In The Time Of The Hard Motorcycle Boys -The Search For The Great Working-Class Love Song - With Richard Thompson’s Vincent Black Lightning, 1952 In Mind –Take Three

In The Time Of The Hard Motorcycle Boys -The Search For The Great Working-Class Love Song - With Richard Thompson’s Vincent Black Lightning, 1952 In Mind –Take Three

 

From The Pen Of Joshua Lawrence Breslin:

Several years ago, maybe about eight years now that I think about it, I did a series of sketches on guys, folk-singers, folk-rockers, rock-folkers or whatever you want to call those who weened us away from the stale pablum rock in the early 1960s (Bobby Vee, Rydell, Darin, et al, Sandra Dee, Brenda Lee, et al) after the gold rush dried up in what is now called the classic age of rock and roll in the mid to late 1950s when Elvis, Jerry Lee, Buddy, Chuck, Bo and their kindred made us jump. (There were gals too like Wanda Jackson but mainly it was guys in those days.) I am referring of course to the savior folk minute of the early 1960 when a lot of guys with acoustic guitars, some self-made lyrics, or stuff from old Harry Smith Anthology times gave us a reprieve. The series titled Not Bob Dylan centered on why those budding folkies like Tom Rush, Tom Paxton, Phil Ochs, Jesse Winchester and the man under review Richard Thompson to name a few did not make the leap to be the “king of folk” that had been ceded by the media to Bob Dylan and whatever happened to them once the folk minute went south after the combined assault of the British rock invasion (you know the Beatles, Stones, Kinks, hell, even Herman’s Hermits got play for a while),   and the rise of acid rock put folk in the shade (you know the Jefferson Airplane, the Dead, The Doors, The Who, hell, even the aforementioned Beatles and Stones got caught up in the fray although not to their eternal musical playlist benefit). I also did a series on Not Joan Baez, the “queen of the folk minute” asking that same question on the female side but here dealing with one Richard Thompson the male side of the question is what is of interest.

I did a couple of sketches on Richard Thompson back then, or rather sketches based on probably his most famous song, Vincent Black Lightning, 1952 which dove-tailed with some remembrances of my youth and my semi-outlaw front to the world and the role that motorcycles played in that world. Additionally, in light of the way that a number of people whom I knew back then, classmates whom I reconnected on a class reunion website responded when I posed the question of what they thought was the great working-class love song since North Adamsville was definitely a working class town driven by that self-same ethos I wrote some other sketches driving home my selection of Thompson’s song as my choice.

The latter sketches are what interest me here. See Thompson at various times packed it in, said he had no more spirit or some such and gave up the road, the music and the struggle to made that music, as least professionally. Took time to make a more religious bent to his life and other such doings. Not unlike a number of other performers from that period who tired of the road or got discourage with the small crowds, or lost the folk spirit. Probably as many reasons as individuals to give them. Then he, they had an epiphany or something, got the juices flowing again and came back on the road.  That fact is to the good for old time folk (and rock) aficionados like me.

What that fact of returning to the road by Thompson and a slew of others has meant is that my friend and I, (okay, okay my sweetie who prefers that I call her my soulmate but that is just between us so friend) now have many opportunities to see acts like Thompson’s Trio, his current band configuration, to see if we think they still “have it” (along with acts of those who never left the road like Bob Dylan who apparently is on an endless tour whether we want him to do so or not). That idea got started about a decade ago when we saw another come-back kid, Geoff Muldaur of the Jim Kweskin Jug Band, solo, who had taken something twenty years off. He had it. So we started looking for whoever was left of the old folks acts (rock and blues too) to check out that question-unfortunately the actuarial tables took their toll before we could see some of them at least one last time like Dave Von Ronk.

That brings us to Richard Thompson. Recently we got a chance to see him in a cabaret setting with tables and good views from every position, at least on in the orchestra section, at the Wilbur Theater in Boston with his trio, a big brush drummer and an all-around side guitar player (and other instruments like the mando). Thompson broke the performance up into two parts, a solo set of six or seven numbers high-lighted by Vincent Black Lightning, and Dimming Of The Day which was fine. The second part based on a new album and a bunch of his well-known rock standards left us shaking our heads. Maybe the room could not handle that much sound, although David Bromberg’s five piece band handled it well a couple of weeks before, or maybe it was the melodically sameness of the songs and the same delivery voice and style but we were frankly disappointed and not disappointed to leave at the encore.  Most tunes didn’t resonant although a few in all honesty did we walked out of the theater with our hands in our pockets. No thumbs up or down flat based on that first old time set otherwise down. However, damn it, Bob Dylan does not have to move over, now.  Our only consolation that great working-class love song, Vincent Black Lightning, still intact.

Which brings us to one of those sketches I did based on Brother Thompson’s glorious Vincent Black Lightning. When I got home I began to revise that piece which I have included below. Now on to the next act in the great quest- a reunion of the three remaining active members of the Jim Kweskin Jug Band, Jim Maria Muldaur, and of course Geoff at the Club Passim (which traces its genesis back to the folk minute’s iconic Club 47 over on Mount Auburn Street in Harvard Square. We’ll see if that gets the thumbs up.     

In The Time Of The Hard Motorcycle Boys- “The Wild One” A Film Review-And More

Okay here is the book of genesis, the motorcycle book of genesis, or at least my motorcycle book of genesis. But, before I get to that let me make about seventy–six disclaimers. First, the whys and wherefores of the motorcycle culture, except on those occasions when they become subject to governmental investigation or impact some cultural phenomena, is outside the purview of the leftist politics that dominate my commentaries. There is no Marxoid political line, as a rule, on such activity, nor should there be. Those exceptions include when motorcyclists, usually under the rubric of “bad actor” motorcycle clubs, like the famous (or infamous) Oakland, California-based Hell’s Angels are generally harassed by the cops and we have to defend their right to be left alone (you know, those "helmet laws", and the never-failing pull-over for "driving while biker") or, like when the Angels were used by the Rolling Stones at Altamont and that ill-advised decision represented a watershed in the 1960s counter-cultural movement. Or, more ominously, from another angle when such lumpen formations form the core hell-raisers of anti-immigrant, anti-communist, anti-gay, anti-women, anti-black liberation fascistic demonstrations and we are compelled, and rightly so, to go toe to toe with them. Scary yes, necessary yes, bikes or no bikes.

Second, in the interest of full disclosure I own no stock, or have any other interest, in Harley-Davidson, or any other motorcycle company. Third, I do not now, or have I ever belonged to a motorcycle club or owned a motorcycle, although I have driven them, or, more often, on back of them on occasion. Fourth, I do not now, knowingly or unknowingly, although I grew up in working class neighborhoods where bikes and bikers were plentiful, hang with such types. Fifth, the damn things and their riders are too noisy, despite the glamour and “freedom” of the road associated with them. Sixth, and here is the “kicker”, I have been, endlessly, fascinated by bikes and bike culture as least since early high school, if not before, and had several friends who “rode.” Well that is not seventy-six but that is enough for disclaimers.

