Al Johnson comment:
The scene below stands (or falls) as a moment in support of that eternal search mentioned in the headline .
Scene Six: Westward Ho! In The Search For The Blue-Pink Great American West Night
As I stepped down onto the yellow-sunned, farm-fresh soil from the farm-fresh cab of the farm-fresh truck that had deposited Angelica and I out into the waving-fielded, farm-fresh Neola, Iowa September day I quickly flashed back to stepping down from Colonel Eddie’s truck cab in Winchester, Kentucky that had started this whole segment of the trip westward. Christ that seemed like an eternity ago although it had been only a few summer heated, summer sweat-soaked heated weeks. Life on the road had it own tempos but this one, for reasons that I will discuss later, had run out of tempo and we were living on pure fumes just then.
While I am thinking about Winchester, Kentucky I might as well tell you what had happened since then to get us here to yellowed-sunned, waving-fielded, farm-fresh country and that will go a long way to explaining our need, our desperate need, for a jump start. Needless to say if you read the last scene, the scene where fair Angelica and me are kicking our heels up at a barn dance (and kicking those same heels after as well) in greater Prestonsburg, Kentucky and me about four sheets to the wind, no five or six sheets to the wind from the local , well-aged (about six minutes) “white lightning” then you know that we, thanks to Angelica, got promised a ride from Prestonsburg to Winchester which is just outside of Lexington, Kentucky.
Our chauffer, our Angelica-smitten chauffer, for the occasion turned out to be one ancient hard-driving (as we quickly found out), hard-drinking (as I knew from his condition as we met up with him), ghost of a truck-driving Colonel Eddie. (The colonel part is made-up, made up by him, all these Kentucky guys from the lowliest pig farmer on up call themselves that, or did back then. I think for about two bucks you could get yourself an “official” certificate designating you as such. If old Eddie had been a “real” colonel then that would go a long way to explaining the South’s righteous lost back in Civil War days). And despite this awful build-up of the guy, and a little off-hand character assassination above, he actually got us there, to Winchester that is, in one piece. Colonel Eddie was one the last of the good old boys, for sure.
What that one piece, by the way, looked like after traveling more back roads in the Commonwealth of Kentucky that seemed humanly possible in order to us get there is another story. See that is where the “white lighting” (rotgut, according to a somewhat miffed Angelica) had something like seven lives. Every time I thought I was feeling better, just a tiny it better like maybe I would actually survive the day, we would hit a double-reverse triple somersault hairpin turn followed by a triple-reverse double somersault hairpin turn that made me wish that, if there was any mercy in this flea-bitten old world, we would just go over the top down into some heavenly embankment and be done with it. But, as I said, we got there, and although we were pinching pennies a little, my condition was terminal and we needed, as a matter of simple primitive medical wisdom, to stay at one of those cheapjack motels that dot the back roads of this world to rest up for future battles, for future tilts at the westward windmills.
No, I am not going to descript this cheapjack motel, this back road, and what did or did not happen there, for the simple reason that I don’t really remember much about what it looked like it, or what happened there. Except this, this is etched in my brain and I can feel the cool- handed, cool-toweled sensation even as I am writing. Angelica, miffed or not, had taken a towel, wrapped some ice from the ubiquitous, usually whiskey fixings-friendly motel ice machine in it, and placed it on my forehead and held her hand on the compress for a while until I fell asleep. Of such kindnesses long-lasting civilizations should be created.
But enough of medical reports and folk wisdom medicines, sweet gestured or not. We were on the road west now, the blue-pink road west and for the first time since Angelica and I had met really on our own. Winchester, Kentucky heading to Lexington on our way west. Next morning, next already hot, steamy, sulky July Monday morning, having had a decent night’s recovery, and a thimbleful of food in my stomach to be on the safe side, we are off. Tonight we will sleep in no “bourgeois” roadside motel, ice cubes included free of charge or not, but out in the great outdoors, out in the promised great American night, and save our dwindling cash for stormier times. Thumb out, Angelica thumb out here, and we are indeed off. A half hour later after being picked up by a wayward sedan, driven by a nondescript but kindly driver, we are on the road to Lexington. And arrive we do without fanfare, or flourish.
This is really what is important about Lexington though. See, like I told you and I know I told Angelica before, that suitcase that she had packed up for Steubenville in her Muncie break-out days was fine to live out of for Steubenville motel cabin existences but no good on the hitchhike road, of whatever color. I didn’t tell you this before because Angelica had been such a trouper, especially with that ice-encrusted towel, but she had complained like hell about the damn dangling suitcase every time we had to push on in a hurry. Truth be told I had carried the thing more than she had, invalided as I was. So when we hit Lexington we hit the first Army-Navy store we could find to get her one of those fungible mountaineer backpacks.
Army-Navy store? Ya, Army-Navy store. Don’t snicker about so, well, about so yesterday, okay? Out on the hitchhike road you needed sturdy stuff, whatever it was you needed, because stuff got pretty banged around and your “faux” hitchhike road designer goods would last about seven miles (or about as long as the owner of such goods would be on the road before hailing a cab to the nearest airport). And as much as we hated the notion of deadly military weapons and anything military in those days we, we of youth nation, were strangely drawn to that fashion look, and the indestructible nature of their “camping” equipment. Besides the stuff was cheap, remember it was bought as World War II surplus mainly, hell, maybe World War I, but cheap.
Naturally, as events kept unfolding Angelica was showing more and more her origins as a Midwestern flower, and although a total stranger to such a place was thrilled (and mystified) by this place, including the odd , musty smell that goes with such stores. I will quote her, “Wow, does all this stuff really work?” So you can see by that simple statement that, every once in a while, she will throw out her Indiana naïve to confuse me. In any case, soon enough she will know whether it works or not. Of course she took forever to decide on which of two types of olive green backpacks “fit” her. Christ, women (oops, sorry). After that we made other purchases in order to set up “housekeeping”. Like. Well, like a small very portable army pup tent, complete with staves, to shelter us from storms and summer bugs. And a couple of canteens, small useful three-prong knives, a shovel, and mess kits.
I, as I write this, still smile over the fact that Angelica talked for days about how whoever invented such a useful thing as a mess kit was a genius, a pure genius. So you see again what I meant about that Muncie thing. Best of all to her sheer unmitigated delight we purchased a warm, cozy, snuggly army surplus sleeping bag (hey, the best kind okay, you can’t have soldiers freezing their buns off in Alaska, Korea, Northern China or wherever). And also delighted, blushingly delighted, when I, off-handedly, whispered in her ear about how many people could fit inside the thing, in a pinch. And, finally, a green (naturally) army blanket, for emergencies, real emergencies, not those in a pinch kind.
After completing those purchases we stepped just outside the store door to a nearby bench, placed there probably for just such purposes, and ceremoniously transferred her stuff from the suitcase to the backpack. Here is the kicker though, which may tell about human nature or maybe not. I just kind of threw everything into my knapsack and hoped for the best. Hope, for example, that a pair of socks, matched, showed up when needed. Angelica, as I noticed back in the Steubenville pack-up, neat of suitcase also took pains (and would do so throughout the trip) to keep her stuff organized just like in the suitcase. I wonder if we had decided that plastic bags were absolutely the best for travel gear whether she would have done the same. Probably. In any case, Angelica’s yesterday Angelica miffs had turned around and she was beaming, at me, at her new existence, at the whole wide world for all I know. I liked it, I told her so, and we are off to a campground just outside of town that the Army-Navy store owner told me about to “camp out” in the great dark American night. Hell, even I was excited. Still I noticed, just a glimmer of a notice, that she turned back wistfully for just a second to take one last look at the suitcase that we left on that bench for someone else in need.
