The Bard Of The North Adamsville High School Class Of 1964?, “Say What?”- For Linda, Class Of 1964

Click on the headline to link to a Wikipedia entry for Rebel Without A Cause, an appropriate link for today's post.

Peter Paul Markin, Class Of 1964, comment:

Recently someone from my high school class, Linda, whose last name shall be omitted not out of consideration for her sensibilities but rather to avoid the long litigation which I am sure would ensue if I mentioned her last name and others clamored on and on about why their names were not included, wrote an e-mail, a friendly e-mail I assume, asking me if I, with this never-ending (my word, she just said “a lot”) stream of stories about the old days at early 1960s North Adamsville High, was trying to be the bard (her word, not mine) of the Class of 1964. I rapidly replied with this short answer- “What, are you kidding?”(Although I wish I had said the faux- hip, “say what?,” used in the headline to this entry). Later though, after I thought about it for a while, I realized that I did (and do) mean to be ONE of the latter-day voices of our class. Why? I have, with all due modesty, the perfect resume for the job. Here it is:

I belonged to no in-school clubs. I couldn’t (can’t) sing so the glee club was out although I was tempted to join, low-voice, whisper-voice join, white shirt, string tie, black chinos and all because a certain Rosemary I had eyes for sang a very sweet alto, or whatever they call that sing-song voice that made me think of flowered-fields, picnic baskets and, well, it never worked out so I will just say I was smitten, lonely smitten. (Let me leave it at Rosemary, no last names, again since I am still wary of that litigation from certain Susans, Lindas, and Anns who might still feel hurt not to see their names in lights here. Even though if I had approached them in those days I would have received the deep-freeze, a big time deep-freeze, and been dismissed out of hand.)

The same was true for the school newspaper, the unlamented North Star, although in that case it was a Carol whom I would have joined in order to cub report next to (ditto, on leaving out the last name, okay) except in her case she had a big bruiser of a boyfriend who just happened to play right tackle for the championship Red Raiders school football team. And he (I will use no first or last name for that monster even now and not because I fear litigation, no because I fear for my life, and rightly so) made it very clear one time when I actually talked to her for more that about a minute that unless I had a interest in doormats I had better take my ragamuffin, low rent act elsewhere. Moreover, I doubt, very seriously doubt, that after about two days I could have kept a straight face while performing my duties as a cub reporter reporting on such hot spot topics as the latest cause bake sale, the latest words of wisdom from Miss (Ms.) Sonos, the newspaper’s faculty advisor, about whatever was on her dippy mind, or “shilling” to drum up an audience for the next big school play. Not “the world is my beat” Peter Paul Markin. No way.

I, moreover, belonged to no after-school organizations like the chess club, science club, bird-watchers or any of those other odd-ball activities that couldn’t rate enough to get the school-day imprimatur. See, after school was “Frankie’s time,” Frankie Riley held forth inside, in front of, and sometimes behind, Salducci’s Pizza Parlor “up the Downs” (remember that term?) and I was none other than one of Frankie’s corner boys. Not only that but I was his “shill,” his scribe, busy promoting every scheme, every idea, every half-idea, and every screwy notion that made its way into his ill-formed brain. So who would have had time for a “scoop” on the amount raised at some bake sale, what that nutty Sonos had to say on astrophysics or U.F.O’s, or the virtues of some ill-conceived, poorly-acted school play. I freely admit, freely admit now, after a lifetime of turmoil struggle over ten thousand ideas, fire thousand half-ideas, and a few thousand thought-provoking books that I had known about the Great Books Club held after school I might have been drawn to that. I spend much time later in life struggling with ideas that could just as easily have been thrashed out then. And, of course, the other problem was that if I had known about the club the only girl that I remember that might have been a member of the club and that I might have wanted to talk to was Sarah (remember we are not using last names in case you forgot), and she was, well, just a stick although I liked to talk to her in class. A lot.

Nor did I belong to church-affiliated clubs, christ no, I was on that long doubting Thomas road away from churchly concerns. Oh, except for one Minnie, ya, sweet Irish rose Minnie, whom I used to sit a few rows behind at 8:00 AM Mass at Sacred Heart and stare at her ass on Sunday. But I could have done that anywhere, and did according to her best friend, Jean, who sat behind me in class and has stated for the record in public as recently as a couple of years ago that I did it every time I could in the corridor and that Minnie knew about it, and kind of liked the idea although a lot of good that knowledge does me now. Moreover Phil Larkin (it’s okay to use his last name because I have already talked about “Foul-Mouth” Phil before, plenty, and he is in no position, no position this side of a four by six cell, to even spell the word litigation in my presence), ya, Phil Larkin moved in on her way before I got up the nerve to do more than watch her sway.

Ditto organizations like the YMCA, eagle scouts, or any of those service things. Corner boy life declared such things as strictly corn ball. Not that I had anything, per se, against joining organizations. What I was though, and this was the attraction of rough-edged, snarly corner boy-ness for me, was alienated from anything that smacked of straight up, of normal, of, well square. And everything mentioned above, except for the girl part (and in that girl part maybe not including a stick like Sarah although I really did like to talk to her in class. She had some great big ideas, and knew how to articulate them. I hope she still does. Yes, I know what you are thinking. Instead of watching Minnie sway 24/7 I could have been cheek to cheek with Sarah, discussing stuff and... Don’t you think I haven’t thought about that, christ?)

I also played no major sport that drove a lot of the social networking of the time (I am being polite using that term here: this is a family-friendly site after all. Isn’t it? If it isn’t then upon notice I will be more than happy to “spill the beans” about what was said, how it was said, and by whom about who did what every school day Monday morning before school in the boys’ lav, or the girls’ lave for that matter. And, again I will not worry in the least about litigation. Hey, the truth is a powerful defense.). The sports that did drive me throughout my high school career, track and cross-country, were then very marginal sports for “nerds,” low-rent fake athletes, and other assorted odd-balls, and I was, moreover, overwhelmingly underwhelming at them, to boot. I have recently moved to have my times in various track events declared classified information under a national security blanket just so certain prying eyes like ace-runner Bill Bailey and, naturally, that nemesis Frankie Riley do no gain access to that information for their own nefarious purposes.

I did not hang around with the class intellectuals, although I was as obsessed and driven by books, ideas and theories as anyone else at the time, maybe more so. I was, to be polite again, painfully shy around girls, as my furtive desire for Minnie mentioned above attests to, and therefore somewhat socially backward, although I was privately enthralled by more than one of them. Girls, that is. And to top it all off, to use a term that I think truly describes me then, I was something of a ragamuffin from the town's wrong side of the track, the notorious Blank Street section over by the bridge to Boston. Oh, did I mentioned that I was also so alienated from the old high school environment that I either threw, or threatened to throw, my yearbook in the nearest river right after graduation; in any case I no longer have it.

Perfect, right? No. Not a complete enough resume? Well how about this. My family, on my mother’s side, had been in the old town since about the time of the “famine ships” from Ireland in the 1840s. I have not gone in depth on the family genealogy but way back when someone in the family was a servant of some sort, to one of the branches of the presidential Adams family. Most of my relatives distance and far, went through the old high school. The streets of the old town were filled with the remnants of the clan. My friends, deny it or not and I sometimes did, the diaspora "old sod" shanty Irish aura of North Adamsville was in the blood.

How else then can one explain, after a forty year hiatus, this overweening desire of mine to write about the “Dust Bowl” that served as a training track during my running days. (The field situated just across the street from North Adamsville Middle School, of unblessed memory. Does anyone really want to go back in early teen life? No way.) Or write on the oddness of separate boys’ and girls’ bowling teams during our high school years, as if mixed social contact in that endeavor would lead to s-x, or whatever. Or my taking a “cheap” pot shot at that mysterious “Tri-Hi-Y” (a harmless social organization for women students that I have skewered for its virginal aspirations, its three purities; thoughts, acts, and deeds, or something like that). Or the million other things that pop into my head these days. Oh ya, I can write, a little. Not unimportant for a bard, right? The soul of a poet, if somewhat deaf to the sweetness of the language. Time and technology has given us an exceptional opportunity to tell our collective story and seek immortality and I want in on that. Old Walt Whitman can sing of America, I will sing of the old town, gladly.

Well, do I get a job? Hey, you can always “fire” me. Just “click” and move on.

Out In The Be-Bop Be-Bop 1960s Night-When Diana Nelson “Touched” The North Adamsville Night Away- With Peggy Lee In Mind

Click on the headline to link to a YouTube film clip of Leslie Gore performing her classic teen dream theme That’s The Way Boys Are

CD Review

The ‘60s: Jukebox Memories, various artists, Time-Life Music, 1992

Scene: Brought to mind by one of the songs in this compilation, Leslie Gore’s 1960s classic teen dream theme (girl division) song, That’s The Way Boys Are.


I, Diana Nelson, am going to be a big singing star just watch out, watch out and don’t blink because then you will miss it. Hey, it is written in the stars, my stars. Proof? I have just this spring won the 1962 edition of the annual Adamsville Female Vocalist Contest. Hands down! There was no way that any of those other girls could match (and one guy who dressed up as a girl, weird right, although he did a good job on Mary Wells’ Two Lovers and I was a little worried until they found out he was a guy and gave him the boot.) Even Emma Johns and her smoky version of old hat Peggy Lee’s Fever got left behind when I went deep, deep down almost to my soul on Brenda Lee’s I’m Sorry. See that is what the judges were looking for, not smoldering sexy stuff but act of contrition stuff. And the girls who filled up the audience seats and gave their thumbs up and down only wanted to hear stuff that they can listen too when they cry on their pillows after their Johnny doesn’t call, goes cheap on some corny date, or cheats on them, cheats on them with their best friend, usually. I’ve got it all figured out.

Sure, like I was telling my good friend, Peter Paul Markin, the other day during class I was glad to get the one thousand scholarship money that was one of the prizes offered. I can use it if I decide to go to college after we graduate next year. But the big thing for me is to get to sing, sing featured, along with the guys from the Rockin’ Ramrods to back me up, at the Falling Leaves Dance held late in September. That dance is always sponsored by the senior class and it will give me a thrill to go out to please that crowd of fellow seniors, especially Peter Paul, who shares my love of music (although he is not a very good singer, sorry if you see this P.P.) and likes to talk about politics and stuff like I do. The big, big thing though, and I haven’t even told Peter Paul about this is that a recording agent, Jerry Rice, yes, that Jerry Rice, from Ducca Records, the one that signed Connie what’s-her name, has promised to be there and if he likes what he hears, well, like I say it in my stars. Don’t blink, okay.

By the way don’t get thrown off by that good friend Peter Paul thing, especially if you know my own true love boy friend Bobby Swann. There’s nothing to it (sorry again, Peter). Bobby couldn’t be at the contest because he was studying for his finals at State University. He is finishing up his freshman year and so he had to study hard. Peter Paul and I met in ninth grade and we have been good friends ever since. Oh, I suppose I can tell you now, now that I have my handsome blue-eyed Bobby, that if he wasn't such a “stup” P.P could have had his chances with me but all he ever did was stare at my ass in class, and in the corridors. If you don’t believe me ask Emma Johns, she’s the one that noticed him doing it first, although I had an idea. Better yet, ask P.P. he’ll tell you, maybe. The thing was that I couldn’t wait forever for him to get up the nerve to ask me out and then Bobby came along and swooped me up in tenth grade and then I didn’t care for younger guys anymore, except as good friends.

I guess I should tell you since I am telling you everything else that I had a dream when I was very young, maybe seven or eight, that I was going to be a singing star. Maybe it was my mother always playing women singers on the family record like that Peggy Lee when she was young and sprightly with Benny Goodman, Teresa Brewer, and Billie Holiday that got me going because I would sing along all day with the radio on. Later ma had me take singing lessons and I have been going strong ever since. Peter Paul said he went crazy when he first heard me do Brenda’s I Want To Be Wanted and Patsy Cline’s Crazy, although she, Patsy, seemed a little to ah, shucks, countrified when I first heard her. She has gotten less so since she has started turning to more a more popular style. I sure wish I could hit her high notes but Miss French, my vocals teacher, says I will get there soon enough and then I will have to, get this word, “husband” my valuable resource. See, I am a cinch.

