1950s

Nights At The Roundtable - The Flamingos - 1959

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(The Flamingos - Quintessential Doo-Wop)

I thought I would end up our tour through the world of Doo-Wop with probably one of the best known and most revered Doo-Wop groups of the 1950s. The Flamingos had their biggest hit "I Only Have Eyes For You", which is still played and acknowledged by many as "the" Doo-Wop song of the century. But they had a whole catalog of great songs, all of which epitomized that lush, echo chamber drenched sound they were synonymous with.

Here is one of their classic tracks, Love Walked In, one of many hits from their milestone career.

It's aged since 1959 - but in a nice way.



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[Note: I'll be appearing on David Sirota's radio show Tuesday at 8:35 am PST to discuss Beck and his attacks on progressives.]

It's been pretty interesting watching Glenn Beck ratchet up the eliminationist rhetoric in his attacks on progressives in the past couple of months.

The storyline, as you may have gathered, is that the "progressive movement" is the root of all evil in American politics, a "cancer" and a "virus" and a "parasite" that has "infected" both parties. Beck has been doing a lot of fake "history" reporting when it comes to these attacks -- indeed, it tells you everything you need to know that he considers Teddy Roosevelt and Woodrow Wilson as the presidential wellsprings of this Great Evil.

Well, as we observed some time back, there's a great deal of real history that Beck has to omit from his narrative in order to make these claims stick -- particularly the reality that progressive politics created the great American middle class consumer society that he and other right-wingers take for granted now, not to mention the conditions for average Americans before the arrival of progressive politics.

But one of the most interesting omissions from Beck's parade of progressive evils is one of the real achievements of progressive politics in the past half-century -- namely, the advancement of civil rights for minorities, beginning with the civil-rights movements of the 1950s and 1960s. These movements ended Jim Crow and made life better for millions of nonwhites, and created a more just and civil society along the way.

And you know, civil rights was a progressive cause. It still is. The opposition? It has always -- ALWAYS -- been conservatives.

Yet all the time Beck has been bashing progressives, he has simultaneously been hosting shows with audiences of black conservatives wherein they sit around and complain about how mean liberals are to them for being conservative and Beck gets to ask dumb white-guy questions like: "Why not identify yourself as Americans?"

Even more to the point, in both of these shows, Beck has glowingly quoted Martin Luther King -- who was, you know, a leader in the progressive movement.

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So here's our question for Glenn Beck: If the progressive movement, as you claim, has been so relentlessly evil and has consistently taken America down the wrong path, what about civil rights?

Was Martin Luther King secretly evil too?

Should we return to pre-progressive policies -- you know, the "separate but equal" status quo of Jim Crow and segregation?

Indeed, your hatred of the "progressive movement" and its effects on American life raise a whole host of similar questions about your views on civil rights.

And we're just wondering.


Nights At The Roundtable - Ted Nash - 1956

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(Ted Nash, uncle of Ted Nash - heading into major mellow territory)

Tonight we're heading into West Coast Cool-School territory with a track by the elder Ted Nash. The current Ted Nash is the nephew. This Ted Nash had a long and illustrious career as a sideman and soloist with a number of big bands of the 1940s, before settling into the Hollywood session scene and doing countless film scores and TV shows before retiring and heading to Carmel in the 1980s. But, like so many musicians of the period, the gig enabled the evocation and Nash was able to put together a number of groups on his own and record extensively for a number of labels through the 1950s.

One session, done for Columbia Records and issued in 1957 as Star Eyes (CL 989) and it's this track, "That Old Feeling" which comes from it. Recorded on July 21, 1956 and featuring an uncredited group of sidemen (although I suspect the guitar is Jim Hall).

Since it's Monday night and the end of the holiday season, a little mellow seems to be in order. No?


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(Clearing the hall of demonstrators in 1964 - someone's been watching old newsreels lately)

Watching the teabag protests of late, and the approximated "die ins" - those attempts at echoing the anti-war/civil rights protests of the 60s without any of the conviction or principles, I began to realize how completely unoriginal and uninspired the wingnut segment of our society is compared to the actual protest movements of the 1950s and 60s.

The Berkeley Free Speech Movement has been well examined by way of film documentaries (Berkeley In The 60s is must-viewing), as have many of the other movements of the time. I ran across this radio documentary, produced by Pacifica Radio shortly after the movement unfolded in 1964.

It's interesting to draw comparisons in many areas to what is happening now. The concept of co-opting and hi-jacking a movement became prevalent in the 60s. The Free Speech Movement offered ample proof of that - the core belief of the majority of protesters was supplanted by the influx of malcontents and "shit-stirrers"; people who had no other motive other than to create trouble for troubles sake. And those who actually infiltrated the movement in order to disrupt and fracture its solidarity. It continues to this day, which is why the Teabag movement and all the anti-Health care reform groups seem so transparent in their motives. Scaring people who are not informed. Misinforming people and creating diversion from the real issues. In this case, it's as easy as finding out who is on which payroll and which Insurance company is behind which "patriot group".

