As I go through my history of music, I will continue to educate those readers younger than I am (about 90% of you) about the various devices I used to listen to music. The big leap in college for me was the purchase of this portable STEREO record player. Until now, all music came out through one speaker. With the amazing invention of stereo, the music came out of TWO speakers. And the music was closer(supposedly) to the way it really sounded when it had been played.
There was much debate about how to position the speakers to achieve the optimal sound. My dorm room was so small, however, since it was converted from a bay window and hall between two bedrooms of normal size, that there really weren’t any options. So the best I could do was to lie on the floor with one speaker against each ear and experience STEREO!
By this time there were people who were becoming audiophiles, and were beginning to spend real money on speakers. I was not among them. I didn’t have real money and I was still impressed by the improvement in sound over my previous record player.
In the summer of 1967 my boy friend arrived in Portland on his way to San Francisco for the summer of love. He had the new Beatles release “Sergeant Pepper’s Lonely Hearts Club Band” with him and he lay on the floor of my parents’ dining room between two speakers positioned next to his head. He couldn’t get over the amazing sound. (In retrospect, substances may have added to his delight.)
Later that same summer, I joined him in San Francisco for a few days. More about that tomorrow. For those keeping track, this was the same boy friend that my roommate married. And it all goes back to that summer of love.
In August of 1965, a couple of weeks before I left on the train for college in the East, the Beatles landed in Portland and played two concerts in the then new Memorial Coliseum. My mother had somehow bought tickets for all of us and we went to hear the phenomenon
At 18, with my 15, 12 and 10 year old siblings, I was mortified at the thought that they might stand up and start screaming. I knew my brother would contain himself, but my middle sister had a crush on Paul, and I didn’t trust her to contain herself. All the way there, I stressed the importance of them being collected when the Beatles appeared. I was about to be a college girl, after all, and I had a reputation to establish.
There must have been some warmup acts to get us all restless before the Fab Four came out on the stage. Finally, they emerged. I stood and screamed my head off. My siblings sat still, obeying my orders to behave themselves. I surprised myself because I really thought I had not been caught up in Beatlemania. But, it turned out, seeing John in person let loose some primal excitement that needed to be expressed.
They never let me live it down! “Remember when you screamed at the Beatles?” How could I forget?
Bob Dylan’s voice certainly wasn’t for everyone’s taste. Fortunately for those music fans, the trio of Peter, Paul and Mary sang many of his songs. And they actually stayed on key and harmonized. They got short shrift among die-hard Dylan fans for popularizing his protest songs, but they definitely got many more tunes into the mainstream of popular culture than Dylan had.
In 1964 they toured many college campuses, and in that winter they performed at Lewis and Clark College, just five miles from our home. A good friend of my mother’s bought tickets for her three kids and our four and planned to take us. One of Oregon’s few snow storms hit just before and during the concert, but our neighbor was undeterred. Knowing that the concert would go on since it was at a college with a built in resident audience, she promised she would get us there. And she did. Fortunately it was downhill (literally) after the concert and going home was easy.
Having only seen them on television, I was delighted to see them in person. They sang “Blowing in the Wind,” “Lemon Tree,” and their delightful “Puff the Magic Dragon.” Comically enough, later writers would try to put “hidden” meaning into that last song, maintaining that it was about marijuana or about Viet Nam. I remain convinced that it was about a little boy and a dragon.
Soon many would discount Peter, Paul and Mary as being simplistic and naive. Harder edged music would take the stage in the years to come. Still, I have their tunes running through my mind at times, and I can still see Mary Travers shake her long blond hair over her shoulder.
After Kennedy’s assassination in November, 1963 and the near immediate killing of his assassin Lee Harvey Oswald by Jack Ruby, my classmates and I began to take much greater notice of the world around us. Perhaps this was because we were now 16, or perhaps it was the times, but many of us became politically aware for the first time.
Up until now, I had enjoyed folk music, largely consisting of old English and Irish ballads. Now I became aware, first through Baez and Dylan, of the way music could be contemporary social commentary. And that led me to Pete Seeger and his album, pictured above, of freedom songs recorded in June, 1963. I bought this album that winter and listened to it obsessively.
