Newsboys on the Loose!

newsboy

Blogging buddy Phil Brown recently did a piece on his days as a paperboy up in Ontario, Canada. I thought it was a great slice of (North) Americana. Phil gave me permission to do my own Norman Rockwell-styled dip into yesteryear, so here is my throwback tale of stomping over hill and dale in north-central Ohio, U.S.A. (the other side of Lake Erie from Phil) delivering non-electronic newspapers (such newspapers being folded sheets of 54-inch web-width, wood-pulp newsprint paper with printed ink that informs about current events. They lacked audiovisual accompaniment, pop-up ads, and “click bait”).

Here’s my story:

Joe Hamrick and I were shooting baskets in Joe’s driveway in the fall of 1969 when the station wagon pulled alongside the curb. She was a middle-aged woman who said her name was “Frances.”

“Would you boys be interested in delivering newspapers?” she asked us.

“Yeah!” we gasped, as if we’d been chosen to start the Indy 500.

A few months before, while our family lived in Detroit, I had a taste of being a newsboy when I filled in for Jon Longo for two weeks delivering the Detroit Free Press. Had to rise before the cock crowed, then pedal my Schwinn Stingray from house to house in frosty darkness, the melody of a Stroh’s Beer commercial dancing between my ears. It was a new experience, my first sincere responsibility. I owed it to Jon to do a good job. After we moved back to Ohio, I got a check and a nice note in the mail…so I guess I came through for him.

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Red Schwinn Stingray, with high-rise handlebars and banana seat (mine was a 5-speed)

Anyway, not long after meeting Frances, I discovered Joe wasn’t as enthusiastic as he initially seemed, because he backed out even before we started. (Much later, I heard he received a less-than-honorable discharge from the Marine Corps.) So…it was my route.

We lived on Vicksburg Drive, but the route was several streets away. It covered Cliffside Drive and Morrison Avenue. “Cliffside” gives you an idea of the terrain. Both streets sloped at least 45 degrees. Couldn’t pedal my Stingray up those hills.

Frances would drive her station wagon to the bottom of Cliffside and leave several tightly packed bundles of papers in the grass, waiting for me. I’d mosey over from Vicksburg and use a small pair of wire cutters to open the packs. Then I’d stack as many papers as possible into my burlap tote bag, sling the load over my bony 11-year-old shoulder, and trudge from house to house. Then return to the corner and stuff more papers in. I allowed each shoulder to take a turn. Several turns.

As I write this, the heady aroma of burlap and newsprint paper comes back to me.

Some subscribers wanted their paper inside the screen door. Others wanted it under the doormat. I had to remember who these people were. If I goofed up, I might encounter a frowning man wagging a fat finger at me. My favorite customers, obviously, were those laid-back folks who didn’t care where I placed their paper. I think these people later supported McGovern.

There were the usual dog encounters. Maybe it was during this period that I developed a dislike of Boston terriers. The teeth marks from “Chief” are branded into my ass flesh.

Even more irksome than surly dogs, though, was the weather. I hated delivering in the rain. And I’m sure my customers hated receiving soggy paper. (In those days, we didn’t seal everything in plastic.) Then, when fall turned to winter, I had to deal with Lake Erie-effect snow. Try to picture a freckled kid weighted down with thick Sunday newspapers—enhanced by slick, colored ads and comics—trudging up and down two small mountains in eight inches of wet snow.

Could I have foreseen summiting Mount Whitney 49 years later?

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1969 Mercury Marquis Colony Park station wagon

Dogs, hills, weather…what else? Oh yeah: collecting. Like most 11-year-olds, I was shy around adults, so ringing doorbells for money could be excruciating. I usually waited until the last minute to do this, such as Sunday afternoon or evening. Most folks were home, eating a formal dinner, and the door usually opened. But for many it was a rude interruption.

“Could you come back in an hour?” some would ask with unconcealed irritation. “We’re eating dinner now.”

“Okay,” I’d reply, as dots of perspiration formed. Often, on Sunday night, I didn’t get home until long after dark.

Once, the Rosslands from Michigan visited us. I still remember being slumped on our couch, cursing that I had to go out and collect. While getting ready to leave, Mr. Rossland walked over and said “Peter, when I was your age, I had to walk five miles every day before school to deliver newspapers.”

I couldn’t fathom this Abe Lincoln-like feat. I do remember my parents smiling in the background after Rossland made his remark. It was a long time before I realized that adults thought it was great fun delivering this white lie to kids.

I had a few special customers. At the bottom of Cliffside, last house on the right, lived the Grassels. They had four kids, and the oldest, Doug, was rhythm guitarist in the Ohio Express. This was a “bubblegum” pop band that had a worldwide hit in the 1960s with “Yummy Yummy Yummy.” (Yes, there actually were song titles like that back then.) Joe and I sometimes heard them practice while doing cannonballs at nearby Walnut Hills Pool.

ohio express

“Ohio Express.” Doug Grassel is the John Lennon lookalike on far left.

Although I never saw Doug—maybe he was always on tour—Mrs. Grassel was really nice. She always invited me in, probably so I could see the framed photos of the band she’d arranged in the foyer.  Bug-eyed, I’d scan the ruffled shirts and long hair while she scoured the house for the $1.50 she owed me. Years later, after I became a rock ‘n’ roll animal, I learned that “Ohio Express” wasn’t their real name, and they didn’t sing or play on any of “their” hit songs. They just fronted tunes that several hotshot New York suits wrote and sang in order to cash in on a fad. Another childhood bubbleburst.

And then there were the Malones. Ah, yes, daughters Pam and Cindy. I still dream of Cindy, with her creamy, amber hair and pale jeans that clung to smooth thighs like painted watercolor. Here’s the standard conversation after she opened the door:

“Can I help you?”
“Uh…hi.”
“Hi.”
“Hi…um…(gulp)…I’m here to collect.”
“Collect what?”
“Uh…dues for the News Journal.”
“Oh. How much do we owe?”
“Uh…let me see…” (nervous fumbling)
“Okay, take your time.”

This woman was like the goddess Venus to me. If only she’d have invited me inside and indoctrinated me into the ways of things. It would have headed off a lot of stress in the coming years.

Cindy was a co-ed at Kent State. I’m assuming she was there on May 4, 1970. Every time I see that famous photograph, I think of her, and what a rotten fricking world this can be.

Near the Malones lived the Hofstadters. Tom Hofstadter had the paper route before I did. He was a year older, raced a mini-bike (small motorcycle), and if I remember, was a rabble-rouser…which is maybe why Frances took the route away from him. Tom’s younger brother Mike was better behaved. Like me, he collected Topps football cards. Toward the end of my delivery career, Sunday evenings were spent crouched in Mike’s hallway with dozens of cards spread out. We bartered for probably an hour, with a bad moon rising outside the kitchen window while I should have been collecting newspaper money, not football cards.

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Topps 1970 card of Detroit Lions cornerback and Hall of Famer, Lem Barney. My dad got his autograph for me while on business in Detroit.

“Got some extra Tom Keatings, Hoyle Grangers, and Jim Tyrers,” I would inform Mike with expectation. “Need any?”

“No, already got those guys. They’re a dime a dozen.”

The real gold were the wide receivers: “Bullet” Bob Hayes, Lance Rentzel, Lance “Bambi” Alworth, Paul Warfield, Charley Taylor, Otis Taylor, and both Gene Washingtons (49ers and Vikings). Today, I have all these cards and more, though I’m still looking for a near-mint Tom Dempsey. He was the Saints kicker who nailed a then-record 63-yard field goal…with half a foot.

Our Topps trading must have influenced him, because Mike was a longtime TV sports anchor in Columbus, Ohio. A few years ago, I visited the old hometown and asked Mrs. Hamrick (Joe’s 80-year-old mother) about Mike. She told me he’d married a (quote) “very black” African-American woman, then taken a job at a small station in a small Amish-Mennonite town in rural Pennsylvania. A bold move, Michael.  Guess Who’s Coming to Dinner premiers in Hooterville.

***

My paper route ended some time in spring or early summer 1970. The wear, tear, and miserable Sundays—excepting the Hofstadter hallway—became too much. Although not a “real” job, delivering newspapers in 1969-70 was my first paying one. And I wouldn’t trade the experience for an entire collection of near-mint Topps cards.

