Sunday, September 29, 2013

 
***Out In The Classic Screw-Ball Comedy Night-Barbara Stanwyck’s-The Lady Eve 


 

 
From The Pen Of Frank Jackman

DVD Review

The Lady Eve, starring Barbara Stanwyck, Henry Fonda, directed by Preston Sturges, 1941

Okay, moment of truth, moment of classic screwball truth anyway, women have been laying traps to ensnare men since, well, since Eve, and maybe before. And that premise drives this film entitled, ah, as if to put paid to that point, The Lady Eve, directed by the king of classic Hollywood screwball comedy (Sullivan’s Travels, among others). Of course if one went with the original story, that old Adam and Eve ensnarement story we would have a very short film, very short indeed and so Brother Sturges has flesh the piece out a bit.

He does that stretching by having Barbara Stanwyck (last heard from in this space leading Fred MacMurray down another garden path as a femme fatale in the film adaptation of James M. Cain’s Double Indemnity) put on her sophisticated comedic best as a professional card-shark, a roper for her shark father, travelling the Atlantic sea-lanes in search of, well, in search of the big chance haul. And to show that those wearisome trans-Atlantic rides on some old tub were well worth the effort she took dead aim at the scattered-brained scion of a brewing fortune, a role played by Henry Fonda who was heading home from a year down in the Amazon looking, well, let’s keep with the metaphor, snakes. Yeah, easy picking for a world- weary traveler like our Barbara.

Here is the hitch though while trying to fleece Henry she, well, she falls in love with the goof and so all bets are off, literally. The problem is that other protective forces put Henry wise to her gang of ship-board hustlers and so all marriage bets are off. But one should be very, very careful with a woman scorned because all hell is likely to break loose. And it does as Barbara seeks to ensnare Henry one more time this time by doing an impersonation as the well-born Lady Eve (Sidley if you are asking) in his hometown. Needless to say our goof falls, falls hard, and marries our Lady Eve. Only to find out on their honeymoon once Barbara told him that she was basically a tramp in furtherance of her revenge. So the goof leaves her again. Seeing that revenge wasn’t so sweet after all Barbara has something else up her sleeve. Watch the film to find out what that stratagem is. In the meantime remember this-women have been trying lay traps to ensnare men ever since Adam and Eve, maybe before. Got it.        

 

From The Marxist Archives -In Honor Of The 75th Anniversary Of The Founding Of The Leon Trotsky-Led Fourth International-


TROTSKY

LENIN

Honor the Memory of Leon Trotsky!

(Quote of the Week)

This August 20 marks the 70th anniversary of the assassination of Leon Trotsky, co-leader with V.I. Lenin of the October 1917 proletarian Russian Revolution. We reprint below excerpts from a speech by James P. Cannon, the founder of American Trotskyism, at a memorial meeting held in New York City eight days after Trotsky was murdered by a Stalinist agent in Mexico.

Comrade Trotsky’s entire conscious life, from the time he entered the workers’ movement in the provincial Russian town of Nikolayev at the age of eighteen up till the moment of his death in Mexico City forty-two years later, was completely dedicated to work and struggle for one central idea. He stood for the emancipation of the workers and all the oppressed people of the world, and the transformation of society from capitalism to socialism by means of a social revolution. In his conception, this liberating social revolution requires for success the leadership of a revolutionary political party of the workers’ vanguard….

Trotsky himself believed that ideas are the greatest power in the world. Their authors may be killed, but ideas, once promulgated, live their own life. If they are correct ideas, they make their way through all obstacles. This was the central, dominating concept of Comrade Trotsky’s philosophy. He explained it to us many, many times. He once wrote: “It is not the party that makes the program [the idea]; it is the program that makes the party.” In a personal letter to me, he once wrote: “We work with the most correct and powerful ideas in the world, with inadequate numerical forces and material means. But correct ideas, in the long run, always conquer and make available for themselves the necessary material means and forces.”

Trotsky, a disciple of Marx, believed with Marx that “an idea, when it permeates the mass, becomes a material force.” Believing that, Comrade Trotsky never doubted that his work would live after him. Believing that, he could proclaim on his deathbed his confidence in the future victory of the Fourth International which embodies his ideas. Those who doubt it do not know Trotsky.

Trotsky himself believed that his greatest significance, his greatest value, consisted not in his physical life, not in his epic deeds, which overshadow those of all heroic figures in history in their sweep and their grandeur—but in what he would leave behind him after the assassins had done their work. He knew that his doom was sealed, and he worked against time in order to leave everything possible to us, and through us to mankind. Throughout the eleven years of his last exile he chained himself to his desk like a galley slave and labored, as none of us knows how to labor, with such energy, such persistence and self-discipline, as only men of genius can labor. He worked against time to pour out through his pen the whole rich content of his mighty brain and preserve it in permanent written form for us, and for those who will come after us….

He was also a great man of action, to be sure. His deeds are incorporated in the greatest revolution in the history of mankind. But, unlike the opportunists and leaders of a day, his deeds were inspired by great ideas, and these ideas still live. He not only made a revolution; he wrote its history and explained the basic laws which govern all revolutions. In his History of the Russian Revolution, which he considered his masterpiece, he gave us a guide for the making of new revolutions, or rather, for extending throughout the world the revolution that began in October 1917.

