When The Tin Can
Bended…. In The Time Of The Late Folk-Singer Dave Van Ronk’s Time
Sometimes Sam Lowell
and his “friend” (really “sweetie,” long time sweetie, paramour, significant
other, consort or whatever passes for the socially acceptable or Census Bureau
bureaucratic “speak” way to name somebody who is one’s soulmate, his preferred term)
Laura Perkins whose relationship to Sam was just described in parenthesis, and
righteously so, liked to go to Crane’s Beach in Ipswich to either cool off in
the late summer heat. July when they really would like to go there to catch a few
fresh sea breezes not being a period to show up at the bleach white sands beach
due to nasty blood-sucking green flies swarming and dive-bombing like some
berserk renegade Air Force squadron lost on a spree who breed in the nearby
swaying mephitic marshes the only “safe haven” then is to drive up the hill to
the nearby Crane Castle to get away from the buggers as the well-to-do have
been doing since there were well-to-do and had the where-with-all to escape the
summer heat and bugs at higher altitudes. By the way I assume that “castle” is
capitalized when it part of a huge estate, the big ass estate of Crane, now a
trust monument to the first Gilded Age, not today’s neo-Gilded Age, architectural
proclivities of the rich, the guy whose company did, does all the plumbing
fixture stuff on half the bathrooms in America including the various
incantations of the mansion.
Along the way, along the
hour way to get to Ipswich from Cambridge they had developed a habit of making
the time more easy passing by listening to various CDs, inevitably not listened
to for a long time folk CDs, so long that the plastic containers needed to be
dusted off before brought along, on the car CD player. And is their wont to
comment on this or that thing that some song brought to mind, or the
significance of some song in their youth. One of the things that brought them together
early on was their mutual interest in the old 1960s folk minute which Sam, a
little older and having grown up within thirty miles of Harvard Square, one the
big folk centers of that period along with the Village and North Beach out in
Frisco town, had imbibed deeply and which Laura, growing up “in the sticks,” in
farm country in upstate New York had gotten second-hand through records and a
little the fading Cambridge folk scene when she had moved to Boston in the
early 1970s to go to graduate school.
One hot late August
day they got into one such discussion about how they first developed an
interest in folk music when Sam had said “sure everybody, everybody over the
age of say fifty to be on the safe side, knows about Bob Dylan, maybe a little younger
too if some hip kids have browsed through their parents’ old vinyl record
collections now safely ensconced in the attic although there are stirrings of
retro-vinyl revival of late. Some of that over 50 crowd and their young
acolytes would also know about how Dylan, after serving something like an
apprenticeship under the influence of Woody Guthrie in the late 1950s singing Woody’s
songs in his style something fellow Woody
acolytes like Ramblin’ Jack Elliot never quite got over when he moved on but
who has actually made a nice workman-like career out of Woody covers, became if
not the voice of the Generation of ’68, their generation, which he probably did
not seriously aspire in the final analysis, then the master troubadour of the
age.”
He continued when Laura
said she was not sure about the connection, “troubadour in the medieval sense
of bringing news to the people and entertaining them by song and poetry as well
if not decked in some officially approved garb like back in those olden days
where they worked under a king’s license if lucky, by their wit otherwise but
the “new wave” post-beatnik flannel shirt, work boots, and dungarees which connected
you with the roots, the American folk roots down in the Piedmont, down in
Appalachia, down in Mister James Crow’s Delta. So, yes, that story has been
pretty well covered.”
