Centennial, Dean Martin, music, singing

Dino 100: Part 3

Dean Martin hit ‘legend’ status early. By the late 1960’s, his records weren’t charting anymore and he wasn’t starring in hit movies. But it didn’t matter. He performed on stage in Las Vegas and elsewhere to sold out crowds. Dino played it “drunk” and sang all the old songs and the people loved it. He gathered his celebrity friends together to put on one of his legendary “Dean Martin Celebrity Roasts” and the people laughed. Funniest of all was watching Dean, laughing harder than anyone. And not just at Don Rickles ripping people to shreds, either. You could believe that he was laughing mostly because he truly had it made. He could sustain a career and reap the rewards with very little effort. He just had to be himself.

The thing about Dean Martin is that he didn’t care. Now, as soon as you say that, it sounds negative. But I don’t mean to say that he had a poor attitude toward things or he was indifferent to his family and friends. When I say he didn’t care I mean that, for the most part, he wasn’t consumed with striving to attain a level of greatness in his singing or his acting. He could sing. He could sing well. He liked to sing. So, he sang. Period. And the record buying public loved it. His talent was based on ‘feel’ as opposed to ‘craft’. He had ‘a way with a song’. While making movies, he was laid back and jovial on set. When the cameras rolled, he acted naturally and his charisma shone through. But that’s not to say he wasn’t good – very good – at what he did. Watch him in his films with Jerry Lewis and you’ll see that Jerry is bang on when he talks of Dean’s comedic timing and his handling of a funny line. Not to mention the looks and expressions he could pull off in place of a spoken punch line. It all came so naturally to him. That is what is at the root of his greatness – it was all so seemingly effortless. He was so completely confident and sure of himself that he was able to simply be himself his entire career. This is what people today remember most about Dean Martin. His attitude, his coolness. He was also successful when he went looking for a stretch and played it serious in films like “The Young Lions” with method actors Marlon Brando and Montgomery Clift or “Rio Bravo” with John Wayne. While making records, he could delight you with joyous recordings like “That’s Amore” and “Ain’t That a Kick in the Head” but he could also make you close your eyes while his voice washed over you with the smoother sounds of “Once in a While” or “My One and Only Love”. With a change of sound upon moving to Reprise in the ’60’s, he could still delight listeners with a jaunty run-through of “I’m Gonna Change Everything” or make them shake their heads and sigh with the heartbreak of “Nobody’s Baby Again”.

In the interest of taking care of business, it should be noted that the last years of Dean Martin’s life were not happy ones. One of Dean’s sons was Dean Paul Martin, who was known as “Dino”. Young Dino was a noted tennis player and a minor actor. He starred in a TV series in 1985-86 called “Misfits of Science” that also starred Courtney Cox. Dino was also a pilot. He joined the California Air National Guard and rose to the rank of captain. He died in 1987 when his jet crashed into the San Bernardino Mountains, the same mountains that had claimed the life of Frank Sinatra’s mother, Dolly. Losing his son devastated Dean and he was truly never the same. In 1988, Frank Sinatra organized a series of reunion shows featuring himself, Dean and Sammy Davis, Jr. Frank reportedly said that the main purpose of the reunion shows was to give Dino something to do, to get him out and about, to maybe forget his troubles. But Dean’s heart was never in it. He lasted only five performances before bowing out. In the fall of 1993, Dean was diagnosed with lung cancer. He died Christmas Day, 1995 of acute respiratory failure resulting from emphysema. He was 78.

But enough of that. We’re here to celebrate Dino’s LIFE. His legacy is remarkably full and varied. He made many great comedy films in the golden age of Hollywood with one of the greatest and most celebrated comedians that ever lived. He recorded timeless music in his early days, sprinkling lovely Italian melodies amongst gems that are the very definition of mid-century crooning. His alliances with other legends added a luster to his personality as regular joes looked at him as the ultimate ‘pally’: the perfect guy to hang out with. In a tux at Romanoff’s or a sport shirt in the clubhouse after a round of golf. He epitomized the swank Las Vegas lifestyle and aura that appealed to royalty and working stiffs the world over. With his many westerns he won over many fans of that hardy, masculine genre. Adding to this was the appeal of his style of country crooning throughout the 1960’s – just one more way he endeared himself to the majority of the adult record buying public. It seems today he is remembered for one major thing. His most lasting legacy seems to be COOL. When hip, happening people of today look back for inspiration when it comes to handling the lady, handling the cocktail, handling the situation no matter what it is – and handling it dressed to the nines – they all seem to land on Dean Martin. He may have had equals but was there ever anybody cooler than Dino? I don’t think so. As Dean’s character in “Ocean’s 11”, Sam Harmon, said: “Everywhere I go people stare at me in dumb admiration”. Yes. We do.

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Centennial, Dean Martin, music, singing

Dino 100: Part 1

To commemorate the 100th anniversary of the birth of Dean Martin, SoulRide will be looking at the life of this legendary entertainer. As usual with iconic personalities, the public perception of Dino is one thing but there is much to know and much to love about the man who may be in a group of only three or four singers remembered as the greatest, most definitive and most beloved vocalists of the golden era. Here’s Part 1 of our 3-part series.

