Sitting On The Rim Of The World- With The Son Of The Neon Wilderness Nelson Algren In Mind-Take Four

 

From The Pen Of Frank Jackman

He wrote of small-voiced people, mostly people who had started out in the world with small voices, small voices which never got louder, never were heard over the rumble of the subway, working stiffs and their women, sometimes their kids, their kids growing up like weeds, who turned out to be disappointments but what could expect more from the progeny of small-voiced people, guys who sat around gin mills all night (maybe all day too I knew a few who inhabited the Dublin Grille in my old hometown of North Adamsville, another town filled with small-voice people). Never wrote, or wrote much, about big-voiced people who tumbled down to the sound of rumble subway stops out their doors, people who fell off the rim of the world from some high place due to their hubris, their addictions, their outrageous wanting habits never sated before the fall (not some edenic fall but just a worldly fall that once it happened the world moved on and ignored). Wrote of the desperately lonely, a man talking to himself on some forsaken park bench the only voice, not a big voice but a voice that had to be reckoned with, of the stuffed cop swaggering his billy club menacingly to him move on, or else, a woman, unhappy in love, hell maybe jilted at the altar, sitting alone like some Apple Annie in that one Ladies Invited tavern on the corner, the one just off Division where she had met that man the first time and meets all men now, all men with the price of a drink, no more. Yeah, a big old world filled with the lonely hearing only their own heartbeats, heard no other heartbeats as they waited out their days. What did Eliot call it, oh yeah, measured out their lives in coffee spoons. Wrote of alienated people too, not the Chicago intellectuals who were forever belly-aching about the de-humanization of man, about how we had built a mechanical world from which we had to run but the common clay, the ones who manned the conveyor belts, ran the damn rumbling subways, shoveled the snow, hell, shoveled shit day and night. Wrote of the night people, of the ones who would show up after midnight in some police precinct line-up, the winos, the jack-rollers, the drifters, the grifters, the midnight sifters, maybe a hooker who had not paid the paddy and thus was subject to the grill. Wrote of the  people who inhabit the Nighthawk Diner (artist Edward Hopper’s all shape angles, all dim lights outside, bright fluorescent no privacy, no hiding lights inside, all the lonely people eating their midnight hamburgers fresh off the greased grill, another grill that forlorn hooker knew well, or Tom Waits’ rummies, bummies, stumblers, street-walkers looking for respect all shadows left behind, take your pick), the restless, the sleepless, the shiftless, those who worked the late shift, those who drew the late shift of life, those who worked better under the cover of night in the dark alleyways and sullen doorways.

He wrote big time, big words, about the small-voiced people, big words for people who spoke in small words, spoke small words about small dreams, or no dreams, spoke only of the moment, the eternal moment. The next fix, how to get it, the next drink, how to get it, the next bet, how to con the barkeeper to put him on the sheet, the next john, how to take him, the next rent due, how to avoid the dun and who after all had time for anything beyond that one moment. Waiting eternally waiting to get well, waiting for the fixer man to walk up the stairs and get you well, well beyond what any doctor could prescript, better than any priest could absolve, to get some kicks. (Needle, whiskey, sex although that was far down the list by the time that needle was needed or that shot of low-shelf whiskey drove you to your need, again.) Waiting for the fixer man, waiting for the fixer man to fix what ailed them. Not for him the small voice pleasant Midwestern farmers providing breadbaskets to the world talking to kindred about prices of wheat and corn, the prosperous small town drugstore owners filling official drug prescriptions and selling the under-aged liquor as medicine or whatever the traffic would bear, or of Miss Millie’s beauty salon where the blue-haired ladies get ready for battle and gossip about how Mister so and so had an affair with Miss so and so from the office and how will Mildred who of course they would never tell do when the whole thing goes public (although one suspects that he could have written that stuff, written and hacked away his talent)who in the pull and push of the writing profession they had (have) their muses. Nor was he inclined to push the air out of the small town banker seeking a bigger voice (calling in checks at a moment’s notice), the newspaper publisher seeking to control the voices or the alderman or his or her equivalent who had their own apparatuses for getting their small voices heard (although again one suspects he could have, if so inclined, shilled for that set). No, he, Nelson Algren, he, to give him a name took dead aim at the refuge of society, the lumpen as he put it in the title of one short story, those sitting on the rim of the world.

And he did good, did good by his art, did good by his honest snarly look at the underside of society, and, damn, by making us think about that quarter turn of fate that separated the prosperous farmer (assuming as we must that he, secretly, was not short-weighting the world), the drugstore owner (assuming as we must that he, secretly, was not dispensing his wares, his potent drugs, out the back door to a craving market) , Miss Millie (assuming as we must that she, secretly, was not running a call girl service on the side), the banker (assuming as we must that he, maybe secretly maybe not, was not gouging rack rents and usurious interest), the newspaper editor (assuming as we must that he, very publicly, in fact was printing all the news fit to print), and the politician (assuming as we must that he, secretly, was not bought and paid for by all of the above, or others) from the denizens of his mean streets. The mean city streets, mainly of Chicago, but that is just detail, just names of streets and sections of town to balance his work where his characters eked out an existence, well, anyway they could, some to turn up face down in some muddy ravine, under some railroad trestle, in some dime flop house, other to sort of amble along in the urban wilderness purgatory.

Brother Algren gave us characters to chew on, plenty of characters, mostly men, mostly desperate (in the very broadest sense of that word), mostly with some jones to work off, mostly with some fixer man in the background to wreak havoc too. He gave us two classics of the seamy side genre, one, the misbegotten Frankie Machine, the man with the golden arm, the man with the chip on his shoulder, the mid-century(20^th century, okay) man ill at ease in his world, ill at ease with the world and looking, looking for some relief, some kicks in that mid-century parlance, and, two, that hungry boy, that denizen of the great white trash night, Dove Linkhorn, who, perhaps more than Frankie spoke to that mid-century angst, spoke to that world gone wrong, for those who had just come up, come up for some place where time stood still to gain succor in the urban swirl, to feast at the table, come up from the back forty lots, the prairie golden harvest wheat fields, the Ozarks, all swamps and ooze, mountain wind hills and hollows, the infested bayous and were ready to howl, howl at the moon to get attention.

