Notes From The “Tin Cup” Underground- The Marquee Match-Up-The Battle Of The Titans

Notes From The “Tin Cup” Underground- The Marquee Match-Up-The Battle Of The Titans

By Si Lannon

[I have mentioned on more than one occasion that although sports, sports media, sports mania are a large representation of the American historical experience and therefore worthy of some note that generally we have tried to shy away from that subject on this site. Shied away understanding that there is no dearth of material on the subject elsewhere and certainly in the mass media. Occasionally we have reviewed the work of literary sportswriters, or literary figures who have written about sports like Damon Runyon (horse-racing) and Ring Lardner (baseball, especially the classic American summer pastime You Know Me, Al series) but that had much more to do with character development, mood and backdrop. The one serious attempt several years ago to have the well-known college game handicapper Shelly Newman cover a few college football seasons were sort of preempted once the NCAAA gurus finally adopted a semi-playoff format and took some of the fun, according to Shelly, out of weekly picking what he thought were the top 25 college football teams (and with it the all-important betting point spread). Given the formulas for inclusion in the Final Four selected at the end of the season the whole thing was weighted toward leagues with play-offs and many good teams like the SEC and Big Ten a lot of the suspense evaporated. (The SEC’s Alabama who have had a virtual lock on the mystical national title the past several years also dampened Shelly’s ardor for meeting those weekly deadlines inherent in covering such a diffuse cluster of games-and point spreads.)         

Earlier this year Si Lannon, who otherwise is a pretty solid citizen and good reviewer of books and films here and at the American Film Gazette, proposed to do a few pieces on golf. It turned out beneath that solid exterior and calm demeanor was a maniac for playing this arcane and time-consuming game with its fistful of rules which don’t make sense to the average layperson, at least to me when I tried to get a handle on why Si would get up at five in the morning to play at six on weekends when the rest of the world was either just going to bed or had a few hours left before hitting the skids. So yes Si is an avid fan and devotee of hitting small dimpled white balls with funny logos who never did anybody any harm into lakes, ponds, trees, sand traps and other devilish locations as far as I know. Each calumny with its own set of penalties and procedures for getting the ball back in play and down to the goal-to the green-in order to put that little white ball into a man-made hole, the old tin cup he called it, in finely trimmed and contoured grass that also never hurt anybody.    

Now Si is a guy who does not ask many favors and so against my better judgement I let him do a short piece on the subject. His choice was not some big time tournament like the U.S. Open which I might have appreciated some coverage on. Just to get a feel for who plays this game at the highest level these days when even I know that the well-advertised Tiger Woods no longer is the king of the hill of the sport. No, his choice a local, local to him, amateur golf tournament at his golf club, Frog Pond Golf Course, where he wanted to cover something called the club net four-ball club championship. Si can explain exactly what that format is for the clueless which included me until he told me about what that meant in the golf world vocabulary which apparently hasn’t changed since about the time of golf fanatic Charles I in England. Before he lost his head. (Not over golf but weightier matters like the “divine right of kings” idea he was working under and for which he paid with his life).     

It seems some of his regular six in the morning golf partners (so immediately suspect in my book since this reeked of some sort of sect or cult like Druids or Maypole denizens which I made clear to him) were involved in the tournament and so he had a rooting interest in the play. He moreover had predicted that the two two-person teams (therefore four-ball since each participant flails his own ball) which he friends had partnered in had reached the finals of the championship and would be slated to go head to head on in that final. Si begged, well, asked if he could a follow up on that first article to finish up in style. I was skeptical but told him to cover the “event” and write something up and if I liked it I would make sure it was posted. I did and here it is but I hope this satisfies Si’s golf craziness and he gets back to writing real film and book stuff about the American saga-Pete Markin]     

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A Note From Si Lannon

[As my editor Pete Markin mentioned in his introduction to this piece, an introduction that may turn out to have been as long as this piece itself, I will explain, roughly explain, what the format for this net four-ball tournament is about which even he, a non-believer, could understand under constant repetition. Mercifully, mercifully to me as well as the average reader who knows of my film and book reviews, I will not except in spots discuss the arcane rules that govern seemingly every conceivable situation in golf here but just the outlines for the clueless and curious. Most readers may know about the high end of the sport, the pros, the PGA, or have seen major tournaments like the Masters or U.S. Open on television almost all of which are four day affairs in which the golfer with the lowest score for the four days wins (and these days wins a ton of money). But that is the elite, the top. The top players in an average golf club who in any case are far below that elite level are not plentiful enough to have such a tournament based on straight up stroke play. The spread between abilities is too great to make such competition fair so other formats have been created for those who want to compete against other golfers at the club level. Hence the annual club net team four-ball championship which I am covering in this piece.              

This way this type of tournament plays out is that as many interested two-person teams who enter play a qualifying round in order to reduce the field to sixteen teams. That qualifying round is based on the sixteen lowest team scores of best-ball golf. Best ball is based on handicaps. (This is where I lost Pete Markin and was the source of much repetition as he was incredulous about the whole system.) For example if both team members get a five on a hole which is a par four then then would be one over par on their gross score. But if one (or either) player has a handicap stroke on that hole then they would have a net score of four-par. That is the score that counts and so on through the eighteen holes of golf which constitute a round. Handicaps are based on the premise that two people with different abilities could play each other on a relatively equal playing field if the better golfer gave the other golfer some strokes to give that person a fighting chance of winning. Handicaps are based on a complicated formula of the average of several recent rounds of golf and I need not go further than that for an explanation.     

The sixteen qualifying teams then play elimination rounds to get a champion. In the first round (what in NCAA basketball championships would be the “sweet sixteen”) the top eight ranked teams play the lower eight teams in reverse order. For example the lowest qualifying team number one plays the highest qualifying team number sixteen and so on. The surviving eight then play a second round (the NCAA elite eight), the surviving four (the NCAA Final Four)a third round and the last two teams standing play a fourth round for the championship. This is where the vagaries of the format came into play when I predicted my friends the teams of Frenchie Robert and Caz Casey and Sand-Bagger Jackson and Kenny Lou would as they actually did do meet in the finals. The former team had been the top seed and the latter team number ten. If the Jackson-Lou team had been seeded eighth or less then no way could the two teams meet in the finals since they would play each other in an earlier round. As it turned out each pair fairly easily went through their earlier rounds so the final would provide bragging rights and side bet cash for the winning team for the rest of the season-and maybe beyond.   

The final as it turned out was held on a granite gray late September morning and the two pairs, Frenchie and Caz, Sand-Bagger and Kenny seemed to be primed to do battle, to do the clash of titans as advertised in the headline.  To give a little color to the proceedings I should mention that Frenchie, the redoubtable Frenchman a generation out of Quebec is the best golfer of the four and intensely competitive ( best meaning he has the lowest handicap which means that he got no stokes to help him against the other guys). Caz is a wily Irishman who has now safely gotten his brood of kids past the college albatross around his neck had only taken up the game the previous couple of years and so had the highest handicap (meaning he gets more strokes on certain holes than the others which could help his teammate considerable if he played well-which he did). This team was considered by the assorted touts hanging in the clubhouse bar the “young upstarts” since they had only been playing as a team for a couple of years and had not won a major championship. Sand-Bagger as his designation indicates is an old geezer, older than me, who has been playing in these events seemingly forever and is always grousing about how he should have more strokes (as he takes our money at the end of the golf round more often than not). Kenny is a diminutive Chinese who can be the best player in the world one day and a rank amateur the next. When this pair is on though it is like a perfect storm. Around the clubhouse bar, among those gadflys and barflies who populate every club not a few who have fallen under the wheel to this tandem, they are the “veterans” as their names on various plaques testify to. So this one set up as a David and Goliath affair.            

