The Myth of the Fifties, Dion, Buddy Holly

The Myth of the Fifties: In his book called The Permissive Society: America, 1941-1965, Alan Petigny—professor of history at the University of Florida—challenges the stereotypical ideas that the 1950s was such a conservative period and dives deep into the true radical changes taking place in American life at the time. Petigny argues persuasively that the 1950s were not truly conservative. Unlike other revisionist accounts that lean heavily on anecdotes, this study is firmly rooted in statistics and serious research. Petigny discusses a variety of topics from sex to rock ‘n’ roll, from psychology to religion, and gives the reader a true empathic picture of an emerging way of thinking he calls 'The Permissive Turn'. In contrast to those who see the 1950s as essentially a conservative period and the 1960s as a time of rapid moral change, The Permissive Society points to the emergence of a liberalizing impulse during the Truman and Eisenhower years. During the 1950s, a traditionalist moral framework was beginning to give way to a more relaxed style of child-rearing, the loosening of sexual attitudes, and the increasing influence of modern psychology.

The era usually denoted as “the Fifties” generated a remarkable set of social indicators. For the one hundred years prior to 1941, the American marriage rate was in decline. The proportion of the adult population that was married also fell steadily, while the divorce rate began a seemingly inexorable rise; by 1910 (thanks largely to Nevada), the United States was the divorce capital of the world. Fertility also showed relentless decline, falling more than 50 percent among the native-born population. A nation dominated by freehold farmers became a land of sharecroppers and urban tenants. In political terms, conservative values and free markets gave way to secularism, progressivism, and moral individualism. Then came the 1941–65 period, “the Fifties,” and the marriage rate soared; the average age of first marriage fell to twenty for women, twenty-two for men. 

By 1960, the proportion of adults, age forty, who were or had been married reached 96 percent, a record high. Even the divorce rate, after a postwar spike in 1946, declined for the next dozen years. Most notably, marital fertility climbed sharply, almost doubling by 1957 in the celebrated Baby Boom. At the same time, measures of income inequality (such as the Gini index) shrank as the numbers of the very rich and very poor fell while the great American middle class swelled. Undergirded by federal housing and mortgage insurance programs, a revolution in property ownership commenced. Between 1945 and 1960, the number of owner-occupied homes nearly doubled, restoring America as a land of property owners. Church membership soared, Sunday schools were bursting at the seams, and President Dwight Eisenhower beamed a comforting, genially conservative smile over the land. A budding youth culture was being fueled by rock ’n’ roll.

Petigny challenges in particular what he calls “the four great myths of the 1950s”: (1) the belief that religious piety was on the rise, seen in the popularity of Billy Graham and rising rates of church attendance; (2) the proposition that American sexual behavior was relatively stable during this time, with the sexual revolution arriving only in the 1960s; (3) the claim that the status of women was losing ground during this era of domesticity; and (4) the belief that the youth culture of this period represented a vigorous challenge to the values of the adult world. Instead, he argues that American values were going through a fundamental transition in these years, driven by the democratization of psychology, the “medicalization” of ailments such as alcoholism (formerly seen as moral sins), the emergence of a therapeutic theology in the churches, and the liberalization of child-rearing practices under the influence of Benjamin Spock and other sociologists.

In all this, Petigny sees “an inversion” of the Marxist understanding of the relation between ideas and the material world: “the ideological superstructure took precedence over the material base.” This change of values represented a permissive shift in American life, but one beginning in the 1940s, not the 1960s. He gives special emphasis to the human displacements that occurred during World War II: fifteen million young men into the military, and five million young women into the factories. This great mixing of young adults spawned massive changes in sexual relations, ranging from a rise in the proportion of premaritally conceived pregnancies among whites and blacks alike to the emergence of egalitarian “companionate” marriages.

Such an argument is not completely new. John Costello anticipated this dating of the start of the sexual revolution in his serious book, Virtue Under Fire (1985); so did Allan Sherman in his insightful Official History of the Sex Revolution (1972). In The Hearts of Men (1983), feminist author Barbara Ehrenreich also emphasized—as does Petigny—the significance of the founding of Playboy magazine in 1953 as a transformative challenge to traditional sexual ethics long before the first bra was burned in the 1960s. And Elaine Tyler May’s Homeward Bound (1988) showed the complexity of husband-wife relations during the postwar years. The author notes “the decline and fall of original sin,” evidenced at the theological level in Norman Vincent Peale’s The Power of Positive Thinking (1952) and also in the popular new psychology of Carl Rogers and Abraham Maslow. By the mid-1950s, Petigny shows, Billy Graham was moving away from fundamentalism, moderating his message, and declaring his admiration for theological liberals such as Norman Peale and Reinhold Niebuhr. Meanwhile, both Protestant and Catholic clerics moved enthusiastically into a new form of pastoral counseling, shaped by Freudian psychoanalysis.

Petigny demonstrates keen insight into other contentious issues. He challenges, for instance, the common argument that the introduction of the birth control pill in the early 1960s launched the sexual revolution, showing evidence that the use of condoms and other forms of birth control was spreading well before the arrival of the Pill. Condoms and contraceptives began to fall under more scrutiny from the FDA, thus making them more readily available. Thus, the more liberal attitudes on sex were becoming more prevalent. As such, the 1950s closed out with the birth control pill, a stronger condom, and leading to cutting down STD rates. As a result, the US saw an uptick in single mothers. Petigny speaks of a “commoditization of sex” during the 1940s and 1950s, in the popular films and music of that era. 

Petigny asserts, “During the 1960s, Americans were simply more willing to acknowledge the extracurricular activities of their youth than they had been during the previous decade.” The prevalence of out of wedlock birth “between 1940 and 1960,” as Petigny proclaims, “increased by 2.5 fold.” Such evidence suggests there was an increase in premarital sex, making apparent the drastic liberalization of social norms–particularly those dealing with sexual promiscuity–taking place before the 1960s. The increase of premarital sex in the 1950s makes evident that a “permissive turn” took place before the 1960s. The Youth Culture and Sex chapter talks about how the teens practiced “going steady” because “the greater intimacy of going steady facilitated higher level of sexual intercourse amongst the young.”  Sexual promiscuity no longer branded a woman as undesirable wife material by a majority of the educated middle class, although these attitudes were not always reflected accurately by Hollywood (Splendor in the Grass). While the 1950’s is not credited for being a time of feminism it most definitely was. Petigny remarks: “Feminism in the 1950s was less a movement or ideology than a new sentiment or set of attitudes.”

In addition, Petigny mobilizes survey data to deny feminist complaints that American homes during this era rested on the systematic repression of women. Instead, most homes were based on “egalitarian” relationships. The number of working women climbed steadily during “the Fifties,” partly because of a Baby Boom–driven demand for teachers and nurses. Women made real political gains as well, with the proportion of women in Congress and the state legislatures climbing steadily. Petigny even makes a compelling case that the Boy Scouts of America actually lost ground in this era. Myths regarding the youth culture of the era also fall before Petigny’s analysis. While acknowledging the musical revolution implicit in rock ’n’ roll and the alienation portrayed in James Dean’s Rebel without a Cause (1955) and in J. D. Salinger’s Catcher in the Rye (1951), the author notes the widespread support that this new music found among adults and youngsters alike. The problems shown in Catcher in the Rye were not about prevailing American values; it was Salinger's complaint about the failure of “phonies” and how to live up to personal expectations. An overturning of stylistic conventions ranged from Jackson Pollock’s paint-spattered canvases to the jazz improvisations of Charlie Parker.

