Friday, May 31, 2019

Traipsing Through The Arts -In Lieu Of Discussing Artist And Known Voyeur Edward Hopper’s “Summertime”-Down In The Mud With The Holy Roller End Times Sex Patrol-A Thankless Task-But Necessary

Traipsing Through The Arts -In Lieu Of Discussing Artist And Known Voyeur Edward Hopper’s “Summertime”-Down In The Mud With The Holy Roller End Times Sex Patrol-A Thankless Task-But Necessary     

By Laura Perkins

(If you are only interested in reading about the import of Edward Hopper’s works written through the prism of an art lover although not a member of the curator, gallery owner, high-end museum patron-donor, art collector cabal you will have to wait for my next piece to be published. For now, I have to get some seriously disturbed people off my case so I can breathe enough to talk of guys like Edward Hopper and the whole sex mad modern art scene. L.P.).

[Once again I have to start imprisoned within brackets to avoid having to ruin a perfectly good piece about one of Edward Hopper’s collection of paintings, about his salacious take on painting young nubile women without them looking while he looked on quite leeringly. (Check, for example, his 1943 Summertime with the diaphanously summer dressed urban dwelling femme waiting, waiting for something to happen to while away the heat. The model although clothed certainly was not his wife who forbade him to paint women other than her in the nude or it seems from the forlorn look of his eternal moppers later in his career any other condition. Hopper must have snuck out the back door or gave her some lame excuse about needing cigarettes to go do his lust-driven task) But that discussion for later. Cutting right to the chase I have been dogged in this series of pieces on my take on various paintings, American paintings that have attracted my attention as I have dug into this assignment, by a clot, no, a cohort of what I call evangelicals who have been trashing me endlessly about my discussing sex and sensuality, eroticism, in art. They don’t give a rat’s ass about the art (both the “rat’s ass” expression and idea about the place of art for these holy goofs courtesy of long-time companion Sam Lowell who has had forty years of experience dealing with what these days he calls the trolls or one sort or another but which took me a little while to figure out) or even my opinion about any particular piece.

What has them hot under the collar and me on the hellish hot seat, me, as a conscious agent of the devil, you know the devil that Johnny Milton talked about endlessly back the 1600s with such best-selling potboilers as Paradise Lost and Paradise Found. Me as Keil, that I am still baffled by since this character was a disciple, man-servant as far as I could tell of the Zoroastrian devil figure Loh, not the Christian one who goes by the name Satan, Lucifer, Bad Boy, Billy Bob Thornton etc. What has them exercised is that somehow their junior or missy will Google something for a school assignment and see me in my vivid splendor talking about the sex life of John Singer Sargent’s Madame X who essentially acted the role of courtesan, of professional beauty in the wild and wily days of the Third Republic in France, the strange opium dream drug-induced kinky sex cult worship of Alexander’s Isabella, or the Whole of Babylon advertisement announcing she is open for business explicit in Whistler’s The White Girl via the telltale wolf’s head and fur beneath her feet. What planet are they on since no self-respecting teenager is going to do anything but laugh at the idea of reading some supposedly sexually suggestive stuff in early modern art in some funky review when they can get whatever they want of real visual sex on the various sexploitation sites that dot the Internet. And with hormones going crazy who could blame them.              

Frankly, although my long-time partner and fellow writer Sam Lowell mentioned above swears by the use of bracketed introductions to not spoil the good stuff I don’t like the idea, am not going to do this after I have my say here. What has me up in arms, although silently since I do not answer any comments by the trolls who have descended on me since I started my little project, is that somehow I don’t know “jack” (that from Walter, from, oh, I forget now where he is from, Kansas I think) about religion, about religious sensibilities. They didn’t frame it that way- it came out more as the well-trodden-liberal multiculturalist secularist, com-symp (communist sympathizer for the younger set who otherwise have no clue what that meant and which in passing also tells me I am dealing with some on the older side parents making me wonder about that so-called concern for their collective off-springs’ moral welfare certainly not of the folk or anything like that, stuff along that line. What they don’t know, and I would not ordinarily feel I had to discuss the issue in a series on art is that I grew up in upstate New York, grew up in the country that was “burned over” in the Second Great Awakening in this country in the early 19th century.

There are still small standing churches with attendees who can date their church structures to those times, plenty still left practicing the respective faiths of forbears even if the number of congregants is falling off. Not far from where the farm that I grew up on stands a church-Lord’s Host-Disciples of Christ which was built by the farmers in the valley back in 1820 in about three days as a sign of their devotion and of their desire to have a fitting place to worship according to their lights. The few remaining ancient descendants still practice their religion there. You can go across upstate, across the “burned-over” areas traversed by preachers like Grandison, Miller, and the lecherous Hansbury who like today’s Preacher Roe, and allegedly Reverend Larson who just got exposed for playing around with his congregants, male and female, had a field day with the women and girls they conned into believing they were the Son of God and find if not congregations then churches and markers reflecting those events. Find places that farmers and small townspeople built, and built quickly, to temper their faiths. Fourth Awakening folk be advised.       

I grew up in a household, a farm as I said where my father was Mountain Methodist, meaning a split from the Wesley boys’ operation over theological differences around whether everybody will be saved or not (Mountain Meths calling out in glee that there will salvation for all-even sinners no questions asked if you can believe that-especially if you had known my father and his penchant for casting me to the hell-fires when I lived at home) and my mother was purebred Brethren of the Common Life, a grouping which broke from the Monrovian Tabernacle over adult baptism, or maybe the need for baptism. (This was not a marriage made in heaven, far from it, since from the get-go my mother’s people “scorned” her for marrying outside the covenant, for marrying a “heathen,” apparently to them no better than an Indian, now Native American, in going for an MM). Those are my bloodlines, that’s my DNA so don’t tell me I can’t go hand to hand with any of the trolls over what they think is happening to their world-which is basically that it has gone to hell in a handbasket. And as a corollary to their well-worked out if sour worldview we need End Times to come quickly to wash away the sins of this earth and return to the Garden. (That latter part not a bad sentiment if they would not be so nasty about explicitly by name excluding Keil’s servant-me.)          

