Showing posts with label 1960s. Show all posts
Showing posts with label 1960s. Show all posts

Tuesday, November 29, 2011

Ten Years Without George Harrison



Nearly a year ago, a friend of mine asked me to write something about George Harrison.

I knew we were coming up on the 10th anniversary of Harrison's death so I promised her that I would. And this is the fulfillment of that promise.

But I've really been fulfilling the promise incrementally over the year.

Since she made that request, I have written other pieces that mentioned Harrison — specifically, in connection with "Taxman" and when I wrote about his musical tribute to former Beatles bandmate John Lennon and when I wrote of the anniversaries of the benefit concerts for Bangladesh and the release of the Beatles album "Revolver."

All of that has reminded me how much modern music owes the "quiet Beatle." I haven't seen Martin Scorsese's HBO documentary about Harrison, but I have heard that it is an important step in giving him the recognition he never really seemed to get during his life.

If that is so, then I applaud it.

Because I have learned things about Harrison as I have worked on this article since making my promise — perhaps I re–learned some of them.

There were lots of things about Harrison that I already knew or thought I knew.

I knew Harrison was a seeker. He was easily the most spiritual of the four Beatles. And that has its place, I suppose. It may be the single quality that people mention most about Harrison.

There are worse ways to be remembered.

But I always felt there was more to him than that. Harrison possessed a sensitivity that Lennon, Paul McCartney and Ringo Starr did not — at least not to the extent that Harrison did.

That sensitivity could be seen in the passion he had for humanitarian causes. That wasn't something he did because it was fashionable. He was involved in humanitarian issues all along, but he was more visible after the Beatles split up.

His role with the Beatles was always limited. He always existed in the overwhelming shadow of the Lennon–McCartney partnership, but that role, thankfully, expanded in the later years, and the world was allowed to see more of his talent in songs like "While My Guitar Gently Weeps," "Here Comes the Sun," "Something" and "Within You Without You."

Harrison's most significant contributions were musical, but that doesn't mean his musical talent and his spirituality were kept separate from each other; far from it. The two often converged — as when Harrison's acceptance of Indian Hinduism led to the introduction of sitar music to Western listeners.

"In his most obvious contribution to music as lead guitarist for the Beatles, George Harrison provided the band with a lyrical style of playing in which every note mattered," wrote Bruce Eder for AllMusic.com.

"Later on, as a songwriter with the Beatles and subsequently as a solo artist, Harrison used his celebrity and his musical sensibilities to try and raise the awareness of millions of listeners about issues much bigger than music."

That's probably what sticks out in my memory of George Harrison. His music always had an other–worldly aura to it. Sometimes it was subtle, other times it wasn't so subtle. But it was always about things that were bigger than the music alone.

Music was where Harrison found his sense of purpose. He perceived, as many do, that his true mission in life was to seek a higher power, and I feel that, ultimately, he believed he had reached it through his music.

But there was, as I say, the humanitarian side of Harrison that really got its chance to blossom when the Beatles broke up.

Do spirituality and sensitivity exist as separate entities? That is a different argument — and one in which I prefer not to engage on this occasion.

But I will say this: As much as I admired Lennon and as much respect as I have for what McCartney has done musically, Harrison truly distinguished himself post–Beatlemania — apart from writing and recording popular songs and beyond anything the other three did.

Harrison was, as John Donne wrote centuries ago, "involved in mankind."

He was really the first to organize a benefit concert featuring several big–name performers, a pioneer whose experiences still serve as useful guides for what to do and what not to do. His concerts for Bangladesh truly blazed a trail for others to follow.

I sensed a certain amount of peace in the last years of his life — peace that may have been missing when he was young and his pursuit of the spiritual world often seemed to be at odds with the people and things that surrounded him.

That pursuit didn't get any easier as he got older. In 1999, he was stabbed by an intruder in his home, an ironic turn of events, considering that, in the 19 years since Lennon's murder, Harrison may have been the most reclusive of the surviving Beatles, avoiding most public appearances and probably taking more security precautions than McCartney or Starr.

