Electric Shock

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Electric Shock Page 75

by Peter Doggett


  29. ‘More sophistication’: Wilder, American Popular Song, p. 28.

  30. ‘the Park Avenue smart set’: Steyn, Broadway Babies Say Goodnight, p. 105.

  31. ‘a unique blend of the passionate’: Gottlieb, Reading Lyrics, p. 100.

  32. ‘produced what is arguably’: Wilder, American Popular Song, p. 209.

  33. ‘He’s as good as any of them’: Thomas, Fred Astaire, p. 195.

  34. ‘I had never played with drums’: Sudhalter, Stardust Melody, p. 31.

  Chapter 7: Bugle Call Rag

  1. ‘Not 25% of lowbrows’: RP, 2 August 1935.

  2. ‘Swing is the voice of youth’: New York Times, 26 February 1939.

  3. ‘Swing cannot be defined’: Firestone, Swing, Swing, Swing,

  pp. 156–7.

  4. ‘Hot Jazz – the real jazz’: AML, November 1935.

  5. ‘the sound comes forth’: AML, June 1936.

  6. ‘two-thirds rhythm’: Firestone, Swing, Swing, Swing, pp. 156–7.

  7. ‘It is akin to the wriggling’: G, September 1936.

  8. ‘a combination of exhibitionism’: AML, September 1936.

  9. ‘musical Hitlerism’: New York Times, 2 November 1938.

  10. ‘orchestrated sex’: Firestone, Swing, Swing, Swing, p. 242.

  11. ‘an epidemic’: ibid

  12. ‘Jazz is a surrender’: G, September 1936

  13. ‘I surrender unconditionally’: AML, October 1936.

  14. ‘thought it was great’: Firestone, Swing, Swing, Swing, p. 197.

  15. ‘thousands broke from the two-dollar’: quoted in Action, 11 June 1938.

  16. ‘When the bands started’: BB, 1 August 1942.

  17. ‘bedlam: Gene Krupa’: San Francisco Chronicle, June 1986.

  18. ‘The music was too loud’: Firestone, Swing, Swing, Swing, p. 96.

  19. ‘there was such a yelling’: ibid., p. 148.

  20. ‘tradition-shattering’: quoted in Maggin, Dizzy, p. 64.

  21. ‘those near-maniacs’: MM, 5 February 1938.

  22. ‘The behaviour of his audience’: Firestone, Swing, Swing, Swing, p. 222.

  23. ‘does two numbers’: Sublette, Cuba and Its Music, p. 396.

  24. ‘I’d think twice before advising’: Sudhalter, Lost Chords, p. 587.

  25. ‘a dying duck’: Metronome, March 1945.

  26. ‘Let’s jump!’: Down Beat, 20 May 1949.

  27. ‘way out of his depth’: ibid.

  28. ‘It’s necessary to give an audience’: Time, 26 September 1949.

  29. ‘What happens is you make’: Hall, Dialogues in Swing, p. 149.

  30. ‘was honest enough to recognize’: Simon, Glenn Miller, p. 73.

  31. ‘definitely decided’: ibid., p. 119.

  32. ‘That band was like the beginning’: Hall, Dialogues in Swing, p. 144.

  33. ‘When the historians of 2037’: RP, 8 January 1937.

  34. ‘Decca’s studios in New York’: Andrews, Over Here, Over There, p. 108.

  35. ‘Dancing, for the boys and girls’: RP, 5 February 1937.

  36. ‘records will have to let the fans’: Sanjek, American Popular Music, vol. 3, p. 137.

  37. ‘The most established British’: Cliffe, Fascinating Rhythm, p. 198.

  38. ‘with all the American’s lack’: G, December 1932.

  39. ‘This dance record-buying public’: G, April 1933.

  40. ‘Dancing is under a temporary’: DM, 14 June 1933.

  41. ‘the sort of numbers that make’: RP, 6 November 1936.

  42. ‘Audiences resent “bounce” in an act’: ibid.

