This space is dedicated to the proposition that we need to know the history of the struggles on the left and of earlier progressive movements here and world-wide. If we can learn from the mistakes made in the past (as well as what went right) we can move forward in the future to create a more just and equitable society. We will be reviewing books, CDs, and movies we believe everyone needs to read, hear and look at as well as making commentary from time to time. Greg Green, site manager
Love Among The Smart Set-William Powell and Myna Loy’s “The Libeled” (1936) –A Film Review
DVD Review
By Writer Greg Green
The Libeled Lady, starring Myra Loy, William Powell, Spencer Tracy, Jean Harlow, 1936
[Those readers who have been following the latest developments about the direction of this American Left History blog site over the past period and have become aware of the conclusions that returning to the old idea of covering all of the American experience and not just hone in on the 1960s experiences of most of the older writers and changing personal know that I have been assigned the job of site administrator which means I will be handing out the assignments and other projects in cooperation with the writers, young and old. I come here from the on-line American Film Gazette where I held basically the same position although there it was called moderator. (Apparently in the “new age” of media, particularly social media, the tradition terms “editor” or “gatekeeper” have fallen out of favor, have fallen in bad odor.)
To get a feel for the job I have taken up this assignment which Sandy Salmon the film critic thought I might be interested in doing to “test the waters” since I have very little experience with the older films that have been the staple of this site. In the future nevertheless the tilt for films will be much more contemporary which everybody, or almost everybody, has agreed is necessary to lure a younger crowd not formed by the rush of the 1960s when black and white films were like catnip to student audiences. P.S. I will weigh in on whether my predecessor Pete Markin, whom I have known for years by reputation and early on from the time he worked at the American Film Gazette when this site needed a cash infusion, was purged or gently put out to pasture some other time. Greg Green]
Sam Lowell who was I have heard the main culprit (not my term but Sandy Salmon’s) during his tenure as film critic before he retired to write on occasion, very occasionally who drove the overwhelming preponderance of old-time black and white films. In those days before Alden Riley and a few stringers came on board with Sandy he did all the reviews himself or were done under his guidance. So he was able to feast on the films that he would watch as a young man in high school (that is where it started) on Saturday afternoons at his local movie theater.
I would assume that the film under review, The Libeled Lady, would be one that he watched on those Saturday afternoons but for the life of me I can’t understand why. Certainly it is not the collective talents of the cast Jean Harlow, Myra Loy, William Powell and Spencer Tracy the last one the only one whose work I am familiar with. So it must be the plot, the story line, the screenplay writers because from what I have read this is supposed to be a screw-ball comedy in an age and time when such fare was grist to the mill. Maybe that bill of fare is what got my grandparents and maybe my parents although they were probably too young to appreciate this through the Great Depression that those same grandparents endlessly carped on whenever anybody complained about anything, about not getting this or that unnecessary to them object like that was a talisman to ward off all discussion.
Let’s see what you think of this, think of a film that was on the short list for the Oscars in 1936. Mayfair swell (not my term of choice but from Sam since I couldn’t think of a better one when we talked about the upper class which dominates this film), Connie played by Ms. Loy (I got used to following New York Times honorifics at American Film Gazette and will continue to do so here for now) sued some low-rent New York City newspaper for libel over a false allegation that she broke up some happy household. She decided to go big or don’t go at all and claimed five million dollars would make her “whole” to use a legal expression. The newspaper in the person of its managing editor, Warren, played by redoubtable Mr. Tracy panicked and tried to lure ladies’ man and ace reporter Bill, played by the inestimable Mr. Powell better known according to Sam as the male duo in the Nick and Nora Charles The Thin Man series with Ms. Loy to run a scam on Connie. The idea, pretty lame its seems even for a low-rent up against it urban newspaper was to get Bill alone with Connie and have his “wife” find them together. To blackmail Connie out of the law suit and out of having to hand over those five very big ones.
I said lame and I meant because there was one little problem with the weasely scheme. Bill was a happily unmarried man with no wife and if anybody was asking, asking at least for public consumption no mistress either. No nonsense the company comes first, freedom of the press even when it lies Warren volunteers his girlfriend something of a goofball flossy if you asked me Gladys, played by the ill-fated Ms. Harlow. Here is where everything gets balled-up not funny. Bill and Gladys marry, a marriage of convenience easily divorced once that onerous court case is over. Problem though those is that while cruising back to America on a luxury liner Bill and Connie fall in love and get married. No problem right since Bill and the hapless Gladys are divorced. Problem Gladys has lost her yen for Warren and wants Bill back. Then through some sleigh-of-hand divorce foul-ups courtesy of the apparently frazzled screenwriters Bill and Gladys are still married. Not to worry though once Bill and Connie put the squeeze play on Gladys runs, no, walks back to her Warren. I hope to high heaven that Sam didn’t spent his hard-earned dollar on this cuckoo of a film. Short-listed for Mr. Oscar or not.
February is Black History Month-Honor Historian Carter G. Woodson
By Sam Eaton
Normally, unlike guys like Sam Lowell and Frank Jackman that write here about politics and history, I am not interested in the fate of historians dead or alive. They provide valuable material, mostly, but I just am not attuned to history enough to go crazy over any particular one, or any particular morsel they have to serve up. Not so the man we are honoring here Carter G. Woodson (and on Google’s home page doodle as well which is where I got my prompt from). The reason I am more than happy to make an exception is that the good Doctor did yeoman’s work, no more than that, to bring us young white kids who were involved in the black civil rights movement in the early 1960s plenty of information about the history of early black struggles and personalities. Started journals and programs to study the subject. Stuff that we were clueless about despite our avidity to help in the black liberation struggle. Stuff that was not taught in any high school course, hell, any college courses until well after Black/Afro-American study programs were established. So, yes, hats off the good Doctor.
I Accuse-Unmasking The Sherlock Holmes Legend, Part II-Basil Rathbone and Nigel Bruce’s “The Adventures Of Sherlock Holmes” (1939)-A Film Review
DVD Review
By Danny Moriarty
(Once again as I did in my initial offering on the bogus Sherlock Holmes legend Sherlock Holmes Faces Death, hah!, in the interest of transparency which has become more of an issue these days when every medium is under scrutiny Danny Moriarty is not my real name. As then and will be discussed again below in my research about the “fake news” legend of Mr. Holmes I have run into a notorious cult-like band of desperadoes known as “The Baker Street Irregulars,” why that name I do not know. This clot of criminals, who I am told have very stylized rituals involving illegal drugs and human blood, and are the bane of the London Bobbies, have been connected with the disappearance of many people who questioned the Sherlock myth, and not a few unsolved murders of people who have washed up on the Thames over the years.
This need for an alias, for cover, is no joke since that first review I have been threatened, threatened with I won’t death, death threats, but some nasty actions which necessitate my keeping very close tabs on my security apparatus as I attempt to deflate this miserable excuse for a detective, a parlor detective at that. I will not be stopped by hoodlums and blood-splattered junkies.)