—“To the Memory of the Old Man,” Socialist Appeal, 7 September 1940

************

James P. Cannon

The Socialist Appeal

December 7, 1940

Lenin, Trotsky and the First World War


Written: 1940
Source: The Socialist Appeal
Transcription\HTML Markup:Andrew Pollack
Third of three articles in the Socialist Appeal on SWP military policy.
In advancing our military transitional program, we proceed from the point of view that permanent war and universal militarism have become the dominant characteristics of our epoch, and we visualize the social revolution as the immediate outcome of the imperialist war. We begin, as did Lenin, with a declaration of irreconcilable class opposition to the imperialists and their war. It is only by means of this principled standpoint of class opposition that the cadres of modem Bolshevism are formed and clearly delimited from all other parties, groups, and tendencies, which to one degree or another, tend toward conci1iation or collaboration with their national ruling class in the war.
But the situation which confronts us today is not an exact duplication of that which confronted the revolutionary Marxists at the outbreak of the First World War in 1914. For one thing, the capitalist order has reached a far more advanced stage of decay and is more susceptible to revolutionary overthrow. In addition, we have the benefit of twenty-six years of the richest historical experiences which have been generalized by the great Marxist Trotsky. These circumstances enable us to go farther, with more concretely worked out slogans of agitation to advance the class struggle under conditions of war and militarism, than was possible for the revolutionary Marxist at the beginning of the First World War.
Trotsky, the author of our program, contributed extremely important thoughts to the workers’ vanguard facing the Second World War: the immediacy of the revolutionary perspective in connection with the present war, and the necessity for transitional slogans which can serve to mobilize the masses for independent class action leading up to it. It is precisely this immediacy of the revolutionary perspective that makes the transitional program a burning necessity. “Our policy,” Trotsky wrote, “the policy of the revolutionary proletariat toward the second imperialist war, is a continuation of the policy elaborated during the last imperialist war, primarily under Lenin’s leadership. But a continuation does not signify a repetition. In this case too, continuation signifies a development, a deepening and a sharpening.” (Fourth International, October 1940.) He reminded us, and we repeated after him, that not even Lenin had visualized the victory of the proletarian revolution as the immediate outcome of the First World War.
At this point Lenin suddenly acquired an advocate in a c amp which hitherto has not been distinguished by its fidelity to Leninism. Shachtman, comrade-in-arms of the avowed anti-Bolshevik Burnham, and the present leader of the “Workers Party” (the Burnham group minus Burnham), comes to the defense of Lenin against us. The “floating kidney,” as Trotsky denominated Shachtman, bobs up in the most unexpected places!
However, we have committed no assault on Lenin, and he is in no way in need of the dubious “defense” of this attorney. It is necessary to take a little time out to prove this, because the authority of Lenin is one of the greatest treasures of the revolutionary movement. His name is written beside that of Trotsky on the banner of the Russian Revolution. We proclaim the extension of this revolution throughout the world in the name of Lenin-Trotsky. We must not permit the slightest confusion as to how we regard Lenin; and it is a matter of simple respect to his memory to protect him from the hypocritical support of an advocate who is known among Leninists only as a betrayer of Leninism.
It will take a little time and space, but this can’t be helped. It is a simple task—mainly work with a shovel. His own confusion and instinct to sow confusion—two qualities always happily married in Shachtman’s factional “polemics”—plus his unfailing twisting, falsifying, and misrepresenting the words of others and the events of the past are all piled together here also. It is simply necessary to dig this stuff away, and then to unwind the quotations and replace the historical incidents in their true position. Then nothing will be left of the dirty mess that Shachtman has made of our alleged attack on Lenin and Shachtman’s “brief” as attorney for the defense.
The defense of Lenin is the second “point” in Shachtman’s indictment of our military policy. The occasion for it was the publication of my speech to our Chicago conference which adopted our resolution. Shachtman made a big “case” out of what I said about Lenin, or rather, what I didn’t say. Here are the sentences which Shachtman quoted from my speech: “We said and those before us said that capitalism had outlived its usefulness. World economy is ready for socialism. But when the world war started in 1914 none of the parties had the idea that on the agenda stood the struggle for power. The stand of the best of them was essentially a protest against the war. It did not occur even to the best Marxists that the time had come when the power must be seized by the workers in order to save civilization from degeneration. Even Lenin did not visualize the victory of the proletarian revolution as the immediate outcome of the war.”
Shachtman characterized this as a “monstrous falsehood,” and as a “complete misrepresentation of the views and traditions of the Bolsheviks in the last war.” He offers a number of “quotations” to prove that Lenin and the Bolsheviks advocated revolution during the war, he implies that Lenin expected revolution as the war’s immediate outcome, and finally asks: “And above all, what in heaven’s name was the meaning of Lenin’s slogan, repeated a thousand times during the last war, ’Turn the imperialist war into a civil war’?”
Our quoter undoubtedly establishes the fact that Lenin was in favor of revolution, that he had a program of revolution. And he tries to make it appear that I denied it, or didn’t know it. Shachtman’s whole case rests upon this false construction. Lenin advocated the “program of revolution” not only during the world war but before it, before 1905, from the very beginning of his activity as a revolutionary Marxist. Shachtman’s entire argument is directed against a contention which I did not make.
He makes his argument appear superficially plausible by the use of two well-known devices of literary charlatans. First, he mutilated the quotation from my speech, breaking it off short and eliminating immediately following sentences in the same paragraph which made my meaning more clear and precise. I wrote: “Even Lenin did not visualize the victory of the proletarian revolution as the immediate outcome of the war.” Shachtman twisted it and distorted it into a denial that Lenin had “a program of revolution” during the war. But I think it is thoroughly clear to a disinterested reader that I was speaking of something else, namely, Lenin’s expectations as to the immediate outcome of the war, and not at all of what he wanted and what he advocated.
My meaning was made more precise by the sentence which immediately followed: “Just a short time before the outbreak of the February revolution in Russia, Lenin wrote in Switzerland that his generation would most probably not see the socialist revolution. Even Lenin had postponed the revolution to the future, to a later decade.” The context of my published speech, from which the sentences were extracted, makes it even clearer that the references to Lenin were concerned not at all with differences of program, but only with the immediate perspectives of the revolutionary Marxists in this war and in the First World War. I don’t see how anyone can seriously dispute our contentions on this point because the words of Lenin himself constitute the basis for the reference. The October Fourth International cites two exact quotations on the point to which I referred without directly quoting.
“It is possible, however, that five, ten, and even more years will pass before the beginning of the socialist revolution.” (From an article written in March 1916, Lenin’s Collected Works, vol. XIX, p. 45, third Russian edition.)“We, the older men, will perhaps not live long enough to see the decisive battles of the impending revolution.” (Report on 1905 Revolution delivered to Swiss students, January 1917, idem, p. 357.)
That is not all. The main quotation from Lenin which Shachtman cites in his polemic against us—a quotation which he also mutilates to twist the meaning—shows that Lenin was not speaking of the revolution as an immediate perspective; that is, the quotation will show it when we restore the words which Shachtman cut off in the middle of a sentence. He quotes from the article of October 11, 1915, which appears on page 347 of the English edition of Lenin’s works, volume XVIII: “. . . It is our bounden duty to explain to the masses the necessity of a revolution, to appeal for it, to create the fitting organizations, to speak fearlessly and in the most concrete manner of the various methods of forceful struggle and of its ’technique’. . .” There Shachtman ended the quotation, breaking Lenin’s sentence off at a comma.
Here are the immediately following words which he left out: “This bounden duty of ours being independent of whether the revolution will be strong enough and whether it will come in connection with the first or second imperialist war, etc.” Lenin obviously was not arguing about the immediacy of the revolution as we visualize it in connection with the present war, but about the necessity of advocating it and preparing for it.
If any further proof is needed one only has to read the rest of Lenin’s article! In the very same article, on page 349 of the same volume, Lenin continued: “As to the untimeliness of preaching revolution, this objection rests on a confusion of terms customary with the Romance Socialists: They confuse the beginning of a revolution with its open and direct propaganda. In Russia, nobody places the beginning of the 1905 Revolution before January 22, 1905, whereas the revolutionary propaganda, in the narrow sense of the word, the propaganda and the preparation of mass action, demonstrations, strikes, barricades, had been conducted for years before that. The old Iskra, for instance, preached this from the end of 1900, as did Marx from 1847 when there could have been no thought as yet about the beginning of a revolution in Europe.”
Shachtman took my remarks about the immediate perspectives of Lenin during the First World War, lifted them out of their context, mutilated the paragraph from which they were extracted, twisted them into an attack on the program and traditions of the Bolsheviks which was not intended or implied in any way by me, and then Shachtman attempted to bolster his thesis by quotations from Lenin which in reality prove the opposite—when they are honestly quoted without breaking off sentences in the middle, (and without suppressing other sentences in the same article which make Lenin’s real meaning even clearer.
To top off his exercise in literary skullduggery Shachtman refers to the “outlived” Lenin, using quotation marks to convey the impression that he is quoting me. That is an outright literary forgery. I never used such an expression and could not do so; it is not my opinion.
All this literary fakery and forgery in “defense” of Lenin has a fundamental aim which is not frankly avowed, but only thinly disguised. Against whom is Shachtman really defending Lenin? To be sure, he mentions only “Cannon,” but it is perfectly obvious that Cannon in this case is only serving Shachtman as a pseudonym for the real target of his attack. My remarks about Lenin’s perspective during the First World War were no more and no less than a simple repetition of what Trotsky said on the subject. It was he who called our attention to the relevant quotations and explained their precise significance.
In the October number of our magazine Fourth International which Shachtman had at hand when he wrote his article in Labor Action of November 4—he refers to the Goldman-Trotsky correspondence contained therein—Trotsky wrote: “Prior to the February revolution and even afterwards, the revolutionary elements felt themselves to be not contenders for power, but the extreme left opposition. Even Lenin relegated the socialist revolution to a more or less distant future. . . . If that is how Lenin viewed the situation, then there is hardly any need of talking about the others.”
Here is the real nub of the matter. Shachtman’s attack on “Cannon” in behalf of Lenin is in reality aimed against Trotsky in a cowardly and indirect manner. He wants to set Lenin against Trotsky, to make a division in the minds of the radical workers between Lenin and Trotsky, to set himself up as a “Leninist” with the sly intimation that Leninism is not the same thing as Trotskyism. There is a monstrous criminality in this procedure. The names of Lenin and Trotsky are inseparably united in the Russian Revolution, its achievements, its doctrines and traditions, and in the great struggle for Bolshevism waged by Trotsky since the death of Lenin. “Lenin-Trotsky”—those two immortal names are one. Nobody yet has tried to separate them; that is, nobody but scoundrels and traitors.
Shachtman’s article in Labor Action serves the same aim as the special “Trotsky Memorial Issue” of their magazine which was published only to defame the memory of Trotsky, to belittle him, to justify themselves against him, and at the same time—like any shopkeeper looking for a little extra profit—to claim his “heritage.”
Trotsky, as if anticipating such attempts, gave this answer in advance. Here is what he wrote in the Socialist Appeal: “Only the other day Shachtman referred to himself in the press as a ’Trotskyist.’ If this be Trotskyism then I at least am no Trotskyist. With the present ideas of Shachtman, not to mention Burnham, I have nothing in common. . . . Towards their new magazine my attitude can only be the same as toward all other petty-bourgeois counterfeits of Marxism. As for their ’organizational methods’ and political ’morality,’ these evoke in me nothing but contempt.”
The literary manners and morals of petty-bourgeois dabblers in politics are no better than their theses. With such people, as Trotsky once remarked, it is not sufficient to check their theses; it is necessary to watch their fingers too! If we keep this salutary warning in mind the “theses” of Shachtman directed against our military transitional program can be disposed of without difficulty. As I said before, it is mainly work with a shovel.

