DOCSLIB.ORG

Singer Goodman Had Much More Than Fame Between Tables

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Singer Goodman Had Much More Than Fame Between Tables WINNIPEG FREE PRESS, SUNDAY, JULY 8TH, 2007 Singer Goodman had much more than fame between tables. He “turned, stepped off the stage and Steve Goodman walked into her abundance.” Facing the Music They adopted a baby girl, Jessie. After Steve’s doctors A Biography mistakenly told him that his chemotherapy had rendered him sterile, Nancy became pregnant with Sarah and a few By Clay Eals, with 18-track tribute CD by other artists years later Rosanna. WCW Press, ECW Press, 778 pages, $33 Steve quickly became a regular at The Earl. He was the warm-up act for Gordon Lightfoot and other folk luminar- Reviewed by Al Simmons ies, but it was Kris Kristofferson and Paul Anka that gave him his first break. HY publish a biography of an They wanted to whisk him off to New York to record but obscure folksinger who died Steve insisted that his friend John Prine be included. Prine’s Wmore than 20 years ago, let songs and albums ended up eclipsing Steve’s. Throughout alone a book that is almost 800 pages his life he supported John Prine even producing one of long? John’s most successful albums “Bruised Orange” American author Clay Eals explains Steve’s first albums did not achieve much success be- that question away in one sentence: cause his riveting stage persona did not translate to vinyl. “Fame is a misleading measure of Then Arlo Guthrie recorded City of New Orleans in 1972. greatness.” Good morning America how are you Chicago native Steve Goodman, best Don’t you know me I’m your native son? known for writing the Arlo Guthrie hit The answer to that musical question is “no.” Not many City of New Orleans, epitomized that sentiment. Americans knew him. Steve Goodman was certainly not a Goodman died in 1984 at age 36, having recorded 10 household name, but everyone that saw him perform live albums filled with such classics as Penny Evans, The agreed that he was little fireball of energy. Dutchman and You Never Even Call Me by My Name. Just as his success grew, a new and more devastating He made friends and fans throughout North America, type of leukemia had taken root —myelodysplashia. This including Winnipeg, where he headlined the Winnipeg time he could not keep it a secret. “I don’t see myself as Folk Festival four times, the last in 1983. another Terry Fox,” he told the Winnipeg Sun. This loving biography, released by a Toronto-based “There are a lot of brave people out there who don’t get publisher, is about the size of the Chicago phone book their names in the paper. I’m no different.” and it lists off almost as many names. At times the names and places and minute details in this Eals, a Seattle journalist, has crammed every minute book tediously roll by like so much repetitive scenery on detail of Steve Goodman’s life into a tome that could a long train ride. have been titled “A Short Life” because we are continually But every now and then a major event takes place or a reminded about Steve’s height —five-foot-two. celebrity name is dropped and the journey becomes so At 20, he was diagnosed with acute lymphoblastic Goodman was unlucky at baseball, but lucky at love. interesting that you want to slow down and savour every leukemia. After a week of anger he accepted the fact but scene. people kept feeding his despondency saying: “You poor Almost all of the big-name folk singers quoted in the genius, we love you because you’re dying.” He learned book have played at the Winnipeg Folk Festival and this that it was simpler to keep his illness secret from his Goodman and his band played at her rival’s campaign book should be essential reading for anyone who attends audiences. rally and she subsequently lost in her bid to become school the festival. Even as a young boy, he was known for his amazing president. It will serve as a reminder that, not too many years ago, voice and stage presence, but he was told not to bother For Steve nothing was more compelling than baseball. a main stage audience could sit spellbound listening to a trying to play the guitar because his fingers were too Throughout his career he longed to be asked to sing the man playing a guitar and singing a song and it would be so short and chubby, a comment that spurred him on to national anthem at Wrigley Field for his beloved Chicago quiet that you could hear a pin drop on the Prairie. practice and become one of the best improvisers in the Cubs. His wishes never materialized, but fortunately for business. Steve he was lucky at love. His charisma and talent shone at an early age. One of He was about to leave the stage at one of Chicago’s premier his fellow high school students Hillary Rodham (not yet) folk clubs: The Earl of Old Town, at the same time the five- Al Simmons is a Manitoba entertainer and a frequent Clinton said: “Steve was somebody you always wanted on foot-nine-and-a-half waitress, Nancy Pruter, was bustling Winnipeg Folk Festival main stage MC. your side because he would lead, like a pied piper.” .
