Rudolph
Someone posted a bit of revisionism about a holiday classic. As he sees it, “Rudolph the Red Nosed Reindeer” is about racism.
In a bit of yuletime synchronicity, the urban mythbusters at Snopes posted a piece about Rudolph the same day. It seems as though the Rudolph story was originally written for the Montgomery Ward Stores. The idea was to print a Christmas booklet to give to customers. A staff writer named Robert L. May was picked for the job.
Originally, there were concerns about the red nose, and the connection to heavy drinking. At the time, the original meaning of “merry christmas” had been forgotten. Merry meant intoxicated, and a merry christmas was a drunken one. The booklet was released. It was a big hit with shoppers.
Mr. May had a brother in law named Johnny Marks, who was musically gifted. Mr. Marks wrote the song, and somehow or another Gene Autry came to sing it. A story (which I heard once, but cannot find a source for) had Mr. Autry doing a recording session. The session went very smoothly, and the sides scheduled to be recorded were finished early. There was a half hour of studio time paid for. Someone produced copies of “Rudolph”, gave them to the musicians, and the recording was knocked out. It became a very big hit.
“Rudolph the Red Nosed Reindeer” has become a beloved standard, without the troubling religious implications of many holiday songs. It is the second biggest selling record of all time. The only song to sell more is “White Christmas”.
The story above is a repost. Pictures are from The Library of Congress.
Andy Warhol And Frank Zappa
Andy Warhol Hosts Frank Zappa on His Cable TV Show, and Later Recalls, “I Hated Him More Than Ever” After the Show.” Andy had a public access cable tv show in New York. One of his guests was Frank Zappa. FZ talked a lot, while Andy was silently uncomfortable. A friend of Andy’s, Richard Berlin, did the interview. Mr. Berlin is possibly the brother of Warhol film actress Brigid Berlin.
The Andy Warhol Diaries has a few comments about the show. “… I hated Zappa even more than when it started. I remember when he was so mean to us when the Mothers of Invention played with the Velvet Underground—I think both at the trip, in L.A., and at the Fillmore in San Francisco. I hated him then and I still don’t like him.”
Jimmy Carl Black (The “Indian of the group” for the Mothers of Invention): “I don’t remember Zappa actually putting them down on stage, but he might have. He really disliked the band. For what reasons I really don’t know, except that they were junkies and Frank just couldn’t tolerate any kind of drugs. I know that I didn’t feel that way and neither did the rest of the Mothers. I thought that they were very good, especially Nico (whom I secretly fell in love with or was it lust?). I especially thought that Moe was a very good drummer, because in those days I don’t recall there being any other female drummers on the scene. The thinking of the audiences was completely different than those from New York City. They were lukewarmly received.”
“In 1965 The Trip opened at 8572 Sunset Boulevard right next to the towering Playboy Club building. The Trip was located in the former popular 60s jazz club called the Crescendo. There was a comedy club upstairs called the Interlude. … The Velvet Underground and Nico are the musical guests at a series of shows at The Trip nightclub on Sunset Strip in 1966, but it is their manager, Andy Warhol, who is the headliner with his outrageous, multi-media Exploding Plastic Inevitable Show.” …
“On May 3, 1966 I was serving drinks in the celebrity section at The Trip. Jane Fonda is seated and she orders a drink and I asked her for ID. She removes her sunglasses and says, Do you know who I am? … Frank Zappa and The Mothers of Invention are the opening act the first night. At the end of the set they receive a standing ovation and cheers from the audience.”
“The Exploding Plastic Inevitable Show started after The Velvet Underground played a couple of songs. … When your eyes adjusted to the manipulation of the light what you saw was an interaction between Nico and two men, one who carried a whip, the other chains. It was an illusion, I think, of sadism, not at all acceptable to peace loving hippies. … The EPI featured a mixed media orgy that included film loops, music by the Velvets, sadomasochistic dancing and an epileptic lightshow.”
“Before the first set was over people stared to walk out of the club. Cher said “It depressed me. It will replace nothing – except maybe suicide.” People were standing up at their tables, booing as they waited their turn to leave the club. The line for the second show circled the block but the customers leaving started warning people not to go in. They said the show was vulgar and violent. The line got smaller and smaller until only a handful of people remained.”
“The Buffalo Springfield is playing the Whisky A Go Go as the opening act and is free to leave at 12:45 am. They walk to The Trip in time to see the feature act. … The musicians are equally offended by the appearance of sexual violence and what they assumed was part of the Velvet Underground’s act. It was later that we realized that Andy is the creator of the act of violence. … There is more then one story about why on the third day of the New Yorker’s show, L.A. Sheriff’s officers closed The Trip.”
“The show was cancelled before the advertised end date of its run. According to Callie Angell “On May 12, the club was temporarily closed when Virgina Greenhouse, wife of one of the operators, sued to collect a $21,000 over-due promissory note, and a representative of the sheriff’s office delivered a writ of attachment to the club. Warhol and the Velvet Underground filed a claim for their fee with the local musicians’ union, and were forced to wait in Los Angeles for payment to arrive.” According to Bockris, the club was “closed down by the Sheriff’s office on their third day. The troupe stay in LA, hoping the club would re-open, and the musicians’ union said if they stayed in town for the (union rules) duration of their engagement they would have to be paid the complete fee. They used the time to continue recording the first album.”
The Trip, engagement was supposed to be May 3 -18, 1966, at least for EPI. The Mothers (not yet of Invention) headed north after the show. … “May 6-26, 1966 Frenchy’s House of BBQ, Hayward, CA (on the 21st they backed Neil Diamond who played a one night stand) … May 27-29, 1966 Fillmore Auditorium , San Francisco, CA (The Exploding Plastic Inevitable, Supporting Velvet Underground & Nico) … June 3-4, 1966 Fillmore Auditorium, San Francisco, CA (supporting Quicksilver Messenger Service & The Grateful Dead) … June 24-25, 1966 Fillmore Auditorium, San Francisco, CA (supporting Lenny Bruce).” Lenny Bruce died August 3, 1966.
“The Exploding Plastic Inevitable arrived in San Francisco to play for two nights at BILL GRAHAM’s Fillmore Ball Room with the MOTHERS OF INVENTION and the early JEFFERSON AIRPLANE. The Warhol crowd hated the hippie culture of San Francisco. Bill Graham pulled the plug on the Velvets the second night when the band left the stage after leaning their instruments against the amplifiers creating a “barrage of sonic feedback”.
“John Cale: “In San Francisco, we played the Fillmore and no one liked us much. We put the guitars against the amps, turned up, played percussion and then split. Bill Graham came into the dressing room and said, “You owe me 20 more minutes.” I’d dropped a cymbal on Lou’s head and he was bleeding. “Is he hurt?” Graham said. “We’re not insured.””