Saturday, September 28, 2013

***The Road To…., The Corner Boys Of The 1930s-Tom Hanks’ “Road to Perdition”- A Film Review


DVD Review

The Road To Perdition, starring Tom Hanks, Paul Newman, Jude Law, based on the graphic novel by Max Allan Collins, Dreamworks, 2002


I have spent a lot of time in this space writing about my corner boy experiences growing up in my old Irish and Italian working class neighborhood in the late 1950s and early 1960s. I have also spent some time talking about the corner boys who just immediately preceded us in the early 1950s. Pretty tame really although if you were on the receiving end of a vicious beating, got your money stolen in some back alley, or had your personal household possessions ransacked or stolen by some midnight shifter your perspective might not be so romantic. The “corner boys,” Irish and Italian mainly, of 1930s Great Depression Chicago though, as portrayed in the film under review, The Road to Perdition, make all that other stuff seem “punk” by comparison.

Of course the motives to join a gang of lumpenproletarians in all cases were the same then, and today. That is “where the money was” to paraphrase the old-time famous bank robber, Willy Sutton. No question all those guys in the 1930s and later were (and are) from hunger. But also looking for the quick dollar and the “no heavy lifting” life not associated with steady working class factory every day values. Equally true is the fact that there are always more “hungry” guys than the market can bear which leads to two things-external “turf wars” between gangs and internal turf wars over who controls what within gangs. And that is the heart of this story.

The problem for Tom Hanks, a trusted, very trusted, enforcer (read: “hit man”) for Irish mob boss Paul Newman (he of many such corner boy roles going back to Cool Hand Luke and before) is that Newman's psychotic son wants his share of the goodies as befits a son and heir apparent. Needless to say that things get dicey, very dicey as they maneuver to the top, including the gangland-style execution of Hanks’ family that was suppose to include a son, the narrator of the film, who is forced to help Hanks’ seek the inevitable revenge required by the situation. In the end though Tom Waits is right in the opening line from Jersey Girl- “Ain’t got no time for the corner boys, down in the streets making all that noise.” A nice cinematically-pleasing 1930s period piece and what turned out to be a great farewell performance by the late Paul Newman.
***The Struggle For The Labor Party In The United States- American Socialist Workers Party Leader James P.Cannon-On Eugene V. Debs And The Idea Of The Party Of The Whole Working Class


Markin comment on this series:

Obviously, for a Marxist, the question of working class political power is central to the possibilities for the main thrust of his or her politics- the quest for that socialist revolution that initiates the socialist reconstruction of society. But working class politics, no less than any other kinds of political expressions has to take an organization form, a disciplined organizational form in the end, but organization nevertheless. In that sense every Marxist worth his or her salt, from individual labor militants to leagues, tendencies, and whatever other formations are out there these days on the left, struggles to built a revolutionary labor party, a Bolshevik-style party.

Glaringly, in the United States there is no such party, nor even a politically independent reformist labor party, as exists in Great Britain. And no, the Democratic Party, imperialist commander-in-chief Obama's Democratic Party is not a labor party. Although plenty of people believe it is an adequate substitute, including some avowed socialists. But they are just flat-out wrong. This series is thus predicated on providing information about, analysis of, and acting as a spur to a close look at the history of the labor party question in America by those who have actually attempted to create one, or at to propagandize for one.

As usual, I will start this series with the work of the International Communist League/Spartacist League/U.S. as I have been mining their archival materials of late. I am most familiar with the history of their work on this question, although on this question the Socialist Workers Party's efforts run a close second, especially in their revolutionary period. Lastly, and most importantly, I am comfortable starting with the ICL/SL efforts on the labor party question since after having reviewed in this space in previous series their G.I. work and youth work (Campus Spartacist and the Revolutionary Marxist Caucus Newsletter inside SDS) I noted that throughout their history they have consistently called for the creation of such a party in the various social arenas in which they have worked. Other organizational and independent efforts, most notably by the Socialist Workers Party and the American Communist Party will follow.
***When Radio Ruled The Air-Waves- "Stardust:Decca Records:Classics and Standards Collection"



A YouTube film clip of the Inkspots performing I’ll Get By.

CD Review

Stardust: The Classic Decca Hits and Standards Collection, various artists, Decca Records, MCA, 1994


I am a first generation child of the television age, although in recent years I have spent more time kicking and screaming about that fact than watching the damn thing. Nevertheless I can appreciate this little compilation of Decca hits and standard tunes from the 1940s and 1950s as a valentine to the radio days of my parents’ youth, parents who came of musical age (and every other kind of age as well) during the Great Depression of the 1930s and who fought, or waited for those out on the front lines fighting, World War II. I am just old enough though, although generation behind them, to remember the strains of songs like the harmonic –heavy Mills Brothers Paper Dolls (a favorite of my mother’s) and The Glow Worm (not a favorite of anybody as far as I know although the harmony is still first-rate) that came wafting, via the local Adamsville radio station WJDA, through our big box living room radio in the early 1950s. It seemed they, or maybe the Andrews Sisters, be-bopping (be-bopping now, not then, you do not want to know what I called it then), on Rum And Coca-Cola or tagging along with Bing Crosby on Don’t Fence Me In were permanent residents of the airs-waves in the Markin household.

I am also a child of Rock 'n' Roll but those above-mentioned tunes were the melodies that my mother and father came of age to and the stuff of their dreams during World War II and its aftermath. The rough and tumble of my parents raising a bunch of kids might have taken the edge off it but the dreams remained. In the end it is this musical backdrop, behind the generation musical fights that roils the Markin household in teen times, that makes this compilation most memorable to me. Just to say names like Dick Haymes (I think my mother had a “crush” on him at some point), Vaughn Monroe, The Inkspots (who, truth, I liked even then, even in my “high, Elvis, Chuck Berry, Jerry Lee, Buddy Holly days, especially on If I Didn’t Care and I’ll Get By-wow), and Lois Armstrong. Or songs like Blueberry Hill, You’ll Never Know, A- Tisket- A Tasket, You Always Hurt The One You Love and so gather in a goodly portion of the mid-20th century American Songbook. Other talents like Billie Holiday, The Weavers, and Rosemary Clooney and tunes like Lover Man (and a thousand and one Cole Porter Billie-sung songs), Fever, and As Time Goes By (from Dooley Wilson in Casablanca) came later through very different frames of reference. But the seed, no question, no question now, was planted then.

Let’s be clear as well going back to that first paragraph mention of television - there something very different between the medium of the radio and the medium of the television. The radio allowed for an expansion of the imagination (and of fantasy) that the increasingly harsh realities of what was being portrayed on television did not allow one to get away with. The heart of World War II, and in its immediate aftermath, was time when one needed to be able to dream a little. The realities of the world at that time seemingly only allowed for nightmares. My feeling is that this compilation will touch a lot of sentimental nerves for the World War II generation (that so-called ‘greatest generation’), including my growing-up Irish working class families on the shores of North Adamsville. Nice work.
***On War-For Those Who Come After-Fritz Taylor's View-With Kudos To Bob Dylan's "John Brown"


Fritz, old battle-scarred and battle-weary purple-hearted Fritz Taylor, Vietnam, 1969-1971, Fritz John Taylor RA048433691 to be exact, was still in a reflective mood a few days after he had made his way from home town Adamsville to the downtown Boston waterfront. To the jut of land Christopher Columbus Park for what he was not sure, exactly, was either the third or fourth annual Veterans For Peace counter-Memorial Day commemoration (really counter-traditional observance). And while he was glad, glad as hell, and felt about ten feet tall for a while, that he had done so these observance memory trips triggered many old days Vietnam thoughts, too many sometimes. Although, mercifully, mercifully for his “sweet pea,” his better other, Lillian, not this time(he had named her that for her sunny disposition, and her tough determination to give him a home to feel planted in and, early on, a little anti-war “religion” bump start too).