This is the way Jack Jones, the Frog Pond gadfly and barfly-in-chief put it tongue in cheek in a memo tacked onto the message board in the club’s men’s locker room:

“The Moon is in the Seventh House. The usually sleepy hamlet of Huron Village will be inundated with a motley crew of people and vehicles early tomorrow morning after procuring the hottest ticket in town for the improbable match-up of the upstart newcomers the redoubtable, whatever that means, Frenchie Roberts the brash transport from up Quebec way and his erstwhile partner the mysteriously named Caz Casey against the rags to riches bloodied and hardscrabble veterans Sand-Bagger Jackson and his wily long-time partner Kenny Lou for the coveted Frog Pond Four-Ball Net Championship.   

“Upon hearing of the pairing after Frenchie and Caz had vanquished their third round opponents while travelling back to his hometown to pick up his recalcitrant high school son, recalcitrant since despite constant pleading the young man has taken up the much more civilized sport of tennis, the mercurial Mr. Lou when the AP caught to him simply stated “We will take no prisoners.”

“The more sagacious Sand-Bagger has been quoted by Reuters as saying-“We are just happy to be in the tournament after last year’s failure to qualify and look forward to facing this unknown pair of upstarts for the biggest prize of all. We are pleased to be able to be pitted against a couple of young up and coming players who will give us all we can handle although the fate sisters would seem to favor that long hitting pair. It will take everything we know to have a chance against these stroke-strewn opponents. We will just play one hole at a time and see what happens”          

“More to the point Sand-Bagger was quoted as saying that he and Mr. Lou had won many championships and much prize money but that the really important thing was to win that side bet of one hundred dollars per man for bragging rights the rest of the season.”   

And it was as advertised a battle royal as both teams brought “game” to the vaunted showdown. I won’t bore regular readers with the play by play, hole by hole details except to say from personal experience tensions ran high on the first tee box even against long-time buddies, maybe especially against longtime buddies, and continued throughout the match as emotions ran up and down depending on the results of each hole until the end somewhere on the course hopefully not before the regulation eighteenth hole. Frenchie and Caz came out strong based on Caz playing out of his shoes that day. They were soon two holes up meaning they had won two more than their opponent (although that two up lead would be their highest lead of the day as Sand-Bagger and Kenny battled back to “stop the bleeding,” allow the young upstarts to get no further up on them). But the day belonged to the veterans on Kenny playing way out of his shoes although they did not seal the deal until the eighteenth hole when Kenny sank a ten foot birdie putt to end the game. Based on the level of play that day Sand-Bagger and Kenny had had their second lowest collective score ever. And Frenchie and Caz were only one stroke more. So yeah, as Sand-Bagger said in jest as they were waiting to tee off on the first tee this was a “friendly game to the death.” Enough said.          

[In the interest of full disclosure the reason I was able to cover this event was that my teammate, Rags Johnson, and I failed to qualify-did not make the cut a subject we will hear no end of from this year’s finalists. We had actually won this same tournament last year which also shows the vagaries of golf-Si Lannon]  

When The Blues Was Dues- The Classic Alligator Records Compilation

When The Blues Was Dues- The Classic Alligator Records Compilation

CD Review

By Zack James

Classic Alligator Records, many blues artists 

Long before Seth Garth became back in the day, the 1960s day, the music critic for the now long gone The Eye published in those day out of Oakland, California he had been bitten by the blues bug. Of course in the 1960s if one was to be a successful and relevant music critic one had to concentrate on the emerging and then fading folk music minute (of which the blues was seen as a sub-set of the genre especially the country blues wings with the likes of Skip James, Son House, Bukka White, and Mississippi John Hurt) and then post-British invasion and the rise of the counter-cultural movement what was called “acid” rock. So Seth’s blues bug, except for an occasional sneak-in was cut short by the needs of his career. Even then though Seth would keep up with the various trends coming out of places like Chicago and Detroit and of the artists who had formed his first interests.  

Strangely Seth had come to his love of the blues almost by accident. Back in the 1950s he had been like many teenagers totally devoted to his transistor radio to shutout the distractions of parents and siblings around the house. In those days though he was drawn to the fresh air jail breakout of rock and roll, guys like Elvis, Jerry Lee Lewis, and Chuck Berry. One Sunday night though almost like a ghost message from the radio airwaves the station he usually listened to WMEX was drowned by a more powerful station from Chicago, WABC. The show Be-Bop Benny’s Blues Hour (actually two hours but that was the title of the show). The first song Hound Dog Taylor’s The Sky Is Crying. He was hooked, hooked mainly because in those days the blues coming out of Chicago sounded like a very primitive version of rock, like maybe it had something to do with that beat in his head whenever a serious rock song came on WMEX like Chuck Berry’s Sweet Little Rock and Roller. He couldn’t always get the Chicago station on Sunday night, something to do with those wind patterns but he was smitten.

Like a lot of things including his later interest in folk music and acid rock Seth always wanted to delve into the roots of whatever trend he was writing about. That was how he found out that a lot of the songs that he heard on the Be-Bop Benny show were the genesis of rock. Also that rock had eclipsed the blues as the be-bop new thing leaving many of the most popular blues artists, overwhelming black artists, behind to pick up the scraps of the musical audience (only to be “discovered” later by some of the more thoughtful rock stars like the Stones just as the old time country blues artists from the South had been “discovered” by folk aficionado in their turn).  

Seth also dug into the technical aspects of the industry, who was producing the music. Those where the days when there were many small, small by today’s mega-standards, essentially mom and pop record companies producing blues material. In Chicago, with the huge migration of blacks from the South during the previous two generations there were a myriad of labels. But two stuck out, two were the ones who grabs the very best artists around Maxwell Street and made them stars, from the many one hit wonders to classic stars like Muddy Waters, Howlin’ Wolf, and B.B. King. 

Of course most people have heard of those artists who worked out of the Chess Record label. But the other big label, the one under review, Alligator, also produced a shew of stars. So that very first night Seth had heard the legendary Hound Dog Taylor doing The Sky Is Crying he was under contract with Alligator. For more artists check out this two CD compilation of those others who also graced that label. Then you will be up to date on the genesis of the Chicago blues explosion that changed blues from acoustic to electric back in the day.           

For The Fifty- Steve McQueen’s “The Great Escape” (1963)-A Film Review

For The Fifty- Steve McQueen’s “The Great Escape” (1963)-A Film Review  

DVD Review

By Film Editor Emeritus Sam Lowell

The Great Escape, starring Steve McQueen, James Garner, James Coburn, Charles Bronson and a fistful of male stars to round out the cast, 1963

One of the great things about my long stay at this site (and at the now on-line American Film Gazette) is that Pete Markin, my editor (and Ben Gold at the Gazette) almost without exception let me review almost anything cinematic from virtually any genre and not grumble about my choices. That is true of this encore presentation the classic iconic (the big motorcycle chase for one thing) 1960s World War II movie The Great Escape as well. The encore part needs a little explanation since my first review of the film was written for my high school newspaper the North Adamsville High Magnet back when I was a sophomore. Of course that review of the film seen at the now long gone Strand Theater in Adamsville Center one Saturday afternoon was all about detailing the action, detailing how the good guy Allied officers outwitted the nasty Nazi night-takers who were trying (and almost succeeding) in over-running all of Europe and who knows where else, and concentrating on the long drama (with intermission) as it unfolded. What it did not entail, what got missed, was the little point about the murder of the fifty officers who were captured after the great escape and executed against even the barest minimum of Geneva Convention standards. What got missed then but not now as well is the dedication in the film (and in this headline) of those fifty murdered men who after all were only doing what the fog rules of war were expecting of them-escape and/or create as much havoc for the enemy as possible if you cannot.             

