Saturday, November 10, 2018

As We Come Up To The World War I Armistice Day That War “To End All War”- Yeah, No Question War Is Hell-With Peter Weir’s Film “Gallipoli” In Mind

As We Come Up To The World War I Armistice Day That War “To End All War”- Yeah, No Question War Is Hell-With Peter Weir’s Film “Gallipoli” In Mind 



By Film Critic Emeritus Sam Lowell

As the readers of this site may know I recently have retired, maybe semi-retired is a better way to put it, from the day to day, week to week grind of reviewing film old and young as I just hit my sixty-fifth year. That stepping aside to let Sandy Salmon take his paces on a regular basis did not mean that I would be going completely silent as I intended to, and told the site administrator Greg Green as much, to do an occasional film review and general commentary. This is one of those general commentary times. What has me exercised is Sandy’s recent review of Australian director Peter Weir’s World War I classic Gallipoli starring Mark Lee and Mel Gibson. I take no issue with Sandy since he did a fine job. What caught my attention was Sandy’s comment about Archie’s, the role played by Mark Lee, fervent desire to join his fellow Aussies on Gallipoli peninsula as a patriotic duty and a manly adventure. When I did my own review of the film back in 1981 when the film first came out I make a number of comments about my own military experiences and those of some of the guys I hung around with in high school who had to make some decisions about what to do about the war of our generation, the Vietnam War of the decade of the 1960s. 

While the action of the Australian young men itching to get into the “action” of World War I preceded us by fifty years a lot of the same ideas were hanging our old-time working- class neighborhood in Vietnam War times. (World War I’s ending, “the war that was to end all wars” which turned out to be terribly off the mark, which by the way we are commemorating the 100th anniversary of the fourth and mercifully last year of this year ending with the Armistice on November 11, 1918 at 11:11 AM- how is that for symbolism. Less symbolic is the American turn of the day into a generic veterans day back in the 1950s which some veterans, including me, are trying to have returned to the original purpose of the day-stopping wars in their tracks.) More than a few guys like Jim Leary and Freddie Lewis from the old Acre neighborhood were like Archie ready, willing and able to go fight the “red menace,” tip the dominoes our way a big selling point at the time but totally absurd in the end, do their patriotic duty take your pick of reasons. Maybe in Freddie’s case to get out of the hostile household that he grew up in and maybe Jim like Archie for a little for the adventure, to prove something about the questions he had about his manhood. I did not pick those two names out accidently for those names now are permanently etched on that hallowed black granite wall down in Washington that brings tears to my eyes old as I am every time I go there.

(The most recent time Memorial Day, 2018 to mark the fiftieth year of mourning for Jim who was one of the corner boys, was a real piece of work and, take your pick, enlisted voluntarily or did so under judicial guidance-that being ordered forthwith to the military or five years jailtime for some armed robbery they grabbed him on-He told me he would rather take his chances against the “gooks”  than be a lifer’s “girlfriend” in stir. Yeah, that is exactly the way he put it, the way he put his choice. Wrong move but who is to fault his decision despite 50 years of mourning over his lost youth-and mine. Freddie was just a quiet kid from my street who had a terrible home life and no great prospects so he joined up thinking that those lying bastard recruiting sergeants were for real when they told him he would get training in electronics which he was interested in-that was the “come on” but in no front lines Vietnam that turned him into a dog soldier infantryman whatever else he did-damn the bastards.)
 
Then there were guys like me and Jack Callahan, fallen Pete Markin who didn’t want to go into the military, didn’t want to enlist like Jim and Freddie but who having no real reason not to go when our local draft boards, our friends and neighbors if you are old enough to remember, sent “the letter” requesting our services did go and survived. The main reason that we did not want to go, at least at the time, not later when we got a serious idea of what war was about, was that doing military duty kind of cramped our style, would put a crimp in our drinking, doping, and grabbing every girl who was not nailed down. Later Pete and I got religion, realized that the other options like draft refusal which might have meant jail or fleeing to Canada were probably better options. But we were like Archie and Frank in Gallipoli working class kids even though we had all been college students as well. (Markin, hell, the Scribe which is what we all called him from about junior high school once our leader Frankie Riley dubbed him with that moniker after having spewed out a ton of words of praise on Frankie’s behalf, had made his own fatal decision when he dropped out of Boston University in his sophomore year to pursue the dream inherent the Summer of Love, 1967. That in those hellish man-eating days in Vietnam made him prime “cannon-fodder” a word we did not know then but damn well learned later. When the Scribe finished his Vietnam duty he decided not to return to school since ‘Nam had taught him all he needed to know. Again, who was to fault his judgment then-even though he would too soon fall down to drugs and his own hubris and an early grave-a still mourned early grave.)

When in our past was there even a notion of not going when the military called, of abandoning the old life in America for who knows what in Canada. We did what we did with what made sense to us at the time even if we were dead-ass wrong.         

And then of course there is a story like Frank Jackman’s who grew up in a neighborhood even down lower on the social scale than ours, grew up in “the projects,” the notorious projects which our parents would threaten us with if we didn’t stop being a serious drain on the family’s resources. Frank somehow was a college guy too and like us “accepted” induction although he had more qualms about what the heck was going on in Vietnam and about being a soldier. But like us he also accepted induction because he could see no other road out. This is where the story changes up though. Frank almost immediately upon getting to basic training knew that he had made a mistake-had no business in a uniform. And by hook or by crook he did something about it, especially once he got orders for Vietnam. The “hook” part was that through a serious of actions which I don’t need to detail here he wound up doing a little over a year in an Army stockade for refusing to go to Vietnam. Brave man.  The “crook” part was also through a series of actions which need not detain us now, mostly through the civilian courts, he was discharged, discharged from the stockade, honorably discharged as a conscientious objector.           