Load more

Recommended publications
  • Howard Levy Full Bio
    Howard Levy Full Bio The Early Years Howard Levy began playing piano at age 8. He started improvising after his 3rd piano lesson, and would often improvise for 30 minutes or more. His parents enrolled him in the prep division of the Manhattan School of Music, where he studied piano for 4 years with Jean Graham, and also studied music theory. When Howard was 11, The Manhattan School recommended that he study composition with Nadia Boulanger in Paris. A place for him was guaranteed, but neither he nor his parents wanted him to disrupt his life at age 11 and move to Europe for a year. Howard had a deep love for classical music, but around age 12 he started to become interested in many other styles of music - pop, folk, rock and roll, then Blues and Jazz. While in high school in New York City, Howard won his school’s “Lincoln Center Award”, given to the outstanding musician in the school. He also studied Bach on the pipe organ for 2 years. This was a major influence that has continued to this day. 4 years ago, Howard received his high school’s “Distinguished Alumni” Award. While in high school, he composed “Extension Chord”, an odd- time meter Jazz piece using Indian rhythmic formulas. He eventually recorded this in 2008, with German bass clarinetist Michael Riessler and French accordionist Jean-Louis Matinier on their Enja CD “Silver and Black”. Howard attended Northwestern University, where he played piano in the university’s Jazz Band, led by jazz musicians Bunky Green and Rufus Reid.
    [Show full text]
  • Mariposa Re-Welcomes Steve Goodman
    For immediate release More info: 206-935-7515, 206-484-8008 E-mail: [email protected], www.clayeals.com Mariposa re-welcomes Steve Goodman Updated third printing in hand, biographer Clay Eals brings music/literary workshops to festival that Goodman once played The inspiring musical story of the late singer/songwriter Steve Goodman – who played the Mariposa Folk Festival in 1973, 1974, 1976 and 1978 – will be brought to life during the 2012 festival. Veteran Seattle journalist Clay Eals, the author of the celebrity-filled “Steve Goodman: Facing the Music,” will take part in two Mariposa workshops about the career of Goodman, one of the most mesmerizing entertainers of the 1970s and early 1980s. An updated third printing of Eals’ 800-page biography, published by ECW Press of Toronto, will be released this month and will debut at Mariposa. Eals will lead a reading/music workshop at 1 p.m. Sunday, July 8, 2012, featuring Goodman and Goodman-related songs performed by Canadian musicians James Keelaghan, Rob Lutes, Steph Dunn, Paul Court and Mike Hill. He also will take part in a literary workshop at 2:30 p.m. Saturday, July 7, 2012, with author/musician Dave Bidini, whose “Writing Gordon Lightfoot: The Man, the Music and the World in 1972” was published in 2011. Eals’ biography of Goodman — who is best known for writing “City of New Orleans,” “Banana Republics,” “You Never Even Call Me by My Name” (a co-write), “A Dying Cub Fan’s Last Request” and “Go, Cubs, Go” and who was a familiar presence in concert halls, festivals and clubs and on radio and television — will be available for purchase throughout the festival.
