When Sun Records Blew The Lid Off Rock And Roll-With The Show “Million Dollar Quartet” In Mind

When Sun Records Blew The Lid Off Rock And Roll-With The Show “Million Dollar Quartet” In Mind  

By Sam Lowell

“You know they are right whoever said it sometimes a picture, a photograph, tells more than a thousand words, or you name the number of words,” Jack Callahan was telling his lady-friend, wife, and number one companion of forty-odd years, Chrissie (nee McNamara and so as Irish as her beau and husband), as they exited the side door of the Ogunquit Playhouse, the non-profit theater group up in the town of the same name up in Southern Maine which this fall (2016) had brought back by popular demand the hit show-The Million Dollar Quartet. Jack’s photograph reference was to the now famous one of the key creators and interpreters of rock and roll, ouch, now called the classic age of rock and roll Elvis (no last name needed at least for anybody who knew anything at all about rock and roll and maybe just about music), Carl Perkins (who actually had first dibs of right on a song, Blue Suede Shoes, that Elvis blew everybody out of the water with), Johnny Cash (a name known as much for country and gospel-oriented music later but a serious rocker out of the blocks when he was starting out who travelled  with the previously mentioned artists as they wowed the young things in the backwaters of the South), and, Jerry Lee Lewis, in the end the most long-lived and perhaps if he could have as Jack’s non-blushing Irish wit grandfather put it, “kept his pecker in his pants” the most prolific of the lot. Certainly the way he was highlighted in the show, the way the actor who portrayed him did his bit, stole the damn show in fact there was much to be said about that possibility. All four, who at various times had been under contract to legendary Sun Records owner Sam Phillips and that photograph taken in the end of 1956 represented the only time all four were under one roof singing together. Beautiful.

Chrissie had had to laugh when she thought about how they had come to be in Ogunquit in the late fall, a time when she normally did not even want to think about north, north of their home in Hingham a town on the coast south of Boston. The hard fact was that Jack and Chrissie had had another of their periodic falling-outs and Jack had, in the interest of preserving the marriage, taken one of those periodic “sabbaticals” from Chrissie that had helped in the past to salvage their marriage. So Jack had taken a small off-season cottage in Ogunquit, a town he, they knew well for almost as long as they had been together. While he had been in “exile” he would frequently pass the Playhouse and notice on the billboard how long the show was playing for. If Chrissie relented before the first week in November he was determined to take her to the show. As it turned out, as usual, but nothing negative should be made of the idea, Chrissie had gotten lonely for her Jack and suggested that she would head north (a real sign that she was missing her guy) and stay with Jack before the end of October. Hence the conversation on Friday night as they exited that side door to reach their automobile for the short ride to Jack’s cottage.

Of course “luring” Chrissie to the show was a no-brainer since they both had grown up, had come of age during the second wave of the rise of rock and roll coming to smite down their parents Frank Sinatra, Bing Crosby, Peggy Lee et al. music that they had been previously enslaved to without recourse. Without recourse meaning the big “no” in the respective Callahan and McNamara family hearths when either had approached their parents about turning the radio dial away from WJDA 1940s stuff to WMEX the hot rock station of the time. They were more likely get “the lecture” on the devil’s music and advise to listen to their 1940s more attentively or worse, much worse, be threatened with the Irish National Hour as an alternative. (On this “second wave” thing their older brothers and sisters who passed on the torch after having given up the radio fight went outside their respective homes to find the music on local jukeboxes starting with early Elvis just as Jack and Chrissie would likewise find their outlet at those same jukeboxes a few years later when the British invasion took the nation by a storm.)

On any given Friday or Saturday night Jack Callahan, a legitimate high school football hero who would go on to be a good if not great college career, and his corner boys, everybody had corner boys in the old Acre neighborhood of North Adamsville, would hang around Tonio’s Pizza Parlor putting dimes and quarters into the jukebox to hear (and re-hear) the newest big rock hits. (Eventually, when Chrissie got under Jack’s skin and did something about it one Friday night, a story in itself worthy of telling but this is about rock and roll legends and not the hijinks of 1950s teenagers so we will move on she and Jack would spent those Friday and Saturday nights spinning tunes together -and other stuff too.)

Back to the show though. Jack and Chrissie had had dinner at a local restaurant and then headed to the Playhouse a little early since neither in all the years they had collectively been going to Maine set foot in the place. So they were thrilled when they saw the stage all festooned with the Sun record label in bright lights and with the stage set up to be like Sam Phillips’ wreck of a recording studio. To top that off in the background rock and roll music was being played over the loudspeakers- Jack laughed (and sang along) when he heard Warren Smith doing his classic Rock and Roll Ruby followed by Jerry Lee’s Mona Lisa. Jack admitted and Chrissie would too at intermission that they were amped up, expected to be thrilled to hear a lot of the songs they had grown up with and hadn’t heard for a while. And they were not disappointed, no way.

Of course the core of the show was about the fabulous four (not to be confused with the other fabulous four, the Beatles, who worshipped at the shrine of these older rockers over in Britain when the American teen audience was gravitating toward bubble-gum music). But there also was a sub-story line dealing with the hardships of a small record company promoting talent, promoting rock and roll talent, and in those days most of them were small and would be out of business without some kind of hit to keep them afloat. So the story line was as much about the trials and tribulations of Sam Phillips trying to keep his operation afloat-including the unfortunate selling of Elvis’ contract to big dog RCA for what in the end was chump change in order to keep above water-to keep his dream of creating rock legends alive.

The other tension was between the various performers and their desires to make the big time which at times did not coincide with what Sam was trying to. At the edge of the Phillips story though is what to do after Elvis got away, and Johnny and Carl wanted to sign with a bigger record company. And that is where grooming Jerry Lee came in, the next big thing that Phillips seemed to be able to draw to his little two-bit operation. Like Jack’s grandfather said if Jerry Lee could have just kept it in his pants once maybe he could have ruled the whole rock and roll universe. That was the way the story played here. 

Story-line or no story line (including an additional female singer, a girlfriend of Elvis’ who represented the seriously under told story of female singers in the early days of rock and roll) the show was about the songs that Jack and Chrissie came of age to from Elvis’ classics including those hips moving frantically to Carl’s great rockabilly guitar (he dubbed the “king of rockabilly” back then) to Johnny deep baritone. And the topping-the actor doing Jerry Lee’s role doing things with a piano (including blind-folded) that would seem impossible. Let’s put it this way after that night Chrissie was seriously thinking about taking Jack back-again. Enough said.               