The Social Conservative’s Dilemma: Adult acceptance of rock ’n’ roll also grew naturally out of the permissive child-rearing practices of the postwar era. That explains how a new celebration of spontaneity reshaped the arts during the 1940s and 1950s. The surge in fertility during the 1950s is particularly striking. It violated all the “laws” of sociology, including the general rule that the more education a woman has, the fewer children. While fertility rose for all American religious groups during the 1941–65 period, it rose far more impressively among Catholics. The total marital fertility rate for non-Catholics averaged 3.15 per woman in 1951–55 and 3.14 in 1961–65; for Catholics, the respective figures were 3.54 and 4.25. Only 10 percent of Catholics under age forty reported having four or more children in 1952–55, close to the Protestant figure of 9 percent. By 1957–59, the Protestant figure was unchanged, but the proportion for Catholics had more than doubled to 22 percent. 

At another level, however, Petigny’s analysis leaves social conservatives facing a fairly large dilemma. The Fifties seemed to be the one clear example in modern American history of social, cultural, and moral renewal. Families appeared to be growing stronger. Burgeoning church construction and swelling Sunday schools betokened a measurable form of religious revival. The suburban revolution seemed to restore America as a land of property owners, with adult consumption patterns focused on family life. In essence, Petigny’s argument is that these were all ephemeral developments, almost illusions, and the strongest evidence in support of his view is the rapidity with which these signs of social health evaporated in “the Sixties” (even “Catholic exceptionalism” on matters of family and fertility had vanished by 1970). The implication for twenty-first-century social conservatives is that there are no secular or easy paths back to social health. In this respect, The Permissive Society is not only a valuable work of history and a refreshing correction to the myths that surround the Fifties. It also indirectly summons a searching of a more difficult, yet real, form of social renewal for the future.

During the late 1940s and 1950s, there were two different points of view on how people looked at guilt. On one side, the Christians would naturally think of guilt as one of the main factors of mankind’s spiritual believes that would ultimately show them the difference between right and wrong. On the other side though, Freud and modern psychologists view guilt as one of the biggest problems that are facing mankind in modern times. The reason that it is being viewed as a problem is because that despite civilization developing, they will lose their happiness if they allow their sense of guilt to increase over time. The only thing that is confusing about Petigny's analysis is the guilt factor. This part of his study does not specifically say if everyone feels guilty for being happy or guilty for wanting to develop civilization. Source: home.isi.org

Buddy Holly fitted the nice guy archetype and the non-conformist archetype at once. His was a triumph of subver­sion. Buddy introduced Edwardian fashions to rock ’n’ roll, years before they became popular in the sixties. He wore an ascot and a greatcoat with a fur collar, displaying a style that was radical, even unthinkable, in an era of Brooks Brothers sack suits and buttondown collars. Tasteful and vaguely aristocratic, Buddy had repeatedly reinvented himself until finally achieving a sort of beauty. Duane Eddy, whose twangy guitar made him one of the top rock’s instrumentalists, saw Buddy at this time and described him, in Reminiscing magazine, as an impressive sight—tall, powerful, and strikingly handsome. As Rolling Stone’s Robert Palmer would write from the perspective of 1990, “It is a measure of fifties rock’s genuine revolutionary potential (as opposed to the revolution-as-corporate-marketing-ploy so characteristic of the sixties) that while sixties rock eventually calmed down, was co-opted or snuffed itself out in heedless excess, fifties rock ’n’ roll was stopped. Cold.” Buddy Holly only saw one good royalty check during his lifetime. He received his check on August 26, 1958 for $14,462.74. Holly was in the process of dissolving the Prism partnership right before embarking his last tour. Ray Rush was reimbursed and Buddy agreed to let Norman Petty take 2000 $ out of his Prism account for the Ampex. Whatever record label Holly was going to run, it would have been without Norman Petty. Manny Greenfield had booked the Crickets on the Dick Clark Show, the English tour, and other venues. In return, he and Buddy had had a word of mouth agreement that Greenfield would receive a 5% commission. These commissions were dutifully paid and there are receipts and checks as proof. Sometime around July or August of 1958, Manny Greenfield felt he was Buddy's manager and should be receiving a commission on all of Buddy's earnings. "Not so," said Buddy. So the assets were being held up by Greenfield. Buddy wanted Irvin Feld (the promoter of the Winter Dance Party tour) as his new manager after the break-up from Petty.

I wrote Runaround Sue about a real girl in the neighborhood, but we changed the name to protect the guilty. She was the kind of girl who loved to be worshipped and worked hard to get a guy’s attention; but as soon as she had him, she’d lose interest and start charming somebody else. We used the name Sue because it fit and because it lends itself to a lot of rhymes. Now, let me put you wise: Contrary to what has been reported everywhere, the song is not about my wife. It is not about Susan Butterfield. Susan has had to endure being introduced as “Runaround Sue” at least a thousand times since 1961. She smiles through it all. And she may one day be canonized for it. Even The New York Times (December 3, 2000) reported that she was the “iinspiration” for the song. The New York Times! The song hit number one in September 1961. 

I’ve written songs about Susan but never managed one that captures the wonder of it all. Her love is like God’s love, a mystery I’ll never fathom. You’ll notice something about the best rock and rollers: They tend to be outsiders. When they were kids they were loners. They didn’t fit in. They felt excluded. They made music to ease their pain. The great thing about writing a song is that it enables you to present a huge problem––loneliness, betrayal, fear, rejection––and then resolve it in three minutes. All it takes is a few verses, a chorus, and a guitar solo. The problem is that nothing’s really resolved at the end of the song.

The pain’s still there, inside––and that’s exactly what happens to the greatest rockers. The pain remains; and if you don’t find a way of dealing with it, you die. That’s the way it ended for too long a litany of rockers. They died from overdose, self-abuse, or reckless living. Others died inside. Some went crazy, or just burned out, or turned into misanthropes. But others grew up, which is, I think, the better way. At some point you need to grow up, even if you’re a rock star. Buddy Holly did change my life. I believe he founded the rock's avant-garde. For many people, he was the King of Rock and Roll, although Elvis kept the title. I got to know Buddy Holly pretty well. In New York I introduced him to Manny’s on 48th Street and a clothing shop on Third Avenue. He was 22 and very decisive and he impressed me because I was 19 and insecure. Buddy told me once, "Dion, I don’t know how to succeed, but I know how to fail: Try to please everybody." If he didn’t tell me that, I probably never would have done "Runaround Sue," or "The Wanderer."  I miss those guys (Buddy, Ritchie and The Big Bopper). I feel they are helping me out. I have three angels up there.

I think John Lennon's intentions were good, though he wasn’t the most informed participant on the scene, and the drugs got in the way of his clear thinking. Nowhere is the murk of his thought more evident than in the most popular song of his solo years. “Imagine” has become an anthem for internationalism––one-world government––and a favorite hymn for those who are “spiritual but not religious.” Imagine there’s no heaven... Lennon was talented, but this song represents a huge failure of imagination. In 1971 we didn’t need to imagine atheistic internationalism. Communism was living and active and it wasn’t producing peace. The Eastern Bloc was a repressive, unhappy place. China was sustaining its self-holocaust into Chairman Mao’s senility. What made it possible for so many leaders to issue the orders for atrocities over the course of a half-century and more? They feared neither heaven nor hell. Imagine that. In 2011, Rolling Stone magazine polled a select group of recording-industry professionals, critics, and artists, and they ranked “Imagine” the third-greatest song of all time. In the video for the song, John plays a white grand piano in a white room. His wife, Yoko Ono, walks around the room, throwing open the curtains on all the windows, one by one. When I saw the video, I wanted to shout: No! She should be closing the curtains! The song isn’t enlightening anything. It’s a deepening darkness.