Archie, Frank and their Aussie comrades only started to get an idea, a real idea about the horrors of war when they were in the trenches in front of the Turks also entrenched on Gallipoli peninsula and being mowed down like some many blades of grass. Archie and most of the crew that joined up with him were among those blades of grass. It was at the point where Archie was steeling himself to go over the top of the trenches after two previous waved had been mowed down and then being cut down by the Turkish machine-gun firing that I realized how brave Frank Jackman’s actions were in retrospect.


Chuck Berry - Johnny B. Goode When The King Of Rock And Roll Held Forth In The Acre Section Of North Adamsville -And Made It Stick-In Honor Of The Generation Of ’68-Or Those Who Graced The Wild Child Part Of Those Times





When The King Of Rock And Roll Held Forth In The Acre Section Of North Adamsville -And Made It Stick-In Honor Of The Generation Of ’68-Or Those Who Graced The Wild Child Part Of Those Times  

By Zack James

[Zack James has been on an assignment covering the various 50th anniversary commemorations of the year 1968 (and a few in 1967 and for the future 1969 which is to his mind something of a watershed year) and therefore has not graced these pages for a while. Going through his paces on those assignments Zack realized that he was out of joint with his own generation, having been born in 1958 and therefore too young to have been present at the creation of what is now called, at least in the demographically-etched commercials, the classic age of rock and roll. Too young too for any sense of what a jailbreak that time was and a shortly later period which Seth Garth who was deep into the genre has called the ‘folk minute breeze” that ran rampart through the land say in the early 1960s. Too young as well to have been “washed clean,” not my term but Si Lannon’s since I am also too young to have been aware of the import by the second wave of rock, the acid rock period. Hell, this is enough of an introduction to re-introducing the legendary writer here. Lets’ leave it as Zack is back and let him go through his paces. Greg Green, site manager]     

***********

Alex James was the king of rock and roll. Of course he was not really the king, the king being Elvis and no last name needed at least for the bulk of those who will read what I call a “think piece,” a piece about what all the commemorations of events a million years ago, or it seems like a million years ago even mentioning 50 or 60 year anniversaries, mean. What Alex was though was the conduit for my own musical experiences which have left me as a stepchild to three important musical moments, the birth of rock and roll in the 1950s, the quick prairie fire called the “folk minute” of the early 1960s and the resurgence with a vengeance of rock in the mid-1960s which for brevity’s sake call “acid” rock  as the glue that bound what others who write here, Sam Lowell, in particular calls the Generation of ’68- a seminal year in many ways which I have been exploring for this and other publications. I am well placed to do so since I was over a decade too young to have been washed over by the movements directly . But that step-child still sticks and one Alex James is the reason why.

This needs a short explanation. As should be apparent Alex James is my brother, my oldest brother, born in 1946 which means a lot in the chronology of what follows. My oldest brother as well in a family with seven children, five boys and two twin girls, me being the youngest of all born in 1958. As importantly this clan grew up in the dirt- poor working- class section of North Adamsville where my mother, under better circumstances, grew up and remained after marrying her World War II Marine my father from dirt poor Appalachia which will also become somewhat important later. To say we lacked for many of the things that others in that now seen “golden age” of American prosperity would be an understatement and forms the backdrop of how Alex kept himself somewhat sane with music although we didn’t even have a record player (the ancient although now retro-revival  way to hear music then) and he was forced when at home to “fight” for the family radio to get in touch with what was going on, what the late Pete Markin his best friend in those days called “the great jailbreak.”      

A little about Alex’s trajectory is important too. He was a charter member along with the late Markin, Si Lannon, Sam Lowell, Seth Garth and Allan Jackson, the later four connected with this publication in various ways since its hard copy start in the 1970s, of the Tonio Pizza Parlor corner boys. These guys, and maybe it reflected their time and milieu, hung out at Tonio’s for the simple reason they never had money, or not enough, and while they were not above various acts of larceny and burglary mostly they hung around there to listen to the music coming out of Tonio’s to die for jukebox. That jukebox came alive in maybe 1955, 1956 when they first heard Elvis, and maybe others as well but Alex always insisted that he was the first to “discover” Elvis in his crowd. Maybe it was true although Seth always claimed that he heard Big Joe Turner’s primo version of Shake, Rattle and Rock earlier and thus first to “discover” the roots of rock and Allan Jackson has claimed without proof that he saw Bill Haley and the Comets’ version in the Chalkboard Jungle and put them all to shame. We will let old wounds fester and move on.    

Quickly that experience formed the backdrop of what Alex listened to for a few years until the genre spent a few years sagging with vanilla songs and beats after the records companies and what he called “the authorities” put a stop to serious rock and gave forth singers , male and female, nay parent could love. That same Markin, who the guys here have written about and I won’t since although he was Alex’s best friend and was over the house a lot I never really knew except nothing good happened in the world without his imprimatur to hear these guys still sing his praises, was the guy who turned Alex on to folk music via his desperate trips to Harvard Square up in Cambridge when he needed to get out of the hellish family household he dwelled in. The third prong of the musical triad was also initiated by Markin who made what everybody claims was a fatal mistake dropping out of Boston University in his sophomore year in 1967 to follow his dream, to “find” himself, to go west to San Francisco for what would be called the Summer of Love where he learned about the emerging acid rock scene (“drugs, sex and rock and roll” being one mantra). He dragged everybody, including Alex if you can believe this since he would subsequently come back and go to law school and become the staid successful lawyer he is today, out there with him for varying periods of time. (The fateful mistake on the part of Markin stemming from him dropping out at the wrong time, the escalation of the war in Vietnam subjecting him shortly after to the draft and hell-hole Vietnam service which more than the others unhinged him and his dreams.)            

