For Rosalie Sorrels -I Hear That Whistle When She Blows- Utah Phillps' "Daddy, What's A Train?

Click on title to link to YouTube's film clip of Utah Phillips performing his classic train song, "Daddy, What's A Train?".

If I Could Be The Rain I Would Be Rosalie Sorrels-The Legendary Folksinger-Songwriter Has Her Last Go-Round At 83

By Music Critic Bart Webber

Back the day, back in the emerging folk minute of the 1960s that guys like Sam Lowell, Si Lannon, Josh Breslin, the late Peter Paul Markin and others were deeply immersed in all roads seemed to lead to Harvard Square with the big names, some small too which one time I made the subject of a series, or rather two series entitled respectively Not Bob Dylan and Not Joan Baez about those who for whatever reason did not make the show over the long haul, passing through the Club 47 Mecca and later the Café Nana and Club Blue, the Village down in NYC, North Beach out in San Francisco, and maybe Old Town in Chicago. Those are the places where names like Baez, Dylan, Paxton, Ochs, Collins and a whole crew of younger folksingers, some who made it like Tom Rush and Joni Mitchell and others like Eric Saint Jean and Minnie Murphy who didn’t, like  who all sat at the feet of guys like Woody Guthrie and Pete Seeger got their first taste of the fresh breeze of the folk minute, that expression courtesy of the late Markin, who was among the first around to sample the breeze.

(I should tell you here in parentheses so you will keep it to yourselves that the former three mentioned above never got over that folk minute since they will still tell a tale or two about the times, about how Dave Van Ronk came in all drunk one night at the Café Nana and still blew everybody away, about catching Paxton changing out of his Army uniform when he was stationed down at Fort Dix  right before a performance at the Gaslight, about walking down the street Cambridge with Tom Rush just after he put out No Regrets/Rockport Sunday, and about affairs with certain up and coming female folkies like the previously mentioned Minnie Murphy at the Club Nana when that was the spot of spots. Strictly aficionado stuff if you dare go anywhere within ten miles of the subject with any of them -I will take my chances here because this notice, this passing of legendary Rosalie Sorrels a decade after her dear friend Utah Phillips is important.)

Those urban locales were certainly the high white note spots but there was another important strand that hovered around Saratoga Springs in upstate New York, up around Skidmore and some of the other upstate colleges. That was Caffe Lena’s, run by the late Lena Spenser, a true folk legend and a folkie character in her own right, where some of those names played previously mentioned but also where some upstarts from the West got a chance to play the small crowds who gathered at that famed (and still existing) coffeehouse. Upstarts like the late Bruce “Utah” Phillips (although he could call several places home Utah was key to what he would sing about and rounded out his personality). And out of Idaho one Rosalie Sorrels who just joined her long-time friend Utah in that last go-round at the age of 83.

Yeah, came barreling like seven demons out there in the West, not the West Coast west that is a different proposition. The West I am talking about is where what the novelist Thomas Wolfe called the place where the states were square and you had better be as well if you didn’t want to starve or be found in some empty arroyo un-mourned and unloved. A tough life when the original pioneers drifted westward from Eastern nowhere looking for that pot of gold or at least some fresh air and a new start away from crowded cities and sweet breathe vices. A tough life worthy of song and homage. Tough going too for guys like Joe Hill who tried to organize the working people against the sweated robber barons of his day (they are still with us as we are all now very painfully and maybe more vicious than their in your face forbear). Struggles, fierce down at the bone struggles also worthy of song and homage. Tough too when your people landed in rugged beautiful two-hearted river Idaho, tried to make a go of it in Boise, maybe stopped short in Helena but you get the drift. A different place and a different type of subject matter for your themes than lost loves and longings.  