John Lennon wanted good things. “All you need is love,” “Give peace a chance.” The problem is that those things slip away like eels unless you have a clear idea of what they are. How could John preach love to the world when he had a hard enough time showing love to the people closest to him? What right did he have to preach world peace when he couldn’t even get along with the Beatles? Peace isn’t the chaos of liberty, anarchy, and license. It is, as St. Augustine said, “tranquility of order.” It’s the train on the track (“Slow Train Coming,” as Dylan put it). It’s good to want a revolution, and it’s good to give peace a chance, but the only true revolution that produces lasting peace is the one that Jesus started. The alternatives just make you pick sides among the warring factions. So John ended up throwing his support behind armed terrorists in the IRA and Black Panthers, even though they really weren’t interested in giving peace a chance. ––Dion: the Wanderer Talks Truth (2011) by Dion Dimucci

Ryan Adams investigated by FBI, Chauvinist ways of old rockers (John Lennon, Jim Morrison)

Mandy Moore described her ex-husband Ryan Adams as “controlling,” “destructive” and “manic.” The F.B.I. is “looking into” whether singer-songwriter Ryan Adams’ sexually explicit communications with an underage fan were criminal behavior, according to a law enforcement official cited by The New York Times. The fan, identified only as “Ava,” was between the ages of 14 and 16 when the interactions, which included nudity, took place. Adams' first of his planned 2019 releases, “Big Colors,” which was to have come out April 19, has been “put on hold.” Retailers began reporting Thursday night that they’ve been notified the album has been yanked from the schedule by Universal Music Group. Adams’ Pax-Am label has deleted its own pages devoted to pre-orders for the CD and LP. On top of the album being put in limbo, three companies that manufacture gear for musicians have publicly severed ties with Adams and announced that the products bearing his name will be taken off the market or out of development. Source: variety.com

Some comments from ex-fans on Ryan Adams' Facebook page:

M.K: Ryan Adams, you suck. I will never listen to your music again. And you have been my favorite artist for 20 years. Maybe you can write a sensitive song about being a sexual predator... A.M: You suck! Just deleted all your shit and broke your records. Don’t want anyone listening to your shit again! Douchebag. Career over. P.S: 20 god damn years I have been listening to your music, going to your concerts (even the ones you walked out on) telling everyone within earshot that this man is our Dylan. I feel so sick today. If this is true you need to get some help, and as the father of a 19 month old daughter I am so ashamed that I have a wall full of your records. W.L: Narcissistic much, psycho?!? Don’t bother getting yourself help, you’re a lost cause and have no worth. There; all of your biggest fears confirmed. And yes, all women hate you and you always were undateable and will remain that way as no one wants what you offer, filth. Not one single person respects you. Buy a garbage can, that’s where you belong. No one cares if you’re dead or alive FYI. That’s confirmation of yet another one of your pathetic fears that you live your life in. V.M: Your actions in the past are absolutely horrifying and I am glad you have been exposed for what you truly are, a serial sexual abuser of young women. Your legacy has been destroyed. You are a disgrace to man kind. You bring shame on your nation and family. You have lost so many fans and I will thoroughly enjoy your downfall, you worthless pile of dog trash. Source: www.facebook.com

John Lennon met Cynthia Powell in 1957, when they were fellow students at the Liverpool College of Art. Although Powell was intimidated by Lennon's attitude and appearance, she heard that he was obsessed with the French actress Brigitte Bardot, so she dyed her hair blonde. Lennon asked her out, but when she said that she was engaged, he screamed out, "I didn't ask you to fuckin' marry me, did I?" She often accompanied him to The Quarrymen gigs and travelled to Hamburg with Paul McCartney's girlfriend. Lennon was jealous by nature and eventually grew possessive, often terrifying Cynthia with his anger and physical violence. Lennon later said that until he met Yoko Ono, he had never questioned his chauvinistic attitude toward women.


"I have to admit it's getting better Since you've been mine/Me used to be angry young man/Me hiding me head in the sand/You gave me the word, I finally heard/I'm doing the best that I can/I've got to admit it's getting better/It can't get no worse/I have to admit it's getting better/Since you've been mine/It's getting better all the time/I used to be cruel to my woman/I beat her and kept her apart from the things that she loved/Man, I was mean but I'm changing my scene/And I'm doing the best that I can/" -"Getting Getter" (1967) written by John Lennon & Paul McCartney/Sgt. Pepper's Lonely Hearts Club Band.

A real womanizer, when he was sober, Jim Morrison was the epitome of the southern gentleman, considerate, extremely polite, generous, very romantic and higly respectful towards women. As John Densmore recalled: "Jim liked to treat women with great respect." Jim wrote passionate love letters and poems to these women, and many thought he really meant it, but Pam was the only one in his heart. Some claim Morrison got very angry with Pam over her use of heroin. A neighbor in Laurel Canyon recalls Pam describing a violent argument over the issue where she locked herself in the closet to get away from Jim's rage. Close friends of Morrison's doubt the validity of this story, however.  The more "beloved" and "respected" figures in rock music have a nice, revisionist-style in the re-telling of their life story. Keith Moon terrorized, controlled, psychologically abused his wife; his only child was terrified of him. But that get's "glossed over", and Moon is remembered as an adorable and "funny" drummer! Read excerpts from Mike Nesmith's Infinite Tuesday autobiography. The "smart" Monkee? A great visionary? Nothing more than an arrogant idiot, a nitwit who got very lucky. And from what I can gather little Davy Jones made Jim Morrison look like a prince. Oh, those adorable Monkees...

The problem with Jim Morrison was that he was thrown under the bus in the worst possible way by his own camp. Danny Sugerman's "No One Here Gets Out Alive" made for salacious reading but set the Jim Morrison 'scumbag' image in stone. Trash Jim Morrison and a deafening silence is the only response. Could Jim Morrison be a scumbag? Sometimes. But let's put every single rock figure from the 1960s on the witness stand and let's see how well they come across. David Bowie liked young girls as young as 14. A lot of them have sins that exceed Morrison's. All of them could be scumbags. Bruce Botnick describes a familiar scene: "So here were the two of them, Jim and Pam, completely out of their minds and crying. He started shaking her violently. I think he was putting a show on me. She was crying out of control, telling him he shouldn't drink any more. And I'm cleaning up, and I said, 'Hey, man, it's pretty late.' He looked up, stopped shaking her, said, 'Yeah, right,' and hugged her, and they walked out arm in arm. I felt he had done all that for effect. I'd seen him do that sort of thing before, because he'd always give you a funny look afterward, to see your reaction." —"Break On Through: The Life and Death of Jim Morrison" (2014) by James Riordan

Jeff Tweedy's superpower, Buddy Holly (Visionary Heart, Stay Close to Me), Days of Yore

“Why do you hate me?” I asked Jay again in our Belleville apartment. I was going to keep asking until I got an answer out of him. He didn’t deny it. If anything, he looked surprised that I didn’t already know the answer. 20 years later I was shocked to learn from a magazine interview with Jay Farrar that there was an “incident” that he saw as the last straw. Something that I’d completely forgotten about. Apparently still an “incident” he’d never forgiven me for. We had just finished a show in St. Louis, and this was back when I was still drinking so it was before our first record deal. I never made another record with alcohol in my bloodstream after No Depression. Jay’s girlfriend, Monica, had gotten tipsy during the show, and she fell asleep in the back of our van, waiting for us to load out. Jay was our designated driver for the night, so he was mostly sober. After we loaded out, I stumbled into the van and sat next to Monica. She woke up, and we started talking with incoherent babbling. We were leaning in to each other, and I was earnestly slurring, “I love you, Monica. I’ve always loved you.” Monica was sweetly slurring right back, not without pity, “Aw, I love you, too, Jeff.” Innocent stuff. Obnoxious, maybe, but not anything with sinister motives. I was just a drunk having a bad case of loving everyone. Jay heard it all and watched our inebriated snuggling unfold from the van’s rearview mirror. He was upset, which he had every right to be. If some drunk started weepingly confessing his love for my girlfriend, I’d be pissed, too. Jay confronted me about it when we got back home. He thought I was hitting on her, or trying to seduce her. Even in my drunken stupor, that hadn’t been my intention. I was trying to tell a friend how much she meant to me, and because of the alcohol, I was doing it stupidly. There wasn’t any attempts at kissing, nothing even remotely sexual. It was just two drunks telling each other, “I love you.” As drunks do. That was still too much for Jay to bear. When we got back to Belleville, I apologized, he quit the band, and I’m pretty sure I cried. It was a big deal. I knew I’d fucked up, and it inspired me to quit drinking, which I somehow managed to do. Years later, when he was interviewed, he talked about that night in the van like it was the ultimate betrayal, the moment that killed Uncle Tupelo. His telling added details that were villainous, like that I’d been stroking Monica’s hair (that doesn’t sound like me). 