It probably will not do any good since speaking of religious controversy usually gets you nowhere fast and I am not directly responding to any particular thread (although Sarah from Duluth with her numbered list of sins for which I have to atone is in my mind as I write this) from these holy goofs but there have been three main objections to what I have had to say about why people, trolls and non-trolls alike, should back off and just let me go about my business of writing little scrawny pieces about art, about what one troll actually identified, correctly identified, as high culture except used that notion to cast the whole cabal of curators, collectors and gallery owners and their hangers-on to the lake of fires. Exception has been taken to my aspersion that Mary Magdalene, the street whore, lets’ call her what she was, what she had called herself after she changed careers, who converted to Christianity around the time Jesus was murdered had been his lover, and if not him if he was not into sex with women then one, or more of the apostles. Exception has been taken to my assertion that Jesus may have been gay, may have been sleeping with one, or more, of his boys. And exception has been taken to my characterization of the various differences between religious sects over various ceremonial and theological doctrines as “tempests in teapots.”    

Maybe it was all the clamor over my attempt to place Singer Sargent’s Madame X (finally I get to say a word about art if only for a minute) in the long line of professional beauties who used that beauty to get ahead in the world. This may not accord with any religious scruples or anything like that but ever since Eve, ever since Adam poisoned Eve with his jealous ways there have been women who have had to do the “best they could” to fend for themselves. I just mentioned Eve but at least in the Christian saga I trace the genesis to Mary Magdalene, who was nothing but a street-walker despite all the bullshit halos some scholars have tried to throw around her name. Have tried to pawn her off as some bored little rich girl who “got religion” when Jesus showed up at a revival in her town and went meekly, and chastely along for the ride.

Yeah, right. The hard evidence was she was any man’s woman, had a specialty of washing feet for a fee at the time which I guess was an erotic foreplay when sandals were in or something now looked at when we have well shod feet as a fetish, and rightly so. A simple whore doing the best she could who would up being at “the right place at the right time.” There is substantial evidence, despite the conflicting and frankly bizarre renderings on the subject by the four guys who told the Jesus story from their own crooked little subjective angles, that Jesus has spotted Mary Mags in the crowd when he was working the town, working Jerusalem when that was a Roman enclave and he was desperate for converts. Needed some good-looking women to draw the guys in (some things unfortunately never change). Meeting her he saw that maybe it wouldn’t be bad to have a little company on those long lonely nights out on the circuit. On good authority Jesus was not alone when he took a vacation for forty days to refuel himself-and you know who was with him.  

Eyewitness reports, those of a couple of apostles if anybody is asking and if they are to be believed, state that after they met Mary started working the crowd as Jesus started working his grift. Look here you have if you can believe any of the various ancient drawings of the guy a good- looking guy and a good-looking gal, you had to be to work the streets in those days all the older used up women were working the wineries, who were smitten. Now there is no proof that they went under the sheets together, but it is a pretty safe bet that a guy like Jesus, unless he was gay which will be dealt with in a minute had no trouble coaxing her in his bed. Alternatively, if he didn’t, was gay and that is okay if he was although then I believe he would have been stoned or something like that, then at least John and James are known to have had carnal knowledge of her once Jesus left for heaven and his father’s place. For all her troubles and this is kind of the clincher as to what really went on-our Mary Mags got a sainthood, got to get a trip to Paradise. Not bad for washing some guy’s feet gratis when he went down for the count.      

Okay, it is definitely possible that Jesus was the “B” of LGBTQ, “bi” but that makes it harder to make my case about the torrid affair between him and Mary Mags. If Mary Mags and he were not getting under the sheets after a tough day of preaching, which is my preferred and more historically correct view, then Jesus hanging around with twelve guys and no gals is very, very strange, especially for those times when twelve guys or so doing anything amounted to an act of insurrection against the Roman state. And not just twelve guys but a bunch of guys who were fishermen, a profession known to be nothing but a gay preserve back then -at least at sea. The whole thing would have escaped my attention except that, and this information gathered via Sam Lowell, W. H. Auden, the English poet make a habit of “outing” various guys whom he called in the parlance of the 1930s part of the “Homintern,” which Sam says is just a take-off on the Comintern, the Communist International, another international organization of the time.

This “outing” given the nature of the times and the criminal implications when the “love that dare not speak its name” was a serious crime just ask Oscar Wilde, was privately held by him and his circle but did not include Jesus. It did however include Matthew and the villainous Judas Iscariot of unblessed memory. Since then Edward and Timothy have been added to the list. Of course the trolls will go crazy on this one since to them “gay” means devil, maybe not as bad as Keil, the devil’s servant, me but bad and beyond the pale. That Jesus was letting gay guys into his operation if he was straight would be beyond the pale. The idea that Jesus was gay would destroy their whole theological construct, blow the Catholic Church a fatal knock-down as well and wreak havoc with their opposition to gay marriage.         

