Showing posts with label be bop nights. Show all posts
Showing posts with label be bop nights. Show all posts

Thursday, December 20, 2012

Out In The Be-Bop 1950s Night- When Beat Was Neat-A Film Clip From The B-Film Classic “High School Confidential”-Phillipa Fallon’s “High School Drag”




From The Search For The Blue-Pink Great American West Night:

“And then... .
the great Western shore, surf’s up, white, white wave-flecked, lapis-lazuli blue-flecked ocean, rust golden-gated, no return, no boat out, land’s end, this is it coast highway, heading down or up now, heading up or down gas stationed, named and unnamed, side road diners, still caboose’d, ravine-edged sleep and beach sleeped, blue-pink American West night.

Yes, but there is more. No child vision but now of full blossom American West night, the San Francisco great American West night, of the be-bop, bop-bop, narrow-stepped, downstairs overflowed music cellar, shared in my time, the time of my time, by “beat” jazz, “hippie’d folk”, and howled poem, but at this minute jazz, high white note-blown, sexed sax-playing godman, unnamed, but like Lester Young’s own child jazz. Smoke-filled, blended meshed smokes of ganja and tobacco (and, maybe, of meshed pipe smokes of hashish and tobacco), ordered whisky-straight up, soon be-sotted, cheap, face-reddened wines, clanking coffee cups that speak of not tonight promise. High sexual intensity under wraps, tightly under wraps, swirls inside its own mad desire, black-dressed she (black dress, black sweater, black stockings, black shoes, black bag, black beret, black sunglasses, ah, sweet color scheme against white Madonna, white, secular Madonna alabaster skin. What do you want to bet black undergarments too, ah, but I am the soul of discretion, your imagination will have to do), promising shades of heat-glanced night. And later, later than night just before the darkest hour dawn, of poems poet’d, of freedom songs free-verse’d, of that sax-charged high white note following out the door, out into the street, out into the eternity lights of the great golden-gated night. I say, can you blame me?”

Leading to this …
High School Drag: Phillipa Fallon [1958]


My old man was a bread stasher all his life.
He never got fat. He wound up with a used car,
a 17 inch screen and arthritis.

Tomorrow is a drag, man.
Tomorrow is a king sized bust.

They cried ‘put down pot,’ ‘don’t think a lot,’ for what?
Time, how much? And what to do with it.

Sleep, man, and you might wake up digging the whole
human race giving itself three days to get out.

Tomorrow is a drag, pops, the future is a flake.

I had a canary who couldn’t sing.
I had a cat who let me share my pad with her.
I bought a dog that killed the cat who ate the canary.
What is truth?

I had an uncle with an ivy league card.
He had a life with a belt in the back.
He had a button-down brain.
Wind up a belt in the mouth with a button-down lip.

We cough blood on this earth.
Now there’s a race for space.
We can cough blood on the moon soon.

Tomorrow’s dragsville, cats.
Tomorrow is a king size drag.

Tool a fast shore, swing with a gassy chick.
Turn on to a thousand joys.
Smile on what happened, or check what’s going to happen,
You’ll miss what’s happening.
Turn your eyes inside and dig the vacuum.

Tomorrow, DRAG.

Phillipa Fallon [1958]
High School Drag
(Welles / Glasser)
MGM 12661

*******
I ain’t saying that High School Confidential and this low budget be-bop B-film’s (although with a solid A on the rock and roll intro with Jerry Lee Lewis sitting at the piano in back of a flat-bed truck flailing, yes, flailing away on his classic rock and roll song, teen angst-busting , teen alienation-busting song, High School Confidential, heralding the hint, just the hint, of a possibility that we of the generation of ’68 might be getting ready for that big jail break we were sitting under some atomic bomb air raid school desk looking for a sign of) “beat” poetess will make you throw away your personally autographed first edition City Lights copy of mad monk om om man Allen Ginsberg’s Howl or even some torn-up paperback copy of Jeanbon (Jack) Kerouac’s Mexico City Blues or even some shotgun version of street gunsel mad poet Gregory Corso’s machine gun sonnets but she was a sister, a sister in the struggle to break out of squaresville, to break out of the void, to break from nine to five, to break from soda fountain giggle girl dreams, to break from seventy-six, count ‘em, forms of teen angst and sixty-six, count ‘em again, forms of teen alienation, to break from same old, same old, to, ah hell, just to break as portrayed by know nothing Hollywood with its angst-less dreams and its alienation-less non-sorrows. So be-bop, be-bop sister, be-bop.

I ain’t, furthermore, saying that everything the sultry sister (1950s sultry don’t touch me just listen tea-head, but what were we to know of that kind of sultry out in Podunk teen land, cashmere sweater, black skirt, maybe devil black stockings not shown, teen boy dreams sultry whatever her message, or even no message but bop) had to say had its head on straight. Or that if we, we meaning those fledgling angst-filled, alienation sorrowed ‘68ers mentioned above, had heard her in some forbidden teenage night club (no liquor allowed, no petting allowed, no, no allowed enforced by burly guys with direct access to parents/priests/teachers/cops/authorities and hence to some mischievous god), a club filled with smoke, cigarette smoke and djinn smoke and weed smoke and maybe hash pipe smoke too although that might have been for more private moments, and maybe too train smoke and dreams, road dreams to see mystic vistas, sitting with some cashmere sweater frill, not quite old enough to do the apparel justice, blonde maybe, red-headed for sure, in ancient landlocked celtic strongholds where some fierce blue-eyed boys stood waiting, holding forth against the squares, against the cubes, against the pentagonals, against the angry young men, against the not angry young men, and ditto women, against the death-dealing old men, against the country club uncertain certainties, against that cold war hot war red scare night, against the break-out blockers as fierce as any New York Giants monster linebacker, that we would have understood half, hell, a quarter of what she said but like some mad dash shaman, oops, shaman-ess, it would have stuck, stuck to be mulled over, stuck for later times and so…be-bop, be-bop sister, be-bop.

And I definitely ain’t saying that even if all she said did have its head on straight that we, we meaning those fledgling ‘68ers mentioned above, had heard her in some forbidden teenage night club, a club filled with smoke, cigarette smoke and djinn smoke and weed smoke and maybe hash pipe smoke too although that might have been for more private moments, and maybe too train smoke and dreams, road dreams to see mystic vistas, sitting with some cashmere sweater frill, not quite old enough to do the apparel justice, blonde maybe, red-headed for sure, in ancient landlocked celtic strongholds where some fierce blue-eyed boys stood waiting, holding forth against the squares, against the cubes, against the pentagonals, against the angry young men, against the not angry young men, and ditto women, against the death-dealing old men, against the country club uncertain certainties, against that cold war hot war red scare night, against the break-out blockers as fierce as any New York Giants monster linebacker, would have dug, yes, dug, in dig beat language dug, exactly what she had to say any more than when our time did come (when we shed teen know nothing-ness, Hollywood know nothing-ness, parent know nothing-ness, cop know nothing-ness, priest know nothing-ness, authorities know nothing-ness), the time when we got our bloody jail break time signal, that we more than echo-listened to om om-antic New Jersey mad monk Allen Ginsberg (tea head, acid head, Buddha head) howl against that evil night, or to Jeanbon (Jack) Kerouac, sweet Lowell mill boy gone sour, sitting in some hell-hole mere florida trailer park (or bungalow, maybe) sweating whiskey and hubris against his children, or to New Jack City Gregory Corso playing the lone ranger against the death night, but it would have stuck, stuck to be mulled over, stuck for later times and so…be-bop, be-bop sister, be-bop.


 

Thursday, May 3, 2012

***Out In The Mist Of Time Of The American Blues Night-“Before The Blues-Volume 3”-A CD Review

Click on the headline to link to a YouTube film clip of Furry Lewis performing his old-time Harry Smith American Folk Anthology-worthy blues classic, Kassie Jones.

CD Review (The basic points made in this review have been used to review the other two volumes in this three volume set)

Before The Blues: The Early American Black Music Scene: Classic Recordings From The 1920s and 1930s, Volume 3, Yazoo Records, 1996

Out of the back of my 1960s teenage bedroom the radio was blaring out a
midnight blues version of Howlin’ Wolf’s How Many More Years complete with harmonica-devouring accompaniment by Wolf himself (a fact, the almost eating part, not visually known to me until much later when I viewed his epic work via YouTube) on the American Blues Hour coming over the airways from sweet home Chicago (sweet home of the modern electric blues that is). Earlier in the program Muddy Waters, prince regent of the electric blues just then, had held forth with his band (made up then, and at various other times, with sidemen like Otis Spann and Junior Wells who would go on to their own blues hall of fame-like careers), with a sizzling version of Mannish Child. Ya, those were the primo hell-bent devil’s music blues days. No question.

Well not quite no question for that show, or for this review. The show had started out with a three card Monte of Dupree’s Blues, first by Lightnin’ Hopkins on electric, Brownie McGhee on acoustic and Willie Walker doing an a cappella version (which is included in this compilation) from out of the mist of blues times, or the depths of the American music night. At least of the stuff that has been recorded. That is important because prior to radio this material was handed down mostly through the oral traditions. That tradition got reflected in the Dupree’s Blues example because although the basic melody and theme were the same throughout the narratives were somewhat different. And that too reflects the blues tradition, and before the blues, the roots of the blues which is what this compilation (and two additional volumes) concentrates on.

The blues, for the most part, was a quintessential black music form as it developed out of the scorched dry plantation fields of the post- Civil War Jim Crow South, out of the moans and groans of the black church Sunday and out of the hard drinking, hard fighting, hard loving, hard partying Saturday night acoustic music (had to, no electricity) night before sobering up for those Sunday church groans. And while it occasionally moved to a respectable dance hall or movie house concert hall (segregated, no questions asked) before the age of radio that is where it developed kind of helter-skelter. This Before The Blues compilation reflects all of those trends from Furry Lewis’s Kassie Jones to Memphis Minnie’s Frisco Town to Texas Alexander’s Levee Camp Moan Blues. So the next time you hear the Stones’ covering Wolf’s Little Red Rooster or Mississippi Fred McDowell’s Got To Move you know where it came from.