Every once in awhile, just as things are going right and this old world seems full of bright-eyed possibilities, things get twisted around. Let me tell you about it and see what you think. As we were walking, Angelica proudly practically hip-hop walking with her new backpack bouncing up and down with each step, decided she needed to discuss something, one of our little “adjustments” talks. Apparently the miffed Angelica of yesterday was not so much miffed at my condition as that when we went to sign in at that cheapjack motel I wrote down my real name and her real name indicating that we weren’t married, or at least not related. Some primordial sense of modesty, no, I know, just Muncie conventionality, made her feel ashamed.
Christ Angelica, there is not one cheapjack (or five star, for that matter) motel, hotel, inn,
Youth hostel, ashram, whatever in the whole world that in the year 1969 cares who you sign in as. I could have put down Queen Elizabeth and Richard Nixon (although that combination might have raised my eyebrow) and they would have been nonplussed, as long as the coin of the realm, cash, was in hand. I didn’t put quotation marks around the above sentences but I think I could have because that, in my mind’s eye, is probably exactly what I said to her. Her plea, and here I will quote, “I feel ashamed and like a tramp (exact word) and couldn’t we just say we were married when we signed into places?” Apparently the time I was going to spend with this woman was going to be filled with throwing in towels because that is just what I did, I agree to this proposition. Why? Well, in those days I, frankly, didn’t have an opinion, at least a strong opinion, about married or not married and to keep peace I conceded the point. Now would be a different story. But, hell, let’s get to the camp and the great American night.
There are camp sites and there are camp sites. Today you can belly up to some sites with your seven ton, overloaded monster “trailer” home and put in plug or two and act just like you never left Cicero, Albany, or whatever your port of origin. Or you can go back up into the hills, some forlorn shaggy hills, mainly some Western hills these days, carrying in with you whatever you are going to bring on your back, and be not that far removed from those old pioneers who feared every dangerous animal, dangerous man, dangerous natural condition step of the western way, and carried on nevertheless. The real westward ho crowd. That day though Angelica and I found ourselves at a plain old-timey campsite which we could see from the road in was dotted with various tents, some small trailers sitting in the beds of pick-up trucks, some free-form trailers pulled by trucks and a couple of psychedelically multi-colored converted school buses. The last had been popping up on the road ever since people started hearing about Ken Kesey and his Merry Pranksters and their mad eastward escapades a few years earlier. Not a monster trailer in the house, a good sign. I can see a little river as well. Best of all there a small supermarket right across the street. Yes, this portends to be a great American night, and maybe nights.
After I passed the test at the camp office we went to our site, a cozy little site for a tent not too far from the river. What test? Come on now, pay attention, you know the test. Did I or did I not sign us in as Mr. and Mrs. (no Ms. then). Well, I am still sitting here writing this thing so of course I did. Angelica was beaming, beaming like an old married lady (at nineteen, jesus) but, maybe, just maybe because her “hubby” played it straight with her. (I never did get all the details, and she never put them all out there for me, but back in staid old homey Muncie some guys definitely did her wrong, tramp-treating wrong). Of course unlike the “bourgeois” upper class dwellers here in their little campers we were primitives (a word I have actually seen used to designate some campsites) and had to set up camp from scratch. Hell, we had more fun trying to set that damn Army-Navy tent and setting up for dinner on our little fireplace. There are not many times in life when just a couple of goofy, simple things provided so much entertainment. We napped then feasted.
As it got dark though I heard some music, the Stones, I think coming from one of the multi-colored painted, converted buses down the dirt lane. Nothing loud, but also something that said “youth nation” among the families of three and four that seemed to dominate the camp. We moseyed (like it?) on down and as we got closer I knew we had found kindred spirits, at least I thought we had. Angelica said, “What’s that strange smell?” Of course it was nothing but grass (marijuana, herb, ganja, whatever your term), and from the smell high-grade stuff. I thereafter proceeded to tell Angelica the “skinny”. She seemed a little non-plussed by the news but, however, confessed that she had never smoked or done any other drugs. And from the tone of that response seemingly did not want to.
Those were good and simple days to be young, especially on a road situation like this. Perfect strangers, unknown to one another, except by a telltale beard, or longhair, or long dresses or some slightly off-key sign, immediately embraced and as a welcome “gift” passed you a joint (or whatever drug of choice was available that day) and you passed whatever you had. We had some store-bought wine. I knew, knew from hard Arizona and Connecticut experiences, as well as the lore of the road, that carrying drugs was not “cool.” Many a road comrade spent many a night in some godforsaken cooler for making that mistake when the grim-reaper, usually small town, cops needed to boost their arrest records. Thus, for me it was nice to have a chance to get “high.” (inhaling even) although Angelica passed and was happy getting a little silly on the wine. We spent a nice night hanging out, listening to the Stones and the Doors, and a couple of other things that I don’t remember. I do remember, as we went back to our own site to turn in, that Angelica said she finally “got” what her parents, her neighbors, her minister, her schoolteachers, and some of her former boyfriends were afraid of. The feared great boxed-in break-out. She started to go on about it, but I gave her a knowing “preaching to the choir” smile and she stopped.
We wound up staying for few days, got to know most of the twelve or fifteen people connected with the buses (two at two adjoining sites, actually) and found out that they were on “vacation” from a little farm house that they all lived in communally, including some primitive farming and weaving to keep body and soul together, just outside of Springfield, Illinois. They were leaving Saturday morning and we were welcome to join them and stay at the farm for a while. We talked it over and it seemed right, especially for Angelica, as we could by-pass sweet home Indiana that she wanted avoid at all costs, so we left with them. That Saturday morning Angelica with great tenderness, and by herself, struck our camp (“our home” she called it by the end) as we prepared for the next leg of our journey. Ah, pioneer woman.
You know some towns you can say that you have been in but that is misleading. You might have passed through them, you might have been caught having to sleep on some forsaken bench in some lonely bus stop there, or stretched a watery cup of joe in some lonelier diner against some cold , rainy night wait, or, in flusher times, just hopped on a plane out of the place. So, yes you can tick that town off on your map as you move along in the world but you don’t know the town, no way. That is my recollection of Springfield. Oh sure I knew it was Lincoln’s home area, I knew it was the capital of the state of Illinois, I knew that people in that area were not Mayor Daly’s (the first one) people and that there was plenty of farmland there. But Springfield on this trip (or ever) was just that dot on the map because once we passed through it and we got to the farm a few days and joints after leaving Lexington that was it. We spent some quiet, well maybe no so quiet when the music went decibel high, but youth quiet time on the farm, did a little work for our keep, Angelica got a little more sun that she thought was good for her, and we relaxed before pushing on. Westward ho, ever westward ho in the blue-pink great American West night.
Thursday, December 30, 2010
Tuesday, December 28, 2010
*Out In The Be-Bop Night- Langston Hughes’ Poetry- “The Weary Blues”
Click on the headline to link to a YouTube film clip of performances of Langston Hughes’ poetry as described in the headline.
