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How Jerry Buss, Magic Johnson and the Showtime Lakers created the modern NBA

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How Jerry Buss, Magic Johnson and the Showtime Lakers created the modern NBA

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In the summertime of 1979, as President Carter lamented an American “disaster of confidence” and the Nationwide Basketball Assn. apprehensive over declining attendance and TV scores, two visionaries — rookie level guard Magic Johnson and new Lakers proprietor Jerry Buss — cast a wedding made in sporting heaven.

Within the sequence premiere of “Binge Sesh,” creator Jeff Pearlman joins hosts Matt Brennan and Kareem Maddox to debate how a generational athletic expertise and a born salesman got here collectively to create the Showtime Lakers, the dynasty that outlined a decade, birthed the trendy NBA and impressed HBO’s new drama sequence “Profitable Time.” Warning: This episode accommodates profanity.

[“Winning Time”clip: Nightclub performers: … ready for the promised land. It’s showtime. It’s showtime!

Jerry Buss character: I don’t know why basketball can’t feel like that.

Magic Johnson character: To me, Dr. Buss, it do.]

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Matt Brennan: So, I don’t know if I advised you this, however earlier than I used to be a journalist, I used to be a historian. Which implies once I’m doing my work because the TV editor on the L.A. Occasions, I type of have a delicate spot for interval items. Which is type of why “Profitable Time,” this new HBO present in regards to the ’80s L.A. Lakers, struck me as the right topic for a podcast. I imply, one, it’s set in our yard. Two, it’s about this iconic NBA franchise. And, three, it’s a few transformative interval in American life.

There’s only one downside.

Kareem Maddox: What’s that?

Brennan: I don’t know s— about basketball.

Maddox: Effectively, that’s why I’m right here.

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Brennan: Proper? Precisely. You’re my basketball man. Actually a basketball man, as in an expert participant.

Maddox: Precisely. Thanks for saying that. You’re my TV man. And I’m glad that my a long time {of professional} basketball expertise have lastly paid off.

Brennan: Glad you’re right here. And I truly actually do really feel just like the stability of our experience is what will make this podcast enjoyable to do.

Maddox: That’s how groups work. We’re a dream crew.

Brennan: Like the Dream Crew?

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Maddox: I imply, I want, however we’re shut.

Brennan: OK, that is type of good: TV skilled, basketball skilled, TV present about basketball. Now we’ll be capable of be part of forces to discover actually each side of the Showtime phenomenon, as a result of, as we’re discovering, it isn’t nearly what they delivered to the on-court play. And it’s not simply in regards to the tradition that they created and that embraced them. It’s about each these issues collectively.

Folks each in L.A. and across the nation are going to look at the present “Profitable Time.” And so they’re going to have all these questions. They’re going to Google issues like: Who’s Jerry Buss? Who’s Claire Rothman? Why did the Showtime Lakers matter? How did the Laker Ladies begin? Why was Magic Johnson such an amazing level guard?

Three men hold a press conference before a yellow background

John C. Reilly as Jerry Buss, Quincy Isaiah as Magic Johnson and Jason Clarke as Jerry West in “Profitable Time.”

(Warrick Web page/HBO)

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We will use the present as a jumping-off level to reply these questions.

I did truly, earlier than we get began, wish to ask you, although: You’re from L.A. What do the Showtime Lakers imply to you?

Maddox: So was born a Lakers fan, and I grew up within the ’90s, so I heard so much about Showtime and Kareem Abdul-Jabbar and Magic Johnson, and nonetheless I feel I took with no consideration how a lot these Lakers groups did for, sure, the Lakers franchise, but additionally the NBA as a complete. Now the NBA is that this large, ubiquitous international model. Nevertheless it wasn’t all the time that approach. These guys made it that approach.

Jeff Pearlman: That’s precisely what they did. Whenever you go to an NBA sport right now and also you see dance troupes and also you see loopy halftime leisure, and also you see celebrities courtside, that’s all of the Showtime Lakers. The fashionable NBA doesn’t exist, as we all know it, with out that.

Brennan: That’s Jeff Pearlman. He actually wrote the guide on Showtime.

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Maddox: As within the guide “Profitable Time” is predicated on.

Brennan: That is Season 1 of “Binge Sesh.”

READ MORE >>> Jerry Buss’ obituary: Jerry Buss dies at 80; Lakers proprietor introduced ‘Showtime’ success to L.A.

Maddox: I’m Kareem Maddox, resident basketball skilled.

Brennan: And I’m Matt Brennan, TV buff.

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Brennan: So, Kareem, I don’t truly actually know that a lot in regards to the NBA now, however I actually know nothing in regards to the NBA in 1979.

Maddox: Yeah. Effectively, I’m a basketball participant, and I don’t even know that a lot in regards to the NBA earlier than 1979. However you realize who does?

Brennan: Jeff Pearlman.

Maddox: Precisely. That’s why we drove all the way down to Orange County to ask him.