***Out In The Mist Of Time Of The American Blues Night-“Before The Blues-Volume 2”-A CD Review

Click on the headline to link to a YouTube film clip of the Memphis Jug Band performing their old-time blues classic Harry Smith Anthology-worthy, K.C. Moan.

CD Review (The basic points made in this review have been used to review the other two volumes in this three volume set)

Before The Blues: The Early American Black Music Scene: Classic Recordings From The 1920s and 1930s, Volume 2, Yazoo Records, 1996

Out of the back of my 1960s teenage bedroom the radio was blaring out a
midnight blues version of Howlin’ Wolf’s How Many More Years complete with harmonica-devouring accompaniment by Wolf himself (a fact, the almost eating part, not visually known to me until much later when I viewed his epic work via YouTube) on the American Blues Hour coming over the airways from sweet home Chicago (sweet home of the modern electric blues that is). Earlier in the program Muddy Waters, prince regent of the electric blues just then, had held forth with his band (made up then, and at various other times, with sidemen like Otis Spann and Junior Wells who would go on to their own blues hall of fame-like careers), with a sizzling version of Mannish Child. Ya, those were the primo hell-bent devil’s music blues days. No question.

Well not quite no question for that show, or for this review. The show had started out with a three card Monte of Dupree’s Blues, first by Lightnin’ Hopkins on electric, Brownie McGhee on acoustic and Willie Walker doing an a cappella version (which is included in this compilation) from out of the mist of blues times, or the depths of the American music night. At least of the stuff that has been recorded. That is important because prior to radio this material was handed down mostly through the oral traditions. That tradition got reflected in the Dupree’s Blues example because although the basic melody and theme were the same throughout the narratives were somewhat different. And that too reflects the blues tradition, and before the blues, the roots of the blues which is what this compilation (and two additional volumes) concentrates on.

The blues, for the most part, was a quintessential black music form as it developed out of the scorched dry plantation fields of the post- Civil War Jim Crow South, out of the moans and groans of the black church Sunday and out of the hard drinking, hard fighting, hard loving, hard partying Saturday night acoustic music (had to, no electricity) night before sobering up for those Sunday church groans. And while it occasionally moved to a respectable dance hall or movie house concert hall (segregated, no questions asked) before the age of radio that is where it developed kind of helter-skelter. This Before The Blues volume 2 compilation reflects all of those trends from the Memphis Jug Band’s K.C. Moan to Blue Lemon Jefferson’s Jack O’Diamond Blues To Golden Harris’ I Lead A Christian Life. So the next time you hear the Stones’ covering Wolf’s Little Red Rooster or Mississippi Fred McDowell’s Got To Move you know where it came from.

***Who Will Fill The 2000s Blues Night Air? - “Give In Kind” –A Guy Davis CD Review

Click on the headline to link to a YouTube film clip of Guy Davis performing Can’t Be Satisfied.

Give In Kind, Guy Davis, Red House Records, 2002

A couple of years ago I spent no little cyberspace “ink” on the question of who would carry on the folk tradition that the folk revival artists of my generation, the generation of ’68, “discovered” back in the day. You know artists like Bob Dylan, Joan Baez, Tom Paxton, Eric Von Schmidt and Dave Van Ronk and others digging into the American song book provided by Harry Smith, the Lomaxes and the Seegers to preserve Woody Guthrie and stuff even further back down to the hills and hollows of Appalachia (I know I am supposed to write hollas but there you have it), down to the southern delta plantation moans, down to backwater Mississippi juke joint groans after a hard Saturday night of love, fights and headaches, and out west, out west where as Thomas Wolfe stated, the states are square to gather in the cowboy and farm traditions found in the great migrations to the coast, west coast of course. I came up with a few candidates like Keb Mo’ and Carol Hemmings then just to make my point.

I am now trying to take that basic point and pose the question here of who will carry out the great American blues night tradition started back in the early part of the 20th century (as least the part we know about from recordings and radio) and which produced great music from Charley Patton, Son House, Skip James, Mississippi John Hurt and the like on through to Muddy Waters, Howlin’ Wolf , Ike Turner, and Taj Majal. That last name mentioned not by accident as the artist under review, Guy Davis, consciously or not, and I think consciously, owns at least a debt of gratitude to Taj for breaking some ground for him in the blues milieu.

Needless to say Brother Davis (Guy, not the late great Reverend Gary, okay) plays a mean guitar as on Good Liquor and Loneliest Road That I Know, can use his vocal abilities to belt out such songs as Six Cold Feet Of Ground and Watch Over Me and get down to that gospel church, Jehovah we are coming root of the blues on God's Unchanging Hand with the best of them. Eric Clapton, Mick and Keith and the rest of the British invasion guys mad to the high heavens for American blues move over a little. Guy Davis is in the house.

***Out In The Mist Of Time Of The American Blues Night-“Before The Blues”-A CD Review

Click on the headline to link to a YouTube film clip of Henry Thomas performing his old-time blues holla classic, Run, Mollie, Run.

CD Review

Before The Blues: The Early American Black Music Scene: Classic Recordings From The 1920s and 1930s, Volume 1, Yazoo Records, 1996

Out of the back of my 1960s teenage bedroom the radio was blaring out a
midnight blues version of Howlin’ Wolf’s How Many More Years complete with harmonica-devouring accompaniment by Wolf himself (a fact, the almost eating part, not visually known to me until much later when I viewed his epic work via YouTube) on the American Blues Hour coming over the airways from sweet home Chicago (sweet home of the modern electric blues that is). Earlier in the program Muddy Waters, prince regent of the electric blues just then, had held forth with his band (made up then, and at various other times, with sidemen like Otis Spann and Junior Wells who would go on to their own blues hall of fame-like careers), with a sizzling version of Mannish Child. Ya, those were the primo hell-bent devil’s music blues days. No question.

Well not quite no question for that show, or for this review. The show had started out with a three card Monte of Dupree’s Blues, first by Lightnin’ Hopkins on electric, Brownie McGhee on acoustic and Willie Walker doing an a cappella version (which is included in this compilation) from out of the mist of blues times, or the depths of the American music night. At least of the stuff that has been recorded. That is important because prior to radio this material was handed down mostly through the oral traditions. That tradition got reflected in the Dupree’s Blues example because although the basic melody and theme were the same throughout the narratives were somewhat different. And that too reflects the blues tradition, and before the blues, the roots of the blues which is what this compilation (and two additional volumes) concentrates on.

The blues, for the most part, was a quintessential black music form as it developed out of the scorched dry plantation fields of the post- Civil War Jim Crow South, out of the moans and groans of the black church Sunday and out of the hard drinking, hard fighting, hard loving, hard partying Saturday night acoustic music (had to, no electricity) night before sobering up for those Sunday church groans. And while it occasionally moved to a respectable dance hall or movie house concert hall (segregated, no questions asked) before the age of radio that is where it developed kind of helter-skelter. This Before The Blues compilation reflects all of those trends from Rube Lacy’s Mississippi Jail House Groan to Mississippi John Hurt’s Stack O’Lee Blues to the Seventh Day Adventist Choir’s On Jordan’s Stormy Banks We Stand. So the next time you hear the Stones’ covering Wolf’s Little Red Rooster or Mississippi Fred McDowell’s Got To Move you know where it came from.

Monday, April 30, 2012

***Once Again-Out In The Be-Bop 1950s Night- The Middle School Dance—Teen Angst, And That Ain’t No Lie

Click on the headline to link to a YouTube film clip of the legendary Lavern Baker performing her classic, Jim Dandy to set the tone of r this sketch.

I have spent tons of time and reams of cyberspace “paper” in my ill-winded old age holding forth (nice, right, much better than pontificating, no question, or worst misty dream memory lane trance muttering ) reviewing the teenage culture of the 1950s and early 1960s, especially the inevitable school dance and the also equally inevitable trauma of the last dance. That event, the last dance that is, was the last chance for even shy boys like me to prove that we were not wallflowers, or worst. The last chance to rise (or fall) in the torrid and relentless pecking order of the social scene at school.

And moreover to prove to that certain she that you were made of some sort of heroic stuff, the stuff of dreams, of her dreams, thank you very much. Moreover, to make use of that social capital you invested in by learning to dance (at one Miss Wyatt’s, on the sly, unknown on the other side town, on frosty Saturday mornings, ah love’s youth), or the “shadow” of learning to dance (don’t blame tyrant Miss Wyatt for born two left feet, or close to it).
The following is one such episode in that old time, eternal saga.

There were two phases to the old school days dance scene, the high school one when we had all learned, or should have learned, the ropes enough not to be too foolish or too out of line on that social occasion, not if we expected to get a tussle from that certain she or he and the middle school one (formerly known as junior high school, and rightly so, but we will use the current usage here on the off chance that someone who only knows the term middle school is reading this). One could draw a sharp distinction between the two based on such factors as age, the more convoluted nature of social relationships, physical and sexual growth, changes in musical taste, attitudes toward life and toward the opposite sex (and, nowadays, same sex) all made them perfectly obvious as two distinct affairs. Except the additional ubiquitous teacher chaperones to guard against all manner of murder and mayhem, or more likely, someone sneaking out for butts, booze or a little off-hand nuzzling (or mercy, all three) at high school dances. Then. I will keep strictly to the “hot” middle school dance scene here.

In a sense the middle school scene is just an earlier version of the high school dance. No, stop, what am I talking about, hell, there is no question that the high school dance was a picnic to detail in comparison. We were light years ahead by then. At the middle school dance we were just wet-behind-the- ears (boy and girls alike, although I think the girls were a little ahead of us, or at least we boys liked the idea that they were).

Here though is what I gathered from a fellow middle school-er, Francis J. Murphy, “Frankie,” my best friend in those tormented years, when he heard that the big school dance was coming up in the spring (of, ouch, 1959) .
He merely went into denial, denial that he could care about such a “bourgeois” event (not his word, what would we know of bourgeois, or working class either, although the latter was what we were, stuff then better left to Mister Karl Marx and associates, but the idea was there). Such a “square” event (his word, although he was probably clueless about what was square and hip in those days) and that he planned to be “out of town” that day. Ya, like he was the President on important business of state.