Although I have laughingly noted that my troll cohort has created a veritable “united front” around my acting as an active agent for the devil, as the truly sinister Keil who in Zoroastrian lore really was a bad- ass from what I have read up on the character I have noted that they are not above a few internal skirmishes around their various religious differences. What I have called to their furor “tempests in teapots” have appeared from time to time. To add fuel to the fire I have consciously tried to be provocative about those differences. I mentioned in my own family my father’s Mountain Methodist roots which derived from the differences around who could be saved and under what conditions. Like I said strangely my father’s MMs strongly believe everybody will be saved come judgement day as against the traditional view that only the repentant will avoid the lakes of fire. In my mother’s case the main split point back in the 1700s in Monrovia was how long it took God to create the earth-the Tabernacle’s traditional six days and a day of rest or the Brethren’s view of twelve days and two days of rest. Those are at least understandable doctrinal differences and while maybe there should not have been a century of religious civil wars over the damn issues and nobody should have faced the stake, or worse been shunned, there you have it.           

What makes no sense to me and this came up an exchange between Wanda from Wabash, a leading and prolific troll, and Jeffrey Jay, no hometown given, was over the question of when and in what condition baptism would be appropriate. Wanda, strait-laced Wanda, has argued for adult baptism, only done after appropriate repentance and while fully clothed in some mud-raked river or pond. Jeff, and a few others who have become his acolytes, has argued that those who have attained the age of reason, have repented of their sinful ways before the gathered church, should be stripped naked to receive the Lord and can do it anywhere from a mud-calked river to the family swimming pool. Such distinctions floor me but that is what keeps guys, endlessly repentant guys like Preacher Roe and Preacher Baxter in clover. Reverend Larson even as I write is probably writing up his repentance statement, getting some cheapjack loin cloth at the Salvation Army store and getting ready to get back on the gravy train and into those dark bedrooms.           

All this religious talk though really is just that compared to the firestorm I set off among a small subset, a mini-cohort when I made a statement that none of these holy goofs cared about art. Were happy to see the whole art world and the culturati blown to bits, won’t let their kids within five miles of an art museum. As long as they have their Velvet Elvis memorabilia to grace their trailer living rooms. Then the guns came out, the heavy guns. Needless to say, all the tripe of the cultural wars came out, the class issue with the trailer, gun, Walmart, Bud-lite crap.

You would not believe the stuff thrown at me, would have been surprised at the lack of elementary solidarity with a fellow human sufferer who maybe had lost her way. A lack of Christian charity even to a vowed opponent. None of that for I was to be immediately cast in the lake of fires (one guy Jed I think must have been playing Johnny Cash when he wrote because that came out “ring of fire” in his submission). Of course I got the now obligatory Keil, devil’s servant business, although Betty from Toledo at least called me the devil’s handmaiden. There is more but I can’t go on without commenting on this rush to have me put down as Keil, a male figure, a male bad guy in the ancient Zoroastrian religion who when I looked it up, and I had to look it up, was struck down by Lan, by the force of some primeval moan, some artful prayer which saved humankind. Is that the fate that awaits me among some of the brethren?      



Speaking of brethren, we could not have a bout of revelation without the obligatory stand-off between those who will be saved and those who won’t. My father’s now seemingly gentile religious beliefs that all would be saved-sinner and saint alike-is like some beautiful dream compared to the hoops some of the cohort want the “saved,” meaning sinners who are in that lake with me, to jump through. Funny how much it all comes down to ceremony-to the outward show. Those who want adult baptism via that muddy river fully-clothed and after public repentance and those who want their saved naked as jaybirds in some backyard swimming pool with all eyes averted while the swimmers read off their lists of transgressions. But enough. Back to strictly traipsing through the art museums.   

Books To While Away The Class Struggle By-MEMOIRS OF A REVOLUTIONARY-Victor Serge-A Book Review

Books To While Away The Class Struggle By-MEMOIRS OF A REVOLUTIONARY-Victor Serge-A Book Review




By Si Lannon

Recently I have begun to post entries under the headline- “Songs To While Away The Class Struggle By” and "Films To While Away The Class Struggle By"-that will include progressive and labor-oriented songs and films that might be of general interest to the radical public. I have decided to do the same for some books that may perk that same interest under the title in this entry’s headline. Markin

Book Review

MEMOIRS OF A REVOLUTIONARY-Victor Serge 

As I have noted in my review of Leon Trotsky’s memoir My Life ( see my review elsewhere) today’s public tastes dictate that political memoir writers expose the most intimate details of their private personal lives in the so-called public square. Here, as in Trotsky’s memoir, Serge will offer up no such tantalizing details. These old time revolutionaries seem organically averse to including personal material that would distract from their political legacies. That is fine by me. After all that is why political people, the natural audience for this form of history narrative, appreciate such works. Contemporary political memoir writers take note.

Serge was a militant from his youth. However the October 1917 Russian Revolution is the real start of his political maturation and wider political influence. I believe the reader will find the most useful information and Serge’s most insightful political analysis dates from this period. Serge became a secondary Communist leader after the Bolshevik seizure of power and in various capacities, most notably as a journalist for the Communist international, witnessed many of the important events in and out of Russia in the 1920’s and 1930’s. Moreover, for a long period of time he was a key member of the Trotsky-led Left Opposition to the rise of Stalinism which formed in the Russian Communist Party and later in the Communist International in the 1920’s.

Serge eventually broke politically with Trotsky in the late 1930’s over the class nature of the Soviet state and organizational differences on the role of the revolutionary party in the struggle and in power. Serge's later politics and activities are murky, somewhat disoriented and the subject of controversy (see the Appendix in Memoirs and my review of Serge’s book Kronstadt). However, Serge’s analysis and insights as a witness to this period of history retain their value, especially his analysis of the, for leftists, very troublesome Stalinist purges and terror campaigns of the 1930’s.