I remember reading somewhere, and I have forgotten where now, that someone had noted that Nelson Algren’s writing on Dove Linkhorn’s roots was the most evocative piece on the meaning of the okie–arkie out migration segment of that mid-century America ever written, the tale of the wandering boys, the railroad riders, the jungle camp jumpers, the skid row derelicts. Hell, call it by its right name, the white trash, that lumpen mush. And he or she was right, of course, after I went back and re-read that first section of Walk On The Wild Side where the Linkhorn genealogy back unto the transport ships that brought the first crop of that ilk from thrown out Europe are explored. All the pig thieves, cattle-rustlers, poachers, highwaymen, the -what did some sociologist call them?, oh yeah, “the master-less men,” those who could not or would not be tamed by the on-rushing wheels of free-form capitalism as the system relentlessly picked up steam, the whole damn lot transported. And good riddance.

The population of California after World War II was filled to the brim with such types, the feckless “hot rod” boys, boys mostly too young to have been though the bloodbaths of Europe and Asia building some powerful road machines out of baling wire and not much else, speeding up and down those ocean-flecked highways looking for the heart of Saturday night, looking for kicks just like those Chicago free-flow junkies, those twisted New Orleans whoremasters. Wandering hells angels riding two by two (four by four if they felt like it and who was to stop them) creating havoc for the good citizens of those small towns they descended on, descended on unannounced (and unwelcomed by those same good citizens). In and out of jail, Q, Folsom, not for stealing pigs now, but armed robberies or some egregious felony, but kindred to those lost boys kicked out of Europe long ago. Corner boys, tee-shirted, black leather jacket against cold nights, hanging out with time on their hands and permanent smirks, permanent hurts, permanent hatreds, paid to that Algren observation. All the kindred of the cutthroat world, or better “cut your throat” world, that Dove drifted into was just a microcosm of that small-voiced world.

He spoke of cities, even when his characters came fresh off the farm, abandoned for the bright lights of the city and useless to that short-weighting farmer who now is a prosperous sort, making serious dough as the breadbasket to the world. They, the off-hand hot rod king, the easy hell rider, the shiftless corner boy, had no existence, no outlets for their anger and angst, in small towns and hamlets for their vices, or their virtues, too small, too small for the kicks they were looking for. They needed the anonymous city rooming house, the cold-water flat, the skid- row flop house, the ten- cent beer hall, hell, the railroad jungle, any place where they could just let go with their addictions, their anxieties, and their hunger without having to explain, endlessly explain themselves, always, always a tough task for the small-voiced of this wicked old world. They identified with cities, with city 24/7/365 lights, with Algren’s blessed neon lights, city traffic (of all kinds), squalor, cops on the take, cops not on the take, plebeian entertainments, sweat, a little dried blood, marked veins, reefer madness, swilled drinks, white towers, all night diners (see it always comes back to that lonely, alienated Nighthawk Diner just ask Waits), the early editions (for race results, the number, who got dead that day, the stuff of that world), a true vision of Edward Hopper’s Nighthawk for a candid world.

He spoke of jazz and the blues, as if all the hell in this wicked old world could be held off for a minute while that sound sifted thought the night fog air reaching the rooming house, the flop, the ravine, the beer hall as it drifted out to the river and drowned. Music not upfront but as a backdrop to while the steamy summer nights away, and maybe the frigid lake front winter too. Strangely, or maybe not so strangely, he spoke of a small-voiced white world, residents of white slums and pursuers of white- etched dreams and only stick character blacks but his beat, his writing rhythm made no sense without the heat of Trouble In Mind or that cool blast of Charlie Parker, Miles, Dizzie be-bopping, made absolutely no sense, and so it went.

He spoke of love too. Not big flamed love, big heroes taking big falls for some hopeless romance like in olden times but squeezed love, love squeezed out of a spoon, maybe, but love in all its raw places. A guy turning his woman into a whore to feed his endless habit love, and her into a junkie love. A woman taking her man through cold turkey love. A man letting his woman go love, ditto woman her man when the deal went wrong. When the next best thing came by. Not pretty love all wrapped in a bow, but love nevertheless. And sometimes in this perverse old world the love a man has for a woman when, failing cold turkey, he goes to get the fixer man and that fixer man get his woman well, almost saintly and sacramental. Brothers and sisters just read The Last Carousel if you want to know about love. Hard, hard love. Yah, Nelson Algren knew how to give voice, no holds barred, to the small-voiced people.

In The Age Of “Mad Men”-Paul Newman and Joanne Woodward In John O’Hara’s From The Terrace   

 

 

DVD Review

From The Pen Of Frank Jackman  

From The Terrace, starring Paul Newman, Joanne Woodward, Ina Balin,     

 

Sometimes, and it is the case here with the adaptation of John O’Hara’s saucy melodrama From The Terrace, a film, an older film, can provide a glimpse of what was going on in society at the time for both those who lived through it and those too young to have known about the times first hand. Part of the success of the recently ended series, Mad Men, was that viewers were interested in taking a retro look back at the early 1960s before the big counter-cultural splash tore American society asunder. You know the age of Ike, the age of conformity, and in retrospect the “golden age” of the American worker before the “race to the bottom” hit full stride. From The Terrace covers a lot of that same territory, the part about making it big in America, about making a name for yourself with hard work, ruthlessness, and some chutzpah. Some of that ethos obviously still exists now but the “rewards” for many, like the protagonist of this film, Alfred Eaton (played by Paul Newman) have lost their luster.            

Here is the skinny. In the age of Ike (and you knew you were in the age of Ike with all the guys, the Wall Street guys anyway, wearing soft hats to work and expensive nicely tailored overcoats in inclement weather to boot) there was money and reputation to be made by those men who survived the rigors of World War II (and it was mainly men since women were expected to stay home with the kids in Middle America or as in this film with Mary, Alfred’s initial love interest played by Joanne Woodward , spend their time looking beautiful if from the upper crust) and had a little luck and skill. That was the case with one Alfred Eaton who wanted to get out from under plodding along working his way up in his father’s mill (and his father’s obsession with a dead brother to the exclusion of any human feeling for him). And so he goes out on his own, first with a fellow veteran in an aircraft business then after a fortuitous event a high end job at a big time Wall Street financial firm with nothing to stop him from rising to the top except his own desires. 

Typical Wall Street success story, right? Well yes but remember this is a John O’Hara story. O’Hara cut his teeth on chronicling the lives, read sex lives, of the upper crust in places like Pennsylvania and New York  beginning with his classic Appointment at Samarra so that is not the end of the tale by any means. Of course there has to be a love interest or here more than one. Number one is the classic match-up of the “unapproachable” rich girl of Alfred’s dreams (and entre into high society) whom he is able to seduce and marry. But a guy on the way up has to give up things, mostly time for personal relationships and so Mary gets short shrift. But Mary is a fussy young woman and wants companionship anyway she can get it once it is clear that Alfred is driven by success and not by her bedroom eyes. So she wanders, works her way into a little off-hand adultery. Of course that is a problem, a big problem in publicity conscious 1950s high finance where formally stable marriages are a given. Divorce and known adultery are the kiss of death for the young and ambitious on that high road to success whatever else is involved. So Alfred is a very unhappy man who knows he has made a wrong choice in the wife department.            