    [Show full text]
  • Tribute Times Two Anthems of Activism: Pete Seeger and Steve Goodman
    FOR IMMEDIATE RELEASE More info: Dinah Brein-McClellan, director of entertainment and promotions Admiral Theater, 2243 California Ave. S.W. Seattle, WA 98116 206-938-0360 (office), 206-755-3585 (cell) E-mail: [email protected] Website: http://www.farawayentertainment.com/admiral.html Tribute Times Two Anthems of Activism: Pete Seeger and Steve Goodman Two shows! Sunday, Oct. 14, 2012, at the Historic Admiral Theater in West Seattle benefiting Northwest Folklife “PETE: The Songs and Times of Pete Seeger,” led by Peter McKee: 4 p.m. and “Steve Goodman: Facing the Music,” led by Clay Eals: 7 p.m. SEATTLE, Wash. – “Tribute Times Two,” an energetic afternoon and evening of live music focusing on the songs and inspiring lives of two folk-music masters, is on tap Sunday, Oct. 14, 2012, at the Historic Admiral Theater in West Seattle. This extraordinary experience, coming just three weeks before the Nov. 6 general election, will emphasize the themes of peace and justice in song. It will take the form of a double bill: 4 p.m.: “PETE: The Songs and Times of Pete Seeger,” a one-man, multimedia performance led by Seattle banjo player Peter McKee, honors the songs, the times and commitment of the legendary musician. 7 p.m.: “Steve Goodman: Facing the Music,” a concert featuring the music and story of the late singer/songwriter, performed by Tom Colwell, Bruce Hanson, Mark Myers and special musical guests and led by Seattle author Clay Eals, Goodman’s biographer. Between these two shows, other brief presentations, videos and exhibits will bolster the themes of the day.
    [Show full text]
  • Stevie Ray Vaughan
    An the Bullcrafe news US~ that's tH paldpennlt to pitch no. 2419 C' PITCtI KCMO February '1986 Kansas City's ffee music and entertainment newspaper Issue 62 A Texas tidal wave Blues, rock, rarb, ballads, you name it from the latest- Hammond discovery the Chantones, Blackbird and Nightcrawlers. by Roger Naber His senior year of high school, he dropped out He's been the most talked-about guitarist in and left his hometown of Dallas in the early 70s. blues and rock circles for the last three years. He followed his brother Jimmie to AUstin, which He dominated reader's and critic's polls in has been his home base ever since. various magazines. For the last two years he has From 1975-77 Stevie played with Austin's been the recipient of "Best Blues Instrumentalist" most popular r&b club band, the Cobras. He at the W.C. Handy Awards in Memphis. And then formed his own r&b revue, Triple Threat, there is no indication that the crest Stevie Ray which featured vocaUst Lu Ann Barton. In ear­ ~ Vaughan is riding is ready to level off. ly '81 Lu Ann quit the band in the middle of I first met the guitar genius four-and-a-half a tour, and that forced Vaughan to take over years ago. After spending several weeks trying lead vocals. He regrouped the band and named to locate him, I hired Vaughan and his band it Double Trouble pr an Otis Rush song. The Double Trouble to perform at HarUng's. The group consisted of Tommy Shannon on elec­ man who urged me to book him was his older tric bass and Chris Layton on drums.