Thus, as with Trotsky’s memoir, you will find a thoughtful political self-examination by a man trying to draw the lessons of the degeneration of the Russian Revolution, the subsequent defeats of the international working class movement, the devastating destruction of the fellow revolutionary cadre who made and administered the early Soviet state while still defending the gains of that revolution. Overshadowing these concerns is a constant personal struggle to maintain one’s revolutionary integrity at all costs. That is, not to wind up like Bukharin or Zinoviev and the like, compromised and lost to the struggle for socialism. All this, moreover, and perhaps hardest of all still maintain a sense of revolutionary optimism for the future organization of human society.

Bolshevik leader Vladimir Lenin once commented that in the run-up to the October Revolution the political whirlwind stirred up by that revolution inevitably brought those individuals and organizations looking for the resolution of the revolutionary dilemma into the Bolshevik orbit. This was most famously the case with Trotsky’s Petersburg Inter-District organization that fused with the Bolsheviks in the fateful summer of 1917. That same whirlwind later drew in the best elements of the Western labor movement as word of the revolution reached the outside world.

Previously, Serge had been close to the French anarchist and anarcho-syndicalist movement but as happens in great revolutions he, like other militant anarchists, was drawn to the reality of the Soviet experiment despite political differences over the question of the state. Despite this he, generally, like the non-Bolshevik militants served the revolution with distinction. Thus, this fateful political decision to cast his personal fate with the Russian Revolution led him to the series of political adventures and misadventures that enliven his memoir.

At the beginning of the 21st century when socialist political programs are in decline it is hard to imagine the spirit that drove Serge to dedicate the better part of his life to the fight for a socialist society. However, at the beginning of the 20th century he represented only a slightly younger version of that revolutionary generation of Eastern Europeans and Russians exemplified by Lenin, Trotsky, Martov and Luxemburg who set out to change the history of the 20th century. It was as if the best and brightest of that generation were afraid, for better or worse, not to take part in the political struggles that would shape the modern world. Those same questions posed at the beginning of that century are still on the agenda for today’s generation of militants to help resolve. This is one of your political textbooks. Read it.

Murder, Murder Most Foul-Maybe-Otto Preminger’s “Anatomy Of A Murder” (1959)-A Film Review



Murder, Murder Most Foul-Maybe-Otto Preminger’s “Anatomy Of A Murder” (1959)-A Film Review





DVD Review

By Film Critic Sam Lowell


Anatomy of a Murder, starring James Stewart, Lee Remick, Ben Gazzara, George C. Scott, directed by Otto Preminger, 1959


Having been in a few court rooms in my time (I won’t say in what capacity although not as a defendant, not too many times anyway) where the main motion in play is “hurry up and wait” it was rather refreshing to see a drama based on a real live case that despite knowing who had committed the crime, murder, murder one, murder most foul, held me in its grip for most of the long film, although the not courtroom scenes were mainly filler. That was the effect that the 1959 black and white film under review Anatomy of a Murder had on me and I am sure as well the in theater audiences then and now via whatever no technologies are used to view.

Here ‘s why. So-called good old boy country lawyer Paul Biegler, played by James Stewart, had been approached by the wife, Laura played by Lee Remick, of the alleged murderer Army Officer Fred Manion played by Ben Gazzara, to defend him in a UP Michigan court on the charge of murder. After some preliminaries Biegler decided to take the case figuring that there might be a basis of temporary insanity to get the soldier off. The reason for that possibility is that Fred had reacted in a frenzy when Laura had come home to their trailer late one night claiming that she had been raped by the owner of an inn in town, Bernard Quill, where she had gone alone after Fred had fallen asleep after supper. Kind of a tough story to hear, and not for the first time that his wife had gotten her “wanting habits” on. Fred, something of a known hothead, no, a flat-out no holds barred madman, and jealous of his wife’s good looks, or rather guys looking at his wife’s good looks and flirty ways reacted to that charge by going to the inn and shooting Quill and asking questions later.

The legal play in this one was a rather unusual one-temporary insanity based on an “irresistible impulse,” a defense recognized under Michigan law but not used in a long time as a defense. Of course the prosecution in the inevitable “battle of shrinks” claimed that Fred was a cold calculated murderer whatever he might have felt about his wife’s rape charges. The long film goes back and forth between the clever Biegler and the equally clever Assistant AG Dancer played by George C. Scott, brought in from Lansing to bolster the county DA’s case. Frankly, and I can give a wide leeway for cinematic dramatic license since even the proceedings of a real life murder trial are rather pedestrian, the conduct of the prosecution would seem to warrant an appealable issue of prosecutorial misconduct and if Fred had been convicted he could have justly charged that Biegler had provided  ineffective assistance of counsel. Not to worry though our Paul got the soldier off although by all measures, except legal ones Fred was not one of nature’s noblemen-no way but that “irresistible impulse” defense worked. Worked too when Fred with Laura in tow took off when it came time to pay the lawyers. Gone, long gone daddy.  Although it is long and slow in places watch this one.                 


