The hungry i – a Fifties and Sixties SF Institution for Folk Musicians and Ground Breaking New Comedians

Leisure activities, Music history, Performing arts, Popular Culture, Society & Culture

The “hungry i?” Sounds like a trendy, up-market boîte on Eat Street, but it is—or rather was—a live music and stand-up comedy venue located in the “hip” North Beach neighbourhood of San Francisco. Its original owner, self-styled beatnik Eric “Big Daddy” Nord, sold it to beret-sporting impresario Enrico Banducci in 1951. Under Banducci’s direction the SF joint set about making a cutting edge name for itself. For much of the next two decades the hungry i nightclub became the spot where many of the big acts in American entertainment got their start and others honed their performing skills to perfection❶.

Enrico Banducci rocking a cardy!

Bob Patterson, Examiner columnist (writing as Freddy Francisco) on the hungry i circa 1950s: ❝a basement Disneyland, peopled by beatniks, left-over bohemians, on the nod junkies, and other waifs and strays from reality.

Hothouse of new comedy: The roll call of names associated with “the eye” (as it was affectionately known), especially of American comedy, is mightily impressive…it was the launchpad for many famous performers including Mort Sahl, Lenny Bruce, Tom Lehrer and Jonathan Winters. Other iconic comics to perform there at the formative stage of their careers include Woody Allen, Phyllis Diller, Richard Pryor, Dick Gregory, Godfrey Cambridge, Bill Cosby, the Smothers Brothers, (Mike) Nichols and (Elaine) May and Joan Rivers❷. The soon-to-be comedy stand-up legends performed against a red brick wall that later became the standard stage backdrop of comedy clubs across America [‘1960s Folk Music at the hungry i and SF Folk Music Club’, Claire Huang, FoundSF, (2019), www.foundsf.org].

The hungry i at the height of its popularity (source: Barbra Archives)

Banducci embraced the Fifties non-conformism of the emerging “rebel cafe” culture taking root simultaneously in North Beach and in Greenwich Village, NYC. He welcomed musicians, comedians, writers and painters—“bohemians of every stripe, from North Beach bohos to Berkeley brainiacs”—to the nightspot [Stephen Duncan Riley, ‘The Rebel Cafe: America’s Nightclub Underground and the Public Sphere, 1934–1963’, (Unpublished PhD dissertation, 2014, University of Maryland)]. Uncommonly for a nightclub owner Banducci really looked after his charges, unlike many of his contemporaries who were content to sit back and count the night’s takings – Enrico always ensured that the club’s artists performed in a safe and quiet environment…patron chatter during performances was verboten and (remarkably) drinks were not served while the acts were on [‘The hungry i (1963)’, Barbra Archives, www.barbra-archives.info; ‘The ‘I’ That Stormed Through North Beach, Circa 1950’, Art Peterson, hoodline, 06-Jun-2016, www.hoodline.com].

A way-station for aspiring folk and pop artists: The hungry i provided a similar massive leg-up for music performers still in the basement of their careers. The nightspot provided the springboard for some, propelling them on the path to pop and folk music immortality, or at least to national/international recognition. The Kingston Trio, Barbra Streisand (her first gig headlining), Peter, Paul and Mary et al, all cut their teeth at the famous San Fran venue in their early days. The Kingston Trio recorded its first live album at the club (“…from the “Hungry i” (1958)). Glen Yarbrough and the Limeliters were a regular act, John Phillips (of the Mamas and Papas fame) fronted the eye’s house band (The Journeymen) in the early Sixties. By the early 1960s the hungry i had hit its heyday…in 1967 it moved to Ghirardelli Square (San Francisco’s Marina district), by this time it was mainly being used as a rock music venue. By 1970, Banducci deep in debt and with a flawed business model was forced to close down his cherished nightclub.