Did I tell you that I told, no ordered (and I can do that to him, and he jumps like a puppy dog, sorry again P.P.) to be at the Falling Leaves Dance solo, so we can talk between sets. It looks like Bobby won’t be coming. According to him no big time State University sophomore would be caught dead at a high school dance and also his cross-country team is having a big meet in New York City that weekend. You know, and I hope you won’t tell Bobby, if you know him, because I do love him so, every once in a while I wish P. P. would have done more than just look at my ass in ninth grade.

Out In The Be-Bop Be-Bop 1960s Night- Save The Last Dance For Me-With The Drifters’ Song Of The Same Name In Mind.

Click on the headline to link to a YouTube film clip of The Drifters performing their classic Save The Last Dance For Me

CD Review

AM Gold: The Early ‘60s, various artists, Time-Life Music, 1992

Scene: Brought to mind by one of the songs in this compilation, The Drifters classic end of the night high school dance number, Save The Last Dance For Me.

Recently, when I was reviewing a companion CD in this Time-Life Music series, AM Gold: 1962, I mentioned, in detailing some of the events surrounding the North Adamsville Class of 1962-sponsored version of the traditional late September Falling Leaves Dance that one of the perks that year was getting to hear the vocals of local singer and classmate, Diana Nelson, backed up by local rock band favorite, The Rockin’ Ramrods. I also mentioned that her selection had been the result of a singing competition held by the town fathers and that I would relate some of the details of that competition at a later date. That time has come. Additionally, I related that I had had a “crush” on Miss (Ms.) Nelson since I started staring, permanently staring, at her ass when she sat a few seats in front of me in ninth grade. At the time of the above-mentioned dance she was “going steady” with some college joe, and had not given me the time of day, flirting or encouraging-wise, since about tenth grade, although we always talked about stuff, music and political stuff, two of my passions, and hers too. Here’s the “skinny.”
******
No question that about 1960, maybe into 1961, girl vocalists were the cat’s meow. (Okay, young women, but we didn’t call them that then, no way. Also no way as well is what we called them, called them among we corner boys at Salducci’s Pizza Parlor, especially when we got “no action.” I don’t have to draw you a diagram on what that meant, right?). You can, if you were around then, reel off the names just as well as I can, Connie Francis, Carla Thomas, Patsy Cline, and the sparkplug Brenda Lee. I won’t even mention wanna-bes like Connie Stevens and Sandra Dee, Christ. See, serious classic rock by guys like Elvis, Bo Diddley, Chuck Berry and Jerry Lee Lewis was, well, passé, in that musical counter-revolution night. But music, like lots of other things abhors a vacuum and while guys were still singing, I guess, the girl singers (read young women, okay, and we will leave it at that) “spoke” to us more. Especially to record- buying girls who wanted to hear about teen romance, teen alienation, lost love, unstoppable hurts, betrayal (usually by the girl’s best friend and her boyfriend, although not always), lonely Friday nights, and other stuff that teenagers, boys and girls equally, have been mulling over, well, since they invented teenagers a long time ago.

So it was natural for the musically-talented girls around North Adamsville, and maybe around the country for all I know, to test themselves against the big name talents and see what they had. See if they could make teen heaven- a record contract with all that entailed. In North Adamsville that was actually made easier by the town fathers (and they were all men, mostly old men in those days so fathers is right), if you can believe that. Why? Because for a couple of years in the early 1960s, maybe longer, they had been sponsoring a singing contest, a female vocalist, singing contest. I heard later, and maybe it was true, that what drove them was that, unlike those mid-1950s evil male rockers mentioned above, the women vocalist models had a “calming effect” on the hard-bitten be-bop teen night. And calm was what the town fathers cared about most of all. That, and making sure that everything was in preparedness for any Soviet missile strike, complete with periodic air raid drills, christ again.

In 1962 this contest, as it was in previous years, was held in the spring in the town hall auditorium. And among the contestants, obviously, was that already "spoken for" Diana Nelson who was by even the casual music listener the odds-on favorite. She had prepped a few of us with her unique rendition of Brenda Lee’s I’m Sorry so I knew she was a shoo-in. And she was. What was interesting about the competition was not her victory as much as the assorted talents, so-called, that entered this thing. If I recall there were perhaps fifteen vocalists in all. The way the thing got resolved was a kind of sing-off. A process of elimination sing-off.

Half a dozen, naturally, were some variation of off-key and dismissible out of hand. These girls fought the worst when they got the hook. Especially one girl, Elena G., if anyone remembers her who did one of the worst versions of Connie Francis’ Who’s Sorry Now I had (and have) ever heard. The more talented girls took their lost with more grace, probably realizing as Diana got into high gear that they were doomed. But here is the funny part. One of the final four girls was not a girl at all. Jimmy C. from right down the end of my street dressed himself up as girl (and not badly either although none of us knew much about “drag queen” culture then) and sang a great version of Mary Wells’ Two Lovers. Like I said we knew from nothing about different sexual preferences and thought he just did it as a goof. (I heard a couple of years later that he had finally settled in Provincetown and that fact alone “hipped” me to what he was about, sexually.)

I probably told you before that one part of winning was a one thousand dollar scholarship. That was important, but Diana, when she talked to me about it a couple of days later just before class, said she really wanted to win so she could be featured at the Falling Leaves Dance. Now, like I said, I had a big crush on her, no question, so I was amazed that she also said that she wanted me to be sure to be at the dance that next late September. Well, if you have been paying attention at all then you know I was there. I went alone, because just then I didn’t have a girlfriend, a girlfriend strong enough for me to want to go to the dance with anyway. But I was having a pretty good time. I even danced with Chrissie McNamara, a genuine fox, who every guy had the “hots” for since she, just the night before, had busted up with Johnny Callahan, the football player. And Diana sang great, especially on Brenda Lee’s I Want To Be Wanted. She reached somewhere deep for that one.

Toward the end of the evening, while the Rockin’ Ramrods were doing some heavy rock covers, Chuck Berry’s Sweet Little Sixteen I think, and she was taking a break, Diana came over to me and said, I swear she said it exactly like this- “save the last dance for me.” I asked her to repeat herself. She said Bobby (her college joe) was not here that evening for some reason I do not remember and that she wanted to dance the last dance with someone she liked. Well, what’s a guy to do when someone like Diana gives her imperial command? I checked my dance card and said “sure.” Now this last dance thing has been going on every since they have had dances and ever since they have had teenagers at such events so no big deal, really. Oh, except this, as we were dancing that last dance to the Ramrod’s cover of The Dubs Could This Be Magic Diana, out of the blue, said this. “You know if you had done more than just stared at my ass in class (and in the corridors too, she added) in ninth grade maybe I wouldn’t have latched onto Bobby when he came around in tenth grade.” No, a thousand times no, no, no, no…

The Big Time 1962 Teen Angst Night- Johnny Callahan’s Heartbreak Hotel

Click on the headline to link to a YouTube film clip of Brenda Lee performing Break It To Me Gently. Ya, we have all been down that one-way road to perdition.

CD Review

AM Gold: 1962, various artists, Time-Life Music, 1991

Scene: Brought to mind by one of the songs on this CD, Brenda Lee’s Break It Too Me Gently.

Friday night, a late September Friday, I think, because it was just getting cold at night around old North Adamsville. And there was a cold political menace (soon to get hot, very hot) in the air as well from those pesky Cubans and their patrons, the Soviets. In any case a high school Friday night because the night we are talking of was the night of the Falling Leaves Dance that had been an institution (and still is) at North Adamsville High since Hector was a pup. Or at least as far back as my mother’s time, Delores Markin, North Adamsville Class of 1943, the war years, oops, the World War II war years so that you don't get mixed up on which war. Every red-blooded teen angst-ridden boy or girl with the dollar required for entry was going to show up, singly or in couples.

Now I should explain that this dance was no Johnny Jones, the local kid with the most rock and roll records and an arcane knowledge of said records, acting as D.J. at the regular free cheap jack weekly Friday night, well, let’s call it sock hop. (You all had your Johnnies so I don't have to detail his exploits, okay). No, this was a get out you best party dress girls, no tee shirts need apply guys, almost “formal” dance. And two things right away distinguished it for the low-rent sock hop. Yes, of course, it was still held in the crusty old North Adamsville gym but the place, courtesy of the North Adamsville Class of 1962 Senior Dance Committee (whee!), the senior class always sponsored this one, had the place looking, well, like a hotel ballroom. No faded banners and bunting this night. Flowers, tablecloth on the tables, glasses to drink your soda from rather than from the bottle, and so on. Ya, this one was different.

The really big difference though, Johnny Jones’s high opinion of his musicological skills notwithstanding, was that this night there was live music provided by Diana Nelson and her pick-up band, crazed local favorites, the Rockin’ Ramrods. No scratchy records over Jones’ jerry-rigged sound system this night but the real thing. Diana on vocals, and the Ramrods for some serious rock and roll covers. Now the reason that Diana Nelson was featured that night may surprise you, or maybe not. In the year 1962 everybody, boys and girls almost equally, were crazy for girl vocalists singing their hearts out, and singing mushy stuff about heartbreak, loneliness, sorrow, and other stuff than only teenagers in the be-bop 1962 night knew (or cared) about. Patsy Cline, Connie Francis, Brenda Lee, Carla Thomas, and especially of late, Brenda Lee, singers like that with big voices and some serious sadnesses to speak of.

So the town fathers, in their infinite wisdom, decided that such wholesome, if sorrowful, music should have its local representative and sponsored, sponsored out of town funds if you can believe this, a singing contest with a one thousand dollar scholarship prize attached for the winner. More importantly, as least to hear Diana tell it, was the chance to be the female vocalist (with those Ramrods backing her up) at the Falling Leaves Dance.

Sometime I will tell you about that competition because some things that happened there would have amused, or befuddled you. One thing that would not is the fact that Diana Nelson was, by far, the best female vocalist there with her stirring rendition of Brenda Lee'sI'm Sorry. Not a lip-sych-like imitation but in her own style. Even though I was no mushy-headed guy but a regular Salducci's Pizza Parlor corner boy, and took no notice of girlish sentiment, well, little notice anyway, I stood on my chair and applauded. Truth to tell, I had a big thing for Diana, and had been staring at her ass in classes and in the halls ever since about ninth grade so that might have added to my delight at her victory. Of course my Salducci's corner boys will try to tell you that I was one hundred percent skirt-addled and dismissed this Diana thing out of hand. Don't believe it, even though she never gave me a tumble (she was "going steady" with some college guy).

The reason I won't go into that competition thing now is because this story is really about Johnny Callahan, you know the still hallowed "tear 'em up" fullback on the 1962 championship North Adamsville Red Raiders football team. And, well, it really isn't even a story but just another one of those things that have been happening to guys since about Adam, if not before. Now that I think of it, before.

See Johnny and Chrissie McNamara had been going out for the previous couple of years since sophomore year when Chrissie, a young woman not to be messed with when she had a bee in her bonnet, set out to "capture" one Johnny Callahan. No quarter given. Well, she got her man, got him bad. Got him six ways to Sunday. I was there the night, another Friday night if I recall correctly, that Chrissie, by general agreement, general boy agreement anyway, a fox came strolling, no, zeroing in on Johnny and sat right down on his lap and practically dared him to push her off. What she didn't know (nor did we) was that Johnny was crazy for Chrissie, and had been for quite a while. Everybody laughed when Chrissie, red-faced but determined, said "Johnny, I'm going to sit here and it will take the whole football team to pull me off." Of course Johnny was holding her so tight to him that it would have taken the whole football team, maybe the junior varsity thrown in too, to get her off his lap.

