Sunday, 27 December 2020

Dr. John aka Mac Rebennack

 


Dr. John, of voodoo beads, feathers & New Orleans sound, dies at 77

6 June 2019.

Mac Rebennack, the pianist, singer, songwriter and producer better known as Dr. John, who embodied the New Orleans sound for generations of music fans, died on Thursday. He was 77.

A family statement released by his publicist said the cause was a heart attack. The statement did not say where he died. He had been living in recent years on the north shore of Lake Pontchartrain, La.

Mr. Rebennack belonged to the pantheon of New Orleans keyboard wizards that includes Professor Longhair, James Booker, Huey (Piano) Smith and Fats Domino. What distinguished him from his peers was the showmanship of his public persona.

Onstage as Dr. John, he adorned himself with snakeskin, beads and colorful feathers, and his shows blended Mardi Gras bonhomie with voodoo mystery.

He recorded more than 30 albums, including jazz projects (“Bluesiana Triangle,” 1990, with the drummer Art Blakey and the saxophonist David Newman), solo piano records (“Dr. John Plays Mac Rebennack,” 1981) and his version of Afropop (“Locked Down,” 2012). His 1989 album of standards, “In a sentimental mood,” earned him the first of six Grammy Awards, for his duet with Rickie Lee Jones on “Makin’ whoopee!

His only Top 40 single, “Right place wrong time,” reached No. 9 on the Billboard chart on 30 June 1973. In 2011, he was inducted into the Rock & Roll Hall of Fame.

Malcolm John Rebennack Jr. was born in New Orleans on 21st November 1940. His mother, Dorothy (Cronin) Rebennack, worked as a model and in a music store. Malcolm Sr. owned an appliance store. Mac, as he came to be known, was a photogenic baby whose picture appeared on boxes of Ivory Soap.

He immersed himself in the sounds of New Orleans at a young age, first through the city’s radio stations and then by following his father to nightclubs, where Malcolm Sr. would repair P.A. systems while young Mac peered through the window, watching musicians like Professor Longhair rehearse.

Mr. Rebennack, a virtuoso on piano and guitar, was tutored by Walter (Papoose) Nelson, who played guitar with Fats Domino. “In the days when it was very difficult for a black guy and a white guy to socialize, for a Black guy to give a white guy guitar lessons” was “beyond beautiful,” Mr. Rebennack later recalled.

He started playing in clubs and on recording sessions as a teenager and dropped out of high school to pursue music full time.

He played guitar up to 18 hours a day, seven days a week — sitting in at Bourbon Street clubs and strip joints, leading his own bands, mixing players from the city’s segregated white and black musicians union, and recording more sessions than he could count.

“We used to do sessions every day, sometimes two or three a day, and you just scuffled to get through,” he remembered in 1973.

In his spare time, Mr. Rebennack wrote songs (he said he was the uncredited author of Lloyd Price’s 1960 hit “Lady Luck”) and worked as an A&R man at Ace Records.

He also nurtured a heroin habit and engaged in constant low-level criminal activity. “I tried all the hustles, but I was never good at most of them,” he wrote in his autobiography, “Under a Hoodoo Moon” (1994, with Jack Rummel). “Turned out the only scam I was good at was forging prescriptions.”

In late 1961, Mr. Rebennack interceded in a fight when a friend was being pistol-whipped; for his troubles, he took a bullet in his finger. The injury forced him to switch to piano and organ as his primary instruments. Not long afterward, the New Orleans district attorney, Jim Garrison, closed down many of the city’s nightclubs in an anti-vice crusade, and the local music scene collapsed. (Mr. Garrison went on to become a leading conspiracy theorist on the assassination of President John F. Kennedy.)

After a heroin arrest, Mr. Rebennack did time in prison, and when he got out, in 1965, he headed straight for Los Angeles.

In California, Mr. Rebennack added barrelhouse piano flavor to pop and rock records, doing sessions with Sonny & Cher, the O’Jays, Frank Zappa and others. The producer Phil Spector, he recalled, “would pack a studio with 30 violins, 10 horns, a battery of keyboards, basses, guitars, drums, which, mixed with much echo, became his famous ‘wall of sound.’ I thought to myself, What’s all this? Because in New Orleans we put out just as much sound with only six guys.”

After a few years, Mr. Rebennack recorded a session of his own, blending New Orleans R&B, Creole chants, psychedelic rock and mystical lyrics. He had intended the frontman persona, “Dr. John Creaux the Night Tripper,” to be played by a New Orleans buddy, Ronnie Barron; when Mr. Barron declined, Mr. Rebennack and his charismatic growl took center stage.

The Dr. John character made its debut on that album, “Gris-Gris,” which was released in 1968 on the Atco subsidiary of Atlantic Records. The album became a hit on underground FM radio on the strength of hypnotic tracks like “I Walk on Guilded Splinters.”

Mr. Rebennack further developed the Dr. John persona — the name was borrowed from a 19th-century voodoo priest — on the albums “Babylon” and “Remedies.” As he wrote in his autobiography: “In New Orleans, in religion, as in food or race or music, you can’t separate nothing from nothing. Everything mingles each into the other — Catholic saint worship with gris-gris spirits, evangelical tent meetings with spiritual-church ceremonies — until nothing is purely itself but becomes part of one fonky gumbo.”

Fans of those albums included Mick Jagger and Eric Clapton, both of whom appeared on Mr. Rebennack’s ill-fated 1971 concept album, “The Sun Moon & Herbs,” which was cut down from three discs to one when Mr. Rebennack became embroiled in a management dispute and lost control of the master tapes.

After that misfire, he took the suggestion of Jerry Wexler, the Atlantic Records executive who produced R&B heavyweights like Ray Charles and Aretha Franklin, and began recording songs, like “Iko Iko” and “Tipitina,” which were as fundamental to New Orleans as red beans and rice.

The resulting album, “Dr. John’s Gumbo,” produced by Mr. Wexler and released in 1972, paved the way for two records on which Mr. Rebennack was produced by Allen Toussaint and backed by the Meters.

As many albums as he made, however, Mr. Rebennack said he had earned more money cutting jingles. His clients included Popeyes chicken, Scott tissue and Oreo cookies. He also reached younger generations with his theme songs for the sitcom “Blossom” and the cartoon show “Curious George,” and through his Muppet musician doppelgänger, Dr. Teeth, leader of the Electric Mayhem.

In 1989, after 34 years of on-and-off addiction, Mr. Rebennack quit heroin. For several years he split his time between New Orleans and an apartment in the Washington Heights section of Manhattan, where he could be spotted with his trademark walking stick, adorned with voodoo beads, a yak bone, an alligator tooth and key rings from Narcotics Anonymous.

“I relate to people up there that kind of hangs on the streets,” he told The New York Times in 2010. Asked if he spoke Spanish, like many of the neighborhood’s residents, he said, “No, I don’t even speak English.”

A spokeswoman said his survivors include children and grandchildren but provided no other details.

New Orleans gave Mac Rebennack his musical identity, and he tried to uphold its traditions: as a recording artist, as a regular guest star on the HBO series “Treme” (playing himself) and as a frequent performer at the annual New Orleans Jazz and Heritage Festival. Even thousands of miles from Louisiana, however, he could invoke its musical magic.

