Part 1: Mark A. Moore, "Dead Man's Curve" Interview

Mark A. Moore, "Dead Man's Curve" Interview, Part 1

Phil Miglioratti @ Pray For Surf:  Mark, on behalf of the myriad of Jan and Dean fans, I want to thank you for this labor of love. What compelled you to tackle "the rock and roll life of Jan Berry?"

Mark A. Moore: A standalone biography of Jan Berry was my goal from the very beginning. Along the way I got sidetracked into co-producing a musical project, and then into publishing an in-depth sessionography, but a monograph on Jan Berry was always the main goal. It took me more than 20 years to pull it off, not because the project was that big, but simply because I could never give any of these endeavors my full-time attention.

I wanted to tell Jan’s story in detail and in proper context, because falsehoods and misinformation about Jan—and Jan & Dean—have been propagated, ad nauseum, often through willful ignorance, since his 1966 automobile accident. It’s the story of a young rebel who happened to be gifted intellectually, who set an ambitious career path for himself and became a rock ‘n’ roll star at the same time.

PM:  The process you undertook seems daunting. Unpack how you approached the researching, compiling, writing/presenting that led to 511 pages (not to mention 11 pages of Acknowledgements).

MM: When I saw the Jan & Dean film Deadman’s Curve in 1978, the music interested me. From there I sought the 1974 article by Paul Morantz that the film was based on. I wrote a letter to Rolling Stone, and one of their female office employees photocopied the article from the magazine and sent it to me free of charge. That was back when the magazine was published on tabloid-sized newsprint. It took her quite a few pages to get it all. The more I learned, I found the article was more interesting and more accurate than the film.

By 1981, I was further intrigued by Dave Marsh’s legendary liner notes for Jan & Dean’s Anthology LP, which had been released in late ‘71. So that was the foundation. From that point, there was a long dry spell in terms of reliable published information about Jan & Dean. Many of the news articles published about them in the late ‘70s and early ‘80s, when they started touring again, were egregiously inaccurate . . . ranging from nonsense about Jan killing three people in his car accident to his being in a coma for three months or longer afterwards, and similar falsehoods.

From the late ’70s through early ‘90s, Michael Kelly’s cut-and-paste Sunshine Music fanzine offered a bridge for fans with a steady stream of content, including interviews, mostly from Dean Torrence’s perspective. At the same time Surfun, Lori Brown’s official fan club newsletter endorsed by Dean, kept fans informed with concert dates and other information. These were valuable resources I would soon call upon.

By the late 1990s I was a published author and decided I wanted to investigate Jan’s story in more detail. I started asking questions. The first person I interviewed about Jan was Wrecking Crew drummer Hal Blaine, who became my conduit to Jan’s professional inner circle. It quickly became evident that Hal really admired Jan’s pre-accident talents and loved him like a younger brother. Hal put me in touch with P.F. Sloan, who opened many other doors, and it just took off from there. I interviewed scores of people who knew and worked with Jan—Wrecking Crew musicians, producers, managers, recording engineers, friends, family, and other colleagues.

I contacted Jan and his wife Gertie and got them interested in what I wanted to do, and that’s what led to Jan sharing his career archive with me. That was the first big step in acquiring the documentary evidence of Jan’s life and career. Gertie was also instrumental in securing my interview with Arnie Ginsburg. Also, in the early 2000s, surf music aficionado Stephen McParland self-published a two-volume reference set on Jan & Dean that was quite good and helpful.

The more interviews I conducted, the more I was able to cross-reference them against the documentation in Jan’s archive, which included business and legal documents, and medical information, plus original session tape from Jan’s productions at United Recording and Western Recorders in Hollywood. The crown jewels among Jan’s documentation were his surviving original music charts and scores, the actual parts used by the Wrecking Crew to record the original music: brass, woodwinds, strings, guitars, basses, keyboards, drums, and percussion. These surviving artifacts are invaluable and offer concrete evidence of Jan’s intricate music arrangements. One of my next goals is to get Jan’s original charts and scores published for the benefit of interested musicians, and for posterity.

Beyond Jan’s archive, I researched the studio musicians’ union contracts with the help of archivists at AFM Local 47 in Los Angeles. I also conducted a vault/tape box inventory with the kind assistance of staff at EMI-Capitol (inheritors of Jan & Dean’s Screen Gems and Liberty holdings), which at that time was in the process of being taken over by Universal.

I conducted additional research via the National Archives and Library of Congress in Washington, D.C. I also acquired all of Jan’s school transcripts in California, from grade school through junior high, high school, college, and medical school.

