Friday, October 27, 2017

An Encore Presentation-The Big Sur Café- With The “King Of The Beats” Jean-bon Kerouac In Mind

An Encore Presentation-The Big Sur Café- With The “King Of The Beats” Jean-bon Kerouac In Mind  








From The Pen Of Zack James

Josh Breslin, as he drove in the pitch black night up California Highway 156 to connect with U.S. 101 and the San Francisco Airport back to Boston was thinking furious thought, fugitive thoughts about what had happened on this his umpteenth trip to California. Thoughts that would carry him to the  airport road and car rental return on arrival there and then after the swift airbus to his terminal the flight home to Logan and then up to his old hometown of Olde Saco to which he had recently returned. Returned after long years of what he called “shaking the dust of the old town” off his shoes like many a guy before him, and after too. But now along the road to the airport he had thought that it had been a long time since he had gotten up this early to head, well, to head anywhere.


He had in an excess of caution decided to leave at three o’clock in the morning from the hotel he had been staying at in downtown Monterrey near famous Cannery Row (romantically and literarily famous as a scene in some of John Steinbeck’s novels from the 1920s and 1930s, as a site of some of the stop-off 1950s “beat” stuff if for no other reason than the bus stopped there before you took a taxi to Big Sur or thumbed depending on your finances and as famed 1960s Pops musical locale where the likes of Jimi Hendrix and Janis Joplin rose to the cream on top although now just another tourist magnet complete with Steinbeck this and that for sullen shoppers and diners who found their way east of Eden) and head up to the airport in order to avoid the traffic jams that he had inevitably encountered on previous trips around farm country Gilroy (the garlic or onion capital of the world, maybe both, but you got that strong smell in any case), and high tech Silicon Valley where the workers are as wedded to their automobiles as any other place in America which he too would pass on the way up.

This excess of caution not a mere expression of an old man who is mired in a whole cycle of cautions from doctors to lawyers to ex-wives to current flame (Lana Malloy by name) since his flight was not to leave to fly Boston until about noon and even giving the most unusual hold-ups and delays in processings at the airport he would not need to arrive there to return his rented car until about ten. So getting up some seven hours plus early on a trip of about one hundred miles or so and normally without traffic snarls about a two hour drive did seem an excess of caution.

But something else was going on in Josh’s mind that pitch black night (complete with a period of dense fog about thirty miles up as he hit a seashore belt and the fog just rolled in without warnings) for he had had the opportunity to have avoided both getting up early and getting snarled in hideous California highway traffic by the expedient of heading to the airport the previous day and taken refuge in a motel that was within a short distance of the airport, maybe five miles when he checked on his loyalty program hotel site. Josh though had gone down to Monterey after a writers’ conference in San Francisco which had ended a couple of days before in order travel to Big Sur and some ancient memories there had stirred something in him that he did not want to leave the area until the last possible moment so he had decided to stay in Monterrey and leave early in the morning for the airport.

That scheduled departure plan set Josh then got an idea in his head, an idea that had driven him many times before when he had first gone out to California in the summer of love, 1967 version, that he would dash to San Francisco to see the Golden Gate Bridge as the sun came up and then head to the airport. He had to laugh, as he threw an aspirin down his throat and then some water to wash the tablet down in order to ward off a coming migraine headache that the trip, that this little trip to Big Sur that he had finished the day before, the first time in maybe forty years he had been there had him acting like a young wild kid again.        

Funny as well that only a few days before he had been tired, very tired a condition that came on him more often of late as one of the six billion “growing old sucks” symptoms of that process, after the conference. Now he was blazing trails again, at least in his mind. The conference on the fate of post-modern writing in the age of the Internet with the usual crowd of literary critics and other hangers-on in tow to drink the free liquor and eat the free food had been sponsored by a major publishing company, The Globe Group. He had written articles for The Blazing Sun when the original operation had started out as a shoestring alternative magazine in the Village in about 1968, had started out as an alternative to Time, Life, Newsweek, Look, an alternative to all the safe subscription magazines delivered to leafy suburban homes and available at urban newsstands for the nine to fivers of the old world for those who, by choice, had no home, leafy or otherwise, and no serious work history.

Or rather the audience pitched to had no fixed abode, since the brethren were living some vicarious existences out of a knapsack just like Josh and his friends whom he collected along the way had been doing when he joined Captain Crunch’s merry pranksters (small case to distinguish them from the more famous Ken Kesey mad monk Merry Pranksters written about in their time by Tom Wolfe and Hunter Thompson) the first time he came out and found himself on Russian Hill in Frisco town looking for dope and finding this giant old time yellow brick road converted school bus parked in a small park there and made himself at home, after they made him welcome (including providing some sweet baby James dope that he had been searching for since the minute he hit town).

Still the iterant, the travelling nation hippie itinerants of the time to draw a big distinction from the winos, drunks, hoboes, bums and tramps who populated the “jungle” camps along railroad tracks, arroyos, river beds and under bridges who had no use for magazines or newspapers except as pillows against a hard night’s sleep along a river or on those unfriendly chairs at the Greyhound bus station needed, wanted to know what was going on in other parts of “youth nation,” wanted to know what new madness was up, wanted to know where to get decent dope, and who was performing and where in the acid-rock etched night (groups like the Dead, the Doors, the Airplane leading the pack then).


That magazine had long ago turned the corner back to Time/Life/Look/Newsweek land but the publisher Mac McDowell who still sported mutton chop whiskers as he had in the old days although these days he has them trimmed by his stylist, Marcus, at a very steep price at his mansion up in Marin County always invited him out, and paid his expenses, whenever there was a conference about some facet of the 1960s that the younger “post-modernist”  writers in his stable (guys like Kenny Johnson the author of the best-seller Thrill  were asking about as material for future books about the heady times they had been too young, in some cases way to young to know about personally or even second-hand). So Mac would bring out wiry, wily old veterans like Josh to spice up what after all would be just another academic conference and to make Mac look like some kind of hipster rather than the balding “sell-out" that he had become (which Josh had mentioned in his conference presentation but which Mac just laughed at, laughed at just as long as he can keep that Marin mansion. Still Josh felt he provided some useful background stuff now that you can find lots of information about that 1960s “golden age” (Mac’s term not his) to whet your appetite on Wikipedia or more fruitfully by going on YouTube where almost all the music of the time and other ephemera can be watched with some benefit.

