*****Revelations -For Chelsea Manning And All The Military Resisters To America’s Endless Wars

*****Revelations -For Chelsea Manning And All The Military Resisters To America’s Endless Wars  

 

 

 

From The Sam Eaton-Ralph Morris Series

From The Pen Of Bart Webber

Ralph Morris had always considered himself a straight-up guy. Straight up when he dealt with customers in his high-precision electrical shop in Troy, New York he had inherited from his father after he retired before he himself recently retired and turned it over to his youngest son, James, who would bring the operation into the 21^st century with the high tech equipment-driven  precision electrical work needs nowadays. Straight up when he confronted the trials and tribulations of parenthood and told the kids that due to his political obligations (of which more in a minute) he would be away and perhaps seem somewhat pre-occupied at times but he would answer any questions they had about anything as best he could. The kids in turn when characterizing their father to me, told me that he was hard-working, distant but had been straight up with them although those sentiments said in a wistful, wondering, wishing for more manner like there was something missing in the whole exchange and Ralph agreed when I mentioned that feeling to him that I was probably right but that he did the best he could.

Straight up after sowing his wild oats along with Sam Eaton, Pete Markin, Frankie Riley and a bunch of other guys from the working-class corners of the town they grew up in who dived into that 1960s counter-cultural moment and hit the roads, for a short time after the stress of eighteen months in the bush in Vietnam. Meaning sleeping with any young woman who would have him in those care-free days when they were all experimenting with new ways to deal with that fretting sexual issue and getting only slightly less confused that when they got all that god-awful and usually wrong information in the streets where most of them, for good or evil learned to separate their Ps and Qs. After which he promised his high school sweetheart, Lara Peters, who had waited for him to settle down to be her forever man. And straight up with what concerns us here his attitude toward his military service in the Army during the height of the Vietnam War where he did his time, did not cause waves while in the service but raised, and is still raising seven kinds of holy hell, once he became totally disillusioned with the war, with the military brass and with the American government (no “our government” in his vocabulary signifying that while he was still in love with his country he was not of its governance-his way of saying it is not mine) who did nothing but make thoughtless animals out of him and his buddies.            

Giving this “straight up” character business is important here because Ralph several years ago along with Sam Eaton, a non-Vietnam veteran having been exempted from military duty due to his  being the sole support of his mother and four younger sisters after his ne’er-do-well father died of a massive heart attack in 1965, joined a peace organization, Veterans For Peace (VFP), in order to work with others doing the same kind of work (Ralph as a veteran automatically a full member, Sam an associate member in the way membership works in that organization although both have full right to participate and discuss the aims and projects going forward) once they decided to push hard against “the endless wars of the American government” (both Ralph and Sam’s way of putting the matter).

Without going into greater detail Sam and Ralph had met down in Washington, D.C. on May Day 1971 when they with their respective groups (Sam with a radical collective from Cambridge and Ralph with Vietnam Veterans Against the War, a predecessor organization of VFP) attempted to as the slogan went-“shut down the government if it did not shut down the war.” Unfortunately they failed but the several days they spent together in detention in RFK Stadium then being used as the main detention area cemented a life-time friendship, and a life-time commitment to work for peace. (Sam’s impetus the loss of his best corner boy high school friend, Jeff Mullins, killed in the Central Highlands of Vietnam in 1968 who begged him to tell everybody what was really going on with war if he did not make it back to tell them himself.)       

That brings us to the Ralph straight up part. He and Sam had worked closely with or been member of for several years in the 1970s of VVAW and other organizations to promote peace. But as the decade ended and the energies of the 1960s faded and ebbed they like many others went on with their lives, build up their businesses, had their families to consider and generally prospered. Oh sure, when warm bodies were needed for this or that good old cause they were there but until the fall of 2002 their actions were helter-skelter and of an ad hoc nature. Patch work they called it. Of course the hell-broth of the senseless, futile and about six other negative descriptions of that 2003 Iraq war disaster, disaster not so much for the American government (Sam and Ralph’s now familiar term) as for the Iraqi people and others under the cross-fires of the American military juggernaut (my term).

They, having then fewer family and work responsibilities, got  the old time anti-war “religion” fires stoked in their brains once again to give one more big push against the machine before they passed on. They started working with VFP in various marches, vigils, civil disobedience actions and whatever other projects the organization was about (more recently the case of getting a presidential pardon and freedom for the heroic Wiki-leaks whistle –blower soldier Chelsea Manning sentenced to a thirty-five year sentence at Fort Leavenworth in 2013 for telling the truth about American atrocities in Iraq and Afghanistan). Did that for a couple of years before they joined. And here is really where that straight up business comes into play. See they both had been around peace organizations enough to know that membership means certain obligation beyond paying dues and reading whatever materials an organization puts out-they did not want to be, had never been mere “paper members” So after that couple of years of working with VFP in about 2008 they joined up, joined up and have been active members ever since.       

Now that would be neither here nor there but Ralph had recently been thinking about stepping up his commitment even further by running for the Executive Committee of his local Mohawk Valley  chapter, the Kenny Johnson Chapter. (Sam as an associate member of his local chapter, the James Jencks Brigade is precluded as a non-veterans from holding such offices the only distinction between the two types of membership.) He ran and won a seat on the committee. But straight up again since he was committed to helping lead the organization locally and perhaps take another step up at some point he decided in 2015 to go to the National Convention in San Diego (the geographic location of that site a definitive draw for other reasons) and learn more about the overall workings of the organization and those most dedicated to its success.

So Ralph went and immersed himself in the details of what is going on with the national organization. More importantly he got to hear the details of how guys (and it is mostly guys reflecting the origins of the organization in 1985 a time when women were not encouraged to go into the service), mostly guys from his Vietnam War generation as the older World War II and Korea vets have begun to pass on and the Iraq and Afghan war vets who are still finding their “voice” came to join the organization. What amazed him was how many of the stories centered on various objections that his fellow members had developed while in whatever branch of the military they were in. Ralph had kept his “nose clean” despite his growing disenchantment with the war while serving his eighteen months in country. He had been by no means a gung-ho soldier although he had imbibed all the social and political attitudes of his working class background that he had been exposed to concerning doing military service, fighting evil commies and crushing anything that got in the way of the American government. He certainly was not a model soldier either but he went along, got along by getting along. These other guys didn’t.

One story stood out not because it was all that unusual in the organization but because Ralph had never run up against anything like it during his time of service from 1967-1970. Not in basic training, not in Advanced Infantry Training (AIT), not in Vietnam although he had heard stuff about disaffected soldiers toward the end of his enlistment. This guy, Frank Jefferson, he had met at one of the workshops on military resisters had told Ralph when he asked that he had served a year in an Army stockade for refusing to wear the uniform, refusing to do Army work of any kind. At least voluntarily.