The Adventures of Sherlock Holmes, starring Basil Rathbone (if that is his real name which is doubtful although unlike myself he has never been transparent enough to say that he is using an alias), Nigel Bruce (a name which has been confirmed as a British National active in the 1930s and 1940s), 1939
We live in an age of debunking. An age perhaps borne aloft by cynicism, hubris, sarcasm and above all “fake news,” not the fake news denying some reality that you hear so much about these days, but by the elaborate strategy of public relations cranks and flacks who will put out any swill as long as they are paid and not a minute longer. That hardly started today but has a long pedigree, a pedigree which has included the target of today’s debunking one James Sherlock Holmes out of London, out of the Baker Street section of that town. From the cutesy “elementary my dear Watson” to that condescending attitude toward everybody he encounters, friend or foe, including the hapless Doctor Watson this guy Holmes is nothing but a pure creation of the public relations industrial complex. As I have noted above I have paid the price for exposing this chameleon, this so-called master detective, this dead end junkie, with a barrage of hate mail and threats from his insidious devotees.
Maybe I better refresh for those who may not have read the first review, may be shocked to find their paragon of a private detective has feet of clay, and an addiction problem no twelve step program could curtail in a million years. Here are some excerpts of what I said in that review which I stand by this day no matter the consequences:
“Today is the day. Today is the day I have been waiting for since I was a kid. Today we tear off the veneer, tear off the mask of the reputation of one Sherlock Holmes as a master detective. Funny how things happen. Greg Green assigned me this film out of the blue, at random he said when I asked him. However this assignment after viewing this film, Sherlock Holmes Faces Death (of course he doesn’t face, hadn’t been anywhere near any danger that would put death in his way but that can wait until I finish out defanging the legend) set off many bells, many memories of my childhood when I first instinctively discovered this guy was a fraud, a con artist.
Back then my grandparents and parents hushed me up about the matter when I told them what I thought of the mighty Sherlock. They went nutty and told me never to speak of it again when I mentioned that a hard-boiled real private detective, a guy who did this kind of work for a living, a guy named Sam Spade who worked out in San Francisco and solved, really solved, the case of the missing black bird which people in the profession still talk about, which is still taught in those correspondence course private detection in ten easy lesson things you used to see advertised on matchbook covers when smoking cigarettes was okay, who could run circles around a parlor so-called detective like Mr. Holmes.
[Even Sam Spade has come in for some debunking of late right here in this space as Phil Larkin and Kenny Jacobs have gone round and round about how little Spade deserved his “rep,” his classic rep for a guy who was picked by some bimbo out of the phone book and who couldn’t even keep his partner alive against that same femme he was skirt-addled over. Kept digging that low-shelf whiskey bottle in the bottom desk drawer out too much when the deal went down. The only guy who is safe is Phillip Marlowe since nobody can call him a “one solved murder wonder” after the string of cold as ice, maybe colder, cases he wrapped up with a bow over the years. They still talk about the Sherwood case out on the Coast even today, talk in hushed tones too. You notice nobody has tried to go after him, not even close. D.M.]
That was then. Now after some serious research as a result of this film’s impact on my memory I have proof to back up my childhood smothered assertions. Sherlock Holmes (if that is his name which is doubtful since I went to the London telephone directories going back the first ones in the late 1800s and found no such name on Baker Street-ever) was nothing but a stone-cold junkie, cocaine, morphine, lanadum and other exotic concoctions which is the reason that he had a doctor at his side at all times in case he needed “scripts” written up. A doctor who a guy like Sam Spade would have sat on his ass a long time before as so dead weight.
That junkie business would not amount to much if it did not mean that high and mighty Sherlock didn’t have to run his own gang of pimps, hookers, con men, fellow junkies, drag queens, rough trade sailors and the flotsam and jetsam of London, high society and low, to keep him in dough for that nasty set of habits that kept him high as a kite. There are sworn statements (suppressed at the time) by the few felons whom the Bobbies were able to pick up that Sherlock was the guy behind half the burglaries, heists and kidnappings in London. And you wonder why the Baker Street Irregulars want to silence me, show me the silence of the grave….
Of course the Bobbies, looking to wrap up a few cold file cases which Sherlock handed them to keep them off the trail, looked the other way and/or took the graft so who really knows how extensive the whole operation was. In a great sleight of hand he gave them Doctor Moriarty who as it turned out dear Sherlock had framed when one wave of police heat was on and who only got out of prison after Holmes died and one of Holmes’ flunkies told the real story about how Holmes needed a “fall guy” and the wily Doctor took the fall.”
This The Adventures Of Sherlock Holmes cover-up is a classic example of police collision to cover their own dirty tracks. Everybody knows that Sherlock made his name after he beat down some poor mistreated dog who should have been reported as abused to whatever they call the humane animal treatment society in merry old England.
You don’t have to be one of those correspondence course private detection in ten easy lessons that you used to see on matchbook covers when cigarette smoking was okay like I said before to know that these high society cases are inside
jobs. Naturally the luckless and clueless Holmes has his fall guy all set up. A guy like I mentioned before named Professor Moriarty (no relative since if you remember this is my alias) who is a salt of the earth type but whom Holmes has a deep hatred for ever since the good doctor stopped feeding him his drugs, told him to go cold turkey. That good advice and good cheer despite the obvious fact that no twelve step program was going to do anything but drive Holmes to who knows what paranoid delusions. All the good professor did was to clue in a guy whose father had been bamboozled by this high society young woman’s father. Had been murdered by the dame’s old man.
The dispute had been over dough money which the guy should have gotten as inheritance but didn’t and wound up on skid road. While this young heiress and her ne’er do well a con artist and card shark from the word around town brother lived high off the hog. The stuff you heard about the good professor trying to take the Crown jewels is nothing but fake news. They were never in danger of being stolen but our man Sherlock raised a big hue and cry after smoking too much hashish and thought he saw them floating over the Thames. Called copper for them to nab favorite fall guy the hapless professor. You never hear about this of course since the coppers kept it hush-hush but that was the night in a drug frenzy Sherlock tried to murder the good professor. Kill him dead. RIP, Professor, RIP. Didn’t happen but the good professor got the slammer anyway and it was only Sherlock’s overdose death that sprung him after “Five Fingers” Benny Boren gave the real story.
Like I said last time, a fake, fake all the way. Unless that Irregular crowd of thugs and blood-stained aficionados get to me this is not the last you will hear about this campaign of mine to dethrone this pompous junked-up imposter. I am just getting into second gear now.