Despite Josh’s tiredness, and a bit of crankiness as well when the young kid writers wanted to neglect the political side, the Vietnam War side, the rebellion against parents side of what the 1960s had been about for the lowdown on the rock festival, summer of love, Golden Gate Park at sunset loaded with dope and lack of hubris side, he decided to take a few days to go down to see Big Sur once again. He figured who knew when he would get another chance and at the age of seventy-two the actuarial tables were calling his number, or wanted to. He would have preferred to have taken the trip down with Lana, a hometown woman, whom he had finally settled in with up in Olde Saco after three, count them, failed marriages, a parcel of kids most of whom turned out okay, plenty of college tuitions and child support after living in Watertown just outside of Boston for many years.

Lana a bit younger than he and not having been “washed clean” as Josh liked to express the matter in the hectic 1960s and not wanting to wait around a hotel room reading a book or walking around Frisco alone while he attended the conference had begged off on the trip, probably wisely although once he determined to go to Big Sur and told her where he was heading she got sort of wistful. She had just recently read with extreme interest about Big Sur through her reading of Jack Kerouac’s 1960s book of the same name and had asked Josh several times before that if they went to California on a vacation other than San Diego they would go there. The long and short of that conversation was a promise by Josh to take her the next time, if there was a next time (although he did not put the proposition in exactly those terms).            

Immediately after the conference Josh headed south along U.S. 101 toward Monterrey where he would stay and which would be his final destination that day since he would by then be tired and it would be nighttime coming early as the November days got shorter. He did not want to traverse the Pacific Coast Highway (California 1 for the natives) at night since he had forgotten his distance glasses, another one of those six billion reasons why getting old sucks. Had moreover not liked to do that trip along those hairpin turns which the section heading toward Big Sur entailed riding the guardrails even back in his youth since one time having been completely stoned on some high-grade Panama Red he had almost sent a Volkswagen bus over the top when he missed a second hairpin turn after traversing the first one successfully. So he would head to Monterrey and make the obligatory walk to Cannery Row for dinner and in order to channel John Steinbeck and the later “beats” who would stop there before heading to fallout Big Sur.

The next morning Josh left on the early side not being very hungry after an excellent fish dinner at Morley’s a place that had been nothing but a hash house diner in the old days where you could get serviceable food cheap because the place catered to the shore workers and sardine factory workers who made Cannery Row famous, or infamous, when it was a working Row. He had first gone there after reading about the place in something Jack Kerouac wrote and was surprised that the place actually existed, had liked the food and the prices and so had gone there a number of times when his merry pranksters and other road companions were making the obligatory Frisco-L.A. runs up and down the coast. These days Morley’s still had excellent food but perhaps you should bring a credit card with you to insure you can handle the payment and avoid “diving for pearls” as a dish-washer to pay off your debts.      

As Josh started up the engine of his rented Acura, starting up on some of the newer cars these days being a matter of stepping on the brake and then pushing a button where the key used to go in this keyless age, keyless maybe a metaphor of the age as well, he had had to ask the attendant at the airport how to start the thing since his own car was a keyed-up Toyota of ancient age, he began to think back to the old days when he would make this upcoming run almost blind-folded. That term maybe a metaphor for that age. He headed south to catch the Pacific Coast Highway north of Carmel and thought he would stop at Point Lobos, the place he had first encountered the serious beauty of the Pacific Coast rocks and ocean wave splash reminding him of back East in Olde Saco, although more spectacular. Also the place when he had first met Moonbeam Sadie.

He had had to laugh when he thought about that name and that woman since a lot of what the old days, the 1960s had been about were tied up with his relationship to that woman, the first absolutely chemically pure version of a “hippie chick” that he had encountered. At that time Josh had been on the Captain Crunch merry prankster yellow brick road bus for a month or so and a couple of days before they had started heading south from Frisco to Los Angeles to meet up with a couple of other yellow brick road buses where Captain Crunch knew some kindred. As they meandered down the Pacific Coast Highway they would stop at various places to take in the beauty of the ocean since several of the “passengers” had never seen the ocean or like Josh had never seen the Pacific in all its splendor.

In those days, unlike now when the park closes at dusk as Josh found out, you could park your vehicle overnight and take in the sunset and endlessly listen to the surf splashing up to rocky shorelines until you fell asleep. So when their bus pulled into the lot reserved for larger vehicles there were a couple of other clearly “freak” buses already there. One of them had Moonbeam as a “passenger” whom he would meet later that evening when all of “youth nation” in the park decided to have a dope- strewn party. Half of the reason for joining up on bus was for a way to travel, for a place to hang your hat but it was also the easiest way to get on the dope trail since somebody, usually more than one somebody was “holding.” And so that night they partied, partied hard. 

About ten o’clock Josh high as a kite from some primo hash saw a young woman, tall, sort of skinny (he would find out later she had not been so slim previously except the vagaries of the road food and a steady diet of “speed” had taken their toll), long, long brown hair, a straw hat on her head, a long “granny” dress and barefooted the very picture of what Time/Life/Look would have used as their female “hippie” poster child to titillate their middle-class audiences coming out of one of the buses. She had apparently just awoken, although that seemed impossible given the noise level from the collective sound systems and the surf, and was looking for some dope to level her off and headed straight to Josh.


Josh had at that time long hair tied in a ponytail, at least that night, a full beard, wearing a cowboy hat on his head, a leather jacket against the night’s cold, denim blue jeans and a pair of moccasins not far from what Time/Life/Look would have used as their male “hippie” poster child to titillate their middle-class audiences so Moonbeam’s heading Josh’s way was not so strange. Moreover Josh was holding a nice stash of hashish. Without saying a word Josh passed the hash pipe to Moonbeam and by that mere action started a “hippie” romance that would last for the next several months until Moonbeam decided she was not cut out for the road, couldn’t take the life, and headed back to Lima, Ohio to sort out her life.

