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“I think it would be a very good idea”*…

World map highlighting regions considered part of 'The West' in blue, with other areas in gray.
Countries and territories that are generally considered as constituents of the Western world (dark blue); Countries and territories whose inclusion as constituents of the Western world is contested (light blue) source

As we discuss global culture(s) or geo-politics, we often talk about “The West” (and the rest). In a review of Georgios Varouxakis‘ new book The West: The History of an Idea, Andrew Kaufmann reminds us that it’s important to interrogate that defining concept…

What is the West? Many take the idea for granted, but few can define it. In this meticulously researched, engaging, and sometimes bewildering new book, The West: The History of an Idea, intellectual historian Georgios Varouxakis takes readers on a two-centuries-long tour of the many uses, definitions, and redefinitions of the term. Along the way, readers may find their own long-held assumptions and stereotypes challenged and even undermined. 

The book makes a number of arguments, but for the purposes of this review, it’s worth focusing on just a few major ones. The first and most innovative argument of the book is this: The idea of the West as a transnational sociopolitical community distinct from the rest of the world is more recent than we think. This idea received its first sophisticated and coherent articulation in the 1820s from French philosopher Auguste Comte. 

While historians and other academics had long looked to past societies like ancient Athens or medieval Europe as representing the “West” against some “other,” Comte was the first to coherently put together a future-oriented political program to be adopted and followed. Most scholars locate the future-focused version of the West’s inauguration in the 1890s, when the idea was used to justify imperial and colonial expansion. By contrast, Varouxakis argues that Comte and his followers wanted to build a West that was anti-imperialist, committed to science and reason, liberated from dogmatic Christianity, and fueled by altruism and sympathy.

As a progressive positivist, Comte saw the “Western Republic” as a via media between a hyper nationalism (of the French variety) and an overly abstract universalism. He imagined a way station that transcended the parochialism of family and nation and would one day be realized and embraced all over the world, even if it would take a full seven centuries from his own writing to come to fruition (that was Comte’s timeline). Neither tied to a particular nation like France (although Paris would be the center of this Republic until Constantinople would replace it), nor embodied by an abstract and universal cosmopolitanism, the Western Republic (or l’Occident) would be set off against its Other—in particular, Russia and the Orient. Still, over time this republic would non-coercively welcome the rest of the world into its fold.  

Contrary to a common conception of “the West,” it was not to be a society (or society of societies) committed to democracy, individualism, or liberalism. It was instead a rejection of the hyper-individualism of the modern period, and it was an attempt to recover an older other-centered ethic that had been lost to a prior age.

The second major argument Varouxakis presents is that despite this idea of a transnational West that had its origin in Comte’s work, and despite Comte’s legacy that his disciples clearly carried across continents and centuries, the history of the idea of the West since Comte is complicated and contested. Put another way, while the specter of Comte hovers over the entire narrative, his vision is not always fully realized, nor is the meaning of the term always stable. This complicated history manifests itself in a number of different ways and carries with it some significant implications…

… Many casual users of “Western Civilization” will often identify it as one and the same with liberal democracy. They often find that somehow and at some point Britain came to embrace the West as being just that—liberal and democratic. Varouxakis complicates this picture by showing that while a few liberal voices in Britain were certainly also champions of Western Civilization, the more consistent and coherent users of the term were disciples of Comte and therefore much more illiberal in their thinking…

… Or take the more familiar East vs. West framework we associate with the Cold War, where surely the fault lines of Eastern totalitarianism against Western liberal capitalism are clean and clear. But even here the history is complicated, as the period begins with the acknowledgement that it was indeed Soviet Russia that helped to save “western civilization.” Indeed, it took forty years of gradual evolution for the idea of the “West” to finally crystallize around the shared commitment to economic, religious, and political freedom over and against Soviet planned economies, state-sanctioned atheism, and one-party politics with no free and fair elections…

… Given the winding road of the history of the West, it is instructive that there seems to be something of a settlement on its meaning for today, even if there are differences in its application. This can be seen most clearly in Varouxakis’ penultimate chapter on the dispute between Samuel Huntington and Francis Fukuyama after the end of the Cold War. Fukuyama of course is well known for his view that the West—in its embrace of liberal democracy and capitalism—had now emerged triumphant over the defeated ideas of Marxist totalitarianism, which found its fullest expression in Soviet Russia of the East. 

