The Classic Rock Blues

I attended a student activities “Last Bash” on campus a little over a year ago, and although I didn’t notice it at first, at some point I remember making a note that the music playing over the crowd was classic rock… music from some 40 years ago! Of course, forty years ago that music wasn’t called “classic rock,” it was simply called rock and roll.

Later, when I was home, I started thinking about this more. I considered the same scenario when I was in college during the early 1980s, and considered how forty-year-old music (from the 1940s in case you don’t want to do the math) would have gone over at a  “Last Bash” gathering at my alma mater—Arizona State. Surely, if such a thing actually did happen back then, it would only have been in the context of a specific theme—where everyone in attendance would have been in costume from that era. Yet, at this social outing I attended, no one was in a 1980s costume.

Later that summer during the Park County Fair, I noticed that classic rock music was also being played in the background by the carnival ride operators throughout the evening. I suspect no one gave it any thought or bothered to yell at the carnies, “Hey, why don’t you play some current music?”

With these recent observations in mind I thought, “How has “classic rock” maintained such staying power after all of these years? How has it become so ubiquitous and so accepted by today’s younger crowd when music of the same age never would have been tolerated in my youth?”

In answering the question of “Why is classic rock so widely accepted and therefore so ubiquitous,” I suspect there is no one answer that clearly explains it—at least no one can agree on it. So, it’s probably safe to assume that there are several factors that have resulted in the continued acceptance of “classic rock.”

No matter which classic rock radio station you listen to, you’re guaranteed to hear AC/DC’s biggest hits and likely multiple times on any given day.

When I queried a few students about this, one simply answered, “I guess it just aged better.”

Perhaps, but I believe it goes a little deeper than that. My theory has to do with the fact that classic rock was the last genre played on the radio when radio was widely listened to. I think country-western could be included in that too. Further, the name “classic rock” has basically been hijacked and condensed. A more accurate name for it should be “classic rock hits.”

Today however, there are many more sources for one to discover music, and most of those sources are beyond and have probably surpassed the influence of radio. As a result, radio’s popularity has really diminished—in the home, in their car, in the workplace, etc.

I’ve heard many of my generation swear that rock and roll music—specifically from the 60s, 70s and 80s—was the best music ever made. I don’t find that to be necessarily true. It was truly revolutionary, but in my mind that doesn’t translate to trumping other genres of music. My argument is this: for every good song you can name in any music category, someone can surely counter with a really bad song from the same genre.

For example, take this 1979 classic rock hit by Bad Company, Rock and Roll Fantasy. I was never a Bad Company fan and this song probably justifies it.

Here comes the jesters, one, two three,
It’s all part of my fantasy
I love the music and I love to see the crowd
dancin’ in the aisles and singin’ out loud
Here comes the dancers one bye one
Your mama’s callin’ but you’re havin’ fun
You find you’re dancin’ on a number nine cloud
Put your hands together now and sing it out loud

Its all part of my rock ‘n roll fantasy
Its all part of my rock ‘n roll dream
Its all part of my rock ‘n roll fantasy
Its all part of my rock ‘n roll dream

Put up the spotlights one and all
and let the feelin’ get down to your soul.
The music’s so loud you can hear the sound
reachin’ for the sky and churning up the ground

Its all part of my rock ‘n roll fantasy
Its all part of my rock ‘n roll dream
Its all part of my rock ‘n roll fantasy
Its all part of my rock ‘n roll dream

And, for the record, that song peaked at #13 on the Billboard Hot 100 hits back then.

Here’s another individual who has basically made the same observations of other song lyrics from the classic rock genre.

And then there are the plethora of robotic “classic rock” radio stations that just play the same hits over and over indefinitely—the same hits that mainstream radio stations played over and over for only weeks on end when they first came out.

You’ll never hear a classic band like The Tubes on any of today’s automated and sterile classic rock stations.