That’s Alex’s story-line. My intersection with Alex’s musical trip was that one day after he had come back from a hard night at law school (he lived at home, worked during the day at some law firm  as some  kind of lacky, and went to law school nights studying the rest of the time) he went to his room and began playing a whole bunch of music starting I think with Bill Haley and the Comet’s Rock Around The Clock and kept playing stuff for a long time. Loudly. Too loudly for me to get to sleep and I went and knocked on his door to get him to quiet down. When he opened the door he had on his record player   Jerry Lee Lewis’s High School Confidential. I flipped out. I know I must have heard Alex playing this stuff earlier, but it was kind of a blank before. Background music just like Mother’s listening to 1940s stuff on her precious ancient RCA radio in the kitchen.

What happened then, what got me mesmerized as a twelve- year old was that this music “spoke” to me, spoke to my own unformed and unarticulated alienation. I had not been particularly interested in music, music mostly heard and sung in the obligatory junior high school music class, but this was different, this got my hormonal horrors in gear. I stayed in Alex’s room listening half the night as he told me above when he had first heard such and such a song.

Although the age gap between Alex and I was formidable, he was out the door originally even before I knew him but since at that point we were the only two in the house all the others in college or on their own he became something of a mentor to me on the ins and out of rock and roll once I showed an interest. From that night on it was not just a question of say, why Jailhouse Rock should be in the big American Songbook but would tell me about who or what had influenced rock and roll. He was the first to tell me about what had happened in Memphis with a guy named Sam Phillips and his Sun Record label which minted an extraordinary number of hits by guys like Elvis, Warren Smith, Chuck Berry and Jerry Lee. When I became curious about how the sound got going, why my hands got clammy when I heard the music and I would start tapping my toes he went chapter and verse on me. Like some god-awful preacher quoting how Ike Turner, under a different name, may really have been the granddaddy of rock with his Rocket 88 and how obscure guys like Louis Jordan, Big Joe Turner and Willie Lomax and their big bop rhythm and blues was one key element.

Another branch stuff from guys like Hack Devine, Warren Smith and Lenny Larson who took the country flavor and melted it down to its essence. Got rid of the shlock. Alex though did surprise me with the thing he thought got our toes tapping-these guys, Elvis, Chuck, Jerry Lee, Buddy Holly and a whole slew of what I would later call good old boys took their country roots not to the Grand Ole Opry stuff but the stuff they played at the red barn dances down in the hills and hollows come Saturday night and mixed it with some good old fashion religion stuff learned through bare-foot Baptists or from the black churches and created their “jailbreak” music. One night he startled me when he said “daddy’s music” meaning that our father who had come from down in deep down in the mud Appalachia had put the stuff in our genes. He didn’t call it DNA I don’t’ think he knew the term and I certainly didn’t but that was the idea. I resisted the idea then, and for a long time after but sisters and brothers look at the selections that accompany this so-called think piece the whole thing is clear now. I, we are our father’s sons after all. Alex knew that early on I only grabbed the idea lately-too late since my father who got exhausted from life early has been gone a long time now.                      

[Alex and I had our ups and downs over the years and as befits a lawyer and journalist our paths seldom passed except for occasional political things where we were on the same wavelength like with the defense of Army whistle-blower Chelsea Manning (formerly Bradley) few years back when he was involved legally with the case and I was writing copy for the publications. Indicative though of our closeness despite distance in 2017 when Alex had a full head of steam up about putting together a collective corner boy memoir in honor of the late Markin after a business trip to San Francisco where he went to a museum exhibition featuring the seminal Summer of Love, 1967 he contacted me for the writing, editing and making sure of the production values.]     

All that early music was mostly heard Alex told me at Tonio’s which I knew as a pizza place where the guys I hung around with would go after school for a slice of pizza and sodas and which then did not have a jukebox, had become more of a family place with no corner boys hanging out once the place had changed hands after Tonio had passed away. (They kept the name and it is still operating to this day after changing hands again now run by some guy from Armenia last I heard.) The funniest story from that Alex hang-out time was how they listened to the music in the jukebox for free when they were short of money. No, not some kicking the machine stuff but kind of romance stuff. You knew a girl part had to come with this since rock and roll really was the jailbreak music not only for the beat but for the social graces aspect of dealing with sex-the opposite sex, since you could dance without having to kill a girl with your step on toes feet.

What Frankie Riley, the acknowledged leader of the corner boys, and who today is also a successful lawyer would do is con some girl into playing music that he, they wanted to hear when they were sitting at a booth and not hanging out side. (By the way not all the corner boys were successful take Markin’s fate getting killed down in Mexico in some hazy drug deal gone awry and a couple of guys who wound up in state prisons for armed robberies and such.) Frankie made this into an art form. See the girls seemed to have money to play the jukebox, had change, quarters since the play was three for a quarter. What Frankie who almost as well as Markin knew the whole “intelligence” on who was “going steady with whom” and the like would do is maybe go up to a girl who had just broken up with her boyfriend and ask her to play something dreamy, something to play to her angst or something. Then he went to work on the other two selections by asking the girl if she had heard say Jerry Lee Lewis’ Breathless. Alex said it never failed to work. Cute if kind of a hard sell if you think about it.          