Rosalie Sorrels could write those songs as well, as well as anybody but she was as interested in the social struggles of her time (one of the links that united her with Utah) and gave no quarter when she turned the screw on a lyric. The last time I saw Rosalie perform in person was back in 2002 when she performed at the majestic Saunders Theater at Harvard University out in Cambridge America at what was billed as her last go-round, her hanging up her shoes from the dusty travel road. (That theater complex contained within the Memorial Hall dedicated to the memory of the gallants from the college who laid down their heads in that great civil war that sundered the country. The Harvards did themselves proud at collectively laying down their heads at seemingly every key battle that I am aware of when I look up at the names and places. A deep pride runs through me at those moments)

Rosalie Sorrels as one would expect on such an occasion was on fire that night except the then recent death of another folk legend, Dave Von Ronk, who was supposed to be on the bill (and who was replaced by David Bromberg who did a great job banging out the blues unto the heavens) cast a pall over the proceedings. I will always remember the crystal clarity and irony of her cover of her classic Old Devil Time that night -yeah, give me one more chance, one more breathe. But I will always think of If I Could Be The Rain and thoughts of washing herself down to the sea whenever I hear her name. RIP Rosalie Sorrels 

Markin comment: How could, on a day when I am reviewing a book about the building of the American transcontinental railroad, such an entry be complete without a nod to one of the "knights of the rails", the late folksinger/storyteller Utah Phillips and his classic train song, "Daddy What's A Train?".



Daddy What's A Train

Most everybody who knows me knows that I'm a train nut. In Dayton, Ohio, when I was 12 years old during the Second World War, there was a railroad that went close by Greenmont Village. A bunch of the kids and I built a fort out of old railroad ties, half dug in the ground and half above the ground. We let a bum sleep in there one night - I think he was the first railroad bum I remember meeting - came back the next day and it had been burned down. He'd evidently set it on fire or started it accidentally.

Playing around in that fort we'd see the big steam engines run by. The engineers would wave, and the parlor shack back in the crummy - that's the brakeman who stays in the caboose - would wave, too. Put your ear down on the rail and you could hear the trains coming. We'd play games on the ties and swing ourselves on the rails. Also we'd pick up a lot of coal to take home. I understand that during the Depression a lot of families kept their homes warm by going out along the right of way and picking up coal that had fallen out of the coal tenders.
This song is written for my little boy Duncan. His grandfather, Raymond P. Jensen, was a railroad man for over 40 years on the Union Pacific, working as an inspector. There's a lot of railroading in Duncan's family, but he hasn't ridden trains very much.

Daddy, What's a Train?-Utah Phillips

(sung to chorus tune)

When I was just a boy living by the track
Us kids'd gather up the coal in a great big gunny sack,
And then we'd hear the warning sound as the train pulled into view
And the engineer would smile and wave as she went rolling through;

(spoken)
She blew so loud and clear
That we covered up our ears
And counted cars as high as we could go.
I can almost hear the steam
And the big old drivers scream
With a sound my little boy will never know.

I guess the times have changed and kids are different now;
Some don't even seem to know that milk comes from a cow.
My little boy can tell the names of all the baseball stars
And I remember how we memorized the names on railroad cars -


The Wabash and TP
Lackawanna and IC
Nickel Plate and the good old Santa Fe;
Names out of the past
And I know they're fading fast
Every time I hear my little boy say.

Well, we climbed into the car and drove down into town
Right up to the depot house but no one was around.
We searched the yard together for something I could show
But I knew there hadn't been a train for a dozen years or so.

All the things I did
When I was just a kid-
How far away the memories appear,
And it's plain enough to see
They mean a lot to me
'Cause my ambition was to be an engineer.

Copyright ©1973, 2000 Bruce Phillips

For The Late Rosalie Sorrels-Starlight On The Rails, Indeed-In Honor Of The Hobo King Utah Phillips

For The Late Rosalie Sorrels-Starlight On The Rails, Indeed-In Honor Of The Hobo King Utah Phillips   

If I Could Be The Rain I Would Be Rosalie Sorrels-The Legendary Folksinger-Songwriter Has Her Last Go-Round At 83

By Music Critic Bart Webber

Back the day, back in the emerging folk minute of the 1960s that guys like Sam Lowell, Si Lannon, Josh Breslin, the late Peter Paul Markin and others were deeply immersed in all roads seemed to lead to Harvard Square with the big names, some small too which one time I made the subject of a series, or rather two series entitled respectively Not Bob Dylan and Not Joan Baez about those who for whatever reason did not make the show over the long haul, passing through the Club 47 Mecca and later the Café Nana and Club Blue, the Village down in NYC, North Beach out in San Francisco, and maybe Old Town in Chicago. Those are the places where names like Baez, Dylan, Paxton, Ochs, Collins and a whole crew of younger folksingers, some who made it like Tom Rush and Joni Mitchell and others like Eric Saint Jean and Minnie Murphy who didn’t, like  who all sat at the feet of guys like Woody Guthrie and Pete Seeger got their first taste of the fresh breeze of the folk minute, that expression courtesy of the late Markin, who was among the first around to sample the breeze.