Laura said she knew
all of that although not that Ramblin’ Jack had been an acolyte of Woody’s but
she wondered about others, some other folk performers who she listened to on
WUMB on Saturday morning when some weeping willow DJ put forth about fifty old
time rock and folk things a lot of which she had never heard of back in Mechanicsville
outside of Albany where she grew up. Sam then started in again, “Of course that
is hardly the end of the story since Dylan did not create that now hallowed
folk minute of the early 1960s. He had been washed by it when he came to the
East from Hibbing, Minnesota for God’s sake (via Dink’s at the University),
came into the Village where there was a cauldron of talent trying to make folk
the next big thing, the next big cultural thing for the young and restless of
the post-World War II generations. Us, but also those in little oases like the
Village where the disaffected could put up on stuff they couldn’t get in places
like Mechanicsville or Carver where I grew up. People who I guess, since even I
was too young to know about that red scare stuff except to follow your
teacher’s orders to put your head under your desk and hand over your head if
the nuclear holocaust was coming, were frankly fed up with the cultural
straightjacket of the red scare Cold War times and began seriously looking as
hard at roots in all its manifestations as our parents, definitely mind, yours
were just weird about stuff like that, right, were burying those same roots
under a vanilla existential Americanization. How do you like that for pop
sociology 101.”
“One of the talents
who was already there when hick Dylan came a calling, lived there, came from
around there was the late Dave Van Ronk who we have heard several times in
person, although unfortunately when his health and well-being were declining.
You know he also, deservedly, fancied himself a folk historian as well as
musician.”
“Here’s the funny
thing, Laura, that former role is important because we all know that behind the
“king” is the “fixer man,” the guy who knows what is what, the guy who tells
one and all what the roots of the matter were like some mighty mystic (although
in those days when he fancied himself a socialist that mystic part was played
down). Dave Van Ronk was serious about that part, serious about imparting that
knowledge about the little influences that had accumulated during the middle to
late 1950s especially around New York which set up that folk minute. New York
like I said, Frisco, maybe in small enclaves in L.A. and in precious few other
places during those frozen times a haven for the misfits, the outlaws, the
outcast, the politically “unreliable,” and the just curious. People like the
mistreated Weavers, you know, Pete Seeger and that crowd found refuge there
when the hammer came down around their heads from the red-baiters and others
like advertisers wo ran for cover to “protect” there precious soap, toothpaste,
beer, deodorant or whatever they were mass producing to sell to a hungry pent-ip
market. Boston and Cambridge by comparison until late in the 1950s when
the Club 47 and other little places started up and the guys and gals who could
sing, could write songs, could recite poetry even had a place to show their
stuff instead of to the winos, rummies, grifters and conmen who hung out at the
Hayes-Bickford or out on the streets could have been any of the thousands of
towns who bought into the freeze.”
“Sweetie, I remember
one time but I don’t remember where, maybe the Café Nana when that was still
around after it had been part of the Club 47 folk circuit for new talent to play
and before Harry Reid, who ran the place, died and it closed down, I know it
was before we met, so it had to be before the late 1970s Von Ronk told a funny
story, actually two funny stories, about the folk scene and his part in that
scene as it developed a head of steam in the mid-1950s which will give you an
idea about his place in the pantheon. During the late 1950s after the
publication of Jack Kerouac’s ground-breaking road wanderlust adventure novel
that got young blood stirring, not mine until later since I was clueless on all
that stuff except rock and roll, On The Road which I didn’t read until high school, the jazz scene, the cool
be-bop jazz scene and poetry reading, poems reflecting off of “beat” giant
Allen Ginsberg’s Howl the clubs and coffeehouse of the Village were
ablaze with readings and cool jazz, people waiting in line to get in to hear
the next big poetic wisdom guy if you can believe that these days when poetry
is generally some esoteric endeavor by small clots of devotees just like folk music.
The crush of the lines meant that there were several shows per evening. But how
to get rid of one audience to bring in another in those small quarters was a
challenge. Presto, if you wanted to clear the house just bring in some
desperate “from hunger” snarly nasally folk singer for a couple, maybe three
songs, and if that did not clear the high art be-bop poetry house then that
folk singer was a goner. A goner until the folk minute of the 1960s who
probably in that same club then played for the “basket.” You know the “passed
hat” which even on a cheap date, and a folk music coffeehouse date was a cheap
one in those days like I told you before and you laughed at cheapie me and the
“Dutch treat” thing, you felt obliged to throw a few bucks into to show solidarity
or something. And so the roots of New York City folk according to the
“father.”