And not just in the wife department as the story unfolds since he begins to have a personal crisis of conscience brought on by an attraction to a gal from Podunk (played by Ina Balin) whose wholesomeness and grounded-ness contrasts with Alfred’s whole bloody lifestyle. But our boy gets “religion,” gets it big when he has the brass ring right in his fingers-and just walks away, walks away the “Street” for whatever bucolic life is in store for him. Mary, well, the Marys of the world land on their feet so don’t cry for her. If you want a glimpse at what high society, its mores, and its hypocrisies looked in the 1950s including now seemingly strange ideas about marriage, divorce, ethical standards and just doing the right thing this while not a great story line when the deal goes down since it was not a great O’Hara story but one in a line of many along the same lines will give you an idea.             

Our Lady Of The Hills And Hollows-Jean Ritchie Passes At 92

 

 

 

 

 

Below is a segment from an entry I wrote for the American Folk Music blog discussing the roots of a city boy, me, and my relationship with the hills and hollows of Appalachia with which the late folksinger Jean Ritchie was so closely associated in her music:  

“What has gotten me into this reflective state is thinking about my father's background of coming from the hard-scrabble hills of Kentucky. That, my friends, means coal country, or it did in his time. The names Hazard, near Harlan County (the next county over to be exact) but, more appropriately "bloody Harlan" have, I hope, echoed across this series as a symbol for the hard life of many generations of workers and hard-scrabble tenant farmers who came out of those hills-some place. Some place in Appalachia, that is.

I have mentioned my father and his trials and tribulations, previously, when I did a series on the evolution of my youthful political trajectory from liberalism to socialism.  His hard-bitten, no breaks, no luck life was not a direct influence on that evolution, that is for sure. He was a strong anti-communist, if only of the reflexive kind coming out of that so-called “greatest generation” who survived the Great Depression of the 1930s and then, rifle over one shoulder, fought in the hellish Pacific as a Marine in all their battles there in World War II. But something in the genes and in his character left an imprint. Let me sum up his life's experience this way- the tidbit that he imparted to me early on in life I will always remember and is probably why I am still struggling for our socialist future to this day.

My father was certainly no stranger to hard times as a youth thrown into the coal mines early (or, as it turned out, in his work travails as an adult). My father, perhaps like yours, was a child of the Great Depression of the 1930's, scratching and clawing his way from pillar to post and entered into his manhood as a Marine in combat in World War II. Hard combat in the Pacific, and as anyone who has studied the period will know, where no quarter was given, or taken. Those two facts are important. Why? As a very young kid I asked him why he became a soldier, excuse me, a Marine. Well, the short answer was this- between the two alternatives, starve or fight, he was glad, no more than glad he was ecstatic, to quickly sign up at the Marine recruiting station in order to get out of the hills of Kentucky. And he, moreover, whatever happened later, never looked back.

That, my friends, is why I entitled part of the headline to today's entry- "at one remove". Those hills are in my blood, no question, no question now as much as I might have resisted such feelings before, but also the notion that those terrible choices had to be made by an honest working-class stiff. And that is why today I am in this mood thinking about how desperately we need to get down that socialist road. Pronto. And why I hear Jean Ritchie’s voice singing of her own longings in The Hills of Home, my father’s hills, as I write this, down deep in my own being.”

 

The Sun Sets On The British Empire-Dame Judith Dench’s The Best Exotic Madrigal Hotel

DVD Review

From The Pen Of Frank Jackman

The Best Exotic Madrigal Hotel, starring Dame Judith Dench, Maggie Smith, Dev Patel, 2012  

 

In the days of the Raj, in the days when the British ruled India with an iron fist, a massive naval fleet at the ready, and footloose soldiers of fortune (or rather of no fortune since the eldest son took all the dough and land and left younger brothers to the universities, the clergy, the civil service and the army) no one from the imperial center would have thought to retire to that benighted country. Rather they would spent their youth grabbing whatever they could grab and retire back in the old country in some at least modest splendor. Ah, but times have changed and John Bull has hit upon tough times as the denizens of this witty and thoughtful film demonstrate. Now the average Brit seeing his or her life circumstances at home reduced looked to the new emerging economic engine of the 21^st century the old Raj to make ends meet, or to just get away from the stale life in the home country. 

Of course the setting of this film in the old Raj, and in an old hotel that had seen better days with a cast of wayward elderly ex-patriates and a wacky entrepreneurial Indian allows the director and scriptwriter to investigate all kinds of subjects from multiculturalism to haughty vestiges of the old Empire refracted through new India, ageism, sexual impulses about the older set, adjusting (or not) to a new culture, old school closeted gayness, stale marriages, failed marriages and the aches and pains of growing old wherever you find yourself marooned. Somebody had to tell the story though and that is done through the thoughts of the narrator Mrs. Greensleeves (played by Dame Judith Dench) who had gone off to India to live cheaply since her late husband did not provide enough to keep her going, and to find herself of course. Along the way she does so although not without the usual problems of those who were sheltered from the world by old school marriage when hubby did, or didn’t, take care of everything. She finds herself, her presence helps a husband caught in a horrible and stale marriage find himself (and indirectly that scorned wife as well), helps a lonely old man finds love, helps a lonely old women continuing to hope to find love, and helps the Indian innkeeper to stand up for himself against the old India represented by his old-fashioned mother. All wrapped up in the bow of a hotel that had seen better days, and all relationships filled with if not happy endings at least hope as they fade. A feel good movie with a great ensemble cast well worth a couple of hours of your time.             

Songs To While Away The Class Struggle By- We Want The World And We Want It Now 

 

 

Peter Paul Markin comment September 2014:

A while back, maybe a half a decade ago now, I started a series in this space that I presented under the headline Songs To While Away The Class Struggle By where I posted some songs, you know, The Internationale, Which Side Are You On?, Viva La Quince Brigada, Solidarity Forever and others like Deportee, Where Have All The Flowers Gone, Blowin’ In The Wind, This Land Is Your Land  while not as directly political had their hearts in the right place, that I thought would help get us through the “dog days” of the struggle for our socialist future. Those “dog days” in America anyway, depending on what leftist political perspective drove your imagination could have gone back as far as the late 1960s and early 1970s when all things were possible and the smell of revolution could be whiffed in the air for a while before we were defeated, or maybe later when all abandoned hope for the least bit of social justice in the lean, vicious, downtrodden Reagan years of unblessed memory or later still around the time of the great world- historic defeats of the international working class in East Europe and the former Soviet Union which left us with an unmatched arrogant unipolar imperialist world. That one pole being the United States, the “heart of the beast” from which we work. Whatever your personal benchmark they were nevertheless if you had the least bit of political savvy clearly dog days.        

