Our Blog
By Paul Freeman

The new year has gotten off to a very sad start. In addition to TV icon David Nelson [See our feature story], we lost Anne Francis and Trish Keenan.

A child actress/model, Anne Francis first gained prominence as an ingenue. She was featured in such memorable films as “Blackboard Jungle,” “Susan Slept Here,” “The Rack,” and “Bad Day at Black Rock.”

She starred in the 1956 science-fiction classic “Forbidden Planet” opposite Leslie Nielsen (who passed five weeks before Anne did) and Robby the Robot. Later films included “Funny Girl” and “The Satan Bug.”

Francis amassed a tremendous list of TV credits, including “The Twilight Zone” (the eerie, “After Hours” mannequin episode), “The Virginian,” “Rawhide,” “The Untouchables,” “Route 66,” “Ben Casey,” “The Man From U.N.C.L.E.,” “The Fugitive,” The Invaders,” “Golden Girls,” “Columbo,” the original “Hawaii Five-O” and “Dallas.” She starred in many TV-movies.

But Francis might be best remembered for her Golden Globe-winning, Emmy-nominated role as “Honey West.” Though the series lasted only one season, It had a huge impact. Francis paved the way for future generations of female action heroes. Sexy and feminine, she was also cool, smart and just as capable of taking care of business as any male detective on TV.

The honey blonde with the sensuous voice had spectacular blue eyes and a trademark beauty mark. But Francis’ beauty was definitely not skin-deep. She was a warm, evolved human being who immersed herself in the study of metaphysics and advanced several charities. Those who had the privilege of knowing her came away touched by her kindness.

Her autobiography, “Voices From Home: An Inner Journey,” shows that she was far more interested in spiritual enlightenment that in show business superficialities.

But there’s no denying that Ms. Francis made an indelible impression on movie and TV audiences.

She had 80 years to leave her mark. Trish Keenan had only half that amount of time. But she made the most of it.

The lead vocalist of the innovative English band Broadcast, Trish Keenan was a true artist. To her, music was not only a great passion, but also a thrilling adventure.

With her creative and life partner, multi-instrumentalist James Cargill, Keenan began navigating Broadcast’s experimental musical journeys in 1995. Their debut full-length album, “The Noise Made By People,” brightened the pop landscape in 2000.

The band called upon ‘60s, electronica and film soundtrack influences and took them in their own brilliantly imaginative, seductive, hypnotic directions. Keenan’s distinctive vocals offered a haunting loveliness, hinting at something simmering beneath the surface.

“The Future Crayon” compiled singles and rarities. “Haha Sound” and “Tender Buttons” followed, again transporting listeners to uncharted musical territory. In 2009, Broadcast released the mini-LP “Investigate Witch Cults of the Radio Age,” joined by Julian House’s The Focus Group.

For the ingenious Keenan, music wasn’t a career, it was a way of life. Her artistry came from a fearless core of purity and integrity.

While sculpting intricate, enthralling soundscapes, she never lost a sense of wonder and magic. Her compositions were filled with dazzling revelations, as well as innumerable thoughts, feelings and sounds to ponder. With its subtleties, nuances and complexities, the music of Broadcast remains just as fresh, exciting and challenging the thousandth time you hear it. There’s always something more to discover.

Broadcast deserved wider attention, but truly daring artists rarely receive mainstream recognition during their lifetimes. The band’s cult following should grow over the years, continuing to influence countless new artists. And the extraordinarily gifted Cargill, hopefully, will choose to carry on the legacy, making brave music on his own.

There’s an otherworldly quality to much of Broadcast’s music, equally embracing darkness and light. Now Trish Keenan is exploring another world, adding luster to a new dimension, able to paint her musical masterpieces using an infinite palette.

Those who knew her, long for her disarming laughter, intense creativity and generosity of spirit ; those who knew her through her recordings, cherish every track she left behind. As a life force, as an inspiration, Trish Keenan will never fade.

Pneumonia took her. But nothing can take from us the exquisite essence that lives in her music.

Deep in every dream
Though you're far from me
There in the deepest snow
I only wanted you to know

Oh my heart
Waits in winter now

Falling quietly
There reminding me
Though it's just a dream
You're closer than you've ever been

Oh my heart waits in winter now
“Winter Now” by Broadcast, from the album “Haha Sound”

Bay Area rock fans rejoice! Power pop reached its zenith when The Rubinoos erupted out of Berkeley in 1970. Now the band celebrates its 40th anniversary with a special concert at San Francisco’s Great American Music Hal, October 23. The lineup includes original Rubinoos Jon Rubin, Tommy Dunbar and Donn Spindt, along with longtime member Al Chan.