As The 100th Anniversary Of World War I Continues -The Anti-War Resistance Builds –The Russian Revolution Breaks The Logjam

As The 100^th Anniversary Of World War I Continues -The Anti-War Resistance Builds –The Russian Revolution Breaks The Logjam    

The events leading up to World War I (known as the Great War before the world got clogged up with expansive wars in need of other numbers and names and reflecting too in that period before World War II a certain sense of “pride” in having participated in such an epic adventure even if it did mow down the flower of European and in some cases colonial youth from all classes) from the massive military armament of almost all the capitalist and imperialist parties in Europe and elsewhere in order to stake their claims to their unimpeded share of the world’s resources had all the earmarks of a bloodbath early on once the industrial-sized carnage set in with the stalemated fronts (as foretold by the blood-letting in the American Civil War and the various “small” wars in Asia, Africa, and, uh, Europe in the mid to late 19^th century once war production on a mass scale followed in the train of other less lethal forms of  industrial production).

Also trampled underfoot in the opposing trenches, or rather thrown in the nearest trash bin of the their respective parliamentary buildings were the supposedly eternal pledges against war in defense of one’s own capitalist-imperialist  nation-state against the working masses and their allies of other countries by most of the Social-Democrats and other militant leftist formations (Anarchists, Syndicalists and their various off-shoots)representing the historic interest of the international working-class to stop those imperialist capitalist powers and their hangers-on in their tracks at the approach of war were decisive for 20^th century history. All those beautifully written statements and resolutions that clogged up the international conferences with feelings of solidarity were some much ill-fated wind once bullet one came out of gun one.

Other than isolated groups and individuals, mostly like Lenin and Trotsky in exile or jail, and mostly in the weaker lesser capitalistically developed countries of Europe the blood lust got the better of most of the working class and its allies as young men rushed to the recruiting stations to “do their duty” and prove their manhood. (When the first international conference of anti-war socialists occurred in Switzerland in 1915, the famous Zimmerwald conference, one wag pointed out that they could all fit in one tram [bus].) Almost all parties assuming that the damn thing would be over by Christmas and everyone could go back to the eternal expressions of international working-class solidarity after the smoke had settled (and the simple white-crossed graves dug in the vast bone-crushed cemeteries that marked the nearby battle fields too numerous to mention). You see, and the logic is beautiful on this one, that big mail-drop of a Socialist International, was built for peace-time but once the cannons roared then the “big tent” needed to be folded for the duration. Jesus.  

Decisive as well as we head down the slope to the first months of the second year of the war although shrouded in obscurity early in the war in exile was the soon to be towering figure of one Vladimir Lenin (a necessary nom de guerre in the hell broth days of the Czar’s Okhrana ready to send one and all to the Siberian frosts and that moniker business, that nom de guerre not a bad idea in today’s NSA-driven frenzy to know all, to peep at all), leader of the small Russian Bolshevik Party ( a Social-Democratic Party in name anyway adhering to the Second International under the sway of the powerful German party although not for long because “Long Live The Communist International,”  a new revolutionary international, would become the slogan and later order of the day in the not distant future), architect of the theory of the “vanguard party” building off of many revolutionary experiences in Russia and Europe in the 19^th century (including forbears Marx and Engels), and author of an important, important to the future communist world perspective, study on the monopolizing tendencies of world imperialism, the ending of the age of “progressive” capitalism (in the Marxist sense of the term progressive in a historical materialist sense that capitalism was progressive against feudalism and other older economic models which turned into its opposite at this dividing point in history), and the hard fact that it was a drag on the possibilities of human progress and needed to be replaced by the establishment of the socialist order. But that is the wave of the future as 1914 turned to 1915 in the sinkhole trenches of Europe that are already a death trap for the flower of the European youth.  

Lenin also has a "peace" plan, a peace plan of sorts, a way out of the stinking trench warfare stalemate eating up the youth of the Eurasian landmass. Do what should have been done from the beginning, do what all the proclamations from all the beautifully-worded socialist manifestos called on the international working-class to do. Not a simple task by any means especially in that first year when almost everybody on all sides thought a little blood-letting would be good for the soul, the individual national soul, and in any case the damn thing would be over by Christmas and everybody could start producing those beautifully worded-manifestos against war again. (That by Christmas peace “scare” turned out to be a minute “truce” from below by English and German soldiers hungry for the old certainties banning the barbed wire and stinking trenches for a short reprieve in the trench fronts in France and played soccer before returning to drawn guns-a story made into song and which is today used as an example of what the lower ranks could do-if they would only turn the guns around. Damn those English and German soldiers never did turn the damn things around until too late and with not enough resolve and the whole world has suffered from that lack of resolve ever since.)

Lenin’s hard-headed proposition: turn the bloody world war among nations into a class war to drive out the war-mongers and bring some peace to the blood-soaked lands. But that advanced thinking is merely the wave of the future as the rat and rain-infested sinkhole trenches of Europe were already churning away in the first year as a death trap for the flower of the European youth.   

The ability to inflict industrial-sized slaughter and mayhem on a massive scale first portended toward the end of the American Civil War once the Northern industrial might tipped the scales their way as did the various German-induced wars attempting to create one nation-state out of various satraps almost could not be avoided in the early 20^th century once the armaments race got serious, and the technology seemed to grow exponentially with each new turn in the war machine. The land war, the war carried out by the “grunts,” by the “cannon fodder” of many nations was only the tip of the iceberg and probably except for the increased cannon-power and range and the increased rapidity of the machine-guns would be carried out by the norms of the last wars. However the race for naval supremacy, or the race to take a big kink out of British supremacy, went on unimpeded as Germany tried to break-out into the Atlantic world and even Japan, Jesus, Japan tried to gain a big hold in the Asia seas.

The deeply disturbing submarine warfare wreaking havoc on commerce on the seas, the use of armed aircraft and other such technological innovations of war only added to the frenzy. We can hundred years ahead, look back and see where talk of “stabs in the back” by the losers and ultimately an armistice rather than decisive victory on the blood-drenched fields of Europe would lead to more blood-letting but it was not clear, or nobody was talking about it much, or, better, doing much about calling a halt before they began the damn thing among all those “civilized” nations who went into the abyss in July of 1914. Sadly the list of those who would not do anything, anything concrete, besides paper manifestos issued at international conferences, included the great bulk of the official European labor movement which in theory was committed to stopping the madness.

A few voices, voices like Karl Liebknecht (who against the party majority bloc voting scheme finally voted against the Kaiser’s war budget, went to the streets to get rousing anti-war speeches listened to in the workers’ districts, lost his parliamentary immunity and wound up honorably in the Kaiser’s  prisons) and Rosa Luxemburg ( the rose of the revolution also honorably prison bound) in Germany, Lenin and Trotsky in Russia (both exiled at the outbreak of war and just in time as being on “the planet without a passport” was then as now, dangerous to the lives of left-wing revolutionaries and not just them), some anti-war anarchists like Monette in France and here in America “Big Bill” Haywood (who eventually would controversially flee to Russia to avoid jail for his opposition to American entry into war), many of his IWW (Industrial Workers Of the World) comrades and the stalwart Eugene V. Debs (who also went to jail, “Club Fed” for speaking the truth about American war aims in a famous Cleveland speech and, fittingly, ran for president in 1920 out of his Atlanta Penitentiary jail cell),  were raised and one hundred years later those voices have a place of honor in this space.