(I should tell you here in parentheses so you will keep it to yourselves that the former three mentioned above never got over that folk minute since they will still tell a tale or two about the times, about how Dave Van Ronk came in all drunk one night at the Café Nana and still blew everybody away, about catching Paxton changing out of his Army uniform when he was stationed down at Fort Dix  right before a performance at the Gaslight, about walking down the street Cambridge with Tom Rush just after he put out No Regrets/Rockport Sunday, and about affairs with certain up and coming female folkies like the previously mentioned Minnie Murphy at the Club Nana when that was the spot of spots. Strictly aficionado stuff if you dare go anywhere within ten miles of the subject with any of them -I will take my chances here because this notice, this passing of legendary Rosalie Sorrels a decade after her dear friend Utah Phillips is important.)

Those urban locales were certainly the high white note spots but there was another important strand that hovered around Saratoga Springs in upstate New York, up around Skidmore and some of the other upstate colleges. That was Caffe Lena’s, run by the late Lena Spenser, a true folk legend and a folkie character in her own right, where some of those names played previously mentioned but also where some upstarts from the West got a chance to play the small crowds who gathered at that famed (and still existing) coffeehouse. Upstarts like the late Bruce “Utah” Phillips (although he could call several places home Utah was key to what he would sing about and rounded out his personality). And out of Idaho one Rosalie Sorrels who just joined her long-time friend Utah in that last go-round at the age of 83.

Yeah, came barreling like seven demons out there in the West, not the West Coast west that is a different proposition. The West I am talking about is where what the novelist Thomas Wolfe called the place where the states were square and you had better be as well if you didn’t want to starve or be found in some empty arroyo un-mourned and unloved. A tough life when the original pioneers drifted westward from Eastern nowhere looking for that pot of gold or at least some fresh air and a new start away from crowded cities and sweet breathe vices. A tough life worthy of song and homage. Tough going too for guys like Joe Hill who tried to organize the working people against the sweated robber barons of his day (they are still with us as we are all now very painfully and maybe more vicious than their in your face forbear). Struggles, fierce down at the bone struggles also worthy of song and homage. Tough too when your people landed in rugged beautiful two-hearted river Idaho, tried to make a go of it in Boise, maybe stopped short in Helena but you get the drift. A different place and a different type of subject matter for your themes than lost loves and longings.  

Rosalie Sorrels could write those songs as well, as well as anybody but she was as interested in the social struggles of her time (one of the links that united her with Utah) and gave no quarter when she turned the screw on a lyric. The last time I saw Rosalie perform in person was back in 2002 when she performed at the majestic Saunders Theater at Harvard University out in Cambridge America at what was billed as her last go-round, her hanging up her shoes from the dusty travel road. (That theater complex contained within the Memorial Hall dedicated to the memory of the gallants from the college who laid down their heads in that great civil war that sundered the country. The Harvards did themselves proud at collectively laying down their heads at seemingly every key battle that I am aware of when I look up at the names and places. A deep pride runs through me at those moments)

Rosalie Sorrels as one would expect on such an occasion was on fire that night except the then recent death of another folk legend, Dave Von Ronk, who was supposed to be on the bill (and who was replaced by David Bromberg who did a great job banging out the blues unto the heavens) cast a pall over the proceedings. I will always remember the crystal clarity and irony of her cover of her classic Old Devil Time that night -yeah, give me one more chance, one more breathe. But I will always think of If I Could Be The Rain and thoughts of washing herself down to the sea whenever I hear her name. RIP Rosalie Sorrels 