I began posting these songs at a time, 2009, when it was touch and go whether there would be some kind of massive uprising against the economic royalists (later chastised under the popular sobriquet “the one-percent”) who had just dealt the world a blow to the head through their economic machinations in what is now called the Great Recession of 2008. Subsequently, while there were momentary uprisings, the Arab Spring which got its start in Tunisia and Egypt and enflamed most of the Middle East one way or another, here in America the defensive uprising of the public workers in Wisconsin and later the quick-moving although ephemeral Occupy movement, and the uprisings in Greek, Spain and elsewhere in Europe in response to the “belt-tightening" demanded by international financial institutions to name a few, the response from the American and world working classes has for lots of reasons if anything further entrenched those interests.

So as the “dog days” continue I have resumed the series. I do not vouch for the political thrust of the songs selected; for the most part they are done by pacifists, social democrats, hell, even just plain old ordinary democrats. And, occasionally, a communist, although hard communist musicians have historically been scarce on the ground. Thus, here we have a regular "popular front" on the music scene. While this kind of formation would mean political death for any serious revolutionary upheaval and would not be acceptable for our political prospects, it will suffice for our purposes here.

I like to invite others to make additional comments on certain pivotal songs, groups and artists and here is one by my old friend Josh Breslin, whom I met out in California during the heyday of the summer of love 1967, that reflects those many possibilities to “turn the world upside down” back in the 1960s and early 1970s mentioned earlier before the “night of the long knives” set in:

WE WANT THE WORLD AND WE WANT IT NOW!

From The Pen Of Joshua Lawrence Breslin

My old friend from the summer of love 1967 days, Peter Paul Markin, always used to make a point then of answering, or rather arguing which tells a lot about the kind of guy he was when he got his political hind legs up with anybody who tried to tell him back in the day that “music is the revolution.”  Strangely when I first met him in San Francisco that summer you would have been hard-pressed to tell him that was not the case but after a few hits on the head by the coppers, a tour of duty in the military at the height of the Vietnam War, and what was happening to other political types trying to change the world for the better like the Black Panthers he got “religion,” or at least he got that music as the agency of social change idea out of his head.  Me, well, I was (and am not) as political as Markin so that I neither got drowned in the counter-culture where music was a central cementing act, nor did I  have anything that happened subsequently that would have given me Markin’s epiphany.

I would listen half-attentively (a condition aided by being “stoned” a lot of the time) when such conversations erupted and Markin drilled his position. That position meaning, of course that contrary to the proponents (including many mutual friends who acted out on that idea and got burned by the flame, some dropping out, some going back to academia, some left by the wayside and who are maybe still wandering) that eight or ten Give Peace A Chance, Kumbaya, Woodstock songs would not do the trick, would not change this nasty, brutish, old short-life world into the garden, into some pre-lapsian Eden. Meaning that the gathering of youth nation unto itself out in places like Woodstock, Golden Gate Park, Monterrey, hell, the Boston Common, or even once word trickled down the way the word has always trickled down to the sticks once the next new thing gets a workout, Olde Saco Park, in the town up in Maine where I grew up would not feed on itself and grow to such a critical mass that the quite nameable enemies of goodness, kindness starting with one Lyndon Johnson and one Richard M. Nixon and working down to the go-fers and hangers-on, and leave us alone would sulk off somewhere, defeated or at least defanged.

Many a night, many a dope-blistered night before some seawall ocean front Pacific Coast campfire I would listen to Markin blast forth against that stuff, against that silliness. As for me, I was too “into the moment,” too into finding weed, hemp, mary jane and too into finding some fetching women to share it with to get caught up in some nebulous ideological struggle. It was only later, after the music died, after rock and roll turned in on itself, turned into some exotic fad of the exiles on Main Street that I began to think through the implications of what Markin, and the guys on the other side, were arguing about.

Now it makes perfect sense that music, or any mere cultural expression standing alone, would be unable to carry enough weight to turn us back to the garden (I won’t use that “pre-lapsarian" again to avoid showing my, and Markin’s, high Roman Catholic up-bringing and muddy what I want to say which is quite secular). I guess that I would err on the side of the “angels” and at least wish that we could have carried the day against the monsters of the American imperium we confronted back in the day. (Although I had a draft deferment due to a serious physical condition, not helped by the “street” dope I was consuming by the way, I supported, and sometimes vehemently and with some sense of organization, a lot of the political stuff Markin was knee deep into, especially the Black Panther defense when we lived in Oakland and all hell was raining down on the brothers and sisters.)                  

Thinking about what a big deal was made of such arguments recently (arguments carried deep into the night, deep in smoke dream nights, and sometimes as the blue–pink dawn came rising up to smite our dreams) I thought back to my own musical appreciations. In my jaded youth (if one could be jaded in Podunk Olde Saco, although more than one parent and more than one teacher called me “beatnik” back then whatever that meant to them) I developed an ear for roots music, whether I was conscious of that fact or not. Perhaps it was some off-shoot DNA thing since my people on my mother’s side (nee LeBlanc) were French-Canadian which had a deep folk heritage both up north and here although such music was not played in the house, a house like a lot of other ethnics where in the 1950s everybody wanted to be vanilla American (Markin mentioned that same thing about his Irish-etched parents). So it initially started as a reaction to my parents’ music, the music that got them through the Great Depression of the 1930s and later waiting for other shoe to drop (either in Normandy where my father first went to Europe under some very trying conditions or at home waiting in Olde Saco like my mother), and that became a habit, a wafting through the radio of my childhood home habit. You know who I mean Frank (Sinatra for the heathens), Harry James, the Andrews Sisters, Peggy Lee, Doris Day and the like. Or, maybe, and this is something that I have come closer to believing was the catalyst along with the DNA stuff I already mentioned, my father’s very real roots in the Saturday night mountain barn dance, fiddles blazing, music of his growing up poor down in Appalachia. (Again such music except every once in a while Hank Williams who I didn’t know about at the time was not played in the house either. Too “square” I guess.) 

