Gene Clark (backed by the Flying Burrito Brothers) - Here Tonight
From Roadmaster (1972)
Thanks to Blue Bell Morning for pointing out that Gene Clark almost joined the Burritos after Gram Parsons left. That would have been a great replacement. Considering how talented Gene was, its interesting that he isn’t remembered the same way as Gram Parsons. Gram’s early death may have had something to do with his legacy, but I think the biggest difference was probably Emmylou Harris—both for her presence on Gram’s records and the publicity she brought to his music after his death. Anyway, blogs like Blue Bell Morning do a good job keeping Gene Clark’s memory alive.
Born on this day in 1944, Harold Eugene (Gene) Clark was an original member of the Byrds and a pioneer of several musical sub-genres, most notably country-rock, newgrass, baroque pop & alt country. He began his career playing in folk groups in Kansas City & was discovered by the New Christy Minstrels, with whom he played for 6 months before quitting the folk scene and heading to Los Angeles after hearing the Beatles.
Clark was responsible for penning many of the Byrds most well-known and loved songs, though his fellow Byrds failed to appreciate his contribution until years later (much of this due to jealousy of Clark’s large royalty checks). A crippling fear of flying forced Clark to leave the group in 1966. After leaving the Byrds, Clark released several killer solo records and worked with banjo genius Doug Dillard in a group aptly entitled Dillard & Clark, releasing 2 wonderful bluegrass-inspired country rock records. He continued releasing solo records throughout the 1970s including 1974’s psych-influenced No Other, unappreciated in its day but now revered as a masterpiece.
Gene Clark never received many accolades for his musical contributions until after his death from a heart attack in 1991. His music was often overlooked in favor of fellow country-rock genius Gram Parsons whose life, while no less tragic than Clark’s, made for a sexier story in the pages of rock history. Appreciation for Clark’s body of work has grown exponentially over the past 20 years and he is now regarded as one of the preeminent singer-songwriters of his generation and one whose indelible talents gave shape to the modern conception of American music.
Clark was buried in his hometown of Tipton, Missouri, a small town of 3,300 people. His tombstone bears a simple epitaph: No Other. What else is there to say?
“The woman who wears glasses constitutes one of the most intense visual clichés of the cinema. The image is a heavily marked condensation of motifs concerned with repressed sexuality, knowledge, visability and vision, intellectuality, and desire. The woman with glasses signifies simultaneously intellectuality and undesirability; but the moment she removes her glasses (a moment which, it seems, must almost always be shown and which is itself linked with a certain sensual quality), she is transformed into spectacle, the very picture of desire. Now, it must be remembered that the cliché is a heavily loaded moment of signification, a social knot of meaning. It is characterized by an effect of ease and naturalness. Yet, the cliché has a binding power so strong that it indicates a precise moment of ideological danger or threat — in this case, the woman’s appropriation of the gaze. Glasses worn by a woman in the cinema do not generally signify a deficiency in seeing but an active looking, or even simply the fact of seeing as opposed to being seen. The intellectual woman looks and analyses, and in usurping the gaze she poses a threat to an entire system of representation.”—Mary Ann Doane: “Film and the Masquerade: Theorizing the Female Spectator”
“Girls can wear jeans and cut their hair short and wear shirts and boots because it’s okay to be a boy; for girls it’s like promotion. But for a boy to look like a girl is degrading, according to you, because secretly you believe that being a girl is degrading.”—The Cement Garden by Ian McEwan (via thechocolatebrigade)