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

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






By Special Guest Alex James

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

Fair enough. I was glad to help out since I only knew the events second-hand and have always been interested in writing about and have written extensively about that period. As a result I had thought that the experience of putting out a small publication where we had to maybe for the first time in our lives work closely together “bonded” Alex and me somewhat. Fair enough again. Now though the guy is all hopped up, maybe showing signs of senility for all I know, about an exhibition he had seen at the Boston Museum of Fine Arts where they have Botticelli’s Venus on display. As far as I know Alex could have given a rat’s ass about art, about the Renaissance back in the day or anything since not connected with his law practice. But the other day he asked me for some space here to talk about how that Botticelli painting at the exhibition reminded him about some love interest he had had during that summer of love period. What can I say. He is after all my brother.  Zack James]       
   
[I had written the basics of the small piece I wished to present here about a young girl that I had met out in San Francisco, Jewel Night Star, when I was out there after the Scribe [Peter Paul Markin] got a bunch of us to head out west in late summer 1967. (I will explain that whole moniker business, that serious need to “reinvent” ourselves below but just know now that I was always known out there as Cowboy, or Cowboy Angel, depending on my mood, the day, hell maybe the drug intake) That was before I read my youngest brother Zack’s introduction. I felt compelled to add a note here to announce to what he always likes to call a “candid world” that I am neither senile nor have I been in the past, a past Zack, tied up with his various writing projects about times that he has only lived through vicariously totally oblivious to the call of culture, to the call of art and artifact. What more can I say though as he is my host here. Oh, yes, he is also after all my brother. Alex James.]

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

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

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

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

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

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

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

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

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

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

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

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

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


*On The Origins Of The American Holiday- Memorial Day- Honor The Civil War's Massachusetts 54th Regiment

Click on the headline to link to a "Wikipedia" entry on the origins of the American holiday, Memorial Day, directly after the American Civil War.

Markin comment:

As noted in the "Wikipedia" entry one of the places where the day was celebrated in the early days was in Charleston, South Carolina- the intellectual heart of the then defeated Confederacy-in 1865. Not mentioned in the entry was that our own Massachusetts 54th Regiment made up of black volunteers, who had done heroic service before Fort Wagner and elsewhere in the South, took part in those celebrations. By the way, the regiment went marching along the streets of Charleston to the tune of "John Brown's Body". Fitting, very fitting indeed.

John Brown's Body
Download Midi File
Mark R. Weston
Information Lyrics


The tune was originally a camp-meeting hymn Oh brothers, will you meet us on Canaan's happy shore? It evolved into this tune. In 1861 Julia Ward Howe wife of a government official, wrote a poem for Atlantic Monthly for five dollars. The magazine called it, Battle Hymn of the Republic. The music may be by William Steffe. John Brown's body lies a-mold'ring in the grave

John Brown's body lies a-mold'ring in the grave
John Brown's body lies a-mold'ring in the grave
His soul goes marching on

Glory, Glory! Hallelujah!
Glory, Glory! Hallelujah!
Glory, Glory! Hallelujah!
His soul is marching on

He captured Harper's Ferry with his nineteen men so true
He frightened old Virginia till she trembled
through and through
They hung him for a traitor, themselves the traitor crew
His soul is marching on


Glory, Glory! Hallelujah!
Glory, Glory! Hallelujah!
Glory, Glory! Hallelujah!

His soul is marching on
John Brown died that the slave might be free,
John Brown died that the slave might be free,
John Brown died that the slave might be free,
But his soul is marching on!


Glory, Glory! Hallelujah!
Glory, Glory! Hallelujah!
Glory, Glory! Hallelujah!
His soul is marching on

The stars above in Heaven are looking kindly down
The stars above in Heaven are looking kindly down
The stars above in Heaven are looking kindly down
On the grave of old John Brown

Glory, Glory! Hallelujah!
Glory, Glory! Hallelujah!
Glory, Glory! Hallelujah!
His soul is marching on

Information and lyrics from
Best Loved Songs of the American People
See Bibliography for full information.

Thursday, May 30, 2019

The Roots Is The Toots: The Music That Got The Generation Of ’68 Through The 1950s Red Scare Cold War Night-The Time Of Frankie’s Carnival Time-With The Silhouettes’ Get A Job In Mind

The Roots Is The Toots: The Music That Got The Generation Of ’68 Through The 1950s Red Scare Cold War Night-The Time Of Frankie’s Carnival Time-With The Silhouettes’ Get A Job In Mind  





Introduction by Allan Jackson

[Maybe the worse thing about growing up poor, poorer than church mice as my Grandma would have it with a slight sneer since she was referring to my poor father’s inability to adequately provide for his family of four boys and a wife since he was an uneducated man and she thought my mother had married beneath her station, for a kid was always wanting things that couldn’t be bought. Of course a kid doesn’t know, doesn’t want to know, would have not have given a fuck to put it starkly that it was a struggle to just keep a roof over the head and food on the table and only saw and heard that he or she could not have what some other Johnnie or Janie had on the consumer dream television. Of course a kid will still even if he or she becomes aware of the situation later doesn’t want to hear about all the thin air talk about how this or that was not affordable.

That conflict between those freaking wanting habits and the empty envelope come payday reality in the end determined my youthful fate (my mother like many mothers in the neighborhood had weekly envelopes which were usually short on each bill due but enough to keep the wolves from the door. When that was not enough I was send to say the landlord to give the pittance and some story so yes things were close, very close indeed especially in father unemployed times). When it came time to hang with guys, with corner boys I came up with a bunch of guys like the eternally mentioned Scribe and Frankie Riley the acknowledged leader of our crew mainly because he was tight with Tonio the guy who ran the pizza place where we hung out who treated him like a son. That “headquarters,” known or unknown  to good guy Tonio who had immigrated from Italy and had a great beauty of an Italian girlfriend whom despite her age we googled, was where Scribe would hatch some weird but workable plan to grab dough from the rich houses in town near the beach at Squaw Rock. After we almost got catch when Scribe led his one and only expedition when Frankie was out of town we swore that he would never lead another no matter how good the plan.

