Archives for category: 70s

Throughout this post, I refer to Synanon. Synanon was a drug and alcohol rehab community which turned into a commune and later into something more militaristic and cult-like. The years I lived there were in between these latter two phases. I have friends who were there much later and have very different feelings and memories of the place. These recollections are entirely my own.

By the time I was seven years old, I’d lived in four places: the apartment on Balboa Island where my parents lived when I was born; the house in Fullerton they bought shortly after; an apartment, also in Fullerton, where my mom moved with me and my sister after leaving my father; an apartment in Santa Monica close to the one my father had taken. By the middle of second grade, I’d attended at least three different schools. And then my father moved into Synanon with me.

And that was my world turned upside down. I already knew one boy in Synanon, but I hadn’t spent any time in the community the way my parents had, given that they were both members of the Synanon Game Club. (One explanation of the game can be found here. It’s not great, but it’s a start.) Over the first year and a half I lived there, I saw my mother not much more than six or seven times that I recall. I moved in in November, 1974 but my mother and sister didn’t move in until the following February. She met my stepfather and they married in November, 1975 and left the community the following July. I think. I conflate hearing that they’d left with Bicentennial-related information. After they left, I recall maybe two visits of four or five days each to stay with them in Santa Monica.

My father and stepmother married in the big Synanon wedding in 1976 and stayed through September or October, 1977. I’m not sure how precisely it happened, but my mother succeeded in gaining custody of my sister and me. My father and stepmother left so they’d be able to see us.

The thing is, my stepmother had been in Synanon a lot longer than my dad or mom. My parents had only been away from friends and family for two or three years. I’m pretty sure my stepmother had lived in Synanon for about ten. She didn’t have, as far as I can recall, any real connections outside. Her dad lived in Monterey, I think, but I never met him. Leaving, I think, must have been at least as big a shock for her as going in was for me. I go through periods sometimes of trying to figure out what happened to all of us at the time. I was only ten when we left, and in the year before, there had been a couple of serious traumas. My father’s father had died in New York. I don’t remember if he was able to attend the funeral. He and my stepmother had a daughter who was born with a some major congenital defects and died at the age of 8 months. That would have been Spring, 1977. I think.

Synanon had a really strange relationship to both children and to emotions that weren’t sanctioned anger. (Anger that was sanctioned included the Game, but wasn’t limited to it.) I don’t think either my father or stepmother were able to work through what they experienced in such a way that would lead to healing, as we define it now. And once outside of Synanon, my stepmother didn’t have the support network that was the Synanon family, dysfunctional as it was.

Synanon’s successes in the rehab sphere had a lot to do with emotional abuse. For addicts, a scared straight way of life proved very effective. Later on, the powers that be in Synanon thought this would be an equally effective toolbox for childrearing, to the point that the person who led the school for two of my three years learned what he knew as a drill sergeant in the army. Most of the abuse I suffered there was emotional. Some was physical. What might have been the defining moment of my time in Synanon wasn’t meant to be either, I don’t think. The property the school was located on had a reservoir with a deck. Note: Teachers in Synanon didn’t actually have a pedagogical background. Synanon prided itself on employing people in areas outside of their fields of expertise. Unless your field was lucrative. My father continued to work as an attorney. Doctors continued to work as doctors.) On a visit to the reservoir, one of the teachers asked why I wasn’t swimming. At age 9 or so, I’d never learned. He picked me up to throw me in the water. It was not shallow and I screamed blue murder. He put me down after what seemed a very long time.

Having my butt paddled in front of my schoolmates for being tardy, which happened quite a few times, was not as hard for me to deal with at the time as those minutes at the reservoir. I don’t remember anything else about that day.

Most of what happened after in my immediate family relationships resonates from those jolts of moving into and out of the commune and the various forms of grief we were never able to experience.

In the eight years after Synanon, I lived in four places before moving to San Francisco for university. Each of the four years at San Francisco State, I lived in a different place. I moved nine times between 22 and 35 (and was also married and divorced). At 35, I moved to Prague.