The rough details of Frank’s story went like this. He had been drafted in late 1968 and was inducted into the Army in early 1969 having had no particular reason not to go in since while he was vaguely anti-war like most college students he was not a conscientious objector (and still doesn’t feel that way since he believes wars of national liberation and the like are just and supportable, especially those who are facing down the barrel of American imperialism), was not interested in going to jail like some guys, some draft resisters, from his generation who refused to be inducted and he did not even think about the option of Canada or some such exile. Moreover the ethos of his town, his family, his whole social circle was not one that would have welcomed resistance, would not have been understood as a sincere if different way of looking at the world. Add to that two guys had been killed in Vietnam from his neighborhood and the social pressure to conform was too great to buck even if he had had stronger convictions then. 

Three days, maybe less, after Frank was deposited at Fort Jackson in South Carolina in January, 1969 for basic training he knew he had made a great mistake, had had stronger anti-war feelings, maybe better anti-military feelings than he suspected and was heading for a fall. This was a period when draftees, those fewer and fewer men who were allowing themselves to be drafted, were being channeled toward the infantry, the “grunts,” the cannon-fodder (words he learned later but not known to him as he entered the Army) and that was his fate. He was trained as an 11 Bravo, killer soldier. Eventually he got orders to report to Fort Lewis in Washington for transport to Vietnam. On a short leave before he was requested to report Frank went back to Cambridge where he grew up and checked in with the Quakers which somebody had told him to do if he was going to challenge his fate in any way. The sympathetic counsellor in the basement of the Quaker Meeting House off Brattle Street advised him to put in a CO application at Fort Devens nearby. He did so, was turned down because as a Catholic and general moral and ethical considerations objector he did not qualify under the doctrine of that church. (And he still held to his “just war” position mentioned above). He tried to appeal that decision through military then civilian channels with help from a lawyer provided by the Quakers (really their American Friends Service Committee) although that was dicey at best.

Then, despite some counsel against such actions Frank had an epiphany, a day of reckoning, a day when he decided that enough was enough and showed up at parade field for the Monday morning report in civilian clothes carrying a “Bring The Troops Home” sign. Pandemonium ensued, he was man-handled by two beefy lifer-sergeants and taken to the Provost Marshall’s office for identification since the MPs were not sure whether he was not some hopped-up radical from nearby Boston who were starting to hold anti-war rallies in front of the Main Gate to the base. Once identified as a soldier he was thrown in the stockade. Eventually Frank was tried and sentenced to six month under a special court-martial for disobeying orders. He served the whole term (minus some days for good conduct). When he got out after during that stretch he continued to refuse to wear the uniform or do work. So back to the stockade and another special court-martial trial  getting another six months, again for disobeying lawful orders.

Fortunately that civilian lawyer provided by the Quakers (and who had grudgingly since he did not agree with Frank’s way of making a statement while other legal remedies were available been his lawyer at both trials) had brought the CO denial case to the Federal Court in Boston on a writ of habeas corpus and the judge ruled that the Army had acted wrongly in denying the application. A few weeks later he was released with an honorable discharge as a CO, one of the first in that category in the military. Frank said with a twinkle in his eye that if that legal relief had not cut the process short he still might forty plus years later be doing yet another six month sentence. So that was his story and there were probably others like him whose stories went untold during that turbulent time when the Army was near mutiny in America and Vietnam (the jails as Long Binh, LBJ for short, were then always full with miscreant soldiers).

Ralph said to himself after hearing the Jefferson story, yeah, these are the brethren I can work with. Guys like Jefferson really won’t fold under pressure when the American government tries to pull the hammer down on political dissent. Yeah, that’s right Ralph.          

*****Pleasure and Piety-The Story Of Perseus And Andromeda-With The Dutch Painter Joachim Wtewael In Mind

*****Pleasure and Piety-The Story Of Perseus And Andromeda-With The Dutch Painter Joachim Wtewael In Mind

 

 

 

From The Pen Of Sam Lowell

 

No question Jack Callahan was tired unto death of being Mr. Toyota of Eastern Massachusetts (and a couple of times being Mr. New England Toyota when he ripped up the 1998 and 2000 Camry record book just like he had when he was the star running back of the 1967 State Class B football champions at his alma mater, North Adamsville High, his rushing records mostly still intact to this day even against a guy in the 1980s who went on to play professional ball for the Steelers). Tired of hustling cars after almost forty years in the business once he could not play football anymore when he had hurt his knee so bad against Boston College when he played for State U that even the starving for recruits (read “grunts,” cannon-fodder and you are not far from the truth) Army gave him a pass. Jack had grown utterly tired of having to spent every waking hour (and some sleeping hours to) worrying about monthly quotas, about whether his sales staff was “pulling his chain” when number crunch time came and he had to finagle the books to keep the whole fucking operation (Jack’s term) running. And tired of hearing Mrs. Toyota Chrissie (nee McNamara), his high school sweetheart nagging him about turning the reins over to somebody else and let them live a little. Not good company policy but a heart-felt cry from the deep.  (Yeah, for every Mr. there has to be a Mrs., or Ms., so recognized officially by the company and in these days of same-sex marriage the Mrs. could be replaced by another Mr. or visa versa for the female version of the marriage arrangement and nobody would bat an eye since gays, lesbians, trans-genders, bi-sexuals, queers, and whatever other sexual orientations there are buy cars, need transportation to get on with their lives and it might as well be in a safe as a bug in a rug Toyota).

No, if that is what you are thinking, neither Jack nor Chrissie are tired of each other, looking to play the field or any other of the things they had heard that happen to some 60-somethings once the kids leave, once the nest goes empty, or once they recognize their own mortality and flip out to do all the lampshade on the head things they have avoided as inappropriate when they were rising above their parents’ station and hoping to push the kids even further up the hill.

To the contrary Chrissie has always been, is, Jack’s rock and visa versa and that core truth has been the basis of their relationship ever since sophomore year in high school. Since the day, night really, when smart-as-a-whip Chrissie decided that she had had enough of Saturday afternoon falling leaves granite grey skies hero football player Jack taking his peeks at her (and she at him) and not doing a damn thing about it and had gone to Salducci’s Pizza Parlor where Jack hung out with his corner boys on Friday nights goofing off and planted herself in Jack’s lap. Even at the 40^th class reunion a few years back Jimmy Jenkins, another corner boy, remembered that long ago night vividly and made everybody at the reunion once again aware of the situation because the look in Chrissie face then said that it would take the whole football team to get her off Jack’s lap. And Frankie Riley, the self-proclaimed but undisputed king of the corner boy night, chimed in and said that the look on Jack’s face said that it would take the whole football team, throw in the junior varsity and the water boys too, to get Chrissie off his lap.