“After the second night in San Francisco Gerard Malanga was arrested in an all night cafeteria in North Beach for carrying an offensive weapon (his whip) and spent the night in jail. … While In San Francisco, Lou Reed shot up some bad speed causing his joints to seize up and he was incorrectly diagnosed as having a terminal case of lupus. Upon their return to New York, Lou Reed checked into Beth Israel hospital with a serious case of hepatitis and had a six week course of treatment. Nico left for Ibiza while the rest of the Velvets started rehearsing for an upcoming June booking in Chicago – a one week stint at Poor Richard’s. ANGUS MACLISE returned as drummer and MAUREEN TUCKER switched to playing bass.”
The VU and The Mothers of Invention both recorded on the MGM/Verve label. According to some, this caused problems. “The band believed that Zappa used his clout to hold back their release in favor of his own album with the Mothers of Invention, Freak Out. “The problem [was] Frank Zappa and his manager, Herb Cohen,” said (Sterling) Morrison. “They sabotaged us in a number of ways, because they wanted to be the first with a freak release. And we were totally naive. We didn’t have a manager who would go to the record company every day and just drag the whole thing through production.” (John) Cale claimed that the band’s wealthy patron affected the label’s judgment. “Verve’s promotional department [took] the attitude, ‘Zero bucks for VU, because they’ve got Andy Warhol; let’s give all the bucks to Zappa.’”
“On October 23, 1967, in New York, singer Nico sang with The Velvet Underground. (This list of VU performances does not mention a show on that date) … Nico’s delivery of her material was very flat, deadpan, and expressionless, and she played as though all of her songs were dirges. She seemed as though she was trying to resurrect the ennui and decadence of Weimar, pre-Hitler Germany. Her icy, Nordic image also added to the detachment of her delivery. … In between sets, Frank Zappa got up from his seat and walked up on the stage and sat behind the keyboard of Nico’s B-3 organ. He proceeded to place his hands indiscriminately on the keyboard in a total, atonal fashion and screamed at the top of his lungs, doing a caricature of Nico’s set, the one he had just seen. The words to his impromptu song were the names of vegetables like broccolli, cabbage, asparagus… This “song” kept going for about a minute or so and then suddenly stopped. He walked off the stage and the show moved on. It was one of the greatest pieces of rock ‘n roll theater that I have ever seen.”
The Library of Congress furnished the pictures for this feature. This is a repost.
Empathy
This is a repost from the murky past. The college on N. Indian Creek Dr. is now known as “GSU Perimeter College – Clarkston Campus” The Watering Hole was torn down, and is now Top Express Car Wash. Abortion has been legalized, and re-criminalized. Atlanta still has a lot more Peachtrees than peach trees. … I walked down New Peachtree Road. This is Atlanta, where there are a couple of hundred roads named Peachtree. No one seems to mind that most of the peach farms are south of Macon. The peaches grow a lot better there. They fuzz comes in heavier, and the pits are pittier. … I was walking down the road in the rain, with a freight train going down the tracks. This is forty percent of the ingredients for the perfect country and western song.
When I was younger and drunker, there was a place on Clairmont Road called the Watering Hole. I would go there, drink beer, play pool, and have a good old time. As was the custom in such facilities, there was a jukebox. The patrons put money in the box and played the songs that they wanted to hear. A favorite was “you never even called me by my name.” There is a little spoken part, where David Allan Coe talks about the perfect country and western song. This song must talk about rain, Momma, trains, trucks, prison, and gettin’ drunk.
New Peachtree Road has this gravel yard where the eighteen wheelers come and go. There was a big rig backing into place when I walked by. A truck bumped into a trailer. I walked in the rain, between the train, and a big rig going bump against the trailer. The problem was, Mommas gone, I doesn’t get drunk, and prison is way too much work. So much for the perfect country and western song.
The songwriter is Steve Goodman. He gave a show at the Last Resort in Athens GA, that a friend of mine attended. Mr. Goodman tells a story about performing on a train, during a series of concerts supporting Hubert Humphrey. It seems like Mr. Goodman had to use the restroom on the train. Now, in those days, the trains did not use holding tanks, but just ejected the matter by the tracks as they rode by. Mr. Goodman was told, do not flush the commode while the train is in the station. Mr. Goodman forgot the instructions. Mr. Humphrey said ”I am going to give the people of this country what they deserve”, Mr. Goodman flushed the commode, and sprayed the crowd.
I told the Steve Goodman story another time. There was a comment. “Great to see your blog post that invokes Arlo Guthrie’s version of Steve Goodman’s “City of New Orleans.” Goodman often doesn’t get his due. You might be interested in my 800-page biography, “Steve Goodman: Facing the Music.” The book delves deeply into the genesis and effects of “City of New Orleans,” and Arlo Guthrie is a key source among my 1,080 interviewees. The book also delves deeply into “You Never Even Call Me by My Name.” John Prine and David Allan Coe were key interviewees, and the book debunks the notion, promulgated by Coe, that Coe had anything to do with triggering the famous last verse of the song.
Finally, the Humphrey story actually stems from Goodman campaigning for Sen. Edmund Muskie in Florida in early 1972. You can find out more at my Internet site . Amazingly, the book’s first printing sold out in just eight months, all 5,000 copies, and a second printing of 5,000 is available now. It won a 2008 IPPY (Independent Publishers Association) silver medal for biography. If you’re not already familiar with the book, I hope you find it of interest. ‘Nuff said!”
Back to empathy for a minute. The word always takes me back to an auditorium in 1971. I was in my first quarter at Dekalb College. One of the selling points of college has always been the outside speakers that were brought to campus. This day, the subject was abortion.
A note on set and setting is appropriate. In 1971, New York state had legalized the procedure. Roe vs. Wade was in the pipeline that would lead to the Supreme Court. That ruling would not be issued for another fifteen months. In the meantime, abortion was illegal in 49 states, including Georgia. The debate about abortions was not as politicized as today. The nomenclature of pro-choice or pro-life had not entered the vocabulary.
The Vietnam war was still being fought, although with fewer Americans in combat. The withdrawal of US forces took most of the steam out of the anti war movement. The modern spectacle of a person supporting a war, while claiming to be pro life, did not happen.
I walked into the auditorium and found a seat. The lady began her presentation. After a few minutes of talk… she said something about a woman who was artificially inseminated with masturbated semen. The house lights were dimmed. A black and white film, of an abortion, was shown. It was noted when the fetus went into the vacuum cleaner attachment. The house lights were brought back up. They should have remained dim, as the woman was not kind on the eyes.