Will The Real James Bond Stand Up –Part VI-Timothy Dalton’s “License To Kill” (1989)-A Film Review
DVD Review
By Alden Riley and Sandy Salmon
License to Kill, Timothy Dalton, Cary Lowell, 1989
The knowledgeable reader is probably wondering what the hell is going on when two film reviewers who are allegedly fighting a “mock heroic” battle over the merits their chosen “real” James Bonds, Sean Connery for Sandy Salmon and Pierce Brosnan for Alden Riley are jointly contributing to a review of yet a third Bond, James Bond player Timothy Dalton in License To Kill. But perhaps that knowledgeable reader missed something a while back when this “fight to the death” started after Sandy had given Sean Connery top billing as the “real” James Bond and Alden had asked the new site manager Greg Green to give him space to tout Pierce Brosnan. Both reviewers agreed that those two were the only real candidates for number one and so they agreed, half-heartedly agreed since they are in another dispute over what is happening to the site currently now that any talk about the internal struggle that roiled the blog last year and mention of the previous leadership is verboten, to collectively trash Timothy Dalton’s pathetic excuse of a Bond player.
Alden had put that Brosnan request in the form of “blackmail” of a new kind when he threatened a “vote of confidence” showdown among the writers when Greg first balked at the request. That vote of no confidence doing in the previous unmentionable leadership. Greg the beneficiary of Alden’s leadership of the purge of the previous site manager in order to gain his job took the hint immediately and granted Alden’s wish. Initially Greg’s idea in resurrecting the seemingly never-ending Bond series for review at this site was the great success that such reviews had among the younger readers over at his previous job as site manager at American Film Gazette when the films came out. He thought such efforts might help stem the declining youth readership here as well. (That was the basis for the ill-fated although not completely abandoned run of comic book-derived super-heroes as well.) Greg had only expected to have Sandy, formerly the Senior Film Critic under the old regime, do a quick run through of the Connery films to see what would happen. Alden, formerly the Associate Film Critic under that same old regime then threw his complaint in the mix and the “battle” was joined.
That “battle” a little heated at times, at around the “water cooler” times, not necessarily reflected in the reviews themselves got a boost when Alden started to complain out loud about his “demotion” along with everybody else to just writer status and about the new rule that the old site manager should essentially become a non-person after that internal struggle purge. Sandy, who had actually supported the old regime manager tried to cool Alden down. Greg stepped in with the Dalton suggestion as a means to lower the temperature. We shall see.
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No question that the long running seemingly never-ending series of Bond films are run by a very defined formula from the opening camera eye agent shooting at us scene through the inevitable song reflecting the film title through the obligatory “Bond, James Bond” tip of the hat and through the equally obligatory Cold War-tinged thrilling action a minute involving improbable feats and almost equally implausible high tech gadgetry. And of course the inevitable string of foxy women ready to get down under the silky sheets with a Bond merely at the sight of him. Although there has been a welcome trend, reflecting the reality of the women’s movement in the Western world at least, away from that passive foxy female role and a more active role, for good or evil, along with that downy billows stuff (“downy billows” courtesy of the writer Tom Wolfe). So the real comparison is between the attributes and demerits of the stable of Bond players. As demonstrated in this his last film as Bond young Timothy Dalton did not make the cut.
Here’s why. The bad guys in this one are south of the border, meaning Hispanic, Latino drug dealers (the Cold War tip being their working at least in transit via Cuba). Meaning they are serious bad asses lead by psychotic sadist Sanchez in the world of high end drug trade. A thorn in the side of DEA and maybe the CIA if not exactly MI6 material which is to knock out high tech blow up the world stuff by some evil forces and save the West or at least Britain. Way out of mission statement sluggard seriously understated and poker-faced Timothy Dalton’s starts off his cinematic journey on the way to a wedding where he is to be best man or something. WTF neither Connery or Brosnan would be caught dead within a hundred miles of a wedding chapel except maybe to exercise some lordly feudal right of first night with the bride, blushing or not.
Not so Timmy boy. See he is buddy-buddy with the local CIA chief and his lovely bride. Shortly after the wedding those bad ass drug traffickers throw the agent through the grinder, the shark tank grinder to show how sadistic that crowd is and kill his bride for kicks. So Timmy is on a mission not for Queen and country but personal revenge. How the mighty have fallen. So despite being warned off by M, and later loaded up with gizmos by Q also Bond series standard stuff Timmy is off to kill bad guys- no prisoners here, after all he has a license to kill in case you have not been paying attention to all this secret agent stuff of late.
He starts working his way up the food chain and along the way while trying to see how the cartel operates he comes across the head bad guy Sanchez’s mistress who is on a boat used to transfer drugs for cash. Naturally a drop dead beauty, a hot-blooded Spanish beauty whom he does not go under the sheets with right there and then. Connery or Brosnan would have had her for lunch and had time for a nap afterward. Maybe Timmy, is as they used to say in Sandy’s old neighborhood before everybody got okay with having gay guys out of the closet, ‘light on his feet” or something. They crossed paths a couple of times and no go. Something is definitely wrong here.
As Timmy gets to the top of the food chain, gets to the country (fake named but based on real drug route Panama in the old days maybe now too) where the bad hombres are headquartered he runs into a dish, a good looking young woman, Pam, played by Cary Lowell, who also has abilities like being able to fly a plane (and later drive a heavy duty truck). They hit the sheets quickly after a little repartee so that question about Timmy sexual preferences gets answered seemingly he is just a shy boy or something. Working together they start moving in on the bad guys, start taking names and numbers and not asking questions until the big finale when after blowing up the bad guys’ cocaine laboratory among other things the bad guys head on the road to deliver their goods via oil trucks (through the marvels of modern chemistry cocaine could be dissolved in oil for easy and safe delivery-nice ploy). The final confrontation shows a lot of trucks being blown up and the bulk of the bad guys including the head bad guy Sanchez burned-literally.
Work finished, revenge taken, Timmy and Pam go to a party where the head bad guy’s now ex-girlfriend although not dressed in mourning black courtesy of Timmy makes a play for him leaving Pam blue, very blue. Except Timmy, and this will tell the tale as well as any about why this James Bond is not up to snuff, rebuts the senorita and goes to that very blue Pam. Yeah, true blue Timmy that kind of says it all about this fake news Bond, James Bond. Fortunately Pierce will follow Timmy in the role and all will be back to jump street again.
The Hills And Hollas Of Home- In Honor Of The Late Hazel Dickens-The “Queen” Of The Appalachia Hills And Saturday Night Red Barn Dance
By Sam Lowell
This is the fourth and final installment (the first dated January 13, 2018, the second dated January 19, 2018, and the third January 24, 2018) set as an introduction to the history of the American Left History blog. Initially I believed that this would be a several part series and now it looks like with this final section about the massive internal in-fighting and resultant shake-up that brought the original leader of all of these publications down, brought in a new regime with my help and whatever direction the new leadership is heading we are finally done with a task a lot harder than I thought it would be. For a final time as I have been at pains to mention before this task came to me because I am one of the few people, more importantly one of the few writers, who has taken part in almost all of the key junctures in this forty something year history including the latest flare-up which has brought about a new regime, again partially with my help, so I am well-placed to tell the tale.