  43. ‘should divert rather than disturb’: Self, Light Music in Britain, p. 1.

  44. ‘Because, unlike serious music’: quoted in ibid., p. vii.

  45. ‘murdered; it is real music’: DM, 19 April 1934.

  46. ‘It was quite apparent’: Spaeth, History of Popular Music, p. 513.

  47. ‘We have heard all these words’: RP, 9 April 1937.

  48. ‘Our songs don’t live anymore’: Bergreen, As Thousands Cheer, p. 328.

  49. ‘Take the family out’: illustration in Krivine, Juke-Box Saturday Night, p. 90

  50. ‘sweet numbers, jazz classics’: ibid., p. 91.

  51. ‘We demand that this habit’: quoted in Godbolt, All This and 10%, p. 19.

  52. ‘The sophisticated music’: McCarthy, The Dance Band Era, p. 54.

  53. ‘ugliest man’: Daily Herald, 18 July 1932.

  54. ‘untrained gorilla’: ibid.

  55. ‘Negroes Invade Our Theatres’: Cohen, Duke Ellington’s America, p. 121.

  56. ‘the club – maximum attendance’: Godbolt, All This and 10%, p. 23.

  57. ‘The fight to build the Greater’: Fascist Week, 18 May 1934.

  58. ‘the Jewish-Negroid strata’: Blackshirt, 30 November 1934.

  59. ‘Jew-boys wailing jazz’: Blackshirt, 22 November 1935.

  60. ‘The Jew and the alien’: Action, 25 March 1939.

  61. ‘Aryan Dance Band’: Action, 9 January 1937.

  62. ‘Louis Armstrong, the famous’: Action, 27 March 1937.

  63. ‘there is no jazz’: Blackshirt, 7 December 1934.

  64. ‘America’s contribution’: Budds, Jazz and the Germans, p. 157.

  65. ‘The Negroes are here’: Die literarische Welt, January 1926.

  66. ‘The nightmare image’: Budds, Jazz and the Germans, p. 43.

  67. ‘collapse in its political’: quoted in ibid., p. 155.

  68. ‘These days nearly everyone’: G, November 1938.

  69. ‘I was offered a guarantee’: RP, 26 August 1938.

  70. ‘They will play at a State Ball’: RP, 2 December 1938.

  71. ‘Naturally, I don’t want’: Singapore Free Press, 19 January 1939.

  72. ‘I don’t blame him for that’: RP, 27 January 1939.

  73. ‘nobody could possibly challenge’: MM, undated cutting, early 1939.

  Chapter 8: Millions Like Us

  1. ‘In a few years, radio’: RP, 9 April 1937.

  2. ‘I want to take people out’: Baade, Victory through Harmony, p. 42.

  3. ‘The most pitiful exhibition’: G, October 1939.

  4. ‘The song combined the first person’: Baade, Victory through Harmony, p. 46.

  5. ‘There’s a new star’: DE, 15 January 1940.

  6. ‘Vera brings joy and comfort’: DM, 19 November 1941.

  7. ‘The type of songs being written’: Baade, Victory through Harmony, p. 135.

  8. ‘Swingsters Want Exemption’: Evening Standard, January 1940.

  9. ‘Many Dance Band Boys’: DE, 26 June 1941.

  10. ‘The fact that Nazi Germany’: McCarthy, The Dance Band Era, p. 140.

  11. ‘The Allied troops’: Jordan, Le Jazz, p. 230.

  12. ‘likely to contribute’: Behr, Thank Heaven for Little Girls, p. 270.

  13. ‘Men in America’s armed forces’: BB, 10 October 1942.

  14. ‘One name band leader’: BB, 28 November 1942.

  15. ‘I think everyone in the music’: Sudhalter, Stardust Memory, p. 243.

  16. ‘bombarded with variations’: BB, 3 January 1942.

  17. ‘The American GI’: Smith, God Bless America, p. 132.

  18. ‘After August 1st’: BB, 20 June 1942.

  19. ‘A fit subject for a Bateman’: G, June 1942.

