Elliot, Cass

Subterms

    Latest story

    113 Shares99 Views

    The Fiery Sounds of the Monterey International Pop Festival

    by

    Revisiting the event’s memorable set list, 57 years later.Ravi Shankar onstage at the Monterey International Pop Festival in 1967.Ted Streshinsky/Corbis, via Getty ImagesDear listeners,Fifty-seven years ago today, the Monterey International Pop Festival — the three-day event that arguably invented the modern music festival — concluded in a blaze of glory. That Sunday boasted quite a bill: Ravi Shankar mesmerized the crowd with a set of ragas that lasted more than three hours. The Who obliterated the calm with a proto-punk set which ended when Pete Townshend smashed his guitar. Jimi Hendrix attempted a one-up by lighting his on fire. The headliners the Mamas & the Papas had the unenviable task of following all that.I’ve had Monterey Pop on the brain recently, since last month I published an in-depth piece about the life and legacy of “Mama” Cass Elliot. (I began the essay with a self-deprecating joke that Elliot made onstage at the festival, which took place just six weeks after she’d given birth to her daughter.) The story of Monterey Pop is entwined in the story of the Mamas & the Papas: The group’s leader, John Phillips, was one of the organizers of the festival, and he even wrote the event’s de facto theme song, “San Francisco (Be Sure to Wear Flowers in Your Hair),” which was recorded by the folk singer Scott McKenzie. The Mamas & the Papas were perhaps the most famous band on the bill at the time, but that would soon change. The festival — like D.A. Pennebaker’s era-defining, fly-on-the-wall documentary “Monterey Pop” — was a snapshot of the precise moment when the prevailing sounds of folk-rock began to give way to a louder, gnarlier kind of rock ’n’ roll practiced by Hendrix, the Who and another of the weekend’s breakout stars, the lead singer of Big Brother and the Holding Company, Janis Joplin.One of the things that makes Pennebaker’s documentary so valuable is the fact that it captured, in vivid liveliness, so many musical luminaries who would soon be gone: Joplin, Hendrix, Elliot and Otis Redding, who died in a plane crash before the film was released. Pennebaker and his crew shot these artists in intimate, immediate close-up, pioneering the visual language of concert documentaries to come.Today’s playlist revisits some of Monterey Pop’s legendry set list, specifically focusing on the songs performed in Pennebaker’s film. It’s a mix of live cuts and studio versions, of flower-child folk and rabble-rousing rock. It is unlikely to inspire you to go full pyromaniac like Hendrix, but just in case, you might want to have a fire extinguisher handy.Lookin’ for fun and feelin’ groovy,LindsayListen along while you read.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    More stories

    • 63 Shares199 Views

      in Music

      The Best of Cass Elliot

      by

      Hear her extraordinary range in 10 tracks.Michael Ochs Archives/Getty ImagesDear listeners,First of all, I’d like to thank the guest playlisters who filled in for me last week, Caryn Ganz and Ben Sisario. Caryn paid tribute to Madonna’s Celebration Tour (she’s seen it live seven times, which officially makes her an expert) and Ben supplemented his great profile of Mdou Moctar with a thorough primer on African guitar greats. That’s what I call something for everyone.I’m especially grateful to Caryn and Ben for taking over last week because it allowed me to finish a longer piece I’ve been wanting to write for some time: an essay about the life, legacy and music of Cass Elliot. This year marks the 50th anniversary of Elliot’s untimely death, which thwarted a brilliant career that could have branched out in so many directions. But it also spawned a frustratingly persistent and cruel myth about a certain ham sandwich, which Elliot’s daughter hopes to squash once and for all in her lovely new memoir, “My Mama, Cass.” I wanted to contribute to dispelling it, too, and bring the focus back to her charismatic artistry.Though Elliot died at 32, she left behind a robust and eclectic body of work that is ripe for rediscovery. And since I did not have time to delve too deeply into her discography in my article, I figured an Amplifier playlist was in order.Elliot has one of those voices that just puts a smile on my face, plain and simple. But there’s also nothing plain or simple about the particular type of joy her voice conveys. Hers is a hard-won happiness, as heard on perhaps her most beloved solo single, “Make Your Own Kind of Music,” a song of self that stays true in the face of opposition.An endlessly adaptable vocalist, Elliot could sing in a staggering number of styles, and I tried to highlight her range on this playlist. It pulls from pop (her indelible work with the Mamas & the Papas, the group that made her famous), rock (her collaboration with Traffic’s Dave Mason) and even some cabaret. Like watching old interview clips of her on YouTube (an activity I highly recommend; she was an uncommonly sharp talk-show guest), listening to Elliot’s music is a bittersweet experience, because it gets you imagining all the possible futures that could have been.Might she have become a star on Broadway or fronted a hard rock band? Anything seems possible. But there’s also plenty of enjoyment to be found in the bounty of music she left us. So clear your throat, throw on your most colorful caftan and get ready to sing along.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 125 Shares119 Views

      in Music

      Cass Elliot’s Death Spawned a Horrible Myth. She Deserves Better.