As part of the “truce” arranged with current site manager Greg Green I will tell the story and will elicit comments from a couple of other Editorial Board members. The first installment dealt with the genesis of this blog with hard copy predecessors going back to the late 1960s when a number of the older writers still standing came on board, many through long friendships with the previous site manager going back to high school days, those including myself. The second dealt with the dog days of the hard copy version of this blog and the greying of its staff. The third dealt with the transfer to the on-line version and some preliminary observations about how the just completed internal struggle came to such a fiery conclusion and explain how I became a member of the opposition. This final section as I said will deal with the food fight of 2017.
All four parts of the now completed project will appear as one unit on February 10th.
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In a sense this last section is a bit anti-climactic since I have laid out the history leading up to the split, my part in it, and the result with the removal of the former site manager Alan Jackson in what I have described truly as a purge. (Some “fragile” types on both sides have backed off from that designation saying it is too rough but Allan knows, just as well as I do both of us veterans of many old-time political struggles in radical circles, that he had been purged.) That elevated Greg Green who had originally come over from the American Film Gazette to run the day to day operations to site manager. As part of the post-Allan regime Greg decided that he would create an Editorial Board to oversee everything and back up his decisions. For transparency reasons I should note that I sit on that board. I should also note that although it has only been in existence the past few months that there has been gripping about it being a rubber-stamp, a group of Greg toadies, and other derogatory remarks from young and older writers alike. Greg has also hired a couple of younger writers, really twenty something out of journalism schools and English majors. Brought on Josh Breslin’s former companion, Leslie Dumont, who many years ago worked here as a stringer but getting nowhere with Alan’s regime left and finally wound up with a big by-line at New York Monthly. Brought on my long-time companion Laura Perkins who also worked as a stringer and got nowhere with Alan and left for an academic and high tech career. Still no soap on getting any black writers, or more generically “writers of color.”
Those are the results thus far not without controversy and some hard feelings especially by the older writers who have been stripped of their titles, younger writers too who had worked for titles. Worse and which almost caused another explosion every writer now can be assigned any topic on any subject to as Greg says “broaden their horizons.” But enough of the current doings and back to the spring of 2017 and the genesis of the in-fighting that has brought these changes.
It almost seems like some twisted kiss of fate that Alex James, Zack’s oldest brother (who by the way is about ten years older than Zack showing a good example of the relative sense of “younger” writers Allan was bringing in. Certainly nobody as young as twenty something Kenny Jacobs), an old friend of ours from the old neighborhood, who went on to become a successful lawyer, went on a business trip to San Francisco last spring (2017). While there out of the blue Alex saw an advertisement on the side of a bus for something called The Summer of Love Experience, 1967 at the de Young Museum in famous Golden Gate Park. Sneaking (according to Alex) out one afternoon he saw the exhibition and was positively floored by the experience. See, he, we, under the “guidance” of the late Peter Paul Markin had been in the thick of the “drugs, sex, and rock and roll” mantra which all of that experience went under. When he got back to Boston Alex called or e-mailed everybody he knew from back in the days who was still standing and who had gone out there to see what was happening, to see as Markin had called it “the world turned upside down.” He gathered a number of us, including Zack who had gone to journalism school and was a veteran of various workshop programs, together in order to propose that in honor of our fallen brother Markin each write our “memoirs” of those times with Zack as editor and publisher. Those who agreed included old friend Allan Jackson who had also gone out there with us. The venture was a great success and various portions were posted last summer on the ALH blog as well as in booklet form.
That seemingly small exercise in 1960s nostalgia apparently snapped something in Allan’s head. I have already mentioned the drift of the blog on the part of the older writers who were allowed by Allan to pick whatever subject they wanted (with the left-overs to the younger writers). Last summer right after the memorial booklet was published and articles posted Allan decided to do a massive blanket coverage of the 50th anniversary of the Summer of Love by assigning a million topics related to that time. If you couldn’t link the Summer of Love, or the 1960s “hippie” experience, into your article he would red-pencil what you had written. (Allan liked to use a red pencil to “edit” something about his radical red youth he said when asked why he didn’t use the usual blue pencil.) This was no joke on Allan’s part. I was doing a little piece on figure skating after reviewing a Sonja Henny 1930s film. Allan asked me why I didn’t bring up the ice skating rink at Fillmore and Pacific where “hippies” would go to skate during 1967 when we were out there. WTF.
All of this came to a head when young Alden Riley, a new hire for the film department to help Sandy Salmon out with the increased load of films that were projected by Greg on the site. He was “assigned” by Allan, over Sandy’s head, to do a review on a bio/pic about Janis Joplin, a key musical figure in the heady days of the Monterey Pops Festival. Reason? After Sandy had done a review of D. A Pennebaker’s documentary about the first Monterey Festival he mentioned Ms. Joplin’s name and Alan said he did not know who she was. Allan heard about that blunder and ordered the assignment as “punishment’ is what he told Si Lannon, another of our old friends. Things only got worse from there as Allan double-downed on the Summer of Love connection for each article.
I am not quite sure who called the first meeting of essentially the whole rank of younger writers (average age somebody figured out about forty-five years old) to see what they would do about Allan’s manic behavior and their dubious assignments which to a man they could give f - -k about to quote Zack. Maybe it was Zack since he Lance Lawrence and Bradley Fox were the three ringleaders of the uprising who in water cooler legend were dubbed the “Young Turks.” They decided to go to Allan and put their cards on the table. He rebuffed them out of hand. That is when I came in, came to one of their meetings being invited by Alden, to see if I could reason with Allan. I proposed to Allan that we get Greg Green from American Film Gazette to come in to do the day to day operations leaving Allan time to write some stuff on his own or think about future assignments. He bought my argument once I explained that we might lose the whole cohort if things didn’t change. They didn’t as Allan pressed Greg to hand out these never-ending freaking 1960s world assignments.
To make a long story short the “Young Turks” (and me) had another meeting, an ultimatum meeting with me as the emissary to Allan again. The proposal of the group was either Allan “retire” or they collectively would quit. The decision to be determined by a majority vote-for or against. For some reason even I don’t understand to this day Allan agreed. You know the rest including my “traitorous” vote with the “Young Turks.” My decisive vote since we won by one vote. What you may not know is that while the split was almost directly along generational lines there were several abstentions among the older writers from the tallies. Any one of them casting a vote for Allan would have shifted the totals the other way and I would have been the one “purged” and working in Kansas someplace. So some of the older guys had also doubts about the wisdom of going back to the past. Now that you have the whole story this episode should be at rest. (With the exception of any articles still in the pipeline before the truce with Greg was negotiated.)