But that was then. Of late the freeze had been on between them. Reason: one Lance Duncan, if you can believe that. With a fox like Chrissie, no way. Lance, despite his preppie name out of some F. Scott Fitzgerald Basil and Josephine story, was after all nothing but the local whiz kid Math guy. And just then Chrissie was on a "smart" kick. Now Johnny Callahan could carry twelve guys on his back over the goal line on a granite gray fall Saturday afternoon but, let's say, would be hard-pressed to accurately count the number of guys on his back. So Thursday night, Thursday night the day before the Falling Leaves Dance, for chrissake, Chrissie gave old Johnny the "kiss-off." Gently, nicely, with a soft landing as was Chrissie's way but still a kiss-off.

So Johnny would not be sitting at one of the those freshly laundered tableclothed tables drinking his soda from a glass instead of from the bottle waiting to be crowned king of the dance along with queen, Chrissie. I hoped, hoped to high heaven, when I heard the ugly details, that it would not affect his game that Saturday against tough arch-rival Clintondale High (it didn't). He was so pissed off he went crazy, crazy enough to count those thirteen guys he was carrying on his back when he went over the goal line for his fifth touchdown of the afternoon.

P.S. Even now, maybe especially even now these many years later, do not believe that nonsense from some unnamed corner boys about my "hitting" on Chrissie at that Saturday football game just mentioned (Math whiz Lance did not go to football games, period) now that she was "free." Utter nonsense.

I Fall To Pieces Each Time I Hear Her Sing- Pasty Cline Sings The 1950s Standards -A CD Review

Click on the headline to link to a YouTube film clip of Patsy Cline performing I Love You Some Much It Hurts Me.

CD Review

Pasty Cline: True Love- A Standards Collection, Patsy Cline, MCA Nashville Records, 2000

For those of us of a certain age (growing up in the early 1960’s) the timeless voice of Patsy Cline, whether we were aware of it or not, formed the backdrop to many a school dance or other romantic endeavor. I was not a fan of Cline’s, at least not consciously, growing up but have come to appreciate her talent and her amazing voice since then. In another earlier review in this space I have called her the ‘country torch singer’ par excellence. And she does not fail here. I believe that this compilation does justice to her work, work cut short before her full maturity by a fatal accident, but that reflects her move away from a countrified sound to a pop star. Patsy, like many another torch singer, Bessie Smith or Billie Holiday come to mind, needs to grow on you. The best way to do that is grab this album and sit back. You won’t want to turn the damn thing off.

Stand out covers here devoted to the themes of love, lost love, found love, misplaced love, and perhaps, hate if things every got that far out of hand are Always; You Belong To Me; I Love You So Much It Hurts (a personal favorite): and, the title song, True Love. But listen to the whole thing when you are in the mood.

"Crazy"

Written by willie nelson
(as performed by willie nelson)
Also performed by patsy cline and ray price*

Crazy
Crazy for feeling so lonely
Im crazy
Crazy for feeling so blue

I knew
Youd love me as long as you wanted
And then someday
Youd leave me for somebody new

Worry
Why do I let myself worry
Wondrin
What in the world did I do

Crazy
For thinking that my love could hold you
Im crazy for tryin
Crazy for cryin
And Im crazy
For lovin you

(repeat last verse)


Patsy Cline, She's Got You Lyrics

Artist: Cline Patsy
Song: She's Got You

“She's Got You”

I've got your picture that you gave to me
And it's signed "with love," just like it used to be
The only thing different, the only thing new
I've got your picture, she's got you

I've got the records that we used to share
And they still sound the same as when you were here
The only thing different, the only thing new,
I've got the records, she's got you

I've got your memory, or has it got me?
I really don't know, but I know it won't let me be

I've got your class ring; that proved you cared
And it still looks the same as when you gave it dear
The only thing different, the only thing new
I've got these little things, she's got you

Patsy Cline, Why Can't He Be You Lyrics

Artist: Cline Patsy
Song: Why Can't He Be You


“Why Can't He Be You”

He takes me to the places you and I used to go
He tells me over and over that he loves me so
He gives me love that I never got from you
He loves me too, his love is true
Why can't he be you

He never fails to call and tell me I'm on his mind
And I'm lucky to have such a guy; I hear it all the time
And he does all the things that you would never do
He loves me, too, his love is true
Why can't he be you

He's not the one who dominates my mind and soul
And I should love him so, 'cause he loves me, I know
But his kisses leave me cold

He sends me flowers, calls on the hour, just to prove his love
And my friends say when he's around, I'm all he speaks of
And he does all the things that you would never do
He loves me too, his love is true
Why can't he be you

Patsy Cline, Sweet Dreams Lyrics

Artist: Cline Patsy
Song: Sweet Dreams

“Sweet Dreams”

Sweet dreams of you
Every night I go through
Why can't I forget you and start my life anew
Instead of having sweet dreams about you

You don't love me, it's plain
I should know I'll never wear your ring
I should hate you the whole night through
Instead of having sweet dreams about you

Sweet dreams of you
Things I know can't come true
Why can't I forget the past, start loving someone new
Instead of having sweet dreams about you

In The Time Of The Time Of An Outlaw Country Music Moment- The Belfast Cowboy Rides Again Van Morrison’s “The Best Of Van Morrison, Volume Two”

Click on the headline to link a YouTube film clip of Van Morrison performing his classic Into The Mystic.

CD Review

The Best Of Van Morrison, Volume Two, Van Morrison, Polydor, 1993

The basic comments here have been used, used many times, to review other Van Morrison albums from various points in his long and honorable career.

Apparently just now, although this time rather accidentally, I am on something of an outlaw country moment tear, again. I have mentioned on previously occasions when I have discussed county music, or rather more correctly outlaw country music, that I had a very short, but worthwhile period when I was immersed in this genre in the late 1970s. After tiring somewhat of Willie Nelson, Waylon Jennings and other more well know country outlaws I gravitated toward the music, eerily beautiful and haunting music, of Townes Van Zandt whose Steve Earle tribute album Townes I have recently reviewed in this space. As I noted there, as well, while this outlaw country thing was short-lived and I scrambled back to my first loves, blues, rock and folk music I always had time to listen to Townes and his funny mix of blues, folk rock, rock folk, and just downright outlaw country.

And that brings us to the album under review, The Best Of Van Morrison, Volume Two l, and another “outlaw” country music man, the Belfast cowboy Van Morrison. Wait a minute, Van Morrison? Belfast cowboy? Okay, let me take a few steps back. I first heard Van Morrison in his 1960s rock period when I flipped out over his Into The Mystic on his Moondance album. And when I later saw him doing some blues stuff highlighted by his appearance in Martin Scorsese PBS History of Blues series several years ago I also flipped out, and said yes, brother blues. But somewhere along the way he turned again on us and has “reinvented” himself as the “son”, the legitimate son, of Hank Williams. But Van Morrison is no one-trick pony as his long and hard-bitten career proves.

If you do not believe me then just listen to him ante up on his cover of Bob Dylan’s It’s All Over now Baby Blue, a classic folk bluesy number; the thoughtful Sense Of Wonder; the pathos of Real Real Goner; the song I’ll Tell Ma; and, something out of time,Hymns To The Silence . The Belfast cowboy, indeed, although I always thought cowboys wore their emotions down deep, not on their blues high white note sleeves.

The Gas Wars, Circa 1964-When The Souped-Up Car Ruled The North Adamsville Night-With The “Boss Man’s” ’57 Chevy In Mind

Click on the headline, but only after you have read this entry and after you have made your guess, to link to a 1960s Flashback Website for the answer. For those who graduated in other decades and wish to know the price of gas at the pump in your misbegotten youth you can link from there. Thanks, Internet.

Peter Paul Markin, North Adamsville Class of 1964, comment and question:

How much did it cost for a gallon of gasoline in 1964? In the interest of "speaking" to the wider North Adamsville Graduate audience that might pick this comment up on Facebook just pick your year of graduation and guess from there. Then click on headline to seek the answer

Oil at $100 a barrel. Gasoline over three dollars per gallon at the pump (remember this is being written in September, 2011 in case you pick this up later). No, do not worry, this is not intended to be the start of a political screed about the need to bring the “Seven Sisters” oil monopolists to heel or to break up the international oil cartels, although those are very good ideas. At the beginning of this series of commentaries about the old days in North Adamsville I promised that I would not be political, at least not overtly so. So that is political aspect is no help here. All I want to ask today is whether, through the mist of time, you remember how much gasoline cost when you went to "fill 'er up" in high school.

Now this question requires some honesty on your part. Please, no Googling the Quincy Patriot Ledger or The Boston Globe to search their archives of the time. Nor should you use a graphic calculator to factor back the effect of the rate of inflation on oil since 1964 to come up with an answer. Dear readers, this is not some torturous calculus problem. What you basically need to do is to remember some numbers from when you were daydreaming out the window in study hall at old North Adamsville High. Maybe in between thinking away the hours about that certain she (or he) a couple of rows over and how, well, how you would like to get acquainted with her (or him) or what was up for Saturday when your true corner boy “boss man,” Sid Hemmings, came by to pick you up in his “boss” (hence the Boss Man nickname) ’57 Chevy and you went “cruising” into the great teenage Adamsville Beach night. Or maybe you spotted those numbers when you went out the door, assuming you survived opening that fortress-like door while still thinking about that certain she (or he) whom you almost had enough courage to talk to after class today but only got to a meaningful look, onto Hancock Street after school.

What is this guy talking about with all these study hall and looking out the window references? Just this. Unless you were a total grind and always had your nose in a book then the answer merely requires that you had looked out the window. Directly across the street, Hancock Street, from the school were two gas stations (I believe somewhere near the mass transportation depot parking lot and the MacDonald's are now if you have been in the old town recently) that were always in competition with each other. They, and I am not making this up for I do not have such a vivid imagination, actually were having very public price wars to bring in customers by REDUCING the price of their gas. But enough hints. Your answers, please?

No comment on the 1964 North Adamsville gas wars night would be complete without reference to the manner in which we got the dough to pay for said gas. A lot of kids then got it from mom or pop reflecting the more affluence post-World War II times when the old parents has enough dough to spare for a kid to own his or her own car, and have a gas money allowance to boot. Even in working class North Adamsville. Others, like me and most of my corner boys, my Salducci’s Pizza Parlor night corner boys, walked, hitchhiked or borrowed the “old man’s” car (or that of an older brother) for a be-bop Saturday night romp. That is until I met up with the “Boss Man” mentioned above. Sid Hemming’s, who lived just down the end of my dead-end street, had a ’57 Chevy that he was always working on (and when he wasn’t working on it was riding around, usually with a bevy of girls before the night was over, down that now famous Adamsville Beach night).

For a couple of years he took me in tow. The price, well the price was that I was “in charge” of filling up his tank when it was empty. In short, paying for gas to be “cool.” Since I was poorer than a church mouse and never heard of such a thing as an allowance until somebody told me about them that meant taking my hard-earned money from caddying up at the local private golf course to fill the damn thing. And those golfer guys whether they had dough or not, and they usually did, were cheap when it came caddie pay-off time. A primer in capitalist economics, I guess. So you know, roughly, that gas could not have cost too much. Still, you are duty-bound to guess.

Of course, buying the gas got me nothing when it came to the girls the filled the other seats of Sid’s souped-up car. Well usually got me nothing, that is. See they, most of them prime A-one foxes, only had eyes for Sid, or more correctly Sid’s ’57 Chevy. Hell they were one in the same. Now Sid, whatever his mechanical wizard abilities with an automobile motor were, and I will be kind here, had nothing for looks. Even “cute” was a stretch. And even more of a stretch was that “cute” when Sid was seriously into his auto repair work and smelled of oils, cigarettes and whiskey. Still the girls (read: young women) actually came up to him looking for a ride and, well, just leave it as and. The way it worked is that once the car filled up with girls I was out the door. No problem, well no problem on those few occasions when he left me down at the beach (Adamsville Beach, if you didn’t know), with one of his “cast-offs”. A cast-off being something like some older girl’s sister whom she was kind stuck baby-sitting for and wanted to ditch to have a minute’s passion with Sid, or so that is what I heard they were doing. All I know is that I could hear that old Chevy roaring down the end of the street with Sid at the wheel and one last “pick of the evening” sitting tight next to him. Ya, that was Sid’s way, always Sid’s way.