This time his thoughts dwelt on an old comrade-in-arms from ‘Nam, Johnny Jakes, a buddy who had just recently passed away after a long struggle with about seven known medical complications, and about twelve unknown ones, including the mysterious war-frenzy disease (not carried by him, not quiet, unassuming Johnny Jakes, but caught from others, family others, Richard Nixon and his crowd others, VFW and American Legion others, back in the day, and now too for that matter, although the names of the frenzied have changed, if not the frenzy).

Yes, John Lee Jakes, Johnny Jakes out of nowhere Georgia (actually Dalton Junction but we will call it nowhere, okay), or a nowhere that Fritz, northern boy Fritz, had ever heard of, and from Johnny’s night stories, sometimes night barroom stories along the way, no where he needed to go. And as long as the two had known each other, and as many adventures, dead-ends, wrong roads, and, occasionally, a right road they had traveled together in a forty year friendship, through hot and cold friendship phases, he had never been there. And Johnny never pressed the issue, never pressed it after he told Fritz the rough outline details, the blood-stained, sweat-fermented, star-spangled details. And the story, the thoughtless rush to war, the hoopla three-ring circus, brass band blaring, waving off soldier boys at the station story, was not that unfamiliar then. Fritz had been caught up in a little quieter cousin of that same story. Fritz hoped against hope to high heaven that the story was uncommon now but he felt, felt deep in his war- scarred gut, that that was not true. But right now it is Johnny’s turn in the limelight. Speak, good god, quiet, unassuming Johnny Jakes speak, and maybe it will become an uncommon story:

“Jakes, and for that matter McKays (my mother’s side), have fought out of little nowhere Georgia in all of the American military adventures since back in Civil War times. Naturally that Civil War military adventure was under the auspices of the Confederate version of American military adventures but don’t tell me, my kin, my brethren, or any complete Southern stranger that it was a failed, flawed or any of that other yankee stuff about cloud-puff dreams for bad, or ugly, reasons. Let’s just say, so we stay even now, that we fought, that there was an honored tradition of fighting, and any odd-ball relative, male of course, our women don’t fight but stay at home and worry, who didn’t, well, I never heard about anyone like that so I don’t know what would have happened. We fought, some of us bled, and most of us grabbed a fist-full of medals along the way. And our womenfolk cheered us on, as we left for the world’s fronts at that still working little nowhere Georgia railroad station that took us to some god-forsaken military camp. We mostly came back that same way, mostly okay but not all, and not my father, Jefferson Davis Jakes.

See Jefferson Davis Jakes, before the Japs bombed Pearl Harbor, was the king hell-raiser of Forsythe County, was known far and wide as such and was not known to back down from anything, anything any male, or female for that matter, put in his way. But little did anyone know, anyone in the public know, that old Jeff (that’s the name he liked to be called by in latter life, by friend and foe alike, so I will use it here), was smitten by my mother, Doris McKay Jakes, so smitten that he had turned to putty in her hands. Not things that anyone, anyone in public anyway, would notice. All they would see was a king-hell-raiser and maybe a cut or other wound for their efforts; or the wise ones would cut a wide path away from his fury. But Doris had a spell over him, and he craved being with her, craved it more than anything, even being king hell-raiser of Forsythe County. Soft, and he knew it. So when those Jap bombs landed at Pearl and all Georgia thought it was William Tecumseh Sherman returned to burn the land and every red-blooded, hell, every any- blooded male, even black guys, were running to the railroad station to get signed up Jefferson Davis Jakes hesitated, hesitated just that minute, just that Doris McKay back home minute. Until Doris McKay, no squeamish damsel, and maybe with some vision of Scarlett O’Hara, pushed dad out the door- “Go now, and go fast.” And I will quote here, quote because I heard it about six times a year, at least, the first few years of growing up, “Kill every Jap you can get your hands on, and more if you can. And when you come back I will be a Jakes, and proudly.” So naturally she and half the town showed up at that nowhere train station to see the boys, including in the lead my father, off.

And as such scenes go that is the nice, upbeat part. The not so up-beat part was that after almost four years of South Pacific war, relentless, heat-scrabbled, hell-underbrush and hard rock-scrabbled war on more nowhere islands than one would think possible as big as the Pacific is Jefferson Davis Jakes, Jakes fist-full of medals collected, some odd souvenirs of as many Japs as he could collect, and only a few small purple heart wounds he returned home, home to his ever-loving Doris McKay. They married, as Doris had promised, and they had four children, all boys, including number two, me, John Lee Jakes. Just a normal American post World War II scenario.

Hold on; hold on just a minute, please. Jefferson Davis Jakes came home, and to the public eye, he seemed just like the pre-war king hell-raiser of Forsythe County. But on some nights, sometimes late at night, after a few hours of hard, hard drinking he would go up into the attic of the old-time Jakes home where we lived and begin to howl, howl like a wolf at the moon. And everyone around thought that was what it was. We knew better, or got to know better, especially Ma. This went on for a few years, every once in a while, but as time went on more frequently as such things do. And dad got quieter, more home quiet, although out in public he was still Jefferson Davis Jakes whose family had fought in this country’s battles since back in Civil War days. Then one night when I was eight he went up to the attic and we didn’t hear him howl like we expected. A few minutes later we heard a shot, one shot. They buried Jefferson Davis Jakes with full military honors down at our nowhere Georgia cemetery, believing the story we had concocted about his having interrupted an intruder and had accidentally discharged his old M-1. And that was the end of it.”

Fritz thought; well, not quite the end of it. Once nowhere Georgia heard about the commies in Vietnam in the 1960s every red-blooded male, hell, every any-blooded male, even black guys, headed down to the fading railroad station to sign up. Including quiet, unassuming John Lee Jakes, the late Johnny Jakes. But see Johnny had also hesitated, hesitated just that non-Jakes moment, just that Doris McKay Jakes moment. Until Doris McKay, still no squeamish damsel, and maybe still with some vision of Scarlett O’Hara, pushed Johnny out the door- “Go now, and go fast. Kill every gook you can get your hands on, and more if you can.”
*******
John Brown

John Brown went off to war to fight on a foreign shore
His mama sure was proud of him!
He stood straight and tall in his uniform and all
His mama’s face broke out all in a grin

“Oh son, you look so fine, I’m glad you’re a son of mine
You make me proud to know you hold a gun
Do what the captain says, lots of medals you will get
And we’ll put them on the wall when you come home”

As that old train pulled out, John’s ma began to shout
Tellin’ ev’ryone in the neighborhood:
“That’s my son that’s about to go, he’s a soldier now, you know”
She made well sure her neighbors understood

She got a letter once in a while and her face broke into a smile
As she showed them to the people from next door
And she bragged about her son with his uniform and gun
And these things you called a good old-fashioned war
Oh! Good old-fashioned war!

Then the letters ceased to come, for a long time they did not come
They ceased to come for about ten months or more
Then a letter finally came saying, “Go down and meet the train
Your son’s a-coming home from the war”

She smiled and went right down, she looked everywhere around
But she could not see her soldier son in sight
But as all the people passed, she saw her son at last
When she did she could hardly believe her eyes

Oh his face was all shot up and his hand was all blown off
And he wore a metal brace around his waist
He whispered kind of slow, in a voice she did not know
While she couldn’t even recognize his face!
Oh! Lord! Not even recognize his face

“Oh tell me, my darling son, pray tell me what they done
How is it you come to be this way?”
He tried his best to talk but his mouth could hardly move
And the mother had to turn her face away

“Don’t you remember, Ma, when I went off to war
You thought it was the best thing I could do?
I was on the battleground, you were home . . . acting proud
You wasn’t there standing in my shoes”

“Oh, and I thought when I was there, God, what am I doing here?
I’m a-tryin’ to kill somebody or die tryin’
But the thing that scared me most was when my enemy came close
And I saw that his face looked just like mine”
Oh! Lord! Just like mine!

“And I couldn’t help but think, through the thunder rolling and stink
That I was just a puppet in a play
And through the roar and smoke, this string is finally broke
And a cannonball blew my eyes away”

As he turned away to walk, his Ma was still in shock
At seein’ the metal brace that helped him stand
But as he turned to go, he called his mother close
And he dropped his medals down into her hand

Copyright © 1963, 1968 by Warner Bros. Inc.; renewed 1991, 1996 by Special Rider Music
***Where Have The Girls Gone- When Young Women’s Voices Ruled the Airwaves Before The British Rock Invasion, Circa 1964- Early Girls, Volume Five



A YouTube film clip of The Chiffons performing their classic Tonight's The Night.