Okay, as to genesis, motorcycle genesis. Let’s connect the dots. A couple of years ago, and maybe more, as part of a trip down old North Adamsville growing up working-class hometown bittersweet memory lane, the details of which do not need detain us here, I did a series of articles on various world-shaking, earth-shattering subjects like high school romances, high school hi-jinx, high school dances, high school Saturday nights, and most importantly of all, high school how to impress the girls( or boys, for girls, or whatever sexual combinations fit these days, but you can speak for yourselves, I am standing on this ground). In short, high school sub-culture, American-style, early 1960s branch, although the emphasis there, as it will be here, is on that social phenomena as filtered through the lenses of a working- class town, a seen better days town at that, my growing up wild-like-the-weeds town.

One of the subjects worked over in that series was the search, the eternal search I might add, for the great working- class love song. Not the Teen Angel, Earth Angel, Johnny Angel generic mush that could play in Levittown, Shaker Heights or La Jolla as well as Youngstown or Moline. No, a song that, without blushing, one could call one’s own, our working- class own, one that the middle and upper classes might like but would not put on their dance cards. As my offering to this high-brow debate I offered a song by written by Englishman Richard Thompson (who folkies, and folk rockers, might know from his Fairport Convention days, very good days, by the way), Vincent Black Lightning, 1952. (See lyrics below.) Without belaboring the point the gist of this song is the biker romance, British version, between outlaw biker James and black-leathered, red-headed Molly. Needless to say such a tenuous lumpen existence as James leads robbing an occasionally petrol station or jack-rolling some drunk to keep himself “biked" in style cuts short any long term “little white house with picket fence” ending for the pair.

And we do not need such a boring finish. For James, after losing the inevitable running battle with the police resulting from some armed robbery or such, on his death bed bequeaths his bike, his precious “Vincent Black Lightning”, to said Molly. His BIKE, man. His BIKE. Is there any greater love story, working class love story, around? No, this makes West Side Story lyrics and a whole bunch of other such songs seem like so much cornball nonsense. His BIKE, man. Wow! Kudos, Brother Thompson.

Needless to say that exploration was not the end, but rather the beginning of thinking through the great American night bike experience. And, of course, for this writer that means going to the books, the films and the memory bank to find every seemingly relevant “biker” experience. Thus, readers were treated to reviews of such classic motorcycle sagas as “gonzo” journalist, Doctor Hunter S. Thompson’s Hell’s Angels and other, later Rolling Stone magazine printed “biker” stories revolving around his own love/hate relationship with the beasts and Tom Wolfe’ Hell Angel’s-sketched Electric Kool-Aid Acid Test (and other articles about California subset youth culture that drove Wolfe’s work in the old days). And to the hellish Rolling Stones (band) Hell’s Angels “policed” Altamont concert in 1969. And, as fate would have it, with the passing of actor/director Dennis Hooper, the 1960s classic biker/freedom/ seeking the great American night film, Easy Rider. And from Easy Rider to the “max daddy” of them all, tight-jeaned, thick leather-belted, tee-shirted, engineer-booted, leather-jacketed, taxi-driver-capped (hey, that’s what it reminds me of), side-burned, chain-linked wielding, hard-living, alienated, but in the end really just misunderstood, Johnny, aka, Marlon Brando, in The Wild One.

Okay, we will cut to the chase on the plot. Old Johnny and his fellow “outlaw” motorcycle club members are out for some weekend “kicks” after a hard week’s non-work (as far as we can figure out, work was marginal for many reasons, as Hunter Thompson in Hell’s Angels noted, to biker existence, the pursue of jack-rolling, armed robbery or grand theft auto careers probably running a little ahead) out in the sunny California small town hinterlands.(They are still heading out there today, the last time I noticed, in the Southern California high desert, places like Twenty-Nine Palms and Joshua Tree.)

And naturally, when the boys (and they are all boys here, except for couple of “mamas”, one spurned by Johnny, in a break-away club led by jack-in-the-box jokester, Lee Marvin as Chino) hit one small town they, naturally, after sizing up the local law, head for the local café (and bar). And once one mentions cafes in small towns in California (or Larry McMurtry’s West Texas, for that matter), then hard-working, trying to make it through the shift, got to get out of this small town and see the world, dreamy-eyed, naïve (yes, naive) sheriff-daughtered young waitress, Kathy, (yes, and hard-working, it’s tough dealing them off the arm in these kind of joints, or elsewhere) Johnny trap comes into play.

Okay, now you know, even alienated, misunderstood, misanthropic, cop-hating (an additional obstacle given said waitress’s kinships) boy Johnny needs, needs cinematically at least, to meet a girl who understands him. The development of that young hope, although hopeless, boy meets girl romance relationship, hither and yon, drives the plot. Natch. Oh, and along the way the boys, after a few thousand beers, as boys, especially girl-starved biker boys, will, at the drop of a hat start to systematically tear down the town, for fun. Needless to say, staid local burghers (aka “squares”) seeing what amount to them is their worst 1950s “communist” invasion nightmare, complete with murder, mayhem and rapine, (although that “C” word was not used in the film, nor should it have been) are determined to “take back” their little town. A few fights, forages, casualties, fatalities, and forgivenesses later though, still smitten but unquenched and chaste Johnny (and his rowdy crowd) and said waitress part, wistfully. The lesson here, for the kids in the theater audience, is that biker love outside biker-dom is doomed. For the adults, the real audience, the lesson: nip the “terrorists” in the bud (call in the state cops, the national guard, the militia, the 82nd Airborne, The Strategic Air Command, NATO, hell, even the “weren't we buddies in the war Red Army,”  but nip it, fast when they come roaming through Amityville, Archer City, or your small town).

After that summary you can see what we are up against. This is pure fantasy Hollywood cautionary tale on a very real 1950s phenomena, “outlaw” biker clubs, mainly in California, but elsewhere as well. Hunter Thompson did yeoman’s work in his Hell’s Angels to “discover” who these guys were and what drove them, beyond drugs, sex, rock and roll and, yah, murder and mayhem, the California prison system was a “home away from home”. In a sense the “bikers” were the obverse of the boys (again, mainly) whom Tom Wolfe, in many of his early essays, was writing about and who were (a) forming the core of the surfers on the beaches from Malibu to La Jolla and, (b) driving the custom car/hot rod/drive-in centered (later mall-centered) cool, teenage girl–impressing, car craze night in the immediate post-World War II great American Western sunny skies and pleasant dream drift (physically and culturally). Except those Wolfe guys were the “winners”. The “bikers” were Nelson Algren’s “losers”, the dead-enders who didn’t hit the gold rush, the Dove Linkhorns (aka the Arkies and Okies who in the 1930s populated John Steinbeck’s Joad saga, The Grapes Of Wrath). Not cool, iconic Marlin-Johnny but hell-bend then-Hell Angels leader, Sonny Barger.

And that is why in the end, as beautifully sullen and misunderstood the alienated Johnny was, and as wholesomely rowdy as his gang was before demon rum took over, this was not the real “biker: scene, West or East. Now I lived, as a teenager in a working-class, really marginally working poor, neighborhood that I have previously mentioned was the leavings of those who were moving up in post-war society. That neighborhood was no more than a mile from the central headquarters of Boston's local Hell’s Angels (although they were not called that, I think it was Death-heads, or something like that). I got to see these guys up close as they rallied at various spots on our local beach or “ran” through our neighborhood on their way to some crazed action. The leader had all of the charisma of Marlon Brando’s thick leather belt. His face, as did most of the faces, spoke of small-minded cruelties (and old prison pallors) not of misunderstood youth. And their collective prison records (as Hunter Thompson also noted about the Angels) spoke of “high” lumpenism. And that takes us back to the beginning about who, and what, forms one of the core cohorts for a fascist movement in this country, the sons of Sonny Barger. Then we will need to rely on our righteous Marxist politics, and other such weapons.