The origin of my immersion into roots music first centered on the blues, country and city with the likes of Son House(and that raspy, boozy country voice on Death Letter Blues), Skip James ( I went nuts over that voice first heard after he had been “discovered” at the Newport Folk Festival I think in 1963 when he sang I’d Rather Be The Devil Than Be That Woman’s Man on the radio after I had just broken up with some devil woman, read girl), Mississippi John Hurt (that clear guitar, simple lyrics on Creole Belle), Muddy Waters (yes, Mannish-Boy ), Howlin’ Wolf ( I again went nuts when I heard his righteous Little Red Rooster  although I had heard the Stones version first, a version originally banned on Boston radio if you can believe that ) and Elmore James ( his Dust My Broom version of the old Robert Johnson tune I used to argue was the “beginning” of rock and roll to anybody who would listen). Then early rock and roll, you know the rockabillies and R&B crowd, Elvis (stuff like One Night With You, Jailhouse Rock and the like before he died in about 1958 or whatever happened to him when he started making stupid movies that mocked his great talent making him look foolish and which various girlfriends of the time forced me to go see at the old Majestic Theater in downtown Olde Saco), Jerry Lee (his High School Confidential, the film song, with him flailing away at the piano in the back of a flat-bed truck blew me away  although the film was a bust, as was the girl I saw it with), Chuck (yeah, when he declared to a candid  world that while we all gave due homage to classical music in school Mister Beethoven and his brethren better move on over with Roll Over Beethoven), Roy (Roy the boy with that big falsetto voice crooning out Running Scared, whoa), Big Joe (and that Shake, Rattle and Roll which I at one point also argued was the “beginning” of rock and roll, okay, I liked to argue those fine points)   and Ike Turner (who I ultimately settled on with his Rocket 88 as that mythical beginning of rock and roll). Then later, with the folk revival of the early 1960’s, the folk music minute before the British invasion took a lot of the air out of that kind of music, especially the protest to high heaven sort, Bob Dylan (even a so-so political guy like me, maybe less than so-so then before all hell broke loose and we had to choose sides loved Blowin’ in the Wind), Dave Von Ronk (and that raspy old voice, although he was not that old then sing Fair And Tender Ladies  one of the first folk songs I remember hearing) Joan Baez (and that long ironed-hair singing that big soprano on those Child ballads), etc.

I am, and have always been a city boy, and an Eastern city boy at that. Meaning rootless or not meaningfully or consciously rooted in any of the niches mentioned above. Nevertheless, over time I have come to appreciate many more forms of roots music than in my youth. Cajun, Tex-Mex, old time dust bowl ballads a la Woody Guthrie, cowboy stuff with the likes of Bob Wills and Milton Brown, Carter Family-etched mountain music (paying final conscious tribute to the mountain DNA in my bones) and so on.

All those genres are easily classified as roots music but I recall one time driving Markin crazy, driving him to closet me with the “music is the revolution” heads he fretfully argued against when I mentioned in passing that The Doors, then in their high holy mantra shamanic phase with The End and When The Music’s Over epitomized roots music. That hurt me to the quick, a momentary hurt then, but thinking about it more recently Markin was totally off base in his remarks.

The Doors are roots music? Well, yes, in the sense that one of the branches of rock and roll derived from early rhythm and blues and in the special case of Jim Morrison, leader of The Doors, the attempt to musically explore the shamanic elements in the Western American Native- American culture that drove the beat of many of his trance-like songs like The End. More than one rock critic, professional rock critic, has argued that on their good nights when the dope and booze were flowing, Morrison was in high trance, and they were fired up The Doors were the best rock and roll band ever created. Those critics will get no argument here, and it is not a far stretch to classify their efforts as in the great American roots tradition.  I argued then and will argue here almost fifty years later when that original statement of mine was more prophetic The Doors put together all the stuff rock critics in one hundred years will be dusting off when they want to examine what it was like when men (and women, think Bonnie Raitt, Wanda Jackson, et. al) played rock and roll, played the people’s music, played to respond to a deep-seeded need of the people before them, for keeps.

So where does Jim Morrison fit in an icon of the 1960s if he was not some new age latter day cultural Lenin/Trotsky. Some icon that Markin could have latched onto.  Jim was part of the trinity, the “J” trinity for the superstitious – Jim Morrison, Janis Joplin, and Jimi Hendrix who lived fast, lived way too fast, and died young, way too young. The slogan of the day (or hour) – “Drugs, sex, and rock and roll.” And we liked that idea however you wanted to mix it up. Then.

Their deaths were part of the price we felt we had to pay if we were going to be free. And be creative. Even the most political among us, including Markin in his higher moments (you figure out what that “higher,” means since you are bright people) felt those cultural winds blowing across the continent and counted those who espoused this alternative vision as part of the chosen. The righteous headed to the “promise land.” Unfortunately those who believed that we could have a far-reaching positive cultural change via music or “dropping out” without a huge societal political change proved to be wrong long ago. But, these were still our people.

Know this as well if you are keeping score. Whatever excesses were committed by our generation and there were many, many made by the generation that came of political and cultural age in the early 1960s, the generation I call the generation of ’68 to signify its important and decisive year internationally, were mainly made out of ignorance and foolishness. Our opponents, exemplified by outlaw big cowboy President Lyndon B. Johnson and one weaselly Richard Milhous Nixon, President of the United States and common criminal, and their minions like J. Edgar Hoover, Mayor Richard Daley and Hubert Humphrey spent every day of their lives as a matter of conscious, deliberate policy raining hell down on the peoples of the world, the minorities in this country, and anyone else who got in their way. Forty plus years of “cultural wars” in revenge by their protégés, hangers-on and now their descendants has been a heavy price to pay for our youthful errors. And Markin would surely endorse this sentiment. Enough.

The Young Women With Long-Ironed Hair- With Joan Baez, Mimi Farina, And Judy Collins In Mind

 

The Young Women With Long-Ironed Hair- With Joan Baez, Mimi Farina, And Judy Collins In Mind

Funny how trends get started, how one person, or a few start something and it seems like the whole world follows, or the part of the world that hears about the new dispensation anyway, the part you want to connect with. That new dispensation for my generation began back in the late 1950s, early 1960s so maybe it was when older guys started to lock-step in gray flannel suits (Mad Men, retro-cool today, okay) and before Jack and Bobby Kennedy put the whammy on the fashion and broke many a haberdasher’s heart topped off by a soft felt hat. It would be deep into the 1960s before open-necks and colors other than white for shirts worked in but by then a lot of us were strictly denims and flannel shirts or some such non-suit combination. Maybe it was when one kid goofing off threw a hard plastic circle thing around his or her waist and every kid from Portland, Maine to Portland, Oregon had to have one, to be tossed aside in some dank corner of the garage after a few weeks when everybody got into yo-yos or Davey Crockett coonskin caps. Or maybe, and this might be closer to the herd instinct truth, it was after Elvis exploded onto the scene and every guy from twelve to two hundred in the world had to, whether they looked right with it or not, wear their sideburns just a little longer, even if they were kind of wispy and girls laughed at you for trying to out-king the “king” who they were waiting for not you.  