In case you’re wondering, I bequeathed my route to Kurt Grassel, Doug’s younger brother. He was a year below me, and didn’t race mini-bikes. Not sure how long he lasted. Or if he joined the Marine Corps.

(Some names here were changed to protect the innocent, and to protect me. Also, thanks for the idea, Phil.)

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Doris Day: On the Sunny Side of the Street

Day in 1973

The day that Doris Day died, I did something irrational. Instead of driving straight home from work, I went out of my way and visited her childhood home.

Maybe I was half-expecting a small crowd of mourners. Elderly men and women in overcoats on a damp, overcast evening, sharing their grief over the passing of another icon from their youth.

Of course, no one was there but me. The red-brick house appeared shuttered, as did the entire neighborhood. I wondered, Do the current residents know they are living in Doris Day’s house? It’s a much different neighborhood now than in 1922, when she was born. An interstate highway rips through the center of Evanston, Ohio, now part of downtown Cincinnati. You can see the semi trucks from her front yard. Most of the residents are African-American, not German-American.

Perhaps I was the only visitor all day. But I like to think that my sentimental journey provided a smile for the girl christened Doris Mary Anne von Kappelhoff, wherever she might be right now while tossing pastel pillows back and forth with Rock Hudson.

Doris Day birthplace

The former Kappelhoff home, Cincinnati, Ohio

I was only a year old in 1959 when the movie Pillow Talk was released. As the 1960s progressed, I knew little about what was happening in the world. I received news of the Kennedys, Martin Luther King Jr., Cuban Missile Crisis, Vietnam War, Haight-Ashbury, and the Watts riots via “trickle down” effect. The Cold War, for me, was Boris and Natasha from The Adventures of Rocky and Bullwinkle and Friends. I’m not really a child of the Sixties. Much as I often hate to admit, I’m a child of the Silent Majority.

Doris Day was a Silent Majority cultural icon. She was conservative 1950s who spilled into the 1960s before they became “The Sixties.” She was middle-class, nuclear-family, Caucasian America; traditional, familial, uncomplicated, and safe. With her ever-present smile, twinkling eyes, golden-blonde bob haircut and California tan, she was sunshine and, in my imagination, is always clothed in canary yellow. The ending of her film Move Over, Darling says everything: she jumps in the backyard swimming pool—fully clothed—to join her husband (James Garner) and two kids. Their laughter and splashing, after finally being reunited, are as good an antidote to late 20th and early 21st century anxiety and cynicism as you’re likely to find.

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The nuclear family in Move Over, Darling (1963)

Day’s close friends called her “Clara Bixby.” Rock Hudson, her romantic co-star in three of her most well-known films, called her “Eunice.” To her parents she was Doris Kappelhoff, and to everyone else, Doris Day. Names that are simple, non-glitz, and (though she hated the term) girl-next-door. And despite her great beauty, difficult personal life, and professed dislike of her chaste image, that’s how she presented herself in her movies.  It’s telling that she turned down the juicy role of “Mrs. Robinson” in Mike Nichols’  The Graduate because she found the script “vulgar and offensive.”

Doris’s father was a philanderer who walked out on the family when she was young. (One night, in her bedroom, little Doris was a traumatized earwitness to her father’s sexual relations with a party guest in the next room.) She was married four times. Her first husband, a jazz trombonist, tried to force her to abort their unborn child, then beat her when she was eight months pregnant. She divorced her second husband, a saxophonist, because he was jealous of her success. She was married to her third husband, Martin Melcher, for 17 years. But despite producing some of her best films, his blind faith in a fraudulent attorney left her bankrupt when he died. (She fought for years to finally obtain a $6 million decision.) Her fourth husband divorced her because he was jealous of her “animal friends.”

There was the tragedy of Rock Hudson’s death from AIDS. They were good friends offscreen, and his last public appearance was in 1985 when, looking extremely frail and telling her he had no appetite, he visited “Eunice” at her home and was filmed for the short-lived cable show, Doris Day’s Best Friends.

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Dramatic turn in Hitchcock’s The Man Who Knew Too Much (1956)

Her biggest sorrow was the death of her only child, Terry Melcher, from melanoma in 2004. They were only 20 years apart and like brother and sister. Melcher was a talented music producer, working with the Byrds, Beach Boys, and Paul Revere and the Raiders, assisting with music for his mother’s movies, and producing the 1968-73 sitcom The Doris Day Show. He came close to producing songs by Charles Manson, but backed out after visiting The Family at their ranch. The house Melcher had earlier shared with actress Candice Bergen was the site of the 1969 Tate murders (although Manson denied he was targeting Melcher).

By the mid-1970s, Day had had her fill of Hollywood. She moved up the California coast to Carmel Valley, taking in stray pets and establishing the Doris Day Animal Foundation. She was also part-owner of the pet-friendly Cypress Inn. In the last few decades, she politely but steadfastly refused requests for appearances, even after receiving a Grammy Lifetime Achievement Award.

That’s the private Day. Doris Day the entertainer took her alliterative stage name in 1939 after a song, “Day After Day.”

Doris Day Posing with Hand on Chin

“Clara,” in 1949 (Bettman Archive/Getty Images)

She became a popular ballad singer with Les Brown and His Band of Renown, scoring a huge hit with the WWII homecoming theme, “Sentimental Journey.” She had a confident and clean singing style, modeling herself after Ella Fitzgerald. She was a natural. In a rare audio interview with Turner Classic Movies, she said she never experienced stage fright, either while singing or acting.

As great a recording artist as she was, though, it is her 1950s musicals and 1960s romantic comedies that she is remembered for, especially the latter. They’re G-rated, but sophisticated; light and fluffy confections, with upbeat music, colorful clothing, and animated opening graphics, maybe a little Day singing, and lots of playful romance. (Called “sex comedies” when they were filmed, the word “sex” referred more to gender than physical lovemaking.) The plots generally revolve around a trite and temporary misunderstanding between Day and her partner.

Doris Day - Lover Come Back

Classic Day expression from Lover Come Back (1961)

These innocent predicaments allow Day to skillfully shift emotions between domestic contentedness and exasperation or outrage. The humor comes because you know what will transpire before Day’s character does. Then, when the revelation hits, you get to see her puff her cheeks, swivel her head sideways, plant her hands on her hips, and stomp away briskly, her back stiff as a board.

While Day is the undisputed focal point in these movies, a key humorous element is her leading men. As a foil for her, they had to be handsome, but in a warm, non-threatening way. Rock Hudson (Pillow Talk, Lover Come Back, and Send Me No Flowers), James Garner (The Thrill of It All and Move Over, Darling), and Rod Taylor (Do Not Disturb and The Glass Bottom Boat) all fit the bill, because they have a puckish playfulness, especially Hudson, who was extremely adept at light comedy.

But it is Doris Day who carries these films. The great Steve Allen called her “one of the very best comedy actresses of all time” but one who “hasn’t gotten the critical appreciation to which she is entitled.” Steve, you are correct on both counts.  And longitudes predicts she will ultimately get this recognition.

Since her recent death at age 97, some male writers have grappled with just how sexy was this “World’s Oldest Virgin,” as she was mockingly labeled (though she actually advocated living together before marriage…four marriages might have something to do with that). Sex and sexuality are an obsession in our post-sexual revolution age, when mere pillow “talk” is considered boring. I won’t dwell on this topic, other than to assure the aforesaid writers that—while I never knew Day before she was a virgin—in my testosterone-soaked eyes she was hot, in both looks and personality, and she got hotter as she got older. Anne Bancroft is talented and beautiful, but it’s a shame adolescent males couldn’t enjoy Clara as “Mrs. Robinson.” And if you writers don’t agree, you can click this.

glass bottom boat

One of Day’s most fun flicks, The Glass Bottom Boat (1966)

***

As with The Lawrence Welk Show and Petticoat Junction, which I’ve also profiled on longitudes, Doris Day’s films are a safe harbor for me. They carry me back to a time of innocence, to family and fireside. It’s not because I’m a “male animal” who pines for the days when women were merely Pollyannaish partners to the “stronger sex.” (My career-minded wife and liberated daughter also love her films and introduced me to several. My macho son, on the other hand, is a different story.) It’s more because they are uncomplicated, wholesome, funny, and fun. They are a shelter from the storm, and we all need shelter, especially in these turbulent, less rational times.