All of this to say the simple truth that living down in nowhere land at the base of society is not conductive to bringing out the better angels of our natures and those wanting habits twisted plenty of ordinary guys for a long time. So running away with the glamorous circus, carnival, sideshow was not some aberration or some far-fetched thing not when the con men, grifters and hustlers were showing all kinds of exciting tricks to kids who were ready to grab dough with every hand. Can you blame them. Allan Jackson]       
*********** 


An old man walked, walked haltingly down a North Adamsville street, maybe Hancock Street, or maybe a street just off of it, maybe a long street like West Main Street, he has forgotten which exactly in the time between his walking and his telling me his story. A street near the high school anyway, North Adamsville High School, where he had graduated from back in the mist of time, the 1960s mist of time. A time when he was known, far and wide, as the king, the king hell king, if the truth be known, of the schoolboy be-bop night. And headquartered himself, properly headquartered himself as generations of schoolboy king hell kings had done previously, at Salducci’s Pizza Parlor as was his due as the reigning schoolboy king of the night. But that schoolboy corner boy king thing is an old story, an old story strictly for cutting up old touches, according to the old man, Frankie, yes, Francis Xavier Riley, as if back from the dead, and not fit, not fit by a long shot for what he had to tell me about his recent “discovery,” and its meaning.

Apparently as Frankie, let us skip the formalities and just call him Frankie, walked down that nameless, maybe unnamable street he was stricken by sight of a sign on a vagrant telephone pole announcing that Jim Byrd’s Carnival and Traveling Show was coming to town and setting up tent at the Veteran’s Stadium in the first week in June, this past June, for the whole week. And seeing this sign, this vagrant sign on this vagrant telephone pole, set off a stream of memories from when the king hell king of the schoolboy corner boy night was so enthralled with the idea of the “carny” life, of this very Jim Byrd’s Carnival and Traveling Show carnival life, that he had plans, serious plans, to run away, run away with it when it left town.
Under this condition, and of course there was always a condition: if Ma Riley, or Pa Riley if it came to it, although Pa was usually comfortably ensconced in the Dublin Pub over on Sagamore Street and was not a big factor in Frankie’s life when it came time for him to make his mark as king hell king, just bothered him one more time, bothered about what was never specified at least to me. Of course they never did, or Frankie never let on that they did, bother him enough to force the issue, and therefore never forced him on the road. But by then he was into being the corner boy king so that dream must have faded, like a lot of twelve- year old dreams.
In any case rather than running away with the carnival Frankie served his high school corner boy term as king hell king, went to college and then to law school, ran a successful mid-sized law practice, raised plenty of kids and political hell and never looked back. And not until he saw that old-time memory sign did he think of regrets for not having done what he said that “he was born for.” And rather than have the reader left with another in the endless line of cautionary tales, or of two roads, one not taken tales, or any of that, Frankie, Frankie in his own words, wants to expand on his carnival vision reincarnation and so we will let him speak :

“Who knows when a kid first gets the carnival bug, maybe it was down in cradle times hearing the firecrackers in the heated, muggy Fourth Of July night when in old, old time North Adamsville a group of guys, a group of guys called the “Associates,” mainly Dublin Pub guys, and at one time including my father, Joe Riley, Senior, grabbed some money from around the neighborhood. And from the local merchants like Doc over at Doc’s Drug Store, Mario over at Estrella’s Grocery Store, Mac, owner of the Dublin Pub, and always, always, Tonio, owner of Salducci’s Pizza Parlor. What they did with this money was to hire a small time, usually very small time, carnival outfit, something with a name like Joe’s Carny, or the like, maybe with a merry-go-round, some bumping cars, a whip thing, a few one-trick ponies, and ten or twelve win-a-doll-for-your-lady tents. On the side maybe a few fried dough, pizza, sausage and onions kind of eateries, with cotton candy to top it off. And in a center tent acts, clown acts, trapeze acts with pretty girls dangling every which way, jugglers, and the like. Nothing fancy, no three-ring circus, or monster theme amusement park to flip a kid’s head stuff. Like I say small time, but not small time enough to not enflame the imagination of every kid, mainly every boy kid, but a few girls too if I remember right, with visions of setting up their own show.

Or maybe it was when this very same Jim Byrd, a dark-haired, dark-skinned (no, not black, not in 1950s North Adamsville, christ no, but maybe a gypsy or half-gypsy, if that is possible), a friendly guy, slightly wiry, a slightly side-of-his-mouth-talking guy just like a lawyer, who actually showed me some interesting magic tricks when I informed him, aged eight, that I wanted to go “on the road” with him first brought his show to town. Brought it to Veteran’s Stadium then too. That’s when I knew that that old time Associates thing, that frumpy Fourth of July set-up-in-a-minute-thing-and-then-gone was strictly amateur stuff. See Jim’s Carny had a Ferris wheel, Jim had a Mini-Roller Coaster, and he had about twenty-five or thirty win-a-doll, cigarettes, teddy bears, or candy tents. But also shooting galleries, gypsy fortune-telling ladies with daughters with black hair and laughing eyes selling roses, or the idea of roses. And looking very foxy, the daughters that is, although I did not know what foxy was then. Oh yah, sure Jim had the ubiquitous fried dough, sausage and onion, cardboard pizza stuff too. Come on now this was a carnival, big time carnival, big time to an eight-year old carnival. Of course he had that heartburn food. But what set Jim’s operation off was that central tent. Sure, yawn, he had the clowns, tramp clowns, Clarabelle clowns, what have you, and the jugglers, juggling everything but mainly a lot of whatever it was they were juggling , and even the acrobats, bouncing over each other like rubber balls. The big deal, the eight- year old big deal though, was the animals, the real live tigers and lions that performed in a cage in center stage with some blonde safari-weary tamer doing the most incredible tricks with them. Like, well, like having them jump through hoops, and flipping over each other and the trainer too. Wow.