Kenny Jackman heard the late Hazel Dickens (d. 2011) for the very first time on her CD album It’s Hard To Tell The Singer From The Song some years back, maybe 2005, when he was in thrall to mountain music after being hit hard by Reese Witherspoon’s role as June Carter in the film Walk The Line. At that time he got into all things Carter Family unto the nth generation. A friend, a Vermont mountain boy, hipped him to Hazel during his frenzy and he picked up the CD second-hand in Harvard Square. (Really at Sandy’s located between Harvard and Central Squares, a folk institution around town where until recently Sandy had held forth since the early 1960s folk minute when everybody was desperately looking for roots music and that was the place to look first. Hazel’s You’ll Get No More Of Me, A Few Old Memories and the classic Hills of Home knocked him out. The latter, moreover, seemed kind of familiar and later, a couple of months later, he finally figured out why. He had really first heard Hazel back in 1970 when he was down in the those very hills and hollows that are a constant theme in her work, and that of the mountain mist winds music coming down the crevices. What was going on though? Was it 2005 when he first heard Hazel or that 1970 time? Let me go back and tell that 1970 story.
Kenny Jackman like many of his generation of ’68 was feeling foot loose and fancy free, especially after he had been mercifully declared 4-F by his friendly neighbors at the local draft board in old hometown North Adamsville (declared 4-F in those high draft days because he had a seriously abnormal foot problem which precluded walking very far, a skill that the army likes its soldiers to be able to do). So Kenny, every now and again, took to the hitchhike road, not like his mad man friend Peter Paul Markin with some heavy message purpose a la Jack Kerouac and his beat brothers (and a few sisters) but just to see the country while he, and it, were still in one piece no pun intended Kenny told me since the country was in about fifteen pieces then).
On one of these trips he found himself stranded just outside Norfolk, Virginia at a road-side campsite. Feeling kind of hungry one afternoon, and tired, tired unto death of camp-side gruel and stews he stopped at a diner, Billy Bob McGee’s, an old-time truck stop diner a few hundred yards up the road from his camp for some real food, maybe meatloaf or some pot roast like grandma used to make or that was how it was advertised. When he entered the mid-afternoon half-empty diner he sat down at one of the single stool counter seats that always accompany the vinyl-covered side booths in such places. But all of this was so much descriptive noise that could describe a million, maybe more, such eateries. What really caught his attention though was a waitress serving them “off the arm” that he knew immediately he had to “hit” on (although that is not the word used in those days but “hit on” conveys what he was up to in the universal boy meets girl world). As it turned out she, sweetly named Fiona Fay, and, well let’s just call her fetching, Kenny weary-eyed fetching, was young, footloose and fancy free herself and had drawn a bead on him as he entered the place, and, …well this story is about Hazel, so let us just leave it as one thing led to another and let it go at that.
Well, not quite let’s let it go at that because when Kenny left Norfolk a few days later one ex-waitress Fiona Fay was standing by his side on the road south. And the road south was leading nowhere, nowhere at all except to Podunk, really Prestonsburg, Kentucky, and really, really a dink town named Pottsville, just down the road from big town Prestonsburg, down in the hills and hollows of Appalachia, wind-swept green, green, mountain mist, time forgotten . And the reason two footloose and fancy free young people were heading to Podunk is that a close cousin of Fiona’s lived there with her husband and child and wanted Fiona to come visit (visit “for a spell” is how she put it but I will spare the reader the localisms). So they were on that hell-bend road but Kenny, Kenny was dreading this trip and only doing it because, well because Fiona was the kind of young woman, footloose and fancy free or not, that you followed, at least you followed if you were Kenny Jackson and hoped things would work out okay.
What Kenny dreaded that day was that he was afraid to confront his past. And that past just then entailed having to go to his father’s home territory just up the road in Hazard. See Kenny saw himself as strictly a Yankee, a hard “we fought to free the slaves and incidentally save the union” Yankee for one and all to see back in old North Adamsville. And denied, denied to the high heavens, that he had any connection with the south, especially the hillbilly south that everybody was making a fuse about trying to bring into the 20th century around that time. And here he was with a father with Hazard, Kentucky, the poorest of the poor hillbillies, right on his birth certificate although Kenny had never been there before. Yeah, Fiona had better be worth it.
Kenny had to admit, as they picked up one lonely truck driver ride after another (it did not hurt in those days to have a comely lass standing on the road with you in the back road South, or anywhere else, especially if you had longish hair and a wisp of a beard), that the country was beautiful. As they entered coal country though and the shacks got crummier and crummier he got caught up in that 1960s Michael Harrington Other America no running water, outhouse, open door, one window and a million kids and dogs running around half-naked, the kids that is vision. But they got to Pottsville okay and Fiona’s cousin and husband (Laura and Stu) turned out to be good hosts. So good that they made sure that Kenny and Fiona stayed in town long enough to attend the weekly dance at the old town barn (red of course, run down and in need of paint to keep red of course) that had seen such dances going back to the 1920s when the Carter Family had actually come through Pottsville on their way back to Clinch Mountain.
Kenny buckled at the thought, the mere thought, of going to some Podunk Saturday night “hoe-down” and tried to convince Fiona that they should leave before Saturday. Fiona would have none of it and so Kenny was stuck. Actually the dance started out pretty well, helped tremendously by some local “white lightning” that Stu provided and which he failed to mention should be sipped, sipped sparingly. Not only that but the several fiddles, mandolins, guitars, washboards and whatnot made pretty good music. Music like Anchored in Love and Come All You Fair And Tender Ladies, stuff that he had heard in the folk clubs in Harvard Square when he used to hang out there in the early 1960s. And music that even Kenny, old two left-feet, one way out of whack, draft-free out of whack, Kenny, could dance to with Fiona.
So Kenny was sipping, well more than sipping, and dancing and all until maybe about midnight when this woman, this local woman came out of nowhere and began to sing, sing like some quick, rushing wind sound coming down from the hills and hollas (hollows for Yankees, okay, please). Kenny began to toss and turn a little, not from the liquor but from some strange feeling, some strange womb-like feeling that this woman’s voice was a call from up on top of these deep green hills, now mist-filled awaiting day. And then she started into a long, mournful version of Hills of Home, and he sensed, sensed strongly if not anything he could articulate that he was home. Yes, Kenny Jackson, Yankee, city boy, corner boy-bred was “home,” hillbilly home. So Kenny did really hear Hazel Dickens for first time in 1970, see.
[As for Fiona Fay she stayed on the road with Kenny until they headed toward the Midwest where she veered off home to Valparaiso in Indiana, her hometown as Kenny headed west to California, to Big Sur and a different mountain ethos. They were supposed to meet out there a couple of months later after she finished up some family business. They never did, a not unusual occurrence of the time when people met and faded along the way, but Kenny thought about her and that wind-swept mountain dance night for a long time after that.]