But here is the funny thing, a few weeks before the big event, as most of his classmates started to get lined up for, and behind the spirit of, this thing he started making noises about being free, maybe, or that he might be able to free up time that day to fit the dance into his schedule. Probably just a snafu of some sort with his appointment secretary previously, I assume. See, here is what he, and every not-nerd, non-dweeb, heck, just breathing young male and female knew, this event would permanently solidify, solidify like stone, the social order of the school, in or out, no questions asked, no prisoners taken. So he too “knew” that signing that world peace treaty that he seemed to be on the verge of signing rather than attend the dance was nothing compared to being in the fight, the furious fight, to gain leverage in the upper echelons of the school pecking order.

All fair enough, all true enough, if only a rather short sketch of the preparations leading up to the preparations, the seemingly endless preparations for the ‘big night.’ A night that included getting into some serious grooming workouts, including procedures not usually included in the daily toilet. Plenty of deodorant, hair oil, and breathe fresheners. Moreover, endless energy used getting worked up about wardrobe, mode of transportation, and other factors that I have addressed elsewhere, and, additionally, factors contingent upon whether you were dated up or stag. All that need not be repeated here.

Damn, whatever physical description I could conger up would be just so much eye wash anyway. The thing could have been held in an airplane hangar and we all could have been wearing paper bags for all we really cared. What mattered, and maybe will always matter, is the hes looking at those certain shes, and visa-versa. The endless, small, meaningful looks (if stag, of course, eyes straight forward if dated up, or else bloody hell) except for those wallflowers who were permanently looking down at the ground (and maybe still are). And that is the real struggle that went on in those events, for the stags.

The struggle against wallflower-dom. The struggle for at least some room in the social standing, even if near the bottom, rather than outcaste-dom. That struggle was as fierce as any class struggle old Karl Marx might have projected. The straight, upfront calculation (and not infrequently miscalculation), the maneuvering, the averting of eyes, the not averting of eyes, the reading of silence signals, the comprehended "no," the gratuitous "yes." Need I go on? I don’t think so, except, if you had the energy, or even if you didn’t, then you dragged yourself to that last dance. And hoped, hoped to high heaven, that it was a slow one.

Ah, memory. The last dance this night was a slow one. And that “cured” for the moment any angst suffered the last several days before the big night. And who did that fateful last dance save? Well that’s simple. Anyone who has been wounded in love’s young battles; anyone who has longed for that he or she to come through the door; anyone that has been on a date that did not work out, been stranded on a date that has not worked out; anyone who has had to submit to being pieced off with car hop drive-in food; anyone who has gotten a “Dear John” letter or its equivalent; anyone who has been jilted by that certain he or she; anyone who has been turned down for that last school dance from that certain he or she that you counted on to make your lame evening; anyone who has waited endlessly for the telephone to ring(now iPhone, etc., okay for the two people from the younger set who may read this)to hear that certain voice; and, especially those hes and she who have shed those midnight tears for youth's lost love. In short, everybody except those few “most popular “types who the rest of us will not shed one tear over, or the nerds who didn’t count (or care) anyway. The last dance song this night: The Dubs on the slow classic (and the one you prayed for to be that last dance) Could This Be Magic.

Saturday, April 7, 2012

***Out In The Be-Bop Night- In The Time Of The High School Hop, Circa 1960

Click on the headline to link to a YouTube film clip of The Cadillacs performing She's So Fine.

Recently I have been in something of 1960s high school remembrance mode, mainly as a result of evaluating the influence of the “beats” (Jack Kerouac, Allen Ginsberg, William S. Burroughs, Gregory Corso, Neal Cassady, not Cassidy, and the usual suspects), on my youthful political (not much), social (a fair amount), and cultural (lots) development, but also as a result of re-watching George Lucas’ American Graffiti, a 1960s coming-of-age film that fits comfortably in my own high school mode. I have reviewed the film itself elsewhere in this space but I wish to make a special point about the high school dance segment of the film (SeeThe Baby-Boomer Birth Of The Search For The Blue-Pink American Western Night- “American Graffiti”-A Film Review, dated September, 8, 2010).

George Lucas’s inclusion of a local high school dance segment in this film was truly inspired. The segment is not central to the action of the film, such as it is, mainly the ins and outs of Friday or Saturday night (and in the summer almost any night except Monday “rest” day) cruising the local strip, the teen strip part, the only part that counted. However , it certainly is calculated to evoke almost universal nostalgia for anyone (meaning almost everyone these days) who has ever had to deal, in one way or another, with the question of this time-honored (if hoary) high school tradition. Each generation probably has its own take on what this experience was (or is) like, but most of the real action was behind the scenes. And in that sense the film caught the three high points. Women (ah, girls) can fill in own blanks in reverse, but here are some of them from a man’s (ah, boy’s) perspective.

First of all stag (but not singly, no way, with the guys, or not at all, although how many and who was always up for grabs, especially on the important “shotgun” question) or on a date (double-date, somebody’s left-out sister, your sister, anything to not be a wallflower, a sickly wallflower among the ‘losers’ to boot, as those dance moments ticked slowly, so slowly by). Many an ungodly hour was spent on that date question mulling over, no, not what you think, who to invite, no that was usually the easy part, but rather getting up enough nerve to make the call to make the invitation. And check this out, on more than one occasion, and I am sure the same was true for you, somehow your intelligence network had failed and it turns out that the certain she, your dreamy certain she, damn, her, had a “steady,” and true blue no way was she going anywhere in public with a not boyfriend. (Although, and on more than one occasion this actually happened , if the “boyfriend” was out of town, “in the service,” (military) or she was just mad at him for one of a possible seven hundred reasons, she might go with you. Just as friends of course.) Usually though, christ, what a waste of time.

Secondly, grooming preparations- I will propose here, in best scientific method form (or at least quasi-scientific form for that is all this tidbit will hold) that there was an inverse relationship to the amount of time that one spent on this work, you know, shower, shave (in those days you had to, if you could), comb always at the ready, a little something for the underarms and some men’s fragrance to give the smell of being the least bit civilized, and the answer to the stag/date question. In this sense the inverse is the extra time spent in order to attract that certain she (remember women just reverse the gender, or today everyone fill in your own preference experience) so when the next goddam dance or mixed social event came up you were dated up with that certain she and you could just throw a little fatal after-shave on and fly out the door.

Oh, by the way, I refuse, I totally refuse to go over the number of time that I cooled my heels while that occasional captured “she” made her grooming preparations, first date or any date, even if it was just to make preparations to go to the drugstore soda fountain. Mercifully, on that score I did not have a sister to scream at or else I might not be writing this screed today, at least this side of a cell block.

Thirdly, the gathering of the dough, the always short of dough problem that plagued our poor working class household and that I noticed did not seem to be any kind of problem in that California suburban valley locale of American Graffiti. Money for exotic appearing (hey, it was California, remember, even the fast food drive-ins had to be retro-fine) double-dip hamburgers (with fries), cherry cokes, for two, for two, my god, plus some gas money, plus, plus, plus, you know a guy has got expenses in this world. The real problem was whether to borrow from parents, or pick up some chattel slave job. Getting it from the parents always came with some awful terms, usually worthy of some international diplomatic accord, and more grief than it was worth, unless I was desperate, or girl-hungry. Oh ya, and you had to hear the obligatory “we do this and that to keep a roof over your head” along with the bucks. You know the drill, I am sure.

And while we are on the subject of parents the inevitable question comes up about what time one should be home by. They say X, and make that loan, that hard-scrabble hideous loan that has more conditions and enforcements than a loan shark, contingent on the observance of a “reasonable” (parent reasonable) hour. I say Y, because in the back of my mind I, if I get lucky (no further discussion necessary, right?) then I need plenty of time and can’t be worried about curfews, or reasonable times. Come to think of it, even fifty years later, I can recall on memory request my plaintive “come on Ma you be reasonable” (and it was always Ma on this one, on this time thing, in our old working class neighborhoods, and maybe yours too. Dad was brought in, if he was brought in at all, at this point in our lives only for the heavy artillery stuff like yes or no on the car or to dole out serious punishment. Enough said).

Once these preparations and battles have been settled then, and here is where American Graffiti is like from a dream, the question of transportation to the dance comes into play. Here I mean a car, and if you’ve read my review of American Graffiti you know I mean a “boss” car. You would have to go to an automobile museum to see such treasures these days. By the way don’t even utter the words public transportation for this occasion or I will think that you grew up in New York City or some such place like that and that you really have not been paying attention after all my paeans to the California endless highways and the search of the elusive blue-pink great American Western night. And cars were central to that exploration, east or west.

In any case, this car-less writer, this foot-sore, shoe leather-beaten, car-less writer, depended, sometimes cynically so, on cultivating friendships with guys who had such “boss” cars, particularly the renowned ’57 Chevy that still makes me quiver at the thought. Needless to say, in expectation at least, of the night’s successes a stop at the local gas station for a fill-up (a couple of bucks and done then) check the oil and water, kick the tires and so on preceded our big entrance at the dance.

Part of the charm of the American Graffiti segment on the local high school dance is, as I have noted previously, once you get indoors it could have been any place U.S.A. (and I am willing to bet any time U.S.A., as well. For this baby-boomer, that particular high school dance scene could have taken place at my high school when I was a student in the early 1960s). From the throwaway crepe paper decorations that festooned the place to the ever-present gym bleachers to the dragooned teacher chaperones to the platform the local band covering the top hits of the day performed on was a perfect replica (a band that if it did not hit it big and breakout from local-ville would go on to greater glory at our future weddings, birthday parties, and other seminally important occasions).

Also perfect replica were the classic boys’ attire for a casual dance, plaid or white sports shirt, chinos, stolid shoes, and short-trimmed hair (no beards, beads, bell-bottoms, its much to early in the decade for that) and for the girls blouses (or maybe sweaters, cashmere, if I recall being in fashion at the time, at least in the colder East), full swirling dresses, and, I think beehive hair-dos. Wow!