The storyline is actually pretty simple for an almost three hour movie. A group of hard ass Allied officers who have already off-camera created problems for the German High Command by a collective untold number of escapes from other POW camps are transferred to a state-of-the-art facility. Needless to say from about minute one they individually attempt to escape. No go. Then a senior British officer just recaptured and transferred comes up with the big plan –a massive escape of 250 men to tie down as many German troops as possible. The bulk of the film then concentrates of the logistics, the temporary set-backs, and the division of labor among the officers who brought different skill sets to the table. Then the big day came but due to some problems only about seventy men escaped. As I have already telegraphed of that lot fifty were captured and executed, a few escaped, and a few were captured and returned to the camp.

The central figure in all of this, the one highlighted throughout the film is Hilts, played by Steve McQueen, who between bouts of solitary (with American as apple pie glove and ball in hand to while away the time) and that aforementioned great motorcycle chase gave the Germans all they could handle. Alas he was one of the captured and returned ones. Yeah, this one, this based on a true story about the camp and the Nazi night-takers actions is for the fifty. Enough said.                

How The West Was Won?-Kirk Douglas’ “Last Train From Gun Hill” (1959)-A Film Review

How The West Was Won?-Kirk Douglas’ “Last Train From Gun Hill” (1959)-A Film Review

Nice double feature Saturday matinee poster, right?

DVD Review

By Sandy Salmon

Last Train from Gun Hill, starring Kirk Douglas, Anthony Quinn, 1959 

I have often had occasion to mention that when I was growing up in the Acre section of North Adamsville in the 1950s the “golden age” of the Western, on the screen and on television that my fellow corner boys and I were sucked in by the myths surrounding the Old West like the good guy wore white and the bad guys black, the only good injun was a dead one, that rough justice came out of the barrel of a gun and lots of other stuff copied from the old dime store novels on which the shows were created from. Moreover many a Saturday afternoon double feature matinee at the old long gone Strand Theater were spent watching mostly in Technicolor those myths getting a workout on the screen (this before finding the virtues of film noir when the theater owner to save cash would do 1940s retrospectives and later when the theater was a “screen” for taking some sweet girl to the balcony for a little, well, you know a little. The film under review, Last Train From Gun Hill, gives plenty of ammunition to bolster those old blasé myths about the West, the taming of the West but with a little twist.      

The twist here is that unlike most early Westerns where the “only good injun is a dead injun” a Native American woman (we are after all in the 2000s and to use the film’s “squaw” is nothing if not demeaning) taking her son home from visit with her father has been raped and murdered by a couple of young drunk Anglo cowboys who did not have an ounce of political correctness or morality for that matter in their entire bodies. What they did have, or at least one of them had, was a rich cattle baron father, one tough hombre named Craig Belsen played by Anthony Quinn, to squelch any backlash against his errant son Rick who can do no wrong, no legal wrong anyway, in the old man’s eyes. Keeping son Rick from a well-deserved hangman’s noose is what drives this plotline. Why Craig gives a rat’s ass about this ne’er-do-well son is beyond reason, except he is the heir to that big spread and to the “ownership” of the town, the town of Gun Hill.        

Problem, big problem in the end. That Native American woman, that “squaw,” was wife of tough as nails lawman Matt Morgan, played by cleft-chinned Kirk Douglas, who did his taming of the West a few towns over. Craig and Matt are old compadres but that won’t keep Sonny Boy from a big step off, from a date with the hangman and a burial in some Boot Hill, if Matt has anything to do with the matter once he knows from a saddle initials hint who he was dealing with. If it was just a matter of grabbing the kid and heading back on the next train (the last train, a late one, and hence the title) to sweet justice (or a fatal “attempted” escape on the way back) our Matt is up against it. No help from the bought-off townspeople not even the law. Well almost no help except Belsen’s much abused and put upon mistress who helps even up the odds for the ever inventive Morgan.

That no help and that long wait for the train while the forces of evil are arrayed against him that round out the film. As to be expected the two protagonists have to go mano a mano with each other.  That is when 1950s Hollywood Western script return to form as the good guys beat the bad guys without a whimper. Still it was nice to see somebody stick up for the let’s face it historically much abused Native Americans who were there long before the wild and tamed West ever got their names.      

In Honor Of Jean Bon Kerouac On The 60th Anniversary Of “On The Road” (1957)- "You’re On The Bus, Or Off The Bus"- An Ode To Aging Hippies- Ken Kesey’s “The Further Inquiry”

In Honor Of Jean Bon Kerouac On The 60^th Anniversary Of “On The Road” (1957)- "You’re On The Bus, Or Off The Bus"- An Ode To Aging Hippies- Ken Kesey’s “The Further Inquiry”

In Honor Of Jean Bon Kerouac On The 60^th Anniversary Of “On The Road” (1957)

By Book Critic Zack James

To be honest I know about On The Road Jack Kerouac’s epic tale of his generation’s search for something, maybe the truth, maybe just for kicks, for stuff, important stuff that had happened down in the base of society where nobody in authority was looking or some such happening strictly second-hand. His generation’s search looking for a name, found what he, or someone associated with him, maybe the bandit poet Gregory Corso, king of the mean New York streets, mean, very mean indeed in a junkie-hang-out world around Times Square when that place was up to its neck in flea-bit hotels, all-night Joe and Nemo’s and the trail of the “fixer” man on every corner, con men coming out your ass too, called the “beat” generation. (Yes,  I know that the actual term “beat” was first used by Kerouac writer friend John Clemmon Holmes in an article in some arcane journal but the “feel” had to have come from a less academic source so I will crown the bandit prince Corso as genesis)

Beat, beat of the jazzed up drum line backing some sax player searching for the high white note, what somebody told me, maybe my oldest brother Alex who was washed clean in the Summer of Love, 1967 but must have known the edges of Jack’s time since he was in high school when real beat exploded on the scene in Jack-filled 1957, they called “blowing to the China seas” out in West Coast jazz and blues circles, that high white note he heard achieved one skinny night by famed sax man Sonny Johns, dead beat, run out on money, women, life, leaving, and this is important no forwarding address for the desolate repo man to hang onto, dread beat, nine to five, 24/7/365 that you will get caught back up in the spire wind up like your freaking staid, stay at home parents, beaten down, ground down like dust puffed away just for being, hell, let’s just call it being, beatified beat like saintly and all Jack’s kid stuff high holy Catholic incense and a story goes with it about a young man caught up in a dream, like there were not ten thousand other religions in the world to feast on- you can take your pick of the meanings, beat time meanings. Hell, join the club they all did, the guys, and it was mostly guys who hung out on the poet princely mean streets of New York, Chi town, Mecca beckoning North Beach in Frisco town cadging twenty-five cents a night flea-bag sleeps (and the fleas were real no time for metaphor down in the bowels where the cowboy junkies drowse in endless sleeps, raggedy winos toothless suck dry the dregs and hipster con men prey on whoever floats down), half stirred left on corner diners’ coffees and groundling cigarette stubs when the Bull Durham ran out).