Pearlman: I might evaluate the NBA earlier than Jerry Buss to an empty shopping center. Like, you realize, if you go to a mall and it’s type of a useless shopping center and it’s form of miserable and possibly there’s a Spencer Presents open and there are two shops within the meals courtroom. Like, the NBA was an empty mall. It actually was. The NBA was an empty mall.

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Brennan: What Jeff mentioned to us about “the NBA was an empty mall” truly jogged my memory of this main Jimmy Carter speech from that summer time of ’79.

President Jimmy Carter, right, and Vice President Walter Mondale

President Carter and Vice President Walter Mondale share a victory salute on Nov. 3, 1980.

(Jim Wells/Related Press)

[Archival clip: President Carter: Good evening. This is a special night for me.]

Brennan: I feel should you take heed to a little bit little bit of it, you actually get a way of the place America was mentally in the summertime of 1979, and “empty mall” is an apt metaphor.

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[Archival clip: Carter: The erosion of our confidence in the future is threatening to destroy the social and the political fabric of America.]

Brennan: The “malaise” speech, also referred to as the “disaster of confidence” speech.

Maddox: There was a malaise over the nation,

Brennan: Proper, there was like a low power. I imply, in a approach it additionally describes what was occurring within the NBA. I feel it signifies why there was an viewers for what Jerry Buss and Magic Johnson have been about to construct with the Lakers. They’re saying, “We have to make the product extra thrilling.”

With the intention to perceive why an thrilling product takes off, it’s essential to perceive what the viewers is for that product. And the American individuals are the viewers for the NBA. And the American individuals on this second of lengthy gasoline strains and excessive gasoline costs and stagflation — it’s truly type of just like what we’re going by way of proper now, now that I say it. Issues weren’t going nicely, and issues weren’t shifting ahead. So the “disaster of confidence” sounds so much to me like what’s occurring within the NBA at the moment.

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Maddox: This era is precisely when Episode 1 of “Profitable Time” begins. Jerry Buss — quickly to be proprietor of the Lakers — is in heated talks with the previous proprietor, Jack Kent Cooke, over getting the deal achieved.

And he describes the Lakers like this …

[“Winning Time” clip: Jerry Buss character: And then you’re going to have to find another buyer for a franchise in a league that most sane people think is sinking like a hard turd in a toilet.]

READ MORE >>> Lakers proprietor Jerry Buss introduced ‘Showtime’ success to L.A.

Brennan: I wish to know extra in regards to the composition of this difficult turd. Like what particularly have been the issues plaguing the NBA in 1979.

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Maddox: So there have been a ton, and Jeff outlined a few of them for us.

Pearlman: It was simply useless. And it was having a ton of drug issues and a ton of picture issues. The NBA was a celebration league, nonetheless. There have been events in all places. These guys all appreciated to celebration. Coke was the drug of events again on the time; coke was it. It was a cocaine period.

These guys had cash. In the event you’re a supplier, you’d attempt to get athletes into it since you knew they might afford it. And numerous these guys thought they might play with it and thru it. It’s extremely addictive. It unfold tremendous quick. And earlier than lengthy it simply turned — it was an enormous downside within the NBA.

Maddox: Matt, let me learn you this headline from an AP information article that was in regards to the seventy fifth anniversary of the NBA. It reads, “Fights, medicine and racial rigidity: ’70s spelled bother for the NBA.”

Brennan: Yikes.

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Maddox: Yeah, it was unhealthy.

Reilly and Isaiah with Kirk Bovill, right, as Donald Sterling in "Winning Time."

Reilly and Isaiah with Kirk Bovill, proper, as future Clippers proprietor Donald Sterling in “Profitable Time.”

(Warrick Web page/HBO)

Brennan: The primary episode of “Profitable Time” hits the drug-culture piece fairly laborious. You’ve gotten that scene on the white celebration the place Jerry Buss introduces Magic to Donald Sterling and people two fashions come up.

[“Winning Time” clip: Donald Sterling character: This is Sienna.

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Magic Johnson character: Nice to meet you.

Donald Sterling character: And there we have Tasha.

Tasha character: Have some Champagne before the coke. It’s much better that way. ]

Maddox: So yeah, whereas that was an aggressive trade —

Brennan: She shoots her shot!

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Maddox: There was an L.A. Occasions article from 1980 that estimated between 40% and 75% of gamers within the NBA have been utilizing coke on the time. And this text has some unbelievable quotes. One was from a participant that had simply retired from the NBA the 12 months earlier than. And he says, quote, “Coke is rampant within the league, man. I imply, 75% use it. It’s like ingesting water. You hit the blow (sniff cocaine) to be sociable.” However I don’t know why “sniff cocaine” is in parentheses there.

Brennan: L.A. Occasions model, man. First rate newspaper readers wouldn’t know what blow is. It’s a household publication, Kareem.

Maddox: Effectively, then, it’s attention-grabbing that they have been protecting the NBA on the time as a result of the opposite factor that was occurring so much was simply these huge fights — like brawls, street-style brawls — within the NBA Finals, even, round this time.

