***The Roots Is The Toots-The Music That Got The Generation Of ’68 Through The 1950s Red Scare Cold War Night

 

 

 

Peter Paul Markin comment on this series:

 

I recently completed the first leg of this series which is intended to go through different stages of the American songbook as it has evolved since the 19^th century, especially music that could be listened to by the general population through radio, later television, and more recently the fantastic number of ways to listen to it all. That first leg dealt with the music of my parents’ generation, that being the parents of the generation of ’68, those who struggled through the Great Depression of the 1930s and World War II in the 1940s. This leg, centered on the music of my generation growing up in the Cold War 1950s, is a natural progression from that first leg since a lot of what we were striving for was to make a big musical break from the music that was wafting through many of our houses in the early 1950s. The music of our “square” parents which was driving us to desperation for a new sound just in case those threatened bombs that we kept being warned about actually were detonated. At least that musical jail-break is the way we will tell the story now, although I, for one, have a little more tolerance for some of their music. Some, I said, since I am unabashedly a child of rock and roll.   

Whether we liked it or not, whether we even knew what it meant, or frankly, during that hellish growing up absurd teenager time in the 1950s trying to figure out our places, if any, in the cold war red scare world, if there was to be a world, and that was a close thing at times, or whether we cared, our tribal music was as dear a thing to us, who were in the throes of finding our own very different musical identities. Whether we knew it or not in the big world- historic picture scheme of things, knew what sacred place the music of the 1950s, rhythm and blues, scat be-bop, rockabilly, doo wop, flat out pure rock and roll, those tunes held a primordial place in our youthful hearts. That was our music, our getting through the tough times music of post-World War II teen alienation and angst, that went wafting through the house on the living room radio (when the parents were out), on the family record player (ditto on the parents), or, for some, the television (double ditto the parents out, especially when American Bandstand hit us like a hurricane), and best of all on that blessed transistor radio that allowed us to while away the time up in our rooms away from snooping parental ears. Yes, that was the pastime of many of those of us who constitute the now graying fading generation of ‘68.

Some of us will pass to the beyond clueless as to why we were attuned to this music when we came of age in a world, a very darkly-etched world, which we too like most of our parents had not created, and had no say in creating. That includes a guy, me, a coalminer’s son who got as caught up in the music of his time as any New York City Jack or Jill or Chi town frill whose father busted out of the tumbled down tarpaper shacks down in some Appalachia hills and hollows, headed north, followed the northern star and never looked back and neither did his son.

Yes we were crazy for the swing and sway of Big Joe Turner snapping those big fingers like some angel- herald letting the world know,  if it did not know already, that it did not mean a thing, could not possibly matter in the universe, if you did not Shake, Rattle, and Roll, if you did not rock with or without Miss LaVern Baker, better with, better with, her hips swaying slightly, lips moistened, swirling every guy in the place on Jim Dandy vowing be her man just for that smile and a chance at those slightly swaying hips. Mr. Elvis Presley, with or without the back- up boys, better with, belting out songs, knocking down walls, maybe Jericho, maybe just some teen-struck Starlight Ballroom in Kansas City blasting the joint with his Jailhouse Rock to the top of the charts. Elegant Bill Haley, with or without that guy blowing that sexy sax out into the ocean air night in some Frisco club, blowing out to the Japan seas on Rock Around The Clock. Bo Diddley, all banded up if there is such a word, making eyes wild with that Afro-Carib beat on Who Do You Love. A young Ike Tina-less Turner too with his own aggregation wailing Rocket 88 that had every high school girl throwing dreamy nickels and dimes into the jukebox, with or without fanfare. Buddy Holly, with or without those damn glasses, talking up Peggy Sue before his too soon last journey. Miss Wanda Jackson, the female Elvis, with or without the blues, personal blues, strung out blues too, singing everybody else’s blues away with that throaty thing she had, that meaningful pause, on yeah, Let’s Have A Party. Miss (Ms.) Patsy Cline, with or without the bad moments, making grown men cry (women too) when she reached that high note fretting about her long gone man on She’s Got You, Jesus. 