Of course, perfect replica as well were the infinite variety of dances (frug, watusi, twist, stroll, etc.) that blessed, no, twice blessed, rock and roll let us do in order to not to have to dance too waltz close. Mercy. And I cannot finish up this part without saying perfect replica “hes” looking at certain “shes” (if stag, of course, eyes straight forward if dated up, or else bloody hell) and also perfect replica wallflowers, as well.

Not filmed in American Graffiti, although a solo slow one highlighted the tensions between Steve and Laurie (Ron Howard and Cindy Williams) but ever present and certainly the subject of some comment in this space was that end of the night dance. I’ll just repeat what I have repeated elsewhere. This last dance was always one of those slow ones that you had to dance close on. And just hope, hope to high heaven, that you didn’t destroy your partner’s shoes and feet. Well, as I have noted before, one does learns a few social skills in this world if for no other reason that to “impress” that certain she (or he for shes, or nowadays, just mix and match your sexual preferences) mentioned above. I did, didn’t you?

And after the dance? Well, I am the soul of discretion, and you should be too. Let’s put it this way. Sometimes I got home earlier than the Ma agreed time, but sometimes, not enough now that I think about it, I saw huge red suns rising up over the blue waters down by the ocean near my old home town. Either way, my friends, worth every blessed minute of anguish, right?

Thursday, April 5, 2012

***Out In The Bust-Up Southern Be-Bop Night- Hank Williams Rides The Lonesome Highway

Click on the headline to link to a YouTube film clip of Hank Williams performing his classic angst song, Cold, Cold Heart

CD Review

Hank Williams: Greatest Hits, 2 CD set, Hank Williams and various back-up combinations, 1991

I have been listening to a local weekend folk, rock and contemporary music interview show here in Boston for years. The format of the show is to interview, in depth, contemporary well-known singers, songwriters and musicians as well as young unknowns looking to make their mark. One of the questions always asked of each interviewee is about formative influences on their musical development. Although I do not believe that I have ever heard what I would consider a country singer interviewed on the show the name Hank Williams has come up as an influence many more times than any other from young and old interviewee alike. When New Age- type musicians and old- time 1960s folk revival minute artists are going on and on about brother Williams you know something is up. And that is exactly the point. He has been a long gone daddy on that long lonesome highway for over fifty years yet those well thought out ballads and ‘jump’ country swing tunes still sound pretty damn good.

Sure that is easy for me to say now. Although I was raised in the North my father was from the South, a hillbilly. This is music that I unconsciously heard at my father’s knee. But such tunes as Cold, Cold Heart and You’re Cheating Heart that he sung to me as a child were his kind of music. It was not until fairly recently that I got the message. His was the collective music memory of his post-World War II red scare night angst and alienation. In any case this greatest hits compilation gives as good a cross section of Hank’s work as you are liable to get with a mix of heart-felt ballads, some crossover tunes and, as seemingly inevitably in greatest hits packages, some novelty songs that could have justly been left out. I would note that not all of the many Williams compilations are equal either technically or musically. Here the technical quality is more than adequate and the producers seen to have put the best back-up band versions of his material that they could find. So stop Honky-Tonking and listening to whippoorwills and get this CD album.

Friday, March 16, 2012

***Out In The Be-Bop 1960s Night- Back From Edge City

Click on the headline to link to a YouTube film clip of the Youngbloods performing the rock classic, Get Together.

Classic Rock : 1969: various artists, Time-Life Music, 1988

Scene: Brought to mind by a the cover art on this CD of a Doors/Youngbloods stripped down, just slightly behind the note, waiting to explode, band getting ready to belt out some serious rock in the heat of the “Generation of ‘68” night once the "high" wears off, a little.

Everybody had a million stories about Captain Crunch (real name, Steven Stein, Columbia Class of 1958). Ya, Captain Crunch the “owner” of the merry prankster, magical mystery tour, yellow brick road bus that you were “on” or “off” from early 1966 to now, the summer of 1969 now. One story, not the story that I am going to tell you but another story, had it that the Captain had gotten the dough for the bus from his "take" in some ghost of Pancho Villa drug deal down Sonora, Mexico way and that when his friend Ken Kesey, the author, outfitted his Further In yellow brick school bus, the Captain decided to do the same. He named his bus, the one that I am sitting in right now The Sphinx. Nice name, right, just like the Captain, except he was a guy everybody went to, and I mean everybody including me, when you needed to try to figure something out. Like how to figure the universe and your place in it, or how to open a can of beans. Everything except how to run the Sphinx, which was strictly Ramrod Ricks’ job and nobody messed with him when the Sphinx was involved.

Oh ya, and except when the name Mustang Sally came up (real name Susan Sharpe, Michigan, 1959) the Captain’s "main squeeze" girlfriend. Except when she wanted to be squeezed by someone else. Then the Captain saw red, or some hot color but that is not what I want to talk about because almost every guy, including me, has had a blind spot for some woman since about the time old-time Adam and Eve were playing house.

So this story is not going to be about dames, or about guys getting hung up hard on them since that is not a subject the Captain handled too well. What he did handle well, and nobody questioned that, was helping you figure your place in the non-girl obsessed universe. And his most famous success, although he might not call it that, was with Jimmy Morse, you know, the lead vocalist for the Blood Brotherhood. And although it didn’t have anything to with girls, women I mean, a woman was involved at the start, Mustang Sally, of course.

Sally had a thing for young musicians so once the Captain organized the bus back in ’66 and Sally was the first who came on board she was always, Captain grinding his teeth, on the look-out for such guys. So down in the desert, the high desert just east of Joshua Tree, she “found” Jimmy living among the rocks with some Indians, some renegade tribal warrior band of Hopis, complete with their own shamanic medicine man.

See, Jimmy knew he had the music down, the beat, the rock beat like a million other guys who came of age with Elvis, Jerry Lee and Chuck in that blazing 1950s be-bop rock night. What he was missing, knew he was missing, knew he wanted to be not missing was that cosmic karma thing that separated you out from some so-so- joe be-bopper. Ya, Jimmy had it bad, star-lust bad. So there he was among the rocks. Sally, and I know this because she told me one night when we talking about past lovers and were cutting up old torches in general, went for Jimmy real quickly. But it was also over really quickly she said, like some fade-out burning ember charcoal thing.

But that is where the Captain took over. The Captain, as much as he hated Sally’s hankerings, was a serious musical guy. Music was hanging over the bus all the time. So while Sally wanted their bodies the Captain wanted their muses, or to be their muse if a guy can be such a thing. So when Jimmy came on the bus, and he stayed for about six months, a time before I got on the bus, the Captain kept pushing him to find his inner spirit. And that inner spirit was found, I guess, through many acid trips. But not just that though. See the Captain kept pushing Jimmy toward that shamanic medicine-man-cure-the-wounded-earth-thing that he had started to get into with the Hopis. So when you see Jimmy whirling dervish, trance-like, evoking strange (strange to us) sounds just remember who “taught” him that.

Saturday, February 18, 2012

***You Don’t Need The Band To Perform The Last Waltz-Do You?

Click on the headline to link to a YouTube film clip of Mark Dinning performing his teen tear-jerker, Teen Angel to set an "appropriate" mood for this post.

The Last Waltz, Indeed

Peter Paul Markin, North Adamsville Class Of 1964, comment:

Note: The term “last waltz” of the title of this piece is used as a simple expression of the truth. The life, or better, half-life of this sketch came about originally through reviewing, a few years ago, a long-running series of “Oldies But Goodies” CDs from the 1950s and early 1960s, the time of my coming of age time. After reviewing ten of these things I found out that the series was even longer, fifteen in all. Rather than turning myself into some local hospital for a cure and the good effects of some oldies twelve-step program to restore my soul health plugged on. Plugged on, plugged on intrepidly, with the full knowledge that such things had their saturation point.

After all how much could one rekindle, endlessly rekindle, memories from a relatively short, if important, part of our lives, even for those of us who lived and died by the songs (or some of the songs) in those treasured compilations. How many times, after all, can one read about wallflowers (their invisibleness and dread of dreads not winding up like them even if it meant casting off friendships with every known nerdish future, doctor, engineer and lawyer in town, sighs (Ahs, and otherwise), certain shes (or hes for shes) the real point of reviewing any such compilations, the crepe paper-etched moonlight glow on high school dance night (if there was any) and hanging around to the bitter end for that last dance of the night to prove... what. Bastante! Enough!

Or so I thought until my old friend, my old mad monk, merry prankster, stone freak, summer of love (1967 version) compadre from Olde Saco up in Maine, Josh Breslin. Yes, that Josh Breslin, or rather Joshua Lawrence Breslin for those who have read his by-line over the years in half the unread radical chic or alterative vision publications in this country, called me up in a frenzy just after I had finally completed the last damn review. And as usual when he calls up in the dead of night it was “girl” trouble, if that is the appropriate way to say it for sixty-somethings.

His frenzied three in the morning problem? Josh’s Old Saco High School Class of 1967 was going to have its fortieth reunion, and through the now weathered Mainiac grapevine he found out that some middle school (then junior high) sweetheart, Lucy Dubois (Olde Saco was, and is a central gathering spot for French-Canadians and French Canadian Americans, including Josh’s old mother, Delores, nee LeBlanc), was going to show and he needed a refresher on the old time tunes. More importantly, he continued on to explain why he, madcap love ‘em and leave Josh in that summer of love 1967, and beyond, including a not forgotten “theft” of my girlfriend at the time, Butterfly Swirl (ya it was that kind of time), still had a “crush” on Ms. Dubois and what was he going to do about it come reunion night. So the following is just a little mood music from Josh’s backward trek.
********
No question that those of us who came of age in the late 1950s and early 1960s were truly children of rock and roll. We were there, whether we appreciated it or not at the time, when the first, sputtering, musical moves away from ballady Broadway show tunes and rhymey Tin Pan Alley pieces hit the radio airwaves. (If you do not know what a radio is then ask your parents or, ouch, grandparents please. Or look it up on Wikipedia if you are too embarrassed to not know ancient history things. Join the bus.) And, most importantly, we were there when the music moved away from any and all music that one’s parents might have approved of, or maybe, even liked, or, hopefully, at least left you alone to play in peace up in your room when rock and roll hit post- World War II America teenagers like, well, like an atomic bomb.