Early Girls, Volume Five, various singers, Ace Records, 2001

As I mentioned in a review of a two-volume set of, for lack of a better term, girl doo wop some of the songs which overlaps in this five-volume series, I have, of late, been running back over some rock material that formed my coming of age listening music (on that ubiquitous, and very personal, iPod, oops, battery-driven transistor radio that kept those snooping parents out in the dark, clueless, and that was just fine, agreed), and that of my generation, the generation of ’68. Naturally one had to pay homage to the blues influences from the likes of Muddy Waters, Big Mama Thornton, and Big Joe Turner. And, of course, the rockabilly influences from Elvis, Carl Perkins, Wanda Jackson, and Jerry Lee Lewis on. Additionally, I have spent some time on the male side of the doo wop be-bop Saturday night led by Frankie Lymon and the Teenagers on Why Do Fools Fall In Love? (good question, right). I noted there that I had not done much with the female side of the doo wop night, the great ‘girl’ groups that had their heyday in the late 1950s and early 1960s before the British invasion, among other things, changed our tastes in popular music. I would expand that observation here to include girls’ voices generally. As there, I make some amends for that omission here.

As I also noted in that earlier review one problem with the girl groups, and now with these generic girl vocals for a guy, me, a serious rock guy, me, was that the lyrics for many of the girl group songs, frankly, did not “speak to me.” After all how much empathy could a young ragamuffin of boy brought up on the wrong side of the tracks like this writer have for a girl who breaks a guy's heart after leading him on, yes, leading him on, just because her big bruiser of a boyfriend is coming back and she needs some excuse to brush the heartbroken lad off in the Angels' My Boyfriend’s Back. Or some lucky guy, some lucky Sunday guy, maybe, who breathlessly catches the eye of the singer in the Shirelles' I Met Him On Sunday from a guy who, dateless Saturday night, was hunched over some misbegotten book, some study book, on Sunday feeling all dejected. And how about this, some two, or maybe, three-timing gal who berated her ever-loving boyfriend because she needs a good talking to, or worst, a now socially incorrect, very incorrect and rightly so, "beating" in Joanie Sommers’ Johnny Get Angry.

And reviewing the material in this volume gave me the same flash-back feeling I felt listening to the girl doo wop sounds. I will give similar examples of that teen boy alienation for this volume, and this approach will drive the reviews of all five of these volumes in the series. It Hurts To Be Sixteen by Andrea Carroll, but what about a guy, a sixteen year old guy; Blue Summer by The Royalettes, make mine blue summerwinterfallspring; Sneaky Sue by Patty Lace & Petticoats, give me a call Sue; Richie by Gloria Dennis, an unworthy guy for sure; Poor Little Puppet by Cathy Carroll, self-explanatory; Lonely Sixteen by Janie Black, ditto it hurts to be sixteen; Jimmy Boy by Carol Shaw, it's always jimmy boy, how about marky boy?; Be My Boy by The Paris Sisters, okay, just call; Kookie Little Paradise by Jo Ann Campbell, I'll settle for the beach, blanket or not; and, Tonight's The Night by The Chiffons, this one hurts to the core, the not tonight core. I might add here, as I did with volume four, that as we have with volume five gone well over the one hundred songs mark in this series not only have we worked over, and worked over hard, the “speak to” problem but have now run up against the limits of songs worthy of mention, mention at the time or fifty years later, your choice.

So you get the idea, this stuff could not “speak to me.” Now you understand, right? Except, surprise, surprise foolish, behind the eight- ball, know-nothing youthful guy had it all wrong and should have been listening, and listening like crazy, to these lyrics because, brothers and sisters, they held the key to what was what about what was on girls’ minds back in the day, and maybe now a little too, and if I could have decoded this I would have had, well, the beginning of knowledge, girl knowledge. Damn. But that is one of the virtues, and maybe the only virtue of age. Ya, and also get this- you had better get your do-lang, do-lang, your shoop, shoop, and your best be-bop, be-bop into that good night voice out and sing along to the lyrics here. This, fellow baby-boomers, was our teen angst, teen alienation, teen love youth and now this stuff sounds great.
***Growing Up Absurd In The 1950s- Out In The Teen Dance Night-Penny’s Sweet Sixteen Party


Click on the headline to link to a YouTube film clip of The Dubs performing their 1950s classic, Could This Be Magic?.

CD Review

The Golden Age Of American Rock ‘n’ Roll; Volume 4, various artists, Ace Records, 1994

Scene: Prompted by the cover photograph, the memory cover photograph, which grace each CD in this The Golden Age Of American Rock ‘n’ Roll series. The photo on this CD, as might be expected, shows a girl, a pony-tailed, starch-bloused, woolen-sweatered, wide, flouncy skirt-wearing, Penny Parker, all grown up almost, as the good teen D.J., a.k.a. hostess, that she is, doing her chore of spinning platters, okay, okay, putting records on her portable 45s record player for the guests at her sweet sixteen party, her very first house teen be-bop hop.

We all wish her well, right? And hope she plays a couple of Elvis, Chuck, and Jerry Lee things and not too many slow dances since some of the guys still have not got the hang of that yet. Oh yes, for the clueless, a record player was a machine to put records on in order to hear those guys just mentioned. And records, for the really clueless, were grooved, vinyl plate-like objects that kept the blues away in the 1950s teen night. Just like iPOD, texting, yahoo messaging, etc. keep the blues away from the hip-hop nation teen night.
******

“Don’t come back before one,” Penny Parker, now sweet sixteen party-crowned Penny Parker, as she shouted to her parents leaving out the breezeway door to the garage to take off to places unknown, maybe unknowable, until at least that one o‘clock hour. Peter Parker, Penny proud without showing it, muttered under his breath that he damn well would not be back before one, come hell or high water, while that rock and roll music was infesting, and that was the word that he used, his house. Or at least the downstairs part, rock and roll previously being limited to the Penny upstairs netherworld, and kept away from his ears, well, mainly away form his ears. “Now, Peter,” was all that Delores Parker at first could come up with, and that was usually enough. Tonight however she added, and told him so in no uncertain terms, that her husband was being an old fogy seeing that this was Penny’s sweet sixteen party, she had baby-sat to perdition in order to fund the party (with a little Parker parent help, Delores mainly), had done mostly what they had asked of her, as much as one could expect from a rock-addled post World War II teenager from what she had read in the women’s magazines that she was addicted to reading.

Most importantly tonight was, and here is where woman-girl- female whatever solidarity came in, Penny was going to “coax” Zack Smith into giving her his class ring, the universal teen sign of “going steady,” hands off, and a 180 degree turn in their sometimes stormy relationship since back in about junior high school. If he showed. At least, Delores, thought, she had given that Jimmy Kelly the air, although he was invited, invited tonight for old times sake since Jimmy had been there the night Penny played her first record, Could This Be Magic by the Dubs on her brand new, slave wages-bought record player. But enough of Parker parents, tonight is Penny's night.

Penny night or not, Miss Parker is already starting to fret that Zack will be a no-show. See they had had an argument last week about that “going steady” thing, that eternal love class ring- signifying thing, and Zack for the twenty-third, at least, time stormed off. And Penny for the twenty-second time made peace over the telephone, the midnight blues telephone. But you never knew with Zack. All Penny knew was she wanted him, wanted him bad, and wanted him here tonight to share her sweet sixteen-ness.

So as the couples, maybe a dozen or so of their close friends, started filling up the Parker living room Penny, knowing that she was not the only rock-addled teen in the room, played D.J. And revved up the old Sear& Roebuck recorder player with a stack of platters (records, 45 RPM records okay); Ray Sharpe ‘s Linda Lu; Nappy Brown’s Little by Little; Maybe by the Chantels although she always wondered how they could get their voices that high on that one; a tear-jerker but a slow one by request from Pammy and Sue who had boyfriend troubles of their own, Little Anthony and the Imperials’ Tears On My Pillow which got even hardened corner boys a little weepy as she found out once when Zack and she were “finished” and king corner boy Frankie Riley had asked her out, and she had accepted. Well, she thought that should last this crowd for a while, for a while until Zack gets here, hopefully.

