Category — History
I was forwarded the Scotty Moore website (Moore was the guitarist for Elvis Presley), which included a page with information about Municipal Auditorium in Kansas City. Presley and Moore played there in May 1956, and the page includes a wealth of post cards, photos and information about the building itself. (Thanks to Mike Webber for the forward.)
Reading it brought back a flood of memories on this Labor Day. Built in 1934 as part of a ten-year plan to bring the city up-to-date, Municipal Auditorium, by the time I first began showing up, was only 20 years old. Its art-deco style, subtle lighting and quiet elegance really impressed me, and I loved going there. Some of the other buildings created at this time, including the Jackson County Court House, City Hall and the Power and Light building, are equally mysterious and enigmatic. Another thing I liked about the Auditorium was that it wasn’t built on a flat surface. Standing at Wyandotte and 14th Street, it looked like it had been built into a hill to the north. You couldn’t tell from the inside, but you certainly could from the outside.
I can’t remember the first time I was there, but it was probably a large church event. I remember being in the Main Arena, which seated 10,000, and our local Lutheran choir joined with dozens of others to raise our voices to heaven – it was incredible.
As a child, I also went there for the special Philharmonic concerts for kids in the more intimate Music Hall. I really loved these. It’s where I found out that a hymn I knew as “What Child is This?” was based on the traditional English song “Greensleeves.” The melody haunts me to this day. Another time the power went off during the performance, and the Phil, undaunted, just kept on playing, something I wouldn’t see again until Joe King Carrasco and the Crowns pulled the same trick at Parody Hall in the early 1980s.
Billie and I caught a couple of Barnum & Bailey shows there, before we stopped doing the circus-as-entertainment thing. The arena was large enough (the blog says it was 92 feet floor to ceiling) to hold even the gigantic tank that a horse jumped into during the finale of one show, or the guy shot out of a cannon at another one as well as the many trapeze and high-wire acts that dazzled us.
The arena has an interesting ceiling lighting arrangement. This was the late 1950s, when nuclear paranoia was very real. When the sermons or services would fade into the background, I would stare up and imagine people above the ceiling, watching us from their perch. You know, the people who run the world only we don’t know it. And this was before psychedelics.
The Moore site includes a photo of a concert by Louis Armstrong Nov. 7, 1964, that I attended. I had escaped Kansas City to attend St. Paul’s Lutheran High School down the new I-70 in Concordia, Mo. Our class took a field trip to Kansas City that Saturday, and we somehow got free tickets at a Katz drug store downtown. Sitting high behind the stage, we watched the musicians in their dressing rooms (which were just partitions) smoking and laughing in between songs. I thought they were smoking cigarettes at the time, but after learning more about Armstrong, I’m sure it was probably something else.
“Hello Dolly” had made #1 in March, and he sang it three times that night, something I wouldn’t see again until almost 12 years later, when Willie Nelson did “On the Road Again” three times July 23, 1976, in the Arena with Tompall Glaser and the Flying Burrito Brothers as opening acts.
Other memorable concerts there included a special British Invasion reunion in July 1973, with the original Herman’s Hermits line-up as headliners with the Searchers, Billy J. Kramer and the Dakotas, Gerry & the Pacemakers and Wayne Fontana and the Mindbenders. I remember they looked so old. Good acid. Good time, and I thought again about the people who control us all above the ceiling.
Blue Oyster Cult did a great show in January of 1978, with Black Oak and a third act, Millionaire at Midnight, who turned me in the direction of the burgeoning local music scene. I was forced to review Foghat/Bachman-Turner with Judas Priest opening. Ugh. The first time I saw Jethro Tull there, people were celebrating Independence Day by throwing fireworks. The second time, when I gave my ticket to be seated, I was told that the seats “didn’t exist anymore.” He wasn’t kidding; all the seats were pushed back and it was an early mosh pit out in front of the stage.
Neil Young brought his Time Fades Away tour to the Arena with Linda Ronstadt in 1974. Riverrock and Emmylou Harris and the Hot Band opened for Jerry Lee Lewis in the Arena on May 4, 1979. When he asked rhetorically at one point, “who’ll play this old piano when I’m gone,” a woman right behind us stood up and said, “Nobody, killer, nobody but you.”
The last time I was there was in the early 1980s to see the Kinks. Beginning in 1974, they had became an annual attraction at Memorial Hall and the Uptown Theatre. But that particular time they almost sold out the Arena, and I saw a younger generation, the children of the Kinks’ original fans, singing along with every song. Absolutely wonderful.