P.S. For later, post-North Adamsville MBTA station graduates, you are left to your own resources about finding the gas prices.

Out In The Be-Bop 1960s Night-"What Folksinger Dave Van Ronk Stole"

Click on the headline to link to a YouTube film clip of Dave Van Ronk performing Fair and Tender Ladies.


What Folksinger Dave Van Ronk Stole

“Hey Joyell, good news Dave Van Ronk is playing at the Club Morocco over in Harvard Square next Friday night, do you want to go?” Phil Kiley asked over the telephone, the late night telephone as was his habit in dealing with Joyell, Joyell Davidson. While he waited for an answer he thought about how he had started making these late night calls. Reason: well two reasons really, Joyell worked at the Eden Café in Kenmore Square as a waitress most week nights for a few hours for pocket change to be among what she sardonically called the “proles,” and what she called part of a proper education, a sociology degree-driven education, about how the other half lived. Of course, the so-called proles were other girls from the university, some whom Joyell knew from her classes, who were also seeing how the other half lived, more or less, although some may have actually needed the pocket change.

This Eden Café, by the way, catered to nothing but university students, mainly university students who had fathers who had dough like Joyell’s (her father was some rich stockbroker in New York City and, from what Phil gathered, she hardly needed to work), so the whole bourgeois-prole combination running its commentary through every 1960s college was rather comical every time Phil, a real prole, a real son of the working poor at university on a partial scholarship, went into the place. Went in to see or pick up Joyell, not to eat. Too expensive for him, he tended to eat at Timmy’s Irish Pub down near Fenway Park where the “eats” was cheap, and plentiful.

But that Eden Café “experience,” or more the idea behind it, is what drove Phil toward Joyell in the first place. That "bourgeois slumming" make him desire her even more ever since they met last month at the beginning of school in Professor Sharpe’s Modern Social Theory seminar. And one thing led to another and now they were at the talking stage, talking over the phone or after work as he walked her to her apartment that she shared with another girl, a decidedly bourgeois non-slumming girl, down Commonwealth Avenue toward the Boston Common. And that was the second reason that Phil made his late night calls. He was just flat-out scared that anything he said to Joyell, a New York City girl, a Hunter College High girl, and a Jewish girl (or mostly Jewish according to the way that she described her family’s genealogy, but enough Jewish to satisfy the Israelis is the way she put it) might be taken the wrong way.

Sure Phil had plenty of girls, plenty of kind of interesting girls back at North Adamsville High a couple of years back, but they were all cookie-cutter Irish Catholic girls of varying degrees of virtue who mainly thought about marriage, white picket fences, and more than he would like to admit, girls who wanted to have many kids to honor Jesus, jesus. But Joyell talked of thing that he had not heard of like the ballet, the opera, the opera for christ sakes, and Broadway (and, more often, off-Broadway off-beat plays). Phil had read a ton of modern plays, O’Neill, Brecht, Tennessee Williams, and so on but he had never actually seen a Broadway play, just some hokey high school production of Chekov’s Cherry Orchard and stuff like that. But the saving grace was Joyell’s fantastic interest in the burgeoning folk scene-the one that had developed right down the street from her (so to speak) in the Village (Greenwich Village in New York City for the greenhorns).

This interest mirrored Phil’s own fascination with roots music, first with rockabilly before rock ‘n’ roll got stale, country blues, then city blues, and now going through folk traditional and protest songs, especially the protest songs. Joyell actually knew people who knew the likes of Bob Dylan, Phil Ochs, Joan Baez and other folk names the reader might not recognize but that Phil spent many a Sunday radio night listening to for hours on the local folk station. And, back in North Adamsville High days, he developed an intense interest in the music of folksinger Dave Van Ronk. Not just of his vast knowledge of the American songbook but his very gritty-voiced (and professional) renditions of those songs. He heard Van Ronk's version of Come All You Fair And Tender Ladies first and flipped out. That is the one that he, timidly, sang to Joyell when they were comparing notes about folksingers. Strangely, as important as Van Ronk was to the behind- the-scenes New York (and general) folk scene that was working west to San Francisco and north to Boston (although Boston, with the Club 47 in Harvard Square and the like, of starting out Joan Baez and whiz Eric Von Schmidt, could stake its own secondary claims to importance) he was not that well-known. So when he heard that Van Ronk was coming to town he was beside himself fretting away the hours to ask Joyell for their first "date."

“Sure,” answered Joyell, “I hope he is all that you have cracked him up to be. If I don’t see you before then come by around seven o’clock and we can walk over if it is a nice night and save the cab fare. And if you get a chance come by Thursday to the ‘Eden’ and you can walk me home, okay?”

(Another funny Joyell "prole" thing, she thought taxis were too, too bourgeois although she didn’t say it exactly that way, Phil thought afterwards. She never mentioned taking the bus, the bus from Dudley that almost passed her apartment. He also found out later that everybody, everybody with the price of the fare, and tip of course, took cabs in New York City).

“Okay,” was all Phil could say, "and I will try to come by Thursday but I have to work that night myself." (Phil, no prole status -craving student looking for pocket change had a job driving a truck around the city delivering boxes, of this and that, to stores and factories a few nights a week depending on demand.)

As it turned out Phil had to work that Thursday night and so did not see Joyell until he showed up at her door around seven o’clock that Dave Van Ronk Friday night. Melissa (the non-slumming bourgeois roommate) opened the door and pretty much ignored his existence after that, although freshman year they had had a couple of classes together and she sat a few seats away from him then. But Phil hardly noticed the snub, if it was a snub, and not just Melissa’s problem with men, or something like that because he was hopped-up, not drug hopped-up if that’s what you think, but maybe more sexual promise hopped-up if anything but mainly just excited to have a date with such an exotic flower as Joyell.

Then she came out of her room looking, well, looking fetching with a peasant blouse (expensive peasant blouse if that is not an oxymoron), the de rigueur jeans of the folk scene, sweater on her arm against a possible cool weather night, black hair gleaning, eyes flashing, laughing eyes he thought. God’s own gypsy princess. On seeing her then he got even more hopped-up, if that was possible.

And his luck had held, that night was a clear, fall-ish October night, big moon, big promise, and perfect for walking over the Massachusetts Avenue bridge (pavement smoots and all) through Central Square to the edge of Harvard Square where the Club Morocco’s lights beckoned all to come and eat, drink and be merry. Of course Phil was also hopped-up on talking about Dave Van Ronk, like somehow keeping the talk on him was a magic mantra to ward off their social differences (although pro-prole Joyell seemed to like him well enough his insecurities as well as his lack of social lacks some times got the best of him, especially with her). As he analyzed the situation later this over-hype was probably decisive in what happened later.

But, except for that nervousness, things went along okay, maybe better than okay as Joyell suddenly displayed a great deal of knowledge about mountain music, a staple of Van Ronks’s play list. She rattled off some stuff about the British musicologist, Cecil Shape, who had “discovered” that Fair and Tender Ladies song that Phil was always harping on down in the hills and hollows of Kentucky in 1916 He was impressed (and was still impressed later, but for another reason) when he found out that trying to impress him she had gone, as he had and many others as well, to Sandy’s Records on Mass Ave where she got the “skinny” on lots of folk information).

You knew, if you have been to Harvard Square anytime between the landing of the Mayflower and 1963, that the Club Morocco was not so much a coffeehouse, the vital core of the folk revival existence, as a be-bop jazz club. Moreover they sold liquor, liquor by the glass, as Phil’s Irish-born grandmother used to say when his father and his cronies hightailed it over to North Adamsville’s Dublin Grille to toss down a few (well, more than a few) rather than a sober (lesser, really) amount at home, so naturally Phil and Joyell were carded at the door to make sure they were twenty-one. No problem, no problem either in finding some seats near the front to hear Mr. Van Ronk better. While getting seated, they half, or maybe quarter-listened to the front performer twanging away on some sing-along thing that was suppose to get everybody in the spirit of the thing. (Why, Phil wondered, did they always have some lame, half on, half off-key local “coming folk star” to warm up the audience when you came to see, see exclusively that night, the main performer. And the front guy, and it was usually guys, was never heard from again, usually.)

More importantly, Phil noticed Dave at the bar drinking a couple of shots (whiskey shots, he assumed) straight-up. Well anything to fortify you Phil thought. Probably will help to get that gravelly voice razor-edged. Then Dave tossed another as Phil turned to give his undivided attention to his gypsy princess. Damn she looked, well, fetching was the word that came to his mind, at least for public consumption, although if Phil was was honest with himself he was just hopped-up, sexually hopped up.

The front man finished up to lackluster applause, as he should have expected except for his sing-along rendition of Woody Guthrie’s This Land Is Your Land always a crowd-pleaser, especially late in the night. The MC announced Dave to hearty applause; aficionados were clearly in the house for this performance. Phil noticed that as he came away from the bar Dave tossed another straight-up whisky down. He got slightly nervous never having heard any rumors about a drinking problem but also knowing, first hand-knowing, or rather observing, that several straight-up drinks were not a good sign. Moreover Dave had what Phil thought at first was a water bottle (or soda, although he had always been taught at home to call it tonic) but on closer inspection looked much more like a flask on his hip. Dave took to the impromptu stage, taking the steps steadily enough, introduced himself, and after the applause died down, started in right away on his Fair and Tender Ladies version, sounding a little tinny in the process. And sipping from the flask.

Another song, Cocaine Blues, followed. And then the axe. Well the axe for Phil, anyway. Dave literally mumbled the old time traditional song Railroad Boy. Joyell had had enough by then. As she explained while they were walking out the door she was no “purist” but she wasn’t going to spend the night listening to a drunk, a drunk that she could have listened to on the street outside to better effect. Out the door she spied an MTA bus, the one to Dudley that went right by her apartment, and told Phi that she was going to take it home. Home alone. And that was what Dave Van Ronk stole from one heart-broken Phillip Francis Kiley.

The Intellectuals Or The Jocks?-For Fredda Cohen, North Adamsville High, Class Of 1964-Phil Larkin’s View

Click on the headline to link to a letter written by the late American writer, Norman Mailer, and printed in The New York Review Of Books, detailing his choices for "must reads" in the American literary canon. What would your ten choices be? See below.

Phil Larkin guest comment:

I did not then, nor do I now, know Fredda Cohen, a fellow classmate at North Adamsville High, Class of 1964. I don’t remember if old track buddy Markin, Peter Paul Markin, who prompted me to write some teary-eyed thing for him knew her or not, but it was with her in mind that I wrote the following. I, today, strongly believe that I could have learned a lot from her and maybe Markin does too but you will have to ask him that yourself. No way, no way on god’s good green earth in the year 2011 and while I am still breathing, old time “jock” buddies or not, am I going to vouch for that maniac. Here goes:

Every September, like clockwork, I am transported to a place called the beginning of the year. No, not New Year’s Day like any real person would expect, but the school year for most students, younger or older. That is a frame of reference that I have not changed in all these years. And every year, or many years anyway, my thoughts come back to the road not taken, or really not taken then, when I ask myself the following question that I am posing in such a way here so that you can ask it to yourself as well: What group(s) did you hang around with in high school?

This question is meant to be generic and more expansive that the two categories listed in the headline. These were hardly the only social groupings that existed at our high school (or any public high school, then or now, for that matter) but the ones that I am interested in personally for the purpose of this thing. Corner boy devotees and hoods, social butterflies, teases (actually that is covered that under social butterflies, girl social butterflies), school administration “brown noses,” science nuts, auto mechanics grease monkeys, bolsheviks, hippies, beats, hip-hop nation devotees, could-care-if-school-kept-or-not-ers, school skippers, drop-outs, and religious nuts can speak your own piece for your “community.”