Those voices, many of them in exile, or in the deportations centers, were being clamped down as well when the various imperialist governments began closing their doors to political refugees when they were committed to clapping down on their own anti-war citizens. As we have seen in our own times, most recently in America in the period before the “shock and awe” of the decimation of Iraq in 2002 and early 2003 the government, most governments, are able to build a war frenzy out of whole cloth. Even my old anti-war amigo from my hometown who after I got out of the American Army during the Vietnam War marched with me in countless rallies and parades trying to stop the madness got caught in the bogus information madness and supported Bush’s “paper war” although not paper for the benighted Iraqi masses ever since (and plenty of other “wise” heads from our generation of ’68 made that sea-change turn with him).

At those times, and in my lifetime the period after 9/11 when we tried in vain to stop the Afghan war in its tracks is illustrative, to be a vocal anti-warrior is a dicey business. A time to keep your head down a little, to speak softly and wait for the fever to subside and to be ready to begin the anti-war fight another day. “Be ready to fight” the operative words.

So imagine in the hot summer of 1914 when every nationality in Europe felt its prerogatives threatened how the fevered masses, including the beguiled working-classes bred on peace talk without substance, would not listen to the calls against the slaughter. Yes, one hundred years later is not too long or too late to honor those ardent anti-war voices as the mass mobilizations began in the countdown to war, began four years of bloody trenches and death.                  

Over the next period as we continue the long night of the 100^th anniversary of World War I and beyond I will under this headline post various documents, manifestos and cultural expressions from that time in order to give a sense of what the lead up to that war looked like, the struggle against its outbreak before the first frenzied shots were fired, the forlorn struggle during and the massive struggles after it in places like Russia, Germany, Hungary, Bulgaria, and the hodge-podge colonies all over the world map, in order to create a newer world out of the shambles of the battlefields.

V. I.   Lenin

Mandate to Deputies of the Soviet Elected at Factories and Regiments

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Written: Written before May 7 (20), 1917
Published: First published in 1925 in Lenin Miscellany IV. Published according to the manuscript.
Source: Lenin Collected Works, Progress Publishers, 1964, Moscow, Volume 24, pages 354-356.
Translated: Isaacs Bernard
Transcription\Markup: B. Baggins and D. Walters
Public Domain: Lenin Internet Archive 1999 (2005). You may freely copy, distribute, display and perform this work; as well as make derivative and commercial works. Please credit “Marxists Internet Archive” as your source.

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(1) Our Deputy must be unconditionally opposed to the present predatory imperialist war. This war is waged by the capitalists of all countries—Russia, Germany, Britain, etc.—for profits, and the subjugation of the weak nations.

(2) So long as a capitalist government is at the head of the Russian nation, there must be no support for the government, which is carrying on a predatory war—not by a single kopek!

(3) Our Deputy must stand for the immediate publication of the secret predatory treaties (relating to the subjugation of Persia, the partition of Turkey, Austria, etc.), which ex Tsar Nicholas concluded with the capitalists of Britain, France, etc.

(4) Our Deputy must stand for the immediate abrogation of all these treaties. The Russian people, the workers and the peasants, do not wish to oppress and will not oppress any nation; they do not wish to and will not hold by force within the boundaries of Russia a single non-Russian (non-Great-Russian) nation. Freedom for all the peoples, a fraternal union of the workers and peasants of all nationalities!

(5) Our Deputy must stand for the Russian Government offering openly, immediately and unconditionally, without equivocation and without the least delay, terms of peace to all the belligerent countries on the basis of freedom for all the oppressed or underprivileged nationalities without exception.

This means that the Great Russians shall not forcibly retain either Poland, or Kurland, or Ukraine, or Finland, or Armenia, or any other nation. The Great Russians offer a fraternal union to all the nations and propose the formation of a common state by voluntary consent of each individual people, and under no circumstances by means of violence, direct or indirect. The Great Russians, under the terms of such a peace, undertake immediately to withdraw their troops from Galicia, from Armenia, and from Persia, and to allow these nations and all other nations without exception freely to decide whether they wish to live as a separate state, or in union with whomsoever they please.
Germany, by the terms of such a peace, must not only relinquish all the territories she has seized since the beginning of the war, but also release the peoples she is keeping by force within the boundaries of Germany, namely, the Danes (Schleswig), the French (part of Alsace and Lorraine), the Poles (Poznan), etc. Germany must undertake immediately, and simultaneously with Russia, to withdraw her troops from all the regions she has seized, as well as from all the regions mentioned above, and allow each nation to decide freely, by a popular vote, whether it wishes to live as a separate state, or in union with whomsoever, it pleases. Germany must unconditionally and unequivocally relinquish all her colonies, for colonies are oppressed peoples.
Britain, by the terms of such a peace, must relinquish, immediately and unconditionally, not only the territories she has seized from others (the German colonies in Africa, etc., the Turkish lands, Mesopotamia, etc.), but all her own colonies as well. Britain, like Russia and Germany, must immediately withdraw her troops from all the territories she has seized, from her colonies, and also from Ireland, and let each nation decide by a free vote whether it wants to live as a separate state, or in union with whomsoever it wishes.
And so on: all the belligerent countries, without exception, must receive an offer to conclude an immediate peace on these clearly defined terms. The capitalists of all countries should no longer deceive the peoples by promising “peace without annexations” while holding on to their own annexed territories and continuing the war in order to wrest from the enemy “his own” annexed territories.

(6) Our Deputy must not give any support, or vote for any loan, or give a kopek of the people’s money to any government that does not solemnly undertake immediately to offer to all the nations these terms for an immediate peace and to publish this offer within two days for everybody’s information.     

The 50th Anniversary Of The Summer Of Love (2017)- Botticelli’s 115th Dream-With Botticelli’s “Venus” In Mind

The 50^th Anniversary Of The Summer Of Love (2017)- Botticelli’s 115^th Dream-With Botticelli’s “Venus” In Mind

By Special Guest Alex James

[Frankly my oldest brother Alex, who after all is over ten years older than I am, and I have never been all that close. Maybe that is natural due our age differences and of his decided and vocally not wanting to have an unruly younger brother tagging along while he and his vaunted corner boys did their thing. Later the gap widened as his lawyerly pursues were far removed as a rule from my own social and cultural concerns. A few weeks ago though, knowing that I write for a number of blogs, including here at American Left History, and in various smaller print journals he approached me on behalf of he and his “corner boys,” at least the ones still standing some fifty years later, to help organize and write a small tribute booklet in honor of their fallen comrade and fellow corner boy, Peter Paul Markin, who led them west in the great Summer of Love, San Francisco, 1967 explosion. I took on the tasks after Alex explained to me that he had been smitten with a nostalgia bug when he had gone to a legal conference out there by an exhibit at the deYoung Museum out in Frisco town, The Summer of Love Experience, being presented to honor the 50^th anniversary of the events of that summer.

