Catholicism
Sharps and Flats
David Downie, in his book "Enchanted Liguria," describes the cuisine of one of Italy's most fascinating culinary regions.
In the early ’70s, radio was suffering from Beatles’ withdrawal. After announcing their break-up in 1970, John, Paul, George and Ringo began cranking out solo albums of various quality while rock listeners became instantly nostalgic for the Fab Four. Even straight publications such as Life got in on the act, lauding their collaboration as genius, their days as halcyon.
Badfinger arrived at the time of the Beatles’ demise, and though they may not have filled the void, the English foursome did offer a paler version of the Beatles’ sound that radio audiences found winsome: Between 1970 and ’72, “Come and Get It,” “No Matter What” and “Day After Day” haunted the top 10. Their sound-alike ascendancy was not coincidental. As the Iveys, they were one of the first bands signed by the Beatles’ Apple Records, and it’s small wonder that McCartney picked theirs out of the avalanche of demo tapes the label received. Hearing principal singer-songwriter Pete Ham’s McCartney-inspired compositions must have made this a no-brainer for Paul, like George Bush picking Dan Quayle out of a line-up of vice-presidential contenders. He knew this kid, he liked his style.
It was McCartney who wrote the band’s first hit, “Come and Get It,” which appeared on the soundtrack of “The Magic Christian” (a film starring, as luck would have it, Ringo Starr). Soon the newly christened Badfinger was backing the other former Beatles in their solo efforts and reaping the benefits of pop success. At 7 Park Ave. — the band’s residence/rehearsal space/studio — Badfinger biographer Dan Mantovina reports, “everyone else living in the house would just be waking up and making breakfast, and Pete would pop out of the studio with a new song.” This was a familiar rock ‘n’ roll dream, a scene from a Beatles movie.
Some of the songs Ham composed and recorded in that room are included on “7 Park Avenue,” a collection of 18 unreleased solo recordings from the late ’60s and early ’70s. Some are finished and radio-ready, featuring Ham and a band of non-Badfinger sidemen; others have a workbook quality and feature a double-tracked Ham accompanying himself on vocals and guitar. While some will be familiar to Badfinger fans (a sweetly confident solo version of “No Matter What”; a rave-up variation of “Day After Day” entitled “Matted Spam”), most of the songs collected here rescue Ham from the power-pop bin to which he has been consigned by giving us a glimpse of the singer’s more introspective side. “Weep Baby” and “Dear Father” are positively downbeat but filled with pop inflection — like Nick Drake sitting in with the Hollies — while in gems like “Hand in Hand,” Ham puts on the brave face, beseeching a lover to be strong.
It was strength, apparently, that the singer lacked. Badfinger’s financial troubles, part of the legacy of the snake-bit Apple enterprise, were complicated by the band’s switch to Warner Bros. in 1974 for a reported $3 million advance. The label immediately accused Badfinger of misappropriating funds and pulled the debut Warner LP from stores. On April 23, 1975, Ham hanged himself at his home in Weybridge, England. He was 27. And while his problems presumably ended there, the band’s continued: Surviving members did not see royalties from their Apple days until 1985, after bassist Tom Evans had worked as a pipe fitter and keyboardist Tom Molland installed carpets. Evans tried reviving the outfit before he, too, hanged himself in 1979, setting an odd and unenviable rock ‘n’ roll precedent.
There are problems with looking for clues to Ham’s self-destruction in the sometimes formulaic pop melodies collected on “7 Park Avenue,” though it’s hard to ignore lines like “I can’t face the mirror anymore.” The singer may have written his epitaph in “Just Look Inside the Cover.” Most of these songs were written at the height of Badfinger’s fame, when they were ubiquitous and seemingly anointed. 1971 found them playing house band at George Harrison’s Concerts for Bangladesh, backing up such rock royalty as Harrison, Clapton and Dylan. Standing in the shadows onstage at Madison Square Garden, with their fresh faces and shag haircuts, they looked like snapshots of the early Beatles — kind of like those wax figures on “Sgt. Pepper’s” funeral tableau, just a few feet away from the real thing, mournful at the undertaking.
Sean Elder is a frequent contributor to Salon. More Sean Elder.
The Awful Truth
Mexico City Blues
a couple of weeks ago I set out for Mexico City, braving hail, plane delays and the constant tauntings of a muddy-mouthed group of East Indian children whose mother, during a five-hour stopover at La Guardia, felt it perfectly acceptable that they mock me wildly, repeatedly tear off my glasses with their teeth and claw at my eyes with their glutinous fingers.
Once we were in the air, I gave myself up to the pleasurable anticipation of a leisure-oriented four-day weekend, steeped in
mind-erasing frozen cocktails and the benevolently muted rays of a foreign sun healing me from its glazy socket in a damp grey sky. I would speak of great things from the comfortable curve of the rattan chaise lounge, my attractive friends would laugh and smoke, happy and well-fed children would bring us ceramic bowls of chilled fruit and mariachis would strum elegantly painful ballads in their rolling native tongue. It didn’t work out that way.
Cintra Wilson is a culture critic and author whose books include "A Massive Swelling: Celebrity Re-Examined as a Grotesque, Crippling Disease" and "Caligula for President: Better American Living Through Tyranny." Her new book, "Fear and Clothing: Unbuckling America's Fashion Destiny," will be published by WW Norton. More Cintra Wilson.
The Awful Truth
Childbirth: A Barbarian Absurdity That Must Be Eliminated
When my mother was pregnant with my sister, I was almost ten years old. I already knew everything there was to know about sex and biology and was tragically bored by both subjects. Nevertheless, my mother, in yet another fit
of ruthless misunderstanding, requested that I watch an “after school special”
called “My Mom’s Havin’ A Baby,” which she felt would clarify any further questions I might have on either subject. The ending of this show promised
a live birth, wherein an actual child would be shown emerging out of the
actually pregnant actress. If nothing else, I was curious to see how the network would handle this raunch.
Cintra Wilson is a culture critic and author whose books include "A Massive Swelling: Celebrity Re-Examined as a Grotesque, Crippling Disease" and "Caligula for President: Better American Living Through Tyranny." Her new book, "Fear and Clothing: Unbuckling America's Fashion Destiny," will be published by WW Norton. More Cintra Wilson.
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