DVD REVIEW

American Experience: Riding The Rails, PBS Productions, 1998

Growing up in the 1950’s I had a somewhat tenuous connection with trains. My grandparents lived close to a commuter rail that before my teenage years went out of service, due to the decline of ridership as the goal of two (or three) car garages gripped the American imagination in an age when gas was cheap and plentiful. In my teens though, many a time I walked those above-mentioned abandoned tracks to take the short route to the center of town. As an adult I have frequently ridden the rails, including a cross-continental trip that actually converted me to the virtues of air travel. Of course, my ‘adventures’ riding the rails is quite different than that being looked at in this American Experience documentary about a very, very common way for the youth of America to travel in the Depression-ridden 1930’s, the youth of my parents’ generation. My own experiences were merely as a paying passenger. Theirs was anything but. The only common thread between them and me is the desire expressed by many interviewees to not be HERE but to be THERE.

This tale of a significant number of youth in the 1930’s is held together by film footage of the time, some nice background music from the likes of Jimmy Rodgers and Doc Watson that evokes the ‘romance of the rails’ and ‘talking head’ interviews with the itinerant travelers, male and female. Despite various motives, from the desire to leave the parents’ house to being thrown out during those tough times, the stories they tell are of cold nights in open box cars, overcrowded jails, beatings by the ever present railroad "bulls" and the struggle to find a little work in order to be able to move on to the next locale and maybe some ‘peace’. Mainly this was the eternal heading West of the famous Professor Frederick Turner Jackson thesis- with this proviso- by then the land had run out and maybe the possibility of the dreams. A few interviewed are still driven by the lore of the rails, many had no regrets but mainly this is a very interesting trip down memory lane in a time before the automobile became readily accessible to teenagers.

No review of the life of the rails can omit the special jargon developed by those on the road, the ‘class distinctions' (hobo, bum, and tramp) between them and the rough and ready ‘code of honor’ of the rails (honored more in the breach than in the practice from what I can gather). This tradition has survived best in song by the likes of Woody Guthrie in any number of his songs written in the 1930’s, the classic Elizabeth Cotton song "Freight Train" and the work, including a song with the same title as the headline to this piece, of the recently deceased old Wobblie, folksinger, writer and rail rat extraordinaire Utah Phillips. Starlight On The Rails, indeed!

Daddy What's A Train? Utah Phillips

Daddy what's a train? Is it something I can ride?
Does it carry lots of grown-up folks and little kids inside?
Is it bigger than our house? Well how can I explain
When my little boy and girl ask me "Daddy what's a train?"

When I was just a boy and living by the track
Us kids would gather up the coal in big 'ole gunnysacks
Then we heard the warning sound as the train pulled into view
The engineer would smile and wave as she went rolling through

She blew so loud and clear, we had to cover up our ears
And we counted cars just as high as we could go
I can almost hear the steam those big old drivers scream
A sound my little kids will never know

Daddy what's a train? Is it something I can ride?
Does it carry lots of grown-up folks and little kids inside?
Is it bigger than our house? Well how can I explain
When my little boy and girl ask me "Daddy what's a train?"

I guess the times have changed, kids are different now
'Cause some don't even seem to know the milk comes from a cow
My little boy can tell the names of all the baseball stars
I remember how we memorized the names on railroad cars

The Wabash and the TP, Lackawanna, the IC
The Nickel-Plate and the good old Santa Fe
Just names out of the past, I guess they're fading fast
Every time I hear my little boy say

Daddy what's a train? Is it something I can ride?
Does it carry lots of grown-up folks and little kids inside?
Is it bigger than our house? Well how can I explain
When my little boy and girl ask me "Daddy what's a train?"

We climbed into the car, drove down into town
Right out the depot house, but no one was around
We searched the yard togheter for something I could show
But I knew there hadn't been a train for a dozen years or so

All the things I did when I was just a kid
How far away those memories appear
I guess it's plain to see they still mean a lot to me
'Cause my ambition was to be an engineer

Daddy what's a train? Is it something I can ride?
Does it carry lots of grown-up folks and little kids inside?
Is it bigger than our house? Well how can I explain
When my little boy and girl ask me "Daddy what's a train?"