Fair enough. I was glad to help out since I only knew the events second-hand and have always been interested in writing about and have written extensively about that period. As a result I had thought that the experience of putting out a small publication where we had to maybe for the first time in our lives work closely together “bonded” Alex and me somewhat. Fair enough again. Now though the guy is all hopped up, maybe showing signs of senility for all I know, about an exhibition he had seen at the Boston Museum of Fine Arts where they have Botticelli’s Venus on display. As far as I know Alex could have given a rat’s ass about art, about the Renaissance back in the day or anything since not connected with his law practice. But the other day he asked me for some space here to talk about how that Botticelli painting at the exhibition reminded him about some love interest he had had during that summer of love period. What can I say. He is after all my brother.  Zack James]       

   

[I had written the basics of the small piece I wished to present here about a young girl that I had met out in San Francisco, Jewel Night Star, when I was out there after the Scribe [Peter Paul Markin] got a bunch of us to head out west in late summer 1967. (I will explain that whole moniker business, that serious need to “reinvent” ourselves below but just know now that I was always known out there as Cowboy, or Cowboy Angel, depending on my mood, the day, hell maybe the drug intake) That was before I read my youngest brother Zack’s introduction. I felt compelled to add a note here to announce to what he always likes to call a “candid world” that I am neither senile nor have I been in the past, a past Zack, tied up with his various writing projects about times that he has only lived through vicariously totally oblivious to the call of culture, to the call of art and artifact. What more can I say though as he is my host here. Oh, yes, he is also after all my brother. Alex James.]

I would be the last person in the world to deny that memories, good and bad, creep up on a person sometimes in unusual ways. (Of course in my law practice I have had to pay short shrift in general to anything to do with memory on behalf of my clients but that is out of professional necessity to keep the buggers from huge jail time or cash outlays.) Recently this came home to me in a very odd way. I had been out in San Francisco to attend a law conference which I do periodically to confer with other lawyers in my special areas of concern when as I was entering the BART transit station on Powell Street I noticed on a passing bus an advertisement for an exhibition called The Summer of Love Experience being put on at the deYoung Museum in Golden Gate Park to commemorate the 50^th anniversary of that wild west experiment. That set off the first series of memory bells which forced me to take some time out to go see what they had produced about those long ago times.                    

See, strange as it may seem given my subsequent total emergence into my law practice (at times just to keep afloat with three unhappy ex-wives and a parcel of kids, some happy some not, to support which almost killed me about ten years ago with a crush of college tuitions) I had been one of those tens of thousands of young people who drifted west to see what the whole thing was all about in San Francisco in the summer of love, 1967. Zack has probably told you that when I came back from this recent Frisco trip I gathered those of my old hometown corner boys from the Acre section of North Adamsville who as Zack stated were “still standing” to put together a small tribute book in honor of the event dedicated to the memory of the late Peter Paul Markin, the guiding spirit who led us out West like some latter day prophet.  

Mad monk Markin (and he really was we all called him the Scribe after our leader Frankie Riley gave him that moniker  in junior high school after Markin once had written some total bullshit homage to him and it hit the school newspaper and ever after the Scribe was his “flak” writing some stuff that was totally unbelievable about the real Frankie Riley whom we knew was seven kinds of a bastard even then) had gone out in the spring of 1967 after dropping out of Boston University in his sophomore year and had come back in late summer telling us the “newer world” he was always yakking about (and which we previously had given a rat’s ass about) was “happening” out there. He conned, connived, and begged but six of us beside him (and ever after also including Josh Breslin from up in Olde Sacco, Maine whom the Scribe met out in Frisco who was not a North Adamsville corner boy but whom we made one since he was clearly a kindred spirit)   went out and stayed for various lengths of time. I had gone back out with Markin after his “conversion” plea and stayed for about a year, mostly, as with all of us one way or another riding Captain Crunch’s “merry prankster” converted yellow brick road bus (the latter Markin’s term).     

While out there I had many good sexual and social experiences but the best was with a young gal whom I stuck with most of the time who went by the name Jewel Night Star as I went by the names Cowboy or Cowboy Angel depending on my mood. I make no pretense to know all of the psychological and sociological reasons at the time or thereafter but these monikers we hung on ourselves were an attempt to “reinvent” ourselves. Break out of the then conventional nine to five, beat the commies, and buy lots of stuff world our parents tried to drive a nail in our hearts about. Some people changed their monikers, their personas every other week but I stuck with my based on the simple love that I had had for Westerns growing up and since we were in the West it seemed right. Markin’s Be-Bop Kid was an overlay from his hearty interest in the “beats” who by 1967 were passe, who were being superseded by what was beginning to be called the “hippies.” Such were the times. The Jewel Night Star moniker when she told me about it one night was based on her eyes which in a certain light looked like diamonds, like twinkling stars. As long as I knew her she stuck with that moniker as well.            

Funny when I was out in Frisco for the conference and went to the museum I didn’t think anything about her. Had been through a small succession of women after she left the bus and as I have mentioned have had a whole raft of women since then, married and unmarried. I just mainly “dug” the scene at the museum and thought about the great music we heard (when they played White Bird by It’s a Beautiful Day I freaked out since I had not heard that song in ages), about the plentiful and mostly safe dope we did (we had an unwritten pact among the North Adamsville corner boys not to do LSD, “acid” after Markin explained his “bad trip” on the substance and after we had seen more than a few people going crazy at concerts and need medical attention), and about how we could “outrage” bourgeois society by our dress, our free spirits and, well, our goofiness if it came right down to it. (Tweaking those who were trying to drive those nails into our hearts.)

Then last week, or the week before, I got this postcard advertisement from the Museum of Fine Arts in Boston asking me to join their membership. (I assume somehow that having paid my admission to the deYoung on-line I had become a prime target for every museum from Portland East to Portland West). The ‘hook” on the other side of the postcard was that with a paid up membership I could see Botticelli’s Venus up close and personal. A view of that image on that postcard lead me directly, I say straight line directly, to my first memories of Jewel Night Star in maybe the fifty years since that summer of 1967 time.         

In the early fall of 1967 Markin and I had hitchhiked out across the whole country to Frisco. (I can see every mother grimace at that idea now, or then for that matter.) I won’t go into the details about how we got out there which I have written about in that tribute book the guys and I put together and Zack edited. Besides this is about Jewel not about some Jack Kerouac On The Road -influenced fling on our parts. Markin had had some contact with this guy, this wild man, Captain Crunch, who had somehow, most people who knew anything about it agreed that it was through a dope deal, gotten a yellow brick road converted school bus which he was travelling on up and down the West Coast picking up kindred spirits and letting them stay in and around the bus. (The attrition rate was pretty high most people staying a few weeks and then getting off or told to find another way to travel by Mustang Sally, the Captain’s sort of girlfriend, I never did figure out their actual relationship in all the time I was on the bus, if they stole stuff, didn’t keep fairly decent personal hygiene or let the drugs make them too weird and in need of some medical help.) When we got out West the Captain’s bus was stationed in Golden Gate Park and after the Scribe (then going under the moniker the Be-Bop kid-no more Scribe okay) introduced us and the Captain thought I was cool (and I thought he was as well) I was “on the bus.”              

