Denise Sullivan

Author, Journalist, Culture Worker

The King of Love

“Somewhere I read of the freedom of assembly. Somewhere I read of the freedom of speech. Somewhere I read of the freedom of the press. Somewhere I read that the greatness of America is the right to protest for right,” said Dr. King in his final speech, delivered on April 3 to striking sanitation workers in Memphis, Tennessee.

The following day, April 4, the civil rights leader, winner of the Nobel Peace Prize, and beloved hero to millions around the world, was shot to death on the balcony of the Lorraine Motel.

Fifty years later, the work of non-violent protest in the name of desegregation, voting rights, racial harmony, jobs, freedom, opportunity, and an end to wars, is carried on by an international community of civil rights advocates and human rights and anti-war activists. Here in the US, in this fiftieth year since the assassination, we have perhaps more than ever felt the effects of the long term absence of a movement leader the likes of Dr. King. The world remembered him today. But what of the other 364 days of the year? If only we heard the kind of programming we heard all day today during the rest of the year…

Among the musical tributes in response to the tragedy were Dion’s popular “Abraham, Martin and John,” Otis Spann’s less-known “Blues for Martin Luther King,” and Nina Simone’s version of the enduring and emotional “Why (The King of Love is Dead),” first performed in his memory on April 7, 1968, the national day of mourning following the assassination.

For further reflection on Dr. King’s message of love, please start with the The King Center archives, dedicated to the non-violent eradication of poverty, racism and violence.

 

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Filed under: anti-war, Arts and Culture, Dr. Martin Luther King Jr., , , , , , , , , ,

The ’70s Jesus-Rock Boom and the Resurrection of a Superstar

In light of this year’s revival of Jesus Christ Superstar (to be broadcast on live TV Easter Sunday, starring John Legend in the title role) I’m re-posting this piece which I wrote about 10 years ago on the ’70s Jesus-rock boom the Andrew Lloyd Webber and Tim Rice concept album had a hand in creating.

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In 1969, Norman Greenbaum had a worldwide hit and US #3 record with “Spirit in the Sky.” Greenbaum sold over two million copies of the single in which he claimed he had a “friend in Jesus,” never mind he was Jewish. “Spirit in the Sky” was not the first or the last time Jesus hit the charts, but its success marked the unofficial beginning of a Jesus movement in and outside of rock in the ’70s that impacted the popular arts, from Broadway to Bob Dylan.

Partly a reaction to the hippie culture and also a part of it, the Jesus people, or Jesus freaks, as they were proudly known within their movement, generally sought to return Christianity to its origins. The seeds of today’s Christian right as well as its progressive left-wing were both sown in the loosely established communities/communes, and in some cases cults, which sought to throw off religious strictures as well as its staid music. Ironically, the so-called devil’s music conservatives railed against is massively marketed today as Contemporary Christian Music (CCM), a major tool to keep young people interested in faith, though that isn’t the subject of this post. Rather, this is an overview of the songs sung by generally secular rockers who went sacred at the height of the Jesus music movement of the ’70s, a 10-year period bookended by ’69’s “Spirit in the Sky” and “Gotta Serve Somebody” (1979, the last time Dylan had a high-charting single at #24).

In 1966, John Lennon joked the Beatles were bigger than Jesus and caught hell for it, though by the time he invoked Christ’s name and sang of his own crucifixion in 1969′s “The Ballad of John and Yoko”, all was forgiven and only a few outlets banned it, branding it sacrilegious.  By the end of the year, the Beatles were all but said and done, and it was the Quiet One who revealed himself to be the spiritual seeker of the group. Sporting a look that was rather Christ-like, George Harrison spent four weeks at #1 in the US and five weeks at #1 in the UK at the end of 1970 and the beginning of 1971 with “My Sweet Lord,” the song that kicked off a kind of Jesus-mania in ’70s rock.

Speaking to his Krishna consciousness, while throwing in a couple of hallelujahs, Harrison was famously accused of copping the “doo-lang” backgrounds from the Chiffons’ “He’s So Fine” (a song about a boy which has been known to double as a spiritual). And yet, Harrison disavowed the influence, claiming his inspiration came from “Oh Happy Day”, a top five 1969 hit for the Edwin Hawkins Singers. “Oh Happy Day” grew from a Northern California gospel choir’s homemade record derived from an English hymn dating back to the 18th Century (Spiritualized also revived “Oh Happy Day” in the late 20th Century).