Alex as is his way kind of mentored me around the various genre that had influenced him on his journey to adulthood. (Funny how the music of your youth sticks through life with you since he and I both agreed after a recent meeting where I was “grilling him,” his term not mine, on the subject of this piece and how I got my influences that we both still favor the music of our youth, still play it with a few off-beat newer things thrown in.) He is the one who informed me about the dearth, the death really of classic rock after Elvis went AWOL from life, Chuck Berry went to jail, and Jerry lee got too cousin cozy and a bunch of record companies caved into the moral authorities and parents and let only god-awful music over the airwaves. Which drove him first to the nascent folk music scene which Markin was instrumental in turning him on to and through exposure to those rooted musics to a serious appreciation of the blues.

He spent many hours telling me about his experiences in the period of the Summer of Love which he had just barely escaped he said in order to go to law school. That music, the dope, the women, and the craziness almost got to him under Markin’s direction. I’let that stuff go for now maybe Alex can pick up the thread but I want you to listen to the music more than run the gauntlet of what was what and why.   
*********
The selection posted here culled from the merciful YouTube network thus represents one of the key pieces of music that drove the denizens of the Generation of ’68 and their stepchildren. And maybe now their grandchildren.    


Warren Smith - So Long, I'm Gone When The King Of Rock And Roll Held Forth In The Acre Section Of North Adamsville -And Made It Stick-In Honor Of The Generation Of ’68-Or Those Who Graced The Wild Child Part Of Those Times





When The King Of Rock And Roll Held Forth In The Acre Section Of North Adamsville -And Made It Stick-In Honor Of The Generation Of ’68-Or Those Who Graced The Wild Child Part Of Those Times  

By Zack James

[Zack James has been on an assignment covering the various 50th anniversary commemorations of the year 1968 (and a few in 1967 and for the future 1969 which is to his mind something of a watershed year) and therefore has not graced these pages for a while. Going through his paces on those assignments Zack realized that he was out of joint with his own generation, having been born in 1958 and therefore too young to have been present at the creation of what is now called, at least in the demographically-etched commercials, the classic age of rock and roll. Too young too for any sense of what a jailbreak that time was and a shortly later period which Seth Garth who was deep into the genre has called the ‘folk minute breeze” that ran rampart through the land say in the early 1960s. Too young as well to have been “washed clean,” not my term but Si Lannon’s since I am also too young to have been aware of the import by the second wave of rock, the acid rock period. Hell, this is enough of an introduction to re-introducing the legendary writer here. Lets’ leave it as Zack is back and let him go through his paces. Greg Green, site manager]     

***********

Alex James was the king of rock and roll. Of course he was not really the king, the king being Elvis and no last name needed at least for the bulk of those who will read what I call a “think piece,” a piece about what all the commemorations of events a million years ago, or it seems like a million years ago even mentioning 50 or 60 year anniversaries, mean. What Alex was though was the conduit for my own musical experiences which have left me as a stepchild to three important musical moments, the birth of rock and roll in the 1950s, the quick prairie fire called the “folk minute” of the early 1960s and the resurgence with a vengeance of rock in the mid-1960s which for brevity’s sake call “acid” rock  as the glue that bound what others who write here, Sam Lowell, in particular calls the Generation of ’68- a seminal year in many ways which I have been exploring for this and other publications. I am well placed to do so since I was over a decade too young to have been washed over by the movements directly . But that step-child still sticks and one Alex James is the reason why.

This needs a short explanation. As should be apparent Alex James is my brother, my oldest brother, born in 1946 which means a lot in the chronology of what follows. My oldest brother as well in a family with seven children, five boys and two twin girls, me being the youngest of all born in 1958. As importantly this clan grew up in the dirt- poor working- class section of North Adamsville where my mother, under better circumstances, grew up and remained after marrying her World War II Marine my father from dirt poor Appalachia which will also become somewhat important later. To say we lacked for many of the things that others in that now seen “golden age” of American prosperity would be an understatement and forms the backdrop of how Alex kept himself somewhat sane with music although we didn’t even have a record player (the ancient although now retro-revival  way to hear music then) and he was forced when at home to “fight” for the family radio to get in touch with what was going on, what the late Pete Markin his best friend in those days called “the great jailbreak.”      

A little about Alex’s trajectory is important too. He was a charter member along with the late Markin, Si Lannon, Sam Lowell, Seth Garth and Allan Jackson, the later four connected with this publication in various ways since its hard copy start in the 1970s, of the Tonio Pizza Parlor corner boys. These guys, and maybe it reflected their time and milieu, hung out at Tonio’s for the simple reason they never had money, or not enough, and while they were not above various acts of larceny and burglary mostly they hung around there to listen to the music coming out of Tonio’s to die for jukebox. That jukebox came alive in maybe 1955, 1956 when they first heard Elvis, and maybe others as well but Alex always insisted that he was the first to “discover” Elvis in his crowd. Maybe it was true although Seth always claimed that he heard Big Joe Turner’s primo version of Shake, Rattle and Rock earlier and thus first to “discover” the roots of rock and Allan Jackson has claimed without proof that he saw Bill Haley and the Comets’ version in the Chalkboard Jungle and put them all to shame. We will let old wounds fester and move on.    