Even without alcohol I still have an impulse from time to time to mope and feel sorry for myself and want to be taken care of. The cure? My badass wife. She simply won’t have that shit. Not even a tiny bit. You know, “Sex, drugs, and rock and roll”? I always kind of looked down on championing anything but the rock and roll part. Anyone can do drugs or have sex or do sex-drugs or have drug-sex. To me, rock and roll required more awareness and commitment. My first sexual encounter was at the age of fourteen. The unfortunate truth of how I lost my virginity is the specific type of sexual initiation which is still romanticized as a “You hit the jackpot” kind of fantasy. The older woman taking a male virgin and teaching him carnality is a scenario still accepted as not just okay but ideal. Any naysaying to the contrary is casually shamed into silence by the pervasive masculinity of our collective mind-set. Well, the truth is, it was as wrong and damaging as would be easily accepted were the gender roles reversed. At fourteen, I wasn’t anywhere near being emotionally prepared to dive into that. I enjoyed hanging out with Leslie. She was twenty-five and loved great music. She was funny, and I just thought of her as my friend. Toward the end of the summer before my sophomore year in high school, she informed me she was planning to leave Belleville and move back to her hometown. So we listened to music, and then she said we should leave because her roommate was coming soon. She grabbed a bottle of champagne from her fridge, a blanket, and took me to a nearby park. It was dark and empty, we laid on the blanket and passed the champagne, and then she climbed on top of me. I didn’t fight it, but it felt very wrong. I don’t know what I was expecting to happen, but I swear a part of me was still waiting for her to give me an album or some token to remember her by. So that’s how it happened. Technically, I was consenting, but only so far as a fourteen-year-old can consent. I told a few friends, trying to find a way to express the pain and confusion of the whole ordeal. Instead, because I was a guy, among my guy friends, my statutory victimhood was celebrated. Even to the point of jealousy at my good fortune. My mom knew something was wrong, but I was sickened by the thought of sharing any of it with her. I know my dad genuinely loved my mom. And she loved him, too, but maybe not as much. When I was a kid, I thought that she wasn’t getting what she needed emotionally from him. But in hindsight, it was probably the other way around. It was my dad who had no chance. She wasn’t going to trust a man with her happiness.

To exalt an artist’s suffering as being somehow unique or noble makes me cringe. When someone’s heart aches because a girl said she still loved him but really she was sleeping with somebody else and that made him sad, they’re plugged into something universal—if we all learn anything from being alive on this planet, it’s that people will lie to you for different motives. I love old records. I definitely love sad songs the most. It was not about being able to write the perfect lyrics or a melody that will crawl up inside a listener’s head and never leave. It was realizing that I’m okay being vulnerable. My comfort level with being vulnerable is probably my superpower. I wasn’t the cool kid. I wasn’t the strongest. I wasn’t the smartest person. I wasn’t the one you turned to if you had a question. I wasn’t ruggedly handsome or boyishly charming. I wasn’t the captain of the football team, or the kid everybody in school voted was the most likely to succeed. I was the guy who could burst into tears in front of his peers and not care what they thought. I had a bone-crushing earnestness, a weaponized sincerity, and I was learning how to put all of those feelings into songs. I was impervious to my peers’ shame. They couldn’t make me recoil with their snickering or judgmental sneers. I’d sung these same songs to my mother, in the quiet of our kitchen, and if I could open up to her and not be destroyed by a disapproving arch of an eyebrow, what could a crowd of strangers possibly do?

The way I feel about my wife Susie, the way she’s loved me and changed me, it can’t be in my songs. It’s too big for songs. Maybe, occasionally, I can get a part of it to fit. Sometimes it gets deep in the track where I can feel it but it’s never put into words. If you’ve ever been in a relationship that you took for granted, even when it was the one thing holding you together, and you somehow didn’t lose it despite acting like an idiot, then you know how difficult it is to convey that amount of gratitude, much less set it to music. I wouldn’t know where to begin. 'Let’s go so we can get back'—interview with Jeff Tweedy. Source: www.rollingstone.com

Wilco was out in full force at the Val Air—one of those venerable Midwestern ballrooms where big bands once played, on the same circuit as Buddy Holly’s fatal tour. Behind the buoyant melodic simplicity of Tweedy’s acoustic guitar on the set-opening “Handshake Drugs”, guitarist Nels Cline raised a squall reminiscent of Neil Young with Crazy Horse, while drummer Glenn Kotche (who served as opening act and encore returnee on the solo tour) provided punctuation throughout the set that went well beyond typical rock propulsion. “Nobody suffers like that dude!” Tweedy said in the voice of a fan, both summarizing and satirizing what has seemed to be a large part of his appeal in recent years as Wilco’s brooding, mercurial frontman. Tweedy seemed almost borderline giddy that night. At least that was the impression reinforced during Wilco’s performance of the beatlesque “Hummingbird” to a decidedly older Des Moines crowd than the one at the university, where he exercised the dorkiest of rock star moves by running in place for extended mid-song calisthenics. Source: www.nodepression.com

“They don’t make music the way they used to,” the boomers and Gen Xers will mutter. And they’ll be right. Music today, at least most of it, is fundamentally different from what it was in the days of yore. For decades, musicians and engineers have employed dynamic range compression to make recordings sound fuller. Compression boosts the quieter parts and tamps down louder ones to create a narrower range. Historically, compression was usually applied during the mastering stage, the final steps through which a finished recording becomes a commercial release. The compression of dynamic range—the gap between the loud and quiet moments—of popular music has been used in recording studios for decades. The more aggressive use of compression in recent years is illustrated by these two song samples. In “This Is America,” the peak levels are clipped and the average loudness is less varied than in “What’s Going On.” The distance between the peaks and the average, a measure of how much the song’s range has been squeezed, is six decibels greater in Marvin Gaye’s song than it is in Childish Gambino’s track. In the predigital era, compression required a mastering engineer whose job is to create the physical master for the manufacturing process, to employ restraint and finesse. With digital audio, a few mouse clicks can compress the dynamic range with brute force. The result is music that sounds more aurally aggressive — like the television commercials. During the 1990s, as digital technology infiltrated the recording process, some mastering engineers wielded compression like a cudgel, competing to produce the loudest recordings. This recording industry “loudness war” was driven by linked aesthetic and economic imperatives. Maximum loudness, it was thought, was a prerequisite for commercial success. Over time, with listeners increasingly consuming music through earbuds and cheap computer speakers, engineers and producers found themselves working in a denuded sonic landscape, many of them longing for the rich and diverse audio ecosystems of old. Source: www.nytimes.com

Mike Berry's version of the song that Buddy Holly never recorded himself. In New York Buddy Holly also formed the 'Maria Music' publishing company with which "Stay Close To Me" was filed. Buddy Holly produced Lou Giordano's version of the song which was issued on Brunswick Records (55115) on January 27, 1959.