Starlight On The Rails

This comes from reading Thomas Wolfe. He had a very deep understanding of the music in language. Every now and then he wrote something that stuck in my ear and would practically demand to be made into a song.
I think that if you talk to railroad bums, or any kind of bum, you'll see that what affects them the most is homelessness, not necessarily rootlessness. Traveling is all right if you have a place to go from and a place to go to. It's when you don't have any place that it becomes more difficult. There's nothing you can count on in the world, except yourself. And if you're an old blown bum, you can't even do that very well. I guess this is a home song as much as anything else.
We walked along a road in Cumberland and stooped, because the sky hung down so low; and when we ran away from London, we went by little rivers in a land just big enough. And nowhere that we went was far: the earth and the sky were close and near. And the old hunger returned - the terrible and obscure hunger that haunts and hurts Americans, and makes us exiles at home and strangers wherever we go.

Oh, I will go up and down the country and back and forth across the country. I will go out West where the states are square. I will go to Boise and Helena, Albuquerque and the two Dakotas and all the unknown places. Say brother, have you heard the roar of the fast express? Have you seen starlight on the rails?




I think about a wife and family,
My home and all the things it means;
The black smoke trailing out behind me
Is like a string of broken dreams.

A man who lives out on the highway
Is like a clock that can't tell time;
A man who spends his life just ramblin'
Is like a song without a rhyme.

Copyright ©1973, 2000 Bruce Phillips


FREIGHT TRAIN
(c) 1957 by Elizabeth Cotten. Sanga Music

Chorus:
Freight train, Freight train, run so fast
(rep.)

Please don't tell what train I'm on
They won't know what route I've gone

When I am dead and in my grave
No more good times here I crave
Place the stones at my head and feet
Tell them all that I've gone to sleep.

When I die, Lorde, bury me deep
Way down on old Chestnut street
Then I can hear old Number 9
As she comes rolling by.

From The Pen Of Joshua Lawrence Breslin- “Down And Out In America-Part II”

Click on the headline to link to a YouTube film clip of Hazel Dickens performing Bob Dylan’s Only A Hobo.

Only A Hobo by Bob Dylan

Lyrics

As I was out walking on a corner one day
I spied an old hobo, in a doorway he lay
His face was all grounded in the cold sidewalk floor
And I guess he’d been there for the whole night or more

Only a hobo, but one more is gone
Leavin’ nobody to sing his sad song
Leavin’ nobody to carry him home
Only a hobo, but one more is gone

A blanket of newspaper covered his head
As the curb was his pillow, the street was his bed
One look at his face showed the hard road he’d come
And a fistful of coins showed the money he bummed

Only a hobo, but one more is gone
Leavin’ nobody to sing his sad song
Leavin’ nobody to carry him home
Only a hobo, but one more is gone

Does it take much of a man to see his whole life go down
To look up on the world from a hole in the ground
To wait for your future like a horse that’s gone lame
To lie in the gutter and die with no name?

Only a hobo, but one more is gone
Leavin’ nobody to sing his sad song
Leavin’ nobody to carry him home
Only a hobo, but one more is gone

Copyright © 1963, 1968 by Warner Bros. Inc.; renewed 1991, 1996 by Special Rider Music

*******
I woke with a start that dreary late October night, early morning really from the look of the lightened sky, last cold night or so, before drifting south then heading west to warmer climes for “winter camp.” Yes, I had the routine down pretty pat back then. Summering in the Cambridges and then wintering in the Keys, or in some Pancho Villa bandito arroyo in desert California, maybe Joshua Tree. But just that minute my summer was interrupted by a loud sound of snoring and short breathe coughing from some fellow resident who had parked himself about twenty feet from my exclusive turf.

Hell, I didn’t mean to tease you about my itinerary (although the gist of schedule was real enough, damn real), or about my mayfair swell digs. The fact is that back then I had been in kind of a bad streak and so sweet home Eliot Bridge right next to the Charles River, but not too next to Harvard Square had been my “home” of late then while I prepared for those sunnier climes just mentioned. Those last few previous months have been tough though, first losing that swell paying job “diving for pearls” at Elsie’s, then losing my apartment when the landlord decided, legally decided, that six months arrears was all that he could take, and then losing Janie over some spat, and getting so mad I “took” a couple of hundred dollars from her pocketbook as I went out the not-coming-back door that last time. So there I was at “home” waiting it out.

