Archive for August 2009
Les Paul: A Real American Idol
Les Paul died yesterday at the age of 94. That is the sad news.
The happy news is that there is an infinite supply of good things to say about this amazing man. As a musician and inventor, influential is inadequate. He was the developer of the solid-body guitar that bears his name, inventor of multi-track recording, overdubbing, reverb and echo, and above all a uniquely gifted guitarist whose playing is—as the cliche goes–often imitated but never duplicated. And, as a footnote, he was the godfather of Steve Miller (literally, not just musically).
He was a hero in more than music. Four years ago, at celebrations of his 90th birthday, scores of the most famous people in music came forward to talk about his unequaled humanity, generosity, modesty, and all the other qualities we would want to point to in people whose passing we mark, the qualities that make somebody a true role model.
The best news to come of this is that for a change, there could be no media overkill. No coverage could be enough. And just like that, within hours of his death, thousands of media stories and messages appeared. Not a single one of these stories had to make excuses for lapses in his life, or had to dig around for some unearthed detail to fabricate sensation. It was all good.
The media redeemed itself by doing what it can do best, celebrating and (for some) introducing a great life. Of course, Les Paul helped a little, by putting together a life the likes of which we won’t see again, but which will be in our lives as long as we listen to and love music.
The best introduction to Les Paul is probably the award-winning documentary Les Paul – Chasing Sound! , which aired as part of the PBS American Masters series. Not only is it the best look most of us will ever get of Les Paul, but in media terms it is a reminder of just how important documentary filmmakers are in painting lasting portraits of real American idols.
Postscript
After writing this post, I realized that XM Radio often creates special channels–sometimes temporary, sometime permanent–for special artists (Elvis, Led Zeppelin, Bruce Springsteen, etc., etc.) So I wondered whether Les Paul might get a channel of his own.
I went through the channels, but didn’t find one. Instead I ended up at the Classic Vinyl channel, where Derek and the Dominoes were playing Jimi Hendrix’s Little Wing. I got captured by Eric Clapton’s playing, which is when I had this ephinany:
XM doesn’t need a Les Paul channel. Most of its music channels are Les Paul channels.
And yes, Eric Clapton and Jimi Hendrix did play Les Paul guitars at one time or another. In fact, during the period when his playing led to the “Clapton is God” phenomenon, he was playing a Les Paul.
Of course, that saying was never quite right. Clapton and all these other great players are talented disciples. There was only one Les Paul.
Happy Days Are Here Again?
After some relatively not-so-disastrous economic metrics last week, I began seeing headlines and news coverage like this:
Economy on the Mend
That’s a matter of interpretation, and there’s no consensus (as if there is such a thing among economists). This did get me thinking about the value of loud public optimism in the face of continuing economic uncertainty.
The most famous case in American history may be the popularity of the song “Happy Days Are Here Again,” written in 1929 by Jack Yellen and Milton Ager:
So long sad times
Go long bad times
We are rid of you at lastHowdy gay times
Cloudy gray times
You are now a thing of the pastHappy days are here again
The skies above are clear again
So let’s sing a song of cheer again
Happy days are here againAltogether shout it now
There’s no one
Who can doubt it now
So let’s tell the world about it now
Happy days are here againYour cares and troubles are gone
There’ll be no more from now onHappy days are here again
The skies above are clear again
So let’s sing a song of cheer againHappy times
Happy nights
Happy days
Are here again!
The song became an anthem of the Great Depression. It was played at the Democratic National Convention of 1932 that nominated FDR, and became the unofficial theme song of the Roosevelt administration.
How the song came to be written and become an anthem is strange and enlightening.
The song was written in 1929, but before the Stock Market crash, and it was supposed to be about World War I soldiers celebrating the end of the war:
Along with “Brother, Can You Spare a Dime?” “Happy Days Are Here Again” embodied the Great Depression for millions of Americans. Yet Ager’s bouncy tune and Yellen’s feel-good lyric had nothing to do with the Depression. The movie musical Chasing Rainbows was nearly complete when Irving Thalberg, MGM’s head of production, told Yellen he wanted a song for at new scene in which World War 1 doughboys celebrate the armistice. Ager grumbled about having to collaborate on another song because his relationship with Yellen had soured, but he agreed to stop at Yellen’s house that afternoon. “Got a title?” he groused. “Happy Days Are Here Again,” Yellen answered. He later swore that the words came to him at that moment. A half hour later, they had finished the song. Two days later, MGM filmed the scene even though the movie was so lame it was not released for several years.
Ager and Yellen published the song anyway, and a New York song plugger took it to George Olsen, whose orchestra was playing at the Hotel Pennsylvania on Black Thursday, the day the stock market crashed. Yellen later wrote about the reaction:
In the big dining room of the hotel, a handful of gloom-stricken diners were feasting on gall and wormwood. Olsen looked at the title of the song and passed out the parts. “Sing it for the corpses,” he said to the soloist. The diners broke into a roar of laughter. The band played on, and one couple after another rose from their tables, stomped to the bandstand, and sardonically yelled the words with the vocalist…
(America’s Songs: The Stories Behind the Songs of Broadway, Hollywood, and Tin Pan Alley by Philip Furia and Michael Lasser)
So it was an accident, an astonishing coincidence. While those first listeners on Black Thursday sang along “sardonically,” the millions who sang it in the years to come were much more earnest and sincere:
A perky tune often played in a staccato manner to fit its jaunty words, “Happy Days Are Here Again” was soon joined by a legion of cheer-up songs that typified the Depression’s insistent public optimism…Perhaps the success of “Happy Days Are Here Again” as a Depression anthem and as a campaign song for the Democrats derives from its directness and naivete. The brief lyric has only two words of more than one syllable. Its sentiments are as simple as its words, but its bubbly assertion of good times in the face of the evidence soon has us singing along.
I’m not sure news media belong at either extreme—as suppliers of endless unmitigated economic bad news or as cheerleaders selling sunny and unrealistic optimism. Thinking about “Happy Days Are Here Again,” though, it appears that people, headlines or not, have a way of choosing and using exactly what they need to get them through the times.