Not all of the material put forth was good, nor was all of it destined to be playable forty or fifty years later on some “greatest hits” compilation like the ones Peter Paul has been satanically reviewing but some of songs had enough chordal energy, lyrical sense, and sheer danceability to make any Jack or Jill jump then, or now. And, here is the good part, especially for painfully shy guys like me, or those who, like me as well, had two left feet on the dance floor. Just don’t tell Lucy that, okay. You didn’t need to dance toe to toe, close to close, with that certain she (or he for shes). Just be alive…uh, hip to the music. Otherwise you might become the dreaded wallflower. I had to drop more guys from the old neighborhood over on Albemarle, the projects, who later made good just because I didn’t want the guilt by association wallflower nerd label tagged around my neck. But that fear, the fear of fears that haunted many a teenage dream then, maybe now too, is a story for another day. Let’s just leave it at this for now. Ah, to be very, very young then was very heaven.

But what about the now seeming mandatory question that Peter Paul made a point of asking in those dimwitted reviews he is so proud of, the inevitable end of the night high school dance (or maybe even middle school) song that I really want to talk about. Or rather about Lucy Dubois’ (I won’t use her married name because she still lives up around Olde Saco and has, many, many family connections around, including a couple of giant economy-sized brothers). The song that you, maybe, waited around all night for just to prove that you were not a wallflower, and more importantly, had the moxie to, mumble-voiced, parched-throated, sweaty-handed, asked a girl to dance (women can relate their own experiences, probably similar).

Here the 1960 Mark Dinning tune Teen Angel fills the bill, or filled Lucy’s bill. Hey, I did really like this one too, especially the soulful, sorrowful timing and voice intonation. Yes, I know, I know the lyrics are, well, not life-enhancing and apparently the Laura or Lorraine who ill-advisedly ran back to that car stuck on the railroad track was none too bright. Not for some cheapjack high school ring that would not survive more than few hand-washings and that, moreover, Lance or Larry had already previously given (and taken back) from half the girls in the school. Yes, I also know, this is one of the slow ones that you had to dance close on. And just hope, hope to high heaven, that you didn’t destroy your partner’s shoes and feet. Well, one learns a few social skills in this world if for no other reason than to “impress” that certain she (or he for shes, or nowadays, just mix and match your preferences). I did, didn’t you?

Well Lucy showed up that class reunion night as expected, as expected as she told me once she heard that I was coming back for the night. Damn, she still held me in thrall. Upon seeing her once again across the room I almost could smell that faint-edged scent, some lilac and dreams, bed sheet dream, scent, that always travelled around with her and drove me (and other guys too, no question) to distraction. And what song did we, Josh Breslin and Lucy Dubois, trot out to on that wintry November reunion night? Come on now, guess.
*************
....and a trip down memory lane.

MARK DINNING lyrics - Teen Angel

(Jean Surrey & Red Surrey)


Teen angel, teen angel, teen angel, ooh, ooh

That fateful night the car was stalled
upon the railroad track
I pulled you out and we were safe
but you went running back

Teen angel, can you hear me
Teen angel, can you see me
Are you somewhere up above
And I am still your own true love

What was it you were looking for
that took your life that night
They said they found my high school ring
clutched in your fingers tight

Teen angel, can you hear me
Teen angel, can you see me
Are you somewhere up above
And I am still your own true love

Just sweet sixteen, and now you're gone
They've taken you away.
I'll never kiss your lips again
They buried you today

Teen angel, can you hear me
Teen angel, can you see me
Are you somewhere up above
And I am still your own true love
Teen angel, teen angel, answer me, please

Friday, February 17, 2012

***Out In the Be-Bop 1950s Night- Josh Learns Love 101 The Hard Way

Click on the headline to link to a YouTube film clip of Chuck Berry performing his rock and roll classic, Maybelline.

CD Review

The Golden Age Of Rock ‘n’ Roll, Volume 10, various artists including Chuck Berry, Ace Records, Ltd., 2002

Scene brought to mind by the photo that graces the cover of this CD: Friday night, maybe Saturday, but probably not because that day is real date night, not girls night out time waster like Friday night. If it is summer- it’s school’s out jail-break out time and by the look of the cherry two-toned pink convertible fully down it is a no rain summer day turn into night. And it could be any night, except definitely not a Saturday date night, because the three vixens, 1950s style vixens okay, sitting side by side in the front seat of that chariot would not be wasting their time on that night girls cruising the Olde Saco beach night but would be busy holding off some sidewalk Lothario, or kind of, half kind of, holding off said mad man, down at the “submarine” races Squaw Rock end of the beach.

Ya, it had to be Friday night because this threesome have just come from Jimmy Jack’s Diner on old Main Street (really Route One but everybody calls it Main Street, well, to be from Main street okay). And right now Jimmy Jack’s, the local teen heaven place of earthly delights (read: boys for girls, girls for boys, whatever), is zero, nothing but a zero because the place is filled with grandpas and grandmas having their weekly thrill minute on Jimmy Jack’s Friday night special platter or touristas looking for some relief from the sand and sun. Squaresville. Try back later when the rubes vacate the premises and the jukebox jumps with the latest from The Coasters, Searchin’, and stuff like that.

So off goes our threesome, kind of hungry, but not the kind of hungry that Jimmy Jack’s can do anything about. And if Jimmy Jack’s had turned into zero then the only other place to be was down at the fringes of Olde Saco Beach. No, not the Squaw Rock end, that’s for later successes, for the midnight ‘til dawn fighting off the lotharios patrol. Right now our damsels- in-distress are headed for Larry’s Loop (everybody, every under twenty-one body and maybe a few older too, knows where that is and if you don’t just ask around and someone will tell you because that’s not the real name of the place. The real name is some rube name, some general from the Civil War or Spanish-American War, or something). The loop is where everything kind of starts out-from the ancient mating rituals (only slightly updated with the advent of the automobile) to the midnight hour doings just mentioned, the fame “submarine races,” to the dark hour “chicken” runs.

Yes, the girls are on the prowl. Oh they have names, Marge, Jo (short for Joann), and Barb (short for, come on now, you know). And they are just average, or just kind of average for looks although they all have plenty of personality but what gives them cachet, gives any just average girl cachet in the Olde Saco scheme of things, hell, maybe everywhere that has enough teenagers to make a difference, is that father-bought boss cherry 1956 two-tone pink convertible. That is their entrée into the loop night. And so plenty of guys, guys with cars and without, especially without are giving them plenty of once overs and making some calculations about where the night might be headed. See, no body goes to the loop, including our three young ladies, without something in mind, something to do with sex if you really couldn’t figure that out and just had to know for sure. Just don’t go there otherwise. It is written in stone. So while strikeouts are not uncommon, not uncommon at all, everybody knows the score.

And that includes one Joshua Lawrence Breslin, fifteen, but who looks older, and who is just now standing dead-ass against Stu Miller’s cherry ’57 fire red Chevy that has all the girls crying for a ride(and getting in line, Stu’s line). Josh is Stu’s “shot-gun” this night (and many others) every since Josh stepped aside and let Stu go full-bore with a local Lolita that Josh was working on.

“Hey, girls looking for me?” Josh yells out as our threesome ritualistically slowly goes by that hell fire Chevy. The car stops and Marge yells back, “Maybe, got any friends?” ‘No, I’m traveling solo tonight,” answered Josh. Now Josh not only looks a little older but is just enough good looking to be sweet candy to this set of girls and so someone, not Marge, yells back, “Come on, maybe you’ll bring us luck.” And so Josh splits from his fire red perch and jumps over into the back seat of the convertible just as Roy Orbison comes over the car radio blasting his cool-hand Ooby Dooby.

And all the while Josh is steaming thoughts that with three chances he is sure, sure as hell, sure as Larry’s Loop hell to get lucky himself, never mind bringing luck.

And that is the funny part, although not for Josh. Somehow having Josh, king of the two-toned pink convertible night in the backseat acted as a deterrent to other guys making a move on the girls. Like maybe he was a younger brother keeping sacred guard overt the harem or something. Or maybe it wasn’t in the cards that night for just kind of ordinary girls to get some Squaw Rock action. But the way they talked among themselves upfront and to him he knew, he knew just as sure as he was born, that they were hungry and so he suggested they go down to Squaw Rock and see what happened. They all agreed in unison.

See though when this carload got there and after a lot of hemming and hawing they couldn’t decide who was going to “be” with Josh (although in his mind his had an idea, a crude, vulgar, but inspired idea to “be” with all three of them). He could see that they were toying with the idea themselves but then just as quickly gave it up when Hank Bowen and his girlfriend showed up a few yards away. No it wasn’t going to work. So our boy Josh learned a serious lesson that night. The next time you see three dames in a boss convertible avert your eyes and be silent, silent as the ocean night.

Saturday, February 11, 2012

***Out In The Be-Bop 1950s Night- The Non-Essential Elvis- A CD Review

Click on the headline to link to a YouTube film clip of Elvis Presley performing the essential That’s When Your Heartache Begins.

The Essential Elvis Presley, Two CD set, Elvis Presley, Sony Music 2007

There are a thousand, thousand ways to package, Elvis Presley the be-bop rock and roll minute king of the 1950s teenage angst night. And for his early work he should be packaged, packaged to eternity. It is the rest of his work that is the problem and hence the problem with this two CD set of what the producers have picked as essential. There are just too many duds, and semi-duds from his later period (the 1960s and 1970s Las Vegas flame-out period). Any essential product has to be top-heavy with 1950s stuff get a nod from me.

From this compilation the obvious classics That’s All Right, Heartbreak Hotel, Blue Suede Shoes, Hound Dog, Don’t Be Cruel, Jailhouse Rock and It’s Now or Never rate a nod. The rest though are strictly a mishmash. And I know from where I speak. Why? Until very, very recently I actually, if you can believe this, did not think much of Brother Presley’s music. And I was (and still am somewhat) nothing but a be-bop rock and roll baby boomer boy who could listen to the stuff all day and night. A while back I got hold of a five CD set of Elvis’ work from the Sun Record days mainly. That’s the Elvis who will live in rock and roll history. Stuff like It’s All Right, Mama, I Forgot To Remember To Forget, Good Rockin’ Tonight, That’s Where Your Heartache Begins, Your Right She’s Left and a ton of others. Ya, the stuff from the days when he was hungry, and we were too. This compilation will not satisfy that hunger.