The ever exuberant rockers’ unforgettable tunes include their own (much imitated) “I Wanna Be Your Boyfriend,” their killer cover of “I Think We’re Alone Now” and the theme song from “Revenge of the Nerds.”

Their live shows are legendary for the unique blend of excitement and fun. For tickets to the S.F. show, go to: http://www.gamhtickets.com/events/104587/An-Evening-with-The-Rubinoos--40th-Anniversary-

Ringo Starr, the sad-eyed former mop-top with the infectious grin and solid beat turned 70 on July 7. He appeared decades younger than that as he delivered a highly entertaining, warmly nostalgic show at Saratoga’s Mountain Winery on Tuesday night. Clearly, he still loves performing and that passion defies age. The ‘60s sentiments of peace and love abounded.

This year’s edition of his All-Starr Band is the 11th. Some quibble that the lineup is not as glamorous as earlier ones that featured Joe Walsh, Burton Cummings, Jack Bruce, Dr. John, Sheila E., Nils Lofgren and Peter Frampton. But the latest roster provided exhilarating, masterful musicianship and flawless vocal harmonies. Almost as importantly, these lads were obviously having immense fun.

The All-Starrs consisted of Edgar Winter on keys and sax, keyboardist Gary Wright, lead guitarist Rick Derringer, bassist Richard Page (Mr. Mister), rhythm guitarist Wally Palmar (The Romantics) and, on drums, Gregg Bissonette (who has played with Santana, David Lee Roth, Joe Satriani and Toto. He even survived a stint as Spinal Tap’s drummer).

Bissonette handled the thunderous beat when Starr took the mic at center stage. On other numbers, they sat side-by-side, pounding their kits, perfectly in synch. Judging by Starr’s frequently flashed smiles, he enjoyed backing his bandmates as much as he did singing lead.

Starr opened with one of his best singles, 1971’s “It Don’t Come Easy.” Other top-notch numbers from his solo albums included “Back Off Boogaloo,” “Photograph” and the more recent “Choose Love.” He also offered a couple of tunes from his current “Y Not” album - “Peace Dream” and the autobiographical “The Other Side of Liverpool.”

Upon mentioning the latest release, there was a smattering of applause and the ever witty Starr quipped, “I’d like to thank the nine of you who bought the new album.”

Of course the biggest reactions from the packed house came when Starr lept into The Beatles’ songbook. Starr announced he was going to perform a tune he used to play with his former band. As the throng roared, he cracked, “Rory Storm and the Hurricanes!” He kicked off “Boys,” which was slightly better known for its Fab Four incarnation than for Storm’s recording.

When he played early Beatles, such as “I Wanna Be Your Man,” with the All Starr Band, the raw, edgy, garage-y feel was replaced by a fuller, powerhouse sound. His voice sounded stronger than ever and his drumming has remained impeccable.

Starr pointed out that each band member was a unique artist in his own right. And each was afforded two numbers in the spotlight.

In rousing fashion, Derringer played his McCoys’ smash “Hang On Sloopy” and the later "Rock and Roll Hootchie Koo." Starr aptly described Derringer’s guitar solo on the latter as “incredible.” With blazing speed and neatly integrated harmonics, his work would have turned Steve Vai green.

Starr said the mountain air must have agreed with Wright, because his plaintive vocal on “Dream Weaver” was the best it had been since the tour began. Wright explained how the song grew out of a book that George Harrison had given him.

Another high point came with Winter’s instrumental tour de force, “Frankenstein.” He went from synth to sax to percussion with equal virtuosity.

The crowd enthusiastically joined in, especially on Winter’s “Free Ride” and Palmar’s irresistibly rocking “What I Like About You.”

The material spanned a wide stylistic spectrum, from Starr’s versions of Buck Owens’ country classic “Act Naturally” and Carl Perkins’ rockabilly gem “Honey Don’t” to the ‘80s sheen of Mr. Mister’s “Broken Wings” and “Kyrie.”

Before launching “Yellow Submarine,” Starr joked, “If you don’t know this one, you’re at the wrong concert... You must be waiting for Cat Stevens.”

