Click on the headline to link to a YouTube film clip of Bo Diddley performing his rock classic Bo Diddley.
DVD Review
Rock ‘n’ Rock All-Star Jam: Bo Diddley, Bob Diddley, Ron Woods, and other artists,1985
Well, there is no need to pussy foot around on this one. The question before the house is who put the rock in rock ‘n’ roll. And here in this one hour all-star concert documentary, complete with background backstage footage, Bo Diddley unabashedly stakes his claim that was featured in a song by the same name, except, except it starts out with the answer. Yes, Bo Diddley put the rock in rock ‘n’ roll. And off his performance here as part of the 30th anniversary celebration of the tidal wave of rock that swept through the post World War II teenage population in 1955 he has some “street cred” for that proposition.
Certainly there is no question that black music, in the early 1950s at least, previously confined to mainly black audiences down on the southern farms and small segregated towns and in the northern urban ghettos along with a ragtag coterie of “hip” whites is central to the mix that became classic 1950s rock ‘n’ roll. That is not to deny the other important thread commonly called rockabilly (although if you had scratched a rockabilly artist and asked him or her for a list of influences black gospel and rhythm and blues would be right at the top of their list, including Elvis’). But here let’s just go with the black influences. No question Ike Turner’s Rocket 88, Joe Turner’s Shake , Rattle and Roll and, I would add, Elmore James’ Look Yonder Wall are nothing but examples of R&B starting to break to a faster, more nuanced rock beat.
Enter one Bo Diddley. No only does he have the old country blues songbook down, and the post- World War II urbanization and electrification of those blues down, but he reaches back to the oldest traditions of black music, back before the American slavery plantations days, back to the Carib influences and even further back to earth mother African shores. In short, that “jungle music”, that “devil’s music” that every white mother and father (and not a few black ones as well), north and south was worried, no, frantically worried would carry away their kids. Well, it did and we are none the worst for it.
Here is a little story from back in the 1950s days though that places old Bo’s claim in perspective and addresses the impact (and parental horror) that Bo and rock had on teenage (and late pre-teenage) kids, even all white “projects” kids like me and my boys. In years like 1955, ’56, ’57 every self-respecting teenage boy (or almost teenage boy), under the influence of television, tried, one way or another, to imitate Elvis. From dress, to sideburns, to swiveling hips, to sneer. Hell, I even bought a doo-wop comb to wear my hair like his. I should qualify that statement a little and say every self-respecting boy who was aware of girls. And, additionally, aware that if you wanted to get any place with them, any place at all, you had better be something like the second coming of Elvis.
Enter now, one eleven year old William James Bradley, “Billie”, my bosom buddy in old elementary school days. Billie was wild for girls way before I acknowledged their existence, or at least their charms. Billie decided, and rightly so I think, to try a different tack. Instead of forming the end of the line in the Elvis imitation department he decided to imitate Bo Diddley. At this time we are playing the song Bo Diddley and, I think, Who Do You Love? like crazy. Elvis bopped, no question. But Bo’s beat spoke to something more primordial, something connected, unconsciously to our way back ancestry. Even an old clumsy white boy like me could sway to the beat.
Of course that last sentence is nothing but a now time explanation for what drove us to the music. Then we didn’t know the roots of rock, or probably care, except our parents didn’t like it, and were sometimes willing to put the stop to our listening. Praise be for transistor radios (younger readers look that up on Wikipedia) to get around their madness.
But see, Billie also, at that time, did not know what Bo looked like. Nor did I. So his idea of imitating Bo was to set himself up as a sort of Buddy Holly look alike, complete with glasses and that single curled hair strand.
Billie, naturally, like I say, was nothing but a top dog dancer, and wired into girl-dom like crazy. And they were starting to like him too. One night he showed up at a local church catholic, chaste, virginal priest-chaperoned dance with this faux Buddy Holly look. Some older guy meaning maybe sixteen or seventeen, wise to the rock scene well beyond our experiences, asked Billy what he was trying to do. Billie said, innocently, that he was something like the seventh son of the seventh son of Bo Diddley. This older guy laughed, laughed a big laugh and drew everyone’s attention to himself and Billie. Then he yelled out, yelled out for all the girls to hear “Billie boy here wants to be Bo Diddley, he wants to be nothing but a jungle bunny music N----r boy”. All goes quiet. Billie runs out, and I run after, out the back door. I couldn’t find him that night.