One day in 1968, Mr. Rebennack visited the Topanga Canyon neighborhood of Los Angeles with the other members of his band. As he told the story in his memoir:

“We were down by this stream in the canyon and Charlie Maduell broke out his flute and started playing, and frogs started chirping to it. Didimus picked up some rocks and began playing a groove; Dave Dixon had found some kind of animal bones and began playing those. Stalebread Charlie had a tape recorder and taped our little nature jam. We called this the ‘Symphony of the Frogs.’ Before too long, all these naked people came down the creek bed, attracted by the music and the chirping, and started dancing.

“We were getting into the people dancing, and they were getting into our music. It all got very intense. When it died down some, Didimus said, ‘Hey, we should take this to the people.’ That’s how the Dr. John road show began.”

By Gavin Edwards

A version of this article appears in print on June 7, 2019, on Page A23 of the New York edition with the headline: Dr. John, of Voodoo Beads, Feathers and New Orleans Sound, Dies at 77. 


Such a night, such a night
sweet confusion under the moonlight
such a night, such a night
got to steal away, the time seem right
then your eyes met mine at a glance
you let me know this was my chance
(you) came here with my best friend Jim
here I am 'cause I'm gonna steal you away from him

oh baby, 
if I don't do it, somebody else will
if I don't do it, somebody else will
if I don't do it, somebody else will
If I don't do it, you know, you somebody else will

Such a night, such a night
sweet confusion under the moonlight
such a night, such a night
got to steal away, the time seem right
yeah, I couldn't believe my ear 
my heart just skipped a beat
you told me we could slip away down the dark end of the street
yeah, you came here with my best friend Jim
here I am, 'cause I'm gonna steal you away from him

baby, if I don't do it, somebody else will
if I don't do it, you know, somebody else will 
if I don't do it, you know, somebody else wil
if I don't do it, somebody else will.

Rebennack Mac 

Sunday, 15 November 2020

Bill Withers

 
Bill Withers whispers something on Mohamed Ali's ears...

'You couldn't harness Ali. He always was in perpetual motion. It would be like trying to catch a humming bird in your hands.' Bill Withers.

Ain't no sunshine when she's gone... 

Saturday, 7 November 2020

Jerry Jeff Walker, who wrote 'Mr. Bojangles', dies at 78.

Jerry Jeffe Walker performs in Chicago in 1977. 

Jerry Jeff Walker never had a Top 40 pop hit. But his best-known composition became a standard, and he became a mainstay of the outlaw country movement.

By Bill Friskics-Warren for The New York Times.

24 October 2020.

Jerry Jeff Walker, the singer-songwriter who wrote the much-recorded standard “Mr. Bojangles” and later became a mainstay of the Texas outlaw movement that catapulted Willie Nelson and Waylon Jennings to fame, died on Friday, 23rd October 2020, at a hospital in Austin, Texas. He was 78.

His former publicist John T. Davis said the cause was cancer. Mr. Walker learned he had throat cancer in 2017.

A native New Yorker, Mr. Walker began his career in the 1960s, hitchhiking and busking around the country before establishing himself in Greenwich Village and writing the song that would secure his reputation.

A waltzing ballad about an old street dancer Mr. Walker had met in a New Orleans drunk tank, “Mr. Bojangles” was first recorded by Mr. Walker for the Atco label in 1968. The song achieved its greatest success in a folk-rock version with the Nitty Gritty Dirt Band that reached # 9 on 20 February 1971, at Billboard's chart and stayed there for 3 weeks. It went on to be covered by a wide range of artists, among them Nina Simone, Neil Diamond and even Bob Dylan. Sammy Davis Jr. included it in his stage show and performed it on television.

“At the time, I was reading a lot of Dylan Thomas, and I was really into the concept of internal rhyme,” Mr. Walker wrote of the song’s origin in his 1999 memoir, “Gypsy Songman.”

“The events of the past few months were still swirling inside, along with the memory of folks I’d met in jail cells in Columbus and New Orleans,” he went on.

“And it just came out: Knew a man Bojangles, and he danced for you. …”

The song was by far Mr. Walker’s best-known composition, the only original of his — he typically performed songs written by others — to become a major hit. But perhaps his most enduring contribution to popular culture was as an architect of the so-called cosmic cowboy music scene that coalesced around Armadillo World Headquarters, an iconoclastic nightclub in Austin.

The reception Mr. Walker received in Austin, he often said, signaled the first time he felt truly validated as an artist. “Texas was the only place where they didn’t look at me like I was crazy,” he told Rolling Stone in 1974, referring to the freewheeling ethos he cultivated with fellow regulars at Armadillo World Headquarters like Kinky Friedman and the Texas Jewboys and Commander Cody and His Lost Planet Airmen.

“It was the first place where, when I got on the stage to play, they said, ‘Of course, why not?’ Other places, they said, ‘Aw, you’re just another Bob Dylan, trying to make it with your guitar.’”

In a career that spanned six decades, Mr. Walker never had a Top 40 pop hit. But in his 1970s heyday, he and the Lost Gonzo Band, his loose-limbed group of backing musicians, made a number of definitive Texas outlaw recordings.

Foremost was “Up Against the Wall, Redneck Mother,” a boozing, brawling anthem written by Ray Wylie Hubbard that appeared on Mr. Walker’s 1973 album, “Viva Terlingua.”

“Viva Terlingua,” recorded live in Luckenbach, Texas, included other tracks that became signature recordings for Mr. Walker: among them are a dissolute take on Michael Martin Murphey’s “Backsliders Wine,” and “London Homesick Blues,” a tribute to Armadillo World Headquarters, written and sung by  Gary P. Nunn of Mr. Walker’s band, with Mr. Walker on backing vocals. With a memorable refrain that began, “I wanna go home with the armadillo,” “London Homesick Blues” later became the theme song of the long-running PBS concert series “Austin City Limits.”

Mainstream radio programmers nevertheless didn’t play Mr. Walker’s music, perhaps because of his gruff, braying singing voice and his reputation for being intoxicated onstage or failing to show up for performances altogether. Further jeopardizing his commercial prospects, he eschewed the glossier sensibilities of Nashville and other recording centers in favor of releasing raucous albums, recorded both in concert and in the studio, without the benefit of editing or overdubs.

“I wanted our records to sound like we were having a grand time at a party thrown for a bunch of our best friends — which, I guess, is exactly what it was,” Mr. Walker was quoted as saying in the 1998 edition of The Encyclopedia of Country Music.

Jerry Jeff Walker was born Ronald Clyde Crosby on 16 March 1942, in Oneonta, N.Y., in northernmost Appalachia. His father, Mel Crosby, refereed sporting events and tended bar; his mother, Alma (Conrow) Crosby, was a homemaker.

Young Ronnie grew up in a musical home. His parents were local dance champions, and his maternal grandparents led a square-dance band.

A rebellious youth who excelled in athletics, Mr. Walker received his first guitar as a Christmas present when he was 12. He later took up banjo and ukulele and played in local pop combos when he was in high school. He joined the National Guard in the early 1960s, only to go AWOL before embarking on the hitchhiking tour of the country that ultimately led to him changing his name to Jerry Jeff Walker and moving to New York to pursue his muse as a folk singer.