  20. ‘The net result will be simply’: BB, 18 July 1942.

  21. ‘scraping the bottom of the barrel’: AML, May 1943.

  22. ‘From the standpoint’: BB, 25 July 1942.

  23. ‘To a mere male’: G, June 1944.

  24. ‘the harum-scarum jitterbugging’: BB, 16 May 1942.

  25. ‘Dance music lost most’: BB, 2 January 1943.

  26. ‘There are indications’: BB, 4 April 1942.

  27. ‘The minute Sinatra started’: Kaplan, Frank, p. 78.

  28. ‘I used to stand there’: ibid., p. 126.

  29. ‘I hope you fall on your ass�
��: ibid., p. 146.

  30. ‘The place was absolutely packed’: ibid., p. 155.

  31. ‘The scenes at the Paramount’: Arnold Shaw in Petkov, Frank Sinatra Reader, p. 20.

  32. ‘Whatever he stirred’: Martha Weinman Lear in ibid., p. 48.

  33. ‘We loved to swoon’: ibid.

  34. ‘the behaviour of children’: quoted in BB, 20 June 1942.

  35. ‘juvenile hoodlums’: BB, 28 November 1942.

  36. ‘the angle appears to be’: BB, 5 December 1942.

  37. ‘signature broad-brimmed hat’: Alvarez, The Power of the Zoot, p. 2.

  38. ‘Negro band leaders have held’: BB, 2 January 1943.

  39. ‘artistically the worst thing’: Margolick, Strange Fruit, p. 80.

  40. ‘top favourite of hep Harlemites’: BB, 2 January 1943.

  41. ‘They clown! They sing!’: BB, 26 December 1942.

  42. ‘wild swing in its raw stage’: BB, 18 September 1943.

  Chapter 9: Let’s Get Straight

  1. ‘[FBI agents] have really been’: Metronome, August 1945.

  2. ‘Many musicians are expressing’: MM, 20 July 1946.

  3. ‘It is insignificant’: Parsonage, Evol-ution of Jazz, p. 25.

  4. ‘a drug for the devitalized’: in Music Ho! (1966), p. 199.

  5. ‘I hesitate to think’: Time, 18 January 1943.

  6. ‘seems no more harmful’: Time, 19 July 1943.

  7. ‘Yes, all the ones I know’: Gioia, The Imperfect Art, p. 135.

  8. ‘One of the unmistakeable’: Metronome, August 1947

  9. ‘I don’t know how I made it’: ibid.

  10a. ‘We try to live 100 days’: on ABC-TV’s Night Beat, 8 November 1956.

  10b. ‘Any musician who says’: DB, 9 September 1949.

  11. ‘Mistakes – that’s all rebop is’: quoted in G, December 1947.

  12. ‘I don’t think the public’: DB, 28 January 1949.

  13. ‘The advances bands have made’: Metronome, September 1945.

  14. ‘In chromaticism, chords can’: Maggin, Dizzy, pp. 94–5.

  15. ‘The one thing which bothered’: Charles, Brother Ray, p. 100.

  16. ‘With gusto I dissected’: Maggin, Dizzy, pp. 39–40.

  17. ‘We went out of our minds!’: quoted in ibid., p. 171.

  18. ‘The increasing specialisation’: ‘Harlequin’, in G, January 1947.

  19. ‘First it was symphonies’: American Record Guide, January 1947.

  20. ‘bright and melodious music’: MM, 9 March 1946.

  21. ‘modernistic swing’: Brian Rust in Pickup, November 1946.

  22. ‘Each fortnight’: DM, 25 January 1947.

  23. ‘I was quite uncompromising’: Heath, Listen to My Music, p. 77.

  24. ‘He’d heard about swing’: ibid., p. 79.

  25. ‘While swing fans’: DM, 25 January 1947.

  26. ‘one of the biggest fan followings’: Rau, Stars Off the Record, p. 33.

  27. ‘We face a slump’: MM, 28 December 1946.

