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Mark Brickley: Music Critic Robert Hilburn Chronicles Career in ‘Cornflakes with John Lennon’
Former Los Angeles Times pop music critic Robert Hilburn’s memoir, Cornflakes with John Lennon and Other Tales from a Rock ′n′ Roll Life, provides rock fans with the ultimate backstage pass.
John Lennon once exclaimed: “Before Elvis, there was nothing!” During rock’s genesis, Hilburn emerged as one of pop music’s most talented writers. His artist profiles and album reviews helped define the genre from the 1960s until after the millennium.
His new book tells the stories of rock’s greatest performers by describing the sound, fury and beauty of their artistry. Like the pop pathway taken by an untested but emerging musician, Hilburn’s early writing success hinged on his drive and intuition.
In 1963, he was married with two children and tired of his predictable public-relations job. His past fixation with Elvis’ rockabilly and country blues had taken a backseat to suburbia’s rhythms. Hilburn certainly had writing “chops.” He had been the editor of his college newspaper at Cal State Northridge and worked as a reporter for the then-Valley News, once interviewing John F. Kennedy during his presidential race.
But it wasn’t until after he saw The Beatles perform on the “Ed Sullivan Show” and heard Bob Dylan’s 1964 album The Times They Are A-Changin’ that Hilburn had his intuitive spark. He was suddenly aware that what he wanted to do was write about the “new” harmonies and messages he was hearing.
Through friends, he contacted Los Angeles Times entertainment editor Charles Champlin, hoping to land a freelance rock writing job. He was certainly motivated and felt prepared. But the conversation didn’t break his way. After being twice rebuffed, Hilburn finally told Champlin his childhood story of growing up in central Louisiana listening to the music of Hank Williams.
He recounted that Williams’ 17-year-old son had been playing his dad’s music for nine years. He was excited Hank Jr. would be performing in Los Angeles and wanted to cover the concert for the paper. Champlin relented, saying he liked the angle, giving him his first 500-word story for the Times.
Hilburn’s interest in Johnny Cash led to a story chronicling one of country music’s greatest live concerts, played in its most unlikely setting. After again meeting resistance in the Times’ coat-and-tie culture, Hilburn’s writing instinct would prevail. He was allowed to travel to his first out-of-town assignment, and became the only journalist to accompany and witness Cash’s concert at Folsom Prison.
The album recorded that day would be forged in country music’s history. Hilburn later wrote: “Unlike the 2005 Cash movie, Walk the Line starring Joaquin Phoenix, no inmates rushed the stage that day. Earlier a guard had been held hostage at knifepoint. The warden had warned he would stop the concert if anyone left his chair. Prison guards with shotguns at the ready patrolled the catwalks as Cash took the stage.”
His breakthrough article revolved around an assignment that almost failed to unfold. In 1969, Janis Joplin was arguably the biggest female rock singer. Hilburn learned she would be performing at the Hollywood Bowl and wanted to interview her. He writes: “She stretched her vocal cords to alarming limits. If I could only step inside her world and get a good story, maybe the Times would hire me full time.”
After failing repeatedly to connect by phone, Hilburn arrived at the Bowl just as Joplin’s sound check was ending. He stood outside her dressing room for a half-hour, but Joplin wasn’t seeing visitors. Her manager finally coaxed her to open the door and Hilburn was admitted. He found Joplin in a terrible mood, depressed about the rehearsal. Feeling like an outsider, he watched as she sat on the couch rubbing her eyes. Hilburn finally asked sheepishly: “Is there anything you’d like to talk about?” Staring through him, Joplin replied: “Man, don’t you even have your own questions?”
But Joplin slowly opened up and began talking about her life on tour: “Sure I could take better care of myself, maybe it would add a couple of years to my life. But what the hell? I got into this thing because of something inside me. I’ve got to let loose what’s inside ... it’s a rush!” She asked Hilburn to use that phrase, saying: “That’s a dope term; my friends will get a kick of seeing that in print.”
Hilburn’s profile of Joplin was a hit, and soon after the story appeared he was hired as the Times’ rock critic. Hilburn soberly remembers: “Less than a year later, Janis would be found dead within walking distance of the Bowl’s stage. Her only No. 1 single, a cover of (Kris) Kristofferson’s Me and Bobby McGee, would be released posthumously.”
The book’s eight pages of classic black-and-white rock pictures include the famous backstage shot of Joplin, legs splayed and looking drained after the night’s performance. Her miniskirt is hiked up midthigh as she clutches a bottle of Jack Daniels. Interspersed among the book’s chapters are three short interludes, titled “Road Trip Tales,” “Favorite Rock Quotes” and “Rock & Roll Guest Lists.”
