Saturday, July 11, 2020

Scene Three: A First Misstep In The Search For The Blue-Pink Great American West Night, Early Spring 1969

Scene Three: A First Misstep In The Search For The Blue-Pink Great American West Night, Early Spring 1969


Let me tell this story, okay, this story about a couple of guys that I picked up hitch-hiking out on the 1960s highway. I’ll get to what highway it was later because it could have been any highway, any American or European, or maybe even African or Asian highway, if those locales had such highways, at least highways for cars back in those days. Anyway it’s their story, these two guys, really, and maybe around the edges my story, and if you are of a certain age, your story, just a little anyway.

Some of it though just doesn’t sound right now, or read right, at least the way they told it to me but we will let that pass because it has been a while and memories, mine in this case, sometimes seize up even among the best of us. Ya, but this part I do remember so let’s just subtitle this one a segment on that search for the blue-pink great American West night and that makes this thing a lot of people’s story. Let’s get to it right now by picking up where they and I intersect on the great American 1960s road:

Two young men were standing pretty close together, talking, up ahead at the side of a brisk, chilly, early spring morning 1969 road, a highway really, a white-lined, four-laned, high-speed highway if you want to know, thumbs out, as I came driving down the line alone in my Volkswagen Beetle (or bug, hey, that’s what they were called in those days, you still see some old restored or well-preserved ones around, especially out on the left coast, California), see them, and begin to slow down to pick them up. I would no more think not to pick them up than not to breathe. A few years earlier and I would have perhaps been afraid to pick up such an unlikely pair, a few years later and they would not have been on that road. But the thumbs out linked them, and not them alone on this day or in this time, with the old time hitchhike road, the vagabond road that your mother, if she was wise or nervous, told you never ever, ever to take (and it was always Ma who told you this, your father was either held in reserve for the big want-to-do battles, or else was bemused by sonny boy wanting to spread his wings, or better yet, was secretly passing along his own long ago laid aside blue-pink highway dreams).

This pair in any case, as you shall see, were clearly brothers, no, not brothers in the biological sense, although that sometimes was the case on the old hitchhike road, but brothers on that restless, tireless, endless, road. My hitchhike road yesterday, and maybe tomorrow, but today I have wheels and they don’t and that was that. No further explanation needed. I stopped. From the first close-up look at them these guys were young, although not too young, not high school or college young but more mid-twenties maybe graduate student young. I’ll describe in more detail how they looked in a minute but for those who desperately need to know where I picked them up, the exact locale that is, let me put your anxieties to rest and tell you that it was heading south on the Connecticut side of the Massachusetts-Connecticut border of U.S. Interstate 84 (near Union Ct. and Holland Ma.), one of the main roads to New York City from Boston. Are you happy now? Not as sexy as some of those old-time Kerouac-Cassady late 1940s “beat” roads, but I believe their ghosts were nevertheless hovering in the environs. Hell, now that I think about it, would it have mattered if I said it was Route 6, or Route 66, or Route 666 where I picked them up. I picked them up, that was the way it was done in those halcyon days, and that’s the facts, man, nothing but the facts.

Hey, by the way, while we are talking about facts, just the hard-headed fact of this pair standing on the side of a highway road should have been enough to alert the reader that this is no current episode but rather a tale out of the mist of another American time. Who in their right mind today would be standing on such a road, thumb out, or not, expecting some faded Dennis Hopper-like flower child, or Ken Kesey-like Merry Prankster hold-out to stop. No this was the time of their time, the 1960s (or at the latest, the very latest, about 1973). You have all seen the bell-bottomed jeans, the fringed-deerskin jackets, the long hair and beards and all other manner of baubles in those exotic pre-digital photos so that one really need not bother to describe their appearances. But I will, if only to tempt the fates, or the imaginations of the young.

