Showing posts with label 60s. Show all posts
Showing posts with label 60s. Show all posts

Nothing can change the shape of things to come

A classic DEAD AIR rerun from 2007, because I really wanted to hear the song: bringing you classic NOSTALGIA with Max Frost and the Troopers, a fictional band made up for the movie WILD IN THE STREETS.

Wild in the Streets (1968) was a super-fabulous B-movie about adult paranoia circa 1968, as the kids lower the voting age to 14, feed LSD to everyone over 30, and take over the country. Christopher Jones, beautiful ex-husband of Susan Strasberg, brazenly channels Jim Morrison, and gives us this fantastic Doors-as-garage-band song (by brilliant songwriting duo Barry Mann and Cynthia Weil), which ominously reminds us that Nothing Can Change the Shape of Things to Come. Ain't it the truth.

The kids elect Max president in the movie, which doesn't bode well, as you might imagine.

And if your kids try to get you to drink anything suspect, REFUSE IT!

~*~

Max Frost And The Troopers - Nothing Can Change the Shape of Things to Come

Sing Out Louise! Smile, Baby!

Graphic from Yellowdog Granny.



















I am hoping to make it down to Columbia for the Republican CNN dog-and-pony-show (debate, I mean), but so far, no vehicular luck. Still panhandling for a ride, if any of you brave souls plan to go down there tomorrow to check out the Democratic Process In Action (grunts for emphasis). The Ron Paul people are having their rally directly afterwards, and that sounds like a good place to start witnessing the Third Party Gospel. I'm on it! Well okay, I would ordinarily be on it, if I had a car that could safely sustain a hundred-mile round trip without a thorough examination, which I don't.



Yes, yes, I know, if I had been a conscientious DoBee [1] I would have gotten my oil changed and tires rotated and what-all, but as an unemployed person I have not seen THE POINT. (See, she pauses to point out, HOW UNEMPLOYMENT NEGATIVELY INFLUENCES THE ECONOMY?!?) At any rate, here I am, send notes and emails and Twitters and Facebook IMs and what-have-you, if you are going down to our illustrious state capital to protest or hang out with the Ron Paul people tomorrow.



My first radio excursion on Saturday morning went well. Gregg roused himself from his cardiologist's floor and aided me wonderfully! I was scared to death, and had the proverbial death-grip on my old wooden antique rosary from Notre Dame (Indiana, not France), which was left to me by a deceased female neighbor named Butch, so its very lucky. In addition, I inexplicably required a huge Double Mocha Frappucino to get it done, but I did it! (Next week, will probably be able to make do with a regular single Vanilla.)



PLEASE DROP IN AND LISTEN! WFISradio.com, 1600 AM or 94.9 FM on your radio dial... or online. 9:00 AM on Saturday mornings, which is an ungodly weekend hour, and I apologize for that.



~*~



Be-bopping around the internet today, whilst watching Doris Day (yall know how much I love Doris) in With Six You Get Eggroll. A bad movie that nonetheless fascinated me as a wide-eyed, gullible youngster... as Single Mom-with-kids marries Single Dad-with-kids, and they wholesomely "blend" their families. As many of you know, I desperately wanted my mother to get married and behave in this wonderfully-domestic fashion, particularly if it meant she would stop wearing the bubble hairdos, popping amphetamines, singing in the country and western bands every night, drinking and smoking like a rat-pack member, marrying people she had just met and dammit, ACT LIKE SHE WAS SUPPOSED TO. [2] Ha.



Of course, now I realize, neither did Doris. If I had only known!



Will somebody tell me: Did wholesome TV-dad Brian Keith die of AIDS or is that just a rumor? Am I mixing him up with Robert Reed, since the plot of this movie is where they obviously came up with THE BRADY BUNCH? (It seemed that after Robert Reed died, it was suddenly open season on the nice TV-dads and magically, they all became gay overnight.)