Enrico’s echo of hungry i: Banducci switched his attention to “Enrico’s”, a restaurant-café at 504 Broadway (SF) he had started in 1959. Enrico’s spot played cool jazz and drew in a mixed crowd and was for a time the place in SF to be seen, everyone from celebrities like FF Coppola, Frank Sinatra and Cary Grant to complete nonentities…Banducci’s lack of business acumen again ultimately proved its downfall with Enrico’s folding in 1988. The name “hungry i” lived on somewhat ignominiously in the form of a strip club at 546 Broadway (today operating as a Karaoke bar).

hungry i in its later incarnation
Enrico’s: Banducci’s Broadway café/jazz club (photo: William Martin/Facebook)

Endnote: the Purple Onion The hungry i, by most observers’ reckoning, was the apex of live venues presenting the new wave of stand-up comics in the 50s and 60s, but it existed very much in a shared universe. The very same up-and-coming but still unknown talents featuring at the eye also plied their trade at other SF venues, most prominently at the hungry i’s local rival the Purple Onion, a small basement club on Columbus Ave with a similar storied history [‘North Beach History: Careers Sprouted For Almost 6 Decades At The Purple Onion’, Art Peterson, hoodline, 20-Jun-2016, www.hoodline.com].

❶ Banducci liked to describe the hungry i as a theatre rather than a nightclub

❷ a less stellar comedy name frequenting the stage at the hungry i was “Professor” Irwin Corey whose unscripted, abstruse improvisational monologues earned him a dedicated cult following

❸ in 1967 you could catch the early Ike and Tina Turner Experience at the eye

The Fab Four (Minus One) Play the Princess and the Old Tin Shed

Memorabilia, Music history, Performing arts, Popular Culture
The Beatles flying from London to Hong Kong

1964 was the year the Beatles made their first world tour. The year they transformed from a UK/West German phenomenon to a global sensation. It was, to obviously understate it, a very busy year for the band. Two of the very many international places the Liverpool lads performed at that hyper-hectic year were Hong Kong and Sydney. The venues in both locations played by the Four Moptops—as is the case with many of the venues they played—no longer exist.

The Beatles without drummer Ringo Starr⌧ touched down at Kai Tak Airport in Hong Kong in early June of ‘64 and booked into a suite recently vacated by the President of Indonesia in the President Hotel in Kowloon. The band only stayed in the British crown colony for a couple of days while they played two concerts at the Princess Theatre (130 Nathan Road, Tsim Sha Tsui) on the 9th June…long enough though for Beatle Paul and road manager Neil Aspinall get themselves bespoke tailored suits made up in 24 hours.

Note concert date, incorrectly printed as 10-06-64 (Source. ha.com)

The Princess Theatre (above), built in the early Fifties, was better known for screening first-run flicks than teen-hysterics pop concerts. On the bill supporting the Beatles was a New Zealand group, the Māori Hi-Five. Instrumental backing for the headline performers was provided by Sounds Incorporated. The concerts were surprisingly not a sell-out, basically because tickets were priced exorbitantly high, the equivalence of a full week’s wage for the average Hong Kong worker (the best seats fetched HK$75).

The Beatles didn’t find the smallish, old-fashioned venue very vibe conducive and McCartney remarked that the band’s performance at the Princess was pretty flat accordingly. The full complement of Beatles came back to Hong Kong in 1966 on their Far East tour, but only for a stopover on route to the Philippines where the performers and their handlers ran into trouble with a capital T❈❈.

Ownership of the Princess Theatre changed hands in 1970 and the building with theatre seating for 1,722 was demolished in 1973 to make way for a new hotel.

Early boxing bout at the Old Tin Shed (Source: Nat. Lib. of Aust.)

Next destination after Hong Kong for the Beatles was Sydney Airport for a three-week tour of Australia and New Zealand. Sydney’s allotment was six concerts over three nights (18–20 June) at Sydney Stadium in Rushcutters Bay, a venue affectionately known as the “Old Tin Shed”, and hitherto the arrival of Beatlemania probably better known as a boxing stadium. At that time the Stadium was the city’s only large-capacity concert venue. Again, as they did in Hong Kong, the Beatles bedded down close to the concert venue, at the Sheraton Hotel, Potts Point.

Supporting the Beatles on that tour were several local (trans-Tasman) artists including Johnny Chester, Johnny Devlin and The Phantoms, along with Sounds Incorporated who had made the trip from Hong Kong with the Beatles.

Jimmy N, all alone at Melbourne Airport, end of the fairytale

By now Ringo sans tonsils had rejoined the quartet in time for Sydney and Jimmy (or Jimmie) Nichol was unceremoniously cast off and sent home, abruptly closing the door shut on his 15 minutes of fame…it was all downhill in the music caper from there for the Ringo stand-in, less than a year later poor Jimmy was forced to declare himself bankrupt.

