Saturday, July 18, 2015

Back in Time

The highway heading north was long and barren and straight as a board. Up ahead water mirages formed and dissipated in the summer heat. Sealed inside the air conditioned chamber of glass and steel, I wondered what I was about to see and how it would feel when I got there. 

After two hours on the endless monotonous road, my accelerator foot edging into numbness, I took an exit that led to the outskirts of my destination. Eyes toggling between the Mapquest directions in my hand and the traffic around me clipping along about 30 MPH, I drove for a few miles before coming across the locks that divided the small town I was visiting from the smaller town adjoining.

Instantly I knew where I was and where I was going, my point A-to-point B focus giving way to curiosity and an inner light on high glow. In one of those synchronicities that almost makes me think there's an order to the universe, Cream's "I'm so Glad" came on the radio as I looked left and right at stores and shops and restaurants I hadn't seen in 33 years, since I'd moved away in the 7th grade. 

Soon I came across a familiar car dealership. As a kid of 10-11-12 I was fascinated by cars and roamed this lot with a notebook, documenting features and prices; to this day I can identify American models from the late '70s and early '80s on sight. The continued existence of this lot was a sign of how little things had changed since I'd left, a balm to my life review.



I turned off the main road into the neighborhoods, 
my old stomping grounds. Helped along by sunny 
and warm May weather and the verdant plant life all 
around, I was transported back to the idyllic Midwestern
summers of my youth, a sharp contrast to my current life in the
Bay Area which was filled with big lots, open spaces, abundant tree 
cover and scant traffic that allowed me to drive slowly and take it all in at my 
own pace, as if I were moving freely through a still life painting. Able to pull over
 just about anywhere and park, I stopped outside of the school I had attended in 1979. 

  
The fence on the right, above, encloses the elementary school and accompanying lot where I learned to figure skate and played baseball with friends on weekends. In a vivid dream a few years ago I walked along the sidewalk on the left, at night, observing the school and the space and remembering many of the incidents that had happened there, my subconscious trying to make real the space I'd traveled many times in my daydreams. 

One of my favorite spots growing up was the park pictured next. Driving on the perimeter 
of the park, it occurred to me that there had been a way down from the 
back. This time, my memory was right. Here we a have a 
view of the sneak route from the top looking down, 


here a view from the bottom looking up,


along the way big fallen logs that slept soundly in the still forest.


This park has the remains of the board I learned to dive off of and


the mound from which I pitched one scoreless inning 
against the best team in the league, the Realtors, before 
gravity asserted itself in the second inning. With one out
 and two on base I fell behind in the count against a long 
ball hitter and gambled on throwing a strike. He took my 
fastball down the middle over the fence and effectively 
ended my Little League pitching career, though I didn't 
know it at the time. Nearby were better associations of 


the pond that winds through the park, 


perfectly framed by the luxuriant surroundings of


a summer in full bloom,


some of the tableaux so exquisite that the photos took themselves...


I closed this leg of my journey by way of the hill road I always used to race 
down on my ten speed, being back then oblivious to injury or mortality
or just how slight this seemingly steep gradient was next to 


the colossal  San Francisco hills I would climb later in life.


Sports was my main interest as a kid. Around the age of 12, 
I gave up baseball for tennis. Here is the court where 
I first learned the game, not far from 


the field where my dad taught me how to play Frisbee, 
a perfect spot due to its flatness and lush, well-maintained grass 
where we had the space to throw big distances, which was ideal for long,
slowly descending tosses you had to chase down and try to nab on the run like a fly ball. 


Off to the side was this solitary bench and


at the end of the line of sight was a road that includes the house below. Often the settings of my dreams are rooms I was in once or twice many decades back, the brain-locked images hazy, undisturbed by concrete visuospatial definition. This house appeared in a dream though I was never in it and never knew who lived there. In the dream the house was smaller, perhaps half the actual size, and closer to the road, at a drop-off of a few feet. No one else lived in the house and it belonged to me, like the selective memories I had of it.


More familiar houses figured prominently in my journey around town. Here is my 
home from 1979 to 1981, where I remember lying in bed looking up at the ceiling 
 imagining what it would be like to walk on the ceiling, the world upside down. 