Gospel music had been rocking souls since at least the 18th century in the Americas, where African rhythms joined field, work, and folk songs, to old hymns from the British Isles, and made way for a new form of expression giving voice to the inner lives of the oppressed. In his book People Get Ready! A New History of Black Gospel Music, author Robert Darden speaks to the theological ideas and arguments behind the music:  By evoking a more powerful spirit, gospel-inspired music served to fight the demonic institutions of slavery and Jim Crow law. The 20th Century story of how church singers like Aretha Franklin, Sam Cooke, Curtis Mayfield, and more turned gospel into soul is among the greatest stories in music history ever told, as is the origin story of the blues, a music where heaven and hell, and Jesus and the devil, go head to head regularly. Rock ‘n’ soul were built on this gospel and blues foundation and remain inextricably intertwined, their resonances in rock proving to be everlasting (I write about gospel, blues, soul and music’s connection to people’s liberation extensively throughout this site and in my book, Keep on Pushing).

Here’s an example of how a song traveled in the Year of Our Lord, 1971, a big one for Jesus and his greatest hits: In May, Gene MacLellan’s song “Put Your Hand in the Hand,” the title song from the debut album by Canadian rock group Ocean, became a million-seller and high-charting Billboard hit (I’ve seen it listed as a #2 as well as #3). The song was originally cut by Anne (“Snowbird”) Murray and went on to be recorded by Jesus-loving artists from Elvis Presley to Loretta Lynn. “Put Your Hand in the Hand” hearkens back to the first gospel song to score a number one crossover hit: “He’s Got the Whole World in His Hands,” as done by Laurie London in 1958. Mahalia Jackson—gospel’s reigning queen of soul during the civil rights era—would also put the song in Billboard’s Top 100. The Jesus rock of Ocean did not turn out to be quite as enduring or memorable, though the Jesus music movement continued to gain momentum in the ’70s thanks to, well, Jesus, and the 1970 Andrew Lloyd Weber and Tim Rice album project turned hit Broadway play bearing his name.

In May of 1971, songs from Jesus Christ Superstar with Ian Gillan (Deep Purple) in the role of Jesus were also making their way to the charts. Murray Head (as Judas) and his version of “Superstar” were sitting at #20 and peaked at #14 in the US in June. Another song from the show, “I Don’t Know How to Love Him,”  the “Him” being Jesus, and the “I” being Mary Magdalene (as sung by Yvonne Elliman) rose to #28, also in 1971.

Even the Rolling Stones got into the Jesus spirit that year: After the darkness that marked Altamont, they traded “Sympathy for the Devil” for when the Lord gets ready  andYou Got To Move” by Mississippi Fred McDowell (from their Sticky Fingers album). Here’s a clip of them in 1975 performing it with Ollie Brown and Billy Preston joining on vocals.

In 1972, the gospel-based Staple Singers busted the crossover charts with Be Altitude, featuring the hits, “I’ll Take You There,” “Respect Yourself,”  and the lesser-known “Who Do You Think You Are (Jesus Christ the Superstar)?”

In 1972, the Off-Broadway play, Godspell, scored a hit off its original cast album with “Day By Day” which went to #13 on the pop charts. Following the West End success of Jesus Christ Superstar in 1973 it was turned into a hit film, directed by Norman Jewison. Here’s a clip of Carl Anderson in the role of Judas, rockin’ the Jehovah out of the title song, followed by Murray Head’s chart hit version.

