Bwatue” and “Niko Mchumba Ngambe” after the mugging, while Ifshin and Ochs were in Kenya, as is widely acknowledged. He also places the disastrous Johannesburg performance after the recording of these two songs in Kenya, so one is left to wonder just how badly his vocal cords were damaged. (Ochs simply indicated he was having trouble with voice, having been strangled while being robbed. Nothing about being beaten unconscious or ruptured vocal cords.) I should indicate that I have a fan-club reissue of the “Bwatue”/”Niko Mchumba Ngambe” single, and I notice no discernable difference in Ochs’ voice from previous recordings, although I don't claim to be an expert. But then again, I’m assuming, based on the biographical accounts, the recording of these songs took place after the Dar es Salaam event, not before.

As should be clear by now, based on the available evidence, I am dubious of the Dar es Salaam strangulation incident. I say this for another reason as well. While I’ve done no extensive research on the subject—and I state this explicitly—I feel it necessary to bring up the robbery of a rock star that serendipitously took place on the west coast of Africa at about the same time as the strangulation incident in Dar es Salaam. I’m referring, of course, to the mugging of Paul and Linda McCartney that happened while they were recording Band on the Run in Lagos, Nigeria in August and September of 1973. According to the liner includes included in the 2-disc, 25th anniversary box set of Band on the Run issued in 1999, Paul McCartney and Wings left for Lagos on 9 August 1973. They spent roughly the next six weeks there working on the album, returning to London on 23 September. Again, I don’t know the actual date, but during the time they were in Lagos recording the album, they were robbed at knife-point by a group of black men (young men?) who took their belongings but spared their lives. I accept this event as true, primarily because McCartney was with his wife at the time of the attack, that is, not alone. My question is whether this robbery was reported in the press, rock or otherwise; if it were, then Ochs might well have known about it and been inspired by its dramatic impact, using the same story as an excuse for his embarrassing performance in Johannesburg. Was the event reported by the press (print or electronic, that is, television)? I don’t know, but I find it a remarkable coincidence that it happened at about the same time as the event in Dar es Salaam, especially since Ochs was in Africa to make a recording as well.

The problem is the dating. On p. 279, Schumacher writes that Ochs left for Africa in "late September." Eight pages later, on p. 287, he writes that Ochs was in Africa on 11 September 1973, that is, during the military coup that overthrew Chilean president Salvador Allende. (The two biographers do not seem to be definite as to whether Ochs knew about the coup before, or after, his trip to Africa.) Is 11 September considered late in the month, as Schumacher suggests? In contrast, Eliot simply indicates the month was September, without indicating a specific time. These sorts of broad approximations of dates and places are extremely frustrating when trying to determine the authenticity of a specific event, as I hope I have demonstrated here.

Punk It Up

On this day in 1977 The Clash released their first album (pictured). Hence it is somewhat serendipitous that Malcolm McLaren died today, at age 64, of cancer, on the thirty-third anniversary of the release of this revered British “punk” album—not an album, of course, by the famous band McLaren packaged, The Sex Pistols, but a band that represented the British punk movement nonetheless. When McLaren was sued for “appropriating” others’ music to make his own album, Duck Rock (1983), he said: “All I can say is that accusations of plagiarism don’t bother me. As far as I’m concerned it’s all I’m useful for” (qtd. in Paul Taylor, “The Impresarios of Do-It-Yourself,” in Impresario: Malcolm McLaren and the British New Wave, p. 16). McLaren’s old adversary, John Lydon (no doubt deliberately adopting his former stage name for the occasion), posted on his website today the statement, “For me Malc was always entertaining, and I hope you remember that. Above all else he was an entertainer and I will miss him, and so should you.” The L. A. Times obituary is available here.