Your average thriller usually sets up the demented psycho early, lets him (or less often her) go through his paces getting everybody he comes in contact with a little shaky, shaking their heads anyway. That is the case early on with one Gordo Mosley, Gordo the Wierdo as he was known in high school, played by Joel Edgerton who directed as well, who looks for all the world like a stone-cold killer and A-I psycho. He runs into an old classmate Simon Callem and his wife Robin who have just moved to LaLa land after suffering the colds of Chicago (and some undisclosed problems Robin had, a prescription pill junkie habit best left in the past). Of course, nobody explains as will be revealed why deadbeat, down at the heels Gordo winds up in a high-end interior design shop in LA and just happens to run into the lovely couple picking out pillows or something for their new digs but we will let that pass. Seems Gordo and Simon knew each other in high school and that is the wedge Gordo needs to become a nuisance and somebody that Simon really wants to avoid-at all costs. But like most weirdos, maybe this is a requirement for membership, Gordo has some kind of idea fixed in his head that he will become part of the Simon-Robin circle. And won’t take no for an answer. Simon for his own reasons which will unfold as the film moves along is adamantly against that and makes it plain to Gordo. Robin is a little more forgiving, sees Gordo as a sad sack just like herself.
Once rebuffed odd things start happening at the Callem homestead and the prime suspect is one Gordo the Weirdo. Once that idea is set in stone, once we are led to believe that Gordo is the bad guy and capable of any kind of madness-even murder the twists start happening. The play then starts to revolve around what big man on campus Simple Simon and a friend did to Gordo back in high school. A classic case of macho man picking up the scent, picking up weaknesses, bullying mercilessly a weaker man. It gets worse-Simon set Gordo up with a lying sack of crap story that wound up getting him a reputation as a gay man. All bullshit, all made up out of thin air. But not without consequences for Gordo Mosely. That brush in turn led him to almost be killed by his father for being gay. He wound up being sent to military school and life went downhill from there for him. All because big man “could do it” according to his accomplice.
As the revelations keep coming out in dribs and drabs Robin gets a totally different look at her husband who turns out to be a bum of the month lying sack of crap. Moreover his savagery is not all in the past. Along the ways this ‘survival of the fittest guy” Simon has set up a co-worker with a false past so that he can move up the food chain to a cushy job. That guy, and not who you would suspect Gordo, went berserk and tried to destroy Simon’s house. While that little diversion was going on the pregnant Robin was ready to give birth which she does. A boy.
Here is where the chickens come home to roost and not in now exposed sociopath Simon’s favor. We know he lied his ass off about that co-worker just to get ahead but when under Robin’s pleadings he goes to apologize to Gordo for his high school craziness which ruined Gordo’s life Gordo refuses to accept the malarkey. Simon then does his patented bully act when things don’t go his way and trashes Gordo. Then things go to hell in handbasket for dear sociopath Simon. Robin after giving birth and realizing that Simon has a very dark side which she had not seen before wants no part of him. His destruction of a fellow worker’s chances gets him the boot from that promotion, gets him fired. Here is the sweet part in a way Gordo who really was disturbed-how much bully Simon’s fault is pretty clear- Gordo via his stalking Robin and knowing her penchant for prescription drugs is in the home when Robin faints-gets all this on camera-and may or may not have taken advantage of her in that condition. He sends Simon a “gift” of the film of him hovering over Robin leaving the bastard to wonder whether the child Robin bore was his or the madman Gordo’s. Sweet revenge.
The Roots Is The Toots: The Music That Got The Generation Of ’68 Through The 1950s Red Scare Cold War Night-Out In The Church Hall Dance Night- With Danny and the Juniors At The Hop In Mind
From The Pen Of Frank Jackman
Bah-bah-bah-bah, bah-bah-bah-bah Bah-bah-bah-bah, bah-bah-bah-bah, at the hop!
Well, you can rock it you can roll it You can slop and you can stroll it at the hop When the record starts spinnin' You chalypso* when you chicken at the hop Do the dance sensation that is sweepin' the nation at the hop
Ah, let's go to the hop Let's go to the hop (oh baby) Let's go to the hop (oh baby) Let's go to the hop Come on, let's go to the hop
Well, you can swing it you can groove it You can really start to move it at the hop Where the jockey is the smoothest And the music is the coolest at the hop All the cats and chicks can get their kicks at the hop Let's go!
Ah, let's go to the hop Let's go to the hop (oh baby) Let's go to the hop (oh baby) Let's go to the hop Come on, let's go to the hop Let's go!
[Instrumental Interlude]
Well, you can rock it you can roll it You can slop and you can stroll it at the hop When the record starts spinnin' You chalypso* when you chicken at the hop Do the dance sensation that is sweepin' the nation at the hop
Well, you can swing it you can groove it You can really start to move it at the hop Where the jockey is the smoothest And the music is the coolest at the hop All the cats and chicks can get their kicks at the hop Let's go!
Ah, let's go to the hop Let's go to the hop (oh baby) Let's go to the hop (oh baby) Let's go to the hop Come on, let's go to the hop Let's go!
Bah-bah-bah-bah, bah-bah-bah-bah Bah-bah-bah-bah, bah-bah-bah-bah, at the hop!
*********
Funny how memory draws you in, draws you in tight and hard once you focus in just a little. Take this combination. Recently I have been involved in writing some little sketches for my North Adamsville High School reunion Class of 1964 website. You know never before revealed stuff (and maybe should not be revealed now except I believe the statute of limitations has run out on most offenses) about what went on in the class rooms when some ill-advised teacher turned his or her on the class; the inevitable tales of triumph and heartbreak as told in the boys’ or girls’ Monday morning before school talkfest about what did, or did not, go on over the weekend with Susie or Billy; the heart-rending saga of being dateless for the senior prom; the heroics and devastating defeats of various sports teams especially the goliaths of the gridiron every leaf-turning autumn; the mysteries of learning about sex (I thought this might get your attention, innocent exploration or not) in the chaste day time down at the summer-side beach, or late at night after not watching the double feature at the outdoor drive-in movies (look it up on the Internet that there was such a way to watch them); date night devouring some hardened hamburgers complete with fries and Coke at the local all-know drive-in restaurant (ditto look up that too); older and car-addled taking the victory spoils after some after midnight “chicken run”; spending “quality time” watching breathlessly the “submarine races” (ask somebody from North Adamsville about that); and, just hanging out with your corner boys at Doc’s Drugstore throwing dimes and quarters in the jukebox to while the night away. Yeah, strictly 1960s memory stuff.
Put those memory flashes together with my, seemingly, endlessly gone back to my early musical roots in reviewing a commercial classic rock and roll series that goes under the general title Rock ‘n’ Roll Will Never Die. I noted in one review and it bears repeating here while time and ear have eroded the sparkle of some of the lesser tunes it still seems obvious that those years, say 1955-58, really did form the musical jail break-out for my generation, the generation of ’68, who had just started to tune into music. Those two memory-inducing events coming together got me thinking even further back than high school, back to elementary school down at Adamsville South where music and sex (innocent, chaste variety) came together at the record hop (alternatively called the sock hop if in your locale the young girls wore bobby sox rather than nylons to these things. Nylons being one of the sure signs that you were a young women and not merely some stick girl so the distinction was not unimportant).