See, Billie and I were clueless about Bo’s race. We just thought it was all rock (read: white music) then and didn’t know much about the black part of it, or the south part, or the segregated part either. We did know though what the n----r part meant in our all white housing project and here was the kicker. Next day Billie strutted into school looking like the seventh son of the seventh son of Elvis. But as he got to the end of the line I could see, and can see very clearly even now, that the steam has gone out of him. So when somebody asks you who put the rock in rock ‘n’ roll know that old Bo’s claim was right on track, and he had to clear some very high racial and social hurdles to make that claim. Just ask Billie.
Showing posts with label "project boys". Show all posts
Showing posts with label "project boys". Show all posts
Thursday, November 18, 2010
Wednesday, March 3, 2010
***The "Projects" Boys... And Girls-For Dennis Volpe, Class Of 1964
Click on the headline to link to a YouTube film clip of Tom Waits performing Jersey Girl
"Ain't Got No Time For The Corner Boys, Down In The Streets Making All That Noise"- The first line from Bruce Springsteen's classic working class love song, Jersey Girl. Although the best version of song is Tom Waits' that you can link to on YouTube above. Al Johnson, Class Of 1964, comment:
Taffrail Road, Yardarm Lane, Captain's Walk, Quarterdeck Road, Sextant Circle, and Snug Harbor School. Yes, those names and places from the old housing project down in Germantown surely evoke imagines of the sea, of long ago sailing ships, and of battles fought off some mist-driven coast by those hearty enough to seek fame and fortune. But, of course, we know that anyone with even a passing attachment to Quincy has to have an instinctual love of the sea, and fear of its furies when old Mother Nature turns her back on us. Yes, the endless sea, our homeland the sea, the mother we never knew, the sea... But, enough of those imaginings.
Today I look to the landward side of that troubled housing project peninsula, that isolated expanse of land jutting out of the water and filled with wreckage of another kind. No, this will not be a sociological survey of working class pathologies made inevitable by the relentless struggle to scramble for life's necessities, the culture of poverty, or the like. Nor will it be a political screed about rising against the monsters that held us down, or the need for such a rising. Nor even about the poetic license necessary to cobble pretty words together to speak of the death of dreams, dreamless dreams or, maybe, just accepting small dreams to fit a small life. Rather, I am driven by the jumble of images that passed through the thoughts of a ragamuffin of a project boy as he tried to make sense out of a world that he did not create, and that he had no say in.
Ah, the scenes. Warm, sticky, humid summer nights, the air filled with the pungent, overpowering soapy fragrance from the Proctor and Gamble factory across the channel that never quite left one's nostrils. Waking up each morning to face the now vanished Fore River Shipyard superstructure; hearing the distant clang of metals being worked to shape; and, the sight of flickering welding torches binding metals together. The endless rust-encrusted, low-riding oil tankers coming through the channel guided to port by high whistle-blowing tugs. The interminable wait for the lifeline, seemingly never on time, Eastern Mass bus that took one and all in and out through that single Palmer Street escape route. Or that then imposing central housing authority building where I was sent by my mother, too proud to go herself, with the monthly rent, usually short. Oh, did I mention Carter's Variety Store, the sole store for us all the way to Sea Street, another lifeline. Many a time I reached in Ma's pocketbook to steal money, or committed other small larcenies, in order to hike down and get my sugar-drenched stash.