You, fellow alumni from Anyway U.S.A. High, can also feel free to present your own extra categories in case I missed anything above like S&M or B&D devotees or stamp club members or both intertwined, if your you were aware of such types. However, for this writer, and perhaps some of you, here were my choices. The intellectuals, formerly known as the "smart kids.” You know, the ones that your mother was always, usually unfavorably, comparing you to come report card time in order to embarrass you or get you to buckle down in the great getting out from under the graying nowhere working class night and make something of yourself that she (and dad) could be proud of. Yes, those kids at the library after school, and even on Saturday, Saturdays if you can believe that, and endlessly trudging, trudging like some Promethean wanderers about forty six pounds of books, books large and small, books in all colors, mainly, and here is the kicker, well-thumbed, very well-thumbed. Or, on the other hand the jocks, the guys and in those days it was almost exclusively guys (girls came in as cheer-leaders or, well, girlfriends-sometimes the same thing). You know, mainly, the Goliaths of the gridiron, their hangers-on, wannabes and "slaves." The guys who were not carrying any forty-six pounds of books, although maybe were wearing that much poundage in gear. And any books that needed carrying was done by either girlfriends or the previously mentioned slaves. Other sports may have had some shine but the “big men” on campus were the fall classic guys. Some sports such as the old buddies, Markin and Larkin, track and field events didn’t usually rate even honorable mention compared to say a senior bake sale or high school confidential school dance.

Frankly, although I was drawn to both groupings in high school I was mainly a "loner" for reasons that are beyond what I want to discuss here except it very definitely had to do with confusion about the way to get out from under that graying working class nowhere night. And about “fitting” in somewhere in the school social order that had little room for guys (or girls for that matter) who didn’t fit into some classifiable niche. And for guys, 1960s shorts-wearing track guys, running the streets of old North Adamsville to the honks of automobiles trying to scare us off the road (no share the road with a runner then) and jeers, the awful jeers of girls, that space was very small. The most one could hope for was a “nod” from the football guys (or basketball in winter) in recognition that you were a fellow athlete, of sorts. Ya, times were tough but we survived.

But now I can come out of the closet, at last. I read books. Yes, I read them, no devoured them endlessly (and still do), and as frequently as I could. Did you see me carrying tons of books over my shoulder in public. Be serious, please. Here is the long held secret (even from Markin). I used to go over to the library on the other side of town, the Adamsville side where no one, no one who counted anyway (meaning no jock, of course), would know me. One summer I did that almost every day. So there you have it. Well, not quite.

In recent perusals of my class yearbook I have been drawn continually to the page where the description of the Great Books Club is presented. I believe that I was hardly aware of this club at the time but, apparently, it met after school and discussed Plato, John Stuart Mill, Max Weber, Karl Marx and others. Fredda Cohen ran that operation. Hell, that sounded like great fun. One of the defining characteristics of my life has been, not always to my benefit, an overweening attachment to books and ideas. So what was the problem? What didn't I hang with that group?

Well, uh..., you know, they were, uh, nerds, dweebs, squares, not cool (although we did not use those exact terms in those days). That, at least, was the public reason, but here are some other more valid possibilities. Coming from my 'shanty' background, where the corner boys had a certain cachet, I was somewhat afraid of mixing with the "smart kids." The corner boys counted, after school anyway, and if they didn’t count then it was better to keep a wide, down low berth from anything that looked like a book reader in their eyes. I, moreover, feared that I wouldn't measure up, that the intellectuals seemed more virtuous somehow. I might also add that a little religiously-driven plebeian Irish Catholic anti-intellectualism (you know, be 'street' smart but not too 'book' smart in order to get ahead in one version of that graying working class nowhere night) might have entered into the mix as well.

But, damn, I sure could have used the discussions and fighting for ideas that such groups would have provided. I had to do it the hard way later. As for the jocks one should notice, by the way, that in the last few paragraphs that I have not mentioned a thing about their virtues. And, in the scheme of things, that is about right. So now you know my choice, except to steal a phrase from something that madman Markin wrote honoring his senior English teacher, Ms. Lenora Sonos- "Literature matters. Words matter." (I wish now that I had had her as well). I would only add here that ideas matter, as well. Hats Off to the North Adamsville Class of 1964 intellectuals!
*****

Norman Mailer

Ten Favorite American Novels

U.S.A. John Dos Passos
Huckleberry Finn Mark Twain
Studs Lonigan James T. Farrell
Look Homeward, Angel Thomas Wolfe
The Grapes of Wrath John Steinbeck
The Great Gatsby F. Scott Fitzgerald-1st A.J.
The Sun Also Rises Ernest Hemingway
Appointment in Samarra John O'Hara
The Postman Always Rings Twice James M. Cain
Moby-Dick Herman Melville

This would be my list, as well, except instead of Moby Dick I would put Jack Kerouac's On The Road

From Out In The Be-Bop 1950s Rock Night- Bill Haley's "Skinnie Minnie"

Click on the headline to link to a YouTube film clip of Bill Haley and his Comets performing the classic Skinnie Minnie.

Markin comment:

In an earlier age (it was only fifty years ago, although that amount of time is probably an eternity in the fashion world, female variety) women were expected to be a little more voluptuous than Minnie. My personal preference on the subject then though was to go for Minnie, skinnie or not, in the teenage battle of "sticks" vs. "shapes."
****
Skinnie Minnie lyrics-Bill Haley and His Comets

SKINNIE MINNIE - BILLY HALEY & HIS COMETS

Well my skinnie minnie has a clay as a cheek
And I was 6 feet high and one foot thin
And now I do I love her, does a boy love pie?
Well now and she has the eye pull over my eye
Skinnie Minnie she's skinnie
She ain't tall, that's all
Well Although her shadow doesn't take much ground
Well now what there is, that really gets her around
And now what are there ahead, there's a lot she'd be

{ From: http://www.elyrics.net/read/b/bill-haley-lyrics/skinnie-minnie-lyrics.html }

And now and she may not weight too much for me
Skinnie Minnie she's skinnie
She ain't tall, that's all
Well now it's hard being slimmer than a fishing pole
She (has) one hair blond and the other hair brown
And now I did the other cheek from the other side
And now I found the old yard where did she hideah,
Skinnie Minnie she's skinnie
She ain't tall, that's all

Rick’s Flying Saucer Rock Moment- The Rock ‘n’ Rock Era; Weird, Wild & Wacky

Click on the headline to link to a YouTube film clip of the Royal Teens performing their classic, Short, Shorts.

CD Review

The Rock ‘n’Roll Era: Weird, Wild & Wacky, various artists, Time-Life Music, 1991

He was glad, glad as hell that angel thing, that guardian angel thing, was over and done with. You know that Sunday school thing they beat you over head with about how your guardian angel was there to keep you on the straight and narrow, or else. Yes, Rick Roberts certainly was glad that was over although now that he thought about it it just kind of passed out of sight as he got older and other things filled his mind. Things like his June ("June Bug" was his pet name for her but he had better not hear you call her that, especially one Freddie Jackson, or else). Yes, Rick was now large, strong enough, and smart enough strong, not to have to worry about some needlepoint guardian angel looking out for him. Although truth to tell he was worried, a little anyway, about this Cold War Russian bear thing coming over here to take his brain away, or maybe put the big heat on him, the A-bomb heat and creating alien things from outer space to haunt his dreams. But only a little.

What was exercising Rick these days was his June (you know her pet name but don’t say it, please) and causing him no end of sleepless nights was that thing about Freddie Jackson, June’s old flame. At least according to his sister, Celia, a reliable source of North Adamsville High gossip, and not afraid to spread it when it pleased her, was that Freddie was taking his peeks at June, and she was peeking back. So, lately, in order to pass those sleepless nights Rick had begun to sit up in his bedroom at night with his transistor radio on, the one that he had forced his parents to buy him, batteries included, for last Christmas, rather than the practical ties they had intended to foist on him. And what Rick listened as the hour turned to midnight was The Crazy Lazy Midnight Madness Show on WMEX, the local be-bop, no stop, all rock radio station the that got the sleepless, the half-awake, the lame and the lazy through the 1950s Cold War night, and into the dawn.

Now this Crazy Lazy Show fare was strictly for night owls, stuff that would not appeal to daytime rockers, you know, those listening to guys like Elvis, Carl, Bo, Little Richard, and Jerry Lee, or just stuff that appealed to Lazy’s off-center, off-beat funny bone. One night, one really restless night, as Rick was revving up the transistor around midnight
he heard Buchanan and Goodman’s silly The Flying Saucer, parts one and two back to back no less, so you see Crazy was serious about presenting goofy stuff. That was followed by Sheb Wooley’s devouring the Purple People Eater, and then, for a change of pace The Royal Teens be-bop Short, Shorts and that got his to thinking about how good June looked in them, and then back to zaniness when Bobby Picketts flattened Monster Mash and, as he got a little drowsy, The Detergents waved over Leader of the Laundromat.

That last one got to him, got to him good, because, believe it or not the song had sentimental value to him. See he met June at the North Adamsville All-Wash Laundromat one day. His mother’s washing machine had broken down and she needed to bring the Roberts laundry to the All-Wash and Rick drove her over. During that time June had passed by, he had said hi, they had talked and then more seriously talked, and that was that. Freddie Jackson was after that dust, a memory, nothing to June.

All this thinking really got Rick tired this night and as the last chords of Laundromat echoed in his head he fell into a deep sleep. Around four o’clock in the morning though he was awoken with a start, with the high pitched whining sound coming from some where outside his window. Next thing he knew a huge disc-like object was hovering over most of Adamsville, and stayed there for maybe a minute before departing just as quickly as it appeared. Rick took this for a sign, a sign that he and June would hang together. And a sign that Freddie Jackson probably should have taken a trip on that flying saucer while he could, or else.

Out In The 2000s Crime Noir Night-“Sin City”-A Film Review

Click on the headline to link to a Wikipedia entry for Sin City.

DVD Review

Sin City, starring Mickey Rourke, Bruce Willis, based on Frank Miller's graphic novels, co-directed by Frank Miller, 2005

No question I am a film noir, especially a crime film noir, aficionado. Recently I have been on a tear reviewing various crime noir efforts and drawing comparisons between the ones that “speak” to me and those that, perhaps, should have been better left on the cutting room floor. The classics are easy and need no additional comment from me as their plot lines stand on their own merits. Others, because they have a fetching, or wicked, for that matter, femme fatale to muddy the waters also get a pass. Of course when I think of noir it is 1940s-50s noir, black and white in film and in the good guys-bad guys constellation with a little murder and mayhem mixed in to keep one’s eyes open just in case there is no femme fatale to muddy the waters. Neo-noir, such as the film under review, Sin City, is another matter, perhaps. Here’s the why of the perhaps.

Central to the old time crime noir was the notion that crime did not pay and as stated above the bad guy(s) learned that lesson the hard way after a little mussing up or a date with a bullet. Kids’ stuff really when compared to the over-the-top action of this three vignettes series on modern day good guys versus bad guys. Three separate male characters, all tough guys and guys you would want to have at your back if real trouble headed your way, are trying, trying within the parameters of common sense or believability, to clean up slices of Sin City. Sin City as the rather obvious name implies, is in the grips of corruption from the top down, including in virtually every civic institution. Our avengers are trying to cut a wedge into that bad karma by individually, one, tracking down a bizarre, politically connected heir whose thing was slice and dice of very young girls, two, avenge the death of a high class call girl who was kind to one tough guy, and, three, keep the pimps and cops at bay in the red light district where the working girls have set up their own Hookers’ Commune.