Markin comment:
You know, and if you have been reading some of the writings in this space you should know, that clearly I am not the only one in the universe who has gone out searching for that be-bop, blue-pink great American night, or the high white note either. Thanks, Brother Hughes.
Markin comment:
You know, and if you have been reading some of the writings in this space you should know, that clearly I am not the only one in the universe who has gone out searching for that be-bop, blue-pink great American night, or the high white note either. Thanks, Brother Hughes.
Monday, December 27, 2010
“By The Time We Got To Woodstock We Were Half A Million Strong"- "Taking Woodstock"-A Film Review
Click on the headline to link to a YouTube film clip of the movie trailer for Taking Woodstock.
DVD Review
Taking Woodstock, starring Demetri Martin, Eugene Levy, directed by Ang Lee, 2009
Okay, I confess, and confess so publicly, that while I am a certified proud member of the generation of ’68, the political branch of that generation, I was not even remotely near Woodstock, New York on that fateful August weekend of 1969 when the myth of "youth nation" took on a certain substantive possibility that we might, after all, make a “newer world.” Others may have regrets that they did not attend but I unlike non-attendee Joni Mitchell, whose words from her song Woodstock form part of the headline for this entry, and the others am not. I, actually, was heading elsewhere, heading hard elsewhere on the highway hitchhike road in search of the blue-pink great American West night that was another branch of that same experience. That experience I am very happy that I undertook, and have written about elsewhere.
That said, we were, wherever we were, in those times, at least those of us who were fighting for some version of that “newer world” seeking, children of Woodstock. Maybe not that particular experience, after all half a million hardly exhausted the numbers who were “searching” in those days, but some experience be it another of the myriad musical festivals that took place in those years, or a communal living experience, or like me a highway hitchhike break-out in search of the great American West night, or just took a “hit” of dope or popped a pill that in earlier or later times would have been scorned. It is under that sign the renowned director Ang Lee has creatively taken a back story from those times, a back story centered on the locals rather than the rock stars or the “hippie” touristas associated with the name Woodstock, and meshed it with one of the locals' self-discovery in 2009, the 40th anniversary year of that event.
Whatever Woodstock, the place, and its environs were after the festival invasion before that event it was a dying Catskills resort area and farmland. That resort idea is central to the story line here. The Catskills, in the old days, before there was more widespread assimilation and Jews began to be accepted in other locales was always associated with the place where they went for vacation and as a “proving ground” for up and coming Jewish entertainers. By 1969 that idea, and those places, were passé. However, not everybody got the word, especially not an old Jewish couple who were hanging on to their mortgaged to the hilt motel for dear life, despite the best efforts of their assimilated son, the central character, of the film.
They did hold, or rather he held, an important asset: permits to allow the festival to go on. The story, the Woodstock and self-discovery story, take off from that point as we view the trials and tribulations of producing this spectacle, its actual occurrence, and the sometimes funny experiences that mother, father, and son experience, including the mandatory drug experimentation, sex (hetero and homosexual), and rock ‘n’ roll. Is this the definitive study on Woodstock, on the 1960s counterculture, and on the generation of ’68s jail break-out? No, hell no, but it is a very nicely done slice-of-life film around that seminal 1960s event. Nicely done.
DVD Review
Taking Woodstock, starring Demetri Martin, Eugene Levy, directed by Ang Lee, 2009
Okay, I confess, and confess so publicly, that while I am a certified proud member of the generation of ’68, the political branch of that generation, I was not even remotely near Woodstock, New York on that fateful August weekend of 1969 when the myth of "youth nation" took on a certain substantive possibility that we might, after all, make a “newer world.” Others may have regrets that they did not attend but I unlike non-attendee Joni Mitchell, whose words from her song Woodstock form part of the headline for this entry, and the others am not. I, actually, was heading elsewhere, heading hard elsewhere on the highway hitchhike road in search of the blue-pink great American West night that was another branch of that same experience. That experience I am very happy that I undertook, and have written about elsewhere.
That said, we were, wherever we were, in those times, at least those of us who were fighting for some version of that “newer world” seeking, children of Woodstock. Maybe not that particular experience, after all half a million hardly exhausted the numbers who were “searching” in those days, but some experience be it another of the myriad musical festivals that took place in those years, or a communal living experience, or like me a highway hitchhike break-out in search of the great American West night, or just took a “hit” of dope or popped a pill that in earlier or later times would have been scorned. It is under that sign the renowned director Ang Lee has creatively taken a back story from those times, a back story centered on the locals rather than the rock stars or the “hippie” touristas associated with the name Woodstock, and meshed it with one of the locals' self-discovery in 2009, the 40th anniversary year of that event.
Whatever Woodstock, the place, and its environs were after the festival invasion before that event it was a dying Catskills resort area and farmland. That resort idea is central to the story line here. The Catskills, in the old days, before there was more widespread assimilation and Jews began to be accepted in other locales was always associated with the place where they went for vacation and as a “proving ground” for up and coming Jewish entertainers. By 1969 that idea, and those places, were passé. However, not everybody got the word, especially not an old Jewish couple who were hanging on to their mortgaged to the hilt motel for dear life, despite the best efforts of their assimilated son, the central character, of the film.
They did hold, or rather he held, an important asset: permits to allow the festival to go on. The story, the Woodstock and self-discovery story, take off from that point as we view the trials and tribulations of producing this spectacle, its actual occurrence, and the sometimes funny experiences that mother, father, and son experience, including the mandatory drug experimentation, sex (hetero and homosexual), and rock ‘n’ roll. Is this the definitive study on Woodstock, on the 1960s counterculture, and on the generation of ’68s jail break-out? No, hell no, but it is a very nicely done slice-of-life film around that seminal 1960s event. Nicely done.
Saturday, December 25, 2010
**Out In The Be-Bop 1960s Night- Out In Teen Dance Club Night- A CD Review
Click on the headline to link to a YouTube film clip of The Drifters performing the classic Save The Last Dance For Me.
CD Review
The Rock ‘N’ Roll Era: 1960: various artists, Time-Life Music, 1992
Recently I, seemingly, have endlessly gone back to my early musical roots in reviewing various compilations of a Time-Life classic rock series that goes under the general title The Rock ‘n’ Roll Era. And while time and ear have eroded the sparkle of some of the lesser tunes it still seems obvious that those years, say 1955-58, really did form the musical jail break-out for my generation, the generation of ’68, who had just started to tune into music.
And we, we small-time punk (in the old-fashioned sense of that word), we hardly wet behind the ears elementary school kids, and that is all we were for those who are now claiming otherwise, listened our ears off. Those were strange times indeed in that be-bop 1950s night when stuff happened, kid’s stuff, but still stuff like a friend of mine, not my grammar school best friend “wild man” Billie who I will talk about some other time, who claimed, with a straight face to the girls, that he was Elvis’ long lost son. Did the girls do the math on that one? Or, maybe, they like us more brazen boys were hoping, hoping and praying, that it was true despite the numbers, so they too could be washed by that flamed-out night.
Well, this I know, boy and girl alike tuned in on our transistor radios (small battery- operated radios that we could put in our pockets, and hide from snooping parental ears, at will) to listen to music that from about day one, at least in my household was not considered “refined” enough for young, young pious you’ll never get to heaven listening to that devil music and you had better say about eight zillion Hail Marys to get right Catholic, ears. Ya right, Ma, like Patti Page or Bob (not Bing, not the Bing of Brother, Can You Spare A Dime? anyway) Crosby and The Bobcats were supposed to satisfy our jail-break cravings.