The closing part of her presentation was a song she wrote. She sang acapella. The song was written out of empathy with the not-to-be-born baby. The song was titled ” My mother My grave”. I left the auditorium, and went to world history class.
Joni Mitchell
Tuesday is Joni Mitchell’s 81st birthday. Roberta Joan Anderson was born November 7, 1943, in Fort Macleod, Alberta. For this birthday tribute we will revisit four previous posts. one two three four Pictures are from The Library of Congress. … A facebook friend went on a Joni Mitchell kick. First it was a link to an interview. Then it was a quote from The Last Time I Saw Richard. A lady said Blue was her favorite album all all time, and a man enthusiastically agreed.
Given the apples and oranges quality of her catalog, it would be tough to pick one album as a favorite. I soon realized that fbf was going to be thirty soon. I am sixty. These are two different perspectives on the craft of Joni Mitchell. One has driven through the storm, not knowing what was next. The other is presented with an almost complete body of recorded work.
I have known about Joni since high school, and been a devoted fan since 1976. Joni’s most popular album, Court And Spark, came out in 1974, eleven years before fbf was born. Who would be the equivalent female musical force from 1943, when I was minus eleven? The answer is nobody. (Coincidentally Roberta Joan Anderson was born on November 7, 1943.)
After the comment about Blue, I listened to For The Roses. Joni’s craft is like a cluster bomb … there are lines that you never fully felt, bomblets waiting to explode in your gut. Let The Wind Carry Me has one of those hidden threats. Mama thinks she spoilt me, Papa knows somehow he set me free, Mama thinks she spoilt me rotten, She blames herself, But papa he blesses me.
The first thing I heard by Joni was Big Yellow Taxi. It was on The Big Ball, a 1970 mail order sampler from Warner Brothers. This was when Joni shacked up with Graham Nash. The next year saw Blue, followed by For The Roses, and Court And Spark. I always thought Joni was someone he should like, but somehow didn’t. It wasn’t until 1976 that I broke through the barrier, and became a Joni Mitchell fan. Seeing her in concert did not hurt.
On February 3, 1976, I took a study break. (I scored 100 on the test the next day) Joni Mitchell was playing at the UGA coliseum a few blocks away, and the door was not watched after the show started. I found a place to stand, on the first level of the stands. The LA express was her band that night, and created a tight, jazzy sound, even in the UGA coliseum. Tom Scott pointed at Joni, said she was crazy, and drew circles around his left ear. The one line I remember is “chicken scratching my way to immortality” from Hejira.
The Hissing of Summer Lawns might not be her best album, but it is certainly her bravest. Court And Spark was a commercial success. Instead of producing a bestselling followup, Joni took a ninety degree turn. Summer Lawns, for all its eccentric sparkle, confused the record buying public. The gravy train took off in another direction.
In those days, 96rock played a new album at midnight, which people would tape. On the night of the Lynyrd Skynyrd plane crash, the album was Hejira. This was followed by Mingus, another curve ball. Finally, Don Juan’s Reckless Daughter appeared, and did not make a good impression.
The eighties, nineties, and aughts appeared. Joni and I lived our lives. 1996 saw a frightening interview in Details magazine. It was startling to see that for all her granola glory, Joni Mitchell might not be a very nice person. In a pot and kettle moment, David Crosby said “Joni’s about as humble as Mussolini.” Music is a tough way to make easy money.
More recently, there was a long interview on Canadian television. She is not mellowing with age. The cigarettes have not killed her, even if her voice is not what it once was. The recent albums that I have heard are strong. There seem to be more on the way. Maybe the facebook friend will have have the “what is she going to do next” experience after all.
A few weeks ago, I was at the library. I had a story to take home, before going over to the biography section. There I found Reckless Daughter: A Portrait of Joni Mitchell. At least with fiction, you know you are dealing with a made up story. With biography, you have to use judgment.
It is a familiar story. Joni was born in the frozen north, was a rebellious girl, and got pregnant. She gave up the daughter for adoption, only to be reunited many years later. Joan Anderson gets married to, and divorces, Chuck Mitchell. Joni sings, writes, tunes her guitar funny, becomes a star, gets too weird to be popular, makes and loses money, smokes millions of cigarettes, and becomes an angry old lady. There is a bit more to the story than that. Reckless Daughter fills in a few of the blank spots.
Millions of cigarettes might be an exaggeration. Joni started smoking when she was nine. When she was a star, she was almost as well known for her constant puffing as her pretty songs. When Joni was in a Reagan era slump, she was going through four packs a day. Just for the sake of statistics, lets call it two packs, or forty fags, a day. Multiply forty by 365 and you get 14,600. If she started at 9, and had her aneurysm at 72, that gives you 63 years of nicotine abuse. If you assume that there were forty fags a day for 63 years, that gives you 919,800 smokes. IOW, while seven figures is not out of reach, it is rather unlikely that Joni smoked more than 2,000,000 cancer sticks.
The author of Reckless Daughter, David Yaffe, is a problem. He talks about the mood of America in 1969, four years before he was born. Mr. Yaffe goes to great lengths to show us that he knows about making music. Some readers will be impressed. There are mini-essays on Joni songs from her golden years, the time between “Ladies of the Canyon” and “Hejira.” And gossip, gossip, and more gossip. Joni is well known for her celebrity lovers.
We should make the point that I enjoyed Reckless Daughter. The inside stories are fun, and pages turn over without too much head scratching. Maybe this is a statement about the career of Joni Mitchell. You enjoy the music for many years, and then complain about the details. Reckless Daughter follows the trajectory of other celebrity biographies. The star is born, takes up a craft, gets a break, becomes successful, goes over the mountaintop into a long decline. With Joni, nothing after “Mingus” was well received. The chanteuse was broker, and angrier, by the minute.
On page 13, Joni hears Rhapsody on a Theme of Paganini by Sergei Rachmaninoff. This is the piece that makes her want to be a musician. One page 129, we learn the story of A&M studios in Hollywood. At one time, The Carpenters were in studio A, while Carole King was recording “Tapestry” in studio B. Joni was recording “Blue” in studio C, which had a magic piano. One time, Carole King learned of a break in the studio C booking, and ran in. Three hours later, “I feel the earth move” was recorded.
A few years later, Joni was on the Rolling Thunder tour with Bob Dylan. One of the concepts was support for Rubin “Hurricane” Carter, whose story can be found elsewhere. Joni became disillusioned with Mr. Carter. When Joan Baez asked Joni to speak at a benefit concert, Joni said she would say that Mr. Carter was a jive ass N-person, who never would have been champion of the world. Joni later got in SJW trouble for posing in blackface, for the cover to “Don Juan’s Reckless Daughter.”