Tuesday, February 7, 2012

***In Search Of Lost Time- Short Course…

....with apologies to the great early 20th century modernist French writer Marcel Proust whose most famous (and massive) work I am stealing the title from in this little sketch. Apparently I will steal any literary tidbit, from any source and from any time, just to round out some little word trifle of mine. I had also better explain, and explain right now, before some besotted, hare-brained, blue pencil-at-the-ever-ready school of novel deconstruction devotee, probably tragically childhood’d, post-modern literary-type jumps on me I know, and I know damn well, that an alternative translation for the title of Proust's six volume work is Remembrances Of Things Past. But isn't this In Search Of Lost Time a better title for the needs of this space. For wondering where it went and why this or that did or did not occur when we had the chance to do sometime, some big and courageous about it, or just do the right thing. In any case I promise not to go on and on about French pastry at teatime (which, by the way, brother Proust did do, for about sixty pages in the volume Swann’s Way, so there is the trade-off, the short course trade off. Okay?).

*********
As I, clumsily, pick up, or try to pick up some precious dirt to rub between my fingers from the oval in front of the old high school, blessed and beatified, not beat beatified but ancient memory beatified, North Adamsville High, on this bedraggled, prickly frigid, knife-like wind- gusting in my face, not fit for man nor beast, kind of a winter’s day as the shortly-setting sun begins it descent into night, I really do wonder what demons, what cast-out-of-the-inner-sanctums-of-hell demons, have driven me here, here to this worn-out patch of an oval, after so many years of statutory neglect. Not legally culpable neglect, maybe, but memory neglect, proper memory neglect.

Moreover, here I stand picking up dirt from an oval that I have not walked on, much less picked up gravel from, in over forty-five years, although I have logged many a mile around a larger version (I believe) of this oval either practicing during track or cross country season, or, and this may jog demographic brethren reader memory, running the 600 yard dash as part of the old time President’s National Physical Fitness Test. Something out of the Eisenhower red scare, cold war be-bop echo night. Yes, I thought mention of that event might bring ring a bell, a bell of anguish for some, as they puffed and chortled their way to the finish line in their tennis shoes, or whatever knee-busting sneakers we wore in those days, in order to be cool. Maybe even Chuck’s, Chuck Taylor’s black of course. Was the any other color? Kind of like today.

In any case, here I stand, and now you know, or have a pretty good idea where I am. What you do not know, at least do not know yet, is that I am not here, rubbing some funky old town dirt through my fingers on a cold winter’s day just for the joy of it. For raider red oneness, either. Or some such old man’s quirks. Rather, I am here, and you can start calling 911 right now if you like, to evoke, evoke mind you so there is no fooling around about it, the spirit, the long past spirit of days gone by at the high school. The spirit of the time of my time. Probably not since old Tommy Wollaston went looking for a suitable site for his maypole debaucheries, and stumbled on Merrymount has this town seen such a land grab, in a manner of speaking. See, what I am thinking is that some dirt-rubbing, a little kabala-like, or druid-like, or keltic-like, or Navajo-like, or something-like, dirt-rubbing will give me a jump start on this “voyage”.

I will confess to this much , as this seemingly is a confessional age, or, maybe just as a vestige of that hard-crusted, family history-rooted, novena-saying, stations of the cross walking, ceremonial high mass incense-driven, mortal sin-fearing, you’ll-get-your-reward in-the-next-life-so-don’t-expect-it-here, buster, fatalistic Catholic upbringing long abandoned but etched in, no, embedded in, some far recesses of memory that my returning to North Adamsville High School did not just occur by happenstance. A couple of years before my mother, Doris Margaret Markin (nee Riley), Class of 1943, had passed away.

For a good part of her life my mother lived in locations a mere stone's throw from the school. You could, for example, see the back of the school from my grandparents' house on Young Street. As part of the grieving process, I suppose, I felt a need to come back to North Adamsville. To my, and her, roots. In part, at least, for the feel of roots, but also to figure out, or try to figure out for the 584th time, what went wrong in our old, broken down, couldn't catch a break, working poor, North Adamsville family. As part of that attempted figuring out, as I walked up Main Street from Chestnut Street (the site of the old, woe-begotten, seen better days, ram-shackled homestead still, barely, standing guard above part of the Newport Avenue by-pass) and swung down East Street I passed by, intentionally passed by, the old high school. And here I stand, oval-stuck, dirty-handed, bundled up not to well against the day’s winds, or against the fickle, shifting winds of time either, to tell my tale.

Now I will also confess, but without the long strung-out stuff that I threw in above about my Catholic upbringing, that in figuring out why ill winds blew across my family’s fate I was unsuccessful. Why, after all, should the 584th time bring some sense of enlightenment, or of inner peace, when the other five hundred, more or less, did not do so. What this sojourn did do, however, was rekindle, and rekindle strongly, memories of sittings, without number, on the steps of the high school in the old days, in the high school days, and think about the future, if there was going to be a future.

I tried to write this story, or a part of it, a couple of years ago so a little background is in order so the thing makes some sense to others. That now seemingly benighted story, originally simply titled,A Walk Down “Dream” Street, started life by merely asking an equally simple question posed to fellow classmates in the North Adamsville High School Class of 1964 about whether their high school dreams had come true or not, as least for those who had thought about the issue, on the class website. I had “discovered” the site that year after having been pushed and pulled in ways that drove me back to memories, hard, hard-bitten, hard-aching, hard-longing, mist of time, dream memories, of North schoolboy days and of the need to search for my old high school friend and running mate (literally, in track and cross country, as well as “running” around town doing boy high school things, doing the best we could, or trying to), Bill Bradley. I posed the question this way there:

“Today I am interested in the relationship between our youthful dreams and what actually happened in our lives; our dreams of glory out in the big old world that we did not make, and were not asked about making; of success whether of the pot of gold or less tangible, but just as valuable, goods, or better, ideas; of things or conditions, of himalayas, conquered, physically or mentally; of discoveries made, of self or the whole wide world, great or small. Or, perhaps, of just getting by, just putting one foot in the front of the other two days in a row, of keeping one’s head above water under the impact of young life’s woes, of not sinking down further into the human sink; of smaller, pinched, very pinched, existential dreams but dreams nevertheless. I hope, I fervently hope, that they were the former."

Naturally, the question was posed in its particular form, or so it seemed natural at the time for me to pose it that way, because those old, “real”, august, imposing, institutionally imposing, grey granite-quarried (from the Granite City, natch) main entrance steps (in those days serious steps, two steps at a time steps, especially if you missed first bell, flanked by globular orbs and, like some medieval church, gargoyle-like columns up to the second floor, hence “real”) is a place where Bill and I spent a lot of our time, talking of this and that.

Especially in summer night time: hot, sultry, sweaty, steam-drained, no money in pockets, no car to explore the great American teenage night; the be-bop, doo-wop, do doo do doo ,ding dong daddy, real gone daddy, rockin’ daddy, max daddy, let it be me, the night time is the right time, car window-fogged, honk if you love jesus (or whatever activity produced those incessant honks in ignition-turned-off cars), love-tinged, or at least sex-tinged, endless sea, Adamsville Beach night. Do I need to draw you the big picture, I think not.

Or for the faint-hearted, or the merely good, denizens of that great American teenage night a Howard Johnson’s ice cream (make mine cherry vanilla, double scoop, no jimmies, please) or a trip to American Graffiti-like fast food drive-in, hamburger, hold the onions (just in case today is the night), fries and a frappe (I refuse to describe that taste treat at this far remove, look it up on Wikipedia, or one of those info-sites) Southern Artery night. Lost, all irretrievably lost, and no thousand, thousand (thanks, Sam Coleridge), no, no million later, greater experiences can ever replace that. And, add in, non-dated-up, and no possibility of sweet-smelling, soft, bare shoulder-showing summer sun-dressed (or wintry, bundled up, soft-furred, cashmere-bloused, I would not have been choosy), big-haired (hey, do you expect me to remember the name of the hair styles, too?), ruby red-lipped (see, I got the color right), dated-up in sight. So you can see what that “running around town, doing the best we could” of ours, Bill and me, mainly consisted.

Mostly, we spoke of dreams of the future: small, soft, fluttery, airless, flightless, high school kid-sized, working class-sized, North Adamsville -sized, non-world–beater-sized, no weight dreams really, no, that’s not right, they were weighty enough but only until 18 years old , or maybe 21, weighty. A future driven though, and driven hard, by the need to get out from under, to get away from, to put many miles between us and it, crazy family life (the details of which need not detain us here at all, as I now know, and I have some stories to prove it, that condition was epidemic in the old town then, and probably still is). And also of getting out of one-horse, teen life-stealing, soul-cramping, dream-stealing (small or large take your pick on dream size), even breathe-stealing, North Adamsville. Of getting out into the far reaches, as far as desire and dough would carry, of the great wild, wanderlust, cosmic, American day and night hitch-hike if you have too, shoe leather-beating walking if you must, road (or European road, or wherever, Christ, even Revere in a crunch, but mainly putting some miles between).

We spoke, as well, of other dreams then. I do not remember some of the more personal aspects of the content of Bill's dreams. If you want the “skinny” on Bill’s dreams he’s around, ask him. However, a lot of what Bill and I talked about at the time was how we were going to do in the upcoming cross country and track seasons, girls, the desperate need to get away from the family trap, girls, no money in pockets for girls, cars, no money for cars, girls. (Remember those were the days when future expectations, and anguishes, were expressed in days and months, not years.) Of course we dreamed of being world-class runners, as every runner does. Bill went on to have an outstanding high school career. I, on the other hand, was, giving myself much the best of it, a below average runner. So much for some dreams.

