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Opinion The Last Word

McMeditation

In these trying times, when half the nation seems to have gone insane, everyone not in a coma seems to be searching for a way to relax. Some choose vigorous exercise, which can end in pain and regret. Others might enjoy listening to soothing music, if any exists, or keeping a journal, which is like seeing a shrink without the appointment, bill, or condescension.

Rather than elevate my blood pressure by discussing the idiots and assholes that populate our current administration, I thought I might offer a balm for the troubled mind and discuss my experience with meditation. All I knew about the subject was that the Beatles had become interested in Transcendental Meditation (registered copyright, but since I don’t have that symbol on my keyboard, I’ll use an asterisk), or TM*,  from the Maharishi Mahesh Yogi in 1967.

The Maharishi, known at the time as the “giggling guru” for his numerous television appearances, developed TM* in India in 1956, but after meeting the Beatles in London, he began making an enterprise of it. When the Beatles and their wives, along with the Farrow sisters (for whom John Lennon wrote “Dear Prudence”), visited the Maharishi in his ashram in India, the mystical glow faded after the Holy Man hit on Mia Farrow. The band walked away disillusioned. Although the discipline of meditation dates back 5,000 years, the Maharishi’s meditation technique caught fire in those halcyon days of spiritual discovery, guaranteeing effortless inner peace, at a price. In 1968, the Maharishi began training TM* teachers from his new global headquarters in Seelisberg, Switzerland, and sent them forth to pacify the world.

Maharishi Mahesh Yogi By Global Good News via Wikimedia Commons

Maharishi Mahesh Yogi

When I was in the midst of my tortuous decade trying to write country songs in Nashville, I reached the point that if I heard one more song celebrating poverty and ignorance, I was going to lose it. I was in desperate need of stress relief, and TM* was literally the only game in town. Encouraged by a friend who had even moved his family up to Boone, North Carolina to live in a TM* community, I signed up for a course. I knew nothing of meditation or its Eastern origins, and unlike the wizened sage you now witness before you, I had everything to learn. I don’t think I’d even had dinner in an Indian restaurant. My particular impression of Hinduism was a religion with multitudes of goofy-looking gods and goddesses with animal characteristics standing in awkward positions. Since TM* is rooted in the Hindu faith, I approached my lessons with some apprehension. The six-day course cost $250 and could only be taught by a certified TM* instructor, in my case a soft-spoken young man flush with serenity.

The meditation classes were easy enough, based on a repetitive phrase that centered the mind. Practicing for 20 minutes, twice a day, was prescribed to ease stress and anxiety. The big payoff, or mystic goody, was the mantra, a sacred incantation chosen exclusively for you, based on your personal interview with the teacher. For initiation day, I was instructed to bring a clean handkerchief, flowers, some fruit, and naturally, the course fee. A makeshift alter was erected with a peach crate and a bedsheet. On the wall above was a creepy photo of an old, white-bearded man, who was the Maharishi’s guru. I was admonished to never utter my mantra aloud, lest I tarnish it and strip it of its power. The Maharishi said, “Using just any mantra can be dangerous. Mantras commonly found in books can cause a person to withdraw from life.” When the big moment finally came, I was asked to bow before the guru’s photo and receive my mantra.

I initially balked at bowing before anybody but I figured I’d come this far, so I lowered my head. I was hoping for something cool, like “Shanti,” but the teacher leaned forward and whispered in my ear, “Hrring.” Since it was chosen especially for me, who was I to disagree? I chose a comfortable chair in my bedroom and began to practice. Focusing squarely on the third eye, I began to silently recite, “Hrring,  Hering, Herring.” I just spent $250 so I could recite a word that sounded like Jewish smoked fish. I told my teacher that my mantra was making me laugh and could I please have another, but I was assured that this was mine and to work with it.

Some time later, I received a call from my old friend Mac, who said, “I heard you took TM*; what’s your mantra?” I was appalled, “I can’t tell you my mantra. I was sworn to secrecy.” Mac said, “If you tell me yours, I’ll tell you mine.” I reluctanty agreed saying, “Mine’s Hrring.” Mac burst into laughter. “What’s so funny?” I asked. He replied, “Mine is Shrring.”

I came to realize that there are a multitude of ways to meditate and the Maharishi had turned TM* into a for-profit, international franchise, much like Weight Watchers — or psychiatry. TM* was quick to reassure its customers that their fees covered not only the initial training, but a lifetime follow-up, like a Kenmore warranty. Even financing is available. In 1984, Omni magazine published an article by “disaffected TM* teachers” listing 16 mantras used by the organization, contradicting the fable that the result was dependent on a trained teacher’s choice. A 2007 study found that details of training and knowledge for TM* teachers are kept private and potential franchisees are required to sign a “loyalty-oath employment contract.” Fortunately, effective meditation doesn’t require the $960 currently being charged for TM* classes.