On page 251, we learn that Bob Dylan does not dance. Other items include “Free man in Paris” being written about David Geffen, and Jackson Browne writing “Fountain of Sorrow” about Joni. Mr. Browne is a not-well-thought-of ex of Joni. As for Mr. Geffen…. Joni stayed at his house for a while, at a time when Mr. Geffen was in, and out, of the closet. Did they make sweet music together?
So this book report comes to an end. Joni is recovering from a brain aneurysm, and will probably not produce anything else. The book is going back to the library, and I will move on.
Joni Mitchell has product to promote. She gave an interview to New York magazine, where she smoked a few cigarettes and expressed a few opinions. There were enough attention getting comments to make the news.
“When I see black men sitting, I have a tendency to go — like I nod like I’m a brother. I really feel an affinity because I have experienced being a black guy on several occasions.” She proceeds to tell a story about dressing like a down and out black man as a way of dealing with an obnoxious photographer. “I just stood there till they noticed me. I walked really showily, going, Heh heh heh. It was a great revenge. That was all to get his ass. To freak him out. I had to keep him on the defensive.”
Gay-mafia-made-man David Geffen was a target. “I ask her about a painting, visible in a vestibule, on the way to her laundry room, of a curly-haired man with a banana lodged vertically in his mouth; turns out it’s Geffen, and she painted it. “Before he came out. He’s never seen it,” she says, before explaining: “He was using me as a beard. We were living together, and he’d go cruising at night. He was very ambitious to be big and powerful, and he didn’t think he would be [if he was openly gay].” By 1994, the two had fallen out over her insistence that he didn’t pay her enough in royalties.”
The product is a four cd boxed set, Love Has Many Faces: A Quartet, A Ballet, Waiting To Be Danced. There was a single one star comment about the joniproduct. Al Norman Seems like a collection of Joni’s forgettable tunes February 3, 2015 ~ “My wife loves Joni Mitchell, and never listens to this set. Seems like a collection of Joni’s forgettable tunes.” This comment was sponsored by Head and Shoulders. “100% flake free hair & A GREAT SCENT”
You just can’t get away from capitalism. Ms. Mitchell heard “… on the radio, a record executive “saying quite confidently, ‘We’re no longer looking for talent. We’re looking for a look and a willingness to cooperate.” As interviewer Carl Swanson notes, “For now, she’s hoping that people buy her boxed set, with her self-portrait on the cover. To that end, she gives me a Joni Mitchell tote bag with one of her paintings on it to carry my things home in. Get the word out.”
Joni Mitchell gave am interview recently to a Canadian Broadcaster. She is famously Canadian. The chat was in her California living room, which is littered with her paintings. Many of the paintings are things like Saskatchewan at forty below. Mrs. Mitchell alternates between painting and music, which tend to balance her cigarette fueled mind.
The CBC interview is paired with a more formal chat in Toronto. She could not smoke during the Toronto interview. The Toronto interviewer is just a bit smarter than Jian Ghomeshi, who endured the second hand smoke in California. Mr. Ghomeshi said things like “The song “Woodstock” defined a generation.” Mrs. Mitchell was in a New York City hotel room that famous weekend.(Spell check suggestion for Jian Ghomeshi: Joan Shoeshine)
There are some juicy quotes. Art is short for artificial. When listening to Joni songs, you should look at yourself, and not at her. Free love was just a gimmick for the men to get laid. False modesty is pointless. Sylvia Plath was a liar, or maybe it was Anne Sexton. (James Dickey said that Sylvia Plath was the Judy Garland of American letters.)
A fearsome foursome gets in the game. Someone screamed, on a live album. “Joni, you have more flash than Mick Jagger, Richard Nixon, or Gomer Pyle combined!.” Years later, the fan introduced himself to Mrs. Mitchell.
The conversation mentioned Bob Dylan. He is from Northern Minnesota, and not quite Canadian. Apparently, Mrs. Mitchell kicked up a fuss with some comments in 2010. ” Bob is not authentic at all. He’s a plagiarist, and his name and voice are fake. Everything about Bob is a deception. We are like night and day, he and I. … Grace [Slick] and Janis Joplin were [sleeping with] their whole bands and falling down drunk, and nobody came after them!”
Did Bob Dylan and Joni Mitchell ever tune up together? Joan Baez, a similarly named contemporary, is well known for dating Mr. Zimmerman. Ms. Baez did sing at Woodstock.
Mrs. Mitchell doesn’t exactly take back her comments about Bob Dylan. ““I like a lot of Bob’s songs, though musically he’s not very gifted. He’s borrowed his voice from old hillbillies. He’s got a lot of borrowed things. He’s not a great guitar player. He’s invented a character to deliver his songs. Sometimes I wish that I could have that character — because you can do things with that character. It’s a mask of sorts.”
In a kill the messenger moment, Mrs. Mitchell lashed out at the interviewer from the 2010 piece. It is odd, since he didn’t ask any trick questions. Black and white transcripts are tough to deny. “The interviewer was an asshole.” (The body part is bleeped.) “I hate doing interviews with stupid people, and this guy’s a moron” “His IQ is somewhere between his shoe size and (unintelligible)”.
The troublesome 2010 interview was conducted with John Kelly, a Joni Mitchell tribute artist. “JK: Drag does have a power, though — that netherworld of a thing you can’t quite know, which makes people nervous. JM: Drag wasn’t always counterculture. In his memoirs, Nixon talked about the Harvard and Yale men in power who would put on these plays where they dress like women, and Milton Berle did a kind of “hairy drag.” Becoming a gay thing made drag go underground.” Did Mick Jagger and Gomer Pyle ever do drag with Richard Nixon?
The Velvet Warlocks
PG was listening to disgraceland episode#64, about the grateful dead. He was at a stopping point with multi tasking, and decided to look something up. The show mentioned the first show by the Warlocks, later known as the grateful dead. This was 50 years before “dead name” was a dirty word.
“On May 5, 1965 ‘The Warlocks’ … played their first show, at Magoo’s Pizza Parlor in Menlo Park, California.” This was the day before I turned 11. Lyndon Johnson was settling in for his elected term as President. The Braves were playing their lame duck season in Milwaukee. Combat troops had been in Vietnam for a little over two months. This was the start of the escalation. “By the end of 1965, more than 184,000 American troops were in Vietnam.”
At 27:44, dg-gd dropped an item that could not be ignored. The Warlocks had to find a new name. Someone else was called the Warlocks, and there were complications. It seems as though the warlocks … a pretty obvious name … was also an early name of the Velvet Underground. Other early vu names included the primitives and the falling spikes.
