*****A Voice From The Left-The Latest From The Steve Lendman Blog

*****A Voice From The Left-The Latest From The Steve Lendman Blog

                                  Henry Wallace 1948

 A link below to link to the Steve Lendman Blog

http://sjlendman.blogspot.com/

From The Pen Of Frank Jackman

Over the years that I have been presenting political material in this space I have had occasion to re-post items from some sites which I find interesting, interesting for a host of political reasons, although I am not necessarily in agreement with what has been published. Two such sites have stood out, The Rag Blog, which I like to re-post items from because it has articles by many of my fellow Generation of ’68 residual radicals and ex-radicals who still care to put pen to paper and the blog cited here, the Steve Lendman Blog.  The reason for re-postings from this latter site is slightly different since the site represents a modern day left- liberal political slant. That is the element, the pool if you will, that we radicals have to draw from, have to move left, if we are to grow. So it is important to have the pulse of what issues motivate that milieu and I believe that this blog is a lightning rod for those political tendencies. 

I would also add that the blog is a fountain of rational, reasonable and unrepentant anti-Zionism which became apparent once again in the summer of 2014 when defense of the Palestinian people in Gaza was the pressing political issue and we were being stonewalled and lied to by the bourgeois media in service of American and Israeli interests. This blog was like a breath of fresh air then. Still is.

An additional Jackman comment (Fall 2014):

The left-liberal/radical arena in American politics has been on a steep decline since I was a whole-hearted denizen of that milieu in my youth somewhere slightly to the left of Robert Kennedy back in 1968 say but still immersed in trying put band-aids on the capitalist system. That is the place where Steve Lendman with his helpful well informed blog finds himself. It is not an enviable place to be for anyone to have a solid critique of bourgeois politics, hard American imperial politics in the 21st century and have no ready source in that milieu to take on the issues and make a difference (and as an important adjunct to that American critique a solid critique of the American government acting as front-man for every nefarious move the Israeli government makes toward increasing the oppression of the Palestinians in Gaza and the West Bank). 

Of course I had the luxury, if one could call it that, which a look at Mr. Lendman's bio information indicates that he did not have, was the pivotal experience in the late 1960s of being inducted, kicking and screaming but inducted, into the American army in its losing fight against the heroic Vietnamese resistance. That signal event disabused me, although it took a while to get "religion," on the question of the idea of not depending on bourgeois society to reform itself coming out of Democratic Party left-liberal politics, especially falling in love with Robert Kennedy’s idea of “seeking a newer world.” On specific issues like the fight against the death penalty, the fight for the $15 minimum wage, immigration reform and the like I have worked with that left-liberal/ radical milieu, and gladly, but as for continuing to believe against all evidence that the damn thing can be reformed that is where we part company. Still Brother Lendman keep up the good work and I hope you find a political home worthy of your important work.                  

A Jackman disclaimer:

I place some material in this space which I believe may be of interest to the radical public that I do not necessarily agree with or support. One of the worst aspects of the old New Left back in the 1970s as many turned to Marxism after about fifty other theories did not work out was the freezing out political debate with other opponents on the Left to try to clarify the pressing issues of the day. Those jackboot theories, mainly centered on some student-based movements that were somehow to bring down the beast without a struggle for state power, were theories that I earnestly adhered to sometimes more than one at the same time. Nevertheless by our exclusionism we were replicating the worst habits of the old Old Left (those who came of political age and fought the great class battles of the 1930s when kept their generation above water for a long time but which now despite the importance of studying have run out of steam). That freezing out , more times than I care to mention including my own behavior a few times, included physical exclusion and intimidation. I have since come to believe that the fight around programs and politics is what makes us different, and more interesting. The mix of ideas, personalities and programs, will sort themselves out in the furnace of the revolution as they have done in the past. 

Off-hand, as I have mentioned before, I think it would be easier, infinitely easier, to fight for the socialist revolution straight up than some of the “remedies” provided by the commentators in these various blogs and other networking media. But part of that struggle for the socialist revolution is to sort out the “real” stuff from the fluff as we struggle for that more just world that animates our efforts. So read on.  

Support Freedom For Class War Prisoners-Join And Support The Partisan Defense Committee

Support Freedom For Class War Prisoners-Join And Support The Partisan Defense Committee   

 

*On Revolutionaries and Mortality

COMMENTARY

THE DUTY OF A REVOLUTIONARY IS TO MAKE THE REVOLUTION-OR FALL TRYING

FORGET DONKEYS, ELEPHANTS AND GREENS- BUILD A WORKERS PARTY

I was recently asked by a young militant leftist of vague socialist sympathies why an old militant like myself was still trying to put up what apparently appears to be a forlorn task in my lifetime- the ‘good fight’ for socialism. My short answer to her was that I was doing it for her. It is true that each political generation will come to terms with the socialist tasks of its era in its own way. However, it would be a serious mistake on the part of young socialist militants to ignore the lessons of the past.

The lessons:the Russian Revolution of 1917, the Paris Commune, the early history of the American Communist Party and later the Socialist Workers Party now seemingly in the historic mist of time to today’s young militants need examination. Old militants may not be able to immediately bring about the socialist vision that animated their youth but we sure as hell can pass on the torch to the next generation. Moreover, the links to that past by death, attrition and abandonment of politics by earlier cadre have become extremely attenuated, particularly here in the heartland of world imperialism, and the relatively few of us who still remember that past and who are still fighting that ‘good fight’ are duty bound to pass on what we know.

Now for a little longer answer to that young militant’s question. I came of political age in the 1960’s, a time of much political ferment and many political mistakes on the part of the young leftists of my generation, what I have euphemistically called elsewhere the generation of ’68. Personally, I came, kicking and screaming, relatively late to the Marxist worldview after abandoning left liberal and then 'soft' socialist political positions. I can, however, state with some pride that the lateness of my conversion probably helped to keep my convictions that much more solid.Certainly nothing politically over the past 30 plus years has changed my basis view of the necessity of socialism and the probability that a knock down, drag out fight against the imperialists will be necessary to achieve it. If nothing else that is the example I wish to set by my writings and political actions.

Truth to tell, nobody ever said that individual revolutionaries would live to see the socialist society in their life time. If any thought so they bought the wrong ticket. While it is certainly true that individual activists make their own judgments about the extend of their commitment to their political goals, especially something as seemingly esoteric as the hard fight for socialism, this wicked world holds too many surprises to base one’s political calculations on the dream of actually being a commissar in a soviet society. Our models, moreover, should be Marx who after 1848 never came close to seeing the society that he predicted but still fought savagely for his worldview until his death. And Lenin, who only saw a partial and a much distorted completion of his world view before his untimely death. And Trotsky who fought to save the Russian Revolution and later in exile fought to create a new revolutionary international died at his post with his work still uncompleted. Can we do less?