A couple of weeks later the Captain was talking about taking a slow trip south to a place in La Jolla for the winter where he had a friend. The idea was that we would “house-sit” what turned out to be a mansion since that friend was one of the first serious high distribution drug dealers getting his product directly from south of the border only thirty or forty miles away in Tijuana.  We were all for it (me since every place was a new place for me in California and I was curious). It was on that trip as we headed toward Big Sur down the Pacific Coast Highway, a place called Todo el Mundo that I met Gail Harrington, Jewel Night Star.

We had stopped at a campsite where there was a party that was still going after about the six days before we got there so everybody was, using a term of art from those days “wasted.” I was grabbing a joint from somebody when this young woman came up to me and asked for a hit, for a “toke” for some grass. Her look. Well just check out the Botticelli Venus above that accompanies this piece and you get an idea. Tall, thin, hair braided, as was the style when a lot of young woman were on the road and didn’t want to, or couldn’t hassle with that daily chore to look beautiful stuff. Just as we guys grew our hair long and grew beards to avoid having the hassle of shaving. She had on a diaphanous kind of granny dress that showed her shape in detail. Nice. The granny dresses also a question of convenience and an expression that a woman’s shape was not as important as whether she was “cool” or not. But the best thing about her beyond being a Botticelli vision, a dream, what did I call it in the title to this piece. Yes, his 115^th dream, was that she was very friendly, and a little flirty, in a nice way unlike all the girls from North Adamsville that I knew who might be nice but who thought sex was a mortal sin before marriage, maybe ever.

At first I was a little disoriented when we hit Frisco and joined up with the bus since the girls were really without much guile friendly in a way that it was easier talking to them than the Bible between the knees girls I was used to. By the time we got to Todo el Mundo I had had a few dalliances, a few what we called back in the neighborhood, “one night stands” which didn’t go anywhere and nobody worried about it but I was still unsure about what to expect from the young women who were travelling that same “road” we were travelling. So I was kind of shy a little around Jewel at first since she struck me as something out of the Renaissance, something out a painting by Botticelli who before he “got religion” later in his life under the influence of Savonarola which I had seen in an art book when I was taking an art course in high school (and have been unable to find in recent Internet searches looking for that exact painting). They were mostly young countesses and merchants’ daughters who had time on their hands and whom Botticelli was interested in painting for profit and for a different look than the inevitable Holy Family, Jesus, religious paintings that were becoming overdone and passe. (I thought it was funny how many of his young women looked like Northern European women since I had a fixed idea of dark-eyed, dark haired, dark complexion Italian women who I saw at school or in the Little Italy neighborhood that started about ten blocks from the Irish-dominated Acre.)              

Well Jewel was not from Renaissance Italy but from Grand Rapids in Michigan. Had come west when she finished her first year at Michigan after she had heard one night on a date what the folk singer at the club she was attending talked about the music explosion going on out there. She had been out for several months and had headed south to Todo el Mundo when she thought things had gotten too weird in San Francisco. She had hitchhiked down with a guy who was heading further south to Los Angles but she was just then content to stay along the rugged rural coast for a while. Which she would have done for longer she said except when I asked to travel south on the bus she agreed. But that was a few weeks later.           

I suppose I have been somewhat beaten down in the women department because I had forgotten how easy to be with. Jewel was, I guess, thinking back she was one of those “flower children” that we kept hearing about. Meaning nothing more than she was whimsical, was relatively hassle-free and liked nothing better than to roam the hills around Todo el Mundo and the hardscrabble beaches in the area. With me in tow.  All of this may sound kind of simple-minded, kind of what is the big deal about his woman. But look at the look of Venus above, look at that faraway look and that twisting of her braids and you will get an idea of what Jewel was like. Look at Botticelli’s Venus eyes and you will see the same night star that I finally saw in Jewel’s.     

Like I said we stayed together more or less for most of that year I was out there until in the spring of 1968 Jewel said she was getting tired of the road and wanted to either settle down out in the desert, out in Joshua Tree where several communal groups were being formed or head back home to school. I didn’t like either idea although a few months later I would head back east to finish college. We agreed that our paths were going in different directions and one day she told me that she had purchased a bus ticket to Joshua Tree (actually when I went out there many years later Twenty-nine Palms the nearest bus stop then). The next day was the last day I saw her. Although we had agreed to keep in touch that like a lot of things in those days it never happened.  I wonder if she is still alive wherever she is if those eyes of hers still sparkle in a certain angle like a night star. I hope so.  

When The Tin Can Bended…. In The Time Of The Late Folk-Singer Dave Van Ronk’s Time

When The Tin Can Bended…. In The Time Of The Late Folk-Singer Dave Van Ronk’s Time

  

From The Pen Of Bart Webber

Sometimes Sam Lowell and his “friend” Laura Perkins (really “sweetie,” long time sweetie, paramour, significant other, consort or whatever passes for the socially acceptable or Census Bureau bureaucratic “speak” way to name somebody who is one’s soul-mate, his preferred term) whose relationship to Sam was just described in parenthesis, and righteously so, liked to go to Crane’s Beach in Ipswich to either cool off in the late summer heat or in the fall before the New England weather lowers its hammer and the place gets a bit inaccessible. That later summer heat escape valve is a result of the hard fact that July, when they really would like to go there to catch a few fresh sea breezes, is not a time to show up at the bleach white sands beach due to nasty blood-sucking green flies swarming and dive-bombing like some berserk renegade Air Force squadron lost on a spree who breed in the nearby swaying mephitic marshes.

The only “safe haven” then is to drive up the hill to the nearby robber-baron days etched Crane Castle to get away from the buggers, although on a stagnant wind day you might have a few vagrant followers, as the well-to-do have been doing since there were well-to-do and had the where-with-all to escape the summer heat and bugs at higher altitudes. By the way I assume that “castle” is capitalized when it part of a huge estate, the big ass estate of Crane, now a trust monument to the first Gilded Age, not today’s neo-Gilded Age, architectural proclivities of the rich, the guy whose company did, does all the plumbing fixture stuff on half the bathrooms in America including the various incantations of the mansion. 