They were with Arista at the time, and I was friendly with the rep, who was traveling with the band. After the show, in the dressing room, Ray said, “I want to meet the obituary editor and music critic,” and we talked for a couple of minutes. I always hoped he would write a song about the obituary editor who wrote about rock and roll. So far, he hasn’t.
September 3, 2012 No Comments
Neil Armstrong: August 5, 1930 – August 25, 2012
Black boy in Chicago
Playing in the street
Not enough to wear
Not near enough to eat
But don’t you know he saw it
On a July afternoon
He saw a man named Armstrong
Walk upon the moon
Young girl in Calcutta
Barely eight years old
The flies that swarm the market place
Will see she don’t get old
But don’t you know she heard it
On that July afternoon
She heard a man named Armstrong
Had walked upon the moon
She heard a man named Armstrong
Had walked upon the moon
The rivers are gettin’ dirty
The wind is getting bad
War and hate is killing off
The only earth we have
But the world all stopped to watch it
On that July afternoon
To watch a man named Armstrong
Walk upon the moon
To watch a man named Armstrong
Walk upon the moon
Oh, I wonder if a long time ago
Somewhere in the universe
They watched a man named Adam
Walk upon the earth
– “Armstrong” by John Stewart
From the LP Cannons in the Rain (March 1973/RCA Records)
Listen to the song here.
August 27, 2012 No Comments
I don’t think I ever really appreciated the amazing journey undertaken by almost half a million settlers in covered wagons between 1941 and 1869 until I read Keith Heyer Meldahl’s Hard Road West: History and Geology along the Gold Dust Trail (University of Chicago 2007). The book follows the route of those people who crossed from Missouri to California through a mostly unexplored wilderness, as scenic and fascinating as it was forbidding and treacherous, to an uncertain future in what would become the state of California.
That’s a story that’s been told before, often and well, but author Keith Heyer Meldahl applies a geologist/historian’s skills to help explain the route as contingency history. “Historians like to talk about contingency – the notion that key events in the past (turning points, if you like) determine the course of subsequent history,” Meldahl writes. And he offers a good explanation of how geologic processes that have taken place over millions of years (and are still continuing today) shaped the routes and indeed the destinies of the emigrants making their way to the gold fields.
Driving along highways today that take us a covered-wagon’s daily mileage in less than half an hour, it’s difficult to imagine how anyone could have made — or would have even attempted — this monumental, fraught-with-danger three-month trip. Meldahl explains how the geology made it so much more difficult. “North America’s geological story built the stage and the props, and wrote large parts of the script, for the human drama of the western migration.”
And so he tells two stories, one of the overland journey itself, mostly through the journals of the participants (a great number of people kept them), and the other the tale of how the land came to be.
It’s a great combination. My geology knowledge doesn’t extend much beyond reading John McPhee and taking the Roadside Geology series when we drive Western roads, but his analysis, charts, illustrations, diagrams and photos make it easy enough to understand how our continent pushed westward, creating high mountains ranges, scenic lakes, lush valleys, arid deserts and swift rivers, all which seemed to conspire at one time or another to keep the emigrants from succeeding in their westward quest. At one point he notes that had all these geological phenomena – earthquakes, mountain building, river and valley creation – happened mostly east to west on the continent instead of north to south, the trail would have been so much easier.
I had never realized that the science of geology during this period was just beginning to move away from acceptance of the Biblical account of creation to a more scientific way of approaching why the earth looks the way it does. This greatly influenced how the travelers interpreted what they encountered. Today, we see much the same landscape as they did, but we know a whole lot more about the forces that created it.
I found Google Earth to be an excellent companion to Hard Road West. It’s not difficult to trace the emigrants’ route across the broad plains of Kansas, Nebraska and Wyoming, over that one spot along the Continental Divide into Utah and their twisted paths through some of the most inhospitable deserts and intimidating mountain ranges on earth before entering the Sacramento Valley.
I learned a lot from this book. There are several places where we have driven along the trail, mostly in Nebraska and Wyoming. But reading this one makes me feel like I did after finishing Empire of the Summer Moon – I want to get out and follow more of the trails and cut-offs and routes and see more of the paths of this amazing journey for myself.
March 28, 2012 No Comments
What is it about superstars? Why do they so fascinate us?
I thought about that as millions mourned publicly for Whitney Houston last month, as I read Tim Riley’s John Lennon biography, and again after finishing Larry McMurtry’s The Colonel and Little Missie: Buffalo Bill, Annie Oakley and the Beginnings of Superstardom in America (Simon and Schuster 2005).
