Singer-songwriter Jesse Winchester passed away today at his home in Charlottesville, Virginia. The 69-year-old artist had been suffering from esophageal cancer. Winchester, who had moved to Canada in 1967 in protest of the Vietnam War, had some chart success with his own recordings of his folk-country-blues sound. While he may not be remembered by a large number of the population, he is well-respected and admired by a number of talented artists. And many of them covered his songs. If you are not familiar with his work, check out these videos.
Here is Winchester with a moving performance of his song “Sham-A-Ling-Dong-Ding” on season two (2009-2010) of Elvis Costello’s Spectacle show. That’s Neko Case, Sheryl Crow, and Ron Sexsmith on stage with Costello and Winchester. You can see near the end around the 3:12 mark where Case has tears in her eyes from Winchester’s touching song. Wow.
Here is a young Winchester in 1977, singing with Bonnie Raitt and Emmylou Harris.
Finally, here is one of my favorite covers of a Jesse Winchester song. In this video, Buddy Miller sings Winchester’s “A Showman’s Life,” which appeared on Miller’s 2002 album Midnight and Lonesome. Winchester’s “A Showman’s Life” has been covered in excellent versions by the likes of George Strait and Gary Allan. But check out Miller’s version.
Thanks for the music Mr. Winchester. RIP. What is your favorite Jesse Winchester song? Leave your two cents in the comments.
Sheb Wooley, who is famous for writing and recording his 1958 chart-topping song “Purple People Eater” and for much more, was born April 10 in 1921. His website captures the range of Wooley’s talents by saying he has been a “cowhand, rodeo rider, country and western singer, Hollywood actor, writer, and comedian.”
Over many decades Wooley appeared in classic films like High Noon (1952) and The Outlaw Josey Wales (1976). And he was on TV’s Rawhide.
Wooley in Hoosiers
I was most surprised to discover that I already knew the singer of “Purple People Eater” as an actor for his role in Hoosiers (1986), a movie I have seen many times. In Hoosiers, Wooley played Cletus, the school’s principal who hires Norman Dale, played by Gene Hackman.
Later in Hoosiers, Cletus (Wooley) helps Dale as an assistant coach before Cletus’s health prevents him from continuing. Then, Dale recruits Shooter (Dennis Hopper) to take Cletus’s place.
There was not a good scene with Wooley available on YouTube, but you can catch a little bit of him sitting on the bench in a suit with Gene Hackman (around the 30-second mark).
“Purple People Eater”
Below is Sheb Wooley in June 1958 singing about the “Purple People Eater,” who ate people but came to earth because “I wanna get a job in a rock ‘n roll band.” The song got its inspiration when Wooley heard a joke from a neighborhood kid.
The song “Purple People Eater” later inspired a 1988 movie of the same name. Of course, the film also had a role for Wooley.
Like most depictions of the song’s subject, the movie showed the monster as being purple. But the song’s lyrics reveal that purple is the color of the people that the monster likes to eat, not the color of the creature: “I said Mr. Purple People Eater, what’s your line / He said it’s eatin’ purple people and it sure is fine.” Check out Wooley singing his hit song.
Wooley also wrote the Hee Haw theme (“Hee-hee, hee-haw-haw . . “). And he often appeared on the country music-comedy show too.
For his acting roles in Westerns, check out this post on some of his classic movie lines. Below is a short bio film about Wooley and his diverse talents.
Wooley and “The Wilhelm Scream”
Finally, Wooley’s voice possibly may be heard in many more classic films, including Star Wars. This connection and “The Wilhelm Scream” takes some explaining. . . .
Wooley’s connection to more than a hundred other films goes back to the early 1950s. Wooley played Private Wilhelm in the 1953 western The Charge at Feather River. In a scene where Wilhelm is shot, he lets out a scream that has been used as stock scream footage in numerous films.
The scream has become known as “The Wilhelm Scream,” although Wikipedia reports that the scream had actually appeared in an earlier movie, Distant Drums (1951). Wooley played an uncredited role (Private Jessup) in Distant Drums, and he is listed as a voice extra for that film.
Thus, Wooley “is considered by many to be the most likely voice actor” for the scream, according to various sources, including Wooley’s website. The scream is so well-known that sometimes filmmakers add it because they think it is funny.
If it is correct that the scream originally came from Wooley, he has indirectly appeared in numerous movies. The films cross a broad spectrum, including Them! (1954), Star Wars (1977), Return of the Jedi (1983), Raiders of the Lost Ark (1981), Batman Returns (1992), Reservoir Dogs (1992), and Toy Story (1995). This video collage collects a number of uses of the Wilhelm Scream, beginning with Wooley’s famous scream in The Charge at Feather River.
