On guarding Pete Maravich (p. 49): “You try to get him angry at himself, so you pressure him. If he makes a bad pass or you steal it from him you might be able to break downcourt for an easy layup because he’s at the other end talking to himself. And with his hair flying, you sort of wait for him to stop dribbling. Then for a second all the hair that’s been flying in the wind comes down over his face and he can’t see. That’s when you steal the ball. He can make the most incredible shots. When he’s hot, you just have to wait until the hurricane lets up.”
In the style of Johnny Otis’s “Willie and the Hand Jive,” slinky voodoo guitar underscores Cannon’s raves about the high school history teacher, who knows all the dances and has the goods to be a rock ‘n’ roll singer. Such sock hop-friendly vignettes set apart the man also known as “Boom Boom” from the other pin-ups all over the early sixties charts. Reached #16 on Billboard.
More vintage play-by-play from Hot Rod Hundley, the voice of the Jazz. On December 20, 1986, Utah returned to the scene of Darrell Griffith’s big game against Chicago, where he’d scored 41 points on March 9, 1985. It was Mark Eaton’s turn, though. He was supposed to be sitting out with the flu but instead checked in with a dominant performance.
Green left corner to Tripucka. Three pointer? No – he drives to base left. Underneath to Big Mark, try to go up for the shot and he’s fouled. [Craig Bolerjack talking]
Left to Gene Banks, former Duke University star. Banks guarded by Tripucka, now to Paxson left corner, Waiters sets a screen. Eaton comes over. Reverse shot blocked by Eaton, picked up by Hansen!
Rebound to Oakley, downcourt to John Paxson. Paxson right side to Banks. He’ll go back to Jordan. Drive in to Eaton, tried to reverse it.
[Bolerjack talking] There’s Tripucka, down low to Eaton. Mark across the middle with a left handed hook, it’s good! The Big Fella! He has four points and the Jazz take the lead!
Jordan right with him, Green with the ball. Ricky left to right. He’ll take it in the right corner to Bob Hansen. Low to Eaton, good position for the hook. No, he turns for the jumper – bank it in! It counts and he’s fouled! That’s six points for Mark Eaton!
Four buckets and the Jazz have the three point lead. Michael Jordan down the right side. He’ll go up top to Charles Oakley, drive by Malone, and Eaton is there to block it! What a play by Big Mark!
Green looks in, takes it low to Tripucka. Up top to the Mailman, five seconds for a shot, inside to Big Mark, a left hook, good! Mark Eaton with 9 points! Incredible! The best he’s ever played in his life! In a period of less than eight minutes, and he wasn’t even supposed to play!
Jordan right to left, Eaton intimidates, pass off Oakley out of bounds! Jazz ball!
…the corner. Two years ago Griffith had 41 against Jordan here. Here’s Bailey for the layup, right side, good! Big T!
And he knocks it away and steals. Great play by Jordan. He leads his team in steals. Jordan down the right side to Paxson. Another jumper from 18. It’s up – no good. Rebound underneath: Brad Sellers. Blocked by Eaton. They call a foul.
…find Elston Turner up top to Dave Corzine, looks back door, now finds it over to Steve Coulter, Coulter free throw line to Mike Brown, jumper blocked by Eaton! Grabbed by Bailey…
…to Jordan, he does. Jordan guarded by Griffith, they isolate him. Jordan drives, Eaton is there. He forces it up! Air ball! Corzine’s got it, double pump blocked by Eaton! What a play by Big Mark! And it goes out of bounds – Jazz basketball! [Bolerjack talking] Unbelieveable by Eaton, intimidates Jordan to force up an airball, and then he blocks Corzine’s shot.
He’s set up by the base by Bailey. Here’s Eaton, low right. Mark back to Griff. Three pointer from the parking lot on the way. Yes!
Jordan brings it down, hands it back, Jordan left to right, spin down the middle. Eaton is there, blocks it easily!
Faking left, taking it right, Paxson with him, John over the right corner to Hansen, right and left to the paint, underneath to Big Mark. Nice feed. Mark has it knocked away and we’ve got a foul. Beautiful…
Paxson wide right to Michael Jordan. He’ll fake left, go right to the base. Hansen stays with him. Jordan cuts the corner, drive under, reverse it, no good – never got iron. Picked up by Oakley, his shot blocked by Eaton!