While I’m thankful for the “The Sixties” and the Kennedys, Martin Luther King Jr., Grateful Dead, détente, civil rights, equal rights, gay rights, copyrights, etc., I’m also thankful for animal rights and Doris Kappelhoff of Greenlawn Avenue in Evanston, Ohio for the safe harbor she’s given us.

Que será, será!

***

After retiring from the spotlight in the 1970s, Doris Day devoted herself to the cause of animal welfare. I gave a small donation. If you’d also like to help, here’s the link: Doris Day Animal Foundation.

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(Silver Screen Collection/Moviepix/Getty)

***** Birth Announcement *****

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Evergreen Dreaming: Trail Tales of an Aging Hiker, a book that describes my mountain backpacking experiences of the last five years, has just been delivered via natural childbirth! (Twins, since there are both paperback and ebook versions.)

If you click here, or the link in “My Writing” above, you’ll be transported (beamed up?) to the book’s internet home. Once there, you can also visit my internet Author Page, which has some stuff about me, my other book, Bluejackets in the Blubber Room, and my next project.

I’ve listed various aunts and uncles in this book’s acknowledgement section. I wanted to recognize you who have supported my brain droppings for so long. (I couldn’t list everyone, and limited it to commenters, but I’m grateful to all who have visited longitudes in the past.)  And for you new folks…glad you dropped in for coffee, and I hope you stick around!

Suffice to say, this book is very “longitudinal.” I wanted Evergreen Dreaming to be enjoyable and easy to read, and I think you’ll recognize my voice and spirit. I’m not sure that’s good or bad. If it’s bad, please remember it wasn’t me, it was the muse that passed through me. (!)

Now, if you’d like to order and are conflicted on light-fantastic digital versus down-home paperback, here’s my view of the two formats, pros and cons:

Ebook: less expensive for you, convenient for transport and storage, and saves trees. God knows, we need trees. But cold and impersonal.

Paperback: puts more $$ in my pocket, and has the fonts and graphics I intended, plus a soft and velvety matte cover. You can also add an additional digital copy for only $1.99. Uses paper (trees) but it’s minimal due to print-on-demand. Adds to your “stuff” quotient, but more warm and personal.

Folks, I’m just appreciative of anyone who buys this book, new-style or old-style. I really hate this marketing stuff, since it’s not me, but my goal is to break even on this thing. (Unlike what happened with my more eggheady blubber book.)

Lastly, if anyone knows any qualified magazine or newspaper book critics, please let them know about Evergreen Dreaming. I think there may be a few magazines and newspapers that haven’t yet folded.

Now, I’ll try to get back to my regular rambles, reviews, and rants, with only sporadic info-mercials. Thanks again, everyone!

Pete (greenpete58)
Longitudes Press

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Fleetwood Mac: The Forgotten Years (Re-Post)

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NOTE: I just learned Danny Kirwan of Fleetwood Mac died Friday, at age 68.  Kirwan was an important member of the band before Lindsay Buckingham and Stevie Nicks joined in late 1974.  He played a luscious vibrato guitar, and more importantly, wrote some of the band’s best songs.  Sadly, he suffered from alcoholism and mental illness and left the band in 1972.  Until he died Friday, he seemed to be a forgotten man.  Longitudes loves good songwriters like Kirwan (they’re in short supply these days).  So, I’m re-posting this 2014 essay about the Mac.  Thanks for your beautiful songs, Danny.

***

On a recent Sunday while drinking my coffee, I turned the TV to the long-running television program, “CBS Sunday Morning,” hosted by Charles Osgood. This enjoyable show always has at least one segment devoted to popular culture. Past shows have included interviews with Keith Richards and Gregg Allman. This particular show included a puff piece on the pop-rock band Fleetwood Mac. The rationale was drummer Mick Fleetwood’s recent (and 2nd) autobiography, which coincides with the band’s 61st (or maybe 62nd) reunion tour.

Full disclosure here: Fleetwood Mac isn’t one of my favorite bands. Their songs are tuneful, albeit in an effete sort of way. But “the Mac’s” unthreatening, southern California brand of rock was perfect ear sweetener for the somnolent mid-‘70s to early ‘80s, and there’s still nostalgia for that stuff amongst baby boomers. So I wasn’t too surprised to see them profiled on TV alongside segments devoted to the wedding of George Clooney and “The Timeless Allure of Swing Dancing.”

What really stuck in my craw, though, was the narrator using a sweeping statement, during a buildup to the gilded Buckingham-Nicks years, that “other band members came and went.” There was no mention of founder Peter Green. No mention of Danny KirwanJeremy Spencer, and Bob Welch… forget it. Seven different band members, eight years, and nine albums brushed aside.

So, once again, I feel the need to set the record straight. Nothing against Stevie Nicks and Lindsay Buckingham. But there was a band called Fleetwood Mac that existed long before those two joined in 1974 to help catapult them to superstardom. They were English. They had a curious and colorful biography, and they were very talented.

 ***

Fleetwood Mac sprouted in 1967 from John Mayall’s Bluesbreakers, an English blues band that featured virtuoso guitarist Eric Clapton. Clapton was, and is, one of the most formidable blues guitarists in history. When Clapton quit the Bluesbreakers to form the legendary Cream, his place was taken by a guy named Peter Green. Not only did Green have a great first name, he also had the challenge of replacing a guitar god. Most rock critics would agree that he more than met the challenge. John Mayall felt so, too, and after only one album with Green, he encouraged Green to “go thither into the world” and form his own band.

Green did just that. Before long he selected bass player John McVie (also from the Bluesbreakers) and a drummer named Mick Fleetwood, whom he knew from two earlier bands. For added punch, he added Elmore James-influenced slide guitarist Jeremy Spencer. Being a humble guy, leader Green named the band after his rhythm section… neither of whom were songwriters!

THEN PLAY ON, the last album that featured Peter Green

THEN PLAY ON, the last album that featured Peter Green

This early version of Fleetwood Mac released three studio albums: FLEETWOOD MAC, MR. WONDERFUL, and the double album THEN PLAY ON. At this juncture their music emphasized blues-based rock, and they had a reputation for being a dynamic live act. Green was a powerful guitarist and had a distinctive guttural voice that perfectly complemented his blistering guitar licks. He was also a skilled songwriter, going from the sublime (“Man of the World” and “Albatross)” to the earthy [“The Green Manalishi (With the Two-Prong Crown)”] and “Oh Well”) to the mysterious (“Black Magic Woman,” which was covered by West Coast band Santana and became their signature song). Jeremy Spencer was also notable. He often closed the band’s shows by doing old rock ‘n’ roll numbers and mimicking people like Elvis Presley and Buddy Holly. The band was a regular attraction at 60s-era ballrooms like the Shrine Auditorium, Avalon Ballroom, Fillmore West, Fillmore East, and Boston Tea Party.

Then the first tragedy occurred. Like so many creative artists from that era, Green began experimenting with LSD. And like Syd Barrett (Pink Floyd) and Brian Wilson (The Beach Boys) before him, he became a casualty of the drug. He began wearing long robes on stage and drifting off into endless guitar solos. Although the undisputed leader of Fleetwood Mac, Peter Green had to leave the band he had founded. He was diagnosed as schizophrenic, and entered a mental hospital. In the late 1970s, there was a rumor he was working as a gravedigger.

Some people seem to pull an ace out of their sleeve just when it’s needed. Fleetwood Mac’s ace was a guitarist named Danny Kirwan, whom Green had enlisted before the THEN PLAY ON album. Although Kirwan wasn’t the singer or instrumentalist that Green was, he was (at least to these ears) the best songwriter the band ever had. Kirwan guided the band through the next three records: KILN HOUSE, FUTURE GAMES, and BARE TREES.

KILN HOUSE, with artwork by Christine McVie

KILN HOUSE, with artwork by Christine McVie

Kirwan played a unique vibrato guitar and was responsible for some of the group’s most melodic songs, gorgeous gems like “Dragonfly,” “Jewel-Eyed Judy,” “Earl Grey,” “Woman of a Thousand Years,” “Bare Trees,” “Sunny Side of Heaven,” “Dust,” and others. For support, Kirwan leaned on John McVie’s wife, Christine Perfect McVie, who’d sung for the blues band Chicken Shack and joined the Mac during the KILN HOUSE sessions (and who created the striking artwork for that album sleeve). One of her songs, “Spare Me a Little of Your Love” from the BARE TREES sessions, became a staple of the band’s repertoire.