While in Greenwich Village, he became a member of the psychedelic rock band Circus Maximus, although he remained with the group only until the release of its debut album. By that time he had written “Mr. Bojangles,” which, after an auspicious live performance on the listener-supported New York radio station WBAI, helped him secure a contract with Atco Records.

Mr. Walker made three albums for Atco and another for Vanguard Records before relocating in 1971 to Austin. After signing with Decca in 1972, he released an album, titled simply “Jerry Jeff Walker,” which featured an acclaimed version of “L.A. Freeway,” a staple of the Southwestern songwriting canon written by Guy Clark, the Texan singer-songwriter. The next year, Mr. Walker further helped raise Mr. Clark’s profile as a songwriter with his heart-rending cover of “Desperados Waiting for a Train,” another neo-western touchstone written by Mr. Clark.

Mr. Walker toured and recorded extensively throughout the 1970s and ’80s, even as his drinking became unmanageable and he faced mounting debt, including back taxes owed to the I.R.S. With the help of Susan Streit, his wife of 46 years, he gave up liquor and drugs in the late ’70s, put his life back together and eventually settled into the role of elder statesman of the gonzo Texas music scene he had helped create.

In addition to Ms. Streit, Mr. Walker’s survivors include a daughter, Jessie Jane McLarty; a son, Django, who is also a musician; a sister, Cheryl Harder; and two grandchildren.

Mr. Walker had been receiving chemotherapy and radiation. In 2017, it was announced that he had donated his music archives, including tapes, photographs and handwritten lyrics, to the Wittliff Collections at Texas State University.

“The mid-’70s in Austin were the busiest, the craziest, the most vivid and intense and productive period of my life,” Mr. Walker wrote in his memoir 'Gypsy songman'.

“Greased by drugs and alcohol, I was also raising the pursuit of wildness and weirdness to a fine art,” he wrote. “I didn’t just burn the candle at both ends, I was also finding new ends to light.”

Christina Morales contributed reporting.

Saturday, 24 October 2020

MAD magazine artists

 Al Feldstein, soul of MAD magazine, dies at 88



by Bruce Weber for NYT
1st May 2014

Al Feldstein, who took over a fledging humour magazine called MAD in 1956 and made it a popular, profitable and enduring wellspring of American satire, died in 29 April 2014, at his ranch in Paradise Valley, Montana. He was 88.

His wife, nee Michelle Key, confirmed the death. In recent years, he was a wildlife and landscape painter in Montana, outside Livingston.

Al Feldstein had been a writer and illustrator of comic books when he became editor of MAD four years into its life and just a year after it had graduated from comic-book form to a full-fledged magazine.

The founding editor, Harvey Kurtzman, established its well-informed irreverence, but Mr. Feldstein gave MAD its identity as a smart-aleckysniggering and indisputably clever spitball-shooter of a publication with a scattershot look, dominated by gifted cartoonists or wildly differing styles.

Sources disagree about MAD's circulation when Mr. Feldstein took over; estimates range from 325,000 to 750,000. But by the early 1960s, he increased it to over a million, and in the 1970s it had doubled.

He hired many of the writers and artists whose work became MAD trademarks. Among them were Don Martin, whose cartoons featuring bizarre human figures and distintive sound effects - Kattong! Sklortch! Zazik" - immortalized the eccentric and the screwy; Antonio Prohias, whose 'Spy vs. Spy' was a sendup of the international politics of the Cold WarDave Berg, whose 'The Lighter Side of...' made gentle, arch fun of middlebrow behaviour; and Mort Drucker, whose caricature satirized movies like Woody Allen's 'Hannah and Her Sisters' ('Henna and Her Sickos' in Mad's retelling).

Another hire, George Woodbridge, illustrated a MAD signature article written by Tom Koch: a prescient 1965 satire of college sports, criticizing their elitism and advocating the creation of a game that could be played by everyone. It was called 43-Man Squamish, 'played on a five-side field called a Flutney.' Position players, each equipped with a hooked stick calle a frullip, included deep brooders, inside and outside grouches, overblats, underblats, quarter-frummers, half-frummerts a full-frummert and a dummy.

'The offensive team, upon receiving the Pritz, has five Snivels in which to advance to the enemy goal,' Mr. Koch wrote, part of a nonsensical and hopelessly complicated instruction manual that nonetheless inspired the formation of squamish teams on campuses across the country.

In his second issue, Mr. Feldstein seized on a character who had appeared only marginally in the magazine - a freckledgap-toothedbig-eared, glazed-looking young man - and put his image on the cover, identifying him as a write-in candidate for president campaigning under the slogan 'What - me worry?'

At first he went by Mel Haney, Melvin Cowznofski and other names. But when the December 1956 issue, No. 30, identified him as Alfred E. Neuman, the name stuck. He became the magazine's perennial cover-boy, appearing in dozens of guises, including as a joker on a playing card, an ice-skating barrel jumper, a totem on a totem-pole, a football player, a yogi, a construction worker, King Kong atop the Empire State Building, Rosemary's baby, Uncle Sam, General Patton and Barbra Streisand.


Neuman became the symbol of MAD, his goofy countenance often intruding, Zelig-like, into scenes from the political landscape and from popular TV shows and movies. He signaled the magazine's editorial attitude, which fell somewhere between juvenile nose-thumbing at contemporary culture and sophisticated spoofing.

MAD made fun of itself as well. The staff was referred to on the masthead as 'the usual gang of idiots,' and the magazine warned readers not to take it seriously even as it winkingly promoted its importance. Its irreverence made it especially popular with teenagers - many comedians have confessed to slavering over issues in their adolescence - and in its tone and fearless targeting of sacred cows it anticipated social satire vehicles like The Harvard Lampoon, National Lampoon, 'Saturday Night Live,' 'The Simpsons,' 'South Park' and The Onion.

Albert Bernard Feldstein was born in 24 October 1925, in Brooklyn-NY, to Max and Beatrice Feldstein. His father made dental molds. Attracted to drawing as a boy, Albert won a poster contest sponsored by the 1939 New York World's Fair.

He attended the High School of Music and Art in Manhattan and, after graduating, took classes at the Art Students League. He also worked part-time for a studio that produced comic books. During World Waw II, he served stateside in the Army Air Forces.

After the war, Mr. Feldstein was a freelance writer and illustrator before going to work for William M. Gaines, the publisher of EC, short for Educational Comics and, later, Entertaining Comics. At EC, Mr. Feldstein created Weird Science, Weird Fantasy, Tales From the Crypt and several other horror and suspense titles.

Mr. Gaines also published a comic book, full of irreverent and sometimes juvenile humour, called Mad, the brainchild of Mr. Kurtzman, and a second humour-based comic, Panic, an offshoot of Mad, edited by Mr. Feldstein.

The early 1950s were a grim time for comic books. Moralizing newspaper columnists and eventually Congress attacked them as having a corrupting influence on America's youth. When Mr. Feldstein's horror books were singled out, EC nearly went out of business, and in 1955, Mr. Feldstein temporarily lost his job.

MAD began to flourish under Mr. Kurtzman, but he and Mr. Gaines clashed, and when Mr. Kurtzman left in 1956, Mr. Gaines hired Mr. Feldstein to replace him. He was its editor until 1985.

