Rod McKuen | |
---|---|
Birth name | Rodney Marvin McKuen |
Born | April 29, 1933 |
Origin | Oakland, California |
Occupations | Singer-songwriter, Musician, Poet |
Instruments | vocals, piano |
Years active | 1959–1983 |
Associated acts | Jacques Brel |
Website | https://www.mckuen.com |
Rod McKuen is an American poet, songwriter, composer, and singer. He was one of the best-selling poets in the United States during the late 1960s. Throughout his career, McKuen produced a wide range of recordings, which included popular music, spoken word poetry, film soundtracks, and classical music. He earned two Oscar nominations and one Pulitzer nomination for his serious music compositions. McKuen's translations and adaptations of the songs of Jacques Brel were instrumental in bringing the Belgian songwriter to prominence in the English-speaking world. His poetry dealt with themes of love, the natural world, and spirituality, and his thirty books of poetry sold millions of copies.[1]
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Rodney Marvin McKuen was born on 29 April 1933 in Oakland, California. Raised by his mother and stepfather, who was a violent alcoholic, McKuen ran away from home at the age of 11. He drifted along the West Coast, supporting himself as a ranch hand, surveyor, railroad worker, lumberjack, rodeo cowboy, stuntman, and radio disk jockey, always sending money home to his mother.[2]
To compensate for his lack of formal education, McKuen began keeping a journal, which resulted in his first poetry and song lyrics. In the 1950s, McKuen worked as a newspaper columnist and propaganda script writer during the Korean War. He settled in San Francisco, where he read his poetry in clubs alongside Beat poets like Jack Kerouac and Alan Ginsberg.[citation needed] He began performing as a folk singer at the famed Purple Onion. Over time, he began incorporating his own songs into his act. He was signed to Decca Records and released several pop albums in the late 1950s. McKuen also appeared as an actor in Rock, Pretty Baby (1956), Summer Love (1958), and Western Wild Heritage (1958). He also sang with Lionel Hampton's band. In 1959, McKuen moved to New York City to compose and conduct music for the TV show The CBS Workshop.[3]
In the early 1960s, McKuen moved to France, where he first met the Belgian singer-songwriter and chanson singer Jacques Brel. McKuen began to translate the work of this composer into English, which led to the song "If You Go Away" – an international pop-standard – based on Brel's "Ne me quitte pas". In the early 1970s, singer Terry Jacks turned McKuen's "Seasons in the Sun", based on Brel's "Le moribond", into a best-selling pop hit. McKuen also translated songs by other French songwriters, including Gilbert Bécaud, Pierre Delanoé, Michel Sardou, and others.[4]
In 1978, after hearing of Brel's death, McKuen was quoted as saying, "As friends and as musical collaborators we had traveled, toured and written – together and apart – the events of our lives as if they were songs, and I guess they were. When news of Jacques' death came I stayed locked in my bedroom and drank for a week. That kind of self-pity was something he wouldn't have approved of, but all I could do was replay our songs (our children) and ruminate over our unfinished life together."[5]
In the late 1960s, McKuen began to publish books of poetry, earning a substantial following among young people with collections like Stanyan Street & Other Sorrows (1966), Listen to the Warm (1967), and Lonesome Cities (1968). His Lonesome Cities album of readings won a Grammy for Best Spoken Word Recording in 1968.[6] McKuen's poems were translated into eleven languages and his books sold over 1 million copies in 1968 alone.[7] McKuen has said that his most romantic poetry was influenced by American poet Walter Benton's two books of poems.[8]
Rod McKuen has written over 1500 songs, which have accounted for the sale of over 100 million records[citation needed]for such diverse artists as Madonna, Perry Como, Petula Clark, Waylon Jennings, The Boston Pops, Chet Baker, Johnny Cash, Pete Fountain, Andy Williams, the Kingston Trio, Percy Faith, the London Philharmonic, Dusty Springfield, Johnny Mathis, Al Hirt, Greta Keller, Gene Ween and Frank Sinatra.[9][unreliable source?]
In 1959, McKuen released a novelty single with Bob McFadden under the pseudonym Dor on the Brunswick label called "The Mummy". In 1961, he had a hit single titled "Oliver Twist". McKuen has collaborated with numerous composers, including Henry Mancini, John Williams, and Anita Kerr. His symphonies, concertos, and other orchestral works have been performed by orchestras around the globe. His work as a composer in the film industry has garnered him two Academy Award nominations for The Prime of Miss Jean Brodie and A Boy Named Charlie Brown.[9]
In 1967, McKuen began collaborating with arranger Anita Kerr and the San Sebastian Strings for a series of vocal pop albums, including The Sea (1967), The Earth (1967), The Sky (1968), Home to the Sea (1969), For Lovers (1969), and The Soft Sea (1970). In 1969, Frank Sinatra commissioned an entire album of poems and songs by McKuen; it was released under the title A Man Alone: The Words and Music of Rod McKuen. The album featured the song "Love's Been Good to Me," which become one of McKuen's best-known songs.[10]
In 1971, his song "I Think of You" was a major hit for Perry Como. McKuen had additional major hits with "The World I Used to Know", "Rock Gently", "Doesn't Anybody Know My Name", "The Importance of the Rose", "Without a Worry in the World", and "Soldiers Who Want to Be Heroes"..[11]
During the 1970s, McKuen began composing larger-scale orchestral compositions, writing a series of concertos, suites, symphonies, and chamber pieces for orchestra. His piece The City: A Suite for Narrator & Orchestra, was nominated for the Pulitzer Prize in Music. He continued publishing a steady stream of poetry books throughout the decade. In 1977, he published Finding My Father, a chronicle of his search for information on his biological father. The book and its publicity helped make such information more readily available to adopted children.[citation needed] He also continued to record, releasing albums such as New Ballads (1970), Pastorale (1971), the country-rock outing McKuen Country (1976).[12]
In 2012, Aaron Freeman released Marvelous Clouds, an album of McKuen covers. [13]
McKuen continued to enjoy sell-out concerts around the world and appeared regularly at New York's Carnegie Hall.