But while they were on their “fling” Moonbeam taught “Cowboy Jim,” her new name for him, many things. Josh thought it was funny thinking back how wedded to the idea of changing their lives they were back then including taking new names, monikers, as if doing so would create the new world by osmosis or something. He would have several other monikers like the “Prince of Love,” the Be-Bop Kid (for his love of jazz and blues), and Sidewalk Slim (for always writing something in chalk wherever he had sidewalk space to do so) before he left the road a few years later and stayed steady with his journalism after that high, wide, wild life lost it allure as the high tide of the 1960s ebbed and people drifted back to their old ways. But Cowboy Jim was what she called Josh and he never minded her saying that.

See Moonbeam really was trying to seek the newer age, trying to find herself as they all were more or less, but also let her better nature come forth. And she did in almost every way from her serious study of Buddhism, her yoga (well before that was fashionable among the young), and her poetry writing. But most of all in the kind, gentle almost Quaker way that she dealt with people, on or off drugs, the way she treated her Cowboy. Josh had never had such a gentle lover, never had such a woman who not only tried to understand herself but to understand him. More than once after she left the bus (she had joined the Captain Crunch when the bus left Point Lobos a few days later now that she was Cowboy’s sweetheart) he had thought about heading to Lima and try to work something out but he was still seeking something out on the Coast that held him back until her memory faded a bit and he lost the thread of her).          

Yeah, Point Lobos held some ancient memories and that day the surf was up and Mother Nature was showing one and all who cared to watch just how relentless she could be against the defenseless rocks and shoreline. If he was to get to Big Sur though he could not dally since he did not want to be taking that hairpin stretch at night. So off he went. Nothing untoward happened on the road to Big Sur, naturally he had to stop at the Bixby Bridge to marvel at the vista but also at the man-made marvel of traversing that canyon below with this bridge in 1932. Josh though later that it was not exactly correct that nothing untoward happened on the road to Big Sur but that was not exactly true for he was white-knuckled driving for that several mile stretch where the road goes up mostly and there are many hairpin turns with no guardrail and the ocean is a long way down. He thought he really was becoming an old man in his driving so cautiously that he had veer off to the side of the road to let faster cars pass by. In the old days he would drive the freaking big ass yellow brick road school bus along that same path and think nothing of it except for a time after that Volkswagen almost mishap. Maybe he was dope-brave then but it was disconcerting to think how timid he had become.

Finally in Big Sur territory though nothing really untoward happen as he traversed those hairpin roads until they finally began to straighten out near Molera State Park and thereafter Pfeiffer Beach. Funny in the old days there had been no creek to ford at Molera but the river had done its work over forty years through drought and downpour so in order to get to the ocean about a mile’s walk away Josh had to take off his running shoes and socks to get across the thirty or forty feet of rocks and pebbles to the other side (and of course the same coming back a pain in the ass which he would have taken in stride back then when he shoe of the day was the sandal easily slipped off and on) but well worth the effort even if annoying since the majestic beauty of that rock-strewn beach was breath-taking a much used word and mostly inappropriate but not this day. Maybe global warming or maybe just the relentless crush of the seas on a timid waiting shoreline but most of the beach was un-walkable across the mountain of stones piled up and so he took the cliff trail part of the way before heading back the mile to his car in the parking lot to get to Pfeiffer Beach before too much longer. 

Pfeiffer Beach is another one of those natural beauties that you have to do some work to get, almost as much work as getting to Todo El Mundo further up the road when he and his corner boys from Olde Saco had stayed for a month after they had come out to join him on the bus once he informed them that they needed to get to the West fast because all the world was changing out there. This work entailed not walking to the beach but by navigating a big car down the narrow one lane rutted dirt road two miles to the bottom of the canyon and the parking lot since now the place had been turned into a park site as well. The road was a white-knuckles experience although not as bad as the hairpins on the Pacific Coast Highway but as with Molera worth the effort, maybe more so since Josh could walk that wind-swept beach although some of the cross-currents were fierce when the ocean tide slammed the defenseless beach and rock formation. A couple of the rocks had been ground down so by the relentless oceans that donut holes had been carved in them.                          

Here Josh put down a blanket on a rock so that he could think back to the days when he had stayed here, really at Todo el Mundo but there was no beach there just some ancient eroded cliff dwellings where they had camped out and not be bothered  so everybody would climb on the bus which they would park by the side of the road on Big Sur Highway and walk down to Pfeiffer Beach those easy then two miles bringing the day’s rations of food, alcohol and drugs (not necessarily in that order) in rucksacks and think thing nothing of the walk and if they were too “wasted” (meaning drunk or high) they would find a cave and sleep there. That was the way the times were, nothing unusual then although the sign at the park entrance like at Point Lobos (and Molera) said overnight parking and camping were prohibited. But that is the way these times are.

Josh had his full share of ancient dreams come back to him that afternoon. The life on the bus, the parties, the literary lights who came by who had known Jack Kerouac , Allan Ginsberg, Lawrence Ferlinghetti and the remnant of beats who had put the place on the map as a cool stopping point close enough to Frisco to get to in a day but ten thousand miles from city cares and woes, the women whom he had loved and who maybe loved him back although he/they never stayed together long enough to form any close relationship except for Butterfly Swirl and that was a strange scene. Strange because Butterfly was a surfer girl who was “slumming” on the hippie scene for a while and they had connected on the bus except she finally decided that the road was not for her just like Moonbeam, as almost everybody including Josh figured out in the end, and went back to her perfect wave surfer boy down in La Jolla after a few months.

After an afternoon of such memories Josh was ready to head back having done what he had set out to which was to come and dream about the old days when he thought about the reasons for why he had gone to Big Sur later that evening back at the hotel. He was feeling a little hungry and after again traversing that narrow rutted dirt road going back up the canyon he decided if he didn’t stop here the nearest place would be around Carmel about twenty-five miles away. So he stopped at Henry’s Café. The café next to the Chevron gas station and the Big Sur library heading back toward Carmel (he had to laugh given all the literary figures who had passed through this town that the library was no bigger than the one he would read at on hot summer days in elementary school with maybe fewer books in stock). Of course the place no longer was named Henry’s since he had died long ago but except for a few coats of paint on the walls and a few paintings of the cabins out back that were still being rented out the place was the same. Henry’s had prided itself on the best hamburgers in Big Sur and that was still true as Josh found out.