And we had our own little world, or as some hip sociologist trying to explain that Zeitgeist today might say, our own sub-group cultural expression. I have already talked about the pre 7/11 mom and pop corner variety store hangout with the tee-shirted, engineered-booted, cigarette (unfiltered) hanging from the lips, Coke, big sized glass Coke bottle at the side, pinball wizard guys thing. And about the pizza parlor juke box coin devouring, hold the onions I might get lucky tonight, dreamy girl might come in the door thing. And, of course, the soda fountain, and…ditto, dreamy girl coming through the door thing, natch. Needless to say you know more about middle school and high school dance stuff, including hot tip “ inside” stuff about manly preparations for those civil wars out in the working class neighborhood night, than you could ever possibly want to know, and, hell, you were there anyway (or at ones like them).
But the crème de la crème to beat alll was the teen night club. Easy concept, and something that could only have been thought up by someone in cahoots with our parents (or maybe it was them alone, although could they have been that smart). Open a “ballroom” (in reality some old VFW, Knight of Columbus, Elks, etc. hall that was either going to waste or was ready for the demolition ball), bring in live music on Friday and Saturday night with some rocking band (but not too rocking, not Elvis swiveling at the hips to the gates of hell rocking, no way), serve the kids drinks…, oops, sodas (Coke Pepsi, Grape and Orange Nehi, Hires Root Beer, etc.), and have them out of there by midnight, unscathed. All supervised, and make no mistake these things were supervised, by something like the equivalent of the elite troops of the 101st Airborne Rangers.
And we bought it, and bought into it hard. And, if you had that set-up where you lived, you bought it too. And why? Come on now, have you been paying attention? Girls, tons of girls (or boys, as the case may be). See, even doubting Thomas-type parents gave their okay on this one because of that elite troops of the 101st Airborne factor. So, some down and the heels, tee-shirted, engineer- booted Jimmy or Johnny Speedo from the wrong side of the tracks, all boozed up and ready to “hot rod” with that ‘boss”’57 Chevy that he just painted to spec, is no going to blow into the joint and carry Mary Lou or Peggy Sue away, never to be seen again. No way. That stuff happened, sure, but that was on the side. This is not what drove that scene for the few years while we were still getting wise to the ways of the world The girls (and guys) were plentiful and friendly in that guarded, backed up by 101st Airborne way (damn it). And we had our …sodas (I won’t list the brands again, okay). But, and know this true, we blasted on the music. The music that is on this compilation, no question. And I will tell you some of the stick outs:
Save The Last Dance For Me, The Drifters (oh, sweet baby, that I have had my eye on all night, please, please, James Brown, please save that last one for me); Only The Lonely, Roy Orbison (for some reason the girls loved covers of this one ); Alley Oop, The Hollywood Argyles (a good goofy song to break up the sexual tension that always filled the air, early and late, at these things as the mating ritual worked its mysterious ways); Handy Man, Jimmy Jones( a personal favorite, as I kept telling every girl, and maybe a few guys as well, that I was that very handy man that the gals had been waiting, waiting up on those lonely week day nights for. Egad!); Stay, Maurice Williams and The Zodiacs (nice harmonics and good feeling); New Orleans, Joe Jones (great dance number as the twist and other exotic dances started to break into the early 1960s consciousness); and, Let The Little Girl Dance, Billy Bland (yes, let her dance, hesitant, saying no at first mother, please, please, no I will not invoke James Brown on this one, please).
CD Review
The Rock ‘N’ Roll Era: 1960: various artists, Time-Life Music, 1992
Recently I, seemingly, have endlessly gone back to my early musical roots in reviewing various compilations of a Time-Life classic rock series that goes under the general title The Rock ‘n’ Roll Era. And while time and ear have eroded the sparkle of some of the lesser tunes it still seems obvious that those years, say 1955-58, really did form the musical jail break-out for my generation, the generation of ’68, who had just started to tune into music.
And we, we small-time punk (in the old-fashioned sense of that word), we hardly wet behind the ears elementary school kids, and that is all we were for those who are now claiming otherwise, listened our ears off. Those were strange times indeed in that be-bop 1950s night when stuff happened, kid’s stuff, but still stuff like a friend of mine, not my grammar school best friend “wild man” Billie who I will talk about some other time, who claimed, with a straight face to the girls, that he was Elvis’ long lost son. Did the girls do the math on that one? Or, maybe, they like us more brazen boys were hoping, hoping and praying, that it was true despite the numbers, so they too could be washed by that flamed-out night.
Well, this I know, boy and girl alike tuned in on our transistor radios (small battery- operated radios that we could put in our pockets, and hide from snooping parental ears, at will) to listen to music that from about day one, at least in my household was not considered “refined” enough for young, young pious you’ll never get to heaven listening to that devil music and you had better say about eight zillion Hail Marys to get right Catholic, ears. Ya right, Ma, like Patti Page or Bob (not Bing, not the Bing of Brother, Can You Spare A Dime? anyway) Crosby and The Bobcats were supposed to satisfy our jail-break cravings.
And we had our own little world, or as some hip sociologist trying to explain that Zeitgeist today might say, our own sub-group cultural expression. I have already talked about the pre 7/11 mom and pop corner variety store hangout with the tee-shirted, engineered-booted, cigarette (unfiltered) hanging from the lips, Coke, big sized glass Coke bottle at the side, pinball wizard guys thing. And about the pizza parlor juke box coin devouring, hold the onions I might get lucky tonight, dreamy girl might come in the door thing. And, of course, the soda fountain, and…ditto, dreamy girl coming through the door thing, natch. Needless to say you know more about middle school and high school dance stuff, including hot tip “ inside” stuff about manly preparations for those civil wars out in the working class neighborhood night, than you could ever possibly want to know, and, hell, you were there anyway (or at ones like them).
But the crème de la crème to beat alll was the teen night club. Easy concept, and something that could only have been thought up by someone in cahoots with our parents (or maybe it was them alone, although could they have been that smart). Open a “ballroom” (in reality some old VFW, Knight of Columbus, Elks, etc. hall that was either going to waste or was ready for the demolition ball), bring in live music on Friday and Saturday night with some rocking band (but not too rocking, not Elvis swiveling at the hips to the gates of hell rocking, no way), serve the kids drinks…, oops, sodas (Coke Pepsi, Grape and Orange Nehi, Hires Root Beer, etc.), and have them out of there by midnight, unscathed. All supervised, and make no mistake these things were supervised, by something like the equivalent of the elite troops of the 101st Airborne Rangers.