Yeah, it was that way for both of them. They were solid but Chrissie just wanted to get out from under the grind, go a few places that were not company-tainted, go get some culture (pronounced cultuah or something like that in Boston). So one week, for a few days, Jack agreed to go to Washington to visit the art museums and the like. Just the two of them, just for the pleasure of looking at some paintings that have withstood the test of time and fashion.

On a nice spring day for Washington before the cherry blossoms faded Jack and Chrissie could be seen walking arm in arm with a little skip in their step toward the Seventh Avenue entrance to the National Museum of Art. Now you might think that a guy like Jack, a former jock, a former corner boy (or maybe not so former when the surviving members of the Salducci’s Pizza Parlor crew get together and toss down a few at friendly Jack’s Grille in Cambridge where Jimmy Jenkins lives), not much of a student, and a guy who earned his dough hustling cars would give a rat’s ass about art (Jack’s expression carried over from corner boy times when if you did not give a damn about something that was the expression de jus). But you would be wrong because you would not have factored in the effect that the late Salducci’s Pizza Parlor corner boy Peter Paul Markin dubbed “The Scribe” by Frankie Riley and everybody else picked it up had on Jack Callahan (and the others as well if the truth be known).

Now Markin came to a bad end down in Mexico back in the 1970s when the “wanting habits” hanging over him from his poverty-stricken youth got the best of him over a busted drug deal the details of which never were made clear by the authorities there except to warn everybody off. But in his corner boy days, the sunnier days of the 1960s when he/they thought a new breeze was coming to open things up even for poor ass corner boys he was the fountain of knowledge for about two thousand arcane facts that made him smart in that circle. His whole point then, or most of it, was to use such information to try to impress every girl who would stand still long enough to hear him out (and a few did and not just nerdy girls either). And Markin took Jack up as a special case, as a guy who was going to college for the wrong reasons, to just play football and make State U famous, when he should be imbibing some culture and make everybody really look up to him  (on that culture thing you already know how they pronounce it around Boston). Yeah, you can see even then Markin had his quirky side since half the world could give a rat’s ass about culture however you pronounced it.

So Markin and Jack would go up to the Museum of Fine Arts in Boston on the QT and look at the masterworks of all the civilizations who put paint to canvas (or chisel to marble or whatever they used to leave a record that they existed and had dreams of eternity too). And Jack loved it (on the QT of course). Loved it too later when Chrissie and he would go to museums like the Getty or Metropolitan on days when they were not attending some Toyota regional or national conference. So Jack had actually been looking forward to the experience since he had not been in the building for about thirty years. Especially wanted to see the Impressionists that he had always been fascinated by.

After getting by the mandatory security check Jack and Chrissie noticed that there was special exhibition by a Flemish painter, a painter named Joachim Wteweal (that is how he thought the name was spelled when he later told Frankie Riley about the experience) neither had ever heard of but the brochure advertising the exhibition looked promising with a photograph of a painting showing a rich palette of colors somewhat unusual for Flemish painters who tended toward the darker sober colors of the wheel. So they headed to the far end of the building on the second floor where the exhibition was staged.

Some of the paintings by Wteweal were in the tradition of the Dutch school, you know portraits of the senile burgers of the country who felt a need to show their greedy little faces to posterity. Some were the nature and food scenes that those self-same burgers loved to show in their houses.  And some were the drawn from Greek and Roman myths always a welcome subject after centuries of holy-shrine Mother and Virgin or death of Christ stuff that was getting to be pretty thin gruel for the better educated and free-spirited artists who survived the Renaissance and the Reformation without facing the lord high executioner or the Inquisition.  It was an example of the latter, a painting from Greek mythology about Perseus rescuing Andromeda that mesmerized Jack that day, had him thinking about what Markin would have said about it and also how it fit in with everything about his growing up times. Maybe too why it took his love Chrissie something like a personal civil war to get him to confess how he felt about her that Salducci’s Friday night.

Naturally it was not until later that Jack found out by looking it up on Wikipedia what the story behind the painting was about. About how Andromeda had offended the gods, or her parents had going on and on about how beautiful she was, and the handmaidens to the gods took a nutty. Thereafter as “penance” Andromeda was chained, chained naked, according to every account (and every painting done on the subject since Wteweal was hardly the first or only painting who saw something exciting in the myth to draw on) to be left on the barren forsaken shoreline some place for a sea monster to have for lunch or whatever sea monsters do with human sacrifices (nothing good from the human skulls which litter the ground beneath Andromeda’s feet). Of course no beauty, whether she upsets some old hags or some other beauty in mythology or modern novels or in Hollywood is going to be lunch for some ugly mist-breathing sea monster. That is where Perseus comes to the rescue and of course slays the dragon. And unchains the fair Andromeda, perhaps. They naturally live happily ever after producing something like seven sons and a couple of daughters so they had a very active sex life. In the end Andromeda got to be immortal and got a constellation in the night skies named after her (and some funky NASA project too so her fame was not fleeting after fifteen minutes).

Jack admitted that at the time he saw the painting none of that latter information entered into his fascination about Andromeda and her chains. What struck him was the whole idea that in the 16^th century artists working for some patron (or patroness) felt comfortable enough to paint a frontal female nude showing all her private parts when until fairly recently such nudes were considered pornography or worse (that worse being some make-shift S&M thing with the chains and the devilish sea monster lurking about). Could show her in that condition for what could only have been meant for a private collector. So a mixture of awe, childhood modesty, some perverse sexual thoughts and some “what would Markin say” got all mixed in that day. He returned to the painting several times and even Chrissie who knew what a modest guy he was around women, although not in her bed once they got around to that shortly after that lap episode at Salducci’s, whispered in his ear that he was a “dirty old man.”

Okay, Jack confessed that might have been part of it but a lot of it was about that Catholic upbringing that they all had been brought up on which skewered what they thought about sex, or thought that they thought. Here is how bad it was one time. The class in seventh grade when Jack first met Markin went on a field trip to the Museum of Science in Boston and while there they came across an exhibition of  female figure showing all her parts (nude in other words). Jack couldn’t look at the figure, grew red in the face when Markin noticed he refused to look at her. Then Markin with his two thousand facts (a few wrong on this occasion) proceeded to tell Jack all about the female anatomy in scientific terms things which previously were left to schoolyard terminology (cunt, pussy, boobs, ass, tits and so on) without knowing what that all represented. So some things don’t change so much (although Chrissie who had an older married sister who she confided in didn’t let that condition go on for long) but that day Jack had the sneaking suspicion that the painter Wteweal really was painting the scene for his own pleasure. And he wished, wished to high heaven that the Protestant Reformation had been more successful. Yeah, Markin would have agreed with that sentiment.                                                

 

*****Pleasure and Piety-The Story Of Perseus And Andromeda-With The Dutch Painter Joachim Wtewael In Mind

*****Pleasure and Piety-The Story Of Perseus And Andromeda-With The Dutch Painter Joachim Wtewael In Mind

 

 

 

From The Pen Of Sam Lowell

 