I had a pretty good set-up under the bridge, I thought. Far enough away from the Square so that the druggies and drunks wouldn’t dream of seeking shelter so far from their base. But close enough for me to try to panhandle a stake to head west with in rich folks Harvard Square (although apparently the rich those days preferred to tithe in other ways than to part with their spare change to, uh, itinerants). And, moreover, the bridge provided some protection against the chilly elements, and a stray nosey cop or two ready to run a stray itinerant in order to fill his or her quota on the run-in sheet.

All that precious planning had gone for naught though because some snoring be-draggled newspaper strewn hobo had enough courage to head a few hundred yards up river and disturb my home. There and then I decided I had better see what the guy looked like, see if he was dangerous, and see if I could get him the hell out of there so I could get back to sleep for a couple more hours before the damn work-a-day world traffic made this spot too noisy to sleep in. Besides, as is the nature of such things on the down and out American road (and in other less exotic locales as well), he might have other companions just ready to put down stakes here before I am ready to head west.

I unfolded my own newspaper covering, folded up my extra shirt pillow and put it in my make-shift ruck-sack, and rolled (rolled for the umpteenth time) my ground covering and placed it next to my ruck-sack. No morning ablutions to brighten breath and face were necessary this early, not in this zip code. I was thus ready for guests. I ambled over to the newspaper pile where the snoring had come from and tapped the papers with a stick that I had picked up along the way (never, never use your hand or you might lose your life if the rustling newspaper causes an unseen knife-hand to cut you six ways to Sunday. Don’t laugh it almost happened to me once, and only once.).

He stirred, stirred again, and then opened his eyes saying “Howdy, my name is Boulder Shorty, what’s yours?” (He later told me he that he had never been to Boulder, could not have picked it out on a map if he was given ten chances, and was six feet two inches tall so go figure on monikers. The way they got hanged on a guy was always good for a story in some desolate railroad fireside camp before I got wise enough to stay away from those sites, far away.) I told him mine, my road moniker, “Be-Bop Benny.” He laughed, muttering about beatniks and faux kid hobos in thrall of some Jack London or Jack Kerouac or something vision between short, violent coughs.

Funny about different tramps, hobos, and bums (and there are differences, recognized differences just like in regular society. We, Boulder Shorty and I, were hobos, the kings of the river, ravine, and railroad trestle.). Some start out gruff, tough and mean, street hard mean. Other like Shorty, kings, just go with the flow. And that go with the flow for a little while anyway (a little while being very long in hobo company) kept us together for a while, a few weeks while before that short violent cough caught up with old Shorty (you didn’t have to know medicine, or much else, to know that was the small echo of the death-rattle coming up).

In those few weeks Boulder Shorty taught me more about ‘bo-ing, more about natural things, more about how to take life one day at a time than anybody else, my father included. About staying away from bums and tramps, the guys who talked all day about this and that scan they pulled in about 1958 and hadn’t gotten over it yet. About guys who took your money, your clothes, hell, and your newspaper covering in the dead of night just to do it, especially to young hobo kings. And staying alone, staying away from the railroad, river, ravine camps that everybody talked about being the last refuge for the wayward but were just full of disease, drunks and dips. (I let him talk on about that although that was one thing I was already hip to, a river camp was where I almost got my throat handed back to me by some quick knife tramp that I mentioned before about disturbing guys).

Yes, Boulder Shorty had some street smart wisdom for a guy who couldn’t have been past forty, at least that’s what I figured from the times he gave in his stories. (Don’t try to judge a guy on the road’s age because between the drugs or booze, the bad food, the weather-beaten road, and about six other miseries most guys looked, and acted, like they were about twenty years older. Even I, before a shower to take a few days dirt off and maybe hadn’t eaten for a while, looked older than my thirty years then.) But most of all it was the little tricks of the road that he taught and showed me that held me to him.