“When they (vu) finally did come across a name which stuck, it was thanks to a contemporary paperback novel about the secret sexual underworld of the 1960s that Tony Conrad, a friend of John Cale, happened across and showed to the group. The novel, written by Michael Leigh, remains in print most likely thanks to the band which appropriated its title.”… “Had Lou Reed and John Cale not seen a copy of this book in a New York City gutter (fittingly) and decided to use its name for their group, this little volume would have been justly forgotten. Written in a style which titilates while decrying the scene it describes, it’s a piece of blue-nosed junk.”
The rest of the show rolled on. Jerry stuck his finger in a dictionary at random, and found Grateful Dead. It was the name of a story. The band played at the acid tests, which mostly went well, until they did not. Pigpen drank rotgut to excess, until it killed him.
PG was editing pictures out of a folder labeled pa41. The images were shot by John Vachon,in June 1941. The last picture, while the 27 club end of Pigpen played over the speakers, was Women washing clothes in utility building at FSA (Farm Security Administration) trailer camp. Erie, Pennsylvania. Another picture, from January 1941, is Pinochle game in Czecho-Slovak Dramatic Club. Ambridge, Pennsylvania. Both pictures are included in this feature. This is a repost from 2020.
Page 43
This is a repost from 2012. David Van Cortlandt Crosby moved on to page 44 on January 18, 2023. … David Crosby gave a show. After performing “Almost Cut My Hair”, Mr. Crosby starts to talk. “I’m going to sing the most positive song that I’ve written recently. For a long time I didn’t write any positive songs, my friends used to puke when they saw me coming.” The song was Page 43.
Look around again It’s the same old circle
You see,it’s got to be It says right here on page 43
That you should grab a hold of it Else you’ll find It’s passed you by
Rainbows all around Can you find the silver and gold?
It’ll make you old The river can be hot or cold
And you should dive right into ‘It Else you’ll find It’s passed you by
Pass it ’round one more time I think I’ll have a swallow of wine
Life is fine Even with the ups and downs
And you should have a sip of it Else you’ll find It’s passed you by
Snopes has a piece about Page 43. It seems that some people think the song title refers to a page in the Old Testament. I think Page 43 was chosen because it rhymes with “it’s got to be.” There was a spot in the song for those four beats.
To pad out this post a bit, a visit to page 43 of the Old Testament will be made. My parents gave me this Bible on my eighth birthday. It was published by The World Publishing Company, 2231 West 110 Street, Cleveland 2, Ohio.
Page 43 is verses 4 through 36 of Genesis 41. “4 And the cows that were ugly and gaunt ate up the seven sleek, fat cows. Then Pharaoh woke up.” … The Pharaoh had a dream that troubled him. A wise man was consulted, who told of seven years of famine to come. A portion of the crops, from the prosperous years, was to be held in reserve, for the years of famine. … “36 This food should be held in reserve for the country, to be used during the seven years of famine that will come upon Egypt, so that the country may not be ruined by the famine.”
The wine drinking in verse 3 does not work for everyone. Those gifted with moderation can swim in this river. Others need to get to the shore before they drown. There is a time to enjoy your life, and there is also a time to lay off the jug. If you don’t keep a portion of your harvest in reserve, life will run over you, while it is passing you by.
The Playboy Interview Bob Dylan
The Notorious 1966 Playboy Interview -Bob Dylan turned up in the youtubeque the other day. The speaker bought a copy of the magazine online … “I’m one of the few people who can say I bought it for the article and be honest.” A quick google search turned up PLAYBOY INTERVIEW: BOB DYLAN February 1966. Pictures today are from The Library of Congress. This is a repost.
The winter of 1966 was a different time. Mr. Dylan released Bringing It All Back Home and Highway 61 Revisited in 1965, with Blonde on Blonde to follow in 1966. He shot a screen test for Andy Warhol, and met Edie Sedgwick. Winter of 1966 saw America one year into the escalation of the War in Vietnam. The times they were a changin’.
The interview is not a linear Q&A. The entertainer takes a question from Nat Hentoff, and then says whatever feels right to say. This video, Bob Dylan San Francisco Press Conference 1965, is more of the same. Maybe the best way to approach this is with a few quotes.
PLAYBOY: In recent years, according to some critics, jazz has lost much of its appeal to the younger generation. Do you agree? DYLAN: I don’t think jazz has ever appealed to the younger generation. Anyway, I don’t really know who this younger generation is. I don’t think they could get into a jazz club anyway. But jazz is hard to follow; I mean you actually have to like jazz to follow it: and my motto is, never follow anything. I don’t know what the motto of the younger generation is, but I would think they’d have to follow their parents. I mean, what would some parent say to his kid if the kid came home with a glass eye, a Charlie Mingus record and a pocketful of feathers? He’d say, “Who are you following?” And the poor kid would have to stand there with water in his shoes, a bow tie on his ear and soot pouring out of his belly button and say, “Jazz, Father, I’ve been following jazz.” And his father would probably say, “Get a broom and clean up all that soot before you go to sleep.” Then the kid’s mother would tell her friends, “Oh yes, our little Donald, he’s part of the younger generation, you know.” … As far as folk and folk-rock are concerned, it doesn’t matter what kind of nasty names people invent for the music. It could be called arsenic music, or perhaps Phaedra music. I don’t think that such a word as folk-rock has anything to do with it. And folk music is a word I can’t use. Folk music is a bunch of fat people. I have to think of all this as traditional music. Traditional music is based on hexagrams. It comes about from legends, Bibles, plagues, and it revolves around vegetables and death. There’s nobody that’s going to kill traditional music. All these songs about roses growing out of people’s brains and lovers who are really geese and swans that turn into angels – they’re not going to die. It’s all those paranoid people who think that someone’s going to come and take away their toilet paper – they’re going to die. …
PLAYBOY: Mistake or not, what made you decide to go the rock-‘n’-roll route? DYLAN: Carelessness. I lost my one true love. I started drinking. The first thing I know, I’m in a card game. Then I’m in a crap game. I wake up in a pool hall. Then this big Mexican lady drags me off the table, takes me to Philadelphia. She leaves me alone in her house, and it burns down. I wind up in Phoenix. I get a job as a Chinaman. I start working in a dime store, and move in with a 13-year-old girl. Then this big Mexican lady from Philadelphia comes in and burns the house down. I go down to Dallas. I get a job as a “before” in a Charles Atlas “before and after” ad. I move in with a delivery boy who can cook fantastic chili and hot dogs. Then this 13-year-old girl from Phoenix comes and burns the house down. The delivery boy – he ain’t so mild: He gives her the knife, and the next thing I know I’m in Omaha. It’s so cold there, by this time I’m robbing my own bicycles and frying my own fish. I stumble onto some luck and get a job as a carburetor out at the hot-rod races every Thursday night. I move in with a high school teacher who also does a little plumbing on the side, who ain’t much to look at, but who’s built a special kind of refrigerator that can turn newspaper into lettuce. Everything’s going good until that delivery boy shows up … he burned the house down, and I hit the road. The first guy that picked me up asked me if I wanted to be a star. What could I say? PLAYBOY: And that’s how you became a rock-‘n’-roll singer? DYLAN: No, that’s how I got tuberculosis. …