The lovefest came to a close as the nimble Starr did jumping jacks and the audience sang along to “With A Little Help From My Friends,” which segued into the chorus of John Lennon’s “Give Peace A Chance.”

The Baby Boomer audience repeatedly thrust their arms into the air, returning Starr’s peace signs. Silicon Valley surgeons may notice a subsequent boom in shoulder replacement requests.

The memorable evening rose above its nostalgic roots, delivering joyous rock that was as terrific as it was timeless.

E-mail Paul Freeman at paul@popcultureclassics.com.

Left to right: Joan Baez, Merle Haggard, Kris Kristofferson, John Prine Photo Credit: Lisa Kristofferson

Saratoga’s Mountain Winery welcomed two country music legends Wednesday night. Merle Haggard and Kris Kristofferson delivered strong sets, filled with some of the 20th century’s most eloquent and enduring songs.

With these greats, it’s not about frills, gloss or gimmicks. Haggard and Kristofferson tell it like it is, mirroring the American spirit, illuminating its flaws, as well as its beauty.

Backed by his superb band, The Strangers, Haggard opened with “Twinkle Twinkle Lucky Star.” He quickly doffed his fedora and shades and immersed himself in the music. Blending jazz, blues, swing and rockabilly into traditional country, he clearly enjoyed every moment on stage.

At 73, California’s country pioneer may look a big haggard, but still sounds terrific. He has one of the most expressive voices country music has ever produced. And he can coax a variety of pleasing riffs from his trusty Fender Telecaster.

Like another all-American icon, Clint Eastwood (with whom he recorded a chart-topping duet, “Barroom Buddies”), Haggard seems to enhance his legacy with each passing year.

Haggard sings of heartbreak and hope, mountains, rivers and honky tonks. His life experiences are etched into his songs. His appeal transcends age, genre and politics.

Among the highlights of his set were such Haggard hits as “Mama Tried,” “Rainbow Stew,” “The Bottle Let Me Down” and the lovely “Silver Wings.”

When women in the front row jumped up to dance to “Swingin’ Doors,” Haggard proclaimed, “It’s wonderful to see people having fun again... Fun is like gas. It’ll build up, if you don’t let it go.”

Haggard celebrated the fact that his latest album, “I Am What I Am,” reached the number one slot on the Americana chart last week. In addition to the title tune, he sang the engaging “Love Is Pretty When It’s New.”

He sprinkled a few covers into the evening, including an exquisite rendition of Willie Nelson’s “Back To Earth.” Haggard also revealed his roots, dropping in a Jimmie Rodgers yodel at one point, and later, serving up a savory interpretation of Hank Williams’ ‘Milk Cow Blues.”

Solos added to the fun. The Strangers offered not only tasty guitar, fiddle and silky pedal steel licks, but sax and keyboard breaks, as well.

For the encores, Haggard welcomed Kristofferson back to the stage, along with surprise guests Joan Baez and John Prine. The audience was delighted at the unexpected sight of that unlikely trio singing along to “Okie From Muskogee.” Kristofferson added his own joke verse.

The memorable evening closed with the group performing Kristofferson’s “Why Me.” Haggard’s lead vocal gave the song a powerful, uplifting spirituality.

Baez and Prine also joined Kristofferson for the encores and standing ovations that closed his set.

The charismatic Kristofferson, sans band, held the crowd in the palm of his hand. His effectiveness disproved his self-deprecating, almost apologetic, humorous remarks. He repeatedly mentioned that the good part of the show, Haggard’s set, would begin soon.

The fact is, even with blown, gravel voice, slightly out-of-tune guitar and occasional missed chords, Kristofferson is a poignant poet and a great communicator. His vocals had a plaintive quality that added resonance to each artfully crafted lyric.

Blowing into a harmonica, strumming, singing songs brimming in insights, rich in stories and characters, Kristofferson reminded the audience why he’s considered a songwriter’s songwriter.

Kristofferson’s completely informal approach contributed to his charm. He wouldn’t hesitate to pause a song in the middle to relate an amusing anecdote, or to just stop a tune when he felt it was time to move on. His unease only endeared him to the crowd.

He didn't give short shrift to his classics, performing such numbers as “Help Me Make It Through The Night,” “Me and Bobby McGee,” “Sunday Morning Comin’ Down,” “Lovin’ Her Was Easier” and “Silver Tongued-Devil.” His rendition of “Darby’s Castle” was particularly moving.