  28. ‘The popular songs of the day’: Metronome, February 1948.

  29. ‘Right now, everyone’: Metronome, May 1950.

  30. ‘in gleeful anticipation’: BB, 31 January 1948.

  31. ‘I never knew they were’: ibid.

  32. ‘I guess it sold’: Time, 10 May 1954.

  33. ‘An important facet in the polka trend’: DB, 15 July 1949.

  34. ‘marks a kind of infantile’: Metronome, February 1951.

  35. ‘a pseudo-ragtime “novelty” mode’: Schafer and Riedel, Art of Ragtime p. 105.

  36. ‘Their repertoire was’: Godbolt, All This and 10%, p. 20.

  37. ‘I like to think of myself’: quoted in Greene, Passion for Polka, p. 235.

  38. ‘the American elite’: ibid., p. 244.

  39. ‘Cowboy and hillbilly music’: Metronome, January 1945.

  40. ‘the mountain music’: DB, 3 June 1949.

  41. ‘that old fashion home cooking’: DB, 28 January 1953.

  42. ‘I often wonder how cowboys’: G, February 1952.

  43. ‘country music has been twisted’: Wren, Johnny Cash, p. 7.

  Chapter 10: Music for Gracious Living

  1. ‘The public is confused’: DB, 22 April 1949.

  2. ‘To succeed in America’: Manuel, Caribbean Currents, p. 69.

  3. ‘Be hip, be sharp’: Time, 17 May 1948.

  4. ‘hot jazz overheated’: Time, 25 March 1946.

  5. ‘A big band slows anybody’: DB, 9 September 1949.

  6. ‘Bop is part of jazz’: DB, 7 October 1949.

  7. ‘which will make it truly’: DB, 11 March 1949.

  8. ‘Possibly the mambo is an outrage’: quoted in Sublette, Cuba and Its Music, p. 547.

  9. ‘It frightens inhibited people’: Jet, 21 February 1952.

  10. ‘doesn’t look upon it’: Metronome, November 1953

  11. ‘The people you’re playing for’: DB, 15 June 1951.

  12. ‘believed that, any time’: Thompson, Raised by Wolves, p. 30.

  13. ‘No science has progressed’: Metronome, November 1952.

  14. ‘That **** television!’: DB, 29 June 1951.

  15. ‘There will be a place for music’: DB, 20 April 1951.

  16. ‘perhaps the composer will sit’: DB, 26 August 1949.

  17. ‘The talk of the record industry’: MM, 31 July 1948.

  18. ‘the first integrated program’: Sanjek, American Popular Music, vol. 3, p. 234.

  19. ‘buccaneering adventures’: G, March 1949.

  20. ‘The well-equipped record collector’: DB, 11 March 1949.

  21. ‘It seems unquestionable’: Michael Levin in DB, 30 June 1950.

  22. ‘with four numbers tied’: DB, 28 July 1950.

  23. ‘it’s meant to entertain’: MM, 12 October 1957.

  24. ‘One of the rules peculiar’: DB, 12 January 1951.

  25. ‘The secret of his success’: DB, 22 October 1952.

  26. ‘a carefully devitalized style’: ibid.

  27. ‘the teenagers showed’: quoted in Eisenberg, The Recording Angel, p. 19.

  28. ‘[Teenagers] are still swooning’: Life, 20 December 1948.

  29. ‘It all started with Vaughn’: Metronome, July 1950.

  30. ‘Arrangements and interpretations’: DB, 30 December 1949.

  31. ‘shameless emoting’: Metronome, September 1947.

  32. ‘no voice’: G, September 1948.

  33. ‘I just felt like God’: DB, 7 March 1952.

  34. ‘One mournful note’: DB, 21 May 1952.

  35. ‘You can see what the girls like’: DE, 24 March 1953.

  36. ‘Man, it’s worse than ever’: DB, 25 March 1953.

  37. ‘they were Frankie’s own’: Metronome, November 1953.