And, maybe, on my part, I also expressed some sketchily-drawn utopian social dreams, some fellaheen justice dreams. Oh, you don’t know that word, "fellaheen," perhaps. To have oneness justice for the "wanters" of the world; for the “no got”, not the other kind, the greed-driven kind, want; fear-driven, fear to go left or right or to put two feet in front of you want; for the misjudgment-making from having too little of this world's goods want; for all the cramp-spaced in this great big planet want; for the too many people to a room, one disheveled sink, one stinking toilet want: for the bleary-eyed pee-smelled, dawn bus station paper bag holding all your possessions want; for the two and three decker house no space, asphalted, no green between want; for the reduced to looking through rubbish barrels, or worst, want; for the K-Mart, Wal-mart, Adamsville Square Bargain-Center basement outfitted out of fashion, no fashionsista, no way, want,; for the got to have some Woolworth’s five and dime trinket to make a small brightness want; for the lottery, keno, bingo, bango, mega-bongo waiting for the ship to come in pay-out want; for the whiskey soaked, wine-dabbled, or name your poison, want; for the buddy, can you spare a dime want; for the cop hey you, keeping moving you can’t stay here, want; for the cigarette butt strewn pick-up streets want; for fixing, or fixings, to die want; and, for just plain, ordinary, everyday, non-descript want, the want from whence I, and, maybe, you came.

This is the sing-song of the fellaheen, the life-cycle of the fellaheen, the red masque dance of the fellaheen; the dance of the working, or not so working, poor, the day time dance. The dance that I will dance, at least it looks that way, until I draw my last breathe. For the night time, the "takers", stealth thief, jack-roller, pimp daddy, sweet-dark covering abandoned back alley streets, watch out behind you (and in front too), sweated, be-fogged, lumpen fellaheen night, the no justice wanted or given night, you will have to look to the French writers Genet, Celine, or one of those rough boys, the takers have no need of my breathe, or my tears. I have had my say now, and it was worth standing, as the night devours the sun, at this damn wintry oval to say it, alright.

Monday, February 6, 2012

***Out In The Be-Bop 1960s Night- Back From Edge City

Click on the headline to link to a YouTube film clip of the Youngbloods performing the rock classic, Get Together.

Classic Rock : 1969: various artists, Time-Life Music, 1988


Scene: Brought to mind by a the cover art on this CD of a Doors/Youngbloods stripped down, just slightly behind the note, waiting to explode, band getting ready to belt out some serious rock in the heat of the “Generation of ‘68” night once the "high" wears off, a little.

Everybody had a million stories about Captain Crunch (real name, Steven Stein, Columbia Class of 1958). Ya, Captain Crunch the “owner” of the merry prankster, magical mystery tour, yellow brick road bus that you were “on” or “off” from early 1966 to now, the summer of 1969 now. One story, not the story that I am going to tell you but another story, had it that the Captain had gotten the dough for the bus from his "take" in some ghost of Pancho Villa drug deal down Sonora, Mexico way and that when his friend Ken Kesey, the author, outfitted his Further In, the Captain decided to do the same. He named his bus, the one that I am sitting in right now The Sphinx. Nice name, right, just like the Captain, except he was a guy everybody went to, and I mean everybody including me, when you needed to try to figure something out. Like how to figure the universe and your place in it, or how to open a can of beans. Everything except how to run the Sphinx, which was strictly Ramrod Ricks’ job and nobody messed with him when the Sphinx was involved.

Oh ya, and except when the name Mustang Sally came up (real name Susan Sharpe, Michigan, 1959) the Captain’s "main squeeze" girlfriend. Except when she wanted to be squeezed by someone else. Then the Captain saw red, or some hot color but that is not what I want to talk about because almost every guy, including me, has had a blind spot for some woman since about the time old-time Adam and Eve were playing house.

So this story is not going to be about dames, or about guys getting hung up hard on them since that is not a subject the Captain handled too well. What he did handle well, and nobody questioned that, was helping you figure your place in the non-girl obsessed universe. And his most famous success, although he might not call it that, was with Jimmy Morse, you know, the lead vocalist for the Blood Brotherhood. And although it didn’t have anything to with girls, women I mean, a woman was involved at the start, Mustang Sally, of course.

Sally had a thing for young musicians so once the Captain organized the bus back in ’66 and Sally was the first who came on board she was always, Captain grinding his teeth, on the look-out for such guys. So down in the desert, the high desert just east of Joshua Tree, she “found” Jimmy living among the rocks with some Indians, some renegade tribal warrior band of Hopis, complete with their own shamanic medicine man.

See, Jimmy knew he had the music down, the beat, the rock beat like a million other guys who came of age with Elvis, Jerry Lee and Chuck in that blazing 1950s be-bop rock night. What he was missing, knew he was missing, knew he wanted to be not missing was that cosmic karma thing that separated you out from some so-so- joe be-bopper. Ya, Jimmy had it bad, star-lust bad. So there he was among the rocks. Sally, and I know this because she told me one night when we talking about past lovers and were cutting up old torches in general, went for Jimmy real quickly. But it was also over really quickly she said, like some fade-out burning ember charcoal thing.

But that is where the Captain took over. The Captain, as much as he hated Sally’s hankerings, was a serious musical guy. Music was hanging over the bus all the time. So while Sally wanted their bodies the Captain wanted their muses, or to be their muses if a guy can be such a thing. So when Jimmy came on the bus, and he stayed for about six months, a time before I got on the bus, the Captain kept pushing him to find his inner spirit. And that inner spirit was found, I guess, through many acid trips. But not just that though. See the Captain kept pushing Jimmy toward that shamanic medicine-man-cure-the-wounded-earth-thing that he had started to get into with the Hopis. So when you see Jimmy whirling dervish, trance-like, evoking strange (strange to us) sounds just remember who “taught” him that.

Wednesday, January 11, 2012

***Not Ready For Prime Time AARP Songs- The Beatles' "When I'm Sixty-Four"

Click on the headline to link to a YouTube film clip of the Beatles performing When I'm Sixty-Four from the animated movie Yellow Submarine.

Peter Paul Markin, North Adamsville Class Of 1964 and thus already past sixty-four, comment:

Many of my fellows from the Generation of '68 (a. k. a. baby-boomers) will be, if you can believe this, turning sixty-four this year. So be it.


When I'm Sixty-Four - The Beatles

When I get olded, loosing my hair,
Many years from now
Will you still be sending me the Valentine,
Birthday greetings, bottle of wine

If I stay out till quarter to three
Would you lock the door
Will you still need me, will you still feed me
When I'm sixty-four.

You'll be older too,
And if you say the word I could stay with you.

I could be handy mending a fuse
When your lights have gone
You can knit a sweater by the fireside
Sunday morning go for a ride

Doing the garden, digging the weeds,
Who could ask for more
Will you still need me, will you still feed me
When I'm sixty-four.

Every summer we can rent a cottage in the Isle of Wight,
if it's not too dear
We shall scrimp and save
Grandchildren on your knee
Vera, Chuck & Dave

Send me a postcard, drop me a line
Stating point of view
Indicate precisely what you mean to say
Yours sincerely, wasting away

Give me your answer, fill in a form,
Mine for evermore,
Will you still need me, will you still feed me
When I'm sixty-four.

Beatles, Class of 1964, counterculture, generation of '68, Rock and Roll, The Rolling Stones

88888888888

Ancient dreams, dreamed.

Ya, sometimes, and maybe more than sometimes, a frail, a frill, a twist, a dame, oh hell, let’s cut out the goofy stuff and just call her a woman and be done with it, will tie a guy’s insides up in knots so bad he doesn’t know what is what. Tie up a guy so bad he will go to the chair kind of smiling, okay maybe just half-smiling. Frank (read: future Peter Paul and a million, more or less, other guys) had it bad as a man could have from the minute Ms. Cora walked through the door in her white summer blouse, shorts, and then de rigueur bandana holding back her hair, also white. She may have been just another blonde, very blonde frail serving them off the arm in some seaside hash joint but from second one she was nothing but, well nothing but, a femme fatale. I swear, I swear on seven sealed bibles that I yelled at the screen for him to get the hell out of there at that moment. But do you think he would listen, no not our boy. He had to play with fire, and play with it to the end.

Nose flattened cold against the frozen, snow falling front window apartment project hang your hat dwelling, small, warm, no hint of madness, or crazes only of sadness, brother kinship sadness, sadness and not understanding of time marching as he, that older brother, goes off to foreign places, foreign elementary school reading, ‘riting, ‘rithmetic places and, he, is left to ponder his own place in those kind of places when his time comes. If he has a time, has the time of his time, in this cold war dust particles in air night.

A cloudless day, a cloudless Korean War day, hot, hot end of June day laying, face up on freshly mown grass near fellowship carved-out fields, fields for slides and swings, diamonded baseball, no, friendlier softball the houses are too close, of gimps, glues, cooper-plated portraits, of sweet shaded elms, starting, now that he too have been to foreign places, to find his own place in the sun but wondering, constantly wondering, what means this, what means that, and why all the changes, slow changes, fast changes, blip changes, but changes.

Nighttime fears, red-flagged Stalin-named fears, red bomb unnamed shelter blast fears, named Julius and Ethel Rosenberg hatred stalinite jews killed they killed our catholic lord and what did they do anyway fears against the glass glistening flag-pole rattling dark school yard night, alone, and, and, alone avoidance, clean, clear stand alone avoidance of old times sailors, tars, AND deaths in barely marked granite-grey lonely seaside graveyards.


Endless walks, endless sea street seawall walks, rocks, shells, ocean water-logged debris strewn every which way, fetid marsh smells, mephitic swamps oozing mud splat to make hard the making way for the uptown drug store, Rexall’s drug store, heist stolen valentine, ribbon and bow valentine night bushel, signed, hot blood-signed, weary-feet signed, if only she, about five candidates she, later called two blondes, two brunettes, and a red-head, sticks all, no womanly shape to tear a boy-man up, would give a look his way, his look, his newly acquired state of the minute Elvis-imitation look, on endless sea streets, the white-flecked splash inside his head would be quiet.


Walks, endless waiting bus stop non-stop walks, up crooked cheap, low-rent, fifty-year rutted pavement streets, deeply gouged, one lane snow-drift hassles, pass trees are green, coded, endless trees are green secret-coded waiting, waiting against infinite time, infinite first blush of innocent manhood, boyhood times gone now, for one look one look that would elude him, elude him forever such is life in lowly spots, lowly, lowly spots. And no dance either, no high school confidential (hell elementary school, man), handy man, breatheless, Jerry Lee freak-out, at least no potato sack stick dance with coded name brunette. That will come, that will come.