Like how my approach, my poor boy hat in hand approach, was all wrong in working the Harvard Square panhandle. You had to get in their faces, shout stuff at them, and block their passage so that the couple of bucks they practically threw at you was far easier to do than have you in their faces. Christ, he collected about twenty bucks in an hour one day, one day when he was coughing pretty badly. And a ton of cigarette, good cigarettes too, that he asked for when some guys (and a few gals) pled no dough. It was art, true art that day.

Or about how a hobo king need never go hungry in any city once he had the Sallies, U/U good and kindly neighbor feeding schedule down. No so much those places, any bum or tramp could figure that out, and wait in line, but to “volunteer” and get to know the people running the thing and get invited to their houses as sturdy yeoman “reclamation” projects. A vacation, see. Best of all was him showing me how to work the social service agencies for ten here, and twenty there, as long as you could hold the line of patter straight and not oversell your misery. Tramps and bums need not apply for this kind of hustle, go back and jiggle your coffee cup in front of some subway station, and good luck.

[He also taught me the ins and outs of jack-rolling, what you would call mugging, if things got really bad. Jack-rolling guys, bigger and smaller than you, but I’d rather keep that knowledge to myself.]


Funny we never talked about women, although I tried once to talk to him about Janie. He cut me short, not out of disrespect I don’t think, but he said they were all Janie in the end. He said talking about women was too tough for guys on the road with nothing but drifter, grifter, midnight sifter guys to stare at. Or looking too close at women when on the bum was bad for those longings for home things when you couldn’t do anything about it anyway. Although he did let on once that he was partial to truck stop road side diner waitresses serving them off the arm when he was in the clover (had dough) and was washed up enough to present himself at some stop along the road. Especially the ones who piled the potatoes extra high or double scooped the bread pudding as acts of kindred kindness. One night near the end, maybe a week before, time is hard to remember on the meshed together bum, he started muttering about some Phoebe Snow, some gal all dressed in white, and he kind of smiled, and then the coughing started again.

I tried to get Boulder Shorty moving south with me (and had delayed my own departure to stick with him for as long as I figured I could get south before the snows hit) but he knew, knew deep in his bones, that his time was short, that he wanted to finish up in Boston (not for any special reason, he was from Albany, but just because he was tired of moving) and was glad of my company.

It was funny about how I found out about his Albany roots. One night, a couple of nights before the end, coughing like crazy, he seemingly had to prove to me that he was from Albany. I had mentioned that I was mad for William Kennedy’s novels, Ironweed and the like, that had just come out a couple of years before. He went on and on about the Phelans this and that. Jesus he knew the books better than I did. He say that is what made hobos the intelligentsia of the road. Some old Wobblie folksinger told him that once when they heading west riding the rails on the Denver & Rio Grande. When holed up in some godforsaken library to get out of the weather hobos read rather than just curled up on some stuffed chair. Yes, Boulder Shorty was a piece of work. He was always saying stuff like that.

Then one morning, one too cold Eliot Bridge morning, I tried to shake his newspaper kingdom and got no response. Old Shorty had taken his last ride, his last train smoke and dreams ride he called it. I left him there like he wanted me to and like was necessary on the hobo road. I made a forlorn anonymous call to the Cambridge cops on my way out of town. But on those few occasion when I pass some potter’s field I tip my fingers to my head in his memory, his one less hobo king memory.

*Brother, Can You Spare A Dime? - The Real Story Of Homelessness In Song

Click on the headline to link to a "YouTube" film clip of a performance of "Hobo's Lullaby"

CD Review

Give Us Your Poor, various artists, Appleseed Recordings, 2007

Sure, I have been homeless. Oh, not the desperate, day in, day out, year in, year out homelessness that drives the stories in this compilation of musical and storytelling artistic efforts to get people who are not homeless, have never been homeless, and hope never to be homeless to pay attention. And to not just walk away, around, or over the problem. I have been homeless enough though , and in dire enough straits at times to have a pretty good sense that the streets are not for dreaming, or for living in, and are definitely to be avoided at all costs. Those are mean streets out there, brothers and sisters. And asking for the occasional spare change, spare cigarette, spare anything is just the tip of the iceberg.

