In November 2015, Debbie and I had the privilege of visiting Pearl Harbor. It was a cloudy day with intermittent sprinkles. The exhibit docents took great pains to remind each tour group that they were visiting a gravesite, and to comport ourselves with that in mind. Our group didn’t seem to require the caution, as we milled quietly about on the U.S.S. Arizona memorial after the journey across the harbor.
The experience was every bit as emotional as you would imagine, as we all thought of the young men whose names were inscribed on the memorial wall, many of them just teenagers.
What affected me most was a video of divers taking a waterproof urn containing the ashes of a recently deceased Arizona veteran into the wreck. I thought of how these men made it through the war, went home, married, raised families and had careers, but that Sunday morning in 1941 remained such a part of them, that when the end of their lives came, the thing they wanted most of all was to be return to their friends who never had that privilege.
I will always spend a few minutes on December 7 to contemplate and honor their sacrifice.
My wife scored tickets to J-Lo at Summerfest this year. She’s excited about seeing a legendary singer and movie star, and it got me thinking about my favorite concert experience.
With four decades of broadcasting behind me, not to mention being an omnivorous music fan, I’ve seen hundreds of concerts. But the most memorable one was also one of my earliest.
The year was 1979, I was home from college, working a summer job in Council Bluffs, Iowa, the town where I grew up. I bought tickets to see America in Omaha’s Civic Auditorium, with a friend and co-worker, Steve Haberman.
I wasn’t a huge America fan. The reason I went was to see the opening act, a new group named McGuinn, Clark & Hillman, who had just released their debut album. I say new, but these guys had been around and had an exceptional pedigree. The astute music fan has already recognized Roger McGuinn, Gene Clark and Chris Hillman as founding members of the Byrds.
I liked the MCH album, and was also intrigued to see what Byrds chestnuts, or Chestnut Mares (See what I did there?) they might pull out during their set.
In retrospect, I must have been even more of a fanboy than I really remember, as I chose this concert over seeing Eric Clapton, who was playing a day or two later in the same venue.
So, the concert arrives, my friend Steve and I have seats in the first balcony with a good view of the stage. There’s a middle aged man with brown hair and a beard a couple of rows behind us, who we laughingly decide is an incognito Clapton.
(anyone besides me remember this tune?)
The MCH set is good, including their minor Top 40 hit, “Don’t You Write Her Off,” but it was the encore that made it memorable. My sharp-eyed friend picked up some commotion just offstage and said “let’s go to the main floor.”
So, we run downstairs, and arrive in front of the stage just in time to hear Roger McGuinn say, “Here’s a great old song, and a great friend to help us out… Eric Clapton!”
Clapton had, in fact, arrived a day early before his own concert. In retrospect, I don’t know why we would have thought the guitar god would have been sitting BEHIND US, IN THE BALCONY, but since Steve was also the person who introduced me to weed, it is possible my thought processes were somewhat cloudy.
Wearing a faded jean jacket, Clapton walked onstage. He was clean-shaven, so had it not been for McGuinn’s introduction, we might not have recognized him.
Until he started to play, of course.
Clapton buckled a Fender strat around his shoulders, and proceeded to rip through a torrid version of “Eight Miles High.”
We would have listened to that band jam all night, but unfortunately the headliners wanted to go on, so the ex-Byrds and EC left the stage. We went back to our seats and dozed through an unremarkable set from America.
Nearly forty years later, that 15 minutes still ranks as my most memorable concert experience. And I’m happy to say that Steve, Eric, and I are all still around to reminisce about it.
Okay, probably Steve and me more than Eric.
What’s your most memorable live music experience? Tell me in the comments!
Music in Science Fiction & Fantasy
By Dennis W. Green
What jazz standard shares a melody with the Star Trek theme? And what rock & roll tune tells its story against the background of Einstein’s Special Theory of Relativity?
Artists have always been inspired by the art of others. Musicians and writers have traded inspiration for centuries. Science Fiction and Fantasy are no different. But these genres are unique in how fans are touched by the music.