City square standing, hunched, hated, low-head hated, waiting, standing, going in, coming out, coming out with a gold nugget jewel, no carat, no Sputnik panel glitter for his efforts such is the way of young lumped crime, no value, no look, just grab, grab hard, grab fast, grab get yours before the getting is over, or before the dark, dark night comes, the dark pitched-night when the world no longer is young, and dreamed dream make no more sense that this bodily theft.

A bridge too far. Bicycle boy churning through endless heated streets, names all the parts of ships, names, all the seven seas, names, all the fishes of the seas, names, all the fauna of the sea, names. Twelve-year old hard churned miles to go before sleep, searching for the wombic home, for the old friends, the old drifter, grifter, midnight shifters petty larceny friends, that’s all it was, hard against the named seas, against those changes that kind of hit one side ways all at once like some mack the knife devilish thing

Lindo, lindos, beautiful, beautifuls, not some spanish exotic though, maybe later though, just some junior league dream fuss though, some future cheerleader football dame though, some sweated night pasty crust and I too slip-shot, too, well, just too lonely, too lonesome, too long-toothed before my time to do more than endless walks along endless atlantic streets to summon up the courage to glance, glance right at windows, non-exotic atlantic cheerleader windows. Such is the new decade a-borning, a-boring but not for me, no jack swagger, or bobby goof as they run the table on old tricky dick or some tired imitation of him. Me, I’ll take exotics, or lindos, if they every cross my path, my lonely only path

Sweated dust bowl nights, not the sweated exotic atlantic cheerleader glance nights but something else, something not endless walked about, something done, or with the promise of done, for something inside, for some sense of worth in the this moldy white tee shirt, mildewy white shorts, who knows what diseased sneakers, Chuck Taylor sneakers pushing the red-faced Irish winds, harder, harder around the oval ,watch tick in hand, looking, looking I guess for immortality, immortality even then. Later, in bobby darin times or percy faith times, who knows, sitting, sitting high against the lion-guarded pyramid statute front door dream, common dreams, common tokyo dreams, all gone asunder, all gone asunder, on this curious fact, no wind, Irish or otherwise. Who would have figured that one.

Main street walked, main street public telephone booth cheap talk walked searching for some Diana greek goddess wholesale on the atlantic streets . Diana, blonde Diana cashmere-sweatered,tennis –shoed Diana, million later Dianas although not with tennis shoes, really gym shoes fit for old ladies to do their rant, their lonely rant against the wind. Seeking, or rather courage-seeking, nickel and dime courage as it turns out, nickel and dime courage when home provided no sanctuary for snuggle-eared delights. Maybe a date, maybe just a swirl at midnight drift, maybe a view of coded submarine races, ah, to dream, no more than dream walking down friendly aisles, arm and arm along with myriad other arm and arm walkers on senior errands. No way, no way and then red-face, alas, red-faced no know even forty years later. Wow.

Multi-colored jacket worn, red and black, black and red, some combination reflecting old time glories, or promises of glory, cigarette, Winston small filtered, natch, hanging from off the lip at some jagged angle, a cup of coffee, if coffee was the drink, in hand, a glad hand either way, look right, look left, a gentle nod, a hard stare, a gentle snarl if such a thing is possible beyond the page. Move out the act onto Boston fresh streets. Finally, that one minute, no not fifteen, not fifteen at all, and not necessary of the fame game, local fame, always local fame but fame, and then the abyss on non-fame, non- recognition and no more snarls, gentle or otherwise. A tough life lesson learned, very tough. And not yet twenty.


Drunk, whisky drunk, whisky rotgut whisky drunk, in some bayside, altantic bayside, not childhood atlantic bayside though, no way, no shawlie way, bar. Name, nameless, no legion. Some staggered midnight vista street, legs weak from lack of work, brain weak, push on, push on, find some fellaheen relieve for that unsatisfied bulge, that gnawing at the brain or really at the root of the thing. A topsy-turvy time, murder, death, the death of death, the death of fame, murder, killing murder, and then resolve, wrong resolve and henceforth the only out, war, war to the finish although who could have known that then. Who could have know that tet, lyndon, bobby, Hubert, trickey dick war-circus then.

Shaved-head, close anyway, too close to distinguish that head and ten-thousand, no on hundred-thousand other heads, all shave-headed. I fall down to the earth, spitting mud-flecked red clay, spitting, dust, spitting, spitting out the stars over Alabama that portent no good, no earthy good. Except this-if this is not murder, if this is not to slay, then what is? And the die is cast, not truthfully cast, not pure warrior in the night cast but cast. Wild dreams, senseless wild dreams follow, follow in succession. The days of rage, rage against the light, and then the glimmer of the light.

The great Mandela cries, cries to the high heavens, for revenge against the son’s hurt, now that the son has found his way, a strange way but a way. And a certain swagger comes to his feet in the high heaven black Madonna of a night. No cigarette hanging off the lip now, not Winston filter-tipped seductions, no need, and no rest except the rest of waiting, waiting on the days to pass until the next coming, and the next coming after that. Ah, sweet Mandela, turn for me, turn for me and mine just a little. Free at last but with a very, very sneaking feeling that this is a road less traveled for reason, and not ancient robert frost to guide you.. Just look at blooded Kent State, or better blooded Jackson State. Christ.

Bloodless bloodied streets, may day tear down the government days, tears, tear-gas exploding, people running this way and that coming out of a half-induced daze, a crazed half-induced daze that mere good- will, mere righteousness would right the wrongs of this wicked old world. But stop. Out of the bloodless fury, out of the miscalculated night a strange bird, no peace dove and no flame-flecked phoenix but a bird, maybe the owl of Minerva comes a better sense that this new world a-bornin’ will take some doing, some serious doing. More serious that some wispy-bearded, pony-tailed beat, beat down, beat around, beat up young stalwart acting in god’s place can even dream of.

Chill chili nights south of the border, endless Kennebunkports, Bar Harbors, Calais’, Monkton, Peggy’s Coves, Charlottetowns, Montreals, Ann Arbors, Neolas, Denvers by moonlight, Boulders echos, Dinosaurs dies, salted lakes, Winnemuccas flats, golden-gated bridges, malibus, Joshua Trees, pueblos, embarkederos, and flies. Enough to last a life-time, thank you. Enough of Bunsen burners, Coleman stoves, wrapped blankets, second-hand sweated army sleeping bags, and minute pegged pup tents too. And enough too of granolas, oatmeals, desiccated stews, oregano weed, mushroomed delights, peyote seeds, and the shamanic ghosts dancing off against apache (no, not helicopters, real injuns) ancient cavern wall. And enough of short-wave radio beam trickey dick slaughters south of the border in deep fall nights. Enough, okay.

He said struggle. He said push back. He said stay with your people. He said it would not be easy. He said you have lost the strand that bound you to your people. He said you must find that strand. He said that strand will lead you away from you acting in god’s place ways. He said look for a sign. He said the sign would be this-when your enemies part ways and let you through then you will enter the golden age. He said it would not be easy. He said it again and again. He said struggle. He said it in 1848, he said it in 1917, he said it in 1973. Whee, an old guy, huh.

Greyhound bus station men’s wash room stinking to high heaven of seven hundred pees, six hundred laved washings, five hundred wayward unnamed, unnamable smells, mainly rank. Out the door, walk the streets, walk the streets until, until noon, until five, until lights out. Plan, plan, plan, plain paper bag in hand holding, well, holding life, plan for the next minute, no, the next ten seconds until the deadly impulses subside. Then look, look hard, for safe harbors, lonely desolate un-peopled bridges, some gerald ford-bored newspaper-strewn bench against the clotted hobo night snores. Desolation row, no way home.

A smoky sunless bar, urban style right in the middle of high Harvard civilization, belting out some misty time Hank Williams tune, maybe Cold, Cold Heart from father home times. Order another deadened drink, slightly benny-addled, then in walks a vision. A million time in walks a vision, but in white this time. Signifying? Signifying adventure, dream one-night stands, lost walks in loaded woods, endless stretch beaches, moonless nights, serious caresses, and maybe, just maybe some cosmic connection to wear away the days, the long days ahead. Ya that seems right, right against the oil-beggered time, right.

White flags neatly placed in right pocket. Folded aging arms showing the first signs of wear-down, unfolded. One more time, one more war-weary dastardly fight against oil-driven time, against a bigger opponent, and then the joys of retreat and taking out those white flags again and normalcy. The first round begins. He holds his own, a little wobbly. Second round he runs into a series of upper-cuts that drive him to the floor. Out. Awake later, seven minutes, hours, eons later he takes out the white flags now red with his own blood. He clutches them in his weary hands. The other he said struggle, struggle. Ya, easy for you to say.

Desperately clutching his new white flags, his 9/11 white flags, exchanged years ago for bloodied red ones, white flags proudly worn for a while now, he wipes his brow of the sweat accumulated from the fear he has been living with for the past few months. Now ancient arms folded, hard-folded against the rainless night, raining, he carefully turns right, left, careful of every move as the crowd comes forward. Not a crowd, no, a horde, a beastly horde, and this is no time to stick out with white flags (or red, for that matter). He jumps out of the way, the horde passes brushing him lightly, not aware, not apparently aware of the white flags. Good. What did that other guy say, oh yes, struggle.

One more battle, one more, please one more, one fight against the greed tea party night. He chains himself, well not really chains, but more like ties himself to the black wrought-iron fence in front of the big white house with his white handkerchief. Another guy does the same, except he uses some plastic hand-cuff-like stuff. A couple of women just stand there, hard against that ebony fence, can you believe it, just stand there. More, milling around, disorderly in a way, someone starts om-ing, om-ing out of Allen Ginsberg Howl nights, or at least Jack Kerouac Big Sur splashes. The scene is complete, or almost complete. Now, for once he knows, knows for sure, that it wasn’t Ms. Cora whom he needed to worry about, and that his child dream was a different thing altogether. But who, just a child, could have known that then.