Directly across from my parents' house was a side yard 
my friends and I used to cut through often, without a 
second thought. As I drove around I sought out 
these old shortcuts and wondered if 
kids were still using them.


My history teacher and music teacher were just 
up the street.  Mrs. McCormick painted Jimi Hendrix 
as some kinda freaky man from Mars as she told the class of how
he had stuck tabs of acid under his headband before he went onstage.


I can see her face as she told this story, her eyes wide with 
amazement, and ultimately what I remember most of my 
time in this small town is the people I was close to. 

My good friend Jay lived just a few blocks away. His 
distinguishing feature was a ribald sense of humor; I 
remember him slyly placing my Star Wars figures in 
compromising positions before he went home—leaving 
me to take the blame when my mom discovered Han 
and Boba Fett in flagrante delicto on the kitchen  table. 
Jay's parents still live in the house he grew up in, below.


Around the corner was a junction where three of my friends lived
 in close proximity. John's dad was a baseball coach. The family 
members were kind, civilized people with a well-appointed kitchen 
that has popped into my dreamscapes a handful of times. I can't 
remember anything else about the house other than that 
there was a glass table with a canopy in the backyard, I think.


Joel was across the street from John. This is where my group of friends 
spent the most time, perhaps because Joel's parents were gone a lot. 
Joel had handheld electronic football games that everyone wanted 
to play: Football I, at first, which had only running plays, 
then Football II, which added passing plays. 

One time Joel and I were hanging with his older sister and 
her boyfriend, who were "babysitting" us. As we sat in the 
living room, the boyfriend pulled out a pot pipe and told me a 
story about being a kid and promising a man who was getting high 
in his presence that he wouldn't tell anyone what he was witnessing, how he had 
maintained his silence and wished me to do the same, a promise I kept until this moment.


Phil lived next door to John. I was only in his house a few times 
but have many memories. His older brother spreading tools and car parts 
all over the floor in the basement and charging me three dollars to tape record 
"Dream Police." His dad, an august Italian man in a wheelchair who reminded 
me of Marlon Brando in "The Godfather." And Phil himself, a character with 
a distinct inner fire that went out, I was shocked to discover, when 
he'd had a heart attack a few years back around the age of 40.


Phil's father managed a facility where my friend Chris's dad worked. Like 
the boys we were, Chris and I played Pong in his basement, which had pine 
wall paneling and red carpet. More importantly, he introduced me, at the ripe 
age of 12, to interests that have become cemented in my sensibility: Frank Zappa and progressive politics (ever-precocious, Chris was lambasting Reaganomics before 
I had  the faintest idea what it was). The second floor of his house (pictured below), added
 after Chris moved to the Twin Cities, was one of the  few changes I saw on my trip.


The street in front of Chris's house was the scene of one of my deepest 
memories: a bike accident in which I got a deep cut on my hand that formed 


an upside down v-shaped scar (not unlike the Starship 
Enterprise uniform insignia) which I still have today. 


The last house I visited was home to my friend Tom, a 


scholar-athlete who was the youngest member of a big family. 
I remember being in his kitchen and his mother gently 
mocking my last name, singing 

Bimbo, bimbo
What you gonna do-y-o?

and Tom smiling, telling her she was being 
rude, asking her to stop, though I didn't mind—
it was harmless fun that clearly gave her enjoyment.

As I fueled up for my ride home a few blocks from Tom's, 
this grand 1954 Buick Century came into the gas station. 


The driver was generous when I asked if I could snap a few photos, and


when he came out of the convenience store after 
paying for his gas, he had a bouquet of flowers 
and a big smile on his face, a bright 
light that perfectly capped 
my nostalgia trip.