By then MAD was a victim of its own success. With its brand of satire increasingly available in many other publications and on TV, its circulation had been in decline for a decade. Mr. Gaines, who died in 1992, sold the magazine in the early 1960s to the Kinney Parking Company, which went on to buy Warner Brothers and the company now known as DC Comics as well.

Today, MAD, published by the DC Entertainmente division of Warner Communications, has a much lower circulation than it did at its peak, but an active and popular website.

After his retirement from MAD, Mr. Feldstein pursued a painting career in Montana and had exhibitions in galleries in the West.

His first marriage, to Clair Szep, ended in divorce. His second, to Natalie Lee Sigler, ended with her death in 1986.

In addition to his wife, he is survived by 5 children, a step-daughter, 3 grandchildren and 2 step-grand-sons.

As editor of MAD, Mr. Feldstein had a palpable influence on popular culture at large. To cite just one example, in 1965 MAD published letters and photographs from college students who said they had been inspired by the squamish article to field team. (Whether this was true or not is difficult to prove.) One letter writer, from Marquette University, said the school had its own squamish team and that 'at last tally, we have lost 2 Deep Brooders and 1 Dummy, who were suspended for sportsmanlike conduct during the course of play.'

Al Feldstein  (1925 - 2014)
Dave Berg (1920 - 2002)

Dave Berg, created Mad's 'Lighter Side' strip, dies at 81



LOS ANGELES, May 24 (AP) — Dave Berg, who affectionately spoofed what he called "the human condition" in the pages of MAD magazine for more than 40 years, died 16 May 2002, at his home in Marina del Rey, California. He was 81.
Mr. Berg created the magazine's enduring "The Lighter Side of" comic strip. He began working for Mad as a freelancer in 1956, introducing "The Lighter Side of" in 1961.
"They were satirizing commercials, movies and TV programs," he once told Contemporary Authors. "I added something new: people. That's when `The Lighter Side' was born. It was more than just gags, it was a psychological and sociological study of the human condition, and truth in humor."
He often put friends, family members and colleagues into his cartoons, among them William M. Gaines, the publisher of MAD, whose head appeared mounted, like a deer's, on a wall.

He also drew himself into the strip regularly as Roger Kaputnik, an Everyman with an always-present pipe.
Mr. Berg "saw the American scene as a wonderful example of our culture, our society and our life, and did comments on that," said Nick Meglin, co-editor of Mad.
Dave Berg was born in Brooklyn, NY in 2 June 1920Berg attended the Pratt Institute when he was 12 years old and later Cooper Union School of Art in New York, landing a job inking backgrounds for the newspaper comic strip "The Spirit" when he was 20. In 1940 he joined Will Eisner's studio, where he wrote and drew for the Quality Comics line. Berg's work also appeared in Dell Comics and Fawcett Publications. In the mid-1940s, he worked with Stan Lee on comic books at Timely Comics (now Marvel Comics), ranging from Combat Kelly and The Ringo Kid to Tessie the Typist. He also freelanced for EC Comics and other before moving on to MAD, which he described as "the main attraction, the big event, the grand opening."

During World War II, he was a member of the Army Air Corps and served as a war correspondent in Iwo Jima, Guam, Saipan and Japan.
In addition to his magazine work, Mr. Berg wrote and illustrated 17 books for Mad, including "Mad's Dave Berg Looks at Living," "Mad's Dave Berg Looks at Things," and "Mad's Dave Berg Looks at the USA."
He also produced two humorous books on religion, "My Friend God" and "Roger Kaputnik and God."

by The Associated Press
published 25 May 2002.


James Baldwyn's 'Uptown'

Fifth Avenue, Uptown:  A letter from Harlem


James Baldwin 

first appeared in 'Esquire', July 1960.

There is a Housing Project standing  now where the house in which we grew up once stood, and one of those stunted city trees is snarling where our doorway used to be. This is on the rehabilitated side of the avenue. The other side of the avenue  - for progress takes time - has not been rehabilitated yet and it looks exactly as it looked in the days when we sat with our noses pressed against the window-pane, longing to be allowed to go 'across the street.' The grocery store which gave us credit is still there, and there can be no doubt that it is still giving credit. The people in the Project certainly need it - far more, indeed, than they ever needed the Project. The last time I passed by, the Jewish proprietor was still standing among his shelves, looking sadder and heavier but scarcely any older. Farther down the block stands the shoe-repair store in which our shoes were repaired until reparation became impossible and in which, then, we bought all our 'new' ones. The Negro proprietor is still in the window, head down, working at the leather.

The avenue is elsewhere the renowned and elegant Fifth. The area I am describing, which, in today's gang parlance, would be called 'the turf', is bounded by Lenox Avenue on the west, the Harlem River on the east, 135th Street on the north, and 130th Street on the south. We never lived beyond these boundaries; this is where I grew up. Walking along 145th Street - for example - familiar as it is, and similar, does not have the same impact because I do not know any of the people on the block. But when I turn east on 131st Street and Lenox Avenue,  there is first a soda-pop joint, then a shoeshine 'parlor', then a grocery store, then a dry-cleaners', then the houses. All along the street there are people who watched me grow up along with my brothers and sisters; and, sometimes in my arms, sometimes underfoot, sometimes at my shoulder - or on it - their children, a riot, a forest of children, who include my nieces and nephews.

When we reach the end of this long block, we find ourselves on wide, filthy, hostile Fifth Avenue, facing that Project which hangs over the avenue like a monument to the folly, and the cowardice, of good intentions. All along the block, for anyone who knows it, are immense human gaps, like craters. These gaps are not created merely by those who have moved away, inevitably into some other ghetto; or by those who have risen, almost always into a greater capacity for self-loathing and self-delusion; or yet by those who, by whatever means - World War II, the Korean war, a policeman's gun or billy, a gang war, a brawl, madness, an overdose of heroin, or, simply, unnatural exhaustion - are dead.

I am talking about those who are left, and I am talking principally about the young . What are they doing? Well, some, a minority, are fanatical church-goers, members of the more extreme of the Holy Roller sects. Many, many more are 'moslems' by affiliation or sympathy, that is to say that they are united by nothing more  - and nothing less - than a hatred of the white  world and all its works. They are present, for example, at every Buy Black street-corner meeting - meetings in which the speaker urges his hearers to cease trading with white men and establish a separate economy. Neither the speaker nor his hearers can possibly do this, of course, since Negroes do not own General Motors or RCA or the A&P, nor, indeed, do  they own more than a wholly insufficient fraction of anything else in Harlem (those who do own anything are more interested in their profits than in their felllows). But these meetings nevertheless keep alive in the participators a certain pride of bitterness without which, however futile this bitterness may be, they could scarcely remain alive at all. Many have given up. They stay home and watch the TV screens, living on the earnings of their parents, cousins, brothers, or uncles, and only leave the house to go to the movies or to the nearest bar. 'How're you making it?' one may ask, running into them along the block, or in the bar. 'Oh, I'm TV-ing it'; with the saddest, sweetest, most shamefaced of smiles, and from a great distance. This distance one is compelled to respect; anyone who has traveled so far will not easily be dragged again into the world. There are further retreats, of course, than the TV screen or the bar. There are those who are simply sitting on their stoops, 'stoned', animated for a moment only, and hideously, by the approach of someone from whom they can purchase it, one of the shrewd ones, on the way to prison or just coming out. 