"I dreamed the girl I’d marry and the family we’d raise/In the mountains of New York City precious would be those days/But what my heart could not foresee thought these dreams would come through/My time remaining would be brief I give these dreams to you/You and me my brother in these guitars we trust/Our dreams might not mean much to the world but/They mean the world to us." —"Visionary Heart" (2016), a song written by Dion Dimucci dedicated to Buddy Holly

Some fans were often quick to sense that a veritable ‘Superman’ lurked beneath his ‘Clark Kentish’ exterior. Although Buddy Holly had composed the brilliant Reminiscing, he gave saxophonist King Curtis songwriter credits as part of his fees for flying to Clovis' recording studios. Detailing the woes of a jilted lover, Buddy’s characteristic hiccups and Curtis’ bawdy saxophone express a sense of longing for love without being maudlin. Murray Deutch, a Peer Southern executive who had received “some good songs” from Norman Petty in the past, never established a kinship with the Clovis producer: “Warmth wasn’t something you got with Norman Petty. He was the kind of guy who’d give you ice in the wintertime.” Going by legend, J.P. Richardson (The Big Bopper), who was battling flu like symptoms, approached Waylon Jennings about possibly taking his place on the plane. His hope was to get to the next venue early enough to get a shot from a doctor to battle his cold. Tommy Allsup has always maintained that he was approached by Ritchie Valens throughout the night about taking his place on board the airplane. However, Surf Ballroom's manager Carroll Anderson had a different recall about how Valens and Richardson wound up on that flight, and it differs dramatically from the memories of Waylon Jennings and Tommy Allsup. Carroll Anderson: “Buddy Holly got ahold of the Big Bopper, and the Big Bopper said, ‘Well, I’ll go with you if you split it.’ And then Holly said, ‘Let’s take Ritchie Valens along and it’ll only cost us thirty six dollars apiece.’”

Carroll Anderson’s memories of what went on that night in arranging the charter and the subsequent passengers that wound up on board a doomed Bonanza comes pretty damn close to substantiating Dion DiMucci’s story on what went on that evening when it came to who was to fly and who wasn’t. Dion DiMucci (“Dion: The Wanderer Talks Truth”): “Buddy gathered up the headliners and told us he couldn’t take another night on the bus; he was going to try to charter a plane to take us to the next stop on the tour, Moorhead, Minnesota. He found a single―engine craft that could sit three in addition to the pilot. The problem was that there were four headliners―Buddy, Ritchie, the Big Bopper, and me. Someone would have to ride the bus. In a closed dressing room, we flipped a coin to see who was going to fly. The Big Bopper and I won the toss. Then Buddy told us what the flight would cost: $36. I couldn’t bring myself to spend a month’s rent on an hour’s flight to Minnesota. I said to Ritchie, ‘You go.’ Only the four of us knew who was getting on the plane when we left the dressing room that night. Of the four who were in that room, I’m the only one who survived beyond February 3, 1959.” Jennings’ comment about Holly, Richardson and Valens being “bugs for flying” denotes that there was much interest expressed prior to that tragic February 3rd plane ride by the three singers in flying. Much has been made over how Allsup stuck to the same story with little variation since the 1970s, yet little has been made over the consistency of Carroll Anderson’s memories of that night, even though his recollections changed little over the years, too, and seem to fly in direct contrast to Mr. Allsup’s own story. ―"In Flanders Field: Death and Rebirth of Buddy Holly, Ritchie Valens, and J.P. Richardson" (2017) by Ryan Vandergriff 

Listen to Me: Enduring Legacy of Buddy Holly

Released on 16th November 2018, this newly recorded album features Buddy Holly’s utterly distinctive original vocals and guitar playing set to exquisite arrangements performed by the Royal Philharmonic Orchestra. In that last recording session, at the Decca Studios in New York, the star was joined by an 18 piece orchestra, fronted by Dick Jacobs, bringing strings to rock and roll. They recorded four tracks: ‘True love Ways’, ‘Raining in My Heart’, ‘Moondreams’ and ‘It Doesn’t Matter Anymore’ all of which are soaked in strings, clearly demonstrating a new direction for Holly. Recorded in London’s Angel Studios, and produced by Nick Patrick, the man behind the hugely successful Elvis Presley and Roy Orbison orchestral albums, ‘True Love Ways’ truly reflects Buddy Holly’s love for strings, having learnt to play the violin as a child, that continued all his life. Beloved tracks the singer recorded with The Crickets such as ‘Everyday’, ‘Peggy Sue’ and ‘That’ll Be The Day’ are all included, with orchestrations that invigorate, rather than overwhelm, the rock and roll of which Holly was king. Holly's widow, Maria Elena, explains that her husband thought then that the rock & roll era had peaked: "Buddy felt orchestral music in a popular vein was where the future lay, so he wanted to write, record, explore and innovate that style. So what better combination than the Royal Philharmonic and Buddy's music. It's just beautiful." This is what Buddy would've wanted done." – Larry Holley, Buddy Holly's brother. Source: www.prnewswire.com

In 1986, Rolling Stone magazine ranked Holly as Number 13 among its “100 Greatest Artists.” That same year, he became a charter member of the Rock ‘n’ Roll Hall of Fame. Lacking the flamboyance of Little Richard and Jerry Lee Lewis or the sexy, movie star charisma of Elvis Presley, Buddy Holly was akin to the boy next door. Holly’s bespectacled face never graced the covers of teen magazines or appeared on the big screen. Baptized at age 14, Holly confided to a pal: “It looks like every time you screw up, God is there to put his arms around you and say, ‘Let’s get going again!”’ During Buddy’s senior year of high school, he served as vice-president of the Distributive Education Club; a program, which allowed students from poorer families to attend classes in the morning and work in the afternoon. Consequently, Buddy became a part-time employee, first at Glen Decorating, followed by Davidson Printing Works. Buddy eventually became a talented draftsman, which he considered as a back-up occupation if he failed to make it in the music world. 

Holley’s long-time girlfriend, Echo McGuire, was planning to attend a religious school in Abilene, Texas, 165 miles southeast of Lubbock. Many, including Buddy’s brother, Larry, “felt like he might marry her,” after the couple graduated from high school. Echo’s departure for college, however, was a significant step toward ending their adolescent relationship. “Buddy and Elvis got along pretty good,” Larry Welborn explained. Much to the chagrin of his original manager, Hi Pockets Duncan, in February of 1956, Buddy traveled to Clovis, New Mexico, 90 miles northwest of Lubbock, where Norman Petty had constructed a recording studio. “Whatever you do, don’t go to Clovis. Norman Petty has a bad reputation for taking advantage of kids,” Hi Pockets warned Buddy. A headstrong Holly, not yet 19-years-old, disregarded Duncan’s advice; a decision he would later regret, many times over.

"Of all the 50's rock and roll giants, Buddy Holly was the most selfless, the most talented and the most likable." —"This'll Be the Day: The Life and Legacy of Buddy Holly" (2009) by Professor Maury Dean

-Lance Monthly: Do you think that Holly was justified in wanting to distance himself from Norman Petty? -John Beecher (co-author of Remembering Buddy: The Definitive Biography Of Buddy Holly): Yes I do. Norman never wanted an artist to be big. Norman was a great engineer/producer in his own environment, but out of his depth in the big studios of New York; and the "biz cats" in the big city knew what he was up to, eventually shunning him. For a while Norman was powerful, but with the power came greed and carelessness and that was his undoing. Source: www.musicdish.com

Norman Petty’s loyal bookkeeper, Norma Jean Berry, had abandoned her career as a local journalist. The pleasantly plump, bespectacled Berry appeared mannish, especially when dressed in blue jeans and penny loafers. Intermittent rumour had it that Petty's wife Vi and Norma Jean carried on a lesbian relationship; that Norma Jean and Petty had once had an affair; even that the three participated in troilistic sexual acts. Maria Elena Holly believed the mannish-looking Norma Jean had sexual designs on her, and kept her distance. During a late-night recording session, Maria Elena chose to sleep in Buddy’s Cadillac, rather than the studio’s bedroom. The truth appears to have been that all three, Norman & Vi Petty and Norma Jean Berry, for different reasons, were virtually sexless, and Norma Jean clung to the Pettys as her surrogate family. Norman Petty, however, seemed fixated on his protegé Holly and now wife Maria Elena's sexual relationship. In one occasion, Peggy Sue Allison remembered: "Buddy and Norman Petty were just about halfway to the door where the reception room is, and Maria said, ‘Buddy, Norman looked up my skirt!’ We absolutely froze. All the blood just drained from Buddy’s face." 