Dean Paul Crocetti was born June 7, 1917 in Stuebenville, Ohio. Born to Italian parents from Abruzzo, Dean spoke only an Abruzzo dialect of Italian until he started school at age five. He was bullied in school for his broken English and dropped out of Stuebenville High in grade 10 thinking he was “smarter than his teachers”. And here, already in his early life, is where Dean’s path differs greatly from his famous friend, Frank Sinatra. As we’ll see later, Frank and Dean would set the standard for cool in the early 1960s. Sinatra was always the more earnest. Edgy and driven to perfection in all things, Frank’s nature was very different from Dean’s. In some interviews, Frank would like to cultivate the idea that he had hard scrabble beginnings and was a bit of a tough in his early days, which was not exactly the case. Dean Martin, who said little or nothing about his early days, did indeed operate outside of the law and in some shady, half-criminal environments. After leaving high school, Dean worked as a bootlegger, dealt blackjack and ran card games in speakeasies. He also worked in a steel mill and spent time – as did Sinatra – in the ring, fighting as ‘Kid Crochet’. During his 12-bout fight career, he suffered a broken nose (which was later fixed with the financial help of comedian Lou Costello) and many broken knuckles. I’ve always thought, when I looked at Dean Martin’s hands, that he had strong looking but gnarled fingers and here is the reason. Martin began singing with local bands in the early 1940’s using the name Dino Martini. His style was heavily influenced by Harry Mills of the Mills Brothers. By 1946, he was making a decent living as a singer but was unknown outside of the small east coast night club circuit he operated in.

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In 1945, Martin was performing at the Glass Hat in New York. Also performing there at that time was a comic who was nine years Dean’s junior. Jerry Lewis was a skinny, Jewish kid who would lip sync to popular records. The two became friends but didn’t team up until the summer of 1946 when “Martin and Lewis” debuted at the 500 Club in Atlantic City. They bombed. The 500 Club was owned by Skinny d’Amato, a serious guy with mob connections. After the duo’s first unsuccessful show, Skinny told them – in his quiet, menacing way – that if the boys didn’t improve, they’d be fired. What followed is one of those glorious and true Hollywood legends that reveal true talent and personality in performers that today may be taken for granted or not understood at all. Dean and Jerry, huddled in a back alley, decided to go for broke. What they had scripted wasn’t working so, for their next show, they ad-libbed a routine – made it up as they went along – and were a smash. Jerry Lewis – still alive at 91 – is class in so many ways. Not the least of which is his propensity to heap praise on his ex-partner. Lewis is always quick to point out that Martin had impeccable comedic timing and was one of the all-time straight men with immense comedic gifts. This is something often lost in Dean Martin’s story. The comedy team of Dean Martin and Jerry Lewis went on to conquer first night clubs, then radio, then television and finally the movies. In the films, Dean sang the songs, kissed the girls and played straight man to Jerry’s antics. But after ten years together, the films began to be more tailored to Jerry’s insane style of comedy and Dean had had enough. Under a deep cloud of animosity, Martin and Lewis split up, ten years to the day after forming their partnership.

circa 1955: American comic team Dean Martin (1917 - 1995) and Jerry Lewis smiling in a promotional portrait. Martin smiles and rests his chin on top of Lewis's head, as Lewis makes a funny face.

By the time he split with Jerry, Dino had scored 13 top 40 hits, many of them becoming not only inextricably linked with Dean Martin but also becoming quintessential “crooning” classics: “That’s Amore”, “Sway”, “Standing on the Corner”, “Return to Me” and the worldwide number one song “Memories Are Made of This”. Recording for Capitol Records, Dean soon gained a reputation as a light, breezy, smooth vocalist known for his effortless delivery. He also embraced his heritage recording many Italian flavoured songs and a complete LP devoted to same: “Dino: Italian Love Songs” (1962). His recorded output while with Capitol consists of several great albums exhibiting the relaxed style Dean came to be known for. “Pretty Baby” (1957) contains lovely mid-tempo numbers like “I Can’t Give You Anything But Love” and the title track and some gorgeous ballads, most notably “Once in a While”, maybe Dino’s smoothest, loveliest work at Capitol. “Sleep Warm” (1959) is a dreamy set dedicated to songs dealing with ‘sleeping’ or ‘dreaming’. This album is notable for the orchestra having been conducted by Frank Sinatra. “A Winter Romance” (1959) is a seasonal treat to be listened to every December. Unique among “Christmas” albums, the songs don’t reference Christmas specifically but are odes to winter sports, indoor and out. “This Time I’m Swingin'” (1960) teamed Dean with the great arranger Nelson Riddle and the results are impeccable. Some of Dean’s finest recordings can be found on this LP: “You’re Nobody ’til Somebody Loves You” (this version was used over the opening credits of the film “Swingers”), “Until the Real Thing Comes Along”, “Just in Time” and a contender for Dino’s finest Capitol recording, “I’ve Grown Accustomed to Her Face”. Another contender, “My One and Only Love”,  can be found on Dean’s last album for Capitol, “Cha-cha de Amour” (1962).

The 1960’s would bring new levels of stardom and success to Dean Martin. And as the decade unfolded, Dino forged a reputation and a cultural significance that would last throughout the ages.

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music, rock 'n' roll

Stayin’ Alive: Little Richard

Little Richard Penniman is 84 years old. Recently, I scored his first album, “Here’s Little Richard”, mainly because I had heard so much about this record by the man a lot of people would say was the most dynamic performer of the 1950’s. I looked up some info on the album, as I’ll often do when an artist/album/movie attracts my attention. Reaching #13 on the pop albums chart, it is Little Richard’s highest charting album and it contained two of his biggest hits: “Long Tall Sally” and “Jenny, Jenny”. The lead-off track, “Tutti Frutti”, is a legendary recording that has since landed on many lists of the greatest rock ‘n’ roll recordings of all-time. The album ranks #50 on Rolling Stone Magazine’s top 500 albums and “Tutti Frutti” comes in at #43 on their list of the top 500 songs of all-time. Impressive. So, all this made me want to read up on Little Richard. Or should I say re-read up.