Source: ha.com

After some initial hesitancy from audiences the Sydney Stadium concerts were all massive sell-outs with frenzied young women the most conspicuously vocal of fan attendees. Seeing the band in Sydney seemed comparatively more affordable than in Hong Kong, Tickets started at 15s & 6d, ranging up to £1, 17s & 6d.

Boxing matches and rock ‘n roll concerts at Rushcutters Bay are long a thing of the past. In 1970 the six decades old-stadium on the corner of Nield Avenue and New South Head Road closed and was demolished in 1973 to make way for the construction of the Eastern Suburbs Railway.

Staid NZ says “Yeah, Yeah, Yeah!” (Source: nzherald.co.nz)

After Sydney the Beatles headed across the Tasman, taking most of their Australian support acts with them, to shake up the hitherto seemingly hebetudinous youth culture in New Zealand. Just like in Australia, mass turnouts of fans posed the same crowd control problems for Kiwi authorities and level of teen-generated frenzy at the concerts in the four main NZ cities made for deja vu.

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⌧ stuck back in a London hospital with tonsil trouble and substituted by previously unknown drummer Jimmy Nichol

❈❈ see earlier blog on this site ‘Beatles Not For Sale: Public Enemy # 1 in the Philippines’, March 2022

Bibliography
‘The Beatles arrive in Hong Kong’, The Beatles Bible, www.beatlesbible.com
‘Beatle Place: Hong Kong, Princess Theatre‘, FAB4tracks, www.fab4tracks.home.blog
‘Meet Jimmy Nicol, the forgotten Beatle, stand-in drummer for Ringo’, Craig Cook, The Advertiser, 11-Jun-2014, www.adelaide now.com.au

Why International Elvis was a No-Go

Biographical, Memorabilia, Music history, Popular Culture
EP in Ottawa 1957 (Source: Elvis Presley Photos)

Considering how universally popular and well-known Elvis Presley was𝕒, during the entertainer’s heyday there was much conjecture about why “the King” of the entertainment industry failed to capitalise on his phenomenal record sales by touring internationally – like virtually every other successful pop and rock music act. In fact Elvis only left American shores a couple of times during his entire lifetime, once for a tour of duty in West Germany as part of his compulsory military service, and the other briefly to northern neighbour Canada for two shows each in Toronto and Ottawa in 1957, followed later that year by a single performance in Vancouver (Elvis was not accompanied on his Canadian trips by his manager Tom Parker). At the time Presley’s reluctance to journey overseas was attributed by a number of observers to the singer’s fear of flying – notwithstanding the fact that Elvis regularly took domestic flights within the US to shows.

Elvis For Beginners

Light was shed on the puzzle of Elvis’s non-event international performing career for me many years ago when I was thumbing through a copy of Elvis For Beginners𝕓 one day at a bookshop. The reason for this striking anomaly in the Elvis career path was apparently all about Elvis’ ubiquitous manager, “Colonel” Tom Parker. The ex-carny Parker was notorious for several things, among them his vice-like grip on Elvis’s career; his way over-the-way fee for managing Elvis’ career (25%, later increased to an outrageous 50%); his insistence on Elvis getting a 50/50 cut in songwriting royalties even though Elvis contributed zilch to the actual writing of the songs he recorded, and everyone’s heard about his pre-Elvis entry into business, painting sparrows yellow and selling them as canaries. But there was a much darker, clandestine element in Parker’s past that explained Elvis’ stay-at-home career. “The Colonel” was not actually “Tom Parker”, an assumed identity he adopted. Parker’s real name was Andreas Cornelius van Kuijk (alternately rendered in some articles as “Kuijk-Dries” or “Kuyk”) and he was born not in West Virginia as he always claimed but in Breda in the Netherlands. Van Kuijk entered the US illegally (probably via Canada) in the late 1920s and took on the assumed name (and identity of a Southerner) after a short stint in the US Army.

