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Dublin Day 19: 20 Feet From Stardom
20 Feet From Stardom, the Oscar-nominated documentary that tells the story of background singers for the most famous rock ‘n roll bands in history, played today at the Savoy in Dublin. The film was a special feature, part of the Jameson Dublin International Film Festival.
I first came across the film because Doug Blush, the Editor on the project, and I met at the Cleveland International Film Festival a couple of years ago for the screening of Of Two Minds. Blush has an impeccable instinct for projects and these include Freakonomics and The Invisible War. I’m grateful that Tchadvar Georgiev (The Desert of Forbidden Art, Valentine Road) first made that introduction. Both men use their talents in order to bring to light important events and historical trends for the masses.
When I arrived in Dublin nearly three weeks ago and learned that the JDIFF was screening the film, despite the fact that I’d just watched it on my flight over, knew it’d be great to see it on the big screen. When I shared the info with Blush, he asked I snap some photos and of course I agreed. What I didn’t expect was how everything would continue to unveil itself throughout my stay here in Emerald City.
During 2013 20 Feet from Stardom built a lot of momentum and rightfully so. It’s entertaining, it’s informative and it’s enchanting. It also features great music, including archive performances from Talking Heads, Tina Turner, David Bowie, Michael Jackson and Ray Charles, amongst others. With its focus on the underdog that we cheer for to make it big, it is the Great American Story.
This morning’s screening at the Savoy packed the theater nearly full. With beverages and snacks in hand, purchased at nearby cafes, the patrons gathered into their seats with great anticipation. As of a few days ago, the #JDIFF announced that one of that stars of the film, Claudia Lennear, would be in attendance.
She’s a legend. She’s sung back up vocals for Tina Turner and Joe Cocker. She’s worked on various soundtracks and acted with Clint Eastwood in Thunderbold and Lightfoot. And, oh, yeah, she’s also the inspiration for Rolling Stones “Brown Sugar.” Because she was friends with Mick Jagger.
Another star of the film, the tremendous Darlene Love, discusses the amoral behavior of Phil Spector, the giant portfolio of musicians she’s worked with since she was 15 and how at one point she resorted to cleaning bathrooms in order to pay the bills.
The film captures the personal and intimate stories of these people who changed the sound of an entire genre. Most happen to be African American women. Most grew up singing in the church. Most were ministers’ daughters. Most remained virtually unknown. We know their voices. We just don’t know their names.
Stardom also discusses that today it’s only the old school musicians – Bruce Springsteen, Sting, Elton John – that still use back up vocalists in the studio and on tour. Because hiring cheap talent that can’t sing on key but that can then be fine tuned in post-production is now the norm. Finally, the film showcases the trade offs, and the heartache, between being a back up singer vs. trying to make it on your own. Very few have accomplished that. Darlene Love, who finally got inducted into the Rock ‘n Roll Hall of Fame just a few years ago being one of them. As did Sheryl Crow, who is briefly featured in the film. As did the late Luther Vandross who sang the famous chorus on David Bowie’s hit “Young Americans.”
One of the most riveting scenes in the movie is when Merry Clayton revisits the studio where she recorded the iconic “rape, murder, it’s just a shot away” lyrics for the Stones’ (often used by Martin Scorsese) dark tale “Gimme Shelter.” Her recounting the late night wake up call, heading into town with her curlers on while pregnant to sing this song is primed for its own documentary. In Stardom, we then watch Clayton’s and then Jagger’s reaction to the isolated track of Clayton’s voice. It can’t be translated or described. The power of it just has to be heard.
And that’s the point of of this documentary, for all of us – lovers of Rock ‘n Roll, lovers of music, lovers of culture – to be educated on the roots of a dying genre that’s quickly being replaced by Country and by Rap. People forget that Rock was the fusion of Blues and Folk, or Western. In the ’50s and then the ’60s some musicians began to blend the two and then Alan Freed, the Cleveland DJ coined the term. The magic of Rock ‘n Roll was that is brought Black and White together. At a time of tremendous segregation, the music and the musicians knew that the integration meant more than a stronger and more defining sound, it also meant that a black girl and a white boy would dance together to the same song. And that changed everything.
In many ways, Rock ‘n Roll was a genre created for Baby Boomers and for the Middle Class. While rebellious in nature, it also capitalized, greatly, on a generation that saw prosperity when America truly because a super power. It also meant that kids had disposable incomes. And could buy records. And attend dance halls. And go to concerts. And wear Levis, white t-shirts and motorcycle jackets in the style of Marlon Brando.
Rock ‘n Roll, Baby Boomers and the Middle Class all needed each other.
Today, as Boomers are retiring and the Middle Class, defined simply as having the funds and the time for leisure activities, for savings and to offer the next generation a better future, there’s not a place for Rock ‘n Roll. Not like the place there was for it in the ’60s and ’70s. Those musicians that survived all the riots, the sex and the drugs still continue to put out great albums, but how much of their fan base is new vs. the loyalists who grew up on the music? And of all the inductees into the Rock Hall over the past, say five years, how many are Rock ‘n Rollers? Most are pop or hip hop.
There’s a reason why back up vocalists are struggling to find jobs today. There’s a reason why American music is more studied, more known and more respected outside of America then it is within its own borders. There’s a reason why this film had to get made. It’s a critical time in our musical history and unless other bands follow suit, the Foo Fighters may be our very last Rock Band.
After the film was over, the audience stood up for a long standing ovation. I’ve seen many films since arriving here in Dublin, including those at the JDIFF, and this was the first time I saw this. The Irish love music and they value its craft, its legacy and its importance.
Linnear thanked everyone and then generously answered questions during the Q&A. I asked her how her life has changed since the film and she happily noted that she’s reconnected with the thing she loves to do most. She also shared with us that she will be at the Oscars next week and that it’s not her first encounter with them.
One person in the audience asked about a rumor regarding an HBO series and Linnear said she’s heard about something but nothing concrete. She also mentioned that Mick Jagger may be interested in taking the concept to Broadway. These are all speculative projects, but both would be a tremendous extension of what 20 Feet From Stardom has started. And that is an intimate look at the struggle, the sacrifice and the sex appeal that must happen in show business. Most real musicians don’t become successful because they win a national award show. They succeed because of a 1000 different things going right, on top of the talent and the hard work.
Bruce Springsteen refers to how those steps from being a back up singer to walking to the front of the stage, above and beyond everything else, is a mind game. This, of course is true in so many other professions in life, whether they be sports, film or business. Those of us schooled in the arts and trying to make a living outside the conventional job market realize that to really make it, you gotta have something extra, something special, something unique and, simultaneously, be ok with taking tremendous life risks.
Today, though, it was about the music.
After the Q&A, Claudia Lennear reminded us of this as she took to the microphone, front and center, and treated us to two songs. It was nothing short of magic.
I had the tremendous privilege of speaking with her right after her performance and shared with her that watching the film today, especially with her in the room, brought me to tears. “I hope they were tears of joy,” Lennear replied in genuine concern. “Yes, very much so,” I answered.