Miss (Ms.) Brenda Lee too chiming in with I’m Sorry. Mr. Jerry Lee Lewis doing a million songs fronting that wild piano off the back of a truck in High School Confidential calling out to anybody who wanted to rise in that rocking world, with or without a horde of cashmere sweater girls breaking down his doors, putting everybody else to shame. The Everly Brothers, always with that soft -spoken refrain catch that nobody seemed to tire of, doing teary Wake Up Little Susie. The Drifters with or without those boardwalks. The Sherilles with or without the leader of the pack, the Dixie Cups with or without whatever they were doing at that chapel. Miss Carole King, with or without the boys, writing the bejesus out of Tin Pan Alley. Yeah, our survival music. 

We, the generation of ’68, baby-boomers, decidedly not what Tom Brokaw dubbed rightly or wrongly “the greatest generation,” decidedly not our parents’ generation, finally could not bear to hear their music, could not bear to think anybody in the whole universe would think that stuff was cool. Those of us who came of age, biological, political, and social age kicking, screaming and full of the post-war new age teenage angst and alienation in the time of Jack Kennedy’s Camelot were ready for a jail-break, a jail-break on all fronts and that included from “their song” stuff. Their staid Eisenhower red scare cold war stuff (he their organizer of victory, their gentile father Ike), hell, we knew that the world was scary, knew it every time we were forced to go down into some dank school basement and squat down, heads down too, hoping to high heaven that the Russkies had not decided to go crazy and set off “the bomb,” many bombs. And every righteous teenager had a nightmare that, he or she, was trapped in some fashionable family bunker and those loving parents had thoughtfully brought their records down into the abyss to soothe their savage beasts for the duration. Yelling in that troubled sleep please, please, please if we must die then at least let’s go out to Jerry Lee’s High School Confidential.  

We were moreover, some of us any way and I like to think the best of us, driven by some makeshift dreams, ready to cross our own swords with the night-takers of our time, and who, in the words of Camelot brother Bobby, sweet ruthless Bobby of more than one shed tear, quoting from Alfred Lord Tennyson, were “seeking a new world.” Those who took up the call to action heralded by the new dispensation and slogged through the 60s decade whether it was in the civil rights/black liberation struggle, the anti-Vietnam War struggle or the struggle to find one’s own identity in the counter-culture swirl before the hammer came down were kindred. To the disapproval, anger, and fury of more than one parent who had gladly slept through the Eisenhower times. And that hammer came down quickly as the decade ended and the high white note that we searched for, desperately searched for, drifted out into the ebbing tide. Gone. But enough of that for this series is about our uphill struggles to make our vision of the our newer world, our struggles to  satisfy our hunger a little, to stop that gnawing want, and the music that in our youth  we dreamed by on cold winter nights and hot summer days.

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With Warren Smith’s Rock and Roll Ruby In Mind  

 

…he knew, knew deep in his bones, knew on the face of it too that he could not keep her, keep her to himself, keep her settled down and so he accepted that she would blow away like the wind on him sometime and it was just a matter of how long he could keep her. It hadn’t started out that way, at least he did not see it like that at the beginning, see that she was a wayward wind, see that she had deeply imbibed the new wave coming across the continent. They had met conventionally enough senior year at old North Adamsville High, had responded to each other’s furtive glances in Miss Williams’ study hall, had danced around each other at Doc’s Drugstore where all the kids hung out after school to listen the latest music, their music juke box and had finally gone out on a double date (he without car at the time) at the local drive-in theater where she, sitting in the back seat with him, surprised him with her sexual advances. Stuff that he wasn’t all that familiar with but which he liked and which she knew that he liked. When he asked her about it later, not that night but a couple of weeks later, she just said girls knew stuff like that and she had learned it from her first boyfriend who was older. He let it pass.  And so they were an “item” that last year of school.   

Then the music at Doc’s jukebox changed, got more charged, frankly, got more sassy and sexual far different from their parents’ sappy sentimental stuff that didn’t get anybody’s heart rate up. And she changed, well maybe not so much changed as got caught up in the new dispensation, the new moves. When they went on dates it wasn’t to the movies or to some restaurant but to Smiley’s Bar& Grille on the outskirts of town where old Smiley had a hot new cover band, the Rocking Rockets, playing all the latest big beat stuff from guys like Warren Smith with his Rock ‘n’ Roll Ruby that she flipped out on. Not that she, like Warren said, would dance on the tables and stuff like that but that she would dance with lots of guys, would be flirty, tease flirty right before his eyes. When he questioned her on it she just said “don’t be a square, daddy” and refused to discuss it further. And some nights when he called her mother answered to say she was not home, had gone out with the girls, or something like that. Yeah, he knew deep in his bones …       