PLAYBOY: How do you feel about those who have risked imprisonment by burning their draft cards to signify their opposition to U. S. involvement in Vietnam, and by refusing – as your friend Joan Baez has done – to pay their income taxes as a protest against the Covernment’s expenditures on war and weaponry? Do you think they’re wasting their time? DYLAN: Burning draft cards isn’t going to end any war. It’s not even going to save any lives. If someone can &el more honest with himself by burning his draft card, then that’s great; but if he’s just going to feel more important because he does it, then that’s a drag. I really don’t know too much about Joan Baez and her income-tax problems. The only thing I can tell you about Joan Baez is that she’s not Belle Starr. …
PLAYBOY: Writing about “beard-wearing draft-card burners and pacifist income-tax evaders,” one columnist called such protesters “no less outside society than the junkie, the homosexual or the mass murderer.” What’s your reaction? DYLAN: I don’t believe in those terms. They’re too hysterical. They don’t describe anything. Most people think that homosexual, gay, queer, queen, faggot are all the same words. Everybody thinks that a junkie is a dope freak. As far as I’m concerned, I don’t consider myself outside of anything. I just consider myself not around. …
PLAYBOY: Paranoia is said to be one of the mental states sometimes induced by such hallucinogenic drugs as peyote and LSD. Considering the risks involved, do you think that experimentation with such drugs should be part of the growing up experience for a young person? DYLAN: I wouldn’t advise anybody to use drugs – certainly not the hard drugs; drugs are medicine. But opium and hash and pot – now, those things aren’t drugs; they just bend your mind a little. I think everybody’s mind should be bent once in a while. Not by LSD, though. LSD is medicine – a different kind of medicine. It makes you aware of the universe, so to speak; you realize how foolish objects are. But LSD is not for groovy people; it’s for mad, hateful people who want revenge. It’s for people who usually have heart attacks. They ought to use it at the Geneva Convention. …
PLAYBOY: Did you ever have the standard boyhood dream of growing up to be President? DYLAN: No. When I was a boy, Harry Truman was President; who’d want to be Harry Truman?
Blue Tail Fly
Q: What does “Jimmy crack corn” mean, and why does he not care?—Matt, Columbus, Ohio
I was trolling stupidquestion.net when there was a convergence of stupidity. (The site does not exist in 2024.) All my life I had heard Blue Tail Fly, and been embarrassed. And there, in (pardon the expression) black and white, was someone who wondered the same thing.
It seems as though BTF started out as a minstrel song. For those who don’t know, minstrel shows were white people putting on black makeup, and imitating African Americans. That is another reason you seldom hear BTF today.
Dave Barry took a poll once to find out the stupidest song of all time. The overwhelming winner/loser was MacArthur Park. The combination of over the top show stopping, while singing about a cake left out in the rain, makes this ditty a duh classic.
In the spirit of corny convergence, the video is a karaoke version featuring Donna Summer. Miss Summer is a talented singer, who happened to connect with Giorgio Moroder. Lots of singers could have hit the big time by fronting those records. Donna Summer hit the jackpot.
For a proper post, there needs to be a third stupid song. This is not about stupid bands, singing about being D U M B. Even though they totally don’t belong, there is a video of The Ramones included. I saw the Ramones at the Agora Ballroom in 1983. This was after their prime, and before a homeless man caught the Ballroom on fire.
We still need a third stupid song, and I want to get this posted with as little research as possible. Just like some writer was once given twenty minutes to write a song, and he decided to do the worst song he could think of. The result was Wild Thing. I used to have a 45 of someone who sounded like Bobby Kennedy singing Wild Thing. Let the good times roll.
These four hundred and six hastily chosen words are a repost. Pictures are from “The Special Collections and Archives, Georgia State University Library”. This was downtown Atlanta in 1941.
Where Is That Place
This blog has an email address listed. It is seldom used. The host is a faded internet company that rhymes with booboo. Once proud email has become a spam magnet. The email address there is checked every once in a great while. Yesterday was one of those times. There was a surprise.
Friday, June 5, 2015, 2:52 PM
Do you know exactly where the Agora Ballroom was in the Georgia Terrace Hotel Also I am trying to locate photos of the following locations – Does you any that we can use? Please let me know ASAP – I am on an extremely tight deadline need photos by Monday morning if possible. Exteriors or interiors are great. Please let me know if you have any.
12th Gate Coffee House (located on 10th street in Midtown,) Club 112 (located at Lavista and Cheshire Bridge,) Lenny’s (either or both of their two locations in the Old Fourth Ward,) Great Southeast Music Hall (either or both of their two locations Lindberg Plaza or Cherokee Plaza,) Echo Lounge (located in East Atlanta,) Hedgens (located in Buckhead,) Agora Ballroom (located in Georgia Terrace hotel,) Muelenbrink’s Salon (located at the Underground.) Joeff Davis Photo Editor Creative Loafing
Thursday, July 9, 2015 11:12 PM
Hey I apologize for the tardy answer. I don’t use this email very often
The Agora was at the end of an alley off Peachtree. It was next door to the Ga Terrace Hotel, though not in the Hotel building itself. The ballroom was in a fire in the early eighties, and was torn down. I don’t have any of the pictures that you needed a month ago.
Friday, July 10, 2015, 11:49 AM
Thanks here is the piece we did: That was then, this is now.
Friday, July 10, 2015, 1:21 PM
Hey thanks for getting back to me. The article was cool, even without my contribution. This seems like a good excuse for a blog post. I have a some comments about some of the locations listed. For instance, my mother bought groceries at the Cherokee Plaza A&P every thursday for 37 years.. I would like to use your letters, and link to your article, in my post.
Chamblee54 has had posts about four notable Atlanta performance venues: 688 Spring Street, Georgian Terrace Ballroom, The Great Southeast Music Hall, and Richards. Two were on the list of requests. As for the other two, 688 Spring Street, home of Rose’s Cantina and 688, is now a doc-in-a-box facility, Concentra Urgent Care. The site of Richards, across from Grady stadium on Monroe Drive, is now the meat department at Trader Joe’s.
The CL article, That was then, this is now, is fun to look at. There are some good pictures. There are a couple of mistakes in the piece, which this post will try correct.
The Great Southeast Music Hall is the scene of many cherished memories for those of a certain age. The post linked here has more comments than any other Chamblee54 post. There are two google earth images, one for Broadview Plaza, and one for Cherokee Plaza.