Samuel Huntington’s ideas of what the West embodied were not much different, but he diverged from Fukuyama in his vision of what the world’s future likely entailed. For Huntington, the coming years and decades would see a “clash of civilizations,” a conflict of the most basic sort between the West and the great civilizations of the world as we know it. He saw nothing certain about the global triumph of any particular civilizational expression, including the West. Indeed, Huntington contends that it is only the West that even believes in universal ideals, and that all of the non-Western civilizations—whether Chinese, Islamic, or otherwise—are all partial in their visions. Therefore, we see here in the latest debate about the West a return of the Comtean question: Will the West become a universal civilization, or will it endure as one of many civilizations forever in conflict with each other? While we may have some agreement on what the West stands for, we may have less confidence in its future in the world.

The history is complex, indeed. But Varouxakis also raises the question of whether Western Civilization—however one defines it—is something to defend in the first place. He considers this question several times in the book, but perhaps none more poignantly than in the Great War itself. For example, there were many who noted the hypocrisy of the “Western powers” that suddenly found common cause with the long-excluded Russia in their fight against Germany and the Central Powers. But perhaps more troubling is what it says about a civilization when it produces not the peace and altruism long promised by its founder, but instead destruction on a scale that had never been seen before in human history. One could likewise ask: What kind of civilization deliberately excludes and exploits the weakest members within its borders, such as in the treatment of African Americans in the United States and of those in the furthest regions of the colonial empires of Europe? This crisis of confidence and feeling of decline continued through the interwar years, as Oswald Spengler expresses in his Decline of the West, a fitting rejoinder to the optimism of Comte’s Western utopia.

And so, perhaps the best way to conclude for readers of all sorts—but especially Christians—is to offer two words of caution. The first is to those who would defend the “West” and “Western Civilization” as something either resonant with or even inspired by a Judeo-Christian worldview. And that word is simple: the origins of the idea of the West in one of its most dominant forms (the Comtean one) and in its subsequent historical uses is either non-Christian or even anti-Christian. Indeed, I went into the book expecting a heavy dose of Judeo-Christian connections to the idea of the West, and while the link is not completely absent, I was struck by its muted nature. 

Besides the post-Christian progressive vision of Comte himself, consider the voice of Black writer Richard Wright as one representative example to follow in the Frenchman’s footsteps. As someone who identified with the West, he considered “the content of [his] Westernness [residing] fundamentally…in [his] secular outlook upon life.” The progress of the West would be realized the more it emancipated itself from the influence of “mystical powers” or the priests who would speak in their name. Armed with the tools of trial-and-error pragmatism, human life can be sustained without recourse to divine help. A West liberated from divine help is a West worth preserving, at least according to Wright.

Overall, the West as an idea has many champions who are quite open in their antipathy toward the Christian religion, and it would be foolish to ignore those influences on the meaning and use of the term for us today. Still, the second and final note I’d like to offer is a bit more optimistic. In the concluding chapter, Varouxakis urges readers to move from the parochialism of “Western” ideas to adopt a language that is universal in its appeal. What, after all, was so attractive about any of the Western projects that Varouxakis so painstakingly chronicles? It was always their global appeal. 

Altruism, sympathy, love for others, freedom, individualism, democracy, capitalism. These are not ideals that belong to just a few but rightfully can be embraced by all of God’s creatures in different places, at different times, and in different ways. Certainly for Christians who embrace a global faith, the least we can do is see the inheritance of the “West,” however defined, as a mixed bag of common grace insights and ideas in rebellion against God, combined with the perspective that none of what is worth keeping in the West should ever be kept from those who would embrace its ideals…

Eminently worth reading in full: “The Idea of the West” from @mereorthodoxy.bsky.social.

For a look at the concept in current context/practice: “The Rest take on the West,” from @noemamag.com.

* Gandhi’s response when asked, “what do you think of western civilization?”

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As we ponder perplexingly plastic paradigms, we might recall that it was on this date in 1957 that “Whole Lotta Shakin’ Going On” by Jerry Lee Lewis peaked at #3 on the US pop singles charts (though it topped the R&B and country charts shortly after). It was a cover of a 1955 release by Big Maybelle of a song written by Dave “Curlee” Williams (and sometimes also credited to James Faye “Roy” Hall). Lewis, with session drummer Jimmy Van Eaton and guitarist Roland Janes, had recorded the song at Sun Records in just one take.