No question Jack Callahan was tired unto death of being Mr. Toyota of Eastern Massachusetts (and a couple of times being Mr. New England Toyota when he ripped up the 1998 and 2000 Camry record book just like he had when he was the star running back of the 1967 State Class B football champions at his alma mater, North Adamsville High, his rushing records mostly still intact to this day even against a guy in the 1980s who went on to play professional ball for the Steelers). Tired of hustling cars after almost forty years in the business once he could not play football anymore when he had hurt his knee so bad against Boston College when he played for State U that even the starving for recruits (read “grunts,” cannon-fodder and you are not far from the truth) Army gave him a pass. Jack had grown utterly tired of having to spent every waking hour (and some sleeping hours to) worrying about monthly quotas, about whether his sales staff was “pulling his chain” when number crunch time came and he had to finagle the books to keep the whole fucking operation (Jack’s term) running. And tired of hearing Mrs. Toyota Chrissie (nee McNamara), his high school sweetheart nagging him about turning the reins over to somebody else and let them live a little. Not good company policy but a heart-felt cry from the deep.  (Yeah, for every Mr. there has to be a Mrs., or Ms., so recognized officially by the company and in these days of same-sex marriage the Mrs. could be replaced by another Mr. or visa versa for the female version of the marriage arrangement and nobody would bat an eye since gays, lesbians, trans-genders, bi-sexuals, queers, and whatever other sexual orientations there are buy cars, need transportation to get on with their lives and it might as well be in a safe as a bug in a rug Toyota).

No, if that is what you are thinking, neither Jack nor Chrissie are tired of each other, looking to play the field or any other of the things they had heard that happen to some 60-somethings once the kids leave, once the nest goes empty, or once they recognize their own mortality and flip out to do all the lampshade on the head things they have avoided as inappropriate when they were rising above their parents’ station and hoping to push the kids even further up the hill.

To the contrary Chrissie has always been, is, Jack’s rock and visa versa and that core truth has been the basis of their relationship ever since sophomore year in high school. Since the day, night really, when smart-as-a-whip Chrissie decided that she had had enough of Saturday afternoon falling leaves granite grey skies hero football player Jack taking his peeks at her (and she at him) and not doing a damn thing about it and had gone to Salducci’s Pizza Parlor where Jack hung out with his corner boys on Friday nights goofing off and planted herself in Jack’s lap. Even at the 40^th class reunion a few years back Jimmy Jenkins, another corner boy, remembered that long ago night vividly and made everybody at the reunion once again aware of the situation because the look in Chrissie face then said that it would take the whole football team to get her off Jack’s lap. And Frankie Riley, the self-proclaimed but undisputed king of the corner boy night, chimed in and said that the look on Jack’s face said that it would take the whole football team, throw in the junior varsity and the water boys too, to get Chrissie off his lap.

Yeah, it was that way for both of them. They were solid but Chrissie just wanted to get out from under the grind, go a few places that were not company-tainted, go get some culture (pronounced cultuah or something like that in Boston). So one week, for a few days, Jack agreed to go to Washington to visit the art museums and the like. Just the two of them, just for the pleasure of looking at some paintings that have withstood the test of time and fashion.

On a nice spring day for Washington before the cherry blossoms faded Jack and Chrissie could be seen walking arm in arm with a little skip in their step toward the Seventh Avenue entrance to the National Museum of Art. Now you might think that a guy like Jack, a former jock, a former corner boy (or maybe not so former when the surviving members of the Salducci’s Pizza Parlor crew get together and toss down a few at friendly Jack’s Grille in Cambridge where Jimmy Jenkins lives), not much of a student, and a guy who earned his dough hustling cars would give a rat’s ass about art (Jack’s expression carried over from corner boy times when if you did not give a damn about something that was the expression de jus). But you would be wrong because you would not have factored in the effect that the late Salducci’s Pizza Parlor corner boy Peter Paul Markin dubbed “The Scribe” by Frankie Riley and everybody else picked it up had on Jack Callahan (and the others as well if the truth be known).

Now Markin came to a bad end down in Mexico back in the 1970s when the “wanting habits” hanging over him from his poverty-stricken youth got the best of him over a busted drug deal the details of which never were made clear by the authorities there except to warn everybody off. But in his corner boy days, the sunnier days of the 1960s when he/they thought a new breeze was coming to open things up even for poor ass corner boys he was the fountain of knowledge for about two thousand arcane facts that made him smart in that circle. His whole point then, or most of it, was to use such information to try to impress every girl who would stand still long enough to hear him out (and a few did and not just nerdy girls either). And Markin took Jack up as a special case, as a guy who was going to college for the wrong reasons, to just play football and make State U famous, when he should be imbibing some culture and make everybody really look up to him  (on that culture thing you already know how they pronounce it around Boston). Yeah, you can see even then Markin had his quirky side since half the world could give a rat’s ass about culture however you pronounced it.

So Markin and Jack would go up to the Museum of Fine Arts in Boston on the QT and look at the masterworks of all the civilizations who put paint to canvas (or chisel to marble or whatever they used to leave a record that they existed and had dreams of eternity too). And Jack loved it (on the QT of course). Loved it too later when Chrissie and he would go to museums like the Getty or Metropolitan on days when they were not attending some Toyota regional or national conference. So Jack had actually been looking forward to the experience since he had not been in the building for about thirty years. Especially wanted to see the Impressionists that he had always been fascinated by.

After getting by the mandatory security check Jack and Chrissie noticed that there was special exhibition by a Flemish painter, a painter named Joachim Wteweal (that is how he thought the name was spelled when he later told Frankie Riley about the experience) neither had ever heard of but the brochure advertising the exhibition looked promising with a photograph of a painting showing a rich palette of colors somewhat unusual for Flemish painters who tended toward the darker sober colors of the wheel. So they headed to the far end of the building on the second floor where the exhibition was staged.

Some of the paintings by Wteweal were in the tradition of the Dutch school, you know portraits of the senile burgers of the country who felt a need to show their greedy little faces to posterity. Some were the nature and food scenes that those self-same burgers loved to show in their houses.  And some were the drawn from Greek and Roman myths always a welcome subject after centuries of holy-shrine Mother and Virgin or death of Christ stuff that was getting to be pretty thin gruel for the better educated and free-spirited artists who survived the Renaissance and the Reformation without facing the lord high executioner or the Inquisition.  It was an example of the latter, a painting from Greek mythology about Perseus rescuing Andromeda that mesmerized Jack that day, had him thinking about what Markin would have said about it and also how it fit in with everything about his growing up times. Maybe too why it took his love Chrissie something like a personal civil war to get him to confess how he felt about her that Salducci’s Friday night.