ARTIST: Richard Thompson
TITLE: 1952 Vincent Black Lightning
Lyrics and Chords

Said Red Molly to James that's a fine motorbike

A girl could feel special on any such like

Said James to Red Molly, well my hat's off to you

It's a Vincent Black Lightning, 1952

And I've seen you at the corners and cafes it seems

Red hair and black leather, my favorite color scheme

And he pulled her on behind

And down to Box Hill they did ride

/ A - - - D - / - - - - A - / : / E - D A /

/ E - D A - / Bm - D - / - - - - A - - - /

Said James to Red Molly, here's a ring for your right hand

But I'll tell you in earnest I'm a dangerous man

I've fought with the law since I was seventeen

I robbed many a man to get my Vincent machine

Now I'm 21 years, I might make 22

And I don't mind dying, but for the love of you

And if fate should break my stride

Then I'll give you my Vincent to ride

Come down, come down, Red Molly, called Sergeant McRae

For they've taken young James Adie for armed robbery

Shotgun blast hit his chest, left nothing inside

Oh, come down, Red Molly to his dying bedside

When she came to the hospital, there wasn't much left

He was running out of road, he was running out of breath

But he smiled to see her cry

And said I'll give you my Vincent to ride

Says James, in my opinion, there's nothing in this world

Beats a 52 Vincent and a red headed girl

Now Nortons and Indians and Greeveses won't do

They don't have a soul like a Vincent 52

He reached for her hand and he slipped her the keys

He said I've got no further use for these

I see angels on Ariels in leather and chrome

Swooping down from heaven to carry me home

And he gave her one last kiss and died

From The A Dimmed Elegy For The Late Peter Paul Markin Series- Ain’t Got No Time For Corner Boys Down In The Street Making All That Noise- When Billie Ruled The Roost

From The A Dimmed Elegy For The Late Peter Paul Markin Series- Ain’t Got No Time For Corner Boys Down In The Street Making All That Noise- When Billie Ruled The Roost

 

From The Pen Of Sam Lowell

 

A while back, a few months ago although the project had been percolating in his brain for the previous year or so after some incident reminded him how much he missed his old corner boy from the 1960s North Adamsville night, the late Peter Paul Markin, Bart Webber wrote up what he called, and rightly so I think, an elegy for him, A Dimmed Elegy For The Late Peter Paul Markin. Bart had approached me about doing the chore since we now live in the same town, Carver about thirty miles south of our growing- up town. He figured that since he had retired from the day to day operations of his print shop which was now being run by his oldest son, Jeff, and I was winding down my part in the law practice I had established long ago I would have plenty of time to write and he to “edit” and give suggestions. He said he was not a writer although he had plenty of ideas to contribute but that I who had spent a life-time writing as part of my job would have an easy time of it. Bart under the illusion that writing dry as dust legal briefs for some equally dry as dust judge to read is the same as nailing down a righteous piece about an old time corner boy mad man. I turned him down flat which I will explain in a moment.

The way Bart presented that proposal deserves a little mention since he did it one night when the remnant of Markin’s old comrades still alive who still reside in the area, Frankie, Josh, Jack Callahan, Jimmy Jenkins, Bart and me were drinking now affordable high-shelf liquors at “Jack’s” in Cambridge near where Jimmy lives. During the conversation, not for the first time, Bart mentioned that he was still haunted by the thought  he had the year before about the time that Markin had us in thrall one night out in Joshua Tree in 1972 when we were all high as kites on various drugs of choices and he, at first alone, and then with Josh began some strange Apache-like dance and they began to feel (at least according to Josh’s recollection) like those ancient warriors who tried to avenge their loses when white settlers had come to take their lands and we all for one moment were able to sense what it was like to be warrior-avengers. Markin had that effect on the rest of us, was always tweaking us on some idea from small scale larcenies to drug-induced flame-outs. Yeah, that miserable, beautiful, so crooked he could not get his legs in his pants, son of a bitch, sainted bastard still is missed, still has guys from the old days moaning to high heaven about that lost. Bart insisted there was a story there, a story if only for us and someone (all eyes on me) should write it up.             

I can say all of that and say at the same time that I can say I couldn’t write the piece. See while at times Markin was like a brother to me and we treated each other as such he also could have his “pure evil” moments which the other corner boys either didn’t see, or didn’t want to see. These may be small things now on reflection but he was the guy who almost got me locked up one night, one summer night in 1966 before our senior year when Frankie who usually was the “on-site” manager of our small larcenies was out of town with his girlfriend. Markin figured since he was the “brains” behind the various capers that he could do one on his own but he needed a look-out, me. The caper involved a small heist of a home in the Mayfair swells part of North Adamsville whose owners were “summering” somewhere in the Caribbean. Markin had “cased” or thought he had cased the place fully except he didn’t factor in that the owners had a house sitter during that time. Markin startled her as he entered a side door, she screamed, Markin panicked, as she headed for the telephone to call the police and he fled out the door. But see Markin came running out that door toward me just when the cops were coming down the street where we met in their squad car directly toward us. They stopped us, told to get in the car and headed to that Mayfair house. As it turned out the house-sitter couldn’t identify either of us, couldn’t identify Markin and the cops had to let us go. No question Markin panicked and no question he made a serious mistake by heading my way knowing what he knew. I had, and have always had, the sneaking suspicion that he might have rolled me over as the B&E guy if it had been possible. I have a few other stories like that as well but that gives you a better insight into what Markin could turn into when cornered.

A couple of other incidents involved women, one my sister, the other an old flame or rather someone I wanted to be my flame. One of the reasons that I, unlike Markin who did serve in Vietnam which I think kind of turned him over the edge to the “dark side” once his dream about a “newer world” as he called it started to evaporate in the early 1970s, did not do military duty since I was the sole support, working almost full time after school during high school, of my mother and four very younger sisters after my father died of a massive heart attack in 1965. My oldest sister, Clara, was smitten by Markin from early on and I could see that he was willing to take advantage of her naiveté as well although I warned him off more than once since she was only thirteen when we were in high school. Now I could never prove it, and Clara would not say word one about it to me, but I believe he took her virginity from her. I do know during that period I found a carton of Trojans in her bureau drawer when I was looking for something I thought she had of mine and she was not around to ask. I didn’t confront him directly since among corner boys such things would have been “square” to discuss even about sisters but I continued to keep warning him off like I didn’t know anything had happened and before long I saw Clara had taken up with a boy her own age so I let it drop. The flame thing involved Laura Perkins who I was “hot” for from the ninth grade on and who I had several dates with in the tenth grade and it looked like things were going well when she threw me over for Markin. Now that situation has happened eight million times in life but corner boys were supposed to keep “hands off” of other corner boys’ girls although I was not naïve enough to not believe that was honored more in the breech than the observance having done a couple of end-around maneuvers myself but this Laura thing strained our relationship for a while. Here is the funny part though after a few weeks she threw Markin over for the captain of the football team (she was a cheerleader as well as bright student, school newspaper writer, on the dance committee and a bunch of other resume-building things) who we all hated. Funnier still at our fortieth reunion a few years back Laura and I got back together (after her two marriages and my two marriages had flamed out something we laughed about at the time) and we have been an “item” ever since. But you can see where I would, unlike say Bart, have a hard time not letting those things I just mentioned get in my way of writing something objective about that bastard saint.                   