But good hamburgers (and excellent potato soup not too watery) are not what Josh would remember about the café or about Big Sur that day. It would be the person, the young woman about thirty who was serving them off the arm, was the wait person at the joint. As he entered she was talking on a mile a minute in a slang he recognized, the language of his 1960s, you know, “right on,” “cool,” “no hassle,” “wasted,” the language of the laid-back hippie life. When she came to take his order he was curious, what was her name and how did she pick up that lingo which outside of Big Sur and except among the, well, now elderly, in places like Soho, Frisco, Harvard Square, is like a dead language, like Latin or Greek.

She replied with a wicked smile that her name was Morning Blossom, didn’t he like that name. [Yes.] She had been born and raised in Big Sur and planned to stay there because she couldn’t stand the hassles (her term) of the cities, places like San Francisco where she had gone to school for a while at San Francisco State. Josh thought to himself that he knew what was coming next although he let Morning Blossom have her say. Her parents had moved to Big Sur in 1969 and had started home-steading up in the hills. They have been part of a commune before she was born but that was all over with by the time she was born and so her parents struggled on the land alone. They never left, and never wanted to leave. Seldom left Big Sur and still did not.

Josh said to himself, after saying wow, he had finally found one of the lost tribes that wandered out into the wilderness back in the 1960s and were never heard from again. And here they were still plugging away at whatever dream drove them back then. He and others who had chronicled in some way the 1960s had finally found a clue to what had happened to the brethren. But as he got up from the counter, paid his bill, and left a hefty tip, he though he still had that trip out here next time with Lana to get through. He was looking forward to that adventure now though.               

Mix and Mingle Among The Mayfair Swells-Jane Austen’s “Love and Friendship” (2016)-A Film Review

Mix and Mingle Among The Mayfair Swells-Jane Austen’s “Love and Friendship” (2016)-A Film Review



DVD Review

By Senior Film Critic Sandy Salmon

Love And Friendship, starring Kate Beckindale, Xavier Samuel, based on the novella Lady Susan by Jane Austen, 2016

Damn my old friend and former colleague at American Film Gazette Sam Lowell whom I replaced as film critic at this site although occasionally writes some “think” pieces now that he is no longer under any deadline. His damnation centers on the tendency that he had when he got interested in a type of film or an author/writer and do a “run” based on that interest (still does so when writing about film noir which he been doing a slow moving “run” B-grade noirs on recently). Over the many years I have known him I also seemed to have picked up the habit. The habit in the present case being taking a “run” at various films based on Jane Austen’s novels and other works after having viewed the film The Jane Austen Book Club. Well we are going down that trail once again with the film adaptation of her early work Lady Susan using the title of another Austen work Love and Friendship.     

The scheme in Book Club was to take a modern book club membership and develop the plot of the film around the similarity of relationships among them to those in Austen’s six major novels. No question that one Jane Austen was an astute observer of the social mores and ethos of the later 18th century, early 19th century English country gentry, a strata of society which if it didn’t have the prestige of the upper nobility nevertheless owned the vast tracts of land and controlled the doings of the Parliament in those days that made the kingdom work. Here dear Jane looks at the mating rituals of that country gentry whose members were always in the end driven by the need to avoid dropping down the social ladder. That is most definitely the concern of the lead character Lady Susan, played by Kate Beckindale, whose aim is just that desire to avoid dropping down in her circumstances-and because inheritance is everything just look at the obtuse Common Law provisions that of her daughter.      
    
Let the games begin. Bring a scorecard. Lady Susan is on the rebound having been tossed out of one manor for going toe to toe with the lord of said manor. So off she goes to the country estate of her brother-in law and wife with her lady companion to see what she can dig up to restore her diminished sources. Before long she has that brother-in-law’s wife’s brother, Reginald played by Xavier Samuel, eating out of her hand despite himself (despite knowing that she is in modern language a “tramp”). But his/their father said no way, forget it. Still that brother is not so easy to convince of milady’s sullen sooty character and things look like he will be snagged.


Then all hell breaks loose Lady Susan as it turned out was still going toe to toe with that randy lord and his wife found out about it through a letter delivered by Reginald. The long and short of it is that Lady Susan was forced to call off her relationship with promising Reginald although that is not the last we will see of him. Enter Lady Susan’s daughter Frederica along with a goof companion Sir James Martin. Once Reginald sees Frederica they quickly become an item and goof Sir James is left empty-handed. Well not quite since on the rebound and fiercely committed to her own cozy future she picks up Sir James. All’s well that ends well. With this scenario it is a wonder that Britain was able to rule the world for as long as it did. Hey, what do you think maybe it was because of it.           

Gene Kelly And Fred Astaire Go Mano a Mano, Part 2 - Astaire’s “Shall We Dance” (1937)-A Film Review

Gene Kelly And Fred Astaire Go Mano a Mano, Part 2 - Astaire’s “Shall We Dance” (1937)-A Film Review





DVD Review

By Senior Film Critic Sandy Salmon

Shall We Dance, starring Fred Astaire, Ginger Rodgers, music and lyrics by George and Ira Gershwin, 1937

