561 CHROIVICIESnconcert on the mall. Watt, according tonhis retelling in The Courage of a Conservative,nhad issued a memo statingnthat the July 4, 1983, performances onnthe mall in Washington, DC, be thosenthat “point to the glories of America inna patriotic and inspirational way thatnwill attract the family.” It seems thatnduring the previous year’s event, atnwhich the Grass Roots (a band that inn1982 must have been on about its 12thnrevival tour in an unmemorable career)nplayed, drugs were in evidence. Insteadnof announcing a drug crackdown. Wattnseems to have figured that an appeal tonthe flag would be more satisfactory.nEuphemisms can get you into trouble.nWatt remembers: “Newspapers andnmedia flashed across America then’news’ that I had cancelled The BeachnBoys concert. I had, in fact, done nonsuch thing. I had not used their name,nnor had any reference been made tonthem either directly or indirectly by menor anyone else. I learned later that theynhad not even been booked in the firstnplace.”nFor Watt it was a fiasco, made worsenby the appearance of Wayne Newtonnas the paragon of family entertainment.nLet’s face it: Las Vegas isn’tnexactly the mecca of family values.nEven in Sodom it had a bad name. Bynthose standards, The Beach Boys werenparagons of apple pie virtue. Theyncouldn’t have bought better publicity.nA few years later, the Boys have addednVegas to their schedule.nThe Beach Boys seem to thrive onnmartyrdom. Why else would they singnbackup vocals for The Fat Boys? Thennthere’s the reaction to David Lee Roth,nperennial bad boy who did a cover ofn”California Cirls” — a version thatndoesn’t smell of Ivory soap. “CalifornianGirls” became a hit, and since ThenBeach Boys seem to be incapable ofnperforming any songs that they didn’tndo 20 years ago. Mike Love now has tonintroduce the song with remarks liken”Now we’ll show you how it’s reallyndone.”nIn 1966, The Who was big on thencharts with “My Generation,” thensong with that nefarious line, “Hope Indie before I get old.” It was all thenmore outrageous then—though we nownlook at it while we cluck our tonguesnknowingly — because 1966 was thenyear that we were singing along withnthe feel-good “Barbara Ann,” “GoodnVibrations,” and “Sloop John B.”nA few years ago. The Who had itsnfarewell tour. Recently, the word wasnout that too high life-styles of nowoldernband members were going tonresult in a return of the quartet. Thengroup was confident that a few appearancesnwould get their creditors off theirndoorsteps. But before the tour wasnrealized, Roger Daltry announced thatnhe was retiring; he observed that henthought it ridiculous for a man whoncould be a grandfather to try to do popnsongs for an audience that consists, fornthe most part, of allowance-clutchingn10-year-olds.nARTnDrake atnthe MorgannThe caption for the drawings of llamasnabove reads (in part): “These sheep arenused by the Spanish to carry their goldnand silver from the mines. . . . Theynare big and strong, and they push intonpeople and make them fall down.” Thisnfrom the “Drake Manuscript” ornHistoire Naturelle des Indes (ca. 1590)nwhich was on view at the Morgannlast spring. According to Verlynnnni.->nMONTONS DVPERiOVnDaltry is certainly one of the bestnvocalists of my generation; he is, perhaps,nour Tony Bennett. I hope that hencontinues to sing, rather than concentratenentirely on movies, as he hasnthreatened to do. Pete Townshend willnundoubtedly continue to take breaksnfrom his editorial duties in London.nIn any case, Daltry has learnednsomething that Mike Love will nevernfigure out. Surf’s up, Mike. Why don’tnyou hang it up and go try to hang ten?nOne of Gary Vasilash’s earliest lessonsnwas “Be true to your school, just asnyou would to your girl.”n(nKlinkenborg, guest curator of this exhibition,nthese watercolors were creatednby an anonymous painter who may ornmay not have accompanied Sir FrancisnDrake on his voyages to the NewnWorld. (They are somewhat freely rendered;ngiven the common problem ofnmistaking llamas for a kind of sheep,nllamas were often, as here, given hornsnthey don’t possess in nature.) Thenmanuscript was discovered only inn1867 in London and disappeared for ancentury before being bequeathed tonthe Morgan by Clara S. Peck in 1983.n— Shebaz H. Safranin