I was too young to have had anything but a vague passing reference to the thing, to that “beat” thing since I was probably just pulling out of diapers then, maybe a shade bit older but not much. I got my fill, my brim fill later through my oldest brother Alex. Alex, and his crowd, more about that in a minute, but even he was only washed clean by the “beat” experiment at a very low level, mostly through reading the book (need I say the book was On The Road) and having his mandatory two years of living on the road around the time of the Summer of Love, 1967 an event whose 50^th anniversary is being commemorated this year as well and so very appropriate to mention since there were a million threads, fibers, connections between “beat” and “hippie” despite dour grandpa Jack’s attempts to trash those connection when the acolytes and bandit hangers-on  came calling looking for the “word.” So even Alex and his crowd were really too young to have been washed by the beat wave that crashed the continent toward the end of the 1950s on the wings of Allan Ginsburg’s Howl and Jack’s travel book of a different kind (not found on the AAA, Traveler’s Aid, Youth Hostel brochure circuit if you please although Jack and the crowd, my brother and his crowd later would use such services when up against it in let’s say a place like Winnemucca in the Nevadas or Neola in the heartlands).

Literary stuff for sure but the kind of stuff that moves generations, or I like to think the best parts of those cohorts. These were the creation documents the latter of which would drive Alex west before he finally settled down to his career life as a high-road lawyer (and to my sorrow and anger never looked back which has caused more riffs and bad words than I want to yell about here).             

Of course anytime you talk about books and poetry and then add my brother’s Alex name into the mix that automatically brings up memories of another name, the name of the late Peter Paul Markin. Markin, for whom Alex and the rest of the North Adamsville corner boys, Frankie, Jack, Jimmy, Si, Josh (he a separate story from up in Olde Saco, Maine and so only an honorary corner boy after hitching up with the Scribe out on a Russian Hill dope-filled park), Bart, and a few others still alive recently had me put together a tribute book for in connection with that Summer of Love, 1967, their birthright event, just mentioned.  Markin was the vanguard guy, the volunteer odd-ball unkempt mad monk seeker, what did Jack call his generation’s such, oh yeah, holy goofs,   who got several of them off their asses and out to the West Coast to see what there was to see. To see some stuff that Markin had been speaking of for a number of years before 1967 (and which nobody in the crowd paid any attention to, or dismissed out of hand, what they called “could give a rat’s ass” about in the local jargon which I also inherited in those cold, hungry bleak 1950s cultural days in America) and which can be indirectly attributed to the activities of Jack, Allen Ginsburg, Gregory Corso, that aforementioned bandit poet who ran wild on the mean streets among the hustlers, conmen and whores of the major towns of the continent, William Burroughs, the Harvard-trained junkie  and a bunch of other guys who took a very different route for our parents who were of the same generation as them but of a very different world.

But it was above all Jack’s book, Jack’s travel adventure book which had caused a big splash in 1957(after an incredible publishing travail since the story line actually related to events in the late 1940s and which would cause Jack no end of trauma when the kids showed up at his door looking to hitch a ride on the motherlode star, and had ripple effects into the early 1960s and even now certain “hip” kids acknowledge the power of attraction that book had for their own developments, especially that living simple, fast and hard part). Made the young, some of them anyway, like I say I think the best part, have to spend some time thinking through the path of life ahead by hitting the vagrant dusty sweaty road. Maybe not hitchhiking, maybe not going high speed high through the ocean, plains, mountain, desert night but staying unsettled for a while anyway.    

Like I said above Alex was out on the road two years and other guys, other corner boys for whatever else you wanted to call them that was their niche back in those days and were recognized as such in the town not always to their benefit, from a few months to a few years. Markin started first back in the spring of 1967 but was interrupted by his fateful induction into the Army and service, if you can call it that, in Vietnam and then several more years upon his return before his untimely and semi-tragic end down some dusty Jack-strewn road in Mexico cocaine deal blues. With maybe this difference from today’s young who are seeking alternative roads away from what is frankly bourgeois society and was when Jack wrote although nobody except commies and pinkos called it that for fear of being tarred with those brushes. Alex, Frankie Riley the acknowledged leader, Jack Callahan and the rest, Markin included, were strictly “from hunger” working class kids who when they hung around Tonio Pizza Parlor were as likely to be thinking up ways to grab money fast any way they could or of getting into some   hot chick’s pants any way they could as anything else. Down at the base of society when you don’t have enough of life’s goods or have to struggle too much to get even that little bit “from hunger” takes a big toll on your life. I can testify to that part because Alex was not the only one in the James family to go toe to toe with the law back then when the coppers were just waiting for corner boy capers to explode nay Friday or Saturday night, it was a close thing for all us boys as it had been with Jack when all is said and done. But back then dough and sex after all was what was what for corner boys, maybe now too although you don’t see many guys hanging on forlorn Friday night corners anymore.

What made this tribe different, the Tonio Pizza Parlor corner boys, was mad monk Markin. Markin called by Frankie Riley “Scribe” from the time he came to North Adamsville from across town in junior high school and that stuck all through high school. The name stuck because although Markin was as larcenous and lovesick as the rest of them he was also crazy for books and poetry. Christ according to Alex, Markin was the guy who planned most of the “midnight creeps” they called then. Although nobody in their right minds would have the inept Markin actually execute the plan. That was for smooth as silk Frankie now also like Alex a high-road lawyer to lead. That operational sense was why Frankie was the leader then (and maybe why he was a locally famous lawyer later who you definitely did not want to be on the other side against him). Markin was also the guy who all the girls for some strange reason would confide in and thus was the source of intelligence about who was who in the social pecking order, in other words, who was available, sexually or otherwise. That sexually much more important than otherwise. See Markin always had about ten billion facts running around his head in case anybody, boy or girl, asked him about anything so he was ready to do battle, for or against take your pick.

The books and the poetry is where Jack Kerouac and On The Road come into the corner boy life of the Tonio’s Pizza Parlor life. Markin was something like an antennae for anything that seemed like it might help create a jailbreak, help them get out from under. Later he would be the guy who introduced some of the guys to folk music when that was a big thing. (Alex never bought into that genre, still doesn’t, despite Markin’s desperate pleas for him to check it out. Hated whinny Bob Dylan above all else.) Others too like Kerouac’s friend Allen Ginsburg and his wooly homo poem Howl from 1956 which Markin would read sections out loud from on lowdown dough-less, girl-less Friday nights. And drive the strictly hetero guys crazy when he insisted that they read the poem, read what he called a new breeze was coming down the road. They could, using that term from the times again, have given a rat’s ass about some fucking homo faggot poem from some whacko Jewish guy who belonged in a mental hospital. (That is a direct quote from Frankie Riley at the time via my brother Alex’s memory bank.)

Markin flipped out when he found out that Kerouac had grown up in Lowell, a working class town very much like North Adamsville, and that he had broken out of the mold that had been set for him and gave the world some grand literature and something to spark the imagination of guys down at the base of society like his crowd with little chance of grabbing the brass ring. So Markin force-marched the crowd to read the book, especially putting pressure on my brother who was his closest friend then. Alex read it, read it several times and left the dog- eared copy around which I picked up one day when I was having one of my high school summertime blues. Read it through without stopping almost like Jack wrote the final version of the thing on a damn newspaper scroll in about three weeks. So it was through the Scribe via Alex that I got the Kerouac bug. And now on the 60^th anniversary I am passing on the bug to you.           

Book Review

Visions Of Cody, Jack Kerouac, Viking Press, New York, 1973

The first three paragraphs are taken from a previous review about Jack Kerouac and his leading role in establishing the literary ethos of the "beat" generation. Those comments aptly apply in reviewing "Visions Of Cody" as well:

"As I have explained in another entry in this space in reviewing the DVD of “The Life And Times Of Allen Ginsberg”, recently I have been in a “beat” generation literary frame of mind. I mentioned there, as well, and I think it helps to set the mood for commenting on Jack Kerouac’s seminal ‘travelogue’, “On The Road”, that it all started last summer when I happened to be in Lowell, Massachusetts on some personal business. Although I have more than a few old time connections with that now worn out mill town I had not been there for some time. While walking in the downtown area I found myself crossing a small park adjacent to the site of a well-known mill museum and restored textile factory space.