I don’t know if all my moving about was a conscious or unconscious effort to take control of where I was at any given time. The downside (I learned after the eight-year relationship of my first marriage which included six different residences) is that moving puts a huge strain on a person and more on a couple. I lived in three different places in my five-plus years in Prague – the last for nearly four years. It was the longest I’d ever lived in one place. Since moving to the Netherlands, we’ve lived in two places. The first for almost five years before we bought this house just over eight years ago. The future is hard to read these days, but I plan on living here for rather a long time if I can.

And last summer, at the age of 52, I finally learned how to swim.

My best beloved reads the Economist every week, and occasionally I’ll read an article or two as well. She’s noted to me that periodicals like the Economist, the Financial Times and the Wall Street Journal are written for people with an interest in the proliferation of money. As such they’re (historically) neither right-wing nor left-wing. Save for the elephant in the room, of course.

I was rereading a column from last June from the Economist’s ‘Bartleby Blog’. On the web site, this blog is subtitled ‘Thoughts on management and the world of work, in the spirit of the “scrivener” of Herman Melville’s 1853 novel’. This alone is problematic for a number of reasons:

  • Bartleby the Scrivener is a short story, not a novel.
  • The titular character of Bartleby the Scrivener would rather starve than work. His catch phrase is ‘I would prefer not to.’ He utters this phrase whenever his boss or others ask him to do something.
  • It seems that whoever named the blog took note of Bartleby’s initial burst of hard work, not the fact that by the end of the story, he’s been evicted, arrested, and starves in the Tombs, Manhattan’s municipal jail.

With all of this in mind, I point you to the June 29th edition of the blog in which the writer discusses the differences between American and European working hours and vacation habits.

First point: In 1979, the average worker in the US and Europe put in about 38.2 hours per week. Later measurements diverge. By 2000, the US worker was putting in 39.4 hours. This fell to 38.6 hours in 2016.

Second point: European and US workers differ in the amount of holiday they take. Rather than looking at the number of days off each culture has, the blogger points out that over the course of a year, Americans average 34 hours per week, the French 28 hours and the Germans 26.

Third point: The wealthy in the US work longer hours, but still tend to work in daylight as opposed to cleaners and food delivery people who mostly work at night.

Why the differences? Taxation? Possibly. But the key point is made in the passive voice: ‘Another potential explanation is that a decline in trade union membership has weakened American workers’ bargaining power. Except that unionization rates in France and America are not far apart.’

Let’s take a look at that for a moment: What happened to the unions in the US shortly after the 1979 calculation? I’d point to Ronald Reagan’s firing of almost the entire membership of the Professional Air Traffic Controllers Organization rather than bargaining in good faith, given that he had supported the union during his campaign. This act alone signaled the death knell for unions in the United States.

The blogger distinguishes between unionization and policy. What isn’t spoken is how a well unionized country affects policy. Employers in underunionized countries also affect policy. Far more now than they used to. In the US, legislators financed by large employers have succeeded in gutting union power in a variety of areas. And they also succeed in breaking labor laws that protect the rights to unionize. So the question of who shapes policy goes unanswered.

I can’t speak for unionization rates in France, but labor in general speaks louder in Western Europe. Mandated holiday time of at least 20 days per year as a matter of national policy in most EU countries makes a big difference in that average number of hours worked.

Continuing through the blog, we get an assertion that ‘champions of workers’ rights have focused on raising the minimum wage (so far to little avail at the federal level)’. Again, begging the question as to WHY these efforts fail at the federal level. Might it have something to do with who is financing those who set the policy? I have a feeling that it might.

The writer then discusses the longer hours worked by the higher paid than the lower paid in the US. And this class of people discussed: cleaners and food delivery workers? Take a wild guess as to the areas of employment that are the least stable from the employee perspective? And which have unionization efforts stymied by both legal and illegal measures almost before such efforts have begun? Yeah, that would be those classes. It’s not that unionization rates have dropped simply through attrition or that the US minimum wage has stagnated through some kind of Adam Smithian invisible hand of the market. Those with money have made it higher to increase either one to the point of impossibility.

Released:
September, 1979

Lineup: Siouxsie Sioux (vox), Steve Severin (bass), John McKay (guitars), Kenny Morris (drums)

Tracklist Side 1:
Poppy Day
Regal Zone
Placebo Effect
Icon
Premature Burial

Tracklist Side 2:
Playground Twist
Mother/Oh Mein Papa
The Lord’s Prayer

Following the release of non-album single The Staircase (Mystery) in March, Join Hands was recorded in May and June. Lead single Playground Twist was released in June, and the album three months later. I first heard it in ‘83 or so and found it beastly difficult listening. Opening track, Poppy Day was actually composed to fill the two minutes silence observed in Britain on Remembrance Day.