And the others, who have avoided all of these deaths, get up in the morning and go downtown to meet 'the man'. They work in the white man's world all day and come home in the evening to this fetid block. They struggle to instill in their children some private sense of honour or dignity which will help the child to survive. This means, of course, that they must struggle, stolidly, incessantly, to keep this sense alive in themselves, in spite of the insults, the indifference, and the cruelty they are certain to encounter in their working  day. They patiently browbeat the landlord into fixing the heat, the plaster, the plumbing; this demands prodigious patience; nor is patience usually  enough. In trying to make their hovels habitable, they are perpetually throwing good money after bad. Such frustration, so long endured, is driving many strong, admirable men and women whose only crime is colour to the very gates of paranoia.

One remembers them from another time - playing handball in the playground, going to church, wondering if they were going to be promoted at school. One remembers them going off to war - gladly, to escape this block. One remembers their return. Perhaps one remembers their wedding day. And one sees where the girl is now  - vainly looking for salvation from some other embittered, trussed, and struggling boy - and sees the all-but-abandoned children in the streets.

Now I am perfectly aware that there are other slums in which white men are fighting for their lives, and mainly losing. I know that blood is also flowing through those streets and that the human damage there is incalculable. People are continually pointing out to me the wretchedness of white people in order to console me for the wretchedness of blacks. But an itemized account of the American failure does not console me and it should not console anyone else. That hundreds of thousands of white people are living, in effect, no better than the 'niggers' is not a fact to be regarded with complacency. The social and moral bankruptcy suggested by this fact is of the bitterest, most terrifying kind. 

The people, however, who believe that this democratic anguish has some consoling value are always pointing ou that So-and-So, white, and So-and-So, black, rose from the slums into the big time. The existence - the public existence - of, say Frank Sinatra and Sammy Davis, Jr. proves to them that America is still the land of opportunity and that inequalities vanish before the determined will. It proves nothing of the sort. The determined will is rare – at the moment, in this country, it is unspeakably rare – and the inequalities suffered by the many are in no way justified by the rise of the few. A few have always risen – in every country, every era, and in the teeth of regimes which can by no stretch of the imagination be thouht of as free. Not all of tese people, it is worth remembering, left the worl better than they found it. The determinded will is rare, but it is not invariably benevolent. Furthermore, the American equation of success with the big time reveals an awful disrespect for human life and human achievement. This equation has placed our cities among the most dangerous in the world and has placed our youth among the most empty and most bewildered. The situation of our youth is not mysterious. Children have never been very good at listening to their elders, but they have never failed to imitate them. They must, they have no other models. That is exactly what our children are doing. They are imitating our immorality, our disrespect for the pain of others.

All other slum dwellers, when the bank account permits it, can move out of the slum and vanish altogether form the eye of persecution. No Negro in this country has ever made that much money and i will be a long time before any Negro does. The Negroes in Harlem, who have ne money, spend what they have on such gimcracks as they are sold. These include ‘wider’ TV screens, more ‘faithful’ hi-fi sets, more ‘powerful’ cars, all of which, of course, are obsolete long before they are paid for. Abnueone who has ever struggeled with poverty knows how extremely expensive it is to be poor; and if one is a member of a captive population, economically spealing, one’s feet have simply been placed on the treadmill forever. One is victmized, economically, in a thousand ways – rent, for example, or car insurance. Go shopping one day in Harlem – for anything – and compare Harlem prices and quality with those downtown.

The people who have managed to get off this block have only got as far as a more respectable ghetto. This respectable ghetto does not even have the advantages of the disreputable one – friends, neighbours, a familiar church, and friendly tradesman; and it is not, moreover, in the nature of any ghetto to remain respectable long. Every Sunday, people who have left the block take the lonely ride back, dragging their increasingly discontented children with them. They spend the day talking, not always with words, about the trouble they’ve seen and the trouble – one must watch their eyes as they watch their children – they are only too likely to see. For children do not like ghettos. It takes them nearly no time do discover exactly why they are there.

The Projects in Harlem are hated. They are hated almost as much as policemen, and this is saying a greta deal. And they are hated for the same reason: both reveal, unbearably, the real attitude of the white world, no matter how many liberal speeches are made, no matter how many lofty editorials are written, no matter how many civil-rights commissions are set up.

The Projects are hideous, of course, there being a law, apparently respected throughout the world, that popular housing shall be as cheerless as a prison. They are lumped all over Harlem, colourless, bleak, high and revolting. The wide windows look out on Harlem’s invincible and indescribable squalor: Park Avenue rail-road tracks, around which, about forty years ago, the present dark community began; the unrehabilitated houses, bowed down, it would seem, under the great weight of frustration and bitterness they contain; the dark, the ominous schoolhouses from which the child may emerge maimed, blinded, hooked, or enraged for life; and the churches, churches, block upon block of churches, niched in the walls like cannon in the walls of of a fortress. Even if the administration of the Projects were not so insanely humiliating (for example: one must report raises in salary to the management, which will then eat up the profit by raising one’s rent; themanagement has the right to know who is staying in your apartment; the management can ask you to leave, at their discretion), the Projects would still be hated because they are an insult to the meanest intelligence.

Harlem has got its first private project, Riverton – which is now, naturally, a slum – about twelve years ago because at that time Negroes were not allowed to live in Stuyvesant Town. Harlem watched Riverton go up, therefore, in the most violent bitterness of spirit, and hated it at about the time people began moving out of their condemned houses to make room for this additional proof of how thoroughly the white world despised them. And they had scarcely moved in, naturally, before they began smashing windows, defacing walls, urinating in the elevators, and fornicating in the playgrounds. Liberals, both white and black were appalled at the spectacle. I was appalled by the liberal innocence – or cynicism, which comes out in practice as much the same thing. Other people were delighted to be able to point to proof positive that nothing could be done to better the lot of the coloured people. They were, and are, right in one respect: that nothing can be done as long as they are treated like coloured people. The people in Harlem know they are living there because white people do not think they are good enough to live anywhere else. Whatever money is now being earmarked to improve this, or any other ghetto, might as well be burnt. A ghetto can be improved in one way only: out of existence.

Similarly, the only way to police a ghetto is to be oppressive. None of the Police Commissioner’s men, even with the best will in the world, have any way of understanding the lives led by the people they swagger about in twos and threes controlling. Their very presence is an insult, and it would be, even if they spent their entire day feeding gumdrops to children. They represent the force of the white world, and that world’s real intentions are, simply, for that world’s criminal profit and ease, to keep the black man corraled up here, in his place. The badge, the gun in the holster, and the swinging club make vivid what will happen should his rebellion become overt. Rare, indeed, is the Harlem citizen, from the most circumspect church member to the most shiftless adolescent, who does not have a long tale to tell of police incompetence, injustice, or brutality. I myself have witnessed and endured it more than once. The businessmen and racketeers also have a story. And so do the prostitutes. (And this is not, perhaps, the place to discuss Harlem’s very complex attitude toward black policemen, nor the reasons, according to Harlem, that they are nearly all downtown.)