And we bought it, and bought into it hard. And, if you had that set-up where you lived, you bought it too. And why? Come on now, have you been paying attention? Girls, tons of girls (or boys, as the case may be). See, even doubting Thomas-type parents gave their okay on this one because of that elite troops of the 101st Airborne factor. So, some down and the heels, tee-shirted, engineer- booted Jimmy or Johnny Speedo from the wrong side of the tracks, all boozed up and ready to “hot rod” with that ‘boss”’57 Chevy that he just painted to spec, is no going to blow into the joint and carry Mary Lou or Peggy Sue away, never to be seen again. No way. That stuff happened, sure, but that was on the side. This is not what drove that scene for the few years while we were still getting wise to the ways of the world The girls (and guys) were plentiful and friendly in that guarded, backed up by 101st Airborne way (damn it). And we had our …sodas (I won’t list the brands again, okay). But, and know this true, we blasted on the music. The music that is on this compilation, no question. And I will tell you some of the stick outs:
Save The Last Dance For Me, The Drifters (oh, sweet baby, that I have had my eye on all night, please, please, James Brown, please save that last one for me); Only The Lonely, Roy Orbison (for some reason the girls loved covers of this one ); Alley Oop, The Hollywood Argyles (a good goofy song to break up the sexual tension that always filled the air, early and late, at these things as the mating ritual worked its mysterious ways); Handy Man, Jimmy Jones( a personal favorite, as I kept telling every girl, and maybe a few guys as well, that I was that very handy man that the gals had been waiting, waiting up on those lonely week day nights for. Egad!); Stay, Maurice Williams and The Zodiacs (nice harmonics and good feeling); New Orleans, Joe Jones (great dance number as the twist and other exotic dances started to break into the early 1960s consciousness); and, Let The Little Girl Dance, Billy Bland (yes, let her dance, hesitant, saying no at first mother, please, please, no I will not invoke James Brown on this one, please).
Wednesday, December 22, 2010
**Out In The Be-Bop Night-In The Time Of The Time Of Classic Rock ‘n’ Roll-A CD Review
Click on the headline to link to a YouTube film clip of the Beatles covering Doctor Feelgood and the Interns classic, Mr. Moonlight.
CD Review
Rock Classics: The Originals, The Rock ‘n’ Roll Era, Time-Life, 1991
As I have noted in reviewing The ‘60s: Last Dance and the 1957 parts of this Time-Life Roll ‘n’ Roll Era series I have spent tons of time and reams of cyberspace “paper” in this space reviewing the teenage culture of the 1950s and early 1960s, especially the inevitable school dance and the also equally inevitable trauma of the last dance. That event, the last dance that is, was the last chance for even shy boys like me to prove that we were not wallflowers, or worst. The last chance to rise (or fall) in the torrid and relentless pecking order of the social scene at school. And moreover to prove to that certain she that you were made of some sort of heroic stuff, the stuff of dreams, of her dreams, thank you very much. Moreover, to make use of that social capital you invested in by learning to dance, or the “shadow” of learning to dance.
Hey, I have already filled this space with enough prattle about the old time school dances, middle school and high school, so I need not repeat that stuff here. Moreover, whatever physical description I could conger up would be just so much eye wash anyway. Those dances could have been held in an airplane hangar and we all could have been wearing paper bags for all we really cared. What mattered, and maybe will always matter, is the hes looking at those certain shes, and vis-a-versa. The endless, small, meaningful looks (if stag, of course, eyes straight forward if dated up, or else bloody hell) except for those wallflowers who are permanently looking down at the ground. And that was the real struggle that went on in those events, for the stags. The struggle against wallflower-dom. The struggle for at least some room in the social standing, even if near the bottom, rather than outcast-dom. That struggle was as fierce as any class struggle old Karl Marx might have projected. The straight, upfront calculation (and not infrequently miscalculation), the maneuvering, the averting of eyes, the not averting of eyes, the reading of silence signals, the uncomphrehended "no", the gratuitous "yes." Need I go on? I don’t think so, except, if you had the energy, or even if you didn’t, then you dragged yourself to that last dance. And hoped, hoped to high heaven that it was a slow one.
Ah, memory. So what is the demographic that this CD compilation is being pitched to, aside from the obvious usual suspects, the AARP crowd. Well that’s simple. Any one who has been wounded in love’s young battles; any one who has longed for that he or she to come through the door, even if late; anyone that has been on a date that did not work out, been stranded on a date that has not worked out; anyone who has had to submit to being pieced off with car hop drive-in food; anyone who has gotten a “Dear John” letter or its equivalent; anyone who has been jilted by that certain he or she; anyone who has been turned down for that last school dance from that certain he or she that you counted on to make your lame evening; anyone who has waited endlessly for the telephone (now iphone, etc., okay for the younger set who may read this) to ring to hear that certain voice; and, especially those hes and she who has shed those midnight tears for youth’s lost love. In short, everybody except those few “most popular “types who the rest of us will not shed one tear over, or the nerds who didn’t count (or care) anyway.
Stick outs on this one that include both 50s and 60s material include: Everybody’s Trying To Be My Baby by the underrated Carl Perkins who had all the making to be a big time rockabilly cross-over except Elvis got in the way; You’re No Good by Betty Everett who bopped the bop; I’m Leaving It All Up To You, by the one-hit wonders Don and Dewey, Time Is On My Side by the legendary blues rocker, Irma Thomas (a song, by the way, covered by the Stones; I Can’t Stop Lovin’ You, a country-type cross-over y Don Gibson. Needless to say John Lee Hooker’s Boom Boom rates as well but I take that as a blues classic rather than a rock classic. And for that last dance, that one that you hoped for, prayed against all odds for, and sweated blood for, Doctor Feelgood and the Interns on Mr. Moonlight. Natch, a slow one. You’re on your own now for the after dance arrangements.
CD Review
Rock Classics: The Originals, The Rock ‘n’ Roll Era, Time-Life, 1991
As I have noted in reviewing The ‘60s: Last Dance and the 1957 parts of this Time-Life Roll ‘n’ Roll Era series I have spent tons of time and reams of cyberspace “paper” in this space reviewing the teenage culture of the 1950s and early 1960s, especially the inevitable school dance and the also equally inevitable trauma of the last dance. That event, the last dance that is, was the last chance for even shy boys like me to prove that we were not wallflowers, or worst. The last chance to rise (or fall) in the torrid and relentless pecking order of the social scene at school. And moreover to prove to that certain she that you were made of some sort of heroic stuff, the stuff of dreams, of her dreams, thank you very much. Moreover, to make use of that social capital you invested in by learning to dance, or the “shadow” of learning to dance.
Hey, I have already filled this space with enough prattle about the old time school dances, middle school and high school, so I need not repeat that stuff here. Moreover, whatever physical description I could conger up would be just so much eye wash anyway. Those dances could have been held in an airplane hangar and we all could have been wearing paper bags for all we really cared. What mattered, and maybe will always matter, is the hes looking at those certain shes, and vis-a-versa. The endless, small, meaningful looks (if stag, of course, eyes straight forward if dated up, or else bloody hell) except for those wallflowers who are permanently looking down at the ground. And that was the real struggle that went on in those events, for the stags. The struggle against wallflower-dom. The struggle for at least some room in the social standing, even if near the bottom, rather than outcast-dom. That struggle was as fierce as any class struggle old Karl Marx might have projected. The straight, upfront calculation (and not infrequently miscalculation), the maneuvering, the averting of eyes, the not averting of eyes, the reading of silence signals, the uncomphrehended "no", the gratuitous "yes." Need I go on? I don’t think so, except, if you had the energy, or even if you didn’t, then you dragged yourself to that last dance. And hoped, hoped to high heaven that it was a slow one.