So Bart wrote the piece himself, wrote the “dimmed” elegy (the “dimmed” being something I suggested as part of the title) and did a great job for a guy who said he couldn’t write. Frankly any other kind of elegy but dimmed would fail to truly honor that bastard saint madman who kept us going in that big night called the early 1960s and drove us mad at the same time with his larcenous schemes and over-the-top half-baked brain storm ideas and endless recital of the eight billion facts he kept in his twisted brain (estimates vary on the exact number but I am using the big bang number to cover my ass, as he would). I need not go into all of the particulars of that piece except to say that the consensus among the still surviving corner boys was that Bart was spot on, caught all of Markin’s terrible contradictions pretty well. Contradiction that led him from the bright but brittle star of the Jack Slack’s bowling alleys corner boy back then to a bad end, a mucho mal end murdered down in Sonora, Mexico in 1976 or 1977 when some drug deal (kilos of cocaine) he was brokering to help feed what Josh said was a serious “nose candy” habit went sour for reasons despite some investigation by Frankie Riley, myself and a private detective Frankie hired were never made clear. What was clear was that he was found face down on some dusty back road of that town with two slugs in his head and is buried in the town’s forlorn potter’s field in some unmarked grave. That is about all we know for sure about his fate and that is all that is needed to be mentioned here.

That foul end might have been the end of it, might have been the end of the small legend of Markin. Even he would in his candid moments accept that “small” designation. Yes, been the end of the legend except the moaning to high heaven still every time his name comes up. Except this too. Part of Bart’s elegy referenced the fact that in Markin’s sunnier days before the nose candy got the best of him, brought out those formerly under control outrageous “wanting habits,” in the early 1970s when he was still holding onto that “newer world” dream that he (and many others, including me and Bart for a varying periods) did a series of articles about the old days and his old corner boys in North Adamsville. Markin before we lost contact, or rather I lost contact with him since Josh Breslin his friend from Maine (and eventually our friend as well whom we consider an honorary Jack Slack’s corner boy) met out in San Francisco in the Summer of Love, 1967 knew his whereabouts outside of San Francisco in Daly City until about 1974 wrote some pretty good stuff, stuff up for awards, and short-listed for the Globe.

Pushed on by Bart’s desire to tell Markin’s story as best he could who must have been driven by some fierce ghost of Markin over his shoulder to do such yeoman’s work, he, Frankie (our corner boy leader back then who had Markin as his scribe and now is a big time lawyer in Boston), Josh, and I agreed that a few of the articles were worth publishing if only for ourselves and the small circle of people whom Markin wrote for and about. (Markin’s oldest friend from back in third grade, Allan Johnson, who would have had plenty to say about the early days had passed away  after a long-term losing fight with cancer before this plan was hatched, RIP, brother.) So that is exactly what we did. We had a commemorative small book of articles and any old time photographs we could gather put together and had it printed up in the print shop that Bart’s oldest son, Jeff, is now running for him since his retirement from the day to day operations last year.

Since not all of us had everything that Markin wrote, as Bart said, what the hell they were newspaper or magazine articles to be used to wrap up the fish in or something after we were done reading them, we decided to print what was available. Bart was able to find copies of a bunch of sketches up in the attic of his parents’ home which he was cleaning up for them when they were putting their house up for sale since they were in the process of downsizing. Josh, apparently not using his copies for wrapping fish purposes, had plenty of the later magazine pieces. I had a few things, later things from when we went on the quest for the blue-pink Great American West hitchhike road night as Markin called it. Unfortunately, we could not find any copies of the long defunct East Bay Eye and so could not include anything from the important Going To The Jungle series about some of his fellow Vietnam veterans who could not adjust to the “real” world coming back from ‘Nam and wound up in the arroyos, canyons, railroad sidings and under the bridges of Southern California. He was their voice on that one then, if silence now who those aging vets desperately a voice.  So Markin can speak to us still. Yeah, like Bart said, that’s about right for that sorry ass blessed bastard saint with his eight billion words.  

Below is the short introduction that I wrote for that book which we all agreed should be put in here trying to put what Markin was about in content from a guy who knew him about as well as anybody from the old neighborhood, knew his dark side then and when that came out later too:  

“The late Peter Paul Markin, also known as “the Scribe, ” so anointed by Frankie Riley the unchallenged self-designated king hell king of the schoolboy night among the corner boys who hung around the pizza parlors, pool halls, and bowling alleys of the town, in telling somebody else’s story in his own voice about life in the old days in the working class neighborhoods of North Adamsville where he grew up, or when others, threating murder and mayhem,  wanted him to tell their stories usually gave each and every one of that crew enough rope to hang themselves without additional comment. He would take down, just like he would do later with the hard-pressed Vietnam veterans trying to do the best they could out in the arroyos, crevices, railroad sidings and under the bridges when they couldn’t deal with the “real” world after Vietnam in the Going To The Jungle series that won a couple of awards and was short-listed for the Globe award, what they wanted the world to hear, spilled their guts out as he one time uncharitably termed their actions (not the veterans, not his fellows who had their troubles down in L.A. and needed to righteously get it out and he was the conduit, their voice, but the zanies from our old town), and then lightly, very lightly if the guy was bigger, stronger than him, or in the case of girls if they were foxy, and mainly just clean up the language for a candid world to read.

Yeah Markin would bring out what they, we, couldn’t say, maybe didn’t want to say. That talent was what had made the stories he wrote about the now very old days in growing up in North Adamsville in the 1960s when “the rose was on the bloom” as my fellow lawyer Frankie Riley used to say when Markin was ready to spout his stuff so interesting. Ready to make us laugh, cringe, get red in the face or head toward him to slap him down if he got too righteous. Here is the funny part though. In all the stories he mainly gave his “boys” the best of it. Yes, Bart is still belly-aching about a few slights about his lack of social graces that old Markin threw his way, and maybe he was a little off on the reasons why I gave up the hitchhike highway blue-pink Great American West night quest that he was pursuing (what he called sneeringly my getting “off the bus” which even he admitted was not for everyone) but mainly that crazy maniac with the heart of gold, the heart of lead, the heart that should have had a stake placed in its center long ago, that, ah, that’s enough I have said enough except I like Bart still miss and mourn the bastard.”

Here is something Markin wrote about the place of Billie Bradley’s musical opinions about the place of certain songs in 1950s classic age of rock and roll history fresh from press, or rather fresh from a quick hearing at Carter’s Diner on Palmer Street in Adamsville where he and Markin lived in “splendid squalor” in the town’s “housing projects” rock written back in Markin’s sunnier days in 1972, I think. That rock history was one of his (and Billie’s) serious interests, one that he wrote about like a lot of his work for the small circulation “idea” journals and off-beat magazines meaning no dough publications. He had written in this  article about his youthful controversy with his corner boy leader, Billie Bradley (this is before I came to North Adamsville in the sixth grade and before Markin moved across town when he and his family lived in the town “projects”in Adamsville proper), on those hot summer doldrums nights just after he had moved across town and he was still ill-adjusted and would ride his bike back to the projects to see what Billie had to say about anything involving music.