Needless to say, at least for any reader with a sense of literary history, at that park I found some very interesting memorial stones inscribed with excerpts from a number of his better known works dedicated to Lowell’s “bad boy”, the “king of the 1950s beat writers, Jack Kerouac. And, just as naturally, when one thinks of Kerouac then Allen Ginsberg, William Burroughs, Gregory Corso, Neal Cassady and a whole ragtag assortment of poets, hangers-on, groupies and genuine madmen and madwomen come to mind. They all show up, one way or another (under fictional names of course), in this book. So that is why we today are under the sign of “On The Road”.

To appreciate Kerouac and understand his mad drive for adventure and to write about it, speedily but precisely, you have to start with “On The Road”. There have been a fair number of ‘searches' for the meaning of the American experience starting, I believe, with Whitman. However, each generation that takes on that task needs a spokesperson and Jack Kerouac, in the literary realm at least, filled that bill not only for his own generation that came of age in the immediate post World War II era, but mine as well that came of age in the 1960s (and, perhaps, later generations but I can only speculate on that idea here)."

That said, “Visions Of Cody” is an extension of that “On The Road” story line that made Kerouac famous, although "Visions" is more diffuse and much more concerned with literary imager than with the storyline developed in the earlier Kerouac/Paradise narrative. Here Jack as Dulouz and Neal Cassady as Cody Pomeray do more running around on the road, partying, reflecting on the nature of the universe, partying, speculating on the nature of the American experience, partying and… well, you get the drift. In some places the descriptive language is stronger than “On The Road”, reflecting Kerouac’s greater ease with his spontaneous writing style in the early 1950s when this was written (although not widely published until after his death.).

Additionally, included here is a long series of taped interviews between Jack and Neal over several days and, presumably, while both were on a running drug “high”. These tapes reflect very nicely the very existential nature of 1950s “beat”, or at least one interpretation of that term. They produce all the madness, genius, gaffs, gaps, whimsy and pure foolishness that come from an extended drug experience. Despite all reports to the contrary not everything observed until the “influence” comes out pure literary gold, and that is true here as well. But there is a lot of good stuff nevertheless, although here it could have been cut in half and we still would have gotten that “beat” beat.




Book Review

The Further Inquiry, Ken Kesey, Viking Press, New York, 1990

In a recent DVD review of the late Dennis Hopper’s role as a fugitive radical in the 1990 comedy on the subject of the 1960s counter-culture, Flashback, I noted, no I exclaimed, no I shouted out that I was not to blame for this reach back but that the reader should blame it on Ken Kesey and his Merry Pranksters (including “beatnik” holdover/ bus driver Neal Cassady). Or blame it on a recent re-read of Tom Wolfe’s classic The Electric Kool-Aid Acid Test that pays “homage” to Kesey, his Pranksters, their psychedelically-painted bus "Further", and their various adventures and misadventures. Or, better, blame it on Jack Kerouac and that self-same central character Cassady (as Dean Moriarty) for his On The Road. The same sentiment can serve here in reviewing Ken Kesey’s concept book on the occasion of the 25th anniversary (1989) of the famous coast to coast (West to East, if you can believe that) bus ride/drug trip/self-awareness adventure/madcap escape that Tom Wolfe chronicled in the above-mentioned novel.

I used the words "concept book" here in exactly the right sense. Kesey, although having apparently exhausted himself in the literary field after his early successes with One Flew Over The Cukoo’s Nest and Sometimes A Great Notion still had enough savvy in him to come up with an appropriate way to celebrate his most well-known adventure. The book is set up in the form of a trial transcript. Wait a minute who is on trial at this late date? Ken Kesey, for cooking up the perhaps ill-advised adventure, or on some belatedly-revealed drug charge? No. The WASP West Coast college students out on a romp who formed the core of the Merry Pranksters finally get their comeuppance from the neo-con counter-revolutionaries ? No. Here is the funny part. It’s the bus driver, stupid-Neal Cassady-the refugee from the “beat" generation, and one of the "fathers" of the 1960s cultural uprising. And what is the charge (or charges)? Well, the modern day version of “corrupting the youth.” That makes sense, right? He should have pleaded guilty, very guilty, and be done with it.

Along the way on this "bus ride" we get plenty of "contrite" testimony about the evil genie out of the bottle Cassady, heart-rending tales about the spell he put on those “innocent” young people, about his non-stop spiel, and about his fantastic, if just slightly unorthodox, driving habits. We also get plenty of testimony in his defense, as well. And all of this is accompanied by over one hundred photographs from the old “family” album, including many, many photos of the arch-villain Cassady himself. Just a point here though. You should read Wolfe’s book before you try to read this one-this is strictly for aficionados of the “beat” and “hippie” cultural movements.

Note: The volatile figure of Neal Cassady was central to Jack Kerouac’s On The Road (as Dean Moriarty, and as Cody Pomeroy in Visions of Cody, a similar exposition). Although Neal is central to this book, a reading of Wolfe’s book places his role in a much more secondary position- something of a highly energetic, fast-talking grand old man of the “beat” generation teaching the youth “the ropes” and passing the “break the mold” bug to a new generation. That seems about right. Kerouac will be remembered as long as youth yearn for the open road, literally or spiritually. Kesey, to a lesser extent, will hold that same position. Neal Cassady will be remembered mainly for being the guy, an important guy, who glued everything together.

Finally, off of a reading of Cassady’s “testimony” here, which is somewhat painful to read at this far remove, is more incoherent drug-induced ranting than “hipness”, or wisdom for the ages. A reading of any single page of Kerouac (or Kesey, for that matter) will provide much more insight into that period. Some of the other “testimony” of the other “witnesses” reads rather obtusely as well. But hell, these guys (Kerouac, Kesey, Ginsberg, et al.) went looking for, and got, their authentic "All-American" drugstore cowboy/untutored plebeian philosopher king/jack-of-all trades/ manly sex symbol for the post-World War II world, warts and all. Neal Cassady was his name.

In Honor Of Jean Bon Kerouac On The 60th Anniversary Of “On The Road” (1957)- "Visions Of Cody" -On The Road-Redux

In Honor Of Jean Bon Kerouac On The 60^th Anniversary Of “On The Road” (1957)- "Visions Of Cody" -On The Road-Redux

In Honor Of Jean Bon Kerouac On The 60^th Anniversary Of “On The Road” (1957)

By Book Critic Zack James

To be honest I know about On The Road Jack Kerouac’s epic tale of his generation’s search for something, maybe the truth, maybe just for kicks, for stuff, important stuff that had happened down in the base of society where nobody in authority was looking or some such happening strictly second-hand. His generation’s search looking for a name, found what he, or someone associated with him, maybe the bandit poet Gregory Corso, king of the mean New York streets, mean, very mean indeed in a junkie-hang-out world around Times Square when that place was up to its neck in flea-bit hotels, all-night Joe and Nemo’s and the trail of the “fixer” man on every corner, con men coming out your ass too, called the “beat” generation. (Yes,  I know that the actual term “beat” was first used by Kerouac writer friend John Clemmon Holmes in an article in some arcane journal but the “feel” had to have come from a less academic source so I will crown the bandit prince Corso as genesis)

Beat, beat of the jazzed up drum line backing some sax player searching for the high white note, what somebody told me, maybe my oldest brother Alex who was washed clean in the Summer of Love, 1967 but must have known the edges of Jack’s time since he was in high school when real beat exploded on the scene in Jack-filled 1957, they called “blowing to the China seas” out in West Coast jazz and blues circles, that high white note he heard achieved one skinny night by famed sax man Sonny Johns, dead beat, run out on money, women, life, leaving, and this is important no forwarding address for the desolate repo man to hang onto, dread beat, nine to five, 24/7/365 that you will get caught back up in the spire wind up like your freaking staid, stay at home parents, beaten down, ground down like dust puffed away just for being, hell, let’s just call it being, beatified beat like saintly and all Jack’s kid stuff high holy Catholic incense and a story goes with it about a young man caught up in a dream, like there were not ten thousand other religions in the world to feast on- you can take your pick of the meanings, beat time meanings. Hell, join the club they all did, the guys, and it was mostly guys who hung out on the poet princely mean streets of New York, Chi town, Mecca beckoning North Beach in Frisco town cadging twenty-five cents a night flea-bag sleeps (and the fleas were real no time for metaphor down in the bowels where the cowboy junkies drowse in endless sleeps, raggedy winos toothless suck dry the dregs and hipster con men prey on whoever floats down), half stirred left on corner diners’ coffees and groundling cigarette stubs when the Bull Durham ran out).