Those of you who saw my recent review of song and dance man Gene Kelly’s performance in An American In Paris know that that review had come about after a dispute I had had with the general editor of this space, one Pete Markin, over who was the better popular music male dancer Kelly or Fred Astaire. (Neither party disputes the proposition that nobody today, maybe nobody since their respective times, is even close to this pair so don’t bother to bring up any other contenders if that is what you are thinking about). Markin, after years, decades of honorable service to the memory of Mister Astaire’s talents was swayed by Kelly’s performance in that above-mentioned and corralled me by the water cooler one office morning and laid that dead-ass bombshell on me. Naturally I had to upbraid him for his treason, there is no other way to put it even though I would be hard-pressed to have him prosecuted and tried on the charge since I lack a second witness to the travesty and whether it is wartime, declared by Congress wartime, currently is disputable, and error. Now I am reviewing Mister Astaire’s stellar efforts in a second string song and dance genre classic, Shall We Dance, (the seventh of ten in which he shared the dance floor with Ms. Rogers the plotlines of the earlier ones being usually better so here the dancing really shows his superiority) a vehicle like An American In Paris for the music and lyrics of super talented composer and lyrist George and Ira Gershwin.  
I mentioned in the lead-up to the Kelly review that someday I would give you the long suffering reader the complete story of how a film critic gets his or her assignments from “upstairs,” from the general editor, from a guy just like Markin (unless of course that person is hard road free-lancing and is just submitting pieces to publications “on spec”). I noted then that I should know the ropes of that slippery slope after some thirty plus years of doing this type of work recently here and for many years at the American Film Gazette (where I still do on-line reviews and where I started out as that free-lancer submitting pieces “on spec” when the publication was strictly hard copy before I was taken on as a staff member). A reader, a thoughtful reader I assumed, wrote in to ask for a specific example of such behavior, of an odd-ball experience in assignment world to give her an inside view of the madhouse. I immediately explained the genesis of this current review (and the Kelly review) as nothing but hubris from Markin. I explained that the only reason that I was on a “run” was I got this assignment to review first Gene Kelly’s An American In Paris and now this film because Markin had grabbed these two films via Amazon for one purpose and one purpose only-to see who was the better dancer back in the day -Kelly or Astaire.
Here is another one, another prime example of odd-ball assignments out of the blue. A few months ago Markin was all hopped up on some exhibition out at the de Young Museum in San Francisco that one of his growing up childhood friends had told him about after viewing what was called The Summer Of Love Experience (from 1967 so they were commemorating the 50th anniversary of the events in style) he had me and my associate film critic Alden Riley working like seven whirling dervishes to write up a ton of stuff on the music (deemed “acid” rock for its connection with LSD), films and documentaries of the times. After I had reviewed a break-through documentary by D.A. Pennebaker chronicling the first Monterey International Pops Festival held that same 1967 year where Janis Joplin (and others like Otis Redding and Ravi Shankar) made her big splash in the rock icono-sphere I asked Alden, a much younger man than I, what he thought of Janis Joplin. He stated to me that he had never heard of her. Somehow Markin heard about that remark and being very much connected with that whole Summer of Love, 1967 scene (having actually gone out there from his growing up home in North Adamsville, Massachusetts hitchhiking out with a couple of friends) told Alden, by-passing me, that his next assignment would be a biopic about Janis Joplin titled Little Girl Blues. That will give you just a rather current example of the inside the pressure cooker atmosphere we work under.     
But back to the Astaire-Kelly controversy what I called a tempest in a teapot in that Kelly review. A remark that I now wish to publicly apologize to Mister Markin for making in the heat of writing a review under deadline. Of course in a world going to hell in a handbasket with rightwing movements sprouting up all over the world, with bare-faced  nuclear war threats on the table, with climate change dramatic weather and natural disasters on the rise and  with the social fabric coming undone in this American society (what the political commentator Frank Jackman has rightly I think called the first stages of a “cold civil war” likely to get hot) there is no question that the presses (or cyberspace) should stop while we haggle over which of two long dead  popular culture dancers was the max daddy of the genre. But to the lists once again to right a minor wrong in this crooked little orb of a planet. 

I noted in that review of An American In Paris with its paper thin plotline that it might not be the best place to critique Mister Kelly’s dancing (or acting efforts which whatever faults I find in his dancing they do not compare to his wooden glad hand acting in that role) but I did not throw down the gauntlet this time. Frankly although Shall We Dance has a plotline a bit superior to the Kelly vehicle it would not be out of place to call that paper thin as well. Apparently in the song and dance genre all the dough goes for staging and about three dollars to screenwriters to come up with a plausible scenario to justify all the sprouting out to sing and dance at the drop of a hat. 

As with An American in Paris I do not utter that term “paper thin” lightly here. Here’s the play as my predecessor and friend in this department Sam Lowell always liked to say in his reviews. Astaire whose character is called Petrov is actually an American ballet dancer working in Paris whose most fervent desire is to blend that youthful ballet training with modern jazz that is running rampart in the land and hence the need for the services of the Gershwin brothers to do the music and lyrics in this film. But I am getting ahead of myself. Petrov spies this dishy tap-dancer, Linda, Ginger Roger’s role, and immediately makes a play for her for love (and maybe, just maybe as a dance partner who might have the moves to jazz dance). She of course gives him the cold shoulder-sees him as some Russian “stup.” Naturally there has to be a nefarious plan hatched by others to get them together. Bingo a rumor is started that the “lovebirds” are married, which they are not at first, and to make this thing go away they do get married with Linda intending to get a divorce ASAP.     

Get this though. She starts falling for the big Russian turned American cuckoo until she finds that he is playing footsies with another dame. Then the big freeze is on. But you know the thaw is on the wings and they will be lovebird back together again before twelve more song and dances are completed. Like I said with the Kelly plotline watch the song and dance stuff and go numb in between.     


Of course this whole dispute, this tempest in a teapot, no I already said I apologized for my indiscretion on that score so forget I said that expression, brewed up by Mister Markin is not about the qualities of the storyline but about Kelly’s dancing superiority. I have already conceded that on the question of pure physical energy and verve Kelly is not bad reflecting I think the hopped up (maybe drugged up) post-World War II period when everybody who had slogged through the war was in a rush to get to wherever they thought they should be going. But Fred did the Gershwins proud in all the numbers that he performed with Rogers despite the silly plotline. Catch classic Let’s Call The Whole Thing Off and They Can’t Take That Away From Me and you will get my drift. He had his own sense of controlled athleticism and looking at any one number like his tap dance in the ship’s hull with a black ship’s crew for support shows his physical prowess. But where Astaire had it all over Kelly was his grace, his long reaches and close insteps. Notice in contrast that Kelly never did much pair dancing with Caron and Astaire waltzed and two-stepped Ginger right out of her shoes. Like I said in the Kelly review how the usually level-headed Markin could have turned traitor on a dime tells a lot. Tells me he, he Mister fancy general editor really has been at the hash pipe too long of late. Touché-again.      