Curiously, it’s another Norman—not Jewison nor Greenbaum but Larry—who is widely considered to be the godfather of the aforementioned contemporary Christian rock. Bob Dylan followed his work, and the Pixies’ Black Francis grew up on it. A bit of a wild card, Larry Norman is generally well-regarded as an artist, remembered as a risk-taker, an experimentalist, and an iconoclast who didn’t cotton to the status quo in rock or Christian music. Also contributing to the coalescence of contemporary Christian music was Explo ’72, a festival concert that gathered over 75,000 young Jesus people in Dallas to see Johnny Cash, Kris Kristofferson, Larry Norman, and gospel artist Andrae Crouch for a kind of “religious Woodstock,” so-called by the Reverend Billy Graham, who was in attendance. According to author Andrew Beaujon’s book Body Piercing Saved My Life: Inside the Phenomenon of Christian Rock, Explo set in motion the beginnings of the contemporary Christian music industry. Soon after, specialty labels formed, and the contemporary Christian music market was born to boom. “Why Should the Devil Have All the Good Music” was Norman’s answer to conservatives, who thought rockin’ for Jesus was not in concordance with the road to salvation. Though surely as the Jesus rockers were dismissed from the inner sanctum of evangelical Christiandom, they had also impacted the sound of church hymns too: Catholic mass went “folk” in the ’70s and some of those freshly arranged hymns remain in church repertoire today.

In 1972, Rhodes Scholar Kris Kristofferson sang “Jesus Was a Capricorn” on the album of the same title. He didn’t stay a Jesus rocker for long, though he had a definite claim in Jesus, given he was named for him—twice. “Morning Has Broken”, a Top 10 Cat Stevens hit in 1972, was based on the Gaelic hymn “Bunnesan” that’s been sung in churches as “Morning Has Broken” since at least 1930s. The Englishman of Greek origin has long since converted to Islam, first as a non-singer, now singing again. “Jesus is Just Alright” as covered by the Doobie Brothers was also a chart hit in 1972, though the Byrds had already recorded the Art Reynolds song in 1969.

Though by far, the biggest news in Jesus rock of the ’70s was Bob Dylan’s conversion to Christianity. Before developing his own distinct song style in the mid-‘60s, his lyrics vigorously opposed to injustice, Dylan had started out his career adapting old spirituals for his own form of protest song. By the mid-‘70s his Rolling Thunder Revue was as devoted to seeking justice for falsely accused prisoner Ruben “Hurricane” Carter as it was to an excessive rock ‘n’ roll lifestyle. Following that harrowing passage, Dylan, in characteristic retreat mode, embraced Christianity. Born again, he cut two gospel albums, 1979’s Slow Train Coming and Saved (1980) produced by self-proclaimed Jewish atheist, Jerry Wexler.

“Gotta Serve Somebody” from Slow Train Coming won the Best Male Rock Vocal Grammy and has since been covered by gospel artist Shirley Caesar, blueswoman Etta James, Neville brother Aaron, Texas troubadour Willie Nelson, marvelous Mavis Staples, and Hammond B-3 giant Booker T. with the M.G.’s. while John Lennon (“Serve Yourself”), and Devo (undercover as a Christian rock act, Dove) famously parodied it. At the time of recording, Dylan was pilloried: His 14-night stand at San Francisco’s Warfield Theater in 1979 featured nightly picketers stationed outside the theater. The reviews were radically divided. On 1981’s Shot of Love, Dylan answered some of his critics on songs which mixed secular and sacred and yielded at least one of his most enduring spiritual works, “Every Grain of Sand.”

In part owed to the controversy inspired by Bob Dylan’s gospel period, some believers choose to keep distinctly sacred references to Jesus out of their songs while others use his name as an invocation. Dylan faithful Patti Smith famously opened her rendition of “Gloria” with the line, “Jesus died for somebody’s sins but not mine”; she titled a song and an album “Easter”, while “Ghost Dance” features the holy incantation, “we shall live again.” Her friend and collaborator Robert Mapplethorpe’s Catholicism left its fingerprint on her; she continues to be inspired by poet and artist William Blake whose portraits of the divine move beyond confines of religious dogma.

Punk and alternative rock depictions of Jesus are not unheard of: Joey Ramone sang “I’m Not Jesus”, and Jesus rode beside Paul Westerberg in “Can’t Hardly Wait”, while a rather unholy trinity of bands, the Jesus and Mary Chain, the Jesus Lizard, and Jesus Jones all named themselves after the big man. Flaming Lips, Ministry, and Spacemen 3 have got their Jesus songs too; they are but a small sample of alterna-Jesus references. Indie rock has its share of artists like Pedro the Lion and Sufjan Stevens whose Jesus-inspired work stays more on the downlow, like that of U2, Bruce Cockburn, Moby, Midnight Oil, Polyphonic Spree, and Lambchop: All make allusions to JC and Christianity while enjoying success in the secular world.

