I know, it’s not a laughing matter. Neither is the scandalous response of Republican politicians to his impeachment.
Today is Memorial Day in the United States. It’s one of three holidays we have for the military. Memorial Day honors those who died while serving in the armed forces. Veterans Day celebrates everyone who has served, including those serving now. Armed Forces Day, which hardly anyone knows about, only honors those currently serving.
Two songs from an earlier time:
More recently, the Vice President addressed the graduating class at West Point, the U.S. Military Academy:
It is a virtual certainty that you will fight on a battlefield for America at some point in your life. You will lead soldiers in combat. It will happen.
Some of you will join the fight against radical Islamic terrorists in Afghanistan and Iraq. Some of you will join the fight on the Korean Peninsula and in the Indo-Pacific, where North Korea continues to threaten the peace, and an increasingly militarized China challenges our presence in the region. Some of you will join the fight in Europe, where an aggressive Russia seeks to redraw international boundaries by force. And some of you may even be called upon to serve in this hemisphere.
Somehow, he left out Africa, where we already have troops in combat, the polar regions and the Moon, but give them time. There’s no chance we’ll run out of men and women to honor on future Memorial Days.
The Fendertones are a group of singers and musicians who get together every so often to recreate recordings by the Beach Boys. Their performances not only sound great, they reveal how many voices and instruments Brian Wilson wove together when he was making classic records in the 60s.
First up, “Kiss Me Baby”, a beautiful song with an unfortunate title. It’s from The Beach Boys Today!, the group’s eighth studio album, released in March 1965. Wikipedia says “the album signaled a departure from their previous records with its orchestral approach, intimate subject matter, and abandonment of themes related to surfing, cars or superficial love”. It’s one of their best albums and “Kiss Me Baby” is one of their best songs. Here are the Fendertones doing it only forty-nine years after The Beach Boys Today! (I see I posted this video five years ago. I must like it a lot.)
Next is “Surf’s Up”. Brian Wilson and Van Dyke Parks wrote this non-surfing song for the Smile album, which was supposed to be finished in 1967. The Fendertones recreate it with the help of two actual (aged) Beach Boys and some of the non-Beach Boys who helped Wilson finish Smile in 2004. That album, Brian Wilson Presents Smile, scratched a 37-year-old itch and was greeted with euphoric reviews.
One of the 2016 election’s least reported stories was how a certain candidate benefited from starring in a “reality” TV show for the 14 years before he ran for president. The program was The Apprentice, sometimes known as Celebrity Apprentice. It was created and produced by a man named Mark Burnett, now the head of MGM Television. Burnett is the subject of an article in The New Yorker written by Patrick Keefe. Here are excerpts regarding the program’s star performer.
Trump had been a celebrity since the eighties, his persona shaped by the best-selling book “The Art of the Deal.” But his business had foundered, and by 2003 he had become a garish figure of local interest—a punch line on Page Six [the New York Post‘s gossip page]. “The Apprentice” mythologized him anew, and on a much bigger scale, turning him into an icon of American success…. [Mark Burnett’s] legacy is to have cast a serially bankrupt carnival barker in the role of a man who might plausibly become the leader of the free world. “I don’t think any of us could have known what this would become,” … a producer on the first five seasons of “The Apprentice,” told me. “But Donald would not be President had it not been for that show.”
Tony Schwartz, who wrote “The Art of the Deal,” which falsely presented Trump as its primary author, told me that he feels some responsibility for facilitating Trump’s imposture. But, he said, “Mark Burnett’s influence was vastly greater,” adding, “ ‘The Apprentice’ was the single biggest factor in putting Trump in the national spotlight.” Schwartz has publicly condemned Trump, describing him as “the monster I helped to create.”
“The Apprentice” was built around a weekly series of business challenges. At the end of each episode, Trump determined which competitor should be “fired.” But … Trump was frequently unprepared for these sessions, with little grasp of who had performed well. Sometimes a candidate distinguished herself during the contest only to get fired, on a whim, by Trump. When this happened, … the editors were often obliged to “reverse engineer” the episode, scouring hundreds of hours of footage to emphasize the few moments when the exemplary candidate might have slipped up, in an attempt to assemble an artificial version of history in which Trump’s shoot-from-the-hip decision made sense.
“The Apprentice” portrayed Trump not as a skeezy hustler who huddles with local mobsters but as a plutocrat with impeccable business instincts and unparalleled wealth—a titan who always seemed to be climbing out of helicopters or into limousines. “Most of us knew he was a fake,” [one of the show’s editors] told me. “He had just gone through I don’t know how many bankruptcies. But we made him out to be the most important person in the world. It was like making the court jester the king.” [One of the producers] recalled, “We walked through the offices and saw chipped furniture. We saw a crumbling empire at every turn. Our job was to make it seem otherwise.”