By the time of Maharishi Mahesh Yogi’s death in 2008, TM* had become an empire worth an estimated $4 billion, including the Maharishi International University, now The Maharishi University of Management on 381 acres in Fairfield, Iowa. The compound in North Carolina called Heavenly Mountain unfortunately went bust. Built as a TM* community in 1998 for 40 million dollars, the site sold at auction in 2012 for $3.9 million and is now the Art of Living Retreat Center, offering weight loss, detox, yoga, and meditation for an all-inclusive fee. Just YouTube “meditation,” and you don’t have to pay for it. Meditation really works, but it takes the sort of consistent self-discipline that I utterly lack. Which reminds me, there’s a Xanax prescription that I need to refill.

Randy Haspel writes the Recycled Hippies Blog.

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Music Music Blog

Jeffrey and the Pacemakers: A Decade of Beat Boom

“Come listen to my jingle jangle,” sang the Troggs, as they rode the wave of the Beat Boom, a U.K. term for the explosion of post-Beatles bands in the ’60s. In the U.S. it was called an invasion, and that may be more appropriate. If “boom” implies a passing fad, an invasion implies someone coming to stay. And the Beatles and their ilk certainly did that. They still occupy a place in our collective consciousness. Yet it’s rare to find bands nowadays who recreate that jingle jangle faithfully.

At least, it’s rare in other cities. For the past decade, Memphis has been lucky enough to host a band dedicated to that sound. This month, Jeffrey and the Pacemakers turn ten, and there are many ways to celebrate. They play Newby’s October 8th, then head back to their familiar spot at Lafayette’s Music Room on the 22nd, where they rather tend to pack the house. And no wonder, offering as they do the true sound of classic gear (it’s gear!) as played by the Fabs, right down to the Vox amps. Beyond that, the band have the parts down to a T, and sing some mean harmonies. With bandleader Jeff Golightly bringing a bit of the new wave energy of his ’80s band, the Crime, it adds up to a contagious sound.

But if your dance card is full on those nights, there’s still hope: WYPL, the TV station headquartered in the basement of the Benjamin L. Hooks Library, just recorded a full set of the Pacemakers for their ever-popular Dialogue with Willie Bearden. A party atmosphere pervaded the studio halls as the band, in full Brit regalia, was joined by a gaggle of dancers and hoopers who could have been right out of Top of the Pops. With the wine flowing and the cameras rolling, one couldn’t help imagining the scene from Hard Day’s Night where the little clean old man rises up through the trap door in the stage. Watch for the segment to air in November.

Jeffrey and the Pacemakers prepare to go to the Toppermost of the Poppermost

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We Recommend We Recommend

Rain at the Orpheum

Drummer Doug Cox describes the Beatles tribute show Rain — pulling into the Orpheum for a pair of shows this week — as being less like a piece of theater and more like “the concert that never happened.” Unlike Million Dollar Quartet and Jersey Boys, two of Broadway’s bigger rock biographies, Rain dispenses with plot and cuts right to the music and the nostalgia.

“It takes you through the era with a lot of video that shows you just how much things changed in that time,” says Cox in a telephone interview from a Dallas club where he’s loading in for a show with his longtime Texas band A Hard Night’s Day.

Cyllavon Tiedemann

The Beatles tribute show Rain

“That’s who I play with when I’m not with Rain,” says Cox, who’s been keeping time for Beatles tribute bands for more than 20 years.

A Hard Night’s Day wasn’t content to just play the hits. “We played all the Beatles songs that none of the other Beatles bands would play,” Cox says. That love for the Fab Four’s obscure work resulted in a gig backing rockabilly singer Tony Sheridan at the Kaiserkeller in Hamburg, Germany, where, in the early 1960s, the Beatles honed their skills backing none other than Tony Sheridan.

In Rain, Cox sits in for Ringo Starr, whom he describes as “a killer drummer who’s finally getting his due.”

“He kept such great time,” Cox says of Ringo. “Like a human metronome. And he knew when a song needed to pick up and move.”

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Intermission Impossible Theater

The Memphis Roots of “One Man Two Guvnors”

The Cast of ‘One Man Two Guvnors’

One of the niftier things about One Man Two Guvnors, the Commedia-inspired romp, currently onstage at Playhouse on the Square, is its incorporation of live British Skiffle music, which evolves over the course of the show into something just a little more Fab.

