Play The Legend
Can rock music ever go back to the days of “headphone records,” gatefold albums, mysterious liner notes and fans creating their own image of the band in their minds? Music video did much to kill the radio star, by presenting a carefully screened image for mass consumption…but Ed Sullivan started it all rolling downhill and Marty Scorsese might have reached the nadir with what might otherwise be considered the absolute zenith of rock-n-roll cinema, “The Last Waltz.” His sumptuous concert doc made high art out of simple musical performance, and enshrined the legacy (well, a particular version of it, anyway) of an erstwhile relatively-anonymous, workman-like group of musical superstars, the Band.
That simple, partly-modest, partly-conceited monicker underscores the extent that, without a pre-chosen image foisted upon the listener, this band could be whatever you choose. They first rocketed by prominence in 1968, playing on a plain white slab of modified petroleum product – a bootleg called “The Great White Wonder” – that purported to document some of what the mysterious Bob Dylan had been up to in Woodstock since his motorcycle accident. Before that they had been an anonymous touring band on the Canadian rockabilly circuit, before before being booed around the world supporting Dylan’s wee electric experiment. After that, they were on the cover of “Time” magazine (albeit, in a sketchy line drawing that still left much to the imagination) and on the top of the pops (and Ed Sullivan, too!).
The Band were a true ensemble. Three singers, four multi-instrumentalists, one wicked guitar player. Five members total. Two of the singers played the drums (one alternated between the skins and his piano, the other, a mandolin). Listening to the records, without visual aid, it’s easy to imagine all the permutations and guess who’s singing and who’s playing what. Scorsese’s version of the Band presents guitarist Robbie Robertson as the clear leader of the band, an articulate intellectual and philosopher of rock music and the star of many a close-up. Camera pans make out raspy-throated drummer/singer/mandolin-player Levon Helm to be the main singer, while boyish bassist Rick Danko takes a few cameo turns on vocals. Weird, mysterious Garth Hudson gets a bit wonky on his synthesizers, while additional drummer/pianist Richard Manuel seems like a sideman. The camera loves Robbie, and he tells all the best stories (even if they’re not his), while Levon Helm seems the most “homespun” (the Arkansawyer is the only actual American in the “Americana” band).
Helm’s autobiography, “This Wheel’s On Fire” (co-written with Stephen Davis), is a welcome corrective to Scorsese’s “print the legend” version of the Band. First, of course, is the fact that Helm had been the technical leader of the band (at least, as far as the musician’s union was concerned) during their Canadian rockabilly days, and the one who brought them their independence from founder Ronnie Hawkins. Not to mention that he was the one, after Dylan had recruited him and Robertson to fill out his first post-Newport electric rock band (in Forest Hills, hell yeah!), convinced Dylan to hire the entire Band (then known as Levon and the Hawks).
More important corrections to the legend apply to bandmates. Garth Hudson, as hinted at in “The Last Waltz” by the anecdote that the other members had to pay him additional money as a musical tutor (in their pre-salad days), was the true musical director of the band (especially the expanded “Last Waltz” band with its strings and horns). And poor Richard Manuel, who goes mostly overlooked by Scorsese’s cameras, is the Band’s main voice and true heart and soul. The troubled Manuel, who suffered from substance abuse and ultimately took his own life while on the road with the Band, actually sang lead on the lion’s share of the Band’s songs. The way that Scorsese placed the cameras – and given the listener’s ability to create one’s one mental image when listening to the other records – one (and I mean me) could be forgiven for thinking that most of those songs were being sung by Helm or Danko in a higher register than usual.
Although Helm is clearly very critical of Robertson’s role in the demise and subsequent legend of “The Last Waltz,” the author attempts to remain somewhat magnanimous and notes Robertson’s many contributions, both musical and of leadership. However, any criticism must be tempered slightly by the potential of “sour grapes” and the fact that Helm had ceded his own leadership of the Band by abandoning them while on Dylan’s legendary/disastrous 1966 tour of England when the booing of the folk purists became too much for him. By the time he returned to Woodstock, midway through the Basement Tapes period, band dynamics had obviously changed.
Still, Helm avoids actual bitterness until the afterword written for “Wheel’s” 2000 reprint edition, when mourning the death of Rick Danko years of age. Helm attributes Danko’s death at the relatively young age of 56 to a life of “hard work” and bitterly notes that Danko died with his money (royalties from “The Last Waltz” and other recordings) in Robbie Robertson’s pocket.
“Do you feel like a story…?”
We Memoir Econo
Michael Azerrad’s excellent collection of 13 micro-biogrophies of beloved 80’s indie bands is a love letter to the era when pop culture began to fragment into mini-mass media of fanzines, underground rock clubs and vanity record labels. Cribbed from a Minutemen lyrics, Azerrad’s book, “Our Band Could Be Your Life” fleshes out the notion of gaining inspiration, principles and encouragement by the songs from some obscure band that your parents and most of your classmates never heard of.