Sending down to Granville Waiters, Waiters cross court to Michael Jordan, drive the alley, Eaton there to intimidate, underneath to Waiters, and a three second lane violation. And the presence of Mark Eaton again stopped the two point play.
Michael Jordan – reverse shot wildly up there, tipped by Corzine, no good. Rebound Corzine, Eaton makes him eat it. Picked up by Malone down court to Green. What a play by Eaton – intimidating Jordan again and then he blocked Corzine!
Off balance lay up no good – again Eaton intimidated. Rebound to Corzine and he passes off.
[Bolerjack talking] Paxson up top with the ball. He’ll swing left to Michael Jordan. Inside Oakley. Perfect position for the ball. Take it to the hoop. Eaton swats it down! It goes to Corzine, underneath to Sellers. He puts it up – shot around the rim no good. Eaton rebounds! Mark doing an outstanding job for Utah!
Coulter hippity hops front court straightaway. Stockton with him. Behind the back dribble – Eaton is there to block it and Banks saves it on the court to Corzine but he stepped out of bounds. Jazz basketball!
And Sloan’s number hangs high in the rafters here – a retired jersey. Here’s Stockton underneath to Big Mark. Slam dunk! Eaton with twelve points for Utah!
Parallel to the line, he’ll take it left-to-right to the free throw line. Terminates right side to Big T. Thurl backs it out low to Big Mark. Eaton hands back to Bailey – beautiful feed – slam dunk! Thurl down the middle
To Bailey low to Malone – bad pass! Never even looked. Knocked away! Malone gets it back! Fall away jumper left side – no good. Eaton knocks it down, picks it up, takes a little lay up, scores!
Jordan has 24. Down low Malone to Green out front. Seven point Chicago lead. Here’s Malone left-to-right, underhand layup no good. Eaton tips it in!
…Hansen, Jordan hands it out top to Paxson, Paxson down low inside Banks, blocked by Eaton! It’s knocked free and the Jazz come up with it! Bobby Hansen! 38 seconds left in the game!
[Bolerjack talking up Eaton’s numbers]
Now it sets the scene for Chicago to win it – if they get a bucket – possibly win it. [Bolerjack] Here we go. All right! Banks out front to Corzine. Jazz a game group hanging in there. Corzine dribbles left side. Low to Jordan. Eaton tries to help. Eaton knocks it away! Bailey’s got it! Bailey’s got it! We’ve got a foul and there’s six seconds left!
Here’s Bailey to guard the inbound play on Banks. Banks holds on. They bring it out front. There’s Elston Turner. He takes an off balance jumper – it’s no good! Tipped out of bounds! It’s over! The Jazz win the game! The Jazz win the game! Great defense! Oh baby! That’s five out of six on the road and the Jazz on this trip have won three out of four and they win their 16th against 8 losses!
“Abba Zabba” foretells the hypnotic, jungle-chant quality Beefheart would bring to his future catalog. It brings to my mind an early ’80s “where is he now” article in People or Us in which Beefheart was reported to be focusing only on painting and watching Laker games in the Forum. He said something about the rhythms of bouncing basketballs being the only ones that interested him anymore.
P. 62: “In Dallas on September 18, , where they were due to play the Memorial Coliseum, the boys – particularly John – expressed a keen interest in driving by the notorious Texas School Book Depository, site of the Kennedy assassination just ten months earlier.
“‘Let’s take a quick look at the scene of the crime,’ John said as he finished off breakfast in his room late in the morning. John had been the most traumatized by President Kennedy’s murder.
“‘He brought it up time and again in interviews with me,’ remembered Art Schreiber, who covered the trip for the Westinghouse network of radio stations.’ He was genuinely outraged by America’s passion for guns and the daily reports of violence that played out nightly on television.’ And he didn’t hold back. He said he loved what little he had seen of America, but was sickened by what he called, ‘America’s fookin’ shoot-first-and-ask-questions-later cowboy mentality,’ Schreiber said.”
Pp. 88-89: “In the privacy of his suite, he also sounded off about gun-happy Americans and the U.S. political system, which he said allowed any trigger-happy geezer to own a weapon. He complained to Art Schreiber that America was still the Wild West, because hardly a day went by ‘without me reading about some bloody idiot with a gun shooting somebody else after a fight over a pint of beer.’