In hip hop, the Lord’s name is occasionally given a shout-out, but none took on Jesus better than Kanye “Yeezus” West whose 2004 single, “Jesus Walks” dared to speak of the very subject we’re talking about: With the Jesus movement in rock long in decline, to sing about him was often considered the equivalent of career suicide, yet West’s success was an exception. “Jesus Walks” peaked at #11 Pop and #2 R&B, sold over half a million copies, and was certified gold.

In 2008, the gospel songs of Dylan were compiled by the music’s greatest stars on Gotta Serve Somebody. The career of gospel songstress Mavis Staples has achieved a full-blown rock revival and continues to grow stronger following her contemporary albums produced by Ry Cooder and Jeff Tweedy. Southern California roots band Dead Rock West revived the Staples classic, “This May Be the Last Time” (the song the Rolling Stones borrowed for “The Last Time”), alongside works by Blind Willie Johnson and the Jesus and Mary Chain on their gospel-inspired collection Bright Morning Stars. Though the charts may never again see the high number of Jesus jams the ‘70s saw, if you’ve got the time to seek, you’ll find plenty more from where these came.

Happy Easter to all Jesus rockers, readers, and to people of all faiths: May your spirit be refreshed as you continue in the struggle for peace and justice (A version of this column originally ran in Crawdaddy! as The Origin of Song and appears elsewhere on this site annually).

 

Filed under: anti-war, Arts and Culture, Gospel, , , , , , , ,

SF Lives: A New Column By Yours Truly

Stacks of the newest edition sit on the steps of San Francisco Bay View newspaper newsroom. (Emma Marie Chiang/Special to the S.F. Examiner)

I wanted to wait until we had a couple of editions under our belts to let my readers know I’m writing a bi-weekly column for The San Francisco Examiner called SF Lives.

My intent is to bring you news of everyday people who are leading extraordinary lives despite living under pressure in the most expensive city in the United States.  Many of us feel despair, as if we are underwater, unable to cope with the realities of the changing tides in our much-fabled and beloved city. Things are not always what they seem, especially to those of us who were born here and hold close The City’s secrets, legends, and sometimes myths and lies. Long term residents and newcomers alike are feeling the heat, but there are people among us who carry a torch for what we call “the old San Francisco.”  They bear the weight of upholding our city’s heavy reputation for innovation and iconoclasm with a humane touch:  They are the doers, and they are often the rulebreakers. They are definitely the unsung and they are the keepers of the spirit and soul of San Francisco now.

The SF Lives column is a small attempt to unpack the clashing ideas and ideals here, and to offer a glimmer of light in these dark times.  I’m not entirely sure where we’ll end up, but I hope you’re up for taking the trip with me.  If you’re interested in tuning in, follow the links to the first three columns now posted online: Mayoral candidate, Amy Farah Weiss; the couple behind The Bay View Newspaper, Mary and Willie Ratcliff; filmmakers Sophie Constantinou and Tamara Walker. As ever, I’m happy to hear your thoughts on the column and I appreciate your readership.

Filed under: California, column, gentrification, San Francisco News, ,

Rosa Parks Meets The Neville Brothers

rosa_parksFebruary 4 is the birthday of Rosa Parks, the rebellious civil rights activist remembered most for refusing to move to the back of the bus: The Montgomery Bus Boycott, in the name of the desegregating public transit, was organized immediately following her arrest on December 1, 1955.

Born Rosa Louise McCauley in Tuskegee, Alabama in 1913, Parks was a student of non-violent protest and an active member of her local chapter of the NAACP in Montgomery. The story of her investigation into the rape of Recy Taylor in 1944  has recently come to light: it’s just one example of the kind of work she was doing with the NAACP  long before that day on the bus.  But her refusal leave her seat was not part of any kind of group action or occupation—she held her seat on her own steam–though she knew her rights,  the protocol for civil disobedience, and the possibility of taking an arrest.  In the immediate aftermath of sitting down for racial equality and desegregation, far from receiving any heroine’s awards, Parks paid a price for asserting her right to ride. She could no longer find work in the Montgomery area; she and her husband Raymond moved north, eventually settling in Detroit where she worked the better part of her life as a secretary for US Representative John Conyers.