Teh internets have exacerbated this tendency towards fragmentation. It is regrettable, to some extent, that there can never be another Beatles to saunter across (the equivalent of) Ed Sullivan’s stage and capture the hearts and imaginations of an entire nation in two and a half minutes. But it is perhaps better to have the Replacements, whose music feels more personal due to their underdog cult status, and whose “Let it Be” far outshines the sorry first record to share that name (made famous by its teevee and film pedigree).
Focused on the SST record label, Azerrad’s book has a clear narrative guiding it, despite its scattered vignette structure. It starts with Southern California’s Black Flag, who spearheaded not just America’s hardcore punk scene, but a network of record labels and concert venues (VFW halls, people’s basements and the occasional Actual Night Club), and follows the story as labelmates The Minutemen and Husker Du push against hardcore’s rigid boundaries, while east coast contemporaries Minor Threat aided in rigidly defining hardcore’s boundaries before leaving the scene behind.
Ian McKaye’s musical progress away from hardcore’s stifling “loud fast rules” while strictly adhering to a non-conformist independence from Corporate America, mass media and liquor provides “Your Band” with its most compelling narrative, as well as its most trenchant observation, courtesy of McKaye’s Fugazi bandmate Guy Picciotto:
“PEOPLE ARE LIVING IN THINGS THAT HAVE HAPPENED, YOUR PARENTS HAVE TAKEN ALL THE DRUGS THEY CAN TAKE, YOU’VE HAD THE 70’S, YOU HAD HEAVY METAL – GET WITH IT, IT’S OVER WITH, WAKE UP. KIDS ARE LIVING RE-RUNS, THE SAME CRAP OVER AND OVER AND THEIR MINDS GET CLOSED TIGHTER AND TIGHTER, IT’S SUCH A WASTE.”
I missed hardcore, so 80’s indie was all about the Replacements for me (and REM, but they’re not indie enough for Azerrad). Other acts feted by Azerrad (such as Big Black and the Butthole Surfers) were familiar to me by reputation, but no one had made such a compelling case to purchase “Hairway to Steven” or “Songs About Fucking” until this book. Perhaps these bands, too, could be my life.
Good Write-Up in the Nerd Press
I rarely write directly about work on this blarg, but some of this year’s big adventures got a nice write-up from Beryl Benderly at Science Magazine. Relevant excerpts follows:
On 20 July, the postdocs at Rutgers, the State University of New Jersey, received official recognition for their new union. It’s the nation’s third postdoc union, but the first to be part of the same union as their lab chiefs.
After a swift and successful signature-collecting campaign, the 350 postdocs on the university’s three campuses became a bargaining unit of the Rutgers Council of the American Association of University Professors (AAUP)-American Federation of Teachers (AFT) Chapters. Affiliated with both AAUP, the professional society for college and university teachers, and AFT, a national labor union within AFL/CIO, this hybrid group represents all of Rutgers’s faculty members, research associates, and graduate student employees. A sister union under the all-university AFT umbrella represents the administrative staff.
[snip]
It was, in fact, a drive several years ago to solidify the position of campus administrators by bringing them into the union that first sparked interest in organizing the postdocs. As organizers spoke with “administrators, some of whom were in the laboratories, we would encounter postdocs very frequently,” recalls Shaun Richman, an AFT national representative. “We had all these anecdotes of postdocs sort of sauntering up to us and saying, ‘Hey, can we get into this whole union thing?’ “
Then, “earlier this year, Rutgers AFT representatives [began] asking around to postdocs about their particular conditions and their interest in unionizing,” says postdoc Alan Wan, who was “heavily involved” in the drive. “Obviously, since the faculty and the graduate students–the members of the community that we interact with on a daily basis–are in the union,” many postdocs also became interested, he continues.
A major part of the union’s organizing strategy was having a group of postdocs committed to the cause talk to other postdocs “to hear their stories [and] make the case,” Wan says. “If we had a conversation with someone and they were really positive, we tried to get them involved,” Richman adds. A second strategic step was talking with PIs, because “the postdocs are essentially the employees of the faculty, who are our union members,” Richman continues. “We knew we had to have conversations with some leaders of that community. … There [were] fears. For a principal investigator, I think the gut reaction is … ‘This is going to break the grant. We can’t afford it. We’re not going to get renewed.’ “
But [AAUP-AFT past President Lisa] Klein, who discussed the union with fellow PIs, reports encountering no serious opposition. “Some jokingly said, ‘So I can’t abuse them anymore?’ ” she recalls. “There was no reluctance on the part of these PIs. They did want to see that the postdocs were treated as member of the community.”
The talking campaign was done quietly, “one-on-one, usually colleague-to-colleague,” Richman says. “There was no Web site, … no leaflets.” Once the organizers “knew we were in a position that we could get a majority of the postdocs to agree,” Wan continues, “we officially started the card campaign” right after Memorial Day. The talking took several months, but the official campaign to collect signatures took under 2 weeks. State law makes unionization automatic if more than half of a work group give their signed consent, just as in California. “Two-thirds of all the postdocs signed,” Wan says.