***

                                                     Other Truth and Beauty photo essays:

eye-catching architecture, and miscellaneous city scenes 
in a stroll from the Mission to South of Market to downtown

"Crystal Blue Persuasion" is a walking photo tour of San Francisco from the Bay to the Ocean (and a golden sunset) on a pristine sunny day just before Xmas

"Gone but not Forgotten" is a tribute to a friend who left this world all too soon 

"A Sunny* Monday in San Francisco" is a day tour of the city, 
from Mission Street to the Pacific Ocean

"On a clear day you can see forever" explores Noe Valley, Ashbury Heights, 
the Inner Sunset district, microclimates, and street art on a pristine September day 

"Random San Francisco" has 46 photos which range from 
ornate architecture to vistas to murals to sidewalk messaging

"California in November" captures deep fall natural splendor


Sunday, July 12, 2015

The Wheel of Emotions

Opinions differ about the depiction of emotion in fiction. Some writers feel that the most important action takes place in characters' hearts, and see the protagonist's emotional growth as an essential component of the narrative arc, perhaps even the main story line. Other writers, whether out of skepticism about the human capacity for change or a preference for plot movement on the physical plane, focus more on occurrences in the external world than internal reactions to those occurrences. I fall somewhere in between, filling in more emotion for characters who are in touch with their feelings and less for characters who keep things close to the vest (or are just plain shallow); some characters—like some people—are simply less knowable.

Wherever one falls in this discussion, the Wheel of Emotions, or The Emotion Wheel (courtesy of the The Writer's Circle group on Facebook) can be a helpful tool. The wheel provides a comprehensive taxonomy of emotion, from deep core feelings (fear, anger, happiness) to more particular manifestations (anxious, frustrated, joyful) to distinct forms of those manifestations (overwhelmed, irritated, ecstatic), all of which is handy both for writers trying to effectively convey their characters' inner worlds and for anyone who wants to know what makes human beings tick.

                                          
                                     More pieces about writing on Truth and Beauty: 

             "Magic A is Magic A" and other elements in the Periodic Table of Storytelling
                                        
                                  Charles Bukowski: So You Want to Be a Writer?

                                                First and Last Sentences

                                                The Emotion Thesaurus

                                                          Freewrites
                                             
                                                    * Follow Dan Benbow on Twitter  

Wednesday, June 10, 2015

My favorite photo from a recent vacation































                                                                                                              

Sunday, May 17, 2015

Great guitar solos, #8: Freddie King's "San-Ho-Zay"

Photo courtesy of Stanley Livingston
Freddie King is the least known of the three major blues guitarists with the King surname, but while B.B. and Albert King gained more notoriety, Freddie was potent in his own rite. 

Like many a great blues player, King hailed from Texas, where he learned an old school acoustic fingerpicking style which he later adapted to the electric guitar. Though he sang, King made his mark with instrumentals, particularly "Hide Away," a #5 Billboard R & B hit later interpreted by many a bluesman, including Stevie Ray Vaughan and a young and hungry Eric Clapton.

One of King's other biggest releases was "San-Ho-Zay," presented below in a 1966 performance on "The Beat." There's much to like visually in the period details of this video (the go-go dancers, the raised platforms, the pastel colors of the studio, the crisply-dressed uptown band) and King's oh-so-pretty tomato red Gibson. Musically, King typified a less-is-more lead guitar style which was the norm before Jimi Hendrix and the Yardbirds alums sexed things up with volume, effects pedals, and advanced technique.

King doesn't waste a note in this compact piece. There's no showing off or reckless abandon, just spicy nuts-and-bolts playing: tasteful bends, tight vibratos, barbed stops and starts. And he does it with no gimmicks, nothing but a clean Gibson tone. Much as I love the dynamism of King's descendants, sometimes there's no substitute for pure blues feeling.    
  

                                             Follow Dan Benbow on Twitter    

Other Truth and Beauty guitar hero essays:

         Click here for "The Second Coming:  Stevie Ray Vaughan," 
a first-hand account of Vaughan's final concert

here for "The heaviest New Year's Eve guitar jam ever: Hendrix
does 'Machine Gun'"
                       
  here for "Link Wray's 'Rumble'"   
                  
here for "Great Guitar Solos, #1:  Eddie Hazel (Funkadelic)"

here for "Great Guitar Solos, #2:  Frank Zappa"

here for "Great Guitar Solos, #3:  Hiram Bullock" 

here for "Great Guitar Solos, #5:  Alvin Lee"

 here for "Great Guitar Solos, #6: Neil Young's 'Hey Hey, My My'"

and here for "Shut Up 'N Play Yer Guitar - The Six-String Wizardry of Frank Zappa, Part II"