One, the slightly older one, wispy-bearded, like this was maybe his first attempt at growing the then< em>de rigueur</em> youth nation-demanded male beard to set one apart from the them (and from the eternal Gillette, Bic, Shick razor cuts, rubbing alcohol at the ready, splash of English Leather, spanking clean date night routine, ah, ah, farewell to all that). Attired: <em>Levi</em> blue-jean’d with flared-out bottoms, not exactly bell-bottoms but denims that not self-respecting cowboy, or cowboy wanna-be would, or could, wear out in the grey-black , star-studded great plains night; plaid flannel shirt that one would find out there in that bronco-busting night (or in backwoodsman-heavy Maine and Oregon in the time of the old Wobblies or Ken Kesey’s <em>Sometimes a Great Notion</em>); skimpily-sneakered, Chuck Taylor blacks, from the look of them, hardly the wear for tackling the great American foot-sore hitchhike road which makes me think that these are guys have started on something like their maiden voyage on that old road; and over one shoulder the ubiquitous string-tied bedroll that speaks already of ravine sleep, apartment floor pick your space sleep, and other such vagabond sleep certainly not of Holiday Inn or even flea-bag motel sleeps; and over the other shoulder the also ubiquitous life’s gatherings in a knapsack (socks, a few utensils, maybe underwear, and the again maybe not, change of shirt, a few toilet articles, not much more but more than the kings (and queens) of the roads, 1930s ancestor forbears carried, for sure , ask any old Wobblie, or bum-hobo-tramp hierarch- take your pick-who took that hard-scrabble, living out of your emptied pocket road).

And the other young man, a vision of heaven’s own high 1960s counter-cultural style: long-haired, not quite a pony tail if tied back and maybe not <em>Easy Rider</em> long but surely no advertisement for <em>Gentleman’s Quarterly</em> even in their earnest days of keeping up with the new tastes to corner the more couth segments of the hippie market; cowboy-hatted, no, not a Stetson, howdy, Tex, kind of thing but some Army-Navy store-bought broad brimmed, sun-bashing, working cowboy hat that spoke of hard-riding, branding, cattle night lowing, whiskey and women Saturday town bust-ups, just right for a soft-handed, soft-skinned city boy fearful of unlit places, or places that are not lit up like a Christmas tree; caped, long swirling cape, like someone’s idea of old-time film Zorro stepping out with the senoritas; guitar, an old Martin from the look of it, slung over one shoulder, not protective cased against the winds, rains, snows, or just the bang-ups of living, but protective in other ways when night falls and down in the hills and hollows, or maybe by a creek, heaven’s own strum comes forth. Woody Guthrie’s own child, or stepchild, or some damn relative. I swear.

Welcome brothers, as I open up the passenger side door. “Where are you guys heading?” This line is more meaningful than you might think for those who know, as I know, and as these lads will know, as well, if they spent any time on the hitchhike road. Sometimes it was better, even on a high-speed highway, to not take any old ride that came along if, say, some kind–hearted local spirit was only going a few miles, or the place where a driver would let you out on the highway was a tough stop. Not to worry though these guys, Jack and Mattie, were hitchhiking to California. California really, I swear, although they are stopping off at a crisscross of places on their way. A pretty familiar routine by then, playing hopscotch, thumbs out, across the continent.

These guys were, moreover, indeed brothers, because you see once we started comparing biographical notes, although they never put it that way, or really never could just because of the way they thought about things as I got to know them better on the ride, were out there searching, and searching hard, for my blue-pink night. Christ, there were heaven’s own blessed armies, brigades anyway, of us doing it, although like I said about Jack and Mattie most of the brothers and sisters did not get caught up in the colors of that night, like I did, and just “dug” the search. Jack and Mattie are in luck, in any case, because on this day I’m heading to Washington, D.C. and they have friends near there in Silver Springs, Maryland. The tides of the times are riding with us.

And why, by the way, although it is not germane to the story or at least this part of it, am I heading to D.C.? Well, the cover story is to do some anti-war organizing but, for your eyes only, I had just broken up, for the umpteenth time, with a women who drove me to distraction, sometimes pleasantly but on that occasion fitfully, who I could not, and did not, so I thought, want to get out of my system, but had to put a little distance away from. You know that story, boys and girls, in your own lives so I do not have to spend much time on the details here, although that theme might turn up again. Besides, if you really want to read that kind of story the romance novels section of any library or the DVD film section, for that matter, can tell the story with more heart-throbbing panache that you will find here.

I’ve got a kind of weird story to tell you about why Jack and Mattie were on this desolate border stretch of the highway in a minute but let me tell a little about what they were trying to do out on that road, that west road. First, I was right, mostly, about their ages, but Jack and Mattie were no graduate students on a spring lark before grinding away at some master’s thesis on the meaning of meaning deconstuct’d (although this reference is really an anachronism since such literary theories were not then fashionably on display on the world’s campuses, but you get the drift) or some such worthy subject in desperate need of research in a time when this old world was falling apart and the bombs were (are) raining (literally) on many parts of the world.