Elvis and the “Colonel” (Photo: Getty)

For reasons only known to himself Parker never tried to acquired an American passport, so he remained an alien all his life in America. Without a passport Parker was housebound within the US, and as keeping a tight rein on Elvis was essential to the Colonel Parker business plan, there was no way he’d let his golden egg go off overseas without him. So apart from the brief trip early on to Canada Elvis the entertainment industry’s number one pin-up boy never got to tour the globe and show international audiences his swivelling hips and velvet voice. As a consequence Parker “turned down dozens of offers, totaling millions of dollars, to have his famous client tour the world”𝕔 (Dash).

Breda, Netherlands

It was van Kuijk’s own relatives back in the Netherlands who first twigged to Elvis’ manager’s grand deception. Van Kuijk’s sister stumbled by chance upon a photo of Andreas in a Belgian magazine. A subsequent visit by Kuijk’s brother to him in America threatened to blow the Colonel‘s cover but Parker managed to hush it all up, for the time being at least. The truth only emerged very gradually after Elvis’ death. The revelation that Parker was actually Dutch doesn’t get a mention in Peter Guralnick’s acclaimed biography of Elvis Last Train to Memphis which was published as late as 1994.

“Colonel” Tom, 1960

Footnote: The Colonel’s darkest secret?
Rumours about Parker’s mysterious past in Holland have floated around for decades. One theory about the reason for van Kuijk’s sudden departure for America—developed from journalist Alanna Nash’s research—is that the Dutchman brutally murdered a grocer’s wife in Breda in 1929 when he was about 20, and thus was on the run from the law. Van Kuijk was first connected to the crime via a tip-off given to Dutch reporter Dirk Vellenga in the 1970s while he was investigating the Colonel’s past (Giles). Evidence of van Kuijk’s culpability is at best circumstantial (he left the Netherlands for the US the same day as the murder) and nothing has ever been proved.
☲☵☲☵☲☵☲☵☲☵☲☵☲☵☲☵☲☵☲

𝕒 when Presley died in 1977 a Western news crew visited a village in a very remote part of Siberia to discover that uneducated peasants there—without the aid of modern communication devices like the internet and social media—somehow still knew who Elvis was!
𝕓 a book in the Readers and Writers series of documentary comic books (graphic books)
𝕔 such as an invitation from Buckingham Palace for Elvis to perform at the Royal Variety Show in London

♩ ♪ ♫ ♬ ♩ ♪ ♫ ♬

Bibliography

Jill Pearlman, Elvis for Beginners (1986)
’Colonel Tom Parker (1909-1997)’,
New Netherland Institute, www.newnetherlandinstitute.org
‘Colonel Parker Managed Elvis’ Career, but Was He a Killer on the Lam?’, Mike Dash,
Smithsonian Magazine, 24-Feb-2012, www.smithsonianmag.com
Rosemary Giles, ‘Who Was the Colonel Before He Met Elvis?’,
Vintage News, 27-Jun-2022, www.thevintagenews.com

A Linguistic Potpourri of Mondegreens, Mumpsimus and Eggcorns

Creative Writing, Literary & Linguistics, Music history, Popular Culture

“Arfur D” Malapropising (Photo: ITV/Scope)

The chances are most folk with a passing interest in words and language have come across the odd Malapropism and Spoonerism in their travels. For these two terms for errors in natural speech (or if you prefer, modes of original linguistic inventiveness) we have the fictional “Mrs Malaprop” and the real life “Reverend Spooner” to thank. Myself, I tend to associate Malapropisms (the accidental substitution of a incorrect word in place of another, usually similar-sounding one) in fiction with Arthur Daley, the small-time, dodgy as-they-get wheeler dealer in TV’s Minder (“From now on the world is your lobster”, the “Arfur” Daley variation on “oyster”) and in real life with former Australian PM Tony Abbott (“the suppository of all wisdom” (should have said “repository”)). Spoonerisms are another type of verbal misstep where the speaker makes a “slip of the tongue”, accidentally transposing the initial consonants of two consecutive words, often with humorous results. One of the most referenced examples is “you have hissed my mystery lecture”, instead of “you have missed my history lecture”.