It is hard, on the other hand, to blame the policeman, blank, good-natured, thoughtless, and insuperably innocent, for being such a perfec representative of the people he serves. He, too, believes in good intentions and is astounded and offended when they are not taken for the deed. He has never, himself, done anything for which to be hated – which of us has? – and yet he is facing, daily and nightly, people who would gladly see him dead, and he knows it. There is no way for him not to know it: there are few things under heaven more unnerving than the silent, accumulating contempt and hatred of a people. He moves through Harlem, therefore, like an accupying soldier in a bitterly hostile country; which is precisely what, and where he is, and is the reason he walks in twos and threes. And he is not the only one who knows why he is always in company: people who are watching him know why, too. Any street meeting, sacred or secular, which he and his colleagues uneasily cover has as its explicit or implicit burden the cruelty and injustice of the white domination. And these days, of course, in terms increasingly vivid and jubilant, it speaks of the end of that domination. The white policeman standing on a Harlem street corner finds himself at the very centre of the revolution now occurring in the world. He is not prepared for it – naturally, nobody is – and, what is possibly much more to the point, he is exposed, as few white people are, to the anguish of the black people around him. Even if he is gifted with the merest mustard grain of imagination, something must seep in. He cannot avoid observing that some of the children, in spite of their colour, remind him of children he has known and loved, perhaps even of his own children. He knows that he certainly does not want his children living this way. He can retreat from his uneasiness in only one direction: into a callousness which very shortly becomes second nature. He becomes more callous , the population becomes more hostile, the situation grows more tense, and the police force is increased. One day, to everyone’s astonishment, someone drops a match in the powder keg and everything blows up. Before the dust has settled or the blood congealed, editorials, speeches, and civil-rights commissions are loud in the land, demanding to know what happened. What happened is that Negroes want to be treated like men.

Negroes want to be treated like men: a perfectly straightforward statement, containing only seven words. People who have mastered Kant, Hegel, Shakespeare, Marx, Freud, and the Bible find this statement utterly impenetrable. The idea seems to threaten profound, barely conscious assumptions. A kind of panic paralyzes their features, as though they found themselves trapped on the edge of a steep place. I once tried to describe to a very well-known American intellectual the conditions among Negroes in the South. My recital disturbed him and made him indignant; and he asked me in perfect innocence, ‘Why don’t all the Negroes in the South move North?’ I tried to explain what has happened, unfailingly, whenever a signficant body of Negroes move North. They do not escape Jim Crow: they merely encounter another, not-less-deadly variety. They do not move to Chicago, they move to South Side; they do not move to New York, they move to Harlem. The pressure within the ghetto causes the ghetto walls to expand, and this expansion is always violent. White people hold the line as long as they can, and in as many ways as they can, from verbal intimidation to physical violence. But inevitably the border which has divided the ghetto from the resto of the worl falls into the hands of the ghetto. The white pople fall back bitterly before the black horde; the landords make a tidy profit by raising the rent, chopping up the rooms, an all but dipensing with the upkeep; andwhat has once been a neighbourhood turns into a ‘turf’. This is precisely what happened when the Puerto Ricans arrived in their thousands – and the bitterness thus caused is, as I write, being fought out all up and down those streets.  

Northerners indulge in an extremely dangerous luxury. They seem to feel that because they fought on the right side during the Civil War, and won, they have earned the right merely to deplore what is going on in the South, without taking any responsability for it; and that they can ignore what is happening in Northern cities because what is happening in Little Rock or Birmingham is worse. Well, in the first place, it is not possible for anyone who has not endured both to know which is ‘worse’. I know Negroes who prefer the South and white Southerners because ‘At least there, you haven’t got to play any guessing games!’ The guessing games referred to have driven more than one Negro into the narcotics ward, the madhouse, or the river. I know another Negro, a man very dear to me, who says, with conviction and with truth, ‘The spirit of the South is the spirit of America.’ He was born in the North and did his military in the South. He did not, as far as I can gather, find the South ‘worse’; he found it, if anything, all too familiar. In the second place, though, even if Birmingham is worse, no doubt Johannesburg, South Afric, beats it by several miles, and Buchenwald was one of the worst things that ever happened in the entire history of the world. The world has never lacked for horrifying examples; but I do not believe that these examples are meant to be used as justification for our own crimes. This perpetual justification empties the heart of all human feeling. The emptier our hearts become, the greater will be our crimes. Thirdly, the South is not merely an embarrassingly backward region, but a part of this country, and what happens there concerns every one of us.

As far as the colour problem is concerned, there is but one great difference between the Southern white and the Northerner: the Southerner remembers, historically and in his own psyche, a kind of Eden in which he loved black people and they loved him. Historically, the flaming sword laid across this Eden is the Civil War. Personally, it is the Southerner’s sexual coming of age, when, without any warning, unbreakable taboos are set up between himself and his past. Everything, thereafter, is permitted him except the love he remembers and has never ceased to need. The resulting, indescribable torment affects every Southern mind and is the basis of the Southern hysteria.

None of this is true for the Northerner. Negroes represent nothing to him personally, except, perhaps, the dangers of carnality. He never sees Negroes. Southerners see them all the time. Northerners never think about them whereas Southerners are never really thinking of anything else. Negroes are, therefore, ignored in the North and are under surveillance in the South, and suffer hideously in both places. Neither the Southerner nor the Northerner is able to look on the Negro simply as a man. It seems to be indispensable to the national self-esteem that the Negro be considered either as a kind of ward (in which case we are told how many Negroes, comparatively, bought Cadillacs last year and how few, comparatively, were lynched), or as a victim (in which case we are promised that he will never vote in our assemblies or go to school with our kids). They are two sides of the same coin and the South will not change – cannot change until it reexamines itself and discovers what it really means by freedom. In the meantime, generations keep being born, bitterness is increased by incompetence, pride, and folly, and the world shrinks around us.

It is a terrible, and inexorable, law that one cannot deny the humanity of another without diminishing one’s own: in the face of one’s victim, one sees oneself. Walk through the streets of Harlem and see what we, this nation, have become.

James Baldwin
The Crystals 
UPTOWN

He gets up each morning and he goes Downtown
where everyone's his boss and he's lost in an angry land, he's a little man

But then, he comes Uptown each evening to my tenement
Uptown where folks don't have to pay much rent
and when he's there with me, he can see that he's everything
then he's tall, he don't crawl, he's a king

Downtown, he's just one of a million guys
he don't get no breaks and he takes all they got to give
'cause he's got to live

But then, he comes Uptown where he can hold his head up high
Uptown, he knows that I'll be standing by
and when I take his hand, there's no man who could put him down
the world is sweet, it's at his feet when he's Uptown.

Whoa-oa-oa-oa-oa
yeah yeah yeah ...

written by Barry Mann & Cynthia Weil
performed by The Crystals 1962

https://www.youtube.com/watch?v=od0UQCzr784

James Baldwin & Marlon Brando in Washington, D.C. in 1963.
James Baldwyn & Bob Dylan.

Park Avenue Railroad Tracks & Tunnels - East Harlem

The Park Avenue Tunnel connects 4 tracks of the Metro-North Railroad from Grand Central Terminal and 4nd Street to 97th Street in the New York City borough of Manhattan. The tunnel portal rises to a full viaduct by 99th Street. Wikipedia.
Harlem 1963.
James Baldwin on the cover of Time magazine - 17 May 1963.