The memoir’s title, one of dozens of behind-the-scenes stories, tells of Lennon’s late-night room-service habits. Hilburn sometimes hung out with Lennon during the ex-Beatle’s “lost weekend” period when Lennon moved to Los Angeles., leaving wife Yoko Ono behind in New York City. After Chinese dinners, they would return to the Beverly Wilshire Hotel. Lennon would always order cornflakes with cream for dessert.
Hilburn writes that Lennon told of growing up in Liverpool during World War II, when finding fresh cream was an impossible dream. Lennon later describes his writing style, stating: “I always wrote songs about myself.” Beatles classics “I’m a Loser,” “Help,” “Nowhere Man” and “In My Life” were all penned by Lennon.
As his writing gained influence, many felt Hilburn had developed the “magic touch.” Music executives believed he had an uncanny ability to discover and break significant new artists. As Hilburn remembers, that wasn’t always the case.
He believed songwriter John Prine was a “can’t-miss artist.” Praising his satirical lyrics and whimsical folk style, Hilburn pitched Prine to industry insiders. He wrote a 2,000-word cover story for Prine’s album debut. Hilburn writes: “Prine’s career stalled when radio stations made up their minds he was a cult artist.” Hilburn learned that he didn’t have a “magic wand,” nor could he could he “predict, much less ordain, stardom.” While Prine settled into a respectable career, Hilburn remained true his vision to describe the music of innovative artists, regardless of their commercial appeal.
Hilburn reveals why he chose to feature certain songwriters, following them throughout their careers, while avoiding others. “Memorable artists help us to explore our emotions, either through their intense originality or by looking bravely at their own deepest fears and grandest dreams. To reach that far inside, artists need to be almost obsessed, and must be tough.” He offers that Joplin, Jimi Hendrix, Jim Morrison, Kurt Cobain and many others “were not tough enough as people to survive.” Hilburn is strongly critical of “star-making,” saying: “The most extreme pretend pop is the ‘Idol’ phenomena.”
The memoir divines Dylan’s songwriting secrets and narrates his “Born Again” era. Elton John is described as a “human computer of rock-and-roll.” Hilburn helped discover and propel the careers of John and, later, U2. He also forged a close relationship with Bruce Springsteen, supporting his brooding Nebraska album while others clamored for a reprise of Springsteen’s hit “Born to Run.” Hilburn’s first book, Springsteen, was published by Rolling Stone Press in 1985.
Rap’s influence is not forgotten. Hilburn recalls the artistry and persona of Ice Cube, the powerful lyrics of N.W.A and inspirations of Chuck D.
Given his 35-year writing career, it is likely the memoir’s dilemma focused on what must be left out. Providing too much content can make rock history blur. Perhaps Hilburn will consider a sequel spotlighting rock’s greatest era: the extraordinary bands of the 1960s and ‘70s. His take on The Grateful Dead and Jefferson Airplane’s Haight-Ashbury sound would be psychedelic frosting on an already rich manuscript.
This remarkable memoir closes with an introspective but hopeful view of rock’s future. U2’s Bono first exclaims: “Rock brought together rhythm for the body, top-line melody for the mind and harmony for the spirit. It’s still the most powerful art form!” Hilburn muses about the influence of the Internet: “I hope the next generation will see that there is romance in what is tangible rather than the invisible, digital things.” He suggests that the future of rock “will belong to young music fans, as it always has.”
This may be true, but veteran fans such as Hilburn — those who stay forever young — keep rock rolling. Dylan’s lyrics say it best: “Ah, but I was so much older then, I’m younger than that now.”
Hilburn writes a monthly column for the Times titled “Backtracking.” It focuses on classic albums and re-releases. He also maintains an online presence with his own Web site.
» Cornflakes with John Lennon and Other Tales From a Rock ′n′ Roll Life
» Rodale Press
» September 2009
» Introduction by Bono
» 280 pages
» $24.99
— Noozhawk contributor Mark Brickley is a freelance writer in Carpinteria.
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» on 12.10.09 @ 02:45 PM
Hey Mark! Thank you very much for a literate, thoughtful review of Robert Hilburn’s “Cornflakes with John Lennon” memoir. Based on what you have digested from the book, it will be a definite purchase for me. Having been a follower of many of the artists acknowledged by Hilburn, I was excited to read your excerpts about his observations of their work and motivations. Please keep up your fine articles. I also enjoyed your historical perspective on the life and times of Michael Jackson, during his most productive years as a very creative contributor to our music scene.
» on 12.11.09 @ 10:45 PM
Thank you for this—such a well-written piece that peaks my interest in a subject I didn’t know would interest me, and reveals Hilburn as an exciting writer to explore in revisiting my own experience with rock. You write a marvelous review, giving just enough to intrigue.
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