And the kids. Well, the idea in those days was that the projects were a way-station to better things, or at least that was the hope. So there was plenty of turnover of friends but there was a core of kids, like me and my brothers, who stayed long enough to learn the ropes. Every guy had to prove himself, tough or not, by hanging with guys that were "really" tough. That was the ethos, and thems were the rules. I took my fair share of nicks but also, for a moment, well for more than a moment as it turned out, I was swayed by the gangster lifestyle. Hell, it looked easy. With classmate Rickie B. (who, later, served twenty years for a series of armed robberies) I worked my first "clip" in some downtown Quincy jewelry store. Moving on, I was the "holder" for more expansive enterprises with George H. (who, later, got killed when a drug deal he was promoting went south on him). But that was then, right?
Oh, the different things that came up. Oddball things like Christmas tree bonfires, and annual Halloween hooliganism... Hey, all this is so much eyewash because what, at least in memory's eye, is the driving "projects" image is the "great awakening". Girls. And being ill at ease around them, and being a moonstruck kid, and the shoe leather-wearing out marathon walking, thinking about what to do about them, especially when the intelligence-gatherers told you about a girl who liked you. And the innocent, mostly dreaded, little petting parties, in dank little basements that served as 'family rooms' for each apartment, trying to be picked by the one you want to pick you and, well, you get the drift. Now a lot of this is stuff any kid goes through, except just not in "the projects". And some of it is truly "projects" stuff - which way will he go, good or bad? But this next thing kind of ties it together. Just about the time when I seriously committed to a petty criminal lifestyle I found the Thomas Crane Library branch that was then in the Snug Harbor School. And one summer I just started to read every biography they had in the Children's section. While looking, longingly, over at the forbidden Adult section on the other side of the room for the good stuff. And I dreamed. Yes, I am a "projects" boy, and I survived to tell the tale.
Tom Waits Jersey Girl Lyrics
Got no time for the corner boys,
Down in the street makin' all that noise,
Don't want no whores on eighth avenue,
Cause tonight i'm gonna be with you.
'cause tonight i'm gonna take that ride,
Across the river to the jersey side,
Take my baby to the carnival,
And i'll take you all on the rides.
Down the shore everything's alright,
You're with your baby on a saturday night,
Don't you know that all my dreams come true,
When i'm walkin' down the street with you,
Sing sha la la la la la sha la la la.
You know she thrills me with all her charms,
When i'm wrapped up in my baby's arms,
My little angel gives me everything,
I know someday that she'll wear my ring.
So don't bother me cause i got no time,
I'm on my way to see that girl of mine,
Nothin' else matters in this whole wide world,
When you're in love with a jersey girl,
Sing sha la la la la la la.
And i call your name, i can't sleep at night,
Sha la la la la la la.
"Ain't Got No Time For The Corner Boys, Down In The Streets Making All That Noise"- The first line from Bruce Springsteen's classic working class love song, Jersey Girl. Although the best version of song is Tom Waits' that you can link to on YouTube above. Al Johnson, Class Of 1964, comment:
Taffrail Road, Yardarm Lane, Captain's Walk, Quarterdeck Road, Sextant Circle, and Snug Harbor School. Yes, those names and places from the old housing project down in Germantown surely evoke imagines of the sea, of long ago sailing ships, and of battles fought off some mist-driven coast by those hearty enough to seek fame and fortune. But, of course, we know that anyone with even a passing attachment to Quincy has to have an instinctual love of the sea, and fear of its furies when old Mother Nature turns her back on us. Yes, the endless sea, our homeland the sea, the mother we never knew, the sea... But, enough of those imaginings.
Today I look to the landward side of that troubled housing project peninsula, that isolated expanse of land jutting out of the water and filled with wreckage of another kind. No, this will not be a sociological survey of working class pathologies made inevitable by the relentless struggle to scramble for life's necessities, the culture of poverty, or the like. Nor will it be a political screed about rising against the monsters that held us down, or the need for such a rising. Nor even about the poetic license necessary to cobble pretty words together to speak of the death of dreams, dreamless dreams or, maybe, just accepting small dreams to fit a small life. Rather, I am driven by the jumble of images that passed through the thoughts of a ragamuffin of a project boy as he tried to make sense out of a world that he did not create, and that he had no say in.