From The Pen Of The Late Peter Paul Markin written in sunnier days -1972

 

In The Be-Bop 1950s Night- Ain’t Got No Time For Corner Boys Down In The Street Making All That Noise- When Billie Ruled The Roost- First Take

 

He was the first. A certified 1958 A-One prime custom model first. Yes, Billie was the first. Billie, William James Bradley that is if you did not know his full moniker, was the first. No question about it, no controversy, no alternate candidates, no hemming and hawing agonizing about this guy’s attributes or that guy’s style and how they lined up against Billie’s shine in order to pick a winner. No way, get it.

 

Billie, first in what anyway? Billie, first, see, first in line of the then ever sprouting young schoolboy king corner boy wannabes. Wannabes because the “weres,” the corner boy “weres,” the already king corner boy “weres,” the older, mainly not schoolboys or, christ, not for long schoolboys, mainly not working, jesus, mainly not working, mainly just hanging around (“lying about,” lying about or better hanging on the front brick wall of some local store scheming about ways to jack-roll some drunken town father for his hard-earned pay check half spent before he got half-way home at the Dublin Grille, scheming about taking some midnight back door creep up in Mayfair swells hill to grab some loot to fence off, scheming how to with or without whip-chains or guns rob the local gas station of its ready cash from some ill-paid geek hired for about a buck an hour, was a name for it, a fit name at that) were already playing, really hip-swaying, lazily hip-swaying if you wanted to win games, wizard pinball machines in the sacred corner boy small town mom and pop variety night or cueing up in some smoke-filled big town pool hall.

 

Or working on hot souped-up cars, a touch of grease pressed, seemingly decaled pressed, into their uniform white tee-shirts (no grandfather vee-neck need apply) and always showed, showed an oily speck anyway, on their knuckles. But the cars were to die for, sleek tail-finned, pray to god cherry red if you put the finish on right (no going to some hack paint shop, no way, not for this baby, not for that ’57 Chevy), dual exhaust, big cubic engine numbers that no amateur had a clue to that cc business meant but just knew when sighted that thing would fly (well, almost fly) into the boulevard night, that sea air, sex-charged boulevard night. Tuned-up just right for that cheap gas to make her run, yah, that cheap City Service gas that was even cheaper than the stuff over at the Merit gas station, by two cents. (Neither station to be robbed on the simple principle that even that ill-paid kid might get rum brave enough to finger the crowd)

 

Or talking some boffo, usually blonde, although not always, maybe a cute rosy red-lipped and haired number or, in a pinch, a soft, sultry, svelte brunette, tight cashmere sweater-wearing, all, Capri pant-wearing, all, honey out of her virtue (or maybe into her virtue) down by the seashore after some carnival-filled night. A night that had been filled with arcade pinball wizardry, cotton candy, salt-water taffy, roller coaster rides, and a few trips in the tunnel of love, maybe win a prize from the wheel of fortune game too. A night capped with a few illicit drinks from some old tom, or johnny, Johnny Walker that is, rotgut to make that talking easier, and that virtue more questionable, into or out of. All while the ocean waves slapped innocently against the shore, drowning out the night’s heavy breathed, hard-voiced sighs.

 

Or, get this, because it tells a lot about the byways and highways of the high-style corner boy steamy black and white 1950s night, preparing, with his boys, his trusted unto death boys, his Omerta-sworn boys, no less to do some midnight creep (you know by now the usual -waylaying some poor bedraggled sap, sidewalk drunk or wrong neighborhood corner boy with no earthly business in your corner, with a sap to the head for dough, or going through some back door, and not gently, to grab somebody’s family heirlooms or fungibles, better yet cash on hand) in order to maintain that hot car, cheap gas or not, or hot honey, virtuous or not. Yah, things cost then, as now.

 

And, yah, in 1958, in hard look 1958, those king hell corner boy “weres” already sucked up the noteworthy, attention-getting black and white television, black and white newsprint night air. Still the lines were long with candidates and the mom and pop variety store-anchored, soda fountain drugstore-anchored, pizza parlor-anchored, pool hall-anchored corners, such as they were, were plentiful in those pre-dawn mall days. But see that is the point, the point of those long lines of candidates in every burg in the land or, at least became the point, because in 1948, or 1938, or maybe even 1928 nobody gave a rat’s ass, or a damn, about corner boys except to shuffle them out of town on the first Greyhound bus.

 

Hell, in 1948 they were still in hiding from the war, whatever war it was that they wanted no part of, which might ruin their style, or their dough prospects. They were just getting into those old Nash, Studebaker, and Hudson jalopies, revving them up in the "chicken run" night out in the exotic west coast ocean night. In 1938 you did not need a Greyhound bus coming through your town because these guys were already on the hitchhike road, or were bindled-up in some railroad jungle, or getting cracked over the head by some “bull”, in the great depression whirlwind heading west for adventure, or hard-scrabble work. And in 1928 these hard boys were slugging it out, guns at the ready, in fast, prohibition liquor-load filled cars, and had no time for corners and silly corner pinball wizard games (although maybe they had time for running the rack at Gus’s pool hall, if they lived long enough).

That rarified, formerly subterranean corner boy way of life, was getting inspected, dissected, rejected, everything but neglected once the teen angst, teen alienation wave hit 1950s America. You heard some of the names, or thought you heard some of the names that counted, but they were just showboat celebrities, celebrities inhabiting Cornerboy, Inc. complete with stainless tee-shirt, neatly pressed denim jeans, maybe a smart leather jacket against the weather’s winds, unsmoked, unfiltered cigarettes at the ready, and incurably photogenic faces that every girl mother could love/hate.

Forget that. Down in the trenches, yah, down in the trenches is where the real corner boys lived, and lived without publicity most days, thank you.

 

Guys like Red Hickey, tee-shirted, sure, denim-jeaned, sure, leather-jacketed, sure, chain-smoking (Lucky Strikes, natch), sure, angelic-faced, sure, who waylaid a guy, put him in an ambulance waylaid, just because he was a corner boy king from another cross-town corner who Red thought was trying to move in, or something like that. Or guys like Bruce “The Goose” McNeil, ditto shirted, jeaned, jacketed, smoked (Camels), not angelic- faced who sneak-thieved his way through half of the old Adamsville houses taking nothing but high-end stuff from the swells. Or “No Name McGee,” corner boy king of the liquor store clip. Yah, and a hundred other guys, a hundred no name guys, except maybe to the cops, and to their distressed mothers, mainly old-time Irish and Italian novena-praying Catholic mothers, praying against that publicity day, the police blotter publicity day.