Ah, memory. So what is the demographic that this CD compilation is being pitched to, aside from the obvious usual suspects, the AARP crowd. Well that’s simple. Any one who has been wounded in love’s young battles; any one who has longed for that he or she to come through the door, even if late; anyone that has been on a date that did not work out, been stranded on a date that has not worked out; anyone who has had to submit to being pieced off with car hop drive-in food; anyone who has gotten a “Dear John” letter or its equivalent; anyone who has been jilted by that certain he or she; anyone who has been turned down for that last school dance from that certain he or she that you counted on to make your lame evening; anyone who has waited endlessly for the telephone (now iphone, etc., okay for the younger set who may read this) to ring to hear that certain voice; and, especially those hes and she who has shed those midnight tears for youth’s lost love. In short, everybody except those few “most popular “types who the rest of us will not shed one tear over, or the nerds who didn’t count (or care) anyway.
Stick outs on this one that include both 50s and 60s material include: Everybody’s Trying To Be My Baby by the underrated Carl Perkins who had all the making to be a big time rockabilly cross-over except Elvis got in the way; You’re No Good by Betty Everett who bopped the bop; I’m Leaving It All Up To You, by the one-hit wonders Don and Dewey, Time Is On My Side by the legendary blues rocker, Irma Thomas (a song, by the way, covered by the Stones; I Can’t Stop Lovin’ You, a country-type cross-over y Don Gibson. Needless to say John Lee Hooker’s Boom Boom rates as well but I take that as a blues classic rather than a rock classic. And for that last dance, that one that you hoped for, prayed against all odds for, and sweated blood for, Doctor Feelgood and the Interns on Mr. Moonlight. Natch, a slow one. You’re on your own now for the after dance arrangements.
Tuesday, December 21, 2010
Out In The Be-Bop 1950s Night- Out In The Church Hall Dance Night- A CD Review
Click on the headline to link to a YouTube film clip of the Teen Angels performing Eddie, My Love.
CD Review
The Rock ‘N’ Roll Era: 1956: various artists, Time-Life Music, 1987
I, seemingly, have endlessly gone back to my early musical roots in reviewing this Time-Life classic rock series that goes under the general title The Rock ‘n’ Roll Era. And while time and ear have eroded the sparkle of some of the lesser tunes it still seems obvious that those years, say 1955-58, really did form the musical jail break-out for my generation, the generation of ’68, who had just started to tune into music.
And we, we small-time punk in the old-fashioned sense of that word, we hardly wet behind the ears elementary school kids, and that is all we were for those who are now claiming otherwise, listened our ears off. Those were strange times indeed in that be-bop 1950s night when stuff happened, kid’s stuff, but still stuff like a friend of mine, not Billie who I will talk about later, who claimed, with a straight face to the girls, that he was Elvis’ long lost son. Did the girls do the math on that one? Or, maybe, they like us more brazen boys were hoping, hoping and praying, that it was true despite the numbers, so they too could be washed by that flamed-out night.
Well, this I know, boy and girl alike tuned in on our transistor radios (small battery- operated radios that we could put in our pockets, and hide from snooping parental ears, at will) to listen to music that from about day one, at least in my household was not considered “refined” enough for young, young pious you’ll never get to heaven listening to that devil music and you had better say about eight zillion Hail Marys to get right Catholic, ears. Ya right, Ma, like Patti Page or Bob (not Bing, not the Bing of Brother, Can You Spare A Dime? anyway) Crosby and The Bobcats were supposed to satisfy our jail break cravings.
But can you blame me, or us, for our jail-break visions and our clandestine subterranean life-transistor radio dreams of lots of girls (or boys as the case may be), lots of cars, and lots of money if we could just get out from under that parental noise. Now this Time-Life series has many compilations but as if to prove my point beyond discussion the year 1956 has two, do you hear me, two CDs to deal with that proposition that I mentioned above. And neither includes Elvis, Jerry Lee, Bo Diddley or some other stuff that I might have included. I already reviewed the other 1956 compilation previously but here are the stick outs from this selection:
Blue Suede Shoes, Carl Perkins (Elvis covered it and made millions but old Carl had a better old rockabilly back beat on his version); In The Still Of The Night, The Five Satins (a doo wop classic that I am humming right this minute, sha dot do be doo, sha dot do be doo or something like that spelling, okay); Eddie, My Love, The Teen Queens (incredible harmony, doo wop back-up, and, and “oh Eddie, please don’t make me wait too long” as part of the lyrics, Whoa!); Roll Over Beethoven, Chuck Berry ( a deservedly early break-out rock anthem. Hell I thought it was big deal just to trash Patti Page old Chuck went after the big boys.); Be-Bop-a-Lula, Gene Vincent (the guy was kind of a one hit wonder but Christ what a one hit, "ya, she’s my baby now"); Blueberry Hill, Fats Domino (that old smooth piano riffing away); Rip It Up, Little Richard (he/she wild man Richard rips it up; Young Love, Sonny James ( dreamy stuff that those giggling girls at school loved, and so you "loved" too); Why Do Fools Fall In Love?, Frankie Lymon and the Teenagers (for a minute the king be-bop, doo wop teenage angel boy. Everybody wanted to be the doo wop king or queen); See You Later, Alligator, Bill Haley and The Comets (ya, these “old guys” could rock, especially that sax man. Think about it people still use the expression “see you later alligator”); and Since I Met You Baby, Ivory Joe Hunter (every dance pray, every last dance pray, oh my god, let them play Ivory Joe at the end so I can dance close with that certain she I have been eyeing all night).
Note: I have mentioned previously the excellent album cover art that accompanies each Time-Life classic rock series compilation. Not only does it almost automatically evoke long ago memories of red hot youth, and those dreams, those steamy dance night dreams too, but has supplied this writer with more than one idea for a commentary. This 1956 compilation album cover is in that same vein. The cover shows what looks like a local cover band from the 1950s getting ready to perform at the local high school dance. Although the guys, especially the lead vocalist, look a little skittish they know they have to make a good showing because this is their small time chance at the big time. Besides there are about six thousand other guys hanging around in their fathers’ garages ready and willing to step up if the Danny and the Bluenotes fall flat.
This live band idea is actually something of a treat because, from what I recall, many times these school dance things survived on loud record playing dee-jay chatter, thus the term “record hop.” From the look of it the school auditorium is the locale (although ours were inevitably held in the school gym), complete with the obligatory crepe, other temporary school-spirit related ornaments and a mesmerized girl band groupie to give the joint a festive appearance.
More importantly, as I said before, at least for the band, as they are to be warming up for the night’s work, is that they have to make their mark here (and at other such venues) and start to get a following if they want to avoid another dreaded fate of rock life. Yes, the dreaded fate of most bands that don’t break out of the old neighborhood, the fate of having to some years down the road play at some of the students they are performing for today children’s birthday parties, bar mitzvahs, weddings and the like. That thought should be enough to keep these guys working until late in the night, jamming the night away, disturbing some old fogy Frank Sinatra fans in the neighborhood, perfecting those covers of Roll Over Beethoven, Rip It Up, Rock Around The Clock and Jailhouse Rock. Go to it boy, you bet.
CD Review
The Rock ‘N’ Roll Era: 1956: various artists, Time-Life Music, 1987
I, seemingly, have endlessly gone back to my early musical roots in reviewing this Time-Life classic rock series that goes under the general title The Rock ‘n’ Roll Era. And while time and ear have eroded the sparkle of some of the lesser tunes it still seems obvious that those years, say 1955-58, really did form the musical jail break-out for my generation, the generation of ’68, who had just started to tune into music.