Brennan: I’m picturing like a hockey sport, like, like punches-to-the-face-level preventing.

Maddox: It was unhealthy. These have been actual ugly fights. In brief, it wasn’t a household atmosphere.

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Brennan: It’s so humorous to me to listen to this as a result of as a craven newspaper editor, my intuition is that this controversy, this salaciousness, can be like drawing fireflies to a lamp. So it surprises me that you just’re telling me about coke-fueled brawls on courtroom. However we additionally know that at the moment, attendance at video games was under the basement. Like 8,000 individuals per sport.

Maddox: Wow. So principally nobody was coming to look at these brawls.

Brennan: No. And nobody was watching them on TV, both. One other factor that I realized was that the Showtime Lakers’ first championship sequence was preempted by reruns of “Dallas.” The scores have been so low that they’d slightly air a rerun of a prime-time cleaning soap opera than an NBA championship sport, which appears utterly inconceivable right now.

Maddox: Oh, completely. I don’t even know what “Dallas” is. And was what I might have been watching as a substitute of my Lakers win the championship in 1980?

READ MORE >>> Jerry Buss and Earvin Johnson made magic collectively

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Brennan: Proper. And I feel truly the present type of introduces this by way of the character of Frank Mariani —

[“Winning Time” clip: Mariani character: Come on, Jerry. Just take the night, all right? We’ll come back tomorrow.]

Brennan: — who was Jerry Buss’ enterprise accomplice of their actual property empire, which is how Jerry Buss had the cash to commerce the Chrysler constructing — which is actual — for the Lakers within the first place.

[“Winning Time” clip: Mariani character: You know, just think this through. We are trading in an empire of real estate for what, 12 tall guys in tennis shoes?]

Maddox: Oh, the man that was making an attempt to speak him out of shopping for the Lakers.

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[“Winning Time” clip: Buss character: Frank Mariani, my business partner and personal wet blanket. He thinks this whole thing is a bad idea.

Mariani character: Bad? Try catastrophic. The entire league is on the verge of bankruptcy. There may not be an NBA in five years.]

Maddox: Spoiler alert, Matt: The NBA did survive these 5 years and nonetheless exists now. And in reality, I might say that $67.5-million buy by Dr. Buss was truly fairly good.

Brennan: What are the Lakers value now?

Maddox: Right this moment the Lakers are value greater than $5 billion.

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Brennan: In order that’s form of how I really feel about how I ought to have purchased a home in all probability like 10 years in the past, once I graduated from faculty.

Maddox: Or in 1975. Yeah. You’d’ve been in good condition now.

Brennan: Oh, man. So Jerry Buss actually acquired in on the bottom flooring of this massively profitable enterprise enterprise, which is now the trendy NBA.

Maddox: Yeah. I imply, the most cost effective crew you should buy, should you had some further money mendacity round, would run you —

Brennan: I’m a journalist. I don’t have that a lot money mendacity round.

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Maddox: It could run you $1.5 billion. So you may verify underneath your mattress. And to take it a step additional, Jeff Pearlman says there’s a motive for that. And that motive is these Lakers.

Pearlman: And that’s not an exaggeration. Like generally individuals can be, like, they’ll B.S. their approach by way of these interviews and so they’ll say, nicely, you realize, and it’s, like, type of nonsense. There’s a direct, direct hyperlink to Jerry Buss, the Laker Ladies, Magic Johnson’s arrival, Jack Nicholson and Dyan Cannon exhibiting up and sitting courtside, and every little thing you see within the trendy NBA.

When Jerry Buss got here in, he wasn’t your conventional proprietor. He actually was the primary NBA proprietor to see this all as an leisure venue. This was an leisure enterprise … and this was not a basketball enterprise, it was an leisure enterprise. There’s an enormous distinction between the 2. And, you realize, from the very starting of assembly Magic, you realize this man was an entertainer.

Two men hold a basketball

Magic Johnson and crew proprietor Jerry Buss on the Discussion board on April 13, 1996.

(Mel Melcon/ Los Angeles Occasions)

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There’s a scene I like, that they really don’t use within the present. And I might say it’s my one objection. I don’t know the way they let this factor go. It’s my favourite scene ever:

Magic involves L.A. for the primary time. And he’s driving. I feel he’s in a limo or city automobile or one thing, however he’s being pushed and he sees a tree with oranges rising on it. And he has the man cease the automobile, he will get out of the automobile, and he picks an orange from the tree. And he’s like, “They develop fruit on bushes. That is wonderful.” He’s a man from Michigan, you realize? So he’s like, “That is wonderful.”

I simply assume Jerry Buss actually understood, like, we have to channel this. Like, that is greater than only a actually good basketball participant. This can be a man who represents one thing and will actually embody one thing that we have been making an attempt to promote. And if you’re a salesman and the right marketer comes alongside, I suppose you simply type of understand it. And he discovered him.