Domestication

Today I screened for my students Elvis ’56, a documentary about Elvis’s emergence as a national figure in 1956. While I was aware of how quickly Elvis became a controversial figure, I hadn’t realized until watching the film today how swiftly Elvis was domesticated, by which I mean how swiftly his “wildness” was controlled, overcome, tamed, made tractable, “hemmed in.” Humiliation was a key strategy in Elvis’s domestication, as revealed when, properly attired in a nicely-fitted tuxedo, he sang “Hound Dog” to a basset hound on The Steve Allen Show on 1 July 1956. It was Jacques Ellul who introduced the concept of the “propaganda of integration” in his book, Propaganda: The Formation of Men’s Attitudes. By integrative propaganda, Ellul means the sort of propaganda that promotes acceptance of the status quo, conformity, and passivity, and by the use of the word domestication in this context I mean to invoke the idea of integrative propaganda, that is, made to conform and the diminishment of a threat. Elvis’s national humiliation—being required to sing “Hound Dog” to a dog on the nationally-televised Steve Allen Show on 1 July—took place a mere five months and three days after his first appearance—his first exposure to a national audience—on the Dorsey Brothers’ Stage Show on 28 January. It is often claimed that Elvis’s crucial period took place from January 1956 through September 1958 (not even three years), but arguably it was a much shorter period than is commonly understood. According to Elvis.com, Elvis appeared on American national television in 1956 on the following dates. His performance of the ballad, “Love Me Tender,” and the gospel tune, “Peace in the Valley,” represent further stages of his domestication, the final step being his military career. After the following dates, he would appear on television just three more times during his lifetime.

·      1.28 Stage Show

·      2.4 Stage Show

·      2.11 Stage Show

·      2.18 Stage Show

·      3.17 Stage Show

·      3.24 Stage Show

·      4.3 Milton Berle Show

·      6.5 Milton Berle Show

·      7.1 Steve Allen Show

·      9.9 Ed Sullivan Show (“Love Me Tender”)

·      10.28 Ed Sullivan Show

·      1.6.57 Ed Sullivan Show (“Peace in the Valley”)

Elvis On Tour . . . At Last!

I suspect many Elvis fans are delighted with today’s eagerly-awaited announcement by Warner Home Video that it has finally scheduled the release of Elvis on Tour, the award-winning documentary that followed Elvis on a tour of the United States in 1972. The much-anticipated documentary, long OOP on VHS and laser disc, will debut on August 3 in newly-restored and remastered Blu-ray and DVD versions. Happily, WHV is issuing the film in digital format as part of its 75th birthday celebration of the King. Elvis on Tour is considered to be Presley's last film before his death in 1977, and was described by Variety in its review as “a bright, entertaining pop music documentary detailing episodes in the later professional life of Elvis Presley . . . .” Written and directed by Robert Abel and Pierre Adidge, Sam Peckinpah fans should note that the film's cinematographer was Lucien Ballard (The Wild Bunch). Songs include “Proud Mary,” “Burning Love,” “Don’t Be Cruel,” “Hound Dog,” “Can't Help Falling in Love with You,” “Love Me Tender,” “All Shook Up,” “Suspicious Minds,” “Heartbreak Hotel,” and “Are You Lonesome Tonight,” among others. Warner has also indicated that Martin Scorsese is participating the creation of one of the disc's supplements. According the WHV press release, the highlights of the BD and DVD versions are as follows:

• Remastered in High Definition with 16 x 9 2.40 letterboxed image, as seen in the theatrical release.
• Blu-ray audio will be DTS-HD Master Audio (5.1 Surround); DVD audio will be Dolby Digital 5.1 Surround.
• Packaged as a Blu-ray book filled with Elvis photos, quotes, trivia, a tour itinerary, set lists, costumes, and background information about the filming techniques used.
• 25 musical numbers spotlight Elvis Presley’s talent, range and showmanship in captivating on-stage performances and intimate backstage rehearsals with his band.
• Contains Elvis’ first performance of “Burning Love,” which was so new, Elvis referred to the lyric sheet during his performance.
• Elvis’ Ed Sullivan Show performance is included, in which the charm, personality and musical ability that made him an icon is so evident.
• Montage sequences (supervised by Martin Scorsese) showcasing Elvis’ early career and movies.