Okay, checked Wikipedia: No, not true. Suicide. I knew it was something uncommon.



A shame. I always liked him.



The sweet, precocious little child-star, Anissa Jones, whom I liked so much on Brian Keith's old show, Family Affair, was an accidental drug death at age 18. We were only 6 months apart in age. The other child on the show, Johnny Whitaker, has spoken at length about his addiction problems, also, and is now a drug counselor.



I guess these Hollywood-fantasy families really were fake, weren't they?



~*~



[1] To the non-baby boomers, this is from the children's TV show Romper Room and has no relationship to the word DOOBIE as a joint or the Doobie Brothers. There were Do Bees and Don't Bees, and of course, we all tried to be good DO BEES! (We marginally succeeded.)



[2] Mama! Get out your white dress/you've done it before/without much success (Stephen Sondheim to the rescue). When I first heard this song as a kid, at maybe 8 years old, I sobbed my little heart out. (And it's where we get today's blog post title.)



See, I thought, the stipper's children understand!

How about we settle this once and for all?

Which version is best?



Please make your decision on the merits of the performances only, and not the fact that Lennon/McCartney wrote the song. The song was written FOR the Stones, so it doesn't have that trademark "sweet" sound of the early Beatles. I prefer the Stones version! (gasp)



Of course, both versions are great, but one slightly edges out the other. Keith sounds like he is channeling Robert Johnson or somebody like that, but plugged in. AWESOME GUITAR NOISE!!!!



~*~



Beatles - I wanna be your man







Rolling Stones - I wanna be your man



Tuesday Tunes: Woodstock

I guess I shoulda waited until the anniversary of Woodstock next month to post these various versions of the song... but when I found all three versions on Youtube, I got excited and impatient.

As we know, all three could disappear by August, due to ongoing record company greed. So, I decided to post them now.

Which version do you like best?

~*~

First, the author's version.

Woodstock - Joni Mitchell



~*~

Second, the movie soundtrack version.

Woodstock - Crosby, Stills, Nash and Young



~*~

And finally, one of Daisy's special (and little-known) fangirl versions, with fabulous mystical loop-de-loop guitar riffs, played all over the place in 1970 and mostly forgotten since.

I know, musical heresy, but this is my favorite version of the song!

Woodstock - Matthews Southern Comfort (great visuals!)



Enjoy!

Let's swim to the moon

At left: Ben Hall, at Bohemian Cafe on Saturday.



One of those things about age that makes me profoundly uncomfortable: I get sentimental very quickly.

Like, really sentimental.

It overtakes me suddenly, and there I am, shedding tears over seemingly peculiar, unrelated or odd events. Such as Ben Hall and his guitar playing. Which was just like my late stepfather's. (Note: although the outdated link claims Ben is 18, he has now reached the ripe old age of 22.)

Until I was sitting there listening to Ben, whom I hadn't heard before, I didn't realize I had unconsciously avoided the music of Chet Atkins for a reason... I was suddenly aware that the "thumb-picking" guitar-style of Ben's, was the same as my stepfather's. I have avoided it for many years, flipped radio channels and such, because it made me so emotional. And as Ben described his style of playing, I thought, oh no... because I probably would have avoided his fabulous guitar playing if I had known.

I listened, and promptly got all teary-eyed and emotional. It is so embarrassing, reminding me of a line from Colonel Kurtz in Apocalypse Now: "I cried like some grandmother." Yeah, I guess he means me. I have arrived!

Does any music do that to you?

Here is Ben's playing, the signature thumb-pickin style.

Cannonball Rag - Ben Hall



~*~

This song is as old as I am, seriously... careful, its about death, and way before the Doors made drowning at night sound sexy and existential.

I can hardly believe its taken me this long to post it!