Kirwan, however, was always a little unstable. He was a heavy drinker and frequently succumbed to major mood swings. He was fired in 1973 after one particularly violent outburst. He later made three solo albums, the first two of which are very good (though not many people have heard them…they’re available for listening on YouTube, including the lovely “Cascades“).

Spencer, too, had quit in 1971 during a tour. While in Los Angeles, he’d gone out to buy a magazine, then disappeared for several days. The group later discovered he’d met a stranger on the street corner, who’d convinced him to renounce his former life and convert to a religious cult known as the Children of God.

welch_kirwan

Fleetwood Mac circa 1972. From left to right, John McVie, Danny Kirwan, Christine McVie, Bob Welch, Mick Fleetwood

Fleetwood Mac’s seventh and eighth studio albums were PENGUIN and MYSTERY TO ME. They were a bit of a letdown after the creative Green and Kirwan years, but the latter LP had at least one great song in “Hypnotized,” which became a favorite on American FM radio. This tune was written and sung by Bob Welch, an unknown Californian who’d joined the Mac just after KILN HOUSE. Welch wasn’t on a songwriting par with Kirwan, but he helped in three ways: he provided vocal and writing support; he eased them into the American market with radio-friendly material like “Sentimental Lady” (which Welch later re-recorded as a solo artist, becoming a Top 10 hit); and – most significantly – he convinced them to move their offices from London to Los Angeles.

bare trees

BARE TREES, one of Fleetwood Mac’s best records

Welch was the last significant member to join Fleetwood Mac, until Nicks and Buckingham in ’74. He quit the band after the ninth album, HEROES ARE HARD TO FIND, when he became tired of touring, as well as fighting a legal battle over ownership of the band’s name (in another strange twist in the band’s history, Mick Fleetwood and band manager Clifford Davies, to fulfill a contract obligation, sent out a fake Fleetwood Mac on tour in 1974; Fleetwood later claimed he knew nothing about the ruse. This fake band later changed their name to Stretch and had a No. 16 hit with “Why Did You Do It?” which was aimed at Fleetwood).

In late ’74, Fleetwood made the acquaintance of American Lindsay Buckingham, who’d recorded an album with his then-girlfriend, Stephanie “Stevie” Nicks. He asked Buckingham to join the band to replace Welch. Buckingham agreed, but only if he could bring along Nicks. Fleetwood nodded “Yes,” and Fleetwood Mac’s long mystery train finally rolled toward that nebulous place where English blues musicians, Wall Street mercantilists, and inaugurated U.S. presidents get together to harmonize.

 ***

Today, founding member Peter Green keeps a low profile. But as late as 2010, he was doing short tours with his own band. In its list of Top 100 Guitarists of All Time, Rolling Stone magazine placed him at No. 38. Mojo Magazine ranked him No. 3.

Jeremy Spencer is still associated with the Children of God (now called Family International). He’s lived all over the world, has jammed privately with both Fleetwood and John McVie, and in 2009 appeared at the Chicago Blues Festival.

Bob Welch took his own life in 2012. His widow said he was in intense pain after recently undergoing unsuccessful spinal surgery. She thinks his pain medication may have also contributed to his suicide. In 1998, Welch was not included with other band members for induction into the Rock and Roll Hall of Fame (RnRHoF). He’d earlier filed a lawsuit against the band for underpayment of royalties, and he believed that Fleetwood and the McVie’s convinced the hall to blackball him.

Not much is known about Danny Kirwan. According to Wikipedia, his mental health declined after leaving Fleetwood Mac in 1973 (he was supposedly homeless for a while in the ‘80s and ‘90s). Unlike Welch, Kirwan was inducted into the RnRHoF with other members.  But he didn’t show up at the ceremony. John McVie was quoted as saying that a Fleetwood Mac reunion with Green and Spencer is a possibility, “but I don’t think there’s much chance of Danny doing it. Bless his heart.”

 

first album

Love “Forever Changes,” Part Two

50 years

In my last post, I raved about one of my favorite bands, Love. I gave some background on this under-appreciated group and started to discuss their third record, FOREVER CHANGES. Here, I’ll try to delve into this album in more detail. (Not an easy thing. Most reviews I’ve seen are limited to a few adulatory adjectives).

I called FOREVER CHANGES a “psychedelic masterpiece.” That description may do it a disservice. “Psychedelic” is a loaded term that implies drugs. But you don’t need hallucinatory drugs, or even a desire to musically replicate a psychedelic experience to enjoy this record.

Only one percent of wine supposedly improves after 5-10 years. Consider FOREVER CHANGES, then, like a rare bottle of vintage Cabernet Sauvignon.

First, the title. It supposedly originated with a comment bandleader Arthur Lee made to an old girlfriend. She was upset after he’d dumped her, and she reminded him that he’d promised to love her “forever.” He unsympathetically replied, “Forever changes.” But add the word “Love” in front, and the phrase takes on different meaning.

The packaging of this record is also intriguing. We have a clean white background with a multi-colored, animated design of the five band members’ heads, swirling and blending into a single image. The shape resembles the continents of Africa or South America. A blending and a harmony of races, cultures, and ideas. It’s apropos of the peace/love 1960s, and still valid in 2017 (more or less…pay no attention to the wall builder in the White House).

On the first two Love records, Lee’s forceful vocals, or Ken Forssi’s pounding bass dominated the mix. On FOREVER CHANGES, the vocals and instrumentation are more subdued and democratic. The predominant instruments are acoustic guitar and orchestral strings. This is rock music, however, so there’s electric guitar. But like my blogging friend Jim the Music Enthusiast noted, the electricity is used more for punctuation than overt statement.

Whisky-a-Go-Go concert poster, circa 1966, showing Love, Sons of Adam, and Buffalo Springfield

There are minor string and horn arrangements, and like SGT. PEPPER, they seem to organically grow from the song, rather than being plunked down indiscriminately. The arranger for the strings and horns was one David Angel, who had done theme music for TV shows like Lassie. But the melodies themselves were hummed to him by Arthur Lee, who had total control of the sessions.

Lee was an oddity in many ways. He wore untied combat boots instead of Beatle boots. According to one-time drummer Snoopy, he liked to stroll through the Hollywood hills with a harmonica, imitating bird songs. But in a world of sunshine and hippies, he was suspicious of peoples’ motives. He had a sensitive side (he wrote lines like “We can love again/Only God knows when”), but he also cast a wary glance at a lot of the forced “good vibrations” around him. So there’s considerable questioning on FOREVER CHANGES.

You go through changes
It may seem strange
Is this what you’re put here for?
You think you’re happy
And you are happy
That’s what you’re happy for?

(from the song “You Set the Scene”)

But questions were everywhere in late 1967. The Vietnam War was at a crescendo, and there are many veiled (and unveiled) references to that war in FOREVER CHANGES.

While performing in San Francisco, the band had visited a bar and met a recently returned Vietnam vet. He went into detail about what gunfire was like, and he described how blood looked after it gushed from an open wound. Lee didn’t forget this disturbing image. He later worked it into the song “A House is Not a Motel:”

By the time that I’m through singing
The bells from the schools of walls will be ringing

More confusions,
blood transfusions
The news today will be the movies for tomorrow
And the water’s turned to blood, and if
You don’t think so
Go turn on your tub
And if it’s mixed with mud
You’ll see it turn to gray

In a few lines, Lee forecasts “Full Metal Jacket,” conveys the nebulousness of the war, and describes how its ugliness had crept into American homes. And in “You Set the Scene,” he presents a challenge:

Everything I’ve seen needs rearranging
And for anyone who thinks it’s strange
Then you should be the first to want to make this change
And for everyone who thinks that life is just a game
Do you like the part you’re playing?

Not so much in these superficial and distracted days of smartphones and tweets, but in 1967 this was a major question. Youth, minorities, women, gays, and even soldiers and white-collar executives were challenging the parts they were expected to be playing. Does your career give you personal fulfillment, not just material satisfaction? Are you content with your social position? Your sexuality? Are you willing to play “follow the leader”? Do you like what’s happening in the country and in the world? If your answer is “No,” why not change or rearrange?