READ MORE >>> Might or not it’s Magic? On Johnson’s induction into Corridor of Fame

Brennan: It was simply so clear to me from the outset that Jerry Buss acknowledged one thing in Magic Johnson that went past him being an amazing level guard. And I actually wished to know what ready Jerry Buss to see that. As a result of what made Dr. Buss particular isn’t simply that he understood what made a superb NBA participant. He understood what made a superb NBA participant an amazing salesman for the league.

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Maddox: I think about the dialog on the time was like, “Who’s higher, Larry Fowl or Magic Johnson?” And NBA executives are pulling their hair out, making an attempt to determine that out. What Jeff Pearlman is saying, and what “Profitable Time” is exhibiting us, is that Jerry Buss by no means actually cared to have that dialogue as a result of he’s like, “Magic has this magnetic persona that we will use to assist construct the Lakers.”

Jerry Buss was as occupied with Magic for his persona and what he may do for the Lakers as a marketer as he was occupied with him as a basketball participant. And he turned out to be actually good anyway.

Brennan: I feel should you hear somebody who watched Magic play dwell in these years discuss it and bear in mind it, you get a way of why Jerry Buss knew instinctively that Magic was the man that he wished to select.

Pearlman: There’s this one play the Magic Johnson did. It’s tremendous obscure. Proper?

The Nets had a degree guard named Pearl Washington. And Magic is driving down the lane one time. He’s coming down on Pearl, and Pearl was a horrible defensive level guard anyway. However he’s coming down on Pearl. Pearl’s planted, and Magic does this, like, look to the proper, unfurls his arm, and simply by some means whips it left. And I feel it was Cooper slashing in and he simply will get it to Cooper. And, and Pearl Washington is simply frozen.

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Magic is, it was nearly like he was hovering above every little thing. It’s nearly laborious to clarify. And it was so swish and delightful. Once I consider Showtime, the very first thing I consider is Magic Johnson driving in on Pearl Washington and simply freezing him.

Maddox: Listening to Jeff discuss a easy no-look cross as if it’s this actually revolutionary factor — I grew up within the ’90s and 2000s and everybody was doing no-look passes. It’s nearly taught in textbooks now. Different individuals had achieved no-look passes earlier than, however Magic Johnson made it actually cool. And that’s one of many issues that simply added the flash and pizazz that Jerry Buss was in search of. That’s attention-grabbing to me.

Brennan: Kareem, I truly don’t know sufficient about Magic Johnson to know what made him particularly the generational expertise we see within the present, and that is one thing everybody we talked to advised us about him. So in your thoughts, what’s the very first thing that I must find out about Magic Johnson as a degree guard?

Maddox: Magic was, like, the primary of his sort.

Pearlman: I imply the most important factor is he was a 6-9 level guard, which didn’t exist. And there was numerous concern. There was real, official, comprehensible concern.

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How is a 6-9 level guard going to go alongside within the NBA? You’ve gotten all these level guards who’re 6-feet, 6-1. So that you’re a 6-foot-9 level guard. Meaning you might have a better dribble. How are you going to deal with, how are you going to navigate towards little tiny Archibalds coming as much as you and making an attempt to steal the ball?

And he was in a position to make it work. And that was a precursor for each Kevin Durant-type participant you see right now. The start was Magic Johnson. He’s going to have the ability to submit up guards. We may play him throughout. He can type of reinvent the sport. We will use him in several methods. And let’s simply hope him dribbling towards smaller guards will work, I suppose was the most important concern, however by far the most important influence was simply — he was the massive level guard.

Maddox: I actually do discover that to be true. The operative phrase is “reinvent,” and I suppose there was a reinvention as a result of I simply grew up and the NBA was the way in which it’s — similar to the way in which it’s now, again within the ’90s and early 2000s. However all that was as a result of Magic helped to reinvent the way in which the sport is performed.

Brennan: And Jerry Buss additionally form of reinvented how the sport was displayed and packaged and changed into this leisure product that went past simply hardcore basketball followers.

So I form of consider Jerry Buss and Magic Johnson as this marriage made in basketball heaven or this chemical response which you could solely get between these two explicit individuals at this explicit time. And it goes past basketball. They’d actual private affinity for one another as nicely. And so they shared a few of the identical pursuits, let’s say.

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READ MORE >>> It was USC that made him Dr. Jerry Buss

Pearlman: The No. 1 factor that they had in frequent is that they appreciated the ladies. Additionally in numerous methods, Jerry Buss type of hitched the fortunes of the franchise to the actions of Magic Johnson. And I don’t know if it was 100% deliberate — it in all probability wasn’t — however he undoubtedly noticed Magic as form of, he was the man who was going to guide this crew ahead.

And the factor is Jerry Buss wasn’t like — there simply aren’t many house owners who wish to hang around with their gamers. Jerry Buss appreciated going out along with his gamers. He appreciated confiding in Magic Johnson. So I suppose the 2 foremost issues that they had in frequent is their love of ladies and the nightlife, and this form of need to win. And likewise coming in on the identical time. So it actually felt like there was a partnership. There’s only a shared kinship.

Brennan: What drove him to wish to be concerned in skilled sports activities? What, in your view, made him wish to take that on?