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I was 13 or 14 years old when I read the definitive Little Richard biography, “The Quasar of Rock” (30 years later I’m still not sure what the title means). At that time, it was the biggest book I’d ever read. So, all these years later I found myself going over his life story again and I was looking for anything that really stood out that I could maybe build a post around, something I thought you people should know. His is an interesting story, for sure. An admitted gay man, (I was shopping for Little Richard t-shirts and saw one that said “The Real King of Rock ‘n’ Roll is a Gay Black Man from Macon, Georgia”) he was an absolute wild man in the early days of rock ‘n’ roll, scoring many hits with songs that are nothing less than definitive of the genre. After several years of hits, he – like Jerry Lee Lewis – became convinced that he had been called into the ministry and (unlike Jerry Lee) Little Richard quit rock ‘n’ roll to be a preacher and release albums of gospel music. After several years of this, he returned to secular music and excelled in live performances but was never again a factor on the charts. He had trouble maintaining record contracts and was embroiled in litigation over monies owed him by his original record label, Specialty Records. All this is pretty common stuff. Where his story gets truly remarkable is when you consider the impact he had on some of the greatest artists ever and on the evolution of many genres of popular music.

In general, his style was influential. He was loud, flamboyant and possessed of a raspy, shouting singing style that was soon to become a hallmark of rock. Two of soul music’s pioneers – Sam Cooke and Otis Redding – stated that Little Richard had contributed greatly to soul’s development. Redding had also spent time in Little Richard’s band. James Brown was quoted as saying that Little Richard and his band, the Upsetters, were the first to inject funk into their rhythm and a biographer added that their music provides a bridge between ’50’s rock and ’60’s funk. Ray Charles said in 1988 that Little Richard was “a man who started a type of music that set the pace for a lot of what’s happening today”. Bo Diddley called him “one of a kind” and said that he influenced so many in the music business. Many of his contemporaries covered his music including Bill Haley, Jerry Lee Lewis, the Everly Brothers, Gene Vincent, Eddie Cochran and Elvis Presley. Notably, Presley once told Little Richard publicly that his music had influenced him and that he was “the greatest”. Pat Boone noted that “no one person has been more imitated than Little Richard”. Ike Turner once claimed that most of Tina Turner’s early vocal delivery had been based on Little Richard. In high school, Bob Dylan played Little Richard songs with his band and stated in his year book that his ambition was “to join Little Richard”. In 1966, Jimi Hendrix said “I want to do with my guitar what Little Richard does with his voice” (Jimi also took to emulating Little Richard’s pencil-thin mustache). Bob Seger and John Fogerty were influenced by him, Michael Jackson said that, prior to “Off the Wall”, Little Richard had been a major influence on him and it was often pointed out that Prince adopted a physical appearance that was almost identical to Little Richard’s – right down to the colour purple. It is well known that the Beatles were heavily influenced by him. Paul McCartney idolized him and channeled him when he wrote rockers such as “I’m Down”. Indeed, “Long Tall Sally” was the first song Paul performed in public. Perhaps most significantly, during the Beatles acceptance speech at their Rock ‘n’ Roll Hall of Fame induction, George Harrison made it plain when he said “thank you all very much, especially the rock ‘n’ rollers. Little Richard there, if it wasn’t for him…it was all his fault, really”. And when John Lennon first heard “Long Tall Sally” he said he “couldn’t speak”. Mick Jagger and Keith Richards were both profoundly influenced by him with Jagger adding that Little Richard was his first introduction to R&B and referring to him as “the originator and my first idol”. David Bowie went even a step further. He called Little Richard his “inspiration” and stated that when he first heard “Tutti Frutti” that he “heard God”. The band Bluesology once opened for Little Richard and the band’s piano player, Reginald Dwight, was inspired to become a rock ‘n’ roll piano player and changed his name to Elton John. As a teenager, Farrokh Bulsara performed covers of Little Richard songs and went on to find fame as Freddie Mercury. Little Richard inspired Lou Reed to “go to wherever that sound was and make a life”. John Bonham, drummer for Led Zeppelin, was fooling around one day emulating the pounding drum intro to Little Richard’s “Keep a-Knockin'”. Jimmy Page jumped in and the iconic “Rock ‘n’ Roll” was born. The late Bon Scott, original front man of AC/DC, idolized Little Richard and aspired to sing like him and guitarist Angus Young decided to take up the guitar after listening to Little Richard. It has also been said that recent performers including Andre 3000 and Bruno Mars have channeled Little Richard in many of their recordings and performances.

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And here’s a couple of bonuses for you: in 2010, Time Magazine ranked “Here’s Little Richard” at #2 on it’s list of the most influential albums of all-time, the highest ranking rock album on the list. He was ranked 8th on a Rolling Stone Magazine list of the greatest artists of all-time. That’s huge. I mean, look back at the names listed above. I find it interesting that those who say they owe Little Richard a debt are the most influential and world-shaking artists ever. All the big hitters – Presley, Dylan, the Beatles, etc. – have pointed to Little Richard and have publicly stated their debt to him, that he inspired them, that he made them want to rock ‘n’ roll. It’s crazy that on that list of the 100 Greatest Artists of All-Time everyone supposedly ranked ABOVE Little Richard says they were influenced by him. Every one (except Chuck Berry) have said ‘Little Richard is the man. He started me on the road to where I am now. He’s the greatest’. And yet they’re ranked HIGHER than him. Makes you wonder if Little Richard gets all the respect he obviously deserves. Maybe the real king of rock ‘n’ roll really is a gay black man from Macon, Georgia.

Little Richard In Concert At Epcot Center

 

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Elvis Week 2017: Day 2 – SUN and SAM PHILLIPS

It’s Day 2 of Elvis Week 2017! The week long celebration of the 82nd anniversary of the birth of Elvis Presley.