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Would the latte-sipping, smashed avocado inner city set recognise a Mondegreen, Mumpsimus or Eggcorn when they see one? Probably not, these three linguistic odd fellows are the domain of dedicated language buffs and word nerds. If the ABC conducted a vox-pop in Martin Place “Mondegreen” would likely draw a blank, however the concept itself is a different story…anyone exposed to popular music would have at some point either unknowingly committed a Mondegreen or observed someone else in the act. A Mondegreen is where you mishear or misinterpret a phrase—especially a song lyric but it could also be a line from a poem—with the result that you give it a new and different meaning. I can hear the ranks of the slightly incredulous intoning “I didn’t know there was a word for that!”

Hendrix “excuse me…”

Given the associated factors of diction and high volume noise, Mondegreenisms in modern pop music are legion, one of the most iconic is the misinterpretation by untold number of listeners of Jimi Hendrix’s line, “Excuse me while I kiss the sky” (“Purple Haze”) as “Excuse me while I kiss the guy“. Two more classic confusions warranting honourable mention are The Beatles’ “The girl with kaleidoscope eyes” transformed by an erring ear into “The girl with colitis goes by” (from “Lucy in the Sky with Diamonds”) and Johnny Nash’s “I can see clearly now, the rain has gone”, reinterpreted as “I can see clearly now, Lorraine has gone”. As these examples indicate, where the lyrics come unstuck it’s a fair chance that the culprit is a quasi-hononym.

Coining of Mondegreen: the word (but not the act) originated in 1954 with American writer Sylvia Wright…as a girl listening to her mother readIng a 18th century romantic poem she erroneously heard “Lady Mondegreen” instead of the actual lyric, “layd him on the green”. On being advised of her error Sylvia thought her interpretation “better than the original” and stuck to it, even inserting a character named “Lady Mondegreen” into her published stories.

Incoherent or indecipherable words in a song can be the source of “great storms in a teacup”. The Kingsmen’s 1963 recording of “Louie Louie” (vocalised incomprehensibly by Jack Ely) prompted an avalanche of complaints from outraged parents of teenagers about a supposed litany of obscene and pornographic lyrics in the single. Knee-jerk misinterpretations abounded from the morally-incensed in Middle America. One irate father even wrote to US attorney general Bobby Kennedy moaning about the lyrics’ “moral degradation” leading bizarrely to the FBI investigating the song (the Bureau failed to unearth any such obscenities)! All of which lends credence to the axiom that “people will hear what they want to hear” – which goes to the very heart of Mondegreens※.

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Mumpsimus are a different kettle of aquatic, craniate gill-bearing animals. Practitioners of Mumpsimus stubbornly insist on an incorrect usage…even after being proven wrong” (Fritinancy). Mumpsimustas obstinately cling to an error, bad habit or prejudice, even after the foible is exposed. Examples include the use of “all intensive purposes” in lieu of the correct phrase, “all intents and purposes”; the verbal substitution of “nuclear” with “nucular” (a proclivity of George W Bush)§.

The Eggcorn: slight of hand or sleight of hand?

Another, related form of expression that derives from mishearing and involves reinterpretation is “Eggcorn”. Eggcorns, like Mondegreens revolve around the near-homonym while differing from Mumpsimus in that their use is unconscious and unintentional. It often occurs when people are ignorant of the precise words in stock phrases and substitute what they erroneously believe to be the correct words or expression. Examples are manifold – saying “mute point” instead of “moot point”; “tenderhooks” instead of “tenterhooks”; “pass mustard” instead of “pass muster” etc ad nauseum. An essential feature of the eggcorn is that it must retain some of the original meaning as the speaker understands it (eg, Alzheimer’s disease is rendered into “Old-timer’s disease”). The term itself is an “Eggcorn”, it’s genesis can be traced back to a creative utterance from an anonymous individual who inserted the word “eggcorn” where the similarly sounding “acorn” would conventionally go (Mark Lieberman, 2003).

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※ Steven Connor suggests that cognitive dissonance is in train in the creation of Mondegreens – the brain is constantly trying “to make sense of the world by making assumptions to fill in the gaps when it cannot clearly determine what it is hearing” (‘Earslips: Of Mishearings and Mondegreens’, 2009)

§ the word Mumpsimus, a confused misinterpretation of the Latin term “Sumpsimus” (“we have received”), was accidentally coined by an old monk who doggedly persisted in using the invented word. Mumpsimus first appears in the correspondence of famous humanist scholar Erasmus Roterodamus, dating from 1516