Pearlman: Ah, way of life? I imply, I feel it’s simply way of life. Jerry Buss was an amazing proprietor, however he nonetheless had an unlimited ego. And so many of those guys see it as a ticket to movie star and fame. It’s one factor to be rich. It’s one other factor to be rich and well-known. Being a sports activities proprietor is a really choose membership, even within the NBA at that time. And I simply assume he was actually enticed by the concept of form of this stage of movie star and notoriety and fame and pizazz.

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Brennan: He finally ends up shopping for the traditional Hollywood house, Pickfair. Speak a little bit bit in regards to the type of social world that he constructed round him within the late ’70s by way of the ’80s.

Pearlman: I imply, Jerry Buss was getting laid usually. In numerous methods, Hugh Hefner was the mannequin and Jerry Buss was the reality. And Jerry Buss simply actually, really did have these books full of the images of the younger girls he was courting or had dated. And there was guide after guide after guide, and there’d be girls who have been 10, 15, 20, 25, 30 years youthful than he was.

He simply actually ate it up. He liked the highlight. He liked the Discussion board Membership, which turned actually his form of citadel. He liked escorting girls on his, you realize, oftentimes on each arms. They have been all the time youthful. He simply ate it up, you realize, he simply ate it up.

You couldn’t be that right now. There’s no likelihood. You would not be Jerry Buss right now. No approach. It simply wouldn’t work.

[“Winning Time” clip: Buss character: I just paid for her sophomore year of college. Great gal. You want to meet her?

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Johnson character: Uh, these ain’t round the way girls. Now, the ladies love Magic, but those are stars.

Buss character: Let me let you in on a little secret, Earvin: So are you.

Johnson character: Far out, man. Far out.]

READ MORE >>> Onetime Bel-Air house of Lakers legend Jerry Buss lists for $5.8 million

Maddox: I like that scene as a result of it completely sums up how Showtime made these athletes stars.

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Pearlman: I grew up in New York, in a small city referred to as Mahopac, N.Y. Again then it wasn’t like you may watch any sport at any time on TV. You’d get choose video games, and the Lakers and the Celtics have been the form of large video games that you just’d see every so often. And Brent Musburger can be broadcasting the video games.

It could be a giant deal, and when the Lakers have been on, particularly the Lakers, they’d do these photographs of the Discussion board. You’d are available; it’d be a large shot of the Discussion board. And also you’d see just like the palm bushes and it might all the time be sunny outdoors. After which they’d present the Laker Ladies, and they’d present completely different celebrities. And you then’d see like Magic and also you’d see Kareem and Coop and these completely different guys and Pat Riley with the greased-back hair.

It simply felt actually Southern California to me, and actually Hollywood. And it was, it was magical. There was this crew 3,000 miles away that performed on this wonderful land with these big stars. It wasn’t one thing I may relate to besides once I’d see it on TV. So my recollections are simply the Hollywood glow of that Showtime period.

Maddox: You realize, Jeff is making me proud to be a Lakers fan and an Angeleno proper now.

Brennan: I’m so excited to spend this season digging into the Hollywood glow that he’s speaking about.

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Maddox: Fully. I’m excited to get into that. You realize, I’d even educate you a sky hook if that’s one thing you wish to be taught.

Brennan: I truly don’t actually know what a sky hook is. And also you’re 6-8. I’m 5-9. I’m actually making an attempt to conceive of the physics by which a 5-foot-9 individual’s sky hook may do any type of injury towards somebody who’s totally a foot taller than him.

Maddox: Let me offer you a life hack. When somebody named Kareem needs to show you the sky hook, you simply gotta say sure. You’re going to be nice at it.

Hey, Matt, are you able to reply me one thing? What’s a sand dab?

Brennan: It’s like a sort of fish, I feel.

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Maddox: OK. Can I simply look this up actual fast?

Brennan: It’s like a little bit, um, it’s like a little bit sand greenback, however product of meat and never shell.

Maddox: Oh, each of its eyes are on the identical aspect of its head. That is a kind of fish that simply lies on the underside of the sand —

Brennan: Yeah, sand. It’s actually like a little bit dab atop the sand that they, I don’t know the way they catch it. They, like, drag the underside of the ocean for it. Then they toss it in, then they, like, put it in, you realize, they flour it up. Then they put it in sizzling butter. Brown it.

I imply, should you’ve ever had sand dabs at — Musso and Frank is legendary for his or her sand dabs. Which was like this period too. They’re not unhealthy, however, like, I get why a 19-year-old child who’s, like, in faculty needs to eat a cheeseburger and never sand dabs.

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Maddox: I simply am this fish. I’m like, that’s an unpleasant fish. Higher be tasty should you’re going to appear to be that.