And we, we small-time punk in the old-fashioned sense of that word, we hardly wet behind the ears elementary school kids, and that is all we were for those who are now claiming otherwise, listened our ears off. Those were strange times indeed in that be-bop 1950s night when stuff happened, kid’s stuff, but still stuff like a friend of mine, not Billie who I will talk about later, who claimed, with a straight face to the girls, that he was Elvis’ long lost son. Did the girls do the math on that one? Or, maybe, they like us more brazen boys were hoping, hoping and praying, that it was true despite the numbers, so they too could be washed by that flamed-out night.
Well, this I know, boy and girl alike tuned in on our transistor radios (small battery- operated radios that we could put in our pockets, and hide from snooping parental ears, at will) to listen to music that from about day one, at least in my household was not considered “refined” enough for young, young pious you’ll never get to heaven listening to that devil music and you had better say about eight zillion Hail Marys to get right Catholic, ears. Ya right, Ma, like Patti Page or Bob (not Bing, not the Bing of Brother, Can You Spare A Dime? anyway) Crosby and The Bobcats were supposed to satisfy our jail break cravings.
But can you blame me, or us, for our jail-break visions and our clandestine subterranean life-transistor radio dreams of lots of girls (or boys as the case may be), lots of cars, and lots of money if we could just get out from under that parental noise. Now this Time-Life series has many compilations but as if to prove my point beyond discussion the year 1956 has two, do you hear me, two CDs to deal with that proposition that I mentioned above. And neither includes Elvis, Jerry Lee, Bo Diddley or some other stuff that I might have included. I already reviewed the other 1956 compilation previously but here are the stick outs from this selection:
Blue Suede Shoes, Carl Perkins (Elvis covered it and made millions but old Carl had a better old rockabilly back beat on his version); In The Still Of The Night, The Five Satins (a doo wop classic that I am humming right this minute, sha dot do be doo, sha dot do be doo or something like that spelling, okay); Eddie, My Love, The Teen Queens (incredible harmony, doo wop back-up, and, and “oh Eddie, please don’t make me wait too long” as part of the lyrics, Whoa!); Roll Over Beethoven, Chuck Berry ( a deservedly early break-out rock anthem. Hell I thought it was big deal just to trash Patti Page old Chuck went after the big boys.); Be-Bop-a-Lula, Gene Vincent (the guy was kind of a one hit wonder but Christ what a one hit, "ya, she’s my baby now"); Blueberry Hill, Fats Domino (that old smooth piano riffing away); Rip It Up, Little Richard (he/she wild man Richard rips it up; Young Love, Sonny James ( dreamy stuff that those giggling girls at school loved, and so you "loved" too); Why Do Fools Fall In Love?, Frankie Lymon and the Teenagers (for a minute the king be-bop, doo wop teenage angel boy. Everybody wanted to be the doo wop king or queen); See You Later, Alligator, Bill Haley and The Comets (ya, these “old guys” could rock, especially that sax man. Think about it people still use the expression “see you later alligator”); and Since I Met You Baby, Ivory Joe Hunter (every dance pray, every last dance pray, oh my god, let them play Ivory Joe at the end so I can dance close with that certain she I have been eyeing all night).
Note: I have mentioned previously the excellent album cover art that accompanies each Time-Life classic rock series compilation. Not only does it almost automatically evoke long ago memories of red hot youth, and those dreams, those steamy dance night dreams too, but has supplied this writer with more than one idea for a commentary. This 1956 compilation album cover is in that same vein. The cover shows what looks like a local cover band from the 1950s getting ready to perform at the local high school dance. Although the guys, especially the lead vocalist, look a little skittish they know they have to make a good showing because this is their small time chance at the big time. Besides there are about six thousand other guys hanging around in their fathers’ garages ready and willing to step up if the Danny and the Bluenotes fall flat.
This live band idea is actually something of a treat because, from what I recall, many times these school dance things survived on loud record playing dee-jay chatter, thus the term “record hop.” From the look of it the school auditorium is the locale (although ours were inevitably held in the school gym), complete with the obligatory crepe, other temporary school-spirit related ornaments and a mesmerized girl band groupie to give the joint a festive appearance.
More importantly, as I said before, at least for the band, as they are to be warming up for the night’s work, is that they have to make their mark here (and at other such venues) and start to get a following if they want to avoid another dreaded fate of rock life. Yes, the dreaded fate of most bands that don’t break out of the old neighborhood, the fate of having to some years down the road play at some of the students they are performing for today children’s birthday parties, bar mitzvahs, weddings and the like. That thought should be enough to keep these guys working until late in the night, jamming the night away, disturbing some old fogy Frank Sinatra fans in the neighborhood, perfecting those covers of Roll Over Beethoven, Rip It Up, Rock Around The Clock and Jailhouse Rock. Go to it boy, you bet.
Monday, December 20, 2010
Who Is That Fred Astaire Is Dancing With?-“You’ll Never Get Rich”- A Film Review
Click on the headline to link to a YouTube film clip of a scene with Fred Astaire dancing in You’ll Never Get Rich.
DVD Review
You’ll Never Get Rich, Fred Astaire, Rita Hayworth, 1941
Okay, let me bring you up to speed on the obscure meaning of the headline. See, a while back I was smitten by a film star, an old time black and white film star from the 1940s, Rita Hayworth. The film that sent me into a tailspin: the black and white noir classic Gilda where she played a “good” femme fatale who got in a jam with a no good monomaniacal crook. But that part is not important femme fatales, good or bad, get mixed up with wrong gees all the time. It’s an occupational hazard. What is important though is that I got all swoony over lovely, alluring Rita. And as happens when I get my periodic “bugs” I had to go out and see what else she performed in. Of course Lady From Shang-hai came next. There she plays a “bad” blondish femme fatale (against a smitten Orson Welles). And now this film under review, You’ll Never Get Rich. We are caught up.
Now the plot line here, the never-ending boy meets girl plot line that Hollywood mass-produced (and mass-produces) is pretty simple, except that it takes place in getting ready for World War II America and so military preparedness is part of the backdrop (although obvious this is before Pearl Harbor, after that event such shenanigans would seem unpatriotic). Broadway show dance man Fred Astaire is smitten, very smitten (join the line, Fred) by chorine dancer Rita who also has a sting of other men eating out of her hand, the important one being Fred’s devilish Broadway boss, a married, a very married, shirt-chaser. And from there the hi-jinks begin leading to Fred’s departure for the army as a refuse, and eventually, as those Hollywood boy meet girl things often did to the altar (in an unusual way here though, I‘d say).
But forget the story line here. This thing, and righteously so, is strictly about Fred’s dancing, dancing alone, dancing with a partner, dancing up a wall (oops that was another film) but dancing with so much style it is impossible to keep your eyes off him (saying how did he do that all the while). For style, grace, and physical moves every one of those guys you see on shows like Dancing With The Stars, well, just tell them to move on over, and watch a real pro. Hey, wait a minute, what about Rita? Ya, what about her. Here she is just along for the ride. She almost looks “clumsy” compared to him. She, however, has other charms, okay.