Saxophones introduce Regal Zone, but instead of playful glam effect they added to songs on The Scream, in this instance, they’re more like blasts of a war trumpet. With imagery that includes helmets of blood and squirming bodies, we’re still in realms of death that don’t really let up for most of the album, either lyrically or musically. Placebo Effect and side one closer Premature Burial (the latter based on an Edgar Allan Poe story) continue this imagery.

Icon, in its second half offers side one’s musical ease from the album’s musical intensity. I was listening to this album while stretching after my run and found the rolling toms easy to listen to. Lyrically, we’re still in arenas of conflict.

Those rolling toms, so reminiscent of Maureen Tucker’s work in the Velvet Underground suggest that the structure of Join Hands owes something to the Velvet’s White Light/White Heat. Side one contains relatively short songs with recognizable pop structures, whereas side two contains one pop song succeeded by nearly 20 minutes of what Laurie Anderson would have called ‘difficult listening’. (I know this argument assumes that The Gift on side one of White Light/White Heat has a recognizable pop structure. It doesn’t. But that’s a topic for another essay.)

By the time the original listeners flipped this over to side two, the bells of Playground Twist, already a top 40 hit and performed on Top of the Pops, must have been a welcome respite. Its waltz-time signature however puts the listener on guard that this isn’t going to be any easier. Mother/Oh Mein Papa, recited mostly to the sound of a music box, has new lyrics to a German music hall song later a hit in English for Eddie Fisher, among others. Rather than the nostalgic memories of ‘my father, the clown’, Siouxsie sings of the suffocating parent who wants to mold the child. ‘She’ll stunt your mind til you emulate her kind’ is eerily similar to Pink Floyd’s Mother, released later the same year, ‘She won’t let you fly, but she might let you sing.’

The original release’s closer is a 14-minute tour de force rendition of The Lord’s Prayer. Noting that the Banshees’ first performance (the only performance of the lineup that featured Marco Pirroni on guitar and Sid Vicious on drums) was an extended rendition of this song. Does its inclusion on this album suggest that they were at a loss for material? It’s possible, but given how prolific the band was, this is unlikely. Troubles within the band, whatever those things that precipitated the departures of McKay and Morris on the eve of the tour might have been, are more likely. The words of the prayer are interspersed with snippets of other pop songs (Twist and Shout, Knocking on Heaven’s Door), show tunes, and wordless wails and yodels. The inclusion of Tomorrow Belongs To Me, repurposed from Cabaret, brings the war references of the opening of the album full circle.

Even though Kenny Morris and John McKay would leave the band before the next album, Kaleidoscope, Morris’ drum sound on this album defined their sound in many ways. the toms in Icon are especially emblematic of the Banshees’ sound.

The 2006 reissue follows The Lord’s Prayer with the punk single Love In A Void (the b-side to the next single, Mittageisen) and closes with Infantry, an instrumental originally meant to close the album, but left off the original release. (Wikipedia indicates there’s a Record Store Day edition from 2015 that includes Infantry after The Lord’s Prayer. That would be a nice version to have.) Infantry is a slow, echo-laden piece for solo guitar and effects pedals with a repeated motif that slowly fades out. I think this track makes for a more appropriate, purposeful closing to a very difficult and worthwhile album.

Next up: Kaleidoscope

In between other things, I’ll be sharing my views on the music of Siouxsie and the Banshees, including the Creatures and Glove side projects. As with the other catalogues I’ve reviewed, I’ll be looking at the original album releases as opposed to the bonus-track laden reissues (not that those bonus tracks aren’t without merit).

Released: November, 1978

Lineup: Siouxsie Sioux (vox), Steve Severin (bass), John McKay (guitars), Kenny Morris (drums)

Tracklist Side 1:
Pure
Jigsaw Feeling
Overground
Carcass
Helter Skelter

Tracklist Side 2:
Mirage
Metal Postcard
Nicotine Stain
Suburban Relapse
Switch

Recorded after the release of debut single, Hong Kong Garden, and also produced by Steve Lilywhite. One of the first salvos of the post-punk era, The Scream contains elements of punk and glam, and with elements of the macabre, it set the stage for what became goth. And did so a year before Bauhaus hit the stands with Bela Lugosi’s Dead.