Day 2: SUN and SAM PHILLIPS – Those of us who spend a lot of time in Elvis World will be familiar with two quotes of his: “I sing all kinds” and “I don’t sound like nobody”. Memphis in the mid-1950’s was a melting pot of musical styles and teen-aged Elvis was taking it all in. Like so many other entertainers of the mid-20th century, he first sang in church and was enamored of the gospel quartets prevalent at the time. Indeed, it was his goal at the time to one day belong to one of the more popular quartets. He claimed throughout his life that he probably knew every gospel song ever written. He also was taken by the dynamic physical delivery of some of the more active preachers in the area. At home, he was exposed to the country music that emanated for the most part from nearby Nashville. He knew and loved these songs as well and they emerged constantly from the family radio. As a teenager in Memphis he also began to explore the burgeoning rhythm and blues scene for which the city is so noted. All of these parts added up to a sum that began to emerge on a summer afternoon when he went out to get a gift for his mama. Memphis Recording Service was run by Sam Phillips. Presley went there to record a song for his mother. He didn’t sound like much that day – or on subsequent days – but one thing’s for sure. He didn’t sound like nobody. Visionary Phillips heard something in this 21-year-old truck driver. But the kid couldn’t seem to relax. Ballad after ballad was tried but nothing clicked and frustrations were running high. During a break, Elvis and the boys tore through an amped up version of an old blues song, “That’s All Right”. Only it wasn’t blues. But it wasn’t country, either. No one was sure and the boys were just foolin’ but Sam Phillips sprang into action. He might not have known exactly what he was looking for – but he’d found it. A white man that sang like a black man.

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20th Anniversary of a Life-Changer

I like movies. Some movies I really like. Some I watch over and over because I continually ‘get something’ from them. Some movies have even greatly affected my way of thinking and feeling. Some have actually helped shape my character – who I am as a person. But only one has changed the course of my life.

Now, let’s get this over with: as a Christian person, I believe God has directed my path through life. But I also believe He can use anything to achieve His purposes – including a film about a bunch of drinking, smoking, gambling, skirt-chasing, F-bombing young guys touring the cocktail lounges of Hollywood. I’m talking about the movie “Swingers”, which is celebrating it’s 20th anniversary. It started a chain of events that changed my life.

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It’s October, 1996. I’m weeks away from my 24th birthday. Keep in mind, I’ve grown up loving oldies: popular music from the 1950’s and ’60’s. I love where they ‘take me’ and have a general fascination for the culture and entertainment of mid-century America. So, I’ve traveled through life studying and collecting this music which later began to include the classic rock of the 1970’s. I love Elvis Presley and the rock ‘n’ roll of the ’50’s so much so that I once made the ridiculous statement that ”The Fifties’ actually started in 1954′. I couldn’t conceive of anything substantial having happened in music before Presley and his contemporaries. But I’ve always been aware of ‘other stuff’ going on in the music of the past. The music I hear in the background of my ’50’s movies, for example. And what about Sinatra and Nat ‘King’ Cole? When were they active? Surely not the ’50’s. That decade was just about rock ‘n’ roll. Wasn’t it? And then came the early Sixties with Motown and vocal groups and then the Beatles came and then the hippies, etc. But what about the other side of the coin? What about the singers and the lounge acts? What about the shows in Las Vegas showrooms? This is what I’m beginning to contemplate at this stage of my life: what were the adults listening to at this time? Anyways, by this point in ’96, my main man, Harry Connick, Jr. has released his album, “She” which is a fascinating blend of rock and New Orleans funk. As a follow-up, he has recently – this is summer, ’96 – put out “Star Turtle”, which is even more steeped in New Orleans funk. He is touring and bringing his Funk Band to Toronto’s Danforth Music Hall on November 4th. Here’s where a very dear friend of mine and her husband at the time come in. Fans of Harry as well, the three of us decide to go see him. They treat me as a gift for my birthday which is on November 3rd. So I’m anticipating this show, sensing that Harry is putting down something just a little bit different.

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November 3rd, 1996. Sunday. I turn 24 years old. I’m working the night shift, maintenance at McDonald’s. I get there a bit early and I’m going through the entertainment section of the Toronto Sun. On the very back page I see a picture of three sharp looking guys strolling in front of a Las Vegas casino. I’m intrigued. My first thought is that it’s an article about some new fashion or culture trend coming out of Las Vegas or Los Angeles. I read it and it’s about the movie “Swingers” which does, indeed, depict a new culture trend: the cocktail/lounge revival then taking place in Hollywood. This interests me and the wheels start turning. Days later, again at work, a buddy of mine, Bouncer, comes in saying he was just at a sneak preview of a movie. “Swingers”, he answers sheepishly, figuring I won’t have a clue what he’s talking about. When I express interest, he says I would love it. These guys are like me, he says.

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The next day, November 4th, 1996. As this interest is brewing, my friends and I head down to the Danforth to see Harry. The show Harry lays down is one for the ages. He takes a turn on every instrument on the stage – at one point playing bass while walking up and down the aisles. It’s a full-on, no-glamour, sweaty funk work-out. I get home late that night, head spinning. You see, I know the oldies inside out. Nothing has happened in classic rock that I have missed. Is all that maybe getting old, though? I’m ripe for something new. I’m at home that night, listening to “Star Turtle” and scanning my cassettes. I have no funk. Maybe jazz? What I have at this point is the soundtrack from the Thelonius Monk biopic “Straight No Chaser” and a Frank Sinatra collection of some of his recordings from the late ’40’s. That’s it. So, the next day I head downtown to a couple of my favourite used record stores looking for albums by the Ohio Players, et al. At this point, I’m still learning that the Ohio Players and the Ohio Express are different bands. If you know these two, you know they are VERY different. But this is the thing that is starting to grab me: I know all there is to know about the music I listen to. I don’t just enjoy listening to it, I love to learn about it, to know about it. But now I’m learning that there is music out there that I know nothing about. Not only is the music fascinating me  but I’m getting hungry to learn about it. Despite my stupid comment about the ’50’s, I’m starting to realize that something else was going on in music during that decade. Something cool.