I’m not sure that Playhouse has done the best job of integrating Two Guv’s musical and non-musical elements, but I’m not complaining too loudly either because shortcomings, real or imagined, don’t diminish the fun.

But it’s an unsubtle play, innit? And yet there are subtle reasons why this thumbnailed musical history pairs so well with farce to create the romantic dystopia of mid-20th-Century working class England at the point on the cultural map where it collides with Britannia’s criminal class and the bourgeois.

The Memphis Roots of ‘One Man Two Guvnors’

To say that skiffle is rooted in Memphis is an overstatement, of course, but the distance is deceptively short between Presidents Island and Liverpool. Today the word “skiffle” is probably most commonly associated with England in the 1950’s, but it’s really just another word for the spasm bands and jug bands that played throughout the South in the early 20th-Century. The form has deep roots running from Chicago, where “skiffle parties” were thrown to raise rent money, down South to Beale where jugs farted and banjos sang, and on to Storyville in New Orleans where jazz oozed up from the gumbo.

The Memphis Roots of ‘One Man Two Guvnors’ (2)

Skiffle music’s defining qualities are exuberance, and innovation born from poverty. Skiffle band banjos might have started out in life as pie pans. Washboards, spoons, and “bones” stood in for drum kits and washtubs (or jugs) for bass. If you didn’t have a trumpet a kazoo would do. And if you didn’t have a kazoo, a comb and slip of tissue paper worked just as well. Mandolins might be fashioned from broken guitar necks and gourds. Saws sing, if you know how to strike or bow them.

The British Skiffle—the revival that brought together so many key players in the British Invasion-– doesn’t exist without artists like Gus Canon, Ma Rainey, or Memphis Minnie. Or without more polished acts like the Hoosier Hotshots who made movies with Gene Autrey, and were a huge influence on genius jazz clown Spike Jones.

The Memphis Roots of ‘One Man Two Guvnors’ (3)

Early rock is often imagined as a collision of country, blues and gospel and, of course, it is all of that. But from its lower class roots to the exuberant but distorted sounds of crudely repaired amps and the dollar bill Johnny Cash threaded between his guitar strings to make it sound like a snare drum, early rock artists seem to be carrying on skiffle and jug band traditions. When jazz and folk players in the UK embraced skiffle in the mid 1950’s musicians like Lonnie Donegan and bands like The Vipers embraced its folk roots and its rockabilly branches all at once.

The Memphis Roots of ‘One Man Two Guvnors’ (4)

So, I should probably get back to One Man Two Guvnors for a tic. Commedia dell’arte is some silly, silly stuff. What we call slapstick takes its name from a club composed of two wooden slats that literally slap together and make a loud smacking sound whenever one Commedia clown uses it to strike another for laughs. There are no beatdowns with a slapstick in Two Guvs, though there is one slapstick bit that could easily be called “the lazzo of beating your own self down.” At its best this kind of humor aims at the lowest common denominator but catches everybody in a shotgun blast of inspired zaniness. And in its original incarnation, Commedia could also be very smart and subversive, its stock characters representing extreme elements among rulers and the too easily ruled. It began as a kind of street performance, like the flash mobs of yesterday, but not so twee. Commedia belonged to the people. And fewer characters better represented the people than poor beaten-down half-devil, Arlequino — the perennial servant of two masters. He’s the appetite personified, and would easily trade a fortune promised, for a beer in hand. Oi!

The Memphis Roots of ‘One Man Two Guvnors’ (5)

Skiffle was very much a working/underclass movement and in its skiffelized version of the English underbelly One Man Two Guvnors tells the story of just such a man. Francis Henshall— our Arlequino— can’t afford to say no to an extra paycheck, and he’s too distracted by his food and sex drives to even serve himself. It’s serious anarchy. It’s punk rock.

The Memphis Roots of ‘One Man Two Guvnors’ (6)

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Sing All Kinds We Recommend

Inside Sounds at the Buckman Thursday and Friday

Sir Charles Ponder

  • Sir Charles Ponder

Local production company Inside Sounds will take over the Buckman Performing Arts Center at St. Mary’s for two nights this week. Thursday they present An Evening of Acoustic Blues with David Evans, Wally Ford and Eddie Dattel, and the Ghost Town Blues Band, winners of the 2014 Memphis Blues Society IBC Competition. Friday night they return with another installment of Fried Glass Onions. The Memphis-plays-Beatles concept that has now spawned four releases. Friday’s performance celebrates the release of the fourth installment, Memphis Loves the Bealtes. Performers include
Daddy Mack, Sir Charles Ponder, Nora Tucker, Dave Smith, Matt Isbell, and Dave Smith.

Tickets are $15.00 in advance at www.buckmanartscenter.com $20.00 the day of the show.