In one sense they were graduates though, graduates of the university of hard knocks, hard life, and hard war. They had just a few months before been discharged, a little early as the war, or the American ground troops part of it, was winding down, from the U.S. Army after a couple of tours of duty in ‘Nam (their usage, another of their privileged usages was “in-country”). I swear I didn’t believe them at first, no way, they looked like the poster boys for the San Francisco Summer of Love in 1967. Something, something big was going on here and my mind was trying to digest the sight of these two guys, “good, solid citizens” before the “man” turned them around in that overseas Vietnam quagmire who looked in attire, demeanor, and style just like the guy (me) who picked them up.

Ya, but that is only part of it and not even the most important part, really, because this California thing was also no lark. This is their break-out, bust-out moment and they are going for it. As we rode along that old super highway they related stories about how they came back from “in-county”, were going to settle down, maybe get married (or move in with a girlfriend or seven), and look forward to social security when that distant time came. But something snapped inside of them, and this is where every old Jack London hobo, every old Wobblie, every old bummer on the 1930s rail highway, hell even every old beat denizen of some Greenwich Village walk-up was a kindred spirit. Like I said, and I am sitting right in the car listening to them with a little smirk on my face, the boys are searching that same search that I am searching for and that probably old Walt Whitman really should take the blame for, okay. I’ll tell you more, or rather; I’ll let them tell you more some other time but let me finish up here with that weird little story about why they were at that god forsaken point on the highway.

Look, everybody knows, or should know, or at least knew back then that hitchhiking, especially hitchhiking on the big roads was illegal, and probably always was even when every tramp and tramp-ette in America had his or her thumb out in the 1930s. But usually the cops or upstanding citizenry either ignored it or, especially in small towns, got you on some vagrancy rap. Hey, if you had spent any time on the hitchhike road you had to have been stopped at least once if for no other reason than to harass you. Still some places were more notorious than others in hitchhike grapevine lore in those days, particularly noteworthy were Connecticut and Arizona (both places where I had more than my own fair share of “vagrancy” problems).

So I was not too far off when I figured out that Jack and Mattie were on their maiden voyage. Thumbs out and talking, the pair missed the then ever-present Connecticut state police cruiser coming from nowhere, or it seemed like nowhere, as it came to a stop sharply about five feet away from them. The pair gulped and prepared for the worst; being taken to some state police barracks and harassed and then let go at some backwater locale as the road lore had it. Or getting “vagged”. Or worst, a nice little nasty trick in those days, have “illegal” drugs conveniently, very conveniently, found on their person.



But get this, after a superficial search and the usual questions about destination, resources, and the law the pair instead were directed to walk the few hundred yards back across the border line to Massachusetts. Oh, I forgot this part; the state cop who stopped them was a Vietnam veteran himself. He had been an MP in ‘Nam. Go figure, right. So starts, the inauspicious start if you think about it, in one of the searches for the blue-pink great American West night. Nobody said it was going to be easy and, you know, they were right. Still every time I drive pass that spot (now close to an official Connecticut Welcomes You rest stop, whee!), especially on any moonless, starless, restless, hitchhiker-less road night I smile and give a little tip of the hat to those youthful, sanctified blue-pink dreams that almost got wrecked before they got started.

When The Blues Was Dues-With The Film “Cadillac Records” In Mind

When The Blues Was Dues-With The Film “Cadillac Records” In Mind









By Si Landon

[The film Cadillac Records chronicles the rise and fall of the blues label the Chicago-bound House of Chess, a guy from the villages in Poland, so a white guy, who nailed the whole trajectory of the switch from the old timey country blues sung in the acoustic “juke joints” that could be found out in the rural un-electrified South, the South of share-croppers, plantation workers just like in the ante bellum times, and the benighted land of one Mister James Crow to the electrified urban sounds of those who jumped bail on Mister and headed north up the Mississippi and faced some of the same stuff-segregation(with some stopping along the  This is the background about how a wise Polish boy, a Polish Jewish boy, who took a bunch of young black men, and later a black woman and created a sound that lasted-a sound that sounds good today just like when they sweated those blues in some Chicago tavern practically eating the microphone.(I am not kidding on that score. Check out Howlin’ Wolf playing the harmonica down at the Newport Folk Festival in the early sixties on YouTube if you need visual proof).

Sam Phillips down river in Memphis with his white-bread boys (who were very aware of black-etched rhythm and blues from gospel to the juke joints and the street corner singers) and Brother Chess with his stable of black and night blues men-and a woman pretty well wrap up in a bow the genesis of rock and roll. Rock and roll the music that shaped Jack Reardon and Bart Webber, working class guys who hailed from Riverdale about forty miles west of Boston and who lived and died for the music-and the girls that the music snagged. S.L.]             