Friday, 9 October 2020

Alison Steel, the Night Bird at WNEW-FM

Alison Steele (born Ceil Loman in Brooklyn, NY on *26 January 1937 +27 September 1995) was an American radio personality, writer, television producer, correspondent, and entrepreneur who was also known by her air name, The Nightbird. She was inducted into the Rock and Roll Hall of Fame.

Alison Steele, the Night Bird of WNEW-FM, is the most successful female disc-jockey in the country according to Sunday News17 February 1974.

Current ratings show that, in any given quarter-hour of her show more than 100,000 people are tuned in to the station. Why do so many people stayed tuned into her ‘nightly excursions’ (Monday through Saturday10 p.m. to 2 a.m.) ? One listener said: ‘She has some sort of irresistible quality about her. You can easily fancy her to be something larger than life.’

How did she get where she is? ‘You just don’t become great overnight. You’ve to work at it. If what you want  is tough to get, you have to fight for it. It has taken me 7 years of hard work to get where I am right now. However, I don’t think I’ll ever be satisfied. Each night I try for a higher plateau and I think my audience responds to my trying.’

Her deepresonant voice is distinctive. She has been called a temptress, and a writer has asserted that she could make a commercial for gym socks sound sensuous.

Finding the bright side

‘I have an optmistic philosophy,’  Alison said. ‘I’ve always gone by the idea that there’s something fine in life, but you have to make the effort to find out what it is.

‘I’m tired of people bitching and moaning that they can’t get a break. I abhor negativism. I’m positive about everything I do. We’re so used to the negativism that has crept into our daily lives, all we can do is put down others who are honestly trying.’

Where did Alison Steele get the nerve to challenge this tough, competitive industry?

‘It was my mother’s influence actually ,’ Alison said with a smile. ‘She taught me a very simple rule: if I wanted something, all I had to do was go and get it. She helped me get self confident when I was 14. There was an ad in our local paper  for a tall good-looking girl to fill a part-time slot. I was neither tall nor pretty, but my mother told me to go and get it anyway. I went down, bluffed my way in, then worked hard until I got it right. I was off to a great start.’

Now, aside from her radio excursions as ‘The Night Bird’, Alison does one other rock radio show, syndicated to 600 stations, a radio show for women, and a TV talk show broadcast over the Sterling Cable TV network that is seen by 55,000 viewers in the New York area.

Happy where she is

Can success spoil Alison Steele? ‘Not really,’ she replied. ‘I have a lovely job, which is most gratifying, and I love making a lot of money.’ Alison declined to say just how much money she makes. 

Alison does quite a bit of work for local charities. She’s a member of the board of the New York City Chapter of the Epilepsy Foundation, gives a lot of time to the Muscular Dystrophy Foundation and is on the credit committee of the American Federation of Television and Radio Artists.

Her days are busy. She has to listen to the new albums, takes care of personal errands, auditions for commercials and still finds time to answer each fan letter.

‘I’ve hundreds of letters at home I still have to answer. My biggest regret is that I’m 6 to 8 months behind in my replies. But I’ll catch up, I promise.’

‘People call me because they’re lost or upset,’ Alison said. ‘I try and point them in the right direction of self-help and love for oneself. I stress the idea that if you’re positive about things, you’ll enjoy what you have all the more. People call me when they have nowhere else to turn and I’m glad I can help. When I do hear from someone who’s troubled I’m patient and understanding. I listen, ask no names and just give my particular brand of advice. I usually hear from those I’ve spoken to a while and they thank me. God, that makes me feel good! It’s fine to know you’ve helped somebody, somewhere, sometime.’

SUNDAY NEWS 17 February 1974
By K. Michael Blumberg

Alison Steele, disk Jockey, dies; the pioneer 'Nightbird' was 58

By David Stout for The New York Times
augmented by Wikipedia information

28 September 1995

Alison Steele, whose sultry voice and iron will helped her become one of the first women in the country to be hired as a disk jockey, died yesterday, 27 September 1995, at Lenox Hill Hospital in Manhattan. She was 58.

Ms. Steele, who lived in Manhattan, died of cancer, her family said.

She was widely known to late-night radio listeners as "the Nightbird." Her most recent perch was WXRK, a classic rock-and-roll station at 92.3 FM. She was on Monday through Friday from 2 to 6 A.M.

Ms. Steele loved to work hours that most other people find good for sleeping. "I'm a night person," she said in 1971, when she was with WNEW, where she worked on AM and FM for about 14 years. "I think it has a mysterious quality. I never get lonely up here."

She usually received 25 to 30 telephone calls a night; in her early years, she also had her champagne-colored French poodle, Genya, to keep her company, chewing on a bone in the studio as Ms. Steele talked to listeners.
Alison Steele with Jack Beeb.

Ms. Steele also worked for WPIX radio and often did voice-overs for radio and television commercials, according to her sisterJoyce Loman. Her syrupy voice was not affected by a flirtation with miniature cigars that she indulged in her early days on radio but gave up years ago, her sister said.

Ms. Steele and her sister operated Just Cats, a feline boutique on East 60th Street in Manhattan, but Ms. Steele was fond of dogs as well.

She is a member of the Rock-and-Roll Hall of Fame in Cleveland and in 1976 became the first woman to receive Billboard Magazine's "FM Personality of the Year" award.

Ms. Steele was born Ceil Loman on 26 January 1937, in Brooklyn, New York. In one interview, she had wished for a career in show business at three years of age. At 14, she landed a job running errands for a NYC television station, and opted not to study at university as she was "too impatient".

In the 1950s, Steele had worked on her career to become a production assistant and associate producer for various New York City television and radio stations. Among them was Ted Steele's television show, The Ted Steele Show, on WOR-TV, where she hosted interviews and performed fitness routines that encouraged viewers to take part in. Ted was still married to his second wife Doris at the time.

She married orchestra leader and radio and television host Ted Steele who was 20 years her senior. The marriage ended in divorce. The couple had a daughter, Heather.

1966–1979: WNEW

On 4 July 1966, Steele landed her first radio job when she became a part of the new line-up of disc jockeys for the newly launched rock stationWNEW. The station wished to only hire female air staff at first as part of its middle-of-the-road format it marketed "sexpot radio", with Steele chosen as one of the final four selected out of the 800 women that applied. Steele worked the 2:00 - 7:00 p.m. slot, Sunday through Friday.

When WNEW abandoned the format after the 18-month-trial to the increasingly popular progressive rock format, Steele was the only host that was asked to stay at the station.

"I've never called in sick; I've worked hard and built my own following," she once said, to explain her popularity.

On 1st January1968WNEW placed Steele in the overnight "graveyard shift" which granted her more creative freedom, leading her to develop her on-air personality and rapport with her listeners. "I thought there must be a lot of people ... that need something to relate to in the middle of the night, and if I could create some kind of camaraderie, a relationship between myself and the rest of the night people, then it would be more than just music". She thought of a new air name, based on the gender ("bird" being slang for a girl while 'teddy' was slang for a boy, following the 1964 British invasion) and her night owl hours of work, and chose The Nightbird.

