The Zombies

The Week: See you in the dock

Autumn settles in swiftly, and with it the rhythms of a new cultural season, from "In the Heights" to the sidewalks of Forest Grove

AUTUMN’S SETTLED IN EARLY ACROSS MOST OF OREGON, and with it the rhythms and traditions of a new cultural season. Music, theater, dance – each has its own history and pattern, its own set of rituals. 

Corey Brunish, the Portland and New York performer and producer who has a handful of Tony Award statuettes as a producer on Broadway, has just been named one of more than two dozen nominees for this year’s Broadway Global Producer of the Year Award, on a list that also includes the likes of Gloria Estefan, John Legend, and Jada Pinkett Smith. 

Brunish, whose nomination is for the aggregate of his Broadway work, has an abiding love for the rituals of the theater, and often expresses it in musings about the still time before the curtain rises. He wrote this one, he says, during a California run of the new musical Empire, about the building of the Empire State Building, a show that’s still trying to raise backing for a Broadway run. But, he adds, it could be any show, any time, anywhere:

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Dancing is a highlight of Portland Center Stage’s In the Heights. Above: Alexander Gil Cruz, Eddie Martin Morales, Alyssa V. Gomez, UJ Mangune. Photo: Owen Carey

Continues…

Temporary balms for darker times

Brian Wilson and The Zombies make America '68 again

In 1968, the world seemed to be coming apart. A bloody, increasingly unpopular war in Vietnam, political assassinations, urban riots, generation gap, conservative backlash against civil rights and other progressive movements…. Even pop music grew darker than the sunny Summer of Love psychedelia of a year earlier, from the Beatles’ so-called White Album to grittier turns by stars like the Rolling Stones and various Motowners, to the rise of Jimi Hendrix, Led Zeppelin, Cream, and other heavier sounds supplanting the gentler flower-powered folk and classical music influenced pop of the preceding two years.

In that fraught year, several pop bands released new music overlooked at the time. Then regarded as flops, they later came to be recognized as masterpieces. Two are came to Portland Tuesday, Sept. 17, under the misleading banner “Something Great from ‘68.” For while the music that Brian Wilson and The Zombies released that year has outlasted much of its dated-sounding contemporaries, it was utterly out of step with the spirit of the new, dark age.

In 1968, the Zombies and the Beach Boys were also falling apart. Both had been hitmakers earlier, with the Zombies British Invasion pop and the BBs multiple hits mostly (at least superficially) about surf, cars, and ‘girls.’ Musically, Wilson’s family band was making music as radiant as anything after WWII, but by 1968, their tours featuring surfin’ sounds with striped shirts and white pants seemed increasingly tone deaf in a world coming apart. While psychedelia soared and violence raged, songs about surfing and cruising seemed passe, and the Beach Boys plummeted from pop hitmakers to culturally irrelevant.

Ironically, the band members’ non-musical lives actually represented what was going down in America as much as any other: Carl Wilson was a draft dodger (his status kept them from what would have been a culturally significant appearance at 1967’s Monterey Pop Festival), Mike Love had accompanied the Beatles to study with TM guru Maharishi Mahesh Yogi and became a lifelong devotee of the mind-expanding practice, Dennis Wilson indulged in abundant free love and drugs. And songwriter Brian Wilson‘s own mind expansion with psychedelics had fueled transcendent visions in their long gestating album Smile — as well as his own pre-existing emotional instability.

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