Finally, let me give a specific example that has sustained me throughout the years. As part of my early Marxist political activity I did a massive amount of political reading, especially about the American socialist movement. In that reading I was drawn to the struggle of the American Trotskyists in the 1930’s who as followers of Trotsky’s Left International were trying to create a new revolutionary communist party in opposition to the Stalinized American Communist Party. As part of that process they tried to regroup with other active left wing anti-Stalinist organizations.

One such successful regroupment was with the Workers Party that had led the famous Toledo Auto-Lite strike in 1934 and which along with other later regroupments formed the Socialist Workers Party. One of the leaders of the Workers Party was New York University Professor, James Burnham. Burnham was a high-powered intellectual who could write very persuasively and wrote many articles and pamphlets that militants today can still profitably read. In 1940 he led a major split from the SWP over the question of defense of the Soviet Union. He in turn split from Marxism and later would end up a die-hard anti-Communist in league with conservative William Buckley’s National Review. Such are vagaries of politics, but that is not the main point here. In his heyday in the Socialist Workers Party Burnham was asked by fellow leader James P. Cannon to take a more central and active role in the leadership of the organization. In response Burnham stated that he personally could or would not do so as he was uncertain whether the socialist goals of the organization were attainable in his life time. That, fellow militants, is exactly the bad example that I have been fighting against most of my political life. I remain at my post.

*****Down At Duke’s Place-With Duke Ellington In Mind

*****Down At Duke’s Place-With Duke Ellington In Mind

 

 

From The Pen Of Bart Webber  

One night Sam Eaton was talking on his cellphone to his old friend from high school (Carver High, Class of 1967), Jack Callahan about how his grandson, Brandon, his oldest grandson of his daughter Janice from his first marriage (first of three all ending in divorce but that is merely a figure for the Census Bureau and not germane to what follows so enough) had beguiled him recently with his arcane knowledge of classical jazz (the jazz from the age of King Oliver say until the death of the big bad swings bands which died in the late 1940s for the most part giving way to cool ass be-bop and what followed). Jack braced himself for the deluge, got very quiet and did not say word one, since lately the music Sam mentioned, maybe even thought about mentioning the slightest thing connected with jazz he knew he was in for it, in for a harangue of unknown duration on the subject. Sam, recently more conscious that Jack, who hated jazz, hated it worse when as a child of rock and roll as Sam was, his father would endlessly play Count this, King that, Duke the other thing and not allow the family record player centered in the family living room to be sullied (his father’s word) by heathen stuff like Roll Over Beethoven or One Night With You, would go silent at the word “jazz” said not to worry he would only say a few words from his conversation with Brandon:        

No, Jack, my man, this will not be a screed about how back in the day, back in the 1950s the time of our complete absorption into rock and roll, when be-bop jazz was the cat’s meow, when cool was listening to the Monk trip up a note, consciously trip up a note to see if anybody caught it and then took that note to heaven and back, and worked it out from there or Dizzy burping then hitting the high white note all those guys were struggling against the limits of the instruments to get, high as hell on tea, you know what we called ganja, herb, stuff like that. Frankly I was too young, you too but I knew how you felt since I couldn’t listen to rock in my house either as the 1940s Andrews Sisters/Perry Como/Frank Sinatra/Peggy Lee cabal were front and center in our living room and I was reduced to listening on my transistor radio, way too young to appreciate such work then and I only got the tail end, you know when Hollywood or the popular prints messed the whole be-bop jazz “beat” thing up and we got spoon-fed Maynard G. Krebs faux black and white television beatnik selling hair cream oil or something like that, and ten thousand guys hanging around the Village on Saturday night in full beret and whatever they could put together for a beard from the outreaches of Tenafly, New Jersey (sorry but Fort Lee was out) and another ten thousand gals, all in black from head to toe, maybe black underwear too so something to imagine at least from Norwalk, Connecticut milling around as well. Square, square cubed.

No, this will not be some screed going back further in the hard times of the Great Depression and the slogging through World War II when “it did not mean a thing, if you ain’t got that swing” when our parents, the parents of the kids who caught the end of be-bop “swang,” did dips and twirls to counts, dukes, earls, princes, marquises even leading big band splashes to wash that generation clean. Come on now that was our parents and I wasn’t even born so no way I can “screed” about that. And, no, no, big time no, this will not be about some solitary figure in some dank, dusty, smoke-filled café, the booze flowing, the dope in the back alleys inflaming the night while some guy, probably a sexy sax player, blows some eternal high white note out against some bay, maybe Frisco Bay, and I was hooked, hooked for life on the be-bop jazz scene.

No, it never even came close to starting out like that, never even dreamed such scenes. Unlike rock and roll, the classic kind that was produced in our 1950s growing up time and which we have had a life-long devotion to or folk music which I came of age, political and social age too later in the early 1960s, jazz was a late, a very late acquisition to my understanding of the American songbook. Oh sure I would hear a phrase, a few bing, bang, bong notes blowing out the window, out the door, sitting in some bar over drinks with some hot date, maybe hear it as backdrop in some Harvard Square bookstore when I went looking for books (and, once somebody hipped me to the scene, looking for bright young women who also were in the bookstore looking for books, and bright young men but that scene is best left for another time), or at some party when the host tired of playing old-time folk music had decided to kick out the jams and let the jazz boys wreak their havoc. But jazz was, and to a great extent still is, a side bar of my musical tastes.          

About a decade ago, a little more, I got seriously into jazz for a while. The reason: the centennial of the birth of Duke Ellington being celebrated when I was listening to some radio show which was commemorating that fact and I heard a few faint bars which required me to both turn up the volume and to listen to the rest of the one hour tribute. The show played a lot of Duke’s stuff from the early 1940s when he had Ben Webster, Harry Carney, and Johnny Hodges on board. The stuff blew me away and as is my wont when I get my enthusiasms up, when something blows me away, I grabbed everything by the Duke and his various groupings and marveled at how very good his work was, how his tonal poems reached deep, deep down and caught something in me that responded in kind. Especially when those sexy saxs, when Johnny or Cootie blew me away if they let it all hang out.

Funny though I thought at the time that I hadn’t picked up on this sound before, this reaching for the soul, for the essence of the matter, before since there are very definitely elements of the blues in Brother Duke’s work. And I have been nothing but a stone blown blues freak since the early 1960s when I first heard Howlin’ Wolf hold forth practically eating that harmonica of his on Little Red Rooster and Smokestack Lightnin’. Moreover I had always been a Billie Holiday fan although I never drew the connection to the jazz in the background since it usually was muted to let her rip with that throaty sultry voice, the voice that chased the blues, my blues, away.

So, yes, count me among the guys who are searching for the guys who are searching for the great big cloud puff high white note, guys who have been searching for a long time as the notes waft out into the deep blue sea night. Check this out. Blowing that high white note out into the surly choppy Japan deep blue seas foaming and slashing out into the bay the one time I was sitting in fog-bound Frisco town, sitting around a North Beach bar, the High Hat maybe, back when Jimmy La Croix ran the place and a guy with a story, or a guy he knew could run a tab, for a while, and then settle up or let the hammer fall and you would wind up cadging swigs from flea-bitten raggedy- assed winos and sterno bums.