Additional studying

Jimmy Carter, “Power and the Nationwide Targets: A Disaster of Confidence” (1979)

Earvin “Magic” Johnson with William Novak, “My Life” (1992)

John Papanek, “There’s an Unwell Wind Blowing for the NBA,” Sports activities Illustrated (Feb. 1979)

Jeff Pearlman, “Showtime: Magic, Kareem, Riley, and the Los Angeles Lakers Dynasty of the Eighties” (2013)

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Beverly Glenn-Copeland’s triumphant L.A. debut coincides with forthcoming doc about his dementia

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Beverly Glenn-Copeland’s triumphant L.A. debut coincides with forthcoming doc about his dementia

“This took 30 years to write,” Beverly Glenn-Copeland says, laughing, remembering how his song “Prince Caspian’s Dream” came to him in small increments every 10 years starting in the 1990s.

A room of fans and artists wearing their red-carpet best in a downtown L.A. loft hung on Glenn (his preferred name) and his creative and life partner Elizabeth Glenn-Copeland’s every word and note Saturday afternoon. Zooming in from their home in Hamilton, Canada, they shared stories, songs and sacred objects: cherished photos, a Christmas mouse, even a sacred pickle. “This is my alter ego,” Glenn said, holding up a picture of a turtle, “it takes me a very long time to get to any place in my life.”

In 2015, Glenn’s self-released 1986 album “Keyboard Fantasies” received critical acclaim, global recognition and a new life when Ryota Masuko started importing tapes directly from him to collectors in Japan, which was the subject of a 2019 documentary. In the years since, Glenn’s status has gone from local artist to internationally respected genius; this year he’s collaborated with Sam Smith and Devendra Banhart, received a Lifetime Achievement Award for his queer activism, and an honorary doctorate from the University of Toronto. While Glenn is happy that his work has a wider reach today than it did in 1986, he was never waiting around for anyone to find him. A Black trans elder who has refused to sacrifice himself or his art for the sake of playing by the rules, he has cultivated a diverse fan base that finds inspiration and hope in his music and life story. Glenn has always been an active and inspired visionary who sees his music and art connected to a personal and spiritual path. And nothing, not even dementia, can ever change that.

The Glenn-Copelands, accompanied by pianist Alex Samaras, performed Saturday for Level Ground Co.’s Re-Union: 10 Year Anniversary Soirée. Level Ground Co. is an artist collective and production company focused on telling empathetic and experimental stories, supporting diverse creatives, particularly those who are queer, transgender and people of color. The organization hopes to create an “eco-system and community” of artists, co-director Yétúndé Olágbajú said. Level Ground Co, along with artist Josephine Shetty of Pride Month Barbie, worked together to make the soiree an intentional event that embodied this sentiment; indigo dying napkins, sourcing artist-created cakes, drinks and food, and booking DJ Jihaari to remix Glenn’s catalog with dance music.

The celebration doubled as a filming location for “See You Tomorrow,” a new documentary by Level Ground Collective co-founder and co-directors Samantha Curley and Chase Joynt, about the couple’s journey navigating Glenn’s dementia diagnosis. In the film they contemplate complex decisions about his care and well-being while they embark on a mission to preserve his artistic legacy. It also follows them as they work to leave creative offerings for their loved ones, and for the ones ahead.

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After a career spanning seven decades, this was Glenn’s first-ever L.A. concert, and he received an incredibly warm welcome. Originally scheduled to be in-person, Level Ground Co. pivoted when the Glenn-Copelands learned that they could not travel to L.A. due to some recent health concerns. The event was an experimental afternoon of singing songs, sharing stories and poetry, and some never-before-seen personal and performance footage. People danced, cried, and sang along, sometimes sustaining Glenn and Elizabeth’s notes, keeping the physical and spiritual connection alive in L.A. in the few moments that digital tech difficulties cut it short.

The crowd at Level Ground Co.’s Re-Union: 10 Year Anniversary Soirée in downtown L.A. watch Beverly Glenn-Copeland and his wife Elizabeth perform via Zoom. The couple were originally scheduled to perform in person but had to switch to a virtual performance due to Glenn’s health concerns.

(Tina June Malek)

“What’s manifested through Glenn and Elizabeth performing virtually is an extraordinary opportunity for the film,” Joynt said, describing the twin film teams, one with Glenn and Elizabeth at their home in Hamilton and one in L.A. “From an audience perspective, you’re going to be able to see that these rooms are vibrating and breathing and living for and through each other. If I do my job right, we will obliterate the Zoom screen.” Curley thinks of this as one of the most hopeful projects she’s been a part of that feels urgent and gentle. “To be close to Glenn and Elizabeth, to be in their world of deep, queer, chosen family is such an honor and a privilege,” said Curley.

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Glenn and his wife Elizabeth’s journey together started in the 1990s when she sang backup for Glenn at benefit shows. Their queer love story heated up in 2007, when, after psychic visions in the dream realm and a notorious night of furious dancing at a friend’s wedding, the pair became an inseparable team. Their love continues to unfold around collaborations, social justice advocacy, music and steadfast commitments for each other and their communities. Take for example their work at Kidplayhouse Productions; a not-for-profit theater school the couple founded and sustained for nearly a decade on the Acadian Coast of Canada that provided healing arts programming and education for kids and adults.