**********************
Who Is That Rita Hayworth Is Dancing With?-“You Were Never Lovelier”- A Film Review
DVD Review
You Were Never Lovelier, Fred Astaire, Rita Hayworth, Xavier Cugat, Adophe Menjou, music by Jerome Kern and Johnny Mercer, 1943
The first paragraph below is taken from other reviews about Rita Hayworth although the male stars are different here, except they all have a similar feature; they all are smitten, very smitten, by Ms. Hayworth’s charms. Join the line, boys:
“Okay, let me bring you up to speed on the obscure meaning of the headline. See, a while back I was smitten by a film star, an old time black and white film star from the 1940s, Rita Hayworth. The film that sent me into a tailspin: the black and white noir classic Gilda where she played a “good” femme fatale who got in a jam with a no good monomaniacal crook. But that part is not important femme fatales, good or bad, get mixed up with wrong gees all the time. It’s an occupational hazard. What is important though is that I got all swoony over lovely, alluring Rita. And as happens when I get my periodic “bugs” I had to go out and see what else she performed in. Of course Lady From Shang-hai came next. There she plays a “bad” blondish femme fatale (against a smitten Orson Welles)."
And now this film under review, You Were Never Lovelier. We are caught up.
Now the plot line here, the never-ending boy meets girl plot line that Hollywood mass-produced (and mass-produces) is pretty simple, except that it takes place in Buenos Aires (although the twelve dollars spent on fake stage scene-settings made me think of little white houses with picket fences in Indiana, or some place like that). When all is said and done, despite the machinations of Maria’s (Rita Hayworth) father (Adophe Menjou), Broadway show dance man Fred Astaire is smitten, very smitten (join the aforementioned line, the now long line, Fred) by her “Spanish” charms and her sweet coquettishness. And from there the hi-jinks really begin as all parties, wives, aunts, sisters, Christ, even grandma, and a much put upon father’s business assistant try to get this pair matched up. And as these Hollywood boy meet girl things often turn out, we will hear wedding bells before the end.
But forget the story line. This thing, like almost all Fred Astaire vehicles, and righteously so, is strictly about Fred’s dancing, dancing alone, dancing with a partner, dancing up a wall (oops that was another film) but dancing with so much style it is impossible to keep your eyes off him (saying how did he do that all the while). For style, grace, and physical moves every one of those guys you see on shows like Dancing With The Stars, well, just tell them to move on over, and watch a real pro. Hey, wait a minute, what about Rita? Ya, what about her. Here she is just along for the ride, although less so than in the previously reviewed You’ll Never Get Rich. She is more in synch here with Fred’s moves but it is still Fred's dancing which draws the eye. As I noted before, Rita, however, has other charms, okay.
Note: The music of Jerome Kern and Johnny Mercer need no further comment, nor does the work of band leader Xavier Cugat. These are all pros from the old Tin Pan Alley music days of the American songbook. Enough said
DVD Review
You’ll Never Get Rich, Fred Astaire, Rita Hayworth, 1941
Okay, let me bring you up to speed on the obscure meaning of the headline. See, a while back I was smitten by a film star, an old time black and white film star from the 1940s, Rita Hayworth. The film that sent me into a tailspin: the black and white noir classic Gilda where she played a “good” femme fatale who got in a jam with a no good monomaniacal crook. But that part is not important femme fatales, good or bad, get mixed up with wrong gees all the time. It’s an occupational hazard. What is important though is that I got all swoony over lovely, alluring Rita. And as happens when I get my periodic “bugs” I had to go out and see what else she performed in. Of course Lady From Shang-hai came next. There she plays a “bad” blondish femme fatale (against a smitten Orson Welles). And now this film under review, You’ll Never Get Rich. We are caught up.
Now the plot line here, the never-ending boy meets girl plot line that Hollywood mass-produced (and mass-produces) is pretty simple, except that it takes place in getting ready for World War II America and so military preparedness is part of the backdrop (although obvious this is before Pearl Harbor, after that event such shenanigans would seem unpatriotic). Broadway show dance man Fred Astaire is smitten, very smitten (join the line, Fred) by chorine dancer Rita who also has a sting of other men eating out of her hand, the important one being Fred’s devilish Broadway boss, a married, a very married, shirt-chaser. And from there the hi-jinks begin leading to Fred’s departure for the army as a refuse, and eventually, as those Hollywood boy meet girl things often did to the altar (in an unusual way here though, I‘d say).
But forget the story line here. This thing, and righteously so, is strictly about Fred’s dancing, dancing alone, dancing with a partner, dancing up a wall (oops that was another film) but dancing with so much style it is impossible to keep your eyes off him (saying how did he do that all the while). For style, grace, and physical moves every one of those guys you see on shows like Dancing With The Stars, well, just tell them to move on over, and watch a real pro. Hey, wait a minute, what about Rita? Ya, what about her. Here she is just along for the ride. She almost looks “clumsy” compared to him. She, however, has other charms, okay.
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Who Is That Rita Hayworth Is Dancing With?-“You Were Never Lovelier”- A Film Review
DVD Review
You Were Never Lovelier, Fred Astaire, Rita Hayworth, Xavier Cugat, Adophe Menjou, music by Jerome Kern and Johnny Mercer, 1943
The first paragraph below is taken from other reviews about Rita Hayworth although the male stars are different here, except they all have a similar feature; they all are smitten, very smitten, by Ms. Hayworth’s charms. Join the line, boys:
“Okay, let me bring you up to speed on the obscure meaning of the headline. See, a while back I was smitten by a film star, an old time black and white film star from the 1940s, Rita Hayworth. The film that sent me into a tailspin: the black and white noir classic Gilda where she played a “good” femme fatale who got in a jam with a no good monomaniacal crook. But that part is not important femme fatales, good or bad, get mixed up with wrong gees all the time. It’s an occupational hazard. What is important though is that I got all swoony over lovely, alluring Rita. And as happens when I get my periodic “bugs” I had to go out and see what else she performed in. Of course Lady From Shang-hai came next. There she plays a “bad” blondish femme fatale (against a smitten Orson Welles)."
And now this film under review, You Were Never Lovelier. We are caught up.
Now the plot line here, the never-ending boy meets girl plot line that Hollywood mass-produced (and mass-produces) is pretty simple, except that it takes place in Buenos Aires (although the twelve dollars spent on fake stage scene-settings made me think of little white houses with picket fences in Indiana, or some place like that). When all is said and done, despite the machinations of Maria’s (Rita Hayworth) father (Adophe Menjou), Broadway show dance man Fred Astaire is smitten, very smitten (join the aforementioned line, the now long line, Fred) by her “Spanish” charms and her sweet coquettishness. And from there the hi-jinks really begin as all parties, wives, aunts, sisters, Christ, even grandma, and a much put upon father’s business assistant try to get this pair matched up. And as these Hollywood boy meet girl things often turn out, we will hear wedding bells before the end.
But forget the story line. This thing, like almost all Fred Astaire vehicles, and righteously so, is strictly about Fred’s dancing, dancing alone, dancing with a partner, dancing up a wall (oops that was another film) but dancing with so much style it is impossible to keep your eyes off him (saying how did he do that all the while). For style, grace, and physical moves every one of those guys you see on shows like Dancing With The Stars, well, just tell them to move on over, and watch a real pro. Hey, wait a minute, what about Rita? Ya, what about her. Here she is just along for the ride, although less so than in the previously reviewed You’ll Never Get Rich. She is more in synch here with Fred’s moves but it is still Fred's dancing which draws the eye. As I noted before, Rita, however, has other charms, okay.
Note: The music of Jerome Kern and Johnny Mercer need no further comment, nor does the work of band leader Xavier Cugat. These are all pros from the old Tin Pan Alley music days of the American songbook. Enough said
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