Category Archives: not rock

RIP: Pete Seeger (1919-2014)

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Folk great Pete Seeger passed away today, ideally peacefully, at the age of 94.

Seeger might not be thought of as a rocker, but he represented the spirit and attitude that any serious musician–or artist, for that matter–held and spoke, unashamedly about any cause.

Seeger was a founding member of the Weavers–who recorded probably had their biggest hit in the 50’s with Goodnight Irene by Lead Belly–some of whom were blacklisted during the McCarthy era for their beliefs.

However, in the 60’s, with the emergence of Bob Dyan, Joan Baez, and Peter, Paul, and Mary, Seeger found company and even a mentor-ship as his songs If I Had a Hammer, Waist Deep in the Big Muddy, and Turn! Turn! Turn! found their way to radio play.

Seeger, who played with Woody Guthrie as well as Lead Belly (with whom he co-wrote So Long, It’s Been Good to Know You along with fellow activist and musician, Lee Hays) was a pioneer in roots recording, and equally important, the Civil Rights Movement that grabbed hold in the 60’s, and is really still going on.

Seeger was a great gentleman by all accounts, and a man dedicated to humanity and equality and freedom for all human beings: something I like to think all artists, and especially rockers, strive for.

But, in thinking about Seeger, I could not help but think of the clip of him in Martin Scorsese’s fabulous American Masters documentary about Bob Dylan, No Direction Home.

Seeger is so sweet and perplexed and definite about wanting the cables to the electric guitars of Mike Bloomfield and Dylan at the Newport Folk Festival, in 1965, that it is funny to think how we all as human beings have our limits and adjustments.

For, Seeger was indeed a progressive politically. And, as a guy who quit the Weavers because they had signed an agreement to perform a cigarette jingle, he was certainly principled. But, I guess some progress, like cranked up Mike Bloomfield blues licks were hard to take for a middle-aged banjo player.

The world was a better place with, and because of Pete Seeger. And, it is sadder with him gone.

I did try to find the clip from No Direction Home, but couldn’t (although I highly recommend the movie and soundtrack) but, I did find this lovely clip of Seeger performing Dylan’s Forever Young.

And, well, remember, attitude does not have to be in-your-face Ted Nugent. A quiet message is always the most powerful, and Seeger was the purveyor of just that.

 

Should Nicolas be Caged?

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The Valley Girl references, as Nic Cage’s first film, reminded me of this great and funny YouTube of Mr. Cage losing it, which is what he largely does in his movies.

I will admit to being a big fan of the film Adaptation, in which Cage plays twin brothers, but, after watching that film with my niece Lindsay, she turned me onto this hysterical compilation clip of Cage out of control.

 

http://youtu.be/xP1-oquwoL8

RIP: Peter O’Toole (1932-2013)

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220px-Peter_O'Toole_--_LOA_trailerDiane just advised me that the wonderful British actor, Peter O’Toole has passed away.

I get this is a rock’n’roll site–or at least largely a music site–but often music and film are inexorably linked.

Although, I must admit, not so much in O’Toole’s case.

It is more of a case that his face is as iconic as the roles he played.

Among those films of his I love:

Lawrence of Arabia (1962): O’Toole’s mesmerizing film debut (also Omar Sharif’s) was in arguably one of the greatest cinematic achievements ever. I think the first half of this film is as fine a piece of film making–as in script, photography, acting, and music–as has ever been assembled.

The Lion in Winter (1968): Incomparable historical piece with O’Toole as Henry II to Katherine Hepburn’s Elanor of Aquitaine, with a witty and intelligent a script that allow the brilliance of the actors to shine (this time Anthony Hopkins made his film debut).

The Ruling Class (1972): As dark as dark and funny can get, O’Toole plays the mad 14th Earl of Gurney. O’Toole thinks he is Jesus (he has a big wooden cross on which he roosts from time-to-time) although he likes to be referred to as either “Bert” or “JC,” though his given name is Jack. The catch is his relatives want to seize the assets that are Bert’s, but in order to do that, he has to be declared insane and a threat. So, they marry him off to his uncle’s mistress so they can have a child/heir, and thus simplify the insanity process. Of course nothing  goes according to plot, but ultimately Jack is forced to jettison his loving and happy-go-lucky Jesus alter ego, and assumes that of another Jack, as in The Ripper.

The Stunt Man (1980): O’Toole as an autocratic film director who pushes a walk on stunt man (Steve Railsback), who is on the run from the law, into going further and further on a limb with the stunts. O’Toole is great at this–roles on the verge of losing it–and this film is no exception. Also filmed around the lovely Hotel Del Coronado, in San Diego, where Some Like it Hot was also largely set.

My Favorite Year (1982): A lovely sentimental comedy about TV in the 50’s, ostensibly based upon Mel Brooks’ early days writing for Sid Caesar and his Show of Shows. O’Toole plays Allan Swann, an Errol Flynn-like swashbuckling star of the 30’s who can still give women wobbly knees. He accepts a role on a TV show in order to earn some extra moolah and even himself out with the IRS.  This movie, directed by comedian Richard Benjamin, is as sweet as they come.

Amazingly, O’Toole was nominated for the Oscar for all five of the above (I did not realize that when I picked them as my faves as I was thinking about it) and had a total of eight nominations (also Becket, Goodbye Mr. Chips, and Venus), but never actually won for those films. Rather, he did get a lifetime achievement award from the Academy in 2003.

Night Music: Brian Evans, “At Fenway”

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There is nothing rock ‘n’ roll about this one, but when I first saw it last spring I was captivated. Kind of like Napoli holding Kolten Wong on in game four, nothing seems to be as it should be (there’s William Shatner for Conigliaro’s sake!), and yet is more than simply watching a train wreck. I think Brian Evans means it sincerely.