 

But you did not, I say, you did not hear those Hickey, McNeil, No Name stories in the big town newspapers or in some university faculty room when those academic guys zeroed in on the corner boy game trying to explain, like it was not plain as the naked eye to see, and why, all that angst and alienation. And then tried to tell one and all that corner boy was a phase, a minute thing, that plentiful America had an edge, like every civilized world from time immemorial had, where those who could not adjust, who could not decode the new American night, the odorless American night, the pre-lapsarian American night shifted for themselves in the shadows. Not to worry though it was a phase, just a phase, and these guys too will soon be thinking about that ticky-tack little white house with the picket fence.

 

Yah, but see, see again, just the talk through the grapevine about such guys as Red, The Goose, No Name, the legendary jewelry store clip artist, Brother Johnson (who set himself apart because he made a point of the fact that he didn’t smoke, smoke cigarettes anyway), and a whole host of guys who made little big names for themselves on the corners was enough to get guys like Billie, and not just primo candidate Billie either, hopped-up on the corner boy game. Yah, the corner boys whose very name uttered, whose very idea of a name uttered, whose very idea of a name thought up in some think-tank academy brain-dust, and whose very existence made a splash later (after it was all over, at least the public, publicity all over, part), excited every “projects” schoolboy, every “wrong side of the tracks” guy (and it was always guys, babes were just for tangle), every short-cut dreaming boy who could read the day’s newspaper or watch some distended television, or knew someone who did.

 

And Billie was the first. The star of the Adamsville elementary schoolboy corner boy galaxy. No first among equals, or any such combination like that either, if that is what you are thinking. Alone. Oh sure his right-hand man, Peter Paul Markin, me, weak-kneed, bookwormy, girl-confused but girl-addled, took a run at Billie but that was seen, except maybe by Peter Paul himself, as a joke. Something to have a warm chuckle over on dreary nights when a laugh could not be squeezed out any other way. See, Peter Paul, as usual, had it all wrong on his figuring stuff. He thought his two thousand facts knowledge about books, and history, and current events, and maybe an off-hand science thing or two entitled, get this, entitled him to the crown. Like merit, or heredity, or whatever drove him to those two thousand facts meant diddley squat against style, and will.

 

Billie tried to straighten him out, gently at first, with a short comment that a guy who had no denim blue jeans, had no possibility of getting denim blue jeans, and was in any case addicted to black chinos, black cuffed chinos, has no chance of leading anybody, at any time, in anything. Still Peter Paul argued some nonsense about his organizing abilities. Like being able to run a low-rent bake sale for some foolish school trip, or to refurbish the U.S.S. Constitution, counted when real dough, real heist dough, for real adventures was needed. Peter simmered in high-grade pre-teen anguish for a while over that one, more than a while.

 

Billie and Peter Paul, friends since the first days of first grade, improbably friends on the face of it although Billie’s take on it was that Peter Paul made him laugh with that basketful of facts that he held on to like a king’s ransom, protecting them like they were gold or something, finally had it out one night. No, not a fist fight, see that was not really Billie’s way, not then anyway or at least not in this case, and Peter Paul was useless at fighting, except maybe with feisty paper bags or those blessed facts. Billie, who not only was a king corner contender but a very decent budding singer, rock and roll singer, had just recently lost some local talent show competition to a trio of girls who were doing a doo wop thing. That part was okay, the losing part, such things happen in show biz and even Billie recognized, recognized later, that those girls had be-bopped him with their cover of Eddie, My Love fair and square. Billie, who for that contest was dressed up in a Bill Haley-style jacket made by his mother for the occasion, did the classic Bill Haley and the Comets Rock- Around-The-Clock as his number. About halfway through though one of the arms of his just made suit came flying off. A few seconds later the other arm came off. And the girls, the coterie of Adamsville girls in the audience especially, went crazy. See they thought it was part of the act.

 

After that, at school and elsewhere, Billie was besieged daily by girls, and not just stick-shaped girls either, who hung off all his arms, if you want to know. And sensitive soul Peter Paul didn’t like that. He didn’t care about the girl part, because as has already been noted, and can be safely placed on golden tablets Peter Paul was plenty girl-confused and girl-addled but girl-smitten in his funny way. What got him in a snit was that Billie was neglecting his corner boy king duty to be on hand with his boys at all available times. Well, this one night the words flew as Billie tired, easily tired, of Peter Paul’s ravings on the subject. And here is the beauty of the thing, the thing that made Billie the king corner boy contender. No fists, no fumings, no forget friendships. Not necessary. Billie just told Peter Paul this- “You can have my cast-offs.” Meaning, of course, the extra girls that Billie didn’t want, or were sticks, or just didn’t appeal to him. “Deal,” cried Peter Paul in a flash. Yah, that was corner boy magic. And you know what? After that Peter Paul became something like Johnson’s Boswell and really started building up Billie as the exemplar corner boy king. Nice work, Billie.

 

You know Freddie Jackson too took his shots but was strictly out of his league against the Billie. Here it was a question not of facts, or books, or some other cranky thing bought off, bought off easily, by dangling girls in front of a guy a la Peter Paul but of trying to out dance Billie. See Freddie, whatever else his shortcomings, mainly not being very bright and not being able to keep his hands out of his mother’s pocketbook when he needed dough so that he had to stay in many nights, worst many summer nights, could really dance. What Freddie didn’t know, and nobody was going to tell him, nobody, from Peter Paul on down if they wanted to hang with Billie was that Billie had some great dance moves along with that good and growing singing voice. See, Freddie never got to go to the school or church dances and only knew that Billie was an ace singer. But while Freddie was tied to the house he became addicted to American Bandstand and so through osmosis, maybe, got some pretty good moves too.

 

So at one after-school dance, at a time when Freddie had kept his hands out of his mother’s pocketbook long enough not to be house-bound, he made his big move challenge. He called Billie out. Not loud, not overbearing but everybody knew the score once they saw Freddie’s Eddie Cochran-style suit. The rest of the guys (except Billie, now wearing jeans and tee-shirt when not on stage in local talent contests where such attire got you nowhere) were in chinos (Peter Paul in black-cuffed chinos, as usual) and white shirts, or some combination like that, so Freddie definitely meant business. Freddie said, “If I beat you at dancing I’m running the gang, okay?” (See corner boys was what those professors and news hawks called them but every neighborhood guy, young or old, knew, knew without question, who led, and who was in, or not in, every, well, gang). Billie, always at the ready when backed up against the wall, said simply, “Deal.” Freddie came out with about five minutes of jitter buggery, Danny and the Juniors At The Hop kind of moves. He got plenty of applause and some moony-eyedness from the younger girls (the stick girls who were always moony-eyed until they were not stick girls any more).

 

Billie came sauntering out, tee-shirt rolled up, tight jeans staying tight and just started to do the stroll as the song of the same name, The Stroll, came on. Now the stroll is a line dance kind of thing but Billie is out there all by himself and making moves, sexually-laden moves, although not everybody watching would have known to call them that. And those moves have all the girls, sticks and shapes, kind of glassy-eyed with that look like maybe Billie needed a partner, or something and why not me look. Even Freddie knew he was doomed and took his lost pretty well, although he still had that hankering for mom’s purse that kept him from being a real regular corner boy when Billie got the thing seriously organized.