November 8th, 1996 and “Swingers” opens in Toronto and by now I know I have to go and see it. I’m starting to worry that this smaller film may not even make it out to the hinterland of Kitchener, Ontario, where I was living at the time. But it does make it there and I do make it out to see it. It was a matinee Saturday and, not having a car, I have to walk there. An hour and a half, 7 kms (4+ miles). It’s freezing. There is about six people in the theater and two of them get up to leave early on. One particularly head-shaking memory I have of the film is that Dean Martin sings over the opening credits and, at the time, I have no idea who I’m listening to. Now, of course, I know Dino from a mile away. Also distinctive at the time were the video game scenes. These just serve to help me relate to these guys as opposed to just wishing I could be like them. Suffice it to say, I enjoy the film. But more than just enjoying it, it serves as further evidence that there is a whole culture and lifestyle out there that I know nothing about. And what is even better is that this culture had it’s own soundtrack – music I know nothing about. Over the next few weeks, I begin to explore this world I had been introduced to. Most importantly, I make it out to see the film again on a cheap Tuesday night. This time I go with my buddy, Hash. The key thing here was that after two weeks playing in Kitchener, “Swingers” was gone from the theaters there. It had only played in my town for two weeks but I had been twice to see it. Then, of course, I had to find the soundtrack on CD. Another difficult task but I find it and buy it even though it costs north of $25. The search also begins for albums by Big Bad Voodoo Daddy, the neo-swing act that is featured in the movie. I begin to seek out lounge music CDs, as well. To my surprise and delight, my go-to record store, Encore Records, actually has a lounge section. I buy a volume of Capitol records’ “Ultra-Lounge” series called “Bachelor Pad Royale”. It wasn’t what I expected and I was quite thrown off but I grew to love it. I buy a couple cigars. I try making Manhattans in my apartment. I’m at the movies early that December to see “Jingle All the Way”, of all movies. While I’m waiting to go in, I ask one of the girls that works there if she could check in the back for a “Swingers” poster. Keep in mind at this point no one knew what I was talking about when I mentioned “Swingers”. I remember one guy thought I meant “Sleepers”, a movie out at the time with Bacon, DeNiro, Hoffman and Pitt. She’s easily able to find me a poster which she gives to me for free. It’s still on my wall. The soundtrack for “Jingle All the Way” featured Christmas music by the Brian Setzer Orchestra which became another act I begin to seek out.

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By now it’s the middle of December. Now, for the past two or three years, my friends and I have been regulars at the local Kelsey’s roadhouse. So, I figure maybe Kelsey’s isn’t a cocktail lounge in Hollywood but it’s a good place to start and I begin to envision hanging out there with my friends and also maybe exploring some new venues downtown, maybe with some live music. I’m adding to my music collection, my wardrobe and planning for my upcoming Christmas holidays when I’ll really have the time to ‘get a nightlife’: really start exploring this cocktail culture with my friends. Only one problem: nobody’s up for it. Christmas break comes and I get dressed up sharp as I can, put some tunes on in my apartment and wait for the gang to show up. One by one they can’t for some reason or other: other friends, family, girlfriends, wives, other commitments. See, I was single and living by myself in a town where no one else in my family lived. I worked a crap job. I had all the time in the world. Only no one else seemed to. This is the way it stays into the new year, 1997. Which gets me thinking. Firstly, every one of my friends is pivoting into adult life with all it’s time constraints and responsibilities. Secondly, I have an infinite capacity for mid-century American culture. I’m totally ready to live in the past. I’m all in: jazz and lounge music, cocktails and slacks. But I’m learning that although my friends can dig it, they’re not as captivated as I am. And thirdly: maybe it’s time for me to do some pivoting, too.

So, I decide to get a student loan and go to college. I’ll work my night job, go to class in the day and work on a novel I’m writing every other minute of the day. Which is, like, four. In the spring, my mom invites me down to visit her and my stepfather in Florida. I decide to leave my student loan application with my friend who was going to check on my cat, Reef, asking him to mail it away midweek. While in Florida though, I share my plans with my folks who make me see that if I go ahead as I was planning, I would never have time to work on my novel. They suggest I cut ties in Kitchener and move north to work at their trailer park. I’d live in a 60′ house trailer, work digging ditches and selling sausages and I’d be able to write without worrying about sustaining myself. At first I think there is no way I can leave all my friends and my home and go where I don’t know anybody. The point they made me see was that everybody does what is best for them so I needed to do the same. I could testify to this truth as my friends were moving on and doing what best suited their lives. So I make the monumental decision to quit my job and move. I give McDonalds nine weeks notice and hand in my resignation which reads “That’s it, I quit, I’m leaving the band (John Lennon)”. I’m prepared for an emotional final shift that March – when I get the call to not come in. With pay. They didn’t want me to be there with nothing to lose. Who knows what I’d get up to my final shift. So, real touching from them. I tell all my friends I’m moving and say my goodbyes. Before leaving town I’m sure to make two purchases: black, hi-cut canvas Converse and a package of white undershirts.

So, April 1st, 1997, is when I reached my own pivot point. I moved to rural southern Ontario to run the Dog Patch Diner, selling hot dogs, sausages and coffee. I did dig many ditches, preparing to lay wires for hydro-equipped campsites. One night eight weeks later, I had closed up the diner for the night and was walking back to my trailer with a box full of dirty dishes. I walked by two girls and heard one ask the other “who is that?” It’s me, honey, your future husband. I met Andrea that May long weekend and eight weeks later I asked her to marry me. We’ve been together ever since. I left the Dog Patch Diner for a factory job and I’ve been there ever since. To this day, I haven’t worked on that novel for one minute.