But in 1964 it was relatively free of that - for a time anyway.

The Berkeley Free Speech Movement was something of an anomaly. And like all anomalies, it didn't last very long. But it gave people ideas. But as is often the case with our friends in the right wing - they offer approximations without offering any real substance. And that is the biggest problem. Lifelike replicas don't really cut it when you can make something real of your own, if you just worked on it.


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(Quiz Show Scandals of 1959 - chipping away at our great National Naivety)

Coming to the end of the 1950s. 1959, just fifty years ago, the world was starting to come unglued. The eternal Cold War was slogging along with the extra added bonus of the Space Race being solidly in the Soviet Unions corner by the end of the decade. Berlin and U2 just around the corner. Scandals took a bite out of our collective innocence with rigged Quiz shows and teary-eyed confessions of wrong doing plastered across most newspaper headlines.

All in all, it was a year of transition - a preview of coming attractions for the 1960s. The decade when all social mores were kicked to the side and independence was rife throughout the world. But that was to come.

1959 was a curious look back with an apprehensive look ahead. This look back came from CBS News, narrated by Walter Cronkite.


speaking of looks . . .


At The Risk Of Getting All Sloppy And Sentimental . . .

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(A Christmas Sing With Bing - 1958. Guilty pleasure)

For those of you (and I guess there are a lot) who despise Christmas, this particular post ain't for you.

But since this is a blog dealing with aspects of our popular culture, present and past, you can't really let the season go without a nod to what was, for a very long time, an American Institution - Bing Crosby.

Every Christmas eve, like clockwork, CBS radio would blare out their annual "Christmas Sing With Bing" all throughout the 1950s and into the early 1960s, when TV took over with their Christmas extravaganzas and radio was promptly abandoned.

This Christmas Sing With Bing from 1958 was typical of the tradition with a heavy emphasis on the religious aspect of Christmas, not so much the consumer part. There is also a nod to the events of the past year, with a piece on the Nautilus and our newest state Alaska. The first "Sing With Bing" in 1955 was issued on lp by Decca (now Universal), and became a staple of their Christmas catalogue well into the CD era.

Crosby died in 1977 and with him went this tradition. He's pretty much relegated now to annual marathons of "White Christmas" and "Holiday Inn", but I thought you might enjoy a one hour dose of what the season used to be like fifty years ago. If you've never heard this before, I'd be curious to know your impressions. To you it may seem odd and quaint, a relic of a distant past. It was part of my culture of growing up and sometimes those impressions can be muddled. I took it for granted and never thought it would be any different.

We live in such interesting times. But nonetheless, it's Christmas Eve and we're almost at the close of another decade. And as with everything in life, it constantly changes and never remains the same.

Enjoy the holidays and thanks for all your support this first year of Newstalgia.

Oh yeah . . .and that too . .(click on the donate button if you can)


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(Clifford Brown - one of the brightest lights in Jazz, gone all too soon)

Something special tonight. A live broadcast from CBS Radio on May 6, 1956 featuring The Max Roach/Clifford Brown Quintet and The Errol Garner Trio performing at The Basin Street in New York.

As I mentioned several months ago in a previous post, the 1940s and 1950s were a heyday for live broadcasting of Jazz throughout the U.S. Almost every night and on almost all the networks, some club or some concert was being broadcast from just about every section of the country.

It's certainly a lost art now. And just to show how significant these live broadcasts were, this particular broadcast was one of the last Clifford Brown did before his untimely death on June 26th of that year, quite possibly the last. I don't know if this has been reissued or has made the collectors circles - that is certainly something Clifford Brown fans will know about.

At any rate - enjoy the moments, around thirty of them.

And don't forget . . .


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(Fernand Oubradous - did for the Bassoon what Landowska did for the Harpsichord)

Fernand Oubradous had a long and celebrated career throughout France and Europe. In addition to his work on Bassoon, he was also an accomplished clarinetist as well as conductor and led his own orchestra in a series of award winning recordings for French Pathe` in the 1950s.

So we're posting something a bit more familiar today - Mozart: Bassoon Concerto K. 191 with Fernand Oubradous, Bassoon and an unnamed chamber orchestra conducted by Eugene Bigot. Recorded in Paris for HMV, June 23, 1936. This particular recording is from Victor set - M-704, as it was released in the U.S.


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("Give Me Your Tired, Your Poor, Your . . . .never mind")

Since debate on the issue of our current Immigration laws should be heating up soon, this may be jumping the gun. But it's never too early to start getting some historic perspective on issues. So this post is about the debate over the McCarran/Walter Immigration Bill of 1952.

The program, American Forum Of The Air, hosted a debate on the bill with Senator Herbert Lehman (D-New York) and Congressman J. Frank Wilson (D-Texas)on May 17, 1953.

Sen. Herbert Lehman: “Aliens already in this country can be apprehended and placed in custody. In some cases they can be deported without even the benefit of a hearing. Mister Blair, the McCarran -Walter Act took over all the worst features of all the immigration laws which have been enacted over the last thirty or forty years. But it added many new provisions that were equally bad and combined the whole structure into a legal code which is anti-humanitarian, anti-foreign and, in the profoundest meaning of the word Un-American. It is a complex law and very difficult to summarize in all of its details. But if we are to keep faith with our American traditions, this law, in my opinion must be completely revised and rewritten.”