All of this doing good is, of necessity in today’s movie world, linked up with, frankly, over the top use of violence of all sorts from cannibalism to barbaric death sentences, well beyond what tame old time noir warranted. Apparently the succeeding crime waves since the 1940s have upped the ante and something like total war is required to exterminate the villains. That and some very up-to-date use of cinematography to give a gritty black and white feel to the adventures. And also a not small dose of magical realism, suspension of disbelief, and sparseness of language to go along with the plot and visual action.

But here is the funny thing, funny for an old-time crime noir aficionado, I really liked this film. Why? Well go back to the old time crime noir premise. Good guys (and then it was mostly guys- here some very wicked “dames” join in and I know I would not want to cross them, no way) pushed their weight around or tilted at windmills for cheap dough or maybe a little kiss. They got mussed, up, trussed up, busted up in the cause of some individual justice drive that drove the “better angels of their natures.” Guess what, sixty years later, a thousand years advanced cinematically, a million years advanced socially (maybe) and these guys are still chasing windmills. Nice, right.

The Blues Ain’t Nothing But A Good Woman On Your Mind- “The Best Of The Chicago Blues”

Click on the headline to link to a YouTube film clip of Muddy Water's performing his classic Chicago blues tune, Mannish Child.
CD Review

The Best Of The Chicago Blues, various artists, Vanguard Records, 1987

Johnny Prescott daydreamed his way through the music that he was listening to just then on the little transistor that Ma Prescott, Martha to adults, had given him for Christmas after he has taken a fit when she quite reasonable suggested that a new set of ties to go with his white long-sleeved shirts might be a better gift, a better Christmas gift and more practical too, for a sixteen year old boy. No, he screamed he wanted a radio, a transistor radio, batteries included, of his own so that he could listen to whatever he liked up in his room, or wherever he was, and didn’t have, understand, didn’t have to listen to some Vaughn Monroe or Harry James 1940s war drum thing on the huge immobile radio downstairs in the Prescott living room. Strictly squaresville, cubed.

But as he listened to this the Shangra-la by The Four Coins that just finished up a few seconds ago and as this Banana Boat song by The Tarriers was starting its dreary trip he was not sure that those ties wouldn’t have been a better deal, and more practical too. Ya, this so-called rock station, WAPX, had sold out to, well, sold out to somebody, because except for late at night, midnight late at night, one could not hear the likes of Jerry Lee, Carl, Little Richard, Fats, and the new, now that Elvis was gone, killer rocker, Chuck Berry who proclaimed loud and clear that Mr. Beethoven had better move alone, and said Mr. Beethoven best tell one and all of his confederates, including Mr. Tchaikovsky that rock ‘n’ roll was the new sheriff in town. As he turned the volume down a little lower (that tells the tale right there, friends) as Rainbow (where the hell do they get these creepy songs from) by Russ Hamilton he was ready to throw in the towel though .

Desperate he fingered the dial looking for some other station when he heard this crazy piano riff starting to breeze through the night air, the heated night air, and all of a sudden Ike Turner’s Rocket 88 blasted the airwaves. But funny it didn’t sound like the whinny Ike’s voice so he listened for a little longer, and as he later found out from the DJ it was actually a James Cotton Blues Band cover. After that performance was finished fish-tailing right after that one was a huge harmonica intro and what could only be mad-hatter Junior Wells doing When My Baby Left Me splashed through. No need to turn the dial further now because what Johnny Prescott had found in the crazy night air, radio beams bouncing every which way, was direct from Chicago, and maybe right off those hard-hearted Maxwell streets was Be-Bop Benny’s Chicago Blues Radio Hour. Be-Bop Benny who started Chuck Berry, Little Richard, and Fats Domino on their careers, or helped.

Now Johnny, like every young high-schooler, every "with it" high schooler in the USA, had heard of this show, because even though everybody was crazy for rock and roll, just now the airwaves sounded like, well, sounded like music your parents would dance to, no, sit to at a dance, some kids still craved high rock. So this show was known mainly through the teenage grapevine but Johnny had never heard it because, no way, no way in hell was his punk little Radio Shack transistor radio with two dinky batteries going to have even strength to pick Be-Bop Benny’s live show out in Chicago. So Johnny, and maybe rightly so, took this turn of events for a sign. And so when he heard that distinctive tinkle of the Otis Spann piano warming up to Spann’s Stomp and up with his Someday added in he was hooked. And you know he started to see what Billie, Billie Bradley from over in Adamsville, meant when at a school dance where he had been performing with his band, Billie and the Jets, he mentioned that if you want to get rock and roll back you had better listen to blues, and if you want to listen to blues, blues that rock then you had very definitely had better get in touch with the Chicago blues as they came north from Mississippi and places like that.

And Johnny thought, Johnny who have never been too much south of Gloversville, or west of Albany, and didn’t know too many people who had, couldn’t understand why that beat, that da,da, da, Chicago beat sounded like something out of the womb in his head. But when he heard Big Walter Horton wailing on that harmonica on Rockin’ My Boogie he knew it had to be in his genes.

Johnny Prescott’s Itch- With Kudos To Mister Gene Vincent's Be-Bop_A-Lula

Click on the headline to link to a YouTube film clip of Gene Vincent performing his rock classic, Be-Bop-A-Lula.

He had the itch. John Prescott had the itch and he had it bad, especially since his eyes flamed up consumed with hell-bend flames when he saw Elvis performing live on the Ed Sullivan Show one Sunday night. And he had it so bad that he had missed, unbeknownst to his parents who would have been crestfallen and, perhaps, enraged, his last few piano lessons. Sure, he covered his butt by having saxophonist Sid Stein, drummer Eddie Shore, and bass player Kenny Jackson from his improvisational school jazz combo, The G-Clefs (ya, a well-thought out name for a musical group) come by his house to pick him up. While standing at the Prescott door parents and sidemen went through the “well aren’t things looking up for you boys,” and “they seem to be” scene without missing a beat. But as soon as Kenny’s 1954 Nash Rambler turned the corner of Walnut Street Johnny was a long-gone daddy, real long-gone. And where he was long-gone but not forlorn to was Sally Ann’s Music Shop over on the far end of West Main Street. Now the beauty of Sally Ann’s was that it was, well, Sally Ann’s, a small shop that was well off the main drag, and therefore no a likely place where any snooping eyes, ears or voices that would report to said staid Prescott parents when Johnny went in or out of the place. Everyone, moreover, knew Sally Ann’s was nothing but a run-down, past its prime place and if you really wanted all the best 45s, and musical instrument stuff then every self-respecting teenager hit the tracks for Benny’s Music Emporium right downtown and only about a quick five-minute walk from North Clintondale High where Johnny and the combo served their high school time, impatiently served their high school time.

Now while everybody respected old Sally Ann’s musical instincts (she was the queen of the jitterbug night in the 1940s, had been on top of the be-bop jazz scene with Charley, Dizzy and the guys early on, guys whom the G-Clefs covered, covered like crazy, and nixed, nixed big time that whole Patti Page, Teresa Brewer weepy, sad song thing in the early 1950s) she was passé, old hat when it came to the cool blues coming out of Chicago, and the be-bop doo wop that kids, white kids, because there were no known blacks, or spanish, chinese, armenians, or whatever, in dear old Clintondale were crazy for ever since Frankie Lyman and his back-up guys tore up the scene with Why Do Fools Fall In Love?

But her greatest sin, although up until a few weeks ago Johnny would have been agnostic on that sin part, was that she was behind, way behind the curve, on the rock ‘n’ rock good night wave coming though and splashing over everybody, including deep jazz man, Johnny Prescott. But Sally Ann had, aside from that secluded locale and a tell-no-tales-attitude, something Johnny could use. She had a primo Les Paul Fender-bender guitar in stock just like the one Gene Vincent used that she was willing to let clandestine Johnny play when he came by. And she had something else Johnny could use, or maybe better Sally Ann could use. She had an A-Number One ear for guys who knew how to make music, any kind of music and had the bead on Johnny, no question. See Sally Ann was looking for one more glory flame, one more Clintondale shine moment, and who knows maybe she believed she could work some Colonel Parker magic and so Johnny Prescott was king of the Sally Ann day.

King, that is, until James and Martha Prescott spotted the other G-Clefs (Kenny, Sid, Eddie) coming out of the Dean Music School minus Johnny, minus a “don’t know where he is, sir,” Johnny. And Mr. Dean, Johnny’s piano instructor, was clueless as well, believing Johnny’s telephone story about having to work for the past few weeks and so lessons were to be held in abeyance. Something was definitely wrong if Mr. Dean, the man more who than anyone else who recognized Johnny’s raw musical talent in about the third grade had lost Johnny's confidence. But the Prescotts got wise in a hurry because flutist Mary Jane Galvin, also coming out the school just, then and overhearing the commotion about Johnny’s whereabouts decided to get even with one John Prescott by, let’s call a thing by its right name, snitch on him and disclosed that she had seen him earlier in the day when she walked into Sally Ann’s looking for an old Benny Goodman record that featured Peggy Lee and which Benny’s Emporium, crazed rock ‘n’ rock hub Benny’s would not dream of carrying, or even have space for.

The details of the actual physical confrontation with Johnny by his parents (with Mr. Dean in tow) are not very relevant to our little story. What is necessary to detail is the shock and chagrin that James and Martha exhibited on hearing of Johnny’s itch, his itch to be the be-bop, long-gone daddy of the rock ‘n’ roll night. Christ, Mr. Dean almost had a heart attack on the spot when he heard that Johnny had, and we will quote here, “lowered himself to play such nonsense,” and gone over to the enemy of music. As mentioned earlier Mr. Dean, before he opened his music school, had been the roving music teacher for the Clintondale elementary school sand had spotted Johnny’s natural feel for music early on. He also knew, knew somewhere is his sacred musical bones, that Johnny’s talents, his care-free piano talents in particular, could not be harnessed to classical programs, the Bachs, Beethoven, and Brahms stuff, so that he encouraged Johnny to work his magic through be-bop jazz then in high fashion, and with a long pedigree in American musical life. When he approached the Prescotts about coordinating efforts to drive Johnny’s talents by lessons his big pitch had been that his jazz ear would assure him of steady work when he came of age, came of age in the mid-1950s.

This last point should not be underestimated in winning the Prescotts over. James worked, when there was work, as welder, over at the shipyards in Adamsville, and Martha previously solely a housewife, in order to pay for those lessons (and be a good and caring mother to boot) had taken on a job filling jelly donuts (and other donut stuff) at one of the first of the Dandy Donuts shops that were spreading over the greater Clintondale area.
Christ, filling donuts. No wonder they were chagrined, or worst.

Previously both parents were proud, proud as peacocks, when Johnny really did show that promise that Mr. Dean saw early on. Especially when Johnny would inevitably be called to lead any musical assemblage at school, and later when, at Mr. Dean’s urging, he formed the G-Clef and began to make small amounts of money at parties and other functions. Rock ‘n’ rock did not fit in, fit in at all in that Prescott world. Then damn Elvis came into view and corrupted Johnny’s morals, or something like that. Shouldn’t the authorities do something about it?

Johnny and his parents worked out a truce, well kind of a truce,kind of a truce for a while. And that kind of a truce for a while is where old Sally Ann enters again. See, Johnny had so much raw rock talent that she persuaded him to have his boys (yes, Kenny, Sid and Eddy in case you forgot) come by and accompany him on some rock stuff. And because Johnny (not Sally Ann, old Aunt Sally by then) was loved, loved in the musical sense if not in the human affection sense by the other boys they followed along. Truth to tell they were getting the itch too, a little. And that little itch turned into a very big itch indeed when at that very same dime-dropper, Mary Jane Galvin’s sweet sixteen party concert (yes, Mary Jane was that kind of girl), the G-Clefs finished one of their covers, Dizzy’s Salt Peanuts with some rock riffs. The kids started to get up, started dancing in front of their seats to the shock of the parents and Mary Jane(yes, Mary Jane was that kind of girl), including the senior Prescotts, were crazy for the music. And Johnny’s fellow G-Clefs noticed, noticed very quickly that all kinds of foxy frails (girls, okay), girls who had previously spent much time ignoring their existences, came up all dream-eyed and asked them, well, asked them stuff, boy-girl stuff.