****
“Wasn’t that a time,” Jack Reardon mentioned to Bart Webber his old high school friend who was a late-comer to the study of the roots of rock and roll or really the same thing-came to the blues late one night a few nights after he had seen the film Cadillac Blues on his television via the beauties of NetFlix (he had seen the film when it had first come out but was in what he would call a “when blues is dues.” Bart had not seen the film so he asked Jack to give him a short run-down on the film to see if Lana, his lovely wife of many years, mighty grab that selection from NetFlix and they would watch it as well. So as they settled into their chairs in the den of Bart’s house with a drink in hand Jack was happy to chat away about his growing up music-the music that he had “hipped” all his guys around the corner of Benny’s Drug Store over on Ripon Road in downtown Riverdale to before that genre caught on with rock and roll devotees.

[Funny Jack had come to the blues quite by accident-the accident of modern technology-in this case the invention, the savior invention, as any generation of ‘68er, anybody who came of musical age in the 1950s, would be glad to tell you of the transistor radio which was basically a small portable radio run by batteries that you could put to your ear and listen to stations like WMEX where the latest rock songs were being played without having to be hassled by irate parents telling you that you were going to hell in a hand-basket and more importantly not to have to listen to their tinny music. One errant Sunday when the winds were up, say 1957, 58 he could not get the signal for the local rock station, WJDA, for Bill Mathers’ Rock Hour but instead picked up in the late night WABC out of Chicago where he heard this bad-ass beat that seemed kind of familiar, not a rock beat but kind of like it, a little more sweaty if he had been pressed to tell what his ear picked up on Little Milton’s Blues Blast. The song, Big Ike Turner’s Rocket 88. He was hooked.]                     

“It’s funny how some great movements in music history started out “from hunger.” That really is the start of Chess Records (the real name of the label-the Cadillac of the film is just an acknowledgement that one had arrived in the great golden age of the “boss” car of the 1950s.That was the pay-off for success for both Chess and the bluesmen). Chess was hustling a junkyard job but with a hunger to get out, to become an impresario. The first big star of his label Muddy Waters was down in some forlorn cotton field dreaming about heading north, north to the bright lights of the city, dreaming “from hunger” dreams too. That first combination that hit was when Muddy worked the streets and tossing that old acoustic guitar to the garbage can (not literally such instruments were life-blood remember-and remember too you might be back on cheap street soon and in need of that old thing for your new daily bread) and threw some electric cord and amped up. (Maxwell Street the most famous street for bluesmen to bring their acts along, maybe get noticed too, maybe nurse a few drinks to keep the devil away too.)

The movie threads it way up and down through Muddy always in the background, always the guy who made the whole thing work-until rock and roll swamped the canoe. Along the way they pick up the greatest harmonica player who ever played that key blues instruments, Little Walter.           

But all musics have their ups and downs and so the big moment falls back with the onslaught of rock and roll brought to the Chess label via Chuck Berry and his vaunted duck walk (to lose his fame and freedom  via some bullshit crackerjack stuff with Mister’s women). And they all ride on his back as they attempt to figure out how they are going to fit into the new wave. Then Etta James comes along and does a female version of the guys who brought the music north. Of course there are the romances (Muddy with his stable, Chess with Etta), the drugs (and alcohol, stuff that would help do Little Walter in), the tensions between the various blues persona-Muddy versus the Wolf. With that lead-in Bart knew that even if he was a late-comer to the blues he was going to see the movie come hell or high water-or Lana.        



Songs To While Away The Class Struggle By-Malvina Reynolds' "The Little Generals"

Songs To While Away The Class Struggle By-Malvina Reynolds' "The Little Generals"


In this series, presented under the headline “Songs To While Away The Class Struggle By”, I will post some songs that I think will help us get through the “dog days” of the struggle for our communist future. I do not vouch for the political thrust of the songs; for the most part they are done by pacifists, social democrats, hell, even just plain old ordinary democrats. And, occasionally, a communist, although hard communist musicians have historically been scarce on the ground. Thus, here we have a regular "popular front" on the music scene. While this would not be acceptable for our political prospects, it will suffice for our purposes here. Markin.

*************


The Little Generals

Notes: words and music by Malvina Reynolds; copyright 1962 by author. a.k.a. "It's Hard to Get a War These Days."


All the little generals are running out of war,
Oh, my, It's enough to make you cry;
They've all these little khaki colored guns and tanks,
And all the money waiting in the U.S. banks,
But when they start an action, people say "No thanks",
And it's hard to get a war these days.

