Tag Archives: April Music et al

NYC Bans Folk Music

NYC Bans Folk Music

Anniversary of the “Beatnik Riot”
April 9,  1961
NYC Bans Folk Music
New York Mirror headline
NYC Bans Folk Music

World Power Anomie

After World War II, many young adults, disenchanted with the horrors and atrocities of two global wars less than 25 years apart, broke away from prevailing cultural mores. They sought out an anti-conformist  life style that isolated them from what they saw as a morally corrupt society.

Some found that isolation with those whom American society had already segregated. Some found it in the arts.

Jack Kerouac referred to himself and those like him as part of a Beat Generation. (NY Times magazine article). His use carried with it the notion of being tired, but Kerouac mixed in the ideas of “upbeat”, and “beatific.”

NYC Bans Folk Music

Cold War

On October 4, 1957, the Soviet Union successfully launched the first satellite, Sputnik. The Cold War had increasingly heated in the late 1950s. Growing up as a Boomer meant learning to hate, to distrust, and be anti-anything associated with the USSR.  Catholics prayed for its conversion after every Sunday Mass.

The arms race continued. Sputnik launched the space race, in many ways an offshoot of that arms race.

What better way to label a disenchanted group, the Beats, a group that mainstream citizens and media saw as un-American? Associate them with Communism.

NYC Bans Folk Music

Beatniks

On April 2, 1958, Herb Caen of the San Francisco Chronicle wrote, “Look magazine, preparing a picture spread on S.F.’s Beat Generation (oh, no, not AGAIN!), hosted a party in a No. Beach house for 50 Beatniks, and by the time word got around the sour grapevine, over 250 bearded cats and kits were on hand, slopping up Mike Cowles’ free booze. They’re only Beat, y’know, when it comes to work . . . “

Thus the Beats became Beatniks. It was not a compliment.

Some Beats loved jazz. Some Beats loved folk music. Both sometimes played outside with friends in NYC’s Greenwich Village, particularly Washington Square Park, busking or simply entertaining themselves.

NYC Bans Folk Music

Newbold Morris

Despite the First Amendment’s guarantee of free speech, on March 28, 1961, NYC Park Commissioner Newbold Morris notified his staff to limit permits issued for musical performances in Washington Square to “legitimate” artistic groups. He also asked the police to issue summonses to guitarists, bongo drummers, and folk singers who did not have permits.

On April 9, 1961 Greenwich Village folk song fans battled the police for two hours in Washington Square. Police arrested ten demonstrators. Several persons, including three policemen, were hurt.

From the Greenwich Village Society for Historic Preservation siteThe protest was arranged by Izzy Young, head of the Folklore Center on MacDougal Street.  A group of protestors who sat in the fountain singing “We Shall Not be Moved” was attacked by police with billy clubs.  Another group sang the Star Spangled Banner, thinking police would not attack such a display of patriotism- they were wrong.

NYC Bans Folk Music
Dan Drasin’s 1961 film, Sunday, captured the April 9, 1961, conflict between New York City folk musicians and police that came to be known as the Beatnik Riot.
NYC Bans Folk Music

Here is that film

NYC Bans Folk Music

Continued support for ban

Two days later NYC Mayor Robert F Wagner, announced his support of the ban.

On April 20, 1961 the  Community Planning Board voted to uphold Park Commissioner Newbold Morris’ ban against folk-singing in Washington Square Park.

On April 30, 1961 police arrested William French, a student, at another demonstration by folk-music fans in Washington Square Park. That arrest nearly set off a riot. It also raised charges of police brutality.

NYC Bans Folk Music

State Supreme Court

On May 4, 1961 NYC’s ban against folk singing in Washington Square Park was upheld by the State Supreme Court.

On May 7, 1961, singers marched back into Washington Square Park and sang for the first time in four weeks without hindrance from the police. They sang a capella. They had discovered that Park Department ordinances require a permit only for “minstrelsy” – singing with instruments, but not for unaccompanied song.

On May 12, 1961 NYC Mayor Wagner announced that folk singing, with instrumental accompaniment, would be permitted in Washington Square “on a controlled basis.”

On June 5, 1961 a grand jury cleared William French of charges associated with the April 30 Washington  Square demonstration.

NYC Bans Folk Music

Appellate Division decision

And on July 6, 1961, the Appellate Division of the NY State Supreme Court unanimously reversed a lower court decision that had supported the city’s former ban on folk singing in Washington Square.

Community displeasure with those seen as outsiders and disruptive was not new and continued. Eight years later in Wallkill, NY, a group of community leaders succeeded in keeping out a group that sought to play their music. That event, of course, was called the Woodstock Music and Art Fair.

Reference >>> NPR report on Washington Square folk music ban

NYC Bans Folk Music

Jerry Lee Lewis Star Club

Jerry Lee Lewis Star Club

Recorded in Hamburg, Germany
April 5, 1964

Jerry Lee Lewis Star Club

Jerry Lee Lewis Star Club

Riding the Beatlmania Bronco

It’s April 1964 and the Beatles rule the airwaves. They are in the midst of filming their first movie, A Hard Day’s Night.  As has been noted before, the Beatles loved American Rock and Roll and soon groups like the Animals and Rolling Stones would bring our blues back to us.

Elvis is l making movies. His latest, “Kissin’ Cousins.