    [Show full text]
  • To Lend a Helping Hand Bob Dylan 1972
    TO LEND A HELPING HAND BOB DYLAN 1972 by Olof Björner A SUMMARY OF RECORDING & CONCERT ACTIVITIES , RELEASES , TAPES & BOOKS . © 2001 by Olof Björner All Rights Reserved. This text may be reproduced, re-transmitted, redistributed and otherwise propagated at will, provided that this notice remains intact and in place. To Lend A Helping Hand — Bob Dylan 1972 page 1 CONTENTS: 1 INTRODUCTION................................................................................................................ 2 2 THE YEAR AT A GLANCE .............................................................................................. 2 3 CALENDAR ......................................................................................................................... 2 4 RECORDINGS .................................................................................................................... 3 5 SONGS 1972 ......................................................................................................................... 4 6 SOURCES ............................................................................................................................. 4 7 SUGGESTED READINGS ................................................................................................. 4 7.1 GENERAL BACKGROUND ................................................................................................. 4 7.2 ARTICLE COMPILATIONS ................................................................................................. 4 To Lend A Helping Hand —
    [Show full text]
  • Evaluating the New Justices in Light of the Confirmation Ordeal
    Pepperdine Law Review Volume 34 Issue 5 The Rookie Year of the Roberts Court & Article 17 A Look Ahead 1-20-2007 Evaluating the New Justices in Light of the Confirmation Ordeal Marcia Coyle Follow this and additional works at: https://digitalcommons.pepperdine.edu/plr Part of the Courts Commons Recommended Citation Marcia Coyle Evaluating the New Justices in Light of the Confirmation Ordeal, 34 Pepp. L. Rev. Iss. 5 (2007) Available at: https://digitalcommons.pepperdine.edu/plr/vol34/iss5/17 This Symposium is brought to you for free and open access by the Caruso School of Law at Pepperdine Digital Commons. It has been accepted for inclusion in Pepperdine Law Review by an authorized editor of Pepperdine Digital Commons. For more information, please contact [email protected], [email protected], [email protected]. Evaluating the New Justices in Light of the Confirmation Ordeal Marcia Coyle* As you can see, David is fascinated by the confirmation process. It's a common reaction by those of us who had to sit through two of them in four months, gavel-to-gavel. But I did take Professor Kmiec's memo to me to heart. He asked me to talk about the senators' questions and media coverage. Now, I'd really like to say that when I got that memo, I immediately came up with at least ten tremendous insights. What really came to mind was this contest that I saw on a blog right before the Roberts hearing asking for submission of the dumbest thing said or the dumbest question asked by a senator.
    [Show full text]
  • Club 47 ® Club 47 ®
    Club 47 ® Club 47 ® Honoring the past, Celebrating the future The Club 47 concert series, across the years and around the country, has been a club house for stars of the acoustic music world and a springboard for emerging talent. Most of all, it’s been an extraordinary musical experience for millions of fans of all ages, in concert halls and on radio and television. Here’s how it began. The Club 47 once was a coffee house in Cambridge, Massachusetts. Although it was only open ten years (January, 1958 to April, 1968) and seated only about 80 people, it became the flagship of the Boston area’s coffee house armada and one of the centers of the 1960s folk music revival. It hosted many of the heroes of traditional music: Appalachian dulcimer players, Cowboy singers and storytellers, Delta blues men and women, gospel groups, Celtic artists, jug bands, bluegrass bands... legendary artists from around the globe. You could also hear new voices at the Club 47 ... the young Joan Baez trying out a Child ballad for the first time, or that new kid, Bob Dylan, up from New York, testing the crowd’s reaction to some new lyrics set to an old melody. Judy Collins, Richie Havens, Van Morrison, Eric Anderson, Tom Paxton, John Hammond, Tom Rush and a host of others came to that tiny room, and learned. They learned how to listen, sitting at the feet of giants. They learned songs, and how to sing and play them. And when they took their turns on that stage, they learned how to make those songs their own, and how to build new ones on the firm foundation of tradition, and began..
    [Show full text]
  • Press Release
    In honor of his 70th birthday (March 13), three-time Grammy winner Tom Chapin is releasing a new solo album 70 that takes the listener on a great ride through the full range of American folk, roots, and singer/songwriter experience. With over 50 years of performing, 40 years of social activism, and 30 years as a pioneer in the field of childrenʼs music Chapin is, as noted in the New York Times: “one of the great personalities in contemporary folk music.” Twelve of the fourteen songs on 70 – Tomʼs 24th album overall – were penned by Chapin, often with long- time collaborators Si Kahn, John Forster, Michael Mark, and Jon Cobert. There are also two loving covers tunes: one by his old friend Pete Seeger as well as a Steve Goodman chestnut. These songs span a wide spectrum of styles and themes: a modal banjo tune next to a folk blues; a bittersweet lost-love song next to a defiant anthem addressing the environmental crisis in Bristol Bay, Alaska; a celebration of the birth of his first granddaughter next to passionate lobbying for including arts in the schools. Again and again this album reminds the listener of the power of a song well-constructed, well played, and well sung. “70 shows a songwriter full of vitality and brimming with excitement. Songs of social activism address fracking, the importance of art classes in school and ecological issues, resting perfectly beside heartfelt appreciations for family and friends.” The Big Take Over Chapin and his bandmates of 27 years, Jon Cobert and Michael Mark, provide all the instruments and vocals on 70, with a few notable guests.
