Tag Archives: The Grateful Dead

The Hollywood Blacklist ► Throwback Thursday

According to the Wiki: On this day in 1947 The Screen Actors Guild implements an anti-Communist loyalty oath. 

With the election of racist, xenophobic, and mysoginyst Donald J. Trump, it’s more important than ever to use this as a learning experience, unless we want to repeat it.

The Loyalty Oath came during the Communist Witch Hunts of the ’40s and ’50s, in which both Richard Nixon and Ronald Reagan made their bones. It was the era of Joseph McCarthy. ‘Merkins were being warned that there were Communists under every bed, or inside every pumpkin in the case of Nixon.

The House Un-American Activities Committee ramped up in 1938 to find subversives and Communists in ‘Merka, not that it was illegal to be a Commie. By the next year HUAC issued its “Yellow Report,” which called for the internment of Japanese Americans during World War II.

When the war ended HUAC considered briefly investigating the KKK, but decided against it to go after Commies some more. That led to 9 days of hearings in 1947 on Communist influence in the entertainment industry, most notably Hollywood. Ronald Reagan, who was President of the Screen Actors’ Guild, went before HUAC and, famously, named names.

The Wiki has more:

Many of the film industry professionals in whom HUAC had expressed interest—primarily screenwriters, but also actors, directors, producers, and others—were either known or alleged to have been members of the American Communist Party. Of the 43 people put on the witness list, 19 declared that they would not give evidence. Eleven of these nineteen were called before the committee. Members of the Committee for the First Amendment flew to Washington ahead of this climactic phase of the hearing, which commenced on Monday, October 27.[22] Of the eleven “unfriendly witnesses”, one, émigré playwright Bertolt Brecht, ultimately chose to answer the committee’s questions.[23][24]

The other ten refused, citing their First Amendment rights to freedom of speech and assembly. The crucial question they refused to answer is now generally rendered as “Are you now or have you ever been a member of the Communist Party?” Each had at one time or another been a member, as many intellectuals during the Great Depression felt that the Party offered an alternative to capitalism. Some still were members, others had been active in the past and only briefly. The Committee formally accused these ten of contempt of Congress and began criminal proceedings against them in the full House of Representatives.

In light of the “Hollywood Ten”‘s defiance of HUAC—in addition to refusing to testify, many had tried to read statements decrying the committee’s investigation as unconstitutional—political pressure mounted on the film industry to demonstrate its “anti-subversive” bona fides. Late in the hearings, Eric Johnston, president of the Motion Picture Association of America (MPAA), declared to the committee that he would never “employ any proven or admitted Communist because they are just a disruptive force and I don’t want them around.”[23] On November 17, the Screen Actors Guild voted to make its officers swear a pledge asserting each was not a Communist.

The Screen Actors Guild Loyalty Oath implemented on this date in 1947 continued for decades. Actor and former-SAG President Richard Masur is quoted in 50 YEARS: SAG REMEMBERS THE BLACKLIST as saying:

“When I joined the Screen Actors Guild in 1973, I signed the loyalty oath that, 20 years earlier, the SAG Board of Directors had made a requirement for membership. I never stopped to consider what it was I was signing. It was one in a series of papers I needed to fill out, and I was so eager to join the Guild, I probably would have signed anything they put in front of me. And I did. That’s one of the most frightening legacies of the Blacklist Era: the institutionalization of fear and prejudice.

You see, the Guild Board had not yet removed the loyalty oath from our bylaws. In fact, no action was taken until some new members refused to sign it. Those new members were the rock group The Grateful Dead, and the year was 1967.

Only after The Grateful Dead refused to sign did the Board of Directors reconsider the necessity of a loyalty oath as a precondition for joining a union of artists. Even so, the oath had become so ingrained and institutionalized by that time that initially it could not be entirely eliminated. It was simply made optional. Another seven years would pass before, in July of 1974, a year after I joined, the loyalty oath was finally removed from the Screen Actors Guild bylaws.

