Funny how airplanes have robbed the world of almost as much talent as drugs and alcohol. Unlike substance abuse related deaths, which are generally seen as signs of poor character, airplane deaths are particularly tragic in their randomness. There’s something Act of God-like about it, like the almighty had a notion that we humans have had all the Otis Redding we’re entitled to. No one would suggest that Redding himself was reaping God’s punishment; he was a standup guy by all accounts. No, it’s the rest of us sinners. Whatever small comfort we can scrape from listening to a little soul music, we don’t deserve. You can still listen to Otis, of course, because the art lives on long after the artist himself is dust, but maybe say a little benediction or something.
This is the jam you put on at parties and/or work as a test to find out who your real friends are. (It’s a trick. You have no real friends.) The Velvet Underground, leaning heavily on their underground-ness, used long violently loud jam sessions like this one to alienate as much of their audience as they could before getting booted out of whatever venue they were playing. It was certainly the first time in the realm of rock music that topics like mainlining drugs and sucking on a ding-dong were topics of conversation, at least in as blunt a manner. No euphemisms or clever entendres for Lou Reed, he calls it sucking dick for heroin in plain English. The Velvets did end up with the distinction that all of the fans they did acquire, all went on to become degenerate drug fiends and sex perverts in their own right. And so the moral corruption of social fibers, or whatever.
A lot of people died because of this song. Literally. The Beatles’ White Album has a unique status among rock albums: it has the Bible-like legacy of having been used as a justification for bloodshed. The record has a complicated legacy even without that baggage. Musically there is plenty to unpack. There was the rivalry and infighting that took place during the writing and recording, the personal struggles that the band dealt with outside of the studio, the growing differences between them that are starkly evident in the music. However, it will always be linked, at least in some people’s minds, to a string of grisly murders. Through no fault of anyone involved, the record came to be tainted by association with the chaos and instability of the wider world, becoming a symbol of a wider cultural fracture that was taking place. That’s thanks to the escapades of Charles Manson, who came to fame the following year for masterminding a series of horrific murders that captivated the world and still do so. The Manson killings, and the subsequent trial and media frenzy, were, besides their sheer brutality, perfectly planned and engineered for maximum imaginative impact. They combined so many elements designed to fascinate the public, and not by coincidence. They confirmed what people had already suspected about the hippie counter-culture: that it was cultish, seedy, sex- and drug- crazed, bent on overthrowing polite society, brainwashing impressionable young people with half-baked spirituality, fully capable of turning perfectly normal kids into homicidal maniacs. There was the class and race baiting, the messianic posturing, the vague political agenda. There was the irresistible celebrity factor: one of the victims was a well-connected movie star. It was the pop-cultural aspect that really made Manson and his Family into pop culture icons in their own right. Manson thought he was a messiah, but he didn’t bother too much with the biblical. He knew that stuff was boring and passe. His acolytes were with him because they’d already rejected Christian dogma. Instead, he used pop culture as his gospel, and he was particularly taken with the Beatles. They were, after all, bigger than Jesus. The inferences Charles Manson made about the White Album were, of course, dead wrong, but they were canny. The Beatles weren’t sending messages about inciting a race war or exterminating the upper classes – not even hypothetically were they thinking about those things. But the messages that Manson thought they were sending him about those things were convincing enough to get people to actually go out and try to do those things. When Manson told a girl he’d nicknamed Sadie Mae that the Beatles had personally earmarked her via song, that it meant she was to carry out Manson’s apocalyptic vision, she obediently went out and killed. (And spent the rest of her life in prison for her trouble.) It was the darkest possible example of rock music’s growing ability to influence real life, and of the potential way that art can escape the artist’s control. It was John Lennon’s innocent ‘bigger than Jesus’ comment come back to show just how dangerous and volatile that amount of fame can turn out to be. There wasn’t any bad intention behind the music. There didn’t have to be. All it needed was bad intention on the part of the listener to turn it into a manifesto of mayhem.
There’s something magical about Pink Floyd playing amid the dust and ruins of Pompeii. There may not be any obvious connection between a dead Roman city and a psychedelic rock band from swingin’ London, but it feels right. Something in the timelessness of mankind’s creativity perhaps. The human drive to make art and the desire to find higher meaning in things – those things haven’t changed over millennia. Civilizations have grown and died, and the way people live and relate to one another has changed beyond imagining, but we still share a universal visual language. We recognize the same musical rhythms. We still look for beauty. It’s an epic connection, but it’s only human nature. Beautiful music belongs in a beautiful place, it’s really just a simple aesthetic choice.
I’ve always misheard it as ‘savory truffle’ and that makes more sense to me. These chocolate flavors that are being described are alien to me. Must be an English thing. This is far from being one of George Harrison’s most towering achievements, but it does show his cheeky humor. Apparently Harrison wrote it to poke fun at Eric Clapton’s sweet tooth, and subsequent cavities. Which shows once again that one of the Beatles’ great strengths, collectively, was their ability to mine inspiration out of literally anything. A child’s doodle? Hit song. A poster on the wall? Hit song. Box of chocolates? Not exactly a huge hit, but definitely a song. It takes a childlike level of joie de vivre to see so much inspiration in the world. The world is a box of wonders and everything in it is there for your artistic fueling.
I sense an element of irony in the Rolling Stones’ exhortation to drink to all of the hard working people. The Stones don’t care about anything but themselves. They’ve never bothered much with pretending to be socially conscious or politically active, except for some vague up-against-the-man posturing. They did all come from working-class backgrounds, so there’s that, but they pretty quickly established themselves as their own class of doped-up aristocracy. “Do we look strange to you?” they ask, hoping for a resounding yes. I don’t really want self-awareness from The Rolling Stones; I like to imagine them communing with demons and occupying a space-time bubble far removed from us peasants. They certainly occupied their own world in 1968, into which this is only a cracked glimpse.
Did you know that The Beatles were a rock band? They invented feedback! Actually, no. In fact, The Beatles weren’t really a rock band in the sense that The Rolling Stones were a rock band, which is to say that they weren’t a blues band. They took musical cues from a wide array of sources, but the blues wasn’t really one of them. So there aren’t actually all that many Beatles songs that, you know, rock, in the sense of rock being rhythm-driven blues-based music. This is one of those few, and it makes you wish there were more. If they had managed to tolerate one another for a few years longer than they did, maybe they would have leaned into it more heavily. That would have been a really interesting direction to go in, but alas.