Naturally it was not until later that Jack found out by looking it up on Wikipedia what the story behind the painting was about. About how Andromeda had offended the gods, or her parents had going on and on about how beautiful she was, and the handmaidens to the gods took a nutty. Thereafter as “penance” Andromeda was chained, chained naked, according to every account (and every painting done on the subject since Wteweal was hardly the first or only painting who saw something exciting in the myth to draw on) to be left on the barren forsaken shoreline some place for a sea monster to have for lunch or whatever sea monsters do with human sacrifices (nothing good from the human skulls which litter the ground beneath Andromeda’s feet). Of course no beauty, whether she upsets some old hags or some other beauty in mythology or modern novels or in Hollywood is going to be lunch for some ugly mist-breathing sea monster. That is where Perseus comes to the rescue and of course slays the dragon. And unchains the fair Andromeda, perhaps. They naturally live happily ever after producing something like seven sons and a couple of daughters so they had a very active sex life. In the end Andromeda got to be immortal and got a constellation in the night skies named after her (and some funky NASA project too so her fame was not fleeting after fifteen minutes).

Jack admitted that at the time he saw the painting none of that latter information entered into his fascination about Andromeda and her chains. What struck him was the whole idea that in the 16^th century artists working for some patron (or patroness) felt comfortable enough to paint a frontal female nude showing all her private parts when until fairly recently such nudes were considered pornography or worse (that worse being some make-shift S&M thing with the chains and the devilish sea monster lurking about). Could show her in that condition for what could only have been meant for a private collector. So a mixture of awe, childhood modesty, some perverse sexual thoughts and some “what would Markin say” got all mixed in that day. He returned to the painting several times and even Chrissie who knew what a modest guy he was around women, although not in her bed once they got around to that shortly after that lap episode at Salducci’s, whispered in his ear that he was a “dirty old man.”

Okay, Jack confessed that might have been part of it but a lot of it was about that Catholic upbringing that they all had been brought up on which skewered what they thought about sex, or thought that they thought. Here is how bad it was one time. The class in seventh grade when Jack first met Markin went on a field trip to the Museum of Science in Boston and while there they came across an exhibition of  female figure showing all her parts (nude in other words). Jack couldn’t look at the figure, grew red in the face when Markin noticed he refused to look at her. Then Markin with his two thousand facts (a few wrong on this occasion) proceeded to tell Jack all about the female anatomy in scientific terms things which previously were left to schoolyard terminology (cunt, pussy, boobs, ass, tits and so on) without knowing what that all represented. So some things don’t change so much (although Chrissie who had an older married sister who she confided in didn’t let that condition go on for long) but that day Jack had the sneaking suspicion that the painter Wteweal really was painting the scene for his own pleasure. And he wished, wished to high heaven that the Protestant Reformation had been more successful. Yeah, Markin would have agreed with that sentiment.                                                

 

***On Sugar Mountain"- The Musak Of James Taylor

DVD MUSICAL REVIEW

James Taylor Live At The Beacon Theater, James Taylor and various artists, Columbia Music Video, 1998

Strangely, as a youth caught up in the fervor of the early 1960's folk revival and its aftermath James Taylor the subject of this review was never on my personal radar. I knew the name, knew people who knew him, and had many chances to hear him perform in the old days. I passed. And with the exception of a couple of songs here that remains true. Somehow he is, however, the perfect performer for aging `baby boomers' who have lost the taste for hard-driving, edgy music but still love the old tunes-and memories. Moreover, Taylor is the perfect performer for Public Broadcasting System fundraisers. The PBS fundraising moguls know their demographics.

Oh yes, I listened to Fire and Rain and You Can't Close Your Eyes back in the days like everyone else. That is not the question. I listened to tons of stuff in those days (and now, as well). However, those songs lacked pathos for me then and off of Taylor's performance here at New York's Beacon Theater in 1998 that condition still prevails. Moreover, the covers here like Jimmy Jones' Handy man and Buddy Holly's Not Fade Away point to my problem with Taylor's work. Generally, good workmanlike performances but no "soul". And to these eyes and ears no real stage presence despite the blurb accolades that accompanied the DVD to the contrary. Unless you are a die hard Taylor fan pass this by.


Bonnie Raitt-Road Tested, Bonnie Raitt and various artists, Capitol Records, 1997

Let us take a trip down memory lane to the Boston Common in the summer of that fateful year, 1968. A bunch of us were sitting (on the ground, no less) fairly far back in that locale and then suddenly a woman’s voice came booming through the air. Moreover, she was playing not the female de rigueur acoustic guitar but an electric one. Just like the guys! That, my friends was my introduction to Bonnie Raitt and she has been rockin’, bluesin’ and folkin’ ever since. This San Francisco concert from 1995 brings all those trends together. For Bonnie Raitt fans, or just the casual blues/folk/rock fan this is a treat. When I occasionally call back memories of the 1960’s and say that that was a time when men (and women) played Rock ‘n’ Roll for keeps it is Bonnie that I have in mind as one of the women.

Honestly, after that early introduction to Bonnie on that long ago summer day I did not follow her career that closely for a time although I knew she learned here craft later at the feet of Mississippi Fred McDowell and would catch her at various Cambridge night spots. However, this concert brings all that back. Not only that but the added attractions of Jackson Browne and the legendary blues singer Ruth Brown (a favorite of mine from way back) round out a very nice concert. What’s good here: John Prine’s Angel From Montgomery; Never Make Your Move Too Soon (with Brown); Chris Smither’s Love Me Like A Man and Rock Steady. Nice stuff, well performed with her band and guest artists.


John Prine At Sessions At West 54th, John Prine with Iris Dement and various artists, OnBoy Records, 2001

Over the last several months I have done more musically-oriented reviews that I had expected. One of the themes that keep cropping up is that for some folk/blues-oriented musical artists like Bob Dylan my attachment was immediate, long time and on-going. For other artists like John Prine it has been more of a recently acquired taste. I had, obviously, heard Bonnie Raitt do his Angel From Montgomery but I never associated his name with that song. Then a couple of years ago I happened to listen to his Hello In There and Sam Stone. Yes, this guy has something to say that I wanted to (on some songs, needed to) hear.

This concert represents a small selection of some of his work, although with the exception of Sam Stone, Lake Marie and Hello in There not much in the way of classics, at least that I am familiar with. This concert would thus only rate as a pretty fair performance except that on a few songs like When Two World Collide he is accompanied by Iris Dement (wife of the folksinger/songwriter Greg Brown). Iris is also a recent acquisition. I would travel very far to hear that voice of hers (and have done so). Incidentally, I have seen both these performers in person over the past couple of years- they still have it. Still this is not the DVD that YOU need to understand either talent, but you may want it.

Labor’s Untold Story- A Personal View Of The Class Wars In The Kentucky Hills And Hollows-"Our Lady Of The Mountains-The Music Of Hazel Dickens"

Click on the headline to link to a YouTube film clip of Hazel Dickens performing the evocative, haunting Hills Of Home.