Earlier today, I sat down for one hour to listen and take note of the classic rock songs played on the local classic rock station—KCGL, The Eagle 104.1 here in Powell, Wyoming. KCGL is a member of the Big Horn Radio Network based in nearby Cody that includes eight other radio stations in the area. In their defense, they do claim that their format is “classic hits,” so it’s probably safe to assume we’ll never hear them play The Tubes’ classic rock song White Punks on Dope or Alex Harvey’s Midnight Moses.

For the record, this is what was played during my one-hour listening session:

You’re Still The One / by Orleans
All She Wants To Do Is Dance / by Don Henley
Night Moves / by Bob Seger
Games People Play / by The Alan Parsons Project
Goodbye Stranger / by Supertramp
Mony, Mony / by Billy Idol
Swingtown /  by The Steve Miller Band
You’re In My Heart / by Rod Stewart
Here She Comes / by The Cars
Your Love / by The Outfield
The Best Of Times / by Styx
Margaritaville / by Jimmy Buffett
Baby Hold On / by Eddie Money
Heart And Soul / by Huey Lewis and the News

After hearing these 14 hit singles, I did a little math. In averaging out the release years for each song, I came up with 1979.5—I would have just completed my freshman year at Arizona State. In averaging out where the songs peaked on the Billboard Hot 100 hits, this grouping came in at 20.2. All where easily in the top 20 with the exception of Here She Comes which only peaked at #35 on the chart, so that really brought the average down.

Although KCGL is one of many radio stations employing this format, in the end, it is simply lazy, unimaginative, and easy radio programming. When will a radio station emerge that plays the non-hits of classic rock as well? Everyone knows Dire Straits Walk of Life or Money for Nothing, but who (beyond their fans) has ever heard their song Heavy Fuel? What if they were to play Springsteen’s album Nebraska in its entirety, or all of the music from the thousands of other bands that were just as good, but never had the right backing to push them out to the radio stations back then? That’s the classic rock radio station I want to tune in and actually listen. But, to create such a radio station, you’d need those who really know and appreciate rock and roll, those who have done the research—not some fat, lethargic mama’s boy who has an associate’s degree in mass media or radio broadcasting.

In its heyday, WMMS out of Cleveland was the gold standard of a true classic rock radio station.

In conclusion, classic rock (i.e., classic rock hits) has simply become the “elevator music” of the 21st Century.

As long as we’re talking music, thanks to the continued popularity of classic rock, today’s younger generation knows much more about the music from my youth than I knew about the music from my parent’s youthful days. That is, several of my students know many of the rock groups from my youth such as Queen, Led Zeppelin, Duran Duran, The Beatles, etc. Yet, I couldn’t have told you much about the music my parents listened to when I was in my 20s like Glen Miller, Tommy Dorsey and Duke Ellington. So, I suppose classic rock does have an upside. 

Lastly, here’s a couple of philosophical questions: If there’s a genre of “classic rock,” is there a “modern rock” too? What is the cut-off period between the two? And, at what age will today’s modern rock get lumped in with yesterday’s classic rock?

—30—

Remembering Mrs. Brazil

What a time to be alive in America—to believe in America.

Having just celebrated Dr. King’s 80th birthday, swelling in the background for the entire week was the inauguration of Barack Obama as the 44th President of the United States.

I wasn’t sure exactly how to go about the business of celebrating on that pseudo-double-barrell holiday. Dr. King and President Obama reminded us about the importance of public service, but I couldn’t help but reflect on those of African-American descent who have touched my life over the years. Too bad for me that such individuals are so few. Yet, I’m the only one to blame for such an abbreviated list.

It was only a couple weeks ago that I remembered Mrs. Brazil, and because of these recent events, for the first time I saw her in a new light.

I never gave much thought about her as an African-American. And, to be sure, no one in my family let it be known to me that (in 1966) my foundation for reading and writing were being shaped by an African-American woman. Yes, I owe my humble beginnings in reading and writing to my first grade teacher, Mrs. Brazil.