Endless Sleep - Jody Reynolds



~*~

And speaking of the Doors, here is the 60s version of drowning for fun:

Moonlight Drive - The Doors



Let's swim to the moon
Let's climb through the tide
Penetrate the evening that the
City sleeps to hide
Let's swim out tonight, love
It's our turn to try
Parked beside the ocean
On our moonlight drive

Let's swim to the moon
Let's climb through the tide
Surrender to the waiting worlds
That lap against our side

Nothing left open
And no time to decide
We've stepped into a river
On our moonlight drive


~*~

Sorry so morbid, but its been a rather morbid week in America, yes? ;)

Friday nights in northern Ohio...

Children all over northern Ohio used to stay up late on Friday nights to watch Ghoulardi, who hosted horror movies and other fun stuff. We loved him! Apparently there is now a whole book out about him and his Cleveland-based show (see link), which I must read.

He did a memorable spoof on the immensely-popular 60s nighttime soap opera "Peyton Place", which he called Parma Place. It began with polka music, unlike the respectable New Englandish music that signaled the beginning of "Peyton Place"... In addition, the "drama" consisted of finding new places to put plastic pink flamingos in the yard, as Ghoulardi frequently complained to his long-suffering wife (curlers forever in her hair) that he couldn't find his Cheez Whiz. It was so OHIO... I don't think the jokes translate well to these modern times, but we loved it to death.

I loved all the wonderfully-shlocky horror movies I saw during that time, and have included some old trailers below.





~*~

Children of the Damned (1964)



~*~

Check out the question mark on the wall behind William Castle's head. Not sure of the significance.

13 Ghosts (1960)



~*~

Caution: major sexism, as a woman's brain/head survives and her scientist boyfriend scouts out other sexy bodies to sew onto her head. (Really, and we GREW UP on this stuff!)

The Brain That Wouldn't Die (1960)



~*~

Odds and Sods: Old St Charles sing edition

Image at left is courtesy of YELLOWDOG GRANNY, thanks Jackie Sue... you always sum up my thoughts! :D



This installment of ODDS AND SODS starts with a major TRIGGER WARNING, as they say. Warning, this thread descends into some very disturbing transphobic nastiness, but that's my whole reason for recommending it. It's pretty educational; I think the "radical feminists" who have colonized that thread illustrate one of the biggest problems with Second Wave radical feminism: Mean Girls.

And yeah, I knew a few in my time.

There was something about Second Wave feminist theory that easily lent itself to weird 'female superiority' arguments (in many instances, not just concerning transgender politics). Note their roaring silence on the subject of F to M transgender people: trans men don't fit their little just-so story, so they don't seem to piss them off as much. It's a very strange victim-chic thing. There is only so much victimization to go around, and the trans women are trying to horn in on OURS, which is COPYRIGHTED. At least, that's how several of the most pedestrian comments sound (yes, looking at you Delphyne!)... it's funny in the way that white supremacist websites are funny: not funny haha, funny sad.

The argument that trans people "uphold the gender binary" is bizarre, since I don't know anyone who doesn't. (The fact that we are forced to CHOOSE A SIDE, in fact, is the whole point, isn't it?) Why do these anti-trans feminists think they do not ALSO "uphold the gender binary"? Because they do. I do, you do, everyone does: If someone looks at you and calls you he or she on sight, well, you've passed the gender-test and you ALSO uphold the gender binary. IS there anyone on earth who does not uphold the gender binary? Where IS this magical omnigendered person? (Glen or Glenda?)

The question is then: Why are you holding trans people to a standard you are not holding everyone to? Why are they expected to "opt out" of a system you have not (and can not) opt out of?

PS: If you've had enough of reading that sort of thing, I can certainly relate. Warning, warning, warning, once again, highly offensive, reactionary victim-chic at the link.