Along the way, along the hour way to get to Ipswich from Cambridge Sam and Laura had developed a habit of making the time more easy passing by listening to various CDs, inevitably not listened to for a long time folk CDs, not listened to for so long that the plastic containers needed to be dusted off before being brought along, on the car CD player. And is their wont while listening to some CD to comment on this or that thing that some song brought to mind, or the significance of some song in their youth.  One of the things that had brought them together early on several years back was their mutual interest in the old 1960s folk minute which Sam, a little older and having grown up within thirty miles of Harvard Square, one the big folk centers of that period along with the Village and North Beach out in Frisco town, had imbibed deeply. Laura, growing up “in the sticks,” in farm country in upstate New York had gotten the breeze at second-hand through records, records bought at Cheapo Records and the eternal Sandy's on Massachusetts Avenue in Cambridge and a little the fading Cambridge folk scene when she had moved to Boston in the early 1970s to go to graduate school.     

One hot late August day they got into one such discussion about how they first developed an interest in folk music when Sam had said “sure everybody, everybody over the age of say fifty to be on the safe side, knows about Bob Dylan, maybe some a little younger too if some hip kids have browsed through their parents’ old vinyl record collections now safely ensconced in the attic although there are stirrings of retro-vinyl revival of late according a report he had heard on NPR. Some of that over 50 crowd and their young acolytes would also know about how Dylan, after serving something like an apprenticeship under the influence of Woody Guthrie in the late 1950s singing Woody’s songs imitating Woody's style something fellow Woody acolytes like Ramblin’ Jack Elliot never quite got over moved on, got all hung up on high symbolism and obscure references. Funny guys like Jack actually made a nice workman-like career out of Woody covers, so their complaints seen rather hollow now. That over 50s crowd would also know Dylan became if not the voice of the Generation of ’68, their generation, which he probably did not seriously aspire in the final analysis, then the master troubadour of the age.

Sam continued along that line after Laura had said she was not sure about the connection and he said he meant, “troubadour in the medieval sense of bringing news to the people and entertaining them by song and poetry as well if not decked in some officially approved garb like back in those olden days where they worked under a king’s license if lucky, by their wit otherwise but the 'new wave' post-beatnik flannel shirt, work boots, and dungarees which connected you with the roots, the American folk roots down in the Piedmont, down in Appalachia, down in Mister James Crow’s Delta. So, yes, that story has been pretty well covered.”  

Laura said she knew all of that about the desperate search for roots although not that Ramblin’ Jack had been an acolyte of Woody’s but she wondered about others, some other folk performers who she listened to on WUMB on Saturday morning when some weeping willow DJ put forth about fifty old time rock and folk things a lot of which she had never heard of back in Mechanicsville outside of Albany where she grew up. Sam then started in again, “Of course that is hardly the end of the story since Dylan did not create that now hallowed folk minute of the early 1960s. He had been washed by it when he came to the East from Hibbing, Minnesota for God’s sake (via Dink’s at the University), came into the Village where there was a cauldron of talent trying to make folk the next big thing, the next big cultural thing for the young and restless of the post-World War II generations. For us. But also those in little oases like the Village where the disaffected could put up on stuff they couldn’t get in places like Mechanicsville or Carver where I grew up. People who I guess, since even I was too young to know about that red scare stuff except you had to follow your teacher’s orders to put your head under your desk and hand over your head if the nuclear holocaust was coming, were frankly fed up with the cultural straightjacket of the red scare Cold War times and began seriously looking as hard at roots in all its manifestations as our parents, definitely mine, yours were just weird about stuff like that, right, were burying those same roots under a vanilla existential Americanization. How do you like that for pop sociology 101.”

“One of the talents who was already there when hick Dylan came a calling, lived there, came from around there was the late Dave Van Ronk who as you know we had heard several times in person, although unfortunately when his health and well-being were declining not when he was a young politico and hell-raising folk aspirant. You know he also, deservedly, fancied himself a folk historian as well as musician.”    

“Here’s the funny thing, Laura, that former role is important because we all know that behind the “king” is the “fixer man,” the guy who knows what is what, the guy who tells one and all what the roots of the matter were like some mighty mystic (although in those days when he fancied himself a socialist that mystic part was played down). Dave Van Ronk was serious about that part, serious about imparting that knowledge about the little influences that had accumulated during the middle to late 1950s especially around New York which set up that folk minute. New York like I said, Frisco, maybe in small enclaves in L.A. and in precious few other places during those frozen times a haven for the misfits, the outlaws, the outcast, the politically “unreliable,” and the just curious. People like the mistreated Weavers, you know, Pete Seeger and that crowd found refuge there when the hammer came down around their heads from the red-baiters and others like advertisers who ran for cover to “protect” their precious soap, toothpaste, beer, deodorant or whatever they were mass producing to sell to a hungry pent-ip market.  

Boston and Cambridge by comparison until late in the 1950s when the Club 47 and other little places started up and the guys and gals who could sing, could write songs, could recite poetry even had a place to show their stuff instead of to the winos, rummies, grifters and conmen who hung out at the Hayes-Bickford or out on the streets could have been any of the thousands of towns who bought into the freeze.”     

“Sweetie, I remember one time but I don’t remember where, maybe the Café Nana when that was still around after it had been part of the Club 47 folk circuit for new talent to play and before Harry Reid, who ran the place, died and it closed down, I know it was before we met, so it had to be before the late 1980s Von Ronk told a funny story, actually two funny stories, about the folk scene and his part in that scene as it developed a head of steam in the mid-1950s which will give you an idea about his place in the pantheon. During the late 1950s after the publication of Jack Kerouac’s ground-breaking road wanderlust adventure novel that got young blood stirring, not mine until later since I was clueless on all that stuff except rock and roll, On The Road which I didn’t read until high school, the jazz scene, the cool be-bop jazz scene and poetry reading, poems reflecting off of “beat” giant Allen Ginsberg’s Howl the clubs and coffeehouse of the Village were ablaze with readings and cool jazz, people waiting in line to get in to hear the next big poetic wisdom guy if you can believe that these days when poetry is generally some esoteric endeavor by small clots of devotees just like folk music. The crush of the lines meant that there were several shows per evening. But how to get rid of one audience to bring in another in those small quarters was a challenge.

Presto, if you wanted to clear the house just bring in some desperate “from hunger” snarly nasally folk singer for a couple, maybe three songs, and if that did not clear the high art be-bop poetry house then that folk singer was a goner. A goner until the folk minute of the 1960s who probably in that very same club then played for the 'basket.' You know the 'passed hat' which even on a cheap date, and a folk music coffeehouse date was a cheap one in those days like I told you before and you laughed at cheapie me and the 'Dutch treat' thing, you felt obliged to throw a few bucks into to show solidarity or something.  And so the roots of New York City folk according to the 'father.'