Parks would one day receive the highest honors in the land– from the NAACP’s Spingarn Medal, to the Presidential Medal of Freedom (awarded to her by President Bill Clinton), and the Congressional Gold Medal. A new political biography of Parks details a life dedicated to seeking justice, from the Scottsboro Boys case to the anti-apartheid movement.

Parks remained particular and protective of her legacy:  She slapped legal actions on filmmakers and recording artists who wished to use her name and likeness, though “Sister Rosa,” a tribute to her by New Orleanians the Neville Brothers, was cleared to appear on their 1989 album, Yellow Moon.  Produced by Daniel Lanois, and accompanied by The Dirty Dozen Brass Band and Brian Eno for the sessions, Yellow Moon is an exceptional record. The band transforms two Bob Dylan songs (“With God On Our Side,” “The Ballad of Hollis Brown”), the Carter Family classic “Will the Circle be Unbroken,” Sam Cooke’s civil rights anthem, “A Change is Gonna Come,” and Link Wray’s “Fire and Brimstone” (title self-explanatory, taken from the guitarist’s obscure and brilliant 1971 album). Standing alongside the Neville Brothers’ bayou-fired originals, “Sister Rosa” is their attempt at rap.

For more information on Rosa Parks, visit the Rosa and Raymond Parks Institute.  For more information on the Neville Brothers, visit their website.

Filed under: Arts and Culture, , , , ,

The Last Holiday: On Stevie Wonder, Gil-Scott Heron and the MLK Observance They Turned From Dream to Reality

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It was a long road to the third Monday in January when all 50 states observe the birth of Martin Luther King, Jr. and the day named in his honor.  Largely owed for making the dream of a King holiday a reality is Stevie Wonder, who back in 1980, wrote the pointed song, “Happy Birthday,” then launched a 41-city U.S. tour (and invited Gil Scott- Heron along) to promote the idea which was first mooted by Rep. John Conyers in 1968. The musical efforts were ultimately the key in collecting the millions of citizen signatures that had a direct impact on Congress passing the law signed by President Ronald Reagan in 1983, declaring a day for MLK. Observed for the first time in 1986, some states were late to the party, however, by the turn of the 21st Century, all were united in some form of remembrance of the civil rights giant. “Happy Birthday,” which served as the Wonder-campaign theme (and is now the “official” King holiday tune) is  the last track on Hotter Than July. The album also features “Master Blaster,” Wonder’s tribute to Bob Marley (he’d been scheduled for the tour until he fell too ill to participate). Stepping into the breach was Scott-Heron whose 2011, posthumously published memoir The Last Holiday, details his own journey with music and activism, and helps retrace the long and winding road Wonder took to bring home the last US federal holiday, with the help of a song.


The Hotter Than July tour brought Gil and Stevie to Oakland, where they played in the name of King, along with Rodney Franklin and Carlos Santana. In a weird turn of events, the concert on December 8, 1980, coincided with the shocking night John Lennon was killed. The musicians and crew learned of the tragedy from a backstage television; the job fell to Wonder,  with Scott-Heron and the other musicians at his side, to deliver the news to the arena of assembled music fans. “For the next five minutes he spoke spontaneously about his friendship with John Lennon:  how they’d met, when and where, what they had enjoyed together, and what kind of man he’d felt Lennon was,” wrote Scott-Heron.  “That last one was key, because it drew a line between what had happened in New York that day and what had happened on that motel balcony in Memphis, Tennessee, a dozen years before.  And it drew a circle around the kind of men who stood up for both peace and change.”  This year marks the 50th remembrance of Dr. King’s assassination on April 4. Scott-Heron devotes the final pages of The Last Holiday  to a remembrance of how the murder of Lennon fueled the final drive to push for a federal observance of an official MLK Day.

The politics of right and wrong make everything complicated

To a generation who’s never had a leader assassinated

But suddenly it feels like ’68 and as far back as it seems

One man says “Imagine” and the other says “I have a dream”

Filed under: anti-war, Arts and Culture, Black Power,, Civil Rights, Dr. Martin Luther King Jr., Georgia, income disparity, racism, , , , ,

Happy Xmas

Some time in New York City, 1971, John Lennon and Yoko Ono came up with a Christmas song for the ages, its subject peace on earth during wartime, its melody extraordinarily similar to “Stewball,” a hoary folk song about a racehorse. Behind its veil of bluegrass, “Stewball” has deep roots plus class and race resonances, but only a tangential connection to the “Happy Xmas” song (if you’ve got the time to delve into these matters, there’s more where this came from, including clips and further linkage).