I was too young to have had anything but a vague passing reference to the thing, to that “beat” thing since I was probably just pulling out of diapers then, maybe a shade bit older but not much. I got my fill, my brim fill later through my oldest brother Alex. Alex, and his crowd, more about that in a minute, but even he was only washed clean by the “beat” experiment at a very low level, mostly through reading the book (need I say the book was On The Road) and having his mandatory two years of living on the road around the time of the Summer of Love, 1967 an event whose 50^th anniversary is being commemorated this year as well and so very appropriate to mention since there were a million threads, fibers, connections between “beat” and “hippie” despite dour grandpa Jack’s attempts to trash those connection when the acolytes and bandit hangers-on  came calling looking for the “word.” So even Alex and his crowd were really too young to have been washed by the beat wave that crashed the continent toward the end of the 1950s on the wings of Allan Ginsburg’s Howl and Jack’s travel book of a different kind (not found on the AAA, Traveler’s Aid, Youth Hostel brochure circuit if you please although Jack and the crowd, my brother and his crowd later would use such services when up against it in let’s say a place like Winnemucca in the Nevadas or Neola in the heartlands).

Literary stuff for sure but the kind of stuff that moves generations, or I like to think the best parts of those cohorts. These were the creation documents the latter of which would drive Alex west before he finally settled down to his career life as a high-road lawyer (and to my sorrow and anger never looked back which has caused more riffs and bad words than I want to yell about here).             

Of course anytime you talk about books and poetry and then add my brother’s Alex name into the mix that automatically brings up memories of another name, the name of the late Peter Paul Markin. Markin, for whom Alex and the rest of the North Adamsville corner boys, Frankie, Jack, Jimmy, Si, Josh (he a separate story from up in Olde Saco, Maine and so only an honorary corner boy after hitching up with the Scribe out on a Russian Hill dope-filled park), Bart, and a few others still alive recently had me put together a tribute book for in connection with that Summer of Love, 1967, their birthright event, just mentioned.  Markin was the vanguard guy, the volunteer odd-ball unkempt mad monk seeker, what did Jack call his generation’s such, oh yeah, holy goofs,   who got several of them off their asses and out to the West Coast to see what there was to see. To see some stuff that Markin had been speaking of for a number of years before 1967 (and which nobody in the crowd paid any attention to, or dismissed out of hand, what they called “could give a rat’s ass” about in the local jargon which I also inherited in those cold, hungry bleak 1950s cultural days in America) and which can be indirectly attributed to the activities of Jack, Allen Ginsburg, Gregory Corso, that aforementioned bandit poet who ran wild on the mean streets among the hustlers, conmen and whores of the major towns of the continent, William Burroughs, the Harvard-trained junkie  and a bunch of other guys who took a very different route for our parents who were of the same generation as them but of a very different world.

But it was above all Jack’s book, Jack’s travel adventure book which had caused a big splash in 1957(after an incredible publishing travail since the story line actually related to events in the late 1940s and which would cause Jack no end of trauma when the kids showed up at his door looking to hitch a ride on the motherlode star, and had ripple effects into the early 1960s and even now certain “hip” kids acknowledge the power of attraction that book had for their own developments, especially that living simple, fast and hard part). Made the young, some of them anyway, like I say I think the best part, have to spend some time thinking through the path of life ahead by hitting the vagrant dusty sweaty road. Maybe not hitchhiking, maybe not going high speed high through the ocean, plains, mountain, desert night but staying unsettled for a while anyway.    

Like I said above Alex was out on the road two years and other guys, other corner boys for whatever else you wanted to call them that was their niche back in those days and were recognized as such in the town not always to their benefit, from a few months to a few years. Markin started first back in the spring of 1967 but was interrupted by his fateful induction into the Army and service, if you can call it that, in Vietnam and then several more years upon his return before his untimely and semi-tragic end down some dusty Jack-strewn road in Mexico cocaine deal blues. With maybe this difference from today’s young who are seeking alternative roads away from what is frankly bourgeois society and was when Jack wrote although nobody except commies and pinkos called it that for fear of being tarred with those brushes. Alex, Frankie Riley the acknowledged leader, Jack Callahan and the rest, Markin included, were strictly “from hunger” working class kids who when they hung around Tonio Pizza Parlor were as likely to be thinking up ways to grab money fast any way they could or of getting into some   hot chick’s pants any way they could as anything else. Down at the base of society when you don’t have enough of life’s goods or have to struggle too much to get even that little bit “from hunger” takes a big toll on your life. I can testify to that part because Alex was not the only one in the James family to go toe to toe with the law back then when the coppers were just waiting for corner boy capers to explode nay Friday or Saturday night, it was a close thing for all us boys as it had been with Jack when all is said and done. But back then dough and sex after all was what was what for corner boys, maybe now too although you don’t see many guys hanging on forlorn Friday night corners anymore.

What made this tribe different, the Tonio Pizza Parlor corner boys, was mad monk Markin. Markin called by Frankie Riley “Scribe” from the time he came to North Adamsville from across town in junior high school and that stuck all through high school. The name stuck because although Markin was as larcenous and lovesick as the rest of them he was also crazy for books and poetry. Christ according to Alex, Markin was the guy who planned most of the “midnight creeps” they called then. Although nobody in their right minds would have the inept Markin actually execute the plan. That was for smooth as silk Frankie now also like Alex a high-road lawyer to lead. That operational sense was why Frankie was the leader then (and maybe why he was a locally famous lawyer later who you definitely did not want to be on the other side against him). Markin was also the guy who all the girls for some strange reason would confide in and thus was the source of intelligence about who was who in the social pecking order, in other words, who was available, sexually or otherwise. That sexually much more important than otherwise. See Markin always had about ten billion facts running around his head in case anybody, boy or girl, asked him about anything so he was ready to do battle, for or against take your pick.

The books and the poetry is where Jack Kerouac and On The Road come into the corner boy life of the Tonio’s Pizza Parlor life. Markin was something like an antennae for anything that seemed like it might help create a jailbreak, help them get out from under. Later he would be the guy who introduced some of the guys to folk music when that was a big thing. (Alex never bought into that genre, still doesn’t, despite Markin’s desperate pleas for him to check it out. Hated whinny Bob Dylan above all else.) Others too like Kerouac’s friend Allen Ginsburg and his wooly homo poem Howl from 1956 which Markin would read sections out loud from on lowdown dough-less, girl-less Friday nights. And drive the strictly hetero guys crazy when he insisted that they read the poem, read what he called a new breeze was coming down the road. They could, using that term from the times again, have given a rat’s ass about some fucking homo faggot poem from some whacko Jewish guy who belonged in a mental hospital. (That is a direct quote from Frankie Riley at the time via my brother Alex’s memory bank.)