But now that I think about it seriously the real deal of the carny life was neither the Associates or Jim Byrd’s, although after I tell you about this Jim’s would enter into my plans because that was the carnival, the only carnival I knew, to run away with. See what really got me going was down in Huntsville, a town on the hard ocean about twenty miles from North Adamsville, there was what would now be called nothing but an old-time amusement park, a park like you still might see if you went to Seaside Heights down on the Jersey shore. This park, this Wild Willie’s Amusement Park, was the aces although as you will see not a place to run away to since everything stayed there, summer open or winter closed. I was maybe nine or ten when I first went there but the story really hinges on when I was just turning twelve, you know, just getting ready to make my mark on the world, the world being girls. Yes, that kind of turning twelve.

But nine or twelve this Wild Willie’s put even Jim Byrd’s show to shame. Huge roller-coasters (yes, the plural is right, three altogether), a wild mouse, whips, dips, flips and very other kind of ride, covered and uncovered, maybe fifteen or twenty, all based on the idea of trying to make you scared, and want to go on again, and again to“ conquer” that scared thing. And countless win things (yah, cigarettes, dolls, teddy bears, candy, and so on in case you might have forgotten). I won’t even mention that hazardous to your health but merciful, fried dough, cardboard pizza (in about twenty flavors), sausage and onions, cotton candy and salt water taffy because, frankly I am tired of mentioning it and even a flea circus or a flea market today would feel compelled to offer such treats so I will move on.

What it had that really got me going, at first anyway, was about six pavilions worth of pinball machines, all kinds of pinball machines just like today there are a zillion video games at such places. But what these pinball machines had (beside alluring come-hither and spend some slot machine dough on me pictures of busty young women on the faces of the machines) were guys, over sixteen year old teenage guys, mainly, some older, some a lot older at night, who could play those machines like wizards, racking up free games until the cows came home. I was impressed, impressed to high heaven. And watching them, watching them closely were over sixteen- year old girls, some older, some a lot older at night, who I wondered, wondered at when I was nine but not at twelve, might not be interfering with their pinball magic. Little did I know then that the pinball wizardry was for those sixteen year old, some older, some a lot older, girls.

But see, if you didn’t already know, nine or twelve-year old kids were not allowed to play those machines. You had to be sixteen (although I cadged a few free games left on machines as I got a little older, and I think the statute of limitations has run out on this crime so I can say I was not sixteen years or older). So I gravitated toward the skee ball games located in one of those pinball pavilions, games that anybody six to sixty or more could play. You don’t know skees. Hey where have you been? Skee, come on now. Go over to Seaside Heights on the Jersey shore, or Old Orchard up on the Maine coast and you will have all the skees you want, or need. And if you can’t waggle your way to those hallowed spots then I will give a little run-down. It’s kind of like bowling, candle-pin bowling (small bowling balls for you non-New Englanders) with a small ball and it’s kind of like archery or darts because you have to get the balls, usually ten or twelve to a game, into tilted holes.

The idea is to get as high a score as possible, and in amusement park land after your game is over you get coupons depending on how many points you totaled. And if you get enough points you can win, well, a good luck rabbit’s foot, like I won for Karen stick-girl one time (a stick girl was a girl who didn’t yet have a shape, a womanly shape, and maybe that word still is used, okay), one turning twelve-year old time, who thought I was the king of the night because I gave her one from my “winnings,” and maybe still does. Still does think I am king of the hill. But a guy, an old corner boy guy that I knew back then, a kind of screwy guy who hung onto my tail at Salducci’s like I was King Solomon, a guy named Markin who hung around me from middle school on, already wrote that story once.

Although he got one part wrong, the part about how I didn’t know right from left about girls and gave this Karen stick girl the air when, after showering her with that rabbit’s foot, she wanted me to go with her and sit on the old seawall down at Huntsville Beach and according to Markin I said no-go. I went, believe me I went, and we both practically had lockjaw for two weeks after we got done. But you know how stories get twisted when third parties who were not there, had no hope of being there, and had questionable left from right girl knowledge themselves start their slanderous campaigns on you. Yes, you know that scene, I am sure.

So you see, Karen stick and lockjaw aside, I had some skill at skees, and the way skees and the carny life came together was when, well let me call her Gypsy Love, because like the name of that North Adamsville vagrant telephone pole street where I saw the Byrd’s carnival in town sign that I could not remember the name of I swear I can’t, or won’t remember hers. All I remember is that jet-black long hair, shiny dark-skinned glean (no, no again, she was not black, christ, no way, not in 1950s Wild Willie’s, what are you kidding me?), that thirteen-year old winsome smile, half innocent, half-half I don’t know what, that fast-forming girlish womanly shape and those laughing, Spanish gypsy black eyes that would haunt a man’s sleep, or a boy’s. And that is all I need to remember, and you too if you have any imagination. See Gypsy Love was the daughter of Madame La Rue, the fortune-teller in Jim Byrd’s carnival. I met her in turning twelve time when she tried to sell me a rose, a rose for my girlfriend, my non-existent just then girlfriend. Needless to say I was immediately taken with her and told her that although I had no girlfriend I would buy her a rose.