All the little generals are running out of war,
Oh, my, It's enough to make you cry;
They're sitting on their build-up till they get a pain,
They march the soldiers up the hill and down the hill again,
But logistics they get rusty when they're standing in the rain,
And it's hard to get a war these days.

All the little generals are running out of war,
Oh, my, It's enough to make you cry;
They paddle out to Cuba and get drowned in the bay,1
They start a thing in Laos, but the folks don't want to play,
And even up in Holy Loch, the kids cry, "Go away!"
And it's hard to get a war these days.

All the little generals are running out of war,
Oh, my, It's enough to make you cry;
They take the mighty atom bombs and tie them up with bows,
And Teller puts on perfume so they smell just like a rose,
But they smell like Hiroshima when the fall-out blows,
And it's hard to get a war these days.

Thank Heaven--It's hard to get a war these days.


Malvina Reynolds songbook(s) in which the music to this song appears:
---- [none]

Other place(s) where the music to this song appears:
---- Broadside No. 13 (September 1962)

Malvina Reynolds recording(s) on which this song is performed:
---- [none]

Additional Note:
1. On the lead sheet, this line is "It looked like fun in Cuba but the missiles went away,".


* * * * *

http://www.wku.edu/~smithch/MALVINA/mr215.htm
This page copyright 2006 by Charles H. Smith and Nancy Schimmel. All rights reserved.

Dearest Mommy Can’t Dance-Or Sing-Joan Crawford And Clark Gable’s “Dancing Girl” (1933)-A Film Review

Dearest Mommy Can’t Dance-Or Sing-Joan Crawford And Clark Gable’s “Dancing Girl” (1933)-A Film Review




DVD Review

By Sarah Lemoyne

Dancing Girl, starring Francot Tone, Joan Crawford, Clark Gable, 1933

[New Introduction-Sometimes things happen for a reason, for the fates, maybe a portent, at least that is what Seth Garth, my grandfatherly mentor here of late has told me (that “grandfatherly” put in to cut off what is becoming an ugly insinuation that there is some kind of undercurrent romance going on between us which is far from the truth as I have mentioned before but which bears repeating since this workplace has a history of older writers taking their stringers under their wings, despite age, marital status, religion or race for nefarious purposes again according to Seth). This review was supposed to appear several months ago when I first viewed it and turned in my draft review.

Somehow, between Greg Green’s undivided attention on doing the encore edition of a rock and roll series entitled The Roots Is The Toots which the previous site manager (or administrator, I think he was called but don’t quote me on that since that was before I started here), Allan Jackson put together over several years and trying to get a handle of a couple of new series this one fell through the cracks. That is important because now that the dust has settled on that rock and roll series Greg asked me to get it in shape for publication. The happens to have dove-tailed with a “dispute” I am entwined in with occasional reviewer Sam Lowell who old, senile and wizened as he is still thinks he can write reviews, if he ever did in the past which is open to question, serious question.

I have been informed, and I did the research to prove it, that Sam after he got his precious by-line had stringers, mostly Leslie Dumont before she moved on to bigger and better things and Minnie Moore who I don’t know what happened to her and Seth didn’t know either, write his reviews and pass them in and/or he used studio publicity department press releases and just chopped off the top and sent them in from whatever watering hole or backdoor hotel he was hanging out in.

In a recent review of Jessica Chastain and Idris Elba’s Molly’s Game, a good film by the way which Sam essentially panned for no other reason than hubris on this fast-paced and intricate film (and probably had his longtime companion Laura Perkins who watched it with him and liked it write the review and sent it in), he challenged my research. Not the truth of it but a couple of lame excuses about how every stringer here had in those days, all female according to Seth who admitted that his stringers were usually female as well, the hots for him and/or everybody was doing the studio press release stuff on dog day films, his expression but actually about right. I have not had time to get back to Leslie, or to check the stringer employee records or see how many times Sam “mailed it in” with studio press releases (he says a couple but who knows until we get the stats). What is interesting is that the introduction I wrote below several months ago when Sam was beginning his sabotage campaign to get the coveted Hammer Productions series from the 1950s and 1960 reads like it was written by me this week. That says it all and so I will keep it- More later I am sure-Sarah Lemoyne]          
******

[In my very first film review after being hired here by site manager Greg Green I mentioned that this was my first real job in journalism and that I was going to use the introductory space to talk about myself and not go off on some tangent like some of the older writers do rather than deal with the subject at hand. Which I did. I also noted that not being wise to the various “traditions” in the profession like starting out as a stringer I had a lot to learn. Well I am here to bitch just like the older writers this time and to let one and all know that I am a quick learner once the rug has been pulled out from under me by one nasty old has-been Sam Lowell.   