In Broadview, (now known as Lindbergh something or another,) the Music Hall was in the corner of an L shaped building. The space is currently a part of the parking deck for Target. According to google earth, the Home Depot takes up almost the entire parking lot of the old shopping center.
In Cherokee Plaza, the space where the Music Hall was is the south part of a Kroger. CL says it was in the parking lot, which simply is not so. This parking lot is too small, which is one reason the Music Hall failed there. In the nineties, the A&P expanded, and took over the space occupied by the theater. In 1998, A&P closed their Atlanta operations. The stores were taken over by Kroger.
The third google earth image is for the intersection of Peachtree Street and Ponce De Leon Avenue. This is the location of the Georgian Terrace Ballroom. This was the setting of Alex Cooley’s Electric Ballroom and The Agora Ballroom. This facility was in a fire, and torn down. An annex to the Georgian Terrace Hotel was built. This annex is roughly where the Ballroom was.
One of the places CL mentions was Backstreet. A picture of Lang Interiors, on Peachtree Street at Sixth Street, is included today.This is the building that became Backstreet. This building was a series of nightclubs in the early seventies. Backstreet opened in late 1974. It was the premier chacha palace in Atlanta for many years. When the property became valuable enough to attract the money of developers, the city discovered enough violations to shut down the party. (1974 was somewhat of a golden age for Atlanta nightlife. The Great Southeast Music Hall, Richards, and Alex Cooley’s Electric Ballroom were all in operation in 1974.)
Club 112 catered to an African American clientele. The space had been many businesses over the years, with a Fred Astaire dance studio next door. Around the time Backstreet was getting started, the space was called the Locker Room. A drag show, featuring the Hollywood Hots, performed there. The Locker Room was a “private club,” and was able to stay open on Sunday night. It was the only place open on Sunday, and was packed. The Locker Room was owned by Robert E. Llewellyn, who was later convicted of having a business rival murdered.
The 12th gate was in the middle of the block, somewhere on tenth street. It was not on the corner of Spring Street. A seedy Jim Wallace gas station was nearby. This place was mostly before I went out much. There is a hazy memory of seeing the Hampton Grease Band there. After the show, Mr. Hampton walked up to me, holding a thumb and finger making a circle in front of one eye. Mr. Hampton asked me what sign I was.
By the time Lenny’s was in business, I was a retired drunk. I seldom went downtown after dark. Somehow, the party went on without me. Pictures today are from “The Special Collections and Archives, Georgia State University Library”. This is a repost.
The Nightclub
A picture turned up on facebook the other day. It was a flyer for a rock club at 2581 Piedmont Road called The Nightclub. The facebooker said “Found on the Strip Project’s page! I THINK the year is 1975…but…T Wesley Dean, can you help with this? Thermos played there”
Broadview Plaza had a strange design. It was at the corner of Piedmont Road and Lindbergh Drive, about a mile north of the park. BP was one of the first shopping centers built in Atlanta. BP was built on the site of Mooney’s Lake … “a summer swimming hole off of Morosgo Drive in Buckhead that was in business from 1920-58.” The design was unusual, having a row of stores facing Morosgo Drive, connected to a larger group of stores by an escalator. The downstairs portion was home to the Great Southeast Music Hall. The Nightclub was in the upstairs part, next to the escalator.
Peaches Records and Tapes was just getting going in 1975. PRT was a huge facility at the base of heartbreak hill on Peachtree. Rock stars put hand prints in cement in front of the store. One of the hand prints proclaimed DARRYL RHOADES IS GOD. Mr. Rhoades, backed by the Hahavishnu Orchestra, performed at PRT Halloween 1975. Mr. Rhoades had a big time playing his shit hits. (fecal dyslexia is rough) Shoplifters had a productive evening.
What does this have to do with The Nightclub? One afternoon, Peaches had a flyer on the checkout counter. The handbill had a coupon for free admission to the Roger McGuinn show. I went to this show. Jim McGuinn was the front man for the Byrds, before he changed his name to Roger. The show was fun to watch, with “Chestnut Mare” and “Lover of the Bayou” remembered 44 years later. Before doing “Eight Miles High,” Mr. McGuinn strapped on a guitar with christmas tree lights in the body. The lights flashed when the corresponding string was picked.
A few days later, Miles Davis was scheduled to play. Someone was going to take his parents to see the show. When they heard that Miles had gone electric, they decided not to go. I wound up with one of the extra tickets. Then Miles Davis decided not to perform that night. The substitute was Thermos Greenwood and the Colored People. Yes, that was the name of the band. The players, all white men, painted their faces different colors. The guitar player was green, the drummer was silver, and the bass player was red. TGATCP played what they called “cigar music.”
The Nightclub soldiered on for a while, and went out of business. This is what bars do. I did see one more show upstairs. Spirit played there Halloween 1977. One celebrant wore a Richard Nixon mask, with prison stripes. I improvised a beekeeper costume. A drunken young lady asked me what my costume was. “Are you going to catch bees in the men’s room, you freak? Before Spirit came on stage, someone sitting near me, said that the band was demanding their money before they went onstage. Spirit put on a rousing show. They’ve got a line on you. Pictures for today are from “The Special Collections and Archives, Georgia State University Library”. This is a repost.
Bob Dylan Is 83
Today is Bob Dylan’s eighty third birthday. This tribute is composed primarily of two previously published pieces of work. Some people think Bob Dylan is a piece of work. Pictures are from Special Collections and Archives, Georgia State University Library
Hibbing MN is a cold place. At least it can claim to be the birthplace of Robert Allen Zimmerman. That’s Allen, with an e, and double L, just like hell. The original initials were RAZ, which might be a good trivia question, or, with a silent W in front, radio station call letters. The problem is, he legally changed his name to Bob Dylan, with no known middle name. Those initial are BD.
On May 24, 1941, the curly haired wonder boi arrived. The world was a different place. Europe was in flames, and eyeing the young men of America as fresh cannon fodder. This was twelve years, eleven months, and eighteen days before I graced the planet. A twelve year old in Hibbing MN would have no reason to think of a newborn baby in Atlanta GA.
The first time I heard of Bob Dylan was probably at the record rack of Zippy’s dime store in Cherokee Plaza. There was an album of his greatest hits, and it came with a poster. The poster had a drawing of the man, with psychedelic waves of hair cascading in multi colored glory to the edges.
As I got older and stupider, I heard more and more Bob Dylan music. At the start of 1974, a tour was announced. The Band was to be the backing group. The circus came to the Omni, and was nothing special. Bob Dylan excels at writing, is ok in the studio, and blah on stage. Georgia Governor Jimmy Carter was at the show, and was said to look bored. Mr. Dylan was invited to the Governor’s mansion after the show, and talked to the Governor. A lot of people in Georgia were surprised that Jimmy would want to run for President.