I was introduced to the civil rights movement through music. I didn’t learn about Oregon’s racial history until later in my life, so I focused on the struggle for school integration and voting rights in the southern United States. It was a purposefully nonviolent movement, buoyed by songs, many of which I learned from this album by Pete Seeger and a crew of other singers.
The next year, 1964, Alabama’s governor George Wallace ran for the Democratic nomination for President and visited Portland. I joined many others in picketing the hotel where he was to speak. We waited in vain for his appearance, while he was whisked into the venue through an underground tunnel. He failed to win the nomination, losing to Lyndon Johnson. Protest music about Johnson had yet to be widely sung. That would come in my college years through such bands as “Country Joe and The Fish.” But I was still in high school singing “we shall overcome,” not knowing what we might have to overcome in subsequent political struggles. Our U.S. Senator, Wayne Morse, was one of only two who had the foresight to oppose the Gulf of Tonkin resolution in August of 1964 which was our entry into the Viet Nam War. I knew nothing about it. That would soon change.
I had been listening to Joan Baez for quite a while when she came to Portland in 1963 to perform. My good friend Margaret and I walked down to the box office after school and bought two mid row front section seats. Excitedly we arrived and settled into the auditorium.
What we experienced was a startling duo of Joan and a shaggy haired mumbling guy named Bob Dylan. Clearly they were in love. Or at least Joan was smitten with Bobby. I think the picture above taken in 1963 shows their dynamic pretty accurately. But who really knows the inside of any relationship?
The evening was electric. Not literally, of course. Dylan was still playing an acoustic guitar, as was Baez. Her soprano voice sang out across us and he muttered right along. She loved old sad ballads about lovelorn maidens and heartbreaks. He just loved being in front of an audience. I guess you could predict where this relationship was headed.
Fortunately, Baez got several good songs out of the doomed affair, especially “Diamonds and Rust.
“Well you burst on the scene
Already a legend
The unwashed phenomenon
The original vagabond
You strayed into my arms
And there you stayed
Temporarily lost at sea
The Madonna was yours for free
Yes the girl on the half-shell
Could keep you unharmed”
Doomed love affairs should always leave us with such good writing material!
Everyone I knew was trying to learn to play the guitar or banjo. Somewhere there are probably lots of guitars and banjos gathering dust in attics from kids who learned playing was harder than it looked. I could tell right away that those strings were beyond me, so I opted for an autoharp. If you have never seen one, it is pictured above, complete with a long haired, blue eyed teenage girl who actually looks close to how I looked by the end of high school. And she has that pensive/angst look so common on every 17 year old, including me.
To play, you simply held the appropriate button down with one hand while you strummed with the other. The buttons produced various chords, similar to a guitar without you having to remember the fingering. Of course, you were supposed to learn which button produced which chord. I never mastered that skill, so my strumming had long breaks while I searched for the correct button. This made for a less than stellar musical performance.
In the end, it turned out I much preferred to listen to folk music than to play it. I had many opportunities, both at the Caffe Espresso and the Folk Singers while still in high school. I also began to collect folk music records, beginning with Joan Baez who deserves a post of her own. Meanwhile, I grew out my hair, bought black tights, and did my best to look the part of a folk singer. That would have to be enough.
The Caffe Espresso moved uptown and morphed into The Folksingers, probably to take advantage of the scores of young people who had “discovered” folk music. Russo and Brentano, as this group was called, were local guitar and banjo players who were friends of Carol’s. We went to hear them often. Mike Russo was actually a very talented player and I found an old video of him made in Seattle. You can tell the influence of old blues singers on Mike.
Years later when I began teaching at the Museum Art School in Portland, I met his parents, Sally Haley and Mike Russo, both excellent local painters. The younger Mike painted houses to support his music playing. His art was more musical than his parents, but clearly a love of beauty ran through the family.
My little sister saved this flyer and framed it and gave it to me many years ago on my birthday. It pleased me greatly and it hangs in my library next to another poster she saved for me–a signed play bill for Pete Seeger. More about him another day.
Reading that flyer now, I am amused at how seriously the venue took the musicians. No talking! At least the coffee was free. And you can’t beat a $1.00 cover charge. Even then.