Laura interrupted to ask if that “basket” was like the buskers put in front them these days and Sam said yes. And asked Sam about a few of the dates he took to the coffeehouses in those days, just out of curiosity she said, meaning if she had been around would he have taken her there then. He answered that question but since it is an eternally complicated and internal one I have skipped it to let him go on with the other Von Ronk story. He continued with the other funny story like this-“The second story involved his [Von Ronk's] authoritative role as a folk historian who after the folk minute had passed became the subject matter for, well, for doctoral dissertations of course just like today maybe people are getting doctorates in hip-hop or some such subject. Eager young students, having basked in the folk moment in the abstract and with an academic bent, breaking new ground in folk history who would come to him for the 'skinny.' Now Van Ronk had a peculiar if not savage sense of humor and a wicked snarly cynic’s laugh but also could not abide academia and its’ barren insider language so when those eager young students came a calling he would give them some gibberish which they would duly note and footnote. Here is the funny part. That gibberish once published in the dissertation would then be cited by some other younger and even more eager students complete with the appropriate footnotes. Nice touch, nice touch indeed on that one, right.”

Laura did not answer but laughed, laughed harder as she thought about it having come from that unformed academic background and having read plenty of sterile themes turned inside out.       

As Laura laugh settled Sam continued “As for Van Ronk’s music, his musicianship which he cultivated throughout his life, I think the best way to describe that for me is that one Sunday night in the early 1960s I was listening to the local folk program on WBZ hosted by Dick Summer, who was influential in boosting local folk musician Tom Rush’s career and who was featured on that  Tom Rush documentary No Regrets we got for being members of WUMB, when this gravelly-voice guy, sounding like some old mountain pioneer, sang the Kentucky hills classic Fair and Tender Ladies. It turned out to be Von Ronk's version which you know I still play up in the third floor attic. After that I was hooked on that voice and that depth of feeling that he brought to every song even those of his own creation which tended to be spoofs on some issue of the day.”

Laura laughed at Sam and the intensity with which his expressed his mentioning of the fact that he liked gravelly-voiced guys for some reason. Here is her answer, “You should became when you go up to the third floor to do your “third floor folk- singer” thing and you sing Fair and Tender Ladies I hear this gravelly-voiced guy, sounding like some old mountain pioneer, some Old Testament Jehovah prophet come to pass judgment come that end day time.”

They both laughed. 

Laura then mentioned the various times that they had seen Dave Von Ronk before he passed away, not having seen him in his prime, when that voice did sound like some old time prophet, a title he would have probably secretly enjoyed for publicly he was an adamant atheist. Sam went on, “ I saw him perform many times over the years, sometimes in high form and sometimes when drinking too much high-shelf whiskey, Chavis Regal, or something like that not so good. Remember we had expected to see him perform as part of Rosalie Sorrels’ farewell concert at Saunders Theater at Harvard in 2002 I think. He had died a few weeks before.  Remember though before that when we had seen him for what turned out to be our last time and I told you he did not look well and had been, as always, drinking heavily and we agreed his performance was subpar. But that was at the end. For a long time he sang well, sang us well with his own troubadour style, and gave us plenty of real information about the history of American folk music. Yeah like he always used to say-'when the tin can bended …..and the story ended.'

As they came to the admission booth at the entrance to Crane’s Beach Sam with Carolyn Hester’s song version of Walt Whitman’s On Captain, My Captain on the CD player said “I was on my soap box long enough on the way out here. You’re turn with Carolyn Hester on the way back who you know a lot about and I know zero, okay.” Laura retorted, “Yeah you were definitely on your soap-box but yes we can talk Carolyn Hester because I am going to cover one of her songs at my next “open mic.” And so it goes.               

In Search Of Heroes Of The Great American Hispanic Night-Mi Hombre Senor Zorro-The ‘Z’ Man Of My Youthful Dreams-Antonio Banderas’s “The Mask Of Zorro” (1998)-A Film Review

In Search Of Heroes Of The Great American Hispanic Night-Mi Hombre Senor Zorro-The ‘Z’ Man Of My Youthful Dreams-Antonio Banderas’s “The Mask Of Zorro” (1998)-A Film Review

DVD Review

By Si Lannon

The Mask Of Zorro, starring Antonio Banderas, Catherine Zeta-Jones, Anthony Hopkins and assorted sleaze-ball Spanish dons and their senoras and senoritas, 1998

I have made no secret here or in private conversations that in my youth, my childhood really, I was crazy to watch the Zorro half hour on 1950s black and white television. For a reason that only a few people knew then, mostly family, and excluding my corner boys, some of who work for this publication, and whom I grew up with in the heavily working- class Irish and some Italian neighborhood of the Acre in North Adamsville a suburb south of Boston. I suppose every family has its family secrets, its skeletons in the closet like some looney grand aunty up on the batty attic, a brother, a hermano in home speak, who has spent more time in jail for various armed felonies than on the outside, that some cousin was in the vernacular of the day in our family at least was “different” meaning then a “fairy, fag” you know what I mean and today proudly LGBTQ, a young female relative who also in the code words of the day had to travel to “Aunt Emmy” for a while, meaning that she was pregnant out of wedlock and had to leave town to avoid family disgrace and dagger neighborhood dowager grandmother eyes probably never to come back.

In my family the deep dark secret which also reveals in passing why I loved Zorro as my youthful hero was that my mother was a Latina, Hispanic, you know from Mexico whose last name was Juarez, Bonita Juarez. No big deal right, now anyway although in the age of the long knives, in the age of Trump and all the animosities he has helped stir up, bring to the ugly surface of American life, that may no longer be true. But back then, back in 1950s growing up Irish-Italian Acre that was a no-no. The way around it devised by my parents was that sweet Bonita was “passed off” as Italian. An entirely respectable ethic designation in a town that drew Italians back around the turn off the 20^th century to work the granite quarries that dominated the topography of the landscape (that work died out with the exhaustion of the quarries to be replaced by a booming shipbuilding industries which by the 1950s has in their turn faded this time by off-shore outsourcing and eventual departure which explained a lot about the wanting habits of we corner boys in the 1950s while other working class towns were observing something of a golden age-also mainly gone now with globalization). While there were names, derogatory names, for Italians in some Irish working-class homes in the neighborhood there was enough intermixing to level things off.

Almost universally though since there were absolutely no Hispanic families in the whole town the normal terms of abuse applies-spics, wetbacks, braceros, and the like. My father could not stand for that and even his relatives in the neighborhood believed my mother was from Italy. She had come up to California from Mexico during World War II with her family to work the grape and melon fields and my father stationed at Fort Ord at the time met her at a USO dance and wooed her after that. Since Bonita’s English was halting she was forbidden to speak Spanish when others were around. The only way any corner boys knew that she was Spanish was in high school when in ninth grade my best friend Jack Callahan had been taking Spanish and had come to the house unannounced and heard her speaking that language and not Italian. Naturally asking what gives and I told him and from there to the rest of the guys who hung around Tonio’s Pizza Parlor. [In the interest of today’s seemingly compulsory transparency statement Jack Callahan has not only occasionally written in this publication but has been a substantial financial backer-Greg Green]

The corner boys when they found out since we were “brothers” today hermanos were pretty cool about the whole thing since she was my mother and that counted a lot even when we were at civil war with them, con madres. In general though it was not until many years later after Bonita passed away that people became aware of her nationality in a time when such things were more openly okay-even in the Acre.                    