      by

      Onstage with her group the Mamas & the Papas at the Monterey International Pop Festival in June 1967, Cass Elliot, the grand doyenne of the Laurel Canyon scene, bantered with the timing of a vaudeville comedian. “Somebody asked me today when I was going to have the baby, that’s funny,” she said, rolling her eyes. The unspoken punchline — if you could call it that — was that she had already given birth to a daughter six weeks earlier.“One of the things that appeals to so many people about my mom is that there’s a certain level of triumph over adversity,” that daughter, Owen Elliot-Kugell, said over lunch at the Sunset Marquis Hotel in Los Angeles on a recent afternoon. “She had to prove herself over and over again.”Elliot was a charismatic performer who exuded infectious joy and a magnificent vocalist with acting chops she did not live to fully explore. July 29 is the 50th anniversary of her untimely death at 32, a tragedy that still spurs unanswerable questions. Might Elliot, who was one of Johnny Carson’s most beloved substitutes, have become the first female late-night talk show host? Would she have achieved EGOT status?Half a century after her death, her underdog appeal continues to inspire. Last year, “Make Your Own Kind of Music” — a relatively minor 1969 solo hit that has nonetheless had cultural staying power — became such a sensation on TikTok that “Saturday Night Live” spoofed it, in a hilariously over-the-top sketch in which the host Emma Stone plays a strangely clairvoyant record producer. “This song is gonna be everywhere, Mama,” she tells Elliot, played by Chloe Troast. “Then everybody’s gonna forget about it for a long, long time, but in about 40, 50 years, I think it’s gonna start showing up in a bunch of movies, because it’s a perfect song to go under a slow-mo montage where the main character snaps and goes on a rampage.”Cass Elliot performing on her television special “Don’t Call Me Mama Anymore” in September 1973. After she went solo, she found it hard to shake her nickname.CBS Photo Archive, via Getty Images“S.N.L.” didn’t make a single joke about Elliot’s weight — something that was unthinkable half a century ago. During the height of her fame, Elliot seemed to co-sign some of the jabs at her expense with a shrugging grin.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

    • 88 Shares189 Views

      in Music

      7 Songs From My L.A. Record Haul

      by

      Hear tracks from Cass Elliot, the Pretenders, Sam Cooke and more from the Record Parlour in Hollywood.Lindsay ZoladzDear listeners,Anytime I’m in Los Angeles — as I was last week, reporting a story I can’t tell you about just yet, but that you will get to read soon — I try to swing by the Record Parlour, a small but stuffed-to-the-gills shop off Sunset Boulevard in Hollywood. I almost always spend more time there than I intend to, and I invariably leave ready to test the limits of how many records I can fit in my luggage.A good used record store will always make me grateful that I took my allergy pill that morning, and by that metric, the Record Parlour is a very good used record store. Dusty crates of kitschy bargain-bin finds line the floors, while robust sections organized by genre snake around the store. (According to the shop’s Instagram, their inventory includes “200,000+ Records,” and I’d believe it.) The prices have certainly gone up in the eight or so years since I’ve been stopping by, but there are still deals to be had. Just when I thought I’d perused all the pricier “New Releases” — record store lingo for used records recently stocked — I saw an entire section of “$7.98 New Releases” and let out an audible groan, because of course I was going to have to leaf through every single one of those, too.I picked up a fun, eclectic mix of rock, pop, gospel and one coveted original soundtrack you will read about below. My finds included records by Bryan Ferry, the Pretenders, Sam Cooke and more — most of which were in that $7.98 bin, and all of which made it safely back to New York in my carry-on bag. Another successful transcontinental record haul!Also, one last bit of news: Yesterday marked one year since the Amplifier launched! What a year it’s been. Thanks to each and every one of you who has read, subscribed, listened, forwarded an installment to a friend, recommended a song for a playlist, sent me an email (I try to respond personally to as many as I possibly can, but please forgive me when I fall behind!), shaken a fist at the sky because I forgot to include a song you love, or taken a chance on an artist that we’ve featured and discovered a new favorite in the process.It truly feels like we’ve built a robust community of music lovers here, and I can’t wait to see where Year 2 takes us. Again: Thank you, thank you, thank you.Burnin’ down the interbelt, from Jacuzzi to Jacuzzi,LindsayWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More