CD Review

It’s Hard To Tell The Singer From The Song, Hazel Dickens and other artists, Rounder Records, 1987

A few years ago I spent some time "running the table" on the mountain music genre. From the pioneer work of the venerable Carter Family, who leader A. P. Carter scoured the hills and patches of Appalachia, black tenet farmer, and hard-bitten coal miner, searching for material once RCA gave his trio their big break in 1927, or so through to Ralph Stanley, Doc Watson and other legendary figures and on to the “revival” brought forth in the early part of this decade by such movies as Brother, Where Art Thou? and Songcatcher I have paid more than passing tribute to this quintessential American musical form, complete with fiddle, mandolin and lonely Saturday nights gathering in the folk in some hardly built, or half- abandoned barn out in the hills and hollows of Appalachia and other rural environs. And, moreover, in the process ‘discovered’ that yankee boy I that I am, my roots are firmly steeped through my father down in the wind-swept hills and hollows. That said I have, thus, pretty much exhausted the milieu, right? Wrong. No homage to the modern mountain music scene can be complete without paying tribute to the work of singer/songwriter Hazel Dickens (and, at times, musical companion Alice Gerrard, among others).

There was time when, if one was given a choice, the name Hazel Dickens would be the first to come up when naming the most well known voice of the modern mountain music tradition. Her voice spoke of the hardships of the rural life and of ticky-tack, no window, hell, no door tar-paper cabins; the trials and tribulations of trying to eke out an existence on some hard- scrabble rocky farmland probably played out generations ago in the first treks west; or, more likely, sweated, underpaid labor in the coals mines or textiles factories that dominated that landscape for much of the second half of the 20th century. Hers was the pure, almost primordial voice that spoke of the sorrows of hill life, but also the joys of coming to terms with a very personal (and, apparently) angry god by way of singing away those working women blues, and you can add in a few tunes for those hard-bitten farmers and coals miners as well.

So, needless to say, this little Rounder CD from 1987 is filled with original work and covers on just those subjects mentioned above. From a cover of Bob Dylan's Only A Hobo to the classic haunting Hills Of Home that evokes, passionately, the roots in those hard life hills and on to the necessary religious- themed Will Jesus Wash The Bloodstains From Your Hands that has formed the underpinning for the mountain ethos for eons this is what mountain music is like when it is done right. Listen and see if you agree.
******
Hazel Dickens - A Few Old Memories lyrics

Lyrics to A Few Old Memories :
Just a few old memories
Slipped in through my door
Though I thought I had closed it
So tightly before
I can't understand it
Why it should bother my mind
For it all belongs to another place and time

Just a few old keep-sakes
Way back on the shelf
No, they don't mean nothin'
Well I'm surprised they're still left
Just a few old love letters
With the edges all brown
And an old faded picture
I keep turned upside-down

Just a few old memories
Going way back in time
Well I can hardly remember
I don't know why I'm cryin'
I can't understand it
Well I'm surprised myself
First thing tomorrow morning
I'll clean off that shelf

Just a few old keep-sakes
Way back on the shelf
No, they don't mean nothin'
Well I'm surprised that they're left
Just a few old love letters
With their edges all brown
And an old faded picture
I keep turned upside-down

Hazel Dickens, West Virginia My Home Tabs/Chords
Hazel Dickens is one of my favorite singers, and one of my favorite people. I
have had the pleasure of meeting and singing with her several times at
Augusta, and she is as genuine a person as you're likely to encounter. Her
testimonial to her home state is my all-time favorite song, one that I sing
every day. I learned it from her album entitled "Hard-Hitting Songs for Hard-
Hit People," and I am constantly amazed that a lifelong Illinoisan like myself
can identify so strongly with the bittersweet reverence with which she packs
this powerful ballad. Just as the Everly Brothers, Louvin Brothers, and Blue
Sky Boys did with "Kentucky," Hazel evokes a universal sentiment with this
geographically specific song.

John (a.k.a. "West Virginia Slim")
Chicago

WEST VIRGINIA MY HOME by Hazel Dickens

Chorus:
D G
West Virginia, oh my home.
D A
West Virginia, where I belong.
D
G
In the dead of the night, in the still and the quiet I slip away like a bird
in flight
D A D
Back to those hills, the place that I call home.

It's been years now since I left there
And this city life's about got the best of me.
I can't remember why I left so free what I wanted to do, what I wanted to see,
But I can sure remember where I come from.

Chorus-----

Well I paid the price for the leavin'
And this life I have is not one I thought I'd find.
Just let me live, love, let my cry, but when I go just let me die
Among the friends who'll remember when I'm gone.

Chorus-----

Bridge:
G A D A
Home, home, home. I can see it so clear in my mind.
G A D
A
Home, home, home. I can almost smell the honeysuckle vines.

[Repeat last two lines of chorus.]

*****The Blues Aint Nothing But Lucille On Your Mind- With The Late B.B. King’s Lucille In Mind

*****The Blues Aint Nothing But Lucille On Your Mind- With The Late B.B. King’s Lucille In Mind 

 

 From The Pen Of Sam Lowell

Here is the drill. Bart Webber had started out life, started out as a captive nation child listening to singers like Frank Sinatra who blew away all of the swirling, fainting, screaming bobbysoxers who really did wear bobby sox since the war was on and nylons were like gold, of his mother’s generation proving that his own generation, the generation that came of age to Elvis hosannas although to show human progress they threw their undergarments his way, was not some sociological survey aberration before he, Frank,  pitter-pattered the Tin Pan Alley crowd with hip Cole Porter champagne lyrics changed from sweet sister cocaine originally written when that was legal, when you could according to his grandmother who might have known since she faced a lifetime of pain could be purchased over the counter at Doc’s Drugstore although Doc had had no problem passing him his first bottle of hard liquor when he was only sixteen which was definitely underage, to the bubbly reflecting changes of images in the be-bop swinging reed scare Cold War night, Bing Crosby, not the Bing of righteous Brother, Can You Spare A Dime? when he spoke a little to the social concerns of the time and didn’t worry about Yip Harburg some kind of red pinko bastard raising hell among the workers and homeless guy who slogged through World War I  but White Christmas put to sleep stuff dreaming of very white Christmases along with “come on to my house” torchy who seemed to have been to some Doc’s Drugstore to get her own pains satisfied Rosemary Clooney (and to his brother, younger I think, riding his way, Bob and his Bobcats as well), the Inkspots spouting, sorry kit-kating scat ratting If I Didn’t Care and their trademark spoken verse on every song, you know three verses and they touched up the bridge (and not a soul complained at least according to the record sales for a very long time through various incantations of the group), Miss Patti Page getting dreamy about local haunt Cape Cod Bay in the drifty moonlight a place he was very familiar with in those Plymouth drives down Route 3A  and yakking about some doggie in the window, Jesus (although slightly better on Tennessee Waltz maybe because that one spoke to something, spoke to the eternal knot question, a cautionary tale about letting your friend cut in on your gal, or guy and walking away with the dame or guy leaving you in the lurch), Miss Rosemary Clooney, solo this time, telling one and all to jump and come to her house as previously discussed, Miss Peggy Lee trying to get some no account man to do right, do right by his woman (and swinging and swaying on those Tin Pan Alley tunes of Cole Porter, Irving Berlin, the Gershwin brothers and Jerome Kern best with Benny Goodman in wartime 1940s which kept a whole generation of popular singers with a scat of material), the Andrew Sisters yakking about their precious rums and cokes (soft drinks, not cousin, thank you remember what was said above about the switch in time from sweet sister to bathtub gin), the McGuire Sisters getting misty-eyed, the Dooley sisters dried-eyed, and all the big swing bands from the 1940s like Harry James, Tommy Dorsey (and his brother Jimmy who had his own band for some reason, maybe sibling rivalry, look it up if you like) as background music on the family radio in the 1950s.