 

Funny thing, Lefty Wright, who actually was on the dance floor the night of the Freddie-Billie dance-off, pushed Billie with the Freddie challenge. And Freddie was twenty times a better dancer than Lefty. Needless to say, join the ranks, Lefty. Canny Danny O’Toole (Cool Donna O’Toole’s, a stick flame of Billie’s, early Billie, brother) was a more serious matter but after a couple of actions (actions best left unspecified) he fell in line. Billie, kind of wiry, kind of quick-fisted as it turned out, and not a guy quick to take offense knew, like a lot of wiry guys, how to handle himself without lots of advertising of that fact. He was going to need that fist-skill when the most serious, more serious than the Canny Danny situation came up. And it did with Badass Bobby Riley, Badass was a known quality, but he was a year older than the others and everybody knew was a certified psychopath who eventually drifted out of sight. Although not before swearing his fealty to Billie. After taking a Billie, a wiry Billie, beating the details of which also need no going into now. And there were probably others who stepped up for a minute, or who didn’t stay long enough to test their metal. Loosey Goosey Hughes, Butternut Walsh, Jimmy Riley (no relation to Badass), Five Fingers Kelly, Kenny Ricco, Billy Bruno, and on and on.

 

But such was the way of Billie’s existence. He drew a fair share of breaks, for a project kid, got some notice for his singing although not enough to satisfy his huge hunger, to find his way out, his way out of the projects, projects that had his name written all over them(and the rest of his boys too). And then he didn’t draw some breaks after a while, got known as a hard boy, a hard corner boy when corner boy was going out of style and also his bluesy rockabilly singing style was getting crushed by clean-cut, no hassle, no hell-raising boy boys. And then he started drawing to an outside straight, first a couple frame juvenile clip busts, amid the dreaded publicity, the Roman Catholic mother novena dread publicity, police blottered. Then a couple of house break-ins, taking fall guy lumps for a couple of older, harder corner boys who could make him a fall guy then, as he would others when his turn came. All that was later, a couple of years later. But no question in 1958, especially the summer of 1958 when such things took on a decisive quality, Billie, and for one last time, that’s William James Bradley, in case anyone reading needs the name in order to look it up for the historical record was Billie's time. Yah, 1958, Billie, ah, William James Bradley, and corner boy king.

 

Funny, as you know, or you should know, corner boys usually gain their fleeting fame from actually hanging around corners, corner mom and pop variety stores, corner pizza parlors, corner pool halls, corner bowling alleys, corner pinball wizard arcades, becoming fixtures at said corners and maybe passing on to old age and social security check collection at said corner. Or maybe not passing to old age but to memory, memory kid’s memory. But feature this, in Billie’s great domain, his great be-bop night kingship, and in his various defenses of his realm against smart guys and “stups” alike, he never saw so much as a corner corner to rest his laurels on. And not because he did not know that proper etiquette in such matters required some formal corner to hang at but for the sheer, unadulterated fact that no such corner existed in his old-fashioned housing project (now old-fashioned anyway because they make such places differently today), his home base.

See, the guys who made the projects “forgot” that, down and out or not, people need at least a mom and pop variety store to shop at, or nowadays maybe a strip mall, just like everybody else. But none was ever brought into the place and so the closest corner, mom and pop corner anyway, was a couple of miles away up the road. But that place was held by a crowd of older corner boys whose leader, from what was said, would have had Billie for lunch (and did in the end).

 

But see here is where a guy like Billie got his corner boy franchise anyway. In a place where there are no corners to be king of the corner boy night there needs to be a certain ingenuity and that is where “His Honor” held forth. Why not the back of the old schoolhouse? Well, not so old really because in that mad post-World War II boom night (no pun intended), schools, particularly convenient elementary schools even for projects kids were outracing the boomers. So the school itself was not old but the height of 1950s high-style, functional public building brick and glass. Boxed, of course, building-boxed, classroom-boxed, gym-boxed, library-ditto boxed. No cafeteria-boxed, none necessary reflecting, oddly, walk to school, walk home for lunch, stay-at-home mom childhood culture even in public assistance housing world. And this for women who could have, if they could have stood the gaff from neighbor wives, family wives, society wives screamed to high heaven for work, money work. That was Billie world too, Billie day world. Billie September to June world.

 

But come dusk, summer dusk best of all, Billie ruled the back end of the school, the quiet unobserved end of the school, the part near the old sailors’ graveyard, placed there to handle the tired old sailors who had finished up residing at the nearby but then no longer used Old Sailors’ Rest Home built for those who roamed the seven seas, the inlet bays, and whatever other water allowed you to hang in the ancient sailors’ world. There Billie held forth, Peter Paul almost always at hand, seeking, always seeking refuge from his hellfire home thrashings. Canny Danny, regularly, same with Lefty and Freddie (when not grounded), and Bobby while he was around. And other guys, other unnamed, maybe unnamable guys who spent a minute in the Billie night. Doing? Yah, just doing some low murmur talking, most nights, mostly some listening to Billie dreams, Billie plans, Billie escape route. All sounding probable, all wistful once you heard about it later. All very easy, all very respectful, in back of that old school unless some old nag of a neighbor, fearful that the low murmur spoke of unknown, unknowable conspiracies against person, against the day, hell, even against the night. Then the cops were summoned. But mainly not.

 

And then as dusk turned to dark and maybe a moon, an earth moon (who knew then, without telescope, maybe a man-made moon), that soft talk, that soft night talk, turned to a low song throat sound as Billie revved up his voice to some tune his maddened brain caught on his transistor radio (bought fair and square up at the Radio Shack so don’t get all huffy about it). Say maybe Frankie Lymon and The Teenagers Why Do Fools Fall In Love? and then the other ragamuffins would do harmony. Yah, that was twelve, maybe thirteen year old night, most nights, the nights of no rough stuff, the nights of dreams, maybe. But like some ancient siren call that sound penetrated to the depths of the projects and soon a couple of girls, yes, girls, twelve and thirteen year old girls, what do you expect, stick girls and starting shape girls, would hover nearby, maybe fifty yards away but the electricity was in the air, and those hardly made out forms drove Billie and his choir corner boys on. Maybe Elvis’ One Night as a come on. Then a couple more girls, yes, twelve and thirteen year old girls, have you been paying attention, sticks and starting shapes, join those others quietly swaying to the tempo. A few more songs, a few more girls, girls coming closer. Break time. Girl meets boy. Boy meets girl. Hell, even Peter Paul got lucky this night with one of Billie’s stick rejects. And as that moon turned its shades out and the air was fragrance with nature’s marshlands sea air smells and girls’ fresh soap smells and boys’ anxiety smells the Billie corner boy wannabe world seemed not so bad. Yah, 1958 was Billie’s year. Got it.

 

Join The 2015 Maine Walk For Peace-In The Desperate Search For Peace

Join The 2015 Maine Walk For Peace-In The Desperate Search For Peace- The Maine March For Peace and Protection Of The Planet From Rangeley To North Berwick -October 2014

From The Pen Of Sam Eaton

[This sketch is written as a warm-up to get people to commit to this year’s annual Maine VFP-led Peace Walk which will concentrate on the Militarization of the Seas and take a route from Ellsworth, Maine (near Bar Harbor) to Portsmouth, New Hampshire from October 9 to October 24.  For more information contact Maine Veterans For Peace www.vfpmaine.org

207-443-9502 globalnet@mindspring.com 207-422-8273  Join us.]  