So, putting all the evidence together was the challenge. Everything started falling into place, and one of the most helpful aspects was Jan’s father Bill Berry’s hand-written notes chronicling Jan’s post-accident recovery.

PM:  Typically, an author writes a few paragraphs of acknowledgements, some a few pages. You approached this function very differently, more like a narrative of the people who became an integral part of Jan Berry's life. What prompted you to be so thorough in chronicling those who assisted you in writing this book?

MM: Well, it’s an amazing cast of characters, many of them quite well known and famous. I thought it was important to highlight their contributions to my efforts, their interviews with me, but more importantly their connections to Jan, to reveal the depth of the book’s content. The people who knew Jan best, creatively and otherwise, truly liked and admired him, but could also illuminate his flaws. I am grateful that these people took the time to talk with me about Jan while there was still time, because many of them are no longer with us. As a result, a lot of key players in Jan’s story have a voice in this book.

PM:  From the scores of names you acknowledged . . .

Who was the most difficult to track down?

MM: Arnie Ginsburg was not difficult to track down, thanks to Gertie Berry, but he was reluctant to participate at first. I knew going in that he rarely granted interviews, and rarely talked about his time with Jan & Arnie. But the more we spoke he wanted to know why I was interested in the topic, and how I had learned so much about Jan. So, as we talked Arnie became intrigued about my efforts and began sharing stories with me. Arnie’s input, together with Joe Lubin’s, really illuminates the genesis of Jan’s career. Invaluable insight.

Who handed you the most surprising piece of information? 

MM: One of the best moments for me was when recording engineer Bones Howe said, “Jan really did steal the tapes. The folklore is all true about him.” I had barely mentioned the 1964 Screen Gems lawsuit and had not yet explained the documentation I had on it, and Bones knew right off the bat what I was talking about. And beyond that, Bones provides some fascinating insight on working with Jan in the studio. A tremendous contribution to the book.

What was the most memorable conversation?

MM: The most memorable were my telephone conversations with Jan. They were not interviews. I had no need of interviewing Jan, because he had given me tons of documentary evidence—his life story in black and white—to draw from. So, we were just two guys talking, with me asking him questions about the music, and otherwise just trying to learn how to communicate with him. He was very easy going. I was more uptight. I remember one night I called him, and he knew how to work their phone system. He put me on hold for a moment and called Gertie, who was out that night with a friend at a hockey game. Suddenly, Jan came back on and had all three of us on the line. He was like, “Here we go. Let’s talk about this thing!” It’s a great memory. I still have a message Jan left on my answering machine.

The most difficult?

MM: I wouldn’t say difficult, but the late Wrecking Crew drummer Earl Palmer was in a crotchety mood when I interviewed him. In the end he was cordial and helpful but bothered by recent health problems that affected his mood. But he perked right up when I told him I had just finished reading Backbeat, the book about Earl by Tony Scherman. Earl was proud that his career had been chronicled in print. Moreover, his recording sessions with Jan left a lasting impression. Earl told Modern Drummer in the early ‘80s that Jan’s dual-drum productions with Hal Blaine and himself were among the recording sessions Earl was most proud of. High praise for Jan.
 

Were you intimidated by anyone?

MM: I was a little intimidated by Brian Wilson, simply because I knew going in that he is a man of few words in interviews, even when he’s talking about himself or the Beach Boys. So, that was a bit daunting. But Brian quickly confirmed two important points for me: (1) That Jan was a major influence on Brian’s decision to begin using Wrecking Crew musicians for Beach Boys sessions; and (2) After “Surf City,” Brian’s collaborations with Jan resulted from Jan soliciting Brian’s input on works already in progress. So, our conversation was quite rewarding for me, all things considered. Plus, I had other great sources that illuminated Brian’s creative relationship with Jan. I was honored that Brian granted me an interview.

Who gave you an important fact that will change our understanding of Jan’s personality?

MM: I really value Michael Steinberg’s observations about Jan at the beginning of Jan & Dean’s career in 1959. Michael later became a writer, and he provided me with cogent insight on Jan’s personality—how, even as a teenager, people were drawn to Jan, were in awe of him, and wanted to commodify him. Jan’s level of maturity and charisma at that age, and how he treated friends, left a lasting impression on Steinberg. He still thinks about it to this day. And of course, Jan’s reputation only grew from there.

Of an event or chapter in Jan’s history?