Ah, the scenes. Warm, sticky, humid summer nights, the air filled with the pungent, overpowering soapy fragrance from the Proctor and Gamble factory across the channel that never quite left one's nostrils. Waking up each morning to face the now vanished Fore River Shipyard superstructure; hearing the distant clang of metals being worked to shape; and, the sight of flickering welding torches binding metals together. The endless rust-encrusted, low-riding oil tankers coming through the channel guided to port by high whistle-blowing tugs. The interminable wait for the lifeline, seemingly never on time, Eastern Mass bus that took one and all in and out through that single Palmer Street escape route. Or that then imposing central housing authority building where I was sent by my mother, too proud to go herself, with the monthly rent, usually short. Oh, did I mention Carter's Variety Store, the sole store for us all the way to Sea Street, another lifeline. Many a time I reached in Ma's pocketbook to steal money, or committed other small larcenies, in order to hike down and get my sugar-drenched stash.
And the kids. Well, the idea in those days was that the projects were a way-station to better things, or at least that was the hope. So there was plenty of turnover of friends but there was a core of kids, like me and my brothers, who stayed long enough to learn the ropes. Every guy had to prove himself, tough or not, by hanging with guys that were "really" tough. That was the ethos, and thems were the rules. I took my fair share of nicks but also, for a moment, well for more than a moment as it turned out, I was swayed by the gangster lifestyle. Hell, it looked easy. With classmate Rickie B. (who, later, served twenty years for a series of armed robberies) I worked my first "clip" in some downtown Quincy jewelry store. Moving on, I was the "holder" for more expansive enterprises with George H. (who, later, got killed when a drug deal he was promoting went south on him). But that was then, right?
Oh, the different things that came up. Oddball things like Christmas tree bonfires, and annual Halloween hooliganism... Hey, all this is so much eyewash because what, at least in memory's eye, is the driving "projects" image is the "great awakening". Girls. And being ill at ease around them, and being a moonstruck kid, and the shoe leather-wearing out marathon walking, thinking about what to do about them, especially when the intelligence-gatherers told you about a girl who liked you. And the innocent, mostly dreaded, little petting parties, in dank little basements that served as 'family rooms' for each apartment, trying to be picked by the one you want to pick you and, well, you get the drift. Now a lot of this is stuff any kid goes through, except just not in "the projects". And some of it is truly "projects" stuff - which way will he go, good or bad? But this next thing kind of ties it together. Just about the time when I seriously committed to a petty criminal lifestyle I found the Thomas Crane Library branch that was then in the Snug Harbor School. And one summer I just started to read every biography they had in the Children's section. While looking, longingly, over at the forbidden Adult section on the other side of the room for the good stuff. And I dreamed. Yes, I am a "projects" boy, and I survived to tell the tale.
Tom Waits Jersey Girl Lyrics
Got no time for the corner boys,
Down in the street makin' all that noise,
Don't want no whores on eighth avenue,
Cause tonight i'm gonna be with you.
'cause tonight i'm gonna take that ride,
Across the river to the jersey side,
Take my baby to the carnival,
And i'll take you all on the rides.
Down the shore everything's alright,
You're with your baby on a saturday night,
Don't you know that all my dreams come true,
When i'm walkin' down the street with you,
Sing sha la la la la la sha la la la.
You know she thrills me with all her charms,
When i'm wrapped up in my baby's arms,
My little angel gives me everything,
I know someday that she'll wear my ring.
So don't bother me cause i got no time,
I'm on my way to see that girl of mine,
Nothin' else matters in this whole wide world,
When you're in love with a jersey girl,
Sing sha la la la la la la.
And i call your name, i can't sleep at night,
Sha la la la la la la.
Tuesday, December 29, 2009
***In Search Of The Great Working Class Love Song- With Donna W., Class Of 1964, In Mind
*In Search Of The Great Working Class Love Song- With Donna W., Class Of 1964, In Mind
http://www.youtube.com/watch?v=q7bXBOfgvJ4&feature=related
Click on to the headline to link to a "YouTube" film clip of Richard Thompson performing his classic working class love song, "1952 Vincent Black Lighting".