“The Daily Planet” is one of two songs where the studio group Wrecking Crew supplanted the regular Love band (the other song is the Johnny Mathis sendup “Andmoreagain”). Lyrically and musically, it’s like the Beatles’ “A Day in the Life,” combining several dissimilar arrangements into one song, and exposing the ludicrousness of life through a snapshot of daily monotony:

In the morning we arise
And start the day the same old way
As yesterday, the day before,
And all in all it’s just a day like all the rest
So do your best with chewing gum
And it is oh-so repetitious waiting on the sun

Love on same bill as Ian Whitcomb and Van Morrison’s Them, circa 1966

Lee, an often-imperious bandleader, deigned to allow guitarist Bryan MacLean two songs on FOREVER CHANGES: “Alone Again Or,” released as a (failed) single, and “Old Man.” Both are gently sublime and offer a nice counterpoint to Lee’s more incisive material. “Alone Again Or” is many Love fans’ favorite song, a mature and mysterious tune with touches of Spanish guitar, and a Tijuana Brass-styled horn break. “Old Man” is similar to Neil Young’s later, much more popular song of the same title. It may be more than coincidence, since Young was at one time considered as producer for FOREVER CHANGES.

(In 1997, Sundazed Records released a collection of Love-era MacLean demos that MacLean’s mother had discovered, on the album Ifyoubelievein. They were followed in 2000 by CANDY’S WALTZ. These minor-key romance songs are amazingly perceptive and ingenuous, and it’s a shame Arthur Lee vetoed them from Love).

Two other songs on FOREVER CHANGES that I should mention are “The Good Humor Man He Sees Everything Like This” and “Maybe the People Would Be the Times or Between Clark and Hilldale.” I won’t make an attempt to understand why “hummingbirds hum” or the significance of “pigtails in the morning sun.” I’ll just say, “Why can’t musicians create imaginative song titles like this anymore? Is it that difficult? Seriously, do we have to bring back Owsley acid?”

***

If I was stranded on a desert isle and only had a certain number of records to spin on my self-propelled turntable in my palm tree perch, I’d probably choose either of the first two Love albums, LOVE or DA CAPO, because they’re so much fun to listen to. FOREVER CHANGES doesn’t have their exuberance. But it does have a musical sophistication, an enticing marriage of instrumentation, arrangements and words that, along with new music by Lennon-McCartney, Brian Wilson, Bob Dylan, Syd Barrett and others, helped push popular songwriting into terra incognita. FOREVER CHANGES never sold many units, but it’s music that holds up very well 50 years onward.

The band broke up after FOREVER CHANGES. It’s the old story: drug abuse and interpersonal squabbles. But maybe they were also just exhausted. Arthur Lee later formed other Love bands, but it wasn’t the same. Years ago, the late Ken Forssi proudly told me: “We could do no wrong…We had something, and they call it magic.” I believe him.

Thanks for permitting me to share my love of Love. In closing, I’ll allow Love to have the last word. This elliptical slice is from “A House Is Not a Motel.” Until next time, Merry Christmas and Happy Chanukah, and I’ll see you down on Go-Stop Boulevard with Plastic Nancy:

You are just a thought that someone
Somewhere, somehow feels you should be here
And it’s so for real to touch,
To smell, to feel, to know where you are here.

Come Ride the Little Train: In Praise of “Petticoat Junction”

Forget about your cares

It is time to relax

At the Junction…

My most frequent babysitter as a kid was the television set.  Now, I know I’m strange, but I don’t think that’s atypical for baby boomers.  I probably saw most episodes of the more popular cartoons, Westerns, and sitcoms made during the 1960s. Back then, though, I didn’t know which shows were good and which were bad. I just watched what the networks fed me. I hadn’t yet developed any critical thinking skills.

Today, thanks to various cable TV stations that specialize in nostalgia, I get to indulge in many of these shows again. And I sometimes wonder “Why did I ever watch this dopey thing?”

One of them is the half-hour CBS show, Petticoat Junction. This is a situation comedy with a rural theme that aired between 1963 and 1970. Petticoat Junction had two sister shows, “The Beverly Hillbillies” and “Green Acres.” These two shows were funny. Petticoat Junction was… well… “charming.” But there were no truly wacko characters, so the show relied more on situations, and the laughs were sparse.

So why am I praising it? Maybe because I’m now popping Centrum® senior multivitamins, but I don’t require laughs like I once did. Just smiles. These days, old-fashioned settings and cornball humor, which Petticoat Junction had in spades, are (pardon the colloquialism)… fine and dandy.

Granny and Jethro Clampett are TV classics, and I love the crazed bumpkins in “Green Acres,” who lived in a strange, alternative universe. But Petticoat Junction, for me, is less frenzied.

Heavens to Betsy, I don’t want frenzy these days! What do I want? I’ll tell you: I want to recline in a rocking chair on the front porch of the Shady Rest Hotel, ogle the beautiful Bradley sisters, then mosey inside with Uncle Joe to sample Kate Bradley’s fried chicken, dumplings, and gravy.

Bradley sisters, first lineup. L to R: Linda Kaye Henning, Pat Woodell, Jeannine Riley

Petticoat Junction (henceforth “PJ”) was one of three situation comedies (including the earlier “The Beverly Hillbillies” and the later “Green Acres”) created by a man named Paul Henning. Henning was a prolific writer of radio, television, and film. In 1962, he concocted an idea for a television show about a bunch of hillbillies who strike it rich, then move to swanky Beverly Hills, California. “The Beverly Hillbillies” was so successful, Henning was asked to invent another show. This would be PJ.

Henning came up with the show’s premise from stories his wife told of being a child in Eldon, Missouri, where her grandparents ran a hotel near some railroad tracks. She entertained Henning with anecdotes about the simple local folk, and the city slickers who checked into the hotel. Henning liked the contrast, which was sort of a reversal of “The Beverly Hillbillies.”

He called his fictional hotel the “Shady Rest,” situating it midway between the farm towns of Hooterville and Pixley. A three-car passenger train named the “Hooterville Cannonball” connected the two boroughs, but apparently went nowhere else (if you like trains, the “Cannonball” might be worthy of research). The town of Hooterville had a small grocery store run by a man named Sam Drucker (Frank Cady). Nearby lived various farmers, such as Fred, Doris, and Arnold Ziffle (the last-named a near-genius pig), Newt Kiley, catty Selma Plout, deaf Grandpappy Miller, ex-New Yorkers Oliver Wendell and Lisa Douglas, and others. But most of the action occurred in and around the Shady Rest Hotel.

Here, a widow named Kate Bradley (Bea Benaderet) managed the Shady Rest, along with her three luscious daughters: Billie Jo, Bobbie Jo, and Betty Jo. They were assisted… or unassisted… by Kate’s uncle, Joe Carson (Edgar Buchanan). There was also a frisky terrier with no name who was always upstaging Uncle Joe whenever Joe tried to concoct some new, failed business enterprise.

Additional characters included Cannonball engineers Charlie Pratt (Smiley Burnette), conductor Floyd Smoot (Rufe Davis), and bad guy Homer Bedloe (prolific character actor Charles Lane), who was forever trying to shut down the Cannonball. Later seasons featured cropduster Steve Elliott (Mike Minor), who eventually married Betty Jo, both in the show and in real life; engineer Wendell Gibbs (Byron Foulger); game warden Orrin Pike (Jonathan Daly); and Dr. Janet Craig (June Lockhart of “Lassie” and “Lost in Space”).

Bradley sisters, second lineup. L to R: Linda Kaye Henning, Lori Saunders, Gunilla Hutton

PJ ran for seven seasons. The cast frequently changed, which helped keep the show fresh. Three different actresses played blonde Billie Jo: Jeannine Riley, then Gunilla Hutton, then Meredith MacRae. Two actresses played brunette Bobbie Jo: Pat Woodell, then Lori Saunders. Redheaded Betty Jo was played throughout by Linda Kaye Henning, daughter of Paul (billed as “Linda Kaye” early on).

Edgar Buchanan, as Uncle Joe, was the only other principal actor besides Henning and Frank Cady to last the entire run. He was the closest thing to a wacko and provided many of the best laughs. He just wasn’t as good-looking as his nieces.