On The 60th Anniversary Of Jack Kerouac's "On The Road" (1957)- The Jack Kerouac- Allen Ginsberg Letters- A Guest Book Review

 On The 60th Anniversary Of Jack Kerouac's "On The Road" (1957)- The Jack Kerouac- Allen Ginsberg Letters- A Guest Book Review

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

By Book Critic Zack James


To be honest I know about On The Road Jack Kerouac’s epic tale of his generation’s search for something, maybe the truth, maybe just for kicks, for stuff, important stuff that had happened down in the base of society where nobody in authority was looking or some such happening strictly second-hand. His generation’s search looking for a name, found what he, or someone associated with him, maybe the bandit poet Gregory Corso, king of the mean New York streets, mean, very mean indeed in a junkie-hang-out world around Times Square when that place was up to its neck in flea-bit hotels, all-night Joe and Nemo’s and the trail of the “fixer” man on every corner, con men coming out your ass too, called the “beat” generation. (Yes,  I know that the actual term “beat” was first used by Kerouac writer friend John Clemmon Holmes in an article in some arcane journal but the “feel” had to have come from a less academic source so I will crown the bandit prince Corso as genesis) Beat, beat of the jazzed up drum line backing some sax player searching for the high white note, what somebody told me, maybe my older brother Alex they called “blowing to the China seas” out in West Coast jazz and blues circles, that high white note he heard achieved one skinny night by famed sax man Sonny Johns, dead beat, run out on money, women, life, leaving, and this is important no forwarding address for the desolate repo man to hang onto, dread beat, nine to five, 24/7/365 that you will get caught back up in the spire wind up like your freaking staid, stay at home parents, beaten down, ground down like dust puffed away just for being, hell, let’s just call it being, beatified beat like saintly and all high holy Catholic incense and a story goes with it about a young man caught up in a dream, like there were not ten thousand other religions in the world to feast on- you can take your pick of the meanings, beat time meanings. Hell, join the club they all did, the guys, and it was mostly guys who hung out on the mean streets of New York, Chi town, North Beach in Frisco town cadging twenty-five cents a night flea-bag sleeps, half stirred left on corner diners’ coffees and cigarette stubs when the Bull Durham ran out).

I was too young to have had anything but a vague passing reference to the thing, to that “beat” thing since I was probably just pulling out of diapers then, maybe a shade bit older but not much. I got my fill, my brim fill later through my oldest brother Alex. Alex, and his crowd, more about that in a minute, but even he was only washed clean by the “beat” experiment at a very low level, mostly through reading the book (need I say the book was On The Road) and having his mandatory two years of living on the road around the time of the Summer of Love, 1967 an event whose 50th anniversary is being commemorated this year as well and so very appropriate to mention since there were a million threads, fibers, connections between “beat” and “hippie” despite dour grandpa Jack’s attempts to trash those connection when they acolytes came calling looking for the “word.” So even Alex and his crowd were really too young to have been washed by the beat wave that crashed the continent toward the end of the 1950s on the wings of Allan Ginsburg’s Howl and Jack’s travel book of a different kind (not found on the AAA, Traveler’s Aid, Youth Hostel brochure circuit if you please although Jack and the crowd, my brother and his crowd later would use such services when up against it in let’s say a place like Winnemucca in the Nevadas or Neola in the heartlands). Literary stuff for sure but the kind of stuff that moves generations, or I like to think the best parts of those cohorts. These were the creation documents the latter of which would drive Alex west before he finally settled down to his career life as a high-road lawyer (and to my sorrow and anger never looked back).             

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

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

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

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

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


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


******

The names of "beat" writers Jack Kerouac and Allen Ginsberg are no strangers to this blog. I will get around to reading and writing my own review of these letters when I get a chance. Why "when I get a chance?" Well, when you think about, at least for aficionados, Kerouac (and to a lesser extent, Ginsberg) have already "telegraphed" the high points of their literary (and "road") theories in the twelve billion words they have written on subjects like fame and fortune, and serious writing. Oh, and if you need another reason I have just finished re-reading (summertime reading, right?) Kerouac's Desolation Angels which...tells all, at least all we need to know about this band of brothers in their heyday, the mid-1950s. That review is forthcoming.

The100thAnniversaryYearOfTheBolshevik-LedOctoberRevolution-Lessons-Films To While Away The Class Struggle By- With Serge Eisenstein’s “Strike” (1925) In Mind

The100thAnniversaryYearOfTheBolshevik-LedOctoberRevolution-Lessons-Films To While Away The Class Struggle By- With Serge Eisenstein’s “Strike” (1925) In Mind




DVD Review  

By Political Commentator  Frank Jackman

Strike, starring a cast of hundreds of working people and others, directed by Serge Eisenstein, 1925

No question, no question at all that some political films whether they were intended as propaganda for a certain viewpoint as with the film under review, Russian mad man filmmaker Serge Eisenstein’s 1925 classic Strike, or because as the story line developed everybody was compelled to think through the implications of the cover-up and preclude to coup in a film like Costa-Garvas’ Z remain in our consciousness long after mere entertainment films have faded from view. Here is the beauty of Eisenstein’s work whether with Strike or in an effort like Potemkin, the one with the famous baby carriage scene on the Odessa Steps. The medium is the message to steal a phrase from an old-time social media commentator like Marshall McLuhan. The whole thing is done, powerfully done, with nothing but absolutely stunning cinematography, a few signboards (in Russian with English subtitles), and some very interesting and varied mood music which if I am not mistaken included some jazz theme stuff from Duke Ellington, and if not him then definitely some jazz riffs along with that inevitable classical music that one would have expected from a Russian filmmaker who grabbed what he could from the Russian Five.        

Now the question of who a film is directed at is usually pretty much just to lure in general audiences, maybe if it is cartoonish then kids but usually general audiences. Eisenstein in this film though is directing his efforts to working people in order for them to draw some important lessons about the class struggle. Of course Eisenstein was working shortly after the October Revolution of 1917 in his country and so he probably was more or less committed to this type of film in the interests of the Soviet government and of the world revolution that was still formally what the Bolsheviks and their international allies were all about. (I might add though that a later film about Ivan the Terrible had the same fine cinematic qualities and that was not particularly directed at the world’s working classes but to ancient Russian patriotic fervor as the smell of war, war on the doorstep became apparent.) That drawing of lessons about what happened during the strike is the force that drives the film.