Thursday, May 14, 2015

A noirish door mural in the Mission District


Truth and Beauty photo essays:

eye-catching architecture, and miscellaneous city scenes 
in a stroll from the Mission to South of Market to downtown

"Crystal Blue Persuasion" is a walking photo tour of San Francisco from the Bay to the Ocean (and a golden sunset) on a pristine sunny day just before Xmas

"Gone but not Forgotten" is a tribute to a friend who left this world all too soon 

"A Sunny* Monday in San Francisco" is a day tour of the city, 
from Mission Street to the Pacific Ocean

"On a clear day you can see forever" explores Noe Valley, Ashbury Heights, 
the Inner Sunset district, microclimates, and street art on a pristine September day 

"Random San Francisco" has 46 photos which range from 
ornate architecture to vistas to murals to sidewalk messaging

"California in November" captures deep fall natural splendor

Tuesday, April 7, 2015

A look back at "Strange Fruit" on the 100th anniversary of Billie Holiday's birth

“People have tried to explain in words what the power of music is—and usually failed. All we know is that sometimes, a short song, taking just a few minutes, can have as much impression on a listener as a whole novel can….You can bounce experiences of your life against it, and it bounces back new meanings.”

-Pete Seeger, musician/activist, on “Strange Fruit”



On August 7, 1930, a heavily-armed white mob broke into the Grant County Courthouse in Marion, Indiana. Inside were three black men (Thomas Shipp, Abram Smith, and James Cameron) who were being held as suspects in the murder of a white man and the alleged rape of his girlfriend.

As police officers looked on, Shipp, Smith, and Cameron were dragged from the courthouse and severely beaten. Shipp and Smith were then lynched in front of a crowd of thousands. No charges were filed in their murders.

Seven years later, Abel Meeropol—a public high school teacher and political activist in the Bronx—came into contact with a photo of Thomas Shipp and Abram Smith hanging from a tree. Horrified by the image, Meeropol wrote an anti-lynching poem entitled “Bitter Fruit,”
The photo that drove Meeropol
to pen "Strange Fruit"
which he later changed to “Strange Fruit” and set it to music.

The route that Meeropol’s 12-line song traveled from New York political events to Billie Holiday’s famous recording is murky. 


In one account, Meeropol presented the song to Holiday while she was performing at the Café Society—an integrated night club in Greenwich Village—through the café’s owner, Barney Josephson. Others credit Robert Gordon (a Café Society producer who’d been exposed to the song at a Madison Square Garden anti-fascism rally) with introducing the number to Holiday.

The identity of the composer(s) is also a mystery. In her autobiography Lady Sings the Blues, Holiday claimed that she, Meeropol, and her pianist banged the arrangement out “in three weeks,” but Arthur Herzog, who wrote for Holiday, said “Strange Fruit” was written 
by blues/jazz arranger Danny Mendelsohn. 

Holiday's label, Columbia, refused to be associated with the song, so she recorded it at the Commodore label's 52nd Street studio on April 20, 1939. With the backing of the Café Society’s house band, "Strange Fruit" was cut in just four hours.


Though the song has forever been associated with Billie Holiday, she doesn’t appear until 71 seconds into the recording. Considering the original arrangement too short (since Commodore charged more than their label competitors for single releases), producer Neil Gabler padded the beginning with two instrumental sections.

A soft horn chorus opens the song, laying the way for the muted trumpet melody of Frankie Newton. Eddie Dougherty’s cymbals fill out the background.

Just when you think the song can’t get any sadder, the trumpet introduction gives on to Lenny White’s improvised piano line. With the other instruments silenced, the isolated piano sounds far away, like a pianist tickling the ivories late at night in an empty piano bar. Fittingly, the song is in B flat minor, a key which often conjures melancholy.

The arrangement maintains its simplicity after Billie Holiday comes in, creating space for the vocal line. Scattered piano and the trumpet continue quietly behind the voice—sometimes
doubling the vocal melody along with the brass accompaniment.

In line with the bare bones arrangement, Holiday’s delivery is understated, heightening the prominence of the lyrics, which are as stark as the arrangement is simple. 