Rock Pile

As a consequence of writing my previous blog entry on The T.A.M.I. Show (1964) a couple of days ago, I’ve been preoccupied by various issues raised by the so-called “rock ‘n’ roll film,” hardly the most promising of film genres upon which to base theoretical arguments. In my previous post, I argued that it’s a stretch to view The T.A.M.I. Show as anything but a long, American Bandstand-like episode put on film (it was actually filmed on video and then transferred to film), and that aesthetically speaking it shares more with the TV variety show than the rock documentary pioneered by D. A. Pennebaker and others with films such as Monterey Pop (1968). I observed that what we typically refer to as the “rock documentary” is defined as much by the technology used to record the event as it is by its cinéma vérité style, but I think now this observation is incorrect, for the style is actually dictated by the technology, not the other way around. In the same way the heavy, ponderous video cameras demanded the studio-bound setting used for the filming of The T.A.M.I. Show, the lightweight, portable hand-held 16mm cameras used by Pennebaker and crew to record Monterey Pop encouraged the freewheeling approach to the rock concert typical of documentaries in general. The time restriction of the film roll in each camera required the use of multiple cameras, because the amount of film contained in an individual camera could not record the complete performance of an individual musician or band. The use of low angles and extreme close-ups was enabled because the lightweight camera allowed the camera operator to move easily about the stage, crouching down when necessary for the proper angle. In the same way early Hollywood musicals often employed the features of a Broadway theatrical revue, early rock ‘n’ roll movies employed the jukebox formula used in youth-oriented television programs such as American Bandstand. The other night while watching the rock film featuring Alan Freed, Rock, Rock, Rock (1956)—I’d never seen it before—I was struck by the way the narrative (as utterly banal and inconsequential as it is) was interrupted (stopped) in order for the Tuesday Weld character to sit down and watch TV, on which were appearing several rock acts introduced by DJ Alan Freed. I wonder if it is for this reason so many of the early rock films have dated badly, not only because of the déclassé musical forms (e.g., doo-wop) featured in them, but the unimaginative aesthetics that governed their production. In the case of Rock, Rock, Rock, the banal, unambitious narrative, concerning the teenage Tuesday Weld character’s desire to earn enough money to buy a dress for a school dance, is also another reason these early films hold so little interest except of a historical nature. Even the power of nostalgia, which typically overvaluates the past, can scarcely redeem a film such as this one.

The T.A.M.I. Show

I finally managed to sit down and watch Shout! Factory’s DVD issue of The T.A.M.I. Show (1964, 112m 25s), which received a heavily-hyped release earlier this month. Considered a legendary rock ‘n’ roll concert film, this is the movie’s first release on DVD, and in fact the film’s first issue on home video ever, although parts of the film were cut together with its follow-up, 1966’s The Big T.N.T. Show, for a VHS issue in 1984 titled That Was Rock. The back cover blurb on the DVD says The T.A.M.I. Show was filmed “just eight months after The Beatles appeared on The Ed Sullivan Show”—true, but also misleading, because more significantly, it was filmed slightly over two months after the U. S. release of The Beatles’ A Hard Day’s Night (released on 11 August 1964), still doing great boffo when The T.A.M.I. Show (an acronym for “Teenage Awards Music International”) was being filmed in late October at the Santa Monica Civic Auditorium in Los Angeles. Moreover, considering the kind of libidinal excitement The Beatles could generate during a live performance, a “live concert” film was ripe for exploitation. Given the road-to-discovery-and-fame plots of previous films featuring rock stars, such as Rock Around the Clock (1956) and Don’t Knock the Rock (1956), they could only feature two or three acts: the latter movie, for instance, had featured Bill Haley and His Comets, Little Richard, and a couple of lesser-known acts, The Treniers and Dave Appell and the Applejacks. In contrast, The T.A.M.I. Show featured twelve different acts, including Lesley Gore, The Rolling Stones, James Brown and The Famous Flames, Chuck Berry, The Beach Boys, Marvin Gaye, Smokey Robinson and The Miracles, The Supremes, and “British Invasion” acts such as Gerry and the Pacemakers—the latter given an inordinate amount of screen time it seems to me, as was Lesley Gore, but then she was, at least, in terms of the number of hits, the biggest star attraction at the time the film was made.