Here is how this one played out in all its glory and infamy. The workers at a Russian factory of unknown location and for that matter of unknown production had been beaten down by the greedy capitalists and stockholders, had had no say in what they made and how much dough they made. (The scenes with the greedy capitalists are a treasure, something out of any leftist’s caricature of the old time robber barons complete with fat bellies, cigars and top hats). Like any situation where tensions are strung out to the limit it did not take a lot to produce a reason for a strike for a better shake in this wicked old world. Here it was an honest workman’s being accused of a theft which he couldn’t defend himself against and so in shame he committed suicide. After have previously spent several weeks talking about taking an action to better their conditions the leaders of the underground “strike committee” decided to have everybody “down tools.” (The scene of this action with a rolling shutdown as section after section left their benches was breathtaking.)      

Of course in turn of the century (20th century) Russia (and elsewhere) the capitalists were as vicious as one would expect of a new class of exploiters dealing here with people, men and women, just off the farm and so in no mood to grant such things as an eight-hour day (a struggle that we in America are very familiar with from the Haymarket Martyrs whose chief demand a couple of decades before the time of this film was for that same eight hour day) and a big wage increase. So the committee of capitalists and their hangers-on gave a blanket “no.” Said the hell with you to the strikers.
The aftermath of this refusal is where the real lessons of this film are to drawn. Needless to say the capitalists were willing, more than willing to starve the workers into submission (the scenes of some workers pawning off their worldly possession for food for the kids, for themselves are quite moving).But not only were they willing to starve the mass of workers back to the factory but did everything in their power to break the strike by other means. First and foremost to send spies out to stir up trouble in order to get the class unity broken, then tried to get some weak-links to betray the movement from within, and if that didn’t work then try might and main to round up by any way possible the leaders of the strike in order to behead the movement. In the end though they were not above using their “Pharaohs,” their mounted cops and troops to suppress the whole thing. In the final scene after the cops and troops have done their murderous assaults on unarmed strikers the corpses spread out widely on the massacre field tell anybody who wasn’t sure about the role of the cops and troops in preserving the social order of the rulers all they need to know about the way the strike was defeated. 


From what I could gather from the last signboard (one which mentioned the Lena gold strike which was I believe was suppressed in 1912) the time period of this strike was between the 1905 revolution that went down in flames and the victorious revolution in 1917. The implications of the failure of the strike, of the need to take the state power, were thus through Eisenstein’s big lenses there for all to see. Hey, even if you don’t draw any political conclusions from this film just watch to see what they mean they say a picture sometimes is worth a thousand words. Eisenstein has a thousand such pictures that will fascinate and repel you.  

From Courage To Resist -Support The Resistance

From Courage To Resist -Support The Resistance 

To    
SUPPORT THE RESISTANCE

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Donate to Courage to Resist

oct 2017 pdf newsletter

Thank you again for contributing to Chelsea Manning's freedom, and supporting war resisters like Ryan and Jenna Johnson. Now let's get some justice for Reality Winner!

Support the resistance. Donate to Courage to Resist today.

Hi. One year ago, I was asking folks such as yourself to donate, likely for a second or third time, to Chelsea Manning's defense efforts. At the time, Chelsea continued to languish in the Fort Leavenworth military prison, facing down the remaining 27 years on her sentence for exposing war crimes and the reality of the US wars in Iraq and Afghanistan. After seven years of building support for Chelsea, and funding her legal teams, I wouldn't have blamed you for being skeptical that one more donation could lead to her release any time soon.
Yet, following former President Obama's last-minute commutation of Chelsea's sentence, she's again in the headlines. Not as a prisoner, but as a young woman travelling the country advocating for social justice—including being invited and disinvited to teach at Harvard just last week. Wow. Just wow.
Chelsea's trial attorney David Coombsrecently shared with us his insight on what happened:
"Because of our trial strategy, and more importantly because of the efforts outside of the courtroom in positively portraying Manning, the message was that [Chelsea] was not the type of person who deserves 35 years. Ultimately, even though a judge was not convinced of that, a President of the United…
In short, Chelsea Manning is free because people like yourself signed petitions, called the White House switchboard, marched in the streets, and gave money to her defense. Thank you!
Today, Courage to Resist is at it again. Again, we need your help.
We've taken up the fight to support whistleblower Reality Leigh Winner. A young woman facing the wrath of Trump's Justice Department for sharing a classified NSA report with the media that allegedly detailed how foreign agents were attempting to undermine the integrity of the 2016 US presidential election. Just out of the Air Force, she's being held without bail and faces 10 years in prison for attempting to alert US citizens to weaknesses in our election systems—and to hold President Trump accountable for addressing them.
This case may become the most substantial First Amendment challenge to the antiquated 100-year-old Espionage Act yet. With the Justice Department now regularly using the Espionage Act against whistleblowers—and not spies as was originally intended—US v. Winner can be expected to set significant legal precedents.
Reality and her team of attorneys are hopeful that they will be able to win her release on bail prior to her March 2018 scheduled trial in Augusta, Georgia.
Not all of our work makes national headlines. One example, that we're just now able to share, is the case of Iraq War resister Ryan Johnson. Ryan had been AWOL from the Army for over 11 years, after resisting deployment to Iraq. He spent much of that time living in Canada and organizing fellow war objectors. For personal reasons, Ryan returned to the United States, and to the US Army to resove his legal situation.
During Ryan's court martial, we agreed with Ryan's decision to downplay his history of activism, in the hopes of getting a shorter prison sentence. In this context, we were not able to raise significant funds for him by way of direct appeals. Regardless, we helped support his wife Jenna while Ryan was jailed at the Miramar Naval Brig near San Diego for much of last year. Recently, upon Ryan's release, we helped the two of them resettle in the Denver area, providing them with over $10,000 beyond what donors contributed directly to their earmarked support fund.
p.s. For up-to-date information about Reality Winner, and to donate to her defense online, visit standwithreality.org. To donate by check to Reality Winner's defense fund, send to Courage to Resist, 484 Lake Park Ave #41, Oakland CA 94610, and note "Reality Winner" on the memo line.
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Thursday, October 26, 2017

Reality Winner's Legal Team Fights Back-Free Russian Investigation Whitsleblower Reality Leigh Winner Now!