In terms of subject matter, the lyrics run from the mundane (Nicotine Stain) to, indeed, the macabre (Carcass, Suburban Relapse). I first got into the Banshees in ‘81 or ‘82 and started collecting their singles and having friends tape their albums. I’m sure I had this on a cassette with the second LP, Join Hands, on the other side. I listened to their music a lot, but the full albums I found really difficult to get into. Listening to this one now, I find it almost comforting in its familiarity, but surprising at the same time. The buried saxophones in Suburban Relapse and Switch feel lifted from a Roxy Music song (which kind of makes sense – Sioux and Severin, the band’s only stable members from start to finish, met at a Roxy gig in ‘75). Kenny Morris’ spacious drumming leaves so much room for the other members to thrive as well. I think Severin is underrated as a bassist, possibly because he makes the rhythms feel so obvious.

In between there’s the almost obviously punk cover of the Beatles’ Helter Skelter and the almost Can-like Metal Postcard. I’ve always found the English version of Metal Postcard a little strange, because the version I had, and played steadily for several years, was the German-language 45 (Mittageisen) released the following year.

Overground and Suburban Relapse are both about the trades between outward normality and an interior that doesn’t match expectations. This acknowledgement of the human balancing act was one of those things that fueled the goth aesthetic. Jigsaw Feeling almost foregoes the outward normality and addresses the splits inside, “One day I’m feeling total / the next I’m split in two.”

The album’s opening track, Pure, fades in with a slow build of bass, then guitar, then a wordless moan from Siouxsie that sounds as though it’s coming from down a long hallway. Jigsaw Feeling comes in with bass triplets and a single repeated guitar chord for the first 40 seconds. Combined with the almost two minutes of Pure, it’s two and half minutes before the album’s first words, ‘Send me forwards, say my feelings.’ A bold move for a debut album. David Bowie didn’t try the same trick until StationToStation, 12 years into his career.

By the time the album concludes with the 7-minute Switch, an indictment of science, medicine and religion for the ways in which they direct and confuse and experiment with no real understanding of how people work, the listener has been on a journey. A deeper lyrical analysis might reveal an inner-directed childhood point of view in some tracks followed by the more adult concerns (infused with that childhood confusion) found in the last three tracks.

Next up: Join Hands

I had an astoundingly specific musical dream last night in which I was attending a gig by a reformed Rocket from the Tombs. RFFT were an early 70s proto-punk band from Cleveland fronted by Dave Thomas. The other original members included Craig Bell, Johnny Mandansky, Peter Laughner, and Gene O’Connor. The band lasted a year before the band split. Thomas and Laughner formed Pere Ubu while O’Connor and Mandansky joined Stiv Bators to form Frankenstein and later the Dead Boys.

Right, In the dream, I was watching a lineup RFFT that also included Robert Forster, one of the founders of Australian pop band the Go-Betweens. In the dream Forster was the founding member of the Go-Betweens who had passed away. In the waking world it was Grant McLennan who died of a heart attack in 2006. Forster is a going concern.

The gig took place in the large back room of a diner. It was brightly lit and the stage was barely raised at all. And there was a serious mosh pit. The song in the dream was 30 Seconds Over Tokyo and before the song was over, the mosh pit spilled its way into the diner.

We had friends over last night who I regaled with tales of this year’s Glastonbury Festival. One of the acts I brought up was Kamasi Washington (a fair distance, musically from RFFT), and in a later dream, I was at the office and rushing out to catch a bus to see Washington, but I saw the bus (#71) drive by as I was leaving. I must have been in San Francisco because I ran down a hill to catch the train at Market and Montgomery, but I took the wrong entrance and I and another guy ran two or three flights downstairs only to find that the platform wasn’t there. A guy working on a car at the bottom of the stairs told us to go back up and take the other entrance. As I was running up the stairs I woke up. And I’ll conclude with this excerpt from Kamasi’s Show Us the Way.