“Christmas may not bring a single thing; still, it gives me a song to sing”*…

Our reviewer

At the same time, as Mahalia Jackson said, “if you want me to sing this Christmas song with feeling and the meaning, you better see if you can locate that check.”

Novelist and publisher Tariq Goddard reviews this year’s crop of seasonal songs, for example…

Kelly Clarkson and I at least meet as equals, neither of us having heard of the other, although 25 million album sales mean more people have heard of her than they have me. Her handle on Christmas is not that much more assured than mine – she knows only what the seasonal songs that use the same formulas as hers tell her, which is of course a game of diminishing returns. There is the odd nod on When Christmas Comes Around to modernity (‘Christmas Isn’t Cancelled (Just You)’), but her trite take on tradition, if heard in a public space while experiencing another of life’s seasonal setbacks, may just bring the number of shopping trips down this Yuletide. Meghan Trainor, A Very Trainor Christmas, is more evidence that reality is multi dimensional, a Christmas euphemism for, ‘Are they all fucking mad or are we?’ Meghan is a hyperbolically successful young American whose version of ‘Rockin’ Around The Christmas Tree’ makes Kim Wilde and Mel Smith’s version sound like Bitches Brew-era Miles Davis — which is unfortunate as her frightened and life-denying version of the track is also by far the best thing on the record.

Billy Idol‘s Happy Holidays was the record I was most looking forward to, and like the later odes of Holderlin, is a lot stranger than you might expect. Idol starts in the only way the voice behind ‘Rebel Yell’ would be expected to, bullishly, going for broke on ‘Frosty The Snowman’ like he wants him to cry more, more, more. Eschewing howling axes for triangles and bells, the song is a Carry On Christmas-style piss take with a wink to music hall, full of fruity nudge nudges and spoken asides, which – unlike the awkward office party singalong it could have been – works because Idol sounds like he is having fun. He is a Bill Sykes that plays to the gallery and not to his demons. Unfortunately by track two he is beginning to grow a little more jaded, as if it is slowly occurring to him that just because we all grow old and still need something to do, that something doesn’t actually need to be this. Still, the realisation that a whole album of this stuff is going to be overkill, does not stop his version of ‘God Rest Ye Merry Gentlemen’ from keeping Richard Harris company in the astral bar that never closes, and ‘Auld Lang Syne’, a risk if ever there was one, is genuinely spooky, more Fagin watching the gallows being built from his cell than a new beginning in January.

So much more at “Jingle Hell: Tariq Goddard Reviews Christmas Music,” from @theQuietus. Via always-illuminating The Browser.

* Charles Dickens

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As we hum along, we might on the other hand recall that it was on this date in 1955 that Carl Perkins recorded “Blue Suede Shoes,” at Memphis Recording Service (later known, for the record label with which it shared a building, as Sun Studios). Written by Perkins and produced by Sam Phillips, it combined elements of blues, country, and pop music– and is thus considered one of the first rockabilly records.

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“I don’t know how music works, I’m just glad that it does”*…

 

Long time readers will know of your correspondent’s fascination with Sun Records, it’s presiding spirit, Sam Phillips (c.f., “So you wanna be a rock and roll star…“), and the acts–a pantheon of early rockers– that Sun birthed (c.f., “Collecting is my passion“).  Turns out, there was a very particular method to the madness…

If rock and roll is a religion, then Sun Studio is one of its holiest temples. The walls of this garage-turned-recording-studio in Memphis reverberate with the echoes of the past. This is where Elvis became king, Cash walked the line, and Perkins put on his blue suede shoes. This is where Roy Orbison, B.B. King, Ike Turner, and Jerry Lee Lewis all got their start. This is where rock and roll was born.

Behind every guitar riff, drum beat, and lyrical innuendo, there was the man in the control room who engineered it all. Sam Phillips helped turn poor boys, sharecroppers’ sons, and ex-servicemen into legends, icons, and superstars. “He was always trying to invent sound,” says Sam’s son, Jerry Phillips, “He felt the studio was his laboratory.”

The inside story: “How Sam Phillips Invented the Sound of Rock and Roll.”

* Lou Brutus

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As we swivel our hips, we might sing a doleful birthday ditty to Arthur “Big Boy” Crudup; he was born on this date in 1905 (though some sources give the date as August 24).  A Delta blues singer, songwriter and guitarist, Crudup is probably best known today as the writer of “That’s All Right (Mama),” the A side of Elvis Presley’s first single (recorded, of course, by Sam Phillips at Sun), and for “My Baby Left Me” and “So Glad You’re Mine,” also covered by Elvis (and many others).