Later, around ten, ten-thirty, just as she was about to give up the thought of Zack’s coming that night, and had resigned herself to playing D.J. putting Buddy Knox’s Party Doll on(although she wasn’t feeling like any party doll then) for this rock-addled crowd Zack came in kind of sneakily through the side door. And instead of coming over to say thanks to Penny for inviting him or any other kind of social graces recognition he began to get into an animated conversation with Jimmy Kelly. Nothing serious but as Penny found out later Zack was miffed at Jimmy, one of his best friends now that the Zack-Jimmy girl wars, or rather Penny wars were over in Zack’s favor, because Jimmy had not told Penny that he was going to be a little late. But that miffed-ness turned into nothing once Zack told the reason for his lateness. See, Penny performing, as it turned out, her last D.J duty for the evening putting on that much requested previously mentioned Could This Be Magic was finally called over by Zack and as the strains of the song echoed through the house he presented her with his class ring, just a while ago engraved with To P.P. Always 10/7/59. Magic.

A YouTube film clip of The Dubs performing their 1950s classic, Could This Be Magic?.

CD Review

The Golden Age Of American Rock ‘n’ Roll; Volume 4, various artists, Ace Records, 1994

Scene: Prompted by the cover photograph, the memory cover photograph, which grace each CD in this The Golden Age Of American Rock ‘n’ Roll series. The photo on this CD, as might be expected, shows a girl, a pony-tailed, starch-bloused, woolen-sweatered, wide, flouncy skirt-wearing, Penny Parker, all grown up almost, as the good teen D.J., a.k.a. hostess, that she is, doing her chore of spinning platters, okay, okay, putting records on her portable 45s record player for the guests at her sweet sixteen party, her very first house teen be-bop hop.

We all wish her well, right? And hope she plays a couple of Elvis, Chuck, and Jerry Lee things and not too many slow dances since some of the guys still have not got the hang of that yet. Oh yes, for the clueless, a record player was a machine to put records on in order to hear those guys just mentioned. And records, for the really clueless, were grooved, vinyl plate-like objects that kept the blues away in the 1950s teen night. Just like iPOD, texting, yahoo messaging, etc. keep the blues away from the hip-hop nation teen night.
******

“Don’t come back before one,” Penny Parker, now sweet sixteen party-crowned Penny Parker, as she shouted to her parents leaving out the breezeway door to the garage to take off to places unknown, maybe unknowable, until at least that one o‘clock hour. Peter Parker, Penny proud without showing it, muttered under his breath that he damn well would not be back before one, come hell or high water, while that rock and roll music was infesting, and that was the word that he used, his house. Or at least the downstairs part, rock and roll previously being limited to the Penny upstairs netherworld, and kept away from his ears, well, mainly away form his ears. “Now, Peter,” was all that Delores Parker at first could come up with, and that was usually enough. Tonight however she added, and told him so in no uncertain terms, that her husband was being an old fogy seeing that this was Penny’s sweet sixteen party, she had baby-sat to perdition in order to fund the party (with a little Parker parent help, Delores mainly), had done mostly what they had asked of her, as much as one could expect from a rock-addled post World War II teenager from what she had read in the women’s magazines that she was addicted to reading.

Most importantly tonight was, and here is where woman-girl- female whatever solidarity came in, Penny was going to “coax” Zack Smith into giving her his class ring, the universal teen sign of “going steady,” hands off, and a 180 degree turn in their sometimes stormy relationship since back in about junior high school. If he showed. At least, Delores, thought, she had given that Jimmy Kelly the air, although he was invited, invited tonight for old times sake since Jimmy had been there the night Penny played her first record, Could This Be Magic by the Dubs on her brand new, slave wages-bought record player. But enough of Parker parents, tonight is Penny's night.

Penny night or not, Miss Parker is already starting to fret that Zack will be a no-show. See they had had an argument last week about that “going steady” thing, that eternal love class ring- signifying thing, and Zack for the twenty-third, at least, time stormed off. And Penny for the twenty-second time made peace over the telephone, the midnight blues telephone. But you never knew with Zack. All Penny knew was she wanted him, wanted him bad, and wanted him here tonight to share her sweet sixteen-ness.

So as the couples, maybe a dozen or so of their close friends, started filling up the Parker living room Penny, knowing that she was not the only rock-addled teen in the room, played D.J. And revved up the old Sear& Roebuck recorder player with a stack of platters (records, 45 RPM records okay); Ray Sharpe ‘s Linda Lu; Nappy Brown’s Little by Little; Maybe by the Chantels although she always wondered how they could get their voices that high on that one; a tear-jerker but a slow one by request from Pammy and Sue who had boyfriend troubles of their own, Little Anthony and the Imperials’ Tears On My Pillow which got even hardened corner boys a little weepy as she found out once when Zack and she were “finished” and king corner boy Frankie Riley had asked her out, and she had accepted. Well, she thought that should last this crowd for a while, for a while until Zack gets here, hopefully.

Later, around ten, ten-thirty, just as she was about to give up the thought of Zack’s coming that night, and had resigned herself to playing D.J. putting Buddy Knox’s Party Doll on(although she wasn’t feeling like any party doll then) for this rock-addled crowd Zack came in kind of sneakily through the side door. And instead of coming over to say thanks to Penny for inviting him or any other kind of social graces recognition he began to get into an animated conversation with Jimmy Kelly. Nothing serious but as Penny found out later Zack was miffed at Jimmy, one of his best friends now that the Zack-Jimmy girl wars, or rather Penny wars were over in Zack’s favor, because Jimmy had not told Penny that he was going to be a little late. But that miffed-ness turned into nothing once Zack told the reason for his lateness. See, Penny performing, as it turned out, her last D.J duty for the evening putting on that much requested previously mentioned Could This Be Magic was finally called over by Zack and as the strains of the song echoed through the house he presented her with his class ring, just a while ago engraved with To P.P. Always 10/7/59. Magic.
***On “Now” Photos For The AARP Generation- For Robert Flatley, North Adamsville Class Of 1964



YouTube film clip of Iris Dement performing  After You're Gone.

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

“’Cause I’ve memorized each line in your face, and not even death can ever erase the story they tell to me”-a line from the folksinger/songwriter Iris DeMent’s hauntingly beautiful song, After You’re Gone. (You can Google for the rest of the lyrics. Some of her music is on YouTube but I could not find this one.)

Well, of course, those hard-wire lyrics only apply to our male classmates. After all Iris is singing about her gone man. He long gone but not forgotten man. I do not, this age of sexual equality notwithstanding, want to extend their application to our sister classmates because I do not need to have every cyber-stone in the universe thrown at me. But those same lyrics do bring me to the purpose for today’s comment. As part of getting a 'feel' for writing about our days at old North Adamsville High I have perused some of the class profiles this infernal 1964 class committee that keeps badgering me for ever more information has provided me. Apparently once you answer a couple of off-hand questions about your doings (or not-doings) over the past half century you are fair game for every possible form of interrogation. Interrogations that would shame even the most hardened CIA or NSA bureaucrat. I don’t know about you but I am thinking of hiring a lawyer and putting a stop to this maddening harassment, and possible constitutional violation. But that is a subject for another day. For now, forward.

A number of you have placed your current photos on the profile pages thoughtfully provided by said committee, although a number of people, including myself, are apparently camera-shy. I admit to not being particularly camera-shy but rather to being something of a technological luddite (look that word up on Wikipedia if you do not know it) in that I do not own the digital camera required to upload a snappy photo, have no immediate intention of owning one, and would, moreover be helpless to do such a tortuous task as uploading a photo. Truth. Some, however, like the Chase brothers are not. Not camera shy or apparently luddites that is. (By the way, Jim and John, and others as well, what is up with wearing hats these days? We are Kennedy-era boys and hats most definitely were not part of our uniform.) Or like born again "muscle man" (read: huge) Bill Bailey, the star cross country runner and track man our class, whom I have has previously written about in this space as slender-strided and gracefully-gaited. That photo-readiness on the part of some classmates forms the basis for my comment. Those who are photo-less can breathe a sigh of relief-for now.