Along with its instantly recognizable theme song, music played a big part in PJ, both inside and outside the show. Actress Pat Woodell was a professional singer, and Meredith MacRae was the daughter of singer/actors Sheila (“The Honeymooners”) and Gordon MacRae (OKLAHOMA). During the 1963-64 season, the three Bradley girls and a friend (played by Sheila James from “Dobie Gillis”) formed a mop-top pop group called The Ladybugs, in response to the Beatles’ recent success (the actresses recorded a single as The Ladybugs and, like the Beatles, appeared on “The Ed Sullivan Show”). In 1968-69, MacRae, Saunders, and Henning released two singles as The Girls from Petticoat Junction. And many episodes, particularly the later ones, featured group singalongs around the piano.

_________

Of the seven seasons that PJ aired, my favorites are seasons four and five. These featured Meredith MacRae, probably the most popular Billie Jo. By this time, the sisters’ personas had solidified: Billie Jo was smart and career-minded; Bobbie Jo was a cute airhead; and Betty Jo was the tomboy turned wife and mother.

Also, seasons four and five still featured Bea Benaderet as the mom, Kate Bradley. Benaderet was the most skilled actor in PJ. She’d had a long career in radio and television (she provided the voice for Betty Rubble in “The Flintstones”). She was so talented, that Paul Henning is on record saying that PJ existed only because he wanted to get Benaderet in a starring role.

Bea Benaderet

Sadly, Benaderet contracted lung cancer, and she missed much of season five. She died in 1968. Her place was taken by June Lockhart, who portrayed a doctor who takes up residence at the Shady Rest. Lockhart tried, but she couldn’t replace Benaderet. The show’s ratings declined.

PJ was canceled in 1970 at the beginning of an infamous “rural purge” by CBS. A lot had happened in America in the late 1960s, and CBS executives felt that comedies with rural themes were out of touch. Pat Buttram, who played Mr. Haney on “Green Acres,” famously said “(they) canceled everything with a tree.” Shows like PJ, “Green Acres,” and “Mayberry R.F.D.” were replaced by more urbane and topical sitcoms like “All in the Family,” “M.A.S.H.,” and “The Mary Tyler Moore Show.”

Those shows, and others from the 1970s, are comedic wonders, loaded with clever writing, characters, and trend-setting humor. But it’s a heterogenous world, and I feel there’s also a place for simpler, throwback shows like PJ. I’m grateful to MeTV for resurrecting this special show, which for some reason has been neglected by the suits at other cable stations.

If you like homespun simplicity, check out PJ, if not on MeTV, then on DVD. It won’t have you howling with laughter. But it has a simple grace that is especially welcomed in these graceless times.

Bradley sisters, third lineup. L to R: Linda Kaye Henning, Lori Saunders, Meredith MacRae (copyright Gene Howard)

Some interesting facts about PJ:

  • There were actually four Billie Jo’s. The original actress selected was Sharon Tate. She’s pictured in several early promo photos, but she resigned before taping because her agent felt she wasn’t ready for a major television role (some say it was because she had posed nude). She later popped up as a recurring guest character on “The Beverly Hillbillies.”
  • Pat Woodell, the original Bobbie Jo, left the show to become a singer. That didn’t work out well, and she returned to acting, appearing in several sexploitation flicks, including THE BIG DOLL HOUSE from 1971. She passed away in 2015.
  • The bright little terrier named “Dog” had the real name of “Higgins” and later was the star of the popular movie BENJIE, which also featured Edgar Buchanan.
  • Jeannine Riley and Gunilla Hutton, who both played Billie Jo, later jumped into the hay lofts of the variety show “Hee Haw” (another victim of CBS’s rural purge).
  • Before her one season in PJ, Gunilla Hutton was a chorus girl who toured with Nat King Cole. Cole became infatuated with Hutton, who was 19 years younger, and almost left his wife. He abandoned the fling after developing smoking-related lung cancer.
  • Mike Minor, who played handsome pilot Steve Elliott, was the son of Don Fedderson, creator of “My Three Sons.” He and Linda Kaye Henning were married five years, then divorced. Minor died in 2016.
  • Before PJ, Meredith MacRae played the girlfriend of the eldest Douglas boy in “My Three Sons.” (Shucks, why couldn’t the Bradley girls and Douglas boys ever hook up??). MacRae succumbed to brain cancer in 2000.
  • Lori Saunders’ real name is “Linda,” but she changed it to avoid confusion with Linda Kaye Henning. Saunders and Jeannine Riley later acted together in a failed sitcom called “Dusty’s Trail,” a clone of “Gilligan’s Isle” set in the West, starring Bob Denver and Forrest Tucker.
  • Frank Cady is the only actor to ever appear in three concurrent television shows (PJ, “Green Acres,” and “The Beverly Hillbillies”). He was in his 40s-50s when he played Sam Drucker. Cady lived to age 96, passing away in 2012.

(Wikipedia provided much of the information for this article. If you want to read an exhaustive analysis of the fictional town of Hooterville, click here. Someone devoted a lot of time to this subject. This person sounds even stranger than me.)

Lighting Fires in 1967: The First Album by The Doors

50 yearsthe-doors

There are things known and there are things unknown, and in between are the doors of perception – Aldous Huxley

A year ago today I wrote about the year 1966 in popular music. 1966 was a watershed. Greying, traditional singers and song interpreters were being pushed down the record charts by young rebels sporting Beatle haircuts, paisley shirts, and leather boots, many of whom wrote their own songs. Blues, soul, surf, and folk music were colliding head-on with ringing guitars, creamy vocal harmonies, and an infectious rock backbeat. This musical amalgam was both fresh and exciting. But… just under the surface of this “jangle pop,” unknown forces were bubbling.

The leading lights in rock music – the Beatles, Bob Dylan, and the Rolling Stones – had sampled hallucinogenic drugs by 1967. In addition to being curious about mind expansion via chemical transport, they also wanted to explore the architecture and limitless tapestry of sound, language, and ideas. Instead of merely an affirmative “Yeah, yeah, yeah,” a lot of probing questions were being raised. Minds were floating downstream, and mothers were now standing in the shadows.

1966 was also the year the Beatles stopped touring to concentrate on recording, and the year of John Lennon’s incendiary (at least, in America) comment “I don’t know which will go first, rock ‘n’ roll or Christianity.”

January 1967 was ripe for revolutionary music like that of the Doors.

I was 9 when I first heard the Doors’ single “Light My Fire” on AM radio. Although a truncated, radio-friendly version of the album cut, this song’s hypnotic rhythms, exotic instrumentation, and potent vocals temporarily pushed the Beatles and Monkees out of my head (and it’s still my favorite song). But not until college, when I scraped some dollars together for the first eponymous Doors album, was I really able to grasp this band’s awesome power.

The Doors were maybe the world’s first “existential” band. They somehow were able to marry rock and blues music with Nietzsche, Blake, Freud, and Eastern mysticism, yet still managed to have hits and make teenage girls swoon… as well as older women. My mother heard me playing that first album one day during summer break:

“Peter, who is that singer?” she yelled down to the basement.

“His name’s Jim Morrison.”

“I love his singing! I haven’t heard a voice like that since Frank Sinatra!”

botnick-rothchild-morrison

Engineer Bruce Botnick, producer Paul Rothchild, singer Jim Morrison.  Botnick and Rothchild had a large role in the making of the first Doors album.

Before long she was joining me in the basement to gaze at the rock god pictured on my album sleeve, as well as listen to the songs – which include the climactic finale “The End.” If you’re familiar with the lyrics to “The End,” you’ll understand how awkward an experience this was for me.

Anyway, I could rattle on and on about the Doors and that first explosive album, a true classic, unleashed to the world on January 4, 1967. But others have reviewed it much better, and I only have so much space here. So here’s merely a quick song-by-song summation:

Break on Through (To the Other Side): the first single, and maybe the definitive Doors song. Beastly, guttural, and relentless, I’ve always thought of it as an aural interpretation of sexual intercourse. But that’s just me.

Soul Kitchen: sneering and funky, and a perfect follow-up to the opener. Something strange is being cooked up in this kitchen. Not sure what it is, but it’s pulling me inside.

The Crystal Ship: a gorgeous song. Drummer John Densmore has said it’s about Morrison’s breakup with a girlfriend, but there are many other interpretations.

Twentieth Century Fox: this song ties in Morrison’s and organist Ray Manzarek’s film studies at UCLA. But I don’t think Morrison is singing about Shirley Temple.