In his final major interview, Lennon explained, “‘Happy Christmas’ Yoko and I wrote together. It says, ‘War is over if you want it.’ It was still that same message—the idea that we’re just as responsible as the man who pushes the button. As long as people imagine that, somebody’s doing it to them and they have no control, then they have no control.” Lennon and Ono had used the slogan “War Is Over! (If You Want It)” in their 1969 billboard campaign that sold peace to the people just as aggressively as consumer goods and war were promoted in the public sphere.

Recorded in October at the Record Plant and assisted by producer Phil Spector, the Plastic Ono Band (who for this session included Jim Keltner, Nicky Hopkins, and Hugh McCracken) were joined by the children of the Harlem Community Choir (they sing, “War is over if you want it”). The single was released in the US on December 6th and held until the following November of 1972 for release in the UK.

Spector’s influence is clearly a presence—you can hear his signature claustrophobic effects, similar to those on the Paris Sisters’ “I Love How You Love Me” and the Teddy Bears’ “To Know Him Is to Love Him.”  But there is another ghost of rock and roll past in the room: The song borrows the feeling and the melody of “Pledging My Love” by Johnny Ace, a well- known Lennon favorite.

As for the slogan War is Over, the Doors had previously  used it in their 1968 anti-war song, “Unknown Solider” as had W.S. Merwin in his anti-Vietnam poem, “When the War Is Over,” published in 1967.  “Happy Xmas” bears traces of all the aforementioned melodies and influences, in addition to their somber moods, along with the note-for-note cadence of “Stewball.” Opening with a whisper to their children from whom they were estranged at the time (“Happy Christmas Kyoko, Happy Christmas Julian”), the lyrics open with a rather pointed question (“And so this is Christmas, and what have you done?”) and wishes for a better world to follow. All is forgiven by the final uplift.

As most readers know, Spector is currently serving time in a California state prison for using a firearm to murder Lana Clarkson. Legend has it Johnny Ace shot himself by accident, and the persecution of peacenik Lennon as well as his end have been well-documented. Ono continues to work for peace and against gun violence.  The song “Happy Xmas (War Is Over)” itself has inspired many covers,  none of them worth mentioning, and at least one (Billy Bob Thornton) worth calling out as being unmentionable. The only version worth a bleep I’ve ever heard is the original:  It just might be the best rock’n’roll song to capture the spirit of Christmas.

If, after reading this and enduring the year we’ve shared, you’re seeking something a bit cheerier, I’ve included a clip of “Run Rudolph Run” by original rock ‘n’ roller Chuck Berry—yet another Lennon-inspirer who we lost in March of this year. Consider it a seasonal gift: Merry Christmas Everybody, and God Bless Us, Everyone.

Filed under: anti-war, Arts and Culture, Jim Morrison, Roots of Rock'n'Soul, , , , , ,

Country Music On The Move

Sometimes inspiration comes from the unlikeliest of sources.  Country music, for example, is not the kind of music I generally turn on when seeking comfort, enjoyment, or consolation. You might say I’m not a big fan. I will admit I’m slightly allergic to the sound of fiddles, banjos, mandolins, or anything that twangs.  That all said, when the lyrics are really saying something and the artist is using their notoriety to make change, I’m all ears.  In this month’s column, we celebrate Sturgill Simpson, Keith Urban, and the other country music artists who’ve decided enough is enough: These musicians are taking a stand against gun violence, misogyny, racism, and the other ills of our nation in decline. Read the entire story at Tourworthy.

Filed under: Arts and Culture, column, Protest Songs, Women's rights, , , ,

Your Golden Sun Still Shines, an anthology of San Francisco writing, now available

Your Golden Sun Still Shines, the new collection of San Francisco stories I edited for Manic D Press is now available at independent bookstores everywhere (and directly through the publisher’s website).  I had a most gratifying experience working with all of the writers I invited and eventually selected for inclusion in the book: Part of the process for me was connecting with each individual’s writing style and finding my own voice as an editor. I found I really enjoyed the whole process, especially working one on one with fellow writers and San Franciscans and learning more about their stories. Together, we compiled what I hope is an enjoyable portrait of the City in the here and now, with flashes of the past and future added for context and your reading pleasure. Here’s a snippet from the blurb:

This collection of uniquely San Francisco stories from a wide range of voices wrests wisdom from chaos and channels boundless progressive energy into lyrical short stories and personal narratives, demonstrating that grace and resilience under pressure are as much a measure of San Francisco’s legacy as they are a determination of its future.