The radio which his mother, Delores of the many commands, more commandments than even old Moses come down the mountain imposed on his benighted people, of the many sorrows, sorrows maybe that she had picked a husband more wisely in the depths of her mind although don’t tell him, the husband, his hard-pressed father or that she had had to leave her own family house over on Young Street with that damn misbegotten Irish red-nosed father, and the many estrangements, something about the constant breaking of those fucking commandments, best saved for another day, always had on during the day to get her through her “golden age of working class prosperity” and single official worker, dad, workaday daytime household world” and on Saturday night too when that dad, Prescott, joined in.

Joined in so they, mother and father sloggers and not only through the Great Depression and World War II but into the golden age too, could listen to Bill Marley on local radio station WJDA and his Memory Lane show from seven to eleven where they could listen to the music that got them (and their generation) through the “from hunger” times of the 1930s Great Depression (no mean task not necessarily easier than slogging through that war coming on its heels)  and when they slogged through (either in some watery European theater or the Pacific atoll island one take your pick) or anxiously waited at home for the other shoe to drop during World War II. A not unusual occurrence, that shoe dropping, when the lightly trained, rushed to battle green troops faced battle-hardened German and Japanese soldiers until they got the knack of war on bloody mudded fronts and coral-etched islands but still too many Gold Star mothers enough to make even the war savages shed a tear. 

Bart, thinking back on the situation felt long afterward that he would have been wrong if he said that Delores and Prescott should not have had their memory music after all of that Great Depression sacking and war rationing but frankly that stuff then (and now, now that he had figured some things out about them, about how hard they tried and just couldn’t do better given their circumstances but too later to have done anything about the matter, although less so) made him grind his teeth. But he, and his three brothers, were a captive audience then and so to this very day he could sing off Rum and Coca Cola, Don’t Sit Under The Apple Tree (the Glenn Miller version not the Andrew Sister’s) and Vera Lynn’s White Cliffs of Dover from memory. But that was not his music, okay. (Nor mine either since we grew up in the same working class neighborhood in old Carver, the cranberry bog capital of the world, together and many nights in front of Hank’s Variety store we would blow steam before we got our very own transistor radios and record players about the hard fact that we could not turn that radio dial, or shut off that record player, under penalty of exile from Main Street.)     

Then of course since we are speaking about the 1950s came the great musical break-out, the age of classic rock and roll which Bart “dug” (his term since he more than the rest of us who hung around Jimmy Jack’s Clam Shack on Main Street [not the diner on Thornton Street, that would be later when the older guys moved on and we stepped up in their places in high school] was influenced by the remnant of the “beat” generation minute as it got refracted in Carver via his midnight sneak trips to Harvard Square, trips that broke that mother commandment number who knows what number), seriously dug to the point of dreaming his own jailbreak commandment dreams about rock star futures (and girls hanging off every hand, yeah, mostly the girls part as time went on once he figured out his voice had broken around thirteen and that his slightly off-key versions of the then current hits would not get him noticed on the mandatory American Bandstand, would not get him noticed even if he was on key) but that Elvis-etched time too was just a bit soon for him, us, to be able to unlike Bart’s older brother, Payne, call that stuff the music that he, I came of age to.

Although the echoes of that time still run through his, our, minds as we recently proved yet again when we met in Boston at a ‘60s retro jukebox bar and could lip-synch, quote chapter and verse, One Night With You (Elvis version, including the salacious One Night Of Sin original), Sweet Little Sixteen (Chuck Berry, of course, too bad he couldn’t keep his hands off those begging white girls when the deal went down and Mister wanted no interracial sex, none, and so send him to hell and back), Let’s Have A Party ( by the much underrated Wanda Jackson who they could not figure out how to produce, how to publicize -female Elvis with that sultry look and that snarl or sweet country girl with flowers in her hair and “why thank you Mister Whoever for having me on your show I am thrilled” June Carter look ), Be-Bop-a-Lula (Gene Vincent in the great one hit wonder night, well almost one hit, but what a hit when you want to think back to the songs that made you jump, made you a child of rock and roll), Bo Diddley (Bo, of course, who had long ago answered the question of who put the rock in rock and roll and who dispute his claim except maybe Ike Turner when he could flailed away on Rocket 88), Peggy Sue (too soon gone Buddy Holly) and a whole bunch more.   

 

The music that Bart really called his own though, as did I, although later we were to part company since I could not abide, still can’t abide, that whiny music dealing mainly with mangled murders, death, thwarted love, and death, or did I say that already, accompanied by, Jesus, banjos, mandos and harps, was the stuff from the folk minute of the 1960s which dovetailed with his, our coming of chronological, political and social age, the latter in the sense of recognizing, if not always acting on, the fact that there were others, kindred, out there beside us filled with angst, alienation and good will to seek solidarity with which neither of us tied up with knots with seven seals connected with until later after getting out of our dinky hometown of Carver and off into the big cities and campus towns where just at that moment there were kindred by the thousands with the same maladies and same desire to turn  the world upside down.