Alabama Song (Whisky Bar): written by Bertolt Brecht and Kurt Weill, from their satirical opera “Rise and Fall of the City of Mahagonny,” it’s the song that convinced Elektra founder Jac Holzman to sign the Doors, after seeing them perform it at the Whisky a Go Go in L.A. One of the strangest covers ever chosen for a rock LP, it nonetheless shows how eclectic the band was.

holzman

Elektra Records founder and CEO, Jac Holzman

Light My Fire: written by guitarist Robbie Krieger, the short version of the Doors’ second single climbed to No. 1 in July 1967, and the band never looked back. The album version, with both a keyboard and guitar solo, is far more riveting. José Feliciano later had a No. 3 hit with a Latin-tinged acoustic rendition.

Back Door Man: a lot of old blues songs were covered in the ‘60s, most not very well. One notable exception is Cream’s version of Robert Johnson‘s “Cross Road Blues.” Another is this Willie Dixon song, which the Doors made into their own. Morrison was still in the soul kitchen, only now he was sampling long-legged chicken.

I Looked at You/End of the Night/Take it As It Comes: I lumped these three songs together because they’re similar in tone and structure and seem to comprise three sections of one song, and they also provide a slow glide into the final song. Dark and sinister, the key song/line for me is “Some are born to sweet delight/Some are born to the endless night.” The universe can be a hostile and indifferent place.

Suddenly, we arrive at…

The End: I didn’t know what to make of this 12-minute epic when I first heard it. It’s less a song than a series of short poems set to psychedelic raga. Morrison sounds like he’s intoning a dark sermon, taking the voyeuristic listener on a weird journey into goldmines, riding on snakes and blue buses. The section about the killer walking down the hall is chilling (Truman Capote‘s seminal non-fiction novel “In Cold Blood” was published just before the song was recorded).

Unbelievably, “The End” was recorded in only two takes. According to Holzman, the second half of Take 2 was so intense that, as the closing notes faded, producer Paul Rothchild turned to him in the booth, and with a stunned look said “Jac, this is why we do what we do.”

(Thanks for letting me share one of my favorite albums… stay tuned, because in March I’ll be recognizing the 50-year anniversary of another classic debut: “The Velvet Underground and Nico”).

doors_66

We Glorious Bastards (Part 2)

blue delinquent

Last time, Bill, Dan and I were cutting up newspaper to make confetti. We were preparing to “decorate” the Parks house on Devil’s Night, a Detroit tradition held on Halloween Eve. In addition to confetti, we had several rolls of toilet paper, a bar of soap, and some candle wax (more difficult to remove from glass).

The night arrived, and it so happened that Wally and Mrs. Parks weren’t home. Their house was dark, the moon was dim, our parents were busy drinking martinis, and we were feeling bold. Bill had several grocery bags of confetti, and he “let it snow” until the front and back yards were blanketed. Dan went to work on the windows with soap and wax. And I flung my toilet paper with abandon, upward toward the stars, over the treetops, until every tree was dripping with thin, white, paper banner.toilet paper

Before we left the house, I added one final, personal touch. I transplanted their mailbox from the end of the driveway to the bushes by the front door. I’m not sure what I was thinking, but I know it wasn’t so Wally could retrieve his mail easier.

Well, I slept like a baby that night. We’d done a good night’s work. Instead of “White Christmas,” the Parks property looked like “White Halloween.” We’d played our tricks, and tomorrow came the treats. But, as any addict will tell you: the higher the high, the lower the low.

Bill told me what happened the following day. Wally and his wife returned home about 2 or 3 a.m.   Wally must’ve had more than a few drinks. When he saw what we’d done to his house, he went nuts. “WHO THE HELL DID THIS TO MY HOUSE!!” he screamed, over and over, his voice echoing through the neighborhood. He was so relentless, one of the neighbors, tired of his yelling, called him a baby and told him to shut up.

Our parents instinctively knew it was Bill, Dan and me (the “Three Musketeers”). I don’t know if Dan’s parents ever confronted him, but Bill’s and mine made us go over, apologize, and clean up the mess. By then, Wally had calmed down (and sobered up). He was actually very nice. “Aw, don’t worry boys, I did that stuff when I was your age, too.” After which Mrs. Parks, smoking a cigarette in the kitchen, chimed in “And you probably did a helluva lot worse, Wally.” We felt another argument brewing.mailbox

It took us almost all Halloween day, but Bill and I cleaned the entire property. I never determined what Dan’s excuse was for not showing up. But Bill was livid with him, saying he always managed to slither out of things. I’m not sure he’s ever forgiven Dan.

***

My last wave of delinquency occurred after we moved back to northern Ohio. Again, I was fortunate to have a bunch of adventuresome boys to play with: Kelly, who lived across the street; brothers Joe and Dave, a few doors down from him; and Jerry, Kurt, and Dickie, who lived in a dilapidated farmhouse on the outskirts of the neighborhood.

Dickie was funny. He had freckles and orange hair. And since he was the youngest, he got picked on a lot, especially by Joe. When he got really upset, he’d start screaming, and his face would turn as colorful as his hair. Which made Joe laugh even louder.

Their farmhouse was funny, too. It looked like a tornado had touched down inside. Dirty clothes and dishes everywhere, cat poop on the stairs, always dark, and the parents were never around.

It also had a huge apple tree in the back. Sometime around 1970, we formed a club, the Apple Chucking Gang (no, not “Apple Dumpling Gang”). We met periodically on weekend nights, after the sun went down, and worked on target practice. The targets were cars that sped along the road outside the house.

THUD… BAM… THWACK… The apples sounded like giant hailstones when they hit. Usually the cars kept going. Sometimes they slowed, but stopping was dangerous, since there was not much berm. Only once did someone jump out of his car and chase after us.apple

Fortunately, the farmhouse had a walk-in basement. When we heard the car door slam, and saw a shadow running toward us along the road, all five of us ran to the back of the house and into the dark basement, slammed the screen door, and cowered behind the moldy furniture. Dickie was slow, though, and the man saw him squeeze inside at the last minute.

“I KNOW YOU’RE IN THERE!!! YOU CAN’T HIDE FROM ME!!! COME ON OUT!!! I KNOW YOU’RE IN THERE!!!” he screamed over and over while pounding the screen door.

After numerous threats during what seemed like eternity, he finally left. But it scared us enough that we decided to retire the Apple Chucking Gang. About a year later, Kurt, who was in my homeroom, said something about “going chucking again,” but nothing ever came of it. Other than a few garden-variety pranks, like aiming hoses at front doors and placing firecrackers on windowsills, it was the end of my criminal career.

***

I hope no one interprets this two-part reminiscence as glorifying vandalism or delinquency. I’ll readily admit I did a lot of dumb things when I was younger, and I have many regrets.

But our only real crime was being young and energetic. Which is hardly criminal. We didn’t steal, destroy property, play with handguns, or do drugs. And, thank God, we didn’t have smartphones that gobbled up our childhoods. I feel sorry for young folks today. If only they knew what a world of adventure and excitement – and not necessarily prankster excitement – awaits them outside of those little screens they endlessly gaze into.

Today, I’m pretty sure my old partners in crime are ok. I haven’t heard much about little Dickie, though, so I’m not sure how he’s doing. He may be doing 5-10 at the Mansfield Reformatory, for all I know.

But I hope not.

We Glorious Bastards

blue delinquent

We turn into our neighborhood and make a right onto our street.  On the left side of the street is a large black Chevy.

“What’s that on the driver’s window?” I ask my wife.  “It’s too big for a bird dropping.”

Even before we pull into our garage, she’s already visited the Wethersfield Neighborhood page on Facebook.  The hot Facebook conversation concerns the Masked Egg Marauders who struck on Saturday night.  Seems while we were out of town, a bunch of juveniles decided to decorate all the cars on driveways and streets with smashed eggs.

I laughed.

“What’s so funny?” she said.  “I think it’s just terrible.  If I did something like that, and my father found out, I’d be grounded for six weeks.”

I kept silent.  Although she knows a smattering of my criminal past, she doesn’t know the half of it (unless she reads this).

***

When I was a boy, we didn’t have cable television, video games, internet or I-Phones.  If we wanted to have fun, we made it up ourselves.  We played neighborhood sports, had water balloon and dirt clod fights, played with G.I. Joe dolls, built go-carts, or ran naked in the woods imitating Tarzan.  Boys being boys, though, we occasionally ventured to The Dark Side.