On Monday nights, a slow night in every venue you can name except maybe whorehouses and even then the business would only fall off a little since guys had to see their wives or girlfriends or both sometime, Jimmy would hold what is now called an “open mic” but then, I forget, maybe talent search something like that but the same thing. The “Hat” as everybody called it was known far and wide by ex hep-cats, aging beats, and faded flower child ex-hippies who had not yet got back to the “real” world once those trends petered out but were still looking, as I was, looking for something and got a little solace from the bottle and a dark place to nurse the damn thing where you could be social or just hang out was the place around North Beach where young talent took to the boards and played, played for the “basket” just like the folkies used to do back in the 1960s when that genre had its heyday, and probably get a few dollars from the mostly regular heavy drinker crowd that populate any gin mill on Monday, whether they have seen their loved ones or not. Jimmy would have Max Jenny on drums and Milt Bogan on that big old bass that took up half the stage, if you remember those guys when West Coast jazz was big, to back-up the talent so this was serious stuff, at least Jimmy played it that way.
 

Most of the stuff early on that night was so-so some riffs stolen from more famous guys like Miles Davis, Dizzie, Coltrane, the cool ass jazz from the fifties that young bud talent imitates starting out, maybe gets stuck on those covers and wind up, addled by some sister habit, down by the trolley trains on Market Street hustle dollars from weary tourists waiting to get up the damn hill. So nothing that would keep a steady drinker, me, from steady drinking in those days when I lifted low-shelf whiskeys with abandon. Maybe half a dozen other guys spread out around bar to prove they were there strictly for the drinking and chain-smoking unfiltered cigarettes to fill up Jimmy’s ashtrays and give Red the bartender something to do between pouring shots (otherwise the guys hungry for women company would be bunched near the dance floor but they must have had it bad since Monday night the serious honeys were not at the “Hat” but home getting rested up for the long week ahead of fending guys off).
 

Then I turned around toward the stage, turned around for no particular reason, certainly not to pay attention to the talent, when this young guy, young black guy, barely out of his teens, maybe sixteen for all I know and snuck out of the house to play, Jimmy wasn’t taking ID cards in those days and if the kid wasn’t drinking then what did it matter, to get play to reach the stars if that is what he wanted, slim a reed, dressed kind of haphazardly with a shiny suit that he probably wore to church with grandmother, string tie, clean shirt, couldn’t see his feet so can’t comment on that, maybe a little from hunger, or had the hunger eating him up. Kind of an unusual sight for ‘90s Frisco outside of the missions. But figure this, figure his eyes, eyes that I know about from my own bouts with sister, with the just forming sad sack yellow eyes of high king hell dope-dom and it all fit.

The kid was ready though to blow a big sexy tenor sax, a sax as big as he was, certainly fatter, blew the hell out of one note after another once he got his bearings, then paused, paused to suck up the universe of the smoke filled air in the place (a whiff of ganja from the back somewhere from some guy Jimmy must have known since usually dope in the place was a no-no), and went over to the river Jordan for a minute, rested, came back with a big blow that would get at least to Hawaii, rested again, maybe just a little uncertain where to go like kids always are, copy some somebody and let it go at that for the Monday crowd or blast away, but even I sensed that he had something going, so blew up a big cloud puff riff alternating with pauses hard to do, went at it again this time to the corner of paradise. Stopped, I thought he was done, he looked to hell like he was done, done in eyes almost closed, and then onward, a big beautiful dah, dee, dah, dee, dah, dee, blow, a “max daddy” blow then even an old chattering wino in a booth stopped to wonder at, and that big high white note went ripping down Bay Street, I swear I could see it, on into the fog-bound bay and on its way, not stopping until Edo, hell maybe back to Mother Africa where it all started.  He had it, that it means only “it” and if he never blew again he had that “it” moment. He left out the back door and I never saw him at the “Hat” again so maybe he was down on Mission or maybe he went somewhere, got some steady work. All I know was that I was there when a guy blew that high white note, yeah, that high white note. So yeah count me too among Duke’s boys, down at Duke’s place where he eternally searched for that elusive high white note.

See I didn’t take too long, right.             

  

 

Truncated Song For Woody-With Nobel Laureate Bob Dylan’s “Song For Woody” In Mind

Truncated Song to Woody-With Nobel Laureate Bob Dylan’s  “Song to Woody” In Mind

By Sam Lowell

If you happen by any state hospital these days, the ones that are still left after some ill-disposed fool decided that these misfits should walk the streets unaided to windup under newspapers on park benches pan-handling dimes for doughnuts, sad, not them though you know a place for the chronically sick not the mentally ill think about an old troubadour named Woody who spent his last wasted days in such a place, a place in Brooklyn when the deal went down but it could have been anywhere, could have been an old sailors’ merchant marine place of rest in some rundown seaport strewn across the globe since he did his duty on those flimsy transport craft (build one a day in round the clock shipyard and sinking one every other day on the icy North Atlantic seas) when it counted in the dark days of World War II when such service not recognized until much later by the government and the citizenry at large saved some bacon, somebody’s anyway. Could have been out in the dustbowl hills rolling out to the Okie plains ironically from whence our brave seaman came of age if you can imagine a dust bowl refugee two thousand miles from the foam-flecked ocean sailing the deep blue-green icy North Atlantic seas, so yes when it counted, counted too for his old compadre Cisco Houston who roamed the seas with our Woody, roamed the Village taverns and bedrooms too from all accounts in the days when a good-looking man of the West would inflame the imaginations of many a loose leaf city folk urban woman who tired of the run of the mill City College boys or got nothing but frustrated hanging under the arches of Washington Square waiting for some Long Island bravo to find his way, to find his dick if you really wanted to know what the problem was. So this man of the West came ambling, is there any better way to describe that funny sideway gait those cowboys gathered around them to show the stuff they were made of, cigarette hanging forlornly but intact from those dried country  lips and took the town by a storm and took the breathe away from those lonely exiles who found solace in the Village, Greenwich Village for those who are not familiar with how important those oases were for the misbegotten, the queer literally and figuratively, the outlaws, the goofs , the holy goofs, and every sort of misfit who needed a way station from Peoria, from Grand Island, from Utica I could go on but you get the picture. Those who could not adjust to the coming wave, the chicken in every pot, the roof over every head, the roof of a car in every garage. Yeah leave behind the safety of the cottages, those forty acres and a mule farms, those dry goods salesmen passing through smiling their slick smiles as they fatten up their order books. 