Trump maximized his profits from the start. When producers were searching for office space in which to stage the show, he vetoed every suggestion, then mentioned that he had an empty floor available in Trump Tower, which he could lease at a reasonable price. (After becoming President, he offered a similar arrangement to the Secret Service.) When the production staff tried to furnish the space, they found that local venders, stiffed by Trump in the past, refused to do business with them.
More than two hundred thousand people applied for one of the sixteen spots on Season 1, and throughout the show’s early years the candidates were conspicuously credentialled and impressive. Officially, the grand prize was what the show described as “the dream job of a lifetime”—the unfathomable privilege of being mentored by Donald Trump while working as a junior executive at the Trump Organization. All the candidates paid lip service to the notion that Trump was a peerless businessman, but not all of them believed it…. Fran Lebowitz once remarked that Trump is “a poor person’s idea of a rich person,” and [one contestant] was struck, when the show aired, by the extent to which Americans fell for the ruse. “Main Street America saw all those glittery things, the helicopter and the gold-plated sinks, and saw the most successful person in the universe,” he recalled. “The people I knew in the world of high finance understood that it was all a joke.”
This is an oddly common refrain among people who were involved in “The Apprentice”: that the show was camp, and that the image of Trump as an avatar of prosperity was delivered with a wink. Somehow, this interpretation eluded the audience. [An editor] marvelled, “People started taking it seriously!”
The show was an instant hit, and Trump’s public image, and the man himself, began to change. Not long after the première, Trump suggested in an Esquire article that people now liked him, “whereas before, they viewed me as a bit of an ogre.” [A Trump publicist said] that after “The Apprentice” began airing “people on the street embraced him. All of a sudden, there was none of the old mocking. He was a hero.”
The show’s camera operators often shot Trump from low angles, as you would a basketball pro, or Mt. Rushmore. Trump loomed over the viewer, his face in a jowly glower, his hair darker than it is now, the metallic auburn of a new penny. (“Apprentice” employees were instructed not to fiddle with Trump’s hair, which he dyed and styled himself.) Trump’s entrances were choreographed for maximum impact, and often set to a moody accompaniment of synthesized drums and cymbals. The “boardroom”—a stage set where Trump determined which candidate should be fired—had the menacing gloom of a “Godfather” movie. In one scene, Trump ushered contestants through his rococo Trump Tower aerie, and said, “I show this apartment to very few people. Presidents. Kings.” In the tabloid ecosystem in which he had long languished, Trump was always Donald, or the Donald. On “The Apprentice,” he finally became Mr. Trump.
Originally, Burnett had planned to cast a different mogul in the role of host each season. But Trump took to his part more nimbly than anyone might have predicted. He wouldn’t read a script—he stumbled over the words and got the enunciation all wrong. But off the cuff he delivered the kind of zesty banter that is the lifeblood of reality television. He barked at one contestant, “Sam, you’re sort of a disaster. Don’t take offense, but everyone hates you.” … Producers often struggled to make Trump seem coherent, editing out garbled syntax and malapropisms. “We cleaned it up so that he was his best self … I’m sure Donald thinks that he was never edited… We didn’t have to change him—he gave us stuff to work with.”
By the time Trump announced his campaign, ratings for “The Apprentice” had fallen, and the show had been repackaged as “The Celebrity Apprentice.” The contestants were now D-list celebrities… Still, everyone gamely pretended to take it seriously….
Burnett’s reluctance to discuss the Trump presidency is dismaying to many people involved with “The Apprentice,” given that Trump has succeeded in politics, in part, by borrowing the tropes of the show…. When Trump announced his candidacy, in 2015, he did so in the atrium of Trump Tower, and made his entrance by descending the gold-colored escalator—choreography that Burnett and his team had repeatedly used on the show. After Trump’s announcement, reports suggested that people who had filled the space and cheered during his speech had been hired to do so, like TV extras, for a day rate of fifty dollars. Earlier this year, the White House started issuing brief video monologues from the President that strongly evoke his appearances on Burnett’s show. Justin McConney, a former director of new media for the Trump Organization, told New York that, whenever Trump works with camera people, he instructs them, “Shoot me like I’m shot on ‘The Apprentice.’ ”
I asked [a psychologist] what kind of personality profile he might have prepared for Trump as a candidate for the show. He said he would have noted “the energy, the impulsiveness, the inability to articulate a complete thought because he gets interrupted by emotions, so when he speaks it’s all adjectives—‘great,’ ‘huge,’ ‘horrible.’ ” What made Trump so magnetic as a reality-television star was his impulse to transgress, … and it is the same quality that has made a captive audience of the world. “That somebody can become that successful while also being that emotionally undisciplined—it’s so macabre that you have to watch it,” he said. “And you keep waiting for the comeuppance. But it doesn’t come.”