    [Show full text]
  • Elizabeth Kubler-Ross' Emotional Stages of Dying
    Today’s Lecture is Dedicated to My Favorite Uncle, Bob Giove Thanatology Elizabeth Kubler-Ross found that although many terminally ill patients were eager to discuss their feelings and learn the truth about their condition, doctors often instructed family members to avoid such discussions, resulting in isolation and sorrow for both patients and their families. Elizabeth Kubler-Ross’ Emotional Stages of Dying • Denial and isolation • Anger • Bargaining • Depression • Acceptance A Dying Cub Fan’s Last Request Singer, songwriter, Steve Goodman made a name for himself in 1972 when his song, “The City of New Orleans” became a hit for Arlo Guthrie. The spotlight was on New Orleans but Chicago native Goodman had his heart on his hometown, specifically Wrigley Field. Steve was a Cubs fan who, three years earlier, had suffered when the Cubs blew the pennant to the ’69 Mets. It was also in ’69 that Steve found out that he had leukemia. Goodman continued to write and perform through the years, and in 1984 it appeared Steve would finally see the cubs win. He was even invited to sing the National Anthem at Wrigley Field before the first game of the playoffs. But Steve didn’t get to sing or see his Cubs clinch. The Cubs magic number was 3 when Steve died in a Seattle hospital at age 36. A few weeks after his death, “The City of New Orleans” was a hit again, #1 on the country charts for Willie Nelson. But that was not “A Dying Cub Fan’s Last Request.” Age Related Responses to Terminal Illness • Children – fear being separated from family • Adolescents – tend to focus on the quality of present life, may primarily concerned about the effect of the condition on their appearance and social relationships • Young Adults – rage and depression over idea that just as life life is beginning, it must end • Middle Age Adults – primarily concerned about meeting important obligations and responsibilities • Older Adults – May feel okay if death brings end to pain and believe death will reunite them with loved ones and friends who have previously departed.
    [Show full text]
  • City of New Orleans – Steve Goodman Strumming Pattern
    City of New Orleans – Steve Goodman Strumming Pattern: DD, DUDU Chords Used: OR Intro: C (C) G C Ridin' on the City of New Orleans Am F C G7 Illinois Central Monday mornin' rail C G C There's 15 cars, and 15 restless riders F G C 3 conductors and 25 sacks of mail Am Em On a southbound odyssey, and the train pulls out of Kankakee G D And rolls past the houses, farms and fields Am Em Passin' towns that have no name, and freightyards full of old black men F G7 C The graveyards of the rusted automobiles Chorus: F G C Good mornin' America, how are you? Am F C G7 Sayin' don't you know me? I'm your native son C G C I'm the train they call the City of New Orleans F G7 C I'll be gone 500 miles when the day is done. (C) G C Dealin’ card games with the old men in the club car. Am F C G7 Penny a point, ain’t no one keepin' score C G C Pass the paper bag that holds that bottle. F G C Feel the wheels rumblin' ‘neath the floor. Am Em And the sons of Pullman Porters, and the sons of engineers G D Ride their father's magic carpet made of steel Am Em Mothers with their babes asleep are rockin’ to the gentle beat F G7 C And the rhythm of the rails is all they feel. (Repeat Chorus) (C) G C Night time on the City of New Orleans.