The source of my wrath is centered on Sam, who is supposed to be retired and write an occasional review to let younger and fresher voices come to the fore, who let it be known to Greg Green that he was interested in doing the Hammer Production series originally assigned to me. The series that had six psychological thriller in it from the early 1960s mainly of which I had already done two which have been published here Cash On Demand and The Snorkel. It seems that as a remnant of the “good old boys” network that existed here under previous site manager Allan Jackson that older writers meaning mainly those good old boys got “first dibs” at any decent material. Sam, Judas-goat Sam by the way according to what I heard about the faction fight that led to Jackson’s demise (although he is here still puffing away at some nostalgia rock and roll thing that nobody under about sixty cares one whit about) invoked that privilege and now not only will he complete the series but will give an alternate review to the two that I did have published. That sucks.

Worse if what Leslie Dumont said is true about her time here when she was a stringer before she got that big push of a by-line at Women Today many years ago I will probably be writing the damn reviews while Sam gets on his bong pipe or whatever dope keeps him from toppling over in his dotage or runs away on some tryst with his flame Laura Perkins leaving me here to save his sorry ass. In that first introduction I was, admittedly, naïve enough to take Sam as a kindly old sot but like I said I am a fast learner, very fast. In the meantime I have this dog of a film to review about creeps I never heard of except maybe Clark Gable who my grandmother swooned over whenever his name was mentioned about a million years ago. Sarah Lemoyne]  

****
My good friend Seth Garth, who has given me some good advice, told me that the 1930s and 1940s, my grandmother’s time, was the golden age of musicals, musicals based on Broadway shows or done with the music of well-known Broadway lyric and melody writers like Jerome Kern, Cole Porter, the Gershwin Brothers and Barton Lane. Those names provided by Seth since I only knew George Gershwin’s name from Porgy and Bess. He had me watch Babes On Broadway with him which he was reviewing at the time and which has since been published as an example of real talent lighting up the Great White Way with Mickey Rooney and especially Judy Garland in the top roles. I could take my cue from that film and the two others which made up the trilogy and throw in a couple of other Rooney-Garland collaborations and would have the gold standard for the genre. (Bart Webber said throw in the motherlode of Fred-Astaire and Ginger Rogers song and dance flicks and you would not be steered wrong.)

Then there is this dog of film Dancing Lady which must have been produced by lead actress Joan Crawford’s lover or she had something on him that his wife should not know about because however earnest Joan might have been she could neither sing nor dance. Especially not dance with all her flailing arms and out of synch motions which left me wondering what the heck was going on. Of course the plotline (and star power Clark) would have indicated that maybe this would be a better film than it turned out to be.  
  
I have already moaned and groaned about the poor song and dance (hell even Fred Astaire brought in probably from desperation couldn’t make dear Mommy pop) so all we have left is the story behind the story. Joan, from nowhere, meaning probably Hoboken, dreamed the big dream of being a dancing fool on the Great White Way, on Broadway but like a million other well-intentioned young women didn’t make a dent although that did not stop her, or them, from needing food and shelter. Hence, she started out down in the dumps, down in dime a dance, roller rink, burlesque where she was “discovered by a young, wealthy Mayfair swell, played by Francot Tone who didn’t want her to perform but to marry him.

They go on and on about the matter but to his frustration and her sometimes annoyance she is committed to her art. One way or another she used him to make a few contacts on the street, on the Great White Way, and thus enter Patch, played by Clark Gable, who is the primo musical director on Broadway. Needless to say they don’t get along for a while until he sees her as his savior with her dancing and singing skills. Let me tell you though old Patch is no judge of either such skills and the real deal is that at the end after finally dumping Mayfair swell boyfriend and making a smash hit on Broadway they become lovers-fade out.           

I wish I could swear in a review like Seth Garth or even Sam Lowell do when they have a stinker or something that they cannot understand or make heads nor tails out of but I am a lowly stringer working my way up the food chain as Bart Webber said he used to say when he was moving up. But probably the only way I can swear is when Sam Lowell, pretty please, asks me to do one of his Hammer Production film reviews for him. You know I will then.


The Centennial Of The Birth Of Film Actor, Noir Film Actor, Robert Mitchum (2017) -Hats Off!

The Centennial Of The Birth Of Film Actor, Noir Film Actor, Robert Mitchum (2017) -Hats Off!