There has likely never been a man who, in his own lifetime, has been as widely spoken and written about as Donald Trump. Politics has never been so spellbinding. “It’s the reason people watch a schoolyard fight,” [the psychologist said]. “It’s vicariously watching someone act out and get away with it.” Burnett once remarked that “Lord of the Flies” is so absorbing because all the characters are suddenly transported into a world in which “the rules are changed, and convention, law, and morality are suspended.” It’s an apt paraphrase of the Trump presidency.
Brian Wilson has a website. On that site, there are music lovers who have been playing a game for the past nine years. It’s called “The Battle of the Bands”. Someone posts videos for four songs. Usually there is a theme that ties the songs together. People then rank the four songs. They also post their own videos. There is discussion. It’s almost always very polite. Each battle lasts one week. You have to register on the site in order to participate. It’s free and nobody will bother you with annoying advertisements or solicitations. The whole thing is kind of fun.
Oh, one of the four songs has to have a connection to Brian Wilson or the Beach Boys.
This week’s battle is called “It’s Over”. These are the four songs.
The Everly Brothers — “Crying inthe Rain” (1962). Co-written by Carole King.
The Miracles — “Ooo Baby Baby”(1965). Co-written, produced and sung by Smokey Robinson.
Neil Young — “Like a Hurricane”(1977). This is a live version from 1982. The studio version is equally long.
The Beach Boys — “I Just Wasn’tMade For These Times” (1966). Co-written with Tony Asher. It’sthe end of innocence? optimism? faith in one’s fellow human beings?
In case you’d like to visit and maybe even participate, please go here. The people who do participate are very nice and will thank you for showing up.
(Plus, we rarely discuss politics. Although it’s sometimes hard to resist, considering the present situation.)
You know he and his crack team of lawyers are working as quickly but carefully as they can. Still, this is by the Anonymous Sources:
Brian Wilson probably never studied ancient Greek philosophy, but he knew that, once upon a time, smart people thought the world was composed of four fundamental elements: Earth, Air, Water and Fire. (That’s the list Empedocles came up with in the 5th century BCE.) So when Brian was working on Smile, the famous Beach Boys’ album that didn’t get finished in 1967, he was going to include something called “The Elements”. One of his close friends, David Anderle, remembered it this way:
We were aware, he made us aware, of what fire was going to be, and what water was going to be; we had some idea of air. That was where it stopped. None of us had any ideas as to how it was going to tie together, except that it appeared to us to be an opera. And the story of the fire part I guess is pretty well known by now [Look! Listen! Vibrate! Smile!, p. 230].
As the years went by, tapes from the Smile sessions, as well as completed tracks, showed up here and there. This led to many fans creating their own Smile albums, trying to figure out how Brian would have put the pieces together, or simply wanting an album’s worth of music to listen to.
I acquired several unofficial versions of Smile along the way, but didn’t get around to making my own Smile until 2002. That was 35 years after Brian stopped working on the original and two years before he released his finished version, Brian Wilson Presents Smile (which Metacritic determined to be the best-reviewed album of 2004).
A few days ago, a question from another fan got me to look for my homemade Smile CD. When I played it, I couldn’t remember why I’d picked these particular thirteen tracks or why I’d put them in the sequence I did. I couldn’t even remember where some of the tracks came from. Some were obviously from official Beach Boys albums, but others were from sources unknown.
This brings me back to “The Elements”. The first track on my Smile is a nine-minute, almost all-instrumental with that title. It’s made up of five tracks from the Smile sessions. Two of them are the tracks everyone agrees were intended to represent Fire and Water. The other three are well-known to serious fans, but don’t clearly fit the Elements concept. I’ve reached out to the Brian Wilson/Beach Boys online community (of course, there is such a thing – it’s the Internet), but so far nobody has answered the question: Where did this version of “The Elements” come from?
If someone eventually answers that question, and I’m able to identify the source of a few more tracks, I might put my Smile CD playlist on YouTube. Meanwhile, here’s “The Elements” or “An Elements Suite” or “Selected Smile Instrumentals”, hot off the computer.
I like it as the beginning to my Smile because it kind of lays the groundwork for the rest of the album. Plus, the first part, “Look”, could represent Air (that’s what we look through); the second part, “Holidays”, could represent Earth (that’s where we take vacations); and it’s clear what “Mrs. O’Leary’s Cow (Fire)” and “I Love To Say Da Da (Water)” represent. It all ends with “I Wanna Be Around / Workshop”, which features the guys banging around in the studio, i.e. putting the musical elements of Smile together.