In this post, we’ll explore the unique connections your favorite movies and TV shows have with classical and jazz music. In Part II, we’ll move on to Rock and Pop.
Sci-Fi At The Movies – A Classical Gas
When I started researching for this article, I thought I would spend most of my time discussing the various classical pieces that have found their way into science fiction and fantasy movies, beginning with “Also Sprach Zarathustra” in 2001: A Space Odyssey.
Turns out, it’s pretty much Zarathustra and… well, not a lot else. Most of the music we know and love from our favorite movies are original compositions, which we’ll cover in the next section.
Now, cartoons are another matter. If not for Bugs Bunny, I would know nothing about classical music. I can’t ever hear “The Barber of Seville” without seeing that wascally wabbit wielding a shaving brush and razor. But that’s another article.
If there is another classical piece that has been so totally intertwined with any movie, let alone a sci-Fi movie, as much as Strauss’s meditation on Friedrich Nietzsche, I don’t know what it would be. No other “pre-composed” movie theme even comes close.
But Stanley Kubrick is not the only director to mine the archives of classical music for inspiration.
Carl Orff’s “O Fortuna” has been called “the most overused piece of music in film history,” and shows up in dozens of movies, movie trailers, commercials, and TV.
For me, its most memorable usage is when King Arthur and his knights charge into battle with the choral epic in the background in Excalibur. It also pops up in 2007’s Beowulf: Prince of the Geats, not to mention The Doors, Speed, Last of the Mohicans and even Jackass.
Putting The Original into Original Soundtrack
Where original movies scores are concerned, let’s start at the top of the mountain, John Williams and Star Wars.
The Star Wars Soundtrack was the first non-rock and roll record I ever bought, and I listened to it over and over again after seeing the movie. Remember, this was in the days when if you wanted to see a movie, you had to go to a theater. So in between viewings, listening to the soundtrack was a great way to re-live the movie. If you’ve never sat down and listened to the full 5:51 of the Main Title, do it now.
Leitmotif is a musical term that means a phrase or melody that is associated with a particular character, place, or emotion. Common in symphonic music and opera, It was not used much in film until Williams revived it for Star Wars.
It’s really a very simple device, but it is now impossible to imagine the Star Wars movies without the unique musical signatures associated with particular characters and scenes.
The re-stated melody of the Main Title which plays under Luke’s first appearance, answering Uncle Owen’s bellow, will come to represent him throughout the films. The same for Princess Leia, the Jawas, even The Force, whose theme first appears in the Binary Sunset scene, and returns in each of the films.
The Star Wars soundtrack remains the highest grossing non-pop recording of all time. But it was just the beginning for John Williams. He would go on to compose the five-note figure the aliens implant in Richard Dreyfus in Close Encounters of the Third Kind, not to mention the music to Superman, the Indiana Jones films, and the entire Star Wars saga.
As far as other original music composed for sci-fi movies goes, the music from Lord of the Rings comes very close to achieving Williams-esque status. Howard Shore used over ninety leitmotifs, the most identifiable of which would probably be “History of The Ring,” which plays during the title sequence of all three films, and “Pippin’s Song,” with the hobbit sings to Denethor at the same time the Steward’s son Faramir makes his suicidal charge into battle in “Return of the King.”
The lyrics to “Pippin’s Song” are not from Tolkien at all, but were composed by Billy Boyd, who played the character. He wrote the song on just twenty-four hours notice, the day before the scene was filmed.
Jerry Goldsmith’s Star Trek: The Motion Picture theme introduced us to the “new” Star Trek theme. A decade of Star Trek: The Next Generation on TV would burn it into our minds.
Honorable mention to Queen, because there are very few themes that captured the essence of their films (that is to say, ridiculous camp) better than Flash.
( More about Queen later)
The Jazz of Star Trek
At first listen, the original Star Trek Theme seems to be a pretty conventional orchestral piece. But Alexander Courage’s composition has its roots in jazz.