Southeastern Louisiana University rock historian Joseph Burns suggests that “That’s All Right (Mama)” is the world’s oldest rock and roll song, and notes that it contains (what is probably) the first ever guitar solo break.

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Written by (Roughly) Daily

August 26, 2016 at 1:01 am

“There is no noise, only sound”*…

 

Unlike sex or hunger, music doesn’t seem absolutely necessary to everyday survival – yet our musical self was forged deep in human history, in the crucible of evolution by the adaptive pressure of the natural world. That’s an insight that has inspired Chris Chafe, Director of Stanford University’s Center for Computer Research in Music and Acoustics (or CCRMA, stylishly pronounced karma).

In his intensive, data-driven endeavour, Chafe takes the unnoticed rhythms of the natural world and ‘sonifies’ them, turning them into music – all the better to see how nature resonates with the music inside us. By pulling music out of the strangest places – from tomato plants, economic stats, even dirty air – he enables listeners to perceive phenomena viscerally, adding a new dimension of understanding to otherwise barely noticeable aspects of the world…

Read more– and hear some of Chafe’s work– at “Sonifying the World.”

* John Cage

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As we muse of the music of the spheres, we might recall that it was on this date in 1954 that Sam Phillips‘ Sun Records released the first single by Elvis Presley, “That’s All Right (Mama)”/”Blue Moon of Kentucky.”

The tracks were covers that clued early listeners to the influences that Presley would marry with such power as he rose to royalty: “That’s All Right” is a blues song by Arthur “Big Boy” Cruddup, while “Blue Moon of Kentucky” is a bluegrass ballad by Bill Monroe.

But that stardom was still in the distance; while Presley’s renditions became instant hits in Memphis, hometown of both Elvis and Sun, the 45 received mixed reviews in the rest of what would become Presley’s kingdom.

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Written by (Roughly) Daily

July 19, 2015 at 1:01 am

“Collecting is my passion”*…

 

http://farm9.staticflickr.com/8482/8239430619_3bf409954f_z.jpg

Girls on Donkeys #0117

The collector: Lisa Wood, artist and jewellery designer, San Francisco.

The collection: Photo postcards of girls on donkeys.

The story behind the collection…

This collection started about 5 years ago when I came across my first photo postcard of a young girl on a donkey taken around 1910. She was clothed in a beautiful dress, a big bow in her hair and shiny black boots that buttoned up the side. I loved the juxtaposition of the girl dressed in her Sunday best on a seemingly stinky old donkey…

One of the many labors of love on display at Obsessionistas, a showcase for unique and evocative collections.

We believe that in a world of homogeneous ‘me too’ lifestyles, products and brands, individuality can at least in part be expressed through our particular obsessions and what we seek out, keep and collect.

More on Ms. Wood’s collection here.

* Ursula Andress

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As we dust our shelves, we might recall that it was on this date in 1956 that serendipity yielded one of the coolest collectibles ever:  rockabilly legend Carl “Blue Suede Shoes” Perkins was recording at Sam Phillips’ Sun Records in Memphis; Perkin’s buddy Johnny Cash, a Sun artist and a country star by virtue of his recent hits “I Walk The Line” and “Folsom Prison Blues,” was hanging out in the booth; and soon-to-be-famous Jerry Lee Lewis was playing piano (for a $15 dollar session fee– “Whole Lotta Shakin’ Goin’ On” was set for release a few weeks later).

A couple of years earlier, Phillips had launched Elvis Presley with “It’s Alright Mama”; but in 1955, as Elvis’ career exploded, Phillips had sold his contract to RCA, and Elvis moved on.  But The King was back in Memphis that fateful day; he stopped by Sun to say hello… and an impromptu jam ensued.  Phillips had the presence of mind to order his engineer, Jack Clement, to roll tape– a tape that was promptly shelved, forgotten, and unheard for 20 years.  The recordings of what was arguably the first “supergroup” were found in 1976 and finally released in 1981… since when, they’ve been treasured by fans– a new crop of which has emerged with the success of the Broadway musical Million Dollar Quartet.

http://farm9.staticflickr.com/8200/8239430651_733906291d_o.jpg source

Written by (Roughly) Daily

December 4, 2012 at 1:01 am