On the defensive (after perhaps not divorcing his wife and perhaps marrying his second cousin) Jerry Lee Lewis counter-attacked. He went to Hamburg, one of the places that those Beatles had cut their musical eyeteeth.  Like NOTHING the Beatles had ever done in Hamburg, Lewis tore the roof off the Star Club. And it was recorded! My my my was it ever!

Jerry Lee Lewis Star Club

Live at the Star Club 

And likely you didn’t know it was. Likely you never heard it. Maybe, like me, never even heard of it.

If you like rock and roll (and I suspect you wouldn’t be here if you didn’t) then you MUST listen to this amazing album. If you can turn it up, please do so!

A producer for Philips Records Germany, Siggi Loch, fortunately for posterity, recorded the show.

Here’s the track list. The Beatles, of course, covered “Matchbox.” Lewis lights it up! That suggests there are some ballads here. Lewis pounds the keyboard throughout.

Side one
  1. “Mean Woman Blues”
  2. “High School Confidential”
  3. “Money (That’s What I Want)”
  4. “Matchbox”
  5. “What’d I Say, Part 1”
  6. “What’d I Say, Part 2”
Side two
  1. “Great Balls of Fire”
  2. “Good Golly, Miss Molly”
  3. “Lewis Boogie”
  4. “Your Cheatin’ Heart”
  5. “Hound Dog”
  6. “Long Tall Sally”
  7. “Whole Lotta Shakin’ Goin’ On”

AllMusic said of the album: “Words cannot describe – cannot contain – the performance captured on Live at the Star Club, Hamburg, an album that contains the very essence of rock & roll…Live at the Star Club is extraordinary – the purest, hardest rock & roll ever committed to record…He sounds possessed, hitting the keys so hard it sounds like they’ll break, and rocking harder than anybody had before or since. Compared to this, thrash metal sounds tame, the Stooges sound constrained, hardcore punk seems neutered, and the Sex Pistols sound like wimps. Rock & roll is about the fire in the performance, and nothing sounds as fiery as this; nothing hits as hard or sounds as loud, either. It is no stretch to call this the greatest live album ever, nor is it a stretch to call it the greatest rock & roll album ever recorded. Even so, words can’t describe the music here — it truly has to be heard to be believed.”

And Lewis did it with himself and a band he didn’t know, a British band called the Nashville Teens!

Musicians:
  • Jerry Lee Lewis – piano, vocals
  • Johnny Allen – guitar
  • Pete Shannon Harris – bass
  • Barry Jenkins – drums (he later played w the Animals)

So if you have the system to play it loud here it is! Good Golly Miss Molly!!!!!

Jerry Lee Lewis Star Club

Live at the Star Club

Related link >>> NPR report

Jerry Lee Lewis Star Club

Cannot Buy Beatles Love

Cannot Buy Beatles Love

April 4, 1964
Hit #1 on Billboard
Cannot Buy Beatles Love
cover for the 45 of Can’t Buy Me Love. Note the cigarette in Paul’s hand.
Cannot Buy Beatles Love

Number 1

It’s April 1964 and Beatlemania is world-wide.  The Beatles released “Can’t Buy Me Love” on March 16 of that year and by April 4 it was, not surprisingly, #1.

Oh yea, and numbers 2, 3, 4, and 5 were also Beatle songs!

Beatles Can't Buy Me Love
from Billboard magazine
Cannot Buy Beatles Love

Me love or my love?

As infected as any teenager, I automatically loved the song, though the title seemed grammatically confusing.  Did they mean, “You cannot buy love for me”? Unfamiliar with the British use of “me” for “my”, “You can’t buy my love” didn’t occur to me. 

In any case, I had my transistor radio on as I walked weekdays delivering the local evening newspaper or on Friday evenings collecting the paper’s weekly charge (33 cents)  from my customers.

My radio was simply AM, of course. I hoped WABC or WMCA would play a few in a row and skip some commercials. It was still a few years away from a couple FM station owners realizing that these kids with paper routes had money to spend.

Cannot Buy Beatles Love

Paris inspired

The Beatles had performed for 18 days at the Paris Olympia Theatre, on a nine-act bill, playing two and sometimes three sets each day from January 16 to February 4, 1964.  They had just two days off in the run, on 21 and 28 January. It was during this time that Paul wrote “Can’t Buy Me Love.”

By the way, keep in mind that three days after that grueling 18 day visit, they flew to the United States for the first time for their famous Ed Sullivan Show appearances. 

Cannot Buy Beatles Love

Can’t Buy Me Love

Paul McCartney in Barry Miles’s Many Years from Now  said, “‘Can’t Buy Me Love’ is my attempt to write a bluesy mode. The idea behind it was that all these material possessions are all very well but they won’t buy me what I really want. It was a very hooky song. Ella Fitzgerald later did a version of it which I was very honoured by.”

“Can’t Buy Me Love” was mostly recorded on January 29, 1964 at EMI’s Pathé Marconi Studios in Paris. It was the first the first Beatle single to feature just one lead singer.

Cannot Buy Beatles Love

Allan W Pollack

Allan W Pollack at his amazingly thorough Soundscape site writes: “We have here a very standard long form with two refrain-like bridges separated by two verse sections, one of which contains a guitar solo. However the combination within the same song of a verse section so traditionally bluesy with a refrain, intro and outro that is equally so non bluesy is far from routine and makes this number truly groundbreaking in its own quiet way.”

That’s exactly what I was thinking in 1964 while I delivered The Bergen Evening Record.

NOT!

Cannot Buy Beatles Love