Markin flipped out when he found out that Kerouac had grown up in Lowell, a working class town very much like North Adamsville, and that he had broken out of the mold that had been set for him and gave the world some grand literature and something to spark the imagination of guys down at the base of society like his crowd with little chance of grabbing the brass ring. So Markin force-marched the crowd to read the book, especially putting pressure on my brother who was his closest friend then. Alex read it, read it several times and left the dog- eared copy around which I picked up one day when I was having one of my high school summertime blues. Read it through without stopping almost like Jack wrote the final version of the thing on a damn newspaper scroll in about three weeks. So it was through the Scribe via Alex that I got the Kerouac bug. And now on the 60^th anniversary I am passing on the bug to you.           

Book Review

Visions Of Cody, Jack Kerouac, Viking Press, New York, 1973

The first three paragraphs are taken from a previous review about Jack Kerouac and his leading role in establishing the literary ethos of the "beat" generation. Those comments aptly apply in reviewing "Visions Of Cody" as well:

"As I have explained in another entry in this space in reviewing the DVD of “The Life And Times Of Allen Ginsberg”, recently I have been in a “beat” generation literary frame of mind. I mentioned there, as well, and I think it helps to set the mood for commenting on Jack Kerouac’s seminal ‘travelogue’, “On The Road”, that it all started last summer when I happened to be in Lowell, Massachusetts on some personal business. Although I have more than a few old time connections with that now worn out mill town I had not been there for some time. While walking in the downtown area I found myself crossing a small park adjacent to the site of a well-known mill museum and restored textile factory space.

Needless to say, at least for any reader with a sense of literary history, at that park I found some very interesting memorial stones inscribed with excerpts from a number of his better known works dedicated to Lowell’s “bad boy”, the “king of the 1950s beat writers, Jack Kerouac. And, just as naturally, when one thinks of Kerouac then Allen Ginsberg, William Burroughs, Gregory Corso, Neal Cassady and a whole ragtag assortment of poets, hangers-on, groupies and genuine madmen and madwomen come to mind. They all show up, one way or another (under fictional names of course), in this book. So that is why we today are under the sign of “On The Road”.

To appreciate Kerouac and understand his mad drive for adventure and to write about it, speedily but precisely, you have to start with “On The Road”. There have been a fair number of ‘searches' for the meaning of the American experience starting, I believe, with Whitman. However, each generation that takes on that task needs a spokesperson and Jack Kerouac, in the literary realm at least, filled that bill not only for his own generation that came of age in the immediate post World War II era, but mine as well that came of age in the 1960s (and, perhaps, later generations but I can only speculate on that idea here)."

That said, “Visions Of Cody” is an extension of that “On The Road” story line that made Kerouac famous, although "Visions" is more diffuse and much more concerned with literary imager than with the storyline developed in the earlier Kerouac/Paradise narrative. Here Jack as Dulouz and Neal Cassady as Cody Pomeray do more running around on the road, partying, reflecting on the nature of the universe, partying, speculating on the nature of the American experience, partying and… well, you get the drift. In some places the descriptive language is stronger than “On The Road”, reflecting Kerouac’s greater ease with his spontaneous writing style in the early 1950s when this was written (although not widely published until after his death.).

Additionally, included here is a long series of taped interviews between Jack and Neal over several days and, presumably, while both were on a running drug “high”. These tapes reflect very nicely the very existential nature of 1950s “beat”, or at least one interpretation of that term. They produce all the madness, genius, gaffs, gaps, whimsy and pure foolishness that come from an extended drug experience. Despite all reports to the contrary not everything observed until the “influence” comes out pure literary gold, and that is true here as well. But there is a lot of good stuff nevertheless, although here it could have been cut in half and we still would have gotten that “beat” beat.

Once Again-The Summer Of Love, 1967-Postcards From A Lost Planet-When Butterfly Swirl Swirled

Once Again-The Summer Of Love, 1967-Postcards From A Lost Planet-When Butterfly Swirl Swirled

By Jeffrey Thorne

The times were out of sort, the times were frankly a mess and in that little window of time, the time of Josh Breslin’s Summer of Love, 1967 he saw a little chance to jailbreak out of his humdrum existence, to skip the nine to five world that his parents thrived in and expected him to follow like a lemming to the sea for a while anyhow. We will skip all his thinking that got him there, got him to act on his jailbreak impulses, he had done enough thinking on lonely desolate roads heading west in placed like Neola, Iowa, Grand Island, Nebraska, Winnemucca, Nevada and a whole slew of nameless Main Street pass-through towns to last a lifetime. Let’s get him to Summer of Love epicenter Frisco and into the whole thing, the passion thing, with Butterfly Swirl and the Prince of Love.

For those who are already confused by the today strange monikers  that latter one was Josh Breslin’s self-anointed moniker once he hit Russian Hill in that Bagdad of a city. In those days, in that little window of time when the world was turned upside down, or a small segment of society, mainly young, when you looked back from a fifty year view, everybody was try to “reinvent” themselves, making a new washed clean beginning and so an epidemic of name-changing rushed the land. Josh a very good looking guy with some ego, a lot of ego for a working class kid from up in ocean-side Maine, Olde Saco to be exact, decided that he was royalty or something and so tagged himself with that moniker. (The Scribe, whom we will get to in a moment, used to kid him that he was really the Prince of Lvov, a Podunk town in Poland just to tweak his ego a bit.)        

So Josh Breslin just out of high school hit Frisco town, hit first stop Russian Hill after being told by some holy goof, that term no put down but a real live Yippie freak who called attention to himself using that idea, in Golden Gate Park, the epicenter of the epicenter at a certain point, that righteous dope could be had up that hill. As he walked up the long drawn out hill in a city with a fistful of hills he stopped near a park when he saw this amazing sight, amazing to him then but common to the emerging scene as he would find out later, a converted yellow school bus. The bus transformed on the outside into some fantastic psychedelic moving art show and inside a cheap travelling home after the seats had been ripped out and mattresses completely covered the floor and in the back boxes filled with spare clothes, food, and utensils. Topped off by a big sound speaker system just then blaring out some unheard of by him music from he thought maybe India or something (music which turned out to the Jefferson Airplane as they moved into the acid rock music world which took a spin as the rock genre of choice among the dope aficionados of the time like cool jazz had sustained the tea head beats a half generation before.

More importantly for our tale as he approached the bus he noticed a young guy, a guy who looked a few years older than him but still young with a long beard and long hair (Josh was beardless and had only let his hair start to grow after he fled staid bi-weekly barber shop Olde Saco and got on the road) sitting on the sidewalk beside this monster of a bus. Without hesitating Josh walked up to the guy and asked if he had a joint. The guy, the Scribe, Peter Paul Markin, also without hesitation, reached into his denim jacket pocket and passed Josh a big old joint, a blunt in the dope world language of the day, and that began the friendship, a little rocky at times, but a lasting time until the Scribe’s untimely and mysterious early death several years later.       

What that converted yellow school bus was about to give an idea of the times was that the owner, although don’t make a today’s assumption about the owner part, Captain Crunch (real name Jack Shepard, Yale, Class of 1958) had bought it or traded for it that never was clear to Josh as he heard different stories from different sources for a bag of dope in order to roam up and down the West Coast ocean-side highways picking up and letting people off along the way. The Scribe, who had quit college in Boston to head west once he heard about the Summer of Love stuff happening. Stuff which had confirmed for him his long time prediction that a new breeze was about to hit the land, to hit youth nation in particular had met Captain Crunch in Golden Gate Park and had already taken one trip up and down the coast to San Diego and back. It was on that trip back up the coast in Carlsbad about forty miles north of San Diego that Kathy Callahan, Carlsbad High School Class of 1968, the Butterfly Swirl of this scenario comes into the picture.     