I have to admit that I have been startled by some of the photos. Many of them seem to have been taken by your grandchildren just before their naps. Or maybe by you just before your naps, or some combinations of the two especially for those who are performing grandparental (is their such a word?) duty as “babysitters” in a world where both parents are forced by hard-time circumstances to work to make ends meet these days. Isn’t the digital age supposed to have made the camera instantly user-friendly? Why all the out-of-focus, soft-focus, looking through a fish tank or a looking- glass kind of shots. And why does everyone seem to be have been photographed down the far end of some dark corridor or by someone about six miles away? Nobody expects Bachrach-quality photos but something is amiss here [ Bachrach’s was the photograph studio that took our individual class pictures for those who don’t remember or didn’t otherwise know-Markin]

In contrast, a new arrival on this class committee profile page interrogation wall (sorry), Robert Flatley, has found just the right approach. Initially, Robert placed a recent shot of himself on his profile page. Frankly, the old codger looked like he was wanted in about six states for “kiting” checks, or maybe had done a little “time” in some far-off county farm or state prison for armed robbery. More recently, however, his page has been graced with a stock photo provided by the site, a tastefully-shot, resplendent wide old oak tree. Automatically I now associate Robert with the tree of life, with oneness with the universe, with solidity, with the root of matter in him, and with bending but not breaking. Wise choice, Brother Flatley. Now, moreover, I do not have to suppress a need to dial 911, but rather can think of Robert as one who walks with kings, as a sage for the ages. And nothing can ever erase the story that tells to me.

Artist: Dement Iris
Song: After You're Gone
Album: Infamous Angel Iris Dement Sheet Music


There'll be laughter even after you're gone.
I'll find reasons to face that empty dawn.
'Cause I've memorised each line in your face,
And not even death can ever erase the story they tell to me.

I'll miss you.
Oh, how I'll miss you.
I'll dream of you,
And I'll cry a million tears.
But the sorrow will pass.
And the one thing that will last,
Is the love that you've given to me.

There'll be laughter even after you're gone.
I'll find reasons and I'll face that empty dawn.
'Cause I've memorized each line in your face,
And not even death could ever erase the story they tell to me.
************
***Out In The Be-Bop Be-Bop 1960s Night- The Heart Of Rock ‘n’ Rock: 1960-61, Take Two- In The Time Of Donna Blanchard’s Time- With Elvis Presley In Mind


CD Review

The Heart Of Rock ‘n’ Roll: 1960-61-Take Two, various artists, Time-Life Music, 1997


Scene: Brought to mind by one of the snapshot photos that grace each CD in this series.

Doc’s Drugstore and Soda Fountain(not shown), located in the heart of the North Adamsville shopping streets, and most importantly, just a few minutes walk from North Adamsville High School. The soda fountain counter area is complete with a dozen single stools, a speckled faux-marble formica countertop with assorted pastry trays, candy boxes, pie cabinets and various condiment combinations for Doc’s ‘greasy spoon” hamburgers and hot dogs. Said single stools are strictly for losers, girl friend-less guys (or once in a great while a girl just trying catch a quick soda on the way home) or old people waiting for Doc to fill their ancient medicines prescriptions. They are no factor, no factor at all in this teen-worthy world. No, less than no factor. Every once in a while, however, one of Fritz Cullen’s corner boys takes his foot off the wall in front of Doc’s and enters to get a take out Cherry Coke, the de riguer drink of Fritz’s boyos.

But the fountain is strictly for food and drink, food and drink that is also strictly secondary to why Doc’s is a teen-worthy heaven. The real draw is the quiet booths that line both corner walls and are only for after school boy-girl couples, four-some girls looking for guys to dance with, and at night, mainly school year weekend and summer every nights, Fritz’s Cullen’s corner boys when they tire of holding up Doc’s wall out front (or more realistically when the hour is late and the girl prospects have dimmed). But the booths mean nothing by themselves except as “resting” areas after some fast dance coming from Doc’s super-charged juke box, complete with the very latest records straight from Pete’ Platters Record Shop so you know the are hot.

Right now, just this very teen ear minute, one can hear the sassy sound of The Drifters This Magic Moment in the background as we fix on a boy and girl taking a break from deep conversation (deep conversation related in teen world to either sex, setting up dates, analyzing the state of their eternal relationship, or some combination of all three) and taking a straw sip from their shared Cherry Coke. The Cherry Coke automatically means that rank and file Doc’s corner boy Harry “Red” Radley is present on one of the straws. On the other Donna Blanchard, one of the hottest sixteen year old sophomore girls at North Adamsville High, with a nice shape, a sweet smile, and a “come hither” look that has had more than one boy moony-eyed for her affections. But no dice, no dice at all. In this autumn of the year of our lord nineteen hundred and sixty Miss Donna Blanchard only has eyes, and whatever else she has to give, for one Red Radley. Let’s listen in as the eminently forgettable Booby Vee is droning on in the background about some lost love (and rightfully so, if the truth be known) on Take Good Care Of My Baby.
*********

“What the matter, honey, don’t you want me like that, “ murmered Donna Blanchard after being told for the fifth or sixth time by our corner boy Red Radley that, if you can believe this, no he was not ready for heavy sex (meaning of course, in the language of the young, some variety of “going all the way”). It seems that last Saturday night down at Adamsville Beach, the local “parking” heaven where one and all went to see the ”submarine races” in the local teen code parlance Donna, making no bones that she was ready, more than ready, to go all the way with Red got turned down. Turned down flat. Fortunately for Red Donna, embarrassed by such a fool for a boy friend, had “neglected” to mention this hard fact of life when the obligatory Monday morning Girls’ “Lav” talk got around to the subject of the weekend scorecard. In short, who did, and didn’t do it. Right now Red and Donna are trying to sort things out as a strangely ironic song by Cathy Jean and the Roommates, Please Love Me Forever, spins on the juke box.

What? A member in good standing of Fritz Cullen’s corner boys, corner boys who have, publicly anyway, notched up (went all they way with) more North Adamsville girls than maybe there were girls in North Adamsville turned down a chance at paradise. And turned down a certified fox like Donna Blanchard. No way. Moreover, Red, displaying he not uncommon teen male bravado had lied to his fellow corner boys and said that he had had already “gone all the way” with Donna. Jesus. Did our Red have a medical problem? No. Did he have some religious scruples about pre-martial sex? Hell, no. Our Red, as it turns out was a virgin and was terrified when Donna, a virgin herself but ready for the time of her time, came on so strong. Especially when she went wild on Saturday night when the local 24/7 rock and roll station, WMEX, played a medley of Elvis tunes including his latest, Surrender.

Some times things end right in the teen universe, sometimes they don’t. This time they didn’t. Well, at least for Red. After their little conversation at Doc’s Red and Donna agreed, but mostly Donna agreed, that they should see other people. That’s teen code, and maybe universal code, for “breaking up.” So now one sees the fetching Donna Blanchard riding around in Jimmy Jakes '59 cherry Chevy, and sitting very close indeed. Moreover she has that look, that certain look like she now knows a thing or two about ways of the world. Well, after all it was the time of her time, wasn’t it? As for Red, well, Red is seen more and more occupying one of those single stools at Doc’s counter sipping a Cherry Coke and endlessly throwing nickels, dimes and quarters in the juke box playing Elvis’ It’s Now or Never. Enough said.
***Labor’s Untold Story- A Personal View Of The Class Wars In The Kentucky Hills And Hollows-"Hard Times In Babylon"

Hard Times In Babylon- Growing Up Absurd in the 1950's

Markin comment:

For regular readers of this space the following first few paragraphs will constitute something of a broken record. For those who are not familiar this commentary constitutes an introduction to the politics of class struggle as it gets practiced down as the base of society-away from the headlines of the day. As I have mentioned elsewhere, and also in the purpose section of this space, I am trying to impart some lessons about how to push the struggle for working class solidarity forward so that, to put it briefly, those who labor rule.

My political grounding as I have evolved as a communist over the years speaks for itself in my commentaries. The prospective that had been lacking, and which has probably plagued my efforts over the years, since I long ago first started out on my political journey is a somewhat too strong attachment to the theoretical side of the need for socialist solutions. Oddly, perhaps, although I now proclaim proudly that I am a son of the working-class I came to an understanding of the need for the working-class to take power without taking my being part of the class into consideration. One of the tasks that I have tried to undertake in this space over the past year, as a corrective, is to make some commentary about various events in my life that reflect my evolving understanding of class society and the class struggle. I am actually well qualified to undertake that chore.

The impetus for undertaking this task, as may also now be well known to readers, was an unplanned trip back to the old working-class neighborhood of my teenage years. That led to a series of stories about the trials and tribulations of a neighborhood family and can be found in this space under the title History and Class Consciousness- A Working Class Saga (Yes, I know, that is a rather bulky title for a prosaic story but, dear reader, that is the price for my being a ‘political junkie’. If I were a literary type I would probably have entitled it Sense and Sensibility or something like that, oops, that one is taken- but you get the point.).