Any recordings made at Petty’s studio and later picked up by one of the many record labels that did business with Norman, came at a high cost to performers. Petty not only shared in the profits from record sales, but also insisted on a portion of the song-writing royalties, even when he had no role in their composition. Nor-Va-Jak secured publishing rights for any records produced at Norman Petty Studios. Petty would no doubt help Holly, but in exchange, would demand partial song-writing credits, thus sharing in the royalties for compositions he had no role in creating. Holly, at age 19, was simply too impatient to think about money or seriously question Petty’s shady reputation. All he knew was that Norman Petty had transformed Buddy Knox and Party Doll into overnight sensations. As Hi Pockets Duncan had predicted, Petty’s offer to sell Holly’s record came at a steep price—both That’ll Be the Day and I’m Looking for Someone to Love would be published by Nor-Va-Jak. Petty also insisted that his name be added to the song-writing credits, explaining that disc jockeys who recognized an established performer’s name on the record would be more apt to give it playing time. Such a move guaranteed that Petty would receive an equal share of the song-writing royalties, which an eager and naïve Buddy did not yet fully realize. Niki Sullivan summarized the song-writing process in Clovis: “Buddy was the major contributor, or the originator on the idea of the song. We (The Crickets) would all contribute, but it was Buddy who was the creator.”

In the summer of 1957, Buddy Holly did become romantically involved with a married woman, June Clark. The relationship began when the Crickets started rehearsing at the Lubbock home of their friends, James “Nig” Clark and his wife June. In their late 20s, the Clarks were rock and roll fans, and from the very beginning, ardent supporters of the Crickets. Some of their friends believed that Nig and June remained married solely for the benefit of their son. Buddy’s attraction to June, however, appeared to be driven by more than just youthful lust. Buddy’s infatuation was such that he would linger for hours at Hull’s Drug Store, where June worked behind the cosmetics counter. June grew concerned that Buddy’s conspicuous behavior would alert Nig to their clandestine affair. Buddy, who seemed to care little about what others thought, told June that he would give up music, if she would leave her husband and run away with him. Whether that promise was made during the height of passion or represented genuine devotion, it was truly a profound statement; Buddy would be abandoning his long-standing dream of becoming a professional entertainer, just as he was on the cusp of achieving stardom. They began a risky, on-the-wing romance, stealing kisses over coffee-cups. To further complicate matters, June had begun to suspect that Jerry Allison was also ‘sweet’ on her. ‘I felt I should tell Buddy that because Jerry was his best friend. Buddy acted like we were the only two grown-ups involved. “Jerry’s young,” he said. “He’ll probably get over it.”’ The intensity of Buddy’s feelings began to alarm her. Forgetting the need for discretion, he phoned her constantly, and also took to hanging around the Hull drugstore. ‘He’d just stand there staring at me, till it got to be really embarrassing and unnerving.’

In the fall of 1957, Buddy and June were reunited under the camouflage of a party for Buddy Knox; June's sister Tuddie lent them her apartment on West 10th Street to resume their love affair. When Tuddie needed to be at home, they would meet to make love at a nearby apartment hotel. ‘He told me time after time that it wasn’t just a crush – that he wanted to have a permanent relationship with me,’ June recalled: ‘I seriously thought about it, because I did have feelings for him. The last time we were due to be together, just before he left on that first big national tour, we ended up just talking on the phone. Buddy told me again that he wanted me to leave Nig and go away with him. I kept saying I couldn’t because I had a little boy. It went on for about an hour, him begging, me saying no I just couldn’t. In the end, there was nothing else to do but just hang up.’ 

Buddy's tortuous love relationships (Echo McGuire's chaste courtship, his impossible love affairs with Lubbock's wild girl and the married June Clark) would be eclipsed by his true love, Maria Elena Santiago. In her teens, Maria Elena had settled into her Aunt Provi’s apartment, located on 10th Street in Greenwich Village, and completed school in New York City. After graduating from high school, she worked for a time at St. Vincent’s Hospital as a translator for Spanish-speaking patients. Maria Elena also served as her aunt’s assistant, packing luggage, purchasing clothes, and serving as a hostess during the cocktail parties Provi held at her apartment for Peer-Southern song-writers. Buddy found Maria Elena to be unlike any other woman he had met—attractive, intelligent, articulate, sophisticated, and a good listener. Likewise, Maria Elena felt an immediate connection, as if she had known Buddy “for years already.” She was particularly impressed by his humor as well as his maturity. Provi, who was about to embark on a business trip, offered Maria Elena her credit card to purchase a wedding dress and other accessories. Buddy cavalierly objected, promising to pay for whatever items his fiancé might need. But Norman Petty was totally opposed to Buddy getting married. He warned Holly that a married rock and roll star would lose many female fans. Petty even told Buddy that Maria Elena was a “cheap girl,” who “picked up” numerous singers. This scurrilous rumor had supposedly been passed along to Petty by an executive at Peer Southern. Sensing that Buddy was about to punch Norman, she quickly intervened: “Let’s get back to New York.” The seeds of discontent between Holly and Petty had been sown well before Buddy met Maria Elena. Above all, Buddy was tired of Petty’s calculated snubs to Maria Elena. 

Norman Petty, sensing that his days with Holly were numbered, began quietly undermining The Crickets. Petty told Jerry and Joe B. that Maria Elena was forcing Buddy to move to New York City. If the Crickets followed him, Norman warned them that they would be financially exploited by New York record executives. Nearing the end of 1958, Holly had learned how to collect and distribute tour fees, function as a road manager, produce records, and manage the band’s financial affairs, all without Petty’s guidance. Joe B. eventually came to understand that Petty had a broader agenda; he was determined to extract personal and financial revenge on Buddy Holly. Joe B. explained Petty’s counterproposal in greater detail: “It’s not Maria that broke the group up; I felt like Norman Petty’s the one who broke the group up. Norman said, ‘Look, let’s stay down here, where we have control of everything.’ Norman said he had ‘all Buddy’s money in the bank, and he'd starve to death.” Jerry Allison likely confused the sequence of events, but he never blamed Buddy for their break-up: “I am sure that Buddy wasn’t fed up with us. He was fed up with Norman Petty. Actually, we were unhappy we hadn't gone to New York with him. After Buddy moved to New York, he wrote a dozen songs which I thought were some of his very best songs, like "Learnin' The Game", "Love Makes It Tough" and "Peggy Sue Got Married".” Since they could not afford a secretary in New York, Buddy and Maria Elena kept up with Holly’s fan mail. Buddy personally answered each letter. 

