Peaches Christ never fails to entertain as quick-witted MC, interviewer, filmmaker, raconteur, TV show host and architect of the often hilarious Midnight Mass film series, which will kick off its 12th and final season tomorrow night.
Linda Blair, everyone's favorite 1980's B-movie star and a consistently strong performer in a wide range of film and television roles, will be there - LIVE IN-PERSON - for screenings of Roller Boogie and The Exorcist (which arguably features the greatest scream queen star turn ever) and to reminisce about her decades in Hollywood. The genuine Linda Blair “hero” costume from the jaunty, cheesy and riotously campy Roller Boogie will be auctioned off, with all proceeds going to her top-notch animal rescue charity, the Linda Blair WorldHeart Foundation.
I love the San Francisco Silent Film Festival and it's back, now in its 14th year. There will be 35mm archival prints (accompanied by gifted musicians), historians, authors, film collectors and happy classic movie geeks galore all weekend.
This year's fest will include films by two of my all-time favorite directors, Josef von Sternberg and Gregory LaCava, as well as a selection of very cool early Disney cartoons animated by, among others, the best draftsman in the West in the late 20's, the great Ub Iwerks. The customary killer-diller accompanists - Donald Sosin, Dennis James, Phil Carli, Stephen Horne among them - will be there to rock the house. The Castro Theatre is a treasure, a genuine art-deco movie palace (like the Paramount and Stanford Theaters), and the best place to see this stuff on the big screen.
Had the pleasure of watching Harold Nicholas skillfully transport a willing audience to uptempo oooh bop sh-bam scat singing land with Jon Hendricks in San Francisco's North Beach a little over 40 years after this production number was filmed for Down Argentine Way, an epic Betty Grable - Carmen Miranda musical produced by 20th Century Fox.
Little did I know that the swingin', scattin', dancin' machine entertaining the lucky audience that day was indeed the same guy who, with his brother Fayard, was responsible for jaw-droppingly unbelievable acrobatic dance routines in a slew of 1930's and 1940's musicals.
So here, check it out, is the real deal - what entertainment is all about.
Harold and Fayard, thankfully, enjoyed a lengthy career, even turning up on The Jackson 5's TV show in 1977; I would have posted that clip if the picture quality had been better.
As the refrain of "I'll Be There" still wafts its ear-worm rhapsody through my consciousness, I dedicate post #300 to an important event and cause taking place tomorrow.
Mr. Mark Alexander, a good friend to yours truly and many of this blog's readers, was critically injured in an accident on June 3.
Our friend, Mark Alexander
I still do not know the particulars, but he suffered numerous compound fractures of both legs and feet. He has undergone several surgeries and will be undergoing more. Only immediate family has been allowed to see him; it will be awhile before he is able to take calls or visitors.
So tomorrow has been set aside, from noon to 7:30 p.m., for a drive on Mark's behalf at the Stanford Blood Center.
If you are healthy, by all means, give blood. Donors: eat, drink plenty o' fluids and:
Be at least 17 years of age
Weigh at least 110 lbs (no problem for lots of us)
Be free of nasty cold and flu viruses
Bring photo ID
If unable to give blood - you're unwittingly carrying pathogens or take injectible drugs based from bovine products - stop by anyway and hang out in beautiful Palo Alto, as you will likely meet friends.
The amazing thing is that even if you're at the age where you can say "I've got more medications in my bloodstream than William S. Burroughs and Keith Richards combined - and didn't have any fun in the process", you might still be OK to give blood. Call the folks at the Stanford Blood Center and find out. The information numbers of Stanford Blood Center are (toll-free) 888-723-7831 and 650-723-7831.
Mark's friends - and he has been a steadfast, trustworthy and reliable one to many - have set up a blog to post updates, share support, goodwill and prayers.
In what will be days or weeks of unending media verbiage regarding recently passed pop icon Michael Jackson, I doubt we will see anything more insightful or unsparing than this article by author Cintra Wilson. Originally written back in 2000, this brutally honest but perceptive piece examines the venal "eats its young" reality of mega-fame, that symbiotic relationship between Michael's showbiz life (including a childhood marked by unrelenting abuse) and the immolating cult of celebrity.
As anyone who has loved a intimate partner who endured an abusive upbringing knows all too well, domestic violence can severely mess with a person well into adult life; the pull for domestic violence victims to either re-enact said abuse upon loved ones, seek vilification from others (recalling the Michael-era hit song by Annie Lennox and The Eurhythmics) or abuse themselves in 1000 different ways is magnetic and powerful. It's a truly vicious cycle (in some families, a tragedy passed on from generation to generation), and if your loved one succumbs, absolutely nothing can be done: strenuous efforts to "save" them only make things worse and your relationship more co-dependent.