Kathy, let’s call her Butterfly Swirl to keep with the times and her time, had been nothing but a Southern California surfer girl meaning in those days that she looked beautiful, tanned and curvaceous on the beach while her golden-haired surfer boyfriend went hunting for the perfect wave. It was along the Pacific Coast Highway one late afternoon as it passed through Carlsbad where the yellow brick road bus had stopped to see the breath-taking ocean view that the Scribe spied Butterfly Swirl sunning herself waiting for her by then pruned surfer boy to come ashore for the day. The Scribe went up to her and started asking questions about surfers, surfing, a subject he knew nothing about having come from the East where such a sport did not have any cache then. They talked for a while and during that time the Scribe found out that Butterfly was kind of restless going into her senior year of high school, was intrigued by what she heard was happening up in youth nation San Francisco. 

Yeah, the times were like that. You would expect a guy like the Scribe to head west once he got the message. Maybe even expect a guy like Josh before heading on to other things to head west and see what was what. What was extraordinary was the jail breakout of a gal like Butterfly Swirl who if she was a few years older would have been totally immersed in the surfer culture and could have given a damn about some weirdos up north where the weirdos congregated and had done so for a couple of generations. The long and short of it was that a couple of days later Butterfly Swirl after the Scribe’s coaxing was “on the bus” heading north.

One of the things that guys like the Scribe was trying to break out of was the old girl-guy one and only thing although breaking through that barrier had been easier said than done. For a few weeks though as the bus headed to Xanadu, Big Sur, Carmel, Monterrey and up through Pacifica before landing once again in Golden Gate Park the Scribe and Butterfly Swirl were lovers. The Scribe gave Butterfly Swirl her first experiences with dope mostly marijuana, peyote buttons and mescaline, the LSD, the Kool-aid acid test would come later with Josh. And Butterfly being an easy-going young woman began to fit in with the travelling band of gyspys who populated the bus.        

Then the same day Josh met the Scribe on Russian Hill after he had brought Josh on board the bus Butterfly Swirl who had been out pan-handling to get some provisions for the bus saw him and that was that. Something happened between them from minute one but it was not until later that night that the big switch happened after they were all stoned. The Scribe who had taken a half-lover, half-fatherly interest in Butterfly Swirl once he saw that she was not very intellectually curious (although very sexually curious and inventive) saw the writing on the wall and “blessed” the union, became head of that little trio family. A couple of weeks later at a Grateful Dead concert at the Fillmore Butterfly Swirl and the Prince of Love had their first Kool-aid acid test and the Scribe, satanic love preacher “married” them. Yeah, like I said the times were like that, exactly like that.      

[As mentioned above the Scribe and Josh would be friends until the Scribe’s untimely death in the mid-1970s. As for Butterfly Swirl by summer’s end she had had enough of roaming and cavorting and returned to her golden-haired surfer boy still looking for that perfect wave. Not everybody was built to go the distance even in the Summer of Love. J.T. ]   

In The Age Of The Robber Barons-The Gilded Age-The Film Adaptation Of Henry James’ “The Golden Bowl” (2002)-A Film Review

In The Age Of The Robber Barons-The Gilded Age-The Film Adaptation Of Henry James’ “The Golden Bowl” (2002)-A Film Review

DVD Review

By Leslie Dumont

The Golden Bowl, starring Kate Berkendale, Uma Thirman, Nick Nolte, Jeremy Northam, based on the novel by Henry James, produced by the famous team of Merchant and Ivory, 2000  

Seth Garth who has had a pretty good handle on literary figures like F. Scott Fitzgerald is always fond of using an expression credited to Fitzgerald to the effect that the rich, by this he meant the very rich and in his day rich with a pedigree, and if not a pedigree then some fake papers to that effect and not some upstart noveau riche white trash who made their dough in the garbage business. Now everybody knows another expression if not the author’s name from Anatole France that the rich and poor most democratically, most equally cannot sleep under that proverbial bridge and must adhere to the law-although the latter proposition has taken a serious beating since his day. Put together the Fitzgerald proposition and France’s grind them through the full-blown pen of American expatriate Henry James before that became seriously fashionable after the debacles of World War I when all that pre-war civilization business went bust, put old Henry’s ennobled hierarchy in the shade and you have something like a fairly decent tale of life among the very rich in the film adaptation of his The Golden Bowl.

Yes, of course the golden bowl that will find various places of refuge before the film is done is something of a metaphor for frail humanity, for the imperfections of even a high society, maybe especially a high society life. That is not what I want to dwell on but rather the cracks at the edges of high society that James details in his book and which is only partially expressed through the less cumbersome medium of film. The interior monologues, the psychological motivations of the characters which made James, whose brother William after all was as leading psychologist in his day, something of a break-through author heading toward what we now call literary modernism. No question in the post-Freudian and post-Gothic novel times this James novelistic approach is tough reading and although he has never totally fallen out of disfavor his star has diminished with time. The combined mighty Merchant-Ivory production team along with writer Ruth Prawer Jhavala has made a valiant effort to bring this tough look at high Victorian marriage and its temptations to the fore.     

Here is the play, an expression for a summary of the film that Josh Breslin first uttered to me back when we were lovers and working here before I left for greener professional pastures at his urging, who later told me that it was not really his expression but Sam Lowell’s which tells a lot about Sam’s power over the writing staff at this publication.

Until you remember that it was the late Peter Paul Markin that gave the expression to Sam but enough of this internal literary history and on to the plot line. Couple number one poor but drop- dead beautiful Charlotte played by then rising actor Uma Thurman had a serious affair with a poor but drop- dead beautiful Italian prince of uncertain lineage, Amerigo, played by Jeremy Northam but that affair due to their limited resources and big appetites for luxurious and idle living can go nowhere. Can go nowhere mainly because he is engaged to the daughter, Maggie played by Kate Beckinsale, of a very wealth American robber baron, Adam Verver played by miscast Nick Nolte. Charlotte by the way a girlhood friend of Maggie’s although that did not stand in the way of beating her friend’s time with her intended. And had not qualm number one about the matter. These four characters drive the film aided by a busybody couple who act as foils for various shifts in the drama.    

Rich overlays poor and our Prince marries Maggie and has a son with her after dumping Charlotte like a hot potato when the wedding bells ring and his life take a big swing upward. Charlotte meanwhile still is carrying the torch for the Prince and takes dead aim at him when she goes to London to visit her old friend Maggie several years later. She tries might and main to get her prince but gets nowhere while she is unmarried. Maggie worried about her father who seems to have an art collection hunger worthy of many a benighted robber baron brings Charlotte and dad into contact and from there Adam falls for poor as a church mouse Charlotte and marries her. Somehow having everybody in close contact shifts the playing field as Maggie draws what today would seem incestuously close to her father leaving the field wide open for Charlotte and Amerigo to have a fling, or what turns out to be a fling once Maggie and Papa become wise to what is going on between this adulterous pair.  

Of course in high society nobody wants to offend anybody by actually saying what they mean or what concerns them so many minutes are used to convey what takes many pages to convey in the book about the internal monologues each party goes through to NOT tell what he or she is feeling. This kind of thing can only go on so long and finally as Maggie gets more and proof culminating with the golden bowl caper of what was what between the pair the tension is resolved when Amerigo dumps Charlotte for Maggie and Adam forces Charlotte to go back to America so he can play generous former robber baron with his treasured art collection readied for a museum. Yes, Fitzgerald once again had it right the very rich are different from you and me-and not necessarily for the better.