That’s right. It was the Grateful Dead that finally broke the back of the Loyalty Oath. Masur continues, as he make amends on the 50th Anniversary of the Oath:

Tonight, the Screen Actors Guild would like to express how deeply we regret that when courage and conviction were needed to oppose the Blacklist, the poison of fear so paralyzed our organization.

Only our sister union, Actors Equity Association, had the courage to stand behind its members and help them continue their creative live [sic] in the theater. For that, we honor Actors Equity tonight.

Unfortunately, there are no credits to restore, nor any other belated recognition that we can offer our members who were blacklisted. They could not work under assumed names or employ surrogates to front for them. An actor’s work and his or her identity are inseparable.

Screen Actors Guild’s participation in tonight’s event must stand as our testament to all those who suffered that, in the future, we will strongly support our members and work with them to assure their rights as defined and guaranteed by the Bill of Rights.

With the ugly hate rhetoric that came out of the Trump campaign, we could do worse than remembering how the Grateful Dead stood up for the First Amendment. And, with Donald Trump about to take the oath of office for POTUS, it’s incumbent on all of us to stand up for Muslims, Immigrants, Mexicans, LGBT communities, and Black folk and not allow the hate to define us.

Let us be defined by who we defend.
The same goes for Trump supporters.

 

The Grateful Dead released their debut LP the same year
they refused to sign the Screen Actors Guild Loyalty Oath.

Richard Berry ► Monday Musical Appreciation

Further Reading:

A Song So Great
They Named It Twice

When the final history of Garage Rock is written, today’s date will be remembered as an important milestone. On this day in 1935 the great Richard Berry was born. Twenty years later Berry would write Louie Louie, one of the most influential and recorded songs in Rock and Roll history.

Berry was born in Louisiana, but moved to L.A. with his family when he was a baby. From all reports he had a difficult childhood; having injured his hip, he was forced to use crutches until he was six. However, he picked up his love of music at a camp for handicapped kids, where he learned how to play the ukulele.

He learned his vocal chops practicing in the hallways of Jefferson High School. Soon he was “singing and playing in local doo-wop groups, recording with a number of them including The Penguins, The Cadets
and the Chimes, the Crowns, the Five Hearts, the Hunters, the Rams, the
Whips, and the Dreamers, an otherwise all-female quartet from Fremont High.[5] He then joined The Flairs (who also recorded as the Debonaires and the Flamingoes) in 1953
,” as the Wiki tells us.

After leaving The Flairs Berry hooked up with Rick Rillera and the Rhythm Rockers, described as a Latin & R&B band. That’s when he got the notion to write Louis Louis. As the Wiki explains:

Richard Berry
was inspired to write the song in 1955 after listening to and
performing the song “El Loco Cha Cha” with Ricky Rillera and the Rhythm
Rockers. The tune was written originally as “Amarren Al Loco” (“Tie up
the crazy guy”) by Cuban bandleader Rosendo Ruiz Jr. – also known as
Rosendo Ruiz Quevedo – but became best known in the “El Loco Cha Cha”
arrangement by René Touzet which included a rhythmic ten-note “1-2-3 1–2 1-2-3 1–2” riff.[3] 

Touzet performed the tune regularly in Los Angeles clubs in the
1950s. In Berry’s mind, the words “Louie Louie” superimposed themselves
over the bass riff. Lyrically, the first person perspective of the song was influenced by “One for My Baby (And One More for the Road)“, which is sung from the perspective of a customer talking to a bartender (Berry’s bartender’s name is Louie).[4] Berry cited Chuck Berry‘s “Havana Moon” and his exposure to Latin American music for the song’s speech pattern and references to Jamaica.[5]

Crank it up and D A N C E ! ! !

Louie Louie might have remained in obscurity as the B-side to “You Are My Sunshine” by Richard Berry and the Pharaohs, on Flip Records, had it not been discovered by Tacoma singer “Rockin’ Robin Roberts” who recorded his cover version in 1960, using his band The Wailers [no relation], aka the Fabulous Wailers. It includes the ad lib “Let’s give it to ’em, RIGHT NOW!!” and, while it was a local hit, it sank without a trace when re-released for the national market.