Some people wanted to hear his truth, had been waiting out in the prairie dust since Sooner days in sod-built hovels, waiting out in the Pittsburgh steel mills and shanty town existences, waiting out in the hobo jungle and wine bottle for a friend to talk to and the smell of odd-ball thrown together stews to satisfy that basic hunger the bottle hunger that unrequited one, waiting out in the desperate dust bowl refugee sweated labor camps, the sleeping under the stars riverbanks a rutted knapsack for a pillow, a few sheets of yesterday’s newspaper for cover against the ill-winds of misfortune living day by day, a beggar’s dread existence, waiting along the lonesome railroad tracks for that midnight freight fearing for the ruthless bulls and the sneaky peter companions, waiting in the bracero wetback border towns some sour wine to savor their existences when the tequila ran dry, waiting in some faraway townhouse trying to sneak out the backdoor to the Village to seek a newer way one that would be frustrated until much later when the “beat boys,” know loveless Jack, faggot Allen, street bandit Gregory, footloose Neal, brilliant busted Bull the drugstore cowboy, held sway and made those acres safe for the disinherited and the dispossessed. Yeah they waited for the herald who would usher in the new age where they could breeze anything but the fatal air of the big lie, the big red scare night, the, what did she call it, the ticky-tacky suburban cottage lady who had the deal down pat, oh yeah, the cookie cutter one size fits all existence.     

So they all waited in their simple skins for someone to tell some little truths like how this land was their land if they were brave enough to take it back, take back, what did Scotty boy call it when the Dutchies turned the corner from the washed up seas, yeah, that green fresh breast of the new world that had been grabbed by the greed-heads of every age from the second awakening hustle to the robber barons to the slick financiers who took their cut of every deal or there was no deal, spoke to those ready to take back the simple sense of innate solidarity that with each generation got dissipated with each new loss of indemnity from the vultures and the night-takers. Grabbed the land, the precious land that could only sustain so much abuse, could only find service in reclamation and tender care. Waited for somebody to notice that the desperately poor, the transient laborer, needed a voice, the voiceless needed a voice in each generation and by the process of selection called Woody’s card, called out for his innate sense of what aided the misbegotten world and what they could count on. Explained, patiently explained that some folks robbed you with a pistol but far worse that some did so with a fountain pen and maybe the rage should have accompanied that sense as well. Some guys speak truth to power without the accolades, without knowing they spoke to some common decencies spoke to power and got knocked over their heads for their efforts and then got off their knees and dust the pads going back for another round.

Some oracle, some later troubadour said it best that Woody spoke to the free-born instinct of those who left the hard-boiled, hard-scrabble East, the enclosed uptight East when you think about the matter closely to head out to the unknown not really knowing what the new land would look like not knowing whether they could hold the damn thing once they got there. These were funny pioneers, the wanderers, the restless ones what did one sociologist call them, yes, the master-less men who bore the backbreaking task of freeing the new land after the  old land was exhausted (and which they had taken part of crumbling apart but that is a story for another day), the gypsy rovers, the con man, the whoremongers too but mostly those who could not hack it in the East or had been run out by the hard boys (just as their forebears had been run out of the countries from whence they came sometimes just before the nooses descended). So they sought to get washed clean again, sought change the way truth was running against them then. Grew tired of Mister and his wanting habits, his grab and his pleasures. Grew fearful that he would be crushed under the weight of another man’s weight. Thought about man’s misdeeds and madness too. A lot for a single man to roll up that hill only to have it tumble down on his head.      

And then the quiet, the silence, as Woody descended into his own family-carrying madness, could no longer put pen to paper to speak his truth (one wonders if he had had a word processer in those days fixed up to his fevered brain what he would have been able to say to a candid world). Still they came to learn of his words the way he put them, the simple chords that drove the words, the three chords that got many a man a hearing, and looks from startled girls in cashmere sweaters and write the words that put to shame the breezeway denizens, the gold coast golf course country club loungers and the drifters out of dreams. Yeah think of that coughing bleeding exile out in Brooklyn where the hospital used to contain his last dreams. Think about Saint Woody of the street of dreams and sharply-etched words.   

Eight to the Bar - Hey, Sailor - Call 781-395-1732

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

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

 

 

 

From The Pen Of Bart Webber

 

Sometimes Sam Lowell and his “friend” (really “sweetie,” long time sweetie, paramour, significant other, consort or whatever passes for the socially acceptable or Census Bureau bureaucratic “speak” way to name somebody who is one’s soul-mate, his preferred term) Laura Perkins whose relationship to Sam was just described at the end of the parentheses, and righteously so, liked to go to Crane’s Beach in Ipswich to either cool off in the late summer heat or in the fall before the New England weather lowers its hammer and the place gets a bit inaccessible and too windswept to force the delicate Laura into the weathers. That later summer  heat escape valve is a result, unfortunately for an otherwise Edenic environment of the hard fact that July, when they really would like to go there to catch a few fresh sea breezes, is not a time to show up at the bleach white sands beach due to nasty blood-sucking green flies swarming and dive-bombing like some berserk renegade Air Force squadron lost on a spree captained by someone with a depraved childhood who breed in the nearby swaying mephitic marshes (mephitic courtesy of multi-use by Norman Mailer who seemed to get it in every novel- if you don't what it means look it up but think nasty and smelly and you will close-okay).



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

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

One hot late August day they got into one such discussion about how they first developed an interest in folk music when Sam had said “sure everybody, everybody over the age of say fifty to be on the safe side, knows about Bob Dylan, maybe some a little younger too if some hip kids have browsed through their parents’ old vinyl record collections now safely ensconced in the attic although there are stirrings of retro-vinyl revival of late according a report I had heard on NPR."


Some of that over 50 crowd and their young acolytes would also have known about how Dylan, after serving something like an apprenticeship under the influence of Woody Guthrie in the late 1950s singing Woody’s songs imitating Woody's style something fellow Woody acolytes like Ramblin’ Jack Elliot never quite got over moved on, got all hung up on high symbolism and obscure references. Funny guys like Jack actually made a nice workman-like career out of Woody covers, so their complaints about the "great Dylan betrayal, about moving on, seen rather hollow now. That over 50s crowd would also know Dylan became if not the voice of the Generation of ’68, their generation, which he probably did not seriously aspire in the final analysis, then he would settle for the master troubadour of the age.

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

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

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

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



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

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



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

Laura interrupted to ask if that “basket” was like the buskers put in front them these days and Sam said yes. And then asked Sam about a few of the dates he took to the coffeehouses in those days, just out of curiosity she said, meaning if she had been around would he have taken her there then. He answered that question but since it is an eternally complicated and internal one I having to do with where she stood in the long Sam girlfriend  pecking order (very high and leave it at that unless she reads this and then the highest) have skipped it to let him go on with the other Von Ronk story.


He continued with the other funny story like this-“The second story involved his [Von Ronk's] authoritative role as a folk historian who after the folk minute had passed became the subject matter for, well, for doctoral dissertations of course just like today maybe people are getting doctorates in hip-hop or some such subject. Eager young students, having basked in the folk moment in the abstract and with an academic bent, breaking new ground in folk history who would come to him for the 'skinny.' Now Van Ronk had a peculiar if not savage sense of humor and a wicked snarly cynic’s laugh but also could not abide academia and its’ barren insider language so when those eager young students came a calling he would give them some gibberish which they would duly note and footnote. Here is the funny part. That gibberish once published in the dissertation would then be cited by some other younger and even more eager students complete with the appropriate footnotes. Nice touch, nice touch indeed on that one, right.”

