WEIRDLAND: 58th Anniversary of The Day The Music Died

Monday, January 30, 2017

58th Anniversary of The Day The Music Died

"The Day the Music Died" (Behind the Music) documentary: The true story of the Plane Crash that took the lives of Buddy Holly, Ritchie Valens, and the Big Bopper.

Buddy Holly Died for Our Sins: "Buddy Holly's death was like a mythic sacrifice, plane dropping from an icy sky into the frozen American heartland, the blood of Holly flowing over the ground, replenishing rock 'n' roll so that the music didn't die. Instead it lived another few decades before eventually (after Kurt Cobain's death--the last great original rock talent) fading away. It may be that artistic genius is marked by an ability to feel more deeply than ordinary people. The last recordings show that Buddy Holly felt very deeply indeed. They're imbued with yearning, loneliness, and melancholy: "What to Do," "Crying, Waiting, Hoping," "Learning the Game," and "Peggy Sue Got Married." Genius recordings. Another strange part of the story is that for Buddy Holly the "music died" before the plane crash. Holly was no longer able to crack the Top 40. Rock, at that time still a rinky-dink flash-in-the-pan movement, seemed to many to be over. Holly's odd demeanor toward Peggy Sue, his sudden marriage to Maria Elena, his breaking free of Norman Petty: It's a mythic story, unreal." Source:

Your life really does flash before your eyes when you die, a study suggests - Research on those who have had "near death" experiences suggests that the phenomenon rarely involves flashbacks in chronological order, as happens in Hollywood films. The study found that many of the flashbacks involved intensely emotional moments. This suggests that a representation of life-events as a continuum exists in the cognitive system, and may be further expressed in extreme conditions. Researchers said that the phenomenon could be caused by the parts of the brain that store autobiographical memories like the prefrontal, medial temporal, and parietal cortices. Source:

Friday, Feb. 3, will mark the 58th anniversary of the 1959 death of legendary recording artist Charles Hardin “Buddy” Holly in the crash of a chartered Beechcraft Bonanza aircraft near Clear Lake, Iowa. The same day now is annually regarded as “The Day the Music Died” at the Buddy Holly Center, 1801 Crickets Ave. When it became clear that promoters had stopped producing festivals in Lubbock during the week of Holly’s birth, the Buddy Holly Center made certain to also pay notable tribute on “The Day the Music Died.” There is free admission to the Buddy Holly Center’s Gallery on Feb. 3 from 10 a.m. to 5 p.m., and again from 6 to 9 p.m. during that day’s First Friday Art Trail. Source:

Maria Elena Holly is interviewed by Don McLean ("American Pie") for a special BBC broadcast, "Maria Elena: My Life with Buddy," scheduled to air February 7th — Anniversary of The Day The Music Died.

Hundreds of thousands of Puerto Ricans had gone north to New York during the 1950s, altering the cultural face of the city and bringing a new vitality. The most distinguished musical of the 1950s, West Side Story, epitomized the character of this historic migration, and the musical was playing at the Winter Garden, featuring a chorus of Puerto Rican girls, including one named Maria, singing an impudent, spirited song about the wretchedness of San Juan and the dubious advantages of America. Since 1898, when the United States had seized the colony of Puerto Rico from Spain in the Spanish-American War, two million Puerto Ricans had immigrated to America. Between 1950 and 1956, the Puerto Rican population of New York alone escalated from 245,880 to 577,000. Most Puerto Ricans settled in the squalid tenements of what would become Spanish Harlem between Fifth Avenue and the East River. The smoldering Latino temperament lent an aura of romance to the ghetto. Songwriters soon celebrated it in sumptuous wall-of-sound recordings such as Leiber and Stoller's “A Rose in Spanish Harlem.” 

Maria Elena Santiago, who was born in Puerto Rico, had lost her mother when she was eight. At that point her father had sent her to live with her Aunt Provi GarcĂ­a in the district of Greenwich Village, Lower Manhattan. Maria Elena regarded Buddy Holly with interest, not only because he was a rock star: his self-confident behavior struck a chord in her heart. Before Provi paved the way for her to work at Peer-Southern, Maria Elena had held a variety of jobs in New York and had artistic aspirations. Her breezy air of friendliness enchanted Buddy, as did her Hispanic lineage, which would have kept most Caucasian boys at a distance in the fifties. Some of Buddy's prejudiced acquaintances from Lubbock didn't seem to accept his marriage or his new lifestyle.

“Buddy Holly wants me on The Winter Dance Party Tour. Book me.” Preston Allerton shook his head and smiled at me the way people smile at puppies and cretins: “With that loser? Don’t be absurd. Besides, that tour is insufferable. You’ll be in farm states, playing to a bunch of cowpokes, snow up to your derriere.” “Let me worry about my derriere, okay, Preston? I’ve been invited, and I want you to book me. And I want a new record—don’t give me any of this sissy insufferable bullshit.” “What do you mean, sissy?” See, Preston was the kind of guy you think might be a homo. He certainly was sensitive about the word sissy. Now I remembered Preston Allerton telling me: “I wouldn’t be surprised if Buddy was history in five months.” First Preston predicted that Buddy would be history, and a few weeks after the plane crash a collection of Buddy’s material is on the market.  It was a set-up. Buddy had been murdered. Stek-Circ spelled backwards is Crickets. Preston Allerton is an anagram for Norman Petty. —"The Winter Dance Party Murders" (2015) by Greg Herriges

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