And that, off and on, over the next year is where we bounced around in our “relationship.” One day I was down at Wild Willie’s and I spotted her and asked her why she wasn’t on the road with Jim Byrd’s show. Apparently Madame LaRue had had a falling out with Jim, quit the traveling show and landed a spot at Wild Willie’s. And naturally Gypsy Love followed mother, selling flowers to the rubes at Wild Willie’s. So naturally, naturally to me, I told Gypsy Love to follow me over to the skees and I would win her a proper prize. And I did, I went crazy that day. A big old lamp for her room. And Gypsy Love asked me, asked me very nicely thank you, if I wanted to go down by the seawall and sit for a while. And let’s get this straight, no third party who wasn’t there, no wannabe there talk, please, I followed her, followed her like a lemming to the sea. We had lockjaw for a month afterward to prove it. And you say, you dare to say I was not born for that life, that carnival life. Ha.

When The Thin Man Got Thinner-With “The Thin Man Goes Home” Film Adaptation Of Dashiell Hammett’s The Thin Man In Mind By Film Critic Sam Lowell



When The Thin Man Got Thinner-With “The Thin Man Goes Home” Film Adaptation Of Dashiell Hammett’s The Thin Man In Mind   

By Film Critic Sam Lowell

[Take the following as something of a disclaimer since I have decided to embark of a look at several of the Thin Man films that came out in the 1940s. These days now that I am, well, let’s call the situation semi-retired from reviewing films I made no pretense to viewing film series like the famous 1940s The Thin Man film series under discussion here in chronological order. Now I go by happenstance. That happenstance got worked out this way on this series. I happened to see a DVD copy of Shadow Of The Thin Man highlighted at my local library for some reason. Since I have spent a fair amount of time recently reviewing black and white films I grabbed this one. I loved to watch such films in my younger days, my teenage days,  when I would go to the Majestic Theater box of popcorn in hand in Riverdale some distance from Boston where I would spent many Saturday afternoons watching double features. That is the genesis of this out of order series of reviews for which I take full responsibility. S.L.]     

Recently in a review of the fourth in the famous Myrna Loy-William Powell seemingly never-ending The Thin Man series, Shadow Of The Thin Man and again later commenting on the original film adaptation, I mentioned that a long time ago, or it now seems a long time ago, I had a running argument with the late film critic Henry Dowd about the alleged decline in manly film detectives after the time of Dashiell Hammett’s Sam Spade and Raymond Chandler’s Phillip Marlowe in the 1940s. By that Henry meant tough guy, no holds barred, non-filter cigarette smoking, Luckies or Camels, bottom of the desk drawer hard shell whiskey neat drinking, who didn’t mind taking or giving a punch, or taking or giving a  random slug for the cause detectives. He had based his opinion strictly on viewing the films of the famous detective couple Nick and Nora Charles.           

Henry Dowd believed that with the rise of The Thin Man series that previous characterization of a model detective, his previous characterization Henry was given to the imperative tone, switched from the hard whiskey drinking guy to a soft martini swigging suave guy with a soft manner and an aversion to taking risks, certainly to taking punches or slugs. Hell, in that film under review at the time not only had Nick been married to Nora but they had a kid, not to mention that damn dog Asta, nothing but a regular entourage to weigh a guy down. Back in the day what had surprised Henry in our public prints argument had been when I told him that the same guy, Dashiell Hammett, who had written the heroic tough guy detective Sam Spade in the all-time classic The Maltese Falcon had also written the dapper Nick and charming Nora characters. Henry did not believe me until I produced my tattered copy of Hammett’s The Thin Man which had started the whole film series. Thereafter he kept up the same argument except placing The Thin Man as an aberration probably do to Hammett’s known heavy drinking or that he, Hammett, was trying to soften his own Stalinist-etched persona with such an obvious bourgeois couple. Jesus.       

My objection to Henry’s “decline of the manly” detective theory back then had not been so much about the social manners or the social class of the couple in the series, a reversion to the parlor detective genre before Hammett and Chandler brought the genre out of the closet and onto the streets, as the thinness of the plots as they rolled out each new product. I continue to tout the original film in series The Thin Man as the one everybody should view and take in the rest if you have restless hour and one half or so to whittle away.  


I had held my viewing of Shadow up as a case in point. And the same is true of the film being reviewed here The Thin Man Goes Home. The story line is basically Nicks’ revenge for his doctor father’s disapproval of his choice of a career in law enforcement and private detection rather than the gentile medical profession. And his drinking-centered urban lifestyle as well. Nick and Nora travel to the quiet oasis from crime Podunk town where he had grown up for a vacation. Apparently in Podunk the mere appearance of a famous ex-private detective was enough to bring local society down with a bang. Make that bang-bang since a murder of a young factory worker cum artist is what drives Nick to beat everybody including the public coppers to the punch-to finding the murderer and the reason for his death and well as ultimately the death of his Apple Annie mother who was trying to protect him. The usual cast of characters show up with their own grab bag of motives to do the rotten deed.    

In the end the town, probably like a million other towns had its fair share of the jealous, of the crooked and those who craved hard cash. Without giving too much of the not too much to give away the struggle for the hard cash centered on grabbing plans for a new style propeller from the local defense factory and sell them to the highest bidder-meaning foreign interests. Naturally such unpatriotic behavior had to be stopped. And Nick proved his mettle to his father who coughed up a “good work” comment at the end. (Nora pretty much stood around and looked beautiful in his one.) So you can see even every ready Hollywood was running out of serious work for our fair couple to feast on.       

Enough said except that I also mentioned that if one had just one film in the series then you had to opt for the original one based far more closely on that tattered copy of Hammett’s crime novel. Those were the days when Nick, still besotted by Nora, but not knocked over by her could work up the energy to do more than mix martinis. (Or to revive the old Dowd argument before Hammett let the bottle get to him or while working under the umbrella of Popular Front days directed from red Moscow).