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

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

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

They both laughed. 

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

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

The Be-Boppingest Girl In Town-With Lucy Larkin In Mind

The Be-Boppingest Girl In Town-With Lucy Larkin In Mind

 

By Fritz Taylor

 

Back in the “Acre” section, the working poor section, of Riverdale a town about fifty miles outside of Boston it mattered, mattered a lot in the late 1950s about who the be-boppingest girl in town. Mattered to guys like Cy Dolan, Jumbo Callahan(not Johnny but his cousin), Sax McGee, Jimmy Cline and an assortment of other passing through characters who spent time, hanging out time in front of Sully’s Variety Store (although it is not germane to the serious question of who was the be-boppingest girl in town Sully’s Variety was merely a front for Johnny Sulllivan’s bookie operation which was so publicly known as such that one could see the cop cars lined up in front on occasion trying to lay down some last minute bet at Aqueduct or some such place). Maybe a generation before, the generation who hung around Sully’s during the Great Depression and World War II and then moved on such a question was not a subject of intense conversation and controversy come girl-less, dough-less Friday and Saturday nights among the brethren but just then no subject was hotter. Reason: in the age of rock and roll, the age of the music of those who came of age in the post-World War II period who, or what girl had that certain style, those certain moves on the dance floor and was a fox to boot was on the tip of the al the guys at Sully’s tongues. Probably in other corners as well but we shall only draw a bee-line for the “Acre” and let others speak for themselves.        

This be-boppingest question was uppermost on the mind of one Cy Dolan, the eldest son of the Dolan clan (and who cousins were the notorious Johnson brothers, four all told, who as part of the Jimmy Clanton gang robbed the Granite National Bank of a pretty penny but don’t mention those boys around Grandmother Dolan not unless you want spitfire and damnation) and probably the best football player who every graced the halls of Riverdale High. So a guy who was the toast of the athletic world, one of the few worlds that counted most in the “Acre” had to be very conscious of that eternal girl question because he might very likely have to decide for real who was, and was not, the real be-bop thing since a legendary football hero in old time working class Riverdale was expected to have the best looking girl in school. But given the nature of those times, the time of free-wheeling rock and roll, mere looks and showing great curves from breast to ankles was only one factor in deciding who be-bopped best.

There were certainly plenty of girls around who had shapes to die for and pretty faces Sarah Goodwin, Cherry Dale, and Christie McNamara were certainly in that league. But see Sarah was some kind of evangelical Protestant whose parents refused to permit to her to go to school dances, to hang around Johnny’s bowling alleys and certainly not the secluded lovers’ lane part of Riverdale Park along the Talbot River. (Sarah later would break from her parents, her parents religion and their strictures eventually becoming a successful model in New York City and even have her photograph for all the world to see in Playboy magazine and would under those circumstances been a serious candidate but she blossomed just a little too late.) Cherry Dale was rumored to have some college Joe from State U  on her ass and never did show up for the high school dances to strut her stuff except once for the sophomore mixer but that was before she filled out a bit (she would eventually marry that Joe and as far as anybody knew stayed with him forever). Christie McNamara had been attached to Johnny Callahan (remember not Jumbo) since about sixth grade. (They would eventually marry and stay married as Johnny became Mr. Toyota of Eastern Massachusetts and Christie Mrs. Toyota.)  So even if all three could have danced the dance of the seven veils and done a strip tease in the middle of the school gym to boot they were not contenders (Cy had noticed that Cherry when she had obliged him with a dance or two at the Spring Frolics that sophomore year before wasn’t that good a dancer and Christie danced so close to Johnny that nobody could righteously tell if she could dance or not).            

Who was Cy kidding in any case. Lucy Larkin was the only girl who could make guys thing evil (or as the case may be good) thoughts about getting her alone along that deserted stretch of Riverdale Park. She had looks, no question, brownish blonde hair, blue eyes, a bright smile, a great shape and long white legs that guys, even guys with ball and chain girlfriends, would wake up in the middle of the night with cold sweats about. Not only that but she filled out that shape with tight-fitting cashmere sweaters that showed her breasts to great effect and with tight skirts that showed her great ass. So she sent a flamed out look just short of a “bad” girl but no question just short because Lucy was one of the smartest girls in her class. But as Cy thought about the matter she was perhaps a half notch above those other beauties and the brains didn’t hurt either. But what made her bop was when she got out on that dance floor and let the world see that form making some very provocative moves without being that “bad” girl that a lot of girls were striving to look like after having seen too many grade B-films where the bad girls got all the attention and all the dates (although nobody asked about how many had to go see “Aunt Emma” for several months and as a result not finish high school).     

Cy had on the night after the Autumn Leaves dance that started off the school dance season awakened in a cold sweat thinking about Lucy dancing on the top of tables on the side of the gym when the DJ played Warren Smith’s Rock and Roll Ruby. Thought about how she arched that back of hers, how she let her dress slide up just so to give every guy in the place an eyeful, how those firm breasts tilted just so. Maybe he should have taken a cold shower right then. But right then he resolved that, yeah, Lucy Larkin was the be-boppingest girl in town and he better get to her fast.

 

*****Ain’t Got No Time For Corner Boys Down In The Street Making All That Noise

 

 

 

 

*****Ain’t Got No Time For Corner Boys Down In The Street Making All That Noise

 

From The Pen Of Sam Lowell

 

Out In The Be-Bop 1950s Night-- When Billie Ruled The Roost- Second First Take

He was the first. A certified 1958 A-One prime custom model first. Yes, Billie was the first. Billie, William James Bradley that is if you did not know his full moniker, was the first. No question about it, no controversy, no alternate candidates, no hemming and hawing agonizing about this guy’s attributes or that guy’s style and how they lined up against Billie’s shine in order to pick a winner. No way, get it.

Billie, first in what anyway? Billie, first, see, first in line of the then ever sprouting young schoolboy king corner boy wannabes. Wannabes because the weres (or the alreadys if you want to put a time frame on the matter), the corner boy weres (ditto on the alreadys), the already king corner boy weres (no need for ditto alreadys after this one), the older, say sixteen to twenty somethings since after that the only corner they were hanging in was in some county or state pen doing that first nickel for armed robbery or threat of armed robbery which is the same thing if you are a frightened Mom and Pop store owner or a kid gas jockey at a filling station), mainly not schoolboys or, christ, not for long schoolboys (for about six different reasons from being too stone cold dumb to get out of eight grade and hence too old to be robbing fellow students of lunch money to the best one when Red Radley hung the headmaster out to dry from his office and was asked to leave under penalty of three to five somewhere), mainly not working, jesus, mainly not working (working relegated to what their poor sap fathers were up to and thus square, double square) mainly just hanging around ("lying about," not laying about, was a name for it from Grandma Radley who had a distinct sneer on her face when she utter the sounds, a fit name at that) were already playing, really hip-swaying, lazily hip-swaying if you wanted to win games, wizard pinball machines in the sacred corner boy small town mom and pop variety night (not the same locale not that anybody had heard ant they would where a frightened Mom or Pop was held up at gunpoint) or cueing up in some smoke-filled big town pool hall (and playing high school kids for vagrant quarters to feed the jukebox).