The first couplet contrasts commonly held images of Dixie’s natural serenity with the ugly side of human nature revealed in the South:

Southern trees bear a strange fruit
Blood on the leaves and blood at the root


The second couplet fills this contradiction out and makes the point of the lyrics grimly clear:

Black bodies swingin' in the Southern breeze
Strange fruit hangin' from the poplar trees


Once the thrust of the lyrics has been established, the solitary piano makes a brief re-appearance before the third and fourth couplets, which bring the human suffering inflicted even more clearly into focus:

Pastoral scene of the gallant South
The bulgin' eyes and the twisted mouth
Scent of magnolias sweet and fresh
Then the sudden smell of burnin' flesh


Holiday’s voice generally keeps a plaintive tone until it rises in pitch at the end of the fifth couplet, letting out bottled up emotion:

Here is a fruit for the crows to pluck
For the rain to gather, for the wind to suck


Rather than returning to the root note of B flat minor at the end like most pop songs, “Strange Fruit” ends on an F chord—an off-note or “unresolved” chord which could be seen to symbolize the incomprehensibility of lynching itself—as Holiday elongates the last word with a flourish.

For the sun to rot, for the tree to drop
Here is a strange and bitter crop


***

“Strange Fruit” was a bold political statement, particularly for a black artist in segregated

America. As Samuel Grafton of the New York Post put it, “[Holiday] reversed the usual relationship between a black entertainer and her white audience: ‘I have been entertaining you,’ she seemed to say, ‘now you can just listen to me.’”

Despite the subject matter and the unwillingness of most radio stations to play “Strange Fruit,” it climbed to #16 on the national charts in July of 1939 and ended up selling a million copies.

In the years since, “Strange Fruit” hasn’t had the staying power with the general public that some of Holiday’s more hummable numbers have had, but it has received the imprimatur of the music community.

The song has been covered by a large variety of artists both in the jazz world (Nina Simone, Cassandra Wilson, Herbie Hancock) and out (Jeff Buckley, Sting, Annie Lennox, Siouxsie and the Banshees). 


It has been listed in the Recording Industry of America’s Songs of the Century and deemed one of “ten songs that actually changed the world” by Q magazine, a British rock publication.

When "Strange Fruit" was originally reviewed under the title “Strange Record” in 1939, a Time critic referred to Holiday as “a roly-poly young colored woman with a hump in her voice” who “does not care enough about her figure to watch her diet, but loves to sing.” The song itself was described as “a prime piece of musical propaganda” for the NAACP. Sixty years later, in 1999, Time named “Strange Fruit” the record of the century, reflecting both its greatness as a work of art and the song's role 
as a barometer for social progress in America.

Other civil rights writing by Dan Benbow:

Martin Luther King, Jr.'s Road to the Mountaintop (about the speech King gave on the last night of his life)

Honest Abe Makes Sausage (a review of Steven Spielberg's "Lincoln")

                                 Brown v. Board and Three Dog Night's "Black and White"

                         Actions, Not Words (a life review of Ollie Matson, an Olympic medal 

                         winner, NFL Hall-of-Famer, civil rights trailblazer, and good citizen) 

                                                       Follow Dan Benbow on Twitter                                                           

Saturday, April 4, 2015

"The Wrecking Crew"

"The Wrecking Crew" is an insider account of a dozen-odd Los Angeles studio musicians who put their stamp on some of the biggest pop hits of the 1960s. 

Like the session players profiled in "Muscle Shoals," "Standing in the Shadows of Motown," and "Twenty Feet from Stardom," most members of the Wrecking Crew are unknown to the general public: you've heard their handiwork countless times but would not recognize their names.   

In the mid-to-late '50s and '60s a clean division of labor was common in pop music production. Professional songwriters wrote arrangements, a name act (Elvis Presley, Connie Francis) laid down the lead vocal, and studio musicians did the rest. While the media coverage and public focus was exclusively on the pop star, a good deal of the creative work was done by musicians who received no songwriting credit and no financial compensation other than union scale wages. 

The Brill Building in mid-town Manhattan exemplified this compartmentalized production model. Staffed with professional songwriters who worked with New York studio
Brian Wilson and Hal Blaine
musicians, the Brill Building generated a string of hits in the first decade of rock 'n' roll, including "Yakety-Yak," "Do Wah Diddy," "Da Doo Ron Ron," "Hound Dog,"

and "Leader of the Pack."