Filmed in “Electronovision,” the early 60s equivalent of today’s high definition video, the videotape was then transferred to 35mm film. Hence, as David Ehrenstein and Bill Reed suggest in Rock on Film (1982), “there is a case to be made for taking exception to dubbing The T.A.M.I. Show a movie at all. It looks and acts just a [black & white] television special, replete with moderne simplistic décor, chiaroscuro lighting, and a troupe of go-go dancers wildly frugging away on and around background scaffolding a la TV’s Shindig” (77). They are right: given the large, heavy, clunky, and studio-bound cameras used to record the event, The T.A.M.I. Show easily could have been filmed in a television studio (the large, 3,000-member audience would have been lost as a consequence, however). Moreover, according to Don Waller in his interesting and valuable liner notes included in the booklet accompanying the DVD, the featured performers, including dancers, spent two days rehearsing prior to the actual filming. Filmed over two nights, on October 28 and 29, 1964, according to Waller “the footage that makes up [the 112 minutes of] The T.A.M.I. Show was taken exclusively from the second night’s concert, which took five hours to film” (12). Thus for those expecting The T.A.M.I. Show to have the immediacy and spontaneity of the rock documentaries made after, it does not—the Monterey International Pop Festival, held June 1967, filmed by D. A. Pennebaker using lightweight, portable 16mm color cameras equipped to record synchronized sound, was still over two years away. What we typically refer to as the “rock documentary” is defined as much by the technology used to record it as it is by its free-wheeling cinéma vérité style, not usually by the TV variety show aesthetic that governed The T.A.M.I. Show.

Which isn’t to say The T.A.M.I. Show is without charm. Considered in historical terms, and as something other than a nostalgic “time capsule” as it is currently being pitched by Public Television fund-raising campaigns using the DVD as a reward to contributors, the film reveals not only a change in American social consciousness but also the discovery of an emerging, substantial economic market. For one thing, the African American performers featured in the film (primarily from Motown; Memphis’s Stax/Volt goes unrepresented until Monterey Pop, primarily in the figure of Otis Redding) were among the true beneficiaries of Civil Rights Era America. The film’s producers seemed to have intuited the white fascination with blackness, and hence five, or almost half, of the featured acts were black. As a consequence of his justly historic performance in The T.A.M.I. Show, James Brown, for instance, would appear in AIP’s Ski Party, released a few months later, in the summer of 1965. (White envy of blackness would take the form of the Rolling Stones’ reluctance to follow James Brown, although they acquitted themselves pretty well by their performance, perhaps because they did have to follow Brown, and so tried a little harder.) The aforementioned Ehrenstein and Reed, in Rock on Film, believe the most important thing The T.A.M.I. Show revealed was that “rock as mere music (and live performance as just a show) is about to change drastically” (77). In other words, the film shows rock music on the verge of redefining itself: no longer was it to be a consequence of cold calculation and commerce, but also changing social consciousness. For there’s a vast gulf between D. A. Pennebaker’s Monterey Pop (1968) and The T.A.M.I. Show, a consequence of something other than aesthetics.