By the way if you didn’t imbibe in the folk minute or were too young what I mean is the mountain tunes of the first generation of the Carter Family coming out of Clinch Mountain, Buell Kazell, a guy you probably never heard of and haven’t missed much except some history twaddle that Bart is always on top of (from the Harry Smith Anthology of American Folk Music times), Jimmy Rodgers the Texas yodeler who found fame at the same time as the Carters in old Podunk Bristol, Tennessee, the old country Child ballads (Northwest Europe old country collected by Child in Cambridge in the 1850s and taken up in that town again one hundred years later in some kind of act, conscious or unconscious, of historical affinity), the blue grass music (which grabbed Bart by the throat when Everett Lally, a college friend of his and member of the famed Lally Brothers blue grass band let him in on his treasure trove of music from that genre which he tried to interest me in one night before I cut him short although Everett was a cool guy, very cool for a guy from the hills and hollows of Appalachia). Protest songs too, protest songs against the madnesses of the times, nuclear war, brushfire war in places like Vietnam, against Mister James Crow’s midnight hooded ways, against the barbaric death penalty, against a lot of what songwriter Malvina Reynolds called the “ticky-tack little cookie-cutter box” existences all of us were slated for if nothing else turned up by the likes of Bob Dylan, Joan Baez, Tom Paxton, Dave Von Ronk and Phil Ochs. Bart said that while he was in college (Boston College, the Jesuit school which was letting even heathen Protestants like Bart in as long as the they did not try to start the Reformation, again on their dime, or could play football) the latter songs (With God On Our Side, Blowin’ In The Wind, The Time They Are A-Changing, I Ain’t Marching No More, Universal Soldier and stuff like that) that drove a lot of his interest once he connected their work with the Harvard Square coffeehouse scene (and the adjacent hanging out at the Hayes-Bickford Cafeteria which he has written plenty about elsewhere and need not detain us here where he hung on poverty nights, meaning many nights.

Bart said a lot of the drive toward folk music was to get out from under the anti-rock and rock musical counter-revolution that he, we although I just kept replaying Elvis and the crowd until the new dispensation arrived, kept hearing on his transistor radio during that early 1960s period with pretty boy singers (Fabian, a bunch of guys named Bobby, the Everly Brothers) and vapid young female consumer-driven female singer stuff (oh, you want names, well Sandra Dee, Brenda Lee, Patsy Cline, Leslie Gore say no more). I passed that time, tough time it was in that cold winter night where the slightest bit of free spirit was liable to get you anywhere from hell form commandment mother to the headmaster to some ill-disposed anonymous rabid un-American committee which would take your livelihood away in a snap if you didn’t come across with names and addresses and be quick about it just ask the Hollywood Ten and lesser mortals if you think I am kidding which I agreed was a tough time in the rock genre that drove our desires, feeling crummy for not having a cool girlfriend to at least keep the chill night out playing my by the midnight phone classic rock and roll records almost to death and worn down grooves and began to hear a certain murmur from down South and out in Chicago with a blues beat that I swear sounded like it came out of the backbeat of rock. (And I  was not wrong, found out one night to Bart’s surprise and mine that Smiley Jackson big loving tune that I swear Elvis ripped off and just snarled and swiveled up. Years later I was proven right in my intuition when it turned out that half of rock and roll depended on black guys selling scant records, “race records” to small audiences.)  

Of course both of us, Bart and me, with that something undefinable which set us apart from others like Frankie Riley the leader of the corner boy night who seemed to get along by going along, being nothing but prime examples of those alienated teenagers whom the high-brow sociologists were fretting about, hell, gnawing at their knuckles since the big boys expected them to earn all that research money by spotting trends not letting the youth of the nation go to hell in a handbasket without a fight, worried that we were heading toward nihilism, toward some “chicken run” death wish or worse, much worse like Johnny Wild Boy and his gang marauding hapless towns at will leaving the denizens defenseless against the horde and not sure what to do about it, worried about our going to hell in a handbasket like they gave a fuck, like our hurts and depressions were what ailed the candid world although I would not have characterized that trend that way for it would take a few decades to see what was what. Then though the pretty boy and vapid girl music just gave me a headache, a migraine if anybody was asking, but mostly nobody was.  Bart too although like I said we split ways as he sought to seek out roots music that he kept hearing in the coffeehouses and on the radio once he found a station out of Providence  (accidently) which featured such folk music and got intrigued by the sounds.

Part of that search in the doldrums, my part but I dragged Bart along a little when I played to his folkie roots interests after he found out that some of the country blues music would get some play on that folk music station, a big search over the long haul, was to get deeply immersed in the blues, mainly at first country blues and later the city, you know, Chicago blues. Those country guys though intrigued me once they were “discovered” down south in little towns plying away in the fields or some such work and were brought up to Newport for the famous folk festival there, the one where we would hitchhike to the first time since we had no car when Steve  when balked at going to anything involving, his term “ faggy guys and ice queen girls” (he was wrong, very wrong on the later point, the former too but guys in our circle were sensitive to accusations of “being light on your feet” and let it pass without comment) to enflame a new generation of aficionados. The likes of Son House the mad man preacher-sinner man, Skip James with that falsetto voice singing out about how he would rather be with the devil than to be that woman’s man, a song that got me into trouble with one girl when I mentioned it kiddingly one time to her girlfriend and I got nothing but the big freeze after that and as recently a few years  when I used that as my reason when I was asked if would endorse Hilary Clinton for President, Bukka White (sweating blood and salt on that National Steel on Aberdeen Mississippi Woman and Panama Limited which you can see via YouTube), and, of course Creole Belle candy man Mississippi John Hurt.

But those guys basically stayed in the South went about their local business and vanished from big view until they were “discovered” by folk aficionados who headed south in the late 1950s and early 1960s looking for, well, looking for roots, looking for something to hang onto  and it took a younger generation, guys who came from the Mister James Crow’s South and had learned at their feet or through old copies of their records like Howlin’ Wolf, Muddy Waters, and the guy whose photograph graces this sketch, the late B.B. King, to make the move north, to follow the northern star like in underground railroad days to the big industrial cities (with a stop at Memphis on Beale Street to polish up their acts, to get some street wise-ness in going up river, in going up the Big Muddy closer to its source as if that would give them some extra boost, some wisdom) to put some electric juice in those old guitars and chase my blues away just by playing like they too had, as the legendry Robert Johnson is said to have done one dark out on Highway 61 outside of Clarksville down in the Delta, made their own pacts with the devil. And made a lot of angst and alienation just a shade more bearable.  

B.B. King was by no means my first choice among electrified bluesmen, Muddy Waters and in a big way Howlin’ Wolf, especially after I found out the Stones were covering his stuff (and Muddy’s) got closer to the nut for me, But B.B.  on his good days and when he had Lucille (whichever version he had to hand I understand there were several generations for one reason or another) he got closer to that feeling that the blues could set me free when I was, well, blue, could keep me upright when some woman was two-timing me, or worst was driving me crazy with her “do this and do that” just for the sake of seeing who was in charge, could chase away some bad dreams when the deal went down.

Gave off an almost sanctified, not like some rural minster sinning on Saturday night with the women parishioners in Johnny Shine’s juke joint and then coming up for air Sunday morning to talk about getting right with the Lord but like some old time Jehovah river water cleaned, sense of time and place, after a hard juke joint or Chicago tavern Saturday night and when you following that devil minister showed up kind of scruffy for church early Sunday morning hoping against hope that the service would be short (and that Minnie Callahan would be there a few rows in front of you so you could watch her ass and get through the damn thing. B.B. might not have been my number one but he stretched a big part of that arc. Praise be.