Quickly that experience formed the backdrop of what Alex listened to for a few years until the genre spent a few years sagging with vanilla songs and beats after the records companies and what he called “the authorities” put a stop to serious rock and gave forth singers , male and female, nay parent could love. That same Markin, who the guys here have written about and I won’t since although he was Alex’s best friend and was over the house a lot I never really knew except nothing good happened in the world without his imprimatur to hear these guys still sing his praises, was the guy who turned Alex on to folk music via his desperate trips to Harvard Square up in Cambridge when he needed to get out of the hellish family household he dwelled in. The third prong of the musical triad was also initiated by Markin who made what everybody claims was a fatal mistake dropping out of Boston University in his sophomore year in 1967 to follow his dream, to “find” himself, to go west to San Francisco for what would be called the Summer of Love where he learned about the emerging acid rock scene (“drugs, sex and rock and roll” being one mantra). He dragged everybody, including Alex if you can believe this since he would subsequently come back and go to law school and become the staid successful lawyer he is today, out there with him for varying periods of time. (The fateful mistake on the part of Markin stemming from him dropping out at the wrong time, the escalation of the war in Vietnam subjecting him shortly after to the draft and hell-hole Vietnam service which more than the others unhinged him and his dreams.)            

That’s Alex’s story-line. My intersection with Alex’s musical trip was that one day after he had come back from a hard night at law school (he lived at home, worked during the day at some law firm  as some  kind of lacky, and went to law school nights studying the rest of the time) he went to his room and began playing a whole bunch of music starting I think with Bill Haley and the Comet’s Rock Around The Clock and kept playing stuff for a long time. Loudly. Too loudly for me to get to sleep and I went and knocked on his door to get him to quiet down. When he opened the door he had on his record player   Jerry Lee Lewis’s High School Confidential. I flipped out. I know I must have heard Alex playing this stuff earlier, but it was kind of a blank before. Background music just like Mother’s listening to 1940s stuff on her precious ancient RCA radio in the kitchen.

What happened then, what got me mesmerized as a twelve- year old was that this music “spoke” to me, spoke to my own unformed and unarticulated alienation. I had not been particularly interested in music, music mostly heard and sung in the obligatory junior high school music class, but this was different, this got my hormonal horrors in gear. I stayed in Alex’s room listening half the night as he told me above when he had first heard such and such a song.

Although the age gap between Alex and I was formidable, he was out the door originally even before I knew him but since at that point we were the only two in the house all the others in college or on their own he became something of a mentor to me on the ins and out of rock and roll once I showed an interest. From that night on it was not just a question of say, why Jailhouse Rock should be in the big American Songbook but would tell me about who or what had influenced rock and roll. He was the first to tell me about what had happened in Memphis with a guy named Sam Phillips and his Sun Record label which minted an extraordinary number of hits by guys like Elvis, Warren Smith, Chuck Berry and Jerry Lee. When I became curious about how the sound got going, why my hands got clammy when I heard the music and I would start tapping my toes he went chapter and verse on me. Like some god-awful preacher quoting how Ike Turner, under a different name, may really have been the granddaddy of rock with his Rocket 88 and how obscure guys like Louis Jordan, Big Joe Turner and Willie Lomax and their big bop rhythm and blues was one key element.

Another branch stuff from guys like Hack Devine, Warren Smith and Lenny Larson who took the country flavor and melted it down to its essence. Got rid of the shlock. Alex though did surprise me with the thing he thought got our toes tapping-these guys, Elvis, Chuck, Jerry Lee, Buddy Holly and a whole slew of what I would later call good old boys took their country roots not to the Grand Ole Opry stuff but the stuff they played at the red barn dances down in the hills and hollows come Saturday night and mixed it with some good old fashion religion stuff learned through bare-foot Baptists or from the black churches and created their “jailbreak” music. One night he startled me when he said “daddy’s music” meaning that our father who had come from down in deep down in the mud Appalachia had put the stuff in our genes. He didn’t call it DNA I don’t’ think he knew the term and I certainly didn’t but that was the idea. I resisted the idea then, and for a long time after but sisters and brothers look at the selections that accompany this so-called think piece the whole thing is clear now. I, we are our father’s sons after all. Alex knew that early on I only grabbed the idea lately-too late since my father who got exhausted from life early has been gone a long time now.                      

[Alex and I had our ups and downs over the years and as befits a lawyer and journalist our paths seldom passed except for occasional political things where we were on the same wavelength like with the defense of Army whistle-blower Chelsea Manning (formerly Bradley) few years back when he was involved legally with the case and I was writing copy for the publications. Indicative though of our closeness despite distance in 2017 when Alex had a full head of steam up about putting together a collective corner boy memoir in honor of the late Markin after a business trip to San Francisco where he went to a museum exhibition featuring the seminal Summer of Love, 1967 he contacted me for the writing, editing and making sure of the production values.]     

All that early music was mostly heard Alex told me at Tonio’s which I knew as a pizza place where the guys I hung around with would go after school for a slice of pizza and sodas and which then did not have a jukebox, had become more of a family place with no corner boys hanging out once the place had changed hands after Tonio had passed away. (They kept the name and it is still operating to this day after changing hands again now run by some guy from Armenia last I heard.) The funniest story from that Alex hang-out time was how they listened to the music in the jukebox for free when they were short of money. No, not some kicking the machine stuff but kind of romance stuff. You knew a girl part had to come with this since rock and roll really was the jailbreak music not only for the beat but for the social graces aspect of dealing with sex-the opposite sex, since you could dance without having to kill a girl with your step on toes feet.

What Frankie Riley, the acknowledged leader of the corner boys, and who today is also a successful lawyer would do is con some girl into playing music that he, they wanted to hear when they were sitting at a booth and not hanging out side. (By the way not all the corner boys were successful take Markin’s fate getting killed down in Mexico in some hazy drug deal gone awry and a couple of guys who wound up in state prisons for armed robberies and such.) Frankie made this into an art form. See the girls seemed to have money to play the jukebox, had change, quarters since the play was three for a quarter. What Frankie who almost as well as Markin knew the whole “intelligence” on who was “going steady with whom” and the like would do is maybe go up to a girl who had just broken up with her boyfriend and ask her to play something dreamy, something to play to her angst or something. Then he went to work on the other two selections by asking the girl if she had heard say Jerry Lee Lewis’ Breathless. Alex said it never failed to work. Cute if kind of a hard sell if you think about it.          