Or working on hot souped-up cars (half the materials stolen from “midnight auto” the rest from Joe’s Junkyard the burial grounds for has-been automobile or ill-fated ones which did not survive the two o’clock in the morning “chicken runs” down the far end of Adamsville Boulevard to see who was the king hell king of the hot rod night not an unimportant title among that crowd), a touch of grease like some sacred balm pressed, seemingly decaled pressed, into their uniform white tee-shirts (no dopey vee-necks or muscle shirts need apply) and always showed, showed an oily speck anyway, on their knuckles (black-rimmed layered fingernails that never seemed to get clean no matter how much Borax was applied, an unspoken given).

To impressionable working poor boys coming up behind them and unaware of what pranks produced such efforts (having only sad sack nose-to-the grindstone fathers as alternative models) the cars were to die for, sleek tail-finned, pray to god two-toned cherry red and white if you put the finish on right (no going to some hack paint shop, no way, not for this baby, not for that ’57 Chevy), dual exhaust, big cubic engine numbers that no amateur had a clue to but just knew when sighted that thing would fly (well, almost fly) into the boulevard night, that sea air, sex-charged boulevard night. Tuned-up just right for that cheap gas to make her run, yah, that cheap City Service gas that was even cheaper than the stuff over at the Merit gas station, by two cents (neither station’s gas jockeys known to have been subject to the gunpoint whims that would have them peeing in their pants).

Or talking some boffo (that’s the word look it up if you think it is a lie -meaning with that certain something that would get a guy going if she got to sit next to him in that “boss” cherry red and white Chevy and he wouldn’t have to coax her like some bloody rosary bead novena frail with the Bible, okay the damn Bible between her knees), usually blonde (although frankly who could tell if her natural hair was really that condition or from a bottle and it did not really matter if she was boffo but subject of conversation from early on to the question of how anybody, how any guy could tell unless she, or they, took her underpants off for investigation,  and that talk created adolescent fervid dreams), although not always, maybe a cute rosy red-lipped and haired number (meaning in that neighborhood some Irish Catholic girl who had left those rosary beads and novenas far behind even if she still went to communion at Sunday morning eight o’clock Mass after a night of “playing the flute,” or being checked out for the natural color of her hair), in a pinch, a soft, sultry, svelte brunette (who loved to “play the flute” to be able to sit in the front seat of that “boss” car and a guy did not have to investigate her natural hair color since she would show and tell all sassy and sweaty), tight cashmere sweater-wearing (showing a proud nipple to a candid world whether aroused or not), all, tight Capri pant-wearing (meaning nothing more than a guy was going to have some work to do to check out what was under the underpants or she mercifully sliding them off to avoid rough handling), all, hustled out of her virtue (or maybe into her virtue) down by the seashore after some carnival-filled night (or maybe the “reserved” area of the drive-in movies meaning the place where no responsible parent would bring their young children and where nobody saw nothing but fogged up windows, cars rocking a little and hearing low moans).

A night that had been filled with arcade pinball wizardry, cotton candy, salt-water taffy, roller coaster rides, and a few trips in the tunnel of love, maybe win a prize from the wheel of fortune game too. A night capped with a few illicit drinks from some old Tom, or johnny, Johnny Walker that is, rotgut to make that talking easier, and that virtue more questionable, into or out of. All while the ocean waves slap innocently against the shore, drowning out the night’s heavy breathed, hard-voiced sighs.

Or, get this, because it tells a lot about the byways and highways of the high-style corner boy steamy black and white 1950s night, preparing, with his boys, his trusted unto death boys, his Omerta-sworn boys, no less to do some midnight creep (waylaying some poor bedraggled sap, sidewalk drunk or wrong neighborhooded gee, with a sap to the head for dough, or going through some back door, and not gently, to grab somebody’s family heirlooms or fungibles, better yet cash on hand) in order to maintain that hot car, cheap gas or not, or hot honey, virtuous or not. Yah, things cost then, as now.

And, yah, in 1958, in hard look 1958, those king hell corner boy "weres" already sucked up the noteworthy, attention-getting black and white television, black and white newsprint night air. Still the lines were long with candidates and the mom and pop variety store-anchored, soda fountain drugstore-anchored, pizza parlor-anchored, pool hall-anchored corners, such as they were, were plentiful in those pre-dawn mall days. But see that is the point, the point of those long lines of candidates in every burg in the land or, at least became the point, because in 1948, or 1938, or maybe even 1928 nobody gave a rat’s ass, or a damn, about corner boys except to shuffle them out of town on the first Greyhound bus.

Hell, in 1948 they were still in hiding from the war, whatever war it was that they wanted no part of, which might ruin their style, or their dough prospects. They were just getting into those old Nash jalopies, revving them up in the "chicken run" night out in the exotic west coast ocean night. In 1938 you did not need a Greyhound bus coming through your town to put them on board  because these guys were already on the hitchhike road, or were bindled-up in some railroad jungle, or getting cracked over the head by some “bull”, in the great depression whirlwind heading west for adventure, or hard-scrabble work. And in 1928 these hard boys were slugging it out, guns at the ready, in fast, prohibition liquor-load filled cars, and had no time for corners and silly corner pinball wizard games (although maybe they had time for running the rack at Gus’s pool hall and a quick back seat blow job between hauls, if they lived long enough).

That rarified, formerly subterranean corner boy way of life, was getting inspected, dissected, rejected, everything but neglected once the teen angst, teen alienation wave hit 1950s America. You heard some of the names, or thought you heard some of the names that counted, but they were just showboat celebrities, celebrities inhabiting Corner Boy, Inc. complete with stainless tee-shirt, neatly pressed denim jeans, maybe a smart leather jacket against the weather’s winds, unsmoked, unfiltered cigarettes at the ready, and incurably photogenic faces that every girl mother could love/hate.

Forget that. Down in the trenches, yah, down in the trenches is where the real corner boys lived, and lived without publicity most days, thank you.

Guys like Red Hickey, tee-shirted, sure, denim-jeaned, sure, leather-jacketed, sure, chain-smoking (Lucky Strikes, natch), sure, angelic-faced, sure, who waylaid a guy, put him in an ambulance waylaid, just because he was a corner boy king from another cross-town corner who Red thought was trying to move in, or something like that. Or guys like Bruce “The Goose” McNeil, ditto shirted, jeaned, jacketed, smoked (Camels), faced who sneak-thieved his way through half of the old Adamsville houses taking nothing but high-end stuff from the swells. Or No Name McGee, corner boy king of the liquor store clip. Yah, and a hundred other guys, a hundred no name guys, except maybe to the cops, and to their distressed mothers, mainly old-time Irish and Italian novena-praying Catholic mothers, praying against that publicity day, the police blotter publicity day.