Then, as now the subject of our Immigration Laws was the object of much heated debate. In the 1950s, with the Red Scare in full bloom, the fear was mass migration of Communist subversives and assassins - however, then as now there was the racial/ethnic overtone which seems to be really what the debate is always about.

Some of it isn't so subtle.


Before The Berlin Wall - East Berlin Riots of 1953

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(East Berlin 1953 - Getting to be an all-too-familiar image: Rocks vs. Tanks)

As the Cold War trudged on during the 1950s, there were a few uprisings that became wrinkles in the Iron Curtain. One was the East Berlin riots that began in June of 1953. They were quickly joined by other disturbances around East Germany, with a few cities in the Eastern Bloc joining in. They were quickly extinguished but gave the West a glimpse that not all was as it was portrayed to be. As these newscasts from June 17-23rd attest.


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(Birdland on 52nd Street - A hotbed of Jazz activity in the 1950s)

A live set from July 3, 1952 featuring Arnett Cobb and his Orchestra and The George Shearing Quintet at Birdland on 52nd Street in New York.

NBC radio, throughout the 1940s and 50s did weekly live sets from Birdland, as did all the other networks from various clubs and ballrooms around the country. Live music on the radio was a nightly embarrassment of riches with bands, small groups, singers - just about everybody with a union card, getting their 15 to 90 minute musical messages across to millions of interested listeners.

And this was one of those nights.


Video of Anne Frank Shows Up on YouTube


Via Mashable:

The only existing film footage of Anne Frank has been uploaded to YouTube by the Anne Frank House. The Amsterdam museum is hoping to bring attention to Anne’s story and diaries and reach a new generation who may be unfamiliar with her story.

At the 9 second mark in the clip, you can see Anne Frank leaning out of a second-story window as she watches a bride and groom exit a neighboring address. The Guardian reports that the scene dates back to July 22, 1941 and was provided to the museum by the couple in the 1990s.

The story also goes that in the 1950s, once Anne’s diary became public, the couple recognized Anne in their wedding video. So they decided to contact her father, Otto Frank, to whom they gave a 5 second version of the clip.


Nights At The Roundtable - Aime` Barelli - 1954

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(Aime` Barelli - The Kenton/Ellington influence hit big-time)

Aime` Barelli was one of the great trumpeters to come out of the early French Jazz scene. He was part of the ensemble Jazz de Paris in the 1930s and 40s, playing alongside the likes of Alix Combelle, Hubert Rostaing and many of the other pioneering figures in France at the time.

After the war he formed a big band and got into the styles of Progressive Jazz along the lines of Stan Kenton, Boyd Raeburn, Claude Thornhill and Duke Ellington. In the 1950s he continued his wide appeal throughout France and Europe recording a number of albums for the Pathe` label as well as frequent tours through the continent.

This track, Je Ne Sais Pas is from 1954, when the band was at its most popular. Rock n' Roll was just around the corner, but for the moment Aime` Barreli and his orchestra said everything that needed to be said.

And then some.


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(Jazz in Paris in the 1950s - it was definitely happening)

In the 1950s the Jazz scene in France exploded. It was Mecca for visiting Americans and it was a reservoir of French talent that assimilated Modern Jazz and added their own points of view. The studios in Paris were working overtime with sessions featuring a mix of Americans and French sitting in on each others projects.

A lot of talent came out of those sessions - the Algerian born pianist Martial Solal became an international name. Americans like Lucky Thompson, Gerry Mulligan, Kenny Clarke, Dexter Gordon and countless others found enthusiastic audiences and an instant fan base and some even settled in France, making the Paris scene their home.

Typical of the sessions that came out of Paris at that time was one featuring the drummer Gerard Ponchonet leading a quartet that consisted of Martial Solal on piano and Lucky Thompson on Tenor sax and Jean Pierre Sasson on guitar. This track, Undecided is also augmented by Pierre Michelot on Bass and Michel Hauser on vibes. The session was recorded on March 14, 1956 and released on the French Swing label.


Nights At The Roundtable - Jerry Mengo - 1953

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(Jerry Mengo - French bandleader, film composer, prolific recording artist. Doesn't ring any bells?)

Continuing our romp through French Jazz and Big Band - Jerry Mengo was a prolific band leader and film composer who was active for several decades in France. He had massive popularity throughout France and Europe and, like Jacques Helian, was widely regarded by American musicians who visited and worked in Paris during the pre-war and post-war periods.

Sadly, almost none of his material has ever been available in the U.S. and this track Un Ciel Bleu en Hiver, recorded in 1953 is one of the great instrumentals from the early 1950s. It borrows heavily from the Claude Thornhill/Gil Evans-Stan Kenton school, but it's more of a tribute to solid arranging than performing a facsimile.

A good track to break the ice with.