Alex as is his way kind of mentored me around the various genre that had influenced him on his journey to adulthood. (Funny how the music of your youth sticks through life with you since he and I both agreed after a recent meeting where I was “grilling him,” his term not mine, on the subject of this piece and how I got my influences that we both still favor the music of our youth, still play it with a few off-beat newer things thrown in.) He is the one who informed me about the dearth, the death really of classic rock after Elvis went AWOL from life, Chuck Berry went to jail, and Jerry lee got too cousin cozy and a bunch of record companies caved into the moral authorities and parents and let only god-awful music over the airwaves. Which drove him first to the nascent folk music scene which Markin was instrumental in turning him on to and through exposure to those rooted musics to a serious appreciation of the blues.

He spent many hours telling me about his experiences in the period of the Summer of Love which he had just barely escaped he said in order to go to law school. That music, the dope, the women, and the craziness almost got to him under Markin’s direction. I’let that stuff go for now maybe Alex can pick up the thread but I want you to listen to the music more than run the gauntlet of what was what and why.   
*********
The selection posted here culled from the merciful YouTube network thus represents one of the key pieces of music that drove the denizens of the Generation of ’68 and their stepchildren. And maybe now their grandchildren.    


JOE TURNER Chains of Love 1951When The King Of Rock And Roll Held Forth In The Acre Section Of North Adamsville -And Made It Stick-In Honor Of The Generation Of ’68-Or Those Who Graced The Wild Child Part Of Those Times







When The King Of Rock And Roll Held Forth In The Acre Section Of North Adamsville -And Made It Stick-In Honor Of The Generation Of ’68-Or Those Who Graced The Wild Child Part Of Those Times  

By Zack James

[Zack James has been on an assignment covering the various 50th anniversary commemorations of the year 1968 (and a few in 1967 and for the future 1969 which is to his mind something of a watershed year) and therefore has not graced these pages for a while. Going through his paces on those assignments Zack realized that he was out of joint with his own generation, having been born in 1958 and therefore too young to have been present at the creation of what is now called, at least in the demographically-etched commercials, the classic age of rock and roll. Too young too for any sense of what a jailbreak that time was and a shortly later period which Seth Garth who was deep into the genre has called the ‘folk minute breeze” that ran rampart through the land say in the early 1960s. Too young as well to have been “washed clean,” not my term but Si Lannon’s since I am also too young to have been aware of the import by the second wave of rock, the acid rock period. Hell, this is enough of an introduction to re-introducing the legendary writer here. Lets’ leave it as Zack is back and let him go through his paces. Greg Green, site manager]     

***********

Alex James was the king of rock and roll. Of course he was not really the king, the king being Elvis and no last name needed at least for the bulk of those who will read what I call a “think piece,” a piece about what all the commemorations of events a million years ago, or it seems like a million years ago even mentioning 50 or 60 year anniversaries, mean. What Alex was though was the conduit for my own musical experiences which have left me as a stepchild to three important musical moments, the birth of rock and roll in the 1950s, the quick prairie fire called the “folk minute” of the early 1960s and the resurgence with a vengeance of rock in the mid-1960s which for brevity’s sake call “acid” rock  as the glue that bound what others who write here, Sam Lowell, in particular calls the Generation of ’68- a seminal year in many ways which I have been exploring for this and other publications. I am well placed to do so since I was over a decade too young to have been washed over by the movements directly . But that step-child still sticks and one Alex James is the reason why.

This needs a short explanation. As should be apparent Alex James is my brother, my oldest brother, born in 1946 which means a lot in the chronology of what follows. My oldest brother as well in a family with seven children, five boys and two twin girls, me being the youngest of all born in 1958. As importantly this clan grew up in the dirt- poor working- class section of North Adamsville where my mother, under better circumstances, grew up and remained after marrying her World War II Marine my father from dirt poor Appalachia which will also become somewhat important later. To say we lacked for many of the things that others in that now seen “golden age” of American prosperity would be an understatement and forms the backdrop of how Alex kept himself somewhat sane with music although we didn’t even have a record player (the ancient although now retro-revival  way to hear music then) and he was forced when at home to “fight” for the family radio to get in touch with what was going on, what the late Pete Markin his best friend in those days called “the great jailbreak.”      

A little about Alex’s trajectory is important too. He was a charter member along with the late Markin, Si Lannon, Sam Lowell, Seth Garth and Allan Jackson, the later four connected with this publication in various ways since its hard copy start in the 1970s, of the Tonio Pizza Parlor corner boys. These guys, and maybe it reflected their time and milieu, hung out at Tonio’s for the simple reason they never had money, or not enough, and while they were not above various acts of larceny and burglary mostly they hung around there to listen to the music coming out of Tonio’s to die for jukebox. That jukebox came alive in maybe 1955, 1956 when they first heard Elvis, and maybe others as well but Alex always insisted that he was the first to “discover” Elvis in his crowd. Maybe it was true although Seth always claimed that he heard Big Joe Turner’s primo version of Shake, Rattle and Rock earlier and thus first to “discover” the roots of rock and Allan Jackson has claimed without proof that he saw Bill Haley and the Comets’ version in the Chalkboard Jungle and put them all to shame. We will let old wounds fester and move on.    