But maybe it was, and this is a truth which I can testify to, noting the photograph above, when some girls, probably college girls (now called young women but then still girls no matter how old except mothers or grandmothers, go figure) having seen Joan Baez on the cover of Time (or perhaps her sister Mimi on some Mimi and Richard Farina folk album cover)got out the ironing board at home or in her dorm and tried to iron their own hair whatever condition it was in, curly, twisty, flippy, whatever  don’t hold me to hairstyles to long and straight strands. (Surely as strong as the folk minute was just then say 1962, 63, 64, they did not see the photo of Joan on some grainy Arise and Sing folk magazine cover the folk scene was too young and small then to cause such a sea-change).

Looking at that photograph now, culled from a calendar put out by the New England Folk Archive Society, made me think back to the time when I believe that I would not go out with a girl (young woman, okay) if she did not have the appropriate “hair,” in other words no bee-hive or flip thing that was the high school rage among the not folk set, actually the social butterfly, cheerleader, motorcycle mama cliques. Which may now explain why I had so few dates in high school and none from Carver High (located about thirty miles south of Boston). But no question you could almost smell the singed hair at times, and every guy I knew liked the style, liked the style if they liked Joan Baez, maybe had some dreamy desire, and that was that.                   

My old friend Sam Lowell, a high school friend who I re-connected with via the “magic” of the Internet a few years ago, told me a funny story when we met at the Sunnyville Grille in Boston one time about our friend Julie Peters who shared our love of folk music back then (and later too as we joined a few others in the folk aficionado world after the heyday of the folk minute got lost in the storm of the British invasion). He had first met her in Harvard Square one night at the Café Blanc when they had their folk night (before every night was folk night at the place when Eric Von Schmidt put the place on the map by writing Joshua Gone Barbados which he sang and which Tom Rush went big with) and they had a coffee together, That night she had her hair kind of, oh he didn’t know what they called it but he thought something like beehive or flip or something which highlighted and enhanced her long face. Sam thought she looked fine. Sam (like myself) was not then hip to the long straight hair thing) and so he kind of let it pass without any comment.

Then one night a few weeks later after they had had a couple of dates she startled him when he picked her up at her dorm at Boston University to go over the Club Blue in the Square to see Dave Van Ronk hold forth in his folk historian gravelly-voiced way. She met him at the door with the mandatory long-stranded hair which frankly made her face even longer. When Sam asked her why the change Julie declared that she could not possibly go to Harvard Square looking like somebody from some suburban high school not after seeing her idol Joan Baez (and later Judy Collins too) with that great long hair which seemed very exotic, very Spanish.

Of course he compounded his troubles by making the  serious mistake of asking if she had it done at the beauty parlor or something and she looked at him with burning hate eyes since no self-respecting folkie college girl would go to such a place where her mother would go, So she joined the crowd, Sam got used to it and after a while she did begin to look like a folkie girl (and started wearing the inevitable peasant blouses instead of those cashmere sweaters or starched shirt things she used to wear).     

By the way let’s be clear on that Julie thing with Sam back the early 1960s. She and Sam went “dutch treat” to see Dave Van Ronk at the Club Blue. Sam and Julie were thus by definition not on a heavy date, neither had been intrigued by the other enough to be more than very good friends after the first few dates but folk music was their bond. Despite persistent Julie BU dorm roommate rumors what with Sam hanging around all the time listening to her albums on the record player they had never been lovers. A few years later she mentioned that Club Blue night to Sam as they waited to see Pete Seeger and Arlo Guthrie with me and my companion, Laura Talbot, to see if he remembered Van Ronk’s performance and while he thought he remembered he was not sure.

He asked Julie, “Was that the night he played that haunting version of Fair and Tender Ladies with Eric Von Schmidt backing him up on the banjo?” Julie had replied yes and that she too had never forgotten that song and how the house which usually had a certain amount of chatter going on even when someone was performing had been dead silent once he started singing.

As for the long-ironed haired women in the photograph their work in that folk minute and later speaks for itself. Joan Baez worked the Bob Dylan anointed “king and queen” of the folkies routine for a while for the time the folk minute lasted. Mimi (now passed on) teamed up with her husband, Richard Farina, who was tragically killed in a motorcycle crash in the mid-1960s, to write and sing some of the most haunting ballads of those new folk time (think Birmingham Sunday). Julie Collins, now coiffured like that mother Julie was beauty parlor running away from and that is okay, still produces beautiful sounds on her concert tours. But everyone should remember, every woman from that time anyway, should remember that burnt hair, and other sorrows, and know exactly who to blame. Yeah, we have the photo.           

 

Out In The 1950s Be-Bop Night- Josh Breslin Comes Of Age- Kind Of

 

From The Pen Of Sam Lowell

 

One night, not late, not late since his time clock had switched over the long years from going to bed at five in the morning to getting up at that hour, Bart Webber, an old friend of Josh Breslin’s out of the blue began thinking about a story that Josh had told him (and others) one night around a campfire out in the California high desert near Joshua Tree the first time they had travelled together along with the late Peter Paul Markin on the long cross-country hitchhike road. That hitchhike road influenced by getting caught up in the tail end of the “king of the beats” Jack Kerouac’s on the road sagas (physically, spiritually and emotionally but don’t use those words around Bart, or Josh for that matter, since you will get nothing but side glance sneers for your efforts) and the first stirring of the yellow brick road “on the bus” mantra put forth by new age guy Ken Kesey and his merry pranksters (also physically, spiritually and emotionally but don’t use those words around Bart, or Josh for that matter, since you will get nothing but side glance sneers for your efforts).

 

Bart had been, as befits an elder of this world, thinking more lately about those youthful days when everything good physically, spiritually and emotionally had seemed in front of them (remember don’t you use those words if you don’t want the Carver or Olde Saco corner boy version of the big chill), and everything seemed possible. Added to this memory lane trip a story that his granddaughter, Amanda, had told him about her much more recent coming of age first date with some young guy in middle school [known to him in his day as junior high but they are both the same hormonally-charged, mind-boggling, heart-breaking institutions not one whit more forgiving today than in his day] that got the floodgates of past time remembrances flowing.