Steele would begin her night show by reciting poetry over music, before introducing her show in her distinctive soft and sultry voice, aided by her preference of smoking small cigars. She often hosted with her dog, a French poodle named Genya. Her regular introduction was: "Hello night bird. How was your day? Did you visit the gods in the valleys far away? What did you bring me, in your visit from the sea?"

The flutter of wings, the shadow across the moon, the sounds of the night, as the Nightbird spreads her wings and soars, above the earth, into another level of comprehension, where we exist only to feel. Come, fly with me, Alison Steele, the Nightbird, at WNEW-FM, until dawn.

She then transitioned to recordings of some of the more exceptional and experimental music being recorded at the time, as well as featuring the best of the familiar favorites of her audience. As well as music, she recited texts and poetry over music.

Almost every morning, to fill in the minute before the end of her show and the start of the next, Alison Steele would play the Beatles’ “Flying”: a two-minute instrumental from the Magical Mystery Tour soundtrack, a deadpan Mellotronism, a piece of marshmallow. Steele would deliver the morning’s final benedictions and vocal nuzzlings over the music, kiss you goodbye before leaving you to your day. And the first time I heard her play her show out with it, a faint but decisive thonk!! sounded in my skull. The sound came from a small paragraph I’d never forgotten, hidden in the center of a book I’ve mentioned before on this blog - 'The Beatles Forever' by Nicholas Schaffner.

By 1971, Steele had acquired approximately 78,000 nightly listeners, the majority being men between 18 and 34.

She was a supporter and promoter of the English rock bands YesGenesis, and the Moody Blues. By 1974, she had more than 100,000 listeners at any given average quarter hour of her show, and hosted a syndicated rock radio show to 600 stations nationwide, a radio show for women, and a cable television talk show.

According to Jimi Hendrix's manager Michael Jeffery, the song "Night Bird Flying", recorded by Hendrix and released posthumously on the album The Cry of Love (1971), was inspired by Steele's show. Steele became known as "The Grande Dame of New York Night".

At one point, she served as the station's music director. In 1976, Steele became the first woman to receive a Billboard Award for FM Personality of the Year, and the magazine also named an award in her honour, The Alison Steele Award for Lifetime Achievement, which was first awarded to Casey Kasem in 1997.
1979–1984: Television and writing work

After her departure from WNEW, Steele focused her career around television and writing. From 1982-1984, she was the announcer for the daytime soap opera 'Search for Tomorrow', and was the producer, writer, and correspondent for Limelight on CNN.

1984–1995Return to WNEW and WXRK

In 1984, Steele returned to radio on WNEW–AM which lasted until 1986. For a number of years, Steele was also the disc jockey for the pop/rock in-flight audio entertainment channel on board Trans World Airlines.

Steele's final radio job was working overnights at WXRK from 1989-1995. She also did some work for VH1, as well as running the cat boutique Just Cats with her sister Joyce in Manhattan.

Steele did much voice-over work for radio and television commercials, and she provided the narration for one of Howard Stern's popular radio bits, "Larry Fine at Woodstock", featuring impressionist Billy West.

Steele also did charity work and was a member of the board of the New York City chapter of the Epilepsy Foundation, worked for the Muscular Dystrophy Foundation, and was on the credit committee of the American Federation of Television and Radio Artists.

In June 1995, Steele was forced to leave WXRK due to illness from stomach cancer. She died on 27 September 1995, at Lenox Hill Hospital in Manhattan, aged 58.

In addition to her sister Joyce, of Manhattan, she is survived by a daughter, Heather Steele, of South Dakota; another sister, Emalie Daniel, of Houston, and a granddaughter.

Steele at NYC Public Access TV show 'Beyond Vaudeville' on 15 September 1992.
Alison less than 2 years before her death. 
Steele & 'Beyond Vaudeville' host Frank Hope on 15 September 1992.
Alison Steele & William Brown at 'Beyond Vaudeville' that was aired by NYC Public Access TV up to the time MTV scooped it up as 'Oddville, MTV'.

My 1977 high school newspaper interview with Alison Steele. I was editor-in-chief of Archbishop Molloy's (Queens, NY) newspaper The Stanner when Alison granted me a meeting at the WNEW-FM studios. Very nice, kind and classy lady.
Mark Bradford Barbour posted this article at Facebook's "Alison Steels: the Nightbird" page on 17 August 2020: My 1977 high school newspaper interview with Alison Steele. I was editor-in-chief of Archbishop Molloy's (Queens, NY) newspaper 'The Stanner' when Alison granted me a meeting at the WNEW-FM studios. Very nice, kind and classy lady.

Mark: What do you think about the punk rock scene in England?
Alison: Well, I realize that there has to have their own property as far as music is concerned. And musically, there are some good punk rock groups. The only ones I'm not too thrilled about are the ones that brag about the fact that they only know two chords. I think it's kind of an insult to the music industry and to the people who studied and really tried. If the record companies can reject the punk rock that's bad musically, then that's great because it's exciting. It's a new form which we need. Music has been very dull in the last couple of years. 

Mark: What are your own musical preferences
Alison: It depends on my mood. I like all music. I love rock, and I like folk music and middle-of-the-road music. I also like classical music. If there isn't a good old movie on when I go home, I might listen to some classical music.

Mark: What about classical rock?
Alison: I suppose I have a soft spot for classical rock, for ELP (Emerson, Lake & Palmer), for Yes, the Strawbs, ELO (Electric Light Orchestra) and Pink Floyd. It's very hard to say what my own preference would be. As I say, it depends on my mood. 

Mark: What sort of things you enjoy besides music?
Alison: I like sports, I enjoy hockey, football and all participation sports. I like to swim. I like all forms of exercises. I'm a movie freak. I also like to cook. 

What kinds of food do you like to cook?
Alison: Everything, especially spicy food. I'm a really good cook. I like to cook for people, and I like to entertain. 

Mark: Do you always enjoy working, or are ever days when you don't feel like coming in?
Alison: Yeah, I get a lot of days when I don't feel like coming in, but the minute I get in, I'm fine. It's like going into cold water. 

Mark: Where do you get the poems that you use?
Alison: From a variety of places, anything from greeting cards to the Bible. 

Mark: Do you ever write your own?
Alison: Oh yeah, sure. And then a lot of times listeners send them in. I have just always been a poetry buff. Then I started collecting books. I've got hundreds of books and I look through them. Sometimes I'll get a card and there'll be a pretty rhyme on it. It can just be from anything. I don't draw the line any place. 

Mark: Can you tell us about some of the things WNEW will be doing in the future?
Alison: Well, you know about the Emerson, Lake & Palmer concert. The Christmas concert is coming up too. They're deciding now who's going to be playing. 

Mark: Did you always want to be a deejay?
Alison: No, I never thought about being a deejay, as a matter of fact. I started out in television and hadn't the slightes thought about being one. So when WNEW was looking for girl deejays, it was the only thing I hadn't actually done yet. The only thing I had to do was to cue the record, and I figured it couldn't be very hard. It wasn't.
1971.

hear Ms Steele's voice at:
https://www.youtube.com/watch?v=6LUqqueEy-4&feature=share&fbclid=IwAR1gYIhACDszXKNq69Vd_KLDvgx-Yig6_F6Duo2VtCPNqDxxDcYMJ8RcJ_o
Alyson Steel's interview.