I have also started another series here, one that indirectly came to life through that trip back to the old neighborhood, entitled Tales From The ‘Hood" going back to my early childhood days as a product of a housing project. However, in that effort I consider myself merely the medium, as the narrator is really a woman named Sherry whom I consider the "the projects" historian. This present series will center on my personal experiences both about the things that formed and malformed me and that contributed to my development as a conscious political activist. The closest I have ever come to articulating that idea through examination of my personal experiences was a commentary written in this space several years ago entitled Hard Times in Babylon (and hence the genesis for the current series title). Even at that, this was more an effort to understand the problems of my parents’ generation, the generation that came of age in the Great Depression and World War II. That, my friends, nevertheless, is probably a good place to take off from here.

The gist of the commentary in Hard Times in Babylon centered on the intersection of two events. One was the above-mentioned trip back to the old neighborhood and the other was a then recent re-reading of famed journalist David Halberstam’s book The Fifties, which covered that same period. His take on the trends of the period, in contrast to the reality of my own childhood experiences as a child of the working poor that missed most of the benefits of that ‘golden age’, rekindled some memories. It is no exaggeration to say that those were hard times in Babylon for the Markin family. My parents reacted to those events one way, one of their sons, this writer another. The whys of that are what I am attempting to bring before the radical public. I think the last lines from Babylon state the proposition as clearly as I can put it. “And the task for me today? To insure that future young workers, unlike my parents in the 1950’s, will have their day of justice.”

There are many myths about the 1950’s, to be sure. One was that the rising tide of the pre-eminent capitalist economy in the world here in America would cause all boats to rise with it. Despite the public myth not everyone benefited from the ‘rising tide’. The experience of my parents is proof of that. I will not go through all the details of my parents’ childhoods, courtship, and marriage for such biographic details of the Depression and World War II are plentiful and theirs fits the pattern. One detail is, however, important and that is that my father grew up in the hills of eastern Kentucky, Hazard, near famed "bloody" Harlan County to be exact, coal mining country made famous in song and by Michael Harrington in his 1960’s book The Other America. This was, and is, hardscrabble country by any definition. Among whites these "hillbillies" were the poorest of the poor. There can be little wonder that when World War II began my father left to join the Marines, did his fair share of fighting in the Pacific, settled in the Boston area and never looked back.

I have related in Tales From The ‘Hood’ some details that my "the projects" historian, Sherry, told me about her relationships with some of the girls from the wealthier part of town with whom we went to elementary school. She spend her whole time there being snubbed, insulted and, apparently, on more than one occasion physically threatened by the prissy girls from the other peninsula for her poor clothing, her poor manners, and for being from the "projects". I will spare you the details here. Moreover, she faced this barrage all the way through to high school graduation. It was painful for her to retell her story, and not without a few tears.

Moreover, it was hard for me to hear because, although I did not face that barrage then, I faced it later when my family moved to the other side of town and kids knew I was from the "projects." I faced that same kind of humiliation on a near daily basis from the boys, mainly. I will, again, spare the details. I can, however, distinctly remember being turned down for a date by an upscale girl in class because, as she made clear to all within shouting distance, although she thought I was personally okay (such nobility) my clothes were "raggedy" and, besides, I did not have a car. That is the face of the class struggle, junior varsity division.

The early years of the Kennedy Administration were filled with hopes and expectations, none more so than by me. As I have noted elsewhere in this space I came of political age with the presidential elections of 1960. This, moreover, was a time where serious social issues such as how to eradicate poverty in America were seriously being discussed by mainstream politicians. I mentioned above the widespread popularity of Michael Harrington’s The Other America and its mention of quintessential other America, including Hazard, Kentucky. But, here is the personal side. One of the most mortifying experiences of my life was when the headmaster of my high school, North Adamsville High, came over the loudspeaker to announce that our high school was going to begin a fundraising drive in earnest to help those less fortunate in Other America. And that other America in this case had a specific name-Hazard, Kentucky. I froze in my seat. Then came the taunts from a couple of guys who knew my father was from there. That is the face of the class struggle, varsity edition

As I finished up my remarks in A Tale of Two Peninsulas trying to sum up the meaning of the events that Sherry had related about her brushes with the class struggle in her youth I asked a couple of rhetorical question. After what I have described here I ask those same questions. Were the snubs and other acts of class hatred due to our personalities? Maybe. Are these mere examples of childhood’s gratuitous cruelty? Perhaps. But the next time someone tells you that there are no classes in this society remember Sherry’s story. And mine. Then remember Sherry’s tears and my red-faced shame. Damn.

***Where Have The Girls Gone- When Young Women’s Voices Ruled the Airwaves Before The British Rock Invasion, Circa 1964- Early Girls, Volume Four




YouTube film clip of The Cookies performing Don't Say Nothing Bad About My Baby.

Early Girls, Volume Four, various singers, Ace Records , 2005

As I mentioned in a review of a two-volume set of, for lack of a better term, girl doo wop some of the songs which overlaps in this five-volume series, I have, of late, been running back over some rock material that formed my coming of age listening music (on that ubiquitous, and very personal, iPod, oops, battery-driven transistor radio that kept those snooping parents out in the dark, clueless, and that was just fine, agreed), and that of my generation, the generation of ’68. Naturally one had to pay homage to the blues influences from the likes of Muddy Waters, Big Mama Thornton, and Big Joe Turner. And, of course, the rockabilly influences from Elvis, Carl Perkins, Wanda Jackson, and Jerry Lee Lewis on. Additionally, I have spent some time on the male side of the doo wop be-bop Saturday night led by Frankie Lymon and the Teenagers on Why Do Fools Fall In Love? (good question, right). I noted there that I had not done much with the female side of the doo wop night, the great ‘girl’ groups that had their heyday in the late 1950s and early 1960s before the British invasion, among other things, changed our tastes in popular music. I would expand that observation here to include girls’ voices generally. As there, I make some amends for that omission here.

As I also noted in that earlier review one problem with the girl groups, and now with these generic girl vocals for a guy, me, a serious rock guy, me, was that the lyrics for many of the girl group songs, frankly, did not “speak to me.” After all how much empathy could a young ragamuffin of boy brought up on the wrong side of the tracks like this writer have for a girl who breaks a guy's heart after leading him on, yes, leading him on, just because her big bruiser of a boyfriend is coming back and she needs some excuse to brush the heartbroken lad off in the Angels' My Boyfriend’s Back. Or some lucky guy, some lucky Sunday guy, maybe, who breathlessly catches the eye of the singer in the Shirelles' I Met Him On Sunday from a guy who, dateless Saturday night, was hunched over some misbegotten book, some study book, on Sunday feeling all dejected. And how about this, some two, or maybe, three-timing gal who berated her ever-loving boyfriend because she needs a good talking to, or worst, a now socially incorrect, very incorrect and rightly so, "beating" in Joanie Sommers’ Johnny Get Angry.

And reviewing the material in this volume gave me the same flash-back feeling I felt listening to the girl doo wop sounds. I will give similar examples of that teen boy alienation for this volume, and this approach will drive the reviews of all five of these volumes in the series. Dum Dum leaves me with no choice but to be dumb dumb;Sincerely by the McGuire Sisters,hell I would have taken insincerely but just call; Sad Movies (Make Me Cry), alone in the dark, dungeon balcony; It Hurts To Be In Love, say that again; and The Cookies Don't Say Nothin' Bad (About My Baby), I wish I could have had that choice. I might add here that as we have, with volume four, gone over one hundred songs in this series not only have we worked over, and worked over hard, the “speak to” problem but have now run up against the limits of songs worthy of mention, mention at the time or fifty years later, your choice.

So you get the idea, this stuff could not “speak to me.” Now you understand, right? Except, surprise, surprise foolish, behind the eight- ball, know-nothing youthful guy had it all wrong and should have been listening, and listening like crazy, to these lyrics because, brothers and sisters, they held the key to what was what about what was on girls’ minds back in the day, and maybe now a little too, and if I could have decoded this I would have had, well, the beginning of knowledge, girl knowledge. Damn. But that is one of the virtues, and maybe the only virtue of age. Ya, and also get this- you had better get your do-lang, do-lang, your shoop, shoop, and your best be-bop, be-bop into that good night voice out and sing along to the lyrics here. This, fellow baby-boomers, was our teen angst, teen alienation, teen love youth and now this stuff sounds great.