As time went by, drinking gin martinis or Jack Daniels and water alone in my basement – and sometimes being called upon late at night to check on our babies in their cribs – soon made me reassess and to question just how much I was getting out of drinking. It eventually went by the boards. But with the tolerant approval of my wife, I delved deeper and deeper into “mid-century modern” culture. My music and movie collections – and my wardrobe – continue to grow. I always say I’ve got 24 favourite movies: 11 from my young adult days and 10 from my adult life. And three absolute favourites up on top of the pile. “Swingers” is number three because I rank those three in the order in which I was introduced to them. Out of all of those 24 movies I love so much, only one has caused me to get up and seek a new life.

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Spotlight on…Gidget

“Wait’ll you see my Gidget. You’ll want her for your valentine.”

– Johnny Tillotson

“Gidget” is a person, a novel, a film, a film franchise, a song, a television show and a cultural phenomenon. In 1957, Frederick Kohner, an Austrian-born Jew working as a screenwriter, wrote a novel based on the beach adventures of his under-sized, surf-obsessed daughter, Kathy. The nickname the boys at the beach gave her served as the title: “Gidget”. Half-girl, half midget. The tale depicted in the novel and subsequent film is basically true: Kathy was a petite, young girl who, at an impressionable time in her life, fell in love with the beach and surfing. An outgoing tomboy, she attached herself to a group of surfer boys at Malibu at a time when surfing was still an obsessive pursuit enjoyed by few. A niche next to the Malibu Pier housed a small, dedicated colony of young surfers, many of whom went on to become legendary in the sport and/or the industry.

The novel was an instant success. So much so that it largely contributed to a boom in surfing that began in the late 1950’s. Soon, many hardcore surfers were lamenting the increase in crowds at surf spots up and down the West Coast. Kohner eventually wrote five sequels to his first novel although they were not successful. The little known fact that they were written at all is no more than an eyebrow-raising bit of trivia. He also novelized the two subsequent film sequels and these have become collectible items of the genre.

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The film “Gidget”, released by Columbia in 1959, is landmark in a way that few films can be landmark. It was truly a first: Hollywood’s first surf movie. Putting “Hollywood” and “surfing” together is anathema to any true, self-respecting surfer. Real surfers bemoan the release of “Gidget”, and blame it for exploiting their wave-riding lifestyle and causing a glut of “hodads” and “gremmies” (wannabes) on any and all beaches where there were breaking waves. The Beach Boys and American International’s “beach party” movies soon followed. Gidget and a true phenomenon was born. Surfers have long been hostile to an industry that depicts them as Spicoli-types: stoned vagrants who contribute zero but instead leech off society. They point to films like “Fast Times at Ridgemont High” and “Point Break” as failures in Hollywood’s attempt  to portray the surfing lifestyle. But this is no fault of “Gidget”‘s. The 1959 film is truly engaging. It made stars of Sandra Dee and James Darren, boasted a cast of notables such as Cliff Robertson in the iconic role of Kahuna, Arthur O’Connell, Yvonne Craig, Joby Baker and Tom Laughlin. More than just a surfing movie, it is a delightful slice of life circa 1959. Suburban homes, front yards, living rooms, Saturday nights. A lovely time capsule. The beach scenes are also great images of the summertime living of the era. The requisite burger stand sits atop the hill. Beach goers descend and come upon the surfer’s enclave: Stinky’s surfboard ‘shaping bay’ sits next to the Kahuna’s shack. Inside is all you’d ever need: exotic pictures on the wall, cot, chair and hot plate with coffee pot. Outside, the boys loiter, waiting for surf. Reclining in a hammock, playing chess, plinking on a ukulele or beating a drum. With these indelible images, you could watch with the sound down and still be enthralled.

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The “Malibu” scenes were actually shot 20 miles up the highway at Leo Carillo State Beach (which is a wonderful aside for us classic movie fans. Leo Carillo was a wonderful Spanish actor in many old films. In later life, his work as a preservationist was honored with this beach and state park being named after him. Fitting, too, that many films were shot here, including the aforementioned “Point Break”). The sequels, as most sequels do, decline in quality. “Gidget Goes Hawaiian”, however, is another delightful film with many things to recommend it. Sandra Dee is absent and in her place is Deborah Walley, on whom the jury is still out. She is sprightly, bubbly and good at handling this material but at the same time she can be hammy and irritating. Watching with hindsight though you can keep in mind her performances in “Beach Blanket Bingo” and “Spinout”. James Darren returns as Monndoggie as does Joby Baker albeit as a different character. This excellent cast is rounded out by pretty Vicki Trickett, Michael Callan, Carl Reiner as Gidget’s dad and the actress JEFF Donnell (Jeff?) as the mom. The script is pleasant and deals with the damage loose talk can do to a girl’s reputation. Not much to say about “Gidget Goes to Rome”. James Darren is, as always, reliable as he completes the trilogy as Moondoggie. The bland Cindy Carol becomes Gidget #3. Interesting note: Don Porter appears as Gidget’s father. He would return to the role on the small screen. Caesare Danova (“Viva Las Vegas”) and Danielle De Metz provide the Roman eye candy. Not much surf in Rome, though, so this film is OK but maybe not as a vehicle for the beach bunny Gidget.

Music from movies doesn’t have to be good. I can enjoy it simply because it puts me in mind of the films I love. It so happens, though, that the songs spawned by the films are pretty good. The first film featured an appearance and two songs from the Four Preps, a collegiate-type vocal group that featured Glen A. Larson who would become a heavyweight TV producer in the ’80’s (“Magnum, P.I.”, “Knight Rider”). They sang the delightful title track over the opening credits. James Darren also had a crack at it in the beach shack. The Four Preps added “Cinderella” and Darren the excellent “The Next Best Thing to Love”. “Gidget Goes Hawaiian” was a snappy song done well by Darren and in an instrumental version by Duane Eddy.