He had been diagnosed with throat cancer a couple of years earlier, but it seemed to have been successfully treated and nothing more was heard about that until 2001, when it was revealed, in successive months, that he had been treated for lung cancer and a brain tumor.

The final months of his life were hardly peaceful. There were reports that his death was near, even when it turned out not to be true.

And then there was the report that was true. In mid– to late November, it was reported that George Harrison was expected to die within days.

And so he did.

Maybe age — as it has long been rumored to do — brought him peace and wisdom even though he was only 58 when he died.

Both were well earned.

Wednesday, September 22, 2010

The Sounds of Silence



Forty–five years ago this month, "The Sounds of Silence" was released as a single — and the commercially successful careers of Paul Simon and Art Garfunkel were launched.

They had been playing clubs in New York for a few years, but "The Sounds of Silence" brought them the exposure that made them major figures in the increasingly popular folk rock movement of that time.

It was one of my mother's favorite songs. As a child, I recall that Mom had a fairly extensive collection of Simon and Garfunkel's 45–rpm singles. "The Sounds of Silence" may have been the first song of theirs that I ever heard, although I'm not completely certain of that. Mom may well have waited to buy it until she had heard more of Simon and Garfunkel's work.

So, while I remember hearing "The Sounds of Silence" around my home when I was small, it may not have been the first Simon and Garfunkel single that Mom brought into the house. That could have been "I Am A Rock" or "Scarborough Fair" or "Homeward Bound."

And, even if it wasn't, that doesn't mean I didn't hear it first somewhere else. My father was a college professor, and, when my brother and I were little, my parents often left us with his students when they went out. On one of those occasions, I might have heard "The Sounds of Silence" playing on a radio or a turntable. Although my parents were receptive to many of the artistic developments of their time, I got much of my exposure to the music of that time from those students.

Now, I'm not a student of musical genres, just a garden–variety fan who appreciates many kinds of music, and I don't think it would be accurate to call Simon and Garfunkel the innovators of what has come to be called folk rock. It probably would be more appropriate to bestow that particular title on the Byrds or Bob Dylan.

But I'm equally sure that anyone who remembers those days would agree that Simon and Garfunkel were certainly among the pioneers of that genre that blended folk music and rock music so well in the 1960s and 1970s.

And "The Sounds of Silence" was certainly a part of that popular movement. "Bridge Over Troubled Water" ultimately became their signature song, but "The Sounds of Silence" was the kind of popular breakthrough that Simon and Garfunkel craved early in their careers.

"We were looking for a song on a larger scale," Garfunkel said, "but this is more than either of us expected."

As I always heard it, the music was just about done when Simon began working on the lyrics after President Kennedy was assassinated on Nov. 22, 1963. He struggled with the lyrics for awhile, but everything came together by February of 1964, and Simon and Garfunkel started playing the song at clubs.

The song was well received, and, about 18 months later, it was recorded by Columbia Records. It climbed to the top of the charts by New Year's Day 1966.

For me, it has always been a song that I associated with the '60s. I enjoyed listening to it as a teenager. I still enjoy listening to it today. But I can't really say it has a "timeless" quality the way other songs do.

I can listen to some songs today that were recorded 30, 40, even 50 years ago, and they still sound fresh and new to me. But there are other songs, like "The Sounds of Silence," that always remind me of the times when they were popular.

Perhaps that is because "The Sounds of Silence" was one of the songs featured in "The Graduate," a film that actually used themes that are relevant to every generation but cast them with the general angst of the '60s as the backdrop.

So I guess it's only natural that the song is inextricably linked to that turbulent decade. It is appropriate, then, that it would have a special relevance for people who were young in the '60s — and even for such as me, who were only old enough to remember part of the '60s.

Well, maybe that is a little esoteric. But I still think the song was great — even if Blender magazine thought it was one of the 50 worst songs of all time.