But you did not, I say, you did not hear those Hickey, McNeil, No Name stories in the big town newspapers or in some university faculty room when those guys zeroed in on the corner boy game trying to explain, like it was not plain as the naked eye to see, and why, all that angst and alienation. And then tried to tell one and all that corner boy was a phase, a minute thing, that plentiful America had an edge, like every civilized world from time immemorial had, where those who could not adjust, who could not decode the new American night, the odorless American night, the pre-lapsarian American night shifted for themselves in the shadows. Not to worry though it was a phase, just a phase, and these guys too will soon be thinking about that ticky-tack little white house with the picket fence.

Yah, but see, see again, just the talk through the grapevine about such guys as Red, The Goose, No Name, the legendary jewelry store clip artist, Brother Johnson (who set himself apart because he made a point of the fact that he didn’t smoke, smoke cigarettes anyway), and a whole host of guys who made little big names for themselves on the corners was enough to get guys like Billie, and not just primo candidate Billie either, hopped-up on the corner boy game. Yah, the corner boys whose very name uttered, whose very idea of a name uttered, whose very idea of a name thought up in some think-tank academy brain-dust, and whose very existence made a splash later (after it was all over, at least the public, publicity all over, part), excited every project schoolboy, every wrong side of the tracks guy (and it was always guys, babes were just for tangle), every short-cut dreaming boy who could read the day’s newspaper or watch some distended television, or knew someone who did.

And Billie was the first. The star of the Adamsville elementary schoolboy corner boy galaxy. No first among equals, or any such combination like that either, if that is what you are thinking. Alone. Oh sure his right-hand man, Peter Paul Markin, weak-kneed, book-wormy, girl-confused but girl-addled, took a run at Billie but that was seen, except maybe by Peter Paul himself, as a joke. Something to have a warm chuckle over on dreary nights when a laugh could not be squeezed out any other way. See, Peter Paul, as usual, had it all wrong on his figuring stuff. He thought his two thousand facts knowledge about books, and history, and current events, and maybe an off-hand science thing or two entitled, get this, entitled him to the crown. Like merit, or heredity, or whatever drove him to those two thousand facts meant diddley squat against style, and will.

Billie tried to straighten him out, gently at first, with a short comment that a guy who had no denim blue jeans, had no possibility of getting denim blue jeans, and was in any case addicted to black chinos, black cuffed chinos, has no chance of leading anybody, at any time, in anything. Still Peter Paul argued some nonsense about his organizing abilities. Like being able to run a low-rent bake sale for some foolish school trip, or to refurbish the U.S.S. Constitution, counted when real dough, real heist dough, for real adventures was needed. Peter Paul simmered in high-grade pre-teen anguish for a while over that one, more than a while.

Billie and Peter Paul, friends since the first days of first grade, improbably friends on the face of it although Billie’s take on it was that Peter Paul made him laugh with that basketful of facts that he held on to like a king’s ransom, protecting them like they were gold or something, finally had it out one night. No, not a fist fight, see that was not really Billie’s way, not then anyway or at least not in this case, and Peter Paul was useless at fighting, except maybe with feisty paper bags or those blessed facts. Billie, who not only was a king corner contender but a very decent budding singer, rock and roll singer, had just recently lost some local talent show competition to a trio of girls who were doing a doo wop thing. That part was okay, the losing part, such things happen in show biz and even Billie recognized, recognized later, that those girls had be-bopped him with their cover of Eddie, My Love fair and square. Billie, who for that contest was dressed up in a Bill Haley-style jacket made by his mother for the occasion, did the classic Bill Haley and the Comets Rock- Around-The-Clock as his number. About halfway through though one of the arms of his just made suit came flying off. A few seconds later the other arm came off. And the girls, the coterie of Adamsville girls in the audience especially, went crazy. See they thought it was part of the act.

After that, at school and elsewhere, Billie was besieged daily by girls, and not just stick-shaped girls either, who hung off all his arms, if you want to know. And sensitive soul Peter Paul didn’t like that. He didn’t care about the girl part, because as has already been noted, and can be safely placed on golden tablets Peter Paul was plenty girl-confused and girl-addled but girl-smitten in his funny way. What got him in a snit was that Billie was neglecting his corner boy king duty to be on hand with his boys at all available times. Well, this one night the words flew as Billie tired, easily tired, of Peter Paul’s ravings on the subject. And here is the beauty of the thing, the thing that made Billie the king corner boy contender. No fists, no fumings, no forget friendships. Not necessary. Billie just told Peter Paul this- “You can have my cast-offs.” Meaning, of course, the extra girls that Billie didn’t want, or were sticks, or just didn’t appeal to him. “Deal,” cried Peter Paul in a flash. Yah that was corner boy magic. And you know what? After that Peter Paul became something like Johnson’s Boswell and really started building up Billie as the exemplar corner boy king. Nice work, Billie.

You know Freddie Jackson too took his shots but was strictly out of his league against the Billie. Here it was a question not of facts, or books, or some other cranky thing bought off, bought off easily, by dangling girls in front of a guy a la Peter Paul but of trying to out dance Billie. See Freddie, whatever else his shortcomings, mainly not being very bright and not being able to keep his hands out of his mother’s pocketbook when he needed dough so that he had to stay in many nights, worst many summer nights, could really dance. What Freddie didn’t know, and nobody was going to tell him, nobody, from Peter Paul on down if they wanted to hang with Billie was that Billie had some great dance moves along with that good and growing singing voice. See, Freddie never got to go to the school or church dances and only knew that Billie was an ace singer. But while Freddie was tied to the house he became addicted to American Bandstand and so through osmosis, maybe, got some pretty good moves too.

So at one after-school dance, at a time when Freddie had kept his hands out of his mother’s pocketbook long enough not to be house-bound, he made his big move challenge. He called Billie out. Not loud, not overbearing but everybody knew the score once they saw Freddie’s Eddie Cochran-style suit. The rest of the guys (except Billie, now wearing jeans and tee-shirt when not on stage in local talent contests where such attire got you nowhere) were in chinos (Peter Paul in black-cuffed chinos, as usual) and white shirts, or some combination like that, so Freddie definitely meant business. Freddie said, “If I beat you at dancing I’m running the gang, okay?” (See corner boys was what those professors and news hawks called them but every neighborhood guy, young or old, knew, knew without question, who led, and who was in, or not in, every, well, gang). Billie, always at the ready when backed up against the wall, said simply, “Deal.” Freddie came out with about five minutes of jitter buggery, Danny and the Juniors At The Hop kind of moves. He got plenty of applause and some moony-eyedness from the younger girls (the stick girls who were always moony-eyed until they were not stick girls any more).

Billie came sauntering out, tee-shirt rolled up, tight jeans staying tight and just started to do the stroll as the song of the same name, The Stroll, came on. Now the stroll is a line dance kind of thing but Billie is out there all by himself and making moves, sexual-laden moves, although not everybody watching would have known to call them that. And those moves have all the girls, sticks and shapes, kind of glassy-eyed with that look like maybe Billie needed a partner, or something and a “why not me” look. Even Freddie knew he was doomed and took his lost pretty well, although he still had that hankering for mom’s purse that kept him from being a real regular corner boy when Billie got the thing seriously organized.