The small screen featured several incarnations of “Gidget”, however none of the actresses chosen to play the role are notable in any way; except the fact that they once played Gidget. Television’s first Gidget, however, was played by fresh-faced, 18-year-old Sally Field. The series is delightful and features many changes from the films. The series begins where the first film left off: Moondoggie is heading back to Princeton and Gidget is sweating the thought of their separation. The differences between series and films are many. First off, Moondoggie (played blandly by Stephen Mines) does not feature in the events of the series. Also, suddenly Gidget’s mom has died and Professor Lawrence is raising Gidget on his own. Gidget’s sister and her husband are always throwing in their two cents where Gidget’s rearing is concerned. Gidget’s best friend, Larue, plays Ethel to Gidget’s Lucy. It’s interesting to watch the show and see that a lot of it revolves around how father and daughter relate to each. Their relationship is clearly defined and it’s charming to see how they love each other and form a partnership and navigate adolescence. I have to think that this abbreviated family was a rare depiction on television of the day. The most significant thing about the series is this: here we have a character who is synonymous with a beach lifestyle and the freedom that comes with summer but we’re seeing her IN SCHOOL. The “Gidget” series serves as a bridge between the frivolity of the “beach party” movies and real life: school, homework, week nights. With the series we get that great post-Labour Day salve. We’re all back to school and so is Gidget. Bottom line: Sally Field is effervescent and delightful to watch. The show did poorly in its first season but began to pick up and showed a big following with summer reruns. The network, however, had already cancelled it and that was that.

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Gidget as ‘phenomenon’ has been with us for almost 60 years. It’s cool, by the way, that the word ‘gidget’ was simply invented by a bunch of regular joes hanging out at the beach. “Gidget” has come to refer to any light, bouncy and young beach girl. It’s used as the name of a cute camper trailer and some girl rocker. Gidget is also a feminist icon. Women might disagree owing to her perceived airheadedness. But Gidget was a vivacious young woman who took life by the horns, had a positive attitude and was sure there was nothing she couldn’t do. She had unapologetic fun and endeavored to help those around her. Not to mention the obvious fact that she was a proponent of athleticism and an outdoor lifestyle. Coolest of all though is that it’s a homegrown phenomenon. Kathy Kohner Zuckerman was a real girl, nicknamed by friends, immortalized in her father’s book. Novels, films, television, cultural phenomenon, feminist icon, cutie. Quite a girl.

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The Downside to a Vivid Imagination

I’ve always had a vivid imagination. I can’t really say where it came from. One of the earliest memories I can recall was when I was about seven years old and still living in Downsview. I was a big “Happy Days” fan and owned the record “Fonzie’s Favorites”. The B side featured romantic doo-wop songs and I remember listening late at night with a single lamp on, suffusing the room with dim, red light. I recall taking in every lyric on that record, every word coming to life as I pictured the guy looking up at his girlfriend’s window, seeing her with another guy only to realize he’s on the wrong street. Guys wishing in the starry night and girls wondering what it’ll take to get their boys back. Thing is it was so vivid. Reality was gone and imagination took over.

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As I grew older, there came to be so many more similar examples of me ‘connecting’ with an album or a TV show, book or movie. Even when I knew a particular film was lousy, if I ‘got something’ from it, if it ‘took me somewhere’, then I liked it.

Then it began to spread to many different things and I soon discovered the downside. Now, some people with little or no imagination simply don’t know any better. They’re not fascinated by the furniture in the room in a film from the 1940’s or golf being played in the Swiss Alps or the way that song goes up a key and actually sounds like late afternoon sunshine feels. They don’t think they can actually smell the coffee and beans at a campfire in a Western or the cigarette smoke in a Harlem jazz club in the early ’50’s when they listen to John Coltrane. These people are, of course, normal. They go to work five, sometimes six or seven days a week. On days off, they drink beer in their basements or backyards. They watch hockey, UFC, WWE, gridiron football. Their only dream, really, is not having to work anymore. If they had a vivid imagination, they would know what an array of kicks are available cheap to the average Joe.

Then there’s me. My imagination has opened up interests for me in a number of different areas. The downside? There’s simply not enough time. Trying to ‘keep track’ of all the things I’m into is hard work. I could easily spend ALL my time doing any number of things. SO MANY things fascinate me.

I could be “Travel Guy”: subscribe to National Geographic, save every dime I could for travel, get a map of the world tattooed on my back. I could EASILY devote all my time to learning new languages, cook food from around the world and just be a nomad; either travelling somewhere or planning to.

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I could be “Classic Movie Guy”: connecting with my Twitter friends with #TCMParty has shown me that there are many people who devote their lives to classic film. I could EASILY watch nothing but Turner Classic Movies or movies on DVD, collecting even more obsessively than I do now. Join and follow sites/blogs/groups on the internet and basically just live in black and white. I love this world. I could live there 24/7. No sweat.

I could be “Sailor Guy”: I could immerse myself in all the classic literature of the sea. Watch only pirate and nautical-themed movies. Study ships of the past, eat fish, smoke a pipe. Learn how to tie all the knots. Move to Alcona, buy a boat, fish all the time. I could EASILY spend all my time. learning about life lived by the sea. I really feel like this guy every year when we go to Ponce Inlet, FLA.

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I could be “Oldies Guy”: nothing but the music of the ’50’s and early ’60’s. Pile my hair high in a pompadour (as I used to), wear blue jeans and motorcycle boots (as I used to). Go to car shows and Fifties dances. Again, the internet – upload songs to YouTube, talk about them with others, join discussion groups and get newsletters. Collect rare 45s. I could just doo-wop myself to death.