As the Seventies went me-me-me-ing into sex and drugs oblivion, Bob Dylan regained both his writing touch, and love of the spotlight. The Rolling Thunder tour happened, he got back together with Joan Baez, divorced his wife, became born again, became more Jewish, counted money, and generally lived the life. I did my version of all that, without Joan Baez.
In the winter of 1991, America was consumed by war fever. Saddam Hussein had been elevated to next Hitler status, and had to be taught a lesson. One night, Bob Dylan played on a music awards show, and performed “Masters of War”. He played a discordant version of that ditty, with the result that few understood what he had said. By this time, Mr. Dylan had assembled a band, and gone out on the “Never Ending Tour”. A Bob Dylan concert had gone from being a special event, to being another name on the festival roster. Overexposure will do that.
On the last night of the Olympics in 1996, Bob Dylan played the House of Blues downtown. I won a pair of tickets in a radio station contest. The show was competent…they impressed me as being like a bar band that did a lot of Dylan songs, with a strangely authentic lead vocalist. The only song I recognized was “All along the Watchtower”, the Jimi Hendrix classic. Mr. Dylan got a cheer when he put his harmonica appliance on.
The aptly named dangerousminds has a link to a story about the recording of Blonde on Blonde. Bob Dylan was 24 years old, newly married, and had “sold out” i.e. started to play electric guitar. A bunch of Canadians known as The Hawks (later The Band) was touring with him. Barely a month after the release of “Highway 61 Revisited”, sessions started at a New York studio.
The New York sessions did not work, so a decision was made to go to Nashville. Al Kooper played organ, and served as a music director. A crew of Nashville players was recruited. A bass player named Joseph Souter, Jr. would become famous a few years later using the name Joe South. Kris Kristofferson was the janitor at the studio.
Most studios have bafflers, or sound proof room dividers, splitting the studio into cubicles. For these sessions, the bafflers were taken down, and the band played together as a unit.
The second session in Nashville started at 6pm and lasted until 530 the next morning. Mr. Dylan was working on the lyrics to “Sad eyed lady of the lowlands”, and the recording could not start until he was ready. The musicians played ping pong and waited. At 4am, the song was ready, and the record was finished in two takes.
I had marginal encounters with two of the players on this album. He met a lady once, who worked in an insurance office. One of the customers was Joe South. His driving record file was an inch thick.
Al Kooper had a prosperous career after his association with Bob Dylan. The former Alan Peter Kuperschmidt produced the first three Lynyrd Skynyrd albums, sold that contract for a nice piece of change, and lived happily ever after.
One night, Mr. Kooper was playing a show at the Great Southeast Music Hall, and PG sat in front of the stage. During a break between songs, PG asked his friend “what time is it?”. Mr. Kooper heard him on stage, and said it was 11:30.
Porcelain
PG was in the Kroger parking lot, waiting for his brother to buy groceries. To pass the time, he read
Porcelain. This was a memoir, written, allegedly, by Moby. The copyright goes to “Moby Entertainment, Inc.” There is a modern notice below. This is a repost from 2017.
“Penguin supports copyright. Copyright fuels creativity, encourages diverse voices, promotes free speech and creates a vibrant culture. Thank you for buying an authorized edition of this book and for complying with copyright laws by not reproducing, scanning or distributing any part of it in any form without permission. You are supporting writers and allowing Penguin to publish books for every reader.” Should PG say you’re welcome?
Page 360 was the focus. Moby was in Portland, at the last gig of a bad tour. He is flying home to Connecticut the next day. His mother is going to die in a couple of days. The christian-vegan-performer is drinking Jack Daniels with strippers. A fan asks him to autograph a bible.
This was 1997. PG saw a few parallels with his life. In late 1997, PG’s mom was still alive, but clearly near the end of her life. 1998 would see the cancer diagnosis, the surgery, the radiation treatment, and finally, the death.
PG quit drinking at the end of 1988, and never looked back. Moby was an alcohol enthusiast, who went straight edge in 1987. Eight years later, Moby gave into temptation, and started drinking again. Evidently, he tried to make up for lost time. His drunken adventures are described in great detail here. How does Mobes remember all that?
Moby continued to call himself a christian, even with more and more doubts crowding into the picture. PG quit going to church at 17. Jesus is impossible to ignore, and only marginally tolerable. Whatever the temptation, and the social rewards, PG has never called himself a christian. In the southern baptist tradition, you walk down the aisle, shake the pastor’s hand, and get baptized. Then you call yourself christian. PG, for various reasons, never took that walk.
The trip to Connecticut did not end well. Moby apparently woke up in the night, and set his alarm clock ahead three hours. As a result, his missed his mother’s funeral. Porcelain starts with young Moby sitting in the car, while his single mom is paid to do laundry for neighbors. While in the car, he heard “Love Hangover,” by Diana Ross, and was impressed.
Page 378 was a few days after the funeral. Moby goes to a party at Windows on the World, on top of the World Trade Center. Few imagined what would happen to that space four years later. (Richard Melville Hall, aka Moby, was born September 11, 1965.) Moby got very drunk, and had sex in a ladies room stall. After the act, Moby was staring out the windows, looking at New York, and crying. The DJ played Downtown, by Petula Clark.
On January 23, 1965, Downtown, was the number one hit in America. When Moby was born, eight months later, the number one hit was Help, by the Beatles. PG turned eleven in 1965. Thousands of drafted young American men were sent to Vietnam. The techno dystopian world of nineties New York was a few years down the road.
The last few pages see Moby driving, without a license, through the Connecticut of his youth. He is listening to a rough cassette. The tunes on that cassette will become Play, sell millions of units, and make Moby a star. All this will be in the second volume of his memoirs, currently in production.
While waiting for the next part of this story, maybe a few one star reviews will be amusing. John The most depressing book I’ve read in a while. I used to love Moby. When it was announced he was writing a biography I was very excited…that is until I read it. Moby has always had the reputation of being arrogant and rude. Well it won’t disappoint the critics. This is the worst autobiography I have ever read. Self indulgent and pretentious from start to finish. … Startlingly transphobic. I gave up. I will admit, I didn’t get through the entire book. But that’s the reason for this review. I put up with seven chapters filled with tales of death, drugs, and destitution, all with way too much specific detail to be totally true. In chapter 8, Moby starts getting into some pretty blatantly transphobic territory, repeatedly calling people the derogatory “tranny” and using pronouns like “his/her”…
Pictures today are from The Library of Congress. Pictures were taken in Louisiana, August 1940. The photographer was Marion Post Wolcott
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