In a 2000 interview, Courage explained that his inspiration for the main part of the theme is from “Beyond The Blue Horizon,” a pop tune from the 1930s. Courage said it gave him the idea for a song which was a “long thing that…keeps going out into space…over a fast moving accompaniment.”
See if you make the connection when you listen to this swing version of the song, by Jack Hylton and his Orchestra.
But the most interesting musical parallel is coincidental. The Star Trek theme shares a harmonic progression with the jazz standard, “Out of Nowhere.” That is to say, the two songs share the same several notes, played in the same order, to form each tune’s main melody (“The Hook” in music parlance).
“Out of Nowhere” was Bing Crosby’s first Number One hit. You can definitely hear the melodic similarity in Bing’s original version, but when Charlie Parker and Miles Davis slowed it down and made a ballad out of the tune in 1947, the resemblance is downright eerie:
It’s difficult to believe that Courage wasn’t familiar with “Out of Nowhere,” but he never mentioned it as an influence. Absent an “unconscious plagiarism” ruling of the sort that led George Harrison to pay a bunch of money to the composer of “He’s So Fine,” we are left with the resemblance as a coincidence.
But a coincidence that the show has had some fun with.
In the first season of Star Trek: The Next Generation, Gene Roddenberry suggested doing a detective story based on the holodeck, and writer Tracy Tormé got the job of writing “The Big Goodbye.” In the process, Tormé created the character of 1940s literary detective Dixon Hill, one of the most memorable additions to the Star Trek canon.
As Captain Picard enters Dixon Hill’s office for the first time near the beginning of the episode, a radio is playing “Out of Nowhere.” It was producer Robert Justman who suggested the Easter Egg. A jazzer would say he was “hip” to the connection.
(It’s interesting to note that Tracy Tormé is the son of legendary jazz singer Mel Tormé. The younger Tormé would go on to co-create “Sliders,” and cast his famous father in the show.)
Jazz plays a small but significant role in almost every Star Trek series:
- Jonathon Frakes happened to play the trombone, which led the Next Generation writers to send Commander Ryker to a holodeck jazz club to unwind. Ryker complained he could never master a fictional standard called “Nightbird.”
- The Deep Space Nine crew also liked to hang out in holodeck bars. Their favorite hologram was lounge singer Vic Fontaine, played by former teen heartthrob James Darren. Eventually, Fontaine would come to serve as a father confessor of sorts to various members of the crew.
- Lieutenant Harry Kim led a jazz quartet on Voyager called the Kimtones, with Kim on clarinet. Unlike Frakes, Garrett Wang did not play the instrument, but memorized the correct fingerings, no small task.
- And on Star Trek: Enterprise, we learn that free jazz has an interesting effect on the Vulcan psyche. When T’Pol hits a San Francisco club in the episode “Fusion,” she describes what she hears as “…unusual, chaotic, but I was drawn to it. I felt… invigorated.”
- This idea popped up in Voyager as well. In “Riddles,” Tuvok loses his intellect and quits repressing his emotions. During this time, he develops a fondness for jazz.
A word of advice: Don’t tell a jazz musician you have to be illogical to enjoy the form.
NEXT TIME: SF & Drugs & Rock & Roll
Dennis W. Green is the author of the sci-fi thriller series, “Traveler,” a mind-bending parallel-universe adventure in the tradition of Daniel Suarez and Dean Koontz. The three books in the series, “Traveler,” “Prisoner,” and “Traitor” have dozens of 4 and 5 star Amazon reviews, and scored in the Top Ten of the Ben Franklin Independent Publishing Awards.
A popular radio personality in his native Iowa, Dennis’s adventures as a DJ have been covered by newspapers from Anchorage to Los Angeles. He has also worked on the stage, TV, and independent film.
By day, he is the general manager of Iowa’s only jazz radio station, KCCK-FM. And if It’s 5:30 am, you can probably find him in the pool, working out with the Milky Way Masters swim club.
Follow Dennis online at http://www.denniswgreen.com, facebook.com/TravelerTrilogy, or @dgreencr on Twitter.
(This is an expanded version of an article that was originally published in PerihelionSF under the title “More Than Zarathustra.)