Even though he was unhappy about the WDP tour, angered by Norman Petty’s refusal to relinquish his royalties, and hurt by Jerry’s and Joe B.’s betrayal, Holly still did try to maintain a smiling face. For the remainder of his life, Petty never cleared himself of allegations that he had cheated Buddy Holly and the Crickets. By the early 1970s, Petty was in dire financial straits. He purportedly began writing a book about his life as a producer of different musical artists, but never finished it. Larry Holley: "I personally think Buddy would have reached the very pinnacle of the music world if he had got to live longer. Norman Petty cheated Buddy out of millions of dollars by putting his name on every song that Buddy wrote. Also, it's my opinion that The Crickets (Jerry Allison and Joe B.) both deserted Buddy, but they keep riding on his shirttail. They can't write good songs, but just like Norman, they have got their name on songs they could never have written." Jerry Allison has freely acknowledged it: “We’ve pretty well proved that the Crickets without Buddy Holly aren’t too hot of an item.” Allison's ex-wife Peggy Sue Gerron explained in March of 2017: “I don’t know if Buddy was in love with me! I adored Buddy and he was one of my closest friends. I don’t know how he really felt, because he didn’t discuss it with me,” confirming Maria Elena's suspicions that Peggy Sue's recollections were mostly fabricated.

Even though it was freezing outside, the Surf Ballroom was decorated like a Florida night club. Palm trees greeted visitors in the lobby and were positioned on either side of the stage. The vaulted ceiling, overlying the 6,300-square-feet maple wood dance floor, was blue, with projected images of drifting clouds. Wooden booths, with green, padded leather upholstery, lined the periphery of the room, to accommodate non-dancers. Bob Hale, the 25-year-old disc jockey at KRIB in Mason City, remembered how impressed he was by Buddy Holly: “From the moment the bus arrived, Buddy took charge. He directed the equipment set-up, discussed the upcoming events, and decided the performance order, and did so while sitting at the piano playing as he spoke. He was only 22-years-old, but was clearly in charge of everything and everyone. It was equally apparent that those he led respected and liked him, while looking to him for direction.” Buddy developed a bond with the streetwise Dion  DiMucci, who had a history of alcohol, marijuana, and heroin abuse. Having battled his personal demons, Dion considered Holly a role model: “I admired how together he was.” Before the first show, Hale chatted with Buddy and the Big Bopper, sharing a common bond; all three of their wives were pregnant. Holly openly discussed his ongoing dispute with Norman Petty: “I’ve got to get this stuff straightened out. One problem with being on the road, you don’t know what’s going on back there.” When Valens took the stage, Hale remembered “the girls went crazy over Ritchie.” Buddy’s performance, however, “almost blew the roof off. They didn’t want to let him go,” Hale recalled. Tommy Allsup remembered that Buddy was infuriated with Petty’s nefarious bookkeeping: “When this tour is over, I’m going back to Clovis and I’m going to kick Norman Petty’s ass. I’m going to get my money out of that studio, one way or the other.” During the drive to Clear Lake, the bus developed heater problems, forcing the group to stop at a service station in Praire du Chien. Buddy called his attorney in New York City, to discuss the ongoing dispute with Norman Petty. “He came back on the bus and was mad. I mean he was bad mad; the maddest I ever saw him,” Waylon Jennings recalled. At the same time, Petty was maligning Buddy’s character, describing him as child-like, with “a tendency to want to make contracts and get out of them.”

Many music historians and performing artists believe the death of Buddy Holly marked the beginning of the end for the first phase of rock and roll. “Rock ‘n’ roll died in ’63, and became Rock. In the later 60s, rock ‘n’ roll splintered. It became surf rock, psychedelic rock, protest rock, and drug rock. It wasn’t the fun rock ‘n’ rock roll Buddy created,” Holly historian, Bill Griggs, opined. Jerry Lee Lewis remembers Holly as “a real champion” and “a true gentleman,” claiming that: “He was my buddy. He was hotter’n a pistol, and he could play the guitar as good as Chet Atkins. He was a gentleman, and he never lied, he never cheated or anything like that on his girlfriend.” Buddy went on to tell Jerry Lee about a beautiful girl he’d met in New York City named Maria Elena. He’d already proposed to her on their very first date. “If you love her,” said Jerry Lee, “it don’t matter what nobody else thinks,” was Jerry Lee's advice. “John and I started to write because of Buddy Holly,” Paul McCartney admitted. “Buddy Holly had it all,” the Rolling Stones’ Keith Richards proclaimed. “Something about him seemed permanent and he filled me with conviction, it gave me the chills,” Bob Dylan said of Holly on his Nobel speech in 2016. It is hard to conceive that Buddy Holly, at any age, would have been as ostentatious as John Lennon, who in 1966 opined that the Beatles were more popular than Jesus Christ. Stardom never appeared to go to Holly’s head or disrupt his long-standing relationships. “We loved Buddy. He was a good man and we could never detect that success changed him one bit. He was kind, humble, and excessively nice,” recording artist Gary Tollet, acknowledged. Less than two months before his death, Holly was not only willing to play during a KLLL remote radio broadcast, but was also planning for a homecoming concert in Lubbock. 

Buddy Holly was always very generous. Gary Tollet’s wife, Ramona, summarized Holly’s willingness to give, even when the recipient was less than generous toward him. Buddy’s generosity and kind-hearted nature were accompanied by naïvete, particularly in the early stages of his brief career. In May of 2017, Sonny Curtis remembered his long-lost bandmate and close friend: “He was very confident, a great singer, guitarist, song-writer, which made him a trailblazer in rock and roll. His talent was extraordinary and he was a good ole boy.” Eager to become a recording star, an overly-trusting Holly was ripe for exploitation by Norman Petty. When Holly became fully aware that he was being financially exploited by Petty, he was nearly broke. In dire financial straits, Buddy embarked on an ill-advised, but necessary tour that culminated in his premature death. In today’s world, filled with mass shootings, acts of terrorism, and musical genres that glorify violence, we need Buddy Holly. In the words of Henry David Thoreau: “In a world of peace and love, music would be the universal language.” Sources: —"Listen to Me" (2017) by Jeffrey K Smith and "Rave On: The Biography of Buddy Holly" (2011) by Philip Norman

A study has found that golden oldies stick in millennials’ minds far more than the relatively bland, homogenous pop of today. A golden age of popular music lasted from the 1960s to the 1990s, academics claimed. Songs from this era proved to be much more memorable than tunes released in the 21st century. Lead researcher Dr Pascal Wallisch, from New York University in the US, said: ‘The 1960s to 1990s was a special time in music, reflected by a steady recognition of pieces of that era-even by today’s millennials.’ During this period songs reaching the top of the US Billboard charts were significantly more varied than they were between 2000 to 2015, said the scientists. Songs selected for the study included those that reached number one on the Billboard Top 100 between 1940 and 1957, and the top slot on the Billboard ‘Hot 100’ from 1958 to 2015. Source: metro.co.uk

Buddy Holly & The Winter Dance Party

Larry Lehmer wrote down in 1997 the most concise and sharp look at the Winter Dance Party. “The Day the Music Died” has stood the test of time and proven itself as a “must have” for any serious rock and roll fan. Lehmer was able to gather most of the known material on the crash and present it in such a way that answered many longstanding questions. It also posed its own series of disturbing and troubling questions that have yet to be resolved. Martin Huxley and Quinton Skinner assembled a book of the same title as Lehmer’s for the VH1 book series, “Behind the Music.” Want to see a Buddy Holly fan sent into a fit of apoplexy? Mentioning of Ellis Amburn’s “Buddy Holly: A Biography” is a sure way to create rancor and strife amongst the more hard line Holly enthusiasts―Amburn is way off base on many of his arguments. Like Diane Ackerman said of America, Holly's life “began in mystery and it will end in mystery.” Buddy Holly was an avid baseball fan, as well as a comic book buff, and he developed a love for country, bluegrass, gospel and rhythm and blues. 