~*~

I have not written about the political upheaval in Egypt, since I am ignorant of specifics and haven't had the time to delve properly into the subject. Thus, I share what smarter people have written:

Mubarak departs – what next? (A Scottish Liberal)

Mubarak Finally Listens – “Let My People Go!” (FireDogLake)

Katrina Vanden Heuvel: Neocons Have a Hard Time With Democracies That Emerge From Within a Country (Crooks and Liars)

~*~

:: A picture is worth a thousand words! You gotta see this: A Children’s Treasury of CPAC Stupidity: the Final Chapter Subtitled: TRINKETS OF THE DEATH OF AMERICAN CIVILIZATION... I promise you will love it!

:: On a more wonky note, Ezra Klein explains things carefully, in this post titled Do Republicans really oppose making health-care insurance cheaper? Yes, I've wondered that, too. Excerpt:
[The] short version is this: If you make health-care insurance cheaper and make it harder for insurance companies to deny people coverage, then a certain number of people who would like to leave the labor force but can't afford or access health-care insurance without their job will stop working.

To understand why, imagine a 62-year-old woman who works for IBM and beat breast cancer 10 years ago. She wants to retire. She has the money to retire. But no one will sell her health care under the status quo. Under the health-reform law, she can buy health care in an exchange because insurers can't turn her away due to her history of breast cancer. So she'll retire. Or imagine a 50-year-old single mother who wants to home-school her developmentally disabled child but can't quit her job because they'll lose health care. The subsidies and the protections in the Affordable Care Act will give her the option to stop working for awhile, while under the old system she'd need to stick with her job to keep her family's health-care coverage. That's how health-care reform can reduce the labor supply. If either case counts as a destroyed job, then so does my winning the lottery and moving to Scotland in search of the perfect glass of whiskey.
:: By way of Onyx Lynx, I found Avedon Carol's post quite thoughtful:
But I think there's also a deeper game here, and it explains why the entire media - not just the Murdoch and Moonie media - stays so focused on the right-wing crazies. It's the circus that deflects attention from what's really going on while everyone is playing games like "Beck is crazy" and "Look - Sarah Palin!" Well, yes, they've pretty much consistently done that sort of thing for the last 20 years, but I mean going even deeper than that, to why it is so consistent - enough that even some of our best liberal, independent bloggers just can't seem to pull their eyes away sometimes. Somebody out there wants us to keep watching the clown show for an even bigger reason.
:: OPEN LEFT is shutting down. Which is not a good sign. :(

Bye yall! I'll miss you!

~*~

This week's especially merciless ear worms:

This first one contains the original language, "I don't give two fucks about you"--which was sanitized for US airplay and became the more neutral, "I don't give a damn about you"... punks were considered pretty scary and thus, properly de-fanged for stateside radio. I'd never give you a de-fanged version on DEAD AIR!

I am proud to say, I own both versions in various mixes and anthologies, or I wouldn't even know about the censorship.

The Modern World - The Jam (1977)



~*~

Trigger warning, probable suicide references (debatable ever since song recorded in 1967); Joan Didion famously started her Doors essay with this song.

Moonlight Drive - The Doors (1967)



~*~

TOO GREAT FOR WORDS, this first-class mystical acidhead music can't be beat. Question: Are they chanting "Stonehenge! Stonehenge!" at the end? I've always thought so. Not sure what St Charles had to do with Stonehenge but hey, why not?

I really love this. NOTE: Acid flashback warning for at least half of my regular readers. :P

St Charles - Jefferson Starship (1976)

Stuff I like

:: Natural Factors chewable Vitamin C. The Boysenberry makes me happiest!

:: Sounds True meditation music, especially the kundalini meditations.

:: The HP Lovecraft Tarot, which I want in the worst way, but not enough to spend $1000 for it (new), or even $350 (used). (I hope Cthulhu won't take it personally; it's never a good thing to be on his bad side.)

:: My surrogate son, South Carolina Boy, writes very personally about familial stress, shifting identities and transition: A Real Trans Person and Do not think that I have come to bring peace to the earth.

