Shepherd sometimes talked about, or in other ways indicated, what arts and artists he loved
and even hated. What did he “vibrate to?”
MUSIC AND SOUND
He’s known for hating city-folk music and rock and roll. One wonders how much of it he’d heard, especially the later, most sophisticated styles of rock. It’s certainly understandable that he would hate the fad of relentless even rhythm of piano chord-plunking background that nearly covered the sound world of radio for an interminable time–back in the seventies was it? But how could he not vibrate positively to such masterpieces as “Satisfaction,” “Respect,” “Like a Rolling Stone,” “Great Balls of Fire” (surely, in its sound, the most erotic rock song ever!), “Life’s Been Good,” and “Who Put the Bomp”(one of the most playful, funniest songs I’ve ever heard!) Rock and roll expanded into so many sophisticated varieties over the decades, but I never heard Shepherd comment on rock after his early put-downs and his inaccurate prediction of its imminent demise. (His good friend in his last years says that they talked about rock and roll–but what did they say about it?)
We know he loved classical music, opera, and modernist jazz–and jazz was an essential part of his professional life as announcer, commentator, emcee, etc. And, of course, his style of talk flowed with the rhythms and style of jazz.
He turned many listeners (myself included) on to Django Reinhardt, whose two-finger style (necessitated by an old injury) had a lovely, lilting effect. I do believe that a major force in the great sound his group produced was his jazz violinist Stéphane Grappelli.
He much-enjoyed, for its cuckoo-ness, Paul Blackman’s “one-man-band.” He frequently played various Dixieland jazz pieces by various groups. (In a book I just read parts of, The Village: A History of Greenwich Village, it comments: “It was no coincidence that a renewal of interest in old-school Dixieland jazz occurred around the same time….Dixieland was big in the Village clubs throughout the 1950s.”) His favorite old jazz piece must surely have been “Boodle-Am Shake” by the Dixieland Jug Blowers. (See my EYF! page 409, the beginning of the final chapter, titled “These Guys Can Play at My Funeral Any Day” for the lyrics to “Boodle-Am Shake.” The book also includes my puny attempt to describe the sound, but one must see http://www.flicklives.com to hear a bit of it.)
He was also fascinated by the myriad sounds that make up the world–and that we hardly notice–such as those of airplanes and train engines.
He hardly had anything to say about visual art that he might have cared for. Picasso, maybe? He palled around with Don Kingman, Shel Silverstein, Leroy Neiman.
Shepherd loved reading, and sometimes discussed and read fine poetry (including haiku–undoubtedly for its precise concision, and the amusing–if not quite fine– Archy and Mehitabel for its sharp and quirky irony and wit),
novels including Moby Dick and Look Homeward, Angel. He once commented that “Nelson Algren is probably as close a–a blood brother as far as philosophical outlook on–on the world…as anybody I know in literature. When I say blood brother, I mean to me. If there is anyone I vibrate to it’s probably Algren.”
Among humorists/comics, he definitely liked Mark Twain, George Ade (sharp and ironic criticism of ordinary people), Paul Rhymer’s “Vic and Sade” (gentle but pointed commentary on small-town mentality), P. G. Wodehouse, S. J. Perelman. He gave an enthusiastic appreciation of Jack Benny on the air.
“Good Artists Borrow, Great Artists Steal”