Oh, the Sally Ann part, the real Sally Ann part not just the idea of putting the rock band together. Well, she talked her talk to the headmaster over at North Clintondale High (an old classmate, Clintondale Class of 1925, and flame from what the boys later heard) and got the boys a paying gig at the up coming school Spring Frolics. And the money was more than the G-Clefs, the avant guarde G-Clefs made in a month of jazz club appearances, to speak nothing of girls attached. So now the senior Prescotts are happy, well as happy as parents can be over rock ‘n’ roll. And from what I hear Johnny and the Rocking Ramrods are going, courtesy of Aunt Sally, naturally, to be playing at the Gloversville Fair this summer. Be-bop-a-Lula indeed.

Fellow Baby-Boomer Politicos We Have Some Unfinished Business From The 1960s To Tend To- A Struggle To The End- For A Workers and Baby-Boomers Government! -Then And Now

Markin comment:

The following is in the nature of a stream of consciousness reflection on recent political struggles and the slight breeze that I am feeling starting to push back against defeats of some forty plus years since we last had a shot at “seeking a newer world” and that old- time breeze that pushed me first into the political fray.

As fate would have it sometimes a certain conjecture just falls into place for no particular reason other than happenstance, or so it would appear. As noted below I have been on a tear of late trying to get, young and old, but mainly my baby-boomer contemporaries, to get back into the political fray, and if there already to ratchet up their activity, and their political drifts leftward away from the all too familiar liberal complacencies. But that happenstance business is just a front because while one strand of the memory jog occurred just recently with the struggle over the events in Wisconsin and those whispered conversations about olden day struggles another strand had been spent on a now extensive review of much of the music from our youth, the youth that came of musically age just at that moment when we began to call rock ‘n’ roll music our own.

And that jail breakout music got reflected, at some level, in the way we looked at the world we felt that although the world was not of our making, and not what we wanted it to be, it was up for grabs to go in our direction, at least for a cultural moment.

The core of that review of the music of our generation, strangely enough given its imprimatur, is a rather extensive compilation of CDs put out by Time-Life Music (you see what I mean) as its Rock ‘n’ Roll Era series. While the compilations give a wide selection of the most recognizable music for a number of years from about the mid-1950s to the mid-1960s (basically pre-British invasion time) the real draw for this reviewer was the cover art that accompanied each CD. Those covers, more than the bulk of the music (after all there was a musical counter-revolution of sorts in the late 1950s in reaction to the Elvis, Jerry Lee way to sexy implications of their music) , evoked in me (and I am sure they would in you as well if you are a baby-boomer), a flood of memories. Such subjects as “hot” 1950s cars, drive-in movies, drive-in restaurants complete with to-die-for cute car hops serving them off the arm, the high school dance scene. And so on. I have reposted one such effort below:

"This 1964 art cover piece with its drawing of a high school girl (school used as backdrop here to let you know, just in case you were clueless, that the rock scene was directed, point blank, at high school students, high school students with discretionary money to buy hot records, or drop coins in the local juke box), or rather her high heel sneakers (Chuck Taylor high tops, for sure, no question, although there is no trademark present no way that they can be some knock-offs in 1964, no way, I say). The important thing, in any case, is the sneakers, and that slightly shorter than school regulation dress, a dress that presages the mini-skirt craze that was then just on its way from Europe. Naturally said dress and sneakers, sneakers, high- heeled or not, against the mandatory white tennis sneakers on gym days and low-heel pumps on other days, is the herald of some new age. And, as if to confirm that new breeze, in the background scouring out her high school classroom window, a sullen, prudish schoolmarm. She, the advance guard, obviously, of that parentally-driven reaction to all that the later 1960s stood for to us baby-boomers, as the generations fought out their epic battles about the nature of the world, our world or theirs.

But see that is so much “wave of future” just then because sullen schoolmarm or not what Ms. Hi-Heel sneakers (and dress, ya, don’t forget that knee-showing dress) is preening for is those guys who are standing (barely) in front of said school and showing their approval, their approval in the endless boy and girl meet game. And these guys are not just of one kind, they are cool faux beat daddy guys, tee-shirted corner boy guys, and well, just average 1964- style average guys. Now the reality of Ms. Hi-Heel sneakers (and a wiglet on her head) proved to be a minute thing and was practically forgotten in the musical breeze that was starting to come in from Europe (British invasion led by the Beatles and the Rolling Stones) but it was that harbinger of change that the old schoolmarm dreaded and we, teenagers, especially we teenagers of the Class of 1964, were puzzled by. All we knew for sure, at least some of us knew , was that our class, at least for a moment, was going to chase a few windmills, and gladly.

That is the front story, the story of the new breeze coming, but the back story is that the kind of songs that are on this CD with that British invasion coming full blast were going to be passé very soon. Moreover, among my crowd, my hang-out crowd, my hang-out guy and girl crowd of guys who looked very much like those guys pictured on the artwork here, if not my school crowd (slightly different) the folk scene, the Harvard Square at weekend night, New York City Village every once in a while folk scene, the Dylan, Baez, Van Ronk, Paxton, Ochs, etc. scene was still in bloom and competitive (although that scene, that folk scene minute, ironically, would soon also be passé).

Thus 1964 was a watershed year for a lot of the genres, really sub-genres, featured here. Like the harmony-rich girl groups (The Supremes, Mary Wells, The Shangri-Las, Martha and the Vandellas, Betty Everett) and the surfer boy, hot-rod guys of blessed neighborhood memory (Ronnie and the Daytonas, The Rivieras, and The Beach Boys, a little). But it was also a watershed year for the guys pictured in the artwork (and out in the neighborhoods). Some would soon be fighting in Vietnam, some moving to a commune to get away from it all, and others would be raising holy hell about that war, the need for social justice and the way things were being run in this country. And Ms. Hi-Heel sneakers? Maybe, just maybe, she drifted into that San Francisco for the Summer of Love night, going barefoot into that good night. I like to think so anyway.

Watershed year or not, there are some serious non-invasion stick-outs here. Under The Boardwalk (great harmony), The Drifters; Last Kiss, Frank Wilson and The Cavaliers; Dancing In The Streets (lordy, lordy, yes), Martha and the Vandellas; Leader Of The Pack (what a great novelty song and one that could be the subject of a real story in my growing up neighborhood), The Shangri-Las; Hi-Heel Sneakers, Tommy Tucker (thanks for the lead-in, Tommy), and, the boss song of the teen dance club night, no question, no challenge, no competition, Louie, Louie by the Kingsmen

Note: Those familiar with leftist, Marxist-oriented politics are familiar with the slogan- fight for a workers government. If you will observe in the headline to this entry I have posited a workers and baby-boomers government. No, not to be silly or flip, although I know how to do both, but to make a point. A point that always bears a certain repetition when dealing with variants of this workers’ government slogan. In places like Egypt today, or better, in the old Czarist days, in Russia, the slogan would have been expanded to something like a workers and peasants government. And that gets to the real point. Although we Marxists argue, and argue strenuously, that when the deal goes down there are only two decisive classes in the modern era- the capitalists who own the means of production and the workers who produce the profits and emphatically do not own the means of production. But that begs the point, a little. In the age of capitalism other classes, and parts of classes, have been spun off. Thus, the question, even in the United States, of allies for the working class requires a broadly slogan (at times) than just the generic workers government slogan that graces these pages on most related entries. Today’s entry reflects the very real possibility that our best allies might be those who are coming of retirement age, the post- World War II baby-boomer generation.

Now back in the 1930s when there were many more small and family farmers than there are today the proposition of a workers and farmers government was posed as cutting-edge slogan by our political forbears. And, of course, somebody, some smart- aleck young Marxist who was trying to be silly or flip (probably a college student from New York City where young Marxists were thick as fleas) noted that there were more dentists in the United States than farmers at that time. Now, from painful personal (and expensive) experience, I actually could get behind the idea of a workers and dentists government. But that specific variant is just adding to the main point above, the algebraic nature of a workers and XYZ government as a fighting slogan. So for now my workers and baby-boomers government has a certain flare, especially until the grey beards are in the minority of most of the rallies that I have seen lately. Please though don’t expect me to take a job in the Commissariat of Elder Affairs when we win. No way.

Those Oldies But Goodies-Folk Branch-Bob Dylan’s “Desolation Row”-In The Summer of Love

Click on the headline to link to a YouTube film clip of Bob Dylan performing Desolation Row.Desolation Row Lyrics

Bob Dylan

They're selling postcards of the hanging
They're painting the passports brown
The beauty parlor is filled with sailors
The circus is in town
Here comes the blind commissioner
They've got him in a trance
One hand is tied to the tight-rope walker
The other is in his pants
And the riot squad they're restless
They need somewhere to go
As Lady and I look out tonight
From Desolation Row.

Cinderella, she seems so easy
"It takes one to know one," she smiles
And puts her hands in her back pockets
Bette Davis style
And in comes Romeo, he's moaning
"You belong to Me I Believe"
And someone says, "You're in the wrong place, my friend
You better leave"
And the only sound that's left
After the ambulances go
Is Cinderella sweeping up
On Desolation Row.

Now the moon is almost hidden
The stars are beginning to hide
The fortunetelling lady
Has even taken all her things inside
All except for Cain and Abel
And the hunchback of Notre Dame
Everybody is making love
Or else expecting rain
And the Good Samaritan, he's dressing
He's getting ready for the show
He's going to the carnival tonight
On Desolation Row.
Now Ophelia, she's 'neath the window
For her I feel so afraid
On her twenty-second birthday
She already is an old maid
To her, death is quite romantic
She wears an iron vest
Her profession's her religion
Her sin is her lifelessness
And though her eyes are fixed upon
Noah's great rainbow
She spends her time peeking
Into Desolation Row.

Einstein, disguised as Robin Hood
With his memories in a trunk
Passed this way an hour ago
With his friend, a jealous monk
He looked so immaculately frightful
As he bummed a cigarette
Then he went off sniffing drainpipes
And reciting the alphabet
You would not think to look at him
But he was famous long ago
For playing the electric violin
On Desolation Row.

Dr. Filth, he keeps his world
Inside of a leather cup
But all his sexless patients
They're trying to blow it up
Now his nurse, some local loser
She's in charge of the cyanide hole
And she also keeps the cards that read
"Have Mercy on His Soul"
They all play on penny whistles
You can hear them blow
If you lean your head out far enough
From Desolation Row.
Across the street they've nailed the curtains
They're getting ready for the feast
The Phantom of the Opera
In a perfect image of a priest
They're spoonfeeding Casanova
To get him to feel more assured
Then they'll kill him with self-confidence
After poisoning him with words
And the Phantom's shouting to skinny girls
"Get outa here if you don't know"
Casanova is just being punished for going
To Desolation Row.

At midnight all the agents
And the superhuman crew
Come out and round up everyone
That knows more than they do
Then they bring them to the factory
Where the heart-attack machine
Is strapped across their shoulders
And then the kerosene
Is brought down from the castles
By insurance men who go
Check to see that nobody is escaping
To Desolation Row.

Praise be to Nero's Neptune
The Titanic sails at dawn
Everybody's shouting
"Which side are you on ?"
And Ezra Pound and T. S. Eliot
Fighting in the captain's tower
While calypso singers laugh at them
And fishermen hold flowers
Between the windows of the sea
Where lovely mermaids flow
And nobody has to think too much
About Desolation Row.
Yes, I received your letter yesterday
About the time the door knob broke
When you asked me how I was doing
Was that some kind of joke ?
All these people that you mention
Yes, I know them, they're quite lame
I had to rearrange their faces
And give them all another name
Right now I can't read too good
Dont send me no more letters no
Not unless you mail them
From Desolation Row.
********

This is the way it started with Gypsy Love and me. “Hey Mister, do you want to buy some flowers for your girlfriend?” And just then, girlfriend-less, I started to say no but something, something from deep inside me, or maybe her, made me said this, “Sure, but since I don’t have a girlfriend why don’t you just keep them and wear them in your hair.” Something about that sentiment struck a cord in her so we continued to talk, talk a lot for the next several minutes even though many people, many customer people were walking by this moonless night, this moonless Boylston Street 1966 Friday summer night. And that is the way it started, I swear.