Tuesday, July 06, 2010

The Boy Wonder Turns 65



If you were a child in the 1960s — and your family either owned or had access to a television set (and not all families did in those days) — Batman must bring back memories from your formative years.

I was a small child when Batman was on the air. My brother was even smaller. But, as I recall, we both were ardent Batman fans.

One year, if memory serves, I had a Batman lunch box. I took it with me to school every day, and I looked forward to lunch time because that meant I could bring out my lunch box and show everyone that I was such a Batman devotee that I had the official lunch box (with the matching thermos, which was great for keeping milk cold or soup hot).

We were such Batman fans, my brother and I, that one year my mother made Batman and Robin costumes for us to wear on Halloween.

Mom had many talents, and she often made our Halloween costumes. I always assumed that she created those costumes from scratch as well because I had seen her sewing them on her old sewing machine. But not so long ago, I learned the truth. Apparently, a fabric company capitalized on the popularity of the show by producing patterns for children's costumes (see the picture at the left). Mom did make the costumes, but she followed someone else's instructions.

Yep, my brother and I were huge Batman fans. Thus, it is an odd feeling to realize that "The Boy Wonder" is 65 today.

I guess TV's Robin always did look young, even boyish — not so much to me, I guess, although I have concluded that's because the words "boyish" and "girlish" only apply to others when they have stopped applying to you, and I was quite a bit younger than Burt Ward was when he played that part.

At the time, "boyish" is not the word I would have chosen to describe Burt Ward. In hindsight, though, it is obvious to me how boyish he must have appeared to most 1960s viewers.

That clearly was by design. In the story line, Robin/Dick Grayson came from a family of acrobats, and Batman/Bruce Wayne became his guardian when his family was killed.

But "Batman" apparently was the apex of Ward's acting career. It happens that way with some actors. They become so closely identified with a role that they find it difficult to find work, and Ward was one of those actors, although he did manage to land some jobs in some projects years later and he participated in various reunions with his Batman co–star Adam West (who is now 81).

Ward appears to have moved on to other pursuits. But did you know this? At one time, he was considered for the lead role in "The Graduate" — but he didn't get the part because the production company that was responsible for the TV show wanted him to be identified strictly with the role of Robin.

So Dustin Hoffman got the role and got to utter the immortal line, "Mrs. Robinson, you're trying to seduce me. Aren't you?"

Who knows how different things would have been if Burt Ward had gotten that part?

Happy birthday, Robin.

Friday, November 20, 2009

Happy 70th Birthday, Dick Smothers



If you're old enough to remember the late 1960s, you probably remember "The Smothers Brothers Comedy Hour."

It was a variety show that was decidedly left–leaning in its politics. It was on the air in the era of the "Generation Gap," and the gap was never as easy to see as it was in generational viewing choices. On Sunday nights, older viewers gravitated to more traditional programming, like "Bonanza" on NBC, or more neutral fare, like the ABC "Sunday Night Movie," while younger viewers were drawn to the Smothers Brothers with their hipper, edgier comedy and popular musical guests.

The comedy seems pretty tame when you look at it today, but I guess anything does after 40 years. And when you realize exactly how tame the comedy on the show really was, it makes it all the more difficult to understand the constant struggle between the show's writers and the network's censors. The Smothers Brothers couldn't resist satire, and they were always running into trouble over something that they said or planned to say about race, the president or the war in Vietnam.

The comedy seemed outrageous to me when I was 7 years old, but when I look at it today, I think to myself that I've seen things that were more risqué on "Saturday Night Live."

Tommy was a few years older, and one of the running gags on the show was his protest that "Mom always liked you best!" Tommy was the slow one, and some of the viewers related to that. Dick, meanwhile, came across as more intelligent, more knowledgeable — which also made him seem less approachable somehow.

Well, Mom may have liked Dick best, but Tommy got most of the punch lines.

Anyway, today, Dick is celebrating his 70th birthday. Tommy reached that milestone nearly three years ago. They still perform together after more than 50 years — the longest–lived comedy team in history.

Happy birthday, Dick. Glad you're still here.