Ct  
stand with reality winner
Reality’s legal team fights back
Dear Al,
Since her arrest in June, Reality has faced an all-out assault from a politically motivated Department of Justice determined to make an example out of her. They want to deny her a fair trial, and force her to serve jail time before she’s ever convicted, in order to scare off any future whistleblowers from taking courageous action to hold power accountable.
But Reality’s defense team is fighting back. In the last few weeks, they’ve been tearing apart the prosecution’s case, finding serious issues with all of their evidence and fighting for Reality to get a fair trial.
New bond hearing
Reality’s lawyers successfully argued for a new bond hearing, which was set for this Friday, September 29th. They argued that the prosecution’s reasons for holding her in jail before trial were exaggerated, misrepresented or just flat-out wrong.
We believe the prosecution acted in bad faith when they argued for Reality’s pre-trial detention. We believe the prosecution’s real agenda was always to force Reality to serve time for her alleged crime without having to actually convict her, as a means of making an example out of her and coercing her into a plea bargain.
We’re calling on the judge to grant Reality bail in her hearing on Friday, so that she can have the right guaranteed to all Americans to prepare for her trial in March.
TAKE ACTION: Share our article demanding Reality’s release via email,Facebook or Twitter!
Coerced confession
Reality’s defense team filed a motion on August 30th to suppress evidence from what the FBI described as a “voluntary confession”, but which Reality claims was coercive and inadmissible.
The FBI agents who questioned Reality didn’t notify her of her Miranda rights. They merely said she was “going” to be arrested, and said they had a search warrant for her person (although they never searched her). She was never notified she had the right to have a lawyer present, or that she was free not to cooperate with the questioning.
Reality’s defense team is seeking to have her statements during that questioning, and any evidence obtained because of that questioning, suppressed during the trial.
We’re still awaiting the judge’s decision, but the prosecution is so worried that they entered the transcript into the public record just in case the ruling doesn’t go their way.
Help keep Reality’s defense going!
These latest moves by Reality’s defense team are just the beginning. They’re determined to fight this case all the way to the end, and prove Reality is innocent of her charges under the Espionage Act.
The start date for Reality’s trial was extended to March 1st, 2018. Reality’s prosecution has unlimited resources at their disposal, but Reality only has her supporters to rely on. Please donate to her legal defense team today so we can get justice for Reality and fight back against Trump’s war on whistleblowers.
STAND WITH REALITY WINNER ~ PATRIOT & ALLEGED WHISTLEBLOWERc/o Courage to Resist, 484 Lake Park Ave #41, Oakland CA 94610 ~ 510-488-3559
standwithreality.org ~ facebook.com/standwithreality

Once More Into The Time Capsule, Part One-The New York Folk Revival Scene in the Early 1960’s-Malvina Reynolds

Once More Into The Time Capsule, Part One-The New York Folk Revival Scene in the Early 1960’s-Malvina Reynolds





CD Review

Washington Square Memoirs: The Great Urban Folk Revival Boom, 1950-1970, various artists, 3CD set, Rhino Records, 2001


"Except for the reference to the origins of the talent brought to the city the same comments apply for this CD. Rather than repeat information that is readily available in the booklet and on the discs I’ll finish up here with some recommendations of songs that I believe that you should be sure to listen to:

Disc One; Woody Guthrie on “Hard Travelin’”, Big Bill Broonzy on “Black , Brown And White”, Jean Ritchie on “Nottamun Town”, Josh White on “One Meat Ball” Malvina Reynolds on “Little Boxes”, Cisco Houston on “Midnight Special”, The Weavers on “Wasn’t That A Time”, Glenn Yarborough on “Spanish Is A Loving Tongue”, Odetta on “I’ve Been Driving On Bald Mountain”, The New Lost City Ramblers on “Don’t Let Your Deal Go Down”, Bob Gibson and Bob Camp on “Betty And Dupree”, Ramblin’ Jack Elliott on “San Francisco Bay Blues”, Peggy Seeger on “First Time Ever I Saw Your Face”, Hoyt Axton on “Greenback Dollar” and Carolyn Hester on “Turn And Swing Jubilee”."


Malvina Reynolds on “Little Boxes”. Like everyone else from the “Generation of ‘68” who paid attention to folk music on their way to greater social and political consciousness I know this song from Pete Seeger’s rendition. I only knew the name Malvina Reynolds much later. I only ‘knew’ the musical work of Ms. Reynold much later through the efforts of Rosalie Sorrels who did a whole CD compilation of Malvina's work (reviewed in this space). The lyrics to “Little Boxes”, by the way, are a very concise and condensed expression of the way many of us were feeling about the future bourgeois society had set up for us back in the early 1960s. As the song details-it was not pretty. I submit that it still is not pretty.

Malvina Reynolds: Song Lyrics and Poems

Little Boxes


Notes: words and music by Malvina Reynolds; copyright 1962 Schroder Music Company, renewed 1990. Malvina and her husband were on their way from where they lived in Berkeley, through San Francisco and down the peninsula to La Honda where she was to sing at a meeting of the Friends’ Committee on Legislation (not the PTA, as Pete Seeger says in the documentary about Malvina, “Love It Like a Fool”). As she drove through Daly City, she said “Bud, take the wheel. I feel a song coming on.”


Little boxes on the hillside,
Little boxes made of ticky tacky,1
Little boxes on the hillside,
Little boxes all the same.
There's a green one and a pink one
And a blue one and a yellow one,
And they're all made out of ticky tacky
And they all look just the same.

And the people in the houses
All went to the university,
Where they were put in boxes
And they came out all the same,
And there's doctors and lawyers,
And business executives,
And they're all made out of ticky tacky
And they all look just the same.

And they all play on the golf course
And drink their martinis dry,
And they all have pretty children
And the children go to school,
And the children go to summer camp
And then to the university,
Where they are put in boxes
And they come out all the same.

And the boys go into business
And marry and raise a family
In boxes made of ticky tacky
And they all look just the same.
There's a green one and a pink one
And a blue one and a yellow one,
And they're all made out of ticky tacky
And they all look just the same.