Funny thing, Lefty Wright, who actually was on the dance floor the night of the Freddie-Billie dance-off, pushed Billie with the Freddie challenge. And Freddie was twenty times a better dancer than Lefty. Needless to say, join the ranks, Lefty. Canny Danny O’Toole (Cool Donna O’Toole’s, a stick flame of Billie’s, early Billie, brother) was a more serious matter but after a couple of actions (actions best left unspecified) he fell in line. Billie, kind of wiry, kind of quick-fisted as it turned out, and not a guy quick to take offense knew, like a lot of wiry guys, how to handle himself without lots of advertising of that fact. He was going to need that fist-skill when the most serious, more serious than the Canny Danny situation came up. And it did with Badass Bobby Riley, Badass was a known quality, but he was a year older than the others and everybody knew was a certified psychopath who eventually drifted out of sight. Although not before swearing his fealty to Billie. After taking a Billie, a wiry Billie, beating the details of which also need no going into now. And there were probably others who stepped up for a minute, or who didn’t stay long enough to test their metal. Loosey Goosey Hughes, Butternut Walsh, Jimmy Riley (no relation to Badass), Five Fingers Kelly, Kenny Ricco, Billy Bruno, and on and on.

But such was the way of Billie’s existence. He drew a fair share of breaks, for a project kid, got some notice for his singing although not enough to satisfy his huge hunger, his way out, he way out of the projects, projects that had his name written all over them(and the rest of his boys too). And then he didn’t draw some breaks after a while, got known as a hard boy, a hard corner boy when corner boy was going out of style and also his bluesy rockabilly singing style was getting crushed by clean-cut, no hassle, no hell-raising boy boys. And then he started drawing to an outside straight, first a couple of frame-up show trial juvenile clip busts, amid the dreaded publicity, the Roman Catholic mother novena dread publicity, police blottered. Then a couple of house break-ins, taking fall guy lumps for a couple of older, harder corner boys who could make him a fall guy then, as he would others when his turn came. All that was later, a couple of years later. But no question in 1958, especially the summer of 1958 when such things took on a decisive quality, Billie, and for one last time, that’s William James Bradley, in case anyone reading needs the name in order to look it up for the historical record was Billie's time. Yah, 1958, Billie, ah, William James Bradley, and corner boy king.

Funny, as you know, or you should know, corner boys usually gain their fleeting fame from actually hanging around corners, corner mom and pop variety stores, corner pizza parlors, corner pool halls, corner bowling alleys, corner pinball wizard arcades, becoming fixtures at said corners and maybe passing on to old age and social security check collection at said corner. Or maybe not passing to old age but to memory, memory kid’s memory. But feature this, in Billie’s great domain, his great be-bop night kingship, and in his various defenses of his realm against smart guys and stups alike, he never saw so much as a corner corner to rest his laurels on. And not because he did not know that proper etiquette in such matters required some formal corner to hang at but for the sheer, unadulterated fact that no such corner existed in his old-fashioned housing project (now old-fashioned anyway because they make such places differently today), his home base.

See, the guys who made the projects “forgot” that, down and out or not, people need at least a mom and pop variety store to shop at, or nowadays maybe a strip mall, just like everybody else. But none was ever brought into the place and so the closest corner, mom and pop corner anyway, was a couple of miles away up the road. But that place was held by a crowd of older corner boys whose leader, from what was said, would have had Billie for lunch (and did in the end).

But see here is where a guy like Billie got his corner boy franchise anyway. In a place where there are no corners to be king of the corner boy night there needs to be a certain ingenuity and that is where “His Honor” held forth. Why not the back of the old schoolhouse? Well, not so old really because in that mad post-World War II boom night (no pun intended), schools, particularly convenient elementary schools even for projects kids were outracing the boomers. So the school itself was not old but the height of 1950s high-style, functional public building brick and glass. Boxed, of course, building-boxed, classroom-boxed, gym-boxed, library-ditto boxed. No cafeteria-boxed, none necessary reflecting, oddly, walk to school, walk home for lunch, stay-at-home mom childhood culture even in public assistance housing world. And this for women who could have, if they could have stood the gaff from neighbor wives, family wives, society wives screamed to high heaven for work, money work. That was Billie world too, Billie day world. Billie September to June world.

But come dusk, summer dusk best of all, Billie ruled the back end of the school, the quiet unobserved end of the school, the part near the old sailors’ graveyard, placed there to handle the tired old sailors who had finished up residing at the nearby but then no longer used Old Sailors’ Rest Home built for those who roamed the seven seas, the inlet bays, and whatever other water allowed you to hang in the ancient sailors’ world. There Billie held forth, Peter Paul almost always at hand, seeking, always seeking refuge from his hellfire home thrashings. Canny Danny, regularly, same with Lefty and Freddie (when not grounded), and Bobby while he was around. And other guys, other unnamed, maybe unnamable guys who spent a minute in the Billie night. Doing? Yah, just doing some low murmur talking, most nights, mostly some listening to Billie dreams, Billie plans, Billie escape route. All sounding probable, all wistful once you heard about it later. All very easy, all very respectful, in back of that old school unless some old nag of a neighbor, fearful that the low murmur spoke of unknown, unknowable conspiracies against person, against the day, hell, even against the night. Then the cops were summoned. But mainly not.

And then as dusk turned to dark and maybe a moon, an earth moon (who knew then, without telescope, maybe a man-made moon), that soft talk, that soft night talk, turned to a low song throat sound as Billie revved up his voice to some tune his maddened brain caught on his transistor radio (bought fair and square up at the Radio Shack so don’t get all huffy about it). Say maybe Frankie Lymon and The Teenagers Why Do Fools Fall In Love? and then the other ragamuffins would do harmony. Yah, that was twelve, maybe thirteen year old night, most nights, the nights of no rough stuff, the nights of dreams, maybe. But like some ancient siren call that sound penetrated to the depths of the projects and soon a couple of girls, yes, girls, twelve and thirteen year old girls, what do you expect, stick girls and starting shape girls, would hover nearby, maybe fifty yards away but the electricity was in the air, and those hardly made out forms drove Billie and his choir corner boys on. Maybe Elvis’ One Night as a come on. Then a couple more girls, yes, twelve and thirteen year old girls, have you been paying attention, sticks and starting shapes, join those others quietly swaying to the tempo. A few more songs, a few more girls, girls coming closer. Break time. Girl meets boy. Boy meets girl. Hell, even Peter Paul got lucky this night with one of Billie’s stick rejects. And as that moon turned its shades out and the air was fragrance with nature’s marshlands sea air smells and girls’ fresh soap smells and boys’ anxiety smells the Billie corner boy wannabe world seemed not so bad. Yah, 1958 was Billie’s year. Got it.