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I could be “Car Guy”: I watch the guys at the car shows. Talking about 325’s and positraction. Their hands are always dirty. I could tinker with some heap in the backyard. Buy a ’59 Impala and wipe it all the time. Wear coveralls with black, hi-cut, canvas Converse and a red bandanna hanging out of the back pocket. EASILY.

I could be “Surfer Guy”: Hawaiian shirts, t-shirts, shorts, slaps, bare feet. Move to the water and spend all my time in it. Ukulele and campfires. ‘Surfer’ Magazine, surf music, coconut water. There’s days worth of surfing footage/films to watch on YouTube. Follow nothing but World Surf League and watch all the events online. Grow dreadlocks and call everyone ‘brah’. A life of NOTHING but sun and water.

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I could be a “Jazzbo”: grow a goatee, speak ‘hip’, take up smoking again. Listen to nothing but Miles, Trane and Dizzy. Listen to and support Jazz FM91. Dress in Kangol hats and dark clothes. There is such a cool, unpretentious detachment to the jazz world that has always appealed to me.  In high school, for a co-op, I was host of “Jazz International” on a community radio station in Waterloo. Particularly in the autumn, this world is very appealing.

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I could be a “Cowboy”: there is such a significant history inherent in Western living. There is such a hearty, honest, hard-working quality to the Cowboy Way. The camaraderie that can exist between a person and a horse, the campfire, the stars at night, the rope and leather. I’d love to grow a big, ol’ Sam Elliott mustache and listen to nothing but classic country. Even new country music adds to the aura with it’s songs of difficult relationships, hard-working good, ol’ boys, God and the Bible still a part of life, memories of mama and daddy and how they raised their children. Poking around a TSC Store always makes me feel that I could EASILY live as ‘rural guy’.

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I could be “Elvis Guy”: ‘Elvis World’ is so diverse it’s easy to spend all your time there. A lot of people that do, though, can become a little creepy. My man appeals to me in such a way and there is so much to his story that I can totally see how people can focus on him to the exclusion of all others. This makes me think of the times I’ve visited various forums or chat groups devoted to one artist. You see people that are so dialed in to the one group or singer/actor that they love that the spend ALL their time and effort reading about, learning about and talking about just one thing. I can’t do that but I often think I could with Presley. Just listen, watch, read, collect, share, learn, study nothing but EP.

I could be “Sports Guy”: this is a post in itself. When my sons were little I decided we should follow hockey. I had a strong dislike, though, for all the hating that went on between the fans of rival teams. I told my boys ‘we’re going to follow hockey but we’re not going to hate – or love, for that matter – any specific team’. I carried the same mentality over into English Football when I started watching. A friend of mine – a hardcore footy fan from way back – became enraged with me and told me it was not allowed to like ALL the teams. You’ve got to pick one, love it and despise their rivals! So, now I can say I love my teams and hate their rivals. Particularly when we are in the middle of a season, I love to focus all my attention on my teams: read articles on how they’re doing, listen to podcasts, collect jerseys, learn about their history and basically just live and die with their fortunes. I feel like I can’t be ‘all in’ in this though mainly because I hate to debate. I can’t stand it when I hear someone disparaging another team. I always think if you love your team then you love your team even if they are the worst in the league. That is even the essence of loving a team – you love them not based on their performance but on where you live or simply because they’re your team. I could EASILY abandon everything else and just follow my teams. In this day and age there is no shortage of info, stories, interviews and highlights to watch. It can be a full-time job, one I think sometimes I could do.

I could even be “MCM Guy”: in the last year or so, my interest in all things ‘Mid-Century Modern’ has peaked. This world is one of everything that was popular or cool in the 1950’s and ’60’s. The term actually applies to architecture and home furnishings but all areas of media and culture could be included. As far back as my pre-teens, I’ve always said I could wear some variation of a suit every day. When I got a job at McDonalds, my mom said ‘at least now you can wear a tie to work!’. It was a green polyester clip-on and always had food on it. I still lament the fact that you can’t go out in ties or cardigans without getting looked at strangely. I love the era when if a man was going to dig a ditch he’d ‘dress down’ to a pair of casual slacks and a sports shirt. I’ve had times in my life when every day I dressed like Ward Cleaver. When my oldest son was born I vowed he’d never wear a pair of jeans – “What is he? A Hobo!?”. There are many places online you can go to immerse yourself in the ‘cocktail nation’, the tiki and lounge scene. When I’m listening to Les Baxter and watching “Mad Men” this role seems the one I’m best suited to. But then of course that clashes with the guy that wants to wear an eye patch or flip flops or cowboy boots. See what I’m getting at?

So, you see? It’s problem. But it’s a great problem to have. It’s a problem because, for example, I won’t listen to oldies for a long time and then I’ll overhear one somewhere and I’ll say to myself ‘oh, I love that song. I must listen to oldies again. What’s wrong with me!? I love oldies! Why have I not listened to them in so long?!’. Well, buddy, it’s because you’ve been listening to jazz, or Elvis or cowboy music and it’s then that I’ll get frustrated and wish I didn’t love so many different things. There’s so much cool stuff  that grabs my attention that it’s hard to devote much time to any one thing. What ends up happening actually is I’ll listen to certain types of music and watch certain movies or certain types of books at certain times of year. Some things I seem to enjoy more at specific times of year. But it’s great, too. I’ve never been one to worry or feel stress and one of the main reasons is that I’m constantly off in some land. I simply don’t worry about many things in life because I’m too busy listening to Koop Kooper and “The Cocktail Nation” or watching “Emergency!”. In the end it’s like the Temptations said: “I’m doing fine up here on cloud 9”.

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