“You know I never stepped up and opposed that damn war in Vietnam that I was part of, a big part of gathering intelligence to direct those monster B-52s to their targets. Never thought about much except to try and get my ass out of there alive. Didn’t get “religion” on the issues of war and peace until sometime after I got out when I ran into a few Vietnam veterans who were organizing a demonstration with the famous Vietnam Veterans Against The War (VVAW) down in Washington and they told me what was what. So since then, you know, even if we never get peace, and at times that seems like some kind of naïve fantasy I have to be part of actions like today to let people know, to let myself know, that when the deal went down I was where the action was, ’’ said Jack Scully to his fellow Vietnam veteran Pete Markin.

Peter was sitting in the passenger seat of the car Jack was driving (Mike Kelly, a younger veterans from the Iraq wars sat in back silently drinking in what these grizzled old activists were discussing) as they were travelling back to Jack’s place in York after they had just finished participating in the last leg of the Maine Veterans for Peace-sponsored walk for peace and preservation of the planet from Rangeley to North Berwick, a distance of about one hundred and twenty miles over a ten day period in the October breezes. The organizers of the march had a method to their madness since Rangeley was projected to be a missile site, and the stopping points in between were related to the war industries or to some environmental protection issue ending in North Berwick where the giant defense contractor Pratt-Whitney has three shifts running building F-35 missiles and parts for fighter jets. The three veterans who had come up from Boston to participate in the action had walked the last leg from Saco (pronounced “socko” as a Mainiac pointed out to Peter when he said “sacko”) to the Pratt-Whitney plant in North Berwick, some fifteen miles or so along U.S. Route One and Maine Route Nine.   

After Peter thought about what Jack had said about his commitment to such actions he made this reply, “You know I didn’t step up and oppose the Vietnam War very seriously until pretty late, after I got out of the Army and was working with some Quaker-types in a GI bookstore near Fort Dix down in New Jersey (both of the other men gave signs of recognition of that place, a place where they had taken their respective basis trainings) and that is where I got, what did you call it Jack, “religion” on the war issue. You know I have done quite a few things in my life, some good, some bad but of the good that people have always praised me for that social work I did, and later teaching I always tell them this- there are a million social workers, there are a million teachers, but these days, and for long time now, there have been very few peace activists on the ground so if you want to praise me, want to remember me for anything then let it be for this kind of work, things like this march today when our forces were few and the tasks enormous.”             

With that the three men, as the sun started setting, headed back to the last stretch to York in silence all thinking about what they had accomplished that day.  

******
It had been a long day starting early for Peter since, due to other commitments, he had had to drive up to York before dawn that morning. Jack and Mike already in York too had gotten up early to make sure all the Veterans for Peace and personal gear for the march was in order. They were expected in Saco (you know how to say it now even if you are not from Maine, or even been there) for an 8:30 start to the walk and so left York for the twenty-five mile trip up to that town about 7:30. They arrived at the inevitable Universalist-Unitarian Church (U-U) about 8:15 and prepared the Veterans for Peace flags that the twelve VFPers from the Smedley Butler Brigade who came up from Boston for the last leg would carry.

That inevitable U-U remark by the way needs some explanation, or rather a kudo. Of all the churches with the honorable exception of the Quakers the U-Us have been the one consistent church which has provided a haven for peace activists and their projects, various social support groups and 12- step programs and, of course, the thing that Peter knew them for was as the last gasp effort to preserve the folk minute of the early 1960s by opening their doors on a monthly basis and turn their basements or auditoria into throw-back coffeehouses with the remnant folk performers from that milieu playing, young and old.                  

And so a little after 8:30 they were off, a motley collection of about forty to fifty people, some VFPers from the sponsoring Maine chapter, the Smedleys, some church peace activist types, a few young environmental activists, and a cohort of Buddhists in full yellow robe regalia leading the procession with their chanting and pacing drum beating. Those Buddhists, or some of them, had been on the whole journey from Rangeley unlike most participants who came on one or a few legs and then left. The group started appropriately up Main Street although if you know about coastal Maine that is really U.S. Route One which would be the main road of the march until Wells where they would pick up Maine Route Nine into North Berwick and the Pratt-Whitney plant.

Peter had a flash-back thought early on the walk through downtown Saco as he noticed that the area was filled with old red brick buildings that had once been part of the thriving textile industry which ignited the Industrial Revolution here in America. Yes, Peter “knew” this town much like his own North Adamsville, another red brick building town, and like old Jack Kerouac’s Lowell which he had been in the previous week to help celebrate the annual Kerouac festival. All those towns had seen better days, had also made certain come-backs of late, but walking pass the small store blocks in Saco there were plenty of empty spaces and a look of quiet desperation on those that were still operating just like he had recently observed in those other towns.    

That sociological observation was about the only one that Peter (or anybody) on the march could make since once outside the downtown area heading to Biddeford and Kennebunk the views in passing were mainly houses, small strip malls, an occasional gas station and many trees. As the Buddhists warmed up to their task the first leg was uneventful except for the odd car or truck honking support from the roadway. (Peter and every other peace activist always counted honks as support whether they were or not, whether it was more a matter of road rage or not in the area of an action, stand-out or march). And so the three legs of the morning went. A longer stop for lunch followed and then back on the road for the final stages trying to reach the Pratt-Whitney plant for a planned vigil as the shifts were changing about three o’clock.   

[A word on logistics since this was a straight line march with no circling back. The organizers had been given an old small green bus for their transportation needs. That green bus was festooned with painted graffiti drawings which reminded Peter of the old time 1960s Ken Kesey Merry Prankster bus and a million replicas that one could see coming about every other minute out of the Pacific Coast Highway hitchhike minute back then. The green bus served as the storage area for personal belongings and snack and, importantly, as the vehicle which   would periodically pick up the drivers in the group and leaf-frog their cars toward North Berwick. Also provided rest for those too tired or injured to walk any farther. And was the lead vehicle for the short portion of the walk where everybody rode during one leg before the final walk to the plant gate.]       

So just before three o’clock they arrived at the plant and spread out to the areas in front of the three parking lots holding signs and waving to on-coming traffic. That was done for about an hour and then they formed a circle, sang a couple of songs, took some group photographs before the Pratt-Whitney sign and then headed for the cars to be carried a few miles up the road to friendly farmhouse for a simple meal before dispersing to their various homes. In all an uneventful day as far as logistics went. Of course no vigil, no march, no rally or anything else in the front of some huge corporate enterprise, some war industries target, or some high finance or technological site would be complete without the cops, public or private, thinking they were confronting the Russian Revolution of 1917 on their property and that was the case this day as well. 

 

Peter did not know whether the organizers had contacted Pratt-Whitney, probably not nor he thought should they have, or security had intelligence that the march was heading their way but a surly security type made it plain that the marchers were not to go on that P-W property, or else. As if a rag-tag group of fifty mostly older pacifists, lukewarm socialists, non-violent veterans and assorted church people were going to shut the damn place done, or try to, that day.         

Nothing came of the security agent’s threats as there was no need for that but as Peter got out of Jack’s car he expressed the hope that someday they would be leading a big crowd to shut that plant down. No questions asked. In the meantime they had set the fragile groundwork. Yes, it had been a good day and they had all been at the right place.