Of course Gypsy Love was just the pet name that I gave her a little later, and it is better for all concerned that we just leave it like that, although not for any particular privacy, things better left unsaid, or let sleeping dogs lie reason, it wasn’t like that with us in our time, the time of our time, other than Gypsy Love says more about her, about me, and about what happened to us in those last year days that I want to tell you about than her real name. Naturally, naturally unless you might want to think otherwise, she was no more of a gypsy than I am. Long, flowing blonde hair, fair almost alabaster white skin, flashing blue eyes, bedroom eyes we called them around my old neighborhood, in my old high school days corner boy-sizing up the girls days a few years back, kind of thin, kind of hadn’t had a good meal in a while thin, and wearing no make-up, as is the fashion these days is not my picture, and I am sure not yours either, of a dark-skinned, dark-haired, dancing-eyed gypsy girl with a rose in her teeth doing the tarantella, or something like that.

No, the gypsy part came in because of the flowers. Now, right this 1967 minute, you cannot go down any city street, any decent-sized city street on a Friday night, a boy and girl-filled Friday night, and not have some enterprising real-live gypsy girl, maybe twelve or twenty who knows, trying to sell you some woe-begotten, faded, wilted, or worst, plastic, christ, plastic rose, singular rose, by the way, for your girlfriend. All the while cheapskate embarrassing you when you sheepishly bluster out "no thanks." Or directing you, no steering you, to some Madame LaRue ancient gypsy-mother in the window fortune-telling lady. An ancient gypsy mother woman who will, for small, very small, change, and knowing whom to pitch her spiel to, start running life’s wheel of fortune. But wouldn’t the lady also like to know love’s fortune for an extra thin coin at you. And then, always, always looking into her crystal ball, or the cards, T.S. Eliot’s dread tarot cards, and, whee, thankfully predict love’s delights. And that is the long and short of it for the gypsy part. The love part is self-explanatory or should be, and if it is not you will catch the drift as I go along.

And, let’s say in 1962 or 1963, on some other moonless Boylston Street night, some high school moonless night looking for one of the latest, cheap date, coffeehouses that dotted the street and were the rage those few years back that real gypsy girl would have been left to ply her trade, her rose-pedaling trade (maybe an older sister might have been working some other, more adult, scheme, but in that boy and girl-filled night I was not noticing that scene since I was girl-ed up and working my charm on said girl) with no fair-haired gypsy love girl competition. But see in 1966 (or 1967 as I am writing this) all hell has broken loose in the land. There has been a jail-break among the young, among some of the more adventurous or alienated young, who have decided, and rightly so, that suburban, white picket-fence, college, then graduate school, then a respectable profession, and then, yes, then, then, then a straight line replication of dear mother and father is not in the cards. And one does not need a fortune-telling lady, ancient gypsy-mother or not, tarot cards read or not, to know that death street. So some, and Gypsy Love included herself among the some, decided that the jail-break was worth the risk, worth the risk for a little while anyway. And then see what happens.

But jail-break or not, picket-fence security or not, squaresville or edge city, you still need dough, dough to keep off the hairy, not woman friendly streets, dough to keep body and soul together, hell, dough for the yarn to start up that shawl-making business that was the direct reason that Gypsy Love was selling flowers (not suburban boy and girl in town for a weekend look at the hippies night roses, and certainly no plastic throw-aways, just cut flowers suitable for hair, and medieval garlands to prance around the Boston Common). And, like I said, obviously not getting enough business to keep her from being not enough to eat thin. Because, after all that was a summer of love, not this year’s “officially” proclaimed one, proclaimed from this shore to San Francisco and every unattached (and maybe some attached, who knows), fair-haired former alabaster white-skinned fairy princess is also selling flowers, or something, to keep the wolves from the door.

So, naturally, once I knew the score, that talking several minutes that I held Gypsy Love up (although, as it turned out, she was more than happy to be talking rather than selling flowers) made me feel guilty and I offered to spring for a little dinner for her. Either out of hunger, or some spark between us that she also felt, she said yes, an empathic yes, or at least that is how I am going to tell it. So, "old pro" Boylston Street denizen that I had become we went into the Olive, a cheap coffeehouse that also served light meals, light meals in the dark so I hoped. So we ate some supper, not too badly served that night, a not drunk chef must have been on duty, and then left satisfied. And headed for her garret over on Commonwealth Avenue.

Yes, it was certainly a garret no question. And I have been in such places before that, no problem, I am, if anything, no snob when it comes to living quarters . What I didn’t expect, didn’t expect when she invited me over was that she shared the place with about six others, boys and girls alike, some paired, some not. And that was also okay, or rather it turned out okay, because among the denizens of that place was a guy, no, a gallant, who knowing that he could not compete with the Gypsy Love flower-sellers of the Boston night sold dope instead. And good stuff too, primo Acapulco Gold and Columbia Red that he got from some Spanish girl, no that is not right, some Mexican girl, some sunflower sunshine Juanita girl connection that he had made over in Cambridge Common where he hung out during the day.

So that night, that moonless Commonwealth Avenue garret summer night, Gypsy Love and I got “high,” 1966 (or 1967) high, not old-time alcohol-induced twenty college generations before Saturday night fraternity row beer-kegged, not old-time alcohol-induced whiskey, whiskey with a beer chaser like my father and his working class cronies over at some local Dublin Pub, not rye whiskey with a water chaser like I used to like to drink and still do when there is no sweet weed, sweet tea as I like to nickname call it, not scotch neat, martini dry, manhattan on the rocks Mayfair swells high like the squares out there with the picket fences not oblivion, forget, remember to forget, raging against the day, against the night high, but mellow, insightful high. And this stuff was so strong, so laced with whatever chemist’s knowledge-laced, and with whatever nutrient rich volcanic ash grown side of some desolate latin mountain that we really couldn’t sleep. Maybe Gypsy Love couldn’t sleep because, like I noticed when I first started talking to her, she was so thin and the good non-drunken chef food earlier and then this laced-primo dope kept her up, and I because she was Gypsy Love and I was too busy drinking her in for the first time to waste time on sleep.

So we “split” (left the premises, or went out, for the squares, okay) the scene at the walk-up garret with it menagerie of humanity, also all laced- high as far as I could tell as we closed the door behind us, around two o’clock in the morning to “goof” on (not make fun of, not serious, hurtful make fun of anyway, but more like let’s let the dope take its course, observe the late hour night life, again for the squares, and again okay, okay) the Boylston Street scene. Strangely, most of my late, late night, improper Boston late night scene, really wasn’t spent in Boston, but rather in Cambridge, in Harvard Square, specifically since about 1962 at the all-night Hayes –Bickford right up from the subway station, kind of a budding literary hang-out place but in any case a long way refuge from bad high school home scenes, and later to soak in the night life, and catch a few ideas, if only by osmosis. All for the price of a refillable watery dregs cup of coffee and maybe a soggy Danish or stale three o’clock in the morning yesterday muffin.

But this Boylston Street scene was something else, 1966 something else. Something at once more alive, more viscerally alive than the, when you really thought about it, staid and now well-worn late night Bickford literary scene with its ritual low important conversation hum, its frantic writerliness, and its slow drum tattoo beat to define “cool.” And, at the same time more destructive, not Vietnam War nightly television waste destructive that the mad daddies in D.C. had already cornered the market on, and were not letting go of despite many anguished cries, but more the sense that this was the last chance for happiness, or sanity, or some such thing and we had better grab it now before it blows away with the winds, or we get tired of riding it and go back to the cocoons. A madness scene, and let’s leave it at that, leave it at that until the dope wears off.

Sure, the jugglers, juggling all improbable combinations of materials from bowling pins to ninja sticks, and clowns, Charley Chaplin tramp clowns, claribel clowns, Disneyland clowns, squirting, spraying, belching, bellowing, bestriding bicycles, bouncing balls and baby cars, and whatever seven other things clowns do, were out in force. No hip town, no college night town from east to west, from Cambridge to Berkeley, Ann Arbor in between, no cultural oasis town from the Village to Venice Beach, Austin in between, America or Europe, continental Europe Paris the hub, London in between was “hip,” (not squares for the squares, got it) without a plethora of those brethren.

Or the one-trick pony Monte guys sitting at little tables or on benches “organizing” a game, cards, walnut shells, peas-in-a pod a specialty, acrobats, maybe some circus castoffs or Olympic failure cases, bouncing off each other, sparkling uniforms making an arc to off-set the trickiness of the action, and maybe in a couple of years Vegas in the big tent, into the dead air night. And anyone else with any talent, any mimic money, spare-change, put the dough in the hat right in front of you, please, talent to keep the wolves away from the door.

And sure a zillion guitar players, and some nights in Harvard Square a few years back that might have been a low-ball estimate, now electric, electrified in the post-Dylan night, and diehard acoustics, trads, trying to maintain but losing the battle in the sound night and have the empty hats to prove it. Plugged in or on the edge though, singing, crooning, bleeping, basheeing, bahai-ing, rama-ing, hari-ing, and just plain old-fashioned vanilla screaming, along with tambourines, kazoos, wash tubs, triangles, oboes, hautboy, water glasses of various sizes, anything that could, or would, or should, make music, enough music to keep those ravenous wolves away from that damn door.

And guys and gals, angel love guys and gals, hop-headed or harmless, bejeweled or buckskinned, selling every kind of dope from every arm, reaching into every pocket for a pill here, some tea leaves there, more rare, an eight ball of this, and rarer still then although now I hear about it more, maybe a girl-boy combination for a permanent float. And every kind of kid (mainly), some college preppie out on the Boylston Street night, maybe tired, too tired from that fraternity beer-keg and some lame three hundred freshman in a telephone booth, or a Volkswagen joke, some suburban high school break-out kid looking to forget the corner boy action, or the last dance, last high school dance failure, and didn’t want to go home, some car-full of girls (always a car-full, never less) from a different suburb, looking, well, looking for those “hippie” guys that look kind of cute now, now that mother and father don’t approve of hippie guys, and streams of boys and girls in all colors and shades and all uniforms just getting in from the long bus ride from Bangor, or Montpelier and intent, serious intent , on breaking out of that hayseed world, buying those fifty-seven flavors and smoking, dropping, or swallowing it right here on the premises, the street premises and wilding out (going crazy with joy, ecstasy, fear, freak-out) before hard dawn hits the streets

But also every hipster, dipster, grifter, drifter and midnight sifter who had enough sense to catch sleep during the day and come out at night and do his or her rube-taking madness. Some badass madness, some not from the suburbs, not now anyway, madness, police-worthy madness. The clash between the dope-infested madness and the lumpen-greed head madness, the known world’s madness in new form, would define that last summer, for good or evil. But right then for good, for the good Mexican night dope that was just beginning to wear off and let sleep take its course. And then dawn came, or just that few minutes before dawn, when heavy, lumpish human outline figures start to take distinctive shape, Gypsy Love and I could look over on Boston Common hill and see the outline forms of hundreds of sleeping bags, tent city resident pup-tent, oddly Army surplus, homemade lean-too dwellers, park bench newspaper-pillowed sleepers, whatever, sheltering the summer of love refugees against that moonless night. And just at that pre-dawn moment I knew that Gypsy Love and I were solid for that moment, and for some other moments, and for a while too but that when the colds came, when the skies turned granite grey in revenge, when the yellowish, brownish, orange-ish leaves started falling we would have had our moment.