We had a wonderful book launch event in October at our annual literary festival Litquake. As we continue to do readings throughout this fall, winter and next spring, we hope you’ll join us (our next event is on November 12 at Adobe Books in San Francisco at 4 PM:  Featured readers are Tony Robles, Shizue Seigel and Norman Zelaya.  All three writers are also poets and fiercely proud San Franciscans whose work shares that special ingredient, “friscosity”).  On November 19 at 4 PM, San Francisco poet laureate Kim Shuck, Kelly Dessaint, Broke-Ass Stuart, Alvin Orloff, Shizue Seigel and I will be in discussion at City College San Francisco for the Howard Zinn Book Fair. The remaining contributors to the collection include Dee Allen., Jorge Tetl Argueta, Peter Case, Patsy Creedy, Stefanie Doucette, Lynell George, John Goins, E. Hagan, Michael Koch, Raluca Ioanid, Sylvia J. Martinez, Alice Elizabeth Rogoff, Don Skiles, Anna Maria Smith and Barbara Stuaffacher Solomon. I have nothing but love and respect for all of the writers, and I truly appreciate their efforts to make Your Golden Sun shine.  Please drop us a line and let us know what you think of our book.  And I’ll keep you posted on upcoming appearances and news here, too.  Thank you!

Filed under: Arts and Culture, Book news, Books, San Francisco News, Tales of the Gentrification City, ,

Remembering Tom Petty

Tom Petty was born today in 1950 in Gainesville, Florida.  He died suddenly earlier this month at home in Los Angeles.

Like countless rock ‘n’ roll fans of my generation, I loved the music of Tom Petty and the Heartbreakers from the first notes I heard.  I saw the band perform countless times in every decade they worked, from an early band show at the Santa Cruz Civic Auditorium, to an intimate gig at McCabe’s Guitar Shop, where Petty and guitarist Mike Campbell sat in with J.J. Cale.  The Heartbreakers and their leader made it look easy, in the way that only musicians who are of one mind do: The mastery of their musicianship and its intensity, particularly over the three nights I saw them during their historic Fillmore run, remains burned in my consciousness. When I call up the memory, I can feel the room levitate as it did each night during “Runnin’ Down A Dream.” Not every concert is like that.

This month’s column is dedicated to the music and memory of Tom Petty with a focus on his quiet work as a philanthropist, and not so quiet work as a rock ‘n’ roll giant.  READ THE WHOLE ARTICLE at Tourworthy.

 

Filed under: Obituary, rock 'n' roll, Rock Birthdays, , , ,

Peace Punks, Hate Speech & Berkeley

Green Day at Gilman, photo by Murray Bowles

In 1988, the peace punks who congregated at 924 Gilman Street in Berkeley, California, had a choice to make: To meet encroaching skinheads with violence or to fight back with the tactics of non-violence. Choices were made, the inevitable schisms from within ensued, and life went on, as the new documentary, Turn It Around: The Story of East Bay Punk, tells. While the story and other tales of punk rock glory illustrate punk’s inherent contradictions and what happens when utopian ideals like egalitarianism and rule-by-committee are put to the test, the film is also in perfect synch with the hate speech controversy happening on the UC campus this fall.

“The film played in Charlottesville a few weeks back,” explained its director, Corbett Redford. “Someone from the audience commented, ‘This is how allies work. Allies stand up.’”

The punks of Gilman, far more of them straight, white, and male than queer, people of color, or women, did indeed stand up to the Nazi strain in their midst. And yet, the politics of waging peace and the how music fits into those politics is often more nuanced and complicated than taking up of pitchforks, tiki torches, or baseball bats.

READ THE WHOLE STORY AT DOWN WITH TYRANNY!

Filed under: Arts and Culture, film, Punk, , , , , ,

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