Up until now, I’ve been rather oblivious to the unique scenario that had shaped my early years—especially in light of those tumultuous times. Only three years earlier the racial atrocities were recorded regarding the 16 Street Baptist Church in Alabama and not long after 1966, Dr. King was gone.

So, folded in between all of this racial strife, a bunch of young White kids growing up in an all-White neighborhood of East Akron, Ohio, were given the first tools of reading and writing by an African-American woman—tools that have defined the inner core of any civilization.

What a contrast from Kindergarten with Mrs. Scheatzle to the first grade with Mrs. Brazil. Mrs. Scheatzle was a petite and attractive Anglo woman who spoke calmly and evenly. When I walked into Mrs. Brazil’s class on the that first day of the first grade, I knew I had graduated. She was a smart dresser, but she was big enough to play linebacker with Ray Nitschke of the Green Bay Packers (or so it seemed). In short, she was no Mrs. Scheatzle. Mrs. Brazil was gentle with us to be sure, but her voice was capable of booming across the room and she had a great, uninhibited laugh. Occasionally, when we started to become unruly she would settle us down by reminding us that we weren’t in Kindergarten anymore. She conducted that class as if she were holding court.

Morgan in 2nd grade, a year after learning to read and write from Mrs. Brazil.

In reflecting on that time, the other day I called my mother to see if there was anything she remembered that may have been too harsh for a first grader like myself to comprehend. She only remembers the surprise to hear about Brazil’s assignment as a teacher at Ritzman Elementary where I was entering the first grade. Both of us suspect that she may have been the first non-White to teach there—and long before any African-American children attended as students. Regardless, my mother couldn’t recall any controversy regarding Mrs. Brazil at Ritzman and only remembers her as a caring and friendly teacher who would call the house to check on my status when I’d been sick and away from school.

I hold a certain sadness today in that I don’t know what became of Mrs. Brazil, nor do I know how many years she actually taught at Ritzman. I suspect it wasn’t very long because I don’t recall being aware of her presence by the time I was in the fifth grade—the last year I attended Ritzman. Like many of my former teachers, I truly regret not knowing what paths she pursued after sharing the 1966-67 academic year with her. I never learned her given name either.

Today, I find myself wondering what pressures and anxieties she experienced as a teacher working at a school that was 100% White way back then? I can’t imagine it was as innocent and uneventful for her as it appeared from my first-grade perspective. How did such an assignment even come about? Whatever racial tensions she may have experienced, tolerated, suffered, it never showed. Yet, I have to wonder what would a first grader really notice? For me, she was competent, effective and influential as a first grade teacher. What more has ever been required?

Perhaps even more perplexing is that I don’t recall any of the kids from the other classes saying anything about Mrs. Brazil while on the playground or in route to and from school. And the kids attending Ritzman were hardly angels—many used the various inappropriate and offensive names for those of colour and other nationalities. In fact, I remember hearing more jokes about Poles than any other race or nationality.

The fact that my first grade experience with Mrs. Brazil was racially uneventful is probably a credit to my parents who never demonized Blacks or used any of the derogatory, popularized-by-Whites terms for African-American people, although several members of our extended family did—and probably still do to this day.

I’ve told many people over the years about Mrs. Brazil—not because she was African-American, but because she always called me “Tyree”—my surname. I thought that was cool because my brother and his friends in high school always called each other by their last names and suddenly, my teacher was as cool as they were.

As it turned out, sometime later in the year, she pulled me aside and apologized when she realized that my given name was actually “Morgan.” I’m pretty certain I told her it was OK, but had I a little more courage, I would have told her I preferred to be called “Tyree” all along.

On this week when we’ve celebrated the 80th birthday of Dr. Martin Luther King, Jr. and the swearing in of Barack Obama as our 44th President, I’d like to look her in the eye and thank her for being such a powerful and influential force in my early years. Maybe I could even have her read this essay and offer me a little feedback on my writing one last time.