MM: Gardener Mitsuru Ondo witnessed Jan’s 1966 car accident at point-blank range on Whittier Drive. When added to the details from the official police report, the description of the accident Ondo provided me in a hand-written letter filled in some crucial details for the first time. Not only did Ondo’s account sync perfectly with the police report, but it also shed light on Jan himself during the moments before impact. Ondo’s account offers clarification to an event that has been shrouded in mystery over the years, and otherwise distorted by longstanding misinformation and myths. And get this . . . Ondo, like Jan, was a member of the 1958 Vagabond class at University High School. Small world, indeed.

Who qualifies as the most interesting to talk with?

MM: I can’t choose just one. That would be impossible. Joe Lubin and Lou Adler are near the top of the list, for the origin story and Jan’s evolution as a songwriter, music arranger, and record producer. Hal Blaine, Bones Howe, Lanky Linstrot, Don Altfeld, Artie Kornfeld, and P.F. Sloan also loom large. Too many other heavyweights to list. Again, what a cast of characters, all of whom were fond of Jan.

Was there a person you wanted to communicate with that was unreachable?

MM: Well, I had the right representative to reach Glen Campbell, but getting through was the problem. It was always something like, “Glen’s on tour, so we’ll set it up when he returns.” But every time I checked back, there was always some reason why Glen was just out of reach. For whatever reason, I could never get past Sandy Brokaw. But that’s just how it is sometimes in this business. It comes with the territory. As my dad used to joke, “You win some, you lose some, and some are rained out” (a sports metaphor). Fortunately, I had other good sources that allowed Glen to have a voice in this project. And I’m glad, because like Hal Blaine, Glen was very fond of Jan.

Anyone you want to acknowledge that does not fit any of these categories?

MM: Jan’s friend, roommate, and fellow medical student Vic Amira is an important voice in the book. Vic hailed from the academic side of Jan’s world, but he also stepped into Jan’s music world when he served as road manager for Jan & Dean in the summer of 1964. That gave Amira a rare dual insight on Jan’s life and career, and on Jan’s relationship with Dean Torrence. And Vic was a close enough friend that he could tell you everything he liked and admired about Jan but also illuminate his flaws. And Vic’s loyalty always remained with Jan.

PM:  Jan’s family was helpful for more than family anecdotes…

How did Berry family life shape Jan? 

MM: Jan was the oldest child resulting from Bill Berry’s second marriage. Jan had an older half-sister, Luana, whose mother (Ester) died in childbirth in 1937. But Jan was the oldest in the large family started by Bill and Clara (Mustad) Berry in 1941. Jan’s father was a brilliant electrical engineer who began his career as a sound engineer with Warner Bros. Pictures. From there he moved to the aircraft industry, where he soon held several high positions with Howard Hughes and the Hughes Aircraft Company. Bill Berry was the program manager for Hughes’s HK-1/H-4 Flying Boat (“Spruce Goose”), the largest airplane ever constructed at that time.

Jan’s paternal grandfather, Hiram Berry, worked in the film industry as a scenic artist and sign painter. He worked for Goldwyn Studios during its heyday and later served as the scenic artist department head at CBS-TV from 1952 to 1959.

On his mother’s side, Jan’s maternal grandfather, Ole Stein Mustad, was a Ph.D., chemical engineer, and multi-linguist.

So, Jan was descended from people who were gifted intellectually and creatively. But beyond that, his father and grandfathers held leadership roles in their fields. In that light, it is not surprising that Jan himself possessed an extremely high intellect, and leadership qualities that were recognized by his teachers as early as grade school and junior high school.

Though Jan became rebellious as a teenager, he also felt strong pressure to live up to the family name—especially as the eldest son.

How did the Berry family support Jan through the seasons/chapters of his life?

MM: Jan’s father was stern and reserved, and showed little emotion, but he was also a kind man and incredibly supportive of his son. He provided the Ampex tape recorder that started everything, and the family converted the garage for Jan’s studio. Context is everything. It was a different time, socially. Kids drank alcohol at Jan’s parties (the parents usually knew each other). And if Jan got stuck at a party out in Pacific Palisades somewhere, with no ride home, he would call his mother in the middle of the night to come get him, and she would go—because she had instructed him to call if he ever found himself in that situation. So, Jan’s parents indulged him to a high degree. They knew he was gifted and gave him significant freedom. But even so, Jan pushed the limits and chafed against his father’s authority. He famously left home and spent time in San Francisco in 1957, with and without Berry family friends. When Jan got into trouble his parents supported him, but they also pushed him to be accountable.