I remember my first brush with delinquency.  It occurred one winter day while walking home from grammar school.  We lived in back of a high school, and some of the teenagers liked to rev their hot rods down our street after the afternoon bell rang.  One day, tired of throwing snowballs at trees, I decided to try a moving object.

Akermitlthough no Luis Tiant (he pitched for the Cleveland Indians in the mid-1960s), my first throw smashed into the side of this one high schooler’s car.  I was also no Lou Brock (he was a great baserunner for the St. Louis Cardinals), because the teen caught me before I ever reached the shelter of the woods.
I think my fear melted his anger, because he let me off with a warning (and I remember him grinning when he let go of my jacket).  Although coming dangerously close to being pummeled, I received such an adrenaline rush from this snowball incident, it was a matter of time before my criminal behavior escalated.  The stage was set.

In 1968, we moved from Ohio to a suburb of Detroit, Michigan.  Downtown Detroit had just undergone a series of civil rights riots.  We kids in the ‘burbs had our own version of rioting, called Devil’s Night, which occurred annually the night before Halloween.  Before I get to the infamous “Night of the Parks House,” however, allow me to touch on a couple other crimes:

Rubber Band Lunacy: It was much later when I took up the game of golf, but at 10 years old, I possessed intimate knowledge of the interiors of golf balls.  Some golf balls, just inside the hard outer shell, had yards and yards of thin rubber band wrapped around a hard, core rubber ball.  When unraveled, this rubber band had enough length to be stretched across a street and tied around two trees.  The band was virtually invisible… until you were right on top of it.golfball

Long story short, a lot of car brakes were slammed on Westbourne Drive during the summer of ’68.  This stunt lasted until, one day, a motorcycle came along.  Tucked inside my hiding place in the juniper bushes, I watched in horror as a leather-clad member of the local Heaven’s Devils gang “lay down” his bike after confronting my rubber band barrier, which he probably mistook to be a long, thin wire.  To this day, I don’t know if he saw me pop out from the bushes and skedaddle 15 blocks until I collapsed from exhaustion, since I never looked behind.  But this incident ended my rubber band period.  Instead, I shifted to less risky delinquency…

Bloody Bicycles: One day, at the end of a long session of “What do you wanna do?”  “I don’t know, what do you wanna do?,” Bill, Dan and I hatched a plan that involved our kid brothers.  We took their bicycles and placed them on their sides alongside the curb, their wheels skewed at different angles.  Then we positioned our brothers on the pavement near the bikes.  We used Heinz ketchup to resemble blood.

I think it was the fifth or sixth car before one finally stopped.  She was an elderly lady who got out and frantically inquired “Are you hurt??  Are you alright??”  It was probably the smell of ketchup, or maybe my brother Steve’s bad acting that assured her, yes, Steve was alright.  Although enjoyable, this foray into Hollywood lacked the despicable element that we so craved.  On Devil’s Night, 1968, however, we received our Master’s degrees in delinquency…ketchup

Night of the Parks House: Wally Parks and his wife had no children.  They were about 40 years old and lived in a ranch house directly across from ours.  I remember that Mrs. Parks had blonde hair, usually tied in a bun.  Wally was tall and athletic-looking, and according to my friend Bill, had a propensity for alcohol.  Very nice people, but very private.  And once in a while, they argued.  Loudly.  Bill, Dan and I used to sneak up to their bushes and listen to them fight.  One time, Wally angrily flew out the front door with his tie flapping, and he hopped in his car and zoomed down the street.  “Probably headed to the bar,” said Bill.

It wasn’t my idea to target their house.  But one day, after my monthly allergy shot, I rang Dan’s doorbell, and he led me down to his basement.  Bill was there.  They were cutting up piles of old newspaper, and they were totally absorbed in the task.

“What are you guys doing?” I asked.

“We’re making confetti,” said Bill, as he clipped away.  “We’re gonna get Parks’s house on Devil’s Night.”

***

(End of Part One.  If you want to find out what happened on Devil’s Night, please check back in a couple weeks.  And like my blogging buddy Neil says, if you like what you read here, don’t be shy about clicking “Like” or “Follow”)

Pearl

50 years

janis

All I know is something like a bird within her sang
All I know she sang a little while and then flew on
Tell me all that you know
I’ll show you snow and rain…

– from “Bird Song” by the Grateful Dead

She fled to California from Port Arthur, Texas in the early 1960s. From all accounts, she wanted to escape a stifling environment that had branded her a freak. She was a marginal student, suffered bad acne, sang black music, and hung out with “undesirables.” The gulf between her and her peers must have been as vast as the Gulf of Mexico.

A fourth-grade classmate was future NFL coach and FOX Sports commentator Jimmy Johnson. One of them perfectly fit the mold of conservative 1950s Texas. The other shattered it.

Friday, June 10 will be 50 years since rock singer Janis Joplin made her debut with Big Brother and the Holding Company at the legendary Avalon Ballroom in San Francisco. Recently, I was reminded of her greatness when the PBS show “American Masters” aired a very good documentary about her.

Folks, help me here please: has any woman singer since Janis possessed even a shot glass of her charisma? I don’t think so. Many have tried, and many have failed.

Only a few divas have even come close to replicating her sexually charged delivery of soulful blues-rock. Tina Turner certainly comes to mind. She and Janis actually did a duet on stage in 1969 (what a magical moment that must have been). Singer-guitarist Susan Tedeschi, born one month after Janis died, has a little of Janis’s distinctive blues rasp.

But I’ll be gobsmacked if anyone has been able to tear down the rafters like “Pearl.” She glowed like St. Elmo’s fire for only four short years. Her likes hadn’t been seen since Bessie Smith in the 1920s, and they may never be seen again.janis2

I’ll grudgingly admit, though, she’s not for everybody. A friend of a friend once derided Joplin as “that shrieking harpy.” And most recordings of her are pretty shabby. Her most famous backup band was Big Brother, but even with two lead guitarists, they were little more than a distortion-heavy garage band.

Many people, especially women, can’t understand her appeal. Although never crude, Janis was wild, uninhibited, and boldly sexual. Which probably explains her biggest fans: horny young men. Some people prefer subtlety in their music and performers. And Janis was anything but subtle.

On stage I make love to 25,000 people. And then I go home alone.

Similar to her Haight-Ashbury friends, the Grateful Dead, Janis had to be seen and heard in a live setting. She was more about the moment than the artifact. One of her greatest performances is captured in D.A. Pennebaker’s MONTEREY POP, a groundbreaking cinéma vérité documentary about the 1967 Monterey Pop Festival. Until Monterey, she was unknown outside of San Francisco. But her performance of “Ball and Chain” sent earthquake tremors through the audience. The camera shot of Mama Cass Elliot sitting open-mouthed during Joplin’s performance, then mouthing the word “Wow,” is now part of rock legend.

The Monterey festival was her coming-out party. There would soon be a record contract, then national and international tours, Woodstock, and television appearances (she made four noteworthy appearances on “The Dick Cavett Show,” and Cavett says he’s still in love with her). She became the most famous woman in rock ‘n’ roll, and she holds that title even today.

***

In 1970, Janis returned to Port Arthur for her 10-year high school reunion, an exotic flamingo landing in a nest of sparrows. The reunion was bittersweet. Years earlier, while still in Texas and performing in coffeehouses at the University of Texas, an unnamed fraternity voted her “Ugliest Man on Campus.” One can only imagine how she felt at this brutal insult. Her friend and fellow musician, Powell St. John, said Janis took it hard.

But she never let it stop her.

***

I confess that I don’t often listen to her music these days – my shredded nervous system just can’t handle it – but Janis is special to me because her singing had something real and honest that you don’t often find anymore. Bullshit is the music industry’s stock and trade. But with Janis, there was no bullshit. When she sang, she pulled something from deep within her. Maybe despair.

Whatever that intangible was, it’s hard to imagine rock music without her; there would just be a big gaping hole. Janis held nothing back, and despite having to endure the agonies of childhood ridicule, she stayed true to her muse and plowed her own path. There aren’t many of us that can do that.

So, even though I don’t drink Southern Comfort (Janis’s favorite beverage), I plan to raise a glass to Pearl on June 10. As another friend once told me with great emotion, one who actually knew her: “She was one helluva woman.”

But, in truth, she was a little girl.

…Don’t you cry
Dry your eyes on the wind.

4-18-69_NY_by Elliot Landy

In New York City, April, 1969.  Photo copyright Elliot Landy