But, hell, let some real folks tell the story. And that is what they do here, interspersed with some celebrity performances, by some people that Appleseed Records (and U/Mass-Boston) has been fortunate enough to garner in and who, in their own ways, give a damn. Especially give a listen to “Land of 10,000 Homeless” –Minnesota” and the story that brother has to tell and Danny Glover’s recitation of “My Name Is Not “Those People”’. For those who are moved by celebrity, listen to Bonnie Raitt and Weepin' Willie Robinson on “Walking The Dog” and Sweet Honey In The Rock on “Stranger Blues”. And for those who want to get misty-eyed about the romance of the road- hobo style, at least vicariously, give a listen to Bruce Springsteen and Pete Seeger on a song made famous (although not written by) Woody Guthrie, “Hobo’s Lullaby”.

Let me finish with this little thought. I grew up dirt-poor and it was a long time before I knew, for real, that there was some other condition. One of the virtues, and maybe the only one, of being poor is that the vicissitudes, the ups and downs, of the world economy kind of pass me by, personally. However, I have elected, and rightly so, to fight so that poor is a word that is placed in the archives of human history through the struggle for our communist future where being homeless will be merely a relic of a barbaric age. But just in case, I will keep myself in shape. Brother (sister), can you spare a dime?


Hobo's Lullaby
by Goebel Reeves

Go to sleep you weary hobo
Let the towns drift slowly by
Can't you hear the steel rail humming
That's a hobo's lullaby

Do not think about tomorrow
Let tomorrow come and go
Tonight you're in a nice warm boxcar
Safe from all the wind and snow

I know the police cause you trouble
They cause trouble everywhere
But when you die and go to heaven
You won't find no policemen there

I know your clothes are torn and ragged
And your hair is turning grey
Lift your head and smile at trouble
You'll find happiness some day

So go to sleep you weary hobo
Let the towns drift slowly by
Don't you feel the steel rail humming
That's a hobo's lullaby

©1961,1962 (Renewed) Fall River Music, Inc. (BMI)
All Rights Reserved.

*Writer's Corner- William Kennedy's "Ironweed"- A Book Review

Click on title to link to "Wikipedia"'s entry for the writer William Kennedy

Book Review

Ironweed, William Kennedy, The Viking Press, New York, 1983

William Kennedy is, at least in his Albany stories, my kind of writer. He writes about the trials and tribulations of the Irish diaspora as it penetrated the rough and tumble of American urban WASP-run society, for good or evil. I know these people, my people, their follies and foibles like the back of my hand. Check. Kennedy writes, as here with the main characters Fran Phelan and Helen Archer two down at the heels sorts, about that pervasive hold that Catholicism has even on its most debased sons and daughters, saint and sinner alike. I know those characteristics all too well. Check. He writes about that place in class society where the working class meets the lumpen-proletariat-the thieves, grifters, drifters and con men- the human dust. I know that place well, much better than I would ever let on. Check. He writes about the sorrows and dangers of the effects alcohol on working class families. I know that place too. Check. And so on. Oh, by the way, did I mention that he also, at some point, was an editor of some sort associated with the late Hunter S. Thompson down in Puerto Rico. I know that mad man’s work well. He remains something of a muse for me. Check.

The above, in a tangential way, gets you pretty much all you need to know about the why of reading this book (and other stories by Kennedy), except a little something about the plot line. Well, that is fairly simple. Old time baseball star Fran and his erstwhile companion, a gifted singer, Helen are drunks working their way through the edges between skid row and respectability. And, mainly, losing to the lure of the bottle and to the hard, hard struggle that it takes just to get through the day when your options are limited. Put that task together with trying to survive in the jungles, with its endless twisted characters, of the Great Depression (that other one in the 1930s) Albany, trying to figure out when life went wrong and trying to figure out why it all went wrong- while fighting a losing battle against society’s expectations- and one’s family’s. This will provide enough dramatic tension to keep you interested.

Oh did I mention that Kennedy writes with verve, with an uncanny understanding of his characters (although only Fran and Helen get the full treatment here)and with no holds barred, or punches pulled down there on cheap street. See, that is why Kennedy and Thompson connected in the literary world. They KNOW the underside of life. Read this thing, please.