Laura interrupted to
ask if that “basket” was like the buskers put in front them these days and Sam
said yes. And asked about a few of the dates he took to the coffeehouses in
those days, just out of curiosity she said, meaning if she had been around
would he have taken her there then. He answered that question but since it is
an eternally complicated and internal one I have skipped it to let him go on
with the other Von Ronk story. He continued with the other funny story like
this-“The second story involved his authoritative role as a folk historian who
after the folk minute had passed became the subject matter for, well, for
doctoral dissertations of course just like today maybe people are getting
doctorates in hip-hop or some such subject. Eager young students, having basked
in the folk moment in the abstract and with an academic bent, breaking new
ground in folk history who would come to him for the “skinny.” Now Van Ronk had
a peculiar if not savage sense of humor and a wicked snarly cynic’s laugh but
also could not abide academia and its’ barren insider language so when those
eager young students came a calling he would give them some gibberish which
they would duly note and footnote. Here is the funny part. That gibberish once
published in the dissertation would then be cited by some other younger and even
more eager students complete with the appropriate footnote. Nice touch, nice
touch indeed on that one, right.”
Laura did not answer
but laughed, laughed harder as she thought about it having come from that
unformed academic background and having read plenty of sterile themes turned
inside out.
“As for Van Ronk’s
music, his musicianship which he cultivated throughout his life, I think the
best way to describe that for me is that one Sunday night in the early 1960s I
was listening to the local folk program on WBZ hosted by Dick Summer, who was
influential in boosting local folk musician Tom Rush’s career and who was featured
on that Tom Rush documentary No
Regrets we got for being members
of WUMB, when this gravelly-voice guy, sounding like some old mountain
pioneer, sang the Kentucky hills classic Fair and Tender Ladies. After
that I was hooked on that voice and that depth of feeling that he brought to
every song even those of his own creation which tended to be spoofs on some
issue of the day.”
Laura laughed at Sam
and the intensity with which his expressed his mentioning of the fact that he
liked gravelly-voiced guys for some reason. Here is her answer, “You should
became when you go up to the third floor to do your “third floor folk- singer”
thing and you sing Fair and Tender Ladies
I hear this gravelly-voiced guy, sounding like some old mountain pioneer, some
Old Testament Jehovah prophet come to pass judgment come that day.”
They both
laughed.
Laura then mentioned
the various times that had seen Dave Von Ronk before he passed away, not having
seen him in his prime, when that voice did sound like some old time prophet, a
title he would have probably secretly enjoyed for publicly he was an adamant atheist.
Sam went on, “ I saw him perform many times over the years, sometimes in high
form and sometimes when drinking too much high-shelf whiskey, Chavis Regal, or
something like that not so good. Remember we had expected to see him perform as
part of Rosalie Sorrels’ farewell concert at Saunders Theater at Harvard in 2002
I think. He had died a few weeks before. Remember though before that when we had seen
him for what turned out to be our last time and I told you he did not look well
and had been, as always, drinking heavily and we agreed his performance was
subpar. But that was at the end. For a long time he sang well, sang us well
with his own troubadour style, and gave us plenty of real information about the
history of American folk music. Yeah like he always used to say-“when the tin
can bended …..and the story ended.
As they came to the
admission booth at the entrance to Crane’s Beach Sam with Carolyn Hester’s song
version of Walt Whitman’s On Captain, My
Captain on the CD player said “I was on my soap box long enough on the way
out here. You’re turn with Carolyn Hester on the way back who you know a lot
about and I know zero, okay.” Laura retorted, “Yeah you were definitely on your
soap-box but yes we can talk Carolyn Hester because I am going to cover one of
her songs at my next “open mic.” And so it goes.