Secrets aside I loved Zorro the same way my corner boys loved say white gringo good guys, avenging angels like Wyatt Earp or the Maverick boys from the television our main source outside of the movies from having characters we could identify with. Swashbuckling Zorro taking on all-comers, bad ass gringos especially but also batos locos paid soldiers and other scumbags and of course the oppressor hombres-the mainly Spanish dons who had the huge land grants from the Spanish kings when California was part of the fading Spanish Empire and later after formal independence and creation of a Mexican state who gouged the peasantry into the ground to maintain their freaking luxurious lifestyles. I would have to keep my devotion something of a secret although in general Zorro was a positive figure among the television-watching corner boys.

I was therefore very interested in doing this review of The Mask of Zorro when site manager Greg Green decided that enough was enough as Mexican Nationals, immigrants, citizens, hard-working peoples were being bashed for no good purpose by the Trump unleashed dark alt-right-Nazi-fascist-white nationalist cabal and had to be defended on all fronts including popular culture-including films. And in a very definitive way-beyond the obvious romance between Zorro, played by a youthful Antonio Banderas and his lovely senorita and soon to be marida and madre of his child, Elena, played by drop-dead beautiful Catherine Zeta-Jones-this film shows a heroic and honorable side of the Mexican saga-of cultural super-heroes among the oppressed peoples of the world. 

Here is the way the thing worked on this one although one can take the production to task for not have more Hispanics, Latinos, etc. in key roles like Elena, who could have worthily been played by Penelope Lopez, and certainly Zorro, the elder, played by venerable and ubiquitous high-toned Brit actor Anthony Hopkins could have had a better casting. The elder Zorro has a running battle in the Mexican independence struggle with the soon to be departed Spanish viceroy, a real bastard whose name is legend so no need to give him some human surname over the way the peasantry and others were treated by him. More importantly over the elder Zorro’s wife and daughter since that msl hombre viceroy was smitten by her. Eventually the bastard was the cause of the mother’s death and the elder Zorro’s imprisonment leaving the field clear for him to raise that daughter, Elena, when going back to Spain in comfort and culture.    

Then fast forward twenty year later and the bastard returned with Elena and with the idea of turning via those well-off land grant Dons California into an independent republic by stealth and cold hard cash to the Mexican leader Santa Ana, known as a villain in U.S. history via the Alamo and Jimmy Polk’s Mexican War adventure. The one guys like young Abe Lincoln and Henry avid Thoreau couldn’t stomach. Enter a rejuvenated elder Zorro who nevertheless is too old to go mano a mano with the bastard and his hired thugs. Through serious trial and error he trains a new generation Zorro, played by Banderas, to lead the struggle against the returned kingpin oppressor and let the peasantry live off the their lands in some peace. Once our new Zorro finishes his basic training he is off and running to woo the lovely Elena, tweak the bastard, fight a million sword fights, woo the lovely Elena, fight a few million more sword fights, and well you know the “and” part by now. A most satisfying film which only rekindled my love of the sacred youthful character-thanks young and old Zorro.         

Far From The Outlaw Minute-Willie Nelson’s Outlaws And Angels (2004 )-A Musical Film Review

Far From The Outlaw Minute-Willie Nelson’s Outlaws And Angels (2004 )-A Musical Film Review   

DVD Review

By Film Editor Sandy Salmon

Willie Nelson: Outlaws and Angels, starring Willie Nelson and a cast of outlaws like Merle Haggard and angels like Lucinda Williams and everything in between including a retired outlaw like Jerry Lee Lewis, 2004     

I freely admit that as a tough mean city streets New Jersey-bred guy I did not have anything like an “outlaw country music minute” back in early 1980s when traditional country music, Nashville-driven music by the likes of George Jones and say Loretta Lynn ran out of steam. Or out of ideas beyond whiskey nights, faded love, fast cars, fast women and good old boy foolishness. The time when guys like the central figure in this music video Willie Nelson, Waylon Jennings, Guy Clark, Jerry Jeff Walker and Townes Van Zandt and gals like Emmylou Harris and Rachel Farling stepped off that reservation and gave a new definition to the parameters of country music. Brought an updated beat, an update ethos and some quirky twists to the genre. In some cases as well living the real outlaw life, by approximating the free spirit life.        

My admission has a purpose since under normal circumstances I would not review a country music video having neither expertise nor interest in the genre. The only reason I have done so is as a favor to my old friend and fellow film critic from the American Film Gazette Sam Lowell who is my immediate predecessor at this site who actually did have a “outlaw country music minute.” Since he is in retirement and only wishes to review material periodically when something like say the celebration of the 50^th anniversary of the Summer of Love, 1967 sparks his interest. At least that was the story line he spun when he practically begged me to do this review. (I really think that he just wanted to see the expression “outlaw country music minute” used in a review here like he used to hammer endlessly on the “folk minute” of the early 1969s in a lot of his reviews).

That short flirtation was driven by the musical stalemate of those early 1980s when classic rock and roll had had one of its periodic fallow periods like it had in the late 1950s and Sam was looking for something interesting musically to listen to and maybe drive to wider critical notice. According to Sam he was snagged into the moment not by Willie Nelson but by Townes Van Zandt one night at Jackie Speed’s in of all places Harvard Square in Cambridge. Hardly a known Mecca for country music although well know back in the “folk minute” days of Sam’s blessed memory. He had appreciated Willie as outside the Nashville club (although Nelson had started in traditional 1950s Nashville fashion with Crazy made a big of by the premier woman traditional country singer of the time Patty Cline, who still has the best version of that classic). But something about the painful Van Zandt lyrics and rough-hewn sense of humor appealed to his strictly urban upbringing like there might be a bridge somehow.           

But on to the music DVD. This is the third in a series of Willie Nelson driven DVDs with various themes and various guest singers and hangers-on. This one took place in Los Angeles under the guise of outlaws and angels. The line-up was certainly filled with guys with outlaw reputations like Bob Dylan (who “mailed in” his duet with Willie on the Hank Williams classic “You Win Again” reportedly via YouTube being drunk on stage in the days when he used to drink), legendary Merle Haggard (who passed away in 2016), Kid Rock and Keith Richards among others. And gals like Lucinda William and Ricki Lee Jones who can make the real angels weep for their inadequacies. Overall though other than showing that Willie has a great command of the American (maybe world) songbook most of the performances were unremarkable. Except, and this is a big exception, when the ancient rock and roller Jerry Lee Lewis whose prime before that fallow time in the late 1950s previously mentioned who “stole” the show with his two songs. Leave it to a rocker to bail things out. You would grab this one for that performance.