Quickly that experience formed the backdrop of what Alex listened to for a few years until the genre spent a few years sagging with vanilla songs and beats after the records companies and what he called “the authorities” put a stop to serious rock and gave forth singers , male and female, nay parent could love. That same Markin, who the guys here have written about and I won’t since although he was Alex’s best friend and was over the house a lot I never really knew except nothing good happened in the world without his imprimatur to hear these guys still sing his praises, was the guy who turned Alex on to folk music via his desperate trips to Harvard Square up in Cambridge when he needed to get out of the hellish family household he dwelled in. The third prong of the musical triad was also initiated by Markin who made what everybody claims was a fatal mistake dropping out of Boston University in his sophomore year in 1967 to follow his dream, to “find” himself, to go west to San Francisco for what would be called the Summer of Love where he learned about the emerging acid rock scene (“drugs, sex and rock and roll” being one mantra). He dragged everybody, including Alex if you can believe this since he would subsequently come back and go to law school and become the staid successful lawyer he is today, out there with him for varying periods of time. (The fateful mistake on the part of Markin stemming from him dropping out at the wrong time, the escalation of the war in Vietnam subjecting him shortly after to the draft and hell-hole Vietnam service which more than the others unhinged him and his dreams.)            

That’s Alex’s story-line. My intersection with Alex’s musical trip was that one day after he had come back from a hard night at law school (he lived at home, worked during the day at some law firm  as some  kind of lacky, and went to law school nights studying the rest of the time) he went to his room and began playing a whole bunch of music starting I think with Bill Haley and the Comet’s Rock Around The Clock and kept playing stuff for a long time. Loudly. Too loudly for me to get to sleep and I went and knocked on his door to get him to quiet down. When he opened the door he had on his record player   Jerry Lee Lewis’s High School Confidential. I flipped out. I know I must have heard Alex playing this stuff earlier, but it was kind of a blank before. Background music just like Mother’s listening to 1940s stuff on her precious ancient RCA radio in the kitchen.

What happened then, what got me mesmerized as a twelve- year old was that this music “spoke” to me, spoke to my own unformed and unarticulated alienation. I had not been particularly interested in music, music mostly heard and sung in the obligatory junior high school music class, but this was different, this got my hormonal horrors in gear. I stayed in Alex’s room listening half the night as he told me above when he had first heard such and such a song.

Although the age gap between Alex and I was formidable, he was out the door originally even before I knew him but since at that point we were the only two in the house all the others in college or on their own he became something of a mentor to me on the ins and out of rock and roll once I showed an interest. From that night on it was not just a question of say, why Jailhouse Rock should be in the big American Songbook but would tell me about who or what had influenced rock and roll. He was the first to tell me about what had happened in Memphis with a guy named Sam Phillips and his Sun Record label which minted an extraordinary number of hits by guys like Elvis, Warren Smith, Chuck Berry and Jerry Lee. When I became curious about how the sound got going, why my hands got clammy when I heard the music and I would start tapping my toes he went chapter and verse on me. Like some god-awful preacher quoting how Ike Turner, under a different name, may really have been the granddaddy of rock with his Rocket 88 and how obscure guys like Louis Jordan, Big Joe Turner and Willie Lomax and their big bop rhythm and blues was one key element.

Another branch stuff from guys like Hack Devine, Warren Smith and Lenny Larson who took the country flavor and melted it down to its essence. Got rid of the shlock. Alex though did surprise me with the thing he thought got our toes tapping-these guys, Elvis, Chuck, Jerry Lee, Buddy Holly and a whole slew of what I would later call good old boys took their country roots not to the Grand Ole Opry stuff but the stuff they played at the red barn dances down in the hills and hollows come Saturday night and mixed it with some good old fashion religion stuff learned through bare-foot Baptists or from the black churches and created their “jailbreak” music. One night he startled me when he said “daddy’s music” meaning that our father who had come from down in deep down in the mud Appalachia had put the stuff in our genes. He didn’t call it DNA I don’t’ think he knew the term and I certainly didn’t but that was the idea. I resisted the idea then, and for a long time after but sisters and brothers look at the selections that accompany this so-called think piece the whole thing is clear now. I, we are our father’s sons after all. Alex knew that early on I only grabbed the idea lately-too late since my father who got exhausted from life early has been gone a long time now.                      

[Alex and I had our ups and downs over the years and as befits a lawyer and journalist our paths seldom passed except for occasional political things where we were on the same wavelength like with the defense of Army whistle-blower Chelsea Manning (formerly Bradley) few years back when he was involved legally with the case and I was writing copy for the publications. Indicative though of our closeness despite distance in 2017 when Alex had a full head of steam up about putting together a collective corner boy memoir in honor of the late Markin after a business trip to San Francisco where he went to a museum exhibition featuring the seminal Summer of Love, 1967 he contacted me for the writing, editing and making sure of the production values.]     

All that early music was mostly heard Alex told me at Tonio’s which I knew as a pizza place where the guys I hung around with would go after school for a slice of pizza and sodas and which then did not have a jukebox, had become more of a family place with no corner boys hanging out once the place had changed hands after Tonio had passed away. (They kept the name and it is still operating to this day after changing hands again now run by some guy from Armenia last I heard.) The funniest story from that Alex hang-out time was how they listened to the music in the jukebox for free when they were short of money. No, not some kicking the machine stuff but kind of romance stuff. You knew a girl part had to come with this since rock and roll really was the jailbreak music not only for the beat but for the social graces aspect of dealing with sex-the opposite sex, since you could dance without having to kill a girl with your step on toes feet.