Film Critic Emeritus Sam Lowell comment:

No question I am despite my putting myself "out to pasture" more than happy to do a short guest appearance to pay tribute to the centennial of the birth of film actor Robert Mitchum. The headline speaks of a film noir actor although he did many more types of films from goof stuff like the Grass Is Greener to truly scary can’t go to sleep at night stuff like Cape Fear to the pasty/fall guy in The Friends Of Eddie Coyle. But to my mind his classic statement of his acting persona came in the great performance he did in Out Of The Past where between being in the gun sights of an angry gangster played by Kirk Douglas and the gun sights of a gun crazy femme played by Jane Greer damn did he have his hands full.

Yeah, that film kind of said it all about a big brawny barrel-chested guy who had been around the block awhile, had smoked a few thousand cigarettes while trying to figure out all the angles and still in the end got waylaid right between the eyes by that damn femme. All she had to do was call his name and he wilted like some silly schoolboy. I like a guy who likes to play with fire, likes to live on the edge a little but our boy got caught up badly by whatever that scent, maybe jasmine, maybe spring lilac but poison that he could never get out of his nostrils once she went into over-drive.

You know, seriously, that he should have backed off right away when he was snooping for a bigtime Reno gangster (that before Vegas and Bugsy came down the road) looking for a wayward dame who took him for some dough, for forty thou, maybe not big money now but then yes. Should have known that whoever took some dough from a mob guy was in trouble big time good-looking and smelling or not. Like a later guy said though take the ticket, take the ride. Yeah, that was a role fit for a guy like Robert Mitchum. Live hard, fall hard.            


More later but check this little clip out as a sampler.     


Thursday, July 09, 2020

Hard Times In The Country Down On The Farm-With Stephen Foster’s Hard Times Come Again No More In Mind

Hard Times In The Country Down On The Farm-With Stephen Foster’s Hard Times Come Again No More In Mind



By Bradley Fox


No one in Hazard, Hazard, down in Eastern Kentucky, Appalachia hard patch country which still has sections where the views would take your breath away just like it did those whose sense of wonder first brought them through the passes from the stuffed-up East, ever forgot the hard times in 1931, nobody. Not the coal bosses, actually coal boss since every little black-hearted patch belonged to Mister Peabody and company, who that year shut down the mines rather than accept the union, the “red union,” National Miner-Workers Union ( that “red” no euphemism since the American Communist Party was in its “ultra-left period of only working in its own “red” unions rather than as a faction of larger craft or industrial union) although Mister Peabody, given a choose, would have been under the circumstances happy to work out a sweetheart deal with John L. Lewis and his United Mine Workers. But the Hazard miners were a hard-nosed lot, certainly as hard-nosed as their more well-known cousins over in Harlan County who had songs sung and soft whispered words written about their legendary activities in taking on the coal bosses. (That cousin reference no joke since in hard times, and sometimes in good times you could not get a job in the mines if you were not vouched for.) Certainly no one in the Breslin clan ever forgot the 1931 hard times since they had lost a few wounded, a couple seriously in the skirmishes around the mine shaft openings  keeping the mines closed when the bosses, and not just Mister Peabody on that score, tried to bring in “scab” labor from West Virginia or Eastern Pennsylvania to work the mines.         

Of course the Breslin clans, the various branches gathered over the generations had been in the hills and hollows of Kentucky as far back as anybody could remember. Somebody said, some Breslin “historian,” that the first Breslin had been thrown out of England back in the early part of the 19th century for stealing sheep and told never to return under penalty of death. And so he, Ike, or Icky, nobody even the historian was not sure which was the correct name hightailed it out on the nearest ship and wound up in Baltimore before heading west, ever westward as was the habit of lots of people, the plebes shut out of the big businesses and small craft shops by those whose people had come before, had come not long after the Mayflower, back then when the seacoast fame and fortunes were already locked and there was so much land to the west that it seemed a shame to see it go to another man, or his family.

So that first Breslin headed west and settled in the hills and hollows around Hazard, raised a big family, twelve who survived childhood and over a couple of generations helped populate the area. Here was the funny part, the part that would explain why there were still Breslins in Hazard after the land had petered out, and before coal was discovered as a usable mass energy source. Some of the Breslin clan had the wanderlust like old Ike/Icky and moved on when the land went fallow. Others took after that lazy, sheep stealing stay in one place part of the Breslin gene and refused to move expecting providence, or God, or something to see them through. The coal discovery to keep families from starvation’s door  helped but that didn’t change the sluggish no account ways of those who stayed, mostly.         