:: Masada bagels, particularly the Everything bagel and the Cinnamon Raisin! mmmmm

:: Theraneem products, which cured my eczema. I can't recommend them highly enough, for any troublesome skin issue you might have.

:: URBAN FARM, a magazine almost as much fun as Mary Jane's Farm. (Our local equivalent is from Hendersonville, NC: Back Home.)

:: BeeWell Honey, from Pickens County, SC. Besides scrumptious wildflower honey, the best thing in Pickens County is Glassy Mountain. (NOTE: This is not to be confused with Glassy Mountain in Greenville County, which was once stunningly beautiful, but now totally ruined by rich people, golfers and enormous McMansions; Kevin Costner and Tiger Woods are frequent visitors and investors.)

:: Barbara Lynn, known as the Queen of Gulf Coast Blues and Soul.

~*~

You'll lose a good thing - Barbara Lynn (1962)

Old movie musings, part 8723

Mr Daisy is watching Fate Is the Hunter (1964) on Turner Classic Movies, featuring the very beautiful and talented Nancy Kwan. (at left, on the cover of LIFE MAGAZINE)

Kwan first hit the big time co-starring with William Holden in The World of Suzie Wong (1960), a movie I admit I loved as a little girl. (Yes, we all freely consumed racism and sexism with our breakfast cereal, didn't we?)

One of my favorite blogs, Restructure!, once addressed that signature "Chinese" riff that always pops up in old movies like Suzie Wong. Really a great post, and I just thought of it, so decided to link it now (better late than never!). Short version (but read it all): the little tune is a western invention. Who knew? I had always assumed it was from a real song, possibly a Chinese nursery rhyme (or equivalent):
This riff [click on link to hear sound file] appears in orientalist American and British pop songs like “Kung Fu Fighting” (1974) and “Turning Japanese” (1980). However, the “proto-cliché” or rhythmic pattern of “da-da-da-da, da da, da da, daaah!” originated in the 1800s, and has since been ubiquitous in pop culture to signify (and other) Asian culture or Asian people.
As I said in the comments of the post, my grandmother had an old music-box with a "china doll" figure that spun around, as a variation of the tune played. I was surprised to learn it was a westernized fake.

This in turn reminded me of the first record by Japanese band Yellow Magic Orchestra back in 1978, in which they made various "American sounds" (including a song that sounded like the well-known Marlboro cigarette commercial from the 60s). They imitated raucous American laughter, doing impersonations of white American male haw-haw-hawing. I was jarred by it and wondered if that was how Americans sounded to Asians? (I always wonder about stereotypes of Americans in other places.)

~*~

My blog has been linked again (oh goody!), but the comments are so uniformly hostile and negative, I've decided not to go back and read the rest of them. Sorry kids, grandma is sitting this one out.

Self-preservation in Blogdonia! I am learning, at long last. :)

Reflections on Jack Ruby

Depending upon who you read, Jack Ruby was a petty strip-club gangster or an important mobster-friend of Sam Giancana.







NOTE: Last year at this time, I posted this and I've gotten a fair number of hits on it ever since. I am running it again, since it accurately captures my nostalgic feelings/memories at the end of every November. Comments welcome on both posts.


~*~


It was November 24, 1963.

I remember that I was sitting on a footstool, my nose approximately 8 inches from my family's black-and-white TV set. If I got too close, I couldn't see anything, but I was intent on getting just as close as I could. I wanted to see it all.

It was Sunday morning, and I remember well the hubbub of the adults in the kitchen. I was the only one in the small dining room that served as our TV room. I heard the TV-news announcer say that Lee Oswald was going to be transferred in an armored vehicle. I didn't know what an armored vehicle was, but it sounded awesome. And yet... that little guy? As a six-year-old, I was surprised that such a skinny little guy could be the villain of the hour. I had expected the president's assassin to look something like Brutus, the dastardly evil man of the Popeye cartoons... or at least, he should bear some resemblance to Lex Luthor. This skinny, slight, soft-spoken fellow who calmly denied being near Dealey Plaza? Well, he was just spooky, that's all. They kept calling him a Marxist and a communist, words I didn't yet understand but knew meant that he was a bad person. (I would say the word "communist" in 1963 had the similar gravitas of the word "terrorist" in 2009.) I was enthralled by the constant TV-coverage, the switching back and forth from Dallas to Washington... to our new president, Lyndon Johnson and then back to the basement of Dallas city jail. It was as dazzling as space travel.