What Frankie Riley, the acknowledged leader of the corner boys, and who today is also a successful lawyer would do is con some girl into playing music that he, they wanted to hear when they were sitting at a booth and not hanging out side. (By the way not all the corner boys were successful take Markin’s fate getting killed down in Mexico in some hazy drug deal gone awry and a couple of guys who wound up in state prisons for armed robberies and such.) Frankie made this into an art form. See the girls seemed to have money to play the jukebox, had change, quarters since the play was three for a quarter. What Frankie who almost as well as Markin knew the whole “intelligence” on who was “going steady with whom” and the like would do is maybe go up to a girl who had just broken up with her boyfriend and ask her to play something dreamy, something to play to her angst or something. Then he went to work on the other two selections by asking the girl if she had heard say Jerry Lee Lewis’ Breathless. Alex said it never failed to work. Cute if kind of a hard sell if you think about it.          

Alex as is his way kind of mentored me around the various genre that had influenced him on his journey to adulthood. (Funny how the music of your youth sticks through life with you since he and I both agreed after a recent meeting where I was “grilling him,” his term not mine, on the subject of this piece and how I got my influences that we both still favor the music of our youth, still play it with a few off-beat newer things thrown in.) He is the one who informed me about the dearth, the death really of classic rock after Elvis went AWOL from life, Chuck Berry went to jail, and Jerry lee got too cousin cozy and a bunch of record companies caved into the moral authorities and parents and let only god-awful music over the airwaves. Which drove him first to the nascent folk music scene which Markin was instrumental in turning him on to and through exposure to those rooted musics to a serious appreciation of the blues.

He spent many hours telling me about his experiences in the period of the Summer of Love which he had just barely escaped he said in order to go to law school. That music, the dope, the women, and the craziness almost got to him under Markin’s direction. I’let that stuff go for now maybe Alex can pick up the thread but I want you to listen to the music more than run the gauntlet of what was what and why.   
*********
The selection posted here culled from the merciful YouTube network thus represents one of the key pieces of music that drove the denizens of the Generation of ’68 and their stepchildren. And maybe now their grandchildren.    


As The 100th Anniversary Of The Armistice Day 11/11/1918 at 11 AM Commences-Some Creative Artists Who Fought/Died/Lived Through The Nightmare That Destroyed The Flower Of European And American Youth -Bertolt Brecht-“To Those Born After”

As The 100th Anniversary Of The Armistice Day 11/11/1918 at 11 AM Commences-Some Creative Artists Who Fought/Died/Lived Through The Nightmare That Destroyed The Flower Of European And American Youth -Bertolt Brecht-“To Those Born After”   


By Seth Garth


A few years ago, starting in August 2104 the 100th anniversary of what would become World War I, I started a series about the cultural effects, some of them anyway, of the slaughter which mowed down the flower of the European youth including an amazing number of artists, poets, writers and other cultural figures. Those culturati left behind, those who survived the shellings, the trenches, the diseases, and what was then called “shell shock,” now more commonly Post-Traumatic Stress Disorder (PTSD) which is duly recognized, and compensated for at least in the United States by the Veterans Administration in proven cases reacted in many different ways. Mainly, the best of them, like the ordinary dog soldiers could not go back to the same old, same old, could not revive the certitudes of the pre-war Western world with it distorted sense of decorum and went to what even today seem quirky with moderns like Dada, Minimalism, the literary sparseness of Hemingway, and so on. I had my say there in a general sense but now as we are only a few months away from the 100th anniversary of, mercifully, the armistice which effectively ended that bloodbath I want to do a retrospective of creative artistic works by those who survived the war and how those war visions got translated into their works with some commentary if the spirit moves me but this is their show-no question they earned a retrospective.

Almost everything the good German communist, and that is a worthy designation for him, the communist part, when that was  an important ideal reads almost as well and timely today. Here is one which those old time radicals who still are in the struggles should ponder: 


                                                                               Bertolt Brecht


                        To Those Born Later

I

Truly, I live in dark times!
The guileless word is folly. A smooth forehead
Suggests insensitivity. The man who laughs
Has simply not yet had
The terrible news.

What kind of times are they, when
A talk about trees is almost a crime
Because it implies silence about so many horrors?
That man there calmly crossing the street
Is already perhaps beyond the reach of his friends
Who are in need?

It is true I still earn my keep
But, believe me, that is only an accident. Nothing
I do gives me the right to eat my fill.
By chance I've been spared. (If my luck breaks, I am lost.)

They say to me: Eat and drink! Be glad you have it!
But how can I eat and drink if I snatch what I eat
From the starving, and
My glass of water belongs to one dying of thirst?
And yet I eat and drink.

I would also like to be wise.
In the old books it says what wisdom is:
To shun the strife of the world and to live out
Your brief time without fear
Also to get along without violence
To return good for evil
Not to fulfill your desires but to forget them
Is accounted wise.
All this I cannot do:
Truly, I live in dark times.

II

I came to the cities in a time of disorder
When hunger reigned there.
I came among men in a time of revolt
And I rebelled with them.
So passed my time
Which had been given to me on earth.

My food I ate between battles
To sleep I lay down among murderers
Love I practised carelessly
And nature I looked at without patience.
So passed my time
Which had been given to me on earth.

All roads led into the mire in my time.
My tongue betrayed me to the butchers.
There was little I could do. But those in power
Sat safer without me: that was my hope.
So passed my time
Which had been given to me on earth.

Our forces were slight. Our goal
Lay far in the distance
It was clearly visible, though I myself
Was unlikely to reach it.
So passed my time
Which had been given to me on earth.

III

You who will emerge from the flood
In which we have gone under
Remember
When you speak of our failings
The dark time too
Which you have escaped.


    German; trans. John Willett, Ralph Manheim & Erich Fried