 

Of course, Bart and all the guys who had survived to tell tales had the name Peter Paul Markin uppermost in their minds these days as the fortieth anniversary of his disappearance came on the horizon when they would meet to toss down a few at Jimmy Higgin’s Tavern in Plymouth next to the town where they all grew up, Carver about thirty some miles south of Boston. All had grown up in that town except Josh who hailed from Olde Saco up in Maine, a guy whom Markin had met on his first trip out to the West, met out in San Francisco when Markin was “on the bus,” on Captain Crunch’s converted yellow brick road school bus roaming up and down the coast looking, well, looking for the way out of whatever ailed them (and society for they were very idealistic and naïve as well) and Josh had stopped at the psychedelically-inscribed bus and had asked the first “dude” he ran into [dude a term of usage well before it was made “cool” popular by actor Jeff Bridges] ran into, Markin as it turned out, and asked for some weed [marijuana], the high times symbol of the early part of the 1960s jail break. (Josh’s words had actually been “anybody got any spare dope, a spare joint for a weary traveler, for a seeker of truth.”  Yeah, the times were like that, at least in some minds.) Markin had flipped him a joint, a book of matches, and a high five revolutionary brotherhood handshake greeting popular at the time among the politico brethren, saying “don’t bogart that joint [meaning don’t waste one milligram, no, not one nano-gram a word not in ready useage at the time by correct, of that precious elixir and save anything that could not be reasonably smoked in that joint for the next one that was rolled] and that started a relationship that lasted until Markin fell off the face of the earth in the mid-1970s. Fell off the earth and has still been high holy moaned about to this day. Markin when he had come back to Carver from the West Coast on one of his periodic returns then brought Josh back and that is where they had all met and bonded (the old time working-class ethos of Carver and Olde Saco which they all grew up imbibing being very much the same in both locations). A few months later they all went west together on that same hitchhike road and that trip is where Josh told Bart (and others) around that campfire his coming of age story.

 

In those days Josh slightly older than Markin, Bart and the Carver boys had kept body and soul alive by some free-lance writing for the proliferating alternative journals, newspapers and broadsheets of the time. [It seemed like every week a new paper would rear its head, make some waves, and then either fold or get fused with another paper until in the end they all, except iconic vehicles like Rolling Stone and the Village Voice, went to ground as the writers moved back to the bourgeois press [Josh’s term] or the dwindling readership for such materials told the tale to abandon ship.] He was particularly in demand for a time for his reviews of music, in those day records, small and large, singles and long-playing, and concerts, mostly rock concerts. Of course the only music that the Carver boys were interested in was rock and subsequently when that music made its minute splash, acid-etched rock but Josh as it turned out was very keen on the whole American songbook and later would make a certain reputation on that score. So when, and maybe particularly when he was “on the bus” and high as a kite on bennies or something Josh would be writing a mile a minute.

 

The night that he told Bart his story he had been working on reviewing an album, a retro 1950s rock album compilation which had had in contrast to the more recent flaming artwork that had increasingly inspired acid-etched rock albums a black and white family album-style photograph that graced the cover. That now golden age (ouch!) of rock and roll album glanced by Josh at in some cheapo retro record store in the Fillmore district where there was probably a record store of some type on every corner to meet the demand of the young crowds flowing into that place [its most famous, or infamous street names, Haight-Ashbury evoking even now fond memories of high times among the brethren and rage and rapine among the death-dealers who wanted to have every hippie executed or worse). For the young or the forgetful records were, oh hell, it would be really too hard to explain why we bothered with such an odd-ball way to listen to our music, jesus, on 45 RPMs only one song at a time on each side of the platter [slang for record, okay]. Look it up on Wikipedia like everything else from olden times, ah, that is everything before last week.

 

On this album Josh was talking about the viewer was treated to a photograph of a well-groomed boy and girl, teenagers of course, who else would listen to rock and roll in the be-bop 1950s night. (The “beats,” you know high priest Kerouac, shamanic Ginsberg, demon Burroughs and their crowd who slightly touched the “hippies” were serious Monk/Parker/Gillespie “cool” jazz freaks so those emulating the beats with their berets, black outfits and midnight sunglasses were not who were being pictured in that album but rather perhaps their older brothers and sisters.) They are indeed well-groomed he with a sports jacket, white shirt, tie and black chino pants(probably bought at Robert Hall’s a well-known national clothing chain store that catered to providing cheaper formal goods to the sons of poor and working-class families. The mere mention of that old time name brought laughter from the males who all were very familiar with the ritual of the first sports coat mothers forced on them which were either ill-filling, made of bizarre fabric, or looked like an item only a mother would think was “cool.” Maybe all three.) She with her first party dress, a frilly girly thing and nylons with matching shoes (probably bought at Filene’s or Macy’s but not ill-fitting or anything like that since no self-respecting girl would allow her mother to foist such an item off on her). The young women around the campfire did laugh when Josh brought up the issue of “falsies,” the attempt, the futile and potentially embarrassing attempt if things sagged or fell out to “enhance” their breasts with toilet paper or napkins or some such in their training bras). They, boy and girl, each in their own happiness, awkwardness, sweaty-handed-ness, worried about “b. o.” [body odor], mouth breathe worlds, from the look of the photograph were trying to “connect” by carefully perusing the pile of records that were stacked in front of that vintage RCA record-player (same advice for the clueless on this item as on records-go to Wikipedia asap).        

 

But see just then every parent, every square parent, and they were legion, almost universal, who had just gotten used to the idea that the “beat” manner and style of the older brothers and sisters would not sent the world, their world to hell in a handbasket were fitting themselves up to be tied if they had any sense at all were banning, confiscating, burning, or otherwise destroying every record, 45 RPM or long-playing, that came through the front door with junior and missy. Reason? Said rock ‘n’ roll led to communistic thoughts (turning Junior and Missy into brain-washed zombies of Moscow or Peking [sic] body –snatchers it was never clear which in the days before the big split between the Communist behemoths but probably the nuclear-savvy Soviets  ready to do serious harm to the American way of life without a murmur, without mercy too to hear it told in that red scare Cold War executive the traitor Jewish Rosenbergs and all the heathens too night), youth tribal hanging together (to the exclusion, no, to the denials of the existence of, parents with their transfixed transistor radios glued to their ears, clueless again look at Wikipedia), bad teeth(soon among the middle class and other upwardly mobile types to make some dentists very rich creating Ipana smiled children), acne(never really conquered and always the cutting point in the boy-girl universe), brain-death (from too much television, radio, or just bewildered staring into space, or most dreaded the “s” word, s-x, maybe the most dreaded of all the nightmare scenarios in that pre-“Pill” time with every parent sworn to secrecy by church no matter he denomination and politician no matter the party like the mere mention of the word would wreak havoc on   gentile society. Jesus, no, double Jesus. 