“‘There’s too many loonies with guns,’ he told Schreiber with eerie prescience.”
Minimalist debut single from a Liverpool duo that, for a few years in the early ’80s, had a flair for electropop enchantment. Although their lyrics tended not to communicate clearly, this one actually had building blocks for a social protest message about Israel’s support of South Africa’s Apartheid. Most of the low-quality lyric repository sites have this one wrong, missing the “Israel” in the chorus.
The double-tracked voice of the Runaways’ Cherie Currie draws a connection to the similar-sounding double-tracked voice of Denise Nickerson, who sang lead on some of the “Short Circus” sequences on The Electric Company. Hear it happen on this Runaways track especially; It roars out of the speakers and you picture pre-teen kids in rust-colored polyester outfits shimmying while the word THUNDER flashes across the screen.
A curious addition to the country pop singer Jerry Wallace’s resume: The biggest selling single of his career was a 1970 Japan-only release that featured Charles Bronson on the sleeve. It was the soundtrack to a commercial for an aftershave called “Mandom,” starring Bronson as an urbane action figure who rewards himself at night by splashing the product all over himself like victory champagne. As he does this, Wallace gives the following lyrics one hundred-and-ten percent: “All the world loves a lover/All the girls in every land-om/And to know the joy of loving/Is to live in the world of Mandom.”
A word of warning before you read Going Into the City: the Dean of American Rock Critics also refers to himself as “Mr. Too Much Information” and means it. But why doesn’t Mr. TMI include an index?
P. 289: “…I edited a lot at home. Since Carola and I didn’t even own a fan for a while, I often received writers shirtless in the summertime, but not, as I recall, in my underwear and certainly not naked – the source of that tale, the great Lester Bangs, never let facts ruin a colorful story.”
P. 335: “A brutal June heat wave upped our stress levels. I spent entire days in shorts alone, slipping into flip-flops and an unbottoned shirt to go buy coffee. Sometimes I even worked naked; in fact, the only time I remember receiving a guest unclothed was when Stephen O’Laughlin came over to talk records once.”
For further study, an accounting of Bangs’s “colorful story” appears in Jim DeRogatis’s Let It Blurt: The Life and Times of Lester Bangs, America’s Greatest Rock Critic (2000), p. 137: “Christgau relished the role of the ex-hippie college professor too preoccupied with great thoughts to trifle with everyday pleasantries. Lester talked about the time he went to Christgau’s apartment and was greeted by the dean sans clothing. Christgau proceeded to edit Lester in the nude.”
Suave, knowing glam rock single that ended up as the Jook’s final one. The UK quartet included two former members of John’s Children (guitarist Trevor White on the far left and drummer Chris Townson on the far right). The band shared their manager John Hewlett (another former member of John’s Children) with Sparks, who marched to the orders of the American brothers Ron and Russell Mael. Shortly after the single came out in 1974, White and bassist Ian Hampton (middle right) snuffed out the Jook by defecting to Sparks, whose “This Town Ain’t Big Enough for the Both of Us” single had reached #2 in Britain the same year.
Here’s a portion of an interview (by Phil King) of Jook drummer Chris Townson in Jeremy Thomson and Mary Blount’s Wired Up: Glam, Proto Punk and Bubblegum: European Pictures Sleeves 1970-76 (2013) (pp. 206-207):
Phil King: Did you go and see Sparks play?
Townson: No, because there was a bit of argy bargy going on. I took a swipe at Russell over a table. He said something that I thought was quite disparaging. I used to be quite aggressive when I was a young man. I just caught his nose. They were really quite arrogant. I really didn’t like them at all. I went out for a meal with them once – Ron and Russ – and it was really one of the most unpleasant meals I ever had. There was no conversation…
King: Did they come and see Jook play?
Townson: They came to see Jook play and said “Yes, they sound like a rock band.” No further discussion.
King: What about the story about the Bay City Rollers stealing your image?
Townson: We were playing in Scotland and this rather scruffy long-haired bunch, who looked like we did a year previously, came in after the gig and said what a fantastic show it was and how impressed they were with the image. Not two months later, even less, we saw these same guys and they’d patched it up with lots of tartan and everything. It was essentially the Jook image….
King: That must have been another nail in the coffin.
Townson: It was, and it was also bloody irritating when you go somewhere and they say, “You look like the Bay City Rollers.” I think I came close to punching many people.