While one can take the brave and difficult steps to leave a co-dependent relationship or proactively deal with health issues, Michael did not have the option, ever, to walk away from celebrity or entirely escape the papparazzi-tabloids-24 hour media or his own p.r. machine - and it takes truly getting away and off the merry-go-round to begin tackling daunting personal problems.
Sadly, there is no choice: it's confront the demons or be consumed by them.
As far as Michael's music goes, here's an excellent (as well as uncharacteristically un-snarky) piece by Aidin Viziri that concurs with my preference for the Jackson 5 songs and early solo work; in both his art and life, bigger absolutely, positively did NOT equal better. Personally, I really, really wanted to hear Michael sing Sam Cooke's "You Send Me" simply, sweetly and with feeling - the way he did in his "Frankie Lymon" phase.
Which reminds me of my favorite song he ever recorded:
That said, I believe the response from here is to take a quiet moment of remembrance for The King Of Pop, then get off our asses and actively support living musicians! And I will do just that by attending a live CD recording session by my chanteuse friend Tré Taylor - who never fails to sing simply, sweetly and with tons of feeling - tonight. I'll be there!
"I'll never forgive Modigliani for dying so young." Oscar Levant
"There's two basic laws: treat your creativity with humility and treat your success with grace... or you will be in trouble." Quincy Jones
"Tell me why, oh why, oh why, why do they fall in love." Frankie Lymon
Since, without a doubt, everybody and his brother and sister, all around the world, have already blogged about the untimely passing of Michael Jackson, you, dear reader, ask what, pray tell, is The Curse Of Frankie Lymon and how does it relate to the fallen King Of Pop?
Said curse is an inexorable path to tragedy and senseless loss that pre-dates Frankie, goes back to vaudeville legends (Bert Williams), early jazz musicians (Bessie Smith, Bix Beiderbecke) and such silent movie stars as "Madcap Mabel" Normand, Olive Thomas and Rudolf Valentino. The curse has a knack for striking music icons and mega-celebrities, all of whom - Bird, Billie, Prez, Elvis, Marilyn, Judy, Jimi, Janis, Morrison, John, Freddie, Tupac, Cobain, etc. - started with a luminous spark that was beautiful to behold. It is an occupational hazard of child stars and other prodigies in particular.
Which brings us to Frankie Lymon (1942-1968), the post-Sammy Davis Jr. and pre-Michael Jackson kid dynamite wunderkind. He wrote the doo-wop classic "Why Do Fools Fall In Love" at 12, and followed it with several other hits for his band The Teenagers. Here are clips of Frankie, a dynamic entertainer - and more than a tad reminiscent of Michael in his Jackson 5 phase - in his all too brief heydey:
Frankie met the hard knocks of show business, discovered heroin - and that was that.
To say that the territory where pop, rhythm & blues and international stardom meet have been lambasted by the curse is quite the understatement. Consider . . . Frankie Lymon, Marvin Gaye, Sam Cooke, Otis Redding, Bob Marley, Jackie Wilson. I especially think of the brilliant songwriter, bandleader, arranger, vocalist, lyricist, recording producer and guitarist Curtis Mayfield, who was hit by a lighting rig during a 1990 performance. James Brown alone made it into his 70's.
Never had the pleasure of seeing Michael perform (think I had not yet entirely emerged from my youthful "modern jazz and prog rock snob" phase during his 1979-1987 peak), but sincerely hoped he would, like Brian Wilson and the late Arthur Lee, emerge triumphantly from his troubles and make a comeback. I particularly wanted to see an older Michael revisit the music of his roots - the aforementioned Jackie Wilson, Marvin Gaye, Sam Cooke - and just sing those great old songs with all his heart. . . but that's not going to happen.
To show that adage rather than tell - and continue the thread about Paul Westerberg from the last posting - here's some concert footage from a very early version of The Replacements, playing possibly the fastest, most frenzied cover of Chuck Berry's Maybelline ever. With the full understanding that Chuck Berry very likely improvised his own clever lyrics on the bandstand on many occasions, enjoy this example of extemporaneous verses: the best I've seen from the punk era other than James Chance making up entire songs on the spot with the punk-funk-r&b (spiced with 1960's free jazz) bands The Contortions and James White & The Blacks.
Transitioning madly from old school garage punk rock to the loungiest of swingin' sounds from The Ultra-Lounge, check out the great Bobby Darin. Ever the consummate entertainer, Bobby manages to get laughs, fire up the band, make up verses and knock his signature song out of the park.
Then again, also from the early 70's, I can't help thinking of another consummate entertainer, James Brown. In the original 45 RPM single version of "Make It Funky", James riffs about food, shouting "TURNIPS!" "GREENS!" "HOT CORNBREAD!" as the song closes. While I have yet to find said riffing in any live version of "Make It Funky", this presents as good an excuse as any to post a clip of prime early 70's Godfather Of Soul goodness.