 

Of course Josh Breslin an aspiring writer then saw his “hook,” saw that Rosetta Stone photograph could provide a snapshot of what Josh’s own first date was like. So Josh told those who were around the campfire in the high desert night to think back to their own introductions to rock and roll, leave the world of parents behind and concentrate on the couple in the photo. Call them, the couple, Josh Breslin, and his date, his first date, his first date ever, Julie Dubois, who were just then looking spiffy if uncomfortable for all the reasons mentioned above and were emphatically not shuffling the records for show at the practiced eye whim of some besotted record producer trying to create his or her own “hook” to the nostalgic 1960s crowd looking back those few years to their innocent coming of age times but looking to see if Earth Angel by the Penguins was in the stack to chase away the awkwardness both were feeling on this first date. It turned out that both of them were  crazy about that platter so they were reaching way back in their respective young minds' recesses to come up with every arcane fact they knew about the song, the group, how it was produced, anything to get through that next few moments until the next dance started.

 

Now Josh said he always thought he was cool as kid even in that hellish junior high school night, at least cool when he was dealing with his corner boy boys that hung out in front of Mama Leclerc’s Pizza Parlor on Main Street up in Olde Saco, that’s up in Maine if you don’t remember (but also remember this could have been anywhere USA then in an age before mall rats when every guy who was not a loser had his boys to protect him, but mainly to hang out on those tough girl-less, dough-less, car-less nights when other guys in the same boat provided an audience for dreams, for thoughts of the great jail-break from whatever the town did not provide). That Mama’s pizza parlor on that corner was by tradition then given over to a new crop of guys once the previous junior high hangers-outers moved up to Johnny’ Roadside Diner in high school (with girls, guys with cars and a jukebox to die for to tell one and all you had arrived). And now too according to Josh although the place has changed hands several times since then and the cops tend to harass the kids more now since the owners are not happy to have a bunch of wise-ass guys hanging around when young families come in for their give-Ma-a-break pizza night.

 

But this girl thing, pretty or not, and Julie was very pretty, getting Josh worked up or not (actually forget that “or not” part he was worked up, okay) was a lot harder than it looked, once he had exhausted every possible fact about Earth Angel and then had to reach way back in his mind’s recesses again when he tried to do the same for The Clover’s version of Blue Velvet. No sale, Julie didn’t like that one; she smirked, not dreamy enough, meaning more sappy, more for elementary school girls to get all weepy over not for the likes of her to have a guy’s shoulder to rest her face on (she would not give Josh the full explanation until later but that was what she was thinking behind that smirk. Then ditto, naturally, since Josh had felt snubbed trying to almost painfully reach down for what he thought was a surefire girl-winning song when, Julie, seriously trying to hold up her end went on and on about Elvis’ Blue Moon cover. No sale, no way, no dice, too country bumpkin boy sailing under the starry night in some goof movie a girl had asked him to take her to at the Alhambra Theater, said Josh to himself and then to Julie since they had vowed, like some mystical rite of passage passed down from eternal teenager-ness, be candid with each other. (That candor had it limits, its very circumscribed limits, since candor was not a characteristic high on any teen-agers list except that prevailing wisdom deemed it necessary in the boy-girl night to show you have the capacity to show it in the interest of moving things along and in showing you had some gravitas, Jesus, once again.) Finally, Julie’s shuffling through the platters produced The Turban’s When You Dance and things got better. Yes, this was one tough night, one tough first date, first date ever night.

 

After that seemingly futile bout Josh began to think maybe the whole thing was ill-fated from the beginning. Josh’s friend, maybe best friend, at Olde Saco Junior High, Rene Leblanc, was having his fourteenth birthday party, a party that his mother, as mothers will, insisted on being a big deal. Big deal being Rene inviting boys and girls, nice boys and girls, dressed in suits (remember sweet mother’s choices), or at least jackets and ties (boys), and party dresses (girls, and remember the big nix on mother’s choices something out of the 1920s Jazz Age or some time like that) and matched-up (one boy, one girl as befitted the times). Josh had said recently to Bart over drinks that he would not have known what Mrs. Leblanc would have made of today’s same-sex arrangements probably would have called out high heaven’s damnation, the Gaullic Roman Church’s damnation against the sins that dare not speak their name. For that matter Josh would have at that time fag-dyke baited the hell out of any such relationship that came through the door just like he did down at Olde Saco Beach when the fags hung out at Billy’s Bad Boy Tavern where the placid gay bikers, not Hell’s Angels-types but limp-wristed motorcycle clubbers, from Quebec would hang in summer.

 

Mrs. Leblanc was clueless that such square get-ups and social arrangements in the be-bop teen night would “cramp” every rocking boy and girl that Rene (or Josh) knew. But the hardest part was that Josh, truth, had never had a boy-girl party date (meaning “petting” might be on the agenda if he played his cards right and did not screw everything up by being too candid) and so therefore had no girl to bring to Rene’s party. And that is where Julie, Rene’s cousin from over in Ocean City, came in. She, as it turned out, had never had a girl-boy date. And since when Mrs. Leblanc with Rene in tow picked Josh up on party night and then went over to Ocean City for Julie, introduced them, and there was no love at first sight clang although she no question pretty but seemed to angelic, too ethereal, Josh figured that this was to be one long, long night.

 

So the couple, the nervous couple, nervous now because the end of the stack was being reached when mercifully Marvin and Johnny’s Cherry Pie came up, both declared thumbs up, both let out a simultaneous spontaneous laugh. And the reason for that spontaneous laugh, as they were both eager to explain in order to have no hurt feelings, was that Josh had asked Julie if she was having a good time and she said, well, yes just before they hit Cherry Pie pay-dirt. Just then Rene came over and shouted over the song being played on the record player, The Moonglow’s Sincerely, “Why don’t you two dance instead of just standing there looking goofy?” And they both laughed again, as they hit the dance floor, this time with no explanations necessary as Julie almost immediately rested her head on that Josh shoulder. The night turned out not so bad after all. The “petting” well Josh even in his drug high “truth is beautiful” phase out in the high desert left his listeners to figure that out for themselves.