Buddy Holly connected with a vast wilderness of music fans because of his innate ability to make record buyers feel as if he was speaking directly to them. A lot of his music dealt with dashed love affairs or the stubbornness to not give up on a prospective love even in the face of insurmountable odds. His wedding created a stress with producer Norman Petty, who believed his young star was being impulsive with a marriage to a woman he hardly knew. Puerto Rican by birth, the slightly older Maria Elena had met Buddy as early as January of 1958 (this according to her own account from the February 3, 1959 New York Journal American). Jerry Allison and Joe Mauldin remembered to author John Goldrosen meeting her as early as 1957. Buddy Holly was a pioneer in rock and roll songwriting (also Chuck Berry) in an era which still followed the studio tradition of the 1930s. In an interview with Greg Milewski, Joe Terry of Danny & the Juniors, noted his observations of Buddy: “Basically, writers were not performers. Everybody can say he was a great performer, but Buddy was a better writer than he was a performer in my opinion. A real quiet, introverted kind of guy.” Fellow Texan and rock and roller Buddy Knox pointed out to interviewer Gary James that “Holly was ambitious, more so than most of us and a little hard to deal with sometimes…” In 1995 Bob Thiele weighed in on the Norman Petty controversy: “Despite the fact that Norman Petty had an iron grip on every creative and business aspect of Buddy Holly and the Crickets, he was jealous that Buddy also wanted to record in New York with me as producer.” 

Maria Elena recalled to author John Goldrosen the tumultuous confrontation between her husband and Petty: “Norman asked Buddy, ‘Are you sure that’s what you want? You know I can’t give you any money until we get settled who gets what money, and just how much money each of you has coming. I’ll need time.’ And Buddy said, ‘I don’t have the time. Just give me the money and I’ll give it to them―we can split it ourselves.’ And that’s when Norman told him―he said, ‘Uh―they’re staying with me.’” Holly's composure melted, and he appeared totally devastated, as if he would cry at any moment. As Maria Elena told Goldrosen: “He felt sort of betrayed. ‘I thought I had treated them fair,’ he said, ‘I don’t see why they should have done that to me.’ He felt like they had put a knife in his back; but if that was how they felt, he wasn’t going to beg them. But he cried that night.” Holly, beginning to feel the pinch of tight finances which were now tied up in a legal dispute with his former manager, jumped on the Winter Dance Party tour and assumed the headliner status.  

The slow death his last release―“Heartbeat”―was experiencing just at that moment could not have been heartening either. To offset the whole thing, Holly and his new bride were able to at least celebrate her January 7th birthday and look forward to brighter days ahead.  On a sour note, Holly’s issues with Petty were not going away, although the rock and roll star was intent on handling the matter as gracefully as he could, sending Petty a polite note on January 8, 1959, urging him the cancellation of his contract. Wilma Stromley, a waitress at the Holiday Inn and Lounge remembered how Buddy Holly made a bold pass during the WDP tour: “I went over there to wait on them and Buddy Holly pulled me down on his lap. It seemed like they were laughing after he pulled me down on his lap.” This was out of character behavior for Buddy Holly from most known accounts that have been catalogued over the years. The final show at the Surf Ballroom also left Barbara Matson  (WDP attendee, February 2, 1959) quite unimpressed with Buddy Holly: “That night I can remember thinking, ‘He’s not very friendly.’” Holly was the lone holdout to most fans that night, choosing to stay out on the bus in between sets. Barbara Matson, Wilma Stromley and Paul Gallis had no way of knowing of course that Holly was in the middle of a nasty face-off with his former manager and band. To make matters worse, “It Doesn’t Matter Anymore”―certainly one of the prettiest songs he had ever cut―was nowhere to be seen on the record charts. There are some people who believe that this out of character behavior for Holly might have ultimately played into the crash of Jerry Dwyer’s Beechcraft Bonanza.

So what happened on board that plane? During a 2011 dinner with Jerry and Barb Dwyer it seemed as if their impression was that of Buddy Holly taking over N3794N from pilot Roger Peterson. According to the couple, the Holley’s visited with them during the early 1960s and inquired about their son’s pistol which had been retrieved from the crash site. It was then brought up Holly’s flying lessons in the latter half of 1958 and how his interest in flying may have played a key element in the mystery surrounding these sad events. It appeared that this went a long way into explaining the sudden loss of altitude of the aircraft. The reports of the plane struggling to stay in the air―according to the Dwyers―would have been Holly attempting to correct the plane and regain altitude. Jerry also heavily stressed how simple it would have been for Holly to use the Beechcraft’s throw―over flight wheel, demonstrating that it was in close proximity to where Holly was sitting in the front passenger seat. The Dwyers professed knowledge of Holly actually seeing a psychiatrist before leaving on the WDP and that he had caught his wife flirting with a “music insider.” This had apparently led to a nervous breakdown on Maria Elena’s part, even before the crash happened. Prescription drugs were mentioned by Jerry throughout the night, leaving little doubt as to what the Dwyers thought might have led Holly to act so out of character. Jerry asserted that while the stars were at the airport, Holly made a telephone call to his wife back in NYC from a telephone booth at the Dwyer Flying Service, and a nasty fight ensued between the two. Apparently, this claim does not line up with the 1959 CAB Report and seems to have stepped out of an Oliver Stone film.

There was a cover―up involving several key members of the Mason City/Clear Lake area, this according to the Dwyers. Albert Juhl, on whose rented soy bean field Roger crashed into, was told by Sheriff Jerry Allen to stick to a story that had been come up with for the newspapers regarding the discovery of Buddy Holly’s gun and the spent cartridges found therein. Whenever asked about the firing of the gun, Albert Juhl and his family would either claim responsibility for firing off the gun, or simply explain that they did not remember. The gun and its spent chambers was a hot potato with different parties claiming or denying responsibility for firing it after the crash. Upon quizzing Dorothy Juhl, I got an interesting response: “No, I don’t think dad ever fired that gun. I would be awfully surprised if he did.” Dion DiMucci recalled during his 2009 interview by the Rock and Roll Hall of Fame. “I said, ‘Buddy, why do you have a gun?’ He said, ‘Dion. I’ve got to protect myself.’” The gun carried by Holly while on tour provided a sense of security and was not intended to be a point of braggadocio. At the age of 22, Holly was looked upon as an elder statesman by his contemporaries in the rock and roll scene. Buddy Holly could be fun, but he also possessed an extraordinary light of wisdom and maturity. A problem I had with the story told by the Dwyers is why would have this crash been covered up in this tragedy? I have some nagging doubts about the more remarkable claims put forth by the Dwyers. ―"In Flanders Field: Death and Rebirth of Buddy Holly, Ritchie Valens, and J.P. Richardson" (2017) by Ryan Vandergriff 

Simply Buddy - His Life His Music His Legend (2017) by J. Forriest McGrew. He was Charles Hardin Holley. He was a simple country boy from Lubbock, Texas. He was warm, kind, good humored, friendly, but yet shy and cautious. He was a performer, songwriter and a musician. He was a draftsman, a producer, and a superstar. He was a son, a brother, a husband and a father to be. He was a lot of different things. But above all, he was a good man. Maybe Buddy Holly would have made the album that made Brian Wilson make Pet Sounds, which made McCartney make Sgt. Pepper. Only Buddy Holly ever did this stuff before. Musicologists marveled at the Polynesian chord changes in some of The Beatles' songs. Fans didn’t know how to dissect the unique chords of Holly's songs: A Polynesian shift is like C – Ab – C.  

So it's only natural we could piece together the path Buddy Holly might have taken by looking at the careers of artists like John Lennon, Lou Reed or Nick Lowe. Part of what we think of when we think of Buddy Holly is his mythology and aesthetic. Before Buddy Holly, there were no weirdos, no geeks, no one to claim rock and roll for the outsiders. When everybody else was racing off in their cars and hitting the beach, Holly was this reedy singer who had the guts to be wistful, sad, and vulnerable. He was on a trajectory toward something that wouldn’t have been as angelic as his previous sound, something else that we can never know. Source: consequenceofsound.net