Earlier this year, Glenn and Elizabeth announced that the couple were privately navigating a difficult time while also experiencing a massive creative renewal. Glenn made his dementia diagnosis public and declared that his 2024 tour would be his last. However, he and Elizabeth are still working on new projects including music, children’s programming with puppets, and a new book. After the success of Saturday’s event they may be considering doing more hybrid performances.

“As humans and artists, there’s a lot to face, but we are determined to look at where the life is,” Elizabeth said. “As parts of Glenn’s brain are dying, there are parts of him that are actually more alive than I have ever seen. There’s a great deal of beauty interwoven with a great deal of pain.” In thinking about how they proceed in this chapter of their life, and how humanity can overcome the daunting challenges of rising fascism, racism, transphobia and climate disaster, she invokes a lesson from Los Angeles artist-activist (and nun) Corita Kent. Rule No. 4, which also happens to be Level Ground Co.’s current inspiration, demands that students and artists “consider everything an experiment.”

Shot of a vinyl copy of Beverly Glenn-Copeland's 2023 album "The Ones Ahead" at the DJ booth during Saturday's performance.

Shot of a vinyl copy of Beverly Glenn-Copeland’s 2023 album “The Ones Ahead” at the DJ booth during Saturday’s performance.

(Tina June Malek)

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Glenn’s work has long reveled in the experimental. A groundbreaking album in folk, ambient and electronic music, “Keyboard Fantasies” was composed with only a Roland TR-707 drum machine, a Yamaha Dx7 keyboard, a (at the time) cutting-edge Atari Computer, and Glenn’s unparalleled three-octave vocal range. Optimism and care are themes you could gather from his music without knowing any of his lyrics; “Keyboard Fantasies’” soft and cosmic melodies resonate like a dawning horizon, a message in a bottle retrieved 30 years later by both its recipients and its sender with codes and keys to help us make sense of our ever-changing world. He and Elizabeth opened their set Saturday with the album’s “Let Us Dance,” moving together as Samaras played the instrumental outro on their home piano.

Glenn also performed an a capella version of “Deep River,” his syncopated low voice and skilled falsetto moving the entire room into snaps, whistles and screams. A spiritual written in the 19th century, it is embedded with coded information about the Underground Railroad, Glenn explained. “Jordan” was code for the Ohio River, and “Campground” was code for a community for Black people who were successful in escaping enslavement. He closed this song with a dynamic djembe beat, moving through multiple time signatures.

Glenn and Elizabeth played a string of sold-out shows during fall in New York and Canada that Joynt and Curley filmed. Glenn won the 2024 Joyce Warshow Lifetime Achievement Award from SAGE, an organization that focuses on advocacy and services for LGBTQ+ elders. He and Elizabeth were also a part of Red Hot Org’s new album “Transa,” a massive collection of work from a diverse community of over 100 musicians and artists including (but not limited to) Sade, Eileen Myles, Hunter Schafer, Clairo, Sam Smith and many others, celebrating trans and nonbinary music, and bringing awareness and support to transgender rights.

“In this era of intense backlash against trans rights and freedoms, it felt like a profound and timely gift to collaborate with Sam Smith on a version of ‘Ever New’ for the next generation,” Glenn said. The two formed an instant connection in the studio. “There’s great love there,” Elizabeth remarked, remembering that “as they were hugging, Copeland said, I’m adopting you.” Smith said that singing with Glenn was one of the most important and beautiful moments of their musical life. The backlash against trans rights is palpable this week, as Chase Strangio makes history as the first openly transgender attorney to argue before the Supreme Court, challenging Tennessee’s ban on transgender healthcare — which is expected to be upheld, despite the Biden administration calling it unconstitutional.

The new documentary challenges and complicates one-dimensional narratives about dementia. Working on this has helped both the filmmakers and the doc’s main subjects reimagine staying connected through music and art alongside some of the inevitable changes of aging. Saturday’s event also presented an opportunity to reimagine what supporting aging artists, as fans and as producers, could look like.

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“See You Tomorrow” is an unfolding trans history, a living portrait of a queer extended family, rather than a reflection on something that’s happened in the past. It bears “witness to an extraordinary love story as it is still unfolding,” Joynt says.

A crowd watches Beverly Glenn-Copeland and his wife, Elizabeth, perform virtually from their home in Hamilton, Canada

A crowd watches Beverly Glenn-Copeland and his wife, Elizabeth, perform virtually from their home in Hamilton, Canada

(Tina June Malek)

Queer and trans musicians are often described in relation to time: generally, as being ahead of their time, playing in strange time, or living creative lives outside of values and timelines marked as acceptable by rules of mainstream society. The ahead-of-their-time arc has often plagued stories about so-called forgotten and avant-garde queer talent from electronic to classical genres. It is often queer artists and artists of color like Glenn who inspire culture, change genres and creative fields, rarely benefiting financially from their visions and innovations, but still creating.

As the couple received a roaring ovation at the end of their set on Saturday, Glenn held up a handwritten sign to the camera. The message, scrawled on a white sheet of paper, read “I love you.” For many fans, Glenn represents beloved elders of the queer community and his music is also a love letter to younger generations.