During “Nobody Wins,” Kristofferson tossed in a jibe about Bush and Cheney. He dedicated “The Pilgrim, Chapter 33,” to Dennis Hopper (for whom he made his acting debut, in “The Last Movie.”)

He sang of tender young maidens, bottles of beer, freedom, loneliness and lost dreams. There’s a sensual element, as well as a visceral punch, to his work. His elegant turn of phrase appears effortless.

The songs of Haggard and Kristofferson have already withstood the test of time. The Saratoga audience demonstrated its appreciation for an entertaining evening of American musical history.

“Why, in my day... “

Help! I’ve fallen out of the desirable demographic and I can’t get up (Actually, I dropped out of the commercially drooled-over, male 18-34 category a couple of decades ago).

Okay, so I feel more kinship to “Your Hit Parade”’s Snooky than to “Jersey Shore”’s Snooki. That’s my “Situation.” So shoot me.

Good thing Boomers are nearing seniorhood in big numbers. Otherwise, we’d probably be facing a “Logan’s Run” scenario. The crystal in my palm is way past red... It’s turned grey.

We are not alone... nor are we aliens. Hey, discerning members of the younger generations attend classic rock concerts and catch classic films on TCM.

Speaking of aliens, why do celebrities these days display an aversion not only to looking older, but to looking like they were born on this planet? Actors used to welcome the opportunity to put their worry lines to work in juicy character roles.

Reality TV makes everything less real. Dobie Gillis once said, “TV is better than reality.” Not anymore.

Or is everything old really new again? Just as in the ‘50s, Hugh Hefner is shagging younger women (though now he seems less like a dapper playboy and more like the leering, decrepit, degenerate uncle the girls all avoid at family reunions.)

“American Idol” is just “Talent Scouts” on steroids. Perhaps Simon Cowell is the love child of Arthur Godfrey and Benito Mussolini?

Back in the day, TV audiences weren’t immune to wallowing in the misery of others. Anybody recall “Queen For A Day”? Anguished women in financial or health difficulties would bare their souls. An applause meter would then decide which one would walk away with a few bucks and a set of flatware. Even more embarrassing than “The Bachelor.” But viewers tended to tune in to empathize, not to feel superior.

Sure we always had starlets who thought that Gluteus Maximus was a Roman Emperor, but they didn’t used to be regarded with a reverence once reserved for Mother Teresa.

In the studio contract era, Hollywood may have been a factory town, but it churned out terrific product... Now corporate movie machines specialize in much sound and fury signifying nothing.

On Broadway, instead of Arthur Miller, we get singing teapots.

Remember the scandalous revelation that. at first,The Monkees didn’t play on all of their tracks? I guess they were just ahead of their time. Now, in concert, the most commercial pop singers don’t even turn their mics on... It’s all about choreography and hair.

I’m not saying the modern entertainment world doesn’t have any future pop culture classics. In any era, we’d applaud: “Gran Torino,” “District 9,” “The Hurt Locker,” “500 Days of Summer,” “Curb Your Enthusiasm,” “Party Down,” “Torchwood,” “The IT Crowd,” “Mighty Boosh,” “Extras,” Duffy, Corinne Bailey Rae, Fleet Foxes, Norah Jones, Muse, Broadcast, Monade and Super Furry Animals.

But they are rarer than virgins on “Rock of Love” or sensitive men on “Tool Academy.” Mostly what show biz spews out is more deserving of the lime pit than the limelight.

When it comes to quality, innovation and genuine excitement, it’s generally difficult for today’s crop to equal the movies of the ‘30s, TV of the ‘50s and music of the ‘60s.

With people getting nostalgic for last week, what’s wrong with fondly remembering the classic pop culture heroes of decades past? If some of us would rather watch June Cleaver than cleaver-wielding zombies, it doesn’t necessarily mean we’re ready for assisted living. (And, by the way, June could easily stop the undead in their tracks, using only a stiletto heel... so don’t knock her kitchen attire.)

In some post-apocalyptic future, will mutant survivors wax nostalgic about Spencer and Heidi? Jon and Kate?

Hmm, maybe I shouldn’t touch the keyboard when I’m feeling crotchety. I think I’ll just put my teeth back in and go bite a Jonas Brother.