Wooley passed away on September 16, 2003, but his humor, his movies, and his other work lives on. And his scream will probably continue to appear in more new movies to the delight of filmmakers and audience members alike.
PBS Digital Studios recently put together an animated version of a 1996 Johnny Cash interview for the Blank on Blank series. In the interview, Barney Hoskyns asks Cash questions like whether or not he could have been a preacher (“No.”). Cash also discusses his jaw pain and how he has to avoid painkillers, revealing all of it is something he just has to deal with: “I’m not brave at all.”
Of course, he also talks about his music, explaining how some of his greatest songs are extensions of himself. He notes how he and an audience interact: “That’s what performance is about, is sharing and communicating.” Check out the interesting 6-minute video.
The full audio of the interview is available for subscribers at RocksBackPages.com. Otherwise, if the video leaves you wanting more Cash, check out this recent post about his “new” album.
What is your favorite part of the interview? Leave your two cents in the comments.
During a news conference on April 7, 1954, President Dwight D. Eisenhower first invoked the use of “dominoes” in a phrase that would be used by four presidents for justifying United States involvement in Vietnam. Thus, was born the domino theory.
During the press conference, Robert Richards of Copley Press asked Pres. Eisenhower to comment “on the strategic importance of Indochina to the free world.” Eisenhower first discussed the situation’s impact on production of materials for the world and on humans being under a dictatorship. Then, he considered the broader implications:
“Finally, you have broader considerations that might follow what you would call the ‘falling domino’ principle. You have a row of dominoes set up, you knock over the first one, and what will happen to the last one is the certainty that it will go over very quickly. So you could have a beginning of a disintegration that would have the most profound influences.”
Eisenhower continued that the impact could spread to Japan, the Philippines, Australia, and New Zealand. Other questions about Indochina followed, as well as questions on other topics, such as the possible statehood of Hawaii and Alaska. But it was his comment about pieces used in a tile game that would have lasting significance. Presidents after him — John F. Kennedy, Lyndon B. Johnson, and Richard M. Nixon — would continue to grapple with the fear of not wanting to be the president who let the dominoes fall.
Sixteen years after Pres. Eisenhower’s comments, while the U.S. was still embroiled in Vietnam and while Pres. Eisenhower’s vice-president Richard Nixon now served as president, America had “Domino” on its mind in a completely different context. They were singing along with a hit song by Van Morrison.
Van Morrison’s “Domino” appeared as the opening song on his album His Band and the Street Choir. After being released as a single, it became a top-10 hit and Van Morrison’s highest charting single ever. The album is a “valentine to the R&B” music that inspired the Northern Irish singer.
The song’s title had nothing to do with fears of Communists; it was a tribute to singer Fats Domino. Instead of the “dominoes” behind the nation’s war, the Van Morrison song was an uplifting song of renewal as the singer thinks “it’s time for a change” and only asks for some rhythm and blues music.
The U.S.’s military involvement in Vietnam continued for several more years after “Domino” appeared on the charts. Pres. Eisenhower’s fears of the dominoes falling across the world, though, did not come to fruition. Fortunately, politicians no longer use dominoes to justify military force, and most kids only know “dominoes” as a game or a place to buy pizza. And we still listen to Van Morrison’s “Domino.” Lord have mercy.
What is your favorite Van Morrison song? Leave your two cents in the comments.
Merle Ronald Haggard was born on April 6 in 1937 in Oildale, California. In honor of his birthday, check out this Austin City Limits performance of “Working Man Can’t Get Nowhere Today.” Happy birthday Hag.
Haggard appeared on a number of TV shows during the 1970s. We have previously mentioned his appearance on the Centennial mini-series in 1978. You may check out another 1970s TV appearance on a 1976 episode of The Waltons, where Haggard sings “Nobody’s Darlin’.”
What is your favorite Merle Haggard song? Leave your two cents in the comments.
Singer-songwriter Jesse Winchester passed away today at his home in Charlottesville, Virginia. The 69-year-old artist had been suffering from esophageal cancer. Winchester, who had moved to Canada in 1967 in protest of the Vietnam War, had some chart success with his own recordings of his folk-country-blues sound. While he may not be remembered by a large number of the population, he is well-respected and admired by a number of talented artists. And many of them covered his songs. If you are not familiar with his work, check out these videos.
. After being released as a single, it became a top-10 hit and Van Morrison’s highest charting single ever. The album is a “