  Chapter 11: Real Rock Drive

  1. ‘The music business in this country’: DB, 20 April 1951.

  2. ‘Never have there been as many’: Jet, 3 January 1952.

  3. ‘in the struggle for worldwide domination’: Metronome, June 1947.

  4. ‘hypnotizes one with the dead cold’: Metronome, April 1948.

  5. ‘They even know about rebop’: MM, 25 December 1948.

  6. ‘The Communist authorities’: DB, 2 December 1949.

  7. ‘Jazz is dead’: DB, 16 June 1950.

  8. ‘Jazz is pretty dead’: DB, 6 October 1950.

  9. ‘Something new in music’: DB, 12 January 1951.

  10. ‘the income of the average black’: Sanjek, American Popular Music,

  vol. 3, p. 248.

  11. ‘the hot new style was jump’: Miller, Almost Grown, p. 29.

  12. ‘The blues were not yet constricted’: Whitall, Fever, p. 29.

  13. ‘right rhythmic rock and roll’: BB, 21 April 1945.

  14. ‘How long can you play’: Jazz Journal, March 1952.

  15. ‘This was the first Rock & Roll’: Cohen, The Record Men, p. 111.

  16. ‘It was the loudest music
anyone’: ibid.

  17. ‘As the show reached its climax’: Lauterbach, The Chitlin’ Circuit, p. 131.

  18. ‘Economists have long predicted’: BB, 21 January 1956.

  19. ‘Rhythm and blues may turn out’: Ralph Gleason in DB, 9 March 1956.

  20. ‘a deliberate attempt’: BB, 12 June 1954.

  21. ‘springing up in one form’: Guralnick, Last Train to Memphis, p. 6.

  22. ‘The kids want that music’: BB, 15 May 1954.

  23. ‘White singers were picking up’: Charles, Brother Ray, p. 176.

  24. ‘In one aspect of America’s’: quoted in Guralnick, Last Train to Memphis, pp. 39–40.

  25. ‘There was an immediate reaction’: Heath, Listen to My Music, p. 125.

  26. ‘Jazz audiences are too rowdy’: Jet, 6 May 1954.

  27. ‘Teenagers are instigating’: Cash Box, April 1954.

  28. ‘no longer the stepchild’: BB, 24 April 1954.

  29. ‘The R&B field has been doing’: BB, 2 October 1954.

  30. ‘thumbs down on “way out”’: BB, 24 April 1954.

  31. ‘is not against blues records’: Cash Box, February 1954.

  32. ‘[Freed] feels that this term’: DB, 9 February 1955.

  33. ‘we intend to teach the POWs’: DB, 19 October 1951.

  34. ‘first #1 rock and roll song’: Whitburn, Pop Memories, p. 102.

  35. ‘youngsters who couldn’t cope’: DB, 13 January 1954.

  36. ‘When Edwardian-style coats’: NME, 10 April 1976.

  37. ‘the first group [of teenagers]’: Cohen, Folk Devils, p. 183.

  38. ‘It’s all jazz, of course’: Ellis, Big Beat Scene, p. 36.

  39. ‘Viewed as a social’: Steve Race in MM, 5 May 1956.

  40. ‘I was doing country and western’: NME, 30 March 1974.

  41. ‘The greatest Dance Band’: DB, 3 June 1953.

  42. ‘He didn’t have a good voice’: RS, 12 September 1974.

  43. ‘When Blackboard Jungle’: ibid.

  44. ‘for most people it was the loudest’: Miller, p. 92.

  45. ‘It’s the vilest picture’: Jet, 14 April 1955.

  46. ‘Lively strains of the disk’: BB, 28 May 1955.

  47. ‘two jump blues sides’: Jazz Journal, October 1954.

  48. ‘Bill Haley and his Comets’: DM, 21 July 1955.

  49. ‘primitive, hotted-up jazz’: DE, 3 September 1956.

  50. ‘They just looked around’: DE, 13 September 1956.

  51. ‘If we are going back’: DM, 4 October 1956.

 

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