Al Johnson, Class Of 1964, comment:
Yes, I know, just when you thought it was safe to, discretely, peruse this page without having to be bombarded by some outlandish commentary from a fellow classmate here he is again asking those infernal, eternal questions. Well, yes. For some time now I have been doing a little of this and a little of that, including some writing, in order to make ends meet. But now I have time for some serious writing and so it goes.
Today's subject is prompted by a question that I have been asked about before - what music were you listening to back in the day? Well, for me at least that subject is exhausted. I no longer want to hear about how you fainted over "Teen Angel,""Johnny Angel,"or "Earth Angel". Moreover, enough of "You're Gonna Be Sorry," "I'm Sorry," and "Who's Sorry Now". And no more of "Tell Laura I Love Her," "Oh Donna," and "I Had A Girl Her Name Was Joanne," or whatever woman's name comes to mind. It is time, boys and girls, to move on to other musical influences from our more mature years.
But why, as the headline suggests, the search for the great working class love song? Well, hello! Our old town was (and is, as far as I can tell from a very recent trip to the old place) a quintessential working class town (especially before the deindustrialization of America). At least the great majority of us came from working class or working poor homes. Most songs, especially popular songs, reflect a kind of "one size fits all" lyric that could apply to anyone. What I am looking for is songs that in some way reflect that working class ethos that is still in our bones, whether we recognize it or not.
Needless to say, since I have posed the question, I have my choice already prepared. As will become obvious, once you read the lyrics, this song reflects my take on the male angst in the age old love problem. However, any woman classmate is more than free to choice songs that reflect her female angst angle (ouch, for that awkward formulation) on the class hit parade.
1952 Vincent Black Lightning-Richard Thompson
This song is on "YouTube" performed by Thompson, although a stronger version is done on a cover by folk singer Greg Brown.
Said Red Molly to James that's a fine motorbike
A girl could feel special on any such like
Said James to Red Molly, well my hat's off to you
It's a Vincent Black Lightning, 1952
And I've seen you at the corners and cafes it seems
Red hair and black leather, my favorite color scheme
And he pulled her on behind
And down to Box Hill they did ride
Said James to Red Molly, here's a ring for your right hand
But I'll tell you in earnest I'm a dangerous man
I've fought with the law since I was seventeen
I robbed many a man to get my Vincent machine
Now I'm 21 years, I might make 22
And I don't mind dying, but for the love of you
And if fate should break my stride
Then I'll give you my Vincent to ride
Come down, come down, Red Molly, called Sergeant McRae
For they've taken young James Adie for armed robbery
Shotgun blast hit his chest, left nothing inside
Oh, come down, Red Molly to his dying bedside
When she came to the hospital, there wasn't much left
He was running out of road, he was running out of breath
But he smiled to see her cry
And said I'll give you my Vincent to ride
Says James, in my opinion, there's nothing in this world
Beats a 52 Vincent and a red headed girl
Now Nortons and Indians and Greeveses won't do
They don't have a soul like a Vincent 52
He reached for her hand and he slipped her the keys
He said I've got no further use for these
I see angels on Ariels in leather and chrome
Swooping down from heaven to carry me home
And he gave her one last kiss and died
And he gave her his Vincent to ride
Come on now, after reading these lyrics is any mere verbal profession of undying love, any taking somebody on a ride to some two-bit carnival (I am thinking of Bruce Springsteen's "Jersey Girl" here) , some buying a gold ring or some chintzy flowers going to mean anything? Hell, the guy is giving her HIS bike, his bike, man. Case closed.
Added note: I KNOW of at least one female, not on this class list here, who might relate to this song. I also know at least one male, also on not this list, who snuck out the back door of NQHS with another classmate to ride his bike during school hours back in the day. So don't think I have forgotten my medication, or something. And I repeat, the guy in the song gave her HIS bike, man. That is love, no question.
http://www.youtube.com/watch?v=q7bXBOfgvJ4&feature=related
Click on to the headline to link to a "YouTube" film clip of Richard Thompson performing his classic working class love song, "1952 Vincent Black Lighting".