Annie Oakley and Bill Cody were among the first real American celebrities, those people — mostly actors, musicians, athletes or media professionals — who become stupendously successful. McMurtry notes that we don’t remember any of the other big names from that period when live shows about the West were as popular as stadium concerts today. Pawnee Bill, Ned Buntline, Doc Carver, Johnny Baker and Lillian Smith were all renowned performers of their day. But we remember the Colonel and Little Missie. They were superstars.
And as such, McMurtry makes an equally good case that Oakley and Cody were also among the first to get swept up in the frenzy of celebrity, something they didn’t understand and ultimately weren’t able to control. In their wake, few have.
His wry, common-sense style is perfect for this kind of interpretive historical story-telling as he traces the arc of Oakley and Cody’s triumphs and tragedies, always questioning what made them so darned popular.
“Superstars cannot exactly create themselves, no matter how skilled – the public cannot be manipulated vis-à-vis superstars only up to a point. The public must, at some point, develop a genuine love for the performer – a love that grows as long as the performer lasts,” he muses. “When great stars die, thousands mourn and mourn genuinely. Exactly how this chemistry works, no one quite understands – but some deep identification is made or superstardom doesn’t happen.”
In Cody’s case, at least part of it was that he actually was a scout in the 1870s, a man of the frontier, as well as an entertainer. But Oakley, on the other hand, was just a performer who dressed in buckskins and was a damned good shot.
Luck and circumstance certainly have something to do with it. Cody’s life as a frontiersman overlapped with his performing career. His Wild West Show idea was prescient, and though he never got to see his dreams materialize, he was a film visionary as well.
He was almost certainly the first artist to go viral. His iconic image, first immortalized in dime novels, books, and on posters, sitting on a horse in buckskins looking out at the endless prairie, is still as recognizable today as it was around the turn of the twentieth century. Everybody saw his image somewhere. We all know Buffalo Bill.
McMurtry wonders aloud why Robert Duvall, an extraordinary actor who, for all his skills, isn’t a superstar, while John Wayne, hardly in the class of Duvall as an actor, was. “The sonofabitch just looks like a man,” McMurtry quotes director John Ford about Wayne. McMurtry ponders that it might be something in the way superstars move. Was it because Oakley would give a little back kick when she did well or would visibly pout when she missed that made the audience love her? Was it because Buffalo Bill looked as good on a horse as Wayne did when he sauntered, his walk slightly tilted, into a movie saloon?
In the end, like the rest of us, McMurtry has more questions than answers about superstardom, and he seems to be as bemused as the rest of us about it all, but the book is quite enjoyable. Perhaps in this case, the quest will have to be enough.
March 8, 2012 No Comments
I got Lost in Shangri-La (Harper 2011) for a few days last week. What’s not to like about Mitchell Zuckoff’s non-fiction book about a plane crash in New Guinea in 1945? It’s a World War II story with adventure, intrigue, danger, a daring rescue mission and a head-turning WAC, who is among the Americans who survive a plane crash in a remote canyon peopled by Stone Age tribes not listed on any maps and rarely seen by modern-day humans that gets its name from the 1933 James Hilton novel that captured my imagination as a kid.
That’s about all I’m going to say about one of the most interesting and eccentric tales of the Pacific War. On a personal note, my father was stationed on the western coast of New Guinea, an island known for its incredible natural beauty and, as Zuckoff writes, “a gift-box assortment of inhospitable environments,” for five months in 1944. Like many stationed there, he left after conracting malaria in August, several months before this incident happened, but most surely he was aware of the rumors of the hidden valley GIs called Shangri-La, and he must have read or heard news reports about this incident while recovering back in the States.
What I found as interesting as the book itself was how the author came across and pieced together the whole story, which happened sixty-seven years ago. Zuckoff’s interest was piqued after finding a newspaper story about the incident, which, mostly because of Margaret Hastings, the Women’s Army Corps survivor, got lots of contemporary press in the waning days of WWII, while researching something else. He found one living survivor, who had kept a diary and his memories, which in turn led him to the families of the other survivors, many who had journals, documents, photographs, letters and personal details about the strange story. Using these first-hand materials, Zuckoff was able to bring the very human story to life and render it in a way that it almost reads almost like a novel.
Dozens of black-and-white photos throughout the book really help advance the story, and Zuckoff posted a contemporary documentary film of the event on his website, which I’m not going to link to here because you need to read the book before you watch the film. Great page-turner for a vacation or to snuggle up with for a weekend.
January 25, 2012 1 Comment