In some ways, Jan got lost in the shuffle among his large family. In those formative years—say, ’56 through ‘58—Horace Altfeld and his wife Anne, the parents of Jan’s friend and songwriting partner Don Altfeld, embraced Jan and treated him like a second son. He found additional love and acceptance with the Altfeld family.

But with his parents’ support it was his music career and the pursuit of higher education (college and medical school) that brought Jan’s full focus to bear on taking accountability and achieving success. The rest is history.

After Jan’s car accident in 1966, his entire family pitched in to help. It was devastating and it affected all of them. Bill Berry became Jan’s conservator, working tirelessly to manage Jan’s financial and legal affairs and to help rekindle his music career. It essentially became a second full-time job for Bill, who by that time had assumed even bigger responsibilities with Hughes Aircraft. It was a frustrating and challenging time for Bill, and a strain on the entire family. It’s an incredible story.

PM: Mark, please connect the dots for us:

How does the The Jan & Dean Record book you published in 2016 relate to the new Dead Man's Curve?

MM: The Jan & Dean Record was a tangent I went on to chronicle Jan’s studio sessions as a songwriter, music arranger, and record producer. The depth of what I wanted to cover was simply too much for a single publication. I felt there was value in providing a large reference work that could be spot-checked through extensive indexes. That book has a Song Index and a General Index to help readers investigate any topic, including biographical details. What I did not count on was the insane price tag of $75.00 the publisher saddled the book with. That defeated the whole purpose. They have since dropped the price to $50.00, which is still too much.

With Dead Man's Curve: The Rock 'n' Roll Life of Jan Berry, I delivered the Jan Berry monograph I always envisioned, incorporating biographical and other elements from The Jan & Dean Record, presented in a standard narrative format, but adding significant additional material for a standalone biography.

The book features 525 pages, 195 images (photos, illustrations & maps), four Appendices, a Bibliography, and Index. At $50.00, it is still way overpriced, but it is beautifully produced. The Kindle (e-book) version is currently priced reasonably at $22.49. It is the best option for those who just want to read the story (and see the images), but the print version remains the best option to experience the photos, illustrations, and maps. For many readers, there is no substitute for holding a conventional book in their hands.

For readers new to the story of Jan Berry and Jan & Dean, I would recommend starting with Dead Man's Curve—the standalone biography. From there, if you have additional interest, you can dive down into the weeds with The Jan & Dean Record.

How can we utilize the official Jan Berry website as a "visual companion" as we read Dead Man's Curve?

MM: For a good portion of my career, I have created detailed maps to accompany works of history. So, it was natural to provide a map interface online as a companion to Dead Man’s Curve. For many readers, it can be difficult to visualize a city like Los Angeles or Hollywood, even if vividly described in the text. When specific locations or buildings are described, it can become even more daunting for readers to orient themselves.

The map interface offers an easy remedy for spatial orientation with three specific cartographic views:

Jan Berry’s Los Angeles — From the West Side to the California College of Medicine.

Jan Berry’s Hollywood — Sunset Boulevard and surroundings, including recording studios and performance venues.

The Drag Race in Dead Man’s Curve — Landmarks on Sunset Boulevard.

Each of these map interfaces features numbered keys with descriptions of landmarks and points of interest. Scroll down and click the “Full Screen” icon at the far right of the control bar below the map. Use the mouse wheel or graphical slider to zoom in and out. Click and hold to pan across the maps.

To view photos of places mentioned in the narrative, navigate to:

Homes, Sites & Buildings Associated with Jan Berry

These images illustrate specific sites and structures with descriptions.

PM: Mark, we will continue this interview with additional installments, but anything you want to add now?

MM: I would like once again to thank and acknowledge Dean Torrence. It has been a long haul. Dean certainly cast a wary eye on my efforts, way back when I first started chronicling Jan’s life and career. Over the years, Dean’s stance on my work has ranged from indifference, to skepticism, to reluctance to contribute, and finally to contributing in a meaningful way. Not that he isn’t still wary. He is, and that’s okay. It’s an understandable byproduct of his 45-year business relationship with Jan. Dean did not have to acknowledge or engage with me in any way . . . but he did. It says a lot about him, and I am more than grateful. Dean Torrence is a legend in his own right and I will always be a fan.

Links:

Mark A. Moore Interview Part 2

Dead Man's Curve from the publisher

Dead Man’s Curve from Amazon

Dead Man's Curve Press Release

Baltimore Post-Examiner interview with Mark A Moore

My "Pray For Surf" Interview with Mark on The Jan a& Dean Record