See we, we small-time punk in the old-fashioned sense of that word meaning not knowledgeable, not the malicious sense, we hardly wet behind the ears elementary school kids, and that is all we were for those who are now claiming otherwise, listened our ears off to the radio or when we scurried home right after school to watch American Bandstand when that program came on in late afternoon. And we hungry to be “hip” (although not knowing that word, not knowing that out in the adult world guys, guys mostly, guys in places like North Beach in Frisco town or the Village in New Jack City were creating the ethos of hipness which we would half-inherit later as latent late term “beats”) wanted to emulate those swaying, be-bopping television boys and girls if not on the beauties of that medium then with some Friday or Saturday night hop in the school gym or in some church basement complete with some cranky record player playing our songs, our generation-dividing songs (dividing us for the prison of our parents music heard endlessly, too endlessly if there is such a concept).
Those were strange times indeed in that be-bop 1950s night when stuff happened, kid’s stuff, but still stuff like a friend of mine, not Billy who I will talk about some other time, who claimed, with a straight face, to the girls that he was Elvis’ long lost son. My friend’s twelve to Elvis’s maybe twenty. Did the girls do the math on that one? Or, maybe, they like us more brazen boys were hoping, hoping and praying, that it was true despite the numbers, so they too could be washed by that flamed-out night.
Well, this I know, boy and girl alike tuned in on our transistor radios (small battery- operated radios that we could put in our pockets, and hide from snooping parental ears, at will) to listen to music that from about day one, at least in my household was not considered “refined” enough for young, young pious you’ll never get to heaven listening to that devil music and you had better say about eight zillion Hail Marys to get right Catholic, ears. Yah right, Ma, like Patti Page or Bob Crosby and The Bobcats were supposed to satisfy our jail break cravings (not Bing, not the Bing of Brother, Can You Spare A Dime? anyway). And the local hop put paid to that notion, taking the private music of our bedroom dreams and placing us, for good or evil, out on the dance floor to be wall-flower or “hip” (remember we did not know that term then, okay.)
But can you blame me, or us, for our jail-break visions and our clandestine subterranean life-transistor radio dreams of lots of girls (or boys as the case may be), lots of cars, and lots of money if we could just get out from under that parental noise. Now getting back to that rock and roll series I told you that I had been reviewing. The series had many yearly compilations but as if to prove my point beyond discussion the year 1956 has two, do you hear me, two CDs to deal with that proposition that I mentioned above. And neither one includes Elvis, Jerry Lee, Bo Diddley or some other stuff that I might have included so you know we are in the golden age when there is that much good non- Hall of Fame stuff around.
Needless to say Larry Larkin, my old corner boy from North Adamsville home town day Phil Larkin’s cousin, remained a step ahead of everybody around Ashmont Street in the Dorchester section of Boston during those days, those days when that seismic change occurred in our youthful listening habits. (And Larry would transfer whatever cultural knowledge he had picked up on those Dorchester mean streets, mostly useful except more often than not wrong on the do’s and don’ts of sex, to Phil, known as “Foul-Mouth” Phil among the corner boy brethren who would pass it on to us). Everybody, everything had to change, had to take notice of the break-out, if only to cut off the jailbreak at the pass. And that is where Larry Larkin’s step ahead of everybody else came into play, everybody else who counted then, and that was mainly the junior corner boys who hung around in front of Kelly’s Variety Store on Adams Street where generations, at least two by that time and more since, of elementary school boys learned the corner life, for good or evil, mostly evil as a roster of those who wound up in the various county and state prisons would testify to.
And not just any elementary school corner boys but parochial school boys. That is what was significant about my bringing attention to the environs of the Dorchester section of Boston, a section loaded down with every kind of ethnic Catholic, recent immigrant or life-time denizen of the triple decker night, and where it seemed there was a Catholic church on every corner (and there almost was, and to prove the point Dorchester boys, girls too lately, identified themselves after being from “Dot” identified themselves by what parish they belonged to, say Saint Brendan’s on Main Street, Saint Gregory on Dorchester Avenue, Saint Anne’s on Neponset Avenue and so on, a phenomenon you would not notice in say Revere or Chelsea).
If there seemed to be a church on every corner there was sure to be a bevy, if that is the way they are gathered, of parish priests ready to guide the youth in the ways of the church, including at Saint Brendan’s one Lawrence Joseph Larkin. And one of the things that had upset that 1950s era bevy of priests at that parish (and at other parishes and had caused concern in other religious groupings as well) was the effect that the new music, rock and roll, in corrupting the morals of the youth. Was making them zombies listening on those transistor radios that seemed to be attached to their ears to the exclusion of all else. Was making them do lewd, yes, lewd, moves while they were dancing (and not even dancing arm and arm with some girl but kind of free-form about three feet away from each other as if the space between was some sacred land to be worshiped but not defiled, blasphemy, pure blasphemy) at what they called record hops, or sock hops, or some such thing on Friday nights at the public school Eliot School over on Ashmont Street. Was making them a little snarly when dealing with adults a snarl they learned from the television or movies with guys named Elvis or James leading them on, begging them to follow them in the great break-out. Worse, worse of all was the danger of dangers, sex, which bad as the fast dancing was when they did an occasion slow dance was very improper, the guys hands drifting down to the girl’s ass and she not even swatting it away. So yes there was something like a panic about to erupt.
And formerly pious altar boy Larry Larkin was leading the charge, was the first to wear those damn longer sideburns like he was some Civil War general. To constantly rake his hair with that always back pocket comb to look like Elvis’ pompadour style (strangely Larry was a dead-eye blue-eyed blonde kid, so go figure). He had introduced the new flaky dance moves like the Watushi learned from eternal afternoon rush home from school American Bandstand, fromhis older brothers or from “Foul-Mouth” Phil’s latest intelligence from his older brothers , that had priests and parents alike on fire, had been the villain who had introduced the move of the boy putting his hand almost to a girl’s ass when slow dancing (the girls learned to not swat them away on their own so don’t blame Larry for that one), and a mass of other sins, mortal and venial. All learned, according to the priests, at that damn (although they did not use that word publicly) secular school over on Ashmont Street. The priests and a few like-minded parents were determined after a collective meeting of the minds among themselves to put a stop to this once and for all.
Their strategy was simplicity itself, with few moving parts to complicate things-“if you can’t fight them, join them.” So come the first Friday night in November of the year of our Lord 1957 Saint Brendan’s Parish used its adjacent auditorium for its first sock hop. Worse, worse for Larry, hell, worse for everybody who learned anything at all from him, and liked it, boy or girl, the priests had ordered from their Sunday pulpits that every parent with teenagers was to send their charges to the hop under penalty, of I don’t know what, but under penalty. And thus the long chagrin death march faces come that first hop night.