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“Glenn’s life and legacy is so precious because we have so few trans elders,” Elizabeth says, noting the historic importance of sharing her husband’s story. “We want to leave this world in a way where we have touched lives, shaken people out of stupors, and woken people up. … In all the years, when nobody knew who the heck we were, we were traveling around from place to place; it’s always been about community.”

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Movie Reviews

Andrew Bell’s ‘BLEEDING’ (2024) – Movie Review – PopHorror

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Andrew Bell’s ‘BLEEDING’ (2024) – Movie Review – PopHorror

I’ve seen good films and I’ve seen bad films. This is, indeed, not a good film by any stretch of the imagination. 

Evidently, a new drug that is adjacent to vampire blood is being bought and sold on the black market for profit and pleasure, which already sounds like something from a Bram Stoker rip-off novel. Sean is a young drug dealer who gets his cousin Eric “into some deep shit,” as the characters would put it. Sean’s dad destroys the drugs in a fit of rage and owes money to the people who loaned it to him. 

Let’s just get this out of the way. This movie is bad and for all the reasons that you might think. For starters, the dialogue is horrendous and sounds like something from a Grand Theft Auto game, where every other word is profanity. It seems like the writer was writing the script for a film project while in college and forgot to add character development (or characters that we cared about). 

Moreover, the plot has already been played so many times. How many times do we have to see a virus ravage the people of a town (or the entire world) and watch it slowly destroy the people in the film little by little? I’m no stranger to a virus movie and I’m certainly on board with a good one. I’ve even made a few virus-related films. It would have been nice to see the filmmakers do something différent with the material.

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Finally, the acting is laughably terrible. There is way too much overacting, with screaming and shouting in every other scene. It’s like watching an episode of a Vikings series, with all of the characters are yelling at each other. 

All in all, this movie was something that had no purpose and was bereft of character development, which makes me wonder how the film managed to get made. 

 

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Iron Maiden drummer Nicko McBrain retires after final touring gig in his 42-year run

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Iron Maiden drummer Nicko McBrain retires after final touring gig in his 42-year run

Nicko McBrain bid farewell over the weekend to the last crowd of metalheads he will ever perform for as a touring member of Iron Maiden.

McBrain, 72, who has served as the British heavy metal band’s drummer for more than 40 years, announced his retirement from touring hours before the band’s Saturday show in Sao Paulo, Brazil — the closer of the Future Past Tour.

“After much consideration, it is with both sorrow and joy, I announce my decision to take a step back from the grind of the extensive touring lifestyle,” the London-born musician wrote in a statement on the band’s website, adding that Saturday’s show would be his “final gig” with the band.

While he will “remain firmly part of the Iron Maiden family,” McBrain said he will now dedicate himself to “different personal projects” and “existing business and ventures” — including the British Drum Co., for which he serves as its international ambassador, his percussion shop Nicko McBrain’s Drum One, his Iron Maiden cover band Titanium Tart and his Florida BBQ joint Rock-N-Roll Ribs.

“I look into the future with much excitement and great hope!” he said.

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Iron Maiden’s co-manager Rod Smallwood followed McBrain’s announcement with a statement on behalf of the band and its other co-manager, Andy Taylor.

“Thank you for being an irrepressible force behind the drum kit for Maiden for 42 years and my friend for even longer,” Smallwood said, adding that he and the band’s remaining members will miss McBrain “immensely!”

“Such a bond is forever,” Smallwood said.

Iron Maiden’s Friday and Saturday performances in Sao Paulo, where Smallwood said the band would play to 90,000 fans, were a “poetic” coda for McBrain, the manager said, as the band has always had a “special relationship” with Brazil. In 1985, Iron Maiden played a seminal set at the biennial Rock in Rio festival.

At Saturday night’s show, lead singer Bruce Dickinson celebrated McBrain’s contributions to the band, which was formed in East London in 1975. (McBrain joined in 1982, replacing Clive Burr, and has been credited on every album since 1983’s “Piece of Mind,” Billboard reported.)

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“He was a drummer before I was a singer. He was a pilot before I was a pilot. And now, he’s done,” Dickinson said in footage posted on YouTube. “Not leaving the band, but he’s just not playing live with us anymore.”

As attendees began chanting his name, McBrain rose from his drum set to take a bow.

“I want the rest of the night to be a celebration of Nick,” Dickinson then said. “A celebration of the joy that he’s brought to everybody around the world, not just here in Brazil.”

McBrain’s touring retirement comes a year after he suffered a stroke that left him partially paralyzed. After 10 weeks of rigorous physical therapy, he rejoined rehearsals, eventually returning to the stage for the Future Past Tour.

The band returns this spring for its 50th anniversary Run for Your Lives World Tour, kicking off in May in Budapest. Simon Dawson, who collaborated with Maiden bassist Steve Harris on his solo projects “British Lion” (2012) and “The Burning” (2020), will be the new touring drummer, the band announced Sunday.

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