In 1981, Rod McKuen retired from live performances. The following year, he was diagnosed with clinical depression, which he battled for much of the next decade. He continued to write poetry, however, and made appearances as a voice-over actor in The Little Mermaid and the TV series The Critic.[14][15]
Rod McKuen's latest book is A Safe Place to Land, which contains 160 pages of new poetry. For ten years, McKuen gave an annual birthday concert at Carnegie Hall or Lincoln Center. His latest album is a double CD The Platinum Collection. He is currently remastering all of his RCA and Warner Bros. recordings for release as CD boxed sets. In addition to his artistic pursuits, for the past 19 years he has been the president of the American Guild of Variety Artists, a post he has held longer than any other man or woman elected to the position.
McKuen lives in Southern California with his brother and four cats in a large rambling Spanish house built in 1928, which houses one of the world's largest private record collections.[9]
Despite his popular appeal, McKuen's work has never been taken seriously by critics and academics or by much of the public. Michael Baers observed in Gale Research's St. James Encyclopedia of Popular Culture that "through the years his books have drawn uniformly unkind reviews. In fact, criticism of his poetry is uniformly vituperative..."[16]
Frank W. Hoffmann, in Arts and Entertainment Fads, described McKuen's poetry as "tailor-made for the 1960s [...] poetry with a verse that drawled in country cadences from one shapeless line to the next, carrying the rusticated innocence of a Carl Sandburg thickened by the treacle of a man who preferred to prettify the world before he described it."[17]
Philosopher and social critic Robert C. Solomon described McKuen's poetry as "sweet kitsch",[18] and at the height of his popularity in 1969, Newsweek magazine called him "the King of Kitsch".[19]
Writer and literary critic Nora Ephron said, "...for the most part, McKuen's poems are superficial and platitudinous and frequently silly".[20] Pulitzer Prize-winning US Poet Laureate Karl Shapiro said, "It is irrelevant to speak of McKuen as a poet."[21]
In a Chicago Tribune interview with McKuen in 2001 as he was "testing the waters"[22] for a comeback tour, Pulitzer Prize-winning culture critic Julia Keller called his work "so schmaltzy and smarmy that it makes the pronouncements of Kathie Lee Gifford sound like Susan Sontag",[22] "silly and mawkish, the kind of gooey schmaltz that wouldn't pass muster in a freshman creative-writing class [...] The masses ate him up with a spoon, while highbrow literary critics roasted him on a spit."[23] She noted that the third concert on his tour had already been canceled because of sluggish ticket sales.[22]
Lyrics & Book & Musical Storyline by Rod McKuen. Music Composed, Arranged & Conducted by Anita Kerr
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Soldiers Who Want To Be Heroes number practically zero
But there are millions who want to be civilians
Soldiers Who Want To Be Heroes number practically zero
But there are millions who want to be civilians
Come and take my eldest son, show him how to shoot a
Wipe his eyes if he starts to cry when the bullets fly.
Give him a rifle, take his hoe, show him a field where
he can go
To lay his body down and die without asking why
Soldiers Who Want To Be Heroes number practically zero
But there are millions who want to be civilians
Soldiers Who Want To Be Heroes number practically zero
But there are millions who want to be civilians
Sticks and stones can break your bones; even names can
hurt you
But the thing that hurts the most is when a man deserts
Don’t you think its time to weed the leaders that no
longer lead
From the people of the land who’d like to see their
sons again?
Soldiers Who Want To Be Heroes number practically zero
But there are millions who want to be civilians
Soldiers Who Want To Be Heroes number practically zero
But there are millions who want to be civilians
God if men could only see the lessons taught by history
That all the singers of this song cannot right a single
wrong
Let all men of good will stay in the fields they have
to till
Feed the mouths they have to fill and cast away their
arms
Soldiers Who Want To Be Heroes number practically zero
But there are millions who want to be civilians
Soldiers Who Want To Be Heroes number practically zero
But there are millions who want to be civilians
Soldiers Who Want To Be Heroes number practically zero
But there are millions who want to be civilians
Soldiers Who Want To Be Heroes number practically zero
But there are millions who want to be civilians
Soldiers Who Want To Be Heroes number practically zero