In 1963 a Portland, Oregon band named The Kingsmen decided to make it their second single, after “Peter Gunn Rock.” The tune was arranged by bandmember Jack Ely. Again, Wiki knows all:

The Kingsmen’s lead singer Jack Ely
based his version on the recording by Rockin’ Robin Roberts with the
Fabulous Wailers, unintentionally introducing a change in the rhythm as
he did. “I showed the others how to play it with a 1–2–3, 1–2, 1–2–3
beat instead of the 1–2–3–4, 1–2, 1–2–3–4 beat that is on the (Wailers)
record”, recalled Ely. The night before their recording session, the
band played a 90-minute version of the song during a gig at a local teen
club.

[…]The Kingsmen transformed Berry’s easy-going ballad into a raucous romp,
complete with a twangy guitar, occasional background chatter, and nearly
unintelligible lyrics by Ely.[18] A guitar break is triggered by the shout, “Okay, let’s give it to ’em right now!”, which first appeared in the Wailers version,[19]
as did the entire guitar break (although, in the Wailers version, a few
notes differ, and the entire band played the break). Critic Dave Marsh
suggests it is this moment that gives the recording greatness: “[Ely]
went for it so avidly you’d have thought he’d spotted the jugular of a
lifelong enemy, so crudely that, at that instant, Ely sounds like Donald
Duck on helium. And it’s that faintly ridiculous air that makes the
Kingsmen’s record the classic that it is, especially since it’s followed
by a guitar solo that’s just as wacky.”[20]

The Kingsmen’s cover of Louie Louie probably would have been a hit in any case, but the persistent, and widely believed, rumours that the lyrics were dirty probably didn’t hurt. Even the FBI was fooled, launching an expensive investigation into The Kingmen, the record company, and the radio stations that played it. I tell that story in A Song So Great They Named It Twice, which was based on my reading of Dave Marsh’s wonderful book with the unwieldy title: Louie Louie; The History and Mythology of the World’s Most Famous Rock ‘n Roll Song; Including the Full Details of Its Torture and Persecution at the Hands of the Kingsmen, J. Edgar Hoover’s FBI.

Incidentally, despite there being THOUSANDS of cover versions of his tune, Berry didn’t make a penny off of them. He sold the rights to Louie Louie in 1959 for $750 to pay for his wedding. Luckily, he eventually did start to realize a fairly good chuck of change later:

In the mid eighties Berry was living on welfare at his mother’s house in South Central L.A.. Drinks company California Cooler wanted to use “Louie Louie” in a commercial,
but discovered they needed Berry’s signature to use it. They asked the
Artists’ Rights society to locate him, and a lawyer visited Berry. The
lawyer mentioned the possibility of Berry taking action to gain the
rights to his song. The publishers settled out of court, making Berry a
millionaire.[8]

Garage Bands around the world celebrate today as International Louie Louis Day.

Okay, let’s give it to ’em 12
times right now! Me gotta go!












Musical Appreciation ► Bob Weir

DATELINE October 16, 1947 – Robert Hall Weir is born in San Fransisco, California and grew up in nearby Atherton, on the other side of the bay, with his adopted parents. He picked up the guitar at the age of 13. Three years later, on a New Year’s Eve, he followed the sound of banjo playing to meet Jerry Garcia for the first time. After jamming all night they decided to form a band. At first they called themselves “Mother McCree’s Uptown Jug Champions,” which became “The Warlocks,” and finally “The Grateful Dead.”

There is no ‘Merkin band with the same storied romance between its fans and the group. Long before most people even knew about Bootleg recordings, The Grateful Dead would allow fans with tape machines to plug directly into the sound board. Dead Heads would follow the band around the country, and across the world, to take in as many shows as they could. An entire culture grew up outside Grateful Dead concerts, not to mention inside the shows.

While with The Dead, and after the death of Garcia in 1995, Weir also performed with such bands as Kingfish, Bobby and the Midnites, RatDog and his latest band Further, which is named after the bus used by Ken Kesey and the Merry Pranksters, where the Grateful Dead got their start, and the subject of The Electric Kool-Aid Acid Test, one of Tom Wolfe’s early books.

However, it will always be about the music.

ENJOY!!!