No question there was a certain amount of in-breeding which didn’t help the gene pool but was to be expected when you had people living in isolated pockets, more men surviving than women after childbirth. Some of it was a certain “don’t give a damn” attitude-as long as something was on the table for supper, as long as the roof of the shack, and most of the Breslins lived in the ubiquitous shacks seen in photographs of the times by photographers like Weston and Arbus. Places, tiny places, one or two rooms, a living area, a bedroom area, no windows to speak of, not made of glass anyway maybe waxed paper, just holes on the sides to let in air, those sides of the building protected by tar paper, ditto the roof, a porch with some old pappy sitting in a rocker, a parcel of kids, half clothed, and a lifetimes worth of junk scattered around the yard. Maybe a mangy dog, maybe some poultry. Some of the problem was lack of any education, or anybody to teach them the niceties of the right way to do things. Fathers would tell their sons that they didn’t need any education to pick coal out of the ground. And for a couple of generations that worked out, nothing good, nothing but short, brutish, nasty lives but there it was.             

That was the way it was in late 1930 in the Prescott Breslin clan, the great-great grandson of that original Breslin who had gotten himself unceremoniously kicked out of England. Living from hand to mouth with eleven children to raise like weeds. Then cousin Brody Breslin, who lived over in Harlan County, and was a son from the Jerimiah Breslin branch, came to organize for the NMU, for the “reds.” Organized the Breslins, the Johnsons, the Foxes and the Bradys mostly and when Mister Peabody refused to negotiate shut the damn mines down. Closed them tight, the Breslins took casualties to prove that point. And that was a very tough year as the company almost starved everybody out. But the union held, the companies wanted the coal produced and they settled (eventually with a lot of political maneuvering which nobody ever rightly figured out the NMU later joined the Lewis UMW and came under that leadership including NMU local president Brody Breslin).       

So thereafter in the 1930s the Breslins worked the mines, mostly, mostly except when there was “too much” coal and the company stopped production for short periods to drive the price up. Young Prescott Breslin, Prescott’s youngest son (not everybody gave the first born son the father’s name down there and hence junior but the pure truth was that old Prescott and his tired-out wife couldn’t think of another name and so Prescott), in his turn at fourteen dropped out of school and went to picking coal in the mines like his forbears (remember the epitaph-“you don’t need no education to pick coal” mentioned above) in about 1933 and worked there until the war came along, until the bloody Japanese bastards attacked Pearl Harbor. Three days after, December 10, 1941, young Prescott left the mines and headed for Prestonsburg where the nearest Marine recruiting station had been hastily set up.

When his father asked him why he did such a foolish thing since there were still young Breslin mouths including sisters to be feed and since he would have been exempted from military service because there was going to be a tremendous need for coal Prescott kind of shrugged his shoulders and thought for a minute about the question. Then he answered his father this way; between fighting the Nips (Japanese) out in the Pacific and shoveling Mister Peabody’s coal he would take his changes on survival to a ripe old age with the Marines. And he never looked back with the slightest regret for doing that despite the later hardships that would dog his life including more misunderstandings with his kids than you could shake at.            

Never looked back but as Prescott was leaving to head to boot camp a few days later he thought that it had not all been bad. There were those Saturday night dances down at Fred Brown’s old red barn where anybody with any musical instrument showed up and created a band for the evening playing the old mountain music songs carried over from the old country. (Stuff that a few spirited musicologists starting with Francis Child in the 19th century collected and made more widely known.) Dancing his head off with Sarah Brown, Priscilla Breslin, a distant cousin, and Betty Shaw. As he got older  getting high on Fred’s corn liquor, remembering how sick he got the first time drinking too fast and not remembering the motto-this was Kentucky sipping whiskey, mountain style, so sip. When he came of age getting up his liquor courage to “spark” Sarah, Priscilla and Betty in that order causing real sparks when they found out that he had had his way with each of them by shyly saying they were each the first. When he thought about that predicament he began to think maybe he would be better off taking his chances fighting the Japs on that front too. But he was a man headed out into the great big world beyond the hills and hollows of home. So he left for good never to return except right after he was discharged from the Marines to pack up his few belongings not already passed on to some other siblings.           

This is the way the younger Prescott Breslin told the story to his youngest son Josh in 1966 when they were still on civil speaking terms as he was heading out into his own world leaving in the dust Olde Saco his growing up time up in Maine. (Prescott had been stationed at the Portsmouth Naval Base before being discharged, had met and married Delores LeBlanc from Olde Saco after meeting her at a USO dance in Portland and settled into that town when he returned from that brief sojourn back home.) And this is the way Josh remembered what his father said fifty years later. Yeah, those times in 1931 sure should have been hard. Hard like his father’s fate would be later. Damn, hard times come again no more.