Middle-American culture had changed utterly and completely in only two days.

For one thing, the TV had not always been on before. You turned on the TV to watch something, and when it was over, you turned it off. Sometimes you left it on, but usually not. Among the working classes, it was not unusual for some families not to own a TV at all. There were often anti-TV holdouts in these families; cantankerous, old-school types who thought TV was all rubbish and probably unchristian. But after this weekend? This archaic viewpoint was consigned to the dustbin of history. Back in my first-grade class, I would hear about parents who had rushed out to buy a TV at long last. They simply could not bear to be left out.

The TV had been turned on, and stayed on. It was on when I got home from school, dismissed early due to the tragedy, and it was on throughout the funeral. And it stayed on forever after.

And the TV was on as they transferred Lee Oswald to the armored vehicle, or attempted to. There was much talk about security because tensions were running extremely high; there was palpable fury throughout the city of Dallas. When police had forcibly taken Oswald from the theater where they had discovered him, hostile mobs surrounded the police car, and it was said he might have been torn to pieces if the crowd had been able to get their hands on him.

Listening to all this, I was riveted. I remember peering intently as they brought him out, my nose almost right on the screen: There he is!

And then, the inevitable disappointment: such a nonthreatening little dude he was.

I peered and peered and then... bang. Oswald was down.

What?

It was so quick. If not for the firecracker-noise of the gun, I would never have known.

"They shot him!" I shouted, "They shot Oswald! They shot him!"

The adults stampeded as one entity, from the kitchen to the small dining room where I was. My mother, grandparents, some other relatives I have since forgotten... possibly my cousin Charlene.

"I SAW it!" I was shouting, "I SAW IT!"

SSSSSSSssssssshhhhhhhh! Everyone was shushing me. Had I really seen that? The adults' eyes were collectively popping. I felt pretty important for being the one to see it.

"He must be really mad about the president, huh?" I asked.

Nobody answered. They kept shushing me, as obviously-shaken news-announcers talked about what they had just witnessed.

And then, the adults were all looking at each other, that way adults did when they were thinking things that they would not share with children.

Finally, my grandfather said, in what I have come to call his Christian Science Wisdom voice: "Well, that really stinks."

My mother's eyes were wide, wide, wide.

My grandfather shook his head and said "Stinks!" again, rather emphatically. My mother nodded gravely back at him.

I didn't know what he meant then.

The TV-announcers were saying his name: Jack Ruby. The man's name was Jack Ruby.

~*~

Like millions of Americans that day, I saw a murder on live television. Because the murder was widely perceived as an act of justice, nobody worried about the ill effects on all of us children who saw it. And later, many years and decades later, when we began to doubt that what we saw was justice and instead wondered if it had been the silencing of a co-conspirator... nobody worried about the erosion of our morality and the consequential development of our cynicism.

But I trace it all back to that day, the day in the basement of the Dallas city jail.

They ask us, do you remember where you were when John F. Kennedy was assassinated? But I always ask, instead: What did you think when his accused murderer was pronounced dead? Because the silencing began then, the questions asked that will forever remain unanswered. (As Norman Mailer once explained the existence of the angry kids of the 60s: They hated the authority because the authority had lied.)

My grandfather was right. It certainly did stink. And the stench covered everything.

The lies of the powerful were uncovered and exposed before us, that morning in the basement of the Dallas city jail.

Some of us never forgot.