By the mid-'60s the pop world's center of gravity had shifted to Los Angeles. The California session players were looser than their New York counterparts. They preferred casual dress to the suit-and-tie attire customary in Manhattan. Where the New York session players tended to be faithful to the charts, the L.A. musicians were known to develop arrangements in the studio. The old guard said that the Los Angeles upstarts would "wreck" the music industry. 

The movie begins with footage from the "Pet Sounds" sessions in 1965, which were typical of the time. Brian Wilson, the Beach Boys' genius composer, was in the studio with the Wrecking Crew—while the other Beach Boys were on vacation. Other than Wilson's lead voice and the background vocals, all the tracks were filled by studio musicians. The same held true for many other Beach Boys releases of the era, including "Good Vibrations," a song crafted piece-by-piece in 25-30 sessions over three months. 


Wilson tended to work detailed arrangements out in advance, but some of the bands who used the Wrecking Crew allowed more experimentation. The Mamas & the Papas, a group of four vocalists, encouraged input from their backing musicians on the breakthrough hits "Monday, Monday" and "California Dreamin.'" 

Phil Spector, the '60s wunderkind producer of a slew of girl group hits, had another method of collaboration. Working with a small orchestra (four guitars, four pianos, two bass players) famously known as The Wall of Sound, Spector made the bands do so many takes that individual voices eventually merged into a cohesive whole. 




Other acts left most of the work to the Wrecking Crew. Roger McGuinn recounts that he was the sole member of the Byrds who was allowed to play an instrument on "Mr. Tambourine Man," to the resentment of his bandmates. Peter Tork showed up at the first Monkees recording session with his guitar, only to discover that his services weren't needed. Like the Monkees, the Association ("Windy," "Never My Love") contributed just vocals to their recordings.  

Woven through the movie are interviews with Wrecking Crew alumni, band members who recorded with them, and Dick Clark, who provides insight into the place of the Crew within the larger pop music industry. Some of the interviews give a human face to the creative process. Carole Kaye, the lone female in the Wrecking Crew, plays the bass line from the "Mission Impossible" theme song. Plas Johnson, a jazz musician who found his way to L.A. by way of New Orleans, blows the saxophone theme to "The Pink Panther" and the playful flute introduction to "Rockin' Robin." Chuck Berghofer demonstrates his signature opening bass line to "These Boots Are Made for Walking."  




It was a rewarding professional life that demanded versatility and a strong work ethic. As one interviewee put it, to continue to get called by the studios one had to "never say no until you're too busy to say yes." Often this required "dovetailing": bouncing from one session to another and backing acts as diverse as Frank Sinatra, Simon & Garfunkel, Harry Nilsson, Herb Alpert, or the 5th Dimension. 

One trade-off was family time. Tommy Tedesco, whose son Denny made "The Wrecking Crew," frequently didn't get home until 10 or 11 at night. Plas Johnson said, "I'm a better 
grandfather than I was a father." 

Though there were exceptions, such as Steely Dan, reliance on studio musicians fell off in the late '60s and early '70s when most of the bands coming up featured skilled musicians who wrote their own songs. Work slowed down for the Wrecking Crew, other than Leon Russell and Glen Campbell,
Tommy Tedesco, once called
"the most recorded guitarist in history"
who pursued successful solo careers. Hal Blaine, the Wrecking Crew drummer who had played on six straight Grammy Award songs of the year (1966-1971), was working as a security guard by the early '80s. 

The contributions of these talented artists to the American pop canon would be lost to time were it not for the dogged efforts of DennyTedesco, who wrote, directed, and produced "The Wrecking Crew." 


Tedesco's labor of love began with interviews in 1996, just before his father passed away, and continued up through the dozens of individual screenings/fundraisers he held in recent years to purchase licensing rights to the songs, photos, and footage used. 

With all the bills paid, "The Wrecking Crew" is finally seeing the light of day. The little movie that could is garnering rave reviews as it brings the story of these undersold musicians to 120 screens nationwide. And not a moment too soon.

                                                         Follow Dan Benbow on Twitter  

Other "Truth and Beauty" film reviews:


"Honest Abe Makes Sausage" (about "Lincoln")

"Errol Morris Strikes Again" (about "Tabloid")