The Gospel Elvis

There’s a fine essay by Charles Wolfe, titled “Presley and the Gospel Tradition,” in the now somewhat aged but excellent book edited by Kevin Quain, The Elvis Reader (1992). A typical discussion of Elvis’s music inevitably, and certainly correctly, cites country and blues influences, but as Wolfe points out, “these sources . . . account for only a part of his music” (13). Indeed, it was primarily only the 50s in which Elvis was a rock singer. In the 1960s and 70s, Elvis would surpass his narrow classification as a rock singer and became one of the central figures of American popular music. In my own estimation, From Elvis in Memphis (1969), recorded more than a decade after his first singles for RCA in 1956, is not only one of Elvis’s greatest records, but one of the greatest records of American popular music. But it's not a rock album. Wolfe is no doubt correct when he observes that one of the reasons why the influence of white gospel music on Elvis has been unaccountably neglected is because there is so little research on the subject. He writes (this in 1992, remember):

No one has yet written a serious history of the genre, and most of the information currently available has to be drawn from original research or from various self-serving press releases and fan newspapers. Numerous gospel performers, such as the Blackwood Brothers, the Speer Family, and Jimmy Swaggert, have written “biographies,” and while these are useful to an extent, they are more often than not designed as “inspirational” reading rather than factual accounts. The very term gospel music has become confusing to the average reader; in recent years the term (which originated in white “revivalist” hymns of the 1890s) has been appropriated by scholars to describe black religious singing, though it is still generally used by the public (and the musicians) to refer to white singing. (14)

Elvis’s discography, of course, contains some excellent gospel records, even if those records were never among his biggest sellers. The LP, His Hand in Mine (1960), was the follow-up to the Peace in the Valley EP (1957). How Great Thou Art (1967) appeared a few years later, and the gospel album that won Elvis a second Grammy, He Touched Me, appeared in 1972. Peter Guralnick (Last Train to Memphis) observes that Gladys Presley’s favorite quartet was the Blackwood Brothers; according to Wolfe, the Blackwood Brothers were “the most highly visible and exciting musical group in the Memphis area” before and after Elvis moved to that city (16). Elvis was a fan of the Blackwoods in the years prior to his own rise to fame; he would ask the Blackwood Brothers to sing at his mother’s funeral in 1958. Moreover, during the twenty-one years that Elvis was a national figure, he used three different gospel groups as back-up singers: the Jordanaires (1956-67), who were providing back-up vocals for him when he sang “Peace in the Valley” during his 6 January 1957 appearance on The Ed Sullivan Show; the Imperials (1969-71)—they appeared in 1970’s That’s the Way It Is and backed him on 72’s He Touched Me; and J. D. Sumner and the Stamps Quartet (1972-77)—Elvis had known J. D. Sumner since he’d joined the Blackwood Brothers after the disastrous plane crash that killed the group’s original bass singer in late June 1954.

Perhaps the more important issue regarding Elvis and gospel music, though, is to identify the precise nature of the genre’s influence. Charles Wolfe argues that the influence “was not in the content of his songs,” but rather “in Presley’s singing style and performing style” (25). I’ve blogged previously about the influence of Dean Martin on Elvis’s vocal style, but Wolfe, citing Jerry Hopkins’ Elvis: A Biography, argues for recognition of the important influence of Jake Hess of the Statesmen Quartet. Hopkins cites Johnny Rivers, who revealingly said, “If you’ll listen to some of their [the Statesmen Quartet’s] recordings, you’ll hear some of that style that is now Elvis Presley’s style, especially in his ballad singing style. He was playing some of their records one day and he said, ‘Now you know where I got my style from. Caught—a hundred million records too late.’ It was really funny. I think he idolized Jake. Jake and the Statesmen and the Blackwoods” (qtd. in Wolfe 26).

I’m not entirely happy with the following juxtapositions, but this video, identified as being from a 1950s airing of the Nabisco TV show, contains a lively performance by the Statesmen (with Jake Hess in the lead), singing “Move That Mountain,” a song Elvis would have certainly liked. This second video is Elvis singing “By And By,” a song in the same vein. In the years since Wolfe published his article, more emphasis has been placed on Elvis’s gospel recordings, such as the He Touched Me set, available here. In any case, I strongly recommend Charles Wolfe's fine article to anyone interested in this dimension of Elvis’s music.