Al Johnson, Class Of 1964, comment:
Yes, I know, just when you thought it was safe to, discretely, peruse this page without having to be bombarded by some outlandish commentary from a fellow classmate here he is again asking those infernal, eternal questions. Well, yes. For some time now I have been doing a little of this and a little of that, including some writing, in order to make ends meet. But now I have time for some serious writing and so it goes.
Today's subject is prompted by a question that I have been asked about before - what music were you listening to back in the day? Well, for me at least that subject is exhausted. I no longer want to hear about how you fainted over "Teen Angel,""Johnny Angel,"or "Earth Angel". Moreover, enough of "You're Gonna Be Sorry," "I'm Sorry," and "Who's Sorry Now". And no more of "Tell Laura I Love Her," "Oh Donna," and "I Had A Girl Her Name Was Joanne," or whatever woman's name comes to mind. It is time, boys and girls, to move on to other musical influences from our more mature years.
But why, as the headline suggests, the search for the great working class love song? Well, hello! Our old town was (and is, as far as I can tell from a very recent trip to the old place) a quintessential working class town (especially before the deindustrialization of America). At least the great majority of us came from working class or working poor homes. Most songs, especially popular songs, reflect a kind of "one size fits all" lyric that could apply to anyone. What I am looking for is songs that in some way reflect that working class ethos that is still in our bones, whether we recognize it or not.
Needless to say, since I have posed the question, I have my choice already prepared. As will become obvious, once you read the lyrics, this song reflects my take on the male angst in the age old love problem. However, any woman classmate is more than free to choice songs that reflect her female angst angle (ouch, for that awkward formulation) on the class hit parade.
1952 Vincent Black Lightning-Richard Thompson
This song is on "YouTube" performed by Thompson, although a stronger version is done on a cover by folk singer Greg Brown.
Said Red Molly to James that's a fine motorbike
A girl could feel special on any such like
Said James to Red Molly, well my hat's off to you
It's a Vincent Black Lightning, 1952
And I've seen you at the corners and cafes it seems
Red hair and black leather, my favorite color scheme
And he pulled her on behind
And down to Box Hill they did ride
Said James to Red Molly, here's a ring for your right hand
But I'll tell you in earnest I'm a dangerous man
I've fought with the law since I was seventeen
I robbed many a man to get my Vincent machine
Now I'm 21 years, I might make 22
And I don't mind dying, but for the love of you
And if fate should break my stride
Then I'll give you my Vincent to ride
Come down, come down, Red Molly, called Sergeant McRae
For they've taken young James Adie for armed robbery
Shotgun blast hit his chest, left nothing inside
Oh, come down, Red Molly to his dying bedside
When she came to the hospital, there wasn't much left
He was running out of road, he was running out of breath
But he smiled to see her cry
And said I'll give you my Vincent to ride
Says James, in my opinion, there's nothing in this world
Beats a 52 Vincent and a red headed girl
Now Nortons and Indians and Greeveses won't do
They don't have a soul like a Vincent 52
He reached for her hand and he slipped her the keys
He said I've got no further use for these
I see angels on Ariels in leather and chrome
Swooping down from heaven to carry me home
And he gave her one last kiss and died
And he gave her his Vincent to ride
Come on now, after reading these lyrics is any mere verbal profession of undying love, any taking somebody on a ride to some two-bit carnival (I am thinking of Bruce Springsteen's "Jersey Girl" here) , some buying a gold ring or some chintzy flowers going to mean anything? Hell, the guy is giving her HIS bike, his bike, man. Case closed.
Added note: I KNOW of at least one female, not on this class list here, who might relate to this song. I also know at least one male, also on not this list, who snuck out the back door of NQHS with another classmate to ride his bike during school hours back in the day. So don't think I have forgotten my medication, or something. And I repeat, the guy in the song gave her HIS bike, man. That is love, no question.
Subscribe to:
Posts (Atom)