    [Show full text]
  • John Prine:, Chicago's Folk Hero Tom Balcerek 20 .•
    , f] ~ !' i Join Our Gang scholastic Vol. 120, No. 10, April 6, 1979 Notre Dame, Indiana FEATURES 2 On Painting the Town Red Anthony Walton ,'" t", . 4 A Chicago Loop Architectural Tour Thomas Stritch 6 A Culinary Cruise Liz Donovan 8 Everyone's Kind of Town Eileen Durkin 14 Bilandic Byrned, Machine Dead Paul Peralta 16 North Side ..• South Side Jim Trausch 18 John Prine:, Chicago's Folk Hero Tom Balcerek 20 .•. And All That Jazz Joe Carey REGULARS 11 Gallery Mark Bonner Mike Cantwell Theresa Rebeck Photographs: Phil Whitmer Pat' Casey 1, 2, 3, 4, 6, 7, 8; Scholastic • Archives, 4, 9,' 20; Mike Guay, 14; Bruce 22 Perspective ,Paul Lauer Harlan, 15; Phil Johnson, 18, 19; Collegiate Jazz Festival, 21. Artwork: " Mike Cantwell, 17, 20. Cover: Pat Casey Picture of Minims at Notre Dame, 1916, by Robert P. Galloway Editor Staff " John Morrissey Cynthia Dykhoff, Keith Caughlin, Anthony Walton, Eileen Durkin, Eddie Holden, Clay Managing Editor Malaker, Tom Lucid, Greg Vansueh, Kevin McCarthy, Mary Clare Toffanetti, .Bill Scholl, SCHOLASTIC Theresa Rebeck Jim Trausch, Mike Walsh, Greg C. Gregory, Leo J. Mulcahey, Dave MayernIk, Sean F. NEEDS YOU Faircloth, Paul Hurley, John Bondaruk, Michelle Gerard, Dodee Carney, Paul Mullaney, Art Director Mike Cantwell " Lou Severino, Joe Carey, Jason Joyce, PauIMortenson. Applications are now being accepted for these positions on next year's Editorial Board: Production Manager Bernie Valenti News Editor Hall Representatives: Nlanaging Editor Fiction Editor Elizabeth Donovan Eddie Holden, Mark Sniegowski, Sean Berry, Brad Engelland, Keith Caughlin, Ann Culture Editor Gleason Sonia Chopko, Bill Swift, Craig Smith, Kevin Courtois, Glenn Killoren, Dave Art Director Dave Satterfield Bartish, , Lisa Jaquez, Mike Szkrybalo, John Ryan, Mary Fran Welch, John Cuckovich, Copy Editor Spo'rts Editor Greg G.
    [Show full text]
  • December 13 Showcase – Greg Vickers
    The Folk Club of Reston-Herndon Preserving the traditions of Folk Music, Folk Lore, and Gentle Folk Ways Volume 21, Issue 12 December 2005 December 13 Showcase – Greg Vickers showcase (shō kās´) n. 1. a glass-enclosed case for protecting things on display, as in a store or exhibition. 2. anything displaying something or someone to good advantage [the revue was a showcase for new talent]. thanks to Webster’s New World Dictionary, Third College Edition . Sounds like we have the choice of seeing Reston’s own Greg Vickers “displayed to good advantage,” or stuffing him into a protective glassed-in enclosure. Greg has been coming to the Folk Club regularly since September of 2003. This will be his second showcase this year, as he played January’s, too. He promises to perform a few of his “Greg songs” . you know, the ones that typically revolve around silly linguistic details he’s so obsessed with. Or about people he finds irksome. Or about the overwhelming pathetic- ness of modern American culture. And he promises to revisit Silent Banjo, Holy Night, a song he wrote for last year’s Folk Club holiday party. The song’s preamble tells the story of the lost-in-history fourth magi (is the singular magus?), Cletus, who presented the infant Jesus with a banjo. This song takes a while, so Greg is glad to have the extra time available with the showcase format. Greg hopes to perform a few songs with his frequent music partner, Michelle Murray. And two guys who haven’t played the folk club before: Les Hatley (lead guitar) and Doug Brouder (bass, mandolin and vocals).
    [Show full text]