Obviously there were to be certain, ah, restrictions, enforced by the chaperones inevitable at such gatherings of the young, those chaperones being the younger priests of the parish who were allegedly closer to the kids, had a clue to what was going on, or else dour older boys and girls, probably headed to the seminaries and convents themselves, or those who were sucking up to the priests for sin brownie point. Banned: no lipstick or short dresses (short being anything above the ankle practically in those days) on girls and ties and jackets for boys and no slick stuff on their hair. Worse, worst of all no grabbing ass on the slow dances (not put that way but the reader will get the picture). Yes, boring made more so by the selection of records that were something out of their parents’ vault with nothing faster than some Patti Page number yakking about old Cape Cod or Marty Robbins crooning about white carnations cranking out on the old record player that had been donated by Smiling Jack’s Record Store over on the Boulevard. (Jack O’Malley, proprietor of the shop, a notorious drunk and skirt-chaser in his off hours obviously in desperate need of indulgences, no question).
Enter Larry Larkin who had been dragged to the front door of the auditorium by his parents and who were duly recognized by Father Joyce, the young priest put in charge of the operation by Monsignor Lally (although Larry had not been too hard dragged since Maggie Kelly was to be there, yes, he had it bad for her). Now everybody knew that Phil had a “boss” record collection either bought from his earnings as a caddie over at the golf course on weekends and in the summer or “clipped” from Smiling Jack’s (and if the reader needs to know what “clipped” meant well we will just leave it at Larry did not pay for them). They also knew he has a pretty good record player with an amplifier that his parents had bought for him the Christmas before last. None of that stuff some of which had used by Loopy Lenny the DJ over at the Eliot School sock hops would be used this evening and some of the kids commented on the fact that Larry came record empty-handed. Yes all the signs where there for a boring evening.
But here is where fate took a turn on a dime, or maybe not fate so much as the fact that the new breeze coming through the teenage land was gathering some fierce strength in aid of the jail-break many like Larry knew was coming, had to come. About half way through the first part of the dance when more kids were milling around than dancing, talking in boy-girl segregated corners, when even the wallflowers were getting restless and threatening to dance, and they never danced but just hung to their collective walls, definitely before the intermission, all of a sudden from “heaven” it seemed came blaring out Danny and the Juniors At The Hop and the formerly downbeat scene started jumping with kids dancing up a storm (including a few former wallflowers who too must have sensed a portent in the air). The priests bewildered by where the music was coming from tried to investigate while Bill Haley’s Rock Around The Clock came on with the kids dancing fast like crazy (including some off-hand grabbing ass usually reserved for slow dances). Irate and failing to find the source of the “devil’s music” Father Joyce, red-faced (whether because he knew that the closed dance doomed him among the kids or because he was going to on the carpet with the Monsignor and probably consigned to do the 6:00 AM weekday masses) declared the dance over. Done. And that was the last time Saint Brendan’s Parish sponsored a sock hop for their tender youth charges.
Oh, yes, how does Larry Larkin last seen among the milling around crowd on the dance floor fit into this whole mix. Simple, he had hired Jimmy Jenkin, a non-Catholic ace tech guy older friend of his brother, Jack, and therefore not subject to the fire and brimstone of hell for his heathen actions, to jerry-rig Larry’s sound system in a room with an electric outlet near up near the rafters of the auditorium, a place that the good priests were probably totally unaware of. Money well spent and a kudo to Jimmy. And Larry, well, if you want to see Larry (and “Foul-Mouth” Phil, now a regular weekly visitor at his cousin’s, ready to bring the new dispensation across the river to Adamsville) then show up some Friday night at the Eliot School where he will be dancing to the latest tunes with Maggie Kelly in tow.
Enough said.
Hey, here are some stick-outs records from Larry’s collection used by Loopy Lenny at the Eliot School that every decent hopping, be-bopping record hop (or sock hop, okay) spun out of pure gold:
Blue Suede Shoes, Carl Perkins (Elvis covered it and made millions but old Carl had a better old rockabilly back beat on his version); In The Still Of The Night, The Five Satins (a doo wop classic that I am humming right this minute, sha dot do be doo, sha dot do be doo or something like that spelling, okay); Eddie, My Love, The Teen Queens (incredible harmony, doo wop back-up, and, and “oh Eddie, please don’t make me wait too long” as part of the lyrics, Whoa!); Roll Over Beethoven, Chuck Berry ( a deservedly early break-out rock anthem. Hell I thought it was a big deal just to trash my parents’ Patti Page old Chuck went after the big boys like Beethoven and Tchaikovsky.); Be-Bop-a-Lula, Gene Vincent (the guy was kind of a one hit wonder but Christ what a one hit, "yah, she’s my baby now"); Blueberry Hill, Fats Domino (that old smooth piano riffing away); Rip It Up, Little Richard (he/she wild man Richard rips it up); Young Love, Sonny James ( dreamy stuff that those giggling girls at school loved, and so you "loved" too); Why Do Fools Fall In Love?, Frankie Lymon and the Teenagers (for a minute the king be-bop, doo wop teenage angel boy. Everybody wanted to be the doo wop king or queen, including my friend Billy); See You Later, Alligator, Bill Haley and The Comets (yah, these “old guys” could rock, especially that sax man. Think about the expression people still use “see you later alligator”); and Since I Met You Baby, Ivory Joe Hunter (every dance pray, every last dance pray, oh my god, let them play Ivory Joe at the end so I can dance close with that certain she I have been eyeing all night).
Note: I have mentioned previously the excellent album cover art that accompanied each classic rock series compilation. Not only do they almost automatically evoke long ago memories of red hot youth, and those dreams, those steamy dance night dreams too, but has supplied this writer with more than one idea for a commentary. One of the 1956 compilation album covers is in that same vein. The cover shows what looks like a local cover band from the 1950s getting ready to perform at the local high school dance, not a record hop but if they are worth anything at all they will play the songs us po’ boys were listening to on the transistor radio or via that cranky record player lent by somebody for the occasion at the hop. Although the guys, especially the lead vocalist, look a little skittish they know they have to make a good showing because this is their small-time chance at the big time. Besides there are about six thousand other guys hanging around in their fathers’ garages ready and willing to step up if the Danny and the Bluenotes fall flat. If they don’t make that big splash hit like Danny and the Juniors did with At The Hop, the first song that got me jumping, jack they are done for.
This live band idea was actually something of a treat because, from what I personally recall, many times these school dance things survived on loud record playing dee-jay chatter, thus the term “record hop.” From the look of it the school auditorium is the locale (although ours were inevitably held in the school gym), complete with the obligatory crepe, other temporary school-spirit related ornaments and a mesmerized girl band groupie to give the joint a festive appearance.
More importantly, as I said before, at least for the band, as they are warming up for the night’s work, is that they have to make their mark here (and at other such venues) and start to get a following if they want to avoid another dreaded fate of rock life. Yes, the dreaded fate of most bands that don’t break out of the old neighborhood, the fate of having to some years down the road play at some of the students they are performing for that night children’s birthday parties, bar mitzvahs, weddings and the like. That thought should be enough to keep these guys working until late in the night, jamming the night away, disturbing some old fogy Frank Sinatra fans in the neighborhood, perfecting those covers of Roll Over Beethoven, Rip It Up, Rock Around The Clock and Jailhouse Rock. Go to it boys, buy the ticket and ride the furies.