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…he had changed, changed too much for her tastes, changed into a “square” just like all the parents in town and all the kids who didn’t want to have fun and just be like them and so she knew, sooner or later she was not sure which, she would have to drop him, drop him for somebody who was fun. The problem was that in square old North Adamsville that someone who was fun had not passed her door, but she had hopes. In the meantime she thought she would stick with old gloomy Gus him as he fretted his life away when she started swaying when the juke-box played some hot, latest rock and roll tune or the cover band at Smiley’s started her dancing to the beat on something like Warren Smith’s Rock ‘n’ Roll Ruby.

Funny, as she thought back to that time a little over a year before when they had eyed each other in Miss Williams’ study hall that she was then attracted to his easy manner, his sly boyish-ness which she thought she could talk him out of with a little coaxing (he had made her laugh when after they became an “item” he said that the eyeing had really been furtive glances-he said funny things like that then). They had not spoken a word until they had spent what seemed like a lifetime dancing around each other at Doc’s Drugstore where he put in endless nickels and dimes in the juke-box and then just sat there dreamy-eyed looking at her until she said enough and went over to him and stood right in front of him and dared him to ignore her with her look. He had surrendered easily enough and they became an “item” after a subsequent drive-in movie date where she had shown him a few things in the back seat of her friend Debbie’s boyfriend’s car. He liked her doing that stuff and she knew he liked her doing that stuff although he was a very shy boy for the first few times. So this was how they had spent their last year of school together in some kind of bliss.

Things changed though, changed when a new breeze came through the town, when Doc’s juke-box started to almost jump off the walls what with the latest rock tunes coming one right after another. But he did not catch on, wanted to stay mired in his parents’ music and so the frets began-his about marriage and settling down, hers about having fun rocking the night away. The worse times had been when  they went to Smiley’s, the hot-spot bar on the outside of town and who had plenty of booze and bop and guys who eyed her, maybe not shy furtively like he had but eyed her like they wanted to have a good time, wanted to have fun rather mope around and be square. He would just sit there and be mopey while she danced with a few guys, a couple of whom she had given her telephone number to although they had not worked out. She got to telling her mother sometimes that when he called to tell him she was out and that she didn’t know when she would be back.  Even when, like this night, she was just sitting up in her room waiting for a new guy who had danced her off her feet the night before was supposed to call and maybe, just maybe, want to have fun …     

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 "Rock And Roll Ruby"

Well I took my Ruby jukin'
On the out-skirts of town
She took her high heels off
And rolled her stockings down
She put a quarter in the jukebox
To get a little beat
Everybody started watchin'
All the rhythm in her feet

She's my rock'n'roll Ruby, rock'n'roll
Rock'n'roll Ruby, rock'n'roll
When Ruby starts a-rockin'
Boy it satisfies my soul

Now Ruby started rockin' 'bout one o'clock
And when she started rockin'
She just couldn't stop
She rocked on the tables
And rolled on the floor
And Everybody yelled: "Ruby rock some more!"

She's my rock'n'roll Ruby, rock'n'roll
Rock'n'roll Ruby, rock'n'roll
When Ruby starts a-rockin'
Boy it satisfies my soul

It was 'round about four
I thought she would stop
She looked at me and then
She looked at the clock
She said: "Wait a minute Daddy
Now don't get sour
All I want to do
Is rock a little bit more"

She's my rock'n'roll Ruby, rock'n'roll
Rock'n'roll Ruby, rock'n'roll
When Ruby starts a-rockin'
Boy it satisfies my soul

One night my Ruby left me all alone
I tried to contact her on the telephone
I finally found her about twelve o'clock
She said: "Leave me alone Daddy
'cause your Ruby wants to rock"

She's my rock'n'roll Ruby, rock'n'roll
Rock'n'roll Ruby, rock'n'roll
When Ruby starts a-rockin'
Boy it satisfies my soul

Rock, rock, rock'n'roll
Rock, rock, rock'n'roll
Rock, rock, rock'n'roll
Rock, rock, rock'n'roll
When Ruby starts a-rockin'
Boy it satisfies my soul